Saturday, April 10, 2021

Jacob Fischer Trio - Django

Styles: Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 64:13
Size: 148,7 MB
Art: Front

(4:28) 1. Napolitana
(5:02) 2. Metabolic Age
(3:43) 3. Small Teardrop
(6:03) 4. Django
(5:31) 5. Sonho Carioca
(4:49) 6. Theme for Ernie
(4:08) 7. Frère Joseph
(4:53) 8. Retrato Em Branco e Preto (zingaro)
(3:24) 9. Accent Circonflexe
(3:11) 10. Brother Can You Spare a Dime?
(4:34) 11. Parisian Thorughfare
(4:50) 12. Amarcord
(2:46) 13. Hugos Howl
(3:25) 14. Den Allersidste Dans
(3:18) 15. Huset på Christianshavn

Jacob Fischer Trio made their record debut in 2008 with the Danish violinist Svend Asmussen as guest musician. With Django , the trio follows up on the success with Italian Fancesco Cali as guest musician on accordion. Django is, as the title suggests, a tribute to Django Reinhardt - the Belgian guitarist, who to that extent came to form a school within the genre mix jazz / gypsy. Few guitarists, like him, have created a style. But he did, despite a physical weakness

Like Django Reinhardt, Jacob Fischer plays guitar. And no one can be in doubt: Jacob Fischer is both fascinated by Django Reinhardt's universe and even an excellent guitarist with an obvious sense of the genre. Add to that the fact that he has managed to get Francesco Cali on accordion, you have the basic elements of what has become a good, expressive album. For that's what Django is: A beautiful, well-crafted whole with a simple set-up and a simple expression. An instrumental album that reflects the fusion of Jacob Fischers, Hugo Rasmussen, Janus Templetons and Fancesco Calis in the genre. https://translate.google.com.br/translate?hl=en&sl=da&u=https://gaffa.dk/anmeldelse/52688/jacob-fischer-trio-django&prev=search&pto=aue

Personnel: Guitar – Jacob Fischer; Guitar [Rhythm] – Regin Fuhlendorf; Accordion – Francesco Calì; Bass – Hugo Rasmussen; Drums – Janus Templeton

Django

Ralph Peterson - Triangular

Styles: Jazz, Post Bop
Year: 1988
File: MP3@320K/s
Time: 47:09
Size: 108,5 MB
Art: Front

(5:05) 1. Bemsha Swing
(7:37) 2. Triangular
(5:16) 3. Water Colors
(6:17) 4. Princess
(5:57) 5. Just You, Just Me
(4:38) 6. Move
(6:42) 7. Splash
(5:34) 8. Smoke Rings

This is a consistently simulating trio session by the creative drummer Ralph Peterson. On "Bemsha Swing," Peterson's drumming is straight from a New Orleans parade band while "Just You, Just Me" (which features pianist Geri Allen doing her witty impressions of Thelonious Monk) has the trio playing the opening and closing melody choruses in three different tempos simulataneously. "Move" really cooks and each of the five originals (bassist Essiet Essiet's "Splash," three diverse Peterson compositions and the fairly free improvisation "Triangular") have their own personalities. Although Allen is the lead voice, the musical communication between the members of the group results in each musician having an equally important role. Highly recommended.~ Scott Yanow https://www.allmusic.com/album/triangular-mw0000202206

Personnel: Drums – Ralph Peterson; Bass – Essiet Okon Essiet, Phil Bowler; Piano – Geri Allen

Triangular

Nicki Parrott - If You Could Read My Mind

Styles: Vocal
File: MP3@320K/s
Time: 55:36
Size: 128,7 MB
Art: Front

(5:48) 1. I Can See Clearly Now
(4:18) 2. Jolene
(4:42) 3. If You Could Read My Mind
(4:36) 4. Vincent
(4:32) 5. Every Breath You Take
(4:56) 6. The First Time Ever I Saw Your Face
(4:31) 7. You Belong To Me
(4:04) 8. We've Only Just Begun
(4:54) 9. This Girl's In Love With You
(4:42) 10. Do That To Me One More Time
(4:16) 11. Lean On Me
(4:11) 12. The Water Is Wide

