Thursday, June 9, 2016

Marion Montgomery - And Now That Lady From Natchez

Size: 178,5 MB
Time: 71:42
File: MP3 @ 320K/s
Released: 1997
Styles: Jazz Vocals
Art: Front

01. Baubles, Bangles And Beads (5:03)
02. Why Can't You Behave (4:08)
03. Sweet Georgia Brown (5:41)
04. How Deep Is The Ocean (4:20)
05. I Don't Want To Set The World On Fire (3:09)
06. Candy (3:24)
07. Has Anybody Seen My Dream (4:51)
08. Exactly Like You (2:42)
09. Do Nothin' Till You Hear From Me (5:39)
10. Get Happy (3:16)
11. Close Your Eyes (4:10)
12. Oh Lady, Be Good (5:41)
13. And Now (4:14)
14. Dream (4:15)
15. Accentuate The Positive (3:44)
16. If I Should Lose You (4:32)
17. 'S Wonderful (2:45)

If you're not familiar with the singing of Marion Montgomery, you are in for a treat - from the first phrases of "Baubles, Bangles And Beads", to the last notes of "'S Wonderful", you are in the hands of a consummate, swinging pro.

At an early age in Marion Montgomery's career beginnings, she made her critically-acclaimed LP recording debut for the influential Capitol label. She instantly became popular on the night club circuit and did the usual media interviews. Capital released extraordinary follow-up recordings; however Rhythm 'n' Blues and Rock 'n' Roll soon prevailed in "pop" music and neither road was to be treated by Marion Montgomery. No more new recordings originated from the USA until now, but many more were certainly made in England and there she is legendary.

Unfortunately, because she made her home in England since 1965, she is not well known today in her native USA. Originally from Natchez, Mississippi, she has performed at some of the most prestigious venues in New York, Las Vegas, Hollywood and Miami. But most of her time is spent is spent in England, where she has been a regular at Ronnie Scott's jazz club, and done major concerts with her acclaimed husband Laurie Holloway. She has also done BBC television, commercials, and appeared most successfully in the West End as Reno Sweeney in "Anything Goes".

She has been admired by Johnny Mercer, Nat "King" Cole, Nelson Riddle, Count Basie, Frank Sinatra and Tony Bennett, to name just a few. In a recent performance at Vine Street in Hollywood, the LA Times said "She has considerable acting talent as well as her musical abilities... she lets the lyric sell the song...a classy lady".

I first saw Marion in person at Ronnie Scott's in London in the summer of 1971. I was knocked out, and became a fan for life. I've since seen her in engagements in New York (where she appeared with longtime partner Richard Rodney Bennett) and in Hollywood. I'm always amazed and gratified by her honesty, and her innate ability to swing, and still communicate. She always lets the lyric make sense from her unique point of view.

This CD was recorded in New Orleans in March of 1997, when she and her husband / accompanist / arranger Laurie Holloway were on a quick trip to her home town of Natchez and a "gig" in Florida.

Note her seductive phrasing and unique tempos on "Why Can't You Behave". It would make anyone want to misbehave badly, if only to have her sing it to you. Her scatting on "Sweet Georgia Brown" is really down and funky. Then there's the unusual rhythm of "Candy", the floating bossa nova of "Dream" by Johnny Mercer (with whom she has sung duets), and two excellent original new tunes by Laurie Holloway: "And Now" and "Has Anybody Seen My Dream?" (lyric by John Junkin). She had the good taste to record Berlin's "How Deep Is The Ocean?" and Robin & Rainger's "If I Should Lose You" with enormous sensitivity.

She's beautifully accompanied by bassist Bill Huntington, Gerald French on drums and Tom Fischer on tenor sax, all New Orleans musicians. And first and foremost by husband Laurie Holloway on very tasty and swinging jazz piano.

Mr Holloway conducts regularly for Stephane Grappelli, Dame Edna Everage and Elaine Paige. He has accompanied Kiri Te Kanawa, Judy Garland, Liza Minnelli, Anthony Newley...and many more. He has won numerous awards, and written a musical, "Instant Marriage", which played in London's West End. Marion and Laurie's combined credits would fill a large volume. I for one, am looking forward to their autobiographies.

