Jessica Molaskey - Sitting In Limbo

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 44:57
Size: 103,6 MB
Art: Front

(3:58)  1. Sitting In Limbo
(3:10)  2. Heavy Cloud, No Rain
(4:16)  3. Summer, Highland Falls
(3:00)  4. Ooh Child
(2:13)  5. I Want To Be Happy / Sometimes I'm Happy
(3:12)  6. There Will Never Be Another You
(4:31)  7. Knowing You
(3:31)  8. I'm Gonna Sit Right Down and Write Myself A Letter
(4:48)  9. The Circle Game / Waters Of March
(3:35) 10. Walkin' After Midnight
(4:11) 11. Hearts and Bones
(4:26) 12. Morning Has Broken / I Woke Up One Early Morning

Singer Jessica Molaskey's fourth album, Sitting in Limbo, has been well received. She is guitarist/vocalist John Pizzarelli's wife, and together they have won the New York City Nightlife Award for "Best Musical Duo" in both 2007 and 2008. Molaskey is a very polished vocalist whose specialty is Broadway musicals, currently appearing in a revival of Stephen Sondheim's Sunday in the Park with George, which opened in Manhattan in February, 2008. Her jazz credentials are enhanced by her frequent appearances and recordings such as this one, with her husband's working combo, but she is really an artist even more comfortable in a theatrical or cabaret setting. A similar comparison could be made for the late career of Rosemary Clooney, who was re-invented by Concord Records during the last two decades of her life, through her many jazz-associated albums. However, even Clooney came from a big band setting prior to her string of pop hits in the 1950s. Sitting in Limbo is a thematic album, using the lyrics of Jimmy Cliff's title tune to reflect a place "between heaven and hell" with an interesting choice of mostly pop material. On Paul Simon's "Hearts and Bones," based upon an autobiographical lyric that reflects upon Simon's failed marriage and a journey to New Mexico with actress/writer Carrie Fisher (."..One and one-half wandering Jews, Free to wander wherever they choose..."). Billy Joel's "Summer, Highland Falls" is interleaved with Jobim's uncredited "Tristeza," with the word "sadness" appearing in both songs but with different meanings.


An important part of the Molaskey/Pizzarelli performances live or in studio is their interrelated duets. Here two Vincent Youman/ Irving Caesar tunes "I Want to Be Happy" and "Sometimes I'm Happy" are sung by each of the vocalists. Elsewhere, Molaskey renders Joni Mitchell's "The Circle Game" while Pizzarelli does Jobim's vocally complex "Waters of March." Finally, Cat Stevens' "Morning Has Broken" is sung alongside the Pizzarelli/Molaskey original "I Woke Up One Early Morning." All of these tunes represent contrasting views that are reflected in Jimmy Cliff's lyrics on the title tune: "..I don't know where life will take me, but I know where I've been..." Pizzarelli's group is augmented by pianist/organist Larry Goldings on half of the selections (in lieu of Larry Fuller) and the presence of the always dependable and lyrical tenor saxophonist, Harry Allen. Bassist Martin Pizzarelli and drummer Tony Tedesco complete the roster. Disregarding labels and sub-genres, this is Jessica Molaskey's finest album in terms of concept and execution. ~ Michael P.Gladstone https://www.allaboutjazz.com/sitting-in-limbo-jessica-molaskey-ps-classics-review-by-michael-p-gladstone.php

Personnel: Jessica Molaskey: vocals; John Pizzarelli: guitar, vocals; Larry Goldings: piano and organ (1, 2, 4, 6, 8, 12); Larry Fuller: piano (3, 5-7, 9, 10); Martin Pizzarelli: bass; Tony Tedesco:drums; Harry Allen: saxophone.

Sitting In Limbo

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Walter Lang, Lee Konitz - Ashiya

Styles: Piano And Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 53:57
Size: 123,9 MB
Art: Front

(4:49)  1. Monk's Cottage
(5:55)  2. The Good Way
(3:57)  3. Open Water
(0:24)  4. Interlude I
(4:40)  5. Ashiya
(5:14)  6. Soft Wind Blowing
(4:35)  7. Way Too Early
(3:38)  8. What A Treat
(3:54)  9. Valse Elegance
(6:08) 10. Casa Do Tom
(1:08) 11. Interlude II
(7:42) 12. Farewell
(1:47) 13. Epilogue

