Merry Christmas!

 

Friends like you put the magic into Christmas.

Every Christmas is merrier because you’re a part of it.

Thank you for being magical friends all these years (in spite of my faults)

and for lifting me up when I’ve fallen down.

Friendship is gold and I am incredibly grateful for our friendship.

Merry Christmas my dear friends, wishing you good health, lots of happiness

and also sending you lots of love and hugs on this joyous occasion.

Giullia

Joe Castro - Lush Life: A Musical Journey (6-CD Box Set)

Joe Castro's Jam Sessions (Disc 1) 

Styles: Jazz, Big Band 

Year: 2015
Time: 68:55
File: MP3 @ 128K/s
Size: 63,4 MB
Art: Front

(31:35) 1. Abstract Candy (part I) (ft. Buddy Collette & Chico Hamilton)
(11:35) 2. Abstract Candy (part II) (ft. Buddy Collette & Chico Hamilton)
(25:44) 3. Abstract Sweets (ft. Chico Hamilton)

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Joe Castro's Friends/Falcon Blues - The Teddy Wilson Sessions (Disc2)

Time: 78:26
File: MP3 @ 128K/s
Size: 73,3 MB

(7:35) 1. Falcon Blues (Blues in G) (ft. Stan Getz)
(6:53) 2. Someone To Watch Over Me (ft. Stan Getz)
(7:04) 3. Just One of Those Things (ft. Stan Getz)
(6:00) 4. Out of Nowhere (ft. Stan Getz)
(7:59) 5. I Want To Be Happy (ft. Stan Getz)
(4:17) 6. Just You, Just Me
(3:40) 7. Everything I Have Is Yours
(4:13) 8. I Got Rhythm
(7:27) 9. Sunday (ft. Zoot Sims)
(4:30) 10. You Go To My Head (ft. Zoot Sims)
(4:44) 11. I've Found a New Baby (ft. Zoot Sims)
(6:52) 12. Tea for Two (ft. Zoot Sims)

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Joe Castro's Jam Sessions - Just Joe (Disc 3)

Time: 66:15
File: MP3 @ 128K/s
Size: 61,3 MB

( 6:33) 1. Tricotism (ft. Zoot Sims, Lucky Thompson & Oscar Pettiford)
(11:10) 2. Lester Leaps In (ft. Zoot Sims, Lucky Thompson & Oscar Pettiford)
(11:33) 3. Things Ain't What They Used To Be (ft. Zoot Sims, Lucky Thompson & Oscar Pettiford)
(13:24) 4. Just Joe (ft. Zoot Sims, Lucky Thompson & Oscar Pettiford)
(13:13) 5. There Will Never Be Another You (ft. Lucky Thompson & Oscar Pettiford)
(10:21) 3. Out of Nowhere (ft. Zoot Sims & Oscar Pettiford)

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Feeling the Blues - The Quartet Sessions (Disc 4)

Time: 74:21
File: MP3 @ 128K/s
Size: 69,2 MB

(8:10) 1. Billie's Bounce
(4:58) 2. Feeling the Blues (td-5 [7])
(4:53) 3. Sweet Georgia Brown (tk-8)
(6:31) 4. You Name It
(6:21) 5. Woody 'n'You (tk-7)
(6:08) 6. Good Gravy
(6:43) 7. Walk On (tk-4)
(6:15) 8. Autumn Leaves 1
(5:24) 9. Autumn Leaves 2
(6:26) 10. Autumn Leaves 3
(7:02) 11. Autumn Leaves 4
(5:25) 12. Sweet Georgia Brown (tk-4)

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Joe Castro Big Band - Reflection (Disc 5)

Time: 48:49
File: MP3 @ 128K/s
Size: 45,8 MB
Art: Front

(2:39) 1. Subway Grate (soloists Castro Edwards)
(8:26) 2. Funky Blues (soloists: Edwards / Castro / Candoli / Vinnegar)
(6:55) 3. Reflection (Sweepea / Strayhorn) (soloists: Baltazar / Edwards / Rosolino / Cooper / Candoli / Castro / Baltazar)
(3:01) 4. For Carl (Perkins) (soloists: Edwards / Cooper)
(3:17) 5. Hard to Find (soloists: Castro / Edwards / Cooper)
(4:44) 6. Sunset Eyes (soloists: Castro / Edwards)
(4:55) 7. Play Me the Blues (soloists: Edwards / Castro)
(3:19) 8. Daisy Mae [Whatever] (soloists: Cooper / Castro / Cooper)
(2:45) 9. Vintage '57 (soloists: Castro / Cooper)
(3:00) 10. Jeannie's Waltz (Would You Believe) (soloist: Edwards)
(2:47) 11. Sunset Eyes (soloist: Ortega)
(3:06) 12. Play Me the Blues (soloists: Edwards / Castro) (6:35) 13. Reflection (Sweepea / Strayhorn) (2:56) 14. For Carl (Perkins) (soloists: Cooper / Castro)

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Teddy Edwards Tentet / Angel City (Disc 6)

Time: 61:30
File: MP3 @ 128K/s
Size: 57,2 MB
Art: Front

(4:48) 1. Angel City
(4:25) 2. Bear Tracks
(4:51) 3. Lee-Ann
(4:54) 4. The Midnight Creeper (alternate take)
(5:46) 5. Theme for Jay
(4:40) 6. Nairobi Chant
(4:28) 7. I'm In That Old Mood Again
(3:38) 8. Steppin' Lightly
(6:48) 9. Angel City (alternate take)
(4:53) 10. The Midnight Creeper
(6:19) 11. Theme For Jay (alternate take)
(5:56) 12. I'm In That Old Mood Again (alternate take)

Jazz has always had more than its fair share of lucky personalities highly charismatic, captivating artists who could win over producers, club owners and peers just as easily as they could break audience hearts with their music. One of the most complex and least-known among them was Joe Castro, an upbeat, easy-going and gregarious pianist who was close with Dave Brubeck, Zoot Sims, Teddy Edwards, Duke Ellington, Lucky Thompson, Louis Armstrong and June Christy, to name a few. But Castro's spell wouldn't have lasted long if his drive and talent hadn't been exceptional.

Now, a new box set provides ample evidence of Castro's wide-ranging talents. Joe Castro: Lush Life, a Musical Journey (Sunnyside) features six CDs of previously unreleased private recordings in a variety of settings. There are never-before heard abstract works with Chico Hamilton and Buddy Collette in 1954; private recordings Castro made of Teddy Wilson in 1955; jam sessions with Teddy Edwards, Billy Higgins and Leroy Vinnegar in 1959; a Teddy Edwards Tentet date in 1966; and perhaps the most exciting material in the box the Joe Castro Big Band featuring top West Coast players and the finest orchestral recording of Teddy Edwards' Sunset Eyes I've ever heard.

As jazz musicians go, Castro was rather unusual. He didn't have a drug or alcohol habit. He didn't have issues with depression. And he wasn't self-destructive. Instead, Castro was a hard-working, swinging pianist who had a long-term romantic relationship with heiress Doris Duke in the 1950s that may or may not have led to marriage. Either way, the union exposed him to wealth, world capitals, a recording studio Duke built for him on her property and friendships with powerful artists and executives in the jazz and entertainment industries.

The Castro-Duke relationship eventually wound up in a legal tiff in 1964 followed by their reuniting and Duke agreeing to give Castro capital control of their label Clover Records and their music publishing company, JODO. But Castro's fondness for being away touring and booking recording artists who weren't particularly well known meant the label was burning through cash without much to show on the sales side. Clover and JODO were dissolved in 1966. That year, Castro married Loretta Haddad, a pianist-singer, and the pair would remain together until Haddad's passing in 2008. Castro died in 2009. Duke died in 1993.

JazzWax clip: Here's the the Joe Castro Big Band playing “Sunset Eyes," arranged by Castro. The band, contracted by Al Porcino, featured Porcino, Ray Triscari, Stu Williamson and Jimmy Zito (tp); Dick Noel, Mike Barone, Ken Shroyer and Frank Rosolino (tb); Anthony Ortega (as, fl); Gabe Baltazar (as); Bob Cooper and Teddy Edwards (ts); Bill Hood (baritone); Joe Castro (p, arr); Ron Anthony (g); Leroy Vinnegar (b) and Carl Lott (d).

