Thursday, September 27, 2018

Bob Baldwin - Bob Baldwin Presents The American Spirit

Size: 122,6 MB
Time: 52:40
File: MP3 @ 320K/s
Released: 2002
Styles: Jazz: Smooth Jazz
Art: Front & Back

01. God Bless America (4:54)
02. Bridge Over Troubled Water (5:36)
03. My Country Tis Of Thee (3:58)
04. Shower The People (5:33)
05. America The Beautiful (2:34)
06. Follow Your Dream (5:15)
07. Lift Every Voice - Count The Ways (5:45)
08. Color Blind (5:35)
09. Let's Roll! (5:18)
10. The Star Spangled Banner (4:55)
11. God Bless The Usa (3:14)

Considering how much popular smooth jazz artists love to play on each other's projects, and especially for a good cause -- in this case, the victims' assistance program Safe Horizon -- it's surprising that it took its musical community almost a year to emerge with its first tribute to America post 9/11. Bob Baldwin is hardly a household name in the genre, but he's been faithfully cranking out some of its funkiest keyboard projects over the past decade. Even if he's a little too synth-and-drum-machine reliant, this is still a fun project which captures the joyful spirit of America in the wake of a troubled time. He bookends the set with two classics on which he plays all the instruments. His lively "God Bless America" offers the Jeff Lorber/ Fender Rhodes retro-keyboard approach, while "God Bless the USA" features the same in a more restrained setting. The overall success of the project is due to his collaborations with saxophonist Kim Waters. There's an easy funk reading of "Bridge Over Troubled Water," the original, gospel-flavored "Lift Every Voice/Count The Ways," Marion Meadows on the shuffling original "Let's Roll!" and Dean James -- who did a few solid genre albums in the mid-'90s -- on the joyful anthem "Color Blind." Phil Perry's powerful falsetto is utilized to powerful emotional effect on "My Country Tis of Thee," but the staid arrangement throughout most of "Shower the People" doesn't give him room to strut his stuff; the best part of this tune is Chuck Loeb's crisp soloing throughout. ~by Jonathan Widran

Bob Baldwin Presents The American Spirit

Rene Taylor - Jingle Bell Jazz

Size: 134,1 MB
Time: 56:59
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Pop Vocals, Xmas
Art: Front

01. The Christmas Song (3:02)
02. Let It Snow (2:28)
03. Do You Hear What I Hear (4:16)
04. Joy To The World (2:48)
05. Santa Claus Is Coming To Town (2:16)
06. Have Yourself A Merry Little Christmas (3:22)
07. Mr. Santa (1:54)
08. Winter Wonderland (3:04)
09. This Christmas (3:14)
10. Hark The Herald Angels Sing (3:20)
11. Mary Did You Know (3:30)
12. Santa Baby (3:05)
13. God Rest Ye Merry Gentlemen (3:04)
14. Hallelujah (3:05)
15. Frosty The Snowman (2:40)
16. Grown Up Christmas List (5:00)
17. White Christmas (3:28)
18. What Are You Doing New Year's Eve (3:13)

Vocalist Rene Taylor is a true treasure. She has captivated audiences locally as well as nationally and internationally. She has performed in a variety of venues ranging from concert settings, headlining at galas, enamoring audiences on cruise ships to charming private party-goers. In her twenty plus years of performing she has been referred to as a true artist with a sultry voice, amazing talent and a classic style. Rene’s love for jazz started at an early age listening to Peggy Lee, Sarah Vaughn, Rosemary Clooney and Ella Fitzgerald. Rene's rich and sultry voice has been compared to Diana Krall and Nina Simone. On her first full-length Christmas album, vocalist Rene Taylor delivers with her smoky and sophisticated voice with fresh arrangements of Christmas favorites. That magical combination of rhythmic poise, immaculate phrasing and her slightly husky voice will raise your spirits now and for several Christmases to come!

