Tuesday, November 30, 2021

Andrea Celeste - My Reflection

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 59:11
Size: 143,7 MB
Art: Front

( 4:23) 1. Real
( 3:56) 2. My Reflection
( 3:28) 3. I Don't Wanna Play This Game
( 3:29) 4. It Ain't Necessarily So
( 4:23) 5. The Power Of Our Love
( 5:09) 6. I'm Glad There Is You
( 4:27) 7. A Thought Away
( 4:55) 8. Seven Days
( 3:49) 9. Blue Is The Colour Of Love
( 3:26) 10. There's No Other Place
( 3:02) 11. Take My Hand
( 2:31) 12. Stand By Me In The Night
(12:06) 13. You Say Goodbye

It's surprising to hear the debut of a mature vocalist, gifted with a deep and expressive voice, only to find that she is but 21 years old and wrote most of the songs on My Reflection. Italian vocalist Andrea Celeste began studying piano and classical singing at the age of eleven, and was later trained in gospel choirs and seminars by American singer Cheryl Porter. My Reflection was recorded in 2007 with some of Italy's finest jazz musicians.

The songs, in English, deal with some of the most banal aspects of love and relationships, more with the peaks than the valleys. Celeste sings with wise and elegant phrasing and a warm and expressive voice, portraying an innocent belief in the power of the romantic word. Her ability to entrust herself fully in the hands of her accompanying musicians, wins attention time after time. Robero "Robbo" Vigo's wise production spices each song with new color, mainly by adding new musicians to the core trio of pianist Gianluca Tagliazucchi, bassist Dino Cerruti and drummer Rodolfo Cervetto heard on "I Don't Wanna Play This Game," where Massimo Currò's guitar adds a relaxed and breezy touch, not far from the sound of Pat Metheny.

Celeste's readings of the Gershwin brothers' standard "It Ain't Necessarily So" and Jimmy Dorsey's "I'm Glad There Is You" are masterful. Accompanied by pianist Dado Moroni and bassist Pietro Leveratto on the former and pianist Andrea Pozza on the latter, Celeste opts for a straightforward approach to singing the words, knowing that her strong voice is enough to carry the lyrics and nothing more is needed beyond a minimalist sketching of the melody. She resurrects Sting's "Seven Days" with beautiful and playful phrasing, recalling Sting's ability to write intelligent lyrics.

Celeste manages to sound far too optimistic for someone her age on her original tracks the lovely opener, "Real," that resurfaces in a slightly different version as a hidden bonus track; the more meditative "A Thought Away" and "There's No Other Place," both aided by Robero Izzo's folksy violin; and the believable sadness conveyed in "You Say Goodbye." Throughout, Celeste's voice is captivating, conveying a wide spectrum of colors and shades, with an assured vocal command and elegant presentation.~ EYAL HAREUVENI https://www.allaboutjazz.com/my-reflection-andrea-celeste-philology-jazz-records-review-by-eyal-hareuveni

Personnel: Andrea Celeste: vocals; Gianluca Tagliazucchi: piano; Dino Cerruti: double-bass; Rodolfo Cervetto: drums; Dado Moroni: piano; Andrea Pozza: piano; Enzo Zirelli: drums; Ricardo Fioravant: double-bass; Pietro Leveratto; double-bass; Stefano Cabrera: cello: Roberto Izzo: violin; GNU Quartet: Marco Moro: bass flute; Massimo Curr

My Reflection

Michel Petrucciani - Solo Live

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 55:51
Size: 128,3 MB
Art: Front

( 4:25) 1. Looking Up
( 4:02) 2. Besame Mucho
( 2:22) 3. Rachid
( 4:07) 4. Chloe Meets Gershwin
( 3:40) 5. Home
( 3:07) 6. Brazilian Like
( 4:11) 7. Little Piece In C For U
( 3:21) 8. Romantic But Not Blue
(11:29) 9. Trilogy In Blois (Morning Sun, Noon Sun And Night Sun In Blois)
(10:08) 10. Caravan
( 4:54) 11. She Did It Again - Take The A Train - She Did It Again

Solo Live, released shortly after his death, marks pianist Michel Petrucciani's lasting solo gift to the jazz world. Though clearly a virtuoso on his instrument, his playing always seemed to reflect as much respect for the audience as it did for his own talent. At its essence, Petrucciani's music is remarkably buoyant, decidedly joyful, improvisationally aggressive, and, above all, intended to evoke an emotional response on the part of the listener. His amazing reading of Ellington's "Caravan" is characteristic of this unique style. However, the pianist may best be remembered for his original compositions and three of his most memorable are included here.

