Banu Gibson - Let Yourself Go

Styles: Vocal
Year: 1988
File: MP3@320K/s
Time: 36:06
Size: 83,1 MB
Art: Front

(2:36) 1. Let Yourself Go
(3:47) 2. Moonburn
(2:34) 3. The Panic Is On
(2:59) 4. Love Me Or Leave Me
(2:48) 5. 'Tain't So, Honey,'Tain't So
(2:43) 6. I Got Rhythm
(2:39) 7. Lulu's Back In Town
(3:28) 8. Keepin' Out of Mischief Now
(2:49) 9. (We've Got To) Put that Sun Back in Sky
(3:37) 10. The Man I Love
(2:57) 11. Concentratin' (on You)
(3:04) 12. What a Little Moonlight Can Do

Most singers who attempt to interpret tunes from the 1920s come across as either nostalgia acts, campy or corny. Banu Gibson is a major exception for she sings creatively within the idiom, her voice is both powerful and versatile, and she swings without "modernizing" or simplifying the style.

This CD from her Swing Out label (along with Swing Out 104) is quite definitive for the material is superior (with "Let Yourself Go," "Love Me or Leave Me," an inventive version of "I Got Rhythm" and "Put That Sun Back in the Sky" being among the highlights), there is lots of room for solos from her "New Orleans Hot Jazz Orchestra" (cornetist Charlie Fardella, trombonist David Sager, pianist David Boeddinghaus, bassist James Singleton and drummer Hal Smith) and there are plenty of heated and exciting ensembles.

This release is highly recommended to fans of classic jazz.~ Scott Yanow http://www.allmusic.com/album/let-yourself-go-mw0000247399

Let Yourself Go

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Christina von Bülow - West of the Moon

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 72:32
Size: 168,9 MB
Art: Front

(8:30) 1. East of the Sun
(8:08) 2. Sail Away
(8:29) 3. With a Song in My Heart
(6:40) 4. Isfahan
(6:39) 5. 317 East 32nd
(6:08) 6. Silhouette
(5:43) 7. Decent Eyes
(6:08) 8. Tunnelbanelåten
(2:48) 9. Dig
(2:31) 10. Sand i Mit Øje
(2:01) 11. Jag Ligger På En Äng
(1:56) 12. Visa Från Järna
(6:44) 13. Joanne Julia

I grew up with jazz, as my father, Fritz von Bülow, was a jazz guitarist and developed a great love for brazilian music too, along with the jazz music that was already a natural part of my life. In my teenage years I started playing flute and later changed to the alto saxophone, which has been my main instrument ever since. From 86-90 I studied at the Rythmic Music Conservatory in Copenhagen.In 1990 I had the rare opportunity to take private lessons with Stan Getz at his home in Malibu, one year before he passed away. He welcomed me with great hospitality, we met several times and I spent many inspiring hours with him during my two months stay in Los Angeles. He became like a mentor for me.

Another important mentor has been the great alto saxophonist, Lee Konitz, who I’ve been lucky to meet many times in Copenhagen, participating in his great clinics, taking private lessons and playing concerts together at several occasions. Latest at two beautiful concerts in Denmark, March 2011. Forever an inspiration in the art of improvisation. I still feel the same passion for the ‘classical’ jazzmusic as I did 30 years ago, and never get tired of playing a standard tune or another good melody, and when the atmosphere is right and the reed is too, I just love the singing sound of an altosaxophone.

We happen to have a lot of wonderful musicians around Copenhagen and I am lucky to be playing with some of them in my different bands. I’ve been leading my own groups for decades, and had the first ‘break through’ with my own trio, Christina von Bülow Trio (Jacob Fischer, guitar, Jens Skou Olsen, bass) when we in 1993 started to work with swedish star trumpeter, Jan Allan with whom I recorded my first album in own name in 1994. Over the years I recorded 4 cd’s with this trio, and later 2 more cd’s with a newer band with pianoplayer Ben Besiakov, Bülow/Besiakov Quartet. This group has been working together through many years with another swedish star, tenor player Bernt Rosengren, and bass and drums are taken care of beautifully by Daniel Franck and Frands Rifbjerg.

