Enrico Pieranunzi, Marc Johnson, Paul Motian - The Copenhagen Concert

Styles: Piano Jazz, Post Bop
Year: 2020
File: MP3@320K/s
Time: 61:18
Size: 141,1 MB
Art: Front

(10:06) 1. Abacus
( 7:02) 2. The Night Gone By
( 8:53) 3. Invitation
(16:18) 4. Medley: Body & Soul / If I Should Lose you
(12:19) 5. Everything I Love
( 6:37) 6. Pannonica

Enrico Pieranunzi has been a popular guest in Copenhagen for over 30 years, where he has played with elite Danish musicians like Mads Vinding, Alex Riel and Jesper Lundgaard. In recent years he has collaborated closely in a duo context with the phenomenal bassist Thomas Fonnesbæk and the two, together, were soon able to achieve new heights of creativity. Pieranunzi is an exceptional pianist, whether he’s playing solo, duo or trio. Melodically, harmonically, and not least of all rhythmically, he is “out of this world”. He has something you simply don’t hear with other musicians. Part of the explanation is likely due to a unique combination of influences, from his deep roots in classical and Italian music to his collaboration with iconic film composer Ennio Morricone and jazz giants like Chet Baker and Art Farmer. The rest and most importantly is due to Enrico himself.

On this recording, from December 1996 at the legendary and now closed Copenhagen Jazzhouse, he is joined by two masters in their own right; Marc Johnson on bass and Paul Motian on drums. This trio plays with virtuosity and force that shines through on every note and beat.

The album opens with the tempo filled track Abacus, written by Motian. A track that has a playfulness and displays the three musicians’ genuine interaction and functions as a conversation between the piano and bass. Both the technique as well as feel is top-level as the musical resources are in free flow. The Night Gone By, written by Pieranunzie, starts with more of a ballad feel before a bass solo transcends the track into a higher tempo midway lead by the piano, before coming back to its initial softer feel at the end.

Album closer Pannonica, a Thelonius Monk penned classic, has more of a swing feel to it, has more of a swing feel to it and closes the album in style. Pieranunzi, the Italian piano master, is recognized as one of the best European jazz pianists and as a pianist, composer and arranger he has recorded more than 70 albums.https://storyvillerecords.bandcamp.com/album/the-copenhagen-concert

Personnel: Enrico Pieranunzi - Piano; Marc Johnson - Bass; Paul Motian - Drums

The Copenhagen Concert

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Magnolia Jazzband, Lillian Boutté - Molde Revisited

Styles: Vocal, Big Band
Year: 2012
File: MP3@320K/s
Time: 61:33
Size: 142,9 MB
Art: Front

(3:47) 1. Royal Telephone
(7:45) 2. He Touched Me
(5:21) 3. Strange Things Are Happening
(7:26) 4. His Eyes Is on the Sparrow
(6:16) 5. Shake the Devil Off
(5:20) 6. Do You Know My Jesus
(7:22) 7. Just a Little While to Stay Here
(5:38) 8. Louisiana 1927
(7:21) 9. Lead Me Guide Me
(5:11) 10. This Little Light of Mine

A versatile singer based in New Orleans, Lillian Boutte is capable of singing both New Orleans Dixieland standards and New Orleans R&B, swing-era tunes, and contemporary originals. She sang as a child (winning a vocal contest when she was 11), performed with her college's gospel choir, and then in 1973, was hired by Allen Toussaint as a backup singer for the many projects recorded in his studio. Boutte appeared as an actress and singer in the musical One Mo' Time during 1979-1984, recorded a gospel album with the Olympia Brass Band in 1980, and in 1982, made her first jazz album. Boutte has spent time alternating between living and performing in Europe and New Orleans, and she has been closely associated with reed player Thomas L'Etienne who usually leads her backup groups. Through the years, Lillian Boutte has recorded for many labels (mostly in Europe) including Herman, Feel the Jazz, High Society, Turning Point, Timeless, Southland, Storyville, GHB, Calligraph (with Humphrey Lyttelton), Blues Beacon, and Dinosaur Entertainment.~ Scott Yanow https://www.allmusic.com/artist/lillian-boutt%C3%A9-mn0000291690/biography

