Arne Domnérus - Memories of You Disc 1, Disc 2

Album: Memories of You Disc 1

Styles: Saxophone And Clarinet Jazz
Year: 2011
File: MP3@320K/s
Time: 56:23
Size: 129,7 MB
Art: Front

(3:52)  1. Poor Butterfly
(4:10)  2. Memories of You
(9:07)  3. Take the A-Train
(5:39)  4. Blowing in the Wind
(9:24)  5. Lady, be Good!
(8:07)  6. Confessin' (That I Love You)
(3:22)  7. It Don't Mean a Thing
(3:04)  8. I've Got It Bad
(7:03)  9. Jeep's Blues
(2:30) 10. Sometimes I Feel Like a Motherless Child

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Album: Memories of You Disc 2

Time: 49:24

Size: 113,9 MB

(6:57)  1. Things Ain't What They Used to Be

(3:23)  2. Hymn to Freedom

(2:34)  3. The Midnight Sun Will Never Set

(3:48)  4. Autum Leaves

(7:04)  5. Take 5

(4:50)  6. Jazz Me Blues

(4:04)  7. Lush Life

(4:05)  8. Is God a Three Letter Word for Love?

(3:12)  9. The Fable of a Fool

(3:00) 10. Hallelujah

(3:07) 11. That Old Black Magic

(3:15) 12. Out of Nowhere

With the death of Arne Domnerus, at the age of 83, on September 2, 2008, a great and all-pervading light went out on the Swedish jazz scene. "Dompan," as he was universally known in his homeland, started out playing Benny Goodman-influenced clarinet in a Stockholm college band in his teens, graduated to alto saxophone in diverse, long forgotten Swedish dance orchestras, then played in the Swedish jazz band that took the 1949 Paris jazz festival by storm. Later that year he cut his first records as leader for Metronome and the following year led the band that opened on Charlie Parker's tour of Sweden. He made an epic series of records with visiting Americans James Moody, Zoot Sims, George Wallington, Clifford Brown, Art Farmer and Quincy Jones. He played in Harry Arnold's Swedish Radio Big Band from 1956 to 1965, and then took over the leadership when it was reformed as a smaller outfit from 1966-1978. Though at the same time, he was always careful to keep one foot firmly in the world of more commercial music. He cut the first Swedish recording of "Rock Around The Clock," with Gunnar "Siljabloo" Nilson handling the vocals, took part in Dixieland sessions and backed a good many pop singers. In his very Swedish, unassuming way, he said he developed his own style because he couldn't hope to play like his idols, Benny Carter, Johnny Hodges and, of course, Bird. 

This double CD tribute compilation features Domnerus' later recordings. It includes tracks from the classic 1977 album, Jazz at the Pawnshop, from the 1990s albums Sketches of Standards and Live is Life, (both on Proprius Records), plus four tracks from Svenska Jazzklassiker (Naxos Nostalgia), an exercise in nostalgia, featuring rather cheesy 1950s arrangements. There is also a solitary inclusion from a 1974 album, Antiphone Blues (Proprius) of his haunting rendition of the old Negro spiritual "Sometimes I Feel Like a Motherless Child," backed by Gustaf Sjokvist on organ. The Pawnshop tracks are the standouts as straight-ahead jazz content, but Domnerus was also capable of transcending the most unpromising material. One example featured here is his total transformation of the hoary old Bob Dylan folk revival anthem "Blowing in the Wind" which, with the admirable Rune Gustafsson on guitar, is transformed into something of a mini masterpiece. Unfortunately, Dompan was also capable of pretension. His overblown version of his old idol Benny Carter's "The Fable of a Fool," positively drips with sentiment, replete with saccharin string and harp accompaniment. 

~ Chris Mosey https://www.allaboutjazz.com/memories-of-you-arne-domnerus-proprius-review-by-chris-mosey.php

Personnel: Arne Domnerus: alto sax, alto clarinet; Lars Erstrand: vibes; Jan Lundgren: piano; Hans Backenroth: bass; Rasmus Kihlberg: drums; Bengt Hallberg: piano; Georg Riedel: bass; Egil Johansen: drums; Rune Gustafsson: guitar; Gustaf Sjokvist: organ; Gunnar Svensson: piano; Yngve Akerberg: bass; Jack Noren: drums; Rolf Ericson: trumpet

Memories of You Disc 1, Disc 2

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B.J.Jansen - Common Ground

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 64:40
Size: 150,9 MB
Art: Front

(5:25)  1. Stacey's Pace
(5:39)  2. Carol's Dream
(5:58)  3. Street Walk
(4:50)  4. Brandon's Blues
(5:06)  5. Soul Loss
(4:24)  6. Angela's Aggravation
(5:32)  7. Bucket Full of Soul
(5:05)  8. Relaxin' with Jessica
(7:22)  9. Common Ground
(4:43) 10. Angela's Aggravation (Alternate Take)
(6:09) 11. Bucket Full of Soul (Alternate Take)
(4:20) 12. Stacey's Pace (Alternate Take)

