Jim Galloway - Echoes of Swing

Styles: Saxophone Jazz 
Year: 2004
File: MP3@320K/s
Time: 68:08
Size: 157,2 MB
Art: Front

(5:30)  1. Sometimes I'm Happy
(6:44)  2. Jeepers Creepers
(7:57)  3. Cheek to Cheek
(5:55)  4. Just Squeeze Me
(8:18)  5. Christopher Columbus
(7:28)  6. Blue Turning Grey Over You
(6:04)  7. Sugar
(6:53)  8. In My Solitude
(6:01)  9. I Ain't Gonna Give Nobody None of My Jelly Roll
(7:13) 10. Runnin' Wild

There has been much discussion recently at the Kentonia (fans of Stan Kenton) web site about swing what it is (and isn’t), how one can identify and/or define it, does it mean the same thing to different people, and so on. May I suggest that those who’ve not yet gotten their hands around the topic pick up a copy of this delightful session by Canadian-bred saxophonist Jim Galloway’s six-member group, Echoes of Swing, which does precisely that from pillar to post, stem to stern and all stops in between. Galloway, who was only a little tad when the Swing Era was in bloom, learned about it by playing alongside such swing masters as Buck Clayton, Yank Lawson, Buddy Tate and the irrepressible Jay McShann. The ensemble he leads here is an outgrowth of The Metro Stompers, co-led by Galloway and journalist/drummer Paul Rimstead, which has performed for many years (since 1974, actually) on Caribbean cruises sponsored by Brotherton’s Travel. This album, the group’s first recording on dry land, was taped last year for an appreciative audience at the Montreal Bistro nightclub in Toronto. A group photo in the booklet shows five grey  to white haired gentlemen and one (bassist Dave Field) whose hair hasn’t yet turned to silver. Clearly, these chaps have been around the block a time or two and it shows. They approach each of these venerable themes as if it were brand new and being performed for the first time. The result is a concert that is deceptively laid back and mellow yet swings at every tempo, reminiscent of the similarly swing-based albums that appear regularly on the Arbors and Nagel-Heyer labels. 

After opening with three well-known standards, the group turns to music by Ellington (“Just Squeeze Me,” “In My Solitude”), Fats Waller (“Blue Turning Grey Over You”) and a trio of Swing Era favorites, “Christopher Columbus,” “Sugar” and “Runnin’ Wild.” The other tune, “I Ain’t Gonna Give Nobody None of My Jelly Roll,” is the only one the ensemble plays at every gig, as it was a special favorite of the late Jack Britton who founded Brotherton’s Travel and suggested to Rimstead that he host a Jazz group on the Caribbean cruises that Brotherton’s was sponsoring on the Holland America line. While all of the soloists are first class (trombonist Bower is featured all the way on “Solitude”), Galloway is positively awesome on soprano or baritone (“Jeepers Creepers,” “Christopher Columbus”), displaying an elegance on the former that reminds one of such Swing Era (alto) giants as Benny Carter, Johnny Hodges or Marshall Royal (with traces of another of the great ones, best known as a tenor saxophonist, Zoot Sims). The vocalist on “Sugar” and “Jelly Roll” isn’t identified, so I assume that’s Galloway too. A thoroughly pleasurable concert session that does what it sets out to do, and that is swing. ~ Jack Bowers https://www.allaboutjazz.com/echoes-of-swing-jim-galloway-cornerstone-review-by-jack-bowers.php

Personnel: Jim Galloway, soprano, baritone sax; Dave Johnston, trumpet; Laurie Bower, trombone; Ian Bargh, piano; Dave Field, bass; Don Vickery, drums.

