Greetje Kauffeld - Young Girl Sunday Jazz

Size: 96,5 MB
Time: 40:14
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Almost Like Being In Love (Version 1) (2:17)
02. Saturday Night (2:10)
03. Fever (2:55)
04. Handful Of Soul (2:27)
05. Orange Coloured Sky (2:29)
06. Love For Sale (2:04)
07. Shiny Stockings (4:01)
08. Deed I Do (2:01)
09. My Kinda World (2:30)
10. My Blue Heaven (2:14)
11. Day In Day Out (2:49)
12. Makin' Whoopee (2:00)
13. You And I (2:12)
14. It's Alright With Me (1:23)
15. Who Knows Why (4:20)
16. Almost Like Being In Love (Version 2) (2:16)

This new compilation "Young Girl Sunday Jazz" makes Greetje Kauffeld's lost jazz songs from the 1960s available on CD and vinyl LP. Mainly included are recordings from the private vaults of the singer or from musicians' and collectors' archives, with music performed between 1960 and 1969 at concerts, in the studio or at sessions for radio and tv. Greetje in top form, accompanied by some of the most excellent Dutch and German jazz musicians! Moreover, all four tracks of her first and only jazz EP from 1960, entitled "Makin' Whoopee", are reissued here for the first time.

The 16 remastered songs fill a major gap in her discography. Not even one jazz record by Greetje Kauffeld was released during the course of the 60s, although she regularly performed on stage as a truly gifted jazz singer. Her story of a recorded but never released Bossa Nova album, produced 1967 with Oscar Castro Neves in Los Angeles, and its corresponding master tape that somehow landed in the trash bin, fits well into the picture: Until today, she remains one of the great European jazz voices of the 1960s, but without accompanying releases from that period.

Young Girl Sunday Jazz

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George Freeman & Chico Freeman - All In The Family

Size: 185,8 MB
Time: 78:54
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Dark Blue (George Freeman) (5:47)
02. Interlude V-2 (Chico Freeman) (0:47)
03. Latina Bonita (George Freeman) (5:29)
04. Interlude V-6 (Chico Freeman) (1:08)
05. My Scenery (George Freeman) (4:21)
06. Interlude V-9 (Chico Freeman) (0:47)
07. Five Days In May (Chico Freeman) (4:04)
08. Vonski (George Freeman) (6:15)
09. Interlude V-8 (Chico Freeman) (1:43)
10. Inner Orchestrations (Chico Freeman) (6:43)
11. Percussion Song Two (Reto Weber) (1:00)
12. Chico (George Freeman) (7:54)
13. Interlude V-5 (George Freeman) (1:40)
14. What's In Between (Chico Freeman) (7:46)
15. Essence Of Silence (George Freeman) (7:54)
16. Interlude V-4 (Chico Freeman) (1:24)
17. A Distinction Without A Difference (Chico Freeman) (4:43)
18. Interlude V-10 (George Freeman) (1:31)
19. Angel Eyes (Chico Freeman) (3:45)
20. Percussion Song One (Reto Weber) (0:28)
21. Marko (George Freeman) (2:35)
22. Chico & George Introductions (George Freeman) (1:01)

"All In The Family" brings together two members of Chicago's Freeman family that have never been recorded together until now: legendary guitarist George Freeman (who celebrated his 88th birthday on April 10th, 2015) and world-renowned saxophonist Chico Freeman (George's nephew and Von Freeman's son.) The musical legacy of Chicago's Freeman Family continues on with "All in the Family." Certainly, the late, great leader of the family, tenor saxophonist Von Freeman is smiling somewhere today!

All of the tracks are original songs (with the exception of the haunting "Angel Eyes") and feature compositions from George Freeman "My Scenery" & "Vonski"; and from Chico Freeman "Latina Bonita" & "Essence of Silence"; along with several short Improvisations, that provide a compelling flow to the recording. "Five Days in May" features percussionist Reto Weber on the 'hang' - a track that should have everyone up and dancing with joy!

A lifetime of music, from playing with Charlie Parker to Gene Ammons and his many fine recordings, George Freeman was recently selected as Chicagoan of the Year in Jazz by Tribune Arts Critic Howard Reich! Chico Freeman's career has taken him from his early years with Chicago's AACM to Earth, Wind and Fire to performing and recording with legendary musicians in New York, including Elvin Jones, to today's International Jazz Festivals.

