The Anita Kerr Singers - The Great Days Of The Big Bands

Bitrate: MP3@320K/s
Time: 48:44
Size: 111.6 MB
Styles: Vocal group harmonies, Easy Listening
Year: 2003
Art: Front

[2:10] 1. Take The 'A' Train
[3:47] 2. Begin The Beguine
[3:08] 3. 'round Midnight
[3:32] 4. Sunny Side Of The Street
[3:35] 5. Sentimental Journey
[2:50] 6. Hot Toddy
[3:47] 7. Stompin' At The Savoy
[2:31] 8. I'll Never Smile Again
[2:41] 9. String Of Pearls
[3:53] 10. Mood Indigo
[4:15] 11. Don't Get Around Much Anymore
[2:29] 12. Happiness Is A Thing Called Joe
[3:13] 13. I'm Getting Sentimental Over You
[3:23] 14. I've Got My Love To Keep Me Warm
[3:23] 15. Early Autumn

"I was born in Memphis, Tennessee. My mother and father were born in Italy and were around 12 and 15 years old when they immigrated to Mississippi with their families. They came to the USA to work on farms, and then as the years went by they migrated to Memphis. By that time my father owned a grocery store."

Anita Kerr was the vocal embodiment of the "Nashville Sound" which dominated country music throughout the mid-'50s and '60s. Along with the Jordanaires, her group, the Anita Kerr Singers, were the seminal backing vocal unit of the era, and it is estimated that at their early-'60s peak, they graced fully one-quarter of all of the records coming out of Nashville's studios. After touring Europe in 1964, she moved to California the next year to focus her energies on freelance production and songwriting, even as two of the Singers' LPs, We Dig Mancini and Southland Favorites, were winning Grammy awards (in the Vocal Group and Gospel categories, respectively). In the later years of the decade, Kerr teamed with poet Rod McKuen for a series of mood-music records, titled The Sea, The Earth, and The Sky, for which the Singers were renamed the San Sebastian Strings and Singers. At the same time, the group were featured weekly on the Smothers Brothers' sketch comedy program. By the 1970s, Kerr produced a number of easy listening records before moving to her second husband Alex Grob's native Switzerland to compose music for films. Eventually, she returned to Memphis. ~ Jason Ankeny

The Great Days Of The Big Bands

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Jim Snidero - Strings

Styles: Saxophone And Flute Jazz
Year: 2003
File: MP3@320K/s
Time: 55:49
Size: 127,8 MB
Art: Front

(4:59)  1. Slipping Away
(7:04)  2. Dawn
(7:39)  3. On The Bank
(5:12)  4. Torrent
(7:15)  5. Theme For Ernie
(9:33)  6. Forever Gone
(7:01)  7. Ventura
(7:04)  8. It's The Talk Of The Town

By staying in touch with his roots as a hard blowing alto saxophonist and leader of razor-sharp small bands, Jim Snidero has successfully married a ten-piece string section and a conventional jazz quartet. His arrangements of six original compositions (including the three-part “River Suite”) and two standards entail a constant shifting between the relative freedom of improvisation, and the tighter organization made necessary by the larger ensemble. The recording’s primary soloist, Snidero consistently radiates excitement and a beboper’s willingness to take risks on ballads (“Theme For Ernie,” “Forever Gone”) and upbeat material (“Slipping Away,” “Ventura”). These liberties are enhanced by the fact that he never allows the strings to become too dense or overly prominent yet, his writing for the section is often full, lush, and beautiful. During “It’s The Talk Of The Town,” for example, they lay out for an entire chorus, then return and serve as a muted foil for the leader’s flight. Another important factor in the recording’s success is an excellent, responsive rhythm section. Pianist Renee Rosnes (who contributes several fine solos), bassist Paul Gill, and drummer Billy Drummond are just right for Snidero’s elastic group conception, mixing a flowing, unforced sense of motion with more concentrated swing. Drummond, in particular, is brilliant. At times his brushes on the snare or a stick to the ride cymbal are barely audible; in other instances, like on “Torrent,” his persistent accents to the drums take charge and confront the ensemble and soloists. ~ David A.Orthmann https://www.allaboutjazz.com/strings-jim-snidero-fantasy-jazz-review-by-david-a-orthmann.php

Personnel: Jim Snidero (arranger, alto saxophone, flute); Mark Feldman, Joyce Hammann, Cenovia Cummings, Paul Woodiel, Sue Lorensten (violin); Ralph Farris, Kenji Bunch (viola); Thomas Ulrich, Mary Wooten (cello); Renee Rosnes (piano); Paul Gill (bass); Billy Drummond (drums).

