Wednesday, October 12, 2022

Emilia Zamuner, Massimo Moriconi Duet - Doppia Vita

Styles: Vocal, Bop
Year: 2019
File: MP3@320K/s
Time: 47:25
Size: 109,2 MB
Art: Front

(4:35) 1. Summertime
(3:04) 2. Caravan
(2:33) 3. Cosi
(2:43) 4. Donna
(2:02) 5. La gatta
(5:26) 6. My Funny Valentine
(5:25) 7. Senza fine
(3:03) 8. Nuvole
(4:11) 9. Bésame Mucho
(5:15) 10. The Nearness of You
(5:22) 11. Tintarella di luna
(3:40) 12. Vengo anch'io

The album opens with a superb performance of Summertime ; the song, thanks to the sparkling combination, acquires a peculiarly exciting connotation and makes you “gently shipwreck” in the sea of jazz. The pleasant sensation continues with Caravan , the famous piece by Duke Ellington, which in its performance, in which there is a funny final surprise, seduces with bewitching oriental sounds embroidered with beautiful voices.

The interpretation of So , a wonderful song by Moriconi , in which the harmony of the two, also linked by deep friendship and esteem, in the intertwining of voice and strings gives rise to moments of pure beauty, is evocative.

The atmosphere changes with Donna by Gorni Kramer that opens with a lively scat that imprints the captivating style of the performance. The voice and the strings flirt in a sparkling jazz version of the famous La g atta by Gino Paoli.

And then Zamuner 's voice goes beyond the scat and turns into more than an instrument to introduce My funny Valentine performed in the best North American jazz tradition. Another particular intro with virtuous voice games for Senza fine, where improvisations allow the two to freely express their art.

In a meeting of poetry and melody Nuvole is presented , the song by Moriconi with fresh and well-mixed colors. Classical and elegant is Besame mucho 's interpretation with phrasing of the double bass which in their embroidery on the strings at times pleasantly transform some notes of Owner of a lonely heart into jazzof Yes.

Not to mention Nearness of you , the wonderful song that allowed Zamuner to win the aforementioned prize, which with delicacy and mastery opens the doors of the heart of those who listen to it. Witty and lively and in a blues style is Tintarella di luna the famous success made famous by Mina; sublime is the improvisation of the double bass that flows into a relay of sounds with a wonderful scat and then rejoins the familiarly known melody. The harmony of the duo is revealed with irony in the very particular interpretation of I come too, the song that concludes the wonderful musical sequence: the two "play" almost hide and seek in a chase and exchange beats in which even the double bass seems to speak.

“ Duet Double Life ” is, therefore, undoubtedly a work of great value for those who love good music and want to let themselves go into the flow of the musical current that the two artists, with their personality and beauty, release.By Daniela Vellani https://www-ciranopost-com.translate.goog/2019/12/14/duet-doppia-vita-lalbum-testimonianza-di-uno-straordinario-connubio-di-talento-e-amicizia-tra-emilia-zamuner-e-massimo-moriconi/?_x_tr_sl=it&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc

Personnel: Electric Bass, Double Bass, Arranged By [Arrangements] – Massimo Moriconi; Voice – Emilia Zamuner

Doppia Vita

The Ronnie Scott Trio - Trio: On A Clear Day: 'Live' 1974

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 53:03
Size: 122,2 MB
Art: Front

( 8:16)  1. A Blues
(10:38)  2. What's New'
( 9:28)  3. Stella By Starlight
(11:24)  4. Angel Eyes
( 9:02)  5. On A Clear Day
( 4:13)  6. Lou's Piece

Amid fractious personal relationships and an ongoing battle with depression, and surrounded by a jazz scene whose very fabric had changed unrecognisably in a few short years, Ronnie Scott nevertheless remained one of the UK's great jazz catalysts  a central figure around whom much of what was considered newsworthy within the idiom still concentrated. At forty-seven, the saxophonist was no longer chasing the music's cutting edge; instead he had forged a style very much his own, one which tipped its hat to many of the good and the great who'd graced his own Soho club, but which now boasted even greater authority, maturity and individuality than ever before. And, despite his off-stage tribulations, he was happy with his band, a hitherto rare instance of a Scott-led line-up lasting more than a few years. Supported by organist Mike Carr and drummer Bobby Gein, he tore the roof off the White Hart, whose 'Jazz at The Icebox' presentations were a magnet for West Country jazz fans, probably unaware that what was undoubtedly just another night's work for him and his hard-grafting colleagues was being caught on tape. Issued here for the first time, this recording captures Scott doing what he did best: playing no holds-barred jazz, minus the pressures that came from being a frontman for his own club, or acting as 'support act' to his many American guests. As such, it reveals a Ronnie Scott rarely heard on record, an instrumentalist in full-flow, sounding relaxed yet forthright, and making a mockery of the notion that art must mirror life. Scott may have been sailing stormy waters elsewhere but On A Clear Day finds him at the eye of a creative hurricane. Ronnie is one of our finest jazz musicians and saxophonists - period, wrote one Melody Maker reviewer that same year, a declaration fully borne out on this album. ~ Editorial Reviews https://www.amazon.com/Trio-Clear-Day-Live-1974/dp/B07HSLSQF4

Trio: On A Clear Day: 'Live' 1974

George Wettling - Jazz Trios

Styles: Jazz, Post Bop
Year: 1956/2000
File: MP3@128K/s
Time: 38:15
Size: 37,6 MB
Art: Front

(2:59) 1. Rose Room
(2:27) 2. Louise
(3:41) 3. Soon
(2:18) 4. Save It Pretty Mama
(3:51) 5. Old Folks
(3:17) 6. Pennies From Heaven
(3:24) 7. Please Be Kind
(2:53) 8. I Would Do Anything For You
(2:50) 9. The Lady's In Love With Me
(2:43) 10. Shine
(3:55) 11. I'm In The Market For You
(3:51) 12. Bye And Bye

George Wettling (November 28, 1907 - June 6, 1968) was an American jazz drummer.

