Erin Boheme - What Love Is

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 50:36
Size: 117,6 MB
Art: Front

(4:05)  1. Someone To Love
(4:14)  2. One Night With Frank
(4:39)  3. Let's Make The Most Of A Beautiful Thing
(5:00)  4. What Love Is
(4:39)  5. Teach Me Tonight
(4:26)  6. Make You Happy
(4:35)  7. Give Me One Reason
(6:07)  8. Anything
(5:08)  9. Let's Do It
(3:28) 10. I Love Being Here With You
(4:10) 11. Don't Be Something You Ain't

Wisconsin native Erin Boheme was only 18 when she found herself recording for the house that Carl Jefferson built: Concord Jazz. Some people who heard What Love Is, Boheme's debut album, questioned whether or not it belonged on a jazz-oriented label; truth be told, this 2006 release has as much to do with jazzy pop as it does with jazz. But even though Boheme is by no means a jazz purist, she is clearly jazz-influenced and besides, the late Rosemary Clooney was a fixture at Concord throughout the '80s and '90s despite the fact that her specialty was jazz-influenced traditional pop rather than hardcore vocal jazz. So stylistically, this crossover effort (which is best described as traditional pop meets vocal jazz meets adult contemporary) isn't inappropriate for Concord. If Boheme is a crossover artist at heart, that's fine as long as she strives for quality and this is a pleasant, if undeveloped and mildly inconsistent, debut from the Midwestern singer. Concord was obviously hoping to reach the Norah Jones crowd with What Love Is, which makes sense because Boheme's vocals hint at Jones in addition to hinting at Billie Holiday. Boheme favors a sweetly girlish approach, although she seems to be aiming for some of Julie London and Peggy Lee's sultriness as well. And even though her performances aren't breathtaking, Boheme shows herself to be a likable singer on a CD that ranges from a few Tin Pan Alley warhorses (including Sammy Cahn's "Teach Me Tonight" and Cole Porter's "Let's Do It") to Tracy Chapman's "Give Me One Reason" to several tunes that Boheme co-wrote. This is by no means a bad album, although it is the work of an artist who still has some growing and developing to do. All things considered, Boheme is worth keeping an eye on. ~ Alex Henderson https://www.allmusic.com/album/what-love-is-mw0000355204

What Love Is

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Dan Barrett - Jubilesta!

Styles: Trombone Jazz
Year: 1992
File: MP3@320K/s
Time: 63:32
Size: 146,3 MB
Art: Front

(6:21)  1. I Love You
(5:07)  2. Why Can't You Behave?
(3:19)  3. Jubilesta
(3:26)  4. Then I'll Be Happy
(4:11)  5. Sweet Substitute
(4:59)  6. Blue Chu
(4:37)  7. Alabamy Bound
(3:18)  8. Mood Indigo
(4:45)  9. I Surrender Dear
(4:06) 10. Wait 'Til You See 'Ma Cherie'
(4:29) 11. Wherever There's Love (There's You and I)
(4:29) 12. I'll Always Be in Love with You
(4:06) 13. When the Sun Sets Down South
(6:14) 14. Little Jazz

Dan Barrett, probably the top young trombonist currently playing classic jazz, is very well featured on this quartet set with pianist Ray Sherman (himself in superior form), bassist David Stone and drummer Jake Hanna. Barrett revives such songs as "Why Can't You Behave?," "Then I'll Be Happy," "Wherever There's Love," "Wait 'Til You See 'Ma Cherie'," and "Little Jazz," making one wonder why such attractive pieces are not performed more often. ~ Scott Yanow https://www.allmusic.com/album/jubilesta-mw0000026397

Musicians: Dan Barrett: Trombone; Ray Sherman: Piano; David Stone: Bass; Jake Hanna: Drums

Jubilesta!

