Silky Denims: 08/26/15

Wednesday, August 26, 2015

Sylvie Vartan - Sylvie In Nashville

Size: 106,4 MB
Time: 45:14
File: MP3 @ 320K/s
Released: 2013
Styles: Pop, Rock, Blues
Art: Front

01. Cheveux Au Vent (5:06)
02. I Like It, I Love It (3:05)
03. Etrangere (3:32)
04. Ciel (3:04)
05. Dans Le Bayou (3:07)
06. Le Feu Sous La Glace (4:24)
07. Loin D'ici (3:32)
08. Sandy (3:14)
09. En Rouge Et Or (3:10)
10. Si Les Annees (3:48)
11. Mr. John B (3:21)
12. Non Merci (2:47)
13. Come A Little Closer (2:58)

Although actor/pop singer Sylvie Vartan is Bulgarian, she would eventually receive recognition from the French, usually singing entirely in the language of her adopted homeland. Born August 15, 1944, in Iskretz, Bulgaria, Vartan showed great talent for both acting and singing at an early age, resulting in an appearance in the Bulgarian film Under the Yoke in 1950. Two years later (while only ten years old), Vartan and her family relocated to France. 1961 would prove to be an important year for Vartan's career, as she entered a recording studio for the first time, picked up some TV work, and appeared at the famed Olympia Theater. The early '60s saw the release of a steady stream of singles, EPs, and albums (such as 1962's Sylvie), in addition to further appearances in European movies -- including A Moonlight in Maubeuge and Just for Fun.

Other impressive accomplishments for Vartan in the early '60s included recording a pair of songs ("If I Sing" and "Most Beautiful to Go to Dance") with famed country artists Chet Atkins and Ray Stevens, and playing on the same bill as the Beatles at the Olympia in January of 1964. During the mid-'60s, Vartan concentrated on making inroads to the American music market, as she appeared on such TV shows as The Ed Sullivan Show, Hullaballooh, and Shindig, while one of her best singles, "2'35 de Bonheur," hit the charts in early 1967. Subsequently, Vartan kept on issuing albums and touring at a steady rate right up to the 21st century, as 2001 saw the release of the 14-track career overview L'Essential. ~by Greg Prato

Sylvie In Nashville

Kenyon Carter - Game On

Size: 116,5 MB
Time: 50:05
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Smooth Jazz
Art: Front

01. Game On (Feat. Chuck Loeb) (5:06)
02. Just A Smile (4:28)
03. Going Home (4:17)
04. Sea Of Abaco (4:14)
05. Jammin' On Juniper (4:25)
06. Moving Forward (4:20)
07. Wine On Eight (4:54)
08. Lights Down Low (4:26)
09. In This Moment (4:42)
10. Here We Go (4:46)
11. Game On (Radio Edit) (Feat. Chuck Loeb) (4:22)

Kenyon Carter is an Atlanta-based jazz saxophonist and recording artist recognized for his melodic smooth jazz compositions and engaging live performances. He expresses his creative and soulful style through a beautiful and sultry sound. Although unique and entirely unmistakeable, he has been compared to contemporary smooth jazz favorites like Boney James, Dave Koz, Kirk Whalum and Gerald Albright.

Join Kenyon and his all-star band as they celebrate the release of his new album, Game On. This CD release party will feature Dan Barazu on guitar, Tyrone Jackson on keyboards, Tim Aucoin on bass, and John David on drums playing tunes from this brand new contemporary jazz release. Don’t miss this opportunity to be among the first to hear Kenyon’s new tunes (that range from tender and sensual to high-energy songs like the title track that features smooth jazz guitar giant, Chuck Loeb) in the best room in the city to hear live music. Get your tickets now – last year’s CD release party sold out quickly!

Songs For My Father, Kenyon’s 2014 release, is a dedication to his father, Kent Carter, who passed away in early 2013. The album debuted at #4 on iTunes’ top jazz album chart, features jazz arrangements of ten all-time favorite gospel hymns and has received rave reviews and airplay on jazz radio. “The Jazz Evangelist,” Scott Fugate declares “Kenyon’s virtuosity is on full display here in his diverse arrangements as well as his range, covering a spectrum of jazz styles from blues, swing, smooth, straight ahead, and even a light bossa on “To God Be The Glory.” This album is a rich, relaxing and spiritual experience that will warm your soul.”