Nicki Parrott, an internationally acclaimed bassist, arrived in New York in May of 1994, the recipient of a grant from the Australia Council for the Arts allowing her travel to the US and study with her mentor, one of the world’s premiere double bassists, Rufus Reid. In the same year she was also nominated for the “Australian Young Achievers Award”.Today, Nicki Parrott is a world-class double bassist and an emerging singer/songwriter. In her work with artists from around the globe she has brought a signature sound to every bass part she has played. She performs regularly at the world’s best Jazz Festivals and can be seen Monday’s at the Iridium Jazz Club in New York City with the legendary guitarist and inventor, Les Paul. Since June of 2000, this union has been an ideal showcase for her musical abilities, flair for improv, and gift for entertaining a crowd.Born in Newcastle, Australia, Nicki Parrott began her musical training on the piano at the age of four. She also took up the flute and continued to play both instruments throughout her school years. At the age of 15, Nicki switched her focus to the double bass, formed a band with her older sister Lisa (alto sax) and began composing instrumental pieces that they would eventually record for their premier CD release, The Awabakal Suite (2001).

After completing high school, Nicki moved to Sydney and attended the New South Wales Conservatorium of Music, where she graduated with an Associates degree in Jazz Studies. When bassists such as the legendary Ray Brown (Dizzy Gillespie, Ella Fitzgerald, Duke Ellington, Oscar Peterson) and John Clayton (Diana Krall, Whitney Houston) were playing in town, Nicki would find them, contact them and arrange lessons from them. She was awarded a scholarship to the prestigious Pan Pacific Music Camp, and soon after, took first place in the 1992 Jazz Action Society's Annual Song Competition for her composition, Come and Get It.In 1990, Nicki began touring Australia with Russian musicians Daniel Kramer and Alexander Fischer playing sold out shows across the country. This was followed by successful tours with American trumpeters Bobby Shew and Chuck Findley. When she was off the road, Nicki was consistently playing bass with other world-renowned jazz musicians like New Zealand’s Mike Nock (piano), Australia's Dale Barlow (tenor sax), Paul Grabowsky (piano), Bernie McGann (alto sax) and the explosive Ten Part Invention.

In May of 2002, The Nicki and Lisa Parrott Quartet headlined the prestigious Mary Lou Williams Jazz Festival held at the Kennedy Center in Washington D.C. The show was broadcast on NPR and was well received by the press. She was also the resident bassist with the Kitchen House Blend, a house band that premiered and performed new music from local New York composers. They would blend jazz, hip-hop, classical and rock in one evening...“It was a very creative experience”.Nicki expanded her musical repertoire and appeared on the Broadway stage in such shows as: Imaginary Friends, You're a Good Man Charlie Brown, Summer of '42, and Jekyll and Hyde. She is still active on Broadway today and regularly performs in the comedic musical, Avenue Q.

Since coming to the United States Nicki Parrott has performed and/or recorded with such notable musicians as Randy Brecker, Skitch Henderson, Jose Feliciano, Rebecca Paris, Bucky Pizzarelli, John Pizzarelli, Warren Vache Jr., Clark Terry, Michel Legrand, Billy Taylor, Dick Hyman, Patti Labelle & the New York Pops Orchestra, Annie Ross, the Florida Pops Orchestra, Terri Thornton, Holly Hoffman, DIVA, Marlena Shaw, Monica Mancini, Patrice Rushen, Harry Allen, Red Holloway, Kenny Davern, Mike Stern, Bernard Purdie, John Tropea, David Krakauer, Howard Alden, Randy Sandke, Greg Osby, Jack Wilkins, Ken Peplowski, Johnny Frigo, Joe Wilder, Houston Person, Wycliffe Gordon, Rachel Z and Johnny Varro.

