Pete Jolly Trio - Little Bird

Styles: Jazz, Cool
Year: 1962
File: MP3@320K/s
Time: 37:11
Size: 85,8 MB
Art: Front

(2:22)  1. Little Bird
(2:42)  2. Three Four Five
(6:34)  3. Never Never Land
(8:01)  4. Alone Together
(2:30)  5. To Kill a Mockingbird
(2:59)  6. Spring Can Really Hang You Up the Most
(4:22)  7. My Favorite Things
(5:10)  8. Toot, Toot, Tootsie
(2:26)  9. Falling in Love with Love

A hit record for the Pete Jolly Trio in 1963, Little Bird has mostly standards, but it is Jolly's version of the catchy title track that caught on. Pianist Jolly is joined by his trio bassist Chuck Berghofer and drummer Larry Bunker plus a pair of guests, guitarist Howard Roberts and percussionist Kenny Hume. This is a fine all-around straight-ahead session, highlighted by "Never Never Land," "Spring Can Really Hang You Up the Most," and "Falling in Love with Love."~ Scott Yanow http://www.allmusic.com/album/little-bird-mw0000866942

Little Bird

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Slam Stewart - Slamboree

Styles: Jazz, Bop
Year: 1997
File: MP3@320K/s
Time: 59:38
Size: 138,1 MB
Art: Front

(2:51)  1. Slamboree
(3:22)  2. On Green Dolphin Street
(3:46)  3. Foolin' Around
(3:38)  4. When Your Lover Has Gone
(3:47)  5. Back Home Again In Indiana
(3:11)  6. All The Things You Are
(3:35)  7. Yes Indeed
(6:49)  8. Willow Weep For Me
(4:42)  9. A Jam With Sam
(3:13) 10. All The Things You Are (take 1)
(3:28) 11. Things Ain't What They Used To Be
(2:47) 12. On Green Dolphin Street (alt take)
(2:24) 13. Yes Indeed (take 1)
(3:12) 14. All The Things You Are (take 2)
(5:01) 15. Willow Weep For Me (take 1)
(3:44) 16. Foolin' Around (rehearsal)

Leroy Eliot "Slam" Stewart (September 21, 1914 – December 10, 1987) was an African American jazz bass player whose trademark style was his ability to bow the bass (arco) and simultaneously hum or sing an octave higher. He was originally a violin player before switching to bass at the age of 20. 

Stewart was born in Englewood, New Jersey on September 21, 1914, and began playing string bass while attending Dwight Morrow High School. While attending the Boston Conservatory, he heard Ray Perry singing along with his violin. This gave him the inspiration to follow suit with his bass. In 1937 Stewart teamed with Slim Gaillard to form the novelty jazz act Slim and Slam. The duo's biggest hit was "Flat Foot Floogie (with a Floy Floy)" in 1938 (see 1938 in music). Stewart found regular session work throughout the 1940s with Lester Young, Fats Waller, Coleman Hawkins, Erroll Garner, Art Tatum, Johnny Guarnieri, Red Norvo, Don Byas, the Benny Goodman Sextet, and Beryl Booker, among others. 

One of the most famous sessions he played on took place in 1945, when Stewart played with Dizzy Gillespie's group (which featured Charlie Parker). Out of those sessions came some of the classics of bebop such as "Groovin' High" and "Dizzy Atmosphere." Throughout the rest of his career, Stewart worked regularly and employed his unique and enjoyable bass-playing style. He taught at Binghamton University in Binghamton, New York, and at Yale University. He died on December 9, 1987 in Binghamton. https://en.wikipedia.org/wiki/Slam_Stewart

Personnel:  Slam Stewart (Bass, Composer, Primary Artist, Vocals );  Al Casey (guitar);  Gene Rodgers (bass),  Wild Bill Davis (piano);  Joseph "Kaiser" Marshall,  Jo Jones (drums).

Slamboree

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Rumer - B Sides & Rarities

Styles: Vocal, Jazz Soul
Year: 2015
File: MP3@320K/s
Time: 60:12
Size: 138,4 MB
Art: Front

(3:56)  1. Arthur's Theme (Best That You Can Do)
(4:07)  2. Dangerous (Bossa Nova)
(4:28)  3. Sailing
(3:24)  4. Hasbrook Heights (with Dionne Warwick)
(3:13)  5. Come Saturday Morning
(3:20)  6. It Might Be You (theme from Tootsie)
(2:33)  7. Moon River (live on BBC Radio 2)
(3:49)  8. Separate Lives (with Stephen Bishop)
(3:21)  9. The Warmth of the Sun
(2:53) 10. Alfie
(3:12) 11. Long Long Day
(3:33) 12. Soul Rebel
(3:49) 13. Here Comes the Sun
(2:41) 14. Marie
(5:29) 15. Frederick Douglas
(3:12) 16. That's All (with Michael Feinstein live on NPR)
(3:05) 17. I Believe in You (theme from Johnny English)