Musicians featured on the recording are: Kirk Brown, piano; Harrison Bankhead, bass; Hamid Drake, drums; Mike Allemana, guitar; Joe Jenkins, drums; and special guest Reto Weber, hang and percussion.

Recorded in September of 2014 at Sparrow Sound Design Recording Studio, Chicago. Produced by Joanie Pallatto & Bradley Parker-Sparrow. Recording Engineer is Todd A. Carter. Mastered by Joanie & Sparrow. Liner Notes by Neil Tesser. Graphic Design by Al Brandtner.

All In The Family

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Stevie Holland - Life Goes On

Size: 99,7 MB
Time: 39:30
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals
Art: Front

01. Life Goes On (3:16)
02. Not While I'm Around (4:37)
03. 99 Miles From L.A (4:24)
04. Tomorrow's Looking Brighter Today (2:52)
05. April Snow (4:31)
06. Another Grey Morning (4:04)
07. Never (4:25)
08. Tea For Two (3:09)
09. Out Of This World (4:27)
10. Skylark (3:42)

New York native Stevie Holland will release a new album, Life Goes On, on June 30. The release is a collection of contemporary pop and American Songbook classics, along with lesser-known songs. The album also includes original tracks written by the jazz singer and award-winning composer Gary William Friedman, who also did the arrangements on Life Goes On.

The 10-track album begins with Johnny Mercer and Hoagy Carmichael’s, “Skylark,” and continues with “Out Of This World” (Harold Arlen/Johnny Mercer), “Tea For Two” (Vincent Youmans/Irving Caesar, with a nod to vocalist/bandleader Joe Mooney), “Never” (Friedman/Holland), “Another Grey Morning” (James Taylor), “April Snow” (Sigmund Romberg/Dorothy Fields), “Tomorrow’s Looking Brighter Today” (Friedman/Holland), “99 Miles From L.A.” (Albert Hammond/Hal David), “Not While I’m Around” (Stephen Sondheim) and “Life Goes On” (Benard Ighner). Grammy Award-winning producer Todd Barkan shaped the album, which features musicians Randy Ingram (piano), Peter Brendler (bass), and Jeff Davis (drums). Guest musicians include renowned trumpeter Nicholas Payton, and a string quartet.

Holland recorded Life Goes On-- her fifth release of standards and original material on 150 Music-- in January 2015. A prior album, Before Love Has Gone, was a USA TODAY top critics’ CD pick of the year, and an All Music Guide Album Pick. In addition to her 20+ year recording career, Holland starred in a one-woman, Off-Broadway musical, "LOVE, LINDA: THE LIFE OF MRS. COLE PORTER," created by Holland and her longtime collaborator Gary William Friedman. The play was directed by Tony-winner Richard Maltby Jr., and enjoyed a successful run at the York Theater in 2013-2014. The musical's popularity led to a licensing deal with theater publisher Tams-Witmark.

Holland has toured nationally for decades, and has performed at New York's Iridium Jazz Club, Jazz at Lincoln Center, The Town Hall, and other venues. In 2004, she received Back Stage Magazine's Bistro Award for Outstanding Vocalist of the Year. ~by Brownie Marie

Life Goes On

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Twin Danger - Twin Danger

Size: 125,7 MB
Time: 54:11
File: MP3 @ 320K/s
Released: 2015
Styles: Crossover Jazz, Pop Rock
Art: Front

01. Pointless Satisfaction (5:11)
02. Coldest Kind Of Heart (4:36)
03. I Love (Loving You) (4:05)
04. Just Because (4:06)
05. Save It (4:43)
06. When It Counts (4:13)
07. Sailor (4:15)
08. In Many Ways (4:09)
09. Past Yet Untold (2:46)
10. You're Everything (3:02)
11. No One Knows (4:04)
12. Take It From My Eyes (4:43)
13. Missing Her (4:12)

