Terry Blaine - In Concert With The Mark Shane Quintet

Size: 137,0 MB
Time: 58:21
File: MP3 @ 320K/s
Released: 1995
Styles: Jazz Vocals, Retro Swing
Art: Front

01. Eeny Meeny Miney Mo (Live) (3:39)
02. A Little Bit Independent (Live) (3:40)
03. Them There Eyes (Live) (3:20)
04. Take Me For A Buggy Ride (Live) (3:40)
05. Guess Who's In Town (Live) (2:56)
06. Yankee Doodle Never Went To Town (Live) (2:01)
07. When Day Is Done (Live) (3:59)
08. Keepin' Out Of Mischief Now (Live) (3:28)
09. I'd Love To Take Orders From You (Live) (2:56)
10. Carolina Shout (Live) (4:44)
11. Baby Brown (That Georgia Queen) [Live] (2:30)
12. When A Woman Loves A Man - My Man (Live) (5:36)
13. Runnin' Wild (Live) (3:25)
14. Louisiana Fairytale (Live) (4:00)
15. Handful Of Keys (Live) (3:51)
16. Thanks A Million - Waiting At The End Of The Road (Live) (4:29)

Personnel:
Terry Blaine - Vocals
Mark Shane - Piano
David Lopez - Drums
Daryl Cornutt - Bass
Ed Polcer - Cornet
Allan Vaché - Clarinet

This album chronicles a live 1994 performance in Cleveland, OH before an enthusiastic crowd of almost 2,000 jazz fans. Sponsored by radio station WRMR, the concert features songs from the 1930s and the musical style of that period, which has become the trademark of Terry Blaine and her musical soulmate and mentor, pianist Mark Shane. Each tune is performed not only with skill and verve, but with an infectious enthusiasm that the audience immediately picks up. The concert gets off on the right foot with a very fast "Little Bit Independent," which was number one on the charts for the Freddie Martin Orchestra in 1935. "Them There Eyes" showcases the hot clarinet of Allan Vache. Blaine gets vampish on "Take Me for a Buggy Ride," recalling Bessie Smith's 1933 recording. As one would expect, the melodies he performed and wrote, as well as the syncopated rhythms of Fats Waller, get plenty of attention on this album. There's a variety here, from the familiar "Keepin' out of Mischief Now" to the lesser-known "Baby Brown (That Georgia Queen)" through "Handful of Keys." The latter piece confirms Shane's affinity for the Fats Waller brand of striding, stomping piano playing. Shane also pays homage to another member of the stride royalty, James P. Johnson, with a rip-roaring solo of "Carolina Shout." "Runnin' Wild" is a nod to the performance of this tune in Some Like It Hot with Jack Lemmon and Tony Curtis in drag and performing with an all-girl band. The authenticity as well as the enjoyment of the proceedings is due in no small measure to Shane and his quintet. Vache's clarinet has already been mentioned, and equal billing needs to go to the hot cornet playing of Ed Polcer, as he heats things up on such numbers as "Eeny Meeny Miney Mo" and "Louisiana Fairytale." David Lopez on drums and Daryl Cornutt on bass provide the steady, uptempo beat needed to make this music work. In Concert is almost an hour's worth of music from an earlier time performed by excellent musicians who clearly are happy in their work, as was the Cleveland audience. This album is recommended. ~ by Dave Nathan

In Concert

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The Pete Allen Jazz Band - Happy Jazz

Size: 160,9 MB
Time: 68:52
File: MP3 @ 320K/s
Released: 1999
Styles: Jazz
Art: Front

01. Big Chief (2:56)
02. Carry Me Back To Ol Virginny (5:55)
03. Black And Blue (6:03)
04. Mabel's Dream (3:38)
05. Just A Couple Of Dudes (3:22)
06. Dans Les Rue D'antibes (6:07)
07. Up A Lazy River (6:48)
08. Eccentric (2:45)
09. The Original Tuxedo Rag (3:52)
10. I Wonder Where My Baby Is Tonight (3:46)
11. Movin' On Again (2:53)
12. Dardanella (3:04)
13. Ory's Creole Trombone (4:20)
14. Seagull Strut (3:22)
15. Solitude (4:56)
16. At The Jazz Band Ball (4:58)

Pete Allen is regarded as one of Europe's most talented and exciting masters of the clarinet. In 1976 he joined Rod Mason and two years later formed his own professional band. He brought together a musical style and stage presence that has created an enthusiastic following from both the traditional jazz fans and those who simply enjoy happy music and songs for both listening and dancing.

