Friday, August 28, 2015

Linda Dachtyl - For Hep Cats

Bitrate: MP3@320K/s
Time: 50:31
Size: 115.7 MB
Styles: Blues-jazz organ
Year: 2008
Art: Front

[6:02] 1. Trouble
[4:22] 2. One Mint Julep
[4:16] 3. Do I Move You
[5:38] 4. Tone Wheel Grease
[4:58] 5. Little Red Rooster
[4:07] 6. Turn Blue
[4:25] 7. Les Chats Bleus
[5:13] 8. Since I Fell For You
[4:02] 9. Straight, No Chaser
[7:23] 10. Frame For The Blues

With a healthy serving of the Blues this CD manages to present an array of music with rich tones and melodic lines. Linda’s choice of songs offers thoughtful introductions and sometimes dramatic endings.

The story-telling element of this music is high throughout and the playing is absolutely wonderful. ~Pete Fallico

For Hep Cats

Kenny Drew - I Love Jerome Kern

Bitrate: MP3@320K/s
Time: 33:30
Size: 76.7 MB
Styles: Piano jazz
Year: 1957/2010
Art: Front

[2:24] 1. The Way You Look Tonight
[2:25] 2. I've Told Every Little Star
[3:40] 3. Can't Help Lovin' That Man Of Mine
[2:17] 4. Make Believe
[3:03] 5. I'm Old Fashioned
[2:32] 6. All The Things You Are
[2:45] 7. Long Ago And Far Away
[2:10] 8. All Through The Day
[2:28] 9. The Song Is You
[3:19] 10. Smoke Gets In Your Eyes
[2:11] 11. Why Do I Love You
[4:11] 12. Yesterdays

Kenny Drew has an immaculate pedigree as a jazz pianist working with many major names including Sonny Rollins on “Tour-de-Force” and with John Coltrane on the iconic “Blue Train” to name just two. In 1961 he travelled to Paris and found work but in 1964 he settled in Copenhagen and found enough work with local musicians and visitors from the States. He formed a Duo with Danish bassist Niels Henning Orsted Pederson and recorded prolifically. He worked for many years at the Club Montmartre Jazzhuis and recorded a number of live albums from the club with Dexter Gordon and also Ben Webster.

He recorded four Songbook albums of which this album was one. This release, recorded in 1957, was called “I Love Jerome Kern” and appears to be aimed at wider audience than a purely jazz one. All the tune are played well enough but there is little improvisation which a number of prominent pianists were doing at the time.

I Love Jerome Kern

Carol Sloane - We'll Meet Again

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 61:43
Size: 142,6 MB
Art: Front

(5:43)  1. Exactly Like You
(3:24)  2. Something To Remember You By
(2:40)  3. Anytime, Anyday, Anywhere
(6:32)  4. I Haven't Got Anything Better To Do
(2:37)  5. If You Could Love Me
(3:36)  6. Why Don't You Do Right
(4:43)  7. The Meaning Of The Blues
(5:51)  8. Zoot Walks In
(6:35)  9. Where Are You?
(6:29) 10. Spring Will Be A Little Late This Year
(5:18) 11. A Cottage For Sale
(4:45) 12. I Never Loved Anyone
(3:24) 13. We'll Meet Again

Carol Sloane has paid her dues over a career that stretches over half a century, surviving the various detours into temporary fads and the fickle whims of the jazz marketplace. For her 37th album as a leader, the vocalist chose to omit both piano and drums, looking toward a cleaner, more intimate sound, which she achieves throughout the sessions. She could have hardly picked a better guitarist than Bucky Pizzarelli, a master who seems to have accompanied nearly everyone and has encyclopedic knowledge of thousands of songs, along with one of her biggest fans, tenor saxophonist/clarinetist Ken Peplowski (who has long told jazz journalists that she is one of his favorite vocalists), and veteran bassist Steve LaSpina. 

The Basie-like swing setting of "Exactly Like You," adding young violinist Aaron Weinstein to the trio, will have listeners tapping their feet along with it. Joe Williams' longtime pianist Norman Simmons wrote "If You Could Love Me" back in the 1950s, though the song never caught a wide audience Sloane's warm bossa nova setting is complemented by Peplowski's lyrical clarinet. Sloane exhibits both warmth and playfulness in "Zoot Walks In," opening with an unaccompanied half-chorus, then follows it with a snappy segment accompanied solely by LaSpina's walking bass. 