Twin Danger's 2015 self-titled debut showcases the Brooklyn duo's smoky, neo-noirish jazz- and R&B-infused sound. Formed in 2013, Twin Danger is a collaboration between longtime Sade guitarist/saxophonist Stuart Matthewman and vocalist/guitarist Vanessa Bley. The daughter of jazz pianist Paul Bley, Vanessa Bley has a yearning yet cherubic vocal style that's matched with subtle precision by Matthewman's sophisticated horn arrangements and nuanced instrumental accents. In some ways, their languid, stylish aesthetic does bring to mind the distinctive pop Matthewman helped craft with Sade in the '80s and '90s. However, Twin Danger also have eclectic, wide-ranging tastes that — while certainly steeped in the moody, midtempo, brushes-on-snare-drum swing of jazz — can surprise, as on their torchy, theatrical reworking of Queens of the Stone Age's "No One Knows." Elsewhere, on cuts like "Pointless Satisfaction," "Coldest Kind of Heart," and "When It Counts," you can also hear the influence of legendary cool jazz trumpeter/vocalist Chet Baker and idiosyncratic singer/songwriter Rickie Lee Jones. In fact, backing Twin Danger on most of the tracks is longtime Baker associate bassist Larry Grenadier. Also joining Twin Danger at various times are such virtuosic jazz and crossover pop sidemen as pianist Gil Goldstein (Billy Cobham, Miles Davis, Sting), trumpeter Michael Leonhart (Steely Dan, Jens Lekman, Rufus Wainwright), drummer Joe Bonadio (Sting, Grover Washington, Jr., Chris Botti), and others. While Twin Danger are by no means a straight-ahead jazz group, the inclusion of such experienced jazz musicians proves how much care Matthewman and Bley have taken in shaping an album that works as much more than a genre-bending conceit. Ultimately, with Bley cooing at you through a half-lidded smile, and Matthewman blowing smoke rings around her with his saxophone, Twin Danger have crafted a jazz album perfect for the boozy, late-night afterglow of a rock club, a sound so besotted with heartache, you'll want to close your eyes in reverie.

Twin Danger

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Charles Brown - Boss Of The Blues

Bitrate: MP3@320K/s
Time: 51:33
Size: 118.0 MB
Styles: Early R&B, Urban blues
Year: 1963/1991
Art: Front

[3:57] 1. Driftin' Blues
[4:05] 2. Through The Courtesy Of Love
[4:08] 3. Since I Fell For You
[2:48] 4. You Are My First Love
[3:42] 5. To You My Love
[3:15] 6. Not In My Wildest Dreams
[2:20] 7. Pledging My Love
[3:10] 8. Tomorrow Night
[3:26] 9. I'm Just Fooling Myself
[2:31] 10. The Glory Of Love
[2:49] 11. Blueberry Hill
[2:52] 12. I Won't Cry Anymore
[2:30] 13. I Miss You So
[2:59] 14. Harbor Lights
[3:38] 15. I Know
[3:16] 16. Cottage For Sale

More 1963-1964 Mainstream sides with some duplication -- the first six tracks here also appear on the DCC compilation. Tracks 7-16 find Brown surrounded by strings as he smoothly intones "Pledging My Love," "Blueberry Hill," and "Cottage for Sale" (they didn't even let him sit down at the keyboard at all for these dates!). ~Bill Dahl

Boss Of The Blues

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Carlos Barbosa-Lima - Carioca

Bitrate: MP3@320K/s
Time: 61:27
Size: 140.7 MB
Styles: Latin jazz, Guitar jazz
Year: 2005
Art: Front

[2:50] 1. Cochichando
[2:43] 2. Passeio No Rio
[4:22] 3. Carioca
[3:36] 4. Carinhoso
[2:31] 5. Samba De Orfeu
[3:10] 6. Um Amor De Valsa
[3:09] 7. Um A Zero
[3:52] 8. Desafinado
[5:01] 9. Romance
[2:32] 10. Brejeiro
[2:33] 11. Renunciar
[2:50] 12. Entre Guitarra Y Voz
[3:35] 13. Soy
[2:53] 14. Odeon
[4:35] 15. Poema De Amor
[3:34] 16. Samba De Uma Nota Só
[5:47] 17. Lorena
[1:47] 18. La Voz Del Güiro