As a boy, Pete grew up with jazz. He studied the music of all the old time music greats, especially Ed Hall and Sidney Bechet two great legends of American jazz clarinet and soprano saxophone, although Pete has never tried to copy their style but has developed his own quite unique, exciting sound.

Over the years Pete has appeared on many television and radio shows, both with his own band and as a solo artiste. He has topped the bill in those magical homes of jazz, St. Louis, Sacramento and of course, New Orleans, where he was awarded an Honorary Citizenship for his services to jazz music. In the mid eighties he was chosen to lead the Worldwide All Stars at the jazz Jubilee in Sacramento. More recently, Pete has been selected to play for the European Top Eight Jazz Band in Germany, on a number of occasions, and the Philips International All Stars in Holland and also fronts the London Paris All Stars and his own chosen European Swing Band. In 2013 Pete continues to lead his own band and appears as a guest soloist or with his own solo music show and now plays a number of shows with Jazz Pianist Dave Browning and the World Class Banjoist Sean Moyses. Throughout his career Pete appeared as featured soloist alongside these American Jazz Greats:- 'Peanuts' Hucko, Bud Freeman, Bob Wilbur, Marty Grosz, Billy Butterfield, Barrett Deems and Jack Lesberg and played a number of times with the late British Jazz Trumpet star Kenny Ball.
For over five years he also found time to present his own jazz programme for BBC Radio. For all 'live' performances Pete thrills audiences around the World with his own style of jazz clarinet combined with a slick fast moving entertaining show of light hearted humour and happy foot-tapping jazz songs. He is a personality in British Music who is eager to please an audience whatever the situation either leading his band, as a guest soloist or with his unique solo music show.

Happy Jazz

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Bebo Ferra, Paolino Dalla Porta, Fabrizio Sferra - Frames Of Crimson (Feat. Gianluca Petrella)

Size: 115,5 MB
Time: 49:31
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. Frame By Frame (5:03)
02. I Talk To The Wind (5:55)
03. Aliseo (6:40)
04. Zephyr (6:54)
05. In The Court Of Crimson King (5:45)
06. Catfood (3:51)
07. Moonchild (4:27)
08. Khamsin (5:47)
09. Mistral (5:03)

Personnel:
Bebo Ferra - guitar
Paolino Dalla Porta - doublebass
Fabrizio Sferra - drums
Gianluca Petrella - trombone

King Crimson is the most protean group of all contemporary music.
For fifty years, Robert Fripp’s mind has been churning out amazing ideas, inventing new sounds, revolutionizing stage ensembles and gathering drummers. His compositions climb wild lyrical peaks to then dive into powerful bouts of metallic dissonances, ebbing into a magmatic sound wave which is in continuous evolution. It was only natural that a band, sooner or later, would rearrange these songs into jazz. It had to be a curious, courageous and somewhat reckless band. Skilled in experimenting with sounds and styles.

The trio Ferra, Sferra, Dalla Porta, with special guest Gianluca Petrella, has all these qualities (and many more) and has drilled into Fripp’s acclaimed and intricate works, delving into the soul of each one and embarking on unexplored soundscapes. They have gone off the beaten track, in the footsteps of a pioneer, becoming fore¬runners themselves in bringing Fripp’s music elsewhere.

Frames Of Crimson

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Marie Davout - Made In France

Size: 100,2 MB
Time: 38:34
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz, Pop, Rock, Chanson
Art: Front

01. Que Reste-t-il De Nos Amours (3:19)
02. La Vie En Rose (3:04)
03. Et Maintenant (3:42)
04. La Complainte De La Butte (3:04)
05. Je T'Appartiens (3:57)
06. La Belle Vie (3:43)
07. Comme D'Habitude (4:34)
08. La Mer (2:53)
09. Il Est Mort Le Soleil (2:45)
10. Mon Homme (3:14)
11. Song For Le Mans (4:14)

This record highlights the French songs that have become classics in their international versions, and are part of the collective musical memory. Along with « Haute Couture » these songs highlight France’s magnificent culture, honored throughout the world. We have a tendency to forget that famous versions as sung by Frank Sinatra or Elvis Presley are songs originally written by French composers such as Gilbert Bécaud or Charles Trénet. It is my wish to pay a tribute to them by adding my own personal touch.