Jingle Bell Jazz

The Jelly Roll Jazz Band - Indoors At Last

Size: 86,0 MB
Time: 36:34
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. I Wan'na Be Like You (4:21)
02. Bill Bailey, Won't You Please Come Home (3:53)
03. Sweet Sue, Just You (3:43)
04. My Sweetie Went Away (4:19)
05. After You've Gone (3:22)
06. Under The Sea (2:21)
07. Hiding Under The Bubble Wrap With You (3:23)
08. Les Oignons (2:22)
09. Sweet Georgia Brown (4:12)
10. On The Sunny Side Of The Street (4:33)

The Jelly Roll Jazz Band was originally formed in 2010 by Laurence Marshall, and first performed as a quartet of clarinet, tenor saxophone, banjo and tuba. According to Laurence,

Since those early days the band has developed considerably, and today it usually takes the form of a trio, with clarinet, banjo (or guitar) and double bass (or sousaphone). The band draws its musicians from a pool of around seven regular members depending on who is available, and this fluidity creates a constant stream of fresh inspiration and ideas.

One of the band’s greatest strengths is its flexibility. Much of the music is improvised around a core melody and chord progression, and therefore it is very easy to change or add instruments depending on the occasion and which players are free.

The musicians all originate from Scarborough, and the band still performs regularly in this area. However many of the members now live further afield, and they are available for bookings across the country. Recent performances have taken them as far afield as London, Darlington and Warwick.

Repertoire and Influences:
The style of music they play is traditional (‘Dixieland’) jazz, and they have a repertoire of around 100 songs so are able to play for hours without repeating themselves. Furthermore, they are capable of playing for hours without repeating themselves. They cover a range of standards from the 1900s to the 1930s, including such favourites as ‘Down By the Riverside’, ‘When the Saints’ and ‘The Sheik of Araby’. Their repertoire also features more recent hits like ‘The Bare Necessities’ and ‘Moon River’, and they have even branched out into ‘90s pop with versions of ‘My Heart Will Go On’ and ‘…Baby One More Time’. Always keen to broaden their horizons, the band have recently begun writing original material, and they are currently working on a trad. jazz version of Stravinsky’s ‘The Rite of Spring’.

Their influences include jazz greats such as Benny Goodman, Louis Armstrong, Fats Waller, Jelly Roll Morton and Chris Barber. The eccentric humour of The Bonzo Dog Doo-Dah Band plays a big part in their performance style as well, often lending a slightly surreal edge to proceedings.

Indoors At Last

7th Ave. - Collab

Size: 103,3 MB
Time: 43:54
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Pop/Rock Vocals
Art: Front

01. This Is Me (3:27)
02. Route 66 (3:22)
03. Havana Nights (4:10)
04. Ashes (3:17)
05. Feelin Good (3:50)
06. There's Nothing Holding Me Back (3:19)
07. I Wanna Dance With Somebody (3:36)
08. Straight Up And Down (3:18)
09. I Kissed A Girl In The House Of The Rising Sun (3:43)
10. Genie In A Bottle (3:15)
11. Change The World (4:41)
12. Bring Him Home (3:51)

From the mind of Chris Rupp, founder of Home Free and the “Chris Rupp Project,” comes a brand new vocal quartet that is ready to forge a new identity in the music world. Each member has a unique musical and performance background, allowing for exciting possibilities. Combining elements of pop, swing, rockabilly, country, and much more, 7th Ave is aiming to reinvent and uproot the standard definitions of all of those genres through our innovative arrangements and fun music videos.

Collab

Andy Fusco - Whirlwind

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 62:55
Size: 144,6 MB
Art: Front

( 6:22)  1. Acceptance
( 7:49)  2. Count's The Thing
( 7:13)  3. Waltz For Judy
(10:27)  4. Django
( 6:35)  5. The Touch of Your Lips
( 8:33)  6. Whirlwind
( 7:55)  7. How About Me
( 7:56)  8. In Dominic's Time

The opportunity to listen to six recently released discs on the venerable SteepleChase label (and the SteepleChase LookOut branch) is a little like reading an anthology of short stories by distinguished authors from a particular year or period. You get a hearty helping of vital, mature voices, most of whom operate somewhere in the jazz mainstream, without too much of an overlap of the artists' values, proclivities, and preferences. By and large, each leader and his cohort make a legitimate claim to the listener's attention. Founder/producer Nils Winther should be given credit for continuing to present memorable work, mostly by veteran artists who otherwise might remain undocumented. From the perspective of a longtime fan of alto saxophonist Andy Fusco (and of each member of his band as well), it's difficult to comprehend why Whirlwind wasn't issued for over twelve years after it was initially recorded. The briefest of back-stories is that trombonist John Mosca of the Vanguard Jazz Orchestra brought the original tape to Nils Winther, who recognized the music's value and took care of the business of getting it out and available to the public. Whirlwind is one of those rare releases that exceeds craft and competence, and establishes its own reasons for being. Among other things, it's a bottomless well of a jazz record. The more you play it, the more discoveries you make. The music offers multiple perspectives and can be enjoyed in a number of ways.

