The New Morty Show - Straight Ahead

Bitrate: MP3@320K/s

Time: 41:19

Size: 94.6 MB

Styles: West Coast jazz

Year: 2000

Art: Front

[3:50] 1. Tico Tico

[5:10] 2. Stella By Starlight

[4:31] 3. Maiden Voyage

[5:46] 4. Long Long Summer

[2:02] 5. Destination Moon

[4:58] 6. Spring Can Really Hang You Up The Most

[3:07] 7. No Moon At All

[3:48] 8. Pork Pie

[4:32] 9. Samba Du Morpheus

[3:31] 10. All The Things You Are

Trumpeter Morty Okin isn't shy about his influences. He's all-Vegas, baby. We're talking 1950s glitzy Frank-Sammy-Dino Vegas. The booze, the broads, the all-night burners. Who cares if the bandleader and his backup group-most notably girl-among-wolves chanteuse Cynthia Lewis-are from San Francisco? No matter where the group gets together for a gig, the New Morty Show heads for Sin City anyway. This is the kind of big and brassy cocktail music-all arranged by Sandy Megas of Los Angeles jazz ensemble Hip Pocket-where setting the proper drinking mood is just as important as making them get up and dance.

On their second full-length album, Straight Ahead, produced by Jeffrey Wood, the band pays homage to the pioneers of West Coast jazz (a subtle cover of Bill Holman's "Pork Pie" features the band at its tightest). Things really get hot when Lewis steps front and center, and leads the boys by the balls on Alfred Fisher's dreamy "Destination Moon." And then there's the reason why the band is named the New Morty Show: Okin doesn't rule the roost simply because he knows every line in Ocean's Eleven. When the vibe gets too mellow and the T&T's start working the crowd into somnambulant fogs, the big man with the even bigger trumpet lets loose on Zequinha de Abreu's "Tico Tico" and Redd Evans' "No Moon at All." Now that, my friends, is a little hey-hey. ~Sean Daly

Straight Ahead

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The Rosenberg Trio - Djangologists

Bitrate: MP3@320K/s
Time: 61:27
Size: 140.7 MB
Styles: Gypsy jazz
Year: 2010
Art: Front

[2:39] 1. Vendredi 13
[4:30] 2. Dream Of You
[3:19] 3. Peche A La Mouche
[3:19] 4. Clair De Lune
[2:23] 5. Choti
[5:14] 6. Double Jeu
[3:23] 7. What Kind Of Friend
[2:33] 8. For Sentimental Reasons
[2:35] 9. Gipsy Groovin'
[2:41] 10. Coquette
[4:15] 11. In A Sentimental Mood
[2:19] 12. I'll Never Smile Again
[3:40] 13. Sweet Chorus
[3:43] 14. Webster
[2:46] 15. Indifference
[2:52] 16. Moonglow
[2:36] 17. Yours And Mine
[6:31] 18. Tears

Biréli Lagrène (guitar); Stochelo Rosenberg (guitar); Nonnie Rosenberg (double bass). Recording information: Audioworkx Studios, The Netherlands (10/23/2009-10/29/2009).

The Rosenberg Trio's first studio collaboration with the one and only Biréli, for a surprising new album dedicated to the master: Django Reinhardt.

Djangologists

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Diane Hoffman - My Little French Dancer

Bitrate: MP3@320K/s
Time: 47:49
Size: 109.5 MB
Styles: Jazz vocals
Year: 2007
Art: Front

[4:12] 1. Gone With The Wind
[3:05] 2. Well You Needn't
[3:52] 3. Close Enough For Love
[5:31] 4. When Love Was All We Had
[4:02] 5. Blackberry Winter
[4:24] 6. You're My Thrill
[3:30] 7. Sunday In New York
[5:01] 8. Two Years Of Torture
[4:35] 9. Yellow Days
[4:50] 10. Farewell, Noelle
[4:43] 11. When Did You Leave Heaven

Vocalist Diane Hoffman constructs a second independently produced disc of standards, interpretations, and one original, a hip, reflective homage dedicated to a deceased French dancer friend named Noelle. Hoffman's voice is seasoned and admittedly similar in phrasing to that of Carmen McRae. She honed her artistry over many years, coast hopping from Cambridge, MA, to California and then New York City. During this period she played folk guitar, became an accomplished mural painter, and a choral singer. Along the way she recruited the excellent pianist and arranger Oliver Von Essen, tenor saxophonist Jerry Weldon, and on four cuts for this effort, guitarist John Hart. Hoffman sounds better as the program moves along, especially on the ballads. Perhaps taking her time to enunciate properly is more to her advantage, as interpretations of "When Love Was All We Had" or the superior take of "Blackberry Winter," featuring Hart, readily displays. Another slow song "When Did You Leave Heaven?" showcases a melodic Weldon, Von Essen on organ and Don Militello on Fender Rhodes, making for interesting sonic contrasts. Her best swinger is the organ-driven take of "Sunday in New York," with Weldon at his swinging best. The singer is also fond of Brazilian rhythms, as heard on the upbeat version of "Gone with the Wind," at a similar pace as the samba-flavored, book-of -Billie Holiday (inexcusably spelled Billy in the notes) evergreen "You're My Thrill," and the light bossa "Yellow Days" with an inspired Hart. On the low end, Hoffman's perceptive imprecision shows up during McRae's famous lyrics on Thelonious Monk's "Well, You Needn't," and there are intonation problems during "Close Enough for Love." This is not a groundbreaking or ultimate recording for Hoffman, but her talent and compatibility with excellent sidemen is easy to enjoy. The third time should be the charm. ~Michael G. Nastos