If this sounds like a love letter - it probably is. I've devoted my life to keeping this music alive, so I'm very appreciative of anyone who does it with such care and love, and does it so well. ~Ronny Whyte

And Now That Lady From Natchez

Alice Underground - The Cambria Sessions

Size: 108,7 MB
Time: 46:25
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals, Gipsy Swing
Art: Front

01. Catch Me Before Midnight (3:45)
02. Superman (3:53)
03. LA Is Burning (4:21)
04. Belleville Rendez-Vous (3:44)
05. Dream A Little Dream (3:21)
06. Hollywood Hills (3:33)
07. Willow By The Sea (3:36)
08. Hard To Resist (4:40)
09. Tank! (5:04)
10. Fly Me To The Moon (4:33)
11. Seven Block Blues (5:51)

Alice Underground is Tash Cox vocals, bass, piano; Sasha Travis, vocals; Scott Landes, guitar, piano; Gordon Bash, standup bass, piano, guitar, vocals; and Steve Kefalas, drums, percussion. The band members boast eclectic and impressive resumes. Lead vocalist Tash Cox formerly sang with The Beta Machine, which included members of A Perfect Circle and Eagles of Death Metal. Tash has also sung in many operas, Neely Bruce’s, “Circular 14: The Apotheosis of Aristides” being her favorite. Scott Landes has played with Collide, Android Lust, I, Parasite, and ¡BASH!, among others. Steve Kefalas has also been a member of Android Lust, I, Parasite, and ¡BASH!. Gordon Bash is an active jazz and rock musician, that has appeared on America’s Got Talent playing with William Close. He heads up the punk/rockabilly band ¡BASH!, and is also the bassist for the popular ska band Save Ferris. Sasha Travis is a singer, producer, director, and all-around artist. She has directed and produced for the Labyrinth Masquerade Ball, and Golden Stag events, written and directed for the Astra Dance Theater, and been a long time co-collaborator at Sypher Arts Studio.

The Cambria Sessions is threaded with a wildly fishtailing story of two girls moving to Hollywood to make their dreams come true. Detailing the narrative are the intertwined voices of Tash and Sasha. The story is rife with surrealism and mythology, with subtle allusions to Joseph Campbell. In the end, the protagonists flee Hollywood for the safe haven of Cambria, the beautiful wine country expanse in Northern California.

The album’s lead off single is the slinky “Superman.” The dizzying track swings mightily with whimsically zigzagging melodic passages and a seductive urgency oozing from voices of Tash and Sasha. The song intimates a love triangle. One of the girls is far too preoccupied with a male lover whose bravado has gotten him into a dicey situation. “It’s about how in love, we either put someone else on a pedestal, or we struggle with being put on a pedestal,” Tash explains. “I don’t need a superman—I just want to love as a human being.” The video for “Superman” is a collaboration with fashion photographer turned director Jean Renard It’s a feast for the senses boasting a cross section of LA’s finest dancers, eye-popping visual technology, and steamy film noir imaging.

Other standouts on the Cambria Sessions include a nostalgic and impressionistic version of the jazz standard “Fly Me To The Moon” and, the sultry and dark, “LA Is Burning.” Traditionally, the evergreen “Fly Me To The Moon” is a swinging track that soars with optimism. Alice Underground’s rendition is reflective and romantic, evoking the moment right before dreams slip away. Gordon says: “We went for that ‘hero with her hair flying in the wind’ feel. It’s right before the girls escape for Cambria. It’s very Thelma & Louise.” The city smolders, and the torch ballad “LA Is Burning” wafts in from the rubble. “There is a lot of pain in that one,” Scott shares. Tasha adds: “It evokes that sentiment of feeling alone in a faraway place, engulfed by loneliness.”

The Cambria Sessions

Andrew Young - Diamonds

Size: 105,6 MB
Time: 45:32
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Smooth Jazz
Art: Front

01. Summertime (5:30)
02. Harlem Nocturne (5:04)
03. Amazing Grace (4:01)
04. Don't Know Why (4:41)
05. Cavatina (4:13)
06. Long And Winding Road (3:38)
07. Somewhere Over The Rainbow (3:31)
08. Besame Mucho (4:35)
09. Chuan Qi (4:47)
10. Mannenberg (5:27)

Born in Liverpool, England. After completing his Saxophone and Clarinet studies in London, Andrew moved to Germany to pursue a desire for a broader and more eclectic involvement in all genres of music.

He had the honour of performing as soloist with various Symphony Orchestras and engaged in session work and concerts alongside Pop/Jazz/Funk luminaries such as Matt Bianco and Precious Wilson Band.