And here's “There Will Never Be Another You“ in 1956 recorded at Duke Farms in Somerville, N.J., with Lucky Thompson (ts), John Glasel (tp), Joe Castro (p), Oscar Pettiford (b) and Ron Jefferson (d). By Marc Myers https://www.allaboutjazz.com/news/joe-castro-lush-life/

Joe Castro - Lush Life: A Musical Journey Disc 1, /Disc 2,Disc 3, Disc 4, Disc 5, Disc 6

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Lew Tabackin Quartet - What A Little Moonlight Can Do

Styles: Saxophone And Flute Jazz
Year: 1994
File: MP3@320K/s
Time: 56:34
Size: 130,9 MB
Art: Front

(5:14)  1. What A Little Moonlight Can Do
(7:22)  2. Easy Living
(6:51)  3. I Wished On The Moon
(5:02)  4. Love Letters
(7:48)  5. Poinciana
(5:13)  6. This Time The Dream's On Me
(7:35)  7. Broken Dreams
(6:04)  8. Leave Of Absinthe
(5:20)  9. Dig

The deep, smooth tenor sax tones of Ben Webster and Coleman Hawkins are clearly the models that Lew Tabackin patterns his playing after on this album featuring his quartet. The sax giants' influence can clearly be seen on "What a Little Moonlight Can Do," on which Tabackin plays above the melody, concluding with Webster's patented fluttering, whispering tone. Tabackin's playing throughout this session, irrespective of the tempo, is contemplative, exploring every nook and cranny, every nuance, every subtlety of the tune. He and his quartet travel winding roads of complex and interesting improvisations, always managing to return to the basic melody unscathed. He gives himself plenty of time for each journey, with most of the tunes running more than six minutes in length but never becoming boring or repetitive. Tabackin and his quartet caress "Easy Living," with Benny Green's piano getting significant exposure. "I Wished on the Moon," made famous by Billie Holiday, is done more like a tango than the swinging number it became in the hands of Lady Day. There are two non-standards on the album. Jimmy Knepper's "Leave of Absinthe," based on the chord changes to "Lullaby of the Leaves," is a vehicle for Tabackin's flute playing, while Tabackin's "Broken Dreams," commissioned by his wife, bandleader Toshiko Akiyoshi, is a lovely ballad, again with Green's piano in the vanguard. The rhythm section backing Tabackin is world-class, with Green, Peter Washington on bass, and Lewis Nash on drums. Playing professionally since the 1960s, Tabackin shows that almost 30 years later, he hasn't lost any of his passion for the music. ~ Dave Nathan https://www.allmusic.com/album/what-a-little-moonlight-can-do-mw0000118368

Personnel: Lew Tabackin (tenor saxophone, alto flute, flute), Benny Green (piano), Peter Washington (bass), Lewis Nash (drums)

What A Little Moonlight Can Do

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Scott Hamilton - Ballad Essentials

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 58:35
Size: 152,9 MB
Art: Front

(4:57)  1. Skylark
(3:40)  2. Everything Happens to Me
(5:26)  3. My Foolish Heart
(3:47)  4. That's All
(4:59)  5. In a Sentimental Mood
(4:44)  6. I Should Care
(5:39)  7. Body and Soul
(5:57)  8. 'Round Midnight
(5:33)  9. My Romance
(4:01) 10. Stardust
(4:26) 11. I'll Be Around
(5:24) 12. Tonight I Shall Sleep (With a Smile on My Face)

The musical line leading up to tenor saxophonist Scott Hamilton is not confusing. He wears his influences on his sleeve. You hear Lester Young's phrasing, Ben Webster's languid tone, and more than a dash of Zoot Sims's overall presentation. And while 1989's Scott Hamilton Plays Ballads is a gorgeous showing off of these influences, Ballad Essentials is a magnificent overview of his smoldering command of the genre. There's a pair of tracks from Plays Ballads ("In a Sentimental Mood" played as limber, late-night swing and "Round Midnight" given a robust, big-hearted embrace) and a pair from With Strings. The other eight pieces come from all over Hamilton's catalog, and describing any particular tune would tax the vocabulary "aching" and "tender" have only so many synonyms. Hamilton's sense of swing is easy to love, as is his brawny tone even when it slips into whispering mode. Ballad Essentials is meant as a themed collection, and it not only succeeds as such, it also serves as a primer for Hamilton's whole output. Editorial Reviews ~ Andrew Bartlett  http://www.amazon.com/Ballad-Essentials-Scott-Hamilton/dp/B00004NRVM

Personnel: Scott Hamilton (tenor saxophone); Chris Flory, Howard Alden, Cal Collins (guitar); Ken Peplowski, Spike Robinson (tenor saxophone); Dave McKenna, Gerry Wiggins, John Bunch, Alan Broadbent, Nat Pierce, Norman Simmons, Brian Lemon (piano); Connie Kay, Jake Hanna, Jeff Hamilton , Allan Ganley, Roy McCurdy, Chuck Riggs (drums).

Ballad Essentials

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Keely Smith - The Intimate Keely Smith (Expanded Edition)

Size: 92,1 MB
Time: 39:18
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. Somebody Loves Me (4:08)
02. As Long As He Needs Me (2:27)
03. Blame It On My Youth (2:55)
04. He Needs Me (2:42)
05. Sinner Or Saint (3:37)
06. It Had To Be You (3:29)
07. Time After Time (4:00)
08. Nancy / You Are My Sunshine (3:56)
09. God Bless The Child (2:50)
10. You'll Never Know (2:13)
11. The Whippoorwill (2:56)
12. Twin Soliloquies (Wonder How It Feels) (With Frank Sinatra) (1:38)
13. No One Ever Tells You (2:21)

You can’t get any more popular in American entertainment than Keely Smith was in the early ‘60s. Having blown the doors out in Las Vegas, winning a Grammy, having hit after hit and lighting up television screens playing straight “man” to husband Louis Prima, she’d navigated the tricky waters of a professional and personal divorce, striking out on her own and starting her own record label, Keely Records, in partnership with close friend and mentor Frank Sinatra, under the auspices of his Reprise label. A groundbreaking businesswoman, as well as recording artist, Keely recorded 5 classic albums for Reprise. Because she’d seen enough show business shenanigans to last a lifetime, a generation before it became standard practice to do so, she retained the rights to her masters. Those albums have NEVER come out legitimately on CD anywhere in the world. Now, Real Gone Music, in concert with Keely & her family, is very proud to announce that the label is going to answer the pleas of pop fans worldwide and release ALL of Keely’s Reprise albums on CD for the first time in deluxe packages featuring bonus tracks, rare photos, and new liner notes by Steve Hochman. Produced by Keely’s husband-to-be & Reprise hitmaker Jimmy Bowen, 1964’s The Intimate Keely Smith is, as the steamy cover and saucy title suggest, a sexy, swinging affair and the quintessential Keely Smith recording from her Reprise period. A concept album, the project was the long form representation of her legendary “mood spot” concert segment, a staple of Keely’s live shows. Key album tracks include a rendition of Sinatra’s “Time After Time” and a version of Billie Holiday’s “God Bless the Child”…this album presents Keely really taking wing as an artist. And the bonus tracks? Well, Keely’s strong rapport and long history with Frank Sinatra are well known. As one of the foundational artists at Reprise, which was at full creative flower, Keely was part of some really great projects outside of her own releases. With the blessing of Frank Sinatra Enterprises, we’ve included her duet with Frank, “Twin Soliloquies,” from the The Reprise Musical Repertory Theatre Presents South Pacific album, plus rare the non-LP single of the King-Goffin-Spector track “No One Ever Tells You,” arranged by Jack Nitszche and also produced by Bowen.

The Intimate Keely Smith

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Swingle Singers - Swinging The Classics

Styles: Jazz, Bop, Cool
Year: 2009
File: MP3@320K/s
Time: 58:20
Size: 135,3 MB
Art: Front

(5:39) 1. Air For G String
(2:07) 2. Zortzico
(1:13) 3. Scherzo
(7:12) 4. Three Windows
(4:20) 5. Adagio
(5:04) 6. When I Am Laid In Earth
(2:14) 7. Tango In D Major
(1:29) 8. Etude Op. 25 No. 2
(3:33) 9. Vendome
(1:25) 10. Limoges, The Market
(4:17) 11. Little David's Fugue
(3:30) 12. Andante
(6:31) 13. Ricercare
(2:37) 14. Romance Espagnole
(4:53) 15. Alexander's Fugue
(2:09) 16. Short Fugue

Originally a French vocal band, founded in 1962 by Ward Swingle, specialized in singing classical songs with a capella/jazz arrangement. They were very popular in the USA, they won 3 Grammy Awards in 1964 and 1965. The French group disbanded in 1973, Ward went to England where he formed Swingle II with an expanded repertoire, he continued actively with the group until 1985. The Swingle Singers have continued, with various new members and with Ward as musical advisor, to this day.

