Jérôme Gatius, Alain Barrabès - Echoes of Spring

Styles: Clarinet And Piano Jazz, Swing
Year: 2015
File: MP3@320K/s
Time: 57:54
Size: 133,6 MB
Art: Front

(2:59) 1. Weary Blues
(4:01) 2. Temptation Rag
(3:59) 3. Echoes of Spring
(3:18) 4. Crazy Rhythm
(3:11) 5. Grandpa's Spells
(3:55) 6. Stars Fell on Alabama
(3:26) 7. Wolverine Blues
(4:40) 8. Femme Martinique Dou
(4:32) 9. Shine
(3:07) 10. Puisque vous partez en voyage
(4:19) 11. High Society
(3:51) 12. La flambée montalbanaise
(2:36) 13. Rythmes gitans
(2:57) 14. My Blue Heaven
(3:25) 15. Wild Cat Blues
(3:33) 16. Yarbird Suite

We can say that these two have found each other. After crossing the swinging eighth note in lots of feasting situations, they decide to play as a duet. Their two languages complement each other wonderfully. They talk about swinging jazz (euphemism), which speaks to the heart. One chisels, the other supports, but sometimes, great happiness, the roles are reversed. Let's close our eyes, hardly believable, we would think they were more numerous: abundant music, counterpoint, questions and answers, games, comments, bubbling exchanges in a mutual listening. Suddenly, they record a cd: "ECHOES OF SPRING". Several good reviews in the press and several passages on France Musique confirm our two friends in their choice. Moreover, they are the only ones in the world (for the moment) to have recorded "echoes of spring" in piano / clarinet duo. After many explosive and delicate concerts, here they are scheduled at the Théâtre de l'Usine!...Translate by Google https://theatredelusine-saintcere.com/spectacles/357/echoes-of-spring/

Personnel: Piano: Alain Barrabès; Clarinet: Jérôme Gatius

Echoes of Spring

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The Ray Gelato, Enric Peidro Quintet - With All Due Respect

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 64:06
Size: 148,1 MB
Art: Front

( 6:23) 1. Water Jug
( 5:58) 2. Lockjaw
( 5:43) 3. Hot Saxes
( 5:43) 4. Illinois Goes to Chicago
( 5:15) 5. Slammin' around
(10:09) 6. Medley Smoke Gets in Your Eyes- Easy Living
( 6:21) 7. Woke up Clipped
( 5:20) 8. High on an Open Mike
( 5:14) 9. A Sound Investment
( 7:55) 10. Bean and the Boys

Throughout 10 Jazz songs without additives and brimming with swing, interaction and complicity, we attend a "saxophonistic" party where the two tenors of Peidro and Gelato, with their full and exuberant sounds, although perfectly easy to distinguish, engage in fluids and exciting musical dialogues - always exquisitely backed by an impeccable rhythmic section - celebrating at all times, but with "due respect" the legacy of their idols of which both saxophonists are more than worthy disciples: not a single one is perceived on the album. iota of nostalgia or pale imitation. On the contrary, the creativity and immediacy of the discourse of both tenors and the general enjoyment that is perceived throughout the entire CD by the quintet, makes it clear that we are dealing with musicians versed in a classic Jazz language that they use naturally to express yourself within an expressive and dynamic palette that is more than enviable. https://lamarinaplaza.com/ca/evento/jazz-concierto-presentacion-del-disco-with-all-due-respect-por-ray-gelato-enric-peidro-quintet-denia/