The invitation to perform in South Africa whirled an engulfing wave of success with the Kwazulu Natal Philharmonic Orchestra and newly formed 5 piece Jazz/Funk/Fusion Band "Let It Flow."

Andrew soon became involved in the crosscurrents of South African and International music, meeting and being invited to perform with artists such as Joseph Shabalala (Ladysmith Black Mambazo), Jonathan Butler, Shakatak, Shirley Bassey, James Gallway as well as American R+B artist Keith Washington and a Tour of Austria with Dionne Warwick.

This culminated in the release of his debut album "Soul People" , a synergy of forces with BMG and producer Dennis East. The album topped the South African charts twice and was nominated five times for the South African Music Awards, paving the way for a pivotal point in his career.

Diamonds

Guinga & Maria Joao - Mar Afora

Size: 128,2 MB
Time: 54:38
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals, Latin Jazz
Art: Front

01. Simples E Absurdo (2:01)
02. Sete Estrelas (3:27)
03. Canibaile (2:59)
04. Via Crucis (4:45)
05. O Coco Do Coco (2:56)
06. Cançao Do Lobismem (2:53)
07. Catavento E Girassol (6:12)
08. Contenda (6:34)
09. Passarinhadeira (5:14)
10. Cha De Panela (3:48)
11. Pra Quem Quiser Me Visitar (4:08)
12. Senhorinha (3:47)
13. Saci (3:55)
14. Vo Alfredo (1:51)

Personnel:
Guinga: Guitar
Maria João: Vocals

“Mar Afora” … although the "sea so far away" lies between them, the jazz singer Maria João is deeply connected at a musical level to the guitarist Guinga. The Portuguese vocalist has always been attracted to Brazilian music, and the guitarist has a preference for melancholic tunes that remind one of the Portuguese fado. But what really makes them into a fascinating duo, is the congenially swinging rhythms.

These two artists present Guinga’s fourteen compositions poetically and with virtusosic skill in almost chamber music-like manner. His work reveals a modern side of Brazilian music: traditional elements pass through Guinga’s sophisticated harmonies and are transformed into an exciting new musical language.

Mar Afora

Anthony Wonsey Trio - Blues For Hiroshi

Bitrate: MP3@320K/s
Time: 56:50
Size: 130.1 MB
Styles: Piano jazz
Year: 2004
Art: Front

[5:18] 1. Damn That Reality
[5:41] 2. Waltz For Debby
[6:17] 3. Brother Hiroshi
[6:58] 4. Just In Time
[9:25] 5. The Peacocks
[5:14] 6. Just You, Just Me
[6:37] 7. Black Fairy Tales
[6:51] 8. Nobody Else But Me
[4:25] 9. Relaxin' At Camarillo

Anthony Wonsey (piano), Richie Goods (bass), Tony Reedus (drums).

Sharp Nine Records' slogan is "Straight ahead and in the pocket." How well does Sharp Nine's offering from Anthony Wonsey fit the bill? In the last decade, pianist Anthony Wonsey has been associated with prominent names like Nicholas Payton, Wallace Roney and the late Elvin Jones' Jazz Machine. So it's a surprise that Blues for Hiroshi is only the second album under Wonsey's leadership. (The album is the trio's first American release.) The disc is nicely paced with three originals and six standards that display Wonsey in a variety of mainstream settings from waltzes, ballads, bop and the blues and even a little stride.

The album opens with Wonsey's "Damn That Reality," his hard bop take on "Darn That Dream," with Goods and Reedus nicely kicking along the tempo. Next comes the ghost of Bill Evans in "Waltz for Debby," dragging his chain of "Bill Evans chords" mixed with your basic Wynton Kelly-type bop. "Brother Hiroshi" is dedicated to Hiroshi Imaizumi, Wonsey's patron, who has provided extensive exposure for the pianist at his Tokyo clubs. The modal-but-funky tune, coupled with Wonsey's locked hands chording and anachronistic mannerisms make it an interesting side-dish, but rather unmemorable. Wonsey offers a welcome change of pace with "Just In Time": the out-of-tempo piano intro gives way to a lively swing as Reedus grabs his brushes. Goods contributes a melodic, nimble solo here. Jimmy Rowles' lovely tune "The Peacocks" is a little disappointing. The beautiful melody can easily be made cloying in the wrong hands. Wonsey thankfully misses that mine, but errs on the side of caution. His touch (or is it the instrument?) fails to tap into the sensitivity of the line. "Just You, Just Me" is delightful collaboration between Wonsey, Monk, and Nat King Cole, with another solo spot for Goods. The third original is Wonsey's "Black Fairy Tales," a dreamy rubato reverie that segues into an impressionistic waltz. "Nobody Else But Me" begins with some Tin Pan Alley-style stride—perhaps the way it was played when Oscar Hammerstein and Jerome Kern wrote it for Showboat in 1927. Then Wonsey swings it when bass and brushes after a chorus. Wonsey cedes the spotlight to Goods and Reedus for some unexceptional solos. The trio goes out with Bird's blues "Relaxin' at Camarillo." If you're expecting some fire-breathing bebop here, you need to readjust your sights to something more like a swing-to-bop JATP session. Oscar Peterson's got nothing to worry about here, though. ~David S. Birk