The original double-quartet: Alto: Alice Herald - Anne Germain Soprano: Christiane Legrand - Jeanette Baucomont Tenor: Claude Germain - Ward Swingle (Arranger) Bass: Jean Cussac - José Germain

The current members are: Sopranos: Sara Brimer, Joanna Goldsmith-Eteson Altos: Clare Wheeler, Lucy Bailey Tenors: Christopher Jay, Richard Eteson (- 3/2010) Basses: Tobias Hug, Kevin Fox

They have performd and record under the names The Swingles, The New Swingle Singers and eventually, The Swingle Singers. Since the London group's incarnation, the group has never disbanded. https://www.jazzmusicarchives.com/artist/the-swingle-singers

Swinging The Classics

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Malene Mortensen - Agony & Ecstacy

Styles: Vocal
Year: 2009
Time: 53:46
File: MP3 @ 320K/s
Size: 123,5 MB
Art: Front

(4:21) 1. Enigma
(5:34) 2. The Light Up Ahead
(5:21) 3. Eternal Three
(4:21) 4. Tidal Wave
(6:00) 5. Black Amy
(4:22) 6. Valentine
(6:02) 7. Into Your Heart
(5:24) 8. Tools And Rules
(4:24) 9. Seeds Of Summer
(4:28) 10. Transparent
(3:25) 11. Good At Goodbyes

Agony & Ecstacy is Malene Mortensen’s fi"h release. Her 2003 debut, Paradise, was produced by Niels Lan Doky, andKasper Villaume produced DATE WITH A DREAM from 2005.She recorded and released MALENE in 2006 with Chris Doky producing, and in the holiday season of 2007, she released TO ALL OF YOU, produced by Søren Siegumfeldt. Each album is the result of a unique collaboration between Malene, the session musicians and the producer, and eachalbum has its own unique atmosphere.

However, at 27, with a lot of studio experience behind her, Malene decided to take control of her new recording. No outside produ-cers, no guest musicians. Instead she took her road band into the recording studio to expand on their inspiring concert work.

Since 2007 the personnel in Malene’s band has consisted of four friends from Copenhagen’s Rhythmic Conservatory: Carl Mörner-Ringström (guitar), Magnus Hjorth (piano), Petter Eldh (bass) and Snorre Kirk (drums). Together they have play-ed over 100 concerts in Denmark, Sweden, Norway, Germany,Britain, France, Poland, and not least in Asia. It has been an intense development and the inspiration for this recording.

Malene’s repertoire has always included her own music and in part her own lyrics, but where her earlier releases also fea-tured well-known jazz standards and jazzed-up rock and pop songs, all tunes on Agony & Ecstacy are originals writtenby Malene herself or in collaboration with Carl or Magnus.Malene’s sound has taken a twist away from acoustic standard jazz towards something more electric an update of the jazz/rock fusion of the early 1980’s.

Fortunately, this cool, enticing, energetic and spellbindingmusic will raise the eyebrows of some jazz puritans, but it will also fascinate the rest of us. Audiences unaccustomed to jazz will love the interplay, the great solos, the guitar riffs and Malene’s virtuosic voice and musicality.

Agony & Ecstacy makes it clear that Malene Mortensen can write, and that she composes melodies that stay in your ears long after the tune is over. Her vocals have the con-viction and courage that give the songs a personal sound and carry emotions from Agony & Ecstacy. These are songs from a hard-working artist, continuously pursuing her own path.
http://www.malenemortensen.dk/wp-content/uploads/2013/02/09.-AE-engelsk-kopi-.pdf

Personnel: Malene Mortensen (voc), Carl Mörner Ringström (g), Magnus Hjorth (p, keys), Petter Eldh (b), Snorre Kirk (d, perc).

Agony & Ecstacy

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George Colligan- King's Dream

Styles: Piano Jazz
Year: 2022
File: MP3@320K/s
Time: 66:48
Size: 153,2 MB
Art: Front

(6:05) 1. Clearing The Mind
(6:36) 2. Change
(5:47) 3. Daddy Go Bye Bye
(5:33) 4. Doom Sandwich
(7:46) 5. Golden Years
(5:21) 6. Blues For Dwayne Burno
(6:19) 7. King's Dream
(6:19) 8. Weightless, Rising Towards The Sun
(5:00) 9. Liam's Lament
(5:03) 10. Wishing For Things To Happen
(6:53) 11. Finally, A Rainbow

In this challenging era and complex world in which we live, we have to believe that good will and enlightenment will prevail over ignorance and hatred. By George Colligan

George Colligan expresses the complexities and conflicting emotions of our confusing, sometimes chaotic times with the November 11 release of King’s Dream (PJCE). Though not quite a sequel, the album builds on many of the themes presented on his previous solo album, 2018’s Nation Divided.

The 11 original compositions on King’s Dream (Colligan’s 36th album as a leader) are not all new: Some of them go as far back as 2008. But like all the best improvised jazz, the tunes become about the moment in which they’re being played in this case a very fraught moment. “It was and still is such an unusual time,” Colligan says. “Who knows what tomorrow brings? The music is a representation of that uncertainty.”

The variety of moods on the album help underscore that uncertainty. It moves from the wistful, bittersweet “Clearing the Mind” to the glorious funk of “Change”; from the hard-bitten “Blues for Dwayne Burno” to the lyrical balance of hope and trouble in “King’s Dream”; from the plaintive “Wishing for Things to Happen” to the sanguine “Finally a Rainbow.”

The title track of King’s Dream is also its centerpiece. Invoking the famous ideals of Dr. Martin Luther King Jr., the piece both echoes and questions that optimism, making for a statement both timely and timeless about American life while also serving as a microcosm for the album’s precarious position between glass-half-full and half-empty with glass-half-full perhaps taking the edge.

“In this challenging era and complex world in which we live, we have to believe that good will and enlightenment will prevail over ignorance and hatred,” Colligan writes in the album’s liner notes. “I don’t know whether music can make a difference, but I dedicate my album to those who believe in, as drummer Al Foster would say, ‘Peace, Love, and Jazz.’”

George Colligan was born December 29. 1969 in Summit, New Jersey, but considers his hometown to be Columbia, Maryland, where he grew up since about the age of 3. In the fourth grade he took up trumpet in the elementary school band, then got serious about the instrument in middle school around the time he discovered jazz from a neighbor who gave him a stack of Clifford Brown

Colligan went to Baltimore’s Peabody Institute, earning his degree in classical trumpet. While in Baltimore, though, he started teaching himself to play jazz licks on piano, soon getting gigs on the local scene, and suddenly found himself selling all his trumpets and becoming a professional pianist.

He shuttled back and forth between Baltimore and Washington, DC, mentoring with such musicians as Paul Carr, Gary Thomas, and Reuben Brown for several years before he made the leap to New York City in 1995. These associations meant that he already had some cachet on the New York scene when he arrived, and he was soon working with legendary figures like Eddie Henderson, Gary Bartz, and Lee Konitz, as well as recruiting the revered bassist Dwayne Burno and drummer Ralph Peterson for his own 1996 debut Activism.

His career continued to grow, collaborating fruitfully with other greats of his generation including Ingrid Jensen, Nicholas Payton, and Kurt Rosenwinkel; working under Jack DeJohnette, Buster Williams, Billy Hart, and Al Foster; and recording dozens of albums under his own name. In 2005, he married fellow pianist Kerry Politzer, and a few years later they moved to Winnipeg, Manitoba, where he began a career as a jazz educator.

That career continued on to a job at Oregon’s Portland State University, where Colligan moved in 2011 and remains today. In addition to his academic work, he has become a mainstay of the Portland jazz scene as a drummer as well as a pianist. (He’s the drummer on Kerry Politzer’s latest CD, In a Heartbeat, also on PJCE Records.) Indeed, although King’s Dream is a solo album, it is also a collaboration with a longtime Portland colleague, pianist Randy Porter, who recorded, mixed, and mastered the album at his Heavywood Studio. By Terri Hinte https://www.allaboutjazz.com/news/pianist-composer-george-colligans-kings-dream-his-36th-album-as-a-leader-and-5th-as-a-solo-pianist-due-november-11-on-pjce-records/

King's Dream

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Bill Frisell - Four

Styles: Guitar Jazz
Year: 2022
File: MP3@320K/s
Time: 57:49
Size: 133,2 MB
Art: Front

(2:25) 1. Dear Old Friend (For Alan Woodard)
(5:15) 2. Claude Utley
(5:43) 3. The Pioneers
(3:46) 4. Holiday
(2:47) 5. Waltz For Hal Willner
(5:09) 6. Lookout For Hope
(6:17) 7. Monroe
(3:46) 8. Wise Woman
(3:48) 9. Blues From Before
(4:13) 10. Always
(3:03) 11. Good Dog, Happy Man
(4:49) 12. Invisible
(6:42) 13. Dog On A Roof

Two years after issuing his acclaimed trio album Valentine, Grammy Award-winning guitarist and composer Bill Frisell returns with ‘Four’, a stunning meditation on loss, renewal, and those mysterious inventions of friendship.

Frisell’s third album for Blue Note Records since signing with the label in 2019 proffers new interpretations of previously recorded originals as well as nine new tunes. The session brings together artists of independent spirits and like minds: Blue Note stablemates Gerald Clayton on piano and Johnathan Blake on drums, and longtime collaborator Greg Tardy on saxophone, clarinet, and bass clarinet. ‘This combination of people had been floating around in the back of my mind since before the pandemic,’ says the Brooklyn-based artist.