Strings

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Joan Chamorro, Joan Martí - Joan Chamorro Presenta Joan Martí

Styles: Mainstream Jazz
File: MP3@320K/s
Time: 69:27
Size: 161,5 MB
Art: Front

(5:10) 1. The Night Has a Thousand Eyes
(3:32) 2. Stardust
(3:10) 3. Cedar’s Blues
(3:52) 4. Like Someone In Love
(7:44) 5. Jeannine
(3:27) 6. Água de Beber
(5:21) 7. On a Misty Night
(4:48) 8. Like Sonny
(3:26) 9. Jackie
(3:58) 10. Cloudy
(4:28) 11. Nature Boy
(4:42) 12. Marshmallow
(6:55) 13. Stars Fell On Alabama
(5:37) 14. The Last Train From Overbrook
(3:09) 15. Indian Summer

I remember when I met Joan Martí. He was 7 years old and he was already a serious, responsible and very orderly person, with a special sense of humor. We laughed a lot in class. I was being serious, like him. He had a great ability to concentrate. He was constant. Demanding with what was asked of him and demanding with himself. All these characteristics he continues to maintain now, 15 years later, when this CD is released. He was part of Sant Andreu between 2010 and 2020 and I continue to count on him for other projects. We always laugh when we remember that he spent a year playing Bill Bailey's first alto. Those were other times and we all learned our homework. They to play the sax, falling in love little by little with jazz, and I to try to teach better. His evolution was so great that he soon became a fundamental musician in the orchestra. He has led the string of saxophones, with a very fine, powerful sound, with the right vibrato at every moment, expressive as well as sober. He has alternated the alto sax with the tenor, the soprano, the clarinet, the flute, which has become important in his panoply of instruments, as well as the voice, with which he has a long way to go to develop.

As a soloist, he has recorded his evolution and know-how in several of the jazzings in recent years, and also in some of the performances of his fellow orchestras, such as the one who sees the light parallel to his, Marçal's. Perramon. I am really very happy that our paths crossed and that I was able to witness the personal and musical growth of a great person and a great musician that, I am sure, we will hear about. The CD that we present is a marvel, a balance between arrangements for various instruments (mostly by Joan Monné) and quartet or quintet themes, also paying tribute to the great tenors in jazz history. I would highlight the participation of Joe Magnarelli, Perico Sambeat and Carlos Martín as guest soloists and also the rhythmic base with Joan Monné, David Xirgu and, in some songs, Josep Traver.

The vocal part is also important in some songs, by Andrea Motis, Joana Casanova and Joan Martí himself. As well as the original arrangement for the entire Sant Andreu Jazz Band, by Joan Martí himself, of the beautiful Indian Summer song. If they ask me for an alto sax that leads, that does good solos, that reads at sight, that doubles with other instruments and that is serious with the work, I do not doubt it, automatically without thinking, I say: “Call Joan Martí, you will not regret"~Joan Chamorro Translate By Google https://santandreujazzband.bandcamp.com/album/joan-chamorro-presenta-joan-mart

Joan Chamorro Presenta Joan Martí

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Roseanna Vitro - Sing a Song of Bird

Styles: Vocal
File: MP3@320K/s
Time: 60:35
Size: 139,7 MB
Art: Front

(4:55) 1. People Chase
(5:14) 2. The Scatter
(3:21) 3. Bird’s Song
(4:42) 4. Parker’s Mood
(5:22) 5. Grapple With The Apple
(4:49) 6. Audubon’s New Bluebird
(4:43) 7. Sheila, Jazz Child
(6:43) 8. Quasimodo
(4:31) 9. Now’s The Time
(6:17) 10. Yardbird Suite
(4:27) 11. Ko Ko / Cherokee
(5:26) 12. These Foolish Things

Vocalist Roseanna Vitro is a favorite among jazz aficionados and musicians alike. That’s why Cedar Walton has said, “Roseanna Vitro, one of my favorite vocalists, sings with a great feeling for jazz. Her readings on major compositions are monumental.” Her outsized talents and passion for the music are matched only by the generosity of her spirit, which shines beautifully on her newest recording Sing a Song of Bird, a celebration of the great and inimitable Charlie Parker. Vitro conceived this project driven by a desire to develop new lyrics to Parker tunes. She chose to share the microphone with three of her mentors, bebop jazz legends Sheila Jordan, Bob Dorough, and Marion Cowings, each of whom take solo turns with their soulful interpretations of several compositions by Bird. Sing a Song of Bird has taken a long time to come to fruition. It was recorded in two sessions, the first in 2017 and the second in 2021.

Vitro had seen Jordan many times on the New York City jazz scene. She has held Jordan in the highest regard, not only for her singing, but also who she is as a person. Vitro says, “I love everything about Sheila. She is a shining example for young or older jazz singers all over the world. She treats everyone with love and dignity, plus she proudly carries the soul and spirit of Charlie Parker's music.” Vitro and Dorough are both natives of Arkansas. They first met in 1998, when they were inducted into the Arkansas Jazz Hall of Fame. They soon became friends, and Vitro recorded his song “Nothing Like You” on her 1994 release, Softly. But she had never worked with Dorough, nor had she worked with Jordan. So Vitro conceived of the Bird album as a way to share the stage with two of her favorite artists.