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Humphrey Lyttelton - Georgia Man

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 41:43
Size: 96,4 MB
Art: Front

(7:50)  1. In Swinger
(4:37)  2. Toot'n in Kamen
(7:03)  3. Talk of the Town
(2:39)  4. One for Buck
(4:37)  5. Harry Looyah
(6:02)  6. St.Louis Blues
(6:22)  7. The New Bad Penny Blues
(2:29)  8. Georgia Man

The grand old man of British jazz, trumpeter and bandleader Humphrey Lyttelton spearheaded the postwar trad jazz revival before renouncing the movement in favor of more contemporary and restless creative vision. A larger-than-life figure, he also excelled as a writer and cartoonist, and for decades was a fixture of radio, serving as the hilariously deadpan host of the long-running I'm Sorry, I Haven't a Clue. Born in Eton on May 23, 1921, Lyttelton was the product of a distinguished and wealthy family a lifelong jazz enthusiast, he received his first trumpet at age 15 and formed a band with some Eton College classmates. He also studied military drumming under a former Coldstream Guards drum major and joined the school band as a percussionist. Lyttelton enlisted in the British Army on D-Day and saw combat in Italy on leave in London he sat in with local jazz bands, and upon returning to civilian life in 1945 he enrolled at the Camberwell School of Art. In March 1947, he signed on with semi-professional trad jazz combo George Webb's Dixielanders; when Dixielanders clarinetist and professional cartoonist Wally Fawkes was promoted to write and illustrate a full-fledged daily strip for The Daily Mail, Lyttelton was tapped to fill Fawkes' previous position sketching "column-breakers"  i.e., humorous or decorative drawings inserted into the text. He also reviewed jazz and classical recordings for the newspaper, and later scripted the Fawkes-drawn strip Flook as well.

In early 1948 Lyttelton resigned from the Dixielanders to found his own group, bringing Fawkes and later pianist Webb with him with the subsequent additions of Blackpool-born brothers Keith (trombone) and Ian Christie (clarinet), the group emerged at the forefront of the trad jazz renaissance. With Lyttelton's declamatory trumpet out front, the group's reverential, New Orleans-inspired sound proved a commercial juggernaut in late 1949, they signed to Parlophone, and their 78-rpm efforts sold so consistently that the label issued a new release each month until introducing the LP format several years later. However, Lyttelton quickly felt smothered within the narrow creative confines of the trad jazz sound and began embracing Latin and African rhythms as early as 1951 he also exploited new technologies, employing multi-track recording techniques to play trumpet, clarinet, piano, and washboard on "One Man Went to Blow." Most notably and to the endless chagrin of purists Lyttelton soon abandoned the accepted trumpet-clarinet-trombone format to introduce saxophones into the equation, and as his musical aspirations evolved, so did the lineup of his support staff: the Lyttelton band was the launching pad for a multitude of fledgling jazz greats, among them saxophonists Tony Coe, Danny Moss, Alan Barnes, Joe Temperley, John Barnes, and Karen Sharp as well as trombonists Roy Williams, Pete Strange, and John Picard. The group also backed visiting American giants like Sidney Bechet, Jimmy Rushing, and Buck Clayton. With 1956's self-penned "Bad Penny Blues," Lyttelton scored British jazz's first-ever Top 20 U.K. pop hit the group went on to tour Europe and the Middle East, and in 1959 joined Thelonious Monk and Anita O'Day on a trek across the U.S. As the trad jazz vogue gave way to rock & roll, Lyttelton continued performing, but he also launched a secondary career as a broadcaster his witty and informal presence made him a natural for radio, and in 1966 he was awarded his own BBC series, The Best of Jazz, which he helmed for over four decades. Six years later, he was also appointed host of the spoof panel game I'm Sorry, I Haven't a Clue, a program notorious for its abundance of double entendres. He also continued his writing, over the course of his lifetime publishing a series of books including I Play as I Please, Second Course, Take It from the Top, Why No Beethoven, and It Just Occurred to Me..., and for a time he even served as a restaurant critic. Another hobby was calligraphy: Lyttelton received a set of calligraphic pens upon his father's death, and proved so adept that he was elected president of the Society for Italic Handwriting. The craft even lent its name to his own label, Calligraph Records, which served to re-release his classic recordings on CD. A new generation of listeners was exposed to Lyttelton's work in 2001 when he guested on the Radiohead album Amnesiac. On March 11, 2008, he announced his retirement from The Best of Jazz. Weeks later, he died following heart surgery on April 25. ~ Jason Ankeny https://www.allmusic.com/artist/humphrey-lyttelton-mn0000638075/biography

Georgia Man

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