Dizzy Gillespie - Essential Live (NYC Town Hall, June 22, 1945)

Size: 94,8 MB
Time: 40:43
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz: Trumpet Jazz, Bop
Art: Front

01. Intro (Live) (1:19)
02. Bebop (Live) (7:12)
03. A Night In Tunisia (Live) (7:34)
04. Groovin' High (Live) (7:17)
05. Salt Peanuts (Live) (7:52)
06. Hot House (Live) (7:14)
07. Fifty Second Street Theme (Live) (2:12)

The historic live Town Hall sessions by Dizzy Gillespie and Charlie Parker from 1945 have been discovered on an acetate pressing, and are transferred with digital enhancement to CD. Why this concert was not issued initially is understandable, but Ira Gitler's informative and insightful liner notes suggest they likely were misplaced. What Gitler's essential writing also reveals is that these dates were approximate by only weeks to the original studio recordings of these classics, and there was no small amount of controversy surrounding this revolutionary bebop. Clearly bop was a vehicle for intricate melodic invention followed by lengthy soloing, aspects of which Parker with Gillespie were perfectly suited for. Fact is, the situation surrounding the sonic capture and extended neglected shelf life of this performance was far from optimal. Symphony Sid Torin is the M.C., rambling as always, making repeated references to Dizzy "Jillespie" and misidentifying Max Roach as Sid Catlett on "Salt Peanuts." (Catlett does sit in on "Hot House" in a more supportive than demonstrative role.) The tracks with the brilliant Roach are on fire, particularly the super-hot "Salt Peanuts," with pianist Al Haig flying beside him. Haig is perhaps the most impressive musician. The rhythm section, especially Haig, is more present in the mix and up front, while the trumpet and alto sax are buried. As the concert progresses, it gets better, with Gillespie's muted trumpet clearer. Parker lays back on the mike, but not in spirit or bravado for "Interlude," which is now known as "A Night in Tunisia," and better balanced during "Groovin' High," which was originally titled "Whispering." There seems to be an unplanned slight key chance in the bridge of "Groovin' High." A late-arriving Parker was in part replaced by tenor saxophonist Don Byas, who sounds terrific on the opener, "Bebop," until Parker steps on-stage and ups the ante. At under 41 minutes in length, this can be looked upon as a historical document, likely appealing only to completists. But the overriding factor of previously undiscovered Diz and Bird makes the CD something all bebop fans should readily embrace, despite its audio deficiencies. ~Review by Michael G. Nastos

Essential Live

---

Martin Wind Quartet - Turn Out The Stars: Music Written Or Inspired By Bill Evans

Size: 167,7 MB
Time: 72:41
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Straight-Ahead/Mainstream Jazz
Art: Front

01. Turn Out The Stars ( 8:48)
02. My Foolish Heart ( 8:50)
03. The Days Of Wine And Roses ( 6:09)
04. Jeremy ( 8:01)
05. Memory Of Scotty ( 6:16)
06. Kind Of Bill ( 4:44)
07. Blue In Green (12:27)
08. T.T.T.T (11:54)
09. Goodbye Mr. Evans ( 5:28)

Has an artist ever been characterized as a hopeful romantic? If not, then let us nominate Martin Wind, not as hopeless, but a bullish and inspiring romantic. His quartet and the 36- piece Orchestra Filarmonica Marchigiana tribute to pianist Bill Evans Turn Out The Stars marries his talents, both as a jazz bassist/bandleader and orchestral arranger.

Besides leading his own quartet, and working in trio with Bill Mays and Matt Wilson, and in the guitar/bass duos with Philip Catherine or Ulf Meyer, Wind is an in-demand sideman featured in multiple projects, including Matt Wilson's Arts & Crafts and bands led by, Ted Nash, Gary Smulyan, and Pete Mills, to name just a few. He released two stellar recordings in 2013, the CD Ulf Meyer and Martin Wind At Orpheus Theater (Laika) and an audiophile LP Remember October 13th (Edition Longplay).