My Little French Dancer

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Leon Redbone - Branch To Branch

Bitrate: MP3@320K/s
Time: 34:17
Size: 78.5 MB
Styles: Pop-rock-jazz, Ragtime
Year: 1981/1989
Art: Front

[3:00] 1. Tee-Na-Na
[2:25] 2. In The Old Town Tonight
[2:42] 3. Papa's Getting Mad
[3:40] 4. Step It Up And Go
[3:04] 5. Your Cheatin' Heart
[2:39] 6. Seduced
[4:42] 7. Why
[2:23] 8. My Blue Heaven
[4:04] 9. Extra Blues
[2:00] 10. When You Wish Upon A Star
[3:33] 11. Prairie Lullaby

This is as extravagant and complicated a studio production as any of Leon Redbone's releases. Complete details about the musicians involved in each session are printed in miniscule yellow type of the eyestrain-inducing variety, perhaps a gesture at making younger listeners feel more sympathetic to the elderly music fans who would have been old enough to remember some of this material first-hand even back in the early '80s. Other songs are so familiar that recognition is not an issue; the question would be more appropriately, why bother? But questions of taste are not really a subject for this performer, who once having established his shtick and the prerequisite of technical talent required to pull it off, created albums that inevitably mix the sublime with the totally boring. Disastrous moves here include a weak Hank Williams cover, since expressing sincere emotion is not really in Redbone's bones. "Prairie Lullaby" is pretty sappy as well, and not really the sort of thing someone as immersed in vintage music as Redbone should have wanted to create. The tracks featuring Dr. John come off much better, examples of rollicking interplay that producer Beryl Handler, whose name even implies a hands-on touch, is wise to leave in a fairly spontaneous mode. While Redbone's performance of "My Blue Heaven" is fairly hack, a good rhythm section with bassist Bob Cranshaw and drummer Grady Tate certainly does a good job on the backup. ~Eugene Chadbourne

Branch To Branch

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Trudy Kerr - Déjà Vu

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 58:08
Size: 133,2 MB
Art: Front

(5:16)  1. Out Of This World
(4:21)  2. Déjà Vu
(3:24)  3. The Nearness Of You
(5:06)  4. Two Kites
(4:43)  5. They Say It's Wonderful
(6:00)  6. Dream Of The Elders
(4:50)  7. Up Jumped A Bird
(4:50)  8. Destination Moon
(3:47)  9. The Summer Knows
(4:49) 10. You're Gonna Hear From Me
(4:04) 11. Witchcraft / You Fascinate Me So
(6:51) 12. You Go To My Head

“A typically classy offering from Kerr. A lovingly crafted selection of songs beautifully sung and flawlessly played”. This is a typically classy set from the Australian born Kerr, now established as one of the UK’‘s most accomplished jazz vocalists. An otherwise diverse twelve song collection is united by a common theme; each tune has a strong link with Kerr’s past-hence the title. Kerr’s husband Geoff Gascoyne handles bass and arranging duties and is joined in a quality rhythm section by swinging drummer Steve Brown. Swedish pianist Jan Lundgren (recently heard in a totally different setting on the ACT album “Mare Nostrum”) is the album’s chief instrumental soloist and his resourceful, colourful playing is a big factor in the album’s success. Some titles feature the Juno String Quartet playing Gascoyne’s arrangements. The strings are judiciously and tastefully utilised and add appropriate shade and colour to the instrumental palette. Kerr opens with Arlen and Mercer’s “Out Of This World” which showcases her clear, well articulated vocals.

