Friday, October 30, 2020
Carmen McRae - The Very Thought Of You: The Definitive Singles Collection Disc 1, Disc 2
Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 79:51
Size: 184,1 MB
Art: Front
(2:34) 1. The Very Thought Of You
(2:18) 2. Oh! Look At Me Now
(2:30) 3. The More I See You
(2:39) 4. Show Me The Wat
(2:53) 5. The Party's Over
(3:00) 6. The Next Time it Happens
(3:13) 7. You Don't Have To tell Me
(2:14) 8. Never Loved Him Anyhow
(2:38) 9. Talk to Me
(2:32) 10. What Has She Got
(3:03) 11. Am I The One to Blame
(2:28) 12. Come Down to Earth Mr, Smith
(2:41) 13. Love is Here To Say
(2:17) 14. Take Five
(3:04) 15. As I Love You
(2:46) 16. The Eagle and Be Wrong
(3:02) 17. So Nice to Be Wrong
(2:57) 18. Skyliner
(2:54) 19. Invitation
(3:22) 20. His Eye is on the Sparrow
(2:44) 21. I'll See You Again
(2:17) 22. I Love The Ground You Walk On
(3:04) 23. If I'm Luck(I'iiBe The One)
(2:24) 24. I'm Putting All My Eggs in One Basket
(2:56) 25. Don't Cry, Joe (Let Her Go! Let Her Go)
(2:36) 26. Play for Keeps
(3:01) 27. Rich Man, Poor Man
(3:06) 28. Keep Me In Mind
(2:25) 29. Moon Ray
Album: The Very Thought Of You: The Definitive Singles Collection Disc 2
Time: 79:59
Size: 185,3 MB
(3:00) 1. Whatever Lola Wants
(3:07) 2. Star Eyes
(2:42) 3. You Don't Know Me
(2:26) 4. It's Like Getting a Donkey to Gallup
(2:51) 5. If You Should Leave Me
(2:47) 6. Georgia Rose
(2:34) 7. Which Way Is Love
(2:51) 8. Big Town
(2:44) 9. Namely You
(3:01) 10. I'll Love You (Till I Die)
(2:18) 11. Ooh (What'cha Doin' to Me)
(3:22) 12. This Will Make You Laugh
(1:51) 13. I Cried for You
(2:57) 14. Lo and Behold
(2:28) 15. Passing Fancy
(2:45) 16. Nightlife
(2:20) 17. How Does the Wine Taste
(2:52) 18. Get Set
(2:41) 19. I Guess I'll Dress Up for the Blues
(2:57) 20. Coax Me
(3:46) 21. Midnight Sun
(2:48) 22. I'm a Dreamer, Aren't We All
(2:52) 23. How Many Stars Have to Shine
(2:15) 24. Come On, Come In
(2:30) 25. Miss Brown to You
(2:58) 26. Tonight He's Out To Break Another Heart
(2:43) 27. A Room with a View
(3:09) 28. My One and Only Love
(2:11) 29. They All Laughed
Carmen McRae always had a nice voice (if not on the impossible level of an Ella Fitzgerald or Sarah Vaughan) but it was her behind-the-beat phrasing and ironic interpretations of lyrics that made her most memorable. She studied piano early on and had her first important job singing with Benny Carter's big band (1944), but it would be another decade before her career had really gained much momentum. McRae married and divorced Kenny Clarke in the '40s, worked with Count Basie (briefly) and Mercer Ellington (1946-1947), and became the intermission singer and pianist at several New York clubs. In 1954 she began to record as a leader' and by then she had absorbed the influences of Billie Holiday and bebop into her own style. McRae would record pretty steadily up to 1989 and, although her voice was higher in the '50s and her phrasing would be even more laid-back in later years, her general style and approach did not change much through the decades. Championed in the '50s by Ralph Gleason, McRae was fairly popular throughout her career. Among her most interesting recording projects were participating in Dave Brubeck's the Real Ambassadors with Louis Armstrong, cutting an album of live duets with Betty Carter, being accompanied by Dave Brubeck and George Shearing, and closing her career with brilliant tributes to Thelonious Monk and Sarah Vaughan. Carmen McRae, who refused to quit smoking, was forced to retire in 1991 due to emphysema. She recorded for many labels including Bethlehem, Decca (1954-1958), Kapp, Columbia, Mainstream, Focus, Atlantic (1967-1970), Black Lion, Groove Merchant, Catalyst, Blue Note, Buddah, Concord, and Novus.~ Scott Yanow https://www.allmusic.com/artist/carmen-mcrae-mn0000185948/biography
The Very Thought Of You: The Definitive Singles Collection Disc 1, Disc 2
The Very Thought Of You: The Definitive Singles Collection Disc 1, Disc 2
Marcel Loeffler - Source manouche
Year: 2005
File: MP3@320K/s
Time: 58:01
Size: 133,4 MB
Art: Front
(3:23) 1. Swing suspens
(3:36) 2. Ma référence
(4:10) 3. Fiso Place
(4:40) 4. Douce ambiance
(3:11) 5. Them There Eyes
(5:07) 6. All the Things You Are
(3:36) 7. Passion
(3:36) 8. Pont de Venise
(5:33) 9. Ruby
(2:30) 10. Joshua Fit the Battle of Jericho
(4:53) 11. Double scotch
(3:06) 12. H.C.Q. STRUT
(5:25) 13. Où es-tu mon amour ?
(5:07) 14. La ballade irlandaise
As he rubs many accordionists, he wants to see his son play. Although having lost his sight at the age of 5 (genetic problem), the little Marcel is left with an accordion in his hands when he is only 6 years old. Four years later he begins to accompany his father in country balls with one of his brothers on drums; Marcel is of course brought up in the love of music; Because if his father likes Django, the idol of the community, he is also a lover of American jazz; with him, Marcel discovers Sinatra, Nat king Cole, Ellington … but playing the accordion in the 70s, when the instrument is relegated to the commercial register, you immediately rank in the category of nerds, even if you like Art Van Damme, Gus Viseur or Marcel Azzola, working hard to decipher their pieces. At the end of adolescence, Marcel abandons a time accordion in favor of an electric bass. Engaged in the Jacky Coulé Variety Orchestra, he performed at Niederbronn Casino; for four years he discovers and learns at the same time all the jazz standards within this orchestra. In the 80s he is interested in synthesizers, playing in various rock bands or varieties. These fifteen years of bells were still a solid school, allowing Marcel to be comfortable in all styles and everywhere at home in music; not to mention family reunions and parties where music is a daily sharing.
If Marcel started composing in the mid-80s, without ever having learned the theory, it was not until 1996 that he recorded « Vago » his first record as a leader, on which he signed most of the compositions and let his explosions multiply. talents. Having inherited from his father the faculty of not being content to stay in a single genre of music, Marcel announces here what will be a constant of his approach: his ability to propose different musical universes while keeping a real homogeneity. Sideman highly sought after, Marcel multiplies meetings and experiences. The essential for him being to play in public, he will share the stage with partners who are mostly his friends: guitarists Wawau Adler (participates in albums « Roots » in 2006 and 2007), Tchavolo, Dorado, Engé and Railo Helmstetter, accordionists Jean-Louis Matinier, Frédéric Schlick (Marcel will be one of his guests on « Jazz nuances » in 96), René Sopa (who will be inviting him on « Carinhos tango », recorded in 2008), Raul Barboza (Schiltigheim’s White Horse in 2000), Azzola the following year in the same place, saxophonist Franck Wolf and James Carter, violinist Costel Nitescu and bassist Gilles Coquard who will invite him on « Reïsa », a disc on which he meets Mino Cinélu and Bireli Lagrène … the list is long and not exhaustive.
An open and curious musician, Marcel likes Django and Viseur, of course, but also Art Van Damme, Piazzolla, Bach, the great American jazzmen with a predilection for Miles Davis, Herbie Hancock, Chick Corea or Joe Zawinul. He also likes music from Central Europe, Africa and French songs; he always takes one on his records (wax doll, sound doll on « Vago », say when will you come back from Barbara, the song of the old lovers of Brel or the Irish ballad immortalized by Bourvil on the following ones). Marcel is always ready for new musical adventures, as for the Spring straps which gives him carte blanche every year; In 2013, he set up a Quincy Jones big band with Pascal Beck, the trombonist and arranger of Strasbourg, choosing the best French musicians to take back standards and original compositions; if Marcel records regularly (see all his albums in the discography page), he likes to play in public because it is there that he perceives intimately what his music brings or not to others. This does not prevent him from transmitting, since 2016, he teaches Jazz at the conservatory of music in Strasbourg. Marcel Loeffler, an exceptional stylist. First of all, a clear, airy phrasing that combines light swing, elegance and lyricism, a constant focus on punctuations and contrechnts and a keen sense of improvisation; he can linger around the melody with an unfailing inspiration or punctuate his speech with some virtuoso accelerations never gratuitous; for Marcel has long since passed the stage of virtuosity; what interests him is to play in a thoughtful, more elaborate way, to build something coherent, to play on the nuances, to keep the note; for him, music is above all emotional. https://marcel-loeffler.fr/en/
If Marcel started composing in the mid-80s, without ever having learned the theory, it was not until 1996 that he recorded « Vago » his first record as a leader, on which he signed most of the compositions and let his explosions multiply. talents. Having inherited from his father the faculty of not being content to stay in a single genre of music, Marcel announces here what will be a constant of his approach: his ability to propose different musical universes while keeping a real homogeneity. Sideman highly sought after, Marcel multiplies meetings and experiences. The essential for him being to play in public, he will share the stage with partners who are mostly his friends: guitarists Wawau Adler (participates in albums « Roots » in 2006 and 2007), Tchavolo, Dorado, Engé and Railo Helmstetter, accordionists Jean-Louis Matinier, Frédéric Schlick (Marcel will be one of his guests on « Jazz nuances » in 96), René Sopa (who will be inviting him on « Carinhos tango », recorded in 2008), Raul Barboza (Schiltigheim’s White Horse in 2000), Azzola the following year in the same place, saxophonist Franck Wolf and James Carter, violinist Costel Nitescu and bassist Gilles Coquard who will invite him on « Reïsa », a disc on which he meets Mino Cinélu and Bireli Lagrène … the list is long and not exhaustive.