Recorded live at the Theatro Rossini in Pesaro, Italy, Wind's quartet includes his regular partners, saxophonist Scott Robinson and pianist Bill Cunliffe, plus drummer Joe LaBarbera, who was Bill Evans' drummer in the pianist's final trio (1978-1980). This homage to Evans is enhanced by the gorgeous and passionate arrangements Wind wrote for conductor Massimo Morganti's orchestra. The disc opens with the title track, an overture in full bloom that gives way to the quartet's recitation of melody with Robinson's saxophone laying down velvety notes. Each piece— such as the spry rendition of "The Days Of Wine And Roses," performed by the quartet or full orchestra—is dexterously accomplished. Wind has the knack for extracting the sweetest juice for each piece written by Evans or written in tribute to the great one. La Barbera's composition "Kind Of Bill" opens with a piano and bowed bass duo, then lingers in that romantic atmosphere Evans loved to reach for.

Even in full orchestra, the quartet is never overwhelmed. The luscious arrangement of "Blue In Green" plays off of the contrasts of lightness and dark, the orchestra a pastoral landscape for the quartet to rollick. The tricky "Twelve Tone Tune Two" pushes the orchestra into a challenging interchange with La Barbera's drums and the coughing horn of Robinson. At the center of this gorgeous evening is the stalwart bass of Wind, the infrastructure upon which both a quartet and a very large orchestra is held by his passionate zeal. ~Mark Corroto

Personnel: Martin Wind: bass; Scott Robinson: tenor saxophone, C melody saxophone; Bill Cunliffe: piano; Joe La Barbera: drums; Orchestra Filarmonica Marchigiana - Massimo Morganti: conductor.

Turn Out The Stars

---

Glenn Zottola - The Bossa Nova Story: Glenn Zottola Salutes Stan Getz

Size: 87,6 MB
Time: 37:28
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Bossa Nova
Art: Front

01. Black Orpheus (4:36)
02. The Girl From Ipanema (3:00)
03. Gentle Rain (4:21)
04. One Note Samba (2:30)
05. Once I Loved (3:43)
06. Dindi (3:36)
07. Baubles, Bangles And Beads (2:33)
08. Meditation (2:55)
09. Triste (2:12)
10. I Concentrate On You (2:39)
11. Samba De Orfeu (5:19)

Trumpeter and saxophonist Glenn Zottola has been a serious part of the music business for more than four decades, recording thirty albums as a sideman and leader as well as adding Broadway and TV show musician to his resume. In 2014, Zottola decided to embark on the tribute circle recording a series of homage albums for the Classic Jazz Records label such as (Clifford Brown Remembered (Classic Jazz Records, 2014), Reflections of Charlie Parker (Classic Jazz Records, 2014) and now, The Bossa Nova Story, Glenn Zottola, Salutes Stan Getz. The album is a combine tribute to Getz's involvement in the bossa nova, the music of Antonio Carlos Jobim, and Brazilian jazz in general. The result of course, is a warm and beautiful portrait of the bossa style from the perspective of the tenor saxophone and the everlasting influence Stan Getz left on the music.

The world first learned of the samba and bossa nova from the 1959 film Black Orpheus by French director Marcel Camus where the original sound track had a Luiz Bonfa composition "Manha de Carnival" represented on this album as simply "Black Orpheus." The album starts off with the Orpheus song led by a gorgeous introduction from Argentinian guitarist Marcelo Berestovoy leading to Zottola's masterful solos on the piece. There have been many interpretations of Jobim's signature piece, "The Girl from Ipanema" but somehow, Zottola's Getz's impersonation, along with Tom Hartman's string arrangements, elevates this one to elite status. On the fiftieth anniversary of this classic and the twentieth anniversary of Jobim's passing, this seemed a perfect inclusion to The Bossa Nova Story.

The Getz/bossa homage rolls right along with delightful treatments of such classics as "Gentle Rain," "Once I Loved" and Zottola's superb interpretation of Jobim's "One Note Samba" equally as enchanting as the famous Getz instrumental rendition. Other immortal Jobim classic such as "Dindi," Meditation," and "Triste," are all presented with the saxophonist leading the way with tasteful accompaniment from a stellar cast of players and a delightful string section. Also Included in this tribute album are non-bossa standards like Cole Porter's "I Concentrate on You," and the Robert Wright/George Forrest classic "Baubles, Bangles and Beads"—both transformed into bossa songs on the Grammy—nominated Francis Albert Sinatra & Antonio Carlos Jobim (Reprise, 1967) recording.

