Kitty White - Happiness Is a Thing Called Joe

Styles: Vocal And Piano Jazz
File: MP3@320K/s
Time: 39:01
Size: 91,0 MB
Art: Front

(2:00) 1. Visit Me
(2:51) 2. Summer in the City
(2:06) 3. My Kind of Guy
(3:22) 4. Happiness Is a Thing Called Joe
(2:11) 5. So Many Beautiful Men (So Little Time)
(1:41) 6. Do It Again
(2:02) 7. Call Me Darling (Call Me Sweetheart, Call Me Dear)
(2:36) 8. Disenchanted Lady
(2:44) 9. Would I Love You (Love You, Love You)
(1:57) 10. Bossa Nova All the Way
(2:16) 11. Say It Isn't So
(1:49) 12. Just in Time
(3:04) 13. Mood Indigo
(2:59) 14. Honeysuckle Rose - Bonus Track
(2:17) 15. So Many Beautiful Men (So Little Time) - Bonus Track
(2:59) 16. My Love Is a Wanderer - Bonus Track

Born Kitty Jean Bilbrew in 1923, White grew up in a musical family, her mother and father being vaudevillian performers. White was a well-trained vocalist with perfect pitch. She was also a good music reader, which allowed her to find studio work. After recording a couple of albums for EmArcy, White even appeared in a number of movies during the early 1950s, including King Creole (with Elvis Presley), Last Train from Gun Hill and The Old Man and the Sea. It was only natural that Duke would insist on making a recording of her friend, White, for release on Clover Records. The record company came into focus in 1964 when Castro and Duke made amends and tried to reconcile as a couple. The label would begin with a number of projects featuring Castro but then began to branch out to other artists, most notably Anita O’Day, Kitty White and Teddy Edwards.

Duke was the catalyst for the White record, which would be the third project for Clover. In early 1965, she enlisted her friend, the Paris based pianist and arranger Art Simmons, to prepare a budget and coordinate a recording in Paris, a location that Duke knew White always dreamed of visiting. White had not been very active in some time and was excited for the opportunity not only to record but to visit Paris. Before going to Paris, White recorded a demo for Come Jet With Me with double bassist Helen Perry on Monday, August 9th. This was to be a joint venture with British Overseas Airways Corporation and Clover Records, which never came to pass. They recorded a version of “So Many Beautiful Men (So Little Time),” an original by White and her ex-husband, Edward “Gates” White.

The White recordings came at the beginning of Clover’s big push into the market. Castro and Duke intended to make an immediate splash and began recording a number of projects. Castro was not involved much in the White project as he was supervising a recording of Anita O’Day in Honolulu and his own small and big band projects in Los Angeles. Art Simmons had grand ideas for the Kitty White sessions. He originally intended to employ saxophonists Johnny Griffin, Dexter Gordon and Hal Singer, though none of these musicians could be identified on the recording. The sessions were held on December 2nd and 3rd and featured trumpeter Sonny Grey, soprano saxophonist/flautist Nathan Davis, bassist Jimmy Woode and drummer Kenny Clarke, along with tenor saxophonist Jean-Louis Chautemps, baritone saxophonist Jacques Nourredine, French horn player Melih Gürel, guitarist Pierre Cullaz, bassist Michel Gaudry and conductor Charles “Big” Jones.

The program begins with Howlett Smith’s punchy “Visit Me,” which is followed by the bluesy Oscar Brown, Jr. and Norman Curtis tune, “Summer in the City,” featuring evocative tenor sax, piano and Latin percussion. Leslie Bricusse’s “My Kind of Guy” is subtly swinging and flirty, while E.Y. Harburg and Harold Arlen’s ballad, “Happiness Is a Thing Called Joe,” is hazily impressionistic. “ almost Beautiful Men (So Little Time)” is revisited in a slinky style. The tempo increases on a grooving version of George Gershwin and B.G. De Sylva’s “Do It Again.” White’s voice shines alongside Cullaz’s guitar on Reisfeld, Fryberg, Marbot and Dick’s sweet ballad, “Call Me Darling.” Chuck Meyer and Biff Jones’s “Disenchanted Lady” is dramatically performed and Bob Russell and Harold Spina’s “Would I Love You (Love You, Love You)” is a sad ballad with tenor sax accents over a warm horn section. Castro and Joe Lubin’s “Bossa Nova All the Way” is an attempt to take advantage of the bossa craze. Irving Berlin’s “Say It Isn’t So” is stripped down to voice, sax, piano and rhythm section, while the band is back for the brief and spirited take on Jule Styne, Betty Comden and Adolph Green’s “Just In Time.”

The program concludes with a hushed version of Duke Ellington, Irving Mills and Barney Bigard’s “Mood Indigo” with nice features for trumpeter Grey, saxophonist Davis and guitarist Cullaz. Fats Waller and Andy Razaf’s “Honeysuckle Rose” is a jaunty blues featuring a warm tenor solo, while Bart Howard’s “My Love Is a Wanderer” is a lilting ballad with White singing in an almost operatic style. Duke and White returned to the States on December 6th. Unhappy with some of the original vocals recorded in France, White went into the studio in Los Angeles to overdub new vocals on January 12, 1966. Two days later, she was back in the studio with a band led by pianist Eddie Bell to record a new version of what Castro hoped would be his hit, “Bossa Nova All the Way.” While pressings were being made of singles and long playing records and ads flaunted a new label in the wings, Clover was going through upheaval. In late April, Castro and Duke resigned from the board of the label. Their personal and professional relationship was finally at an end. Duke implored Peter Brookes to work the newly released Kitty White record harder. Though the record was released, as Kitty White (CL/CLS -1229), it never managed to develop any steam and languished as Clover subsequently failed. https://joecastro.bandcamp.com/album/happiness-is-a-thing-called-joe

Personnel: Kitty White - vocals, piano; Art Simmons - arranger, director; Sonny Grey - trumpet (2, 3-9, 11-14); Melih Gürel - French horn (2, 3-9, 11-14); Nathan Davis - flute, tenor saxophone (2, 3-9, 11-14); Hal Singer, Johnny Griffin, Dexter Gordon, Jean-Louis Chautemps - tenor saxophone (2, 3-9, 11-14); Jacques Nourredine - baritone saxophone (2, 3-9, 11-14); Pierre Cullaz - guitar (2, 3-9, 11-14); Jimmy Woode, Michel Gaudry - bass (2, 3-9, 11-14); Kenny Clarke - drums (2, 3-9, 11-14); Teddy Edwards - tenor saxophone (2, 10); Eddie Beal - piano (2, 10); Vernon Polk - guitar (2, 10); Wilfred Middlebrooks - bass (2, 10); Billy Moore - drums (2, 10); Jack Costanzo - bongos, güiro (2, 10);Eddie Beal - director (2, 10); Helen Perry - bass (15, 16)

Happiness Is a Thing Called Joe

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Solveig Slettahjell - Come in from the Rain

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 43:11
Size: 99,4 MB
Art: Front

(4:07) 1. Come in from the Rain
(3:44) 2. On the Street Where You Live
(2:48) 3. You're Driving Me Crazy
(4:04) 4. Since I Fell for You
(4:40) 5. So I Borrow Your Smile
(4:51) 6. How Deep Is the Ocean
(3:13) 7. Now or Never
(4:19) 8. I Lost My Sugar in Salt Lake City
(4:34) 9. Johnsburg, Illinois
(6:46) 10. 'Round Midnight

Norwegian singer Solveig Slettahjell has been on the scene for almost 20 years since she debuted with her band Slow Motion Orchestra. Since then, she’s garnered an impressive discography and most recently, she’s recorded Come in From the Rain with a new group of musicians.

The songs chosen for this album make an interesting collection. There are songs with quirky arrangements like the opening Come in From the Rain (originally written by Melissa Manchester and Carole Bayer Sager in 1975 and covered by Captain and Tennille) that holds way more weight and depth to it than the earlier versions both in arrangement and in her vocal delivery. It’s a bold way to start an album but it sucks the listener in on a journey that has only just begun. The following arrangement is even more twisted – the My Fair Lady song On the Street Where You Live is a fairly uninspired Broadway staple, but here, it’s turned on its head with an percussive uneasiness to it. Andreas Ulvo’s piano solo is short but develops the theme enough to actually bring back some of the traditional joyfulness into the song and by the end, it feels like this is how the song was originally written.