An open and curious musician, Marcel likes Django and Viseur, of course, but also Art Van Damme, Piazzolla, Bach, the great American jazzmen with a predilection for Miles Davis, Herbie Hancock, Chick Corea or Joe Zawinul. He also likes music from Central Europe, Africa and French songs; he always takes one on his records (wax doll, sound doll on « Vago », say when will you come back from Barbara, the song of the old lovers of Brel or the Irish ballad immortalized by Bourvil on the following ones). Marcel is always ready for new musical adventures, as for the Spring straps which gives him carte blanche every year; In 2013, he set up a Quincy Jones big band with Pascal Beck, the trombonist and arranger of Strasbourg, choosing the best French musicians to take back standards and original compositions; if Marcel records regularly (see all his albums in the discography page), he likes to play in public because it is there that he perceives intimately what his music brings or not to others. This does not prevent him from transmitting, since 2016, he teaches Jazz at the conservatory of music in Strasbourg. Marcel Loeffler, an exceptional stylist. First of all, a clear, airy phrasing that combines light swing, elegance and lyricism, a constant focus on punctuations and contrechnts and a keen sense of improvisation; he can linger around the melody with an unfailing inspiration or punctuate his speech with some virtuoso accelerations never gratuitous; for Marcel has long since passed the stage of virtuosity; what interests him is to play in a thoughtful, more elaborate way, to build something coherent, to play on the nuances, to keep the note; for him, music is above all emotional. https://marcel-loeffler.fr/en/
Source manouche
Wednesday, October 28, 2020
Toni Tennille - Do It Again
Year: 1988
File: MP3@320K/s
Time: 50:44
Size: 120,4 MB
Art: Front
(3:07) 1. Do It Again
(3:50) 2. More Than You Know
(3:48) 3. Close Your Eyes
(4:05) 4. I Got It Bad (And That Ain't Good)
(3:25) 5. Can't Help Lovin' Dat Man
(2:38) 6. I'll Only Miss Him When I Think Of Him
(4:51) 7. Love Is Here To Stay
(3:45) 8. Someone To Watch Over Me
(3:45) 9. Let's Do It (Let's Fall In Love)
(3:07) 10. I Thought About You
(4:40) 11. Day Dream
(2:08) 12. Guess Who I Saw Today?
(3:47) 13. Do Nothin' Till You Hear From Me
(3:41) 14. But Not For Me
Cathryn Antoinette "Toni" Tennille (born May 8, 1940) is an American singer-songwriter and keyboardist, best known as one-half of the 1970s duo Captain & Tennille with her former husband Daryl Dragon; their signature song being "Love Will Keep Us Together". Tennille has also done musical work independently of her husband, including solo albums and session work. Tennille has a contralto vocal range, spanning over 2 and a half octaves....More... https://peoplepill.com/people/toni-tennille/
Do It Again
Richard 'Groove' Holmes - Get Up & Get It!
Year: 1967
File: MP3@320K/s
Time: 40:01
Size: 92,1 MB
Art: Front
(5:40) 1. Get Up And Get It
(5:08) 2. Lee-Ann
(9:21) 3. Body And Soul
(5:23) 4. Broadway
(8:02) 5. Groove's Blues Groove
(6:25) 6. Pennies From Heaven
The organ trio format is so ensconced in the minds of soul-jazz fans that hearing this album, which puts Richard "Groove" Holmes' funky Hammond B3 in the context of a larger group, sounds odd and over-produced at first. Putting Holmes' bottom-heavy instrument against a guitar-bass-drums trio and then adding Teddy Edwards' tenor saxophone on top to take most of the melody lines sounds on paper like it should be a thick, muddy mess, but thankfully, Holmes' sidemen are up to the task at hand and steer clear of over-playing. The great Paul Chambers, one of the best bassists of the post-bop generation, mostly leaves the bottom to Holmes' left hand, leaving himself free to add intriguing little accents and filigrees to the rhythm, and guitarist Pat Martino wisely avoids the temptation to do much more than comp unobtrusively and take the occasional brief solo. Billy Higgins, of course, is one of the great drummers of his time and plays solidly throughout. The original "Groove's Blue Groove" is a particular highlight, but the entire album is worthy.~Steward Mason https://www.allmusic.com/album/get-up-and-get-it%21-mw0000893219
Personnel: Organ – Richard "Groove" Holmes, Bass – Paul Chambers (3), Drums – Billy Higgins, Guitar – Pat Martino; Tenor Saxophone – Teddy Edwards
Personnel: Organ – Richard "Groove" Holmes, Bass – Paul Chambers (3), Drums – Billy Higgins, Guitar – Pat Martino; Tenor Saxophone – Teddy Edwards
Get Up & Get It!
Monday, October 26, 2020
Bill Coleman - The Complete Philips Recordings (disc 1), (Disc 2)
Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 69:11
Size: 163,2 MB
Art: Front
(2:36) 1. Jumpin' At The Pleyel
(3:07) 2. Si Jolie
(2:55) 3. The Blues Jumped Up And Got Me
(2:59) 4. I'm Coming Virginia
(3:22) 5. Come On A My House
(3:09) 6. Tenderly
(3:53) 7. Knucklehead
(5:23) 8. Baby Won't You Please Come Home
(5:48) 9. One O'Clock Jump
(3:34) 10. Perdido
(3:02) 11. When The Saints Go Marching In
(5:01) 12. Ghost Of A Chance
(5:39) 13. Basin' Street Blues
(3:15) 14. Lover Man
(2:02) 15. Summertime
(2:16) 16. Jumpin' With Symphony Sid
(1:58) 17. Trombone Blues
(5:20) 18. St. James Infirmary
(3:42) 19. Sheik Of Araby
Album: The Complete Philips Recordings (disc 2)
Time: 77:53
Size: 183,1 MB
(4:31) 1. Red Top
(4:45) 2. Royal Garden Blues
(5:39) 3. Solitude
(3:31) 4. Tea For Two
(2:11) 5. Chinatown
(5:31) 6. Drum Face
(3:45) 7. Muskrat Ramble
(4:09) 8. Black And Blue
(5:16) 9. Idaho
(4:34) 10. Out Of Nowhere
(3:34) 11. Indiana
(9:05) 12. Saint Louis Blues
(2:37) 13. Jumpin' At The Pleyel
(3:13) 14. Si Jolie
(2:51) 15. The Blues Jumped Up And Got Me
(2:51) 16. The Blues Jumped Up And Got Me
(3:20) 17. Come On A My House
(3:17) 18. Come On A My House
(3:05) 19. Tenderly
Trumpeter Bill Coleman (1904-81) played in a host of orchestras (led by Benny Carter, Teddy Wilson, Luis Russell and Don Redman) in the 1930s, with the same vibrato and finesse as his contemporary, Buck Clayton, but not quite the same bravura and vocabulary. To make an analogy using trumpeters from another jazz era, Coleman is to Clayton as Kenny Dorham is to Clifford Brown. Coleman would eventually settle in France, where these recordings were made and recently reissued, and where he would co-found the Marciac Jazz Festival. A geographical serendipity allowed him to entitle his memoirs De Paris (Kentucky) à Paris (France). The Complete Philips Recordings centers around a somewhat rowdy (on and off-stage) October 1952 concert at the Salle Pleyel in Paris, an apparently totemic event for budding French jazz fans of the era. (At least that's the sense conveyed by veteran critic Michel Boujut's dewy-eyed review of this disc in Jazz Magazine.)
In addition to its sentimental value to listeners of a certain generation, however, the concert recording is of real musical interest as well. It's easy to joyfully submit to the crazy juxtaposition of styles in the set list. 1920s chestnuts are played with rollicking gusto, only to be followed by loping 1930s swing numbers, not to mention urbane 1950s vocal R&B. Similarly, the musicians are a temporal and stylistic grab bag. Drummer Zutty Singleton, having wandered out of the Mezz Mezzrow band, pounds raucously through "When the Saints Go Marching In, "Idaho" and "Drum Face," sounding like a voice speaking to us directly from the New Orleans of another century (which, of course, he is). Trombonist Dicky Wells' playing does nothing to dispel the impression that he was, as he himself admitted, "half-high and half-frozen" during his European sojourn. This condition does not prevent credible, big-hearted solos on "Saints" and "Black and Blue." Saxophonist Guy Lafitte is consistently good, offering easygoing solos in the Ben Webster manner. Randy Downes is a bop pianist Singleton is alleged to have approved his membership in a cannabis-induced haze, only to judge him too modern once the smoke had cleared with a nice feature on "Out of Nowhere." He deftly negotiates the swing numbers, even if Singleton is entirely uninterested in meeting him halfway. Coleman weaves in and out of this vaguely chaotic mise en scène, playing his lovely solos ("St James Infirmary," "Red Top," "Royal Garden Blues"), singing blues affably, joking with the audience in good French with an upbeat but cool composure to which a Zen monk could aspire. The two-CD package is complemented by six 1951 studio numbers. These septet tracks, with a far more coherent band and fine arrangements by trombonist Bill Tamper, present Coleman as a quite serious and forward-looking bandleader.~ Jeff Dayton Johnson https://www.allaboutjazz.com/the-complete-philips-recordings-bill-coleman-universal-music-france-review-by-jeff-dayton-johnson.php
Personnel: Bill Coleman: trumpet, vocal; Bill Tamper: trombone; Jay Cameron: alto saxophone; William Boucaya: baritone saxophone; Art Simmons: piano; Jean-Pierre Sasson: guitar; Guy de Fatto: bass; Gérard "Dave"
In addition to its sentimental value to listeners of a certain generation, however, the concert recording is of real musical interest as well. It's easy to joyfully submit to the crazy juxtaposition of styles in the set list. 1920s chestnuts are played with rollicking gusto, only to be followed by loping 1930s swing numbers, not to mention urbane 1950s vocal R&B. Similarly, the musicians are a temporal and stylistic grab bag. Drummer Zutty Singleton, having wandered out of the Mezz Mezzrow band, pounds raucously through "When the Saints Go Marching In, "Idaho" and "Drum Face," sounding like a voice speaking to us directly from the New Orleans of another century (which, of course, he is). Trombonist Dicky Wells' playing does nothing to dispel the impression that he was, as he himself admitted, "half-high and half-frozen" during his European sojourn. This condition does not prevent credible, big-hearted solos on "Saints" and "Black and Blue." Saxophonist Guy Lafitte is consistently good, offering easygoing solos in the Ben Webster manner. Randy Downes is a bop pianist Singleton is alleged to have approved his membership in a cannabis-induced haze, only to judge him too modern once the smoke had cleared with a nice feature on "Out of Nowhere." He deftly negotiates the swing numbers, even if Singleton is entirely uninterested in meeting him halfway. Coleman weaves in and out of this vaguely chaotic mise en scène, playing his lovely solos ("St James Infirmary," "Red Top," "Royal Garden Blues"), singing blues affably, joking with the audience in good French with an upbeat but cool composure to which a Zen monk could aspire. The two-CD package is complemented by six 1951 studio numbers. These septet tracks, with a far more coherent band and fine arrangements by trombonist Bill Tamper, present Coleman as a quite serious and forward-looking bandleader.~ Jeff Dayton Johnson https://www.allaboutjazz.com/the-complete-philips-recordings-bill-coleman-universal-music-france-review-by-jeff-dayton-johnson.php