Guitarist Bill Frisell, on his third recording for Blue Note, expands the quiet, explorative music he delivered on 2020’s Valentine through a much different instrumental configuration. Much of the music is about loss, the deep ties of friendship, and a few that point to renewal. The music leans far more into contemporary jazz than into the kind of folk and Americana we associate with Frisell, but races do remain. There are 13 tracks, all composed by Frisell, nine of which are new and four reinvented from previous recordings.

Longtime collaborator Greg Tardy on tenor saxophone, clarinet, and bass clarinet is a major force along with Blue Note artists Gerald Clayton on piano and Johnathan Blake on drums. Conspicuously absent is a bassist, thus leading to much lighter, spacey sound that developed as Frisell entered the session, not with through-composed pieces, but fragments as he encouraged spontaneous and open interaction. Consider that five of these tracks feature clarinet, electric guitar, piano, and drums not a configuration one often hears. The music is highly textural and melodic, eschewing the conventional head-solo-solo-head but instead collectively building variation off melodies, or in some case, simply off chords.

Frisell developed the concept during the pandemic, during a time when we lost so many talented artists and friends, giving the album an overall melancholy tone. This is somewhat divergent, but it recalls for this writer the pop album from Australians Paul Kelly and Charlie Owen favorite funeral songs, 2017’s Death’s Dateless Night, which is vastly different musically but similar in tone and spirit, balancing the reverent with the celebratory. Suffice it to say that while folks often spend hours on playlists for a wedding, few would do the same for a funeral. Yet, if they did so, Frisell’s music should be at the top of such a list. Melancholy doesn’t necessarily imply maudlin.

There’s sublime, flowing beauty in these tracks, beginning with “Dear Old Friend,” written for Frisell’s childhood friend, Alan Woodard, who Frisell had known since the seventh grade. The title also applies to one of Frisell’s closest friends, the late cornetist and Blue Note artist Ron Miles, with whom Frisell had played frequently and to whom he dedicates the album. Tardy carries the angelic melody on clarinet, with a tone so airy and pure, that sounds flute-like. The melody itself has echoes of “Swing Low, Sweet Chariot” as Frisell and Clayton tenderly and texturally wrap Tardy’s lines. “Claude Utley,” written for Frisell’s painting friend who passed this past year, harnesses the same instrumentation but it is looser in terms of any distinct melody.

Tardy plays tenor on the elegiac “The Pioneers,” one of four where he plays that instrument, using bass clarinet on another, both tenor and bass clarinet on one, while yet another is a Clayton solo piano piece. This one is a great example of how Frisell and Clayton play contrapuntally and in call-and-response patterns to Tardy’s yearning melody. Similarly, Tardy’s long tenor tones in the contemplative “Invisible” leave plenty of space for the others, a tonal departure from Frisell on baritone guitar. “Holiday” moves away from the smooth into a joyous, playful, jagged, syncopated vein, proving to be a strong vehicle for Blake, one of the most versatile drummers in contemporary jazz. Clayton’s intro leads into a simple but memorable melody for Tardy’s tenor on “Waltz for Hal Willner.”

Frisell revisits his classic the noirish, 1988 “Lookout for Hope,” with Tardy on bass clarinet playing contrapuntally to the guitar and piano in a haunting fashion. “Monroe” shows the breadth of Frisell’s writing as the quartet sneakily climbs into blues, with Tardy on both the tenor and bass clarinet, articulating the theme on each. The reedist returns to tenor on the closing “Dog on the Roof,” a languid, mysterious, electronically fueled piece, bordering on free jazz, both gathering a casual funky momentum as it evolves.

“Wise Woman” echoes Ornette Coleman in its harmonic palette while “Blues from Before” is more jagged, syncopated, and searching in an even freer mode, with Tardy on exploring every possible reach of the clarinet between the two. The latter is very complex rhythmically, but Blake expertly navigates the quartet through it. This leads to a minimalist solo piano excursion by Clayton on “Always,” airy, edgy, and seriously contemplative. “Good Dog, Happy Man” gets a makeover from its 1990 version, as Frisell plays both acoustic and electric guitars and Tardy on clarinet trades cascading melodies with both the guitarist and pianist in this gently flowing, uplifting tune. https://jazzbluesnews.com/2022/11/11/cd-review-bill-frisell-four-2022-video-cd-cover/

Personnel: Bill Frisell: Guitar; Greg Tardy: Tenor Saxophone, Clarinet & Bass Clarinet; Gerald Clayton: Piano; Johnathan Blake: Drums

Four

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Charlie Byrd Trio - Au Courant

Styles: Guitar Jazz
Year: 2009
File: MP3@320K/s
Time: 57:56
Size: 133,4 MB
Art: Front

(3:03) 1. This Can't Be Love
(3:33) 2. My Romance
(5:38) 3. St Louis Blues
(4:32) 4. On A Clear Day (You Can See Forever)
(3:26) 5. There'll Be Some Changes Made
(5:06) 6. If You Never Came To Me
(4:04) 7. I Didn't Know What Time It Was
(3:06) 8. Avalon
(3:11) 9. Emily (Theme from The Americanization of Emily)
(4:24) 10. There's A Small Hotel
(4:09) 11. Blue Room
(4:18) 12. Have You Met Miss Jones?
(5:12) 13. Willow Weep For Me
(4:12) 14. Days Of Wine And Roses

That old Django Reinhardt buff Charlie Byrd actually gets something resembling the drive of the Hot Club Quintette on this CD at times, but with unusual means. With Charlie on acoustic guitar and brother Joe Byrd on bass, Charlie's longtime drummer Chuck Redd shifts over to the vibraphone, and the three independent voices tumble intricately all around each other in a collection of standards.

While not absolutely impeccable in technique, Byrd continues to get around his instrument in a swinging manner, and Redd proves to be a more than serviceable performer on the vibes. Inevitably (for Byrd), the Brazilian influence surfaces on tracks like "On a Clear Day," Jobim's "If You Never Came to Me," and Rodgers/Hart's "There's a Small Hotel," all of which bring us gently back to 1962. A modest yet pleasing experiment for the Charlie Byrd collector. By Richard S. Ginell
https://www.allmusic.com/album/au-courant-mw0000032148

Au Courant

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Martial Solal - Solo Piano: Unreleased 1966 Los Angeles Sessions Vol.1, Vol.2

Martial Solal - Solo Piano: Unreleased 1966 Los Angeles Session. Vol.1

Styles: Piano Jazz
Year: 2017
Time: 66:37
File: MP3 @ 320K/s
Size: 153,3 MB
Art: Front

(4:03) 1. Groovin' High
(5:53) 2. Scrapple From The Apple
(3:46) 3. I Can't Get Started
(8:54) 4. Night In Tunisia
(5:44) 5. Ornithology
(4:31) 6. Yardbird Suite
(4:18) 7. Embraceable You
(4:38) 8. Now's The Time
(6:12) 9. Lover Man
(4:40) 10. Blue Monk
(5:01) 11. Billie's Bounce
(5:30) 12. 'Round Midnight
(3:22) 13. Un Poco Loco

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Martial Solal - Solo Piano: Unreleased 1966 Los Angeles Session. Vol. 2

Year: 2018
Time: 53:10
File: MP3 @ 320K/s
Size: 122,6 MB

(3:36) 1. Pennies From Heaven
(2:44) 2. Blues Martial
(3:54) 3. Fig Leaf Raf
(3:45) 4. Exactly Like You
(4:13) 5. Ain't Miss Behavin'
(4:13) 6. Begin The Beguine
(4:02) 7. Ah Non
(3:16) 8. But Not For Me
(7:21) 9. Suite 105
(3:07) 10. Kansas City Stomp
(3:21) 11. La Chaloupee
(5:07) 12. Everything Happens To Me
(4:23) 13. Un Poco Loco

In June 1966, invited by the shrewd American producer and author Ross Russell, Martial Solal traveled to Los Angeles to record these forgotten and unreleased solo piano sessions. Russell, who had launched the legendary label Dial Records back in 1946 to record Charlie Parker, had spent several years away from the jazz scene after shutting Dial down in 1949. When he decided to return to the jazz record business, he organized a series of recordings at Glendale’s Whitney Studio, which had a wonderful Steinway. Unfortunately, Russell’s new project didn’t come to fruition, and so Solal’s recordings never saw the light.

