Saturday, October 24, 2015

Johnny Griffin & Steve Grossman Quintet - Take The D Train

Bitrate: MP3@320K/s
Time: 55:46
Size: 127.7 MB
Styles: Post bop, Saxophone jazz
Year: 2001
Art: Front

[8:06] 1. Take The D Train
[4:47] 2. Waltzswing
[6:07] 3. Don't Say Goodbye (Just Leave)
[6:18] 4. Nica's Tempo
[7:04] 5. Power Station
[5:07] 6. Little Pugie
[6:12] 7. You've Never Been There!
[6:00] 8. This Time The Dream's On Me
[6:01] 9. Taurus People

Johnny Griffin & Steve Grossman Quintet is a co-led, jamming collection of nine songs that projects the legendary hard bop style of tenor saxophonist Johnny Griffin and the ability of Steve Grossman to fuse his brand of tenor and soprano saxophone excellence, forming a cohesive, impressive set. While each player has developed a reputation for his "blowing sessions," this self-titled CD retains its complementary nature in much the same manner as those that featured Griffin with Hank Mobley or, more recently, with the highly talented tenor saxophonist Ron Blake on Up Front & Personal. Drummer Alvin Queen opens with commanding hard bop responses to the saxophonists on "Take the D Train," before launching into a great solo that is anything but recycled. The duo swings into "Waltzswing," the bop anthem penned by Griffin, and offers a very entertaining improvisation of Griffin's best-known tune. His ballad "Don't Say Good-Bye (Just Leave)" spotlights Griffin's mellow side, while "Power Station," written by pianist Michael Weiss, offers the two-horn approach a tandem concept with more improvisational variety than expected. The quintet does an excellent cover written by former Jazz Lab Quintet altoist Gigi Gryce titled "Nica's Tempo," with superb solos from both Pierre Michelot and Weiss. The mellow bass voicing by Michelot underscores this team very well and, overall, this hard bop set has its strong moments. Despite the trade-offs being more relaxed than many of Griffin's more powerful blowouts, this quintet still plays a great set! ~Paula Edelstein

Take The D Train

Matthew Sweet & Susanna Hoffs - Under The Covers Vols. 1 & 2

Album: Under The Covers Vol 1
Bitrate: MP3@320K/s
Time: 48:54
Size: 112.0 MB
Styles: Rock
Year: 2006
Art: Front

[3:42] 1. I See The Rain
[2:05] 2. And Your Bird Can Sing
[3:42] 3. It's All Over Now, Baby Blue
[5:49] 4. Who Knows Where The Time Goes
[2:43] 5. Cinnamon Girl
[3:33] 6. Alone Again Or
[3:06] 7. The Warmth Of The Sun
[2:49] 8. Different Drum
[2:47] 9. The Kids Are Alright
[3:24] 10. Sunday Morning
[2:24] 11. Everybody Knows This Is Nowhere
[3:53] 12. Care Of Cell #44
[3:23] 13. Monday, Monday
[2:21] 14. She May Call You Up Tonight
[3:06] 15. Run To Me

What do alt-rock/power pop heroes like Susanna Hoffs (The Bangles) and Mattew Sweet do on their time off? They get together in Matthew's comfy home studio and record a stunning album of their fovorite '60s pop hits ans rarities,of course! ~Amazon.com