Personnel: Bill Coleman: trumpet, vocal; Bill Tamper: trombone; Jay Cameron: alto saxophone; William Boucaya: baritone saxophone; Art Simmons: piano; Jean-Pierre Sasson: guitar; Guy de Fatto: bass; Gérard "Dave"
The Complete Philips Recordings (disc 1) (disc 2)
Ernie Watts & Chick Corea - 4Tune
Year: 1997
File: MP3@320K/s
Time: 66:52
Size: 153,6 MB
Art: Front
(9:27) 1. Swing Dentz Swing
(5:57) 2. My One And Only Love
(2:52) 3. Boom Bap
(7:00) 4. Miyako
(7:19) 5. Night And Day
(6:53) 6. Invitation
(6:39) 7. Blues For John C
(7:38) 8. Bud Powell
(3:57) 9. Sifu
(2:31) 10. Andy Meets Chick
(6:35) 11. Oleo
Originally released on the RealTime label as a double LP, this CD (which contains 11 of the 14 selections) is quite notable for containing some brilliant playing by Ernie Watts (during a period when his own recordings were very commercial). Chick Corea (sticking to acoustic piano) is also in excellent form as are bassist Andy Simpkins and drummer John Dentz (who was the actual leader). Although a few of the shorter numbers have their free moments, the highpoints are "My One and Only Love," "Night and Day," "Invitation," "Blues for John C.," "Bud Powell" and "Oleo," intense straightahead explorations that allow Watts and Corea opportunities to stretch out. ~Scott Yanow https://www.allmusic.com/album/release/four-tune-mr0000093637
Personnel: Tenor Saxophone, Alto Saxophone – Ernie Watts; Piano – Chick Corea; Acoustic Bass – Andrew Simpkins; Drums – John Dentz
Personnel: Tenor Saxophone, Alto Saxophone – Ernie Watts; Piano – Chick Corea; Acoustic Bass – Andrew Simpkins; Drums – John Dentz
4Tune
Toni Tennille - More Than You Know
Year: 1984
File: MP3@320K/s
Time: 37:00
Size: 85,1 MB
Art: Front
(3:48) 1. More Than You Know
(3:07) 2. Do It Again
(4:01) 3. I Got It Bad (And That Ain't Good)
(3:23) 4. Can't Help Lovin' Dat Man
(4:48) 5. Our Love Is Here To Stay
(3:43) 6. Let's Do It (Let's Fall In Love)
(3:40) 7. But Not For Me
(4:36) 8. Day Dream
(2:04) 9. Guess Who I Saw Today
(3:45) 10. Do Nothin' Till You Hear From Me
With her husband, Daryl Dragon, pop singer Toni Tennille made up the popular '70s duo the Captain & Tennille. Tennille was the vocalist for the group, while Dragon played the keyboard and other instruments. She is known for her pop, rock, jazz and orchestral music and has sold more than a million records with popular hits like "Do That to Me One More Time" and "The Way I Want to Touch You." Toni Tennille was born into a musical family in Montgomery, Alabama. Her father, Frank Tennille, sang and recorded under the pseudonym Clark Randall. He was with Ben Pollack's band and was still performing with the band when Bob Crosby took over. Toni Tennille attended Auburn University in Alabama, paying her way by singing popular tunes of the '30s and '40s. In 1975, she married Daryl Dragon. The two combined their musical talents to produce the Captain & Tennille. During the partnership, the duo earned an impressive five gold albums, six gold singles, two platinum albums and one platinum single. In 1976, the two entered the television scene with their own show on ABC, Captain & Tennille Variety Show, and appeared on several other ABC specials. Captain & Tennille's Greatest Hits, released in 1977, included the duo's 1975 Grammy Award-winning Song of the Year "Love Will Keep Us Together." In 1980, she hosted the syndicated Toni Tennille Variety Talk Show.
Two of Tennille's hit albums, All of Me and More Than You Know, were produced herself and then fine-tuned by the Count Basie Orchestra's musical arranger Sammy Nestico. In 1984, when the couple moved to nevada, Tennille began to work once again on renditions of songs from the '30s and '40s. She is known in the United States and Canada as a frequent symphony guest artists, with eight to ten appearances a year. In 1992, she broadened her career to include the stage, starring in the Los Angeles production of Stardust. She received rave reviews in all the trade magazines for her musical performance. The Captain & Tennille made a 20th anniversary album in 1995, featuring some of the group's hit singles and jazz ballads from the last twenty years. The album, Captain & Tennille 20 Years of Romance, also marked the couple's 20th wedding anniversary. Studying classical piano for ten years has allowed Toni Tennille to broaden her career to include songwriting. Through her participation in the Captain & Tennille, her orchestra tours across the United States and Canada, her jazz and pop albums and her television appearances, Toni Tennille has become known as a complete singer and entertainer. Nevada Governor Bob Miller named Tennille an Ambassador for the Arts for her numerous contributions. Kim Summers https://www.allmusic.com/artist/toni-tennille-mn0000936232/biography
Two of Tennille's hit albums, All of Me and More Than You Know, were produced herself and then fine-tuned by the Count Basie Orchestra's musical arranger Sammy Nestico. In 1984, when the couple moved to nevada, Tennille began to work once again on renditions of songs from the '30s and '40s. She is known in the United States and Canada as a frequent symphony guest artists, with eight to ten appearances a year. In 1992, she broadened her career to include the stage, starring in the Los Angeles production of Stardust. She received rave reviews in all the trade magazines for her musical performance. The Captain & Tennille made a 20th anniversary album in 1995, featuring some of the group's hit singles and jazz ballads from the last twenty years. The album, Captain & Tennille 20 Years of Romance, also marked the couple's 20th wedding anniversary. Studying classical piano for ten years has allowed Toni Tennille to broaden her career to include songwriting. Through her participation in the Captain & Tennille, her orchestra tours across the United States and Canada, her jazz and pop albums and her television appearances, Toni Tennille has become known as a complete singer and entertainer. Nevada Governor Bob Miller named Tennille an Ambassador for the Arts for her numerous contributions. Kim Summers https://www.allmusic.com/artist/toni-tennille-mn0000936232/biography
More Than You Know
Sunday, October 25, 2020
Johnny Griffin - Change Of Pace
Year: 1961
File: MP3@320K/s
Time: 39:13
Size: 90,5 MB
Art: Front
(3:43) 1. Soft And Furry
(3:29) 2. In The Still Of The Night
(4:20) 3. The Last Of The Fat Pants
(4:25) 4. Same To You
(4:01) 5. Connie's Bounce
(3:56) 6. Situation
(5:27) 7. Nocturne
(5:02) 8. Why Not?
(4:46) 9. As We All Know
When Griffin wanted to record with a group comprised of Watkins, bassists Bill Lee and Larry Gales and drummer Ben Riley, his producer wondered where the idea had come from. Perhaps the Pettiford groups discussed above influenced the tenorman’s thinking, but the two-bass format is even trickier than the bass-cello combination-not that you would know it from this great 1961 record. Usually Lee plays arco to Gales’ pizzicato but sometimes they both bow or pick simultaneously, albeit in well-defined situations. Griffin also contributed some very unique original writing. I have always thought of Griffin as a fire-breathing soloist, but with Change of Pace he revealed a talent for arranging that few might suspect, and the band sounds like they’re having a blast.~ Duker Baker https://jazztimes.com/archives/johnny-griffin-change-of-pace/
Personnel: Tenor Saxophone – Johnny Griffin; Bass – Bill Lee (2), Larry Gales; Drums – Ben Riley; French Horn – Julius Watkins
Personnel: Tenor Saxophone – Johnny Griffin; Bass – Bill Lee (2), Larry Gales; Drums – Ben Riley; French Horn – Julius Watkins
Change Of Pace
Katie Melua - Album No. 8
Year: 2020
File: MP3@320K/s
Time: 37:16
Size: 85,6 MB
Art: Front
(3:07) 1. A Love Like That
(4:27) 2. English Manner
(3:36) 3. Leaving the Mountain
(3:35) 4. Joy
(4:55) 5. Voices in the Night
(3:20) 6. Maybe I Dreamt It
(3:46) 7. Heading Home
(3:25) 8. Your Longing Is Gone
(3:26) 9. Airtime
(3:36) 10. Remind Me to Forget
A beautifully orchestrated album that perfect complements Katie Melua’s unique heartfelt vocals. Album No. 8 was born from a period of exploration and self-discovery, going back to basics and enjoying the creation of something new. Melua’s study of short fiction, musical and literary inspirations provided the spark for the creation of the lyrics. From opener A Love Like That to the closing notes of Remind Me To Forget, the album sparkles the senses delicately and calmly. In between, Voices In The Night slips into a gentle jazz groove with Melua’s voice gliding over the top. The themes hint on personal experiences of love and loss. Lines such as, “I think we’ve given love too much airtime” questions the prevalence of blatant love songs all around us. Melua has a more subtle approach and focuses on experiences and how each one enables us to grow. Uniquely, most of the vocals were recorded during the last studio session as a back-up. Producer Leo Abrahams knew Katie had something more in her and she managed to give “one of the most extraordinary performances I’ve witnessed in the studio”. Altogether the album is indeed a joy to listen to. https://narcmagazine.com/album-review-katie-melua-album-no-8/
Album No. 8
Saturday, October 24, 2020
Bill Coleman - Really I Do
Year: 2000
File: MP3@320K/s
Time: 67:35
Size: 155,5 MB
Art: Front
(5:22) 1. Tinto Time
(4:12) 2. Hello Babe
(4:35) 3. Crazy Rhythm
(4:59) 4. You've Changed
(5:06) 5. On The Trail
(2:53) 6. Montreux Jump
(4:04) 7. Really I Do
(4:43) 8. I've Got My Love To Keep Me Warm
(5:58) 9. She's Funny That Way
(5:35) 10. Tinto Time (Take 1)
(4:33) 11. Hello Babe (Take 1)
(5:12) 12. I've Got My Love To Keep Me Warm (Take 1)
(6:18) 13. On The Trail (Take 2)
(3:59) 14. Really I Do (Take 2)
A mellow-toned swing trumpeter with a distinctive sound and a lyrical style, Bill Coleman was a consistent if never particularly famous musician. In 1927, he went to New York with Cecil and Lloyd Scott's band, with whom he made his recording debut. He worked with Luis Russell (1929-1932) and Charlie Johnson, and then in 1933 traveled to France with Lucky Millinder. Coleman recorded with Fats Waller (1934) and played with Teddy Hill's Orchestra (1934-1935), but then moved to France for the first time in 1935. While overseas, he recorded frequently as a leader (really coming into his own), with Willie Lewis' Orchestra, and on dates with Django Reinhardt. He ventured as far as Bombay, and spent 1938-1940 in Egypt with Herman Chittison. Returning to New York, Coleman played with Benny Carter, Teddy Wilson, Andy Kirk, Mary Lou Williams, and John Kirby during 1940-1945, and recorded with Lester Young and Coleman Hawkins (both in 1943). However, he preferred life in Europe and, after a period with groups led by Sy Oliver and Billy Kyle, in 1948, Coleman moved permanently back to France, staying active and recording fairly regularly up until his death in 1981.~ Scott Yanow https://www.allmusic.com/artist/bill-coleman-mn0000068537/biography
