Thursday, January 24, 2019

Cris Delanno - Now and Forever

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 58:16
Size: 134,9 MB
Art: Front

(3:57)  1. Beat It
(3:50)  2. West End Girls
(3:14)  3. Life
(4:48)  4. Don't Stop 'Til You Get Enough
(5:00)  5. You Are Not Alone
(3:36)  6. Lucky
(3:42)  7. Make It Mine
(3:56)  8. 21 Guns
(3:43)  9. Am I the Same Girl
(3:39) 10. The Best of My Love
(4:15) 11. I Can't Give You Anythng but Love
(4:44) 12. Joy and Pain
(3:35) 13. Now and Forever
(3:13) 14. The Kids Aren't Alright
(2:58) 15. You Rise Me Up

Born in the U.S. but raised in Brazil, Cris Delano began singing in a children's chorus before becoming a backup vocalist for local numbers. In 1999, she published a book called Mais Nunca E Preciso Cantar (More Than Ever Is Necessary to Sing). 

Delano made her debut with Em Tom Maior, a tribute to local star Tom Jobim. The album was produced in 2000 by composer/arranger Roberto Menescal, founder of Brazilian label Albatroz. The independent Filha Da Pátria followed in 2001. ~ Drago Bonacich https://www.allmusic.com/artist/cris-delanno-mn0000134383

Now and Forever

Dayna Stephens - I'll Take My Chances

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 73:07
Size: 170,5 MB
Art: Front

(9:01)  1. Good Tree, Good Fruit
(7:20)  2. Jfk International
(8:15)  3. Adrift
(7:26)  4. Dirty
(7:59)  5. Unrequited I
(5:13)  6. Prelude to a Kiss
(7:12)  7. Field of Landmines
(9:11)  8. I'll Take My Chances
(4:42)  9. Weezy
(6:44) 10. Unrequited

For his second Criss Cross release I'll Take My Chances, saxophonist Dayna Stephens has put together an impressive recital showing off his skill for composition, arranging, and improvisation. The ten tunes presented here are a nice mix of Stephens's originals, an Ellington classic, and original tunes from contemporary pianists Brad Mehldau and Aaron Parks. The tunes all prove to be fantastic vehicles for Stephens to showcase his warm, soulful sound, and the prowess of the group he has put together for this recording. For the rhythm section Stephens joins pianist, Gerald Clayton, and bassist, Joe Sanders, both young players who have been attracting attention since their time at the Thelonious Monk Institute, where Stephens also studied. Drummer Bill Stewart has been a powerful presence in the New York jazz scene for twenty years now and he and Sanders seem to connect almost effortlessly on this album. Stephens completes the rhythm section with guitarist, Charles Altura, who has just recently come into the spotlight for his work on Chick Corea's The Vigil (Stretch Records, 2013). On his original tunes Stephens shows off his talent for writing interesting melodies. "JFK International" has a winding, unpredictable melody, obviously inspired by the hustle and bustle that can always be found in the airport. Appropriately, "Field of Landmines" has a light and careful feeling to it and Stephens explores some new sounds during his solo by using a chorus pedal, adding an interesting texture to this album. 

The fact that Stephens's original, "I'll Take My Chances," comes directly after "Field of Landmines" may strike some listeners as humorous but the song itself sets a serious tone and sets a perfect backdrop for Stephens's rich tone. "Dirty," another Stephens original stands out on this album and finds Gerald Clayton accompanying from the Hammond B3. Stephens does his best to live up to the tune's name with a soulful bari sax solo. For the centerpiece of the album Stephens recruited vocalist, Becca Stephens, to lend her delicate voice to his treatment of the classic Ellington tune, "Prelude to a Kiss." Though piano and guitar have a history for stepping on each other's toes in this type of a group setting, Clayton and Altura do remarkable job of complimenting each other rather than getting in each other's way on this tune. With this album Dayna Stephens adds another credit to his growing discography and proves himself a force to be reckoned with, not only as a soloist, but also as a composer, arranger, and band-leader. The other members of his quintet interpret Stephens's music with confidence and authority and accompany him well. Hopefully we can look forward to hearing Stephens develop even more as a composer and improviser in the years to come. ~ Andrew Luhn https://www.allaboutjazz.com/ill-take-my-chances-dayna-stephens-criss-cross-review-by-andrew-luhn.php