The program ends as it began with a delicious interpretation of another Bonfa standard "Samba de Orfeu" where the saxophonist's high flying solos are splendidly supported by guitarist Berestovoy with a little help from percussionist Emiliano Almeida capping off a memorable taste of Brazil. As tribute albums go, Glenn Zottola's The Bossa Nova Story tells a tale of a jazz icon whose saxophone changed the music and of a musical style that changed the world. The great Stan Getz and Antonio Carlos Jobim are no doubt, smiling from heaven after hearing Zottola's graceful treatment of their enduring music, well done! ~Edward Blanco

Personnel: Glenn Zottola: tenor saxophone; Marcelo Berestovoy: guitar; Jamieson Trotter: piano; Tom Lerner: bass; Joe Dougherty: drums; Emiliano Almeida: percussion; Tom Hartman: string arrangements.

The Bossa Nova Story

---

Andy Bey - Pages From an Imaginary Life

Size: 154,3 MB
Time: 66:41
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. My Foolish Heart (5:04)
02. How Long Has This Been Going On? (5:44)
03. Jealousy (3:29)
04. I've Got a Right to Sing the Blues (5:50)
05. Love For Sale (4:21)
06. Worried Life Blues (4:12)
07. Bad Luck May Be Good Luck (4:49)
08. Lover Come Back To Me (3:18)
09. Good Morning Heartache (4:53)
10. Dod Eat Dog (2:12)
11. Humor Keeps Us Alive (3:46)
12. Take the "a" Train (3:19)
13. Everything I Have Is Yours (4:47)
14. All That Glitter's Not Gold (5:20)
15. All Roads Lead Back to You (5:33)

An extraordinarily gifted vocalist with the soul of a poet. ~Brent Black / www.criticaljazz.com

Solo. Playing and singing the songs that Andy Bey chooses finds Pages From An Imaginary Life as an intimate self portrait of a vocal artist. Bey digs deep and takes forgotten gems for a new round of melodic discovery. Tunes are deconstructed and reassembled his way with an organic feel that allows the listener to join this extremely talented vocalist on a very special harmonic journey. Songs are reborn with a personal interpretation of both style and elegance that embraces the notion of less is more. Simplicity is indeed the ultimate in sophistication.

Highlights are numerous including an intense yet dialed down version of "I've Got A Right To Sing The Blues" which pairs nicely with the classic "Love For Sale" which unlike other male singers, Bey's interpretation is in first person. Rare gems such as the Billy Eckstein classic "Everything I Have Is Yours" take flight while original compositions such as "Bad Luck May Be Good Luck" have an amazing sincerity with heartfelt lyrics easily relatable to a wide audience.

Andy Bey is an American original, a story teller of great depth and amazing clarity. His vocals and piano style simple enhance the ethereal flavor of an artist that doesn't just sing the words, he makes the music.
Stellar!

Pages From an Imaginar

---

Claire Martin - Time & Place

Size: 110,9 MB
Time: 47:44
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Full

01. My Ship (Claire Martin & Montpellier Cello Quartet) (3:19)
02. Catch Me If You Can (4:04)
03. She's Leaving Home (Claire Martin & Joe Stilgoe) (4:20)
04. Early To Bed (3:31)
05. Featherfall (Claire Martin & Montpellier Cello Quartet) (4:44)
06. The Man Who Sold The World (Claire Martin & Montpellier Cello Quartet) (4:15)
07. 'Round Midnight (Claire Martin & Montpellier Cello Quartet) (5:23)
08. Lost For Words (Claire Martin, Joe Stilgoe & Montpellier Cello Quartet) (4:57)
09. My Man's Gone Now (Claire Martin & Montpellier Cello Quartet) (5:20)
10. Two Grey Rooms (Claire Martin & Montpellier Cello Quartet) (4:16)
11. Goodbye For Now (3:31)

Few vocalists are as elegant and eloquent as Claire Martin. She's been dubbed "The First Lady of British Jazz," but she doesn't simply belong to her own people; she's one of the crown jewels of the jazz world, contributing classy and intelligent music via her steady flow of albums on the Linn imprint.

