Thursday, April 13, 2023

Kirk Lightsey & Harold Danko - Shorter by Two

Styles: Piano Jazz
Year: 1983
File: MP3@320K/s
Time: 55:40
Size: 127,8 MB
Art: Front

(9:30)  1. Ana Maria
(4:27)  2. Delores
(6:57)  3. Dance Cadaverous
(3:01)  4. Pinocchio
(4:10)  5. Marie Antoinette
(3:40)  6. Armageddon
(3:08)  7. Lester Left Town
(5:49)  8. Witch Hunt
(6:38)  9. Iris
(4:18) 10. El Gaucho
(3:56) 11. Nefertiti

This CD is an off-the-wall project that was a big success. Kirk Lightsey and Harold Danko perform duo piano versions of 11 Wayne Shorter compositions. They dig into such Shorter tunes as "Ana Maria," "Pinocchio," "Lester Left Town," "Nefertiti," and quite a few obscurities, bringing out unexpected beauty during their very different interpretations of the complex and often haunting material. Highly recommended. ~ Scott Yanow  http://www.allmusic.com/album/shorter-by-two-mw0000204209

Personnel: Harold Danko (piano); Kirk Lightsey (piano)

Shorter by Two

Kathy Lyon - Texas Highway

Styles: Vocal
Year: 2022
File: MP3@320K/s
Time: 25:57
Size: 59,8 MB
Art: Front

(2:57) 1. Texas Highway
(4:51) 2. I'd Rather Sleep Alone
(4:29) 3. Keep Rollin' On
(3:09) 4. Favorite Fantasy
(4:30) 5. Let's Do It
(2:15) 6. Who Knew Love Could Be Like This?
(3:43) 7. Get Ready

Originally from Ralston, Nebraska, Kathy grew up in a large musical family and was influenced by a variety of music as a young girl. Especially important was listening to her father’s piano renditions of Count Basie and Pine Top Smith, and exploring his collection of 78s. She harmonized with her four sisters on traditional Czech and American folk songs, musical classics, and spirituals.

After moving to the Washington, D.C. area in the late 70s, Kathy met Tom Lyon, her future husband, and they started performing as a duo in area clubs. “Two’s Company” and later the “Kat Lyon Band” toured extensively during the early 1980s. They performed at ski resorts and small clubs around the U.S., traveling in their red VW bus. They also were invited to perform in seven overseas tours for the U.S. Dept. of Defense, traveling worldwide entertaining U.S. military and diplomatic personnel.

In 1986, the couple’s daughter Michelle was born, followed by their son Gregory in 1988. Taking a few years off from professional performance, Kathy and Tom produced several showcase performances in Northern Virginia, including a sold-out concert at the Barns of Wolf Trap. In the early 1990s, Kathy joined the six-piece ensemble “Overjoy” as lead vocalist, partnering with bassist Harold Becton and other top D.C. area musicians for over 10 years.

In the mid-90s, Kathy studied Jazz Vocal Performance with the Elliston Music Studios and became involved with the Fish Middleton Jazz Scholarship Fund and FMJS’s East Coast Jazz Festival. She performed at the Festival many times, in her own showcase concerts, as well as the featured vocalist with the Ricky Loza Latin Jazz Orchestra. Toured with the Ricky Loza Jazz Festival to El Salvador and Guatemala in July 2002, and the tribute tour in July 2003 after Ricky Loza’s untimely passing.

Kathy released her debut CD, “Kathy Lyon Live at the TomKat Nite Club” in 2002. She continued to appear at numerous Washington DC venues with many of the DC area’s top musicians. Her second CD, “Here’s To Life/Live at the East Coast Jazz Festival”, was released in 2006, and was recorded live at what turned out to be the last FMJS Festival (due to the loss of founder Ronnie Wells). In 2017, a CD containing “the best of” her two recordings was released, called “A Song For You.”

After relocating to Navarre, Florida in 2005, she has appeared onstage at numerous Pensacola JazzFests and other Jazz Pensacola events, the Jazz-By-The-Bay Festival in Panama City, the Roswell (New Mexico) Jazz Festival, and at the Mid-Atlantic Jazz Festival in Rockville MD (DC area). She continues to be in high demand among the Emerald Coast’s top jazz venues from Mobile to Sarasota. Her plans include adding more regional and national jazz festivals, cruises, and first-class jazz venues to her performing schedule.

In 2019, Kathy released a CD produced by the legendary tenor saxophonist Houston Person. The 12-track CD titled “Nothin’ But Love” features vocals by Kathy, with musicians Houston Person (tenor sax), along with top New York musicians Lafayette Harris Jr. (piano), Peter Hand (guitar), Vince Ector (bass), and Matthew Parrish (drums), and was recorded at Teaneck (NJ) Sound Studios. With the coronavirus pandemic creating a new set of challenges, the decision was made to hold the album’s promotion until 2020, when it was featured on radio programs worldwide.