But she also exhibits a real talent for genuine jazz phrasing, something the swinging accompaniment positively encourages. Lundgren solos at length here and his sparkling playing is a delight. The title track is a soul ballad co-written by the great Isaac Hayes that Kerr used to sing in her first band at the age of seventeen. It benefits from Gascoyne’s low key string arrangement and articulate bass playing. Hoagy Carmichael’s “The Nearness Of You” is tackled in a playful up-tempo style. Lundgren shines again, Brown’s nimble drumming is full of delightful details and everyone sounds as if they’re having a ball. Jobim’s mildly salacious “Two Kites” was introduced to Kerr by Norma Winstone and throws a Brazilian flavour into an already diverse mix. The strings feature on Irving Berlin’s “They Say It’s Wonderful” but the real highlight is the pairing of Lundgren’s lyrical piano and Kerr’s warm, conversational vocal. Kerr added her own lyrics to Dave Holland’s “Dream Of the Elders”. 

Appropriately Gascoyne’s resonant bass is at the heart of the instrumental arrangement. The words were inspired by a period Kerr spent living in Vanuatu and complement Holland’s beautiful melody perfectly. The playful mood returns as Kerr duets with Bob Dorough on Dorough’s tune “Up Jumped A Bird”. Kerr’s honeyed tones and Dorough’s fragile voice dovetail on tongue twisting hipster lyrics.Gascoyne appropriates the bass line from the old Police hit “Walkin’ On The Moon” and grafts it on to the standard Destination Moon”. It’s an inspired piece of thievery and the whole track is great fun with Kerr supplying topical additional lyrics. Michel Legrand’s “The Summer Knows” features Kerr’s sensuous vocal alongside the string quartet in an effective piece of chamber jazz.The string quartet provide the introduction to Andre Previn’s “You’re Gonna Hear From Me” before the orthodox jazz instrumental takes over for a relaxed and swinging take on the tune. Gascoyne’s dexterous bass solo is a particular highlight. Witchcraft/You Fascinate Me So” continues the mood before Kerr concludes the album duetting with Lundgren on a beautiful version of “You Go To My Head”. There is nothing earth shattering about “Deja Vu” but it is a lovingly crafted selection of songs beautifully sung and flawlessly played. An above average offering in an often overcrowded field. 

~ Ian Mann  http://www.thejazzmann.com/reviews/review/trudy-kerr-deja-vu-songs-from-my-past/

Déjà Vu

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Randy Brecker With The DePaul University Jazz Ensemble - Dearborn Station

Styles: Straight-ahead/Mainstream, Trumpet Jazz
Year: 2015
File: MP3@320K/s
Time: 57:37
Size: 131,9 MB
Art: Front

(8:18)  1. Squids
(7:05)  2. Well, You Needn't
(6:42)  3. On Green Dolphin Street
(6:53)  4. You're in My Heart
(5:35)  5. Infant Eyes
(5:07)  6. It's You or No One
(4:52)  7. Cathy's Song
(7:17)  8. Tina's Glass Nickel
(5:43)  9. Blues in Hoss' Flat

The renowned DePaul University Jazz Ensemble continues a tradition begun more than twenty years ago by performing and recording at the oldest historic jazz club in Chicago, the Jazz Showcase located in the historic 'Printer's Row' district of the Dearborn Station area. The Dearborn Station live recording also maintains another on-going tradition and that is documenting sensational sessions of big band music with an icon of jazz this time, with the phenomenal trumpeter Randy Brecker. Musical Director and renowned trumpeter Bob Lark and his university ensemble have in the past recorded with such greats as Phil Woods, Jeff Hamilton, Jim McNeely and Clark Terry among others. Now, it's Brecker's turn to lead this marvelous band and does so in rousing style taking the legendary Jazz Showcase by storm blowing the house down on a couple of his originals and four well-known standards.

Brecker's hot trumpet begins the session on an eight-minute blistering Andrew Janak arrangement of "Squids," the first of Brecker's two compositions that brings a forceful brass and reed sections to the fore and compliment power performances from the trumpeter and saxophonist Janak. Thelonious Monk's standard "Well, You Needn't" is another hard-driving piece this time featuring strong solos from alto saxophonist Brent Griffin, trombonist Brian Scarborough and more high-pitched solos from Brecker. There is a terrific fresh new arrangement from tenor saxophonist Corbin Andrick that makes the age old standard "On Green Dolphin Street" sound almost like new. The other original contribution from the guest trumpeter is "You're In My Heart" featuring beautiful moments from saxophonist J.T. Teichert and Brecker in one of the more tasteful classy tunes of the album. Wayne Shorter's signature and sublime "Infant Eyes" occupies one of the warm spots of the project where Brecker displays his reach and the softer side of his playing as well as featuring a solid reed section on a truly inspiring rendition of the classic. The power and muscle of the ensemble and Brecker's hot trumpet are best evident on the sizzling version of time-honored standard "It's You or No One" where the swing is so pronounced and fitting for Brecker's last appearance of the set.

