Cheryl Bentyne - Let's Misbehave: The Cole Porter Song Book

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 54:56
Size: 126,5 MB
Art: Front

(5:16)  1. Love For Sale
(4:08)  2. It's Alright With Me
(3:14)  3. My Heart Belongs To Daddy
(3:21)  4. I Love Paris
(3:03)  5. You'd Be So Nice To Come Home To
(4:14)  6. Night and Day
(2:17)  7. Just One of Those Things
(3:36)  8. What is this thing called Love
(3:34)  9. Begin the Beguine
(3:37) 10. All of You
(6:40) 11. I Concentrate on You
(3:53) 12. It's Delovely
(5:44) 13. Ev'ry Time We Say Goodbye
(2:12) 14. Let's Misbehave

Cheryl Bentyne has maintained an active solo career in addition to her work with the Manhattan Transfer. Let's Misbehave is a fresh look at the Cole Porter songbook, featuring a baker's dozen of his best-known compositions, and showcasing a terrific band including pianist/organist Corey Allen, guitarist Larry Koonse, saxophonist/clarinetist Doug Webb, and bassist Kevin Axt (a member of Tierney Sutton's band), among others. Bentyne's sassy take of "Love for Sale" is buoyed by the piano/organ backdrop and Webb's soulful tenor. She devours the playful, hip Cuban setting of "My Heart Belongs to Daddy," while her interpretation of "I Love Paris" is pure magic. Her vocal gifts can especially be appreciated in "Begin the Beguine," with drummer Dave Tull as her sole accompanist. 

The late James Moody is a special guest on tenor sax for the breezy setting of "What Is This Thing Called Love" and the haunting, deliberate "Ev'ry Time We Say Goodbye," the latter of which Bentyne sings the words as if she's lived them. Let's Misbehave is clearly one Cheryl Bentyne's best recordings. ~ Ken Dryden https://www.allmusic.com/album/lets-misbehave-the-cole-porter-songbook-mw0002392520

Personnel:  Vocals – Cheryl Bentyne; Acoustic Guitar – Octavio Bailly, Tom McCauley; Bass, Tuba – Kevin Axt; Drums – Dave Tull; Guitar [Guitar Solos] – Larry Koonse; Mandola – Tom McCauley; Piano, Keyboards, Banjo – Corey Allen; Saxophone, Clarinet – Doug Webb; Tenor Saxophone – James Moody; Trumpet – Chris Tedesco

Let's Misbehave: The Cole Porter Song Book

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Bob James - Once Upon A Time: The Lost 1965 New York Studio Sessions

Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 51:01
Size: 117,4 MB
Art: Front

(5:45) 1. Serenata
(7:00) 2. Once Upon A Time
(7:36) 3. Lateef Minor 7th
(6:22) 4. Variations
(4:42) 5. Airegin
(5:09) 6. Indian Summer
(5:22) 7. Solar
(9:01) 8. Long Forgotten Blues

Most people have heard the music of Bob James. He wrote "Angela," the theme song for the popular television comedy Taxi. The show ran from 1978 to 1983, and reruns are ongoing. The Bob James became one of the fathers and most successful purveyors of the smooth/fusion jazz sound, in recordings under his own name, with the group Foreplay and in teamings with saxophonist David Sanborn. Once Upon A Time: The Lost 1965 New York Studio Sessions takes us to Bob James back in the beginning, in a way we perhaps haven't heard him, before he hit the groove which took him into a lucrative and still vibrant career. The first impression: the music sounds so un-Bob James-y no R & B funk moods, no lush and gorgeous backdrops, no high-polish production, no synthesizer sweetenings. Instead, the two sessions are two-thirds straight ahead piano trio jazz not too far from what pianist Bill Evans was doing at that time mixed with some unexpectedly far out avant-garde.

The first session, laid down in January '65, opens with Leroy Anderson's "Serenata," first recorded in 1949 by the Boston Pops Orchestra. James' take features the bright, light-stepping melody in front of the bounce and shuffle of bassist Larry Rockwell and drummer Robert Pozar. The disc's title tune, a James original, is painted with darker hues than those of the opener wistful and sad, with a shift into an anguished segment of angular piano searchings and arco bass that re-convenes into the engaging melody. Joe Zawinul's "Lateef Minor 7th" begins in a mainstream mode, but shifts into clamorous, low-key disarray, with vocalizations which sound as if they issued from unsettled minds, before the tune finds its way back home. "Variation," another James-penned tune, begins in a stately manner that evolves via the off-kilter instrumental machinations of drummer Posner and bassist Rockwell, along with some more indecipherable vocalizations into straightforward weirdness, with the piano trying mightily to retain a mainstream mood.