Blues For Hiroshi

Ron Levy's Wild Kingdom - Latin-A-Licious Grooves

Bitrate: MP3@320K/s
Time: 73:16
Size: 167.7 MB
Styles: Latin jazz
Year: 2012
Art: Front

[ 6:20] 1. Funky Fiesta
[ 6:41] 2. Cuch Cuch
[ 6:17] 3. Back In The Back
[ 4:40] 4. Silver Cannonball
[ 5:12] 5. Soulard Soul Stew
[ 5:07] 6. El Fuego De Lowell Pt 2
[10:19] 7. Gaucha Girl
[ 7:04] 8. Eema's Song
[ 9:38] 9. Voodoo Boogaloo
[ 4:11] 10. Spangled Star Boogaloo
[ 7:40] 11. Groovin Whichu

This album is part of a four part series showcasing Ron Levy as a composer and master musician. It is an anthology drawn from the various recordings Mr. Levy produced, arranged and played his signature sound on piano, electric piano, vibes, guitar and Hammond organ. There are even a couple of his Blues inspired vocals!

Historically over the last twenty years, Ron has blended many different styles and genres into his own unique musical gumbo within each of his critically acclaimed and popular recordings. Enough so, he has now been able to assemble four separate full length albums comprised in each genre of grooves. These album titles aptly describe each particular mood and vibe contained in each of them: “Mo’ Jazzy Grooves” - “Funk-a-licious Grooves” - “Mo’ Blues & Grooves” and “Latin-a-licious Grooves”.

This newest collection is in addition to his three previously released anthologies: Ron Levy’s Wild Kingdom - “Best Grooves and Jams” - “Jazz-a-licious Grooves” and “Best of RLWK”. All titles are distributed by CDBaby and on the Ron Levy Facebook fan page music store. As usual, Levy has always surrounded himself with many of the most talented musicians in the world throughout his long and celebrated career. They all have interpreted his compositions with soulful empathy, adding their own unique artistic creative contributions and styles to help fulfill Ron’s vision of his original compositions and are featured throughout all four albums. Included in this collection are: Karl Denson, Melvin Sparks, The Memphis Horns, Idris Muhammad, James Gadson, David T. Walker, Stanley Banks, Jeff Lockhart, Crispin Cioe, ‘Sax’ Gordon, Albert Collins, Tutu Jones, Johnnie Bassett, Preston Shannon, Smokey Wilson, Bobby Forte, Jim Spake and Scott Thompson, Anson Funderburg and Sam Myers, Kim Wilson, Jimmie Vaughan, Roomful of Blues, Lowell Fulson, Larry Davis and Ronnie Earl. These songs as well as many of these personalities (and many more) are further explained and candidly revealed in Ron’s web-book, “Tales of a Road Dog” available on his website. We hope you enjoy these selections and include them in your regular rotation and consider them among your favorites. So stay tuned, there’s much more to come. Enjoy!

Latin-A-Licious Grooves

Shelby Flint - Shelby Flint Sings Folk

Bitrate: MP3@320K/s
Time: 30:12
Size: 69.2 MB
Styles: Folk
Year: 1963/2006
Art: Front

[3:04] 1. Ash Grove
[2:55] 2. House Of The Rising Sun
[1:16] 3. Sinner Man
[2:21] 4. Black Is The Color
[1:51] 5. I Love A Bonnie Lad
[2:11] 6. I Know Where I'm Goin'
[2:34] 7. The Cuckoo
[2:10] 8. Bonnie Wee Lassie
[2:50] 9. House Carpenter
[3:13] 10. Lady Isabel
[2:35] 11. Tell Old Bill
[3:07] 12. Two Brothers