Raised in South Georgia, Kenyon’s call to jazz came early, picking up his first saxophone at thirteen. He began his formal education at Valdosta State University, where he earned Bachelor’s degrees in both Jazz Performance and Music Education. Later, he pursued graduate work at Georgia State University, where he earned a Master’s degree in Jazz Studies.

Kenyon’s debut album, Right By My Side, is a smooth jazz album that crosses over into easy listening and instrumental pop. The melodic tunes, with their colorful landscapes of rhythms and grooves, helped the project gain widespread international airplay and two of the tracks earn placement on GrooveJazzMusic.com’s “Top 100 Smooth Jazz Songs” list in 2012.

Game On

Swing Noir - The New Black

Size: 101,5 MB
Time: 41:54
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Gipsy Jazz, Vocals
Art: Front

01. Crazy (2:39)
02. Lullaby Of Birdland (3:26)
03. Summertime (3:33)
04. If I Only Had A Brain (2:45)
05. They Can't Take That Away From Me (2:49)
06. Poor Boy (3:10)
07. Autumn Leaves (4:51)
08. Coquette (3:07)
09. Cheek To Cheek (3:27)
10. All About That Bass (3:37)
11. You Got Me Where You Want Me (2:21)
12. Night And Day (2:49)
13. Poor Boy (Electric) (3:14)

Swing Noir take you back to the early 20th century, with music from the 1930's, through to the 1960's. The duo perform a mixture of swing, jazz and early popular music, with a gypsy jazz style influence. They combine the acoustic talent of Jim Knowler on guitar/vocals and Serena Sykes on vocals/double bass, bringing a smooth sound, rich with vocal harmonies. With music from the likes of Ella Fitzgerald, Louis Armstrong and Bing Crosby, to Mel Torme, Judy Garland and Doris Day, and with influences from musicians such as Django Reinhardt, Ray Brown and Barney Kessel, Swing Noir bring an authentic vintage vibe to any event.

The New Black

Cal Tjader - Life Is But A Dream: Latin Summer Grooves

Size: 181,6 MB
Time: 77:32
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Latin Jazz
Art: Front

01. It Ain't Necessarily So (2:02)
02. Yesterdays (3:20)
03. Mambo Sangria (2:43)
04. I've Grown Accustomed To Her Face (3:56)
05. Fried Bananas (2:34)
06. Mambo At The 'M' (4:38)
07. September (3:47)
08. Amazon (2:31)
09. Menina Bonita (Pretty Young Girl) (7:22)
10. Out Of Nowhere (3:00)
11. La Bamba (2:29)
12. The Lady Is A Tramp (2:51)
13. Close Your Eyes (3:09)
14. Viva Cepeda (3:40)
15. Solar Heat (2:38)
16. East Of The Sun (And West Of The Moon) (3:00)
17. Armando's Bossa (5:38)
18. For All We Know (5:41)
19. Para Ti (3:28)
20. Skyline Waltz (3:43)
21. Mambo Macumba (2:18)
22. For Heaven's Sake (2:54)

Cal Tjader (July 16, 1925–May 5, 1982) was an American Latin jazz musician. Unlike other American jazz musicians who experimented with the music from Cuba, the Caribbean, and Latin America, he never abandoned it, performing it until his death.

Tjader (pronounced "chay-der") primarily played the vibraphone. He was also accomplished on the drums, bongos, congas, timpani, and the piano. He worked with numerous musicians from several cultures. He is often linked to the development of Latin rock and acid jazz. Although fusing jazz with Latin music is often categorized as "Latin jazz" (or, earlier, "Afro-Cuban jazz"), Tjader's output swung freely between both styles.

