Thursday, January 13, 2022

Antonio Carlos Jobim - Verve Jazz Masters 13

Styles: Vocal, Bossa Nova
Year: 1993
File: MP3@320K/s
Time: 56:34
Size: 131,4 MB
Art: Front

(4:17) 1. Corcovado (Quiet Nights Of Quiet Stars)
(2:39) 2. Vivo Sonhando (Dreamer)
(3:40) 3. So Danco Samba
(2:47) 4. Desafinado (Off Key)
(3:35) 5. Aguas De Marco (Waters Of March)
(5:29) 6. O Grande Amor
(2:53) 7. Agua De Beber
(3:15) 8. Chovendo Na Roseiro (Double Rainbow)
(6:55) 9. O Morro Nao Tem Vez
(2:12) 10. Fascinating Rhythm
(2:57) 11. Insensatez (How Insensitive)
(3:11) 12. Inutil Paisagem (Useless Landscape)
(3:25) 13. O Morro não tem Vez
(2:06) 14. Por Toda Minha Vida
(2:43) 15. Triste
(4:23) 16. Borzeguim

Antonio Carlos Jobim's entry in the exhaustive VERVE JAZZ MASTERS set of historical reissues is one of the best single-disc Jobim anthologies available. It's not got much in the way of historical range, since it stops in the mid-'60s, just before Jobim left Verve for Reprise and then A&M. However, since Jobim's Verve years were, in the minds of many, his career highpoint, VERVE JAZZ MASTERS 13 distills the best of his most artistically and commercially successful period. Nearly all of Jobim's greatest songs are here in their definitive versions, and the whole is sequenced thoughtfully, so that the disc has a logical and delightful flow. This is magnificent stuff, as well as being the birth of bossa nova. https://www.allmusic.com/album/verve-jazz-masters-13-mw0000112351

Personnel: Antonio Carlos Jobim - Vocal, Guitar, Piano; Stan Getz - Tenor Saxophone; Joao Gilberto - Guitar, Vocal; Tommy Williams - Bass; Luiz Bonfa Bass; George Duvivier Bass; Paulo Ferreira Drums; Paulo Braga Drums; Paulo Jobim Guitar, Vocal, Producer

Verve Jazz Masters 13

Sammy Davis Jr., Carmen Mcrae - Porgy And Bess

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 37:02
Size: 86,8 MB
Art: Front

(2:57) 1. Summertime
(3:39) 2. A Woman Is A Sometime Thing
(4:15) 3. My Man's Gone Now
(3:27) 4. I Got Plenty O' Nuttin'
(4:50) 5. Bess, You Is My Woman
(3:54) 6. It Ain't Necessarily So
(3:47) 7. I Loves You Porgy
(3:58) 8. There's A Boat Dat's Leavin' Soon For New York
(3:26) 9. Oh Bess, Where's My Bess
(2:44) 10. Oh Lawd, I'm On My Way

The 1959 film Porgy and Bess was supposed to be the crowning achievement of the legendarily tyrannical producer Samuel Goldwyn’s career; he had wanted to film the Gershwin brothers’ ‘American folk opera’ since seeing it on stage in 1935. Instead, it was a disaster: the director was fired and replaced, the sets burned down just before filming started, the actors were suspicious of potentially insulting stereotypes, the critics didn’t like it, and the Gershwins hated it. About the only thing to recommend it was Sammy Davis, Jr.’s turn as the serpent-tongued Sportin’ Life. Nonetheless, the widespread anticipation for the movie, coupled with the manifest genius of the opera’s score led to the Porgy-and-Bess-ification of music in jazz circles in 1959. No fewer than ten jazz albums of Porgy and Bess’ score were released in 1959: Miles Davis, Oscar Peterson, Ralph Burns, Mundell Lowe, Hank Jones, Bill Potts, Buddy Collette, Rex Stewart and Cootie Williams, Diahann Carroll with the André Previn Trio, and a duet album featuring Harry Belafonte and Lena Horne.