A national treasure in his native Brazil since launching his recording career as a teenager, guitarist Carlos Barbosa-Lima has a unique dual sense of history which he conveys beautifully on this heartfelt tribute to classic Brazilian music forms choro, chorino, and samba. One of his teachers was the great Andres Segovia, so he's always integrated a sense of classical grace into even his samba and jazz playing. No less than 13 of the 18 pieces on Carioca (meaning "native of Rio de Janeiro") have been arranged by the guitarist in a characteristic style which honors the integrity of various masters but also makes the pieces very much his own. These legends include choro composer Ernesto Nazareth (1863-1934), who composed the gentle title track, the brisk and lively "Odeon," and folkloric romp "Brejeiro" originally for piano. The hour-plus set also includes classics by Alfredo da Rocha Vianna Filho (1897-1973) and more recognizable popular composers Luiz Bonfá ("Samba de Orfeu") and, of course, Barbosa-Lima's close friend and colleague Antonio Carlos Jobim. The guitarist creates subtle but emotionally intense takes on "Samba de uma Nota Só" (One Note Samba) and the instantly familiar "Desafinado." Barbosa-Lima's intention is obviously to create a sweeping sense of the development of the music that has long inspired his own artistry and the world's love of Brazilian music. But the set is engaging enough so that more casual fans of music from that country can enjoy it even without knowledge of the overall concept and the history that drives it. ~Jonathan Widran

Carioca

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Charles Earland - Organomically Correct

Bitrate: MP3@320K/s

Time: 73:56

Size: 169.3 MB

Styles: Organ jazz

Year: 2009

Art: Front

[ 3:43] 1. The Dozens

[ 4:41] 2. Red, Green And Black Blues

[ 7:36] 3. Undecided

[ 5:22] 4. Old Folks

[ 3:45] 5. A Prayer

[ 7:24] 6. Organic Blues

[ 6:13] 7. Three Blind Mice

[ 5:03] 8. We Are Not Alone

[11:47] 9. Blues For Rudy

[ 7:09] 10. The Thang

[ 6:15] 11. Infant Eyes

[ 4:53] 12. Is It Necessary

Organist Charles Earland recorded nine albums for the Muse label between 1977 and 1995. None stand out particularly, but each had its share of solid, organ-combo swing and programs of mostly blues and ballads. Organomically Correct compiles some of the early highlights in Earland's Muse output: four of the six tracks from Mama Roots (1977), three of the five tracks from Pleasant Afternoon (1978) and all five tracks from Infant Eyes (1978). This music was all recorded between Earland's more commercial (and less memorable) outings on Mercury and Columbia and catch the organ grinder in a kind of Jimmy Smith bag (reinforced even more when paired with Wes-like guitarist Jimmy Ponder on half of the CD's tracks). While the funk and the fire in Earland's playing had been missing since at least his last Prestige record (1974), there's an insistently melodic and appealing groove throughout this set. Another advantage is that two thirds of the tunes here are Earland originals: slow burners that really let the organist cook nicely on a low flame. There are several nice features for George Coleman on tenor sax and Frank Wess on flute too. A surprisingly cohesive set with an enjoyable after-hours feel. ~Douglas Payne

Charles Earland: organ; George Coleman, Houston Person, Mack Goldsbury: tenor sax; Frank Wess: flute and tenor sax; Bill Hardman: trumpet; Jimmy Ponder, Melvin Sparks: guitar; Walter Perkins, Bobby Durham, Grady Tate: drums; Ralph Dorsey, Lawrence Killian: percussion.

Organomically Correct

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Deborah Winters - Lovers After All

Styles: Jazz, Vocal
Year: 2011
File: MP3@320K/s
Time: 63:28
Size: 145,7 MB
Art: Front

(3:49)  1. Lovers After All
(7:48)  2. How Am I To Know
(6:16)  3. Get Out Of Town
(5:56)  4. Body and Soul
(5:51)  5. I Love Being Here With You
(6:44)  6. For All We Know
(5:38)  7. Haunted Heart
(5:58)  8. The End of a Love Affair
(4:02)  9. Come Sunday
(5:29) 10. How Deep Is the Ocean
(5:52) 11. I'll Close My Eyes

Placing vocalists under a specific, descriptive heading can be limiting in some ways, but it also shines a light on their greatest strengths. Singer Joe Williams of Count Basie fame resented being labeled as a "blues singer," since he possessed great range and felt that this tag had suggestions of racism behind it; few would argue, however, that his strongest body of work falls into that category. Vocalist Deborah Winters like Williams and any singer worth their weight in sound is no one-trick pony, but she also has one special talent that overshadows her other gifts. On Lovers After All, the Bay Area-based vocalist establishes herself as a ballad singer with which to be reckoned. She can sing over swing with confidence ("Get Out Of Town") and sway to the subtle sounds of the bossa nova ("Haunted Heart"), but her ballad work eclipses all else. Her voice has depth and warmth that instantly soothes and seduces; her use of vibrato is rare and judicious, and her pacing, clarity and diction are perfectly suited to this particular style of song.