Now we can finally hear them in two CD volumes. They show Martial Solal at his best, his incontestable talent, dazzling virtuosity and invention, but also his good taste and sense of humor in the execution. The originality of his conception, paired with his elegant control and technique, put him on a par with the great American pianists.
https://www.freshsoundrecords.com/martial-solal-albums/6692-solo-piano-unreleased-1966-los-angeles-session-volume-2.html

Personnel: Martial Solal-Piano

Solo Piano: Unreleased 1966 Los Angeles Session. Volume 1, Volume 2

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Barbra Lica - Imposter Syndrome

Styles: Vocal
Year: 2022
File: MP3@320K/s
Time: 20:54
Size: 48,6 MB
Art: Front

(3:03) 1. Girls Like Me
(3:13) 2. The Ghost Of Me
(3:03) 3. In 40 Years
(2:38) 4. Blue Monday
(3:35) 5. Take Care Of You
(2:50) 6. What Do You Say
(2:28) 7. Sour Women

Barbra Lica is a Juno-nominated artist singer-songwriter based in Toronto. A seasoned act on the North American club and festival circuits, Barbra has performed everywhere from New York City’s legendary Birdland to Toronto’s prestigious Koerner Hall. She has also headlined at festivals across the continent including Festival International de Jazz de Montréal, Vancouver International Jazz Festival and Xerox Rochester International Jazz Festival, and opened for the likes of Christian McBride, Pat Metheny, Bob Dorough, and Terence Blanchard.

Barbra’s debut album That’s What I Do (Triplet / Universal Jazz Japan) was released to widespread acclaim in 2012, ranking her in Canada’s Top 5 Jazz singers on the CBC, as well Top 5 up-and-coming Toronto jazz artists on blogTO. Shortly after, her band made their Japanese debut live at the Tokyo International Jazz Festival in 2015 for over a thousand Japanese fans Her first album with Justin Time Records, I’m Still Learning, was released September 2016 and subsequently nominated for a 2017 Juno Award in the category of “Best Vocal Jazz Album”. Her subsequent project, You’re Fine (Justin Time Records) marked the introduction of Folk an Americana elements to her repertoire and has amassed over 4.9 million streams to date on Spotify.

In addition to writing for herself, Barbra has written cuts for such artists as jazz crooner Matt Dusk (Entertainment One/Universal), rising J-Pop singer Harumi (Sony Music Japan), and Taiwanese pop recording artist, Morrison Ma (Universal Music Group/X Entertainment).

She is currently promoting her first self-produced EP Imposter Syndrome (released October 2022) with generous support from FACTOR, as well as her new chamber orchestra project featuring all-original music arranged for 14 instruments plus voice. https://barbralicamusic.com/media/

Imposter Syndrome

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Lara Louise - Alone Together

Styles: Vocal, Guitar Jazz
Year: 2022
Time: 47:22
File: MP3 @ 320K/s
Size: 109,3 MB
Art: Front

(3:35) 1. Alone Together (Feat. Grant Levin)
(3:18) 2. La Complainte De La Butte
(3:33) 3. Jardin D'hiver
(3:03) 4. C'est Si Bon (Feat. Mads Tolling)
(3:18) 5. Golden Earrings (Feat. Grant Levin)
(2:50) 6. You Belong To Me
(2:38) 7. It Had To Be You (Feat. Colm Ó Riain)
(3:55) 8. Besame Mucho
(2:52) 9. Petite Fleur
(2:31) 10. Norwegian Wood
(3:44) 11. One Of Us Cannot Be Wrong
(4:20) 12. Brothers In Arms
(4:23) 13. Set The Controls For The Heart Of The Sun
(3:14) 14. Gloaming Song

Lara Louise was born and raised in the city of Nijmegen, the Netherlands. Listening to Joni Mitchell and Leonard Cohen, she taught herself how to play guitar. Later, she became influenced by jazz and bossa nova singers such as Madeleine Peyroux, Carla Bruni, Frank Sinatra and Astrud Gilberto, and was particularly drawn to French jazz. All these different influences make for a tasteful variety of classic songs, tied together with her unique style and voice.

After studying philosophy in the Netherlands, Lara moved to the San Francisco Bay Area. Currently, she plays a lot of venues and private events. Either solo or with multi-intrumentalist and producer Gawain Mathews. Together they also record songs on a regular basis, which can be found on all the main streaming platforms or on CD.
https://lara-louise.com/bio

Alone Together

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Cristiana Polegri - Bindi'n Jazz

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 66:28
Size: 152,5 MB
Art: Front

(4:32) 1. È Vero
(4:26) 2. Basta Una Volta
(4:49) 3. Il Nostro Concerto
(6:13) 4. Marie Claire
(4:08) 5. Meglio Di Così
(6:34) 6. Nuvola Per Due
(4:42) 7. Io E Il Mare
(4:28) 8. Odio
(6:35) 9. Il Mio Mondo
(7:41) 10. Non Mi Dire Chi Sei
(2:31) 11. Rame
(5:04) 12. Arrivederci
(2:54) 13. La Musica È Finita
(1:46) 14. L'indifferenza

Tribute, four years after his death, to one of the most important and at the same time most neglected authors of Italian song Umberto Bindi this Bindin Jazz is at the same time a catwalk for Cristiana Polegri, a young singer and saxophonist who moves between pop music and jazz. All in all a classic album - and moreover Bindi's choice to a certain extent required it the work includes 13 songs by the singer-songwriter, some of which are little known and one even unreleased ("Rame"), plus a tribute from Polegri herself .

Nonetheless, the work is enlivened by the use of as many as ten different arrangers, who have worked together with Polegri, alternating from piece to piece, so as to create a certain diversification in the ways of reinterpreting Bindi's pieces. Polegri is now engaged on the voice, now on the sax (mainly the contralto, but occasionally also tenor and soprano), now she alternates voice and instrument in the same piece. In short, a brilliant versatility. Her voice is perhaps not frankly jazzy, but for this type of operation she is perhaps even more suitable, as especially as it is used - very "60s": delicate, precise, with a simple but effective interpretation.

Among the pieces, perhaps the very classic “Il nostro concerto” stands out, where the traditionally melodic introduction of the voice is followed first by an almost Baroque insert (homage to Bindi's passion for classical music) and then by a short but well-chosen contralto solo, again in the Polegri. Jazzistically successful "Nuvola per due" and "Arrivederci", enriched by the participation of the Corvini-Iodice Roma Ensemble (but here the vocal interpretation of Polegri is perhaps too "modern"); alluring "Io e il mare", due to the "acting" presence of Franco Califano; the conclusion is touching, a tribute within a tribute, left to Bindi himself, alone on the piano. (Translated using Google Translate)
By AAJ Italy Staff https://www.allaboutjazz.com/bindinjazz-pietro-lussu-via-veneto-jazz-review-by-aaji-staff

Personnel Cristiana Polegri (vocals, saxophones), Pietro Lussu (piano), Aldo Bassi (trumpet, flugelhorn), Mario Corvini (trombone), Pietro Ciancaglini (double bass), Lorenzo Tucci (drums), Riccardo Biseo (piano in 2, 3, 11 ), Gerardo Barroccini (double bass in 4, 6), Pierpaolo Bisogno (vibraphone, percussion in 4, 6, 8, 9, 10), Sandro Deidda (saxophones in 12), String orchestra conducted by Marcello Sirignano (in 5) , Stefano Di Battista (soprano sax in 5), Franco Califano (voice in 7), Corvini-Iodice Roma Ensemble (in 12), Umberto Bindi (piano in 14)

Bindi'n Jazz

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The Swingle Singers, The Modern Jazz Quartet - Place Vendome

Styles: Jazz, Bop, Cool
Year: 1966
File: MP3@320K/s
Time: 37:09
Size: 86,4 MB
Art: Front

(4:17)  1. Little David's Fugue
(5:40)  2. Air For G String
(3:32)  3. Vendôme
(6:33)  4. Musikalisches Opfer Bwv 1079: No.8 Ricercar A 6
(5:04)  5. When I Am Laid In Earth (Dido's Lament)
(4:51)  6. Alexander's Fugue
(7:10)  7. Three Windows

For a short time in the mid-'60s, the Modern Jazz Quartet were working primarily in Europe and recording for the French division of Philips, with the results coming out in the United States on the MJQ's regular label, Atlantic. There was only one exception to this rule: Place Vendôme, which comprised the collaboration of the MJQ with the Swingle Singers, and which appeared in the U.S. on Philips' American subsidiary through Mercury Records. For Philips, the collaboration must have seemed like an inevitability; Ward Swingle had sung with the Double Six of Paris, which had backed up Dizzy Gillespie who, of course, had led the big band out of which the MJQ was formed in 1952. The Swingle Singers had been jazzing up the music of Johann Sebastian Bach since at least 1963 with phenomenal success, and while John Lewis wasn't quite as into the Bach bag in 1966 that he would be later, his MJQ compositions had long been taken up in European devices such as fugue and the renaissance Canzona.

