Vanessa Rubin - The Dream Is You: Vanessa Rubin Sings Tadd Dameron

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 55:40
Size: 128,5 MB
Art: Front

(7:42)  1. Lady Bird
(2:34)  2. Kitchenette Across the Hall
(7:10)  3. If You Could See Me Now
(3:34)  4. Weekend
(4:17)  5. On a Misty Night
(4:04)  6. Never Been in Love
(5:18)  7. Next Time Around
(3:05)  8. Good Bait
(3:51)  9. Reveries Do Come True (The Dream Is You)
(5:07) 10. Whatever Possessed Me
(5:29) 11. You're a Joy
(3:23) 12. I Think I'll Go Away

Tadd Dameron is regarded as the great romantic of bebop-era jazz composers, a writer with a talent for creating smooth, memorable melodies that could evoke real emotion. Most of his works are known mainly as instrumentals but Vanessa Rubin has compiled lyrics written for some of his tunes, had new lyrics written for others and even provided words to one herself. This recording of her efforts is, surprisingly, the first ever all-vocal set of Tadd Dameron's music.  Rubin's singing is classy throughout, with hints of the subtle swing of Carmen McRae. She benefits from the backing of an eight-piece band playing charts by several of Dameron's friends and disciples, Frank Foster, Benny Golson, Jimmy Heath, Willie Smith and Bobby Watson. There are several familiar pieces like "Lady Bird" and "On A Misty Night" on hand, all played with swinging assurance. Willie Smith's version of "Good Bait," in particular, comes off breezily hip with the horns tightly arranged to sound like a much larger band. Benny Golson gives the classic ballad "If You Could See Me Now" an elegant arrangement, with the reeds and piano flowing gently behind Rubin's velvety voice, and Eddie Allen and Clifton Anderson taking pretty solo turns.  Lesser-known compositions are treated with the same care and style as the familiar ones. "Never Been In Love" is an elegant Latin-flavored ballad given a smoky, romantic sheen in Bobby Watson's arrangement, while "Weekend" is a swirling waltz sporting a brassy horn arrangement by Frank Foster not too far from some of the arranging on Dameron's own recordings. "You're A Joy" is a lush ballad with an unidentified flautist fluttering through the ensemble, and "Whatever Possessed Me" may be the single most beautiful track on the CD, thanks to Rubin's angelic singing and the swooning horns in Jimmy Heath's arrangement. Alex Harding's baritone is a secret weapon of this and many other tracks in the way his sax wraps around the horn ensembles like smoke, giving them a lush gravity. On the ballads "Reveries Do Come True," a romantic tango with Rubin's own lyrics, and "Next Time Around," a vocal version of "Soultrane," the horns lay out and Rubin is backed only by the rhythm section. John Cowherd's piano, Kenny Davis' bass and Carl Allen's drums all shine on these tracks with Cowherd's touch on "Next Time Around" being particularly lovely. Tadd Dameron is something of a neglected figure today but this set reminds us of the beauty and depth of his music, and shows how well it adapts to vocal treatments. It is also a reminder of how good a singer Vanessa Rubin is. ~ JEROME WILSON https://www.allaboutjazz.com/the-dream-is-you-vanessa-rubin-sings-tadd-dameron-vanessa-rubin-nibur-records-review-by-jerome-wilson.php

Personnel: Vanessa K. Rubin: vocals; John Cowherd; piano; Kenny Davis: bass; Carl Allen: drums; Eddie Allen: trumpet; Patience Higgins: tenor saxophone; Bruce Williams: alto saxophone; Clifton Anderson: trombone; Alex Harding: baritone saxophone.

The Dream Is You: Vanessa Rubin Sings Tadd Dameron

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Clark Terry - Clark Terry

Styles: Trumpet Jazz
Year: 1997
File: MP3@320K/s
Time: 51:42
Size: 119,8 MB
Art: Front

(6:06)  1. Swahili
(3:32)  2. Double Play
(4:27)  3. Slow Boat
(3:45)  4. Co-Op
(5:33)  5. Kitten
(6:42)  6. The Countless
(3:05)  7. Tuma
(4:19)  8. Chuckles
(3:31)  9. Cat Meets Chick
(2:30) 10. Mamblues
(3:15) 11. The Man I Love
(4:51) 12. Anything You Can Do