Since I Fell For You and I Lost My Sugar in Salt Lake City show off some impressive blues chops and you can really hear the smokiness in Slettahjell’s voice. It’s earthy and sweet sounding and she knows how to use it. The Billie Holiday classic Now or Never, is given a 60’s sort of mod-pop shuffle feel and the attitude seeps out of Slettahjell, especially during her scat solo.In Slettahjell’s original song So I Borrow Your Smile, there is a tinge of sadness but the message is positive, like a prayer for anyone who needs it. She is a master at conveying message and meaning. The same goes for the Tom Waits song, the unbearably simple Johnsburg, Illinois here has such a beautiful intensity that it quickly becomes a favourite. By the end of the album it is clear that this thread of intensity is driven by the trio; as though Slettahjell’s voice is food for their well-oiled machine. Pål Hausken on drums using different techniques interplaying with Trygve Waldem ar Fiske on bass, as they draw out the interesting aspects of each song and complement everything so perfectly. If this is an indication of what this new band can accomplish, let’s hope this is only the beginning of their collaboration.~ Lavender Sutton https://londonjazznews.com/2020/08/24/solveig-slettahjell-come-in-from-the-rain/

Come in from the Rain

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Donna Burke - Blue Nights

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 56:14
Size: 130,0 MB
Art: Front

(3:28) 1. Blue Nights
(4:20) 2. Am I Your Future
(4:50) 3. Think of Me
(4:00) 4. A Quiet Night
(3:35) 5. Wherever You Go
(4:41) 6. Where Did The Time Go
(3:59) 7. My Perfect Man
(5:29) 8. Time Has Told Me
(3:50) 9. Goin' Walkabout
(3:42) 10. Don't I Look Pretty
(4:58) 11. Superstar
(3:29) 12. Mr. Wrong
(5:47) 13. Goodbye Nakamura

Donna Burke (born 12 December 1964 in Perth, Australia) is an Australian singer, voice actress and businesswoman. She is also known for her vocal work on songs produced for video game series such as Metal Gear and Final Fantasy. Burke graduated from Edith Cowan University. Her education included "operatic voice, speech and drama" and she received classical voice training for ten years. From 1989 to 1995 Burke taught Media, English and Religious Education to senior students at Chisholm Catholic College. She moved to Japan in 1996 and initially worked as a teacher of English before obtaining some recording work.

Burke married Bill Benfield, a British former teacher. In 2004, Burke and Benfield started a record label, Dagmusic, which catered for foreign artists. Burke released her debut album, Lost and Found, through Dagmusic. Burke has worked as a freelance announcer at NHK since 1999. She also is the lyricist for numerous Japanese TV commercials, anime songs and J-pop group tunes. Burke created Hotteeze in 2004, a company she created to export Japanese heat pads worldwide. https://en.wikipedia.org/wiki/Donna_Burke

Blue Nights

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Harold Danko - Spring Garden

Styles: Piano Jazz
File: MP3@320K/s
Time: 56:29
Size: 130,5 MB
Art: Front

(5:23) 1. Spring Winds
(4:46) 2. Envisage
(6:22) 3. Address Unknown
(6:59) 4. Blossom Tango
(3:04) 5. Earth Dance
(8:27) 6. Second Act
(6:37) 7. Rising Aspirations
(7:58) 8. Nevele
(2:08) 9. Mysterious Ancesters
(4:39) 10. The Chosen

In a career spanning more than a half century Harold Danko has established himself as a distinguished pianist, composer and band leader, fortified by an impressive resume of collaborations with legendary jazz artists, at prestigious jazz venues throughout the world as well as in recordings, television and video. His work is well documented and readily available on multiple CDs and youtube clips These include Chet Baker’s classic 1987 Tokyo concert with more than five million hits, as well as featured performances with Thad Jones/Mel Lewis, Gerry Mulligan, Lee Konitz, and on James Moody’s version of “Giant Steps”.

As a leader Harold has been featured at the Rochester International Jazz Festival, Lincoln Center’s “Meet the Artist” series, Washington DC Performing Arts Society series at J.F.K. Center, and numerous jazz festivals both in the USA and abroad. In the 1990’s he performed with and composed for his quartet with Rich Perry (tenor saxophone), Scott Colley (bass) and Jeff Hirshfield (drums), and in 1995 received an NEA Fellowship to perform his own works in a series of concerts in New York City. In recent years he has led a trio with Hirshfield and Michael Formanek or Jay Anderson (bass) in addition to adapting his compositions for solo piano performances, and can be heard in various formats on more than thirty CDs on the SteepleChase and SunnySide labels. Since 1980 he has earned ASCAP awards yearly for the value of his catalog of original compositions.

Danko holds Professor Emeritus status at the Eastman School of Music in Rochester, NY, where he chaired the jazz studies program for eleven years and established the Jazz Performance Workshop curriculum. In 2007 he received a Bridging Fellowship for research in the Linguistics Department of the University of Rochester on the relationship of speech and music. Prior to his appointment at Eastman he served on the faculties of the Manhattan School of Music, the New School/Mannes, Hartt College, and other institutions. Harold’s featured column, “Solo Piano”, appeared in Keyboard Magazine for more than five years, and his keyboard improvisation method, “The Illustrated Keyboard Series”, is a highly regarded reference work. Beginning his piano studies at the age of five, he became serious about pursuing a career in jazz at the age of fifteen when he commenced studies with Gene Rush in Youngstown, Ohio. After graduation from Youngstown State University and a stint in the U.S. Army band Harold landed the piano chair in Woody Herman’s Thundering Herd, which launched his career as a much sought after jazz musician, composer, and educator.

His newest CD, released in March 2021 on the SteepleChase label, is entitled “Spring Garden”: “This recording documents an important step in my continuing exploration of Stravinsky’s music for purposes of composition and improvisation – in this case harvesting my own garden growing directly from the Rite of Spring. The ten pieces developed from my studies then served as springboards for further investigation and improvisation by the quartet. My post production work sparked greater interest in finding more content to draw on from Stravinsky’s score, and since then the pieces have evolved into a kind of suite for solo piano, incorporating details that had to be left out of the quartet’s performance. I presented an abbreviated version of it last year at my Leap Year concert on February 29 in East Rochester and hope for more opportunities to perform it in the future in both solo and quartet formats. My modus operandi has always been to figure out the how and why of musical sounds, and from my earliest experiences determined that the instinct to improvise should come from inside the music, regardless of the genre, rather than from mere facility or cleverness. To mix analogies, my ongoing musical archeological expedition of the Rite consistently uncovers new treasures and is a source of inspiration as well as nourishing recreation.” https://www.esm.rochester.edu/faculty/danko_harold/

Personnel: Harold Danko (p); Rich Perry(ts); Jay Anderson (b); Jeff Hirshfield (ds)

Spring Garden

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Denise Jannah - Ella!

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 69:35
Size: 160,5 MB
Art: Front

(3:29) 1. Blue Skies
(5:36) 2. Early Autumn
(5:57) 3. To Ella
(7:32) 4. Someone To Watch Over Me
(3:38) 5. If I Were A Bell
(6:00) 6. Moonlight In Vermont
(4:09) 7. Nature Boy
(4:14) 8. That Old Black Magic
(8:16) 9. I've Got It Bad And That Ain't Good
(4:14) 10. Comes Love
(5:33) 11. Sophisticated Lady
(2:57) 12. Basin Street Blues
(3:46) 13. It's De Lovely
(4:07) 14. Reach For Tomorrow

Ella!: an album with nostalgic Ella Fitzgerald songs. With her new album, Denise Jannah fulfills one of her biggest dreams: recording an album with top musicians: John Engels (drums), Rob van Kreeveld (piano), Hans Mantel (double bass) and Ack van Rooijen (bugle/trumpet). Denise Jannah is the first Dutch singer who signed a record deal with the famous American jazz label Blue Note Records. She played seven times at the North Sea Jazz Festival and sung for many Royal Families and presidents.~ Product Description https://www.amazon.co.uk/Ella-Denise-Jannah/dp/B016AX6HKW

Ella!

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Schapiro 17 - Human Qualities

Styles: Jazz Funk, Big Band
File: MP3@320K/s
Time: 70:10
Size: 161,4 MB
Art: Front

( 8:18) 1. Count Me Out
( 7:51) 2. Tango
(10:03) 3. Hmmm
( 9:53) 4. The First Time Ever I Saw Your Face
(11:08) 5. Human Qualities
(11:37) 6. Hallelujah
( 5:17) 7. A Bounce in Her Step
( 5:59) 8. House Money

Following its splendid premiere recording, an exploration of Miles Davis' unrivaled album Kind Of Blue (Capitol Records, 1959), composer/arranger Jon Schapiro's 17-member ensemble broadens its horizons on Human Qualities, pairing seven of the maestro's astute and adventurous charts with the Roberta Flack best-seller, "The First Time Ever I Saw Your Face." This time around, Schapiro proves that he need rely on nothing more than his own considerable experience as a jazz artist to create an album that expresses his point of view and accomplishes its purpose.

When that posture involves straight-ahead swinging it is very good indeed; and even when it doesn't, it is seldom less than engaging. The emphatic Basie spirit is alive and well on the sunny opener, "Count Me In," with pianist Roberta Piket sitting in for the Count, and guitarist Sebastian Noelle for Freddie Green, on an irrepressible groover that calls to mind Basie's early era, one that produced such classic riffs as "One O'Clock Jump" and "Lester Leaps In." Stalwart solos courtesy of Piket, tenor Rob Middleton (channeling his inner Lester Young) and trombonist Deborah Weisz. "Tango," which follows, is a laid-back version of the fiery Latin dance showcasing Matt Hong's supple baritone. The lower end of Piket's keyboard is the launching pad for "Hmmm," a rhythmic powerhouse whose enticing melody and lively shout-outs by brass and reeds lead to muscular solos by trumpeter Andy Gravish and tenor Paul Carlon, some brisk four-bar exchanges and more of Piket's barrelhouse licks.