The chemistry between members of the quintet and their collective wisdom is on a level seldom attained on contemporary mainstream jazz recordings.  In terms of personnel and execution the recording is a prequel of sorts to Sight To Sound (Criss Cross), Walt Weiskopf's magnum opus recorded just a few months after, which featured Fusco who once mentored Weiskopf in the reed section of Buddy Rich's Big Band Mosca, pianist Joel Weiskopf (Walt's brother), and drummer Billy Drummond. The late Dennis Irwin is the bassist in Fusco's group. Walt Weiskopf's fingerprints are also on Whirlwind, in the form of two of his compositions, the title track and "Waltz For Judy."  It simply doesn't pay to make any blanket statements about the efforts of the record's primary soloists. Fusco, Mosca, and Weiskopf all have a knack for adapting their styles to the material at hand. Fusco's tone keening, tightly wound, sometimes sounding as if he's yanking notes out of the horn conditions much of what he plays. His phrases throughout "Count's The Thing" are measured, balanced, and contain a sense of urgency. A treatment of Irving Berlin's "How About Me" patient, romantic, and searching is a brilliant example of bebop balladry. Particularly on "Count's The Thing," Mosca manages to be everywhere at once, slippery and direct within the space of a couple of bars, without ever sounding particularly notey or busy. Throughout "In Dominic's Time" the trombonist creates something new and consistently breaks ground while clearly staying inside of the tune's parameters. Joel Weiskopf's virtues include a medium weight touch and the ability to swing with authority (he's so simpatico with Irwin and Drummond) without playing a lot of notes. Check out the title track for an example of a turn that's more effusive and emphatic then some of his other efforts on the record. It's enjoyable to isolate some of the couplings within the ensemble. Joel Weiskopf's sensitive, knowing comping amidst Fusco's solos often anticipates or inspires the saxophonist's next move.


Fusco's "Count's The Thing" improv and his turn on "How About Me" are good examples of their rapport. Contrary to conventional wisdom regarding the necessity of a drummer's diminished role behind a piano soloist, some of Drummond's most aggressive and effective playing on the record is behind Weiskopf. For instance, during John Lewis' "Django," accents to the snare and toms carry just the right amount of weight and spread out a bit, giving the music a slightly agitated vibe that never turns excessive. In other instances, such as the title track, he executes extended, contrapuntal lines behind the pianist. The widely imitated Coltrane/Jones saxophone and drum segments are given a new lease on life during a part of the head and some of Fusco's solo during "Whirlwind." In particular, the duo creates a long percussive rush, as Drummond chews on and spits out Fusco's litany of brief, agitated phrases.  It was indeed an exceptionally fine day in the studio. Many thanks to Nils Winther for enabling Whirlwind to escape the dustbin of history. ~ David A.Orthmann https://www.allaboutjazz.com/six-recent-steeplechase-releases-by-david-a-orthmann.php

Personnel:  Andy Fusco -  alto saxophone;  John Mosca -  trombone;  Joel Weiskopf - piano;  Dennis Irwin -  bass;  Billy Drummond -  drums

Whirlwind

Charito - Watch What Happens: Charito Meets Michel Legrand

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 62:14
Size: 143,1 MB
Art: Front

(4:03)  1. Watch What Happens
(5:08)  2. Summer Me, Winter Me
(5:40)  3. The First Time
(3:19)  4. Pieces Of Dreams
(4:23)  5. Once Upon A Summer Time
(5:49)  6. How Do You Keep The Music Playing?
(6:48)  7. What Are You Doing The Best Of Your Life?
(3:45)  8. Quand On S'Aime
(3:01)  9. Ask Yourself Why
(6:05) 10. You Must Believe In Spring
(4:22) 11. I Will Wait For You
(3:41) 12. The Windmills Of Your Mind
(6:05) 13. The Summer Knows