Aside from a three-song session for V-Disc during the late 1940s, this CD contains Clark Terry's first recordings as a leader. Already an alumni of both Charlie Barnet's and Count Basie's bands, and a then-current member of Duke Ellington's orchestra, Terry is more focused on bop in these dates, with a terrific band including trombonist Jimmy Cleveland, baritone saxophonist Cecil Payne, pianist Horace Silver, cellist/bassist Oscar Pettiford, bassist Wendell Marshall, and drummer Art Blakey, with charts by Quincy Jones. The infectious opener, "Swahili," was credited to Jones, though in Carl Woideck's liner notes, Terry remarks that he had a hand in its creation at the date. The loping "Double Play" features both bassists and a fine muted chorus by the leader. The easygoing bopper "Co-Op" was penned by Terry and fellow Ellington sideman Rick Henderson, with pungent statements by the trumpeter and Payne. 

The brisk blues "Chuckles" is a dazzling finale to his first LP, showcasing Payne and Cleveland before Terry takes over and plays a chorus in each of the 12 keys to wrap things up with a flourish. There may be a bit of confusion for anyone who owns a copy of the original LP, as many of the songs were mislabeled on it. The last four tracks came from a 1954 10" album, Cats Vs. Chicks' players include Silver and Pettiford (Percy Heath takes his place on two numbers), trombonist Urbie Green, tenor saxophonist Lucky Thompson, guitarist Tal Farlow, and drummer Kenny Clarke. Terry's vocal-like muted horn is heard in "Cat Meets Chicks," while his distinctive style on open horn is prominent in his "Mamblues," which also has a tasty chorus by Farlow and a bit of Latin percussion behind the ensemble passage. "Anything You Can Do (I Can Do Better)" is a mock battle between instrumentalists, with Mary Osborne challenging Farlow, trumpeter Norma Carson putting Terry to the test, while Terry Pollard takes on Horace Silver. There are no losers in this swinging meeting. ~ Ken Dryden  http://www.allmusic.com/album/clark-terry-polygram-mw0000595668

Clark Terry

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Kenny Drew - Fantasia

Styles: Piano Jazz
Year: 1983
File: MP3@320K/s
Time: 49:25
Size: 114,0 MB
Art: Front

(7:34) 1. Flight Of Fancy
(5:37) 2. Someday My Prince Will Come
(6:24) 3. Wishing Hoping
(4:59) 4. When You Wish Upon A Star
(8:54) 5. Fantasia
(5:06) 6. Dream
(6:33) 7. Polka Dots And Moonbeams
(4:15) 8. Children's Dance

Kenny Drew was born in New York City in August of 1928. At the age of 5, he began studying classical piano with a private teacher and at 8, gave a recital. This early background is similar to that of Bud Powell, the man who later became his main inspiration as a jazz pianist. After digging Fats Waller, at 12, and then Art Tatum and Teddy Wilson, Drew attended the High School of Music and Art. He was known as a hot boogie woogie player but passed through this phase before graduation.

Kenny's first professional job was as accompanist at Pearl Primus' dance school. At the same time, he was alternating with Walter Bishop Jr. in a neighborhood band that included Sonny Rollins, Jackie McLean and Art Taylor. In this period, he used to hang-out on 52nd Street to listen to Charlie Parker and Powell and began sitting in at various jam sessions around town.

In January of 1950, Drew made his first appearance on record, with Blue Note. Howard McGhee was the leader and the other featured soloists were Brew Moore and J.J. Johnson. One of the six sides released was “I'll Remember April.” The label, in addition to stating “Howard McGhee's All Stars”, further read, “Introducing Kenny Drew.”

Later, in 1953, Kenny made his first album as a leader. Again it was Blue Note who recorded him, this time in a trio with Curly Russell and Art Blakey. But Kenny opted to settle in Los Angeles for the next few years. There in 1955, he formed a quartet with the late Joe Maini, Leroy Vinnegar and Lawrence Marable. The quartet first recorded together in 1955 for Pacific Jazz. In December, Jazz West, a subsidiary of Aladdin Records, brought the quartet as is into Capitol's recording studios for “Talkin' & Walkin'.” In February of '56, Kenny's band and arrangements were used for another Jazz West release, this one by vocalist Jane Fielding. A month later, Drew, Paul Chambers, John Coltrane and Philly Joe Jones made the great “Chambers' Music” for the same label, which is now reissued on Blue Note.