Peplowski salutes the late great Zoot Sims with a spirited tenor solo, after which Weinstein adds a wry chorus on violin in the manner of Ray Nance. Sloane is at her very best tackling the bittersweet "A Cottage for Sale," imbuing it with emotion without getting carried away. Carol Sloane is like a fine vintage wine; her voice keeps improving with time. ~ Ken Dryden http://www.allmusic.com/album/well-meet-again-mw0001948137

Personnel: Carol Sloane (vocals); Bucky Pizzarelli (guitar); Ken Peplowski (clarinet, tenor saxophone).

We'll Meet Again

Brad Terry, John Basile - Duo

Styles: Clarinet And Guitar Jazz
Year: 2009
File: MP3@320K/s
Time: 55:04
Size: 126,9 MB
Art: Front

(5:13)  1. Everything I Love
(6:37)  2. Gentle Rain
(3:30)  3. Big Blues
(4:26)  4. Moon & Sand
(5:00)  5. Skylark
(4:28)  6. Beautiful Love
(7:19)  7. Sometime Ago
(4:57)  8. Where Are You
(5:08)  9. Night Has a Thousand Eyes
(5:00) 10. For All Time
(3:22) 11. Some Other Time

John Basile was born in the Boston area and began playing in local show bands and organ groups at an early age. He attended Berklee College of Music and graduated from the New England Conservatory of Music. Moving to NYC John has performed and recorded in a wide variety of formats both as a leader and a sideman. As an accompanist he has worked with Peggy Lee, Sylvia Syms, Rosemary Clooney, Mark Murphy, and Tony Bennett as well as live performances with contemporary instrumentalists George Mraz , Tom Harrell, John Abercrombie, and Red Mitchell to name just a few. Musically John's guitar style utilizes a finger-style technique that approaches the guitar like a piano. For John the challenge of comping chord fragments and playing melodies simultaneously provides a backdrop for a more open style of playing and improvising. When asked about his most important influences, the first two names he mentions are not other guitar players; Frank Sinatra heads the list and then Bill Evans. Perhaps this explains why John Basile is one of a select group of jazz instrumentalists who doesn’t sound like everyone else. Basile is also one of those rare players who still treasures songs. Not just the tunes, but the songs; musical and lyrical ideas combined in a way that creates a vibrant structure that invites interpretation.

Basile’s ability to ‘sing’ on the guitar is the result of a unique approach to the instrument. He uses a finger-style technique in which he plays the melody and at the same time accompanies himself with fragments of the harmony. The big five and six note chords that are normally strummed are replaced with choice two or three note percussive voicings. Most players, using a pick, strum a chord and then play a single line solo phrase followed by another chord and another solo phrase. Basile, using his fingers, plays both the solo line and the chords simultaneously. This style is similar to the right and left hands of a pianist. It is important to note that this is not something that Basile works out as part of an arrangement for any particular song. This is the language he speaks on the guitar to seek improvisational clarity as the goal.His latest release “No Apologies” returns to his roots and presents a soulful organ based collection of standards, originals, latin, and 70’s pop tunes. “ For this project we wanted to approach the music, choice of musicians , and conception totally from an organic (figuratively and literally) approach and work with material that I felt was complete in representing my personal experience in all styles of music over the years”.

“No Apologies” features the Pat Bianchi on the organ and Carmen Intorre on drums , two of the most exciting voices in jazz today. “ With a few 70’s pop tunes, straight ahead standards, a movie theme, a few originals, and some samba/latin grooves, we had a ball in creating a very complete musical menu that entertains from start to finish.” John entered the field of medical imaging as an MRI technologist and educator, opened numerous imaging centers in the NY area, and recently attained the advanced certification CRA (Certified Radiology Administrator). http://musicians.allaboutjazz.com/johnbasile

Brad Terry (1937-) Is a jazz Clarinet-player and accomplished whistler. He has played with the likes of Dizzy Gillespie, Doc Cheatham, Buck Clayton, Red Mitchell, Buddy Tate, Elliot Zigman, Eddie Thompson, John Basile, Steve Grover and Lenny Breau. Brad has led Jazz workshops and clinics in many countries including the US and Poland. In recent years he has been active in touring and recording as a duo with Polish pianist Joachim Mencel. They can be heard together on the recordings "All About Spring" and "Live at Fort Andross".