Magnolia Jazzband (established 1972 in Oslo) plays New Orleans-based traditional jazz mixed with gospel and rhythm and blues. The band was started by trombonist Gunnar Gotaas and is today one of Norway's oldest bands in continuous operation. Whether it is at a concert, at a party or at church, Magnolia always has her very special "beat" and her warm "sound" with her. Magnolia Jazzband has toured i.a. in Denmark, Sweden, Finland, Germany, Switzerland, the Netherlands, Belgium, France, England, Spain, Italy, Russia, Singapore, Dubai and Colombia. In 2012, the band was invited to play at the largest jazz festival in the United States - the New Orleans Jazz & Heritage Festival. The musicians in the Magnolia Jazz Band have made several pilgrimages to New Orleans, the birthplace of jazz, and some of the total of 14 records the band has released have been recorded right there. The band sometimes has singing soloists, among others. Topsy Chapman, Lillian Boutté, Majken Christiansen, Karin Krog, Anne Marte Slinning, Marith Endresen, Tracee Meyn and Harriet Müller-Tyl, and have also collaborated with the artist Adam Douglas. One record that left a mark was New Orleans Gospel in Molde with Lillian Boutté (1981). The band's latest album is called Old Fashioned Love (2016). New album, Blessed Moment - Hymns from Scandinavia, was released in December 2020. Translate By Google https://www.magnoliajazzband.com/om-oss

Personnel: Lillian Boutté Vocal; Anders Bjørnstad - trumpet; Georg Reiss - clarinet - sax; Gunnar Gotaas - trombone; Morten Gunnar Larsen - piano; Børre Frydenlund - banjo/guitar/vocal Sebastian Haugen - contrabass; Torstein Ellingsen - drums

Molde Revisited>

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Attila Zoller - Gypsy Cry

Bitrate: MP3@320K/s
Time: 39:50
Size: 91.2 MB
Styles: Post bop, Guitar jazz
Year: 1970/2005
Art: Front

[2:40] 1. Wild Wild Wes
[4:05] 2. Another Kind Of Love
[3:57] 3. Horns
[4:46] 4. Meet In Berlin
[3:48] 5. The Birds And The Bees
[5:14] 6. Alicia's Lullaby
[3:45] 7. At Twilight
[7:58] 8. Gypsy Cry
[3:35] 9. Sweet Hustler

Bass – Reggie Workman, Victor Gaskin; Drums – Sonny Brown; Guitar – Attila Zoller; Piano, Electric Piano – Herbie Hancock; Tárogató – Lew Tabakin. Recorded at A & R Recording Studios, New York.

Hungarian-born guitarist Attila Zoller was perhaps the least-known guitarist in jazz to the general public. His 50-year-long career, which ended with his death in January of 1998, was filled with professional heights and the wide acclaim of his peers and bandmates, who included at various times: Joe Zawinul (back in Budapest), Lee Konitz, Red Norvo, Benny Goodman, Ron Carter, Tal Farlow, Herbie Mann, Herbie Hancock (who is the pianist on the this date), and others too numerous to mention here. This set is comprised of two dates, both of them recorded in 1970. Hancock plays both acoustic and electric piano. He was struggling to find his new voice after semi-leaving the Miles Davis band to go on his own; Victor Gaskin and Reggie Workman both play bass for reasons that shall be explained in a moment, Lew Tabakin joins on a track or two, and so does drummer Sonny Brown, who disappeared from the face of the jazz world shortly after these sessions. Produced by Mann, the music here is divided into two distinct camps: the "commercial" music as Zoller called it in cadence, music that was in some way accessible to people as jazz, and his freer music, the music that was inspired by Ornette Coleman and Don Cherry, two of his classmates at the Lenox, MA, jazz school. It hardly matters, however, because Zoller wrote all the material here. From his warm and breezy "Wild Wild Wes," which is a tribute to the late guitarist, and his open string chord voicings to the knotty electric charge of "Meet in Berlin" that features Hancock riffing away on the electric piano and trading eights with Zoller, to the gorgeous title track built on Hungarian folk melodies, Zoller's tone is always just on the soft side of raw; it is edgy and full of passion and pain no matter how smooth his chords or riffs were. He could go around edges but never completely round them off. On the funky "Sweet Hustler," which ends the album, Zoller's stinging runs turn around the entire harmonic structure of the tune, even though it's just a funky soul jam. He manages to move through the chord progression turnaround and slip the melody inside out, changing both harmonic and lyrical concerns from straight singing lines into modal intervals. This was Attila Zoller just doing his thing, and on Gypsy Cry he was at his best doing it. This album is a kind of groove-jazz masterpiece. One more word on the Collectables jazz reissues series, called the Collectables Jazz Classics. It's true that many of the titles in this series are lesser-known works, far from the standard canonic lines that make labels like Blue Note or Fantasy's original jazz classics or even Verve such trademarks. But that should matter little because the route Collectables has taken is to insure that very deserving recordings like this one or any one of dozens of others gets the decent presentation, good liner notes, and fine sound it deserves in reissue. In fact, Collectables is doing in its own way what may other labels should have been doing a long time ago: the research to seek out the finest and most overlooked records and get them out onto the marketplace at a price where they can either be reconsidered by those who may have overlooked them, found at last by the few that revered and treasured them in the first place, or discovered in the first place by an entirely new generation of jazz fans. Bravo. ~Thom Jurek