In early 1957 Kenny made his way back to New York as accompanist for Dinah Washington. That September, he participated in John Coltrane's monumental masterpiece “Blue Train,” but his association with Blue Note did not heat up again until 1960 when he made his own “Undercurrent” as well as Jackie McLean's “Bluesnik,” and “Jackie's Bag,” Kenny Dorham's “Whistle Stop,” Dexter Godon's “Dexter Calling,” Grant Green's “Sunday Mornin'” and a couple of Tina Brooks dates all within the space of a year.

Although Kenny was active on the recording and club scenes in New York and even subbed for Freddie Redd for a while in the successful Off-Broadway run of The Connection, he eventually chose to migrate to Europe. But he again popped up on a classic Blue Note date, Dexter Godon's “One Flight Up,” done in Paris in 1964.

Kenny became a major star in Europe and Japan although his music was sadly neglected at home. He settled in Copenhagen where he ran a publishing company and was the house pianist at the Café Montmartre. He was also the pianist for the Steeplechase label, where he was on countless sessions backing visiting musicians. He left an impressive legacy of recordings both as sideman and leader. Kenny Drew died on Aug. 4, 1993. https://www.allaboutjazz.com/musicians/kenny-drew

Personnel: Kenny Drew (p); Niels-Henning Orsted Pedersen (b); Ed Thigpen (d)

Fantasia

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Vivian Buczek - Roots

Styles: Vocal
File: MP3@320K/s
Time: 61:54
Size: 147,2 MB
Art: Front

(6:41) 1. Visions
(4:40) 2. Who Are You
(5:05) 3. Devil May Care
(4:54) 4. Fly Away
(6:04) 5. Always and Forever
(4:04) 6. The Jody Grind
(7:12) 7. Waltz for Debbie - Monicas Vals
(7:05) 8. The Meaning of the Blues
(3:52) 9. What Now?
(5:58) 10. Nature Boy
(3:15) 11. Better Days Ahead
(3:00) 12. Jej Portret

Since 2003, Vivian Buczek has established herself as a powerful force in the contemporary jazz scene. Her voice is soulful and powerful. She can be sensitive and emotional on a ballad, but then turn around and sing blues songs as if she's been doing it all her life, which she actually has been. With Roots, she brings the listener into her musical world and offers, what she calls, "the most personal album I've ever made." On Roots, Buczek teams up with saxophonist Seamus Blake, Martin Lundgren on trumpet and flugelhorn, Martin Sjöstedt on piano, Jasper Bodilsen on bass, and Morten Lund on drums. All of the musicians offer impressive performances here, and there is quite a variety of jazz styles featured, which is not surprising considering Buczek's background.

She was born in Sweden, and both her parents were Polish-born jazz musicians. Buczek grew up immersed in both Polish and Swedish culture along with a healthy dose of jazz. Being an only child, music was always, as she describes, her closest friend. She began singing as a child, and her passion for music eventually led her onto the global stage. From listening to Roots it is easy to see how different musicians have influenced her, and she loves a wide variety of jazz music. There are hints of singers such as Annie Ross and Sarah Vaughan here, but her own sound is certainly not derivative. Buczek has her own unique voice, which is certainly impressive.

While there are original compositions included, she also features classics such as "Nature Boy" and a vocalese version of Bill Evans' "Waltz for Debby/Monicas Vals" sung in both English and Swedish. She also features more contemporary compositions by artists such as Stevie Wonder and Pat Metheny. One of Buczeck's major influences, however, is Ella Fitzgerald. She even recorded a tribute album called Ella Lives (Prophone 2017). Although Roots is not another tribute, it is easy to see elements of Ella here. Fitzgerald frequently used her voice not only to carry a song's melody but also to improvise lines as well. In a similar fashion, Buckzek uses her voice much as another instrument in the ensemble, creating improvised lines which weave melodically along with the other players.

The music on Roots is satisfying throughout. From beautiful ballads such as "Who Are You?" and "Always And Forever" to all-out swinging songs such as "The Jody Grind" or "What Now?" this is an album which has plenty to offer. While this is her most personal album, it will probably be a personal favorite for many listeners.~ Kyle Simpler https://www.allaboutjazz.com/roots-vivian-buczek-prophone-records

Personnel: Vivian Buczek: voice / vocals; Seamus Blake: saxophone, tenor; Mårten Lundgren: trumpet.

Roots

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