Sunday, November 20, 2016

Ed Polcer-Jim Galloway Big Five - At The Ball

Bitrate: MP3@320K/s
Time: 72:56
Size: 167.0 MB
Styles: Swing, New Orleans jazz
Year: 1998
Art: Front

[6:17] 1. At The Ball
[6:43] 2. Look For The Silver Lining
[5:08] 3. Song Of The Wanderer
[5:14] 4. I Cried For You
[7:44] 5. Tishomingo Blues
[6:06] 6. Seems Like Old Times
[3:41] 7. Doin' The New Low-Down
[6:23] 8. Judy
[5:40] 9. This Can't Be Love
[4:22] 10. Of All The Wrongs You've Done To Me
[5:21] 11. Roses Of Picardy
[5:49] 12. Too Late Now
[4:21] 13. When My Dreamboat Comes Home

Ed Polcer, cornet; Jim Galloway, soprano sax; Mark Shane, piano; Dick Waldburger, bass; and Joe Ascione, drums.

Ed Polcer is a consistently creative cornetist who has a knack for putting together first- rate bands. His playing and generous spirit are part of what makes At the Ball such an appealing recording. Polcer is joined on the marquee by Scotland born soprano saxophonist Jim Galloway as the Ed Polcer - Jim Galloway Big Five. Both Polcer and Galloway are well known pros in the dixie/swing world. Both also compliment each other musically, demonstrating a fine, vigorous rapport throughout. The tone combination of cornet and soprano sax is a treat especially during their intertwining solos and rapid exchanges. The third "old pro" of the group, Dick Waldburger on bass, is the solid ground beat of all the action. His rapport with his fellow rhythm section players is a highlight of the session. The youngsters of the group, Mark Shane on piano, and Joe Ascione on drums, are outstanding. Ascione is one of the most exciting drummers of the traditional jazz world. His solos are concise and intense, and his accompaniment is persistently imaginative. Check out his solo work on "This Can't Be Love." Few drummers have the combination of taste and touch that Ascione routinely displays.
Mark Shane has become so good of an accompanist and soloist that it's easy to take him for granted. He's a team player who often sets everyone else up with a subtle solo, and then provides intricately swinging comping that brings out the best in everyone. This is exactly what happens on "Doin' The New Low Down." This tune is also as interesting for Polcer's and Galloway's soloing as it is for the interaction of Shane & Ascione & Waldburger. Take a careful listen to Shane's highly intuitive rapport with Polcer on full display throughout their duet on Hoagy Carmichael's poignant composition "Judy."

Ah, to sit back and listen to a fine band play a long line-up of great old tunes - what more could a jazz fan want? At the Ball fits the bill, and is highly recommended. ~Mike Neely

At The Ball

The Good Fellas - Salute!

Bitrate: MP3@320K/s
Time: 62:25
Size: 142.9 MB
Styles: Swing, Jump blues
Year: 2000
Art: Front

[4:41] 1. Sing Sing Sing Minnie The Moocher
[2:59] 2. Ehgi, Cumparil
[3:07] 3. It Had Better Be Tonight
[2:10] 4. Tutto Pepe-Chilli Pepper
[3:29] 5. Little Mae
[3:19] 6. Il Bul In Fondo Al Viale
[2:53] 7. Che Fine Ha Fatto Sam
[2:41] 8. Sofisticated Ledar
[4:34] 9. Mojo Boogie
[1:56] 10. Julia
[4:48] 11. If You've Ever Loved A Woman
[6:24] 12. Oh Babe-Jump, Jive An' Wail
[2:50] 13. Love Of My Life
[3:02] 14. Is You Is Or Is You Ain't My Baby
[3:18] 15. Cara Cara
[2:00] 16. Bim Bam
[3:35] 17. Angelo Selvaggio
[4:30] 18. Hubba Dubba Song

The Italian American way to swing, blues and rock'n'roll. Just think at the heydays of Sinatra, Louis Prima, Tony Bennett and more, entertanining excited audience down at The Strip, Las Vegas.

Salute!