Featuring: Bill Coleman (trumpet), Guy Lafitte (saxophone), Panama Francis (drums), Bill Pemberton (bass), Red Richards (piano)
Featuring: Bill Coleman (trumpet), Guy Lafitte (saxophone), Panama Francis (drums), Bill Pemberton (bass), Red Richards (piano)
Really I Do
Friday, October 23, 2020
Harriet Tubman - Ascension
Year: 2000
File: MP3@320K/s
Time: 51:51
Size: 119,3 MB
Art: Front
(8:09) 1. Ascension
(2:33) 2. Ritual Rubbin
(5:15) 3. Down Shift-Sscension
(6:58) 4. Night Master-Ascension
(7:00) 5. Ascension
(3:43) 6. Stellar Attraction
(3:42) 7. Probe
(4:03) 8. Sidereal Flux
(4:06) 9. Plasmaroid
(6:16) 10. Widely Known
The raison d'être for the band, Harriet Tubman, is an almost aching musical yearning for a complete freedom. It is a freedom from genre and certainly on Ascension, complete freedom from style as well as style. This what the 20th Century Spanish poet and playwright, Federico Garcia-Lorca described as the heart of duende, a holistic alternative to style and mere virtuosity, seeking an elevated level of delving into the depths of the soul so that the music dilates the mind's eye, in order to render its intensity almost unendurable. In fact, virtually unbeknownst to the artists guitarist Brandon Ross, bassist Melvin Gibbs and drummer JT Lewis, also including the opposing trio of trumpeter Ron Miles, and turntablists, DJ Singe and DJ Logic all the elements of melody, harmony and rhythm melt away to create a completely spiritual corkscrew of notes, voices and accents. The resultant music pulsates, pirouettes and punches its way into the mind's ear, aided by the very magic of its spirituality. The magic is also in the opposing forces of each trio. The original Harriet Tubman of Gibbs, Ross and Lewis is a molten mix of malleable and ductile material that screams out of the metallic elasticity of Ross' strings, the throb and double stops of Gibbs's bass and the churning of Lewis's drums. The trio of Miles, Singe and Logic is an almost glacial, ghostly reflection of the music itself a parallel reality that mirrors the heat of Tubman with the cool of a contrapuntal vibe. The powerful mix of the concerto unfolds most tellingly in "Down Shift/Ascension" and in "Night Master/Ascension." Soloists seem to do battle with the ensemble, but creating diametrically opposed characters in the music. In the former sequence, the screaming glissandos of the turntablists burn through the seemingly chaotic ensemble playing behind them. In the latter, Miles is aglow in the bronzed heat of what is set as his musical backdrop, by the rest of the players. Much is being made of Harriet Tubman's channeling the spirit of John Coltrane's 1965 Ascension (Impulse!), as well as Ornette Coleman's Free Jazz (Atlantic, 1960), recorded five years earlier (coincidentally also played by a double trio). But there is another consideration to be made here: both the inspirational artists reached for beyond the realm of acceptable norms of the music of the day, in their day. Harriet Tubman does much the same as its members break the mold of 21st Century music as well. In doing so, the collective improvisation of its musical constituents succeeds in creating an exciting new musical canvas featuring molten textures, dripping with an expanded palette of colors as the music of Ascension sails into the stellar regions of mind and universe.~Raul D'Gama Rose https://www.allaboutjazz.com/ascension-harriet-tubman-sunnyside-records-review-by-raul-dgama-rose.php
Personnel: Brandon Ross: guitar; Melvin Gibbs: bass; JT Lewis: drums; Ron Miles: trumpet; DJ Logic: turntables; DJ Singe: turntables.
Personnel: Brandon Ross: guitar; Melvin Gibbs: bass; JT Lewis: drums; Ron Miles: trumpet; DJ Logic: turntables; DJ Singe: turntables.
Ascension
John Lewis & Helen Merrill - Django
Year: 1976
File: MP3@320K/s
Time: 41:05
Size: 94,3 MB
Art: Front
(5:14) 1. Django
(4:19) 2. I Didn't Know What Time It Was
(5:05) 3. Angel Eyes
(3:35) 4. Close Your Eyes
(2:53) 5. Alone Together
(4:53) 6. Yesterdays
(4:35) 7. The Singer
(5:15) 8. How Long Has This Been Going On?
(5:12) 9. Mad About the Boy
A wonderfully moody album from singer Helen Merrill recorded with backing by pianist John Lewis, in an overall feel that's got some of the styles that Lewis forged with the Modern Jazz Quartet! The tunes are familiar ones, mostly, but arranged in a style that's got wonderfully sad and somber touches really bringing out the best of the dark qualities in Merrill's vocals. Backing is by a quartet with Lewis, Richard Davis, Hubert Laws, and Connie Kay and titles include "Close Your Eyes", "I Didn't Know What Time It Was", "The Singer", "Yesterdays", "How Long Has This Been Going On", "Mad About The Boy", and "Django". © 1996-2020, Dusty Groove, Inc. https://www.dustygroove.com/item/468846/Helen-Merrill-John-Lewis:Helen-Merrill-John-Lewis-aka-Django
Personnel: Piano – John Lewis (2); Vocals – Helen Merrill; Bass – Richard Davis (2); Drums – Connie Kay; Flute – Hubert Laws
Personnel: Piano – John Lewis (2); Vocals – Helen Merrill; Bass – Richard Davis (2); Drums – Connie Kay; Flute – Hubert Laws
Django
Thursday, October 22, 2020
Pia Zadora - Let's Dance tonight
Year: 1984
File: MP3@320K/s
Time: 40:06
Size: 92,6 MB
Art: Front
(6:08) 1. When the Rain begins to fall
(4:05) 2. Little bit of Heaven
(3:06) 3. Real Love
(6:40) 4. Follow my Heartbeat
(4:49) 5. Let's dance Tonight
(3:26) 6. Clapping Song
(3:38) 7. Substitute
(3:19) 8. You bring out the Lover in me
(4:52) 9. Rock it out
Pia Zadora (born May 4, 1954) is an American actress and singer. After working as a child actress on Broadway, in regional theater, and in the film Santa Claus Conquers the Martians (1964), she came to national attention in 1981 when, following her starring role in the highly criticized Butterfly, she won a Golden Globe Award as New Star of the Year.Though Zadora had drawn critics' hostility as an actress, she attained success in Europe as a singer, and had several hit singles throughout the world. In 1984, she received a nomination for a Grammy Award for Best Female Rock Vocal Performance for the song "Rock It Out". Her cover of the Shirley Ellis hit "The Clapping Song", which was recorded for the film score of The Lonely Lady, reached the U.S. Top 40 in 1983, and she had a hit duet with Jermaine Jackson titled "When the Rain Begins to Fall" in 1984 from the movie Voyage of the Rock Aliens. A minor hit in the United States, the song reached No. 1 in some European countries. It was another prominent native of Hoboken, Frank Sinatra, who, taking Zadora under his wing in the middle 1980s, encouraged her to record albums consisting primarily of standards. She released Pia & Phil, an album of standards with the London Philharmonic Orchestra in 1985, and recorded a follow-up album titled I Am What I Am shortly after.
In 1988, she worked with producers Jimmy Jam and Terry Lewis on an album entitled When the Lights Go Out. The single "Dance Out of My Head" did not chart despite the top producers and club remixes by Shep Pettibone and Ben Liebrand. The album was released only in Europe. In 1989 she recorded the album Pia Z with producer Narada Michael Walden; this also did not chart. The single "Heartbeat of Love" included club remixes by Robert Civillés and David Cole of C + C Music Factory. A further album of standards entitled Pia Today! was recorded; this received a limited promotional release. Later in 1994, Zadora played a small role in Naked Gun 331/3: The Final Insult, in the final act in a comedy sketch as she sang at the Oscars. In this segment, she performed the Steve Allen-penned "This Could Be the Start of Something Big" during a parody of an Academy Awards musical number. A compilation, The Platinum Collection, was released at this approximate time and sold via "infomercials" in the US. It included repackaged versions of Pia & Phil, I Am What I Am, and Pia Today! Another CD of standards, Only for Romantics, was also recorded, but as May 2012 came to a close, it was scarce and only promotional copies were available. https://www.last.fm/music/Pia+Zadora/+wiki
In 1988, she worked with producers Jimmy Jam and Terry Lewis on an album entitled When the Lights Go Out. The single "Dance Out of My Head" did not chart despite the top producers and club remixes by Shep Pettibone and Ben Liebrand. The album was released only in Europe. In 1989 she recorded the album Pia Z with producer Narada Michael Walden; this also did not chart. The single "Heartbeat of Love" included club remixes by Robert Civillés and David Cole of C + C Music Factory. A further album of standards entitled Pia Today! was recorded; this received a limited promotional release. Later in 1994, Zadora played a small role in Naked Gun 331/3: The Final Insult, in the final act in a comedy sketch as she sang at the Oscars. In this segment, she performed the Steve Allen-penned "This Could Be the Start of Something Big" during a parody of an Academy Awards musical number. A compilation, The Platinum Collection, was released at this approximate time and sold via "infomercials" in the US. It included repackaged versions of Pia & Phil, I Am What I Am, and Pia Today! Another CD of standards, Only for Romantics, was also recorded, but as May 2012 came to a close, it was scarce and only promotional copies were available. https://www.last.fm/music/Pia+Zadora/+wiki
Let's Dance tonight
Amedeo Ariano, Luca Bulgarelli & Francesca Tandoi - Triplets
Year: 2018
File: MP3@320K/s
Time: 41:01
Size: 95,4 MB
Art: Front
(4:43) 1. FSR
(4:33) 2. The Sheik of Araby
(5:04) 3. You Don't Know Me
(4:03) 4. I Didn't Know What Time It Was
(6:00) 5. I Thought About You
(5:36) 6. Body and Soul
(4:46) 7. Bulgariantandoj
(6:13) 8. When Sunny Gets Blue