The veteran German jazz pianist Walter Lang welcomes alto sax great Lee Konitz for this special duo session. While they had worked together on-stage several times, this marks their first CD together. It is a bit unusual to hear Konitz focusing almost exclusively on another musician's material without adding a few of his own quirky reconstructions of standards, but all goes well, as the two players fit hand in glove. The meandering opener, "Monk's Cottage," has a recurring call-and-response theme. "The Good Way" has a classical air, with Konitz making a late entrance in a very lyrical setting. The ballad "Ashiya" has a melancholy air, with Lang's piano behind Konitz suggesting a lonely person pacing the floor in despair. The lush romanticism of "Valse Élégance" and the elegant "Casa do Tom" are also highlights. The two musicians collaborated on two brief interludes and the closing "Epilogue."~ Ken Dryden http://www.allmusic.com/album/ashiya-mw0000781594

Personnel: Walter Lang (piano); Lee Konitz (alto saxophone).

Ashiya

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Keiko Matsui - Journey To The Heart

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 46:41
Size: 107,4 MB
Art: Front

(4:44)  1. Moving On
(4:33)  2. Carnival
(3:22)  3. The Edge of Twilight
(4:43)  4. Butterfly
(5:01)  5. Casablanca
(5:14)  6. Journey to the Heart
(4:00)  7. Havana Nights
(4:53)  8. New Beginning
(5:17)  9. Two Harbors
(4:49) 10. Blue Rose

Out of pain comes growth and in 2007, Keiko Matsui, emerged from a divorce, record label troubles, and embraced her new singularity by striking out in a bold new direction as she traveled to South Africa, paired up with trumpeter Hugh Masakela and the results gave birth to the adventurous Moyo, one of the brightest and best recordings of a 30-year career. Fast forward nine years and Matsui's at it again with Journey To The Heart, a spirited and joyful project that brims with equal parts euphoric passion and unbridled brilliance as Matsui seems invigorated as a player, composer, and bandleader. Paired with a drum-head tight new band, this is her finest musical moment in nearly a decade. Don't call it world beat. Put a Japanese pianist in the studio with a Cuban bassist and drummer, (Del Puerto and Branley) add a guitarist from Peru (Stagnero) and a percussionist from Venzuela (Quintero) then just for grins invite a dazzling harmonica player from Switzerland (Maret) to join in on the festivities, and what you have is Matsui's 27th album as a leader as she stakes out a bold new direction as she moves into more acoustic music. Intact is her signature precision on the piano and her stately compositions and arrangements.

It takes supreme confidence in yourself and your fellow musicians to reign in and allow them to take the lead and compliment them instead of relegating them to little more than sidemen. Taking few solos here, Matsui has always been willing to unselfishly share the spotlight as her duet with Greigoire Maret on the riveting "Two Harbors" is ample evidence of.  "Moving On" and "Carnival" are two romper stompers featuring guitarist Ramon Stagnero who nimbly navigates his way as Matsui trades leads with him until percussionist Luis Quintero brings it home. It's exciting to follow in a way Matsui's recent outings with studio pros were not. Too many musicians reach a stage in their careers where they seemingly say, "That's good enough. I've done a few different things. I can just keep making the same old same old with different titles and it will sell." Maybe that's true for a dinosaur rock band content to go on stage and crank out the hits, but for a jazz artist, that is a shortcut to stagnation and musical death. When jazz musicians play it safe and are content to just make the donuts, it ceases to be jazz and becomes instrumental pop without vocals and who needs that? Keiko Matsui will never get her proper due for remaining true to the spirit of innovators and risk-takers who elevated the idiom, but Journey To The Heart serves as the testimonial she's richly deserving of the accolades. ~ Jeff Winbush https://www.allaboutjazz.com/journey-to-the-heart-keiko-matsui-shanachie-records-review-by-jeff-winbush.php
 

Personnel: Keiko Matsui: piano; Carlitos Del Puerto: bass; Jimmy Branley: drums; Ramon Stagnero: guitars; Luis Quintero: percussion; Gregoire Maret: harmonica; JP Mourao; additional guitar (2), Randy Waldman; string arrangement (4, 6, 8); Gary Stockdale: string arrangement (10)

Journey To The Heart

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Monty Alexander - Caribbean Circle

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 58:19
Size: 135,8 MB
Art: Front