Mônica Vasconcelos & Nóis - Oferenda

Bitrate: MP3@320K/s
Time: 66:16
Size: 151.7 MB
Styles: Contemporary Brazilian jazz
Year: 2002
Art: Front

[3:16] 1. Arrastão
[4:46] 2. Ferrugem
[5:55] 3. A Olhos Nus
[4:33] 4. Down We Go
[4:13] 5. Zóio Azul
[3:44] 6. Saudade Blues
[3:35] 7. Thinking About Your Body
[5:24] 8. Banhos
[4:37] 9. The Doctor
[6:44] 10. Detalhes
[4:52] 11. Morro Acima
[4:50] 12. You
[3:23] 13. Xote Total
[6:20] 14. Dance, Will You

This is an exhilarating, joyous album confirming Monica's status as one of Brazil's top artists. It is the stunning mix of shifting currents and moods, marrying the lyricism and passion of Brazil with funky modern jazz and contemporary rhythms that makes this CD such a standout listing experience.

Oferenda

Various - Capitol Records From The Vaults: Love Letters

Bitrate: MP3@320K/s
Time: 74:15
Size: 170.0 MB
Styles: Easy Listening, Vocal
Year: 2000
Art: Front

[2:51] 1. Nat King Cole - (I Love You) For Sentimental Reasons
[2:58] 2. Margaret Whiting - Come Rain Or Come Shine
[3:06] 3. Andy Russell - Besame Mucho
[3:12] 4. Johnny Mercer - Candy
[2:32] 5. The Dinning Sisters - Love Letters
[3:01] 6. Nat King Cole - ou Call It Madness (But I Call It Love)
[2:55] 7. Johnnie Johnston - Laura
[3:10] 8. Margaret Whiting - Guilty
[3:01] 9. Jo Stafford - The Things We Did Last Summer
[2:52] 10. Andy Russell - Amor
[3:02] 11. The Pied Pipers - Mam'selle
[3:01] 12. Nat King Cole - I Miss You So
[2:57] 13. Martha Tilton - That's My Desire
[3:12] 14. Judy Garland - Old Devil Moon
[3:01] 15. Nat King Cole - What'll I Do
[3:08] 16. June Christy - Soothe Me
[2:57] 17. Andy Russell - Laughing On The Outside (Crying On The Inside)
[2:38] 18. Margaret Whiting - A Tree In The Meadow
[3:04] 19. Mel Tormé - You're Getting To Be A Habit With Me
[3:11] 20. Al Martino - Here In My Heart
[3:00] 21. Dean Martin - You Belong To Me
[3:04] 22. Bob Manning - The Nearness Of You
[2:45] 23. Helen O'Connell - Be Anything (But Be Mine)
[2:33] 24. Bob Eberly - You Are Too Beautiful
[2:52] 25. Nat King Cole - Somewhere Along The Way

This fourth installment of Capitol Records' label retrospective, Capitol From the Vaults, is hopelessly and head-over-heels devoted to love. The label presents a cornucopia of primarily post-WW II pop tunes that have become standards over time. This collection, subtitled "Love Letters," offers up 25 tracks about love: lost, found, forgotten -- and every other applicable emotion. With amour as a backdrop, this compilation contains hits from practically every pop music genre from the mid-'40 and early '50s. Among those strongly represented on this volume are soundtrack tunes from the stage and screen. These include Mel Tormé's "Your Getting to Be a Habit With Me" which was featured in two Warner Bros. films inspired by the Big Apple -- Lullaby of Broadway and 42nd Street. Another cinematic tribute to the five boroughs is also included with "What'll I Do" by Nat "King" Cole's Trio. This Irving Berlin composition was a Top 40 hit featured in the film The Big City. As with every Capitol From the Vaults installment, the focus of the package is on the songs which made the Hit Parade. 23 of the 25 tracks on Love Letters are in fact chart hits. "Candy" featuring Johnny Mercer and Jo Stafford, Margaret Whiting's "A Tree in a Meadow," and the leadoff track, "I Love You (For Sentimental Reasons)" featuring the Nat "King" Cole Trio are all certified Number One hits by Billboard magazine. The sound quality continues to deliver infinitely better quality recordings than what has previously been available -- that is if consumers could find them at all. Producer Billy Vera has once again inked some wonderfully insightful liner notes. This is a cleverly compiled addition to the Capitol From the Vaults series. ~Lindsay Planer

Capitol Records From The Vaults: Love Letters

Warren Greig - Here With You

Bitrate: MP3@320K/s
Time: 47:34
Size: 108.9 MB
Styles: Jazz-blues guitar
Year: 2009
Art: Front

[5:14] 1. Riley
[6:11] 2. Tankhouse
[4:00] 3. Empress
[5:44] 4. Two Part Strut
[5:30] 5. Turney
[3:55] 6. Elisa
[3:58] 7. Sebring
[6:55] 8. Here With You
[6:04] 9. Riley Reprise

Warren Greig is a Canadian Jazz Guitarist whose second album "Here With You" features all original material. On this CD Warren is accompanied by Paul Wiggins on Hammond B3 organ, Lindsay Prior drums, Byron Stoehr plays electric bass on four tracks and Mark Inneo plays drums on Riley and Tankhouse.