Recognized as a prominent jazz singer in Japan, Philippine-born songbird Charito has been a vocal force in Asia and Europe since the early 1990s, and now presents perhaps her most ambitious project to date on Watch What Happens, a delightful collaboration with Grammy Award-winning French composer Michel Legrand. Stating that "This album has become one of my biggest accomplishments ever," Charito does, indeed, deliver a classy performance with her distinctive interpretation of love songs from Legrand's songbook. The singer embarks on an American tour of a project, recorded in France and originally released in Europe in 2008. Gifted with a beautiful, velvet voice, Charito's calm, laidback approach to the music serves her quite well. When Legrand accepted a request from the singer to perform a tune or two with the diva, the project shifted, from the original plan of a series of French love songs played by French musicians, to a collection of Legrand compositions sung exclusively, of course, with the maestro. 

Legrand plays piano as part of the jazz combo, scats on several pieces, and performs a duet with the singer on "Summer Me, Winter Me," "Pieces Of Dreams," and "Quand On S'Aime," where both artists sing in French and seem to have fun with the lyrics. With Alain Mayeras sharing piano duties and providing the musical arrangements, Charito is simply mesmerizing on the title piece, "The First Time," and beautiful "What Are You Doing The Rest of Your Life," from the 1969 movie The Happy Ending all accompanied by a full orchestra and string section (unfortunately, neither the orchestra or many of the key players are listed). Charito lends stylish interpretations to a couple of other Legrand compositions associated with film classics like "The Windmills of Your Mind," from The Thomas Crown Affair (1968) and "The Summer Knows," from the 1971 flick Summer of '42 (1971). 

Though their meeting in Paris was not truly by chance, this recording was never really in the plans and, as luck would have it, Watch What Happens turns out to be a musical invitation that embraces the talents of a legend and the vocal energy of a very special singer. On Watch What Happens, Charito meets Michel Legrand, and the results is a wonderful album of mature light jazz. ~ Edward Blanco https://www.allaboutjazz.com/watch-what-happens-charito-ct-music-review-by-edward-blanco.php

Personnel: Charito: vocals; Michel Legrand: piano, vocals; Alain Mayeras: piano, arranger; orchestra and other players unlisted.

Watch What Happens: Charito Meets Michel Legrand

Ketil Bjørnstad - Early Years

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 75:46
Size: 178,8 MB
Art: Front

(6:10)  1. Blåmann (Blue Man)
(5:35)  2. Berget det blå (Blue Mountain)
(6:26)  3. Drømmen om havet (Ocean Dreams)
(4:19)  4. Sommernatt ved fjorden (Summer Night by the Fjord)
(5:20)  5. Gjesten (The Visitor)
(5:34)  6. Selena (Selena)
(4:49)  7. Finnes du noensteds ikveld (Are You There Somewhere, Tonight?)
(5:42)  8. Åpne havner (Open Harbours)
(5:04)  9. Tidevann (Tide)
(4:24) 10. Avskjed på forskudd (Farewell in Advance)
(6:37) 11. Dager på skæret (Days by the Shore)
(4:30) 12. Dedication (Dedication)
(6:17) 13. Nærmere (Closer)
(4:51) 14. Klovnen synger (The Clown Sings)

A classically trained jazz pianist with a bent toward avant-garde improvised music, Ketil Bjørnstad is a well-known musician and writer in Europe. With his cerebral, atmospheric style that belies a palpable inner passion and an inclination toward genre-crossing compositions, Bjørnstad helped develop and popularize the "European jazz" aesthetic. He is also a writer and poet and has published over 30 works beginning with his 1972 poetry collection Alone. Born in Oslo, Norway, Bjørnstad studied classical piano in London and Paris before making his debut in 1969 at age 16 with the Oslo Philharmonic Orchestra playing Béla Bartók's third piano concerto. Surrounded by the vibrant arts scene in Oslo during the '70s, Bjørnstad became interested in jazz and developing his own style of music. Citing an array of influences from Bach and Ravel to Thelonious Monk and Miles Davis, Bjørnstad began working in an improvised idiom. In 1973, he released his debut album Åpning featuring what would become a core group of longtime associates in drummer Jon Christensen, guitarist Terje Rypdal, and bassist Arild Andersen. The album would be the first of several outings Bjørnstad would record for Phillips. Over the years, Bjørnstad's particular mix of jazz, classical, folk, and rock music would become highly influential in the development of what became known as "European jazz." Although he has become well-associated with the premier European jazz label ECM, he did not record for the label until later in his career with 1993's Water Stories, 1994's The Sea, 1997's The River, and 1998's The Sea II. 

