Martial Solal - Dodecaband Plays Ellington

Bitrate: 320K/s

Time: 58:42

Size: 134.4 MB

Styles: Big band

Year: 2001

Art: Front

[ 7:23] 1. Satin Doll

[14:53] 2. Caravan

[ 8:32] 3. In A Sentimental Mood

[ 8:56] 4. It Don't Mean A Thing

[ 9:58] 5. Take The 'a' Train

[ 8:58] 6. Medley: Cottontail, I Got It Bad, Prelude To A Kiss

Martial Solal's big band is a revelation. I've loved his piano music since I started acquiring (mostly through mail order) his records in the late 60's. His big band writing can be seen as an extension of his piano, but it is much more. Like his piano playing there are all kinds of rhythmic stops and starts that may sound like unmusical special effects at first hearing but actually make entire sense.

I usually don't like "songbook" CD's because they often sound like pale imitations why not just listen to the real thing. Solal has reconstructed these overplayed tunes, brought them up to date, and given them new life. They are still recognizable, but there are all kinds of rhythmic surprises, unexpected voicings, abrupt modulations, and turn-on-a-dime transitions that keep the band and the listener from settling in. Time continually shifts back and forth between 4/4 and free.

This twelve-piece band is more maneuverable than the standard big band. They can cut these complicated arrangements replete with unique voicings and freer swing concepts. Chautemps on soprano is the most prominent soloist besides Solal, but most players are featured at least once. The solos are short and integrated into the ensemble they barely establish a groove before the music moves on.

Like Charlie Parker Solal loves to throw quotes into his music. If anything his are sneakier and more tongue in cheek. Some examples: a hint of "Reveille" in "Satin Doll;" a muted trombone passage from "Morning Air" by Willie "The Lion" Smith in the conclusion of "It Don't Mean a Thing;" maybe one measure of "La Cucaracha" hidden in the theme statement of "Take the 'A' Train." Some of his writing combinations have a similarly individual feel: An abstract tuba introduces "It Don't Mean a Thing" after which the piece moves into a reeds vs. tuba exchange and tuba-led ensemble passages. "Caravan" briefly features piccolo over brass.

The arrangements are not derived from Solal's Ellington piano record except "Satin Doll" which features Solal in a prominent but fragmented solo role. "Caravan," a 15-minute tour de force with a two-soprano lead, dies with a whimper. Trumpet and soprano solo simultaneously over the band during "In a Sentimental Mood." In the concluding medley of eight Ellington tunes there are no clear cut breaks between themes. Solal sometimes borrows a motif from one tune to use as a riff in another. ~Craig Jolley

Dodecaband Plays Ellington 

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Bobby Dukoff - Off The Cuff

Bitrate: 320K/s
Time: 33:17
Size: 76.2 MB
Styles: Saxophone jazz
Year: 1957/2010
Art: Front

[2:34] 1. Thou Swell
[3:02] 2. You Brought A New Kind Of Love To Me
[3:12] 3. It's A Wonderfull World
[2:55] 4. What A Fabulous Night
[2:32] 5. Baby Won't You Please Come Home
[2:59] 6. When I Take My Sugar To Tea
[2:23] 7. You Do Something To Me
[3:00] 8. My Baby Just Cares For Me
[2:36] 9. Seems Like Old Times
[2:56] 10. You've Got The Laugh On Me
[2:34] 11. I'm Sitting On Top Of The World
[2:30] 12. Gotta Be This Or That

Bobby Dukoff was born October 11, 1918. He was first and foremost a phenomenal saxophone player. After he bought his first horn at the age of 14, for $45, with money he earned working at a delicatessen, he went on to become a member of some of the most famous Big Bands in history.

After his Big Band days—with notables such as Benny Goodman, Tommy Dorsey, and Jimmy Dorsey were over, Dukoff went on to have a very successful solo career. He was known for his lush tenor sound, which became a defining feature of his brand.