Schapiro's low-key arrangement of the album's lone ballad, "The First Time," whose amiable solos are delivered by Piket and trumpeter Eddie Allen, precedes the contrapuntal "Human Qualities," wherein Piket's piano plays hide-and-seek with brass and reeds before alto saxophonist Rob Wilkerson and trombonist Nick Grinder take their turns, engirding the ensemble and drummer Jon Wikan as the tempo undergoes subtle changes, and Piket resurfaces to draw some shapely lines in the sand, while Wilkerson and Grinder trade fours before brass and reeds wrap the package. The dirge-like "Hallelujah," which follows, opens well enough on the wings of Carlon's ardent tenor but overstays its welcome long before the 11:39 playing time has run its course. Happily, the group vitality returns on "A Bounce in Her Step," whose cool-bop cadences call to mind the West Coast scene of well over half a century ago. The carefree melody draws from Charlie Parker's "Billie's Bounce" and other themes, while the well-aimed solos are delivered by Wilkerson and trombonist Walter Harris. The album ends with a rocking second- line excursion to New Orleans to wager some "House Money" as Alex Jeun's muted wah-wah trombone enhances the tune's upbeat mood. Wikan and the rhythm section (Piket, Noelle, bassist Evan Gregor) are sharp and sturdy here, as they are on every number. If there is such a thing as a sophomore jinx, Schapiro manages to avoid it with ease on Human Qualities, a worthy successor to the Schapiro 17's impressive debut. Let us hope that the third time, whenever that happens, is also a charm. ~ Jack Bowers https://www.allaboutjazz.com/human-qualities-schapiro-17-summit-records

Personnel: Jon Schapiro: composer/conductor; Bryan Davis: trumpet; Andy Gravish: trumpet; Eddie Allen: trumpet; Noyes Bartholomew: trumpet; Rob Wilkerson: saxophone, alto; Candace DeBartolo: saxophone, alto; Paul Carlon: saxophone, tenor; Rob Middleton: saxophone, tenor; Matt Hong: saxophone, baritone; Alex Jeun: trombone; Deborah Weisz: trombone; Nick Grinder: trombone; Walter Harris: trombone; Roberta Piket: piano; Sebastian Noelle: guitar; Evan Gregor: bass; Jon Wikan: drums.

Human Qualities.

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Mark Colby - Serpentine Fire

Styles: Saxophone Jazz
Year: 1978
File: MP3@320K/s
Time: 38:28
Size: 88,7 MB
Art: Front

(6:41) 1. Serpentine Fire
(6:34) 2. Daydreamer
(6:15) 3. On And On
(5:55) 4. King Tut
(6:32) 5. Renegade
(6:30) 6. Rainbow Wings

Born in Brooklyn, New York in 1949, Mark comes from a musical background, as his father was a professional musician (drummer) who played with Benny Goodman for a time in the ‘40’s. At the age of eight, Mark was given a clarinet and lessons with a wonderful teacher by the name of Bill Schlagel, who emphasized the importance of proper technique and sound. At age eleven, Mark took the next step in his evolution, saxophone, and thus began his life-long love affair. Immersed in the sounds of the big bands enjoyed by his father, intrigued by the more modern sounds of bebop, cool and hard-bop records his sister played around the house, his dedication to pursuing a life in music was cemented.

In 1962, his family moved to Miami, Florida, where he began playing professionally at age 14. On Miami Beach, he had the opportunity to play shows with popular acts, including Tony Bennett, Sonny and Cher, Bill Cosby, Ann-Margret and Sammy Davis, Jr., with seasoned musicians. He was for many years the youngest guy on the bandstand, all the while pursuing his desire to play all styles of jazz. As a high school student, he studied with James Casale (co-author of Patterns for Jazz with Jerry Coker.) After high school, Mark attended the University of Miami, enrolling in Jerry Coker’s Jazz Studies program. Studying with Jerry and pianist Vince Maggio had a profound effect on him, as did sitting in with Ira Sullivan since the age of 16. These master musicians provided him inspiration and encouragement, as well as invaluable education in the jazz idiom.

Mark was fortunate to have had the incredible experience of working with legendary baritone sax player Gerry Mulligan while he was artist in residence. While in college, he recorded with the likes of Dr. John, Wilson Pickett, Bill Wyman of the Rolling Stones, and the Bee Gees. After graduating with a Master’s Degree in Jazz Studies, he received a call from Maynard Ferguson inviting him to join his band in New York. After three albums and three years touring as featured soloist and musical director with Maynard, Bob James beckoned, and he became of member of the “James gang.” Bob signed Mark to Columbia Records, beginning his solo recording career. “Serpentine Fire” and “One Good Turn” both sold very well, while he toured for the next six years as a featured member of Bob James’ band. Mark’s tours with Maynard and Bob found him playing jazz festivals and concert halls around the world.

In 1980, Mark moved to Chicago, with its very active music scene. Mark was immediately participating in a recording market that was exploding. Jingles, record dates, and jazz gigs were plentiful. In 1983, he was approached by DePaul University to assume a teaching position as jazz saxophone instructor. He’s still there, and in 1998 joined the faculty at Elmhurst College. In the ensuing years, he has played and in some cases toured with such varied luminaries as Frank Sinatra, Jaco Pastorius, Mose Allison, Joe Williams and Charlie Haden. Currently he is performing as a guest soloist and clinician/adjudicator at middle schools, high schools and colleges throughout the United States and Europe, representing Selmer Paris Saxophones and Vandoren reeds. In 2001, he performed Duke Ellington’s version of “The Nutcracker Suite” with the Chicago Symphony Orchestra, and in 2008 performed Leonard Bernstein’s “Prelude, Fugue and Riffs.” In 1999, Hallway Records released “Reunion” (with Vince Maggio) followed by “Tenor Reference” in 2002, to glowing reviews and appreciative audiences. His last release on Hallway Records was a tribute to Stan Getz entitled Speaking of Stan, which was released in 2006 and went to #3 on the jazz radio charts. During 2007-2010, he appeared at the Chicago, Paradise Valley Arizona Jazz Festival, Evanston, Naperville and Glen Ellyn Jazz Festivals. In 2010 Mark was the artist in residence at the Three Rivers Saxaphone Symposium in PA. Mark appeared in a cameo with Diana Krall in the Johnny Depp movie “Public Enemies,” released in July 2009. His CD on Origin Records, “Reflections” was released in November 2008. In 2010 Mark was one of the people interviewed with his own chapter in Cicily Janus’s new book entitled “The New Faces of Jazz” published by Billboard Press. Currently he has completed a new recording, All or Nothing at All, to be released on his own RCI label in 2016. http://www.markcolby.com/about/

Personnel: Saxophone – Mark Colby; Bass – Gary King; Cello – Alan Shulman, Charles McCracken; Drums – Steve Gadd; Electric Piano – Bob James; Guitar – Eric Gale, Steve Khan; Trombone – David Taylor, Paul Faulise, Wayne Andre; Trumpet – Alan Rubin, Jon Faddis, Lew Soloff, Marvin Stamm, Mike Lawrence; Viola – Al Brown, LaMar Alsop; Violin – Barry Finclair, Charles Libove, Diana Halprin, Harry Cykman, Herbert Sorkin, John Pintavalle, Marvin Morgenstern, Max Ellen, Paul Gershman

Serpentine Fire

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Isabella Lundgren - Look for the Silver Lining

Styles: Vocal
File: MP3@320K/s
Time: 41:34
Size: 96,2 MB
Art: Front

(3:48) 1. Look for the Silver Lining
(3:33) 2. Pick Yourself Up
(3:59) 3. Climb Ev'ry Mountain
(3:32) 4. Fly Me to the Moon
(2:20) 5. It's a Good Day
(3:27) 6. The Sound of Music
(4:12) 7. Dream
(2:47) 8. Singin' in the Rain
(5:35) 9. The Folks Who Live on the Hill
(5:13) 10. Smile
(3:03) 11. What a Wonderful World

She is one of Sweden’s foremost jazz singers, with a unique ability to enthrall an audience. Isabella Lundgren debuted in 2012 with the album It Had to Be You, and she has since then received numerous awards, scholarships and been nominated for a Swedish Grammy, twice. As a Swedish music journalist once said: “If the 20th century belonged to Monica Zetterlund, the 21th century belongs to Isabella Lundgren. “

2014 she released Somehow life got in the way, it was named one of the 100 most influential albums in Swedish jazz history. In 2016 Where is home, containing her original songs was released and also Grammy nominated. The Swedish Daily news then called her “one of the greatest things to ever happen to the Swedish jazz scene”.?Isabella Lundgren has a great love for the American Songbook and American folk & blues tradition. This showed in Out of the Bell Jar, her 2019 album where she interpreted the works of Bob Dylan, and this year she continues on the theme with a bunch of timeless classics. Her new album, Look for the silver lining is out spring 2021 on Ladybird/NAXOS. https://www.isabellalundgren.com/biografi/?lang=en

Look for the Silver Lining

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Amina Claudine Myers - Sama Rou

Size: 142,2 MB
Time: 61:18
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Gospel
Art: Front

01. Steal Away/Athan (Call To Prayer)/Fatiha (Sura Prayer) ( 7:55)
02. Down On Me ( 3:51)
03. Intro (Crossings, Pt. I, II & III) (19:33)
04. Ain't Nobody Ever Gonna Hear Us ( 5:48)
05. Nobody Knows 'de Trouble I See ( 5:19)
06. My Soul's Been Anchored By The Lord ( 3:53)
07. Sometimes I Feel Like A Motherless Child ( 5:05)
08. Go Down Moses ( 5:56)
09. Thank You ( 3:55)

There are very few musicians who make the blood scorch the heart and the pulse roar quite like Amina Claudine Myers. She does that with infallible regularity, performance after performance, recording after recording. What a splendid recording Amina Claudine Myers Salutes Bessie Smith was, the same year she recorded Song For Mother E with Pheeroan akLaff. Thirty-six years after those iconic recordings, Myers has continued to advance her illustrious career with Sama Rou – Songs From My Soul. Here, it pays to raise a famous ghost; that of the great Ludwig van Beethoven who once encouraged the living artist of his day with the following words: ‘Don’t only practice your art. But force your way into its secrets, for it and knowledge can raise men to the Divine’. Amina Claudine Myers is the very quintessence of that exhortation. And Sama Rou is that record that makes it so.

