Wednesday, October 29, 2014

Michael Gray & Pearl Django - Souvenirs: Stephane Grappelli Remembered

Bitrate: 320K/s
Time: 39:42
Size: 90.9 MB
Styles: Gypsy swing
Year: 1999
Art: Front

[3:27] 1. Minor Swing
[3:10] 2. Souvenirs De Villengen
[3:19] 3. Pent-Up House
[4:30] 4. Splendor In Feathers
[4:15] 5. Saskia
[4:02] 6. In My Solitude
[5:15] 7. It's Only A Paper Moon
[4:14] 8. I'll Remember April
[3:04] 9. Sweet Lorraine
[4:21] 10. Tears

Neil Andersson, Guitar; Michael Gray, Violin; Dudley Hill, Guitar; Rick Leppanen, Bass; Shelley D. Park, Guitar.
New Stories: appears on Splendor in Feathers and I'll Remember April. John Bishop, Drums (tracks 4 & 7); Doug Miller, Bass (tracks 4 & 7); Marc Seales, Piano (tracks 4 & 7).
Special guests: Will Dowd, Drums (track 8); David Lange, Accordion (track 2); Paul Sawyer, Electric Guitar (track 8).

Initially a self-taught instrumentalist, Michael Gray learned to play violin while homesteading in Alaska. Michael is originally from Philadelphia. Since moving to the Puget Sound area, he has kept busy performing and recording with groups including Highwire, Grass Backwards, Quo ad Hoc, Point No Point and Odd Men Out. Michael is an accomplished composer and has recently acquired part-time teaching positions at Cornish College and the University of Washington.

With a performance history spanning almost two decades, Pearl Django endures as one of the most highly regarded Hot Club style groups working today. Although the band’s roots are firmly in the music made famous by Django Reinhardt and Stephan Grappelli, its extensive repertoire includes traditional jazz classics and original compositions. Pearl Django has performed at festivals, dances and nightspots throughout the U.S. and abroad. They have played at the prestigious Festival Django Reinhardt in Samois sur Seine and have been featured on NPR’s “All Things Considered.” The band’s signature style is marked by pristine and dexterous string work, colors of Bal Musette, the steady pulse of rhythm guitar and an unmistakable swing that delights audiences of all musical sensibilities. Throughout the years, Pearl Django has cultivated a devoted and enthusiastic following and they continue to play to packed houses wherever they perform.

Souvenirs: Stephane Grappelli Remembered

Jill Barber - Mischievous Moon

Bitrate: 320K/s
Time: 41:15
Size: 94.5 MB
Styles: Vocal jazz, Jazz-pop
Year: 2011
Art: Front

[3:39] 1. Chances
[2:57] 2. Be My Man
[2:55] 3. Never Quit Loving You
[4:10] 4. Mischievous Moon
[4:07] 5. Took Me By Surprise
[4:06] 6. Tell Me
[4:40] 7. Oh My My
[3:48] 8. Tenderness
[2:38] 9. Old Flame
[2:05] 10. A Wish Under My Pillow
[3:26] 11. If It Weren't For Loving You
[2:38] 12. All My Dreams

The first notes of the first song on this album fill you with foreboding: brushed drums, a simple string bassline, and even simpler piano chords played in pulsing eighth notes, Fats Domino style. Sweet Mother of Claudine Longet, you wonder, what have I gotten myself into? Then Jill Barber's voice comes in, with that unmistakable mid-century blend of little-girl timbre and orotund vowels, and you have your answer: you've gotten yourself into a mess of nostalgia, and the only thing that will deliver you to the other side of these 41 minutes with your sanity intact will be the quality of the songs. Luckily for you, these are great songs. Also luckily for you, Jill Barber and her co-conspirators recognize no functional difference between torch ballads, Patsy Cline-era country music, and cocktail jazz. Best of all, if their love of these various musical anachronisms is ironic, it's impossible to tell -- the wordless background vocals, the plinking pianos, the string sections, and Barber's little-girl-about-town singing style all combine to create what sounds like a purely and sincerely loving pastiche of musical elements that, for anyone under the age of 60, will sound both eerily familiar (from movies your parents like) and utterly foreign. From the decorous cha-cha of "Took Me by Surprise" (with its unbelievably cheesy horn chart) to the torchy orchestral pop of "Tenderness," the music is certainly gimmicky, but the pleasure is real. And this is pop music, people: pleasure is pretty much all that counts. ~Rick Henderson
 