Consisting almost wholly of adaptations of traditional material, Shelby Flint Sings Folk is an average early-'60s folk album in the mold of the earliest releases by Joan Baez and Judy Collins. Flint doesn't have nearly as much power and personality as either of those two stars, though neither is she as sterile as some of the droves of high-voiced female folk singers recording in 1963. Flint accompanies herself on banjo and guitar, with some additional guitar by Howard Heitmeyer and, more unusually, flute by Anthony Beale on a couple of tracks. The song choice, even by the standards of early-'60s folk repertoire, is on the predictable side: "House of the Rising Sun," "Sinner Man," "Black Is the Color," "The Cuckoo," "House Carpenter." It all adds up to an insignificant if reasonably accomplished folk recording. The entire album is available on a Collectors' Choice Music double CD that combines all three of her LPs for the Valiant label onto two discs. ~Richie Unterberger

Shelby Flint Sings Folk

Various - Bad Ass Jazz

Bitrate: MP3@320K/s
Time: 69:09
Size: 158.3 MB
Styles: Assorted jazz styles
Year: 2014
Art: Front

[4:04] 1. Herbie Hancock - Rockit
[3:58] 2. Roy Ayers Ubiquity - Stranded In The Jungle
[4:28] 3. Woody Herman - Aquarius
[5:06] 4. Sarah Vaughan - Peter Gunn
[4:26] 5. Jimmy Smith - Who's Afraid Of Virginia Woolf
[2:34] 6. Louis Jordan - Ain't Nobody Here But Us Chickens [dj Premier Remix]
[2:33] 7. Benny Golson - Cool Whip
[7:20] 8. Don Byron - There It Is
[5:33] 9. George Howard - Thank You For Talkin' To Me Africa
[6:14] 10. Gary Bartz - Funked Up
[5:50] 11. Mel Brown - Greasy Spoon
[2:48] 12. Oliver Nelson - These Boots Are Made For Walkin'
[3:28] 13. Ronnie Laws - Fever
[3:52] 14. Chick Corea's Elektric Band - Light Years
[3:25] 15. Return To Forever - Dayride
[3:24] 16. Fred Wesley - Watermelon Man

Bad Ass Jazz

Clark Terry & Max Roach - Friendship

Styles: Trumpet Jazz, Straight-ahead/Mainstream
Year: 2002
File: MP3@320K/s
Time: 46:05
Size: 106,7 MB
Art: Front

(1:47)  1. Statements
(6:35)  2. Let's Cool One
(1:44)  3. Brushes and Brass
(3:11)  4. Simple Waltz
(2:26)  5. I Remember Clifford
(3:37)  6. Lil Max
(6:28)  7. But Beautiful
(2:20)  8. The Profit
(2:07)  9. When I Fall In Love
(3:13) 10. For Dancers Only
(8:14) 11. Makin' Whoopee
(1:51) 12. To Basie With Love
(2:24) 13. The Nearness Of You

On the day this lovely recording was released, co-leaders Clark Terry (trumpet) and Max Roach (drums), legends both, were 82 and 79 years old respectively. Perhaps it would be best to get the clichés out of the way. Yes, it’s important that elder statesmen of jazz keep recording, and no one deserves that title more than these gentlemen. And it’s also great that the "old" guys have still “got it,” as they both most assuredly do. But what about the music? Friendship is a recording of fresh, swinging music with broad but intelligent appeal to committed Terry or Roach fans as well as new listeners just coming to an appreciation of these great musicians. Clark Terry demonstrates the flawless technique, buttery sound, and elegant, good-natured, witty improvisation for which he is famous. Roach offers, as always, a powerful conception of the drums, using a wide and creative sound palette. His approach on this recording is so unassuming that it is easy to lose sight of how complete his playing is in itself. “Lil’ Max,” for example, is a musical whole. It takes a bit of attention to realize that it is also an unaccompanied drum solo.