This album of contempory jazz has a strong blues influence but also features music in the latin, ballad and swing idioms. After playing a weekly club date Warren and Paul wanted to document the development of the music. Paul built a studio around his vintage Hammond B3 organ and it was decided to record only original material.

The CD is reviewed in All About Jazz by Robert Sutton. Here is an excerpt of the review: Warren Greig creates an atmosphere of intimacy on the aptly-titled Here With You. In this hypnotically captivating collection of original guitar instrumentals, Greig crumbles the walls that separate the artist from his audience. While the music isn't as introspective as one would expect from such a spare, naked setting, Greig's compositions are certainly personal and revealing; their wordless emotions open to multiple interpretations.

Here With You

Donald Harrison, Ron Carter, Billy Cobham - Heroes

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 65:06
Size: 152,1 MB
Art: Front

(6:14)  1. Heroes
(4:12)  2. Blues for the new millennium
(8:12)  3. My Funny Valentine
(5:53)  4. One Of A Kind
(8:01)  5. Double Trouble
(5:59)  6. Receipt Please
(6:33)  7. Candlelight
(3:57)  8. Solar
(4:43)  9. Free Style
(3:11) 10. Iko Iko
(8:06) 11. Straight No Chaser

Ron Carter, one of altoist Donald Harrison's heroes and the primary bassist on this recording, makes the point that Harrison comes from New Orleans, but doesn't insist that he does. Harrison approaches his tradition with a pure heart, and from his apprenticeship with Art Blakey and the Jazz Messengers in the mid '80s through his own leadership in the '90s, he has evolved an historical idiom into an absolutely contemporary, individual style. The title track kicks things off in the searching, striving style of a Wayne Shorter composition, with Harrison's other hero, Billy Cobham, clicking away on his cymbals, and Harrison's tone a bit edgier than elsewhere, accentuating the song's feeling of pursuit. Nothing else in the trio format, or in duet with Carter, reaches this level of urgency. The order of the day is swing and hard bop, with touches of Charlie Parker in the "I Got Rhythm" chords of "Double Trouble" and the Monk-like "Blues for the New Millennium," where Harrison's horn sounds more like a soprano aimed at the snake in the basket. Carter's bass is the dominant supporting voice on Heroes, offering a beautifully tasteful extended solo on a duet version of "My Funny Valentine," where you find yourself singing the words along with Harrison's perfectly rendered lead, and on "Solar," where Carter establishes a rapid tempo and Harrison keeps joyous pace. On "Candlelight," the album's most impressive cut, Harrison caresses the keys gently and romantically, subtly shifting tempo as if he were approaching his date seated on the couch, first suavely relaxed, then impatient, then with his composure regained. 

Heroes closes with three "bonus tracks" featuring a different trio with Vicente Archer on bass and John Lamkin on drums. With these two, the beats are heavier and the bass lines funkier. Lamkin hits hard on "Free Style," he and Archer handle the second-line rhythms of "Iko Iko" deftly, and Harrison's alto is as warm and sweet as peppermint liqueur. I realize Carter and Cobham are the stars of the show, but these two tracks along with the funky dip of a final "Well You Needn't" leave me looking forward to Harrison's next genre-stretching offering with his usual bandmates. ~ Jeff Stockton https://www.allaboutjazz.com/heroes-donald-harrison-nagel-heyer-records-review-by-jeff-stockton.php

Personnel: Vicente Archer: Bass; Billy Cobham: Drums; Donald Harrison: Alto Sax; John Lamkin: Drums; Ron Carter: Bass.

Heroes

Lori Williams - Healing Within

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 53:57
Size: 124,0 MB
Art: Front

(4:58)  1. Healing Within (Blue in Green)
(6:00)  2. Little Sunflower
(4:54)  3. How Can I Begin Again
(3:52)  4. Can't Explain
(0:45)  5. Perfect World Interlude
(4:29)  6. In A Perfect World
(4:53)  7. Held Hostage
(5:17)  8. Lay Your Body Down
(5:28)  9. I Can't Make You Love Me
(6:11) 10. Amazing Grace
(6:31) 11. Healing Within (Blue in Green) (Acoustic)
(0:34) 12. Where'd It Go