Gypsy Cry

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Sophie Alour - Enjoy

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 48:30
Size: 111,8 MB
Art: Front

(6:17) 1. La chaussée des géants
(4:03) 2. Songe en forme de palmier
(4:25) 3. Songe en forme de fougère
(5:11) 4. Fleurette égyptienne
(5:28) 5. Joy
(4:50) 6. Un ciel plus grand
(2:53) 7. For foot and spirit
(6:30) 8. Exil
(5:01) 9. Sous tous les toits du monde
(1:44) 10. Duo
(2:02) 11. Les coeurs combattants

Born in 1974, Sophie Alour learned the saxophone on her own, after having studied clarinet at the music school of Quimper. It was on stage, in vivo, that she learned jazz and very quickly, in 2000, she joined the big band "the Vintage Orchestra" which brought together the best of her generation. In the same year, she created a sextet with Stéphane Belmondo and joined in the same momentum the big band of Christophe Dal Sasso who recorded the album "Opening" (Nocturne). A new step was taken when Rhoda Scott hired him in 2004 to form his quartet.

The same year she plays in the big band of Wynton Marsalis and takes part in Aldo Romano's project. In 2005, she recorded her critically acclaimed first album "Insulaire" (Nocturne). She is invited to take part in several recordings and can be found on Alexandre Saada 's records "Be where you are" or "Panic circus" as well as on Rhoda Scott' s Lady quartet album.

As a leader, she produced her second album in 2007 "Uncaged" (Nocturne) which brought together Laurent Coq on the fender rhodes, Yoni Zelnik on the double bass and Karl Jannuska on the drums and for which she debauched the guitarist Sébastien Martelof the rock scene. The public is as enthusiastic as the critics (disc of emotion Jazzmag, Choc Jazzman and ffff Télérama) and she obtains the Django d'or 2007 for young talent. For 2 years, she gives dozens of concerts with this group, in France and abroad (East Africa and Central America), re-explores her repertoire, deconstructs it, seeks its limits, to come back to Jazz, refreshed. and a new album, this time in trio, “Opus 3” (Plus loin music, 2010) (Choc Jazzman, ffff Télérama and So Jazz).

In 2011, she participated alongside prestigious musicians such as David El-Malek , Pierre de Bethmann or Frank Agulhon in the recording of Christophe Dal Sasso's new album “Prétextes” for the Bflat label. In June, she took part in Rhoda Scott's record recorded live on the main stage of the Vienna festival. Translate By Google http://www.sophiealour.com/

Enjoy

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The Boswell Sisters w/ The Dorsey Brothers Orchestra - That's How Rhythm Was Born

Styles: Vocal,  Big Band, Swing
Year: 1995
File: MP3@320K/s
Time: 60:56
Size: 141,7 MB
Art: Front

(2:45)  1. Rock And Roll
(3:04)  2. Between The Devil And The Deep Blue Sea
(2:44)  3. Lousiana Hayride
(3:11)  4. Shuffle Off To Buffalo
(3:08)  5. Sophisticated Lady
(3:20)  6. Song Of Surrender
(2:59)  7. Sleep, Come On And Take Me
(2:56)  8. That's How Rhythm Was Born
(3:08)  9. The Sentimental Gentleman From Georgia
(3:01) 10. Coffee In The Morning And Kisses In The Night
(3:15) 11. Forty-Second Street
(3:08) 12. Minnie The Moocher's Wedding Day
(3:09) 13. The Darktown Strutter's Ball
(2:49) 14. If I Had A Million Dollars
(3:20) 15. It's Written All Over Your Face
(2:25) 16. Charlie Two-Step
(3:10) 17. Trav'lin' All Alone
(2:49) 18. St. Louis Blues
(3:04) 19. Dinah
(3:21) 20. The Object Of My Affection

This 1995 CD has a sampling of the Boswell Sisters' recordings, 20 titles from the premier vocal jazz group's prime period. A few of the tunes are rarities (particularly "Song of Surrender," "Coffee in the Morning," and "Trav'lin All Alone"), while some others have been reissued numerous times ("Shuffle Off to Buffalo," a classic "Sentimental Gentleman from Georgia," and "Minnie the Moocher's Wedding Day"). Although one hopes that all of the Boswells' recordings will be reissued in chronological order someday (this collection skips around a bit), the CD acts as a strong introduction to the music of this magical and innovative group. The Dorsey Brothers Orchestra (with trumpeter Bunny Berigan) provides accompaniment on many of the titles. ~ Scott Yanow http://www.allmusic.com/album/thats-how-rhythm-was-born-mw0000178529

That's How Rhythm Was Born

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