"Looking Up," as the title would suggest, is overtly optimistic and inherently hopeful. "Home" is a clearly enunciated statement of warmth and comfort. "Brazilian Like" is orchestral and melodic to the point at which the tune remains in one's head long after its conclusion. Petrucciani closes the album with the medley of "She Did It Again/Take the A Train/She Did It Again" his original sandwiched around Strayhorn's classic.A befitting set-closer for this extraordinary musician.~Brian Bartolini https://www.allmusic.com/album/solo-live-mw0000048924

Personnel: Piano [Steinway Piano, Model D] – Michel Petrucciani

Solo Live

Frank Foster & The Loud Minority Band - Well Water

Styles: Saxophone Jazz, Big Band
Year: 1977
File: MP3@320K/s
Time: 58:10
Size: 133,5 MB
Art: Front

( 7:19) 1. Joy Spring
( 9:51) 2. Cecilia Is Love
( 9:10) 3. Simone
( 6:11) 4. There'll Be A Time
(10:17) 5. Someone's Rocking My Jazz Boat
( 7:33) 6. Well Water
( 7:46) 7. Three Card Molly

The music on Well Water sat unreleased for 30 years but was worth the wait. Frank Foster's Loud Minority Orchestra only made a few records during its decade or so of existence and Well Water is one of its best. Listeners expecting the music to be similar to that of Foster's former boss Count Basie should realize that Foster's playing by 1977 was more strongly influenced by John Coltrane than by Lester Young, and that his writing is much more modern than that usually heard in the Basie band or even in the Thad Jones/Mel Lewis Orchestra. The performances do swing in their own way and include dynamic solos by the altoist C.I. Williams, both Foster and Bill Saxton on tenors, trumpeter Charles Sullivan and pianist Mickey Tucker. With Elvin Jones (making one of his few appearances with a big band) driving the ensembles and inspiring the soloists, this is an exciting effort. The closing number, "Three Card Molly," is a Foster quintet feature in which the leader switched to soprano. Highly recommended.~Scott Yanow https://www.allmusic.com/album/well-water-mw0000572228

Personnel: Tenor Saxophone, Soprano Saxophone – Frank Foster; Acoustic Bass, Electric Bass – Earl May; Alto Saxophone, Flute – C.I. Williams, Leroy Barton; Baritone Saxophone – Kenneth Rogers; Drums – Elvin Jones; Piano – Mickey Tucker; Tenor Saxophone, Flute – Doug Harris; Tenor Saxophone, Flute, Piccolo Flute – Bill Cody ; Tenor Saxophone, Flute, Soprano Saxophone – Bill Saxton; Trombone – Bill Lowe, Charles Stephens, Janice Robinson , Kiane Zawadi; Trumpet – Cecil Bridgewater, Don McIntosh, Joe Gardner, Kamau Adilifu, Sinclair Acey

Well Water

The Michel Petrucciani Trio - One Night in Karlsruhe (Live)

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 77:35
Size: 179,4 MB
Art: Front

(6:38)  1. 13th
(8:22)  2. There Will Never Be Another You (From "Iceland")
(8:48)  3. In a Sentimental Mood
(6:48)  4. One for Us
(9:26)  5. Mr. K.J.
(6:20)  6. Embraceable You (From "Girl Crazy")
(8:35)  7. She Did It Again
(7:01)  8. La champagne
(6:23)  9. Giant Steps
(9:09) 10. My Funny Valentine (From "Babes in Arms")

