Jackie Allen - Never Let Me Go

Styles: Vocal Jazz
Year: 1994
File: MP3@320K/s
Time: 55:27
Size: 127,0 MB
Art: Front

(4:38)  1. Teach Me A Song
(3:24)  2. I Didn't Know What Time It Was
(4:35)  3. Lucky To Be Me
(5:38)  4. Moon And Sand
(4:40)  5. Never Let Me Go
(5:31)  6. I'm All Smiles
(4:25)  7. I Chase The Sun
(3:08)  8. Old Chair
(2:58)  9. What We Thought Was Real
(6:00) 10. So Wrong (Lullaby For The Past)
(3:50) 11. It's All Right With Me
(6:36) 12. Detour Ahead

Jackie Allen's vocal style falls somewhere between jazz and cabaret. She swings nicely on the medium-tempo selections during her well-rounded debut but she also takes many of the ballads quite straight, bringing out the beauty of the lyrics but adding little of her own to the songs. Greatly assisted by pianist Willie Pickens with guest spots for the tenor of Edward Petersen and fluegelhornist Art Davis, Allen is at her best on "I Didn't Know What Time It Was" and "Detour Ahead" but less interesting on her own occasionally precious originals. ~ Scott Yanow http://www.allmusic.com/album/never-let-me-go-mw0000623805

Never Let Me Go

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Janis Ian - Miracle Row

Styles: Vocal, Guitar, Folk
Year: 1977
File: MP3@320K/s
Time: 39:59
Size: 91,6 MB
Art: Front
(3:24)  1. Party Lights
(3:21)  2. I Want to Make You Love Me
(3:29)  3. Sunset of Your Life
(4:34)  4. Take to the Sky
(4:04)  5. Candlelight
(3:58)  6. Let Me Be Lonely
(3:09)  7. Slow Dance Romance
(3:05)  8. Will You Dance?
(3:25)  9. I'll Cry Tonight
(7:25) 10. Miracle Row/Maria

Singer/songwriter Janis Ian followed up her understated masterwork Aftertones (1976) with this long-player, which includes some equally engaging and varied material. Although she'd eventually return to using studio heavies for the remainder of her '70s and early-'80s output, Miracle Row (1977) prominently features Ian's touring band, which highlights the respective talents of Claire Bay (vocals), and a power trio of Jeff Layton (bass/horns/horn arrangements), Stu Woods (bass), and Barry Lazarowitz (drums/percussion). Each of the musicians were themselves recording session stalwarts and had interacted with the artist in various capacities for several years. Never one to shy away from controversial or blatant social observations, "Party Lights" is one of Ian's more personal exposés, dealing with the drug-fuelled Jekyll and Hyde decadence of the mid-to-late '70s. The melody is penetrating with a sense of foreboding drama, which is evident musically as well as lyrically. "Miracle Row"/ "Maria" adopts a lilting tropical air behind some of Ian's most affective contributions on the album and deal, although somewhat obliquely, with her own sexuality. These introspective themes are carried into the stark and harrowing "Sunset Of Your Life" which confronts the fear and uncertainty of aging with a refreshingly honest poignancy. 

These decidedly serious themes are contrasted by the up-tempo, funky "Let Me Be Lonely," and the jazz fusion-riddled "Take To The Sky." As the easy-going "I Want To Make You Love Me" featuring some nice harmonies from Bay as well as the intimacy of "Candlelight" reveal, Ian had not lost her knack for lovely, simple, and otherwise unencumbered tunes. In fact, it is her blend of affective words and catchy melodies that sent the Spanish-flavored "Will You Dance" to the top of the singles chart in Japan where it remained for the better part of three months, eventually sending the album into the realm of six-figure sales and platinum status. Ian admits that the drugged insanity of the music biz and many of its' concurrent denizens were ultimately behind the split-up of the tight combo featured on "Miracle Row." Her self-titled follow-up would continue the jazzy leanings hinted at here, and she would return to the heavyweight talents of Ron Carter (bass), Richard Davis (bass), and Steve Gadd (drums). ~ Lindsay Planer http://www.allmusic.com/album/miracle-row-mw0000742871

Personnel: Janis Ian (vocals, guitar, keyboards); Claire Bay (vocals); Jeff Layton (guitar); Barry Lazarowitz (drums, percussion); Rubens Bassini (congas, percussion); Phil Kraus (percussion).

