Tommy Newsom, Ken Peplowski - The Feeling Of Jazz

Bitrate: MP3@320K/s
Time: 64:52
Size: 148.5 MB
Styles: Bop, Saxophone jazz
Year: 1999/2006
Art: Front

[ 5:42] 1. Opnly A Rose
[ 8:22] 2. Feeling Of Jazz
[ 4:14] 3. Too Late Now
[ 5:08] 4. Benny's Pennies
[ 3:08] 5. All Alone
[ 4:24] 6. Skylark
[ 4:15] 7. Titter Pipes
[ 7:27] 8. It's Sand Man
[ 6:19] 9. I'll Close My Eyes
[ 5:40] 10. Opus De Funk
[10:08] 11. Lover Come Back To Me

Although not promoted as such, this happy pairing of tenormen Tommy Newsom and Ken Peplowski can be regarded as, if not a tribute to, then a remembering of the classic quintet jointly but irregularly led by Al Cohn and Zoot Sims from the late 1950s on. As were Al and Zoot, so are both Tommy and Ken also well-grounded in the school of playing that places primacy on a lyrical approach to improvisation, a warm tone, a healthy respect for swinging time, and a deliberate avoidance of athletic technical displays. So, if frequent excursions into the altissimo register, squawking multiphonics, and mind-numbing, assault-gun-like rapidity of notes presently constitute your definition of saxophone artistry, prepare to have your tastes broadened.

Backed with appropriate empathy and swing by pianist Ben Aronov, guitarist Mike Peters, bassist Greg Cohen, and drummer Chuck Redd, the two tenormen embrace and intertwine on such long-neglected standards as "Only a Rose," "All Alone," and "Skylark," Ellington's seldom-played "The Feeling of Jazz," Aronov's boppish "Bennie's Pennies," Newsom's "Titter Pipes," a chart he wrote decades ago for Benny Goodman, Buck Clayton's "It's Sand, Man," Horace Silver's "Opus de Funk," and the show tunes, "Too Late Now" and "Lover, Come Back to Me." While serving admirably as a palliative to so much of the anarchic, juvenile noise currently being hyped as music, the bare-boned honesty of the sounds heard here also reminds us that all is not yet lost to the gangsta-enthralled philistines, at least not as long as swingers like Tommy and Peps are given a chance. ~Jack Sohmer

The Feeling Of Jazz

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Marlena Shaw - Marlena

Bitrate: MP3@320K/s
Time: 40:34
Size: 92.9 MB
Styles: R&B, Vocal jazz
Year: 1972/2015
Art: Front

[5:06] 1. What Are You Doing For The Rest Of Your Life
[3:25] 2. Somewhere
[4:45] 3. Runnin' Out Of Fools
[3:56] 4. So Far Away
[3:49] 5. I'm Gonna Find Out
[4:05] 6. Save The Children
[4:30] 7. You Must Believe In Spring
[5:00] 8. Wipe Away The Evil
[5:54] 9. Things Don't Never Go My Way

Marlena Shaw is among the most versatile and charismatic jazz vocalists on the scene today. Her performances are marked by an artful blend of pop standards and straight-ahead jazz tunes. Her extroverted stage presence gives her an edge over other vocalists, and clearly, singing live before an audience is where she feels most comfortable.

After her uncle Jimmy Burgess introduced her to the recordings of Dizzy Gillespie and Miles Davis, she caught the jazz bug and purchased records by Al Hibbler, a vocalist who had a big influence on her singing style. When she was ten she performed at Harlem's Apollo Theater, and despite the enthusiastic reception she received in front of one of the world's toughest audiences, her mother refused to let her go on the road with her uncle, a trumpet player. Shaw attended the State Teachers' College in Potsdam, NY, but later dropped out. For some time in 1963 she worked around New England with a trio led by Howard McGhee. By the mid-'60s she was performing regularly for audiences in the Catskills, Playboy clubs, and other New York area clubs. In 1966, she recorded "Mercy, Mercy, Mercy" for Cadet Records, and the single sold very well for an unknown singer. The single's success, a rare vocal version of the tune, prompted executives at Cadet to encourage her to record a whole album for the label in 1967. The diversity of styles, including blues, jazz, and pop standards, is reflected in the album's title, Out of Different Bags. Through her accountant, she was brought to the attention of bandleader Count Basie, and she ended up singing with the Basie band for four years.