Already sounding of the era, it’s only fitting that Rumer’s B-Sides & Rarities is made up largely of ‘60s and ‘70s soft rock and singer-songwriter staples. Her crystalline, impeccably precise vocals are perfectly suited to the slick arrangements and performances associated with this particular era and style of pop music. And since so many of these songs were and are lovely to begin with, if not necessarily critically revered, her loving renditions simply serve to reaffirm their overall pleasantness. Her take on Christopher Cross’ “Arthur’s Theme (Best That You Can Do)” deviates little from the original, remaining close in both form and arrangement with Rumer sounding as ever like a slightly more assured Karen Carpenter. Giving the song an even smoother (if that’s possible) take, Rumer’s voice is better suited to the material than Cross’ in that hers is a voice in possession of a certain level of weightless effortlessness that feels unhurried, unforced and completely natural. It’s an immensely pleasing and calming voice that manages to toe the line between beauty and pastiche.

Similarly, “Sailing” is slowed even more than the original, given a balladic reading that manages to sound just that much more profound than Cross’ somewhat silly lyrics and delivery would have most believe. Given the level of ironic detachment and loosely- defined enjoyment afforded these so-called “yacht rock” songs over the last decade or so, it’s refreshing to hear someone approach the material with a sort of wide-eyed wonder and earnestness that carries not a trace of irony. Rather than using the songs as the basis for humorous interpretation, Rumer approaches these songs as someone who feels them deeply and wishes to do them justice. In this approach, she’s far more successful, imbuing her performance with a level of reverence not generally afforded such ephemeral pop fluff. It’s a refreshing take that allows these songs to be heard again for the first time.

Taking on a pair of Bacharach/David compositions in “Hasbrook Heights” and “Alfie”, she proves herself a deft interpreter, capable of a level of subtle nuance in her phrasing that would no doubt make the composer proud. Notoriously tricky arrangements and atypical in structure, Bacharach/David compositions have long been a favorite of many artists, but rarely are as successful as they are here. “Alfie” in particular, with its melodic jumps that tend to trip up lesser performers, is delivered with the same pleasant effortlessness as nearly everything else on the album. While much of the material itself can be somewhat hard to take seriously (especially “It Might Be You (Theme From Tootsie)”), the casually reverent way in which she approaches these songs makes it hard to adopt an even remotely jaded stance. Rather there’s such a genuine affection inherent in her performances that it’s clear this is the era of pop music in which she finds herself most comfortable. It’s little wonder then that these songs could just as easily have slotted into her most recent collection of original material. In the hands of a lesser interpreter, it would be nearly impossible for these songs not to border on the parodic.

While many of these songs have been done nearly to death (does the world really need another version of “Moon River” or “Here Comes the Sun”? Turns out it does), Rumer manages to inject enough of herself into fairly tame arrangements to make them worth checking out. With a voice as pure as hers, it’s extremely difficult to find much in the way of fault. Her reading of Randy Newman’s “Marie” in particular is nothing short of heartbreaking. The collection is not without its flaws, however. “Separate Lives”, a live duet with Stephen Bishop, sounds more like a contemporary Christian anthem than a soft pop classic. While their voices manage a relatively pleasant pairing, much like Karen Carpenter, her voice is best served solo or in tandem with itself (see her unlikely take on Bob Marley’s “Soul Rebel”). Wisely, the only other pairing on the album, a lovely rendition of “That’s All”, finds Rumer accompanied only by Michael Feinstein on piano.By no means essential, B-Sides & Rarities is a fine stopgap release for those already enamored of Rumer’s previous releases. Fans of soft pop/rock, singer-songwriters and musicians who place greater focus on subtlety and nuance in their performances will find much to like here. http://www.popmatters.com/review/193582-rumer-b-sides-rarities/

B Sides & Rarities

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Stan Getz - The Steamer

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 53:42
Size: 123,4 MB
Art: Front

(7:53)  1. Blues For Mary Jane
(9:20)  2. There Will Never Be Another You
(4:13)  3. You're Blasé
(6:19)  4. Too Close For Comfort
(6:30)  5. Like Someone In Love
(7:24)  6. How About You?
(6:54)  7. How About You? (Complete Alternative Take, alternate take, complete)
(1:09)  8. There Will Never Be Another You (Breakdown Take) (Incomplete Take)
(0:46)  9. You're Blase (take False Start, false start)
(0:37) 10. Like Someone in Love (Incomplete Take)
(2:30) 11. How About You? (Breakdown Take) (False Start)

It doesn't happen too often, but there are times when the title of a jazz album and the material within interface perfectly. Hence The Steamer, where Stan Getz joined forces with a super West Coast-based rhythm section to produce some truly steaming music. "Blues for Mary Jane" is remarkable; for all of the straight-ahead heat generated by the rhythm section, Getz is incredibly relaxed, poised, and always under control while still managing to swing like mad. In other words, the style that he was able to carry over to his bossa nova adventures in the following decade is right here, ready to go. 