Sid (Matthew Sweet, after his character's name in the Austin Powers band Ming Tea) and Susie (Susanna Hoffs, who joined him and Mike Myers in belting out "BBC" on the soundtrack) are in as fine voice as ever on Under the Covers, Vol. 1, a 15-song collection of tunes first made famous by the likes of the Beatles, the Beach Boys, the Mamas and the Papas, and the Who. And man, were they born to sing this stuff. Both the Bangles and Sweet discographies are derivative--in the best possible sense--of late-'60s pop-rock, and who didn't love the Merry-Go-Round, Grass Roots, Simon & Garfunkel, and Big Star covers Hoffs and company scattered among their originals? Recorded at Sweet's home studio in the Hollywood Hills, the album opens strong with "I See the Rain," a Marmalade song from 1967 that Jimi Hendrix called the year's best British single but was a hit only in the Netherlands. Maybe Sweet's stinging, ringing fretwork (he plays most of the non-percussion instruments on this disc) and Hoffs's throwback vocals will rectify that, nearly 40 years later. The two proceed to nail the Beatles' "And Your Bird Can Sing," one of the high points on Revolver, and score similarly with Fairport Convention's "Who Knows Where the Time Goes?" (Hoffs in full ballad mode), the Stone Poneys' "Different Drum," the Who's "The Kids Are Alright," Love's "Alone Again Or," and a pair of Neil Young numbers, "Cinnamon Girl" and "Everybody Knows This Is Nowhere." Some of the selections do miss the mark--Hoffs's smoky-sweet backing vocals seem a little misplaced on Dylan's "It's All Over Now, Baby Blue," and "The Warmth of the Sun" was probably the wrong Beach Boys track for Sweet to attempt (Brian Wilson himself strains at those high notes nowadays). But by and large this is a delightful power-pop excursion. Van Dyke Parks's liner notes, keyboards, and string arrangements make it that much better, as do Sweet collaborator Ric Menck's drums, Ed Fotheringham's illustrations, and Henry Diltz's photographs (Hoffs looks as stunning today as she did when laying down All Over the Place). ~Benjamin Lukoff

Under The Covers Vol 1

Album: Under The Covers Vol 2
Bitrate: MP3@320K/s
Time: 63:37
Size: 145.6 MB
Styles: Rock
Year: 2009
Art: Front

[3:31] 1. Sugar Magnolia
[3:29] 2. Go All The Way
[3:11] 3. Second Hand News
[5:01] 4. Bell Bottom Blues
[3:49] 5. All The Young Dudes
[4:19] 6. You're So Vain
[4:20] 7. Here Comes My Girl
[7:26] 8. I've Seen All Good People/Your Move/All Good People
[3:48] 9. Hello It's Me
[2:58] 10. Willin'
[2:32] 11. Back Of A Car
[3:26] 12. Couldn't I Just Tell You
[3:25] 13. Gimme Some Truth
[5:31] 14. Maggie May
[3:09] 15. Everything I Own
[3:34] 16. Beware Of Darkness

Power-pop sensation Matthew Sweet and Bangles vocalist Susanna Hoffs, otherwise known as “Sid & Susie,” unveiled their last project in 2009 on Shout! Factory, titled Under The Covers Vol. 2. This delightful collection features 16 of the duo’s favorite tunes from the 1970s, and is the much anticipated follow up to the highly-praised 60’s compilation Under The Covers Vol. 1, released in 2006.

Produced and recorded by Sweet and Hoffs in Sweet’s Lolina Green Studios in Los Angeles, Sweet and Hoffs treat the songs with reverence, showing their appreciation for this captivating decade of music. Under The Covers Vol. 2 features the pair’s perfectly harmonized voices on favorites from the genres of power-pop, glam, classic rock and even prog-rock. The pair get a little help from Lindsey Buckingham on their cover of Fleetwood Mac’s “Second Hand News,” Dhani Harrison playd on George Harrison’s “Beware of Darkness,” and Steve Howe guests on their version of the Yes song “I’ve Seen All Good People: Your Move/All Good People.”

Under The Covers Vol 2

George Shearing - The Best Of George Shearing (1955-1960)

Bitrate: MP3@320K/s
Time: 57:16
Size: 131.1 MB
Styles: Bop, Piano jazz
Year: 1985/1995
Art: Front

[2:28] 1. Midnight In The Air
[2:10] 2. Have You Met Miss Jones
[5:26] 3. Dancing On The Ceiling
[2:49] 4. Cuban Love Song
[4:33] 5. The Folks Who Live On The Hill
[4:37] 6. Nothing Ever Changes My Love For You
[2:51] 7. Friendly Persuasion (Thee I Love)
[2:21] 8. Later
[2:44] 9. Cheek To Cheek
[2:09] 10. Sand In My Shoes
[2:56] 11. Kinda Cute
[3:17] 12. September In The Rain
[3:22] 13. East Of The Sun (And West Of The Moon)
[2:58] 14. Estampa Cubano
[2:50] 15. A Ship Without A Sail
[3:01] 16. Laura
[3:36] 17. Bernie's Tune
[2:59] 18. Canadian Sunset