While shooting Porgy and Bess in Hollywood in the second half of 1958, Sammy Davis, Jr. also laid down tracks for his own Porgy and Bess album, with which to capitalise on his star billing in the film. Joining him would be his Decca stablemate Carmen McRae, with whom he had already recorded a duet album, Boy Meets Girl. Carmen provided two cuts (“Summertime” and “My Man’s Gone Now”, both recorded in New York), and joined Sammy in Los Angeles for one duet (“I Loves You Porgy”). Sammy recorded the remaining songs solo. Sporting notable cover art by pop artist James Meese, Decca’s Porgy and Bess was released in March 1959, exactly three months before the film’s premiere at the end of June. Columbia also released an official Porgy and Bess soundtrack album in June, but contractually Sammy could not appear in it. Cab Calloway subbed in for Sportin’ Life’s two songs from the film, “It Ain’t Necessarily So” and “There’s a Boat Dat’s Leaving Soon For New York”. Despite this, the name Sammy Davis, Jr. is emblazoned across the reverse of the LP sleeve, and so for many years many people have assumed it is Sammy when it is not.

Decca’s Porgy and Bess marked Sammy’s first collaboration on record with arranger Buddy Bregman, well known at the time for his work with Ella Fitzgerald and Bing Crosby. Bregman and Sammy had been friends for years, and while Bregman was working on the charts for Porgy and Bess, the two were actually rehearsing together for a stage play production of The Desperate Hours at the Hollywood Centre Theatre. A full string orchestra and The Bill Thompson Singers were brought in to back Sammy and, believe it or not, the arrangements manage to overcome even Sammy’s powerful voice, at times swallowing him with brass or suffocating him with strings (perhaps an audio mixing issue). Despite this, you can tell that Sammy isn’t holding anything back Porgy and Bess was a labour of love for him, especially given how hard he lobbied Goldwyn for his role in the film in the first place. http://sammydavisjr.info/music/releases/original-albums/porgy-and-bess/

Personnel: Sammy Davis, Jr. - vocals (on all tracks but 1 and 3)Carmen McRae - vocals (1, 3, 7)

Porgy And Bess

Alan Baylock Jazz Orchestra - Two Seconds To Midnight

Styles: Jazz, Big Band
Year: 2003
File: MP3@320K/s
Time: 68:52
Size: 158,9 MB
Art: Front

(6:38) 1. Song For Bilbao
(6:08) 2. Night And Day
(5:26) 3. Skylark
(6:26) 4. Two Seconds To Midnight
(8:31) 5. Sea Changes
(7:48) 6. Out House
(6:08) 7. One Mint Julep
(7:57) 8. Dee Minor
(9:02) 9. Cottontail
(4:45) 10. When I Fall In Love

When it comes to putting together a big band, Alan Baylock has an enormous advantage. As chief arranger for the U.S. Air Force’s renowned jazz ensemble, the Airmen of Note, he’s on a first-name basis with some of the most accomplished big band musicians in the country, if not the world. Nearly a dozen of the sidemen on Two Seconds to Midnight, Baylock’s splendid debut recording as leader of the band, were enlisted from the ranks of the AON with four others from the Army Blues and one from the Navy Commodores. As a bonus, there are guest appearances by the celebrated pianist Kenny Werner on Baylock’s “Sea Changes” and Ellington’s “Cottontail.”

Of course, assembling these pros in a studio is one thing; handing them charts that are rewarding to play is quite another. The good news for musicians and listeners alike is that Baylock excels in that sphere as well. One doesn’t replace a legendary arranger such as Mike Crotty without having uncommon resourcefulness and talent. Baylock knows what it takes to make a big band fresh and exciting, and writes accordingly. As he explains it: “I consciously try to forget old habits to discover newer ways of doing things. Whether it’s mixing and matching instrument[al] colors to achieve subtly different sounds, adding a few extra notes into a voicing for more ‘crunch,’ putting in an unexpected rhythm... or completely reworking the harmonic and formal structure of a tune, it’s the process of experimentation that makes creating music so exciting...”

