Lew Tabackin - L'archiduc (Round About Five)

Styles: Saxophone and Flute Jazz
Year: 1996
File: MP3@320K/s
Time: 68:17
Size: 157,7 MB
Art: Front

(12:20)  1. Night & Day
(10:19)  2. Wise One
(11:49)  3. I Don't Want to Be Kissed
(10:31)  4. In a Sentimental Mood
( 6:22)  5. L'archiduc - Round About Five
(10:25)  6. Delilah
( 6:27)  7. Oleo

Those who maintain that the elusive art of Jazz improvisation has fallen on hard times and point to Sonny Rollins as perhaps the last of the daring modern day voices on saxophone may be overlooking someone. In other words, it could be rewarding to listen, for example, to Lew Tabackin who, like Rollins, has devised a singular Jazz vocabulary and loves to dance across the high wire without a net. Tabackin’s mode of expression, although derived from and leaning heavily on Jazz tradition, is wholly modern in outlook and, like all memorable improvisation, is consistently creative and surprising. Such is certainly the case on L’Archiduc, recorded live in 1994 at the Belgian nightspot which bears that name. Tabackin is simply marvelous throughout, whether on tenor or flute (“Wise One,” “Delilah”), and it is altogether appropriate that he should end the concert with an impassioned reading of Rollins’ blazer, “Oleo.” Tabackin is accompanied by a “local” rhythm section Belgians Philippe Aerts on bass, Félix Simtaine on drums and while they are splendid in support, I kept wishing that L’Archiduc was spacious enough to house a piano. As it is, Tabackin must shoulder most of the melodic load himself, with Aerts soloing occasionally and Simtaine only once. It’s a good thing Lew has plenty to say. The first 1:37 of Cole Porter’s “Night & Day” are his alone before Aerts and Simtaine enter the fray. Trane’s meditative “Wise One” is followed by the playful “I Don’t Want to Be Kissed (By Anyone But You),” Ellington’s luminous “Sentimental Mood” and a sunny work written especially for the occasion by Tabackin, “L’Archiduc Round About Five.” Tabackin takes a well–earned breather of sorts, switching to flute on Victor Young’s soulful “Delilah,” before charging headlong into “Oleo.” This is crisp, persuasive saxophone work that would give even the indomitable Sonny a run for his money. ~ Jack Bowers https://www.allaboutjazz.com/larchiduc-round-about-five-lew-tabackin-igloo-records-review-by-jack-bowers.php
 

Personnel: Lew Tabackin, tenor saxophone, flute; Philippe Aerts, bass; Félix Simtaine, Drums

L'archiduc (Round About Five)

---

Annekei - Annekei

Styles: Vocal, Guitar And Piano Jazz 
Year: 2006
File: MP3@320K/s
Time: 53:31
Size: 123,8 MB
Art: Front

(4:28)  1. Taxi Driver
(3:51)  2. Baby You
(4:44)  3. N.Y.C.
(4:29)  4. Brother
(4:33)  5. With Open Arms
(4:00)  6. Diamond Shell
(3:26)  7. Bull Fight
(4:17)  8. The Voice Within
(3:56)  9. Paradise
(4:11) 10. Hold On
(4:41) 11. Keep On Going
(4:06) 12. Close Your Eyes
(2:44) 13. Shiki

First challenge I found myself in New York was auditioning for Showtimeat The Apollo, and after making my way to the finals of the show with astanding ovation in 2004, I knew that it would take more thanrejections, empty pockets, or years of hard work to bring me down. I'veworked with so many amazing artists and producers here through theyears, been blessed with the most supportive audiences and the mostkiller band members. For the past 3 years, I've also performedfrequently at hospitals all over New York through the organization"Musicians On Call", where I've met the sweetest people, patients andvolunteers. On Danish soil right now you can find me on 2 beautiful"Rasmus Noehr" albums, as well as "Soeren Sko"s "One For My Baby",produced by my dear friend, Chris Minh Doky, who also joined me on basson my latest Japan tour! In the UK you can find my single "More Of YourLove" that I wrote with Shan Boogie and MKL and released in 2004...I signed with the Japanese label "Being Records" in March 2006,recorded and produced my 1st album "Annekei" in Tokyo that was releasedin September 2006, and just finished the recordings for my 2nd album"Tsuki" that will be released this June. Arigatou gozaimasu to all ofthe hard working, talented and positive people I've met in Japan! https://www.behance.net/gallery/40089/Annekei-My-First-Album

Personnel: Vocals, Guitar – Annekei; Piano – Akira Onozuka , Annekei; Electric Piano – Annekei; Alto Saxophone – Kazuki Katsuta, Yota Miyazato; Backing Vocals – Takashi Matsuzaki; Baritone Saxophone – Satoru Takahashi;  Bass – Koichi Osamu; Electric Piano, Piano – Akira Onozuka; Guitar – Annekei, Takashi Matsuzaki; Saxophone – Generation Gap;  Soprano Saxophone – Kazuki Katsuta; Trumpet – Shiro Sasaki 