Although Swingle and Lewis agreed to collaborate backstage after an MJQ concert in Paris in 1964, it wasn't until 1966 that the two groups found themselves in Paris at the same time. The resultant album, Place Vendôme, was a huge international success commercially, with the track "Aria (Orchestral Suite No. 3 in D major, BWV 1068)"though then popularly called "Air on a G String"charting strongly in Europe and the album easily earning its keep in the U.S., though it did not chart there. Not everyone was pleased; jazz critics savaged the album, the consensus being that a pop vocal group like the Swingle Singers had no business making an album with an exalted jazz group like the MJQ.
~ Uncle Dave Lewis https://www.allmusic.com/album/place-vend%C3%B4me-mw0000521943


The Swingle Singers: Jeanette Baucomont – soprano; Christiane Legrand – soprano; Alice Herald – alto; Claudine Meunier – alto; Ward Swingle – tenor, arranger; Claude Germain – tenor; Jean Cussac – bass; José Germain – bass

The Modern Jazz Quartet: John Lewis – piano; Milt Jackson – vibraphone; Percy Heath – double bass; Connie Kay – drums

Place Vendome

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Elia Bastida - Tribute to Stéphane Grappelli

Styles: Vocal, Violin
Year: 2022
File: MP3@320K/s
Time: 55:44
Size: 129,0 MB
Art: Front

(3:35) 1. Clair de Lune
(4:54) 2. I Can´t Get Started
(3:21) 3. Double Concerto
(4:40) 4. Troublant Bolero
(3:13) 5. Anniversary Song
(4:10) 6. Flamingo
(3:24) 7. Makin' Whoopee
(3:03) 8. Dance for Stéphane
(2:09) 9. Nature Boy
(5:17) 10. Django
(3:46) 11. Izaura
(4:44) 12. My One and Only Love
(4:03) 13. Grappelia
(5:18) 14. Django (Bonus)

As a great reference for violin and jazz, the name of Stéphane Grappelli has accompanied Èlia Bastida since her beginnings in the world of jazz. She defines him as a lyrical, passionate, virtuosic, technical, detailed and romantic musician.

Until now, she has made punctual tributes to him with recordings of some songs like “Stardust-Shine”, “It Had to be You”, “How About You”, among others. In this album “Tribute to Stéphane Grappelli” she wanted to give her particular point of view, looking for how, from his musical personality, to approach Grappelli’s music and take it to her field.

On this album you can listen to a journey through the various facets of Stéphane Grappelli: from the important tandem he formed with Django Reinhardt with the songs “Clair de Lune”, “Anniversary Song” and “Troublant Bolero”, continuing with some of the standards that he recorded as “Makin’ Whoopee”, “I Can’t Get Started”, “Flamingo”, “Nature Boy”, “My One and Only Love” and “Django”, and recalling with the song “Izaura” his incursions in the new bag with the album “La Grande Réunion” that he recorded with Baden Powell in 1986.

We also can find on the disc a version of Bach’s Double Concerto recalling Grappelli’s recording with Eddie South and Django Reinhardt and two songs that Èlia Bastida has composed for the occasion, thinking of bringing the essence of the violinist to other styles such as Brazilian music and funk with “Dance for Stéphane” and “Grappelia”. https://jazztojazz.com/en/product/tribute-to-stephane-grappelli/

Personnel: Èlia Bastida violin & vocals, Josep Traver guitar, Joan Chamorro double bass, Arnau Julià drums.

Tribute to Stéphane Grappelli

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Steve Gadd - Center Stage

Styles: Jazz, Post Bop
Year: 2022
File: MP3@320K/s
Time: 62:28
Size: 143,9 MB
Art: Front

(7:17) 1. Signed Sealed Delivered
(8:04) 2. Watching The River Flow
(5:15) 3. I Can't Turn You Loose
(6:14) 4. Che Ore So
(5:42) 5. Them Changes
(6:06) 6. Way Back Home
(3:50) 7. Lucky 13
(8:41) 8. Honky Tonk / I Can't Stop Loving You
(5:05) 9. My Little Brother
(6:10) 10. Things Ain't What They Used To Be

Mixed emotions must underline this review. Center Stage, featuring bassist Eddie Gomez, drummer Steve Gadd and baritone saxophonist Ronnie Cuber with Germany's superb WDR Big Band conducted by Michael Abene, was recorded in Cologne in January and February 2022. Sadly, Ronnie Cuber passed away in October, shortly after the album was released.

If this was Cuber's last hurrah, it thunders loudly above the rooftops, as his solos (on each of the album's nine numbers) and melodic passages are models of astuteness and control, lending the session inflexible vigor and depth. In other words, a wonderful way to take one's final recorded bow. As for Gomez and Gadd, the funky groove which prevails most of the way is their meat and potatoes, assuring that the rhythm (with help from guitarist Bruno Müller, pianist Simon Oslender and organist Bobby Sparks II) is in the very best of hands.

The session opens on a soulful note with Stevie Wonder's "Signed, Sealed, Delivered" and stays there for earthy readings of genial yet unassuming themes by Bob Dylan, Otis Redding, Buddy Miles, Wilton Felder, Bill Doggett and a pair by Gadd ("Lucky 13" and "My Little Brother"). Pino Daniele's "Che Ore So" is an outlier, nestling in an even-tempered Latin groove behind warm solos from Gomez, Cuber and trombonist Ludwig Nuss. Nuss is one of four soloists from the WDR ranks; the others are alto saxophonist Karolina Strassmayer who trades volleys with Cuber on Dylan's "Watching the River Flow," tenor Paul Heller (Miles' "Them Changes") and trombonist Andy Hunter (Doggett's "Honky Tonk/I Can't Stop Loving You").

Besides "Che Ore So," Gomez solos on "Watching the River" and "Lucky 13," Gadd on "Signed, Sealed," Felder's "Way Back Home" and "My Little Brother," Muller on "Watching the River," Redding's "I Can't Turn You Loose" and "Them Changes," Oslender on "Signed, Sealed," "Them Changes" and "Honky Tonk." There are two organ solos by Sparks, on "I Can't Turn You Loose" and "Honky Tonk." As for the WDR, it is in the pocket all the way, blowing as if soul and funk were its natural habitat and generally keeping the enterprise swinging. For big-band enthusiasts, a rather obvious positive choice. By Jack Bowers https://www.allaboutjazz.com/center-stage-steve-gadd-eddie-gomez-ronnie-cuber-wdr-big-band-leopard

Personnel: Michael Abene: piano; Steve Gadd: drums; Eddie Gomez: bass; Ronnie Cuber: saxophone, baritone; WDR Big Band: band/orchestra; Bobby Sparks II: organ, Hammond B3; Bruno Müller: guitar; Simon Oslender: keyboards.

Center Stage

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Sherry Dyanne - Sing Me a Song (Bonus Tracks)

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 50:46
Size: 117,3 MB
Art: Front

(3:49) 1. Foolish
(4:04) 2. Lift My Blues
(3:24) 3. Come On A My House
(3:10) 4. Just Cause You're Pretty
(3:10) 5. Make It Better
(3:11) 6. Billies Blues
(3:00) 7. Little Boat
(2:45) 8. My Dreams Are Getting Better All The Time
(3:28) 9. Lost Mind
(5:32) 10. Wait Till You See Him
(4:46) 11. What A Difference A Day Made
(3:28) 12. A Little Love Goes A Long Way
(3:42) 13. Sing Me A Song
(3:10) 14. Love You As Good As Me

Jazz singer Sherry Dyanne is known for her powerful performance. She performs with her own band across the world in clubs and festival stages, received a Edison Award nomination for her debut album ‘Sing me a Song’ and sold over 38.000 albums of her latest christmas album ‘Let it Glow’ in the USA.

In 2001 Sherry performed in the Dutch TV talent show The Soundmixshow and became runner up in the finals.

Sherry shared the stage with George Duke, Michael Franti, Candy Dulfer, Trijntje Oosterhuis and Michiel Borstlap. Sherry performed at the prominent jazzfestivals like North Sea Jazz and The Hague Jazz and also performed several times on Holland’s prime time TV shows such as: De Wereld Draait Door, Koffietijd and Max with her own band, Candy Dulfer and Sven Hammond Soul.

In 2011 she released her debut album ‘Sing me a Song’ with guestplayer Candy Dulfer which became a big succes. The album received nominations by Dutch radio and got 4 star reviews by Holland’s leading press such as Jazzisme, Grazia and Nu.nl. Since the release of ‘Sing me a Song’ Sherry has appeared in various national newspaper and magazine’s such as Parool, NRC Handelsblad, NRC Next, Marie Claire, Viva and Veronica magazine. After and before the Album release Sherry played festivals and venues across Europe, The USA, South America, Turkey and Israel.

In 2015 and 2016 Sherry and award winning jazz piano player Michiel Borstlap toured with a theatershow about the life of Billie Holiday.