(1:05)  1. Tradewinds Talk
(6:45)  2. Hurricane Come And Gone
(7:12)  3. Caribbean Circle
(5:05)  4. Consider
(1:15)  5. Cowboys Talk
(8:45)  6. Cowboy Ska Medley
(4:45)  7. Three Little Birds
(5:49)  8. Oh Why? (In Memory Of M.D. Davis)
(1:29)  9. Satchmo Talk
(7:32) 10. When The Saints Go Marching In
(4:38) 11. Mango Walk (Old Fork Song)
(3:54) 12. Sweet Georgia Brown

First-rate example of connecting diverse styles and traditions. Alexander, a solid soloist well versed in Caribbean music, integrates rhythms from the islands into his solos, yet retains the jazz edge and drive. A great supporting cast as well which includes Slide Hampton and Jon Faddis. ~ Ron Wynn http://www.allmusic.com/album/caribbean-circle-mw0000119670

Personnel: Monty Alexander (whistling, piano); Dave Glasser, (alto saxophone); Frank Foster (tenor saxophone); E. Dankworth, Jon Faddis (trumpet); Slide Hampton (trombone); Ira Coleman (acoustic bass); Anthony Jackson (electric bass); Othello Molineax (drums, steel drum); Herlin Riley, Robert Thomas, Jr., Steve Ferrone (drums); Othello Molineaux (steel drum); Marjorie Whylie (percussion).

Caribbean Circle

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Freddie Redd - With Due Respect

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 62:59
Size: 144,6 MB
Art: Front

(6:49)  1. A Night In Nalen
(7:09)  2. Reminiscing
(7:20)  3. Blue Hue
(3:20)  4. With Due Respect
(7:16)  5. I'm Gonna Be Happy
(7:13)  6. O.D.
(6:23)  7. Olé
(8:10)  8. Lady J. Blues
(9:16)  9. Melanie

Freddie Redd is one of the last living links to the golden age of modern jazz. He started playing the piano after hearing Charlie Parker in the 1940s and made his mark on the scene in 1959 with his score for Jack Gelber's avant-garde play "The Connection." This told the story of a group of junkies, most of them jazz musicians, waiting for their man. When he arrives, everyone shoots up and one of the company dies from an overdose. Happy days! It was later turned into a movie. Redd starred in both play and film. Initially, Gelber wanted the musicians to improvise on blues and standards but when the play was being cast met Redd who suggested an original score which would attempt to depict musically what was happening on stage. The idea was deemed to work well, one critic likening the Redd-Gelber collaboration to that of Kurt Weill and Bertolt Brecht. Alas, posterity didn't agree. During the years that followed, kitchen sink drama went where else? down the drain. Redd continued playing in New York and in Europe but was never able to equal the notoriety fame, if you like he'd experienced with "The Connection."

So in the end he stopped trying to and concentrated instead on writing and playing intelligent, swinging music. At the age of 88, he's still doing just that. Here the "forgotten" pianist/composer leads a sextet of far younger musicians in an excellent, varied program of his own compositions, dusted off and arranged for the modern age by saxophonist Chris Byars. In the opening number, "A Night In Nalen," based on the chords of "Cherokee," Redd captures the restless energy generated at the old Stockholm bop venue, paying a brief homage to Bud Powell in the second chorus. But this album is no easy trip down memory lane. The accent is on creating something new, not old, borrowed or blue. Byars' father, James, a member of the New York City Ballet Orchestra, plays oboe on "Reminiscing," the best track, with a lovely, lilting theme and lazy, "old time" feel that has little to do with bebop. And it's interesting to compare "O.D," from Redd's score for "The Connection" with the same song on his 1961 Blue Note album of music from the play, which featured Jackie McLean on alto a new take but based firmly on the original. In the sleeve note, Byars explains Redd's music as a fusion of the 32-bar AABA popular music framework with jazz and blues. He says, "From a songwriting perspective it's like Bird meets Cole Porter. These tunes are built for speed." The title track reflects on the ups and downs of Redd's life in music with no bitterness, just resignation. To Byars the last word: "Freddie is a storyteller, in his solos and as a composer." ~ Chris Mosey https://www.allaboutjazz.com/with-due-respect-freddie-redd-steeplechase-records-review-by-chris-mosey.php

Personnel:  Freddie Redd: piano;  John Mosca: trombone;  Chris Byars: alto saxophone, flute;  Stefano Doglioni: bass clarinet;  James Byars: oboe;  Jay Anderson: bass;  Billy Drumond: drums.

With Due Respect

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