While plenty of singers that thrive in softer environments perform romantic fare with minimalistic backing, Winters' winning performances are a bit more dressed up. Trumpeter Peter Welker provides the band arrangements on this project, and his ability to cushion Winters' voice, while still creating music of interest, is key to the album's success. He fleshes out some rich chords with five horns ("Lovers After All"), paints silken saxophone sounds into the body of a classic ("Body And Soul"), and steps into the spotlight with horn-in-hand on an intimate vocal-piano-flugelhorn take on "I'll Close My Eyes." 

Notable instrumental solos from the likes of trombonist Scott Whitfield, tenor saxophonist Roberts Brothers, and several others adds weight to these performances, and several tracks also benefit from the addition of Pete Levin's synthesized string work, which sounds remarkably real, adding substance in subtle ways. The Achilles heel on this album comes in the form of a blues-leaning take on "I Love Being Here With You" with a less-than-comfortable Winters working over a stiff and mechanical-sounding band that includes an organ which doesn't blend well but the other ten tracks suffer no such weaknesses. On Lovers After All, Deborah Winters proves to be an adept singer of songs, teller of timeless tales, and craftswoman of classy musical concoctions. ~ Dan Bilawsky  http://www.allaboutjazz.com/lovers-after-all-deborah-winters-jazzed-media-review-by-dan-bilawsky.php
 

Personnel: Deborah Winters: vocals; Doug Morton: trumpet (1-5, 9, 10); Peter Welker: trumpet (1-5, 9, 10), flugelhorn (11); Charlie McCarthy: alto saxophone (1, 4, 7, 9, 10); Rob Roth: tenor saxophone (1-5, 8-10); Scott Petersen: baritone saxophone (1-5, 9, 10); Mark Levine: piano (1, 4, 8, 9, 10); Chris Amberger: bass (1-4, 6-10); Kevin Dillon: drums (1, 4, 8-10); Andrew Speight: alto saxophone (2, 3, 5); Fred Lipsius: alto saxophone (2, 6); Scott Whitfield: trombone (2, 3, 6, 7); Dave Mathews: pianos (2, 3, 6, 11), Hammond B3 organ (5); Celso Alberti: drums (2, 7); Randy Vincent: guitar (2, 3, 7); Pete Levin: string synth (2, 4, 6); Kendrick Freeman: drums (3, 6); Garth Webber: guitar (5); Tim Haggerty: bass (5); James Preston: drums (5).

Lovers After All

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Conrad Herwig - New York Breed

Styles: Trombone Jazz
Year: 1995
File: MP3@320K/s
Time: 65:02
Size: 149,4 MB
Art: Front

(6:12)  1. Code Mode
(7:39)  2. Search for Peace
(6:09)  3. Cousin Mary
(6:50)  4. For Heaven's Sake
(6:47)  5. Gatekeeper
(5:42)  6. 40 Bars
(6:51)  7. Deluge
(4:21)  8. In the Wee Small Hours
(6:04)  9. New Breed
(8:23) 10. I'll Take Romance

Conrad Herwig is one of New York's more prominent progressive/mainstream trombonists. He has recorded and/or performed with a number of famous leaders, including but not limited to Joe Henderson, Jack DeJohnette, and Paquito d'Rivera. Herwig is an alumnus of the famous University of North Texas jazz program, an experience that obviously prepared him well as a big-band player. He began his professional career in the early '80s with Clark Terry's big band; stints with Buddy Rich, Toshiko Akiyoshi, Mel Lewis, and others were to follow. Herwig became an increasingly in-demand sideman in the '90s. He is an accomplished pedagogue, having taught clinics and workshops around the world. Herwig is on the faculty at Rutgers University, Mason Gross School of the Arts.