2016 has been an exciting year for Sherry. She started a close collaboration with leading retail brand Crate and Barrel, releasing the exclusive Christmas album Let it Glow produced by Sherry herself. She also played special in-store shows at their stores across the USA. Thanks to the album Let it Glow Sherry and Crate and Barrel donated 4,6 million meals to the chartiy Feed America.
https://www.sherrydyanne.com/epk-1

Sing Me a Song (Bonus Tracks)

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Mulgrew Miller, Niels-Henning Ørsted Pedersen - The Duo

Styles: Piano Jazz, Post Bop
Year: 2020
File: MP3@320K/s
Time: 51:59
Size: 119,6 MB
Art: Front

(3:54) 1. C Jam Blues
(4:47) 2. Sophisticated Lady
(3:19) 3. Pitter Patter Panther
(5:30) 4. I Got It Bad
(4:19) 5. What Am I Here For
(4:47) 6. Mood Indigo
(3:20) 7. Blues In The PM´s
(4:52) 8. Come Sunday
(5:08) 9. Just Squeeze Me
(4:55) 10. Solitude
(3:51) 11. Caravan
(3:11) 12. O.D. Blues

In 1999, Niels-Henning Ørsted Pedersen and Mulgrew Miller came together in a unique and unlikely pairing to pay tribute to Duke Ellington on the 100th anniversary of his birth. The result was a passionate and long-lived musical partnership between two masters of their respective instruments, but the original recordings were never released. For the first time ever, more than 20 years after its recording, this lost treasure is finally made available to the public. The duo was initially brought together by Bang & Olufsen and set out to celebrate Ellington and his partnership with bassist Jimmy Blanton. With the help of Per Arnoldi, who is also credited with the album’s artwork, NHØP was approached to take part and tapped Mulgrew Miller to tackle a series of Ellington’s classic themes and a couple of their own. He saw the opportunity to work with Mulgrew Miller, a pianist whom he admired and had not yet had the opportunity to work with, and this decision paid off greatly for both of them. A great musical and personal partnership was born, and the duo’s captivating chemistry is obvious from the first notes. The collaboration was a unique meeting of two of the greatest jazz-minds of their time paying tribute to another legendary partnership. Thankfully, these recordings are finally available and they make up an important addition to the already extensive and impressive legacies of both NHØP and Mulgrew Miller as well as a beautiful tribute to Ellington and Blanton. https://storyvillerecords.bandcamp.com/album/the-duo-duke-ellington-100

Personnel: Mulgrew Miller - Piano; Niels-Henning Ørsted Pedersen - Bass

The Duo

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Dan Barrett's International Swing Party Band - Tour (Live!, Vol.1, Vol.2)

Dan Barrett's International Swing Party Band - Tour (Live!, Vol. 1)
Styles: Vocal, Trombone Jazz
Year: 2012
Time: 68:39
File: MP3 @ 320K/s
Size: 157,9 MB
Art: Front

(7:13) 1. Back Home Again In Indiana (Live) (Feat. Butch Miles)
(6:07) 2. On The Sunny Side Of The Street (Live) (Feat. Butch Miles)
(9:31) 3. Blues My Naughty Sweetie Gives To Me (Live) (Feat. Butch Miles, Nicki Parrott & Dan Barrett)
(5:22) 4. Keepin' Out Of Mischief Now (Live) (Feat. Butch Miles)
(8:45) 5. Tea For Two (Live) (Feat. Butch Miles)
(4:37) 6. Let's Do It (Live) (Feat. Butch Miles)
(5:27) 7. Montevideo (Live) (Feat. Butch Miles)
(7:25) 8. The King (Live) (Feat. Butch Miles)
(8:01) 9. Bochum Electricity Blues (Live) (Feat. Butch Miles)
(6:07) 10. Do You Know What It Means To Miss New Orleans (Live) (Feat. Butch Miles)

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Dan Barrett's International Swing Party Band - Tour (Live!, Vol. 2)

Time: 65:35
Size: 151,1 MB

(3:22) 1. Neal's Deal (Live) (Feat. Butch Miles)
(3:21) 2. Georgia Jubilee (Live) (Feat. Butch Miles)
(5:51) 3. Waste No Tears (Live) (Feat. Butch Miles)
(3:08) 4. Whoa Babe (Live) (Feat. Butch Miles)
(4:37) 5. Is You Is, Or Is You Ain't (Ma' Baby) (Live) (Feat. Butch Miles)
(4:22) 6. Cavernism (Live) (Feat. Butch Miles)
(5:08) 7. Absolutely, Positively (Live) (Feat. Butch Miles & Bernard Flegar)
(5:14) 8. With 'Em (Live) (Feat. Butch Miles & Bernard Flegar)
(6:29) 9. One O'clock Jump (Live) (Feat. Butch Miles)
(4:45) 10. Montevideo (Live) (Feat. Butch Miles)
(6:06) 11. If I Had You (Live) (Feat. Butch Miles)
(6:57) 12. Sweet Sue (Live) (Feat. Butch Miles)
(6:09) 13. Hindustan (Live) (Feat. Butch Miles)

I wasn’t there. I wish I had been. But the good news is that two compact discs from this band’s German tour have been issued on the Echoes of Swing label (EOSP 4058 / 4059, available separately) and they come in the ear like honey. Hot honey, if you must know: a really delicious sensation.

The gracious swingsters on these discs are Duke Heitger, trumpet / vocal; Dan Barrett, trombone, head arrangements, vocal; Dan Block, clarinet, alto, tenor; Engelbert Wroebel, clarinet, soprano, tenor; Chris Hopkins, piano; Eddie Erickson, guitar, banjo, vocal; Nicki Parrott, string bass, vocal; Butch Miles, drums; Bernard Flegar, drums (on two tracks). The material comes from March 2010, and each CD has expansive notes by Dan Barrett. This tour was the idea of the very knowing and generous jazz fan / collector / scholar / promoter Manfred Selchow, who has written two splendid books on his heroes Edmond Hall and Vic Dickenson (PROFOUNDLY BLUE and DING DING! respectively) so you know he has good taste in musicians and bands.

Volume One begins with a string of “old favorites” played with snap and crackle not to ignore pop: INDIANA and SUNNY SIDE OF THE STREET, followed by BLUES MY NAUGHTY SWEETIE GIVES TO ME, with echoes of Louis and Eddie Condon and the Hampton Victors, then Eddie convinces he us he is behaving well on KEEPIN’ OUT OF MISCHIEF NOW. The reed players and rhythm make us forget that TEA FOR TWO is ninety years old, and Nicki purrs her way through LET’S DO IT (with some nifty new lyrics as well). A rhythm section feature, MONTEVIDEO, is both startling and supple, evoking a late Ellington trio and then everyone evokes a compact powerful version of the Forties Basie band with THE KING. But wait! There’s more. A nice long blues, BOCHUM ELECTRICTY BLUES, and a sweet Duke vocal / trumpet performance of DO YOU KNOW WHAT IT MEANS TO MISS NEW ORLEANS? (which he does).

Volume Two opens with the bright NEAL’S DEAL (a Neal Hefti line for the 1951 Count Basie Sextet), then moves back nearly thirty years for GEORGIA JUBILEE, a memory of a pre-King-of-Swing record date led by Benny, with Coleman Hawkins on the tenor, and the Sidney Bechet WASTE NO TEARS featuring Block and Wroebel. Dan Barrett sings and swings mightily on the Lionel Hampton classic WHOA BABE, and then Nicki asks the troubling question in swing, IS YOU IS OR IS YOU AIN’T MY BABY. (We is, Nicki. We can’t help it nohow.)

An extraordinary, jumping version of Earl Hines’ CAVERNISM follows, then Eddie woos the crowd, which he does so well, with ABSOLUTELY, POSITIVELY, a sweet love song written by the unheralded member of the Great American Songbook fraternity, Jabbo Smith. WITH ‘EM, Dan Barrett’s clever, hot, boppish take on I GOT RHYTHM, keeps the imagined dancers hopping, leading into a sleekly intense ONE O’CLOCK JUMP. Another delightful version of MONTEVIDEO follows remarkable improvisations on the theme and a tender IF I HAD YOU, before the disc romps home with SWEET SUE and HINDUSTAN.

If you know the players and singers here, you won’t have to be convinced of the quality of the music on these discs. But these performances are sharply executed when the music calls for it (this band isn’t ashamed of rehearsing) and loose, fervent, courageous when it’s time for jamming. These are live performances, so you can hear the good humor and delight in the various rooms and the sound is fine, too.