Blind British pianist Shearing got his start in recording way back in 1949, first on MGM, then settling in for a decades-long stay and mass popularity with Capitol records. He has played solo, and as a quartet, a quintet, with full orchestras, with great female jazz singers, and with Latin percussionists. He has made his mark with straight versions of the best standards as well as with pure jazz. He's good live (I saw him in 1965) and in the studio as well. This is a fine 18-song collection recorded as a quintet over six years and an amazing 15 separate LP's. Shearing is great as background sound for reading or a party, but he also rewards attentive listening via earphones. He had a zillion albums on vinyl and quite a few have made it to CD now. You really can't get cheated with any of them. What I like best on here are "Have You Met Miss Jones?" and "Dancing on the Ceiling" and "The Folks Who Live on the Hill" and "Cheek to Cheek". He also reprises his first record hit, "September in the Rain" and offers enjoyable versions of "East of the Sun" and "Canadian Sunset". While this kind of stuff is extremely pleasant listening, Shearing reached that goal by using a determined intelligence and great sidemen. If you like "piano jazz" as a category, you already own some George, don't you? If you lack Shearing, this is a worthy introduction. ~ William E. Adams

The Best Of George Shearing (1955-1960)

John Proulx - Moon And Sand

Styles: Vocal And Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 54:11
Size: 124,4 MB
Art: Front

(2:47)  1. I've Never Been In Love Before
(4:58)  2. Moon and Sand
(3:59)  3. Alice in Wonderland
(4:23)  4. My Love For You
(4:15)  5. Do Nothin' Til You Hear From Me
(3:38)  6. What A Difference A Day Makes
(4:51)  7. Stuck In a Dream With Me
(2:55)  8. There Is No Greater Love
(4:09)  9. I Should Care
(5:00) 10. So In Love
(3:59) 11. East of the Sun
(4:50) 12. You'd Be So Nice to Come Home To
(4:22) 13. I Can't Make You Love Me

Los Angeles-native pianist/singer/composer John Proulx possesses the most thrillingly androgynous voice since Chet Baker whispered "My Funny Valentine. The comparison cannot stop there. Both Baker and Proulx nominally hail from the Midwest (Baker from Oklahoma, Proulx from Michigan). Both men sing with a vibrato-less high tenor; and both men gravitated to the same corner of the American musical canon. But there is where the similarities end. To dispense with the necessary Chet Baker comparisons from the get go, John Proulx is light years ahead of Baker as an expressive singer, and his classically trained pianism permits him to be a superior musician and composer. Proulx's debut recording, Moon and Sand, is part of MaxJazz's vocal piano series, whose previous releases have included Dena DeRose's A Walk in the Park (2005) and Patti Wicks' Love Locked Out (2003). Veteran bassist Chuck Berghofer and drummer Joe LaBarbera join Proulx for this recital.

What's most striking up front is the overt expressiveness of Proulx's voice. It is a pretty instrument, in the same way as the late Bobby Short's and Jimmy Scott's voices. It is a purely distilled spirit able to convey all emotions in the same way that stem cells convey all subsequent cell types, fundamental and basic. This element is best expressed on the disc's slower ballads, such as "Moon and Sand, "Alice in Wonderland, and the Proulx compositions "My Love for You and "Stuck in a Dream with Me (the ostensible redux for Baker's "Deep in a Dream ). 

Proulx's pianism is best heard on up-tempo pieces like "I've Never Been In Love Before and "You'd be so Nice To come Home to. His playing shines on these faster pieces, particularly during the bright solo sections. A superb recital by any name. 
~ C.Michael Bailey  http://www.allaboutjazz.com/moon-and-sand-john-proulx-maxjazz-review-by-c-michael-bailey.php

Personnel: John Proulx: piano, voice; Chuck Berghofer: bass, Joe LaBarbera: drums.