Chanteuse professionnelle depuis de nombreuses années, Marie Davout apprend d’abord son métier sur scène (dès l’âge de 14 ans), au départ dans des orchestres de variétés de sa ville natale, Le Mans, puis de Toulouse, où elle continue la danse commencée à 8 ans, et y intègre la compagnie «L’Atelier du Jazz» en 1981. En 1983, elle monte à Paris, assure les chœurs de l’album de Daniel Guichard et de la première tournée caritative «Guichard contre le cancer» (nombreux artistes invités). La même année, elle signe avec le producteur d’Indochine et Imagination pour deux 45 tours qui connaîtront un joli succès d’estime en 1984 («Dis-lui que je chante» Disques Clémence Melody, puis Didier Guinochet Productions). A cette époque, elle chante chez Michel Drucker (Europe1), Patrick Sabatier (Antenne 2), André Torrent (Studio 22 RTL), Nagui (TMC), aux Jeux de 20 heures (FR3), et remporte en 1984 le premier prix du concours France Soir «Stars de demain».

Ensuite la vie parisienne lui permettra de diversifier encore son amour du chant, dans un large éventail de styles (Jazz, R’n B, Soul, Rock, Reggae, Chanson Française, Latino): en 1985 elle crée avec Francis Dufour un trio musical qui deviendra plus tard l’«Orchestre Champs-Élysées» (reprises en 8 langues d’Edith Piaf à Tina Turner), et se produira dans les plus grandes soirées événementielles parisiennes et lieux de prestige (Tour Eiffel, Conciergerie, Opéra Garnier, Nuits de la St Sylvestre du Ritz, Hôtel Bristol, Hôtel Intercontinental ), et à l’étranger (Croisières Paquet 1985, Croisière sur le Nil 1989). En 1994, elle fonde avec Martineke KooIstra et Catherine Nominé le Trio Vocal Jazz féminin «Sweet System», trois voix harmonisées et «scattées» évoquant le swing des années 30/40, (Disneyland 1995, Caveau de la Huchette depuis 1996, France 2 Chance aux chansons 1998, Festivals de Jazz).

Cinq ans plus tard, elle quitte le trio, puis crée avec Dora Bailey en 2000 le spectacle Dancing Queen - Show cABBAret (Chorégraphe : Patricia Castéjon). En parallèle, elle se produit toujours avec son récital de chansons françaises «Ça, c’est Marie !» (Tunisie 1989, Brésil 1993, Dîner présidentiel à Santiago du Chili 1997, Croisières privées sur la Seine) accompagnée par ses fidèles complices, Sergio Tomassi à l’accordéon (Serge Lama, Barbara), et Franck Gélibert ou Richard Lornac («Le Fou du Roi» France Inter) au piano, et travaille en tant que choriste en studio (publicités, divers albums, revues, l’imitateur Michel Guidoni pour le Caveau de la République en 2000) et sur scène (Richard Anthony Zénith 1999). En 2004, elle incarne Fabienne Vandervaeren dans la création "Tragi-Comédie Pop" de Jean-Jacques Nyssen : «Hommage à Chris Conty» (Européen 2007, Café de la Danse 2008. Mise en scène : Frédéric Faye).

En 2012, elle chante sur la mythique scène de l’Olympia pour le “Bal de l’Olympia” et participe en tant que choriste additionnelle à l’album des 50 ans de carrière de Serge Lama: “La Balade Du Poète”.

Made In France

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Gunilla Tornfeldt - Behind The Mask

Size: 110,5 MB
Time: 47:38
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Torn Between (5:44)
02. Flow (4:12)
03. Put The Past Behind (7:10)
04. Behind The Mask (3:52)
05. Look Behind You (4:14)
06. Tell Your Ma, Tell Your Pa (5:23)
07. How Can I Forget (6:31)
08. Marching For Peace (5:32)
09. Time And Place (4:58)

Gunilla Törnfeldt was born in 1980 in Stockholm, Sweden, and grew up in a musical family with both parents being classical musicians, composers and music teachers. Singing has always been her natural way of expression, but she also early on began playing the piano and later the cello, even though the acoustic guitar replaced the cello in her twenties. Since she studied at the Adolf Fredrik's Music School and was a member of the famous Adolf Fredrik's Girls Choir, early on she had artistic experience of high level musical performance. The love for jazz came as a revelation in high school and she quickly realized where her heart belonged. She studied jazz voice and jazz methodology at the Royal College of Music in Stockholm and graduated in 2008 with a Bachelor in Music and Master of Education in Music.