In the past, Martin has tried plenty of different things. She collaborated with pianist-composer Richard Rodney Bennett, tipped her cap to Shirley Horn, visited the Great American Songbook, connected with pianist Kenny Barron, and forged alliances with a variety of other musicians in various settings. She tries something new again on Time And Place, joining forces with The Montpellier Cello Quartet, a group that she first performed with in 2012. On tracks like "My Ship" and "Round Midnight," this outfit adds rich, stylish and sophisticated backing; on pieces like David Bowie's "The Man Who Sold The World," the cellos bring a sense of allure and seduction to the music; and on "Featherfall," the strings deliver tear-inducing backing that heightens Martin's emotional performance. It must have been written in the stars that Martin and The Montpellier Cello Quartet would meet.

While the voice-and-cello combination is at the core of this project, Martin has other collaborators here that add volumes to the music. A small jazz combo brings her upbeat arrangement of "Catch Me If You Can" to life, Mark Anthony Turnage delivers an arrangement of Joni Mitchell's infrequently-covered "Two Grey Rooms" that gives Martin a chance to channel the composer, and electric bassist Laurence Cottle adds some indigo-hued sounds to "Round Midnight." Then there's the work of pianist Joe Stilgoe, adding upmarket support and blending nicely with the strings on his own "Lost For Words."

Somebody with Martin's skills and experience knows full well that there's a time and a place to try certain things; she certainly found them here on this aptly-titled gem. ~Dan Bilawsky

Personnel: Claire Martin: vocals; Dan James: cello; Sarah Davison: cello; Joe Giddey: cello; Siriol Hugh-Jones: cello; Joe Stilgoe: piano, vocals; Gareth Williams, piano; Jeremy Brown: bass; Laurence Cottle: electric bass; Ben Reynolds: drums.

Time & Place

---

The Rein De Graaff Trio - Indian Summer

Bitrate: 320K/s
Time: 59:04
Size: 135.2 MB
Styles: Flute jazz, Piano jazz
Year: 2012
Art: Front

[9:25] 1. Alone Together
[6:54] 2. What A Difference A Day Made
[4:56] 3. Ghost Of A Chance
[3:58] 4. I Love You
[6:39] 5. Indian Summer
[6:04] 6. Buzzy
[4:00] 7. Oleo
[5:51] 8. How Deep Is The Ocean
[4:35] 9. The Things We Did Late Summer
[6:38] 10. I'll Close My Eyes

The Dutch trio led by pianist Rein de Graaff are joined by American flutist Sam Most, 60 years after he made his recording debut in 1952. They perform a selection of timeless jazz standards from the likes of Cole Porter, Charlie Parker and Sonny Rollins.

Sam Most can claim to be the world's first modern jazz soloist on the flute and jazz historian Leonard Feather has stated "justice should demand that the history books document Most's role as the first truly creative jazz flutist." He has played with a number of leading jazz musicians over the years, including Herbie Mann, Buddy Rich, Louis Bellson, Tal Farlow and Ray Brown.

Rein de Graaff (piano), Marius Beets (bass), Eric Ineke (drums), Sam Most (flute)

Indian Summer

---

Ike Quebec - Nature Boy

Bitrate: 320K/s

Time: 85:59

Size: 196.8 MB

Styles: Saxophone jazz

Year: 1961/2013

Art: Front

[2:40] 1. Nature Boy

[6:27] 2. The Man I Love

[6:48] 3. Heavy Soul

[5:52] 4. Blues For Ike

[4:27] 5. Que's Dilemma

[5:34] 6. Acquitted

[5:47] 7. Just One More Chance

[5:28] 8. Brother Can You Spare A Dime

[5:19] 9. I Want A Little Girl

[5:56] 10. Me 'n You

[5:14] 11. Blue Samba

[3:39] 12. Liebestraum

[2:58] 13. Lloro Tu Despedida

[5:39] 14. Goin' Home

[3:29] 15. Shu Shu

[3:06] 16. Loie

[4:00] 17. Favela

[3:26] 18. Linda Flor

“This incontestably superior musician has been almost totally ignored in the chronicling of the musical form to which he has contributed so much. Quebec was a tenor man of the Hawkins school with a big tone and firm, vigorous style. I hope this new perspective of the contribution Ike Quebec has made to jazz will help to bring a little lightness to his soul and much more recognition to his name.” ~ Leonard Feather

