Bill Evans & Lee Konitz - Play The Arrangements Of Jimmy Giuffre

Styles: Piano And Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 74:29
Size: 172,2 MB
Art: Front

(3:08)  1. Palo Alto
(5:02)  2. When Your Lover Has Gone
(9:50)  3. Cork'n' Bib
(4:29)  4. Somp'm Outa' Nothin'
(3:36)  5. Someone To Watch Over Me
(3:55)  6. Uncharted
(3:59)  7. Moonlight In Vermont
(5:08)  8. The Song Is You
(1:58)  9. Darn That Dream
(4:48) 10. Ev'rything I've Got (Belongs To You)
(4:19) 11. You Don't Know What Love Is
(4:00) 12. I Didn't Know About You
(3:57) 13. I'm Getting Sentimental Over You
(4:11) 14. You're Driving Me Crazy
(4:08) 15. You're Clear Out Of This World
(3:39) 16. The More I See You
(4:12) 17. You Are Too Beautiful

Merged from two brilliant 1959 studio sessions, this disc is, just as the title and artist credits suggest, a showcase for three immense talents. Those expecting to hear the snap-crackle of Roy Haynes' snare or Bob Brookmeyer's punctuated counterpoints after reading the all-star lineup may be surprised to hear them relegated to the background, but any disappointment will end there. The brilliant playing of Konitz and Evans, paired with Jimmy Giuffre's sensitive arrangements, is enough to satisfy any true jazz lover. Assembled for the album Lee Konitz Meets Jimmy Giuffre, the first band, a quintet of saxophones backed by the rhythmic underpinnings of Evans, bassist Buddy Clark and drummer Ronnie Free, immediately shows its musicality on the angular, quasi-atonal "Palo Alto. After a rundown of the pointillistic Giuffre arrangement, Konitz jumps in and alternately toys with and floats over the buoyantly swinging rhythm section and airy horn backgrounds. Konitz and Evans solo at length on "Somp'm Outa' Nothin', which can only be described as a blues that has a hard time getting off the "one" chord. The arrangement is quintessential Guiffre, with its dense tone clusters and recurring rhythmic pedal; Evans takes incredible liberties with the harmonic structure and shows an early affinity for Monk. Following a chamber-jazz reworking of "Darn That Dream, in which Giuffre masterfully exploits the subtle harmonic movements using a quintet of saxophones, the album is rounded out with a number of tracks from the '59 album You And Lee. Recorded five months after the initial Konitz/Giuffre studio session, this date finds a trio of trumpets and trombones replacing the saxophone section and adding a distinct edge to the music. Konitz is clearly the leader here; his probing, inventive solos are featured throughout the lineup of reworked standards, and the comping work is split by Evans' piano and the earthy guitar of Jim Hall. The tunes, especially "You Don't Know What Love Is, show Konitz at his best. He dazzles the listener with his sensitivity and invention and revels in the shimmering, transparent beauty evoked by Giuffre's arrangements. ~ Matthew Miller https://www.allaboutjazz.com/play-the-arrangements-of-jimmy-giuffre-bill-evans-lone-hill-jazz-review-by-matthew-miller.php?width=1920

Personnel: Band 1: Lee Konitz, Hal McKusick: alto saxophone; Ted Brown, Warne Marsh: tenor saxophone; Jimmy Giuffre: baritone saxophone/arrangements; Bill Evans: piano; Buddy Clark: bass; Ronnie Free: drums.

Band 2: Marky Markowitz, Ernie Royal, Phil Sunkel: trumpet; Eddie Bert, Billy Byers; trombone; Bob Brookmeyer: valve trombone; Lee Konitz: alto saxophone; Bill Evans; piano; Sonny Dallas: bass; Roy Haynes: drums; Jimmy Giuffre: arranger, conductor.