Over the years she has been featured as a soloist with Monica Dominique Quintet as well as together with Carl-Axel Dominique Trio and different choirs when performing Duke Ellington's Sacred Concerts. She have also been featured with the Laudaensemble and Georg Riedel, Jan Allan and Ove Lundin, for several tribute concerts to late Swedish saxophone player Lars Gullin and performed also the Second Soloist part in several productions of the musical African Madonna. Her Tribute to Joni Mitchell was a returning yearly act at Jazzclub Fasching and in 2006 she got the prestigious scholarship from Friends of Fasching.

In 2007 Gunilla became a member of the jazz vocal sextet Vocation and participated on their second album Just Friends (2008) and toured extensively in Sweden, Denmark and Germany. She left the group in 2010 to focus on her solo career and released her anticipated debut solo album with her own music, lyrics and arrangements - A Time For Everything - in 2009, which received excellent reviews and in 2010 she was awarded a working grant from the Swedish Arts Grants Committee.

In 2012 she founded the jazz vocal group Stockholm Voices with whom she has been touring all over Sweden since the debut tour in 2014. Gunilla is the artistic director and arranger together with pianist and arranger Mikael Skoglund. The group released their debut album Come Rain or Come Shine in 2015 which received exuberant reception in the press and they are now an established and popular act at the jazz clubs and festivals.

In 2015 she participated in the world's first International Jazz Voice Conference in Helsinki and presented one of her methods to practice improvisation, together with other colleagues from all over the world.

Gunilla's current solo project - a jazz quintet with baritone guitar - played their first concert in May 2014 at Jazzclub Fasching and became one of her new platforms for sharing her original music.

As a teacher she is a permanent member of the faculty at the Ingesund School of Music at Karlstad University and is also frequently invited as a guest lecturer at other music schools and programs.

Behind The Mask

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Ruby Braff And Ellis Larkins - Calling Berlin, Vol. 1

Styles: Cornet And Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 64:31
Size: 149,4 MB
Art: Front

(3:59)  1. It's A Lovely Day Today
(6:23)  2. Blue Skies
(6:01)  3. Alexander's Ragtime Band
(3:34)  4. I'm Putting All My Eggs In One Basket
(5:08)  5. How Deep Is The Ocean?
(2:47)  6. Soft Lights And Sweet Music
(4:22)  7. Let's Face The Music And Dance
(3:28)  8. My Walking Stick
(4:56)  9. Russian Lullaby
(4:02) 10. You're Laughing At Me
(3:42) 11. This Year's Kisses
(3:34) 12. Top Hat, White Tie And Tails
(4:25) 13. They Say It's Wonderful
(3:01) 14. Steppin' Out With My Baby
(5:02) 15. Easter Parade

Cornetist Ruby Braff and pianist Ellis Larkins recorded a classic album of duets in 1955 and had a reunion in 1972. They waited another 22 years before cutting their third set but, despite the passing of time, the magic heard on their earlier recordings is still very much present on their Arbors release. Both Braff and Larkins love melodies and rarely leave the themes behind in their improvisations. They perform 15 Irving Berlin tunes, ranging from the famous ("Alexander's Ragtime Band," "Easter Parade," and "How Deep Is the Ocean") to the more obscure ("My Walking Stick," "You're Laughing at Me," and "Steppin' out with My Baby"). In all cases the interpretations are loving, personal, and uplifting. Guitarist Bucky Pizzarelli makes the group a trio on two numbers, and his mellow playing fits right in to the intimate setting. Because Braff (who has always had his own sound) has long been a jazz giant, and Larkins is rightfully considered an extraordinary accompanist and perfect on melodic ballads, their most recent matchup is quite successful and delightful. ~ Scott Yanow http://www.allmusic.com/album/calling-berlin-vol-1-mw0000646749

Personnel: Ruby Braff (cornet); Ellis Larkins (piano); Bucky Pizzarelli (guitar).

Calling Berlin, Vol. 1

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Robin Eubanks - Wake Up Call

Styles: Trombone Jazz
Year: 1997
File: MP3@320K/s
Time: 60:23
Size: 140,3 MB
Art: Front

(7:24)  1. United
(8:19)  2. Ceora
(7:01)  3. Soliloquy
(8:56)  4. Oriental Folk Song
(7:40)  5. Wake Up Call
(7:18)  6. You Are Too Beautiful
(6:58)  7. Scrapple From The Apple
(6:45)  8. Rush Hour