Amina Claudine Myers Sama RouIt is no coincidence also that Amina Claudine Myers channels the spirits of the ancestors who dwell in the rarefied realm. In her music Paul Robeson and Marion nestle cheek-by-jowl with Igor Stravinsky; even Anton Webern. But Myers is a singular artist and her work who – certainly in Jazz – has created dramatic pianistic innovation in the schematic organization of pitch, rhythm, register, timbre, dynamics, articulation, and melodic contour, further enhancing the sonic splendour of her music with the depth of her glorious contralto. Myers’ setting for the ‘Songs From My Soul’ emphasises her sense of wonderment, humility and devotion. The highly derivative idiom (The Great Negro Spiritual that is) is thoroughly tonal, the tone luxurious and the work cast at a predominantly prayerful slow pace.

The opening medley, ‘Steal Away/Athan (Call to Prayer)/Fatiha (Sura Prayer)’ is especially haunting, with its unhurried and repetitive, whispered echoes of ‘Steal Away’ melting into the adhan called out as if by a muezzin from a minaret. The somber introverted orchestration of Christian and Muslim tradition, far from being contrasting, enters somberly into a lovely, hushed unified spiritual. There is a magnificent glow to every Negro Spiritual in this repertoire and one can only gasp in wonder at the spacious dedication with which Myers brings them to life. Their flashes of drama carry over from one spiritual into the other as she adorns each with a lyrical radiance. ‘My Soul’s Been Anchored In The Lord’ and ‘Sometimes I Feel Like A Motherless Child’ are followed by ‘Go Down Moses’, a seraphically rendered Spiritual that crowns the sequence of truly great music.

I would be remiss if I did not pay homage to the three compositions on this disc by Amina Claudine Myers. Each is an example of majestic melody and dissonant harmony with strong plagal cadence. ‘Crossings’, and ‘Ain’t Nobody Ever Gonna Hear Us?’ are classics of their kind: anthemic pieces fulfilling their declared brief to be an aspiration towards recognition and happiness. ‘Thank You’ to the Lord speaks to the magisterial beauty of another vivid performance by an artist not only emboldened by the Association for the Advancement of Creative Musicians (AACM) – New York chapter, but by a singular genius of Black Music. ~Raul da Gama

Personnel: Amina Claudine Myers: piano and voice; Rene McLean: recitation.

Sama Rou

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Shirley Horn - But Beautiful: The Best Of Shirley Horn

Styles: Vocal And Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 63:09
Size: 145,9 MB
Art: Front

(2:27)  1. I Just Found Out About Love
(7:10)  2. You Won't Forget Me
(2:58)  3. You Don't Know Me
(2:05)  4. The Great City
(4:45)  5. Fever
(6:04)  6. If You Love Me
(6:45)  7. A Time For Love
(2:51)  8. Come Dance With Me
(4:53)  9. Nice 'n' Easy
(4:43) 10. But Beautiful
(5:37) 11. Here's To Life
(4:54) 12. Jelly, Jelly (Bonus Track)
(3:07) 13. Loads Of Love (Bonus Track)
(4:43) 14. I Didn't Know What Time It Was (Bonus Track)

Shirley Horn is a jazz diva who needs little introduction. This veteran of song is one of the classic vocalists of any era. But Beautiful gives us some classic recordings that highlight her career, as well as three bonus tracks recorded from a recent performance at the Au Bar in New York City. The first eleven tracks are from Horn's Verve Records catalogue, including I Thought About You and Loads of Love: Shirley Horn with Horns, which was originally released on Mercury Records. Horn became a singer by accident. While performing as a pianist in a restaurant/nightclub, she recalls a regular patron who brought a large teddy bear with him. Horn said the man offered her the bear if she would sing "Melancholy Baby. She wanted the toy badly enough that she overcame her shyness and sang. This led to others asking her to sing, and Horn gradually established herself as a vocalist. Over the years, she spent time working with Miles Davis and raising her daughter. Shortly before his death in 1991, Davis added his trumpet to the title track of Horn's "You Won't Forget Me," which appears on the new release. The singer paid tribute to the man who helped her rise to jazz prominence with "I Remember Miles, for which she won a Grammy for Best Jazz Vocal Performance.

But Beautiful highlights some of the best recordings of Horn's career. "You Won't Forget Me displays Horn's vocal perfection, complemented by Davis' muted trumpet. "The Great City, a swinging tune that first appeared on Horn's Loads of Love, is a delightful but cautionary tale about a wide-eyed young person who thinks the big city is the answer to his or her problems. "If you come in, make sure you can get back out, Horn sings. "Jelly, Jelly, one of the three bonus tracks, is an easygoing, bluesy cut that features Roy Hargrove on trumpet in one of the few notable instrumental solos on the album. Throughout, Horn is at her best. While her sound is clean and her tone perfect, she sings with the same soulful flair that got Miles Davis' attention many years ago. To Shirley Horn fans who already have all her albums, the three bonus tracks, while good, may not be worth it. But for those who haven't heard much Horn, But Beautiful is a great place to start.~Woodrow Wilkins http://www.allaboutjazz.com/but-beautiful-the-best-of-shirley-horn-shirley-horn-verve-music-group-review-by-woodrow-wilkins.php
 

Personnel: Shirley Horn: vocals, piano; various artists with Ed Howard: bass (11-13); Steve Williams: drums (11-13); Roy Hargrove: trumpet (11, 13); George Mesterhazy: guitar (11-13); Buck Hill: saxophone (13).

But Beautiful: The Best Of Shirley Horn

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Artie Shaw - Begin The Beguine

Styles: Clarinet Jazz
Year: 1987
File: MP3@320K/s
Time: 66:27
Size: 157,4 MB
Art: Front

(2:49)  1. Nightmare
(3:13)  2. Indian Love Call (From "Rose Marie")
(3:13)  3. Back Bay Shuffle
(3:11)  4. Any Old Time
(2:12)  5. Traffic Jam
(3:18)  6. Comes Love
(3:18)  7. What Is This Thing Called Love?
(3:13)  8. Begin the Beguine
(3:10)  9. Oh! Lady Be Good
(3:02) 10. Frenesi
(2:33) 11. Serenade to a Savage
(3:13) 12. Deep Purple
(2:46) 13. Special Delivery Stomp
(3:18) 14. Summit Ridge Drive
(3:08) 15. Temptation
(3:34) 16. Stardust
(6:30) 17. Blues, Pts. I & II - (From William Grant Still's "Lennox Avenue Suite")
(3:26) 18. Moonglow
(3:07) 19. Moon Ray
(4:04) 20. The Carioca

Among the big band leaders of the 1930s and '40s, Artie Shaw was considered one of the most innovative and creative. His rendition of "Begin the Beguine" is the one everybody remembers and set the gold standard for that song. Yet, his arrangements and solos on the licorice stick are second to none. ~ Editorial Reviews https://www.amazon.com/Begin-Beguine-Artie-Shaw/dp/B000002W97

Begin The Beguine

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Rebecca Binnendyk - I Don't Belong to You

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 35:03
Size: 81,9 MB
Art: Front

(2:53) 1. I Don't Belong to You
(3:37) 2. Your Love Isn't Enough
(3:32) 3. Brick by Brick
(3:02) 4. Baby Back
(3:39) 5. You Can Leave Your Hat On
(4:05) 6. Slip Slidin' Away
(3:58) 7. Circles
(3:14) 8. Everybody Knows
(3:37) 9. I Like It When You Love Me
(3:23) 10. Brick by Brick (Acoustic)

The Canadian singer-songwriter Rebecca Binnendyk just released a new song ‘I Don’t Belong To You’ and it’s actually really catchy, upon hearing it for the first time we knew it was something special. Rebecca’s writing style is unique and catchy, and her voice is a piece of heaven. This song is worth checking out as we’re positive you’re going to love the production style here.

The Canadian singer-songwriter, who has delivered medical supplies to the Maasai tribe and taught sex education and music to young people in Uganda, is pairing the release of her second album, I Don’t Belong To You (released Sept 13th), with raising money for Plan International Canada, a global organization dedicated to advancing children’s rights, equality and education for girls and the putting an end to female genital cutting which affects 3.9 million annually women and girls globally. http://cheerstothevikings.com/2019/10/01/rebecca-binnendyk-i-dont-belong-to-you/

I Don't Belong to You

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Dr. Lonnie Smith - Breathe

Styles: Hammond b3 Organ
File: MP3@320K/s
Time: 63:52
Size: 148,4 MB
Art: Front

( 7:45) 1. Why Can't We Live Together
( 7:25) 2. Bright Eyes - Live
( 7:33) 3. Too Damn Hot - Live
( 9:44) 4. Track 9 - Live
(12:04) 5. World Weeps - Live
( 8:20) 6. Pilgrimage - Live
( 4:22) 7. Epistrophy - Live
( 6:37) 8. Sunshine Superman

A new release by the iconic 78 year old New York organist Dr Lonnie Smith is always keenly anticipated, and this his third since returning to the Blue Note label after nearly 50 years absence is no exception. During his lengthy career the Hammond B 3 specialist has recorded thirty albums as a leader and appeared on very many other recordings, notably with the likes of saxophonist Lou Donaldson, guitarist George Benson and bassist Red Holloway. Now a N.E.A. Jazz Master, he was voted Organist of the year no less than nine times by The Jazz Journalists Association since 2003. A documentary film showcasing the talents of this remarkable and forward thinking musician entitled "Dr B3 The Soul Of The Music" by the award winning Canadian film maker Ed Barreveld was nearing completion as of December last year.