An accomplished dancer and pianist, he switched to tenor sax as his primary instrument in his early 20s, and quickly earned a reputation as a promising player. His recording career started in 1940, with the Barons of Rhythm. He recorded or performed with Frankie Newton, Hot Lips Page, Roy Eldridge, Trummy Young, Ella Fitzgerald, Benny Carter and Coleman Hawkins. Between 1944 and 1951, he worked with Cab Calloway. He recorded for Blue Note records in this era, and also served as a talent scout for the label (helping pianists Thelonious Monk and Bud Powell come to wider attention) and, due to his exceptional sight reading skills, was an uncredited impromptu arranger for many Blue Note sessions.

Quebec recorded only sporadically during the 1950s, though he still performed regularly. He kept abreast on new developments in jazz, and his later playing incorporated elements of hard bop and soul jazz.

Nature Boy

---

Pete Christlieb - Live At The Jazz Cave (with The Lori Mechem Quartet)

Bitrate: 320K/s
Time: 68:59
Size: 157.9 MB
Styles: Piano jazz, Saxophone jazz
Year: 2006
Art: Front

[5:30] 1. Yours Is My Heart Alone
[9:08] 2. Limehouse Blues
[8:51] 3. You've Changed
[8:27] 4. When Lights Are Low
[5:53] 5. Turn Out The Stars
[5:54] 6. Only Trust Your Heart
[9:19] 7. We'll Be Together Again
[7:19] 8. The Song Is You
[8:36] 9. Day Dream

I fell head-over-heels in love with the tenor saxophone the first time I heard Zoot Sims play one, and my heart (thank goodness) has never quite recovered from the impact. These days I have two tenors of choice, one on each coast—Eric Alexander in the east, Pete Christlieb way out west. And the strange part is, about the only thing they have in common is that they both play the same horn. Alexander is a hard-line, straight-ahead, no-nonsense swinger from the Dexter Gordon/George Coleman (and Zoot Sims) school, whereas Christlieb dances nimbly and impulsively "on the edge, much like altoist Lee Konitz or the late Warne Marsh, and one seldom knows what avenue he may choose to explore or where the next phrase may lead him. Truth be told, Christlieb could play the phone book and make it sound intriguing.Christlieb doesn't play the phone book at the Nashville Jazz Workshop's Jazz Cave, but he's all over the tenor, as usual, in an electrifying live performance with the remarkably adept and supportive Lori Mechem Quartet. While there's no doubt that Christlieb is the headliner, Mechem and her colleagues are there when he needs them, conveying the impression that this was a well-rehearsed gig instead of a hastily planned session, occasioned by Christlieb's brief stopover in Nashville in April 2006.

Mechem, in particular, is a real eye-opener. What a pianist with her singular talent is doing in Nashville is anyone's guess, but they're lucky to have her. She's not only an impressive soloist (who numbers among her influences Wynton Kelly, Oscar Peterson, Gene Harris, Monty Alexander, Erroll Garner and Bill Evans), but a vigilant and perceptive accompanist who always finds the proper notes to underscore precisely Christlieb's impromptu acrobatics. Bassist Roger Spencer, drummer Chris Brown and rhythm guitarist Andy Reiss round out a splendid group that is by no means eclipsed or overawed by its celebrated guest star.

The music chosen for the concert is for the most part well-known, consisting of half a dozen standards plus jazz evergreens by Evans ("Turn Out the Stars ) and Benny Carter ("When Lights Are Low, "Only Trust Your Heart"). Luckily, Christlieb is a peerless balladeer, as there are four on the menu, including the requisite encore, Ellington/Strayhorn's "Day Dream. The snappy flag-wavers are Jerome Kern/Oscar Hammerstein's "The Song Is You and Franz Lehar's sunny opener, "Yours Is My Heart Alone. Speaking of alone, Christlieb devises a breathtaking unaccompanied cadenza on "We'll Be Together Again.