Life Is But A Dream

Cynthia Tarr - Here's To Life

Size: 158,3 MB
Time: 67:37
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Blues/Soul/Pop Vocals
Art: Front

01. Shadow Of Your Smile (5:19)
02. Shimmy Softly (4:33)
03. Cry Me A River (4:35)
04. Think Well Of Me (5:07)
05. Pocket Full Of Rainbows (3:18)
06. Make Me New For You (5:06)
07. Crazy In Love (3:52)
08. One For My Baby (4:07)
09. Sway (4:33)
10. Loves River (4:22)
11. Take Me With You (3:59)
12. Ain't No Game (4:50)
13. All For Naught (3:12)
14. Black Coffee (6:31)
15. Here's To Life (4:06)

A sultry and powerful singer, Cynthia Tarr celebrates life with soulful jazz and blues music delivered with great performances and beautiful arrangements.

I'm Cynthia Tarr and I've been a professional singer all my life. For over 20 years, I performed in Los Angeles, but it is only when I moved to the wine country of Sonoma, California, that I became inspired to make the CD of my lifetime. The beauty and serenity of Northern California has given me new creativity and inspiration. And with your support, I'd like to share it with you!

The talent I have assembled for this project is astounding--amazing players with an intense commitment to making "Here's to Life!" the best it can be. I believe I have achieved a level of vocal richness, resonance, power and subtleties. And, combined with these wonderful players and some gorgeous tunes, you'll have a CD that you can listen to intently or play to set a mood. We do it all here--jazz, samba, smoky ballads, pop, Brazilian and some of my original songs.

Here's To Life

Deborah Brown - For The Love Of Ivie: A Tribute to Ivie Anderson

Bitrate: MP3@320K/s
Time: 52:39
Size: 120.5 MB
Styles: Vocal jazz
Year: 2008
Art: Front

[5:59] 1. Mood Indigo
[3:16] 2. It Don't Mean A Thing (If It Ain't Got That Swing)
[7:10] 3. Your Love Has Faded
[4:13] 4. I'm Satisfied
[3:19] 5. Solitude
[3:17] 6. Black Beauty
[3:30] 7. It Was A Sad Night In Harlem
[4:13] 8. All God's Chillun
[5:16] 9. I Got It Bad And That Ain't Good
[5:29] 10. My Old Flame
[3:38] 11. I'm Checkin' Out, Goom-Bye
[3:09] 12. Stormy Weather
[0:03] 13. That's The Version

Ivie Anderson was Duke Ellington's mainstay singer from 1931 to 1942, melding the depth of Billie Holiday with the sophisticated attitude of Lena Horne. Deborah Brown is one of the finest modern jazz vocalists ever to grace live venues and recording studios. In common with Anderson, she is a musician's vocalist, having played with the likes of Slide Hampton, Cedar Walton, Clark Terry, Johnny Griffin, Michel Legrand, Toots Thielemans and Roy Hargrove, amply showing the respect in which she is regarded by the players, as well as her great adaptability. With For The Love Of Ivie , Brown takes Anderson's repertoire in a modern direction—swinging, scatting, and crooning with a group of outstanding European musicians, its core consisting of drummer Eric Ineke's Jazz Xpress, one of the continent's best groups.

Well-recorded and mastered, with sensitive and responsive instrumentalists, the recording tastefully transcends Anderson and the Duke, mirroring the many moods and idioms of jazz, from blues, Latin and swing to bebop and beyond, with Brown delivering her typically disciplined yet lively and swinging interpretations. Few singers, if any, can match her unwavering precision, timing, vocal technique, and synchronization. Throughout this album, she sings intelligently, with resonant voice, and controlled expression of emotion, backed up with lively accompaniment and solos that pleasingly frame Brown's voice. It's all together a moveable jazz songfest.

In addition to the Ellington classics like "Mood Indigo," "It Don't Mean a Thing if it Ain't Got That Swing," and "I Got It Bad and That Ain't Good," the album includes Billy Strayhorn's "Your Love Has Faded," featuring superb trombone work by Bart Van Lier, and standards like "My Old Flame" and "Stormy Weather." An instrumental version of Ellington's "Black Beauty" shows off the sidemen's talents, while Brown's artful rendition of the lovely blues-oriented ballad, "It Was a Sad Night in Harlem," is a dark horse number. Brown grew up in Kansas City (where she now resides), spent time in New Orleans, and was later based in Holland, where she mentored students such as JD Walter. Harking back to the days of swing and bebop, this album reflects Brown's KC roots enhanced by the European experience.Topping off the album's high quality are excellent liner notes, session photographs, and a precious photograph of Ellington and Anderson with band members, at what appears to be a train station in The Hague, Netherlands.