Moon And Sand

Lou Watson - It Doesn't Matter

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 44:48
Size: 102,9 MB
Art: Front

(4:10)  1. Chance of a Lifetime
(4:57)  2. You Can't Hurry Love
(2:45)  3. Emily
(4:20)  4. Against All Odds (Take a Look At Me Now)
(4:41)  5. Like a Lover
(5:10)  6. So Many Stars
(4:42)  7. It Doesn't Matter
(5:01)  8. Diary of a Fool
(4:15)  9. Every Little Thing About Her
(3:17) 10. That's All
(1:24) 11. Like a Lover (Reprise)

"Lou's got class and an intoxicating vocal style."  That's what audiences are saying about Jazz vocalist and pianist/composer Lou Watson. He blends his deep, warm, sonorous baritone together with songs of his own creation, in the classic Jazz/R&B tradition, to produce sensuous, romantic, and truly timeless musical creations. Lou has that special kind of magic that comes with musical maturity. It's an inherent ease, an innate knowing. Unquestionably in his prime, Lou Watson's consummate artistry is on full display on It Doesn't Matter, his debut album, scheduled for release on the Village Notzâ?¢ Music label. The album will be available in e-Stores on December 11, 2003, and in stores January 12, 2004.  Effortlessly blending jazz and R&B with his ever-soulful approach, Lou brings new life to a selection of songs he carefully picked with acclaimed jazz pianist/composer/ arranger Onaje Allan Gumbs - the album producer. With Lou's superb lyrical interpretations, Onaje Allan Gumbs' masterful production and arrangements, and a cadre of top-flight musicians, the album shines a light on songs that speak to various aspects of love. In addition to the yeoman performances of Kenny Davis (bass), Camille Gainer (drums), and Dennis Davis (drums) among others, the album feature superb solos by Romero Lubambo (guitar), Gregoire Maret (harmonica), Abdul Zuhri (guitar) and Roger Byam (tenor saxophone).

Lou has a flair for infusing the familiar and the 'gold standards' of music's enduring songs with a fresh, original and utterly unique style entirely his own. Lou reinforces the notion that "You Can't Hurry Love" with his contemplative reconstruction of the Holland, Dozier, Holland composition. Softly strong, and reminiscent of the wonderful arrangements of the heyday of 70's cool, Gumbs' deliberately artful piano intro launches Lou into his reverie of the classic "Like A Lover" (D. Caymmi/A. Bergman/M. Bergman/N. Motta). Then, Lou pensively emerges from behind the flowing lace curtain of Romero Lubambo's solo guitar with his reflections of "So Many Stars" (Sergio Mendes/A. Bergman/M. Bergman), polished even brighter by the colorful styling of Gregoire Maret's harmonica. Lou brings sensitivity and soul to every cut.

For several years, Lou has been performing in nightclubs in the New York metropolitan area, as well as private affairs both as a solo pianist and with his jazz trio serving up stylish renditions of traditional jazz standards. He has also performed with countless concert tours and road productions. Different stylistic genres, and artists such as Johnny Hartman, Nat King Cole, Louis Armstrong, Patti Austin, Kurt Elling and Dianne Reeves influence Lou's vocal style. His R&B musical heritage, united with jazz, funk, pop and gospel, combine to form his highly personal, distinctive vocal style. All of these influences helped inform Lou's own musical choices.  It Doesn't Matter says much about his approach as he begins the next phase of his musical journey. It Doesn't Matter finds Lou Watson continuing his exploration of new avenues for expression. A singer of ballads and standards so adept at establishing and sustaining a pervasive mood, he often makes everything outside the musical moment seem trivial. Easing into a situation, and working toward an emotional tone so deep that once established it seems medicinal, Lou's voice warms the body and soothes the soul like an intoxicating tonic.  http://www.cdbaby.com/cd/louwatson

Personnel: Lou Watson (vocals); Roger Byam (saxophone); Onaje Allan Gumbs (piano, keyboards); Romero Lubambo (guitar); Kenny Davis (bass); Camille Gainer (drums).Abdulhameed Zuhri (guitar, electric guitar); Lenny Argese, Grégoire Maret (harmonica).