Lori A. Williams is a lot more than just a singer, songwriter, and performer. If you were to judge her on these things alone, you would have to conclude you where dealing with one of the finest artists of our era, an eventual legend and, I have no doubt, time will prove me right. I think music aficionados who listen to this project will agree that these tracks step her toward this destiny. Let me add a little fuel to this fire. Lori's lead vocal recording is all original - no vocal overdubs, no re-tracking, and almost no vocal fixes (come on... no one is perfect). When we recorded the material, I had her record "scratch vocals" with the intent of throwing them out and recording the REAL lead vocals later (as is customary). Well, that's not what happened... you are listening to the unaltered scratch vocal. Now I don't mean to insult anyone's intelligence; but everything we listen to these days has been altered, fixed, produced, tracked, squeezed, tuned and composited To Death!! NotT this recording. This is the real deal; and that makes this recording astounding because even if all the usual stuff was done, it would be a great cd. The honesty of this recording moves it into the amazing column. Not only is the lead vocal honest, but so is the rest of the recording. In fact, it's only a hair away from being totally live. Many songs are the first take. Now remember, I said that Lori is more than a singer, songwriter, and performer, because as we approached the end of the project, I started to realize her tremendous gift as a producer. Lori's lack of ego, and a willingness to recognize other peoples' abilities, and trust in both herself and those she works with, is a gift rarely seen. Not only does she have a voice and performance talent similar to a Judy Garland, but if she keeps producing recordings, she might also be compared to Quincy Jones. I could go on and on particularly concerning Lori's production capabilities, but lets just say that she is completely unaware of her ability... Like a duck to water, effortless and commanding. These traits show up in the product.After saying all this, I think the music says it better than I can; but the listeners need to know the circumstances behind this recording. It makes it all the more awesome. Brad Baerwald, Studio 51 http://www.cdbaby.com/cd/loriwilliamsmusic

Press Quotes:
“Lori Anne Williams has the sought-after combination of soul and technical prowess that reminds me of Ella Fitzgerald –a treat to any jazz fan’s ears.” ~ Nathaniel Rolnick, Muzikreviews.com


“Singer Lori Anne Wiliams, a dynamic presence throughout, offering exquisite wordless vocals . . .”~ Bill Milkowski, JazzTimes

“Lori Anne Williams adds the final stamp, showing her control and finesse with her weaving scat between the melodic lines.”~Jerry D’Souza, All About Jazz

“ . . . the talented and vocally acrobatic Lori Anne Williams. Her vocal scatting soars . . . Her tone and control are superb, and her inventiveness is inspired.”~ Ralph A. Mirello, Jazz.com

“Her voice is the kind of jazz singing I enjoy listening to, and the silkiness makes me want to hear that all day and night.”~ John Book, The Run Off Groove

"The evening's standout, vocalist Lori Williams, crooned most of the jazz standards with a smoke-and-honey voice."~ Lisa Traiger - The Washington Post

“Singer Lori Anne Williams is back with her warm and rich voice, and she’s as earthy as red clay, be it with lyrics, or without.” ~ George Harris, JazzWeekly.com

“ . . . vocalist Lori Anne Williams, whose vocals shine . . . rolls into a scat that's among the best I've ever heard... will bring a tear of joy (or more) to your eye, for sure.” ~ Dick Metcalf, Improvijazzation Nation

“Lori Anne Williams, as always, her joy in singing is unshakable.” ~ Michael J. West, Washington City Paper

“Saltman Knowles provides generous helpings of live instrumentation which complement the smooth, heartfelt vocals of Lori Williams.” ~ Shelton Ivany, National News Bureau

Healing Within

Joshua Redman - Beyond

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 73:38
Size: 169,2 MB
Art: Front

( 7:34)  1. Courage (Asymmetric Aria)
( 5:50)  2. Belonging (Lopsided Lullaby)
( 4:27)  3. Neverend
( 9:06)  4. Leap Of Faith
( 9:05)  5. Balance
(11:00)  6. Twilight ... And Beyond
( 6:13)  7. Stoic Revolutions
( 6:22)  8. Suspended Emanations
( 7:05)  9. Last Rites Of Rock 'N' Roll
( 6:52) 10. A Life?