Both Don Friedman (piano) and the inexplicably under-recognized Marcus McLaurine (bass) have long been associated with Terry. Everyone sounds comfortable with themselves, each other, and the straightforward, but demanding quartet setting. Friendship also has an eclectic side. The album begins with “Statements,” a free jazz duet between the co-leaders. The set includes Monk’s “Let’s Cool One” and the standards “But Beautiful,” "When I Fall in Love,” “Makin’ Whoopee,” “The Nearness of You,” and “I Remember Clifford.” By continuing to perform at this level, Terry and Roach, who for decades have had nothing to prove to anyone, not only enrich us musically yet again they also teach important lessons about artistic integrity. We are lucky to have their example. This review originally appeared in the July 2003 issue of All About Jazz - New York.~Steve Robinson https://www.allaboutjazz.com/friendship-clark-terry-eighty-eights-review-by-steven-robinson.php 
 
Personnel: Don Friedman - Piano, Max Roach - Drums, Clark Terry - Trumpet, Flugelhorn, Marcus McLaurine - Bass.

Friendship

Dinah Shore - Bouquet Of Blues

Styles: Jazz, Vocal
Year: 1955
File: MP3@320K/s
Time: 38:02
Size: 89,8 MB
Art: Front

(3:47)  1. Bouquet Of Blues
(3:38)  2. Good For Nothin' Joe
(3:10)  3. Born To Be Blue
(3:47)  4. Blues In The Night
(3:15)  5. Lonesome Gal
(3:15)  6. Moanin' Low
(3:12)  7. Any Place I Hang My Hat Is Home
(2:55)  8. St. Louis Blues
(2:37)  9. I Got It Bad And That Ain't Good
(3:23) 10. Warm Hearted Woman
(2:42) 11. Memphis Blues
(2:18) 12. What Can I Say After I Say I'm Sorry

Dinah Shore was an award-winning television personality and singer known for her string of TV shows, including Dinah!, Dinah's Place, and Dinah and Friends. In 1951, Dinah Shore debuted her self-titled variety show on NBC. This would be the first of several long-running shows, including Dinah!, Dinah's Place, and Dinah and Friends, that would make her one of the nation's most popular TV personalities and for which she'd win nine Emmys, a Peabody Award and a Golden Globe. Shore also founded the Colgate/Dinah Shore Winner's Circle Golf Championship. She died on February 24, 1994, in Beverly Hills, California. On March 1, 1917, Dinah Shore was born as Frances Rose Shore in Winchester, Tennessee. While a student at Vanderbilt University, Shore started performing her own short program on a Nashville radio station. After completing her degree in sociology, she moved to New York City in 1938, intending to pursue a career as a singer. 

Shore soon landed a job singing on a New York radio station called WNEW. Recording success took a little longer, but in the early 1940s she began to release hits such as "Jim" and "Blues in the Night." During World War II, Shore often performed for the troops, singing songs like "You'd Be So Nice to Come Home To" and "I'll Walk Alone," which reached No. 1. Shore also began to appear in films in the 1940s. She worked with Gypsy Rose Lee in Belle of the Yukon (1944) and was seen in Till the Clouds Roll By (1946), a biographical musical about Jerome Kern. However, Shore did not take to film work and only appeared in seven movies. In the late 1940s, Shore continued to enjoy success on the charts. Her hits from this period include such songs as "I Love You for Sentimental Reasons" and "Buttons and Bows."

In 1951, Shore's self-titled variety show made its debut; it was the start of what would turn out to be a long-running career on television. The Dinah Shore Chevy Show began in 1956. The program, which featured Shore singing "See the USA in your Chevrolet," achieved even greater success and stayed on the air until 1963. Shore's television career evolved over the years, but her warm personality consistently charmed audiences. In the 1970s, she became a popular talk show host with a series of shows: Dinah's Place (1970-74), Dinah! (1974-80) and Dinah and Friends (1979-1984). Shore's last talk show, A Conversation with Dinah, aired on the Nashville Network from 1989 to 1991. One of television's most popular personalities, she won 10 Emmy Awards, a Peabody Award and a Golden Globe during her career.

Shore was passionate about golf and sponsored a women's golf tournament in California the Dinah Shore Classic for many years. Her contributions to the sport earned her honorary membership in the Ladies Professional Golf Association Tour Hall of Fame.Shore's first husband was actor George Montgomery. 