Jordan and Dorough were thrilled with the opportunity to appear on the same bill with each other and Vitro, and the chemistry was apparent right from their first gig at the Deerhead Inn in the Poconos. Vitro relates the story of one of their last gigs, “Bob was such a beautiful soul. We were scheduled to do a show at Kitano in New York, but Bob pulled out. He was very ill with cancer and was going into hospice. It was terrible news. The show was booked and I had already hired a replacement, when I got call from Bob asking me if I still wanted him to do the show because he didn’t die and they kicked him out of hospice. He showed up and was amazing.”

Because Dorough’s health was failing, Vitro quickly organized a session to document his vocalese to Parker’s “Bluebird” and lyrics to “Red Cross.” Vitro is known as one of the premier interpreters of lyrics, and her concept for the album was to sing several Bird tunes with fresh lyrics. She and her husband Paul Wickliffe, who is also a master recording engineer and producer of this album, wrote new lyrics to some tunes, as did Dorough and Jordan. Vitro relates, “I flipped when I first heard Bob’s masterpiece, ‘Audubon's New Bluebird.’ Bob had started writing the lyrics years ago, but never got around to finishing. Although he had wanted to finalize them for years, making the album was the impetus he needed to finally complete them. He was 94 years young when he finished the lyrics and recorded with us. It was worth the wait.”

Vitro assembled some of the top East Coast musicians for the first session, including Mark Gross on alto saxophone, who is featured on two Grammy- winning albums of Dave Holland, pianist Jason Teborek, prolific bassist Dean Johnson, and veteran jazz drummer Bill Goodwin, well-known for 30 years with Phil Woods. Unfortunately, the album was put on hold after Bob Dorough’s passing, in addition to many life changes, including Covid-19. When it looked like the worst of the pandemic was behind us, Vitro arranged for a second session with a new band. She brought on board an old friend, jazz singer Marion Cowings, a master of scat and vocal technique. Vitro says, “Jon Hendricks loved Marion. He possesses an extraordinary voice, interpreting bebop music with clear diction and heart.”

She also added famed saxophonist Gary Bartz to the mix. Bartz’s history with McCoy Tyner plus his compositions and recordings are well- known in the jazz world. Also in the band are two-time Grammy winner, pianist Alan Broadbent, and swingin’ drummer Alvester Garnett. Bassist Dean Johnson, who appears on the first session, completes the band. Vitro opens the album with “People Chase,” based on “Steeplechase,” with a tale of how the “human race is like a horse race” written by Paul Wickliffe. Vitro and Dorough trade scats on “The Scatter,” with new lyrics by Dorough sung to Bird’s “Red Cross.” “Bird’s Song” (“Relaxin’ at Camarillo”) by Sheila Jordan, is a history of Bird and the musicians who were on the scene. Jordan sang with Bird and her singing on the tune is a master class in bebop phrasing. Cowing’s rich, baritone voice breathes new life into “Parker’s Mood,” with the original lyrics by King Pleasure.

“Audubon's New Bluebird,” based on “Bluebird,” is a prime example of the wit, personality, and immense songwriting talents of Dorough. Vitro finally gets her chance to perform with Jordan on “Sheila, Jazz Child,” based on “Cheryl” with the original first verse lyrics by Gary Brocks, followed by Wickliffe’s ending two verses. On “Quasimodo,” Jordan adds her own original lyrics that describe how important Bird’s music has been to her. Vitro takes a solo turn on “Grapple with the Apple,” based on “Scrapple From the Apple,” re-imagined as a bossa nova with Wickliffe’s lyrics about a New Yorker flying to the beach to escape the madness. Cowings really swings on “Now’s the Time,” singing Jon Hendricks’ well-known lyrics with one verse by Eddie Jefferson.

Vitro sings Bird lyrics to “Yardbird Suite.” “Koko/Cherokee” is an instrumental tune featuring the magnificent Gary Bartz. Vitro saved “These Foolish Things” for the closer. Although it’s not a Charlie Parker tune, she wanted to sing these beautiful lyrics with Bob and Sheila. This song speaks to the joy and love they shared together in this special moment. It is a unique and memorable recording with three legends singing together.

Sing a Song of Bird is a special recording that goes beyond being a mere tribute album – it’s legacy. Dorough was 94 and Jordan was 89 when they recorded the heartfelt stories from their lives. Their status as jazz legends is uncontested. Dorough is no longer with us, but Jordan is still going strong, with a busy schedule and performances around the world. Marion Cowings may be heard for the first time here, but we’re sure it won’t be the last. And, of course, we are very lucky to have Roseanna Vitro still making music and dedicated to exploring new avenues of creativity, as she will for years to come. https://www.allaboutjazz.com/news/famed-vocalist-roseanna-vitro-releases-sing-a-song-of-bird-feat-sheila-jordan-bob-dorough-marion-cowings

Featuring Sheila Jordan, Bob Dorough, Marion Cowings, Gary Bartz, Mark Gross

Sing a Song of Bird

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