A great way to listen to this album is to pair it off with Ivie Anderson with Duke Ellington and His Famous Orchestra (EPM, 1996). In particular, Anderson's melancholic version of "Mood Indigo" includes a signature solo by Ben Webster, and contrasts sharply with Brown's Latin-spiced rendition. It's also fun to contemplate which of them merits the seven-second exclamation, "That's the Version!" which Brown tacked onto her CD. ~Vitor L. Schermer

Deborah Brown: vocals, piano; Benjamin Herman: alto saxophone; Bart Van Lier: trombone; Sjoerd Dijkhuizen: clarinet, bass clarinet, tenor saxophone, baritone saxophone; Rik Mol: trumpet, flugelhorn; Rob Van Bavel: piano; Eric Ineke: drums, cymbals, percussion.

For The Love Of Ivie: A Tribute to Ivie Anderson

Willis Jackson, Richard 'Groove' Holmes - Live On Stage

Bitrate: MP3@320K/s

Time: 67:45

Size: 155.1 MB

Styles: Jump blues, Bop, Saxophone jazz

Year: 2003/2008

Art: Front

[ 7:43] 1. Ya Understand Me

[ 6:34] 2. Body And Soul

[ 9:10] 3. More

[12:08] 4. Satin Doll

[ 6:25] 5. My One And Only Love

[ 8:58] 6. The Head Tune

[ 8:09] 7. The Man I Love

[ 8:33] 8. Bar Wars

Willis Gator”Jackson (ts), Richard Groove Holmes (org), Steve Giordano (g), Roger Lee Humphrey (d). Recorded Live on January 26, 1980 in Château Neuf du Pape, France.

As the sixties drew to a close, Jean-Marie Monestier and Jean-Pierre Tahmazian discovered the whereabouts of the last living classical jazz musicians. They decided to bring them to France, out of the anonymity into which forgetfulness had plunged them. With the applause of the concert audience still ringing in their ears, these musicians then recorded some of their most beautiful music for Black & Blue. Jean-Michel Proust and Jean-Marc Fritz who were aware of their historical value, listened to these treasures. The result was “The Definitive Black & Blue Sessions: Live On Stage”.

Live On Stage

Soren Reiff - Gratitude

Bitrate: MP3@320K/s
Time: 68:24
Size: 156.6 MB
Styles: Guitar jazz
Year: 2015
Art: Front

[5:55] 1. Gratitude
[5:30] 2. Let's Play
[5:48] 3. Who Would You Be
[6:32] 4. Blues For J
[5:39] 5. You Turn Me On
[6:19] 6. Longing Home
[4:55] 7. I Can't Deny (Vocal Vers)
[6:00] 8. Have To Move On
[5:17] 9. Make Some Noise
[5:47] 10. Who Would You Be (Vocal Vers)
[4:55] 11. I Can't Deny
[4:14] 12. You Turn Me On (Radio Edit)
[1:28] 13. Who Would You Be (Epilogue)

Brilliantly fusing silky smooth soul and jazz licks with edgy urban vibes and blistering funky blues, renowned Danish guitarist Soren Reiff – whose style critics have compared to George Benson, Larry Carlton and Robben Ford - is in the mood for some explosive GRATITUDE. His eclectic new collection features an all-star cast of American jazz greats – including bassist Jimmy Haslip, keyboardist David Garfield, drummer Gary Novak and others. Reiff is used to working with legends. A veteran session musician and Musical Director for many top Danish TV shows, he has jammed with everyone from David Sanborn, Chaka Khan and Mike Stern to Randy Crawford and Robert Palmer. You’ll be thankful for all the excitement of GRATITUDE! ~ Jonathan Widran

Gratitude

Charlie Barnet - The Everest Years

Bitrate: MP3@320K/s
Time: 77:14
Size: 176.8 MB
Styles: Big band, Swing
Year: 2005
Art: Front