Nicki has also performed at most of the world’s major jazz festivals. In the United States she’s appeared at the Newport Jazz Festival (2005), the Litchfield Jazz festival (2005), the Jazz in July concert series at the 92nd street Y (2003, 2004), the Detroit Jazz Festival (2005) and the Lionel Ha mpton Jazz Festival (2001). Outside the USA Nicki has appeared at the Cully Lavaux Festival (Switzerland - 1995), the Grimsby Jazz Festival (UK - 1996), Berlin Jazz Festival (Germany - 1998), the Ottawa Jazz Festival (2004), the Krakow Music Festival (Poland), JazzAscona (2005, 2006), Bern Jazz Festivals (Switzerland - 2005, 2006), Edinburgh Jazz & Blues Festival (UK - 2006) and of course, she has played at numerous music festivals across Australia. Nicki Parrott is committed to the continuing musical education women receive in order to further their careers and ultimately remain active as musicians past their teen years. In keeping with her sense of community, Nicki’s desire is to teach underprivileged kids to play instruments and learn to enjoy music. It is her belief t hat teaching music to children helps keep them interested in school and out of trouble. https://musicians.allaboutjazz.com/nickiparrott

Nicki Parrott loves old pop songs with good lyrics and good melodies and decided to feature them into this jazz setting.

Personnel: Nicki Parrott (vocal); Larry Fuller (piano); Lewis Nash (drums); Harry Allen (tenor sax); David Blenkhorn (acoustic and electric guitars)

If You Could Read My Mind

Mary Ann Hurst - Wishing On A Star

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 43:52
Size: 101,9 MB
Art: Front

(3:23)  1. Pete Kelly's Blues (Up/Swing)
(4:45)  2. Soon It's Gonna Rain
(3:48)  3. Skylark
(5:11)  4. A Taste Of Honey
(3:31)  5. People Get Ready
(5:11)  6. You Must Believe In Spring
(2:45)  7. When You Wish Upon A Star
(4:11)  8. Ain't No Sunshine
(3:19)  9. Surrey With The Fringe On Top
(3:20) 10. 59th Street Bridge Song (Feelin' Groovy)
(4:23) 11. Pete Kelly's Blues (Ballad Version)

Although billed as a trio effort, this album is a showcase for singer Mary Ann Hurst. Her previous track record includes the rather dauntingly-titled Chinese Folksongs In A Jazz Mode from 2000. There's nothing quite as exotic here, simply a well-wrought session that begins with more than a touch of the cool female vocalists of the 1950s. Even the opening track, "Pete Kelly's Blues," is pure jazz nostalgia, taken from the soundtrack of the Jack Webb film. Hurst's trio is not your usual piano/bass/drums unit but a combination of voice with acoustic guitar and percussion, giving this album a decidedly intimate patina. Mary Ann Hurst deivers many of the tunes in ballad tempo, raising the tempo on others to provide contrast to such titles as "Skylark," "When You Wish Upon A Star," and "You Must Believe in Spring." "Soon It's Gonna Rain," "A Taste of Honey," with a Latin pulse from Gilad, and a mid-tempo "The Surrey With The Fringe On Top" all work to provide a well-mixed set. A few of these songs, like Paul Simon's "Feelin' Groovy" and Bill Wither's "Ain't No Sunshine," seem to be in need of temporary retirement. Let us respect the value of percussionist Gilad and especially guitarist/arranger Freddie Bryant on this album. Bryant is a wonder, either strumming on the up-tempo songs or providing sensitive playing and solo work on the majority. The tongue-in-groove fit of his playing and Hurst's smoky vocals place this album on a special shelf. ~ Michael P.Gladstone https://www.allaboutjazz.com/wishing-on-a-star-mary-ann-hurst-love-bug-review-by-michael-p-gladstone.php

Personnel: Mary Ann Hurst: vocals; Freddie Bryant: guitar; Gilad: percussion.