In sum, this is a marvelous live performance, splendidly recorded with generous sixty-nine minute playing time. Don't be put off by the fact that Christlieb's companions are unknown; this is as sharp and stalwart a quintet as you are likely to encounter in New York City, Los Angeles, Chicago or anywhere else. ~Jack Bowers

Pete Christlieb: tenor sax; Lori Mechem: piano; Andy Reiss: guitar; Roger Spencer: bass; Chris Brown: drums.

Live At The Jazz Club

---

Kevyn Lettau - Little Things

Styles: Jazz, Vocal
Year: 2006
File: MP3@320K/s
Time: 40:00
Size: 91,8 MB
Art: Front

(4:51)  1. Heroes Of The Day
(4:16)  2. You Turn Me On, Like A Radio
(4:07)  3. Little Things
(3:56)  4. Far Away
(4:23)  5. Your Own Sweet May
(4:37)  6. The Language Of Flowers
(4:16)  7. Thin Skin
(5:48)  8. What My Eyes Have Seen
(3:42)  9. Fathers

My 2nd recording for Universal Music, “Little Things” was one of the many blessings in my life. This CD was only released in Germany and Asia. It is truly a band recording and in many ways, “Little Things”, has been the most important recording of mine. I was at a turning point in my life wondering what I should do with my singing. I was under no pressure to please anyone this time which is why I wanted to re-record “The Language of Flowers” without the dance beat! Some have said that this record is “dark”. But like I have said before, each recording is a snapshot of my life and I hear hope! At the time, we were lucky to have Mike Miller playing guitar in the band. He is one of the most underrated players out there. 

Mike plays with a sense of humor that seemed to infect the whole band! I was excited to finally get to record two songs I had written a while before and not felt it was the right time yet to record them. The first one is “Heroes of the Day”, which is so fun to sing and I feel carries a great message! The other song is “Fathers”, which I wrote with Uncle Russ for Michael’s father a week or so before Father’s Day. I will never forget the feeling in the Studio right after we laid it down. We all went into the control booth to listen and there was not one dry eye among us! Everyone knew how important this song was to me. “Fathers” gave me the chance to thank all of the wonderful Daddy’s out there! http://kevynlettau.com/?page_id=259

Little Things

---

Kevin Eubanks - Live At Bradleys

Styles: Guitar Jazz
Year: 1995
File: MP3@320K/s
Time: 73:03
Size: 167,5 MB
Art: Front

(14:04)  1. Speak Low
(12:16)  2. Sometimes I Feel Like A Motherless Child
(10:47)  3. June In January
( 3:28)  4. In A Sentimental Mood
(14:01)  5. Alter Ego
(12:19)  6. Red Top
( 6:04)  7. Mercy, Mercy, Mercy

On this live date, Kevin Eubanks is joined by pianist James Williams and bassist Robert Hurst for a mainly straight-ahead affair. Most of Eubanks' best-known solo work lies in a more fusiony vein, such as Turning Point or Spiritalk, but on Live at Bradley's his playing is refreshingly conventional. Both his single-note lines and his chordal embellishments show a surprisingly deep knowledge of the history of jazz guitar. There are moments when Eubanks' playing even evokes George Van Eps. Five out of the seven tracks on this record are over ten minutes long, and all of them drag somewhere in the middle, as the improvisations of the musicians tend to be a little bit formless. However, there are some nice moments here, as on the opening track, where Williams elegantly swings through the changes of "Speak Low" while Eubanks and Hurst make the presence of a drummer superfluous with their deep groove and percussive accents. 