In 1972, after leaving the Basie Orchestra, Shaw was the first female vocalist signed to Blue Note Records, and she toured for a while with the late Sammy Davis Jr. Shaw recorded five albums and several singles for Blue Note, and critics likened her singing style to Dinah Washington and Sarah Vaughan. At her club shows, Shaw dazzled audiences with her intoxicating blend of straight-ahead jazz, soul, pop, and classic R&B, but her recordings will also satisfy fans of traditional jazz who have no prejudices about blues and R&B. ~bio by Richard Skelly

Marlena

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Johnny Hartman - Thank You For Everything

Bitrate: MP3@320K/s
Time: 58:43
Size: 134.4 MB
Styles: Standards, Vocal jazz
Year: 1978/1998
Art: Front

[2:55] 1. I'm Glad There Is You
[1:47] 2. What Is This Thing Called Love
[3:34] 3. The Morning After
[2:49] 4. I Concentrate On You
[4:38] 5. Take The A Train
[3:26] 6. Miss Otis Regrets
[2:48] 7. Thank You For Everything (Lotus Blossom)
[3:01] 8. Anything Goes
[4:04] 9. Lush Life
[1:43] 10. You Better Know It
[2:40] 11. Easy To Love
[1:56] 12. Warm Valley
[2:02] 13. Warm Valley (Alternate)
[1:51] 14. Just One Of Those Things
[3:19] 15. My Little Brown Book
[3:00] 16. Let's Do It
[2:47] 17. While We're Young
[3:36] 18. I've Got You Under My Skin
[2:57] 19. Satin Doll
[3:42] 20. Ev'ry Time We Say Goodbye

In 1978, Johnny Hartman was featured twice on Alec Wilder's legendary radio series. This 1998 CD has all of the music from those dates (released commercially for the first time) with Hartman being tastefully accompanied by pianist Loonis McGlohon, bassist Terry Lassiter and drummer James Lackey. Fifty-five at the time, Hartman was still in prime form, as he shows throughout the lengthy set of ballads. All of the songs are standards, although a couple (such as "The Morning After" and the Ellington/Strayhorn number, "You Better Know It") are lesser-known. The title cut is actually a vocalized version of Strayhorn's "Lotus Blossom." Other highlights include "I'm Glad There Is You," "Easy to Love," two versions of "Warm Valley" and a remake of "Lush Life." ~Scott Yanow

Thank You For Everything

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Sweet Jazz Trio - Very Personal

Bitrate: MP3@320K/s
Time: 54:52
Size: 125.6 MB
Styles: Contemporary jazz
Year: 2007
Art: Front

[4:24] 1. Visa I Majregn
[6:05] 2. Pennies From Heaven
[4:37] 3. Elias Ar Mitt Namn
[4:52] 4. Little Train
[4:08] 5. Stars Fell On Alabama
[3:36] 6. Lonely Moments
[6:03] 7. Full Moon In Nara
[4:08] 8. Tolvan
[5:03] 9. White Rabbit
[4:41] 10. Why Not
[7:10] 11. Basin Street Blues

Lasse Törnqvist cornet, Mats Larsson guitar and Hans Backenroth double bass. Recorded live at Fagersta, Sweden, March 7 and June 6, 2004.

SWEET JAZZ TRIO from Stockholm, Sweden plays chamber jazz music in the mainstream tradition and has existed since 1992. Leader of the group is the cornetist Lasse Törnqvist. Guitar is played by Mats Larsson and double bass by Hans Backenroth. Mats has participated in the group since the start and Hans since early 1995. Sweet Jazz Trio has been playing in Sweden at jazz clubs, jazz festivals, concerts, at dances, in restaurants, at weddings, funerals, at conferences, at private parties etc. etc. Sweet Jazz Trio participated for instance during the summer 2000 in international jazz festivals in Dalsbruk/Finland and Molde/Norway.

