Tuesday, January 13, 2015

Coleman Hawkins - Confessin'

Bitrate: MP3@320K/s
Time: 43:33
Size: 99.7 MB
Styles: Swing, Saxophone jazz
Year: 2005
Art: Front

[3:49] 1. There Is Nothing Like A Dame
[3:08] 2. On My Way
[3:07] 3. Should I
[4:15] 4. Thanks For The Misery
[2:52] 5. Flight Eleven
[2:55] 6. You Can't Take That Away From Me
[2:57] 7. I'll Tell You Later
[2:57] 8. Modern Fantasy
[5:34] 9. I've Grown Accustomed To Her Face
[2:41] 10. Goin' Down Home
[2:57] 11. Confessin'
[3:24] 12. September Song
[2:51] 13. Last Stop

Confessin' compiles two separate studio dates recorded on May 27, 1954, and April 24, 1958, under the leadership of legendary tenor saxophonist Coleman Hawkins. The Chicago 1954 session brings together an unknown combo consisting of organ, piano, guitar, and bass; the only surviving personal listing has Buddy Smith on drums. Originally released on the Savoy LP The Hawk Returns, the ten tracks pulled from that album emphasize slow blues, hard swinging, and a few standards, including "September Song" and "You Can't Take That Away from Me." The New Jersey date was recorded four years later at Van Gelder Studios and finds the Hawk teamed up with Count Basie's sax section and guitarist Freddie Green, with the rhythm section consisting of Nat Pierce on piano, Eddie Jones on bass, and Bobby Donaldson on drums. These three cuts were originally part of Savoy's Coleman Hawkins Meets the Sax Section, and include big-band versions of the Broadway themes "There Is Nothing Like a Dame" and "I've Grown Accustomed to Her Face," along with "Thanks for the Misery," written by the session's arranger/conductor, Billy VerPlanck. ~Al Campbell

Confessin'

Kelly Auty - Mademoiselle Chante

Bitrate: MP3@320K/s
Time: 29:10
Size: 66.8 MB
Styles: Chanson, Jazz vocals
Year: 2010
Art: Front

[2:59] 1. Padam Padam
[3:36] 2. Une Fille De L'est
[2:36] 3. Pour Faire Une Jam
[2:52] 4. Chantez Les Bas
[2:43] 5. Bei Mir Bist Du Schoen
[3:43] 6. Mademoiselle Chante Le Blues
[2:07] 7. For Me Formidable
[2:24] 8. Under The Bridges Of Paris
[2:33] 9. Mon Manege A Moi
[3:32] 10. Dream A Little Dream Of Me

Listening to these contemporary interpretations of French chanson it’s hard to believe the woman responsible comes from Victoria.

You don’t need to speak a word of French to feel the life experience and sheer joie de vivre that springs from her voice. Martha Wainwright has established herself as a standard bearer in this area and while Auty doesn’t quite reach these heights, she appears to be heading there fast. ~Lynden Barber

Mademoiselle Chante

Torben Westergaard - Oktober

Bitrate: MP3@320K/s
Time: 61:56
Size: 141.8 MB
Styles: Contemporary jazz
Year: 2015
Art: Front

[4:54] 1. The Eagle And The Great Tit
[5:20] 2. Anna
[4:52] 3. Glemsel
[5:47] 4. Day In, Day Out
[5:55] 5. Thee And That
[1:59] 6. E.M.I.L
[8:02] 7. Enos (The First Primate In Space)
[5:03] 8. God Know What Awaits
[6:38] 9. The Countryside Landed
[2:56] 10. Tromsø
[4:09] 11. Surya Namaskara A
[6:15] 12. Tromsø Dubmix

Ida Nørholm cello; Anders Banke bass clarinet; Jacob Andersen percussion; Torben Westergaard bass.

What one immediately hears is a mood almost like chamber music with exquisite arrangements. It is remarkable that people who are not very ‘jazz minded’ quickly become charmed by this album. Interesting, and worth listening to.