The second session, from October 9, 1965, is straight through, straight ahead: Sonny Rollins' "Airegin," the standard "Indian Summer," Miles Davis' "Solar," "Long Forgotten Afternoon," composing attributed to "Unknown," all nicely rendered, with pizzazz. The set, considered in its entirety, seems to say Bob James could have taken a number of different paths in his jazz journey: one on the sunny side of the street as a melodically bright, Ahmad Jamal-style piano trio guy, or taking a wild ride along a zig zagging road to a Stockhausen-esque avant-garde approach, instead of following his muse to wonderful success in the creation and the shaping the fusion/smooth jazz sound. And, it should be mentioned, the guy who recorded these two sessions was George Klabin, founder and co-president of Resonance Records, who was nineteen years old at the time, and continues to find great music from the past, from Eric Dolphy, Bill Evans, Wes Montgomery, Nat King Cole to Bob James and more. ~ Dan McClenaghan https://www.allaboutjazz.com/once-upon-a-time-the-lost-1965-new-york-studio-sessions-bob-james-resonance-records

Personnel: Bob James: piano; Larry Rockwell: bass; Robert Pozar: drums; Bill Wood: bass; Omar Clay: drums.

Once Upon A Time: The Lost 1965 New York Studio Sessions

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Billy May and His Orchestra - You May Swing (Remastered)

Styles: Jazz, Swing
File: MP3@320K/s
Time: 33:16
Size: 77,5 MB
Art: Front

(2:43) 1. Bouncin' Runners
(2:47) 2. Second Chance
(3:02) 3. You May Swing
(2:32) 4. Novo Amor
(2:49) 5. You Ain't Makin' It
(2:07) 6. Jornal Do Brasil
(2:54) 7. Silvery Cloud
(2:56) 8. I Don't Know Where I'm Goin'
(3:02) 9. Sunset Colours
(2:43) 10. Santa Lucia
(2:41) 11. Fingers
(2:55) 12. Sooper Sloop

The last of the great arrangers who wrote regularly for Frank Sinatra, Billy May had several varied careers in and out of jazz. His first notable gig was as an arranger/trumpeter with Charlie Barnet (1938-1940), for whom he wrote the wah-wah-ing hit arrangement of Ray Noble's "Cherokee." Later, he worked in the same capacities for Glenn Miller (1940-1942) and Les Brown (1942) before settling into staff jobs, first at NBC studios, then at Capitol Records, where he led his own studio big band from 1951 to 1954. His arrangements for Sinatra, beginning with Come Fly With Me (1957) and ending with Trilogy (1979), are often in a walloping, brassy, even taunting swing mode, generating some of the singer's most swaggering vocals. May also did extensive scoring for television, film, and commercials. Although May was largely inactive in the '80s and '90s , he unexpectedly surfaced in 1996 with some typically bright big band charts for comic Stan Freberg's The United States of America, Vol. 2 (Rhino), 25 years after his contributions to Vol. 1. The veteran arranger died quietly at home on January 22, 2004 at the age of 87.~ Richard S.Ginell https://www.allmusic.com/artist/billy-may-mn0000769388/biography

You May Swing

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Charlie Watts - Warm & Tender

Styles: Jazz, Bop
Year: 1993
File: MP3@320K/s
Time: 71:14
Size: 163,5 MB
Art: Front

(4:49) 1. My Ship
(3:48) 2. Bewitched
(4:46) 3. My Foolish Heart
(5:40) 4. Someone to Watch Over me
(3:42) 5. I'll Be Around
(4:07) 6. Love Walked In
(4:44) 7. It Never Entered My Mind
(4:38) 8. My One and Only Love
(4:26) 9. I'm Glad There is You
(4:05) 10. If I Should Lose You
(4:56) 11. Ill Wind
(4:10) 12. Time After Time
(4:04) 13. Where Are You
(4:25) 14. For All We Know
(4:19) 15. They Didn't Believe Me
(4:26) 16. You Go To My Head

Drummer Charlie Watts is the engine that’s kept the Stones rolling for more than half a century. As the band's most unassuming, workmanlike, and reliably dapper member, he has always projected an air of cool nonchalance that contrasts sharply with Mick Jagger’s peacocking swagger and Keith Richards’ outlaw mystique. But his wrist-cracking snare thwacks are what give early signature singles like 1965’s “(I Can’t Get No) Satisfaction” their agitated energy, while his hard-driving rhythm amplifies the apocalyptic menace of “Gimme Shelter.” And when you consider the Stones’ various stylistic experiments over the years the loose Latin-psych jamming of “Can’t You Hear Me Knocking,” the seedy disco of “Miss You,” the strobe-lit club grooves of “Undercover of the Night” it’s Watts’ steady hand anchoring every muse-chasing moment. Outside the Stones, Watts (born in London in 1941) has indulged a life-long love of blues and jazz that predates his career in rock. In 1991, he formed a quintet in tribute to another Charlie Parker and released a series of albums that reinvigorate bop standards, illustrating his foremost dedication: serving the music. "I don't know what show biz is,” he told the San Diego Union-Tribune that year. "There are people who just play instruments, and I'm pleased to know that I'm one of them.” https://music.apple.com/us/artist/charlie-watts/64374085

Personnel: Alto Saxophone – Peter King; Drums – Charlie Watts; Orchestra – Metropolitan Orchestra; Piano – Brian Lemon; Trumpet – Gerard Presencer; Vocals – Bernard Fowler

R.I.P.
Born: 2 June 1941

Died: 24 August 2021

Warm & Tender

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