Very Personal

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Steve Kuhn Trio - Sing Me Softly of the Blues

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 56:06
Size: 128,6 MB
Art: Front

(7:35)  1. This Is New
(5:28)  2. Dance Only With Me
(5:02)  3. Chicken Feathers
(6:08)  4. My Funny Valentine
(5:29)  5. Sing Me Softly Of The Blues
(4:26)  6. Naima
(4:25)  7. Sticky Kisses
(4:44)  8. Who Cares
(5:35)  9. Lament
(7:10) 10. The Very Thought Of You

A highly regarded jazz pianist and composer, Steve Kuhn is known for his sophisticated ear for harmony and lyrical, motivic approach to improvisation. Emerging from the Boston jazz scene, Kuhn's adaptive, forward-thinking skills have found him moving across various genres from swinging acoustic post-bop to classical-influenced chamber jazz and the avant-garde. Born in Brooklyn, New York in 1950 to Hungarian immigrant parents, Kuhn first became interested in music at a young age while listening to his father's jazz record collection on 78s. Starting piano lessons at age five, he quickly displayed his gift for perfect pitch. After moving to Boston with his family, Kuhn began taking lessons with the legendary Boston-area pedagogue Margaret Chaloff, whom he credits with engendering his strong classical piano technique. Also during this time, he befriended Chaloff's son, saxophonist Serge Chaloff, who encouraged his interest in jazz. By his teens, Kuhn had developed into an adept jazz pianist, influenced by the recordings of jazz luminaries like Duke Ellington, Bud Powell, Fats Waller, and Art Tatum. He formed his own trio with drummer Arnold Wise and bassist Chuck Israels and began playing local clubs. Even while attending Harvard, Kuhn held down a six-nights-a-week gig in Harvard Square and gained valuable experience working with the myriad jazz stars who came through the city, including Chet Baker, Coleman Hawkins, and Vic Dickenson, among others. After graduating Harvard, Kuhn continued his studies at the Lenox School of Music, where he rubbed shoulders with fellow students Ornette Coleman and Don Cherry and studied under esteemed jazz scholars like Gunther Schuller and George Russell. It was also while at Lenox that he met trumpeter Kenny Dorham, who hired the pianist for a yearlong tour. Parting ways with Dorham in 1960, Kuhn next joined legendary saxophonist John Coltrane's quartet for a stint at New York's Jazz Gallery. While brief (Kuhn was replaced by McCoy Tyner after eight weeks), the experience inspired Kuhn and would inform much of his later work. Also during the '60s, Kuhn began appearing on recording dates with artists like Stan Getz, Oliver Nelson, and Art Farmer; he also spent a year touring with Farmer and future collaborators bassist Steve Swallow and drummer Pete La Roca. 

As a leader, Kuhn debuted alongside pianist Toshiko Akiyoshi on 1963's The Country and Western Sound of Jazz Pianos. He then followed up with 1966's Three Waves featuring Swallow and La Roca. Also in 1966, he paired with fellow Lenox student Gary McFarland for the landmark chamber jazz album The October Suite. In the late '60s, Kuhn relocated to Stockholm, Sweden, where he lived and performed until 1971. Ironically, it wasn't until returning to the States that Kuhn signed with Manfred Eicher's then fledgling European jazz label ECM. Notably, Kuhn's work on The October Suite had been one of Eicher's early inspirations in founding the label. With ECM, Kuhn released several probing and atmospheric albums including Ecstasy (1974), Trance (1974), Motility (1977), Non-Fiction (1978), Playground featuring vocalist Sheila Jordan (1979), and Last Year's Waltz (1981).

In the '80s, Kuhn continued to refine his sound, often playing in a trio with bassist Ron Carter and drummer Al Foster. Many of his albums from this period, including 1984's Mostly Ballads, 1987's Life's Magic, and 1988's Porgy, showcase a mix of well-curated standards along with his inventive original compositions. It was a template that Kuhn would stick with throughout the next decade as he found himself working in various trio settings with artists like David Finck, George Mraz, Buster Williams, Billy Drummond, Lewis Nash, Bill Stewart, Kenny Washington, and others. While the trio remained Kuhn's preferred format, his 1995 album, Seasons of Romance, found him working in an all-star quintet with tenor saxophonist Bob Mintzer and trumpeter Tom Harrell. Even more expansive was his 2004 return to ECM, Promises Kept, which found him backed by a small string orchestra. Kuhn also retained his exploratory edge, returning to his love of classical composers like Debussy and Ravel on 2006's Pavane for a Dead Princess. Jazz reworkings of classical compositions were featured on his 2008 trio album, Baubles, Bangles and Beads. In 2009, Kuhn revisited his time as a member of John Coltrane's quartet with Mostly Coltrane, featuring saxophonist Joe Lovano, on ECM. Also for ECM, Kuhn paired with bassist Swallow for 2012's Wisteria. In 2016, Kuhn was once again joined by Swallow and drummer Joey Baron for At This Time... on Sunnyside. ~ Matt Collar http://www.allmusic.com/artist/steve-kuhn-mn0000036645/biography

