Claude Bolling - A Tone Parallel to Harlem (Tribute to Duke Ellington)

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 73:58
Size: 172,8 MB
Art: Front

(14:15)  1. Harlem
( 3:55)  2. Ring dem bells
( 3:25)  3. Things ain't that they use to be
( 3:45)  4. Creole love call
( 3:32)  5. Drop me off in Harlem
( 3:47)  6. It don't mean a thing
( 3:38)  7. Just squeeze me
( 4:16)  8. Caravan
( 3:34)  9. Harlem air shaft
( 4:39) 10. Moon mist
( 5:47) 11. Jungle traps
( 4:35) 12. Duke on my mind
( 2:50) 13. Lot of fingers
( 3:20) 14. Magenta haze
( 8:32) 15. Diminuendo in blue

This album dedicated to Duke Ellington includes recordings from 1999, two unpublished from a Big Band concert at the Maison de Radio France in February 1991, covers of previous albums (First Class, Warm Up the Band, etc., allowing thus to hear Stéphane Grappelli, Fernand Verstraete and Gérard Badini) and three solo pianos; a sort of anthology salute by Claude Bolling to the talent of the maestro illustrated by various pieces: the pianist fed by the Harlem Straight piano school, the creator of the jungle style marked by the Harlem renaissance, the master of the big band of the Classic era born in the Cotton Club, finally the powerful and fruitful composer of the post-war period (...). We can only rejoice that this repertoire is taken up by orchestras like the one directed by Claude Bolling or by Wynton Marsalis who are committed to perpetuate in their logic of interpretation (the version of Claude Bolling is in more than one remarkable title ) the work of Duke Ellington, emblematic pianist, mythical conductor and composer of genius, musician undoubtedly the most original of the American civilization.  ~  Felix Sportis - Hot Jazz

One becomes a fanatic Ellington collector because it is such a thrill to listen to alternate takes. The lesser-known alternates clips into the groove which the very familiar original has made in one's soul, and the differences make it sound "fresh". Strongly recommended ". Sjef Hoefsmit, Duke Ellington Music Society

"With this magnificent tribute to Duke Ellington, Claude Bolling has seemingly achieved the impossible; a powerful, blow-by-blow commentary on the substance of the Ducal achievements. The warmth is present, as is that relaxed, unmistakeable swing, and also the solo contributions of the Bolling entourage as so close to the classic creations of the original men (...). Yes, this is surely a memorable issue, never lets up for one moment on the responsibility for recreating, with such exactness, the sounds of the incomparable Duke and his unique company of performers. A distinctly superior act of homage all round ...~ Ken Rattenbuty, Crescendo & Jazz Music Translate By Google https://www.fremeaux.com/index.php?page=shop.product_details&category_id=64&flypage=shop.flypage&product_id=1016&option=com_virtuemart

A Tone Parallel to Harlem (Tribute to Duke Ellington)

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The Chordettes - We Three

Styles: Vocal 
Year: 2012
File: MP3@320K/s
Time: 35:29
Size: 82,6 MB
Art: Front

(2:27)  1. We Three
(2:04)  2. San
(2:11)  3. Makin' Love Ukelele Style
(1:24)  4. Oh Baby Mine (I Get So Lonely)
(2:03)  5. A Good Man Is Hard to Find
(2:30)  6. The Wedding
(2:18)  7. Hummingbird
(2:27)  8. Lonely Lips
(2:25)  9. Mr Sandman
(2:47) 10. Alice Blue Gown
(2:28) 11. Moonlight On the Ganges
(1:41) 12. Down Among the Sheltering Palms
(2:28) 13. For Me and My Girl
(2:25) 14. The Sweetheart of Sigma Chi
(1:58) 15. Floatin' Down to Cotton Town
(1:45) 16. Hello! Ma Baby