Six of the eight tracks on this almost one hour long, highly entertaining album were recorded during the organists 75th birthday celebrations at The Jazz Standard club in New York City during 2017. That session forms the centre piece of the recording but is top and tailed by two studio takes of the organ, guitar and drums trio with guest vocalist Iggy Pop. Jazz purists should have no concern about the presence of this 73 year old artist from Michigan once known as "The Godfather of Punk" for his time with "The Stooges" and his work with the late great David Bowie, as he fits perfectly into the context of the recording with minimalistic and subdued renderings of the Timmy Thomas tune Why Can't We Live Together and Donovan's 1966 hit Sunshine Superman. It is however the club session that really strikes home, most of the tunes are from the leaders pen and show great originality in both their concepts and execution. The doctor's organ sound is almost always understated and full of intriguing subtle harmonies, the one exception being on the more up-beat Bright Eyes where overtones of the ever popular Jimmy Smith are evident, but even this is somewhat a slow burner and contains one of a number of telling solo passages during the set from the North Carolinian saxophonist John Ellis.

All the numbers have an inbuilt delicacy about them without ever becoming trite or sentimental in any way. A good example of this is the rather strangely titled Track 9, which although intricate in parts has a strong searching quality about it and brings a stratospheric interlude from trumpet man Sean Jones to the fore alongside a telling contribution from the baritone of ex Roy Hargrove Big Band saxophonist Jason Marshall. A key component of the whole ambient sound of the set is the performance throughout of guitarist Jonathan Kreisberg who has now been in the band for over eleven years and supplies both superb single note runs as well as having a strong affinity when exchanging ideas with the leader. This is particularly so when the band reverts to the trio mode, such as on the twelve minute World Weeps, a truly stunning and sensitive piece to begin with that builds layers of tension as the tempo and volume increases to an almost angry level as it progresses before once more dropping down into more calmer waters. Proceedings are further enhanced on one track by the presence of the mezzo soprano Alicia Olatuja, a vocalist more than comfortable in a wide range of settings from The Brooklyn Tabernacle Choir to The Julliard Jazz Ensemble, who engrained her reputation considerably with a well publicised performance at Barack Obama's second presidential inauguration. Here she quite obviously brings the house down on Meryl Konenigsberg's poignant lyrics to Lonnie Smiths excellent composition Pilgrimage. In summary this is a very fine album, not just for the performances of the main soloists but also for the tight ensemble sound when the band are in septet mode and the stunning but sensitive drumming of Jonathan Blake from first to last. Although it is only March it is very likely that this disc will at least be pencilled in on some peoples top ten jazz albums of 2021. by Jim Burlong https://www.jazzviews.net/dr-lonnie-smith---breathe.html

Personnel: Dr Lonnie Smith ( Hammond B3 Organ), Sean Jones (trumpet), Robin Eubanks (trombone), John Ellis (tenor), Jason Marshall ( baritone), Jonathan Kreisberg (guitar), Johnathan Blake (drums), Guest vocalists, Iggy Pop & Alicia Olatuja.

Breathe

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Shirley Horn - Jazz 'Round Midnight

Styles: Vocal And Piano Jazz
Year: 1988
File: MP3@320K/s
Time: 62:39
Size: 143,9 MB
Art: Front

(6:44)  1. A Time For Love
(4:39)  2. Someone To Light Up My Life
(3:40)  3. Beautiful Love
(4:45)  4. Fever
(4:24)  5. Loving You
(4:02)  6. How Long Has This Been Going On
(6:10)  7. Quietly There
(2:47)  8. Baby, Baby All The Time
(3:00)  9. You Don't Know Me
(4:40) 10. I Wanna Be Loved
(2:57) 11. Peel Me a Grape
(3:26) 12. How Am I To Know?
(3:21) 13. So I Love You
(7:57) 14. Meaning Of The Blues

Jazz 'Round Midnight is an enjoyable budget-priced sampler of 14 songs from Shirley Horn's stint at Verve. While this collection is hardly definitive, it is quite enjoyable, sporting an appealingly low-key, seductive atmosphere and several dynamite performances, including versions of "A Time for Love," "Fever," "Loving You," "How Long Has This Been Going On?," "I Wanna Be Loved," "So I Love You" and "The Meaning of the Blues."~Stephen Thomas Erlewine http://www.allmusic.com/album/jazz-round-midnight-shirley-horn-mw0000031881

Personnel: Shirley Horn (vocals, piano); Wynton Marsalis (vocals, trumpet); Johnny Mandel, Roy Hargrove, Toots Thielemans (vocals); Jim Walker (flute); George Mesterhazy (piano); Larry Bunker (vibraphone); Steve Williams (drums); Alex Acuña (percussion).

Jazz 'Round Midnight

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The Pied Pipers - In A Tribute To Tommy Dorsey

Bitrate: MP3@320K/s
Time: 34:56
Size: 80.0 MB
Styles: Vocal harmony group
Year: 1997/2011
Art: Front

[2:37] 1. I'm Getting Sentimental Over You
[2:39] 2. Oh! Look At Me Now
[3:45] 3. Once In A While
[3:06] 4. On The Sunny Side Of The Street
[3:11] 5. I'll Never Smile Again
[2:13] 6. Heat Wave
[3:29] 7. There Are Such Things
[2:32] 8. The One I Love (Belongs To Somebody Else)
[2:52] 9. Street Of Dreams
[2:22] 10. Marie
[2:54] 11. Taking A Chance On Love
[3:10] 12. Let's Get Away From It All

Originally consisting of eight members, the Pied Pipers had their greatest success after nearly half of the members left the group. The remaining Pipers (Billy Wilson, Chuck Lowry, Jo Stafford, and her then-husband John Huddleston) joined the Tommy Dorsey Band in 1939, backing Sinatra on many classic recordings. In 1942 the Pied Pipers broke away from Dorsey, and Huddleston joined the army, to be replaced by Hal Hopper, one of the original eight members. The group backed Johnny Mercer on several tracks during the early 40s, including "Candy" and "Blues in the Night." Their first single ("Deacon Jones"/"Pistol Packin' Mama") was released in 1943. Stafford had become quite busy with her solo career and left the group in 1944, to be replaced by June Hutton. Throughout the rest of the decade the Pied Pipers charted frequently, yet their popularity waned in the '50s. A group bearing the Pied Pipers' name still tours today. ~ Stephen Thomas Erlewine

In A Tribute To Tommy Dorsey

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Chet Baker Quartet - When Sunny Gets Blue

Styles: Vocal And Trumpet Jazz
Year: 1988
File: MP3@320K/s
Time: 57:22
Size: 132,3 MB
Art: Front

(6:09) 1. Long ago and far away
(7:05) 2. Here's that rainy day
(8:21) 3. Two in the dew
(8:38) 4. I should care
(5:22) 5. Out of nowhere
(9:08) 6. When Sunny gets blue
(5:19) 7. Isn't it romantic
(7:17) 8. You'd be so nice to come home to

If proof is ever needed that there are too many Chet Baker albums around, this album can serve as evidence. Baker is caught on an off day; his playing during the first chorus of the opening "Long Ago And Far Away" is so flawed that one wonders why the musicians did not stop and try a second version. Chet's singing was always an acquired taste; check out his melody statement on "Isn't It Romantic," which is fortunately his only singing for the day. Has he ever sounded more out of tune? It is a pity, for the recording quality is good, the European rhythm section (pianist Butch Lacy, bassist Jesper Lundgaard and drummer Jukkis Uotila) is fine, and the repertoire (five standards and Lacy's "Two in the Dew") is quite suitable. But there are far too many tentative and hesitant moments (along with a few clams) for this set to be on the level it should have been. ~ Scott Yanow https://www.allmusic.com/album/when-sunny-gets-blue-mw0000725950

Personnel: Chet Baker – trumpet, vocals; Butch Lacy – piano; Jesper Lundgaard – bass; Jukkis Uotila – drums

When Sunny Gets Blue

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Caity Gyorgy - No Bounds

Styles: Vocal
File: MP3@320K/s
Time: 33:31
Size: 77,8 MB
Art: Front

(4:03) 1. Postage Due
(4:47) 2. East of The Sun
(5:12) 3. I Can't Get Started
(4:12) 4. A Certain Someone
(5:45) 5. I Can't Give You Anything But Love
(5:35) 6. Undefined
(3:54) 7. Bye Bye Blackbird

Toronto-based jazz vocalist Caity Gyorgy has announced her debut full-length album will be released Jan. 22. The record is called No Bounds and features some of Canada’s finest young musicians, including guitarist Jocelyn Gould, bassist Thomas Hainbuch and drummer Jacob Wutzke. The album is a mix of original tunes and jazz standards, including East of the Sun (and West of the Moon), I Can’t Give You Anything But Love, and Gyorgy’s own previously released song, Postage Due.