Percfest presents Triplets, a pulsating and swinging trio led by one of the top drummers of the moment, Amedeo Ariano. In the trio, in addition to the eclectic and highly sought-after double bass player Luca Bulgarelli, the virtuoso pianist and refined singer Francesca Tandoi stands out. Considered by the public and critics among the best Italian drummers, Amedeo Ariano, thanks to his musical versatility, boasts collaborations with international jazz players, including George Coleman, Johnny Griffin and Benny Golson and Italian Pop artists such as the pianist singer-songwriter Sergio Cammariere, with which Lucio Dalla and Renzo Arbore have been collaborating for 20 years. Amedeo Ariano has chosen the trio formula for this recording work, making use of two acclaimed talents of the contemporary jazz scene: Luca Bulgarelli on double bass and Francesca Tandoi on piano and voice. The result is an engaging and sparkling trio that combines the experience of Ariano and Bulgarelli, who have been playing together for over twenty years, with the young talent of Tandoi, a Roman pianist, but Dutch by adoption, who despite her young age boasts a career as a jazz veteran alongside the jazz elite. The understanding and musical enjoyment are one of the predominant characteristics of Triplets and the interplay is palpable from the first song. Triplets is a musical journey that starts from tradition to arrive at more modern languages, with a fun spirit and the desire to convey many emotions, both sweet and sometimes bitter, just like in life, but always "swinging" and positive. Thanks to the CD Triplets, another CD representing Italian jazz lands in Japan, produced by the Japanese label "Albóre Jazz" by Satoshi Toyoda, The understanding and musical enjoyment are one of the predominant characteristics of Triplets and the interplay is palpable from the first song. Triplets is a musical journey that starts from tradition to arrive at more modern languages, with a fun spirit and the desire to convey many emotions, both sweet and sometimes bitter, just like in life, but always "swinging" and positive. Thanks to the CD Triplets, another CD representing Italian jazz lands in Japan, produced by the Japanese label "Albóre Jazz" by Satoshi Toyoda, The understanding and musical enjoyment are one of the predominant characteristics of Triplets and the interplay is palpable from the first song. Triplets is a musical journey that starts from tradition to arrive at more modern languages, with a fun spirit and the desire to convey many emotions, both sweet and sometimes bitter, just like in life, but always "swinging" and positive. Thanks to the CD Triplets, another CD representing Italian jazz lands in Japan, produced by the Japanese label "Albóre Jazz" by Satoshi Toyoda, but always “swinging” and positive. Thanks to the CD Triplets, another CD representing Italian jazz lands in Japan, produced by the Japanese label "Albóre Jazz" by Satoshi Toyoda, but always “swinging” and positive. Thanks to the CD Triplets, another CD representing Italian jazz lands in Japan, produced by the Japanese label "Albóre Jazz" by Satoshi Toyoda, it will be available digitally from 13 June and from 11 July in all music stores, in various countries, such as the UK, USA, Australia and Taiwan.Translate By Google http://www.percfest.it/triplets/
Personnel: Piano – Francesca Tandoi; Double Bass – Luca Bulgarelli; Drums – Amedeo Ariano; Vocals – Francesca Tandoi (tracks: 3,8)
Personnel: Piano – Francesca Tandoi; Double Bass – Luca Bulgarelli; Drums – Amedeo Ariano; Vocals – Francesca Tandoi (tracks: 3,8)
Triplets
Wednesday, October 21, 2020
John Scofield - Bar Talk
Year: 1980
File: MP3@320K/s
Time: 39:18
Size: 90,3 MB
Art: Front
(7:03) 1. Beckon Call
(6:11) 2. New Strings Attached
(6:49) 3. Never
(6:36) 4. How to Marry a Millionaire
(6:56) 5. Fat Dancer
(5:40) 6. Nature Calls
1980's Bar Talk features a young John Scofield already showing the virtuosity on guitar that subsequently made him a giant in his field. Scofield who honed his chops with artists like Miles Davis, Gerry Mulligan, Pat Metheny, Chick Corea, Chet Baker, and Charles Mingus displays his talents here as both a player and composer. Scofield is joined in the venture by Steve Swallow on bass and Adam Nussbaum on drums a perfectly balanced trio. The Connecticut-born Scofield, who studied jazz at the renowned Berklee School of Music in Boston, spent much of his professional life gigging in Europe. This recording was made by the trio during one of its European tours. The album was well received at the time of its printing in 1980. Its influence has grown, becoming a jazz guitar classic, often listed as a favorite recording by professional critics, other musicians, and fans alike. Most of the songs are penned by Scofield himself. Steve Swallow contributed one tune, the elegiac "Never." The songs are long enough to allow the music to develop, with each musician taking his turn in the jazz conversation. "Fat Woman," "New Strings Attached," and "How to Marry a Millionaire" give the listener a good sampling of the capabilities of these musicians as they morph through a range of moods and colors. The set ends with "Nature Calls," a nod to the double-entendre titles for which Scofield is known. The musician likes to joke around and have fun, but make no mistake, John Scofield is serious about his music.~ Rose of Sharon Witmer https://www.allmusic.com/album/bar-talk-mw0000880104
Personnel: John Scofield - electric guitar; Steve Swallow - bass; Adam Nussbaum - drums
Personnel: John Scofield - electric guitar; Steve Swallow - bass; Adam Nussbaum - drums
Bar Talk
Tuesday, October 20, 2020
Sant Andreu Jazz Band/Joan Chamorro - Jazzing 7
Year: 2017
File: MP3@320K/s
Time: 78:42
Size: 183,1 MB
Art: Front
(4:14) 1. Almost Like Being in Love
(3:41) 2. Sunset Glow
(2:54) 3. Bli Blip
(6:36) 4. Recado Bossa Nova
(5:28) 5. I’d be There
(3:14) 6. O Barquinho
(3:31) 7. Unchain My Heart
(5:48) 8. Triste
(3:46) 9. Louisiana Fairy Tale
(7:39) 10. Quasimodo
(5:50) 11. Social Call
(6:11) 12. Ruby My Dear
(6:27) 13. Laura
(3:08) 14. After You’ve Gone
(6:12) 15. Just a Closer Walk With Thee
(3:57) 16. Since You've Been Gone
«The learning of music is infinite… I always think that we can do things better, without ceasing to enjoy what we do.
When you work with such young musicians it is very important what you teach, yet it’s even more important what you can convey and how you do it, because this will be what makes them want to do music on their own, in an intense, passionate and exciting way.» ~ Joan Chamorro https://santandreujazzband.bandcamp.com/album/jazzing-7
Personnel: Luigi Grasso, Enrique Oliver, Ignasi Terraza, Josep Traver, Esteve Pi, Toni Belenguer, Eva Fernández and Magali Datzira
When you work with such young musicians it is very important what you teach, yet it’s even more important what you can convey and how you do it, because this will be what makes them want to do music on their own, in an intense, passionate and exciting way.» ~ Joan Chamorro https://santandreujazzband.bandcamp.com/album/jazzing-7
Personnel: Luigi Grasso, Enrique Oliver, Ignasi Terraza, Josep Traver, Esteve Pi, Toni Belenguer, Eva Fernández and Magali Datzira
Jazzing 7
Patrick Deltenre, Ivan Paduart - Hand in Hand
Year: 2018
File: MP3@320K/s
Time: 55:48
Size: 128,0 MB
Art: Front
(4:59) 1. Menorca
(6:26) 2. Aperoses
(7:08) 3. Pigeons
(5:00) 4. Hand in Hand
(6:59) 5. La Grazia
(4:42) 6. Lianes
v (4:36) 7. Draisiennes
(5:02) 8. Fringale Matinale
(5:53) 9. Mignardises
(4:59) 10. Ravioli's Blues
Hand in Hand is the latest release from Belgium based duo Ivan Paduart and Patrick Deltenre. According to the press release that accompanied this album, the album title Hand in Hand “…contains two meanings. Firstly, of course, it reflects the artists’ collaboration as a duo; two creative individuals pursuing a musical goal together. Secondly, it is the combination of two harmonic instruments; their sounds are interwoven in such a way that individuality is maintained, while at the same time, a genuine dialogue is created rather than simple musical duplication.” On first listening, I would have to agree with this statement and to continue the analogy I would go so far as saying that these musicians fit together like a “hand in glove”......More... https://jazzineurope.mfmmedia.nl/2018/12/cd-review-ivan-paduart-and-patrick-deltenre-hand-in-hand/
Personnel: Ivan Paduart, Piano | Patrick Deltenre, Guitar
Personnel: Ivan Paduart, Piano | Patrick Deltenre, Guitar
Hand in Hand
Monday, October 19, 2020
Enrico Rava - The Pilgrim And The Stars
Year: 1975
File: MP3@320K/s
Time: 39:45
Size: 91,5 MB
Art: Front
(9:45) 1. The Pilgrim And The Stars
(1:48) 2. Parks
(9:20) 3. Bella
(5:15) 4. Pesce Naufrago
(1:55) 5. Surprise Hotel
(4:49) 6. By The Sea
(6:50) 7. Blancasnow
In celebration of its fortieth anniversary, ECM has initiated a program called Touchstones in which forty albums recorded from 1971-1993 have been reissued. The program has been designed both to allow collectors to fill in missing releases and to introduce new listeners to a wide range of the music that has defined the "ECM sound." Many of those chosen have been out of print or not readily available in the United States, including trumpeter Enrico Rava's debut album The Pilgrim And The Stars, which has never been available as a CD in the United States. As fascinating as jazz can be by the seemingly endless creation of the new and heretofore unheard, a reissue of a currently hard-to-acquire album allows for the old(er) to be experienced as new. While Western classical music measures its history in centuries, jazz does so in decades. The Pilgrim And The Stars, recorded in 1975, is from ECM's first decade of existence, and presents early performances of guitarist John Abercrombie, bassist Palle Danielsson, and drummer John Christensen, the latter two of whom were members of pianist Keith Jarrett's "European Quartet"see Belonging (ECM, 1974). The music itself sounds remarkably fresh today, which is just an indication that good music is timeless and rises above any stylistic constraints of its era. The compositions, all by Rava (with Graciela Rava added for "By The Sea") vary widely, allowing for an attractive pacing and flow. Overall, there is a strong feeling of each individual performer's freedom intersecting, reacting with, and responding to the group sound of the moment, always, colored, however, by the free romanticism of Rava's trumpet.
Although the album is obviously Rava's through his compositions and trumpet playing, Abercrombie very nearly steals the record with his intense, flying, and completely unpredictable solos, as well as his lush and well-placed, sharp accompaniment. While all of the tracks have something to offer, the title track and "Bella," besides being the longest, are standouts. Constructed similarly, their opening, rubato sections offer beauty and grace, before the band takes off in the middle, extended sections. It is here that Abercrombie, particularly in "Bella," shines, practically searing the speakers and eliciting a "woo," presumably from Rava. Danielsson and Christensen, as the rhythm section, are easily taken for granted since their playing is so highly attuned both to each other and to the rest of the band, pushing and pulling the music along. The Pilgrim And The Stars is a most welcome reissue regardless of perspective, being very alive, vibrant, and simply great music jazz at its best.~ Budd Kopman https://www.allaboutjazz.com/the-pilgrim-and-the-stars-enrico-rava-ecm-records-review-by-budd-kopman.php
Personnel: Enrico Rava: trumpet; John Abercrombie: guitar; Palle Danielsson: bass; Jon Christensen: drums.