Personnel: Dayna Stephens: Tenor and Baritone saxophones; Charles Altura: Guitar; Gerald Clayton: Piano/Hammond B3 Organ; Joe Sanders: Bass; Bill Stewart: Drums; Becca Stevens: Vocals

I'll Take My Chances

Todd Gordon - Ballads from the Midnight Hotel

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 52:13
Size: 121,0 MB
Art: Front

(5:45)  1. Where or When
(3:55)  2. Everything Must Change
(2:53)  3. Hotel
(4:32)  4. If You Could Read My Mind
(2:05)  5. Indiscreet
(4:07)  6. I Get Along Without You Very Well
(3:17)  7. In the Wee Small Hours of the Morning
(4:29)  8. Somehwhere in My Heart
(3:55)  9. To Love and be Loved
(2:09) 10. The Second Time Around
(3:31) 11. The Good Life
(2:36) 12. Glad to be Unhappy
(3:14) 13. Come in from the Rain
(3:24) 14. In My Life
(2:15) 15. It's Impossible

In just a few years, Todd Gordon has established himself as “one of Britain’s most popular singers and entertainers” (Scottish Television). An avid Beatles fan until the age of 11, his musical horizons broadened when he heard Frank Sinatra's “Songs for Swingin' Lovers!” album. From that moment, he collected almost every recording by Ol' Blue Eyes whilst expanding his interest in jazz and swing, encompassing numerous other renowned singers and instrumentalists. Further inspiration came in 1975 when he met Ella Fitzgerald prior to one of her shows. During her concert, she invited him on stage and sang “You Are the Sunshine of My Life” specially to him. Since then, Gordon has been fortunate enough to meet many more of his idols including Bing Crosby, Rosemary Clooney, Count Basie, Woody Herman, George Shearing and Tony Bennett. Gordon's interest in music and singing was passionate, yet always private. But in 2000, he took part in a week-long vocal jazz workshop and that changed everything. His stage debut came in 2001 at Scotland’s top jazz club and from that moment on, as the cliché goes, he's never looked back. In 2003, aged 44, he was booked to open for Dionne Warwick during her UK tour, which prompted him to give up his day job organisng trade expos. Since then, Gordon has performed frequently at Britain’s top jazz venues, including The Pizza Express Jazz Room, The 606 in Chelsea and the world- renowned Ronnie Scott’s in London and The Plaza and The Algonquin hotels in New York where he even did a duet with actor Christopher Walken, singing “I've Got You Under My Skin”.He also features regularly at major jazz festivals and concerts. Indeed, he was the first-ever Scottish male vocalist to be booked for the London Jazz Festival, with his performance at the Royal Opera House in 2007 a show which was followed by a sell-out return visit two years later.Gordon's audiences range from intimate jazz clubs to large-scale shows (he regularly compères and performs at “Jazz on a Summer’s Day” against the backdrop of Edinburgh Castle Britain’s biggest jazz event with an audience of 20,000 plus) and he was also one of four nominees for a national music award alongside classical conductor Ilan Volkov, the pop group Texas and singing sensation, Annie Lennox. Gordon has performed joint concerts with most of Britain's best female jazz singers including Jacqui Dankworth, Claire Martin, Clare Teal, Elaine Delmar, Tina May, Juliet Roberts etc, as well as American singers Barbara Morrison and Clairdee. 