Personnel: Steve Kuhn (piano); George Mraz (bass); Pete LaRoca (drums).

Sing Me Softly of the Blues

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Jessica Molaskey - Pentimento

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 45:26
Size: 104,5 MB
Art: Front

(2:44)  1. Oh, You Beautiful Doll
(3:02)  2. I'm Just Wild About Harry
(3:06)  3. Ain't We Got Fun
(3:31)  4. What'll I Do
(3:22)  5. With Plenty Of Money And You/We're In The Money
(2:29)  6. Waitin' For The Train To Come In
(2:41)  7. Red, Red Robin
(1:57)  8. By The Beautiful Sea
(2:49)  9. I'm Always Chasing Rainbows
(2:46) 10. Oh, How I Hate To Get Up In The Morning
(4:12) 11. You Made Me Love You
(1:50) 12. I Tried Too Hard For Too Long
(1:05) 13. When I Lost You
(1:55) 14. Look For The Silver Lining
(3:18) 15. I Can't Give You Anything But Love
(1:37) 16. Beautiful Dreamer
(2:57) 17. Sail Away

With the seemingly steady rise of interest in traditional American popular song, the result has been a treasure trove of CD reissues, a Renaissance of careers of more seasoned veteran performers, and the appearance of many new singers who draw upon the repertoire and inspiration of the Great American Songbook. Along with the work of veterans such as Weslia Whitfield, the recently late Rosemary Clooney, and relative newcomers such as Stacey Kent, another traditional pop songstress has arrived. Pentimento, the new CD by Jessica Molaskey primarily mines the rare ore of songs from the era between the World Wars. Molaskey, and an impressive supporting cast including husband John, and father-in-law Bucky Pizzarelli, provide more than a mere recasting of this music. Instead of a stylized recreation by a repertoire-type ensemble, Molaskey and her assemblage, which also includes the clarinet of Ken Peplowski and the violin of Johnny Frigo, unearth a fresh, lightly swinging perspective that uncovers the sheer underlying beauty of these older songs. Molaskey performs the Eubie Blake/Noble Sissle classic “I’m Just Wild About Harry,” as a ballad rather than in its more familiar up-tempo version. 

As a ballad, a new tenderness of the lyric and the heartfelt emotion of this song come through like the beauty of aged wood grain hidden under stripped away old varnish. Another interesting twist is the inclusion of the seldom-heard verse to the song “Oh, You Beautiful Doll.” Molaskey’s voice is enchanting as she interprets songs such as “You Made Me Love You,” and “I Can’t Give You Anything But Love.” Her version of “Look for the Silver Lining,” even rivals the delicate rendition recorded by Chet Baker in the 1950’s.  Molaskey also demonstrates her writing talents with her added lyrics to Irving Berlin’s “Oh, How I Hate To Get Up In The Morning,” and original songs “I Tried Too Hard For Too Long,” and “Sail Away” co-written with husband John Pizzarelli. Molaskey also includes one song not from the 20th century. Her version of Stephen Foster’s “Beautiful Dreamer,” reveals the sentimental essence of this old chestnut. The recording quality of Pentimento is superb. The musicians assembled for the session represent top shelf talent. The quality of the sound is crystal clear with Molaskey’s very precise diction perfectly balanced with the accompanying instruments. For fans of traditional popular song and/or just fun sounding swinging music Pentimento is highly recommended as an addition to one’s CD collection. ~ Craig W.Hurst https://www.allaboutjazz.com/pentimento-jessica-molaskey-ps-classics-review-by-craig-w-hurst.php

Personnel: Jessica Molaskey, vocals; Bucky Pizzarelli, guitar and uke; John Pizzarelli, guitar, uke and additional vocals; Martin Pizzarelli, bass; Larry Goldings, piano; Ray Kennedy, piano; Johnny Frigo, violin; Ken Peplowski, clarinet; Tony Tedesco, brushes on phone book; Jesse Levy, cello.