Annekei

---

Tadd Dameron - The Magic Touch

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 36:37
Size: 85,0 MB
Art: Front

(2:59)  1. On A Misty Night
(4:11)  2. Fontainebleau
(4:54)  3. Just Plain Talking
(3:18)  4. If You Could See Me Now
(2:51)  5. Our Delight
(3:01)  6. Dial B For Beauty
(4:56)  7. Look, Stop And Listen
(3:31)  8. Bevan's Birthday
(3:42)  9. You're A Joy
(3:12) 10. Swift As The Wind

Tadd Dameron is known to proclaim that he became an arranger rather than stay an exclusive instrumentalist because it was the only way he could get his music played. In retrospect, considering his best-known works are widely revered, few of them are frequently played by other bands, and only the finest musicians are able to properly interpret them. Dameron's charts had an ebb and flow that superseded the basic approach of Count Basie, yet were never as quite complicated as Duke Ellington. Coming up in the bop movement, Dameron's music had to have been by definition holding broader artistic harmonics, while allowing for the individuality of his bandmembers. The Magic Touch includes a handful of Dameron's most beloved compositions, as well as those that were more obscure, and have still never been covered. When you look at the sheer talent level of the players on this recording Clark Terry, Charlie Shavers, Joe Wilder, Jimmy Cleveland, Britt Woodman, Julius Watkins, Jerry Dodgion, Jerome Richardson, Johnny Griffin, Bill Evans, Ron Carter, George Duvivier, et al.one has to be in awe of them, and that only Dameron was able to convene such a band of extraordinary jazz performers in their prime. To effectively rein them all in was the trick, keeping solos at a bare minimum, and blending their personalized sounds together so harmoniously. "If You Could See Me Now" is the most famous, the immortal ballad of regret featuring the Sarah Vaughan styled vocal of Barbara Winfield. She also appears on the restrained and serene "You're a Joy." Dameron was known for his wonderfully piquant flute arrangements, with Dodgion, Richardson, and Leo Wright doing the honors, sounding chirpy during "If You Could See Me Now," in wonderfully supple Japanese style trills during "Dial B for Beauty," in staccato bop trim for "Swift as the Wind," or in heightened dramatic, evocative romantic nuances on the classic "Fontainebleau." The other classic standards include the definitive, spirited, cohesive rock 'em sock 'em horn punctuations and the great drumming of Philly Joe Jones for "On a Misty Night," and the direct, simple, hard swinging bop of "Our Delight" charts in most every big band's repertoire. The blues infused "Just Plain Talkin'" take the flutes and alto saxophonist Dodgion to a higher atmospheric level, "Look, Stop & Listen" is a quirky bop managed in choppy horn layers, while "Bevan's Birthday" is a Latin to easy swing and back inversion, triggered by the flutes to go back to the spicy beats. This CD version features several shorter alternate takes, thus increasing the value of the original sessions, not with longer solos, but different improvisational nuances. As close to a definitive recording as Dameron issued, and considering his very small discography, The Magic Touch is a recording that all modern jazz lovers need to own and take further lessons from. ~ Michael G.Nastos https://www.allmusic.com/album/the-magic-touch-of-tadd-dameron-mw0000378367

Personnel: Tadd Dameron - Piano, Arranger, Conductor; Clark Terry - Trumpet; Ernie Royal - Trumpet; Charlie Shavers - Trumpet; Joe Wilder - Trumpet; Jimmy Cleveland - Trombone; Britt Woodman - Trombone; Julius Watkins - French Horn; Jerry Dodgion - Alto Sax, Flute; Leo Wright - Alto Sax, Flute; Jerome Richardson - Tenor Sax, Flute; Johnny Griffin - Tenor Sax; Tate Houston - Baritone Sax; Bill Evans - Piano; Ron Carter - Bass; George Duvivier - Bass; Philly Joe Jones - Drums; Barbara Winfield - Vocals

The Magic Touch

---

Billy Strayhorn - The Peaceful Side Of Jazz

Styles: Piano Jazz
Year: 1963
File: MP3@320K/s
Time: 35:26
Size: 82,5 MB
Art: Front

(3:27)  1. Lush Life
(2:51)  2. Just A-Sittin' And A-Rockin'
(3:42)  3. Passion Flower
(3:16)  4. Take The "A" Train
(3:40)  5. Strange Feeling
(4:03)  6. Day Dream
(3:17)  7. Chelsea Bridge
(3:21)  8. Multi-Colored Blue
(3:02)  9. Something To Live For
(4:43) 10. A Flower Is A Lovesome Thing