Oktober

Camille Filfiley - Camille Filfiley

Styles: Vocal Jazz
Year: 1998
File: MP3@320K/s
Time: 46:28
Size: 108,4 MB
Art: Front

(4:30)  1. Misty
(1:59)  2. The Lady Is A Tramp
(2:33)  3. Our Love Is Here To Stay
(3:11)  4. The Shadow Of Your Smile
(3:01)  5. Teach Me Tonight
(6:30)  6. My Funny Valentine
(2:16)  7. Them There Eyes
(4:00)  8. Dindi
(3:03)  9. What A Difference A Day Made
(6:19) 10. I Wish You Love
(3:23) 11. Twisted
(5:36) 12. Since I Fell For You

"A wonderful singer with her own sound" says eight-time Grammy award winning artist Michael Brecker, of the incredible and sultry vocalist Camille Filfiley, whose interpretations of these twelve classic and timeless standards are a must for any jazz collector. Chances are, you've heard her voice... After hundreds of recording sessions, from solo artist to jingles, from jazz to pop and everything else in between, Camille Filfiley has established herself as a first call studio pro, and her name has appeared on numerous gold records. In addition, her live performances have excited many an audience in the New York area. Now hear her like you've never heard her before on her debut jazz CD, titled simply "Camille Filfiley". 

Here is a collection of tunes performed with a style and phrasing truly unique and remarkable. TV personality and host Laura Savini remarked "the CD is incredible" in the network television appearance featuring Camille performing two of the CD's tunes. With influences from Nancy Wilson to Sarah Vaughn, Camille delivers the goods, backed by a stellar jazz trio featuring pianist Al Quinn, upright bassist Bill McCrossen, and drummer Chris Roselli (who spent several years with the great jazz legend Sir Roland Hanna). Several guest sax players join the trio as well. This is a must have for any fan of great jazz vocals! http://www.cdbaby.com/cd/filfiley

Caribbean Jazz Project - Birds Of A Feather

Styles: Jazz
Year: 2003
File: MP3@320K/s
Time: 61:50
Size: 144,9 MB
Art: Front

(5:04)  1. Birds Of A Feather
(5:29)  2. On The Road
(8:29)  3. Turnabout
(6:06)  4. Against The Law
(6:04)  5. Tell Me A Bedtime Story
(7:38)  6. Valencia 1
(6:02)  7. Picture Frame
(5:59)  8. Blue
(5:51)  9. Weird Nightmare
(5:03) 10. Minor Mood

A brassier, busier and a wee bit more aggressively urban Caribbean Jazz Project is featured on Birds of a Feather (Concord Picante). Dave Samuels is now leading this new lineup with Ray Vega on trumpet, Dario Eskenazi on piano and special guests guitarist Romero Lubambo, trumpeter Randy Brecker, drummer Mark Walker and percussionist Cafe. Bassist Ruben Rodriguez, percussionist Robert Quintero and drummer Dafnis Prieto round out the gang. The Brazilian "Valencia 1," with flutelike melodic harmonization, Lubambo's rapid note firings and a jazzy and percussively correct trumpet solo, is just a sampling of what the tropical-inflected crew can do in that territory. They are just as meritorious in their other Carioca explorations on "Turnabout" and "Picture Frame." Headed by a custom-made danzon figure, "Weird Nightmare" romps into an oddly metered sizzle, while on "Blue" everyone shines through in an updated guaguanco that fades into a hypermodern percussive coda skin slapping passage. The writing must be commended through and through. It brings forth fresh vistas from familiar Latin outcroppings and the supergroup readily assimilates its superior level. This is a cooker of a release, with depth to boot, fortified by great melodicism and peerless changes. ~ Javier Quinones  http://jazztimes.com/articles/14306-birds-of-a-feather-caribbean-jazz-project

Personnel: Romero Lubambo (guitar); Ray Vega (trumpet, flugelhorn); Randy Brecker (trumpet); Dario Eskenazi (piano); Dave Samuels (vibraphone, marimba); Dafnis Prieto (drums, timbales); Mark Walker (drums); Robert Quintero (congas, percussion).

The David Liebman Trio - Lieb Plays The Beatles

Styles: Saxophone, Piano and Flute Jazz
Year: 2013
File: MP3@320K/s
Time: 63:38
Size: 147,0 MB
Art: Front

(5:41)  1. Medley - She's Leaving Home - Let it Be
(6:10)  2. While My Guitar Gently Weeps
(5:28)  3. Because
(5:15)  4. The Fool On The Hill
(6:05)  5. That Means A Lot
(3:40)  6. If I Fell
(6:28)  7. Within You Without You
(2:16)  8. Something
(3:02)  9. Blackbird
(3:32) 10. Medley - Tomorrow Never Knows - Blue Jay Way - Love Me Do
(4:21) 11. Julia
(7:20) 12. Medley - She's A Woman - Lady Madonna
(4:14) 13. And I Love Her