My only problem is that I file my CDs alphabetically according to the leader or the musician / singer I gravitate towards. I can’t be fair to anyone by putting these CDs under B for Barrett or H for Hopkins. It seems I have to buy multiple copies to satisfy my ethical self. You might not be burdened by such demands, but you will be delighted by every note on both discs.
https://jazzlives.wordpress.com/2012/07/15/chris-hopkins-presents-dan-barretts-international-swing-party-2010-featuring-butch-miles/

Personnel: Dan Barrett, trombone, head arrangements, vocal; Dan Block, clarinet, alto, tenor; Engelbert Wroebel, clarinet, soprano, tenor; Chris Hopkins, piano; Eddie Erickson, guitar, banjo, vocal; Nicki Parrott, string bass, vocal; Butch Miles, drums; Bernard Flegar, drums (on two tracks); Duke Heitger, trumpet /vocal

Tour 2010 (Live!,Vol.1,Vol.2)

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Alan Barnes - A Jazz Christmas Carol

Styles: Jazz, Holiday
Year: 2015
Time: 50:13
File: MP3 @ 320K/s
Size: 116,2 MB
Art: Front

(1:15) 1. The Start Of It
(6:08) 2. Bah Humbug!
(5:02) 3. Marley's Ghost
(4:31) 4. The Ghost Of Christmas Past (Portrait Of Belle)
(6:16) 5. The Ghost Of Christmas Present
(5:25) 6. Tint Tim
(2:48) 7. The Ghost Of Christmas Yet To Come
(5:10) 8. The End Of It
(4:01) 9. God Bless Us Everyone!
(4:11) 10. God Rest Ye Merry Gentlemen
(5:21) 11. The Christmas Song

Like the Dickens classic itself, Alan Barnes’s “Christmas Carol” has something for everyone.

A family night out that is also a treat for the jazz connoisseur; it will delight anyone who loves music or literature – or just Christmas! This new suite of pieces, touring for the first time this year, takes the audience through the characters and scenes of ‘A Christmas Carol”. Readings from the original Dickens tell the story, and after each scene eight virtuoso musicians bring the characters and scenes to life, switching audiences from hilarity to pathos with a skill that would have done credit to Dickens himself!

A gruff baritone sax plays Scrooge, his lost love Belle is a lyrical alto, his clerk Bob Cratchit a cheery clarinet and Marley’s Ghost walks in the person of a swinging trombone. Just as Scrooge’s ghosts take him on a tour of his life, so the movements of this suite seemed each to have a benevolent presiding ghost, celebrating the spirit of jazz greats past and present. The music and readings inspire the full range of Dickens’s imagination and emotion: from terror and remorse through to love and then irresistible joy: "God Bless Us Every One!"

“Barnes is a true Dickensian. He is a serious reader of the novels. It is a clear blunder of providence that he was born too late to appear in their pages!” Hot News. https://www.alanbarnesjazz.com/a-jazz-christmas-carol

Personnel: Alan Barnes - saxophone, clarinet and bass clarinet; Bruce Adams - trumpet and flugelhorn; Mark Nightingale - trombone; Robert Fowler - saxophones and clarinet; Karen Sharp - saxophones and clarinet;

A Jazz Christmas Carol

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Scott Hamilton Quartet - Dean Street Nights

Styles: Saxophone Jazz
Year: 2014
Time: 62:41
File: MP3 @ 320K/s
Size: 143,9 MB
Art: Front

( 7:41) 1. I Just Found Out About Love
( 8:52) 2. Sweet And Lovely
(13:12) 3. Jitterbug Waltz
( 5:20) 4. If I Had You
( 9:40) 5. Zoot's Blues
( 6:23) 6. Spring Can Really Hang You Up The Most
(11:29) 7. Cherokee

Tenor sax player Scott Hamilton performed his first gigs in the UK in 1978, following a much-heralded breakthrough in the States alongside Roy Eldridge and Benny Goodman. He was described as the saviour of mainstream jazz, a young fogey and a Ben Webster sound-alike. It soon became apparent that, while each of these statements had an element of truth, Hamilton was intent on forging his own way through the international jazz scene with an individual voice grounded in quality, consistency and swing.

Hamilton’s latest release, recorded at the Pizza Express Jazz Club, celebrates the 35th anniversary of his début appearance at the venue. The quartet has been touring in the UK and elsewhere since the turn of the millennium. Some of the relationships go back much further: John Pearce (whom I first saw with Hamilton beside Dick Morrissey in 1989) is a hugely experienced and enterprising pianist; bass legend Dave Green has worked with Hamilton on and off for at least 20 years, and the talented, brio-fuelled Steve Brown replaced the much-loved drummer Allan Ganley in 2000.

The opener, I Just Found out about Love, is relatively benign and gives little indication of what comes later. Sweet and Lovely arranged as a slowish samba includes a magnificent piano solo followed by a quietly arresting creation by the leader. You think you know what you’re going to get from Hamilton, but his work is full of surprises and rarely derivative. He prefers to improvise on the music at hand rather than throw in quotations at random and it’s easy to overlook the power that he generates.

Zoot’s Blues is a bright, jaunty tribute to one of Hamilton’s early influences, John Haley “Zoot” Sims. Its swagger is ideal for him and Pearce, whose skilful runs and beautiful chording maintain the momentum. Most revered for his ballad interpretations, Hamilton displays a fluffy and expressive vibrato on If I Had You and Spring Can Really Hang You Up The Most. They both contain well-executed work and beautiful flourishes, although they are arguably the least impressive selections in a varied and classy concert. Follow the link to read full review:

https://londonjazznews.com/2014/02/22/cd-review-scott-hamilton-quartet-dean-street-nights/

Personnel: Scott Hamilton - tenor sax; John Pearce - piano; Dave Green - bass; Steve Brown - drums

Dean Street Nights

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Banu Gibson/John Sheridan/David Boeddinghaus - Livin' In A Great Big Way

Styles: Vocal, Bop
Year: 1991
Time: 42:12
File: MP3 @ 320K/s
Size: 98,5 MB
Art: Front

(2:32) 1. I'm Living In A Great Big Way
(2:15) 2. They All Laughed
(3:01) 3. Fancy Meeting You
(2:55) 4. It's Been So Long
(2:44) 5. About A Quarter To Nine
(2:58) 6. I've Got A Crush On You
(2:12) 7. Lazy
(2:34) 8. Take Another Guess
(2:15) 9. You Can't Pull The Wool Over My Eyes
(2:45) 10. Rock-a-bye Your Baby With A Dixie Melody
(2:47) 11. I've Got A Feelin' You're Foolin'
(2:24) 12. You're Getting To Ba A Habit With Me
(1:54) 13. Out For No Good
(2:59) 14. After You, Who?
(2:46) 15. I'll See You In My Dreams
(3:05) 16. Goodnight My Love

This is an unusual Banu Gibson CD in that, instead of using her regular New Orleans Hot Jazz Orchestra, the talented singer is accompanied by just one of two pianists, John Sheridan or David Boeddinghaus. Gibson's repertoire on this set includes both classics from the pre-bop era and obscurities, and the highlights (among many) are "They All Laughed," "It's Been So Long," "About a Quarter to Nine," "I've Got a Feelin' You're Foolin'" and "I'll See You in My Dreams."

Arguably the top classic jazz singer to be active in the 1990s, Banu Gibson's attractive voice and versatile swinging style are very much in evidence throughout this excellent outing. By Scott Yanow https://www.allmusic.com/album/livin-in-a-great-big-way-mw0000654405

Livin' In A Great Big Way

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Itziar Yagüe - Delicious

Styles: Vocal
Year: 2020
Time: 20:17
File: MP3 @ 320K/s
Size: 46,8 MB
Art: Front

(2:50) 1. Delicious (Feat. Enric Peidro)
(3:34) 2. Daddy's Gone For Good
(4:00) 3. We Make A Good Team
(3:06) 4. What If It Were You
(4:35) 5. Not A Doll
(2:10) 6. Red River

Itziar Yagüe has been the lead singer for different blues, soul, funk, jazz Madrid bands for the past 10 years. She has played the Vitoria Jazz Festival in 2018, the 25th Anniversary of the Thyssen Museum in Madrid and opened the 2020 Ciudad de Talavera Gospel & Blues Festival. She boasts a powerful, versatile voice alongside an equally impressive stage presence.https://www.jazziz.com/new-releases/delicious/

Singer-songwriter Itziar Yagüe’s debut EP, DELICIOUS. Containing six original songs in some of the classic African-American traditional genres, DELICIOUS is as fresh as a debut EP should be while displaying the maturity of an experienced artist.

Personnel:

Raúl Platz: double bass, artistic direction and arrangements.

Giulio Pietropaolo: piano, Rhodes, arrangements, and vocal arrangements in What if it were you

Luis Carpizo: tenor sax, We make a good team, Not a doll

Víctor Barceló: harmonica and backing vocals in What if it were you

Elvira Sodalita: drums

Enric Peidro: alto and tenor sax in Delicious

Emilio Arsuaga: voice, We make a good team

Mónica Benito: vocal arrangement and backing vocals in What if it were you

Marianne Ax: vocal coach

DELICIOUS was recorded live on the 22nd and 23rd February 2020 at Estudio Brazil in Madrid.

Delicious

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