The Pilgrim And The Stars
John Abercrombie & Don Thompson - Witchcraft
Year: 1991
File: MP3@320K/s
Time: 60:04
Size: 138,9 MB
Art: Front
(5:59) 1. Everything I Love
(5:33) 2. Sometime Ago
(6:04) 3. Witchcraft
(8:50) 4. My Foolish Heart
(6:12) 5. Fall Colours
(5:56) 6. I'm Getting Sentimental Over You
(5:41) 7. Peace
(7:01) 8. You'd Be So Nice To Come Home To
(8:43) 9. You Don't Know What Love Is
For followers who bemoan guitarist John Abercrombie's tendency to record rather adventurous albums with an often electronically treated tone, Witchcraft will be a delight. On this duo recording with bassist Don Thompson (who also plays piano on three tracks), the guitarists' sound is untreated, and the repertoire is standards. The two play well together, and there are some lovely moments on the record. The title track finds Abercrombie using the differing tonal qualities of his guitar's open strings to give the melody a unique interpretation. The sole original on the record, "Fall Colours" (credited to both writers, although the Canadian spelling may reveal the true author), is based on the standard "Autumn Leaves." Abercrombie sounds fine here, if at times pretty rather than substantial. He prefers to play in long single-note lines, rather than taking the more chordal approach many guitarists attempt in such a stripped-down setting. Thompson is a highly interactive bass player with enviable technique, allowing him to play melodic, fluid solos throughout. There seem to be several sound problems on Witchcraft; the recording level is very low, and a rattling sound often accompanies the musicians' louder notes, which grows to be quite distracting on repeated listenings.~ Dan Cross https://www.allmusic.com/album/release/witchcraft-mr0000352205
Personnel: John Abercrombie - guitar; Don Thompson; double bass, piano
Personnel: John Abercrombie - guitar; Don Thompson; double bass, piano
Witchcraft
Sunday, October 18, 2020
Pia Zadora - Only For Romantics
Year: 1991
File: MP3@320K/s
Time: 44:05
Size: 101,3 MB
Art: Front
(4:24) 1. But Beautiful
(3:42) 2. The Man I Love
(4:47) 3. When Your Lover Has Gone
(3:12) 4. I Should Care
(2:53) 5. The More I See You
(4:39) 6. Stormy Weather
(4:10) 7. The Very Thought Of You
(3:45) 8. April Showers
(3:38) 9. These Foolish Things
(5:25) 10. The End Of A Love Affair - How About Me
(3:25) 11. Our Love Is Here To Stay
Often derided by critics in the early '80s for her starring roles in bad movies, Pia Zadora found more respect as a singer. A former child actress, Zadora became a favorite target for film reviewers who argued that her acting career was the result of being married to multimillionaire Meshulam Riklis. (Her Golden Globe award in 1982 was even investigated.) Although Zadora didn't release her first LP, Pia, until 1982, her first recording actually appeared nearly two decades earlier. In 1964, a prepubescent Zadora sang "Hooray for Santa Claus" on the soundtrack to Santa Claus Conquers the Martians. Later, in 1983, "The Clapping Song" from Pia hit number 36 on the Billboard charts. Much of Zadora's best adult music work involved covering big band and pop standards. After Zadora toured with crooner Frank Sinatra in the early '80s, he began to heavily influence the material she was performing. For 1985's Pia & Phil, she was even backed by the London Philharmonic Orchestra. Zadora collaborated with Jermaine Jackson for a modern sound; moreover, in 1988, R&B hitmakers Jimmy Jam & Terry Lewis produced her album When the Lights Go Out, but it was only distributed in the U.K. When the Lights Go Out was followed by Pia Z. in 1989, which marked Zadora's return to the U.S. market.~ Michael Sutton https://www.allmusic.com/artist/pia-zadora-mn0000846557/biography
Only For Romantics
Jimmy Witherspoon with Brother Jack McDuff - The Blue is Now
Year: 1967
File: MP3@320K/s
Time: 33:08
Size: 76,6 MB
Art: Front
(3:53) 1. Sweet Slumber
(2:48) 2. I'm Gonna Move to the Outskirts of Town
(4:23) 3. Past Forty Blues
(2:25) 4. S.K. Blues
(3:03) 5. Late One Evening
(3:31) 6. Part Time Woman
(2:17) 7. Good Rocking Tonight
(5:20) 8. I Won't Tell a Soul
(3:13) 9. My Baby's Quit Me
(2:11) 10. My Money's Long This Morning, Baby
Jimmy Witherspoon recorded a series of excellent albums for Verve in the late '60s. Unfortunately, these have not received the attention they deserve, and are frequently relegated in Witherspoon's huge catalog. The Blues Is Now is arguably the finest of these recordings, and Witherspoon's voice is in top form and hugely expressive. Like all of the artist's albums of the decade, it's not the most consistent of listening experiences, but that's of little interest when songs and performances are as good as "My Baby's Quit Me" and Witherspoon's own "Late One Evening." A light-night blues classic, this is Witherspoon at his most relaxed and assured and is a joy to listen to.~ Thomas Ward https://www.allmusic.com/album/the-blues-is-now-mw0000312591
Personnel: Jimmy Witherspoon — Vocals; Jack McDuff — Organ; Danny Turner — Flute, Sax (Alto), Sax (Tenor); Leo Johnson — Flute, Sax (Tenor); Melvin Sparks — Guitar; Jymie Merritt — Bass; Ray Appleton — Drums
Personnel: Jimmy Witherspoon — Vocals; Jack McDuff — Organ; Danny Turner — Flute, Sax (Alto), Sax (Tenor); Leo Johnson — Flute, Sax (Tenor); Melvin Sparks — Guitar; Jymie Merritt — Bass; Ray Appleton — Drums
The Blue is Now
Saturday, October 17, 2020
Sant Andreu Jazz Band & Joan Chamorro - Jazzing 8 Vol. 1
Year: 2018
File: MP3@320K/s
Time: 71:14
Size: 166,2 MB
Art: Front
(6:36) 1. The Elder
(4:06) 2. What's New
(3:40) 3. Lousiana Fairy Talev
(2:28) 4. Mike's Peak
(5:09) 5. Doralice
(1:56) 6. Blues in Hoss' Flat
(5:37) 7. Big Dipper
(4:26) 8. Baby, You've Got What It Takes
(5:00) 9. Souvenir
(5:30) 10. Bebop
(3:38) 11. A Kiss to Build a Dream
(2:38) 12. Jubilee Stomp
(5:15) 13. Our Love is Here to Stay
(3:12) 14. This Could Be the Star of Somethin
(4:14) 15. Just You, Just Me
(7:42) 16. Count Bubba
Jazzing 8, vol. 1 is the first of 3 volumes: This new work, although it includes many vocal themes, also contains so many instrumental themes in which the increasingly numerous soloists of the orchestra have their opportunity to share their creativity, their ability to generate their own discourse, in a continuous evolution. https://jazztojazz.com/en/product/jazzing-8-vol-1/
Jazzing 8 Vol. 1
Dee Dee Lavell - Sanctified
Year: 2020
File: MP3@320K/s
Time: 44:47
Size: 103,6 MB
Art: Front
(1:01) 1. Hallelujah
(3:45) 2. Precious Lord Take My Hand
(4:30) 3. Bless the Lord
(3:49) 4. Near to the Heart of God
(5:43) 5. Turn Your Eyes Upon Jesus
(4:11) 6. He Will Wash You White as Snow
(4:07) 7. His Eye Is on the Sparrow
(5:57) 8. Right Here, Right Now
(7:27) 9. Jesus Loves Me / Oh How He Loves You and Me
(4:12) 10. Amazing Grace
SOUL, PASSION, CHARISMA & FIRE are words used to describe the voice of Dee Lavell. A well seasoned performer with over 20 yrs experience on stage as well as in the studio. Dee returned to Australia in 2010 from living in Los Angeles for 8 yrs, and is hitting the Australian music scene once again. Originally from Sydney, Dee was a member of the soul/funk group THE HONEYBEES along with Belle Hendrik and Tina Harrod. She was also a part time member of MOTHER JIVE with the fabulous, Liza Ohlback and Chiara Browne. Dee also headed up her own band, TOTALLY FUNKED UP with Calvin Welch & Eric Johns Rasmussen. In Los Angeles, Dee worked with former members of India Arie, Nika Costa, Barry White, Macy Gray, Stevie Wonder, and even former Motown producers, Frank Wilson, Clay Drayton and Laythan Armor. Dee released this gospel album in 1995, entitled Sanctified. The Lavell family has a legacy of music, including niece Joanna Lavell and nephew Greg Lavell who are both making names for themselves in the Melbourne music scene. https://www.ihearmusic.com/77/dee-lavell/sanctified/
Sanctified
Friday, October 16, 2020
Sonny Greenwich - Live at Sweet Basil
Year: 1987
File: MP3@320K/s
Time: 60:10
Size: 138,0 MB
Art: Front
(12:18) 1. Tomorrow
(10:10) 2. Libra Ascending
(15:13) 3. Tell Yourself the Truth
( 8:30) 4. You Go to My Head
(13:57) 5. The Sky's The Limit
A live club date in New York City consisting of three originals and one standard with quartet. This man is an unsung hero, revered by guitarists. ~ Michael G. Nastos https://www.allmusic.com/album/live-at-sweet-basil-mw0000911556
Personnel: Guitar – Sonny Greenwich; Bass – Ron Séguin; Drums – Andre White; Piano – Fred Henke
Personnel: Guitar – Sonny Greenwich; Bass – Ron Séguin; Drums – Andre White; Piano – Fred Henke
Live at Sweet Basil
Ethel Ennis - Eyes For You
Year: 1964
File: MP3@320K/s
Time: 35:48
Size: 89,4 MB
Art: Front
(2:02) 1. I Only Have Eyes For You
(2:59) 2. Summertime
(2:55) 3. Here's That Rainy Day
(2:17) 4. Almost Like Being In Love
(3:25) 5. God Bless The Child
(2:25) 6. The Song Is You
(2:38) 7. I Love Being Here With You
(4:05) 8. Yesterdays
(4:20) 9. Little Girl Blue
(3:08) 10. Angel Eyes
(3:12) 11. But Beautiful
(2:18) 12. Too Close For Comfort
Baltimore jazz institution Ethel Ennis was born November 28, 1932. Beginning her vocal career while a pianist in a high school jazz group, she quickly went on to sing with everyone from Louis Armstrong to Duke Ellington to Count Basie. Ennis' debut LP, Lullabies for Losers, appeared on Jubilee in 1955, with the follow-up, Change of Scenery, issued two years later on Capitol. Around the same time, she toured Europe with Benny Goodman, but finding the grind of the road too intense, she returned home to Baltimore, and much to the detriment of her rising fame rarely played outside of the Charm City area in the decades to come. After 1958's Have You Forgotten?, Ennis did not resurface until six years later, landing at RCA for This Is Ethel Ennis; three more LPs Once Again, Eyes for You, and My Kind of Waltztime quickly followed by another eight-year studio hiatus which finally ended with the 1973 release of the BASF album 10 Sides of Ethel Ennis. That same year, she also sang the National Anthem at the re-inauguration proceedings of President Richard Nixon. Ennis next turned up on vinyl in 1980 with Live at Maryland Inn; a self-titled follow-up was 14 years in the making, with If Women Ruled the World appearing in 1998. Ennis died following a stroke on February 17, 2019; she was 86 years old.~ Jason Ankeny https://www.allmusic.com/artist/ethel-ennis-mn0000206512/biography
Eyes For You
Thursday, October 15, 2020
Nancy Walker - Invitation
Year: 1997
File: MP3@320K/s
Time: 61:22
Size: 140,5 MB
Art: Front
(5:00) 1. Invitation
(9:03) 2. Strange Bird
(5:26) 3. If There Is Someone Lovelier Than You
(9:32) 4. Black Coral
(8:37) 5. Little Dark One
(4:33) 6. Union/Reunion
(5:27) 7. A Child Is Born
(7:59) 8. The Blessing
(5:42) 9. Flip-Flop
Nancy’s debut recording as leader, Invitation, was released in August of 1997 on the UP Label (Unity/Page). The CD, featuring tunes from the standard repertoire and five of her own compositions, has garnered reviews and received nationwide airplay.