The two were married from 1943 to 1962. She later had a brief marriage to tennis player Maurice Fabian Smith. In the 1970s, Shore became known for her relationship with a much younger man actor Burt Reynolds. Shore died of cancer on February 24, 1994, at her home in Beverly Hills, California. She was 76 years old. Shore was survived by her two children from her first marriage, Melissa and John. http://www.biography.com/people/dinah-shore-16717581#synopsis

Bouquet Of Blues

Marcin Wasilewski - Spark of Life

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 73:50
Size: 169,2 MB
Art: Front

(7:07)  1. Austin
(6:28)  2. Sudovian Dance
(6:34)  3. Spark of Life
(4:37)  4. Do rycerzy, do szlachty, do mieszczan
(7:36)  5. Message in a Bottle
(6:55)  6. Sleep Safe and Warm
(8:33)  7. Three Reflections
(6:44)  8. Still
(6:06)  9. Actual Proof
(8:05) 10. Largo
(5:01) 11. Spark of Life

What do you do when you've released three albums as a trio (more, if you include albums released in Poland, prior to coming to the label) for a producer who traditionally seems to like shaking things up after that magic number? For Polish pianist Marcin Wasilewski and his longstanding trio first coming together in their teens, they've been together more than two decades, and first recorded for ECM with trumpeter Tomasz Stanko for a triptych of evolutionary albums that began with 2002's Soul of Things and concluded with the far maturer Lontano (2006) there have been two moves in 2014: first, show up as Norwegian guitarist Jacob Young's band (along with saxophonist Trygve Seim) on Forever Young, and now, follow that appearance with another set under the trio's own name, but with guest saxophonist Joakim Milder in tow. Spark of Life is another stellar collection from a trio predicated on the value of longevity and leveraging the opportunities this now late-thirty-something trio has been afforded to build a language all its own. The Swedish-born Milder is no stranger to either the Polish scene or to ECM, though it's been 17 years since he last made an appearance on the label on one of Tomasz Stanko's most lauded sessions since the trumpeter's fruitful return to the label in 1994, 1997's Litania: Music of Krzystof Komeda. Here, in a smaller, more intimate context, the saxophonist helps make Spark of Life an album that, while rich with the profound lyricism that has imbued Wasilewksi's trio since it first emerged in Poland as the Simple Acoustic Trio, with its own tribute to the great film and jazz composer, Komeda (GOWI, 1995), simmers at a higher temperature...even, at times, approaching (if not exactly reaching) a full boil.

Not that Spark of Life doesn't possess the same elegance, the same rarefied, song-like melodism of previous albums including 2008's January and 2011's Faithful, nor does it fail to capitalize on the innate strength of the trio, which performs six out of Spark of Life's eleven tracks on its own. Wasilewski's "Austin," is as soft and lyrical as the trio has ever been, an inviting opener that creates a strong sense of continuity with what's come before. And if "Austin" seems redolent of the American music town for which it might be named, despite it actually being a dedication to fellow pianist Austin Peralta, Wasilewski's "Sudovian Dance" which follows and introduces Milder to the mix turns to a more appropriately Baltic sense of folkloric melody, even as bassist Slawomir Kurkiewicz and drummer Michal Miskiewicz begin to turn the heat up during the saxophonist's solo, hinting at more muscular interaction to come. Still, Wasilewski's title track presenting in two variations, first with Milder, but closing the album with a trio-only take demonstrates that Milder does more than simply light a fire. A rubato tone poem where Miskiewicz's textural support is particularly noteworthy, Milder engages in a piece where interpretation and tone are everything. The saxophonist demonstrates similar developmental patience on his own irregularly metered "Still," while on a by now de rigueuer look at a Komeda piece, in this case, "Sleep Safe and Warm," the saxophonist demonstrates his attention to detail on a track that simmers with a slow-burning pedal point before breaking the tension into its familiar changes, with Kurkiewicz and Miskiewicz treading a very fine swinging line between the implicit and the explicit.

While Wasilewski contributes five of the album's compositions, the trio makes clear that its musical touchstones range far and wide on a series of covers that range from a luxurious look at "Do Rycerzy, do Szlachty, do Mieszcan," from the Polish rock group Hey, that features Milder at his sparest and most refined, to a trio reading of Jazz Police's "Message in a Bottle. Heavily deconstructed and reconstructed, Kurkiewicz delivers his most potent solo of the set, while Wasilewksi demonstrates just how many rounded surfaces he can find in the relatively square corners of such a simple construct having, in the past, found similar freedom in the music of Björk and Prince. And while he's long been a personal reference for Wasilewski, Spark of Life is the first time the pianist has taken the leap to actually perform a song by Herbie Hancock. In this case, the bright and bubbly "Actual Proof" performed often by Hancock but first heard on the Headhunters' Thrust (Columbia, 1974) and here turned into a more liberated and open-ended version that comes as close to incendiary heat as this trio gets, also providing Miskiewicz a rare moment in the spotlight.