In this sort of drummerless trio arrangement, Hurst takes the place of the ride cymbal and Eubanks provides the punctuation. The groove is so convincing that at those moments where Hurst's bass buzzes, it almost sounds like the ring of a cymbal. The weakness of Live at Bradley's is that, given the rather conventional nature of these compositions, the players don't address them in a terribly interesting way. These songs are competently and musically played, but it's nothing that the average jazz fan hasn't heard before. Eubanks fans who are curious to hear him in this sort of format will certainly be entertained. ~ Daniel Gioffre http://www.allmusic.com/album/live-at-bradleys-mw0000613032
 

Personnel: Kevin Eubanks (guitar); James Williams (piano); Robert Hurst (bass).

Live At Bradleys

---

Kate Rusby - Little Lights

Styles: Folk
Year: 2001
File: MP3@320K/s
Time: 52:23
Size: 120,3 MB
Art: Front

(3:34)  1. Playing Of Ball
(4:03)  2. I Courted a Sailor
(4:03)  3. Withered and Died
(3:25)  4. Merry Green Broom
(5:21)  5. Let the Cold Wind Blow
(3:54)  6. Canaan's Land
(5:10)  7. Some Tyrant
(4:09)  8. William and Davy
(5:23)  9. Who Will Sing Me Lullabies
(5:02) 10. Matt Hyland
(8:15) 11. My Young Man

Kate Rusby won over American audiences in 1999 with her second release, Sleepless, an album of traditional-styled songs with simple arrangements that highlighted her best quality: a lovely, middle-range voice, vulnerable without being waifish. Little Lights continues in the same mode, mixing old ballads with originals and throwing in an occasional contemporary piece. "Merry Green Broom" and "Some Tyrant" are simple and tasteful, continuing Rusby's commitment to the images of old England, while "William and Davy" and "I Courted a Sailor" kick up the tempo a bit. A number of guests, from Tim O'Brien to Danny Thompson to Alison Brown, make appearances, and John McCusker once again lends a hand to the production. 

A slightly different arrangement featuring brass adorns "My Young Man," complementing Rusby's relaxed style and calling to mind Norma Waterson's approach on Bright Shiny Morning. While there are no bad cuts on Little Lights, there probably isn't enough variety. With a couple of exceptions, the songs unwind at a leisurely pace, and most hover around four minutes. There is nothing quite as lovely and lively as "The Cobbler's Daughter" and "Sweet Bride" from Sleepless. Although more variety would have helped, Little Lights is still a solid effort. Fans will enjoy it, and it will also serve as a good introduction to those unfamiliar with this lovely English singer. ~ Ronnie D.Lankford,Jr.  http://www.allmusic.com/album/little-lights-mw0000005115

Little Lights

---

Woody Shaw - Rosewood

Styles: Trumpet Jazz
Year: 1977
File: MP3@320K/s
Time: 61:31
Size: 141,2 MB
Art: Front

(7:13)  1. Rosewood
(7:16)  2. Every Time I See You
(6:06)  3. The Legend Of The Cheops
(5:12)  4. Rahsaan's Run
(7:50)  5. Sunshowers
(7:17)  6. Theme For Maxine
(8:29)  7. Isabel The Liberator
(7:13)  8. Joshua C.
(4:50)  9. Why?

Woody Shaw's first album for a major label, Rosewood features the trumpeter with a sextet (either Joe Henderson or Carter Jefferson on tenor, pianist Onaje Allan Gumbs, bassist Clint Houston, and drummer Victor Lewis) on two numbers and with a "concert ensemble" (which reaches as many as 14 pieces) on the other four selections. Shaw is in top form throughout, particularly on "Rosewood," "Rahsaan's Run," and "Theme for Maxine." Rosewood was a consensus Jazz Album Of The Year in 1977. This modal music ranks with his best work. ~ Scott Yanow  http://www.allmusic.com/album/rosewood-mw0000040718

Personnel : Woody Shaw (trumpet, flugelhorn); Carter Jefferson (soprano & tenor saxophones); Gary Bartz (alto saxophone); Joe Henderson (tenor saxophone); Steve Turre, Curtis Fuller (trombone, bass trombone); James Spaulding (flute); Larry Willis, Onaje Allen Gumbs (piano); Clint Houston, Stafford James (bass); Victor Lewis (drums); Sammy Figueroa (congas); Nana Vasconcelos (percussion).

Rosewood

---