Pentimento

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Gary Burton - Who Is Gary Burton?

Styles: Vibraphone Jazz
Year: 2013
File: MP3@320K/s
Time: 33:08
Size: 78,5 MB
Art: Front

(4:17)  1. Storm
(4:18)  2. I've Just Seen Her
(4:28)  3. Fly Time Fly
(4:01)  4. Conception
(5:44)  5. Get Away Blues
(5:26)  6. My Funny Valentine
(4:52)  7. One Note

By 1962, Gary Burton was known as a talented young vibraphonist, one who had already proven himself as a sideman and was breaking new ground as a master technician on his instrument, utilizing four mallets simultaneously with seemingly little effort. Joining him on this sophomore outing is a septet that includes Clark Terry, Phil Woods, Bob Brookmeyer (who is strangely not listed anywhere on the album jacket), and Joe Morello. The play list is anything but predictable, with two exciting originals by drummer Chris Swanson (a fellow Berklee alum), a well-crafted arrangement of George Shearing's "Conception," an elegant take of "My Funny Valentine" with a gorgeous flügelhorn solo by Terry, and an obscure but high-energy work by Jaki Byard, "One Note." Although Burton is obviously a very confident soloist, he feels no need to hog the spotlight (a common mistake by young jazz musicians in later decades), as he is happy to step back and let the veterans take center stage. ~ Ken Dryden http://www.allmusic.com/album/who-is-gary-burton-mw0000873709

Personnel:  Gary Burton — vibraphone;  Clark Terry — trumpet;  Bob Brookmeyer — valve trombone;  Phil Woods — alto saxophone;  Tommy Flanagan — piano;  John Neves — bass;  Joe Morello , Chris Swansen — drums.

Who Is Gary Burton?

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Marion Meadows - In Deep

Styles: Saxophone Jazz, Smooth Jazz
Year: 2002
File: MP3@320K/s
Time: 58:21
Size: 135,3 MB
Art: Front

(5:09)  1. Tales of a Gypsy
(4:10)  2. Thank You
(5:35)  3. Soul Food
(4:06)  4. Yeah Baby
(4:11)  5. Show Me, Show Me
(4:14)  6. Don't Wanna Know
(4:24)  7. South Chicago
(4:40)  8. Treasures
(4:02)  9. Flava
(5:17) 10. In Deep
(5:26) 11. Is That You
(4:03) 12. Slow Motion
(2:58) 13. Tales of a Gypsy Reprise

Marion Meadows' third Heads Up International release, In Deep, finds the sax player/songwriter/producer successfully infusing his distinctive sound with elements of hip-hop, neo-soul, and R&B. Along for the ride are Bob Baldwin, Will Downing (on the mid-tempo "Don't Wanna Know"), guitarist Ray Obiedo, Spyro Gyra guitarist Julio Fernandez, and emerging keyboardist/producer Michael Broening. The supple "Show Me, Show Me" is both sensuous and funky. Trumpeter Roy Hargrove doubles with Meadows on the slick, uptown "Soul Food." Other standouts are the smooth "Yeah Baby," the mellow "Treasures," "Is That You," "Slow Motion," and the dynamic title track. ~ Ed Hogan http://www.allmusic.com/album/in-deep-mw0000223257

Personnel:  Marion Meadows (soprano, alto & tenor saxophones); Julio Fernandez (vocals, acoustic & electric guitars); Blake Harris, Lindsay Finch, Valerie Scott, Will Downing (vocals); Michael Broening, Michael Beardon (keyboards, programming); Bob Baldwin (keyboards); Thano Sahnas, Rohn Lawrence, Ray Odiedo, Anthony Kinchion (guitar); Ron Jerkins (bass); John Roberts (drums); Dennis Johnson (programming).

In Deep

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