The most recognized album featuring Brad Terry is "The Living Room Tapes" featuring his earlier work with legendary guitarist Lenny Breau. An interesting note is that Brad Terry is an accomplished and virtuoso whistler. An example of this unique talent is featured on "Blues for Carole" from these sessions. The duo can also be seen together on the DVD "Live At The Maine Festival" from Art of Life Records. He now lives in Bath, Maine and is active around that region. https://en.wikipedia.org/wiki/Brad_Terry

Personnel:  Brad Terry: clarinet, whistling;  John Basile: acoustic & electric guitars, guitar synthesizer, drum program on "Some Other Time"

Duo

Billie & De De Pierce - Gulf Coast Blues

Styles: Vocal, Piano And Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 47:26
Size: 109,3 MB
Art: Front

(3:12)  1. Eh, La Bas
(3:06)  2. Gulf Coast Blues
(2:33)  3. Some of These Days
(4:14)  4. You Can Depend on Me
(3:23)  5. The Peanut Vendor
(2:50)  6. Jelly Roll
(4:45)  7. Mama Don't Allow
(3:11)  8. Nobody Knows You When You're Down And Out
(3:37)  9. Going Back to Florida
(2:04) 10. Panama
(2:54) 11. St. James Infirmary
(2:58) 12. John Henry
(3:02) 13. Get a Working Man
(2:17) 14. Panama Rag
(3:11) 15. In the Racket

Originally spread across three separate LPs on Folklyric and Arhoolie, this collects 15 performances by the duo, recorded in New Orleans in October 1959. It's loose, sometimes to the point of wiggly, trad-style New Orleans jazz, Billy Pierce taking most of the vocals and playing piano, De De Pierce taking some of the vocals and playing trumpet. Brother Randolph adds rhythm on washboard on half the tunes, while Lucius Bridges adds tom-toms on one cut and vocals on another. This has the feel of an informal parlor session, and while there's a convivial informality that's well suited for the good-natured music, that also means you do get some off-key notes and mistakes. It's a style that was outmoded by 1959, certainly; it's not hard to imagine musicians from 1909 playing like this, and of course the sound, usually slicker perhaps, is carried on by revivalists in New Orleans to this day. 

Although there are a few Billie Pierce originals, much of the program is comprised of well-known songs such as "Mama Don't Allow," "Nobody Knows You When You're Down and Out," "St. James Infirmary," Earl Hines' "You Can Depend on Me," and "John Henry." It's most interesting when the Creole influence comes way to the front, as on "Eh La-Bas" and "The Peanut Vendor," the latter of which has infectious scatting by De De Pierce. The recording fidelity is okay but imperfect; Billie Pierce's vocals can be too upfront, to the point of being jarring. Certainly this has its charm and serves as a fair representation of aspects of early 1900s New Orleans jazz styles, but it's not a work of notable creativity or stylistic genius either. 

Three of the songs, incidentally, are Billie Pierce solo performances, on which she sings and serves as her sole accompanist (on piano). ~ Richie Unterberger http://www.allmusic.com/album/gulf-coast-blues-mw0000065619

Personnel: De De Pierce (vocals, trumpet); Billie Pierce (vocals, piano); Lucius Bridges (drums, background vocals); Brother Randolph (washboard).

Gulf Coast Blues

Airto Moreira - The Best Of Airto

Styles: Latin Jazz
Year: 1994
File: MP3@320K/s
Time: 63:43
Size: 146,3 MB
Art: Front

(6:07)  1. Creek (Arroio)
(8:25)  2. Flora's Song
(5:31)  3. Romance of Death
(4:06)  4. San Francisco River
(6:20)  5. Tombo In 7/4
(7:15)  6. Lydian Riff
(4:28)  7. Stanley's Tune
(5:28)  8. Hot Sand
(6:58)  9. Branches (O Galho da Roseira)
(8:59) 10. Parana

Without a doubt, Airto put a new face on Brazilian music in the wake of the bossa nova movement, bringing back the frantic complexity of the samba translated into his own frenzied yet controlled electronic/multi-percussion idiom. Here we truly have some of the best of his early work in the U.S. as a leader for the CTI label, where Airto proves that he couldn't be suppressed even by the guiding hand of Creed Taylor. The set kicks off with a pair of great, sizzling tracks from the Free album, with Airto feverishly driving bands manned by Chick Corea on electric piano, Keith Jarrett on acoustic piano, and other American all-stars. From there, we move to the Fingers album, which features Airto's own band yet maintains virtually the same level of excitement with a deeper Brazilian streak. The rare Virgin Land, released on the CTI subsidiary Salvation, sports a different cast of characters (notably Stanley Clarke and George Duke) but again is dominated by the ebullient percussionist's propulsive drumming and scatting. Finally, we hear the two Airto tracks from the old jerry-built Deodato/Airto In Concert LP in vastly superior sound, with Airto and Flora Purim whipping up the crowd at New York's Felt Forum with a primal display of wild native vocals and pushing rhythm. Of this music, only the two tracks from Free are otherwise available on CD, so Brazilian jazz addicts ought to be running to the stores for this one. ~ Richard S.Ginell  http://www.allmusic.com/album/the-best-of-airto-mw0000110927