Voted one of the year’s best by Jazz Canadiana reviewers, Invitation is a trio date, with Nancy on piano, Kieran Overs on bass, and Barry Romberg on drums. https://nancywalkermusic.com/album/invitation/
Personnel: Nancy Walker: Piano; Kieran Overs: Bass; Barry Romberg: Drums
Voted one of the year’s best by Jazz Canadiana reviewers, Invitation is a trio date, with Nancy on piano, Kieran Overs on bass, and Barry Romberg on drums. https://nancywalkermusic.com/album/invitation/
Personnel: Nancy Walker: Piano; Kieran Overs: Bass; Barry Romberg: Drums
Invitation
Kim Weston - For The First Time
Year: 1967
File: MP3@320K/s
Time: 35:55
Size: 82,4 MB
Art: Front
(2:57) 1. Where Am I going
(4:50) 2. Free Again
(3:06) 3. Everything In The World I love
(2:48) 4. When The Sun Comes Out
(2:53) 5. Walking Happy
(3:12) 6. The Beat Goes On
(3:29) 7. In The Dark
(3:46) 8. If You Go Away
(2:24) 9. Come Rain Or Come Shine
(3:01) 10. Come Back To Me
(3:25) 11. That's Life
I know a lot of people who seek for this rare album. Her first on MGM. Duke Ellington describes Kim Weston as a “beautiful ebony-hued satin doll whose generous physical adornments are well distributed”. But as everyone knows it takes more to make it in music business. Kim’s most important assets are a great voice and an ability to get out there and sell any songs she sings. Well known for her duets with Marvin Gaye, Kim Weston should have been a big star. But Berry Gordy was more interested in promoting some of his other artists and Kim remained under appreciated (and under exposed).she is one of the most talented artist to come out of Detroit. Best known as a duet partner of Marvin Gaye, Kim Weston also charted with some of her own solo sides during the ’60s, although she never had the breakout success of a Martha Reeves or Diana Ross. Born Agatha Natalie Weston in Detroit in 1939, she started singing in her church choir at age three, and by her teenage years had joined a touring gospel group called the Wright Specials. She signed with Motown during the company’s early days, scoring a minor RB hit in 1963 with “Love Me All the Way“. The following year, she recorded her first duet with Gaye, “What Good Am I Without You” but made the tactical error of turning down a chance to record “Dancing in the Street“, which subsequently became a smash hit for Martha the Vandellas. She enjoyed her biggest solo hit in 1965 with “Take Me in Your Arms (Rock Me a Little While)” and followed it up in 1966 with the equally soulful “Helpless“, both of which helped make her reputation among soul collectors. Also in 1966, she cut an entire album of duets with Gaye, Take Two, which produced the Top Five RB classic “It Takes Two“. By the time it was peaking on the charts in early 1967, however, Weston had already left Motown; she and her husband, producer William “Mickey” Stevenson, moved to MGM, but a pair of albums there (For the First Time and This Is America) proved to be commercial failures. Weston subsequently recorded for Volt (Kim Kim Kim), People (Big Brass Four Poster, an album of jazz standards with the Hastings Street Jazz Experience), and Johnny Nash’s Banyan Tree, all without much success. She did, however, chart with her version of the anthem “Lift Ev’ry Voice and Sing” in 1970. Weston largely disappeared from the music industry during the ’70s; in 1987, Weston became the first of many Motown artists to work with British producer Ian Levine on the Motorcity label, re-recording many of her old hits for the Northern soul market; her two albums for Motorcity, 1990’s Investigate and 1992’s Talking Loud, also featured some new material. https://www.funkmysoul.gr/kim-weston-1967-for-the-first-time/
For The First Time
Wednesday, October 14, 2020
Bing Crosby - Return To Paradise Islands
Year: 1963
File: MP3@320K/s
Time: 51:45
Size: 121,6 MB
Art: Front
(3:21) 1. Return To Paradise
(2:15) 2. The Hukilau Song
(3:48) 3. The Old Plantation
(2:56) 4. Lovely Hula Hands
(3:19) 5. Love And Aloha
(2:46) 6. Keep Your Eyes On The Hands
(3:17) 7. Adventures In Paradise
(2:51) 8. Frangipani Blossom
(3:25) 9. Forevermore
(3:59) 10. Farewell My Tane
(3:44) 11. Beautiful Kahana
(3:08) 12. Home In Hawaii (King's Serenade)
(1:00) 13. Return To Paradise (False Start And Studio Chatter)
(2:26) 14. My Little Grass Shack (In Kealakakua, Hawaii)
(2:15) 15. The Cockeyed Mayor Of Kaunakakai
(2:31) 16. Yaaka Hula Hickey Dula
(2:22) 17. Ukelele Lady
(2:13) 18. King's Serenade
Although a parade of pop artists recorded Hawaiian material between the '20s and '50s, none of them are as associated with it as Bing Crosby who could have (and did) populate an entire hits collection with only his Hawaiian-themed songs. In the early '60s, Crosby was briefly signed to Reprise Records, the new home for the best vocalists in traditional pop, but his only solo-billed record was this one, from 1963. It's an overlooked gem, recorded with Nelson Riddle, who understood more than any other arranger of his era how to bring exotic sounds home to American shores without proceeding directly to overkill. Riddle employs strings slightly more than on his classic arrangements, but they're sweeping and lush completely in keeping with the material. Crosby sounds not merely comfortable, but fully relaxed in these songs. The opener, "Return to Paradise," a movie theme from a few years earlier, is the perfect place to start; not with some frothy hula dances, but a warm and reflective ballad wrapped in Riddle's strings, which ebb and flow in an obvious homage to ocean shores. The rest of the record balances a few wistful ballads like the first with light novelties that employ the lap-steel guitar and ukulele that's de rigeur for a Hawaiian LP.~ John Bush https://www.allmusic.com/album/return-to-paradise-islands-mw0000837367
Return To Paradise Islands
Tuesday, October 13, 2020
Lauren Hooker - Life of the Music
Year: 2010
File: MP3@320K/s
Time: 49:32
Size: 114,6 MB
Art: Front
(6:34) 1. Life of the Music / Your Music Brings Out the Poetry In Me
(3:24) 2. If That's What You Feel
(3:42) 3. Love Me or Leave Me
(4:14) 4. I Am Doing Very Well
(6:57) 5. Songs to a Seagull
(3:59) 6. I Lied
(4:47) 7. Spring Is Here
(3:52) 8. Countin' on the Blues
(3:48) 9. Hey This Is Me
(2:51) 10. Walkin' on Down the Line
(5:20) 11. Some Other Time
In 2007, vocalist Lauren Hooker turned out an impressive debut, Right Where I Belong (Musical Legends, Inc., 2007), which highlighted her solid, yet flexible, voice, and an ability to graft her own lyrics onto familiar instrumental jazz standards. Three years later, Hooker returns with a program that largely focuses on her own lyrics and music, demonstrating interests in the blues, straight-ahead jazz, funk, pop and Brazilian music. The opening track a collaboration between Hooker and poet Jeanette Curtis Rideau has some bite to it, featuring a burning solo from Scott Robinson's molten soprano saxophone. "If That's What You Feel" begins with Hooker's wordless vocals moving along with Robinson's flugelhorn, over a swaying Brazilian beat. One of the most emotionally powerful originals on the album is "I Am Doing Very Well" a break-up song that touches on all of the conflicting emotions and pain that comes with that territory. Bassist Martin Wind adds a little Brazilian bounce to "I Lied," but John Hart's guitar work is the focal point on this one. Wind and drummer Tim Horner are a solid team behind Hooker on "Countin' The Blues," which features a terrific walking-the-bar-type saxophone solo from Robinson. "Hey This Is Me" is Hooker's take on contemporary pop with a slight R&B tinge to the music and "Walkin' On Down The Line" features some funky drumming from Horner and raunchy guitar sounds from Hart. While Hooker's compositional craft is at the core of the album, she also finds time to tackle four standards, shaped to her own liking. Her vocals cut like a knife on "Love Me Or Leave Me," which features some sublime scatting, and she soars on a waltzing "Spring Is Here." The latter tune is underscored by Horner's crisp, dry and articulate ride cymbal work, and Robinson's fluttery flute is a treat here. "Some Other Time" gently glides long as Hooker is intimately accompanied by Mike Richmond on bass and Hart on guitar. Seagulls had their place on Hooker's first album with "Seagulls (Seagulls of Kristiansund)" and this particular fowl found its way onto this record through Joni Mitchell's "Song To A Seagull." Hooker manages to create wide dramatic range coming off with full throated vocals that Mitchell couldn't match when she penned this early-career classic and the pairing of cello and piano is a nice touch. While this song has a sunny veneer, darker moods seem to lurk around. Life Of The Music, with its engaging original material and intelligently crafted covers, might just get plenty of people hooked on Lauren Hooker.~ Dan Bilawsky https://www.allaboutjazz.com/life-of-the-music-lauren-hooker-miles-high-records-review-by-dan-bilawsky.php
Personnel: Lauren Hooker: vocals, acoustic piano, electric piano; djembe; Jim Ridl: acoustic piano; Tim Horner: drums, congas, pandera, shaker, whistle, flute; Scott Robinson: flute, soprano saxophone, tenor saxophone, alto saxophone, flugelhorn, trumpet; John Hart: acostic guitar, electric guitar; Jeanette Curtis Rideau: spoken word (1); Mike Richmond: cello (5), acoustic bass (11)
Personnel: Lauren Hooker: vocals, acoustic piano, electric piano; djembe; Jim Ridl: acoustic piano; Tim Horner: drums, congas, pandera, shaker, whistle, flute; Scott Robinson: flute, soprano saxophone, tenor saxophone, alto saxophone, flugelhorn, trumpet; John Hart: acostic guitar, electric guitar; Jeanette Curtis Rideau: spoken word (1); Mike Richmond: cello (5), acoustic bass (11)
Life of the Music
Júlia Karosi, Ben Monder - Without Dimensions
Year: 2020
File: MP3@320K/s
Time: 58:20
Size: 135,7 MB
Art: Front
(6:38) 1. Without Dimensions
(4:26) 2. Rebirth
(7:08) 3. Epigrams No. 7, 8
(2:15) 4. "Only from the Purest Source" Hommage Á Béla Bartók: Bluebeard's Castle Prologue