ECM has, in its 45-year history, created a number of particular emphases amongst its massive breadth of musical offerings, and one of them has been to take that most conventional of jazz ensembles, the piano trio, and push it into different directions that respect the tradition of American greats like Bill Evans, Herbie Hancock and, looking further back, Lennie Tristano, while encouraging it to incorporate music of other genres and cultures as, at the same time, it strives to assert a clear sense of modernity. Of the young piano trios it has encouraged over the years, the Marcin Wasilewski Trio may well be its longest-standing, and for good reason. Clearly, Wasilewski, Kurkiewicz and Miskiewicz are capable of working in other contexts Wasilewski and Kurkiewicz, for example, working together on drummer Manu Katche's first two ECM dates, 2006's Neighbourhood and the 2007 followup, Playground but it's equally clear that it's in the context of this trio that these three young Poles find the most freedom to explore as they please. With the addition of Milder on roughly half of this 74-minute program, the Marcin Wasilewski Trio has managed to retain its core strengths while adding something new to avoid any pitfalls of predictability. If the at once sublet yet intense Spark of Life is any evidence (along with Forever Young), it's a sure thing that this simpatico trio still has plenty up its collective sleeve to ensure no risk of that ever happening.~John Kelman https://www.allaboutjazz.com/marcin-wasilewski-trio-w-joakim-milder-spark-of-life-by-john-kelman.php
 
Personnel: Joakim Milder: saxophone (2-4, 6, 8); Marcin Wasilewski: piano; Slawomir Kurkiewicz: double bass; Michal Miskiewicz: drums.

Spark of Life

Music Revelation Ensemble & James Blood Ulmer - Cross Fire

Styles: Jazz, Avant-Garde Jazz
Year: 1998
File: MP3@256K/s
Time: 53:08
Size: 99,0 MB
Art: Front

(5:36)  1. Law
(7:10)  2. Suspect
(4:30)  3. Devotion
(5:18)  4. Sweet
(6:36)  5. Proof
(9:14)  6. My Prayer
(7:59)  7. Evidence
(6:40)  8. Backbeat

Pretty good idea to rotate guest saxophonists as a means to keep James Blood Ulmer's Music Revelation Ensemble concept fresh. Pharoah Sanders and John Zorn are on board for Cross Fire, and a change to Calvin "Fuzz" Jones' acoustic bass lowers the frenzy level that marked Knights of Power. Sanders, in particular, sounds inspired by the context, playing hard and pushing Ulmer and the music. His tracks all start out peaceful, go totally outside with high harmonic shrieks and thick, woolly tenor tone, and then bring it back to the serenity base. He plays some kind of flute over Jones' arco bass on the atmospheric "Suspect," before Cornell Rochester's drums (a driving, active force throughout) gradually push things out. Some lingering echoes of Sonny Sharrock's Ask the Ages disc mark the Sanders tracks it is the exact same lineup after all, led by another guitar improviser with some kind of space-bluesman-kinship-connection to Jimi Hendrix that becomes explicit on "Sweet." And damn, "My Prayer" finds Sanders playing over segments with an outright country & western groove (yes, you read that right) before it turns sideways and abstract with a spare Ulmer solo for effective contrast. Zorn is subdued at first he's the weak link on the opening "Law," not connecting with the blues dirge-feel created by Jones' bass drag anchor with octave drops and a solid Ulmersolo. But he hits his stride on "Proof," his sonic sax effects playing dodge 'em games with Ulmer's guitar around a very pretty, classic Ulmer theme over a slow, descending bassline later he comes vomiting back in to spew forth guttural commentary, whoops, and slides near the end of a great track. His playing even picks up on the peace and serenity vibe for the nice closer "Backbeat." Music Revelation Ensemble seems to be the context that Blood Ulmer reserves his strongest melodies for, and he plays with the kind of fire and invention that made him a major figure. Cross Fire probably isn't the best place to plunge in and explore the music, but it's a very worthy addition to the catalog.~Don Snowden http://www.allmusic.com/album/cross-fire-mw0000036120 

Personnel:  James Blood Ulmer – guitar;  Calvin "Hassan Truth" Jones - acoustic bass;  Cornell Rochester – drums;  John Zorn - alto saxophone (tracks 1, 3, 5 & 8);  Pharoah Sanders - tenor saxophone (tracks 2, 4, 6 & 7)

Cross Fire