The Chordettes were one of the longest-lived vocal groups with roots in the mainstream pop and vocal harmonies of the 1940s and early '50s. Although the four women's arrangements owed more to the Andrews Sisters than doo wop, they did, unlike many of their peers, prove fairly adaptable to the rock era. First establishing themselves with the huge (and non-rock) pop hit "Mr. Sandman" in 1954, they continued to chart in the last half of the '50s and the early '60s, often with covers of rock and R&B songs. The 1958 number two hit "Lollipop" was the biggest of these. Although the group's sound (at least in retrospect) fell among the Whitest and squarest of rock artists, they introduced enough rock into their repertoire and production to sound more contemporary than they had on songs such as "Mr. Sandman."  Jinny Osborn was exposed to harmony singing via her father, who was president of "The Society for the Preservation and Encouragement of Barbershop Quartet Singing in America Inc." She formed the quartet with three college friends, and they became regulars on Arthur Godfrey's television show for four years in 1949, singing a cappella in the barbershop style, and recording for Columbia. Godfrey's musical director, Archie Bleyer, married the Chordettes' bass singer, Janet Ertel, around the same time he began his record label, Cadence. On Cadence, the group began to record with musical backing, though the barbershop elements are still well to the fore on "Mr. Sandman." Originally a B-side for Vaughn Monroe, the bouncy, somewhat novelty-oriented tune (complete with a deep-voiced "Yes?" from a voice representing "Mr. Sandman" at one point) made number one for seven weeks. 

The Chordettes were among the White pop acts that covered rock and R&B songs in the mid-'50s for the pop market, as early rock & roll began its successful threat to take over the mainstream audience. In so doing, they managed to split sales with the Teen Queens on the early doo wop classic "Eddie My Love," which made the Top 20 in versions by both groups. They also covered a song by Ronald & Ruby, "Lollipop," in their characteristic full-round-like arrangement, complete with popping sounds. This was their best rock, or at least rock-ish, tune, though they had continued to record straight pop songs, too, and had substantial hits with singles like "Born to Be with You" and "Just Between You and Me." In the late '50s and early '60s, the Chordettes continued to alternate between pop songs and ones with an eye on the rock market, including covers of the Coasters' "Charlie Brown," Paul Anka's "Lonely Boy," and Dodie Stevens' "Pink Shoelaces." They even did some recordings with King Curtis on sax. After "Lollipop" there were a few more hits: "Zorro," "No Other Arms, No Other Lips," and "Never on Sunday." They disbanded shortly after "Never on Sunday" made the Top 20 in 1961, however, when Jinny Osborn left and the group couldn't find a replacement with whom they were happy. ~ Richie Unterberger https://www.allmusic.com/artist/the-chordettes-mn0000763551/biography

We Three

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The Django Manouche Festival AllStars - Attitude Manouche

Styles: Gypsy Jazz
Year: 2018
File: MP3@320K/s
Time: 54:23
Size: 126,7 MB
Art: Front

(3:10)  1. Attitude Manouche
(5:55)  2. Troublant Romeo
(3:39)  3. Late Train
(7:41)  4. Lovely Wife
(4:57)  5. Laugh With Charlie
(5:40)  6. Balkanic Dance
(6:35)  7. Around Toots
(5:32)  8. Nocturne
(4:25)  9. Main Theme From Schindler's List
(2:51) 10. Tsigane Fantasy
(3:53) 11. Bonus Track: Viens Chez Django

It is a little known fact that Django Reinhardt was not only an incredible guitarist, he was also extremely good at stealing chickens. For the manouche clan of gypsies to which he belonged, this was a noble skill. He was saved from life as a chicken thief only when given a banjo-guitar at age 12. He became obsessed with the instrument, learning by mimicking the fingerings of established musicians, such as his uncle Guiligou. By the time he was 15 he was earning a living playing it and his chicken-stealing days were over. British bandleader Jack Hylton offered Reinhardt a job but before he could start, the caravan in which he lived caught fire. Reinhardt's left hand was badly burned and doctors discussed amputating one of his legs. A horrified Reinhardt refused surgery and discharged himself from hospital. Within a year he could walk with the aid of a stick and had developed techniques for playing guitar with his crippled hand. Having regained his fluency, he teamed up with violinist Stéphane Grapelli and in 1934 the duo formed the basis of the legendary Quintet Of The Hot Club of France, creating what is now known as manouche jazz, which is played mainly on stringed instruments. 