Mischievous Moon

Rossano Sportiello & Matthias Seuffert - Swingin' Duo By The Lago

Bitrate: 320K/s
Time: 69:21
Size: 158.8 MB
Styles: Stride piano jazz, Saxophone jazz
Year: 2007
Art: Front

[4:52] 1. Rifftide
[5:32] 2. Ask Me Now
[5:13] 3. The Man I Love
[6:26] 4. Blue Five Jive
[4:41] 5. You Go To My Head
[4:14] 6. Diga Diga Doo
[4:20] 7. Imagination
[4:37] 8. Lester Leaps In
[6:55] 9. Chelsea Bridge
[3:50] 10. Swingin' By The Lago
[7:48] 11. After Supper
[6:16] 12. Cherokee
[4:32] 13. Body And Soul

After several encounters with Rossano, our first opportunity to perform together arose with Marc Richard´s European Swing Allstars in 2003.We thoroughly enjoyed the encounter both personally and musically, so we planned right then to do a recording together. Thanks to our Australian friend and drummer Anthony Howe, this duo-CD is now available. He recorded us at the Ascona Jazz Festival 2006 during two afternoon sessions - therefore the title “Swingin´ By The Lago”. Because of the rigid time schedule, the duos were developed spontaneously and without detailed prearrangements. The intimate ensemble playing of two balanced voices confronts the musicians with a special task, but if it works it is a great pleasure. It is inspiring and very exiting to play together with Rossano! We consider swing and feeling the main ingredients of our music.

During the second afternoon Anthony joined us on drums and one of the world´s best jazz saxophone players sat in: Harry Allen. We think, the three quartet tunes somehow reflect the typical atmosphere you experience during the Ascona Jazz Festival when musicians meet at the jam session after their concerts at night. Thanks a lot for your cooperation, Rossano, Anthony and Harry! I´m much obliged to Nicolas Gilliet, musical director of the Ascona Jazz Festival, who provided the room and a concert grand piano for the recording session. Over the years, he has repeatedly given us the chance to present jazz in its many facets. You´ll find three bonus tracks on this CD. They were recorded live during a concert performance of my quartet at Bungertshof in Königswinter near Bonn. Many thanks to Johannes, Michael and Meikel! Walter and Stefan Schlund used a radio-transfer-van to record the concert. Michael Schneider and Stefan mastered both sessions. Evidently, they got great ears and know what to do, so the mastering was great fun as well.

About the musicians:
Rossano Sportiello is one of the world´s leading stride, swing and bebop piano players. The French institution, L’Académie du Jazz, recognized his work on solo piano as the “Prix du Jazz Classique 2005”. He has played with such jazz luminaries as Slide Hampton, Gerry Mulligan, Bucky Pizzarelli, Dick Hyman, Houston Person, Dado Moroni,Eddie Locke, Dan Barrett, Harry Allen, Scott Robinson, Carl Fontana, Rebecca Kilgore, Reggie Johnson, Scott Hamilton, Bob Wilber, Kenny Davern,Warren Vaché, Ken Peplowski, Butch Miles, Jake Hanna and Johnny Frigo.