[6:58] 1. Cherokee
[3:44] 2. Serenade To May
[3:19] 3. Moten Swing
[2:10] 4. Pompton Turnpike
[2:48] 5. East Side, West Side
[3:05] 6. Charleston Alley
[3:17] 7. Skyliner
[3:28] 8. Blue Juice
[3:55] 9. Wild Man Of The Fish Pond
[3:31] 10. Southern Fried
[2:52] 11. Smiles
[2:46] 12. Evergreens
[3:21] 13. Stardust
[2:39] 14. Take The A Train
[3:18] 15. Goodbye
[3:23] 16. Early Autumn
[3:15] 17. Flying Home
[3:30] 18. I Can't Get Started
[2:50] 19. Begin The Beguine
[2:53] 20. Darn That Dream
[2:42] 21. Midnight Sun
[4:17] 22. One O'clock Jump
[3:03] 23. I Want The Waiter (With The Water)

Charlie Barnet was at his prime as a tenor saxophonist and bandleader during 1939-1949 when his big bands were quite popular. By 1958 he was semi-retired but still enjoying himself, putting together orchestras whenever the mood struck him. He recorded two albums for Everest that year and, to be different, he left his tenor at home, instead playing alto and soprano sax. Although some of the songs are remakes of his earlier hits, they were often rearranged and sound fresh and new, particularly by 1958, with this version of "Pompton Turnpike" topping (and being more humorous) than the original recording. In addition to Barnet, the key soloists are trumpeters Charlie Shavers and Clark Terry. The enthusiasm of the musicians, some of whom were alumni but most at the time were studio musicians, is contagious and Barnet is heard at his most enthusiastic. Recommended. ~Scott Yanow

The Everest Years

Bud Shank - A Spoonful Of Jazz

Styles: Jazz, Hard Bop
Year: 1967
File: MP3@VBR~258K/s
Time: 34:07
Size: 63,6 MB
Art: Front

(3:01) 1. Summer In The City
(2:24) 2. Did You Ever Have To Make Up Your Mind?
(2:29) 3. (You And Me And) Rain On The Roof
(3:39) 4. Amy's Theme
(2:45) 5. Cocoanut Grove
(2:28) 6. Lovin' You
(3:33) 7. Darling Be Home Soon
(2:30) 8. Six O'Clock
(2:42) 9. Younger Girl
(3:11) 10. Didn't Wanna Have To Do It
(3:12) 11. Daydream
(2:07) 12. Do You Believe In Magic?

A Spoonful of Jazz is a very good description of the contents of this LP by Bud Shank, which features little in the way of meaningful jazz in a songbook of works by 1960s pop group the Lovin' Spoonful. In spite of the usually potent alto sax of Shank and a band arranged and conducted by Shorty Rogers, which also includes George Roberts, Frank Rosolino, Conte Candoli, Bud Brisbois, and Buddy Childers, this release is an absolute dud as far as jazz fans are concerned. The melodies of the Lovin' Spoonful are extremely repetitive, and none of Rogers' charts flesh out the themes enough to provide grounds for any memorable improvisations. The lifeless pedestrian rhythm section of electric bassist Carol Kaye, guitarist Dennis Budimir, and drummer Earl Palmer add to the badly dated sound of the album.

Particularly embarrassing is the baroque arrangement of "(You and Me and) Rain on the Roof," complete with electric harpsichord and Shank's disappointing flute solo. Veteran jazz writer Patricia Willard's liner notes are full of hyperbole, but it is difficult to think she actually believed what she wrote about this release. This historical curiosity shows how desperate labels like World Pacific sought to attract some of the pop audience to jazz artists; it can be safely bypassed by all jazz fans, except for the most obsessive collectors of the music of Bud Shank. ~ Ken Dryden http://www.allmusic.com/album/Drums

Personnel: Flute, Piccolo Flute, Flute [Alto], Flute [Bass], Flute [Amplified] – Bud Shank; Drums – Earl Palmer, Hal Blaine; Electric Bass – Carol Kaye; Electric Guitar – Dennis Budimir