In 2007 I had the great opportunity to record a cd with the unique pianist Horace Parlan together with bassplayer Jesper Lundgaard. (‘My Little Brown Book’). We even got to play a few concerts together, a rare and beautiful experience I will keep close to my heart always. Among newer projects I’m working with is Silhouette, a quintet I lead together with Fredrik Lundin (tenor, bary) and both a duo and a trio with pianoplayer Søren Kristiansen, with whom I also lead the group Time Out, a Tribute to Dave Brubeck. During the years I have also been playing with musicians like: Rune Gustafsson, Georg Riedel, Herlin Riley, Allan Botschinsky, Putte Wickman, Doug Raney, Marilyn Mazur, Mikkel Nordsø, Danish Radio Bigband etc. https://christinavonbulow.dk/bio

West of the Moon

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Julien Daïan Quintet & Dj Borz - Behind the Reef

Styles: Saxophone
Year: 2013
File: MP3@320K/s
Time: 55:40
Size: 128,8 MB
Art: Front

(3:13) 1. American Dream, Pt.1
(6:36) 2. If You
(2:52) 3. Spinning Wheel
(9:01) 4. Behind the Reef
(5:46) 5. Tom's Diner
(4:13) 6. American Dream, Pt.2
(4:38) 7. Last Round
(6:45) 8. Menahem
(3:41) 9. The Melody You Say Was Wrong
(4:54) 10. Under the Bridge
(3:55) 11. The Tale

It was in 2005 that Julien Daïan founded his quintet bringing together a group of sympathetic friends with the look of dunces (but beware of dunces, they are often the most creative) to offer a resolutely modern and mixed jazz that refuses to shut itself up. in a single musical genre: a French-style New York meltin'pot in a way! The source of this creation can be summed up in one word: pleasure. That of playing together and, like what it was in the 1930s and 40s, to bring Jazz to an audience in demand for music that makes you want to free yourself, travel, dance . It emerges from the music of Julien Daïan and his friends an obvious love of life, a remarkable spontaneity and above all, a generous and communicative dynamism. Together they create a kind of meltin 'jazz as they like to define it. Composer, saxophonist and multi-instrumentalist, Julien Daïan started learning music on his own, then joined the Jazz class at the Paris IX Conservatory, directed by Emil Spanyi.

It was there that he met the future members of the quintet, all students a little rebellious, turbulent and on the fringes of academic standards. Boris Jeanne alias Dj Borz , with whom Julien Daïan had already developed a first electronic music project "Erneste", quickly joined the JDQ and gave him the opportunity to perfect this musical mix and to assert his singularity thanks to the contribution of his sam-crying, decks and effects. If he draws his inspiration from the heart of New York hard bop jazz of the 60s, he is nonetheless an eclectic artist, curious to marry his universe with other music as diverse as they may be. With the contribution and the personality of each of the musicians of the group [ Aristide Goncalves / Trumpet, Thomas Cassis / Piano, Tommaso Montagnani / Double bass and Octave Ducasse / Drums], Julien Daïan fully succeeds in realizing and bringing to fruition his musical philosophy of meltin ' jazz, making the JDQ a real group united in all stages of creation.

“French Paradox” , a self-produced album published in 2010, met with real success with critics and gave Julien Daïan first visibility both with a young audience, still growing, and with music professionals and institutions. Since 2009, Julien Daïan has been the guest of numerous Jazz festivals in France and abroad, he takes over most of the Parisian stages (Le Divan du Monde, Le Sunset, Opus Café, l'Entrepôt, le Duc des Lombards etc ...). He also collaborates as a composer with various advertising and event agencies. He produces several musical creations for promotional evenings / tours for brands, participates in the writing of music for short films, composes sound illustrations for exhibitions (Palais de Tokyo, Hype Gallery) and music for commercials for Nespresso , l'Oréal, SFR, Renault, or even Orange. In June 2011, he crossed paths with Bonsaï Music who decided to sign him and produce his new album, “Behind The Reef” , with the help of Lilian Goldstein, head of current music within the cultural action of the Sacem, which allows him to benefit from a career support plan. “Behind The Reef” will be released on March 26, 2013.

The repertoire of “Behind The Reef” is in the image of Julien Daïan and the members of the quintet: eclectic and anxious to marry their universe to other musical sources. We find mostly original compositions , punctuated by covers ranging from Blood Sweat & Tears (Spinning Wheel) to Red Hot Chilli Pepers (Under The Bridge) via Suzanne Vega (Tom's Diner). On this new album, quality artists from different universes have come to lend their voices to the compositions. We will thus meet David Linx and his velvet voice on an original song by Julien Daïan (The Melody You Say Was Wrong), the very talented Maureen Angot and her so soulful voice on covers of Blood Sweat & Tears and Suzanne Vega or the rapper American Tejan Karefa on the title American Dream part 2, thus completing this quintet of young talented musicians and celebrating together the marriage of this young modern jazz to current music.