Matthias Seuffert is internationally considered a versatile and multi-faceted Jazz clarinetist and saxophonist from early jazz through to bebop. He has recorded with some of the best jazz players on both sides of the Atlantic Ocean and lectured at the jazz faculty of Trinity College of Music, London. Musicians he has worked with include Red Holloway, Eddie Locke, Jimmy Woode, Herb Hardesty, Warren Vaché, Dan Barrett, Tom Baker, Kenny Davern, Harry Allen, Marty Grosz, Jon-Erik Kellso, Keith Nichols, Alan Barnes, Trevor Richards, The European Swing Allstars and The European Saxophone Quartet.

Swingin' Duo By The Lago

Barbra Lica - That's What I Do

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 47:54
Size: 110,4 MB
Art: Front

(2:14)  1. Because I Say So
(3:05)  2. You Are My Sunshine
(2:33)  3. Pretend
(4:52)  4. The Graduation Blues
(3:41)  5. That's What I Do
(3:37)  6. Quiet  Nights
(4:25)  7. Vienna
(4:33)  8. P.S. I Love You
(3:18)  9. A Million Miles
(3:39) 10. Scarlett O'Hara
(4:15) 11. Going Away
(3:54) 12. But Not For Me
(3:40) 13. Young At Heart

Barbra Lica has a classy kewpie-doll voice like jazz-singers Blossom Dearie and Stacey Kent.Touches of class are all over her debut CD That’s What I Do, starting with the jazz all-stars of her band: Archie Alleyne on drums or Steve Heathcote; Reg Schwager or Rob Piltch on guitars; Brian Dickinson, Joe Sealy or Robi Botos on piano; Paul Novotny on bass; Kevin Turcotte on trumpet; Bob DeAngelis and Tom Szczesniak respectively on clarinet and bass a line-up as good as it gets.Barbra’s set-list is a bold and tasteful dish of high end standards (Gershwin, Mercer, Jobim, Billy Joel), pop chestnuts (“You are My Sunshine,” “P.S. I Love You.” “Pretend,” “Young at Heart”), and half a dozen originals. If you like these standards and chestnuts done with a true jazz flair you are going to love listening to Barbra do them. Her voice and singing style are captivating, and the arrangements are impeccable. Just listen and feel better, like letting in sunshine and fresh air. Barbra’s lucid phrasing and pacing are markedly intelligent, like most of the instrumental solo’s, especially Perry White’s tenor sax solo on “But not for me.” The opening original, “Because I Say So,” and the closing (album title song) “That’s What I Do,” (both co-written with guitarist Colin Story) are typical of Barbra’s work:  distinct melody, naturally flowing lyric lines, stylish structure, clever rhymes(“sweater/weather, enjoyment/employment), and a positive, out-front, confidence. It’s a pleasure to be around any tune Barbra is singing. Bring it on.
~ Stanley Fefferman  http://opusonereview.com/p=1787

That's What I Do

Gene Ludwig Trio With Bill Warfield Big Band - Duffs Blues: Live From The Zoellner Arts Center

Styles: Soul Jazz, Big Band
Year: 2008
File: MP3@320K/s
Time: 71:38
Size: 165,3 MB
Art: Front

( 9:00)  1. Duff's Blues (Live)
( 7:46)  2. Totem Pole  (Live)
( 6:26)  3. The Organ Grinder  (Live)
( 7:22)  4. The Circuit  (Live)
( 9:40)  5. Naked City  (Live)
( 8:31)  6. Dance Of The Coal Cars  (Live)
(11:35)  7. Dolphin Dance  (Live)
(11:14)  8. Breakin' The Ice  (Live)

It’s too bad the Hammond B3 organ isn’t showcased more often with a big band. It’s a terrific combine producing a big, deep, meaty sound. Case in point: this CD, putting together veteran B3 organist Gene Ludwig, who got his start four decades ago in Pittsburgh, and Big Apple trumpeter Bill Warfield’s Big Band. Ludwig’s trio provides guitarist Bob DeVos and drummer Rudy Petschauer, while Warfield provides arrangements and fields the brass, reeds and bassist Bob Bowen. This isn’t one of those either/or situations where big band or organ trio play; there’s a lot of interaction between the two, with Warfield providing ensemble riffs, shout choruses, solos and composed interludes to keep the big-band feel alive even during long solos and tracks. 