Today manouche is played all over the world mostly by devoted fans intent on the faithful reproduction of numbers from Reinhardt's repertoire. The All-Stars of the Django Festival at Birdland, in New York City, dare to be different, not content to merely regurgitate songs such as "Minor Swing" and "Sweet Sue, Just You." All the numbers here are originals save one and that is the less-than-familiar theme from the movie "Schindler's List." The music the All Stars play is fast and mostly light-hearted, though by no means easy. Lead guitarist Samson Schmitt, plays a Maccaferri guitar, like the one favoured by Reinhardt. Violinist Pierre Blanchard takes the role played by Stéphane Grapelli. The title number, "Attitude Manouche," written by Schmitt, is reminiscent in places of "Them There Eyes," a number Reinhardt recorded in 1938. It moves along at a fair clip, with some fine fiddling by Blanchard. Blanchard's ballad "Troublant Romeo," features an excellent solo from Schmitt then gets a little lost melodically before its author brings it all back together for the finale. "Late Train," by Ludovic Beier, is the stand-out track, with excellent solos from all concerned. Schmitt's "Lovely Wife" is a dreamy, romantic ballad, which -just as you expect it to wind down -is revived with a tasteful, understated solo from its creator. By now, Django is long ago and far away and the proceedings are verging on present day schmaltz. The quirky, light-hearted "Laugh With Charlie" puts things back on track before Blanchard's rhapsodic "Balkanic Dance" again threatens derailment. The closer, "Viens Chez Django" features an unsuccessful vocal by its author, Philippe Cuillerier, that is not helped by his own infantile lyric a shame it was included. Apart from this, there is much devoted manouche fans will find appealing. Non-devotees may be put off by the strings-only formula and Blanchard's rhapsodic fiddle playing. ~ Chris Mosey https://www.allaboutjazz.com/attitude-manouche-the-django-festival-all-stars-resilience-music-alliance-review-by-chris-mosey.php

Personnel: Samson Schmitt: lead guitar; Pierre Blanchard: violin; Ludovic Beier: accordion; Philippe Cuillerier: rhythm guitar, vocal; Antonio Licusati: bass.

Attitude Manouche

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Benedikt Jahnel Trio - The Invariant

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 45:29
Size: 106,3 MB
Art: Front

(5:49)  1. Further Consequences
(5:10)  2. The Circuit
(9:31)  3. Mirrors
(3:48)  4. Mono Lake
(6:44)  5. Part Of The Game
(5:39)  6. For The Encore
(3:55)  7. Interpolation One
(4:50)  8. En passant

Sometimes there's no substitute for experience, as demonstrated by this trio as it celebrates its tenth anniversary as a working unit. Last heard on Equilibrium (ECM, 2012), it's an international group that met through a series of lucky coincidences: Berlin-based pianist/composer Benedikt Jahnel is joined by Spanish bassist Antonio Miguel and Canadian drummer Owen Howard. Jahnel has also appeared on ECM as a member of Cyminology, a jazz group with culturally and ethnically diverse influences which primarily performs with Persian lyrics sung by Cymin Samawatie. Opener "Further Consequences" starts things off in odd-metered, yet swinging fashion. "The Circuit" continues that feeling, with Howard again using brushes; the tune ends somewhat unconventionally, on a lyrical bass solo from Miguel. "Mirrors" is the longest track on the program. It features a long, monumental sounding theme that unwinds slowly. There is a striking breakdown section featuring an unaccompanied bass solo (with piano and drum commentary), before returning to the grand theme. It's a striking piece, full of both structure and a sense of freedom in the playing. "Part Of The Game" finds its energy in an insistent ostinato rhythm, initially set up by Howard's drums, which have an especially prominent role through the entire piece. 

