Friday, April 30, 2021

Lori Williams - Full Circle

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 61:59
Size: 143,1 MB
Art: Front

(5:05) 1. My Funny Valentine
(5:39) 2. Evergreen
(5:11) 3. Turn Turn Turn (To Everything There is a Season)
(5:04) 4. The Shadow of Your Smile
(6:51) 5. Peresina (Full Circle)
(5:11) 6. Bewitched Bothered and Bewildered
(7:41) 7. Come Sunday
(4:52) 8. Way over Yonder
(3:56) 9. The Best is ye
t to Come
(4:32) 10. Auld Lang Syne (4:00) 11. Turn Turn Turn (To Everything There is a Season) - Radio Edit
(3:51) 12. Turn Turn Turn (To Everything There is a Season) - Vocal Version

As the lead vocalist of her self-titled Washington, D.C.-based jazz ensemble, Lori Williams is well regarded in our area for her soothing voice and for performing incredible sets of jazz and R&B. She has also taught vocal music in D.C. public schools for more than 20 years, and is beloved by generations of musicians. Born and raised in Southeast D.C., Williams has been heralded for her voice since she was a young student at Hampton University. Over the years, she has played some of the top places in D.C., as well as venues around the country and the world.

She has directed numerous choirs, such as the National Diamond Girls Jazz Choir (which performed during the Inauguration Ceremony for President George Bush), the Sagamihara Christian Fellowship Gospel Choir in Japan and several gospel choirs throughout the area. “When I started out, I met with two professors who introduced me to jazz and then I was on a radio show on campus, and got the chance to be the jazz program director and hear some music and play some music, and just fell in love with it,” Williams said. “I felt like jazz was my voice and [something] I could identify with.”

Williams will hold a CD release party at City Winery on Sept. 29, introducing fans to her fifth album, “Full Circle,” a return to traditional jazz music. “The music actually came out in July but I was over in Europe at the time so I didn’t get the chance to share the music with people here at home, and I want to be able to showcase my CD to the good folks in Washington, D.C.,” she said. “I’m going to do a couple of tunes off the new CD, but other tunes from other CDs I have put out over the years.” The album offers classic standards such as “My Funny Valentine,” “Evergreen” and “Bewitched, Bothered and Bewildered” that are done in unique ways and showcase some of D.C.’s best jazz musicians.

“It’s a return to a love of mine, which is traditional jazz,” Williams said. “My father passed last year, and the gentleman who produced the CD, Alan Johnson, found a recording that my dad did in 2012 and we did a Nat King Cole/Natalie Cole-esque kind of vibe, giving me an opportunity to sing along with my dad on a song he put together.” Williams said picking the rest of the set list came from the songs she fell in love with in her late teens and early 20s the tunes that made her fall in love with jazz. “For example, Barbra Streisand was one of the first women singers whose voice I was absolutely captivated by, so I’m doing ‘Evergreen,’” she said. “And because of what’s happening in our world today, ‘Turn, Turn, Turn’ is a very apropos selection.”

She’s no stranger to City Winery, having played this venue three times and the one in Atlanta a couple of times as well. “The ambiance there is absolutely incredible. Also, I love wine,” Williams said. “I’ve traveled to Europe and have been introduced to different types of wines, and I just love how sophisticated City Winery is. People are coming there with the expectancy of hearing great music and enjoying great food and wine. It’s a good combination.” Williams is making a big change in her life this fall, as she is relocating to Georgia to become a full-time musician, artist, and symposium director for colleges and universities teaching students about the essence of jazz and lyrical content through her commissioned program “Positive Music For Positive Minds.”

“My dad’s no longer here, my mom’s no longer here, and I need something new,” she said. “I’ll be coming back but sometimes in order to come back to one’s hometown and be truly seen, you need to disappear.” One thing that will not change is her love of being onstage. “I love sharing an experience about peace and positivity,” Williams said. “I’m still learning. When you’re a performer, you are using every part of who you are. I’m grateful that I am part of a circle that is giving me advice and I can surround myself with great producers and musicians, and always enjoy singing live.” Keith Loria http://www.fairfaxtimes.com/articles/lori-williams-comes-full-circle/article_0c8d19ee-e141-11e9-9a26-9758114f0c9a.html

Full Circle

Lauren White And The Quinn Johnson Trio - Ever Since the World Ended

Styles: Vocal
File: MP3@320K/s
Time: 30:37
Size: 71,2 MB
Art: Front

(3:52) 1. If You Never Fall in Love with Me (Del Sasser)
(4:11) 2. Just the Two of Us
(4:16) 3. Ever Since the World Ended
(4:21) 4. Alone Together
(3:46) 5. Remembering the Rain
(3:53) 6. Some of That Sunshine
(3:39) 7. Take Love Easy
(2:35) 8. Shattered

There is a cadre of West Coast jazz musicians who tacitly orbit one Mark Winkler. This embarrassing wealth of talent includes: Cheryl Bentyne, Dolores Scozzesi, Judy Wexler, Robyn Spangler, Gary Brumburgh, Jeffery Gimble, Ada Bird Wolfe, and our present subject, Lauren White. White, an original East Coast product, expatriated to Westward to act and sing...and record. Her previous recording, Life In The Modern World (Cafe pacific Records, 2019) was the (unknowing) opening bookend to a most curious cultural year we are just completing. Considering the view from here and now, that album could have just as well been entitled, Life on Mars (with apologies to David Bowie). Life In The Modern World is now potently ironic considering our Darwinian, Covid-19 wake up call.