Ludwig’s “Duff’s Blues” kicks things off with a dollop of soul jazz: a B3 lead segues into churning big band and organ, Joe Wilder blows a zesty trumpet solo, Tim Sessions offers brash trombone, and the band fades to choruses of B3 licks traded with guitar (catch the “Killer Joe” allusions) before a drum-break finale. The amazing Wilder (an octogenarian since 2002) brings his burnished tone and articulate ideas to a long solo on Lee Morgan’s Latin-with-4/4 bridge “Totem Pole,” while Warfield takes the trumpet solo on Woody Shaw’s “The Organ Grinder.” Ludwig, who favors the resonant middle register of the B3 and avoids the repetitive clichés of soul organ, is a robust presence throughout the CD as both soloist and ensemble fattener. Warfield’s arrangements swing and/or groove with exhilarating authority, from a classic take on “Dolphin Dance” to the funky percolation of his own “Dance of the Coal Cars.” The tenor saxophones of Dave Riekenberg and Glenn Cashman, who also arranged his own rippling, jumpy “The Circuit,” fit right in the brawny B3 combo tradition, and it’s good to hear such yeomen in the New York big-band trenches as baritone saxophonist Ed Xiques and bass trombonist Sam Burtis stretch out on solos. ~ George Kanzler  http://jazztimes.com/articles/20824-duff-s-blues-live-from-the-zoellner-arts-center-gene-ludwig-trio-with-the-bill-warfield-big-band

Personnel: Gene Ludwig (organ, Hammond b-3 organ); Bob DeVos (guitar); Ben Ken (alto saxophone); Jon Owens, Bill Warfield, Danny Cahn (trumpet); Tim Sessions (trombone); Randy Petshauer (drums); Glenn Cashman (tenor saxophone); Ed Xiques (baritone saxophone); Dave Spier, Joe Wilder (trumpet); Sam Burtis (trombone).

Jackie McLean - New Soil

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 38:34
Size: 88,5 MB
Art: Front

(11:18)  1. Hip Strut
( 7:34)  2. Minor Apprehension
( 7:24)  3. Creasy
( 6:47)  4. Sweet Cakes
( 5:28)  5. Davis Cup

Jackie McLean's New Soil, is not the most acclaimed album in the classic Blue Note catalogue, but this 1959 release deserves more attention that it gets, being supremely well-played, well-written and within the limitations of its time well-recorded. This vinyl reissue, remastered from the original tapes by the good folks at Acous-Tech, is part of a series of albums fifty titles in all, so far that includes some of the most well-known Blue Note recordings from the 1950s and '60s, and may well represent the finest production runs of these albums ever, though that come at a price: fifty dollars each, for two 45 RPM LPs.

At this time, McLean was still feeling his way between Charlie Parker idolatry and finding his own sound. He's about half way there on this date, even as he admits his stylistic debt to his master in the liner notes. McLean's playing is solid and assured throughout, and his two writing credits on the album reveal a musician capable of complete statements. Trumpeter Donald Byrd steals the opener, the softly swinging blues, "Hip Strut," with his gorgeous, burnished lower-register solo, slowly working it over the staccato theme. Pianist Walter Davis Jr.. an unsung keyboard hero if ever there was one carries the tune through with a bluesy workout, before comping Paul Chambers bowed bass solo to wrap it up. McClean's "Minor Apprehension" is as close to a penultimate hard-bop song as you'll ever hear: fast, hard swinging and aggressive, with standout turns from the frontline. 