There is also room for the Getz-ballad manner on "You're Blase," and "Like Someone in Love" combines a leisurely swinging tempo with Getz's natural warmth. From the evidence of these sessions alone, not to mention countless others, the team of bassist Leroy Vinnegar and drummer Stan Levey ought to be anointed as one of the greatest rhythm sections in jazz history, and sure-fingered pianist Lou Levy benefits from their finesse and drive. All of this music is available on the three-CD set East of the Sun: The West Coast Sessions, and this Verve Master Edition release offers outtakes from that set at the end of the disc. Indeed, the alternate "How About You?" has some swinging hairpin turns by Getz that will make your head swivel. ~ Richard S.Ginell  http://www.allmusic.com/album/the-steamer-mw0000256953

Personnel: Stan Getz (tenor saxophone); Lou Levy (piano); Leroy Vinnegar (bass); Stan Levey (drums).

The Steamer

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Andy Sheppard Quartet - Surrounded By Sea

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 53:25
Size: 123,4 MB
Art: Front

(6:16)  1. Tipping Point
(5:15)  2. I Want to Vanish
(4:17)  3. Aoidh, Na Dean Cadal Idir, Pt. 1
(5:06)  4. Origin of Species
(5:09)  5. They Aren't Perfect and Neither Am I
(5:02)  6. Medication
(1:14)  7. Aoidh, Na Dean Cadal Idir, Pt. 2
(6:18)  8. The Impossibility of Silence
(3:48)  9. I See Your Eyes Before Me
(4:18) 10. A Letter
(3:29) 11. Aoidh, Na Dean Cadal Idir, Pt. 3
(3:09) 12. Looking for Ornette

Saxophonist/composer Andy Sheppard has found a home in ECM. It's maybe not the perfect home for an artist as eclectic as Sheppard, for it's hard to see some of his other projects notably the Scofield/Lovanoesque quartet Hotel Bristol fitting in with the ECM aesthetic. Still, Sheppard's melodic improvisational approach and the airy lyricism on Movements in Color (ECM, 2009) and Trio Libero (ECM, 2012) fitted the ECM blueprint beautifully and rank among his most seductive recordings. With Surrounded by Sea Sheppard expands the sonic palette of Trio Libero with the addition of guitarist/electronics musician Eivind Aarset, whose ambient craft adds profundity and simmering edge to the prevailing undertstaed lyricism. Surrounded by Sea trades some of Trio Libero's rubato grace for greater harmonic layers and rhythmic dynamics; on the stunning opener "Tipping Point," Michel Benita's deep bass ostinato and Sebastian Rochford's skipping grooves drive Sheppard's tenor siren, while Aarset's embedded drone and softly voiced, washing six-string textures add atmospheric ambient textures. Sheppard's trademark soprano melodicism is to the fore on Elvis Costello's "I Want to Vanish," a lulling ballad of folkloric charm where Rochford's brushes sigh like waves on a pebble beach.

Folk music has colored most of Sheppards' recorded output over the years and here the quartet addresses "Aoidh, Na Dean Cadal Idir," a traditional Scottish song. The tune blossomed into a twenty-minute improvisation in the studio, was subsequently pruned and woven through the album in three parts, conferring a suite-like continuity on the whole. Hauntingly atmospheric and abundantly lyrical, Sheppard's yearning soprano is lent buoyancy by the loose grooves on the first and third parts. Part two is a fleeting vignette whose feathery lyricism dissipates and vanishes like the lightest of breezes briefly felt. More of this improvised/studio-sculpted mini-suite embedded throughout the album wouldn't have gone amiss. 

Gentle eddies of bass and tenor saxophone color the poetic "Origin of the Species," with Aarset's orchestral waves subtly infusing the narrative; Rochford's presence is ghostly sensed rather than heard. A similar aesthetic imbues "The Impossibility of Silence," with brushes more prominent. Fractured rhythms and echoing guitar plot the course on "They Aren't Perfect and Neither Am I," a brooding quartet tale where sketchy composed lines and measured improvisation dovetail easily. The low-rumbling intensity of the intro to "I See Your Eyes before Me" gives way to Sheppard's tenor lead, searching and ruminative in turn. The simple architecture of the dreamy waltz "A Letter" foregrounds Sheppard's beautiful weighted soprano lines.

Sheppard revisits older material on the hypnotic "Medication," previously interpreted with the Bergen Big Band; Aarset shadows Sheppard's defining melody closely before the saxophonist peels away over Rochford's light, yet propulsive groove. On "Looking for Ornette," Sheppard is drawn once more to explore the nuances of his Ornette Coleman-inspired piece that appeared on Dancing Man and Woman (Provocateur Records, 2000), closing this album in quietly celebratory mode. Surrounded by Sea is an intimate statement whose chemistry belies the quartet's brief existence. There's a bold honesty in the music's refined contours and graceful adventure that invites and rewards the patient listener. There's the feeling too, that this quartet has plenty more to offer. 

~ Ian Patterson http://www.allaboutjazz.com/surrounded-by-sea-andy-sheppard-quartet-ecm-records-review-by-ian-patterson.php

Personnel: Andy Sheppard, tenor & soprano saxophones; Seb Rochford: drums, percussion; Eivind Aarset: electric guitars, electronics; Michel Benita: bass.

Surrounded By Sea

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