He works with the very best musicians and has released three albums with Ian Shaw in the producer’s chair: “Love’s Illusions,” “Ballads from The Midnight Hotel” (with Guy Barker and featuring a duet with Jacqui Dankworth), and “Moon River to the Days of Wine and Roses” an album celebrating the work of the legendary American Songbook lyricist Johnny Mercer, with the acclaimed Mel Tormé pianist, John Colianni. His latest releases (both reviewed on this site by both Ian Patterson and Bruce Lindsay) is a big band swing album with the Royal Air Force Squadronaires entitled “Evergreen” and “Love dot com” - an album Gordon recorded in Seoul after one of his tracks was used as the theme song in a top Korean TV drama series. Further expanding his passion for music, Gordon set up a concert promotion business, Jazz International, which has staged almost 100 events at Scotland’s leading music venues. In addition, he’s been presenting several weekly radio shows, one of which is syndicated worldwide. As a live performer, Gordon’s concerts appeal to a wider audience than just jazz lovers, however. He has created several crowd-pulling, and audience pleasing, concert themes, which have won five-star reviews. Line-ups for these range from a top flight trio to the superb BBC Big Band, the renowned Ronnie Scott's Jazz Orchestra and award-winning Back to Basie Orchestra. Along the way, many respected songwriters have praised Gordon’s interpretations of their songs, including the legendary Mike Stoller, the hugely successful Gilbert O’Sullivan, the co-composer of Sinatra’s “Watertown” masterpiece, Jake Holmes, as well as fêted composer, Stephen Sondheim. https://musicians.allaboutjazz.com/toddgordon

Ballads from the Midnight Hotel

Ronnie Cuber - Live at Montmartre

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 53:34
Size: 123,8 MB
Art: Front

(4:48)  1. Tee's Bag
(5:03)  2. Bluesette
(5:05)  3. Cherokee
(8:48)  4. Just Friends
(7:10)  5. Au Privave
(7:15)  6. Silvers Serenade
(8:35)  7. Jazz Girls
(6:46)  8. Four

Of all the musical instruments invented by Adolphe Sax in the mid-19th century, the baritone saxophone remains the least played. Harry Carney persuaded Duke Ellington to use the heavy, cumbersome instrument and it became a distinctive part of the band's sound. Others who have played the baritone saxophone include Cecil Payne, Pepper Adams, Serge Chaloff and for reasons that remain obscure Lisa Simpson (perhaps she welcomed the challenge). Gerry Mulligan and the Swede Lars Gullin gave the instrument a distinctive, laid-back, specifically modern sound. All of which brings us to Ronnie Cuber, who uses the baritone sax as a forceful, hard bop instrument, creating a very distinctive sound all his own, as can be heard in this 2017 live recording from Jazzhus Montmartre in Copenhagen. Risks were taken. Well into the set, Cuber asked organist Kjell Lauritsen, "Can you play Cherokee?" When Lauritsen replied, "Yeah, not too fast," Cuber responded, "It's gonna be fast." Lauritsen says, "I don't know how anyone can play this instrument the baritone sax in that tempo. But with Ronnie everything falls into place. His playing sets every tempo, every mood right in place for all in the band."  Ray Noble's "Cherokee" is third up, following an original, "Tee's Bag," then Toots Thielemans' gentle ballad "Bluesette." Next comes "Just Friends" by John Klenner, from 1931 and Charlie Parker's "Au Privave," penned two decades later. Despite the fact that it's one of Parker's more enduring compositions, no one has ever been able to figure out what it means. Lauritsen is particularly good on this one and there's some fine drumming by Andreas Svendsen. Guitarist Krister Jonsson produces a good solo on Horace Silver's "Silver's Serenade" and an even better one on Lauritsen's "Jazz Girls," which otherwise sees Cuber at his straight ahead best. Then everything comes to a fine conclusion with "Four," by Miles Davis (though authorship has been contested by saxophonist Eddie "Cleanhead" Vinson and it also sounds remarkably like the Barton Lane showstopper "How About You?" from 1941). ~ Chris Mosey https://www.allaboutjazz.com/live-at-montmartre-ronnie-cuber-storyville-records-review-by-chris-mosey.php

Personnel: Ronnie Cuber: baritone saxophone; Kjeld Lauritsen: Hammond organ; Krister Jonsson: guitar; Andreas Svendsen: drums.

Live at Montmartre