“Each track features slick arrangements that keep the listeners on their toes, but never distract from the playful grooves and the cheeky yet heartfelt lyrics of her original songs,” reads the album’s press materials. “As a whole, the album evokes a feeling of excitement, cheerfulness and swing. It is a fun, cohesive and expressive collection of music that is sure to leave the listener feeling energized and uplifted.” Gyorgy is a Humber College graduate who’s a former participant in Jazzology. In 2018, she was named one of JAZZ.FM91’s Canadian women in jazz you need to know.

Known for singing bebop and swing styles, Gyorgy has performed at venues and festivals across Canada. With the Caity Gyorgy Quartet, she creates modern arrangements of jazz standards and composes original music in the style of standard jazz repertoire of the ’50s and ’60s. Her arrangements and compositions often prominently feature her unique talent for vocal improvisation, setting her apart from other jazz singers.Before announcing her full-length debut, Gyorgy had released an EP and several standalone singles. Gyorgy also said via her Instagram account that anyone who pre-saves or preorders No Bounds will be entered into a raffle to win one of three signed copies of the CD.~ Adam Feibel https://jazz.fm/caity-gyorgy-no-bounds-debut-album-jazz/

Personel: Jocelyn Gould on guitar, Thomas Hainbuch on upright bass, Jacob Wutzke on drums and Caity Gyorgy on vocals.

No Bounds

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Woong San - Reminiscence of Love

Styles: Vocal
File: MP3@320K/s
Time: 55:28
Size: 128,1 MB
Art: Front

(4:28) 1. The Day He Loves Me
(4:41) 2. Behind Of Your Smile
(4:26) 3. Purple Morning
(5:10) 4. The Memory Of Old Days
(5:26) 5. Maybe Tomorrow
v (5:25) 6. Reflection
(4:08) 7. Tea Story
(3:42) 8. Feuillle
(3:55) 9. Don’t Explain
(3:28) 10. WOMAN
(5:18) 11. Somehow Today
(5:18) 12. Love Let's You Go

Woong San is an award-winning musician, actress, and a TV show host from South Korea. She has been a leading figure in the jazz music scene in Korea and Japan for past 20+ years. At the age of 17, Woong San spent over a year at a Buddhist temple named Goo In Sa, where she trained to become a monk. The name Woong San is a Buddhist name (meaning Big Mountain) given to her during her sojourn at the temple. Buddhism has played a prominent role in her life, and it shines through her songwriting - Woong San often explores the themes of freedom, mindfulness, and the beauty of change in her songs. Her work has been described as "Soulful, fearless, and sultry." Woong San's music style is a distinctive blend of Jazz, Blues, Latin, and Funk. As an independent lyricist, Woong San has written soulful ballads, cozy love numbers, and everything in between.

Woong San is the winner of 'The Best Jazz Album of the Year' and 'The Best Jazz Song of the Year' by Korean Music Awards in 2008. In the same year, she was also selected as The Best Vocalist in Reader’s Poll magazine. Her successful career in Korea led her to become the first Korean jazz artist to perform at the prestigious Billboard Live and Blue Note Japan. She has strengthened her musical insight by collaborating with world leading musicians such as John Beasley and Melvin Davis. Her original 'Close Your Eyes' led her the first Korean award winner for 2010 Golden Disc by Swing Journal. In 2011, Woong San released a new song titled “Once I Loved” to show her appreciation to her fans and released her 6th regular album Tomorrow. She continued to gain her reputation in Japan by winning the ‘The Runner Up Prize’ from the 19th Japanese Professional Music Recording Awards with her album, Tomorrow. http://www.koreanculture.org/performing-arts/2019/7/20/woong-san

Reminiscence of Love

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Chiara Pancaldi, Alessandro Galati - The Cole Porter Songbook

Styles: Vocal And Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 34:26
Size: 79,5 MB
Art: Front

(3:35) 1. Dream Dancing
(3:50) 2. All of You
(5:54) 3. Easy to Love
(3:07) 4. It's Delovely
(5:54) 5. Just One of Those Things
(3:09) 6. Let's Do It
(3:31) 7. My Heart Belongs to Daddy
(5:23) 8. So in Love

A duo project of Chiara Pancaldi with the famed pianist, Alessandro Galati, dedicated to the beautiful and witty Cole Porter songbook. A classy, swinging, and lyrically intimate program of Porter’s impeccable gems including: Dream Dancing, All of You, Easy to Love, It’s Delovely, Just One of Those Things, Let’s Do It, My Heart Belongs to Daddy, and So in Love. https://alessandrogalati.com/pancaldi-galati/

The Cole Porter Songbook

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Charles Mingus - Mingus Three (feat. Hampton Hawes & Danny Richmond)

Styles: Contemporary Jazz
Year: 1957
File: MP3@320K/s
Time: 38:22
Size: 88,7 MB
Art: Front

(4:16) 1. Yesterdays
(5:31) 2. Back Home Blues
(6:31) 3. I Can't Get Started
(3:55) 4. Hamp's New Blues
(4:40) 5. Summertime - 1997 Remaster
(6:54) 6. Dizzy Moods
(6:33) 7. Laura

Most often heard in large ensembles and rarely in a trio context, Charles Mingus joined forces with pianist Hampton Hawes for this 1957 studio date. It features four standards, two originals by the bassist, and a jam by the group credited to Hawes. While there's nothing particularly arresting or startling about the date, the relationship between the two ostensible co-leaders is a good case study in group dynamics when deference between two strong-willed individualists turns into a certain amount of compromise. Drummer Danny Richmond is not so much the peacemaker or even mediator, and he is the one with the most common sense who actually pulls this triad into a simpatico unit, cooling the embers with his steady, willful-in-its-own-right playing. As complex as the music of Mingus tends to be, it's nice to hear what he does in a more simplified area.

His "Back Home Blues" is so basic as his bass leads out, while the Mingus chart "Dizzy Moods" is deeper within an easier swing, allowing darker colors to fully but slowly blossom. Richmond favors the tambourine on "Dizzy Moods" and the hip "A Night in Tunisia"-styled take of "Summertime," while a faster "Hamp's New Blues" bops along effortlessly, chided by the drummer's accents. Hawes shines in his gilded, rearranged concept of "Yesterdays," intentionally messing up the changes for the first few bars before settling in, while slowing the Vernon Duke evergreen "I Can't Get Started" (always a personal staple of the Mingus book) to a crawl. The most intriguing selection comes at the end, as "Laura" sounds derived from "Tea for Two," with the hardy upright of Mingus sallying forth about this imaginary woman made real through this poignant song. Some six years later, Mingus, Duke Ellington, and Max Roach would record the controversial trio effort Money Jungle, so in many ways this album is a prelude to that all-star combination, both one-shots and definitely sidebars to the careers of all of these brilliant jazzmen.~ Michael G.Nastos https://www.allmusic.com/album/mingus-three-mw0000309628

Personnel: Bass – Charles Mingus; Drums – Danny Richmond;Piano – Hampton Hawes

Mingus Three (feat. Hampton Hawes & Danny Richmond)

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Gretchen Parlato - Flor

Styles: Vocal
File: MP3@320K/s
Time: 46:44
Size: 108,2 MB
Art: Front

(5:56) 1. É Preciso Perdoar
(4:11) 2. Sweet Love
(4:10) 3. Magnus
(4:32) 4. Rosa
(5:55) 5. What Does a Lion Say?
(4:11) 6. Roy Allan
(6:02) 7. Wonderful
(5:45) 8. Cello Suite No. 1 BWV 1007 Minuet I II
(5:57) 9. No Plan

After an absence of six years dedicated to motherhood, Gretchen Parlato returns with a masterful album for the balance she expresses between refinement, lyricism and intact drive to creatively reformulate the songs. At the head of a new staff enriched by Gerald Clayton on piano and keyboards, Mark Guiliana on drums and Airto Moreira on percussion and voice, as guests the singer from Los Angeles confirms in Flor her position as an absolutely personal interpreter, which is not he can "fear" nothing from the arrival of the splendid last generation vocalists. The path is even more eclectic than the previous records but the result is very homogeneous and mature. Gretchen Parlato expresses her jazz style with always sophisticated choices (repertoire and interpretations) and a compelling vocal style for the play of timbre shading and pauses, for the sensual emotional tension and the refined timing.

The title in Portuguese immediately refers to her great love for bossa nova and other Brazilian music that she sings in the original language with its slightly nasal timbre and that indolent gait that is not so easy to assimilate. The connection with Brazil is accentuated by the staff comprising guitarist Marcel Camargo and drummer Leo Costa, two artists of high value and experience while the presence of the eclectic Armenian cellist Artyom Manukyan is ideal for forays into the classical universe (up to Johann Sebastian Bach). Other valuable reinterpretations come from the repertoires of David Bowie ("No Plan"), Anita Baker ("Sweet Love"), Pixinguinha ("Rosa") and other authors.

The record begins with a bewitching version of "È Preciso Perdoar," a classic by Joao Gilbertowhich Gretchen Parlato interprets in English and Portuguese, supported by an iterative rhythmic base of acoustic guitar and cello underlining. A lively fusion atmosphere, enhanced by Clayton's presence at Fender Rhodes, characterizes the reinterpretation of "Sweet Love" and gives the singer the opportunity to improvise using the voice as an instrument.

