Lovisa Lindkvist - Candy Bossa

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 55:30
Size: 129,1 MB
Art: Front

(3:41) 1. Desafinado
(3:59) 2. So Many Stars
(3:23) 3. Triste
(5:46) 4. Someone To Watch Over Me
(4:39) 5. Two Kites
(3:06) 6. Blue In Green
(3:07) 7. Dreamer
(3:01) 8. The Girl From Ipanema
(3:42) 9. Estate
(3:52) 10. Call Me
(3:10) 11. Meditation
(3:36) 12. Waters Of March
(2:57) 13. How Intensive
(3:53) 14. Once I Loved
(3:31) 15. Like A Lover

Lovisa Lindkvist. There is no doubt that music has always played a vital role in Lovisa's life, already from early years. Even as a little baby, Lovisa mimicked her mother as she practiced her singing. And so, it became natural from early on to express herself through her voice. With a voice far more mature than her 27 years of age, she belongs to the group of Swedish jazz vocalists that bridge the gap of the famous Swedish singer, Monica Zetterlund. At 10 years of age, she was accepted at the music education of Adolf Fredrik Elementary School, where choir singing is mostly taught. However, she soon realized that she wanted to pursue a career as a solo singer. In 2006, she released her debut album, "That Girl", which was mainly recorded live with only first-take recordings.

It contains famous songs from "The American Songbook", but also some originals, and was highly praised by critics all over Sweden, described as a "fantastic debut", and Lovisa was named as Sweden's next great jazz vocalist. At the same time, the album was released in Japan, and in the same year, she became the first-time receiver of the Monica Zetterlund scholarship. In 2007, she contributed with two songs on an album with the best ballads of Bo Nilsson, which also featured songs by Tommy Korberg, Monica Zetterlund, and Sylvia Wrethammar. Lovisa has performed at TV 4 Nyhetsmorgon, at various jazz clubs all over Sweden, as well as on national radio. She has been the opening act for Dionne Warwick, and performed at the Eliasson Award Dinner in Los Angeles. http://www.mymusicbase.ru/PPB/ppb33/Bio_3388.htm

Candy Bossa

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Cecil L. Recchia - The Gumbo

Size: 89,4 MB
Time: 37:56
File: MP3 @ 320K/s
Released: 2018
Styles: New Orleans Jazz/Blues Vocals
Art: Front

01. Jungle Blues (3:18)
02. Second Line (3:56)
03. Limehouse Blues (2:35)
04. Jambalaya (On The Bayou) (3:59)
05. Big Butter And Egg Man (3:33)
06. Go To Mardi Gras (0:24)
07. Egyptian Fantasy (3:40)
08. New Orleans Blues (3:00)
09. Young New Orleans Blues (1:19)
10. Saint James Infirmary (2:52)
11. Lil' Liza Jane (0:34)
12. Sleepy Time Down South (2:46)
13. Bourbon Street Parade (When It's) (3:16)
14. Tootie Ma Is A Big Fine Thing (2:37)

Following years of classical piano training and American literature studies at the Sorbonne, Cecil L. Recchia entered the world of jazz at the Paris CIM, institute for contemporary music and jazz.

She then continued to develop her jazz acumen in master classes conducted by such jazz legends as Michelle Hendricks, Bob Stoloff, Barry Harris and Norma Winstone. Cecil created the Cid Azilis Project in 2007, a quartet in which she interprets an original repertory of personal compositions along with English and American poems by Shakespeare, Poe and Dickinson set to her own music.

After making a splash with her quartet at the 2008 Sunset/Sunside Awards, Cecil L. Recchia has since become a regular on the Paris jazz scene.

That same year, she performed live in “Jazz à la Récré” (EMI) for the release of the eponymous record also featuring Didier Lockwood and Hal Singer.

This project was warmly received, particularly at the first edition of “Jazz for Kids” at the 2009 Villette Jazz Festival. It was followed by a second opus, “Noël en Jazz” in which Cecil is both lead vocalist and arranger.

With « Songs of the Tree : a tribute to Ahmad Jamal » recorded with Vincent Bourgeyx, Manuel Marches and David Grebil, it offers a first successful opus, which quickly received a warm welcome from the public.

Cecil continues to pursue a singing career in a variety of jazz and Brazilian music ensembles, alongside her ongoing activities as a vocal jazz coach.

The Gumbo

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René Marie - Voice Of My Beautiful Country

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 75:26
Size: 173,6 MB
Art: Front

(6:06)  1. Strange Meadowlark
(9:06)  2. O Shenandoah
(3:33)  3. Imagination
(7:18)  4. Just My Imagination
(7:51)  5. White Rabbit
(7:16)  6. Drift Away
(6:36)  7. John Henry
(7:10)  8. Angelitos Negros
(4:41)  9. America The Beautiful
(3:11) 10. Drum Battle
(1:20) 11. Piano Blues
(6:24) 12. My Country 'Tis Of Thee
(2:38) 13. Lift Ev'ry Voice and SingStar-Spangled Banner
(2:13) 14. America The Beautiful-Reprise