Wishing On A Star

Eli Degibri Trio - Live at Louis 649

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 74:53
Size: 171,7 MB
Art: Front

(10:28)  1. NY-TLV-NY
(11:08)  2. Every Time We Say Goodbye
(10:41)  3. Gypsy
(13:30)  4. Pum-Pum
( 8:47)  5. I Fall in Love Too Easily
(11:36)  6. Shoohoo
( 8:41)  7. Colin's Dream

Over the years, the phrases "organ/tenor group," "tenor/organ group," and "organ/sax combo" have often been synonymous with soul-jazz. When soul-jazz fans hear the words "organ" and "tenor" in the same sentence, they immediately think of all things funky; they immediately think of Stanley Turrentine's work with Shirley Scott or Gene Ammons' encounters with Jack McDuff and Johnny "Hammond" Smith. But one shouldn't forget about the post-bop innovations of Larry Young, who moved organ groups beyond soul-jazz and paved the way for everyone from Barbara Dennerlein to John Medeski. And on this live album, one hears a tenor/organ trio that has nothing to do with soul-jazz and everything to do with post-bop. The tenor saxophonist is Eli Degibri (who is also heard on soprano sax) and the organist is Gary Versace; rounding out the threesome is drummer Obed Calvaire. This 74-minute CD was recorded in August 2007 at Louis 649, a small club in Lower Manhattan's Alphabet City section (which was notoriously dangerous in the 1970s and 1980s but became quite gentrified during New York City's Rudy Giuliani/Michael Bloomberg era). Degibri could have easily embraced a sax/bass/drums format at Louis 649 but the fact that he went the organ route instead was a good thing, because this release is a worthwhile example of a post-Jimmy Smith approach to tenor/organ jazz. The trio's performances are hardly groundbreaking by 2007 standards; Young's groups were doing this type of thing 40 years earlier. But the performances are solid, albeit derivative, on the Tin Pan Alley warhorses "I Fall in Love Too Easily" and "Every Time We Say Goodbye" as well as Degibri originals that include "Shoohoo," "Colin's Dream," and the moody "Gypsy." Although not a five-star masterpiece, Live at Louis 649 is a respectable document of Degibri's sax/organ encounters in downtown Manhattan. ~ Alex Henderson http://www.allmusic.com/album/live-at-louis-649-mw0000794666

Personnel: Eli Degibri  (saxophone); Gary Versace (organ, Hammond b-3 organ); Obed Calvaire (drums).

Live at Louis 649

James Clay - Tenorman: The Kid From Dallas

Bitrate: MP3@320K/s
Time: 66:37
Size: 152.5 MB
Styles: Saxophone jazz
Year: 2011
Art: Front

[3:28] 1. In A Sentimental Mood
[4:36] 2. The Devil And The Deep Blue Sea
[4:30] 3. Easy Living
[4:32] 4. Minor Meeting
[3:40] 5. Airtight
[4:46] 6. Willow Weep For Me
[4:27] 7. Three Fingers North
[4:12] 8. Lover Man
[4:16] 9. Marbles
[2:41] 10. It's Allright With Me
[5:29] 11. Scrapple From The Apple
[6:15] 12. Out Of The Blue
[5:31] 13. Sandu
[8:07] 14. Cheek To Cheek

James Clay (ts), Bobby Timmons (p), Jimmy Bond (b), Peter Littman (d), Lorraine Geller (p), Red Mitchell (b), Sonny Clark (p), Lawrence Marable (d).

In the summer of 1956 James Clay was a 20-year-old tenor saxophonist from Dallas, who had been living and playing in Los Angeles since mid-1955. At that time his colleagues were all young and independent experimentalists, completely outside of the flourishing West Coast jazz movement – players like trumpeter Don Cherry, bassist Billy Higgins, and altoist Ornette Coleman – and though he said he was not an outside player, he worked easily within the unconventional settings of Coleman’s compositions.

Paradoxically, however, his only recordings were straight ahead, not at all in line with Ornette’s controversial music. On them his ideas flow melodically, especially in ballads and mid-tempos. On faster tunes, his blowing statements come from the strong swinging style and hot tone that characterized other Texas tenors such as Illinois Jacquet and Arnett Cobb, with a hard-bop approach clearly influenced by his idol Sonny Rollins. This CD contains all James Clay studio performances on tenor sax while the young kid from Dallas was living in Los Angeles in the mid Fifties.

Tenorman: The Kid From Dallas