Echoes of Swing

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Lovisa Ståhl - #1

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 40:27
Size: 93,5 MB
Art: Front

(4:04)  1. If You Never Love
(4:06)  2. Mr. Right
(5:04)  3. Thousand Miles
(3:40)  4. Ruby Red
(2:33)  5. River
(4:59)  6. I Prefer a Broken Heart
(5:34)  7. Undress Me
(2:55)  8. Live a Little
(3:20)  9. Believe in Me
(4:07) 10. Feel It for Real

When I was younger, around 14, I listened to Yngwie Malmsteen. One of my favorite songs was a cover of ABBA's "gimme, gimme, gimme". This one was sung by a guy with an amazing voice. Much later, when I was about 26, the singer contacted me. His name is Mark Boals and he liked my music. We became good friends and he invited me over to Los Angeles to record my songs. So I went over and we recorded all my songs. We had hard working, but very fun weeks. A lot of coffie drinking and I actually started an addiction for brussels sprouts there, and still loves it. Well, I can't say my music is so much rock'n roll, so I skip the drugs and go country/folk vs brussels sprouts. I'm very happy about my choice. A little time was on Venice beach, a quick visit to Mulholland drive, Rodeo Drive, Beverly Hills and Hollywood. A lot of time in the studio. The result of my time in the States is what you can see here. My own little L.A. story! My songs were written before my arrival to L.A. (One was written there, but it's going to be on my next album). If we'd sit down and talk I could explain every thought in every sentence, but instead I let you have the songs to interpret to your own life! Every life has a nice story, some stories make songs! https://store.cdbaby.com/cd/lovisastahl

#1

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Eddie Daniels - The Five Seasons

Styles: Clarinet Jazz
Year: 1995
File: MP3@320K/s
Time: 65:55
Size: 154,1 MB
Art: Front

(4:02)  1. Spring I
(6:55)  2. Spring II
(4:26)  3. Spring III
(8:16)  4. Summer I
(2:41)  5. Summer II
(4:05)  6. Summer III
(8:14)  7. Autumn I
(2:43)  8. Autumn II
(5:23)  9. Autumn III
(4:40) 10. Winter I
(2:10) 11. Winter II
(6:19) 12. Winter III
(5:54) 13. The Fifth Season

This is an interesting jazz version of Vivaldi's The Four Seasons. The great clarinetist Eddie Daniels performs with the Los Angeles Chamber Orchestra (whose personnel and instrumentation is unidentified) plus pianist Alan Broadbent, bassist Dave Carpenter, and drummer Peter Erskine. The arrangements by Jorge Calandrelli put each of the seasons in three movements, alternating between straight classical interpretations and jazz improvising off of the melodies. 

Calandrelli also contributed a closing "The Fifth Season." Daniels plays brilliantly throughout, but the music comes across as a bit trivial, alternating between two very different idioms and rarely trying to mix them together. Better to get Eddie Daniels' Breakthrough album (which is a better third stream effort) instead. ~ Scott Yanow https://www.allmusic.com/album/the-five-seasons-mw0000184664

Eddie Daniels (Clarinet); Bernard Rubenstein (Conductor); Alan Broadbent (Piano); Dave Carpenter (Bass); Peter Erskine (drums); Los Angeles Chamber Orchestra.

The Five Seasons

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Irvin Mayfield - How Passion Falls

Styles: Trumpet Jazz
Year: 2001
File: MP3@320K/s
Time: 62:08
Size: 143,6 MB
Art: Front

( 8:33)  1. The Illusion
( 6:49)  2. Adam & Eve
( 6:46)  3. The Obsession
( 6:18)  4. Othello & Desdemona
( 8:29)  5. The Denial
( 2:57)  6. Romeo & Juliet
( 4:35)  7. The Affair
( 7:27)  8. David & Bathsheba
(10:11)  9. The Reality