A Spoonful Of Jazz

The Stryker-Slagle Band - Live At The Jazz Standard

Styles: Guitar And Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 66:11
Size: 151,8 MB
Art: Front

(8:16) 1. Mozone
(7:44) 2. Boogaloo 7
(7:07) 3. Doubleblue
(7:13) 4. I Love's You Porgy
(5:25) 5. The Great Divide
(6:43) 6. Baba Marta
(8:18) 7. Muddy Waters
(6:53) 8. The Chaser
(8:28) 9. Passing Giant

While they've worked together regularly over the years, guitarist Dave Stryker and saxophonist Steve Slagle have never recorded live together and have only one eponymous recording out under their collaborative Stryker/Slagle Band moniker. When they booked two nights at New York's Jazz Standard earlier this year to test out new material for a planned studio date, Stryker had the idea that they should record the gig and release the best material on disc. That was an inspired decision. When spontaneity is the defining factor for a group whose writing is inventive, but acts primarily as a vehicle for improvisation, live recording is often the best route. Anyone who's spent time in a studio will tell you that early (and often first) takes are the best ones, more often than not; the only certainty when you woodshed material too heavily is that you'll lose its spark. So why not combine the discovery with the kind of energy that only comes in the two-way relationship between a group and its audience?

Stryker has operated below the radar of the greater jazz public, but he has nevertheless created a viable career with over fifteen albums under his own name. He's also spent considerable time working with artists like Stanley Turrentine and Jack McDuff. His language is rich, but he always imbues it with a soulful sense of the blues that keeps it grounded. Slagle's an exciting player with an even greater pedigree than Stryker. He first came to attention on pianist Steve Kuhn's '70s ECM recordings Motility and Non-Fiction, subsequently working with artists like Carla Bley and the Mingus Big Band and turning in surprising stints with Marianne Faithful and the Beastie Boys. In some ways he's an alto cousin to Dave Liebman, with an equally unbridled intensity even on ballads like "I Loves You Porgy, where it remains bubbling just below the surface.

Bassist Ed Howard and drummer Victor Lewis have been working together for a few years with Eddie Henderson, and they collaborated with Stryker on Big City, released earlier this year. A more intuitive team you'd be hard-pressed to find; the chemistry that's developed from Stryker and Slagle's shared history, combined with Howard and Lewis' similarly-developed simpatico, makes for a potent mix filled with possibility. That possibility is realized on Live at the Jazz Standard. Whether on the modal burn of "Mozone, the comfortable groove of "Boogaloo 7, the Latin-centric "Baba Marta, or the more reverentially bluesy "Muddy Waters, these four players listen and engage each other, making this an accessible set that's never short on surprise. The swinging "The Great Divide demonstrates Stryker and Slagle's remarkable ability to solo in tandem without cluttering the situation, creating a whole that's greater than the sum of its parts. Live at the Jazz Standard doesn't push any boundaries, but it's an unassuming and compelling collaboration that still has plenty of personality, making you wish you'd been there. ~ John Kelman http://www.allaboutjazz.com/live-at-the-jazz-standard-stryker-slagle-band-zoho-music-review-by-john-kelman.php

Personnel: Dave Stryker: guitar; Steve Slagle: alto & soprano saxes; Ed Howard: bass; Victor Lewis: drums.

Live At The Jazz Standard

Annie Sellick - Street Of Dreams

Styles: Jazz, Vocal
Year: 2009
File: MP3@320K/s
Time: 47:41
Size: 109,6 MB
Art: Front

(3:27) 1. Cloudburst
(4:29) 2. Do It Again
(4:05) 3. Tristeza
(5:34) 4. I Know You Oh So Well
(3:56) 5. I Love Paris
(4:21) 6. Some Cats Know
(4:07) 7. Spring Will Be A Little Late This Year
(4:51) 8. Mambo-Italiano
(4:03) 9. Street of Dreams
(4:59) 10. I Keep Goin' Back to Joe's
(3:44) 11. Look Out For Love