A former Jazz Messenger who has also performed with the Elvin Jones Jazz Machine and the Dave Holland Quintet, trombonist Robin Eubanks' Sirocco Jazz debut is also the first recording for the British label. For this recording Eubanks gathered a group of old friends, alto saxophonist Antonio Hart, bassist Lonnie Plaxico, and drummer Gene Jackson, plus newcomers pianist Eric Lewis and trumpeter Duane Eubanks, Robin's younger brother, to perform a program of three originals, four jazz classics, two of them by Wayne Shorter, and the standard "You Are Too Beautiful." Eubanks' big sound, improvisational imagination, and genre-crossing versatility have made him one of the busier trombonists on the jazz scene, with Eubanks staying in a modern post-bop vein for this recording. Favorites include the two Shorter compositions, "United," given an Afro-Latin treatment here, and "Oriental Folk Song," staying close to the original, with "Elvinish" feel courtesy of Jackson and the head played by trumpet and trombone. Other favorites include Eubanks' compositions, the beautiful "Soliloquy," the frantic title track, based on a rapid repeating figure played by trombone and alto sax, and the up-tempo blues "Rush Hour." A welcome addition to the Eubanks discography. ~ Greg Turner http://www.allmusic.com/album/wake-up-call-mw0000233373

Personnel: Robin Eubanks (trombone); Antonio Hart (alto saxophone); Duane Eubanks (trumpet); Eric Lewis (piano); Gene Jackson (drums).

Wake Up Call

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Shirley Scott Trio - Like Cozy

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 72:12
Size: 166,1 MB
Art: Front

(4:33)  1. Sweet Lorraine
(4:22)  2. I Thought I'd Let You Know
(4:48)  3. I Should Care
(4:48)  4. Spring Is Here
(3:59)  5. I Didn't Know What Time It Was
(4:16)  6. Gee Baby, Ain't I Good To You?
(5:11)  7. Until The Real Thing Comes Along
(3:49)  8. Lover Man (Oh, Where Can You Be?)
(4:12)  9. Like Cozy
(5:02) 10. Little Girl Blue
(5:01) 11. Laura
(5:19) 12. You Do Something To Me
(4:34) 13. Once In A While
(4:14) 14. 'Deed I Do
(4:08) 15. More Than You Know
(3:48) 16. My Heart Stood Still

In the ranks of unsung organists Shirley Scott has to be among the most overlooked. A veteran of countless Prestige studio gigs and an indispensable creative cog in the Eddie “Lockjaw” Davis organ combo of the late 1950s her role in popularizing and broadening her instrument’s appeal is difficult to overstate. Yet she’s rarely named among the roll call of her male peers like Jimmy Smith, Jack McDuff, Jimmy McGriff and so many others. The reasons behind the disparity are tough to pinpoint. Some might cite gender politics as the chief culprit; others might finger her prolific career as session musician. Whatever the cause behind her comparative obscurity this recent Prestige two-fer, which collects the Moodsville albums The Shirley Scott Trio and Like Cozy into one convenient package, offers a fresh reason for reappraisal and restitution. Like so many other players Scott’s approach to the organ was grounded in her earlier career as a pianist. Both of these dates provide a rare chance to compare her styles on the two instruments up close. Beginning with the easy syrupy swing of “Sweet Lorraine” on organ, she switches to piano for “I Thought I’d Let You Know.” Coming full circle of sorts “I Should Care” features her on both through the studio wizardry of overdubbing. Differing from most of her colleagues Scott regularly employed a bassist in her group, freeing up her feet from the necessity of pedal work and allowing her to focus more efficiently on melodic and harmonic possibilities in her improvisations. Her approach to acoustic keys is likewise grounded in relaxed lyricism and cleanly articulated chording. In typical Moodsville fashion all of the tunes on each of the albums are standards or ballads taken at slow to medium tempos. Duvivier and Edgehill (colleagues from the Davis group) fit like a rhythmic glove around Scott’s lead statements and Tucker adopts a similarly sensitive touch when it comes to accompaniment on the piano pieces. Track lengths are limited to the four to five minute range, keeping things concise, but Scott still finds the space for plenty of relaxed and imaginative invention. Visit her hard-edged vibrato-heavy lines on “Laura” for just one of many examples. And while there isn’t a burner in the bunch this collection works as a lavishly programmed source of elegant small combo jazz with liberally placed soulful accents. Hopefully it will rekindle wider interest in the substantial talent that was Scott’s gift. ~ Derek Taylor https://www.allaboutjazz.com/like-cozy-shirley-scott-prestige-records-review-by-derek-taylor.php
 

Personnel: Shirley Scott- organ, piano; George Tucker- bass; George Duvivier- bass; Arthur Edgehill- drums.

Like Cozy

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