His seventh album as a leader, The Latin Side of John Coltrane, emphasized an affinity for South American idioms. Heart of Darkness (inspired by the short stories of Joseph Conrad) followed in 1998 on Criss Cross, and a year later Herwig resurfaced with Osteology. The 21st century found Herwig bursting with energy and new projects. He finally issued E o Trio de Barnardo Sassetti in April of 2000 (though it was recorded in 1993). He then released Unseen Universe, a new session, on Criss Cross in the fall and still found time to record with Andy LaVerne; the latter album was issued in 2002 as Shades of Light on Steeplechase. Land of Shadow was issued on Criss Cross in 2003; the band on the date included David Kikoski, Tim Hagans, Ben Schachter, James Genus, and Jeff "Tain" Watts. In 2004 Herwig released Another Kind of Blue on Half Note. It was recorded live in 2003 at the famed Blue Note club, where he and a nonet that included Paquito d'Rivera performed Miles Davis' Kind of Blue in its entirety. The same year, his second Latin-infused Coltrane tribute, Que Viva Coltrane, was issued on Criss Cross. Obligation was released by the same label in 2005.

In 2006, Half Note released the other half of Herwig's 2003 Davis tribute as Sketches of Spain y Mas; the program consisted solely of the late trumpeter's compositions. A quintet studio date entitled A Jones for Bones Tones was issued by Criss Cross in 2007. In 2008, Herwig recorded another live date, and released it as The Latin Side of Wayne Shorter, with the trombonist and arranger fronting a septet for Half Note. Pianist Eddie Palmieri guested on three of the set's nine cuts. Another installment in this series appeared in 2010 as The Latin Side of Herbie Hancock, with guests Palmieri and Randy Brecker. In 2014, Herwig returned with yet another entry into his Latinized jazz homage series with Latin Side of Joe Henderson; recorded live at the Blue Note in N.Y.C. and featuring saxophonist Joe Lovano. ~ Chris Kelsey & Thom Jurek, Rovi  https://itunes.apple.com/gb/artist/conrad-herwig/id54707892#fullText

Personnel: Conrad Herwig (trombone); Dave Leibman (soprano & tenor saxophones); Richie Beirach (piano); Rufus Reid (bass); Adam Nussbaum (drums).

New York Breed

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Walt Weiskopf - Song For My Mother

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 52:43
Size: 121,0 MB
Art: Front

(7:09)  1. Outsider
(5:18)  2. Three Armed Man
(6:41)  3. Barebones
(5:26)  4. End of the Year So Soon
(7:10)  5. Song for my Mother
(5:40)  6. High Noon
(5:26)  7. You Won't Forget Me
(4:06)  8. Where Is Love?
(5:42)  9. Turncoat

Weiskopf's talent broadens into the arranging field on this excellent album. The tenor saxophonist, a graduate of the Eastman School of Music and a veteran of the big bands of Buddy Rich and Toshiko Akiyoshi-Lew Tabackin, employs a nonet: four woodwinds, trumpet, trombone, piano, bass and drums. His charts put you in the mood of Gil Evans, Herbie Hancock and Duke Pearson. His tenor, reminiscent of Trane, Charles Lloyd and a cooler Mike Brecker, threads through the arrangements in integral fashion.

Anders Bostrom's virtuosic flute and alto flute are prominent in solo on three Weiskopf originals. Here and elsewhere, the flutes and alto flutes (all the reedmen double) color the band, giving it a pastel or glowing character. Jim Snidero (alto saxophone) and Scott Robinson (baritone saxophone) cook in their respective solos. Trumpeter Joe Magnarelli and trombonist Conrad Herwig complete the horns, with Joel Weiskopf (piano), Peter Washington (bass) and Billy Drummond (drums) in the rhythm section. ~ Owen Cordle  http://jazztimes.com/articles/8386-song-for-my-mother-walt-weiskopf

Personnel: Walt Weiskopf (tenor saxophone, flute, alto flute); Jim Snidero (alto saxophone, flute, alto flute); Scott Robinson (baritone saxophone, flute, bass clarinet); Joe Magnarelli (trumpet); Conrad Herwig (trombone); Anders Bostrom (flute, alto flute); Joel Weiskopf (piano); Peter Washington (bass); Billy Drummond (drums).

Song For My Mother

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Denise Perrier - East Meets West

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 53:18
Size: 122,5 MB
Art: Front

(6:10)  1. Fool On The Hill
(6:11)  2. Don't Explain
(4:18)  3. Do You Know What It Means to Miss New Orleans?
(5:26)  4. Day Dream
(7:07)  5. What A Difference A Day Made
(5:23)  6. Drinking Again
(5:34)  7. Bewitched, Bothered & Bewilder
(6:42)  8. I'm Just A Lucky So And So
(6:22)  9. Besame Mucho

Denise Perrier has spent most of her thirty-year career performing in the San Francisco Bay  Area and touring    Europe,  Latin America and Asia. With her latest CD, "Denise Perrier and the Novosibirsk Philharmonic Orchestra," she has moved to  a higher level of artistry and popularity.  Harkening back to the time when a singer told the story and left the rest to the instrumentalists, Denise has a very  welcoming straight-ahead style, concentrating on the standards and adding blues and Latin for variety. Her  musical configuration, Denise connects with audiences that’s her forte.