The JDQ and Dj Borz will present their new opus “Behind The Reef” on stage on April 2, 2013 at New Morning in Paris and at Cou-tances on the occasion of the Jazz Sous Les Pommiers Festival on May 10, 2013 . Two first concerts during which they will be given the opportunity to present to their audience their philosophy of an uninhibited and sincere, energetic and communicative live. Yes, “Behind The Reef” , the new album by Julien Daïan and his collective is an album that is both demanding and enjoyable, sincere and festive.~ Translate By Google https://www.capcampus.com/musique-et-cd-1351/julien-daian-quintet-et-dj-borz-behind-the-reef-a24404.htm

Behind the Reef

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Tommy Flanagan - Solo Piano

Styles: Piano Jazz
File: MP3@320K/s
Time: 46:32
Size: 107,4 MB
Art: Front

( 3:33) 1. Parisian Thoroughfare
( 2:35) 2. Wail
( 3:34) 3. Isn't It Romantic
( 4:43) 4. Sleepin' Bee
( 3:26) 5. Yesterdays
( 4:39) 6. Stompin' At The Savoy
(11:47) 7. Strayhorn Medley
( 3:04) 8. Con Alma
( 3:23) 9. If You Could See Me Now
( 2:59) 10. Ruby My Dear
( 2:43) 11. Lover

Tommy Flanagan was known for his tasteful, flawless and swinging piano playing. He added class to every session that he was involved with and fortunately it was well documented during the latter part of his career. Solo Piano was not initially released until decades after its 1974 recording. It is significant historically because this outing was the pianist’s first recording as a leader in 13 years and, most importantly, because it is very good music.

Until the long delayed release of Solo Piano, it was believed that Tommy Flanagan’s “comeback” began with 1975’s The Tokyo Recital for the Pablo label and that his only full-length album of unaccompanied piano solos was 1977’s Alone Too Long which was released by Denon in Japan. Solo Piano forced a slight readjustment of the jazz history books and, most importantly, offers listeners some very enjoyable music from the great pianist. It also includes a few surprises, particularly for those listeners who think of Flanagan as primarily a bop stylist.

When swing was succeeded by bop as jazz’s modern mainstream, the function of the piano changed from being a timekeeper to take part of the rhythm section. While the pre-1945 styles of jazz piano had the pianists keeping time with his or her left hand, usually by striding back and forth between bass notes and chords, in bebop that role is usually handled by the string bassist. Bop pianists use their left hands to hit chords on a more unpredictable basis, accenting beats like a drummer “dropping bombs,” while their right plays hornlike lines.

That approach works perfectly in trio settings but can leave some pianists sounding incomplete when taking unaccompanied solos. Bud Powell, the leader in the field, was able to imply the beat and slightly adjust his style when playing solos. In the case of Tommy Flanagan, his ability to play swing was a major asset and in a solo setting he often added a modified stride, as can be heard on his version of “Sleeping Bee.” On swing-oriented numbers such as “Isn’t It Romantic,” “Sleeping Bee” and “Yesterdays,” Flanagan always kept the melody close by even while creating improvised variations. One never has a problem knowing where the pianist is for he builds his improvisations off of the melody rather than simply discarding the theme in favor of jamming over its chord changes. He follows those classic songs with an infectious version of “Stompin’ At The Savoy” that manages to sound both vintage and modern.

To conclude the enjoyable program, Flanagan performs a song apiece by three great composers of the bebop era (Dizzy Gillespie’s “Con Alma,” Tadd Dameron’s “If You Could See Me Now,” and Thelonious Monk’s “Ruby, My Dear”) before ending the set with a joyful rendition of “Lover.” By the time Tommy Flanagan left Ella Fitzgerald’s backup band in 1978, his series of trio recordings had reminded the jazz world that he was a brilliant and very musical pianist. He worked steadily during the next 23 years, touring Europe and Japan while being based in New York and remaining one of the most consistently satisfying of all jazz pianists. Flanagan passed away on Nov. 16, 2001 at the age of 71 but he has never been forgotten. Tommy Flanagan is remembered with love, respect and admiration for his playing and his classy nature. Solo Piano adds to his impressive musical legacy. https://storyvillerecords.bandcamp.com/album/solo-piano-2

Solo Piano

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