The track list on René Marie's latest release reads like an iPod in random shuffle mode gone haywire: a Temptations classic is followed by a Jefferson Airplane classic, which is followed by Dobie Gray's hit "Drift Away." There's Dave Brubeck's "Strange Meadow Lark" and the American folk standards "John Henry" and "O Shenandoah," and a sensuous Latin ballad, "Angelitos Negros." The rest of the program makes for no less incongruous a list, but René Marie's gift is that she wraps each song around her dynamic, smoky, malleable, experienced voice until it feels as if she's written it. (Her next album will consist solely of her own compositions.) Marie is a latecomer to performing; now in her fifties, she's only been recording for about 15 years. Perhaps because she took so long to get started, she's had time to develop a personalized style without falling prey to outside influences. Fronting a tight, supple jazz combo, Marie is down to earth, full of surprises, and clever in her approach to a song. The Airplane's "White Rabbit" is rendered in a simultaneously dreamy and intense fashion: Marie, after building up to her first crescendo, lays back, turns things over to the pianist, waits it out till it's become frenzied, and only then returns to drive it home. A medley of Jimmy Van Heusen's "Imagination" and the Temps' "Just My Imagination" makes more sense in Marie's hands than on paper: the first is a whispery, breathy voice and sullen piano; a seamless segue and then the second song, which is soulful, free, tough, and fun. The eclecticism isn't for its own sake, though, Marie gives no impression that she's jumping all over the place to be hip. So when she closes it out with what she dubs "Voice of My Beautiful Country Suite," a six-part medley that runs the gamut from "America the Beautiful" and "My Country 'Tis of Thee" to "Lift Ev'ry Voice and Sing" and the "Star Spangled Banner"  with drum and bluesy piano solos tossed in it all still makes perfect sense. ~ Jeff Tamarkin https://www.allmusic.com/album/voice-of-my-beautiful-country-mw0002099459

Personnel: René Marie (vocals); Kevin Bales (piano); Quentin Baxter (drums).

Voice Of My Beautiful Country

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Clifford Scott, Les Mccann & Joe Pass - Out Front

Styles: Saxophone Jazz, Post Bop
Year: 1963
File: MP3@320K/s
Time: 38:33
Size: 89,5 MB
Art: Front

(4:55) 1. Samba de Bamba
(7:12) 2. Over And Over
(5:39) 3. As Rosie And Ellen Dance
(2:07) 4. Cross Talk
(5:03) 5. Why Don't You Do Right
(7:51) 6. Just Tomorrow
(5:43) 7. Out Front

As rhythm and blues developed into the most popular black music in the late forties and early fifties, a lot of jazz-oriented musicians jumped the bandwagon in order to make a decent living. Perhaps decent isn’t the appropriate term. Regularly, players switched from swing bands to r&b outfits, which usually meant a change from one grueling touring schedule to another. One bows in awe to them in hindsight, the way guys like Eddie “Lockjaw” Davis, Eddie “Cleanhead” Vinson, Red Holloway, Don Wilkerson or Sam “The Man” Taylor, survived. Tenor saxophonist Clifford Scott, born in San Antonio, Texas in 1928, deceased in 1993, traveled a similar route.

Scott worked with Amos Milburn, Jay McShann, Lionel Hampton, Roy Brown and Roy Milton in the early fifties. Scott provided the groundbreaking honking tenor solo on organist Bill Doggett’s jukebox hit in 1955, Honky Tonk. He stayed with Doggett for a number of years. Subsequently, Scott acted as a leader, trying to capitalize on the honking hype with singles bearing gimmicky titles like Bushy Tail and The Kangaroo, and recorded as a prominent session musician in the r&b and pop field. His last big stint, before settling down as a local hero in San Antonio, was with the Ray Charles band, intermittently, from 1966 to 1970.

Based on the West Coast in the sixties, Scott was featured on a number of Pacific Jazz albums by the organ combo Billy Larkin & The Delegates. Scott recorded Plays The Big Ones on Pacific Jazz in 1963, a gritty soul jazz date featuring Hammond organ. It’s a nice enough date but incomparable with Scott’s subsequent album, Out Front!. During that session, Scott expanded his scope, holding on to the fried-bacon notes and the occasional crowd-pleasing climaxes, while displaying distinct suppleness and double-time fluency. Coming with the slightest vibrato, Scott’s style is sensual as hell, and hot as hell as well.

Sensual also applies to the Les McCann Trio, which consists of McCann, bassist Herbie Lewis, drummer Paul Humphrey, plus Joe Pass, as in: attractive, uplifting, rousing. McCann had cooperated with Joe Pass on Richard “Groove” Holmes’ Something Special, Les McCann’s Featuring Joe Pass, On Time and Soul Hits. The gospel-drenched vigor and probing accompaniment of McCann, the group’s abundant swing and the subtle and peppery phrases of Pass provide a stimulating canvas for the lurid, lean strokes of Scott, whom one imagines must’ve been elated with the possibility of working with such an immaculate quartet.

And as is usual with the presence of McCann on a recording date, the pianist contributes a couple of catchy tunes, like the driving Out Front and the crisp stop-time cooker Over And Over, which is marked by the typical McCann device of a shift in key. McCann also wrote Crosstalk, killer greasy tune that is pure Bo Diddley’s Not Fade Away, thriving on the rousing beat and statements of McCann and Pass and the rubato wail of Scott that takes one by surprise like a tornado in New Mexico: a soul jazz gem stopping at a mere 2.45 minutes.

Samba De Bamba is a different ball game, an equally swinging, Latin hard bop tune. Developing his story from sophisticated, fluent phrasing to the kind of terse blowing of Ben Webster, Scott reveals himself as a singular stylist. This, perhaps, comes as no surprise considering his past in the swing era. It is surprising, though, that the saxophonist wasn’t granted the opportunity to record more extensively throughout his career, except for a couple of albums in the early 90’s. More than that, it is a shame. http://flophousemagazine.com/2020/08/31/clifford-scott-out-front-pacific-jazz-1963/

Personnel: Clifford Scott (tenor and alto saxophone), Joe Pass (guitar), Les McCann (piano), Herbie Lewis (bass), Paul Humphrey (drums)

Out Front

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