Off The Cuff

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Various - Kissing Jessica Stein OST

Bitrate: 320K/s
Time: 40:19
Size: 92.3 MB
Styles: Soundtrack, Easy Listening
Year: 2002
Art: Front

[2:11] 1. Blossom Dearie - Put On A Happy Face
[4:54] 2. Sarah Vaughan - It's Crazy
[2:21] 3. Anita O'day - Taking A Chance On Love
[3:20] 4. Jill Phillips - That Could Happen To Us
[0:59] 5. Ernestine Anderson - There Will Never Be Another You
[2:24] 6. Shirley Horn - I Just Found Out About Love
[2:47] 7. Ella Fitzgerald - Manhattan
[2:43] 8. Dinah Washington - Teach Me Tonight
[4:57] 9. Matt Rollings - Gee Baby, Ain't I Good To You
[2:07] 10. Carmen Mcrae - Exactly Like You
[2:56] 11. Peggy Lee - I Don't Know About You
[3:18] 12. Diana Krall - Devil May Care
[3:10] 13. Billie Holiday - What A Little Moonlight Can Do
[2:05] 14. Blossom Dearie - I Wish You Love

Romantic comedies aren't something new; back in 1938, Bringing up Baby (starring Katharine Hepburn and Cary Grant) was the definitive romantic comedy of its time. But the genre has evolved over the years, and so have musical tastes. These days, the soundtracks of romantic comedies are likely to have a lot of adult contemporary or pop/rock because those styles of music appeal to their target audience: younger women. But the soundtrack of Kissing Jessica Stein, a romantic comedy from 2002, is a major exception. While other romantic comedy soundtracks will emphasize artists like Celine Dion, Gloria Estefan, and Whitney Houston -- favorites in the adult contemporary market -- this CD is dominated by vocal jazz (with some traditional pre-rock pop here and there). Verve provides a few new recordings, but most of the soundtrack is devoted to older recordings by well-known vocalists like Anita O'Day ("Taking a Chance on Love"), Shirley Horn ("I Just Found out About Love"), Sarah Vaughan ("It's Crazy"), and Dinah Washington ("Teach Me Tonight"). The material is quite accessible -- nothing abstract or left of center -- and one doesn't have to be a really seasoned jazz fan to get into Ella Fitzgerald's version of "Manhattan" or Blossom Dearie's playful interpretation of "I Wish You Love." In fact, many of the jazz singers on this CD have over the years been able to appeal to pop fans who don't necessarily care for a lot of hardcore instrumental jazz; in other words, the type of listener who might love Vaughan and Fitzgerald but doesn't necessarily have a lot of John Coltrane or Art Blakey CDs in his/her collection. This is a pleasant, likable soundtrack that won't intimidate those who like their jazz singing accessible and easy to absorb. ~Alex Henderson

Kissing Jessica Stein OST

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Dave Fleschner - At Home

Bitrate: 320K/s
Time: 56:58
Size: 130.4 MB
Styles: Piano jazz
Year: 2004
Art: Front

[4:55] 1. At Home
[4:36] 2. Vodka Tonic
[6:36] 3. Still
[6:02] 4. Brother
[5:58] 5. Madame G
[3:52] 6. March For The End Of Time
[7:09] 7. I Don't Know
[5:50] 8. The Runner
[4:46] 9. Family
[4:40] 10. Out From Behind
[2:28] 11. Goodnight

Dave Fleschner’s CD, “At Home,” marks his debut record as pianist, band-leader and composer. Fleschner began writing the music for “At Home” motivated by the idea that music is an evolutionary art form.

This music is the search for balance between challenge and ease, composition and improvisation, beauty and chaos, the past and the current. The album features performances by longtime musical associates of Fleschner’s including drummers Ken Ollis, Anthony Jones and Joel Fadness; Bassists Tyler Smith and Bill Athens; Saxophonist Marc Hutchinson; Guitarists Dan Gildea and A.G.Donnaloia, as well as a special guest appearance by Veteran Saxophonist John Gross.