He was one of the young white Chicagoans who fell in love with jazz as a result of hearing King Oliver's band (with Louis Armstrong on second cornet) at the Lincoln Gardens in Chicago in the early 1920s. Oliver's drummer, Baby Dodds, made a particular and lasting impression upon Wettling.

Wettling went on to work with the big bands of Artie Shaw, Bunny Berigan, Red Norvo, Paul Whiteman, and even Harpo Marx: but he was at his best (and will be best remembered) for his work in small 'hot' bands led by Eddie Condon, Muggsy Spanier, and himself. In these small bands, Wettling was able to demonstrate the arts of dynamics and responding to a particular soloist that he had learned from Baby Dodds.

Towards the end of his life, Wettling (like his friend the clarinetist Pee Wee Russell) took up painting, and was much influenced by the American cubist Stuart Davis. He has been quoted as remarking that "jazz drumming and abstract painting seemed different from him only from the point of view of craftsmanship: in both fields he felt rhythm to be decisive".

However, good as Wettling's painting was he will be best remembered for his rattling, cavernous sound at the drums -especially with Eddie Condon's bands. User-contributed text is available under the Creative Commons By-SA License and may also be available under the GNU FDL.
http://www.jazzmusicarchives.com/artist/george-wettling

Personnel: Drums – George Wettling; Clarinet – Pee Wee Russell; Cornet – "Wild Bill" Funaro; Piano – Gene Schroeder; Trombone – Lou McGarity; trumpet - Wild Bill Davison

Jazz Trios

Sheila Jordan - Live at Mezzrow

Styles: Vocal
File: MP3@320K/s
Time: 65:33
Size: 150,5 MB
Art: Front

(3:10) 1. Bird Alone (Live)
(8:25) 2. Touch of Your Lips (Live)
(6:53) 3. What is This Thing Called Love (Live)
(7:53) 4. The Bird and Confirmation (Live)
(4:38) 5. Silver Lining (Live)
(5:52) 6. Falling in Love with Love (Live)
(9:58) 7. Baltimore Oriole (Live)
(3:50) 8. Blue and Green (Live)
(7:52) 9. Autumn in NY (Live)
(6:56) 10. Lucky to Be Me (Live)

Sheila Jordan is a living jazz legend. Since coming to New York City in 1950 at the encouragement of Charlie Parker, she is one of, if not the last, living link to a time and a place in the jazz world that is the subject of hagiography, myth and occasionally reality. With a voice that is uniquely her own, it is possible that in the course of a single song interpretation, Jordan's voice can sound morose and honeyed, supple and compelling, along with her usual spontaneity. Over the course of her long career, there is very little she has not seen, and probably more than she cares to remember.

The session Live At Mezzrow was recorded on October 25, 2021 at the New York jazz club, with Jordan accompanied by the always imaginative pianist Alan Broadbent and her bassist of choice, Harvie S. The live session covers standards from the Great American Songbook as well as a couple of bop oriented songs. Additionally the duo of Broadbent and Harvie S are given space to do their thing on Cole Porter's " What Is This Thing Called Love " and Miles Davis's "Blue In Green."

Jordan begins this recital with the Abbey Lincoln number "Bird Alone." That tune along with "The Bird & Confirmation" are gifts that just keep on giving as she delivers on that cross section of vocal skills from ballad intensity to scat that is swinging and sturdy. The songbook standards cover readily recognizable numbers starting with the Ray Noble composition "The Touch Of Your Lips." This begins with the little heard opening verse, Jordan then swings into a run through of the melody, before scatting effortlessly.

The Hoagy Carmichael composition "Baltimore Oriole," although perhaps not an American standard, has some interesting quirky lyrics such as: "Baltimore Oriole/ Took a look at the mercury, forty below/ No life for a lady/ To be draggin' her feathers around in the snow." These are a perfect fit for Jordan as she can imbue them with her unique vocal style and interpretation. Although uncredited on the liner notes, this number segues to Cole Porter's "I Concentrate On You" on which she delivers a wonderfully fresh reading.

The closing track "Lucky To Be Me" is a composition by Green/Comden/Bernstein written for the 1944 Broadway musical . After a regular run through of the lyrics, Jordan closes out the session with musical acknowledgement of the fine work of Broadbent and Harvie S, which is a fitting ending to a special evening.By Pierre Giroux https://www.allaboutjazz.com/live-at-mezzrow-sheila-jordan-sheila-jordan-cellar-records

Personnel: Sheila Jordan: voice / vocals; Alan Broadbent: piano; Harvie S: bass, acoustic.

Live at Mezzrow