Eighteen months or so later, White reacts to the plague year with Ever Since The World Ended, the title piece a composition of Tippo, MS native Mose Allison. from his 2006 Blue Note recording of the same name. White shares vocal duties with friend and colleague Dolores Schozzesi. White used the pandemic as a programming opportunity, bringing together songs sung in response to the veritable unknown and never experienced.

Supported again by pianist Quinn Johnson and his rhythm section of bassist Trey Henry and drummer Ray Brinker. Lockdown and quarantine is captured in Bill Withers' "Just The Two Of Us," and the chestnut "Alone Together," an experience had by so many that the phrase, "the new normal," actually makes sense. The introversion of the period is expressed in the juxtaposition of "Remembering the Rain" (this helmed by bassist Kevin Axt, guitarist Grant Geissman, and drummer Chris Wabich) with "Some of that Sunshine."

White closes her recital with Jimmy Webb's plaintive "Shattered," completing the circle that began with Life In The Modern World, a modern world showing that the Medieval remains among us. White expands an already impressive artistry with a great mind for programming nuance. Higher themes enhance the listening experience, something White, and the rest of her West Coast Cadre, has internalized and put into capable practice. White's sturdy yet pliable alto guides a delicate balance through the disparate, yet related songs: soothing and accepting.~ C.Michael Bailey https://www.allaboutjazz.com/ever-since-the-world-ended-lauren-white-cafe-pacific-records

Personnel: Lauren White: voice / vocals; Quinn Johnson: piano; Trey Henry: bass, acoustic; Ray Brinker: drums.

Ever Since the World Ended

Anaïs Reno - Lovesome Thing (Feat. Emmet Cohen)

Styles: Vocal
File: MP3@320K/s
Time: 53:09
Size: 122,8 MB
Art: Front

(4:54) 1. Caravan
(5:26) 2. Mood Indigo
(2:41) 3. Still in Love
(5:25) 4. Chelsea Bridge / A Flower Is a Lovesome Thing
(5:15) 5. I'm Just a Lucky So-and-So
(5:37) 6. It's Kind of Lonesome Out Tonight
(4:24) 7. Day Dream
(4:35) 8. I Ain't Got Nothin' but the Blues
(4:22) 9. All Roads Lead Back to You
(1:06) 10. U.M.M.G. (Upper Manhattan Medical Group)
(5:47) 11. Lush Life
(3:30) 12. Take the "A" Train

Duke Ellington and Billy Strayhorn were collaborators for several decades beginning in the late 1930s. They became so closely intertwined musically that it was frequently impossible to distinguish their work. Anaïs Reno a young and promising singer has chosen to use their compositions as the basis for her debut release Lovesome Thing: Anaïs Reno Sings Ellington & Strayhorn. This choice was not without risk as the harmonic structure and lyrics of some of the compositions are better suited to a more experienced vocalist. However, Reno was undeterred and the results are more than impressive.

In addition to being fearless in her choice of material, Reno had the foresight to look for a supporting musical cast that would enhance her vocal efforts. Pianist and arranger Emmet Cohen was an ideal selection as he is a stellar and inventive musician. Rounding out the band are Russell Hall (bass), Kyle Poole (drums), Tivon Pennicott (saxophone) and on a couple of tracks violinist Juliet Kurtzman, who also happens to be Reno's mother.

The opening Ellington tracks "Caravan" and "Mood Indigo" had co-writers, namely Juan Tizol on the former and Barney Bigard for the latter. Cohen has put together a rhythmically off-beat construction for "Caravan" that gives Reno the foundation to test her vocalese before the lyric begins. Pennicott covers much ground with his Middle-Eastern influenced solo, before Reno picks up the lyric again in the out chorus. Cohen's light fingered piano opening on "Mood Indigo" foretells the interpretation offered by Reno. Gliding over the lyrics, she shows a gift for flowing delicacy, that segues into Kurtzman's violin for an uncluttered interjection.

The impact of Ellington and Strayhorn either separately or together cannot be underestimated in the jazz world. Their work here as co-composers includes "Day Dream" and "All Roads Lead Back To You." The former was written as a feature for alto saxophonist Johnny Hodges in order to take advantage of his restrained vibrato and daunting glissandos. Here Reno imparts an earthy intimacy to the number. The second number is also known as "Lotus Blossom" and is emotionally similar to the former composition, although slightly more melancholy. "Lush Life" was Billy Strayhorn's first classic composition, written when he was just a teenager. It is filled with demanding harmonies and is complex chromatic music. The lyrics tell the story of the isolation of a black man who declined to compromise his sexual identity. No small stretch for a debutante singer, but one which she reaches with assurance. The final track in this session, "Take The "A" Train," was the first composition that Strayhorn wrote for Ellington. History tells us that the composition's name was based on directions that Ellington gave to Strayhorn to find Ellington's apartment in Harlem from mid-town New York. Reno's interpretation of the composition uses the imbedded swing norms and harmonic cleverness to deliver an "A" train experience.

Anaïs Reno exudes confidence on this debut and with experience should develop into a singer who will delve further into the heart of the songs she chooses.~ PIERRE GIROUX https://www.allaboutjazz.com/lovesome-thing-anais-reno-sings-ellington-and-strayhorn-anais-reno-harbinger-records

Personnel: Anaïs Reno: voice / vocals; Emmet Cohen: piano; Russell Hall: bass; Kyle Poole: drums; Tivon Pennicott: saxophone, tenor; Juliet Kurtzman: violin.

Lovesome Thing