At Home

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Cheryl Conley - Tender Moments

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 47:27
Size: 109,0 MB
Art: Front

(3:43)  1. Close Your Eyes
(3:54)  2. Up Jumped Spring
(5:32)  3. The First Of September
(3:57)  4. Comes Love
(3:50)  5. It's Alright With Me
(6:23)  6. But Beautiful
(5:17)  7. Until It's Time For You To Go
(6:08)  8. That Sunday, That Summer
(3:35)  9. The Late, Late Show
(5:04) 10. The Island

Timing is everything . . . the time is right for Cheryl Conley. This lady has been singing and waiting, waiting for a break in the music industry. Cheryl can wait no longer, she is making her own break and we are all going to be happier with this maiden release of "Tender Moments." This CD is for those of us that enjoy a fantastic range of vocal ability coupled with uncanny musical timing and phraseology that just makes you wanna say, "Oh Yea, ahh!" This isn't smooth jazz; it's the versatility of Cheryl Conley. She can light a torch song, put indigo in your blues, make a crooner cry for mercy,or have you falling-down-drunk after a bout with her reminiscent ballads of lovers gone by. Cheryl Conley started out singing back-up R&B with the Ike and Tina Turner Review. She obtained her degree in music from the California State University of Los Angeles and is the director of one of the choirs at her church. 

With all of these activites going on Cheryl Conley has maintained a thriving career singing locally throughout the Southern California area, constantly refining her touch to the words written by her and others. This CD is about sitting down and actually hearing what the singer has to say. Cheryl Conley's chops span from smearing your face with the softness of chiffon from a lemon pie to the gutsy spike of a Category Five blues diva, all in the blink of an eye and without changing the groove of the song. Tender Moments feature the musical talents of: Bobby Pierce-piano; Donnell Lambert-bass; James Kousakis-sax; and Donald Dean-drums; all skillfully merged together by Engineer Noland Shaheed into a well balanced mix that makes your ears say, "Play it again." I have heard all of Cheryl's gears; this CD is just an eye opener. I hope that you hear it as I do . . . Cheryl Conley is the real deal! ~ Carl E. Betts, Entertainment Director Pasadena Journal   http://www.cdbaby.com/cd/conleycheryl

Tender Moments

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Bill Allred & Roy Williams - Absolutely

Styles: Trombone Jazz

Year: 1995

File: MP3@320K/s

Time: 70:20

Size: 161,4 MB

Art: Front

(4:21)  1. Constantly

(8:39)  2. Satin Doll

(4:41)  3. Isn't It A Pity

(5:23)  4. Gypsy In My Soul

(4:33)  5. Too Close For Comfort

(7:13)  6. Blues # 1

(4:17)  7. If There Is Someone Lovelier

(4:16)  8. Absolutely

(5:19)  9. Blue Bones

(4:54) 10. So Beats My Heart For You

(5:31) 11. It's Only A Paper Moon

(2:48) 12. Makin' Whoopee

(4:38) 13. Sometimes I'm Happy

(3:40) 14. You're Driving Me Crazy

Two trombones and rhythm is a tried and true formula first brought to prominence through the lilting sounds of J. J. Johnson and Kai Winding in the 1950s. Bill Allred and Roy Williams fall squarely in that tradition, with this full-length recording that focuses on popular tunes like "It's Only a Paper Moon" and "Too Close for Comfort." The two trombonists produce visceral excitement with their tight harmonies, upbeat tempos, and overall good fun. This is music that makes you want to stand up and dance. When Allred and Williams get hot as they do with great regularity they burn with enthusiasm. 