Personnel: Airto Moreira (vocals, drums, percussion); Hugo Fattoruso (vocals, harmonica, keyboards); Ringo Thielman (vocals, bass); Jorge Fattoruso (vocals, drums); Flora Purim (vocals, percussion); Joe Farrell (soprano saxophone, alto & bass flutes); Hubert Laws (flute); George Marge (oboe); Eddie Daniels (clarinet); Jane Taylor (bassoon); Nelson Ayres, Chick Corea (piano, electric piano); George Duke (piano, ARP synthesizer, keyboards); Keith Jarrett (piano); Milco Leviev (keyboards); David Amaro, Jay Berliner, Gabriel Delorme (guitar); Stanley Clarke, Alex Blake, Ron Carter (bass).

The Best Of Airto

Aaron Binder - Fortune Smiles On Aaron Binder

Styles: Straight-ahead/Mainstream
Year: 2000
File: MP3@320K/s
Time: 48:25
Size: 111,2 MB
Art: Front

(10:04)  1. Black and White Sound
( 8:45)  2. Wasted Breath
( 6:47)  3. Ruffians
( 7:25)  4. Firecracker
( 8:55)  5. An Everyday Tune
( 6:26)  6. A Gal in Calico

Drummer Aaron Binder’s good fortune must be ascribed in part to his ability to draw into his orbit musicians of the caliber of trumpeter D’Earth, saxophonist Decker, bassist Fitzsimmons and especially pianist O’Brien, a seasoned veteran and leader in his own right who has alarge hand (two, actually) in ensuring the success of Binder’s second album (the first, This Side of Jazz, was recorded in 1997 with the same personnel except for O’Brien). In appraising that earlier endeavor, we wrote that it was “a well played concert by earnest young men who are investing heart and soul in the music,” and the description applies here as well, although this is a studio session with the added benefit of O’Brien’s considerable pianistic artistry. Binder wrote two numbers on that earlier album, four on this one, and really hits his stride with “Ruffians,” a hard–boppin’ cooker that reminds one of the legendary Clifford Brown / Max Roach Quintet from the mid ’50s, and his explosive Jazz Messengers style communiqué, “Firecracker.” 

They are preceded by Binder’s bluesy “Black and White Sound” and ballad “Wasted Breath” and followed by D’Earth’s punchy “Everyday Tune” and the seldom played but nonetheless charming Arthur Schwartz / Leo Robin composition, “A Gal in Calico” (a showcase for O’Brien’s tastefully swinging piano). While D’Earth and Decker are relatively unknown one shouldn’t hold that against them, as each is a talented bop centered improviser with plenty of interesting phrases in his notebook. D’Earth, who teaches at the University of Virginia, derives his inspiration from the Freddie Hubbard / Lee Morgan / Donald Byrd school of free spirited capering, Decker from Gene Ammons / Dexter Gordon / George Coleman. Binder’s influences are more difficult to ascertain, but Art Blakey is surely one of them (as he is most of today’s bop style drummers) and Max Roach also comes to mind, especially on “Ruffians,” on which Decker evokes memories of Brown / Roach’s stalwart tenor, the late Harold Land (who was replaced in the group by another fairly well known reedman, Sonny Rollins). Binder’s earlier recording was quite enjoyable; this one is even more so, thanks to a number of impressive charts, O’Brien’s forceful presence and emphatic blowing by everyone else. Fortune does indeed seem to be smiling on Aaron Binder. ~ Jack Bowers http://www.allaboutjazz.com/fortune-smiles-on-aaron-binder-aaron-binder-aaron-jazz-review-by-jack-bowers.php 
 
Personnel: Aaron Binder – Drums;  John D'earth – Trumpet;  Hod O'Brien – Piano;  Scot Fitzsimmons – Bass;  Jeff Decker.

Fortune Smiles On Aaron Binder