Joshua Redman debuts a new quartet on this formidable set of originals. Pianist Aaron Goldberg, bassist Reuben Rogers, and drummer Gregory Hutchinson quickly establish themselves as a killer unit on "Courage (Asymmetric Aria)" and "Belonging (Lopsided Lullaby)", two fast and busy odd-metered romps. Interestingly, Redman plays alto on the latter, as well as on the gripping "Stoic Revolutions." Goldberg's solos are sparkling throughout, especially on "Courage" and the medium-fast "Last Rites of Rock 'n' Roll." Fellow tenor man Mark Turner sits in for the lively "Leap of Faith." The remaining tracks range from the inspired balladry of "Neverend" to the ineffable hipness of "Suspended Emanations." Although it is probably Redman's finest album to date, Beyond still doesn't rise to the level of true greatness in the field of composition. It would be hard for even a genius to measure up to the industry hype that has surrounded Redman for nearly a decade. But this makes it even more essential that critics evaluate Redman's work just as they would that of any other brilliant and hard-working, yet far more obscure, figure on the scene. This is not to take anything away from Redman, but rather to keep matters in their proper perspective. We might see Redman's face on far more magazine covers, but is his writing better than, say, Reid Anderson's or Patrick Zimmerli's? Redman himself would likely be the first to say no.~ David Adler https://www.allaboutjazz.com/beyond-joshua-redman-warner-bros-review-by-david-adler.php

Personnel: Joshua Redman (soprano, alto & tenor saxophones); Mark Turner (tenor saxophone); Aaron Goldberg (piano); Reuben Rogers (bass); Gregory Hutchinson (drums).

Beyond

Skip Wilkins - Father & Son

Styles: Piano And Saxophone Jazz
Year: 2012
File: MP3@256K/s
Time: 55:49
Size: 102,6 MB
Art:

(7:40)  1. Witness & Muse
(7:22)  2. Elegant Lady
(5:33)  3. A House In the Village (Green)
(5:41)  4. Kindness
(4:17)  5. Message to Maruska
(7:35)  6. Reckless Not Feckless
(5:43)  7. And Now…
(6:07)  8. Butterfly of Steel
(5:46)  9. Not Really

Dan Wilkins' musical journey started at home, playing with his father, pianist Skip Wilkins.  First taken by the haunting ballads of Stan Getz and Dexter Gordon, Wilkins naturally took to the tenor saxophone.  Teachings of David and Caris Liebman, proved invaluable to his continuous musical pursuit.  In 2008, Wilkins moved to New York City to attend the Manhattan School of Music, where he studied with saxophonists Steve Wilson and Rich Perry, and pianists Garry Dial and Phil Markowitz. Throughout his tenure at MSM, Wilkins worked and toured with the collaborative group COLONY, performing around the New York area at 92nd St Y Tribeca, Cornelia St. Cafe, and the Iridium Jazz Club, among others.  In October 2012, Wilkins was featured as Artist of the Month at the Deer Head Inn in Delaware Water Gap. Internationally, Wilkins has been performing at clubs and festivals around the Czech Republic, Germany,  and Greece and educating at summer Festivals such as the Czech Jazz Workshop 2012 and 2013, and the Kryoneri Jazz Workshop 2013.

Father and Son, released on Steeplechase Look Out in 2011 features lyrical compositions by Skip Wilkins.  The two are complimented by bassist Scott Lee and drummer Jeff Hirshfield.  The quartet performs on stages such as the Deer Head Inn, the COTA Festival in Delaware Water Gap, and Lafayette College's Williams Center for the Arts. Currently, the Dan Wilkins Group features Patrick McGee on soprano saxophone, Vaughn Stoffey and Mike Bono on guitars, Kevin Bernstein and Dave Lantz on keyboards, Daryl Johns on bass, and Jimmy Macbride on drums.  This group is a vehicle for composition, breaking away from idiomatic instrumental roles observed in traditional and modern jazz. Wilkins believes in the power of spiritual rejuvenation and healing through the arts, and studies and practices neuro-muscular bodywork in Bethlehem, PA. http://www.danwilkinsmusic.com/about-1/

On Father & Son, Skip and his son Daniel join forces with the other members of Skip’s New York Trio, bassist Scott Lee and drummer Jeff Hirshfield, for a set of Skip’s compositions. A brilliant, young saxophonist, Dan studied at the Manhattan School of Music and is otherwise very active with a range of his own groups in New York and Pennsylvania, and as a sideman there and in Europe, where he has toured extensively. Together, Skip and Daniel have headlined at festivals and clubs in Prague, Berlin and beyond, playing music penned by each of them. https://www.amazon.com/Father-Son-Skip-Wilkins/dp/B0093OK572

Personnel:  Dan Wilkins (saxophone); Skip Wilkins (piano); Scott Lee (bass), Jeff Hirshfield (drums)

Father & Son