Miracle Row

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Ken Schaphorst Big Band - Purple

Styles: Jazz, Big Band
Year: 1998
File: MP3@320K/s
Time: 72:37
Size: 171,6 MB
Art: Front

(12:41)  1. Uprising
( 7:15)  2. With You, Then Without
( 8:14)  3. Blues Almighty
( 7:39)  4. Jobim
( 9:27)  5. Subterranean
( 6:14)  6. Purple
( 5:07)  7. Bats
( 7:09)  8. My Island
( 8:48)  9. Bounce

Unlike some Jazz composers who write unpretentious big–band charts designed to serve as springboards for soloists, Ken Schaphorst approaches the task with soloists in mind but focuses always on orchestral textures and colors, employing improvisation as an integral element in the over all compositional makeup. Instead of playing “outside” the chart with rhythm accompaniment, as is so often the case, Schaphorst’s soloists usually must adapt to its nuances, tailoring their approach to suit its particular needs without sacrificing warmth or creativity. Sometimes it works, sometimes it doesn’t and the outcome rests in every case on the essential magnetism of Schaphorst’s charts. As this is always a matter of personal taste, what is written here should be considered as one person’s imperfect opinion. In brief, I found much of Schaphorst’s new release, Purple, heavy handed and unimpressive. It is only when the composer steps aside and lets things breathe (as on parts of “Job im,” “Bats,” “My Island” and “Bounce”) that the ensemble responds with intensity and emotion. Elsewhere, its best efforts are subsumed by those very components that should lend the session its strength and charisma. While Schaphorst’s purpose is to weave orchestra and soloists into an organic whole, in pursuing it he too often loses sight of the cardinal purpose of Jazz, which is to swing. Purple swings only at times, and those times occur without exception when Schaphorst loosens the reins and lets the musicians gallop at their own pace and in their own direction. The most agreeable solos (trumpeter Gravish, tenor McCaslin on “Bats,” pianist Caine and trombonist Roseman on “My Island,” trombonist Hasselbring, tenor Blake, trumpeter Ballou on “Bounce,” the uncredited trumpet on “Jobim”) are produced under those circumstances. McCaslin is less effective on “Uprising,” Caine likewise on “Purple,” while guitarist Shepik is showy but irksome on “Blues Almighty” and organist! Medeski is on the whole unimpressive. There are some invigorating moments on Purple, but not enough of them to earn this reviewer’s endorsement. Again, that is only one listener’s opinion. ~ Jack Bowers https://www.allaboutjazz.com/purple-ken-schaphorst-review-by-jack-bowers.php

Personnel:  Doug Yates, alto sax, clarinet, bass clarinet;  Jay Brandford, alto sax, clarinet;  Donny McCaslin, Seamus Blake, tenor sax;  Andy Laster, baritone sax, clarinet;  Dave Ballou, John Carlson, Andy Gravish, Cuong Vu, trumpet, flugelhorn;  Josh Roseman, Curtis Hasselbring, Dave Taylor, trombone;  Chris Creswell, bass trombone

Purple

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Dejan Terzic Underground: Diaspora

Styles: Jazz, Straight-ahead/Mainstream
Year: 2010
File: MP3@320K/s
Time: 63:48
Size: 146,3 MB
Art: Front

(9:02)  1. Diaspora
(7:57)  2. Hopeful A Day
(7:58)  3. Baerentanz for Anke
(8:08)  4. Criminals Come and Go
(5:07)  5. Nothing Changed But Nothing Remained the Same
(7:06)  6. The Circus
(5:40)  7. Jewish Folksong
(7:47)  8. Lambtale
(4:59)  9. Aftermath

Dejan Terzic's musical vision emerges in his Diaspora, an album made with the musicians of the Underground project. And it could not be otherwise, as eight of the nine tracks in the ladder (to which "Jewish Folksong" is added) bring the signature of a drummer who lives in Germany, who succeeds in joining the jazz tradition with the stylistic peculiarities of his own land Thanks also to the support of collaborative and high tech technicians. Among them, Tino Derado plays a key role: the sound of his accordion is almost always at the center of the arrangements arranged by Terzic, and emanates continually the fragrances and musical ideas of eastern Europe, full of charm, tradition and irresistible appeal. Melodies that interweave with Brad Shepik's guitar-the only one that slides off some of the virtuosity out of the group and Chris Speed's fiatist. The leader does not give anything to the fine show to himself, but his way of conducting the music behind the drums demonstrates a rhythmic mastery of excellence, ranging from small hints to the decisive phrases, moving safely both to rigid binary and sluggish movements disparities. An intense and stratified album that stretches out for long stretches of minor tones capable of translating into the music the feelings of suffering of many peoples, forced to abandon their roots in search of freedom elsewhere, far too often just a façade. ~ AAJ Staff https://www.allaboutjazz.com/diaspora-dejan-terzic-enja-records-review-by-aaji-staff.php  (Translate by Google)

Personnel:  Dejan Terzic: drums;  Chris Speed: sax and clarinet;  Brad Shepik: electric guitar;  Tino Derado: accordion;  Henning Sieverts: double bass, cello.

Diaspora

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