(4:11) 5. "Only from the Purest Source" Hommage Á Béla Bartók: Mikrokosmos III, No. 92
(1:18) 6. "Only from the Purest Source" Hommage Á Béla Bartók: Romanian Folk Dances No. 3
(2:18) 7. "Only from the Purest Source" Hommage Á Béla Bartók: Outro for Romanian Folk Dances No.3
(1:45) 8. "Only from the Purest Source" Hommage Á Béla Bartók: Sorrow
(1:25) 9. "Only from the Purest Source" Hommage Á Béla Bartók: Mikrokosmos IV, No. 115
(5:08) 10. "Only from the Purest Source" Hommage Á Béla Bartók: Mikrokosmos IV, No. 113
(7:06) 11. Insomnia
(3:42) 12. Words and Beyond Pt. 1
(2:31) 13. Words and Beyond Pt. 2
(3:05) 14. Words and Beyond Pt. 3
(5:20) 15. Madeleine Moment
Júlia Karosi: "I have always wondered if music belongs to one of the dimensions as theorized in the 'Standard Model' of modern physics. I summarized my subjective answer as the title of this album. I believe that the obvious lack of dimensions of music Their unique ability to lift us humans into a sphere of existence in which we are no longer aware of time and space. I also believe that these timeless experiences are usually associated with certain events in our lives that we often experience Getting caught ignorance of their meaning - the very moments that make our lives worth living in. With the programmatic titles in my original compositions in this album, I have contemplated some unforgettable moments in my own life.Rebirth reflects on the birth of my son, followed by Insomnia (obviously), Words andBeyond is a conflict between verbal and non-verbal expressions. Madeleine Moment is a musical quote from Marcel Proust's poetic description of involuntary memory in his work In Search of Lost Time. In this album I would like to pay a "jazz homage" to two of the greatest Hungarian composers of the twentieth century, Béla Bartók and Zoltán Kodály, with arrangements and jazz transcriptions of their works. I hope you don't mind! "Madeleine Moment is a musical quote from Marcel Proust's poetic description of involuntary memory in his work In Search of Lost Time. In this album I would like to pay a "jazz homage" to two of the greatest Hungarian composers of the twentieth century, Béla Bartók and Zoltán Kodály, with arrangements and jazz transcriptions of their works. I hope you don't mind! "Madeleine Moment is a musical quote from Marcel Proust's poetic description of involuntary memory in his work In Search of Lost Time. In this album I would like to pay a "jazz homage" to two of the greatest Hungarian composers of the twentieth century, Béla Bartók and Zoltán Kodály, with arrangements and jazz transcriptions of their works. I hope you don't mind! "https://translate.google.com.br/translate?hl=en&sl=de&u=https://www.jazz-fun.de/julia-karosi-without-dimensions.html&prev=search&pto=aue
Personnel: Júlia Karosi - Vocals; Ben Monder - Guitar; Áron Tálas - Piano; Ádám Bögöthy - Double Bass; Bendegúz Varga - Drums
Personnel: Júlia Karosi - Vocals; Ben Monder - Guitar; Áron Tálas - Piano; Ádám Bögöthy - Double Bass; Bendegúz Varga - Drums
Without Dimensions
Monday, October 12, 2020
Nancy Walker - Rainy Days & Mondays
Year: 2013
File: MP3@320K/s
Time: 59:50
Size: 138,3 MB
Art: Front
(3:49) 1. All by Myself
(5:45) 2. The Sound of Silence
(3:22) 3. In My Life
(4:18) 4. Don't It Make My Brown Eyes Blue
(4:36) 5. All out of Love
(4:47) 6. Help Me Make It Through the Night
(4:27) 7. If You Leave Me Now
(4:48) 8. Honesty
(4:13) 9. I'm Not in Love
(4:59) 10. I'd Really Love to See You Tonight
(3:21) 11. If
(4:09) 12. Don't Cry out Loud
(3:47) 13. So Far Away
(3:22) 14. Rainy Days and Mondays
Nancy Walker is a Canadian musician based in the Toronto area. Her work as a pianist and composer reflects her view of the times we live in at times intense, at times poignant, at times cerebral. Her most recent recording as leader is ‘Til Now Is Secret (Addo Records). Showcasing ten of her original compositions, the recording features multi-reed player Shirantha Beddage, guitarist Ted Quinlan, bassist Kieran Overs and drummer Ethan Ardelli, and was made possible with the help of the Ontario Arts Council. Nancy has been recognized Canada-wide. Winner of the 2008 National Jazz Awards Keyboardist Of The Year Award and the 2003 Montréal International Jazz Festival’s prestigious Grand Prix de Jazz, Nancy has several previous discs as leader to her credit. Her debut, Invitation, was released in 1997, and was voted one of the year’s best by Jazz Canadiana reviewers. Toronto Star critic Geoff Chapman named Luminosity (2000) one of the top jazz recordings of that year. Levitation, Nancy’s third recording (2003), was “a fine example of the modern jazz musician’s art” according to the Globe & Mail’s Mark Miller. When She Dreams was released in 2004 on Canada’s premier jazz label, Justin Time Records, and shot to the number one position on Canadian campus radio jazz charts.
In 2005, Nancy and her quartet (featuring saxophonist Kirk MacDonald, bassist Kieran Overs and drummer Barry Romberg) toured the Canadian jazz festivals. That same year Nancy was nominated in four categories at Canada’s National Jazz Awards. In 2006, Nancy’s recording Rainy Days and Mondays (Somerset/Universal) was nominated for a JUNO award in the “Instrumental Album Of The Year” category. She was also among the Keyboardist Of The Year nominees at the 2006 and 2007 National Jazz Awards. Her next recording Need Another was a trio date with Kieran Overs and drummer Ethan Ardelli. Nancy’s 2011 release New Hieroglyphics (made possible with the help of The Ontario Arts Council) featured Ted Quinlan (guitar) along with Overs and Ardelli. Nancy’s quartet toured Western Canada in the fall of 2011 in support of the recording, with the assistance of The Canada Council For The Arts. Nancy has a solid background as a pianist and keyboard player for a variety of international recording and concert acts, both in and outside the jazz idiom. She’s recorded and toured with folk artist Sylvia Tyson, children’s entertainer Raffi, pop icons The Parachute Club, balladeer Roger Whittaker, and well-loved composer (the late) Hagood Hardy, to name a few.
Over the years Nancy has built enduring jazz relationships. As the pianist in the John Geggie Trio, Nancy held the piano chair in the house rhythm section for The Ottawa International Jazz Festival’s nightly jam sessions for over a decade. With bassist Geggie, Nancy has performed in concert with drum legend Billy Hart, contemporary drum heavyweight Matt Wilson and saxophone dynamo Donny McCaslin. She has recorded and performed in concert with the cream of Canada’s jazz vocal crop, from Vancouver’s Karin Plato to Toronto’s Emilie-Claire Barlow, and has worked frequently alongside Toronto saxophonists Kirk MacDonald and Pat Labarbera. Nancy can be heard on recently released recordings by Kirk MacDonald Jazz Orchestra, Fair/Galloway Quintet, John Geggie + Donny McCaslin (this Plunge Records release garnered rave reviews and made several “Best of” lists), and Swedish guitarist Mikko Hildén.Thanks to grants from The Canada Council For the Arts, Nancy has had the opportunity to study with renowned American pianist/composers Fred Hersch, Jason Moran, and Myra Melford. https://nancywalkermusic.com/biography/
“Nancy Walker has played enough piano to know how to keep listeners interested however hard she pushes the boundaries of familiarity.”~ Geoff Chapman, The Whole Note Magazine
In 2005, Nancy and her quartet (featuring saxophonist Kirk MacDonald, bassist Kieran Overs and drummer Barry Romberg) toured the Canadian jazz festivals. That same year Nancy was nominated in four categories at Canada’s National Jazz Awards. In 2006, Nancy’s recording Rainy Days and Mondays (Somerset/Universal) was nominated for a JUNO award in the “Instrumental Album Of The Year” category. She was also among the Keyboardist Of The Year nominees at the 2006 and 2007 National Jazz Awards. Her next recording Need Another was a trio date with Kieran Overs and drummer Ethan Ardelli. Nancy’s 2011 release New Hieroglyphics (made possible with the help of The Ontario Arts Council) featured Ted Quinlan (guitar) along with Overs and Ardelli. Nancy’s quartet toured Western Canada in the fall of 2011 in support of the recording, with the assistance of The Canada Council For The Arts. Nancy has a solid background as a pianist and keyboard player for a variety of international recording and concert acts, both in and outside the jazz idiom. She’s recorded and toured with folk artist Sylvia Tyson, children’s entertainer Raffi, pop icons The Parachute Club, balladeer Roger Whittaker, and well-loved composer (the late) Hagood Hardy, to name a few.
Over the years Nancy has built enduring jazz relationships. As the pianist in the John Geggie Trio, Nancy held the piano chair in the house rhythm section for The Ottawa International Jazz Festival’s nightly jam sessions for over a decade. With bassist Geggie, Nancy has performed in concert with drum legend Billy Hart, contemporary drum heavyweight Matt Wilson and saxophone dynamo Donny McCaslin. She has recorded and performed in concert with the cream of Canada’s jazz vocal crop, from Vancouver’s Karin Plato to Toronto’s Emilie-Claire Barlow, and has worked frequently alongside Toronto saxophonists Kirk MacDonald and Pat Labarbera. Nancy can be heard on recently released recordings by Kirk MacDonald Jazz Orchestra, Fair/Galloway Quintet, John Geggie + Donny McCaslin (this Plunge Records release garnered rave reviews and made several “Best of” lists), and Swedish guitarist Mikko Hildén.Thanks to grants from The Canada Council For the Arts, Nancy has had the opportunity to study with renowned American pianist/composers Fred Hersch, Jason Moran, and Myra Melford. https://nancywalkermusic.com/biography/
“Nancy Walker has played enough piano to know how to keep listeners interested however hard she pushes the boundaries of familiarity.”~ Geoff Chapman, The Whole Note Magazine
Rainy Days & Mondays
Subscribe to:
Posts (Atom)