The trombonists don't take themselves too seriously; they focus on having a rollicking good time. Regardless of how sophisticated your tastes, if you ever wondered what attracted you to jazz in the first place, it very well might have been the kind of unadulterated joy manifested by this glorious quintet. Allred and Williams are pre-modern stylists: big toned, even raucous, but with great technique. They front a first-rate rhythm section, including powerful drummer Butch Miles, bassist (and otherwise sometime trombonist) Isla Eckinger, and pianist Johnny Varro. When they're hot as they are so often (just here 'em blow on "Blues #1") they are unstoppable. Simple, but never simplistic; tasteful, but never dull; professional, but not showy; and hot, but not corny what an act! Highly recommended for all those who love the sounds of the trombone, and those who just like a swinging good time. ~ Steve Loewy  http://www.allmusic.com/album/absolutely-mw0000231550

Personnel: Bill Allred (trombone); Roy Williams (trombone); Johnny Varro (piano); Butch Miles (drums).

Absolutely

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Brad Mehldau & Mark Guillana - Mehliana Taming The Dragon

Styles: Jazz Funk
Year: 2014
File: MP3@320K/s
Time: 71:46
Size: 164,8 MB
Art: Front

(6:39)  1. Taming the Dragon
(5:52)  2. Sassyassed Sassafrass
(4:59)  3. Swimming
(4:56)  4. London Gloaming
(5:41)  5. Luxe
(5:45)  6. You Can't Go Back Now
(5:24)  7. The Dreamer
(7:33)  8. Elegy For Amelia E
(6:18)  9. Sleeping Giant
(5:01) 10. Hungry Ghost
(7:52) 11. Gainsbourg
(5:40) 12. Just Call Me Nige

First impressions shouldn't necessarily be the lasting ones. Despite, according to the press sheet, having played together for several years, über-pianist Brad Mehldau and drummer Mark Guiliana only began touring as Mehliana in 2013, and one of the heavily electronic duo's early performances at the 40th Vossa Jazz Festival in Voss, Norway was, sadly, eminently forgettable. But a year has passed and, in the interim, the duo has clocked a lot of road time, and with the released of Taming the Dragon, it's a pleasure to report that plenty has changed since that Vossa Jazz date...and all for the better. Much, much better. Mehldau's reputation and career have largely been built upon his inimitable talent as an acoustic pianist, primarily with his longstanding trio that's had just one personnel change in nearly 20 years: the original incarnation well-documented in the Art of the Trio Recordings 1996-2001 (Nonesuch, 2011) box; and his current lineup heard, most recently, on two 2012 sets (also for Nonesuch), Ode and Where Do You Start. But, largely in private, Mehldau has clearly been occupied by more electronic environs, with some early hints revealed on Largo (Warner Bros., 2002), an ambitious set with a larger cast that, produced by Jon Brion also a multi-instrumentalist who has previously worked in the pop world with everyone from Rickie Lee Jones and Peter Gabriel to Fiona Apple and Tenacious D, as well as in the jazz sphere on Bill Frisell's collaborative Floratone II (Savoy Jazz, 2012) and Nels Cline's Dirty Baby (Cryptogramophone, 2010) was something of a shot across the bow for those who were getting too comfortable with Mehldau as a purely acoustic instrumentalist. 

Ten years younger than the 43 year-old Mehldau, Guiliana who also brings his own electronics to Taming the Dragon first made his name with bassist Avishai Cohen, but in the ensuing years has built a reputation predicated on a fresh approach to the kit that's garnered attention (and work) from artists ranging from Meshell Ndegeocello and Wayne Krantz to Jason Lindner and Dhafer Youssef. He may know his jazz tradition, but he also knows his hip hop, drum 'n' bass, progressive rock and much, much more. He brings all of this and more to Mehliana, and perhaps the biggest surprise is that Mehldau does, too. Even more surprising is that Mehldau has gone from writing the long, pretentious liner notes of his early recordings to the dream-inspired tale that he tells over the opening title track and is reproduced inside the Taming the Dragon's six-panel cardboard digipak. It's beatnik-inspired prose updated for the 21st century, where the narrator (Mehldau?) recounts a "trippy dream" of being driven around Los Angeles by "on old hipster with a scratchy voice kind of like Joe Walsh sings, but he kind of had some of that vibe and energy of Dennis Hopper in Easy Rider," all in vehicle that starts as an old convertible, morphs into a VW van and, by the end of the story, becomes "more like this spaceship kind of thing." 