With over 350 recording dates to his credit, of which he has been leader or co-leader of 150 plus a repertoire ranging from jazz and songbook standards, several hundred self penned originals and interpretations of classic composers like Bernstein,  Kurt Weill and Puccini to name but three it’s hardly surprising that it has taken Liebmann so long to get around to the Beatles ; suffice to say it has been worth the wait and the thoughtful, if at times rather sombre lines he and his partner Ruocco weave about these familiar melodies invest them with a gravitas that elevates them to the condition of contemporary chamber jazz of a very high order.The employment of John Ruocco  in a conversational counterpoint  reminds me very much of the late recordings that Jimmy Giuffre partnered with French clarinettist Andre Jaume, the effect is rather like that of two old friends chewing over a topic of mutual nterest but whereas  Giuffre and Jaume operated purely as a duo this project by Liebman is supported on a buoyant bass and drums foundation that is integral to the artistic process and provides a polyphonic  fabric that enhances  the quality and complexity of the dialogue.

The recital features seventeen Beatles songs including seven that form a part of three medleys: some like `Blackbird ‘will be familiar to those with only a passing interest in Fab Four’s output whilst there are others that will only readily recalled by diehard fans. None of them, as you would expect, offer facile sing- along immediacy but are reinterpreted with sensitive originality. No post modern parodies here. Tunes like `While My Guitar Gently Weeps` and the lesser known `That Means A Lot` receive fairly lusty ,straight ahead blow outs but mostly the mood is introspective and ruminative with dark hued bass clarinet musings contrasting with sharper, keening soprano voicing. 

On two pieces Liebman plays piano to effect some tonal variation. On the first, a chromatic and at times atonal version of `The Fool on The Hill` there is an assertive walk through part for bass which contrasts effectively with the tentative keyboard musings and in the final solo piano piece, `And I Love Her`Liebman barely alludes to the melody but makes statement that shorn of romantic effusiveness still manages to communicate on an emotional level.If through limited exposure to his music something to which I must confess- you had Liebman marked down as a post Coltrane speed merchant, this disc will convince you of his magnitude as a creative artist of considerable depth and sensitivity. ~ Euan Dixon  http://jazzviewscdreviews.weebly.com/october-2013.html

Personnel: David Liebman - soprano & tenor saxophones, piano & wooden flute; John Ruocco - tenor saxophone, clarinet & bass clarinet; Marius Beets – bass; Eric Ineke - drums

Charles Tolliver - Impact

Styles: Trumpet Jazz
Year: 1975
File: MP3@320K/s
Time: 48:12
Size: 110,5 MB
Art: Front

(8:01)  1. Impact
(8:24)  2. Mother Wit
(6:22)  3. Grand Max
(9:51)  4. Plight
(7:24)  5. Lynnsome
(8:07)  6. Mournin' Variations

Trumpeter/flügelhornist Charles Tolliver often straddled the line between the lyricism of hard bop and the adventurous nature of the avant-garde. Released in 1975, Impact contained a stimulating progressive edge within an energetic large band (14 horns, eight strings, and rhythm section) format. Tolliver's arrangements are consistently bright and build momentum, while the soloists are given sufficient room to maneuver through the multiple textures. Featured soloists in the remarkable reed section include Charles McPherson, James Spaulding, George Coleman, and Harold Vick. ~ Al Campbell  http://www.allmusic.com/album/impact-mw0000626875

Personnel: Charles Tolliver (trumpet, flugelhorn); Winston Collymore, Noel Pointer (violin); Julius Miller, Ashley Richardson (viola); Gayle Dixon, Noel DaCosta (strings); James Spaulding (flute, piccolo, soprano saxophone, alto saxophone); Harold Vick (flute, soprano saxophone, tenor saxophone); Charles McPherson (alto saxophone); George Coleman (tenor saxophone); Charles Davis (baritone saxophone); Richard Gene Williams , Larry Greenwich, Jimmy Owens, Jon Faddis, Virgil Jones (trumpet); Garnett Brown, John Gordon, Jack Jeffers, Kiane Zawadi (trombone); Stanley Cowell (piano); Clifford Barbaro (drums); Big Black (congas, percussion); Warren Smith (percussion, chimes); Billy Parker (percussion).

Impact