It Doesn't Matter

Kenny Drew, Jr. - This One's for Bill

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 55:40
Size: 127,8 MB
Art: Front

(7:23)  1. This One's for Bill
(6:23)  2. Remembering the Rain
(5:41)  3. Theme from M*A*S*H (Suicide Is Painless)
(5:49)  4. It's Love It's Christmas
(6:20)  5. On Green Golphin Street
(6:59)  6. The Two Lonely People
(7:24)  7. Days of Wine and Roses
(9:38)  8. Nardis

It is not difficult to measure how much influence the late Bill Evans has exerted over the young pianists of today. The impact of his playing can be heard, in varying degrees, in virtually every pianist that followed him. That's because he changed the way piano players approach the instrument, moving away from a strict bebop vocabulary, and bringing to fore the piano's inherent orchestral abilities through dense harmonies and sweeping melodic lines. Evans employed an introspective approach, gracefully caressing the keyboard with an uncommon subtlety not found in the bop pianists of the fifties. He used chord voicings that were at times ambiguous; he left it up to the to bassist to define the tonic. Evans' level of concentration at the keyboard could be mesmerizing. He would often be in a trance-like state as he allowed the piano to consume both his mind and his body. And although Bill Evans will be sorely missed, his spirit and his influence will be felt for decades to come, thanks in part to Kenny Drew Jr., a gifted and sensitive young pianist who has released this wonderful CD on the TCB Label, entitled This One's For Bill.

No stranger to jazz fans, Kenny Drew Jr. has released a dozen CD's under his own name, and is on countless others as a sideman. Well versed in the classical repertoire, Kenny has immense technique on his instrument, yet there is also a sensitivity and beauty that he exudes in his music. Kenny is quite capable of introspection and contemplation; it is for this very reason that this solo piano outing is so successful. Only in the hands of a master, can the orchestral capabilities of this instrument be fully realized. In this most intimate setting, Kenny clearly orchestrates for his instrument, embellishing each measure of each tune, with an wide array of tonal hues. And if a carefully built phrase, sweeping arpeggio, or mellow cascade of chords puts you in mind of Bill Evans, it's not necessarily your imagination.

Aside from the title cut, which is Kenny's personal tribute to the late Evans, the set of songs on this disc were either penned by Evans, or closely associated with him. Included is a beautiful rendition of "Nardis," a tune Bill played for many years. Although the actual composer of this song has been the subject of much controversy, the piece, with it's exotic melody line and quiet chords, has Bill Evans written all over it. Other highlights from the disc are the song "Suicide Is Painless"(which many will remember as the theme-song from the T.V. show M.A.S.H. ), and a crisp offering of Henry Mancini's "The Day Of Wine And Roses." This latest effort by Kenny Drew is a consistently rewarding CD to listen to, further documenting his continuous growth as a player, and serving to fortify his position as one of the premiere jazz pianists of the 21 century. 
~ AAJ Staff  http://www.allaboutjazz.com/this-ones-for-bill-kenny-drew-jr-tcb-music-review-by-aaj-staff.php

Personnel: Kenny Drew (piano)

This One's for Bill

Beverly Bremers - Don't Say You Don't Remember

Styles: Vocal, Pop/Rock
Year: 2005
File: MP3@320K/s
Time: 57:15
Size: 131,7 MB
Art: Front

(2:56)  1. Dream City
(3:21)  2. Don't Say You Don't Remember
(3:13)  3. I Love Her More
(3:23)  4. Hold On
(4:10)  5. Morning Music
(5:10)  6. Dancin' with the Devil
(5:51)  7. Blues In St. Louis
(4:17)  8. I'm Comin' Back
(4:32)  9. Rockin' Bird
(4:36) 10. Midnight Strangers
(3:54) 11. Haven't I Seen You Somewhere Before?
(3:47) 12. Jezebel
(4:12) 13. Oldie But a Goodie
(3:48) 14. Aiming Far Too High

70's pop/rock diva, Beverly Bremers, is back with a new digitally re-mastered version of her Top-40 hit "Don't Say You Don't Remember" along with 13 self-penned new original recordings. Tracks range from infectious rock and r&b groove-tunes to heart-wrenching ballads, with a taste of disco and a little bit of country to round it all out. The inside insert features a message from Bev and some cool vintage pictures.~ Editorial Reviews  http://www.amazon.com/Dont-Say-Remember-Beverly-Bremers/dp/B000CEXTHU

Don't Say You Don't Remember