Play The Arrangements Of Jimmy Giuffre

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Robyn Bennett & Bang Bang - The Wait

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 52:18
Size: 121,8 MB
Art: Front

(2:49)  1. Too Much
(5:24)  2. Stop
(5:09)  3. For You and Me
(5:14)  4. The Wait
(4:00)  5. Ok, All Right
(4:07)  6. Stay
(3:55)  7. Take Me Back
(4:06)  8. I Won't Back Down
(3:06)  9. Something Tells Me
(6:53) 10. Caravan
(2:53) 11. Live and Learn
(4:36) 12. Goodnight

The red-headed beauty, daughter of university professors grew up in Pennsylvania (USA). Music and dance have always been a big part of her life. She started jazz and ballet lessons at only 3 years old, piano lessons at 6, trumpet at 10 and she sang regularly in different choirs. Her early influences were eclectic, including Frank Sinatra, Michael Jackson, Ray Charles, Fleetwood Mac, Harry Connick Jr., Ella Fitzgerald, Willie Nelson, Billy Holiday and Billy Joel. Robyn’s love of music, dance and the stage led her to musicals, performing in productions of «West Side Story», «Carousel» and «South Pacific». After high school, she left her small, rural town and headed for New York University where she studied in the musical theater program for two years. Having a hard time finding balance in the big city, seeking out calm and open spaces, she then continued her studies at the prestigious Vassar College where she graduated in 2001 with a Bachelor of Arts. Having always been attracted to France and French culture, Robyn packed her bags and went to Paris to get a Masters degree in French literature at the Sorbonne. In 2006, she settled definitively in Paris and a new adventure began. She joined the cast of the musical « Cabaret » (Dir. Sam Mendes) which played for 2 years at the famous Folies Bergères theater. Dance captain of the cast, she also played the role of Texas and understudied the lead role of Sally Bowles. It was during this production that Robyn met the jazz trombone player, Ben Van Hille. The chemistry they had together was instantaneous. The energy and emotion they shared on stage was infectious, and they decided that they had to make music together. Robyn Bennett and Bang Bang is born ! After two self-produced albums comprised mostly of cover material (Bang Bang in 2009 and Live Until You Die in 2011), they put their songwriting skills together to create their first album of original songs. « The Wait « is released in 2013 and is a real success ! A true melting pot of the music of New Orleans today: blues, funk, country, soul and rock, with jazz as the thread tying it all together. This year, on April 8th, the band unveils « The Song is You » a second album, more polished and open to an even wider audience. Jazz influences are still present, but the « pop » aspect becomes more important. Rock and swing, soul and funk come together for a powerful shot of musical energy ! Irresistible rhythms, melodies that stay in your head and explosive horns are all in there. Surely Robyn is the best person to speak about it : « This album is about empowerment, about knowing who you are, about being confident in the choices you make, and not succumbing to the pressures of society or caring about what other people think. It's about being positive, open, and knowing that the answers lie within you. We are affirming a style, affirming a sound, and there is so much positive energy in knowing that you're doing the right thing. That you're living life to the fullest, the way you want to live it, and not by anyone else's rules. » Translate by Google http://www.carre-magique.com/wp-content/uploads/2015/08/BIO-MEDIA-Robyn-Bennett-janv2016.pdf

The Wait

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Stéphane Grappelli - Satin Doll

Styles: Violin Jazz
Year: 2006
File: MP3@320K/s
Time: 70:12
Size: 163,0 MB
Art: Front

(6:55)  1. Satin Doll
(3:22)  2. On The Sunny Side Of The Street
(4:54)  3. Ain't Misbehavin'
(4:38)  4. Mack The Knife
(7:52)  5. Body And Soul
(7:01)  6. Pennies From Heaven
(5:12)  7. The Girl From Ipanema
(4:07)  8. My Funny Valentine
(4:23)  9. Blue Moon
(4:48) 10. The Lady Is A Tramp
(3:16) 11. Exactly Like You
(3:18) 12. Ebb Tide
(3:30) 13. You Took Advantage Of Me
(3:36) 14. Lover Man
(3:12) 15. I Didn't Know What Time