The SWR Jazzhaus label is sitting on a huge stash of unreleased live jazz recordings made for radio and television broadcast in Germany, going back to the early 1950s. Over 40 titles have appeared to date. One Night in Karlsruhe is especially good news. Only a few previously unknown Michel Petrucciani recordings have come to light since his death at 36 in 1999. Great jazz players are respected but few have been loved like Petrucciani. To see him on his piano bench, his 50-pound body severely stunted and crippled by osteogenesis imperfecta, grinning with joy, his hands unleashing torrential piano romanticism, was to believe in the invincibility of the creative human spirit. In this 1988 concert he plays with the best rhythm section of his life, Gary Peacock and Roy Haynes. They had made Michel Plays Petrucciani for Blue Note 10 months earlier. Petrucciani has been compared to Peacock’s regular employer, Keith Jarrett. His chops were close, even if he lacked Jarrett’s harmonic inventiveness. He also reversed Jarrett’s priorities: Petrucciani put passion first, intellect second. “There Will Never Be Another You” is an eight-minute ascent in piano variations that find ecstasy and catharsis. No one made the piano a medium of ecstasy like Petrucciani. Even “Giant Steps,” John Coltrane’s notoriously difficult set of chord progressions, is cause for jubilant celebration (and confirms Petrucciani’s virtuosity). 

When he played a ballad, his natural fire was barely contained within his gift for lyricism. On this night the ballads are swept up and overwhelmed by energy. “My Funny Valentine” may be the fastest on record. “Embraceable You” is begun slowly by Peacock but Petrucciani smokes it. Only “In a Sentimental Mood” stays rapt. Petrucciani holds it back, hinting at it, touching its edges. It is a dawning revelation when Ellington’s melody gradually coalesces. ~ Thomas Conrad https://jazztimes.com/reviews/albums/michel-petrucciani-trio-one-night-in-karlsruhe-swr-jazzhaus/

Personnel:  Piano – Michel Petrucciani; Bass – Gary Peacock; Drums – Roy Haynes

One Night in Karlsruhe

Dawn Lambeth - Midnight Blue

Size: 177,9 MB
Time: 76:45
File: MP3 @ 320K/s
Released: 2004
Styles: Jazz Vocals
Art: Front

01. If I Were You (4:29)
02. Too Marvelous For Words (5:22)
03. I Didn't Know About You (7:02)
04. I Saw Stars (3:59)
05. Midnight Blue (7:21)
06. More Than You Know (5:51)
07. Nice Work If You Can Get It (4:04)
08. 100 Years From Today (7:25)
09. You Leave Me Breathless (5:25)
10. Sugar (5:47)
11. Don't Worry About Me (5:04)
12. The Song Is Ended (But The Melody Lingers On) (6:09)
13. There's A Small Hotel (5:28)
14. Goodnight My Love (3:14)

As Confucius says, isn't it a pleasure to have an old friend visit from afar? Dawn Lambeth's singing on this recording not only brings to mind the great singers of the classic jazz era, it establishes her as a worthy heir to their legacy. In relation to her contemporaries, Dawn is an aberration, she remains true to the disciplines of melody, intonation and musical craftsmanship that were the standards of the era of Bing Crosby, Maxine Sullivan, Lee Wiley and so many others. To lovers of the music of the Swing Era, her singing is like a visit from an old friend, a happy reminder of a bygone era.

Dawn's focus is on the music of the 1930s and '40s, a period of refined songwriting and the first flowering of the soloist's art in jazz. For this recording she has assembled a collection of songs and musicians that represent the best qualities of that era. The composers represented here, Duke Ellington, Johnny Mercer, Rodgers & Hart, the Gershwins and others of lesser fame, define the phrase "Great American Songbook." She is accompanied by two musical aggregations, one a conventional swing septet, the other a smaller group reminiscent of the "gypsy swing" collaborations between guitarist Django Reinhardt and American musicians in the late '30s. Featured soloists in the septet include pianist Ray Skjelbred and saxophonist John Smith, while the small group features guitarist Paul Mehling (of the Hot Club of San Francisco). The result is a perfect blend between singer and accompaniment.

Personnel:
Dawn Lambeth, vocals
Clint Baker, guitar
Mike Baird, clarinet and tenor saxophone
Marc Caparone, cornet
Jeff Hamilton, drums
Paul Mehling, guitar
Ray Skjelbred, piano
John Smith, soprano & alto saxophone
Tom Wilson, string bass

Midnight Blue