Cincinnati-born baritone saxophonist B.J. Jansen's tenth album is titled Common Ground for good reason: his sextet consists of NEA Jazz Master trombonist Delfeayo Marsalis, drummer Ralph Peterson, trumpeter Duane Eubanks, pianist Zaccai Curtis, and bassist Dezron Douglas all of whom revel in improvisation. His group's shared affinity for jazz in the straight-ahead vein compelled Jansen to employ a "hands-off" tactic as leader, prompting the end product's great diversity of playing and style. The album has its post- bop pieces, hard bop workouts, Coltrane-esque spirituals, and mellifluous ballads, constituting an album that sounds classic, yet modern in its permissive borrowing from jazz's past.  From the first muscular bars of "Stacey's Pace," the aura of Common Ground is made clear: uncluttered, timeless jazz that harkens back to the all-star sessions of the late '50s and early '60s. A nimble bass solo by Douglas ushers in spirited improvisation from the remainder of the group, assembling sounds that likely would've reverberated off the walls of the Five Spot in its heyday. Influenced by the harmonic intricacy of Charlie Parker's compositions, "Angela's Aggravation" swings with a bebop approach, featuring a blazing solo by Jansen that conveys unbridled passion without compromising clarity. Further venturing down jazz's stylistic evolution, "Street Walk" exudes a post-bop flavor with its angular melody and dynamic structure. Anchored by Peterson's intrepid, at times explosive, sense of rhythm, players are impelled to solo at their most dexterous. 

Not lacking in tranquility, ballads "Carol's Dream" and "Soul Loss" impart the sextet's softer side, with Jansen filling open space with languid phrasing throughout the latter. As the concluding piece, the improvised title track seems to hit the crux of the album resolute unity through music. Leading his band from a spiritual introduction to reckless free playing, Jansen's sinuous trajectory never falters due to this mutual perceptivity. If the Blue Note and Prestige sessions of old occupy a sizeable portion of your music collection, Common Ground is an essential new release (the album even includes three alternate takes, akin to modern jazz reissues). Backed with a band of the highest caliber, Jansen's adroitness and appreciation for jazz produces a sound that radiates with classic charm. While his influence lies in the traditional, Jansen's individuality will surely cement his position in the line of great baritone players. ~ Mattew Aquiline https://www.allaboutjazz.com/common-ground-bj-jansen-ronin-jazz-review-by-matthew-aquiline.php

Personnel: B.J. Jansen: baritone saxophone; Delfeayo Marsalis: trombone; Duane Eubanks: trumpet; Zaccai Curtis: piano; Dezron Douglas: bass; Ralph Peterson: drums.

Common Ground

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Bobby Sanabria - Quarteto Ache!

Styles: Jazz, Post Bop
Year: 2003
File: MP3@320K/s
Time: 57:21
Size: 132,0 MB
Art: Front

(4:40)  1. Shaw Nuff
(8:10)  2. Soleshia
(9:16)  3. Funky Mr. D
(0:52)  4. Blue
(5:55)  5. Childs Walk
(7:09)  6. Ebb & Flow
(6:30)  7. El Trane
(9:12)  8. Aum
(5:32)  9. Be-Bop

One of the most obvious things about watching Dizzy Gillespie, in particular when pursuing his Afro-Cuban muse, was how much fun he was having. All too often musicians become so entrenched in the seriousness of their work that they forget music is also meant to be passionate and pleasurable, as much fun to hear as it is to play. Drummer Bobby Sanabria hasn’t forgotten this important aspect of the art, and with his current group, ¡Quarteto Ache!, he follows in Gillespie’s footsteps in more ways than one. The group’s self-titled recording is an example of how an infectious sense of playfulness can imbue the music with a vibrancy, a sense of excitement that not only captivates, but draws the listener in, making him/her an active participant. Bookending the recording with two Gillespie pieces, “Shaw ‘Nuff” and “Be-Bop,” Sanabria makes it clear that he is one of the primary torch-carriers for the Afro-Cuban approach. But what Sanabria is especially astute at is integrating rhythms and styles from various aspects of Latin America into a cohesive whole. “Funky Mr. D,” for example, combines elements of Cuban bolero, Brazilian samba cans?o and more a more traditional blues form into something that speaks its own language. “Soleshia” couples a 3/4 jazz waltz with a 6/8 Afro-Cuban bemb? feel. “Aum” demonstrates that there is a clear link between the Middle East and Latin forms. “El Trane,” a more straight-ahead bebop tune, pays homage to both Elvin Jones and, of course, John Coltrane in a modal workout that, by virtue of its polyrhythmic density, ties in perfectly with the rest of the programme. The group is not comprised of clearly distinct stylistic voices, yet everyone plays with confidence, energy and commitment. 