During his twenty-five year tenure with the Duke Ellington Orchestra as composer, lyricist, arranger, and Duke's closest musical confidante, Billy Strayhorn rarely performed in front of a live audience and even less frequently entered a recording studio. Although his piano playing can be heard on a handful of records with the Ellington Orchestra as well as on some of its members' side projects, most notably several dates with Johnny Hodges, Strayhorn made just one album as a featured solo artist. That album, the Peaceful Side of Billy Strayhorn recorded during two overnight sessions in Paris in January 1961, has recently been reissued in the original mono version on Capitol Jazz. It offers a unique opportunity to hear this brilliant composer's own takes on some of his best-known songs, including "Lush Life," "Take the A Train," and "Chelsea Bridge." It was certainly not a lack of technique that kept Strayhorn from recording more often. A classically trained pianist, his playing here is exquisite, evoking the impressionism of Debussy almost as much as the driving jazz of Ellington. This is a quiet, spare recording featuring just Strayhorn's piano with occasional accompaniment by bass, string quartet, or vocal chorus. Strayhorn brings out all the passion and melancholy of his own compostions, which are performed in much more relaxed tempos than we are used to hearing. Even "'A' Train" is treated as a moody ballad. Other highlights include a gently swinging "Just A Sittin' and A Rockin,'" and an exquisite version of the haunting "A Flower is a Lovesome Thing." It is a shame that Strayhorn did not record more, since he brought the same extraordinary musical intelligence and sophistication to his piano playing that he did to his composing. ~ Joel Roberts https://www.allaboutjazz.com/the-peaceful-side-of-billy-strayhorn-billy-strayhorn-capitol-records-review-by-joel-roberts.php

Personnel: Billy Strayhorn - piano; Michel Goudret - bass; Paris Blue Notes - vocal choir; Paris String Quartet - strings

The Peaceful Side Of Jazz

---

Scott Bradlee's Postmodern Jukebox - Jazz Age Thirst Trap

Styles: Vocal, Contemporary Jazz
Year: 2019
File: MP3@320K/s
Time: 44:49
Size: 104,8 MB
Art: Front

(3:53)  1. Old Town Road
(3:28)  2. Young Dumb & Broke
(4:03)  3. Misery Business
(4:38)  4. Chandelier
(3:43)  5. Bad Guy
(4:43)  6. Everybody Talks
(3:57)  7. Sucker
(4:00)  8. Teenage Dream
(4:48)  9. I Knew You Were Trouble
(4:20) 10. High Hopes
(3:11) 11. idontwannabeyouanymore

How did Miley Cyrus' "We Can't Stop" become a '50s-style doo wop number? Since when was Meghan Trainor's "All About That Bass" about an upright bass fiddle? At what point did Macklemore's "Thrift Shop" evolve into a '20s hot jazz tune? And whose idea was it to rework Lorde's "Royals" into a polished ballad sung by a sad clown? It's all part of the topsy-turvy world of Postmodern Jukebox, an ongoing musical project spearheaded by pianist and arranger Scott Bradlee, who takes contemporary pop and rock tunes and fashions new arrangements for them that cast them in an unpredictable variety of musical styles from the past. Born on Long Island, Bradlee relocated to New York City after studying jazz at the University of Hartford. While playing gigs at restaurants and nightclubs in New York City, Bradlee began experimenting with ragtime and jazz arrangements of pop tunes from the '80s, and he recorded several self-released digital albums of his offbeat versions of well-known melodies, as well as performances that interpolated seemingly dissimilar songs of different eras. Bradlee upped the ante on these experiments in 2012 with an album called A Motown Tribute to Nickelback, but as he began imagining a new platform for his experiments, he thought of YouTube, where he had been posting solo performance videos since 2009. In 2013, Bradlee began posting weekly videos in which he and a rotating cast of musicians and vocalists performed a new song each week, recorded live in a single take in Bradlee's living room. In September 2013, Bradlee posted his '50s-style reimagining of Cyrus' "We Can't Stop," and the clip soon went viral, racking up over four million views in less than two months and topping 14 million two years later. Bradlee's Postmodern Jukebox channel was soon racking up Internet successes on a regular basis, and Bradlee continued to release both videos and albums based on his playful fun-house covers of popular songs. By 2015, Bradlee had made over 130 Postmodern Jukebox clips available online, and he and his crew were taking the show on the road, touring in North America, Europe, and the United Kingdom. Bradlee was quite prolific in 2016, with the release of several albums including PMJ and Chill and Swing the Vote! ~ Mark Dening https://www.allmusic.com/artist/scott-bradlees-postmodern-jukebox-mn0003405394/biography

Jazz Age Thirst Trap

---