On this double LP, violinist Stéphane Grappelli gets away from his usual tribute to the late Django Reinhardt and plays 15 standards, including "Mack the Knife," "The Girl from Ipanema," "You Took Advantage of Me," and "Body and Soul." Accompanied by organist Eddy Louiss, pianist Marc Hemmeler, guitarist Jimmy Gourley, bassist Guy Pedersen, and drummer Kenny Clarke, Grappelli is in typically flawless form for these enjoyable swing sessions. ~ Scott Yanow https://www.allmusic.com/album/satin-doll-mw0000188216

Personnel: Violin – Stéphane Grappelli; Bass – Guy Pedersen; Guitar – Jimmy Gourley; Organ – Eddy Louiss; Percussion – Kenny Clarke; Piano – Marc Hemmeler 

Satin Doll

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John Hollenbeck - John Hollenbeck: The Claudia Quintet

Styles: Jazz, Post Bop
Year: 2001
File: MP3@320K/s
Time: 67:27
Size: 155,8 MB
Art: Front

( 6:41)  1. Meinetwegen
( 6:53)  2. A-B-S-T-I-n-E-n-C-E
( 5:44)  3. Love Song for Kate
( 5:57)  4. Thursday 7: 30 PM (Holy)
(10:42)  5. Thursday 11.14 Am (Grey)
( 3:47)  6. Thursday 3: 44 PM (Playground)
( 6:17)  7. Burt and Ken
( 5:03)  8. ...After a Dance or Two, We Sit Down for a Pint with Gil and Tim...
( 9:17)  9. No D
( 7:01) 10. Visions of Claudia

Releasing three quite noteworthy CDs in as many months, drummer/composer John Hollenbeck certainly made what one might describe as an "auspicious debut" as a leader. Just consider the range of styles covered in this burst of activity. No Images, Hollenbeck's initial recording from October 2001, is the most avant-garde of the three, with drums and saxophones squaring off in free jazz territory and trombones and drums accompanying the taped voice of Dr. Martin Luther King, Jr.; Quartet Lucy, hitting the street in January 2002, reflects Hollenbeck's attraction to the austere and spacious music of the ECM label. And The Claudia Quintet (released on the very same day as Quartet Lucy), a recording of subtlety, beauty, and a fair measure of fire smoldering beneath its surface. Hollenbeck may have an avant streak as wide as the pond between Tonic and Bimhuis, but he's surely not one to avoid a groove. In the Claudia Quintet's drum chair, he often locks into a rhythm and gradually builds the intensity of his attack, taking his own sweet time to reach the dynamic peak in a piece of music. Hollenbeck also propels the music forward with a crisp and clean style that doesn't overwhelm his bandmates, including Chris Speed, the noted N.Y.C. reedman who tends to prefer subtle expressiveness over displays of high-volume bluster. On this debut CD by the band, Claudia pursues a cool after-hours chillout vibe much of the time, and the instrumentation should suggest what Hollenbeck is after: aside from Speed (contributing a bit of tenor sax in addition to clarinet), the quintet features vibraphonist Matt Moran, accordionist Ted Reichman, and ubiquitous upright bassist Drew Gress. This lineup doesn't require listeners to stuff cotton in their ears to prevent hearing damage. The inclination is rather to pull out the cotton in order to best appreciate the clarity and nuance of this ensemble the round tones of the clarinet, shimmer of the vibes, earthiness of the accordion, and deep resonance of the bass. All the instruments are afforded room to breath, as unembellished melodic lines and shifting harmonics are drawn out across the sure and steady pulse and gathering rhythmic energy of "Meinetwegen" and the first and third of the album's "Thursday" compositions. Modalism and momentum are traded for spacy atmospherics on the second "Thursday" piece, with its ringing and sustained tones courtesy of Moran's bowed and struck vibes. But don't think The Claudia Quintet is entirely a space cruise, as the album includes the lovely downtempo ballad "Love Song for Kate," the swinging tenor-driven "Burt and Ken," the nearly cacophonous riot of voices during the improvised middle section of "a-b-s-t-i-n-e-n-c-e," and the angular stop-and-start "No D," in which Reichman fires off a solo on accordion that sounds about as wild as one could get without breaking the thing. Auspicious debut, indeed. One senses that a new and important voice has emerged on the New York creative music scene. John Hollenbeck's future output is cause for much anticipation, whether he chooses to release subsequent albums single-file or two and three at a time. [The Claudia Quintet and Hollenbeck's other CRI Blueshift recordings may be purchased directly from his website.] ~ Dave Lynch https://www.allmusic.com/album/the-claudia-quintet-mw0001273441