Sanabria aside, whose drumming style is exuberant and empathic, the other standout is Jay Collins, who, along with contributions on tenor and soprano sax and a variety of flutes, does a “Rahsaan Roland Kirk” on the intro to “El Trane,” blowing both saxophones at once. But most of all it is clear that Sanabria and the group are just plain having fun. Quotes pop up liberally, drawing inspiration from sources as disparate as The Wizard of Oz and, not surprisingly, A Love Supreme. As intense as the group gets, and at times it can be very intense, there is a clear sense that these players are enjoying themselves; one can almost see the smile on Sanabria’s face as bassist Collins quotes from “If I Only Had a Brain.” There is a certain party atmosphere to the record, which is not to say that this isn’t serious music. Sanabria and ¡Quarteto Ache! are unquestionably players who are devoted to their craft. But although the music is as weighty as any, there is a sense of enjoyment that is easily felt and most welcome. 

~ John Kelman https://www.allaboutjazz.com/bobby-sanabria-and-quarteto-ache-bobby-sanabria-zoho-music-review-by-john-kelman.php

Personnel: Bobby Sanabria (musical director, drums, vox humana), John di Martino (piano, vox humana), Jay Collins (tenor and soprano saxophones, flute, bansuri, pre-Columbian flute), Boris Kozlov (acoustic bass).

Quarteto Ache!

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Polly Gibbons - All I Can Do

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 68:06
Size: 157,3 MB
Art: Front

(5:08)  1. Permit Me to Introduce You to Yourself
(6:28)  2. Good Hands Tonight
(4:21)  3. Beautiful Things
(5:21)  4. If You Had the Chance
(6:36)  5. Some of My Best Friends Are the Blues
(4:30)  6. Anything Goes
(5:39)  7. This Is Always
(5:03)  8. All I Can Do
(7:23)  9. Everything Must Change
(5:48) 10. I'm Just a Lucky so and So
(6:24) 11. Nothing Compares to You
(5:20) 12. Sugar in My Bowl

It is enough to listen to some songs by the English Polly Gibbons to let yourself be taken by her exuberant feeling. Nothing to do with the many vocalists who have invaded the scene with a mediocre and plasticized synthesis of pop, jazz and soul. The young woman discovered by producer Ian Shaw is something special. His tone is deep, the vocal technique is sparkling and supported by musical impetus and imagination: qualities that bring him closer to the great jazz vocalists. But the artistic identity of Polly does not belong only to this musical tradition and ranges in balance between past and present. Can make credible soul themes like "Dr. Feelgood" by Aretha Franklin , folk ballad like "All I Want" by Joni Mitchelland ranges from Leonard Cohen , Prince , Marvin Gaye and D'Angelo . Other privileged areas are the blues and the classics of American song. Born into a Suffolk (England) family of farmers, she took her first steps in the colorful London music and her recording debut ( My Own Company , Diving Duck Recordings 2014) recorded it at Ronnie Scott's, with the trio of James Pearson. Soon afterwards, the contract came with George Klabin's Resonance, which is now releasing his third album.In this recording at the New York City Power Studio in front of a small audience, Polly Gibbons ranges between genres with the usual flexibility, in an effective calibration of swinging, intimate or blues-soaked atmospheres. 

The opening song "Permit Me to Introduce You to Yourself" is an incisive soul by Horace Silverand has nothing to envy to the vocal version of Dee Dee Bridgewater ; they follow the warm blues atmosphere "Good Hands Tonight" taken from the repertoire of Al Jarreau and the pop cover "Beautiful Things" of Leslie Bricusse . Having established the first reference coordinates, the singer passionately interprets "If You Had the Chance," a ballad written by her together with James Pearson. Alongside the imaginative exuberance fully evident in "I'm Just Lucky and So-So-So" - it is precisely in the intimate themes that Polly expresses the most intense moments: the ballad "This Is Always" which reminds us of Chet Baker , the poignant torch song "Nothing Compares 2 U" by Prince and the torrid blues "I Want a Little Sugar in My Bowl," a tribute to Bessie Smith and Nina Simone.~ Angelo Leonardi https://www.allaboutjazz.com/all-i-can-do-polly-gibbons-resonance-records-review-by-angelo-leonardi.php

Personnel: Polly Gibbons: vocals; Tamir Hendelman, James Pearson: piano; Shedrick Mitchell: hammond organ; Paul Bollenback: guitar; Richie Goods: bass; Mark McLean: drums.

All I Can Do

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