Annie Sellick shines in full force on “Street of Dreams.” After taking some time to explore the swing band genre with her group “Annie and the Hot Club,” she hits the jazz scene hard. GAME ON! As with all previous recordings, Ms. Sellick throws herself completely into each arrangement. Her intense energy powers through it all, whether smoking up tempo or slithering through the vocal and bass lines of a sultry ballad. The music keeps all ears “locked in the moment.” “Street of Dreams” holds to Ms. Sellick’s high standards of musicianship, creativity and respect for the tradition. Two stellar trios lend their support. This first is Gerald Clayton, piano with Dan Lutz on Bass and Kevin Kanner on Drums (same trio as on Ms. Sellick’s live CD “A Little Piece of Heaven”) and Jeff Hamilton, Drums with Tamir Hendleman on Piano and Christoph Luty on Bass. Both casts bring unique talent and blend of style. Ms. Sellick floats between both with ease. The result is pure “ear candy” and testifies to the caliber of musicians who want to work with Ms. Sellick.

“Street of Dreams” weaves through eleven compositions some well known standards and others not so well known. But each one jumps to life with the interpretation and energy that Annie Sellick brings. CD pops open with a funky slow fizz on Lambert, Hendricks, and Ross “Cloudburst”. Shortly in, Kevin Kanner’s drum verse jumps out of the blocks, releases the bubbles and the tune swings to action. The obvious joy in Ms. Sellick’s voice blossoms the tune to its full flower. Switching gears. Chrisoph Luty’s rich molasses-like bass introduction on George Gershwin’s “Do It Again” lays a thick foundation for Ms. Sellick to work. By varying her tempo and exploring her vocal range, ‘tis easy to visualize a cat after a mid-day nap stretching for places seemingly out of reach. The result just feels good. On Gilberto Astrud’s “Tristeza” (Portuguese for “sadness”) and “Mambo-Italiano,” we hear Ms. Sellick’s comfort not only with Latin rhythm and lyrics but also with improvisational exchanges, showing her personality and light-hearted humor whenever possible. Sweet! Her band mates understand interpretation and create the musical atmosphere of the village cafe’ where these compositions belong.

“Spring Will Be Little Late This Year”, “I Know You Oh So Well” and “I Keep Going Back to Joe’s” illustrate Ms. Sellick’s mastery of ballads and living the lyrics. The listener easily becomes a believer. Just listen.Who doesn’t love Paris? Well “I Love Paris” gets even better in a rhythmic, waltz feel. The ensemble then tears into a straight ahead groove that showcases their swingability only later to waltz their way out of the City of Lights. Ahh! Songs with double meanings are the lyricist’s genious. “Some Cats Know” by Jerry Leiber and Mike Stoller is a greasy, torchy tune that on the first listen the message is either clear or it is not. The title says it all.

“Look Out For Love” is a story of advice to the guy who may or may not be looking for love. The choice is in the listener’s heart. Sassy and classy, like everything Annie Sellick does. “Street of Dreams” is a tricky tune with the vocals left out there to find a place to settle. There is perfect safety however with the trio swinging hard underneath. Pleasingly added to this arrangement is the well voiced, plunger-mute trumpet of Rob McGaha who expertly navigates the “Street.” One of Ms Sellick’s unique traits is how much control she has over her voice. Whether managing to a slight crack of the lyric, introducing subtle vibrato or moving from beautiful tone to speaking and smiling a line, Ms. Sellick is always under control with perfect grace. Never does an ounce of Annie Sellick’s energy go wasted. No preservatives, nothing processed just pure, organic, passionate music.Thank you, Annie Sellick! These are my comments. I welcome yours.~ Bruce Pulver http://jazztimes.com/community/articles/28026-cd-review-of-annie-sellick-s-street-of-dreams

Musicians: Annie Sellick, Vocals; Gerald Clayton, Piano; Kevin Kanner, Drums; Dan Lutz, Bass; Jeff Hamilton, Drums; Christoph Luty, Piano; Tamir Hendelman, Bass; Rob McGaha, Trumpet

Street Of Dreams

John Benson Brooks' - Alabama Concerto Featuring Cannonball Adderley, Art Farmer

Styles: Hard Bop, Soul Jazz
Year: 1991
File: MP3@320K/s
Time: 43:02
Size: 100,1 MB
Art: Front