As Mehldau narrates, the dream unfolds to reveal the dichotomy of human nature ("you've got this one part of you that watches out for you and keeps you steady, you've got this other part that's raging and full of anger"), with a deadpan delivery not unlike American poet Franz Wright only younger and less grizzled and the music juxtaposes slow-moving synth washes to fiery, drum 'n' bass propelled by a splashy, processed crash cymbal, and a slower, high hat-driven groove, all bolstered by a positively filthy bass synth line. Six of Taming the Dragon's twelve tracks a full 72-minute program whose overarching narrative gradually unfolds and is ultimately best absorbed in its entirety are written by Mehldau; the others are co-credited to Guiliana and, no doubt, come from improvisations that demonstrate far more focus and intent than the duo's Vossa Jazz performance. Mehldau opens "Luxe" with some heavily delayed Fender Rhodes, but it's not long before Guiliana is in the pool and the keyboardist once again drops another dirty synth bass line underneath. It's sometimes difficult to discern amidst the density of it all, but the prodigious technique that allows Mehldau's two hands to sound like four ultimately reveals itself, even as Guiliana's staggering contribution justifies Bill Bruford's documented admiration for the drummer. It's not a dominant instrument on Taming the Tiger, but Mehldau does throw some acoustic piano into the mix on "You Can't Go Back Now," though it's initially just an a cappella introduction to a more hard-edged six minutes that ultimately take off, once again, with Rhodes, synth bass and processed kit dominating. 

Guiliana's ability to play with time while still keeping it feels like an homage to Bruford's work in Bruford Levin Upper Extremities (DGM, 1998), in particular the opening "Cerulean Sea," where the progressive rock legend plays liberally (but differently) with time over a relentless ostinato. But here, Mehldau adds far more harmonic and melodic building blocks, with layers of synths, Rhodes and acoustic piano building to a fiery climax of rare virtuosity that's matched with similar effortless mastery by his partner in Mehliana. Amidst all the heat and jagged angularity, there are still moments of beauty to be found. "The Dreamer," another collaborative composition, is driven by processed acoustic piano, a searing synth line and electronically processed percussion, but at its core it's a ballad even one that Mehldau could easily transfer to his acoustic trio to demonstrate an inner funky bad self that rarely surfaces in that context albeit one that concludes with more spoken word that links into the story of the title track as an assessment of dreams and the dreamer who dreams them. It's difficult to alter predisposition when faced with an artist who has largely, for the past two decades, operated in the acoustic world, and there will, no doubt, be those who view Mehliana and Taming the Dragon with nothing short of contempt. But for those who are prepared to let an artist follow his muse in any direction it takes him, Taming the Dragon will be revealing yet still inexorably connected to the music Mehldau makes with his trio and on more expansive projects like Highway Rider (Nonesuch, 2010). When you've a voice as strong as Mehldau's, it shines through, whatever the context even one as radically different as this. Having now proven itself far better than suggested by its Vossa Jazz performance with the release of Taming the Tiger, Mehliana has released a debut recording that, if it can be assessed on its own merits and not in comparison to past work even the somewhat electro-centric Largo will be seen as another superlative effort in the career of a pianist who has been consistent in his commitment to excellence and genre-defying creativity and one that shines a major spotlight on the stylistically unbound and similarly forward-thinking Guiliana. For those who are not completely married to Mehldau as a mainstream pianist, it could even be considered a potential classic. Only time will tell. ~ John Kelman  http://www.allaboutjazz.com/brad-mehldau-mark-guiliana-mehliana-taming-the-dragon-by-john-kelman.php#.U-4-RGNryKI

Personnel: Brad Mehldau: synths, Fender Rhodes, piano, spoken voice, "Ahh" vocals; Mark Guiliana: drums, electronics.

Mehliana Taming The Dragon

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