In 2000, Bjørnstad released the duo album Epigraphs with cellist David Darling on ECM. That same year, he composed the millennium oratorio "Himmel Rand," featuring the texts of the poet Stein Mehren. In 2002, he released the cinematic soundscape album Before the Light on Universal. In 2004, Bjørnstad released the rock-oriented Seafarer's Song featuring his ensemble with vocalist Kristin Asbjornsen. Four years later, he returned to ECM for the concert album Live in Leipzig with guitarist Rypdal. In 2008, Bjørnstad once again worked with drummer Christensen as well as tenor saxophonist Tore Brunborg for the ECM release Remembrance. In 2011, Bjørnstad delivered the duo album Night Song with cellist Svante Henryson on ECM. The pianist, who is also a published poet, novelist, and essayist, has stated that the Italian filmmaker Michelangelo Antonioni was one of his greatest influences; to that end, he composed a series of works meant to act as "a soundtrack to an inner film." Recording with bassist Arild Andersen percussionist Marilyn Mazur, cellist Anja Lechner, Eivind Aarset on guitar and electronics, and saxophonist Andy Sheppard, Bjørnstad released the live suite La Notte in the late spring of 2013. 2014 proved prolific for the composer and pianist. His first release of the year, appearing in March, was a 2012 recording entitled Sunrise: A Cantata on Texts by Edward Munch, performed by the pianist, his quartet, vocal soloist Kari Bremnes, and the Oslo Chamber Choir under the direction of conductor Egil Fossum. The musical work was set to surviving written texts by the famous painter. In October of that year, ECM also released the 2012 premier performance of Bjørnstad's A Passion for John Donne, a work based on the poet's life, commissioned by the Oslo International Church Festival, and performed live with the pianist's group the Oslo Chamber Choir under the direction of Hakon Daniel Nystedt. Interestingly, it featured the saxophonist Hakon Kornstad in a dual role, not only playing his horn but as a vocal soloist. ~ Matt Collar & Thom Jurek https://itunes.apple.com/au/album/early-years/14530086

Early Years

Dmitry Baevsky & Jeb Patton - We Two

Styles: Saxophone And Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 51:05
Size: 117,9 MB
Art: Front

(3:54)  1. Swingin' The Samba
(5:41)  2. Something For Sonny
(3:59)  3. Inception
(5:21)  4. Le Sucrier Velours
(4:42)  5. All Through The Night
(7:24)  6. Don’t Let The Sun Catch You Cryin’
(5:17)  7. Fools Rush In
(4:17)  8. The Serpent's Tooth
(4:18)  9. Quasimodo
(6:08) 10. You'd Be So Easy To Love

Rarely have two musicians given the impression of making their artistic proximity so manifest. Alto saxophonist Dmitry Baevsky and pianist Jeb Patton have known each other for many years. They met at a young age in New York, driven by a same thirst to learn the language of jazz and to make it their idiom of predilection. What better way for these two musicians to reveal their entente than in a tête-à-tête? What better context than a one-on-one, in which they elaborate the music together, privileging careful listening to one another other, a dialogue, a complementarity? The complicity is obvious between Jeb Patton’s elegant and articulated piano playing and Dmitry Baevsky’s vivid, precise and lyrical alto saxophone. The complicity is obvious between Jeb Patton’s elegant and articulated piano playing and Dmitry Baevsky’s vivid, precise and lyrical alto saxophone. Magnificently recorded, they have achieved a classic and everlasting album that marks the meeting of two contemporary jazz masters, simply called ‘We Two’.

Personnel:  Dmitry Baevsky, alto saxophone;  Jeb Patton, piano

We Two