(4:52) 1. First Movement: Themes: The Henry John Story/Green, Green Rocky Road/Job's Red Wagon
(3:20) 2. First Movement: The Henry John Story (Return)/Green, Green Rocky Road (Return)
(3:14) 3. First Movement: Job's Red Wagon (Return)
(7:55) 4. Second Movement: Themes: Trampin' The Loop/ Trampin' (Return)
(2:32) 5. Second Movement: The Loop (Return)
(3:12) 6. Third Movement: Theme: Little John Shoes
(5:14) 7. Third Movement: Theme: Milord's Calling/Little John Shoes (Return)/Milord's Callin' (Return)
(7:36) 8. Fourth Movement: Themes: Blues For Christmas/Rufus Playboy/Grandma's Coffin/ Blues For Christmas(Return)
(5:05) 9. Fourth Movement: Grandma's Coffin (Return)/ Rufus Playboy (Return)/ Grandma's Coffin (2nd Return)

Critic John S. Wilson, in a contemporaneous review, observed of the composer: "Working from several rural folk themes, he develops his Concerto through ensembles, written solos and improvised solos played by a quartet". Concluding in a negative vein, Wilson stated that the album "lacks movement and explicit development [...] the work becomes lost in monotony long before the two full LP sides have been completed." The Allmusic site awarded the album 3 stars with the review by Scott Yanow stating, "Although not essential, the music is thought-provoking, quite melodic, and looks backwards toward folk music of the 1800's while giving the pieces a 1950's jazz sensibility". https://en.wikipedia.org/wiki/Alabama_Concerto

Personnel: John Benson Brooks - piano, arranger; Cannonball Adderley - alto saxophone; Art Farmer – trumpet; Barry Galbraith – guitar; Milt Hinton - bass

Alabama Concerto

Kenny Werner - The Melody

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 56:47
Size: 130,2 MB
Art: Front

(6:52) 1. Try To Remember
(9:06) 2. Who?
(8:33) 3. Balloons
(6:47) 4. 26-2
(8:11) 5. Voncify The Emulyans
(8:29) 6. In Your Own Sweet Way
(8:47) 7. Beauty Secrets

The Melody lives up to its name, but not through the simple act of melodic dissemination: pianist Kenny Werner and his trio mates don't make their mark by addressing melodies so much as by undressing them, revealing what's beneath these tuneful coverings. All seven songs on the album four Werner originals, a Broadway classic, and two standards speak to the intimate art of dialogue, the respect that exists between these three men, and the inherent possibilities that live within a song. Once polished with the cloth of invention, every piece here, be it a previously-recorded Werner tune, a new(er) original, or a classic, seems new. "Try To Remember," for example, shrugs off any maudlin qualities and nostalgic weight in favor of starry-eyed wonder, eventually revealing a touch of Sonny Rollins' "St. Thomas"; Dave Brubeck 's "In Your Own Sweet Way" is playful, quirky, and charming all at once; "Who?" is consistency and movement rolled into one; and "Beauty Secrets" is a wholly engrossing meditation on dark-complexioned allure, existing in the shadows while reflecting slivers of lights.

A flexible concept of the individual's function is central to the sound of this trio, as is the notion that no idea is so powerful as to require unwavering allegiance. This music morphs frequently, as rhythms prance, flow, stutter, and stride in unexpected ways, and each musician has a hand in making that happen. Drummer Ari Hoenig is just as likely to drive the action as he is to trace the melodic contours of a passage, bassist Johannes Weidenmueller is a grounding force and a harmonically astute linchpin, and Werner is a wide-open reservoir of musical knowledge, imparting intelligent thought with his every movement. With a decade-and-a-half of shared experiences and several strong albums already under its belt, it should come as no surprise that this trio sounds as good as it does. ~ Dan Bilawsky http://www.allaboutjazz.com/the-melody-kenny-werner-pirouet-records-review-by-dan-bilawsky.php

Personnel: Kenny Werner: piano; Johannes Weidenmueller: bass; Ari Hoenig: drums.

The Melody