While certainly not just a drum feature, it does put a special focus on rhythm. The energy never lets up, but the group finds plenty of variety in the development. "For The Encore" is perversely not placed at the end of the program but it has a deliberate calm that would work very well for a quiet encore after an energetic set. "Interpolation One" is built upon a slow ostinato, from which the thematic material emerges. The encore feeling is revisited in the ballad "En Passant" (named for a chess move) that ends the album. Among the many ECM piano trios Jahnel's trio leans more toward the compositional side of the composition/improvisation spectrum. But it's still very much a jazz band, with all of the players making a significant contribution to the sound. ~ Mark Sullivan https://www.allaboutjazz.com/the-invariant-benedikt-jahnel-ecm-records-review-by-mark-sullivan.php

Personnel: Benedikt Jahnel: piano; Antonio Miguel: bass; Owen Howard: drums.

The Invariant

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Sebastian Sternal - Canada

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 44:11
Size: 101,9 MB
Art: Front

(3:12)  1. Canada
(4:23)  2. Calgary
(4:44)  3. Hologram
(5:14)  4. Lullaby
(4:04)  5. Into the Wild
(5:32)  6. For Jan
(3:01)  7. Prayer
(6:41)  8. Mississippi
(3:22)  9. Hunting
(3:54) 10. A Case of You

What a pleasure it is to see another outcome coming from those two well known to me musicians ,long time friends and collaborators. Both of them are also most fresh and well recognised personalties on the German music scene. This set up however is much different that any other before. First of all it is the 1st duo session those two recorded together. Secondly also conceptually,  in regard to the fact it was registered in Canada, some touch of melancholy had been in-printed into this project. Set contains 10 tracks, eight of which are artists’ originals and remaining two are tributes to artists they both admire and cover music written by them First is Kenny Wheeler (For Jan). Furthermore Joni Mitchel (A case of You). Worm and melancholic trumpeter’s tone shows long time admiration for his master and these inspirations remain present in his music today. Joni, equally demands similar attention from anyone who values highly poetic virtues in her songs lyrics. In fact it all took place just a jump from where she was born and grown. In addition both artists learnt making a trip there, that she remains completely unknown and forgotten. That experience significantly added ingredients to the touch of an isolation that this music possess. Strike of the nature’s vastness in its unrestricted glory makes a main motive of this sensual dialogue. Cover picture equally speaks for itself. 

One can imagine the feeling of an open space. The scale of the mountains around. And the quietness which surrounds you once you leave our noisy civilisation with its constant urban traffic. Even the way that music sounds in an open air and fades undisturbed. That describes the best to me the level of concentration there. Even without pointing particular tunes. There is no rush. The notes are all well respected and there is a lot of silence and reverie. Tune like Calgary, which I remember from Sternal’s Symphonic Society I reviewed for you earlier this year have completely different feeling. I can sense the higher level of meditation in the conversation with trumpeter. There is no tension at all. Every single note comes so enforced that an overall balance of the piece appears completely different. They both communicate really close here and are listening to each other carefully. Sternal is exquisite accompanier, and he puts wonderful sonic carpentry under trumpeters invocations. On the other side the way Koster sounds here is mesmerizing too. He controls his expression beautifully and sounds fully and reach all the time, with the same blossom on the long notes as well as on the edgy blasts. Just listen to his trumpet on wonderful Lullaby to understand what I mean. Pieces like Into the Wild and Prayer have an incredible emotional density and inevitable fire-power I would say. I simply can not stop listening to them all over again. There must be some therapeutic properties spell into this music and it makes me immediately feeling great. http://jazzpress.gpoint-audio.com/2015/07/frederik-koster-sebastian-sternal-canada-realised-27th-november-2015-label-traumton/

Personnel:  Sebastian Sternal - piano; Frederik Köster - flugelhorn

Canada

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