Since they performed their first concert together in 2016, these two saxophonists, who in their own right are instrumentalists of reference for all lovers of the saxophone in its most classical or “mainstream” aspect, have not stopped laughing as often as their agendas have allowed it, since they are not only united by a great friendship but also an enormous musical and stylistic connection. In this first album together, recorded in 2019, Gelato and Peidro wanted to pay tribute "with due respect" to their teachers in the tenor sax, who are none other than the great tenors of the 30s and 40s of the last century and their first disciples. Thus, throughout this peculiar and passionate album, which the critics describe as "high voltage swing not suitable for the faint of heart", both tenor saxophones "dialogue" with forceful and passion accompanied by a luxurious rhythmic section on an extraordinary and unusual selection of topics all written, wi thout exception, by some of his teachers. Thus, in the album there are compositions by Hawkins, Webster, by as, lockjaw and many others in an album so in U su al as interesting and essential for those who enjoy the sounds of the classical tenor sax in jazz. https://www.amazon.es/all-respect-Gelato-Enric-Peidro-Quintet/dp/B07YNKWR4N

Personnel: Ray Gelato & Enric Peidro Tenor sax; Richard Busiakiewicz Piano; Andrés Lizón Bass; Simone Zaniol Drums

With All Due Respect

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Rachel Sutton - A Million Conversations

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 31:08
Size: 71,9 MB
Art: Front

(4:37) 1. When Love Was New
(3:05) 2. Pick Myself Up
(5:25) 3. A Million Conversations
(5:03) 4. Kiss My Baby Goodbye
(5:22) 5. Brother Can You Spare a Dime
(2:59) 6. Evil Gal Blues
(4:33) 7. The Space

“I REMEMBER TIMES… when love was new.” This opening line, delivered with romantic phrasing reminiscent of the late, great Karen Carpenter, was all it took all it took to encourage further exploration of A Million Conversations, the debut release from vocalist Rachel Sutton with pianist Roland Perrin, bassist Michael Curtis Ruiz and drummer Paul Robinson.

To fall under the spell of the human voice is by no means automatic but, rather, a distinctly personal experience. In the case of Rachel Sutton, her background as a dramatic actress clearly feeds into the expressive detailing that illuminates the seven songs on this album, the majority of which are, musically and lyrically, self-penned. And it’s no surprise to read that Cole Porter, George Gershwin, Billy Joel and Judy Collins are amongst her long-time inspirations. But it takes more than a copyist to tug at the emotions as effectively (and, personally speaking, as involuntarily) as this.

Balladic When Love Was New possesses a timeless, yearning aura which encompasses both jazz and musical theatre and, immediately, it’s apparent that this is a vocalist who instinctively paces the progression of a song, with mellow, lower resonances as attractive as her controlled vibrato. A Million Conversations has the classic feel and timbre of 1970s Carly Simon or Don Henley/Glenn Frey (“So won’t you join me as we go back through the years… to a halcyon time?”), with restrained country-rock piano to accompany sung melodies which fix in the mind as well as heart.

There’s also showmanship aplenty, as sassy, Broadway-style Pick Myself Up proves, brimming with chromatic joie de vivre and deliciously mobile fretless bass. The smouldering bossa/swing rhythms and hiatuses of Kiss My Baby Goodbye reveal a swagger to Sutton’s resigned delivery (“Now it’s gone, I have to forget you”); and a dark, theatrical mood akin to Lionel Bart is present in The Space, her emotion playing out well in its forlorn, aching storytelling. Alongside these original songs are two classy interpretations. Brother Can You Spare a Dime (Al Jolson, Bing Crosby) can easily be oversung, but Rachel’s discipline is well suited to this 1930s blues of the Great Depression, accentuated here by the trumpet break of guest Stuart Brooks; and Evil Gal Blues (Dinah Washington, Aretha Franklin) has a sprightly, impetuous step the final laugh confirming the joy of the performers!

Rachel Sutton’s voice sparkles, as do her own, memorable compositions. So it’s easy to imagine collaborations with larger ensembles and big bands, as well as maybe venturing into larger-scale compositional projects. Catch those opening words for yourself… and you may well hear why I delight in this discovery.

Personnel: Rachel Sutton voice; Roland Perrin piano; Michael Curtis Ruiz bass; Paul Robinson drums with Stuart Brooks trumpet

A Million Conversations

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