Personnel: Drums, Percussion, Composed By, Producer – John Hollenbeck; Accordion – Ted Reichman;  Acoustic Bass – Drew Gress; Clarinet, Tenor Saxophone – Chris Speed; Vibraphone, Percussion – Matt Moran

John Hollenbeck: The Claudia Quintet

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Scott Henderson - People Mover

Styles: Guitar Jazz
Year: 2019
File: MP3@320K/s
Time: 61:55
Size: 142,6 MB
Art: Front

(8:08)  1. Transatlantic
(6:56)  2. Primary Location
(0:32)  3. All Aboard
(4:38)  4. People Mover
(5:33)  5. Satellite
(5:48)  6. Blood Moon
(8:07)  7. Blue Heron Boulevard
(6:16)  8. Syringe
(8:16)  9. Happy Fun-Sing
(7:36) 10. Fawn

Guitarist Scott Henderson’s innate talents overwhelmed both the music scene and music schools of his native South Florida before he moved to Los Angeles 40 years ago. Yet he didn’t relocate for stardom, eschewing sideman roles with Chick Corea, Jean-Luc Ponty, and Joe Zawinul to form his own band Tribal Tech, active from 1984-2013. Henderson’s solo recording career started in 1994, and his new People Mover release is one of the high-water marks among the half-dozen efforts under his own name. Another was its predecessor, the similarly self-released Vibe Station from 2015, with bassist Travis Carlton and drummer Alan Hertz. This time, Henderson features an even younger rhythm section in French musicians Romain Labaye (bass) and Archibald Ligonnière (drums), with equally explosive results. Henderson has always mixed his jazz/fusion guitar influences (like Allan Holdsworth) with those based in rock (Deep Purple’s Ritchie Blackmore) and blues (Stevie Ray Vaughan), and does so from his opening chimes of “Transatlantic,” which segues between tranquil and high-octane sections, the latter featuring his signature soloing accents. “Primary Location” veers funkier, showcasing the rhythmic emphasis in both Henderson’s playing and composition and highlighting Labaye’s fretless tones and harmonics. People Mover features more effects, overdubs, and general production than its predecessors, courtesy of both the bandleader and Hertz, who recorded and helped mix the 10 tracks. “All Aboard” features piped-in crowd noise and touches of electronics within its inside-out cadence, and former Tribal Tech keyboardist Scott Kinsey contributes electronic percussion to the closing ballad “Fawn.” In between, Henderson shows his clean-tone soloing prowess on the swinging title track, also featuring a banner solo by Labaye and furious Ligonnière drumming; “Satellite” offers a Middle Eastern influence and background spoken overdubs; and “Syringe” features the trio’s ample improvisation within another of Henderson’s inimitable, acidic compositional mixes of jazz, rock, and blues. ~ Bill Meredith https://jazztimes.com/reviews/albums/scott-henderson-people-mover-scott-henderson/

Personnel: Guitar, Composed By – Scott Henderson; Bass – Romain Labaye; Drums – Archibald Ligonniere

People Mover

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