It's Drummer Pete La Roca who turns it upside-down, when he drops the melody, rhythm and pace from his solo, to play a series of abstract triplets, only to recapitulate the theme with the horns for a final bar before it's over. Davis' "Greasy" opens with a boogie-woogie piano line that would be right at home on a Bull Moose Jackson platter, setting up some fine straight-ahead blues playing. Of course, all of these basics can be heard on ten dollar CD version of this album, without breaking the bank, which begs the question: What are you getting for your fifty dollars, and is it worth it? Rudy Van Gelder in whose studio this and most other Blue Note records of the era were recorded has a mixed legacy as an engineer. His best quality recordings and New Soil is among them capture the horns with all of their overtones and shadings intact. 

Byrd's solo on "Hip Strut" is perfect example of capturing not just the notes, but his horn's gorgeous and distinctive bronze tone. The drum solo on "Minor Apprehension" reveals the kit in natural space and depth. Even the piano the perpetual RVG Achilles Heel sounds passably good (not great, but decent enough). For the collector who loves this record and has the equipment to hear all the detail that it has to offer, New Soil is worth hearing. ~ Gregg Simmons  http://www.allaboutjazz.com/new-soil-jackie-mclean-blue-note-records-review-by-greg-simmons.php#.VE_X6clZi5g
 
Personnel: Donald Byrd: trumpet; Jackie McLean; alto sax; Walter Davis Jr: piano; Paul Chambers; bass: Pete La Roca; drums.

Dan Cray Trio - Over Here Over Heard

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 57:05
Size: 131,0 MB
Art: Front

( 7:14)  1. That Old Black Magic
( 8:24)  2. At Least
(10:26)  3. Useless Landscape
( 7:41)  4. Barbara
( 8:12)  5. More Than You Know
( 6:34)  6. Hammer Head
( 8:30)  7. Moon River

Often, when a trio plays jazz, it covers classics or performs original material written by the leader usually the pianist. On Over Here Over Heard, the Dan Cray Trio does both and pleases a live audience in the process. The trio brings some varied credentials. Cray was a finalist in the 2003 Montreux Jazz Festival Solo Piano Competition. His associations have included Kurt Elling and the Chicago Jazz Orchestra, and he has released three studio albums with his trio, the previous being Save Us (Bluejazz, 2005). Clark Sommers is a bassist who has performed at jazz festivals in the United States, Ireland, France and Canada. He's performed with Elling and Kevin Mahogany, and shared billing with Tony Bennett, Diana Krall, B.B. King, The Staples Singers, Koko Taylor and Buddy Guy. Greg Wyser-Pratte started on piano and played trumpet for nine years before turning to drums. He graduated Northwestern University in 1998 with a bachelor of music degree in jazz studies. As a student or professional, he has worked with Max Roach, Rufus Reid and the Chicago Jazz Orchestra, among others. The Harold Arlen-Johnny Mercer classic, "That Old Black Magic," is given a fresh, invigorating treatment. Cray carries the lead throughout, but Sommers and Wyser-Pratte engage proudly. The drummer really comes through during the song's climactic conclusion. Cray does more than justice to Horace Silver's "Barbara." 

This upbeat selection is one of the more enjoyable pieces on a recording that's loaded with them. Cray's piano is exceptional, while Wyser-Pratte's mix on the toms, snare and cymbals adds a nice complement. Already engaging, the song comes to a high-energy conclusion. If there's one disappointment on the disc, its that the bass doesn't come through clearly at low volume. The acoustic bass can get lost in the background any recording by large ensemble, especially with a horn section. However, in a trio, it should be more clearly audible without having to raise the volume, boosting the subwoofer or employing equalization. Still, Over Here Over Heard is an enjoyable collection of seven tracks. All run more than six and a half minutes, giving the musicians plenty of room to operate. ~ Woodrow Wilkins  http://www.allaboutjazz.com/over-here-over-heard-dan-cray-crawdad-productions-review-by-woodrow-wilkins.php#.VE0iXslZi5g
 
Personnel: Dan Cray: piano; Clark Sommers: bass; Greg Wyser-Pratte: drums.