The excitement is evident throughout, from Pat Metheny’s dancing “Song for Bilbao” to the Victor Young/Ned Heyman’s ballad “When I Fall in Love.” The album’s other two standards are as different as, well, “Night and Day,” with tenors Tyler Kuebler and Jeff Antoniuk dueling on a scorching arrangement of the Cole Porter confession, and trumpeter Tim Leahey and trombonist Joe Jackson taking wing on Hoagy Carmichael’s achingly lovely “Skylark.” Ensemble and soloists are equally impressive on Jerry Bergonzi’s busy “Out House,” Mike Mainieri’s strapping “Dee Minor,” Rudolph Toombs’ funky R&B classic, “One Mint Julep,” and Baylock’s on-the-edge title selection.

There is one departure from the big band format, with Werner, bassist Paul Henry and drummer Steve Fidyk showcased on the billowing “Sea Changes.” Fidyk, bassists Henry or John Pineda, guitarist Shawn Purcell and pianist Bob Larson, it must be noted, comprise as capable a rhythm section as one could desire. And with trumpet and trombone sections made up almost entirely of Airmen, there’s no letdown there either.

“Cottontail,” with ripping solos by Werner, Fidyk, alto Andy Axelrad, Antoniuk (soprano), baritone Doug Morgan and tenor Luis Hernandez, is a gem, but so is almost everything else, with “Out House” (solos by Kuebler, Purcell and Fidyk) and “Dee Minor” (Larson, trombonist Ben Patterson, baritone Chad Makela) sure to give almost every attentive listener goosebumps. Not bad for a first try, Alan. We hope to hear from you again, not only as principal arranger for the Airmen but with your “own” band as well.~ Jack Bowers https://www.allaboutjazz.com/two-seconds-to-midnight-alan-baylock-sea-breeze-jazz-review-by-jack-bowers

Personnel: Alan Baylock, leader, arranger; Andy Axelrad, Antonio Orta, alto sax, flute; Joseph Henson, alto sax; Tyler Kuebler, tenor sax, clarinet; Luis Hernandez, tenor sax; Jeff Antoniuk, tenor, soprano sax, clarinet; Chad Makela, baritone sax, bass clarinet; Doug Morgan, baritone sax; Brian MacDonald, Mike Davis, Mike Kamuf, Rich Sigler, Tim Leahey, trumpet, flugelhorn; Ben Patterson, Jeff Martin, Joe Jackson, trombone; Jeff Cortazzo, bass trombone; Shawn Purcell, guitar; Bob Larson, piano; John Pineda, Paul Henry, bass; Steve Fidyk, drums.

Two Seconds To Midnight

Laura Tate - I Must Be Dreaming

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 40:13
Size: 92,4 MB
Art: Front

(3:13)  1. Snake Tattoo
(3:21)  2. No Place to Hide
(3:00)  3. What a Way to Go
(3:43)  4. I Must Be Dreaming
(2:36)  5. Dead End Road
(4:27)  6. Talk Is Cheap
(4:06)  7. If Ever Forever Should End
(2:53)  8. Cowboy Jazz
(3:24)  9. Counting Up the Ways
(3:08) 10. Don't Try to Talk Me Out of Loving You
(2:50) 11. Too Blue
(3:27) 12. Hold On (The Edge of Your Love)

Whether she is singing Broadway hits or ballads, pop favorites or original compositions, Laura Tate brings heart and soul to her performance and recordings. The versatile singer, actor, producer, and community advocate continues to mesmerize audiences in both intimate cafes and huge concert halls, reaching each listener with her smooth sultry torch singer voice and warm stage presence. 

Released on June 1, 2015, the album, "I Must Be Dreaming," recorded in Los Angeles at Jesi-Lu Recording Studio, produced by Terry Wilson as a tribute the music of Mel Harker. http://www.musicbylauratate.com/

I Must Be Dreaming