The Thomas Matta arrangement of the original Lark composition "Cathy's Song," a favorite of the band leader and one which was previously documented on one of the Phil Woods recordings with the band, is the perfect vehicle in showcasing the ensemble's tender side highlighted by Bobby Lark's (Bob Lark's son) soft flugelhorn voice and Lee Rothenberg's sweet guitar. The big band sounds wind down on Richie Palys' "Tina's Glass Nickel" and Frank Foster's familiar "Blues in Hoss' Flat" completing another incredibly powerful and rich-sounding large orchestration album sending a message that big band music is alive and well. Dearborn Station not only provides a platform for the great Randy Brecker clearly, one of the all-time masters of the horn, but also reaffirms the notion that the DePaul University Jazz Ensemble, continues to be one of the premier college bands in the country, professional in every way. ~ Edward Blanco  http://www.allaboutjazz.com/dearborn-station-randy-brecker-jazzed-media-review-by-edward-blanco.php
 

Personnel: Bob Lark: director, trumpet solo (6); Marques Carroll: trumpet, flugelhorn; Kyle Granville: trumpet, flugelhorn; Bobby Lark: trumpet, flugelhorn; Gibron Lockhart: trumpet, flugelhorn; Brent Griffin: alto, soprano sax, flute; J. T. Teichert: alto sax, flute; Corbin Andrick: tenor sax, flute, clarinet; Andrew Janak: tenor sax, clarinet; Michael Brawley: baritone sax, bass clarinet; Brian Scarborough: trombone; Chris Shuttleworth: trombone; Brett Balika: trombone; Bryan Tipps: bass trombone; Scott Williams: piano, keyboard; Lee Rothenberg: guitar; Jackson Kidder: bass; Rob Dicke: drums. Special guest artist – Randy Brecker: trumpet (1-6).

Dearborn Station

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Kenny Werner - Democracy: Live at the Blue Note

Styles: Post-Bop, Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 49:53
Size: 114,4 MB
Art: Front

(13:04)  1. Democracy Now
( 7:28)  2. Fish Gotta Fly
( 9:17)  3. Untitled Lament
( 8:36)  4. One for Joni
( 1:32)  5. Intro to Hedwig's Theme
( 9:53)  6. Hedwig's Theme

It's hard to believe that a jazz musician would be fired for trying to create something new every night, but it's happened to pianist Kenny Werner. "I'm a lousy sideman, he says in the liner notes to Democracy: Live at the Blue Note. Fortunately, this is his gig, and its loose exploratory nature proves it's not necessary to abandon symmetrical time or change-based structure to keep things sounding fresh, night after night. This may be Werner's gig, but the title says it all. He surrounds himself with a group of like-minded players, including bassist Scott Colley and drummer Brian Blade, who feel like two halves of the same organism. Matt Shulman is a sharply focused trumpeter who bears some comparison to Kenny Wheeler who, coincidentally, makes a guest appearance on the album's closing two tracks. Saxophonist David Sanchez has, in recent years, transcended his Latin roots, evolving into a significant player in any context. 

Earmarks of Werner's desire to "create new stuff on the bandstand every night begin with his gentle solo intro to "Democracy Now. Gradually building towards a two-chord vamp that signals the band in, its theme is a brief but complex statement. Sanchez and Shulman are the primary voices, but Colley and Werner provide occasional counterpoint and Blade creates a turbulent undertow that pulls everyone forward into the solo section. Blade's intuitive strength on the lithely swinging, Wayne Shorter-inspired "Fish Gotta Fly elevates Werner's already imaginative solo to even higher ground. And when the band drops out in the middle of the balladic "Untitled Lament, Werner proves himself on the same plane as Keith Jarrett when it comes to spontaneous invention. Jazz artists have been inspired by singer/songwriter Joni Mitchell's innovative guitar voicings for years, but Werner's buoyant "One for Joni captures her distinctive language and phrasing better than most. 

Blade and Colley give it an ever-so-slight gospel-cum-funk underpinning, and Werner delivers his most resonant solo of the set. Wheeler joins the group for the set's finale. "Intro to Hedwig's Theme is a freely lyrical duet with Colley that leads into the minor-key main body of the tune. Sounding at first like something out of the soundtrack to The Elephant Man, it morphs into a Coltrane-like modal workout where Sanchez starts simply, but builds into referential cascading flurries and high pitched screams. Wheeler's brief solo is a fiery counterpoint to the gentle lyricism of his own recent It Takes Two! (Cam Jazz, 2006), while Werner's solo is, once again, uncannily supported by Colley and Blade.

The multifaceted Democracy might make you wish you'd been there, but it's even better news that it's been documented, allowing you to discover something new with each and every listen. ~ John Kelman  http://www.allaboutjazz.com/democracy-live-at-the-blue-note-kenny-werner-half-note-records-review-by-john-kelman.php

Personnel: Kenny Werner: piano; Brian Blade: drums; Scott Colley: bass; David Sanchez: saxophone; Matt Shulman: trumpet; Kenny Wheeler: trumpet (5,6).

Democracy: Live at the Blue Note

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