She is known as  “the voice with a  heart.” Blessed with a rich contralto voice and the ability to sing ballads and blues with equal artistry, Denise has performed in the theatrical revue "In the House of the Blues,"  portraying Bessie Smith; and the vaudeville “One Mo’  Time.”  She was featured in the Grammy-nominated CD, "Color Me Blue," with Brother Jack McDuff and, in addition to the latest one,  has produced four CDs: "The Second Time Around" (2008),  "I Wanna Be Loved" (1997), also with Houston Person, and  "East Meets  West" (2001) which includes sides performed in Russia.  In 2004, she came out with "Live at Yoshi's; Blue Monday Party," which received much critical acclaim and reached high on the jazz charts.   Denise was born in Louisiana but moved to the East Bay Area with her family at the age of five.  Denise didn't sing extensively in church, but her family had a jukebox, and she heard records by Billie Holiday and the other great early jazz singers.  Denise started singing in public when she was in a Haitian and Afro-Cuban dance group, obtaining her first professional engagement with a vocal ensemble called the Intervals.  Louis Armstrong saw the group and put them in his entourage for a performance in Las Vegas.  Shortly afterwards, Denise was recruited for a three-month gig in Australia, which turned into an extended stay in the Far East.

She performed in Hong Kong, the Philippines, Taiwan,    Formosa, Japan, Guam, and other Asian cities, staying for    almost five years with Hong Kong as her home base. She also spent a year and a half in Vietnam during the war touring military bases. Denise returned to the United States, lived in New York for five years, and then settled in San Francisco, where she became one of its most popular performers. She performs extensively in the San Francisco Bay Area's most prestigious venues as well as touring Latin America and Europe. ~ Bio  http://www.deniseperrier.com/BIO.htm

Personnel: Denise Perrier (vocals); Tammy Hall, Andrei Kondakov (piano); Jimmy Robinson (drums); Raul Ramirez (percussion)

East Meets West

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Claude Tissendier Quartet - The Liquorice Stick

Styles: Clarinet Jazz
Year: 2008
File: MP3@320K/s
Time: 56:27
Size: 129,6 MB
Art: Front

(4:03)  1. The Liquorice Stick
(5:00)  2. Begin The Beguine
(4:49)  3. Stompin' At The Savoy
(3:56)  4. Rue des Lavandières
(5:07)  5. Frenesi
(4:55)  6. It Had To Be You
(5:08)  7. Runnin' Wild
(4:00)  8. Memories Of You
(5:30)  9. Carioca
(4:19) 10. Broadway Song
(5:11) 11. Midnight At The Bayou
(4:22) 12. Sing, Sing, Sing

Born France. While studying classical clarinet and alto saxophone at Toulouse Conservatory, Tissendier began playing jazz. His interests followed a chronological path, starting with New Orleans music, passing through the mainstream into bop. In 1977 he joined the big band led by Claude Bolling and also worked with Gerard Badini and others. In the early 80s he taught at the Paris School of Jazz and in 1983 formed a sextet especially to recreate the music of John Kirby. In demand for club and festival dates, the band won many awards for both live performances and records. In 1987 Tissendier formed Saxomania, a seven-piece band featuring two alto saxophones, two tenors and three rhythm. Once again he won honours and gained invaluable experience and exposure accompanying visiting American jazzmen including Benny Carter, Buddy Tate, Jimmy Witherspoon and Spike Robinson, with some of whom he also recorded. Tissendier’s alto playing is striking for its intensity and driving swing and the high musical standards displayed by the Saxomania band ably demonstrate that his is a major talent. http://www.allmusic.com/artist/claude-tissendier-quintet-mn0000391438/biography

Personnel: Claude Tissendier (clarinet); Bernard Rabaud (vibes); Jacques Schneck (piano); Sylvain Clevarec (drums)

The Liquorice Stick

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