Each song is a discovery. The stage of a path carefully conceived on the ground of a colorful and at the same time precious research. A splendid example is the interpretation of "Rosa," a great classic of Brazilian music that Gretchen interprets by vocalizing, in a sumptuous integration with Bachian atmospheres. Another particularly compelling performance is "What Does a Lion Say," a gracefully drawn waltz enhanced by a precious arrangement and intense solos. We can't talk about all the themes but it's really hard to leave out the radiant carioca exuberance of "Roy Allen," song composed by Roy Hargrove.which sees Airto Moreira as a guest, the original reading of a part of Bach's "Cello Suite No. 1, BWV 1007" or the intense and dramatic interpretation of David Bowie's "No Plan". One of the best vocal jazz albums of recent years, and therefore certainly album of the week.

Personnel: Gretchen Spoken : voice / vocals; Marcel Camargo : guitar; Artyom Manukyan : cello; Leo Costa : drums; Mark Guiliana : drums; Gerald Clayton : plan; Airto Moreira : percussion.

Flor

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Frankie Ortega - Strange Music

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 32:03
Size: 74,1 MB
Art: Front

(2:25) 1. Anema e Core
(2:55) 2. Summertime in Venice
(2:14) 3. Sevilla
(2:20) 4. The Swedish Rhapsody
(1:58) 5. Sabre Dance
(2:23) 6. Strange Music
(2:26) 7. The Third Man Theme
(2:27) 8. Take Me in Your Arms
(2:30) 9. C'est si bon
(2:31) 10. My Bonnie Lassie
(2:48) 11. The Gypsy
(2:45) 12. Anna
(2:16) 13. Swingin' Abroad

Frankie Ortega (November 27, 1927 – February 7, 1994) was an American jazz piano player and bandleader with the Frankie Ortega Trio during the 1950s and 1960s.He was born on November 27, 1927 in Alhambra, California, United States. Ortega released Swingin' Abroad on Jubilee Records in 1958 and he composed the theme music for the TV series King of Diamonds in 1961. He may be best remembered for the trio's frequent appearances as the house band at Dino's Lodge on 77 Sunset Strip. He died on February 7, 1994 in Anaheim, California. https://peoplepill.com/people/frankie-ortega/

Strange Music

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Barbara Morrison - Warm and Cozy

Styles: Vocal
File: MP3@320K/s
Time: 57:35
Size: 134,3 MB
Art: Front

(4:21) 1. Detour Ahead
(4:23) 2. Body and Soul
(2:31) 3. Them There Eyes
(4:15) 4. Don't Explain
(3:34) 5. Never Let Me Go
(2:44) 6. The Touch of Your Lips
(4:43) 7. Crazy He Calls Me
(4:26) 8. You Can Have Him
(2:26) 9. Red Top
(4:56) 10. I Wonder Where Our Love Has Gone
(4:16) 11. Last Night When We Were Young
(2:18) 12. Don't Get Around Much Anymore
(4:15) 13. The Music That Makes Me Dance
(3:39) 14. Darn That Dream
(4:40) 15. Stormy Weather (Keeps Rainin' All the Time)

Born in Ypsilanti, Michigan and raised in Romulus, Michigan, Barbara Morrison recorded her first appearance for radio in Detroit at the age of 10. Well known in the Los Angeles area for her duo and trio dates Ms. Morrison also tours extensively, blazing a trail as a Jazz and Blues legend in her own right across the Continental United States, Western Europe the Far East and “Down Under,” wowing audiences with her band.

Fresh off a 33 US City tour, co-headlining in an all-star tribute to legendary composer Harold Arlen (most recognizable for his genius behind the music for the classic film, The Wizard of Oz), Barbara now celebrates her 30th year in the music industry. Over the years she has performed with a virtual “who's who” of the Jazz and the Blues worlds. That list includes legends like; Dizzy Gillespie, Ray Charles, James Moody, Ron Carter, Etta James, Esther Phillips, David T. Walker, Jimmy Smith, Johnny Otis, Dr. John, Kenny Burrell, Terence Blanchard, Joe Sample, Cedar Walton, Nancy Wilson, Mel Torme, Joe Williams, Tony Bennett, and Keb' Mo. Additional, Ms. Morrison guest stars with the Count Basie Orchestra, the Clayton-Hamilton Orchestra and Doc Severinsen's Big Band.

The dazzling Barbara Morrison has been featured on over 20 recordings. She has dazzled fans of a wide aray of genres from traditional Jazz and Blues to Gospel and Pop. Her melodic voice, with its two-and-a-half-octave range, is known worldwide, as are her rich, unique, soulful and highly spirited interpretations of both, familiar Jazz and Blues classics and original contemporary tunes. Equally as striking is Ms. Morrison's ability to belt out down-home, soul-stirring Blues. Her impassioned renditions of old and favorite torch songs are nothing short of breathtaking.

In addition to her multiple solo recordings, fans have experienced the pleasure of Barbara Morrison's rich and vibrant tones on such notable film and television appearances as; the movie sound track for The Hurricane (starring Denzel Washington), Goin' Home: A Tribute to Duke Ellington and Johnny Otis's CD “Ooo Shoo Be Dooo”. Additional credits include the hit NBC TV comedy The Naked Truth, The Tonight Show with Jay Leno and The Dennis Miller Show.

In additional to her gigs with other Jazz and Blues groups and legends, Barbara Morrison also performs at the more renown Blues and Jazz Festivals around the world. Her many outstanding appearances, including those at Montreaux, Nice, Pori, Carnegie Hall, North Sea, Monterey, Long Beach, as well as her Salute to Dizzy Gillespie and her Tribute to Benny Golson, are fondly remembered by Morrison fans who return again and again to share her rare, unique and exceptional vocal gifts.https://musicians.allaboutjazz.com/barbaramorrison

Warm and Cozy

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Veronica Swift - Confessions

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 51:33
Size: 119,6 MB
Art: Front

(3:47) 1. You're Gonna Hear from Me
(3:41) 2. A Little Taste
(5:12) 3. Interlude
(5:01) 4. Forget About the Boy
(6:22) 5. A Stranger in Town
(3:08) 6. I Don't Wanna Cry Anymore
(4:23) 7. I Hope She Makes You Happy
(6:43) 8. Confession / The Other Woman
(3:44) 9. Gypsy in My Soul
(3:34) 10. No Not Much
(2:24) 11. I'm Hip
(3:28) 12. No Regrets

Times change. In the Me Too era it is clearly politically incorrect for a female singer to sidle up to the microphone and huskily breathe "My Heart Belongs To Daddy" like Julie London used to do. Or even, for that matter, to lustily proclaim "Diamonds are a Girl's Best Friend" like Marilyn Monroe. But a residue of that sort of thing (it's called sex appeal) needs to remain, regardless. Veronica Swift is the epitome of a modern female jazz singer. She can wear figure-hugging evening gowns and high heels, but she'll look her audience in their collective eye and state defiantly, "You're Gonna Hear from Me."

That's the one that goes, "Move over, sun and give me some sky; I've got these wings I'm eager to try." She comes back down to earth with a fine interpretation of Billie Holiday's "I Don't Want to Cry Anymore": "Oh, why can't I forget you; I know so well what is in store. A moment or two up in the clouds with you, Then back where I was before." "Forget About the Boy" and her own bittersweet "I Hope She Makes You Happy" leaven the mix: love seen from different angles. Talking of which, there's "Confession/The Other Woman," an angle on love that is rarely celebrated in song. Veronica Swift chooses her songs with great care. She grew up touring with her parents, jazz pianist Hod O'Brien and singer Stephanie Nakasian. So she knows the score.

She made her first appearance at Jazz at Lincoln Center when just 11 years old. In 2015 she won second place in the Thelonious Monk Jazz Competition and a year later headlined at the Telluride Jazz Festival. A residency at Birdland in New York followed, and in 2018 she began touring with trios fronted by pianists Emmet Cohen and Benny Green, both featured on this album. Her songs are marvelously well-crafted performances rooted in tradition, but up-to-the-minute in execution. When Johnny Hodges wrote "A Little Taste" in 1947, he surely never expected that a vocal version would ever be sung by a woman. In his day, when you wrote songs about them, you put women on pedestals.~ Chris Mosey https://www.allaboutjazz.com/confessions-veronica-swift-mack-avenue-records-review-by-chris-mosey.php

Personnel: Veronica Swift: vocals; Emmet Cohen Trio: Emmet Cohen, piano; Russell Hall, bass; Kyle Poole, drums (1, 2, 4-6, 9-12); Benny Green Trio: Benny Green: piano; David Wong: bass; Carl Allen: drums (3, 7-8).

Confessions

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Brian Charette - Power from the Air

Styles: Jazz, Post Bop
File: MP3@320K/s
Time: 72:02
Size: 166,4 MB
Art: Front

( 7:12) 1. Fried Birds
( 5:42) 2. Elephant Memory
( 5:35) 3. Harlem Nocturne
( 7:25) 4. Silver Lining
( 5:41) 5. As If To Say
( 6:56) 6. Power From The Air
(13:49) 7. Cherokee
( 8:55) 8. Want
( 5:17) 9. Frenzy
( 5:25) 10. Low Tide

Armed with an extended knowledge of tradition, NYC organist Brian Charette reunites his groovin' sextet to perform a selection of eight color-rich originals and two jazz standards. The group appears here reformulated with some new members Kenny Brooks on tenor, Karel Ruzicka on bass clarinet, and Brian Fishler on drums replace Joel Frahm, John Ellis and Jochen Rueckert, respectively, while altoist Mike DiRubbo and flutist Itai Kriss remain in their positions. Graciously melding hard-bop and soul jazz, “Fried Birds” spurs the same swinging motion and harmonic pulsation that brought fame to Lou Donaldson in the ‘60s. Working on top of a monumental groove, the soloists, one after another, explore their melodic pliability, which culminates with Fishler’s brief spread of chops over a final vamp. Also packed with multiple stretches is the familiar “Cherokee”, one of the two covers on the album. The other one is “Harlem Nocturne”, a romanticized yet mysterious piece written by Earle Hagen in 1939 for the Ray Noble Orchestra. The screaming tremolos sustained by the Hammond B3 are supplemented with adrenaline-fueled horns in concurrent spiraling movements.