How Passion Falls is Mayfield's second CD on Basin Street Records and it can hold its own with all the mainstream jazz that has been released in recent memory. The album contains ten original compositions (one track is "hidden" at the end) and deals with love and romance (what else, with a title like How Passion Falls). One of the most interesting things about this album is the song sequence. It could be called a jazz-opera because the tracks are ordered in a sort of acts and scenes format. It is a take, if you will, on the boy meets girl theme (with Biblical and Shakespearean overtones). The titles, in order, are: "The Illusion," "Adam & Eve," "The Obsession," "Othello & Desdemona," "The Affair," "The Denial," "Romeo & Juliet," "David & Bathsheba," and "The Reality." While not every love story features the betrayal of "The Affair" and "David & Bathsheba," let's give Mayfield some leeway. This CD does a wonderful job of displaying the talents and musicianship of its players. The interaction of bassist Edwin Livingston, drummer Jaz Sawyer and pianist Richard Johnson together with Mayfield's trumpet is mesmerizing. The interaction of the quartet with percussionist Bill Summers and saxophonist Aaron Fletcher on "Adam & Eve" is Latin-tinged blues-jazz at its finest. Delfeayo Marsalis (who also produced the album) plays on trombone on "The Denial." Other guests include Ellis Marsalis (no, he's not another brother; yes, he's Wynton, Branford and Delfeayo's father) on piano on "Romeo & Juliet," and saxophonist Donald Harrison, who is featured on "David & Bathsheba." The best track is "The Denial" with its call/response musical movement and its funk bass. This track really catches a groove and grabs the listener. The entire album has the feel and mysticism that could only be created in New Orleans by New Orleans musicians. Every selection finds a blues-soaked jazz/funk groove that is driven by African rhythms and Latin undertones. Only in New Orleans could this musical gumbo of styles be meshed into one cohesive broth. The CD also has enhanced CD-ROM capabilities which feature Wynton Marsalis in a video commentary and extensive liner notes. This is one well crafted album and lavishly produced package. It's a winner  through and through.~ Mike Perciaccante https://www.allaboutjazz.com/how-passion-falls-irvin-mayfield-basin-street-records-review-by-mike-perciaccante.php

Personnel: Ellis Marsalis - Piano; Bill Summers - Bata; Donald Harrison - Sax (Alto); Richard Johnson - Piano; Delfeayo Marsalis - Trombone; Edwin Livingston - Bass; Irvin Mayfield - Trumpet; Aaron Fletcher - Sax (Alto); Sax (Soprano) ; Jaz Sawyer - Drums 

How Passion Falls

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Fred Hersch Trio - 97 @ The Village Vanguard

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 58:19
Size: 134,3 MB
Art: Front

( 9:50)  1. Easy to Love
(10:06)  2. My Funny Valentine
( 6:00)  3. Three Little Words
( 5:46)  4. Evanessence
( 7:36)  5. Andrew John
( 5:48)  6. I Wish I Knew
( 5:44)  7. Swamp Thang
( 7:28)  8. You Don't Know What Love Is

Pianist Fred Hersch paid some dues at the Village Vanguard, sitting in as a sideman there from 1979 on, playing with the bands of saxophonist Joe Henderson, trumpeter Art Farmer, alto sax man Lee Konitz, and bassist Ron Carter. But he waited until 1997 to make his debut as a leader. That debut was captured on tape, and surfaces now, years later, with the Fred Hersch Trio '97's @ The Village Vanguard. Hersch's subsequent history as a leader at the Village Vanguard also runs deep, with Live At The Vanguard (Palmetto, 2003), Alive At The Vanguard (Palmetto, 2003), Sunday Night at The Vanguard (Palmetto, 2016) and a solo set, Alone At The Vanguard (Palmetto, 2011). All of these are exceptional piano jazz recordings. @ The Village Vanguard reveals how his trio artistry sounded back in the beginning. Joined by bassist Drew Gress and Tom Rainey fine sidemen and leaders themselves this is the only outing that catches this early-career Hersch trio playing live, with a set that includes the group's takes on the standards ("Easy To Love," "My Funny Valentine," "You Don't Know What Love Is") and a batch of Hersch originals, including the sparkling and spritely "Evanessence," a nod to pianist Bill Evans, to whom Hersch, early on, was often compared. Hersch's artistry like that of Evan's (like that of most seasoned and dynamic artists) has taken on a remarkable depth and focus of vision over the years. And like Evans, it started at a stunningly high level with this particular trio, featured also on a pair of Chesky Records recordings, Dancing In The Dark (1993) and Plays (1994). Hersch has always been a particularly nuanced and versatile pianist capable of propulsive drive interspersed with breathtaking delicacy and pure, time-stopping beauty documented at the very beginning of his trio recording work, with @ The Village Vanguard. ~ Dan McClenaghan https://www.allaboutjazz.com/fred-hersch-trio-97-at-the-village-vanguard-fred-hersch-palmetto-records-review-by-dan-mcclenaghan.php

Personnel: Fred Hersch: piano; Drew Gress: bass; Tom Rainey: drums.

97 @ The Village Vanguard (Live)

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