Avoiding sounding tired, the group takes a couple of pieces to a more interesting rhythmic level. While “As If to Say” is initially delivered in nine and then reshapes into a regular uptempo swing, “Silver Lining” has its main melody sliding comfortably over a groove in 11. However, it was the eclectic aesthetics of “Power From the Air” that really grabbed me. The asymmetrical form of the theme doesn’t impede an irresistible soul jazz steam from gushing forth out of the structure’s surfaces. Other stylistic cross-pollinations include “Want”, a shifting number where the classical suggestions diverge to funk, and “Frenzy”, whose gospelized glee inspires us to dance. This album illustrates how extremely versatile Charette is. https://jazztrail.net/blog/brian-charette-power-from-air-album-review

Personnel: Brian Charette: organ hammond B3; Mike DiRubbo: alto saxophone; Kenny Brooks: tenor saxophone; Itai Kriss: flute; Karel Ruzicka: bass clarinet; Brian Fishler: drums.

Power from the Air

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Carol Duboc (Feat.Jeff Lorber) - Restless

Styles: Vocal
File: MP3@320K/s
Time: 38:28
Size: 88,8 MB
Art: Front

(3:57) 1. Restless
(3:56) 2. Universe
(3:58) 3. Swept Away
(4:05) 4. Aftershock
(3:32) 5. Stay Awake
(3:33) 6. Love Don't Get in the Way
(3:43) 7. If You Still Have Eyes
(4:21) 8. Shadow Dance
(3:26) 9. Philosophy
(3:53) 10. Metanoia

Jeff Lorber teams up with jazz vocalist/songwriter, Carol Duboc, just two years after winning the Grammy for Best Instrumental album. Duboc’s 9th solo album entitled, “Restless,” is produced and co-written by Lorber and Duboc. The album also features legendary flutist Hubert Laws, guitarist Paul Jackson Jr, and drummer Gary Novak. Many critics agree this is Duboc’s best album to date! http://carolduboc.com/store/

Personnel: Carol Duboc - Vocal; Hubert Laws - Flute Paul Jackson Jr - Guitar; Gary Novak - Drums

Restless

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Cæcilie Norby - Cæcilie Norby Synger Toppen Af Poppen

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 23:05
Size: 53,5 MB
Art: Front

(4:10) 1. Sittin' In A Window
(3:14) 2. Frit Land
(4:38) 3. Pleasure This Pain
(3:10) 4. Pletfri Solskin
(4:40) 5. Jalousi
(3:10) 6. Josephine

Cæcilie Norby in the music show "Toppen af Poppen" airing on danish TV2 in the of Fall 2019. Norby and a handful of other top names in the danish music industry are rendering eachothers original music in new compositions. Danish jazz and rock singer, 54 years old, born 9 September 1964 in Frederiksberg in Copenhagen, Cæcilie Norby was a member of the pop group OneTwo from 1985-1994, where she and Nina Forsberg were singers. The group released three albums, which together sold about 250,000 copies in Denmark alone. Among the biggest hits was the song 'The best time is with you'. After the time in One Two, she went solo as a jazz singer. In 1995, she was the first European artist to sign a contract with the prestigious American jazz label Blue Note Records, where she released her first four solo releases. Since then, five more solo records have arrived. In January, she released her 11th album in her own name, collaborating with female jazz musicians. In 2019 and 2020, it will be touring around Europe. http://caecilienorby.com/toppop.php

Cæcilie Norby Synger Toppen Af Poppen

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Schapiro 17 - New Shoes: Kind of Blue at 60

Styles: Jazz Funk, Big Band
Year: 2020
File: MP3@320K/s
Time: 95:14
Size: 219,1 MB
Art: Front

(11:53) 1. Boiled Funk
( 3:04) 2. Foiled Bunk
(14:02) 3. So What
( 3:54) 4. Boiled Funk 2: Dark of Night
(10:02) 5. Blue in Green
( 2:26) 6. Boiled Funk 3: Worth Your While
(12:08) 7. All Blues
( 5:14) 8. Boiled Funk 4: Old Feet, New Shoes
( 9:52) 9. Flamenco Sketches
( 5:41) 10. Boiled Funk 5: A Smile
(12:25) 11. Freddie Freeloader
( 4:28) 12. Boiled Funk / Theme

2019 marked the sixtieth anniversary of the Miles Davis sextet's acclaimed album, Kind of Blue (Columbia). While the tributes didn't exactly pour in, New York-based composer / arranger Jon Schapiro took it upon himself not only to revisit that classic session but to re-orchestrate it for a large ensemble (the Schapiro 17) and flesh it out with half a dozen compositions of his own and another by pianist Roberta Piket. In keeping with the spirit of the occasion, all of Schapiro's themes (and Piket's) on the splendid two-CD set New Shoes are anagrams of Kind of Blue "Boiled Funk" 1-5 by Schapiro, "Foiled Bunk" by Piket. The last four of Schapiro's essays include subtitles: "Dark of Night," "Worth Your While," "Old Feet, New Shoes" and "A Smile." There is a closing theme, also labeled (not surprisingly) "Boiled Funk."

Of course, the five movements in the original album aren't overlooked, simply reshaped by Schapiro to accommodate his superb seventeen-member ensemble, not in pursuit of the unlikely goal of improving upon the memorable performance of Davis, John Coltrane, Bill Evans and their colleagues but instead saluting their historic endeavor while refreshing and amplifying it for a new generation of listeners. To that end, the five longest tracks on New Shoes are those on the seminal Kind of Blue: "So What," "Blue in Green," "All Blues," "Flamenco Sketches" and "Freddie Freeloader." The end result is an anthology that not only lends added color to the original but in some cases (dare it be said?) swings even harder.

Disc 1 opens (naturally) with Schapiro's prefatory "Boiled Funk," whose shifting tempos accommodate agile solos by tenor saxophonist Paul Carlon and trombonist Deborah Weisz. "Foiled Bunk," which follows, is a showcase for Piket's inquisitive solo piano and leads to a burnished, angled version of "So What," with Alex Jeun shining on trombone and Rob Wilkerson faring likewise on soprano sax. Piket's tasteful piano introduces the meditative "Dark of Night," on which Wilkerson, again on soprano, spreads his intuitive wings, before CD 1 closes with "Blue in Green," a horn-driven anthem whose genial midsection features tenor Rob Middleton. Disc 2 opens on a fiery note as trumpeter Andy Gravish's blistering solo enlivens "Worth Your While." The swinging continues apace on "All Blues," an up-tempo spree enclosing ardent solos by tenor Carlon, trombonist Alex Jeun and trumpeter Eddie Allen and zealous work by the ensemble. Alto Candace DeBartolo is exceptionally keen and resourceful on the fast-moving "Old Feet, New Shoes," while guitarist Sebastian Noelle is loose and eloquent on the easygoing "Flamenco Sketches."

Piket makes a charming reappearance on "A Smile," soloing with her usual insight and assurance. Schapiro's lustrous arrangement of "Freddie Freeloader," the last of the five songs reprised from Kind of Blue, calls to mind the great Henry Mancini whose jazz works were invariably hip and engaging. Its shifting tempos are subdued by a number of able soloists including Piket, Gravish, Harris, Carlon, bassist Evan Gregor and baritone Matt Hong. Speaking of swing, the square-shouldered finale, "Boiled Funk: Theme" has that in abundance, pressing implacably onward (alongside brief echoes of Jimmy Forrest's "Night Train") behind crisp solos by Piket, Middleton, Carlon, Gravish and trombonist Nick Grinder. Before closing, praise must be accorded to Jon Wikan for his sharp and tasteful drumming and to Gregor for his exemplary timekeeping, each an indispensable component of the album's success, as are Schapiro's bright and impressive charts. And even though Schapiro's warmhearted homage to Kind of Blue was completed some sixty years after the fact, it would surely have warranted an appreciative bow and earnest tip of the hat from the maestros who did it first.
~ Jack Bowers https://www.allaboutjazz.com/new-shoes-kind-of-blue-at-60-schapiro-17-summit-records

Personnel: Jon Schapiro: composer/conductor; Bryan Davis: trumpet; Andy Gravish: trumpet; Eddie Allen: trumpet; Noyes Bartholomew: trumpet; Rob Wilkerson: saxophone, alto; Ben Kono: woodwinds; Candace DeBartolo: saxophone, alto; Paul Carlon: saxophone, tenor; Rob Middleton: saxophone, tenor; Matt Hong: saxophone, baritone; Deborah Weisz: trombone; Alex Jeun: trombone; Nick Grinder: trombone; Walter Harris: trombone; Roberta Piket: piano; Sebastian Noelle: guitar; Evan Gregor: bass; Jon Wikan: drums.

New Shoes: Kind of Blue at 60

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