Kathy’s newest recordings, “Who Knew?” (released in January 2022), followed by “Texas Highway”, (released on May 5 2022) to coincide with Kathy’s visit to Memphis TN for the Blues Foundation Awards and the International Blues Challenge at clubs along Beale Street) were produced at Montrose Studios West in Ruidoso, New Mexico. The collaborative project with guitarist Rich Chorné resulted in both releases. The “Who Knew?” disc highlights several jazz tunes and two blues tunes, with five of Kathy’s original compositions, plus one co-written with Rich Chorné. The “Texas Highway” collection features seven songs, including four of Kathy’s originals, two of Rich’s originals, and one co-written by Rich and Kathy, Working with producer and engineer Richard Cagle on this new set of songs, the albums showcase both jazz and blues–reflecting Kathy’s passion for both genres.https://kathylyonmusic.com/about-me/

Texas Highway

Vicki Burns - Lotus Blossom Days

Styles: Vocal
Year: 2022
File: MP3@320K/s
Time: 54:31
Size: 126,8 MB
Art: Front

(3:48) 1. If You Never Fall in Love with Me / Del Sasser
(3:26) 2. Close Your Eyes
(4:06) 3. Love Spell
(4:44) 4. Lotus Blossom Days
(5:07) 5. Bittersweet
(2:53) 6. Watch Out / The Sidewinder
(5:06) 7. A Long Way to Go / Equinox
(3:56) 8. It's over Now / Well You Needn't
(6:36) 9. You Don't Have to Believe
(3:48) 10. This Time the Dream's on Me
(6:20) 11. Siren Song
(4:36) 12. Out of This World

Who knew "Del Sasser" had lyrics? Part of the joy of listening to new recordings is finding such things out. And Vicki Burns does a convincing job of it. In this intriguing compilation of standards yes, musicians can record from the Great American Songbook (GAS) without disgracing themselves, no matter what anyone says bop heads and originals, Vicki Burns acquits herself admirably. She is solid evidence that the singer makes the song, rather than the other way around.

For someone who took a hiatus from singing for five years, that is simply a commentary on how difficult the music business can be. One does not just deal with lousy pianos, unreliable sidemen, crooked contactors. temperamental conductors, and a frequently inattentive and ignorant audience. Everyone has an off night, which, inevitably defines them for some. All that not withstanding, make no mistake, Burns is a pretty fair vocalist. That does not necessarily mean that every tune here is a definitive version.

Everyone has different yardsticks: for example, Marlene Ver Plank's recording of Bernice Petkere's "Close Your Eyes" might be a personal favorite. Similarly, Carmen McRae owns "Well You Needn't," recorded with an All-Universe band. But Burns more than holds her own and then some. Her scatting does not sound as if she's reading from a how-to-do-it book. Burns may have learned from Ella Fitzgerald, but is not copying anyone. "Love Spell" is a Burns original, and if the changes sound familiar, her take on them is different. Burns' may not be the first vocal version of "Sidewinder," or even the most outré, but it is certainly credible.

Even "Equinox" has a previous vocal version, but Burns' is arguably more persuasive and interesting as a cover of the John Coltrane original. And do wait for her resolution, which is something. "This Time The Dream's on Me" really swings hard, with a lot of support from bassist Sam Bevan. "Siren Song" and "Out of This World" are both excellent.

The arrangements, mostly by Sam Bevan (perhaps the unsung hero here), are a major part of what makes this recording bounce along; the band is hip, tight, and well placed. For many, Vicki Burns will not be a known commodity, although this is her third recording. She has a great voice, and infectious swing, and a whole lot of chops. And a bright future. By Richard J Salvucci
https://www.allaboutjazz.com/lotus-blossom-days-vicki-burns-vibu-jazz

Personnel: Vicki Burns: voice / vocals; Art Hirahara: piano; Sam Bevan: bass; Billy Drummond: drums; Dayna Stephens: saxophone; Josh Deutsch: trumpet; Masaru Koga: flute; Nick Vayenas: trombone.

Lotus Blossom Days

Cannonball Adderley Quintet - In Concert

Styles: Saxophone Jazz
Year: 1961/2023
File: MP3@320K/s
Time: 71:56
Size: 165,2 MB
Art: Front

( 8:09) 1. Exodus
(10:55) 2. Hi Fly
( 8:16) 3. Our Delight
( 5:46) 4. Serenity
(14:07) 5. Sack O' Woe
( 6:38) 6. Lisa
( 8:49) 7. This Here
( 9:11) 8. New Delhi

When Cannonball first played New York, he was welcomed as a successor to Charlie Parker. Easy to see why, Cannonball has the fluency and a tone that has a serrated edge. The special value of Cannonball’s music is that there is little that is startlingly new about it but it was contemporary in conception and steeped in the traditions of jazz. Adderley was a populiser. He could sense what would play with an audience, luckily it was what he wanted to play. He was a player with a secure sense of swing and an alto sound reminiscent of Parker in addition to a touch of sanctified soul and gospel. His energetic effortless style, eloquent and outgoing. encouraged audiences to warm to his optimism: a consolidator rather than an innovator.

Nat Adderley is the surprise of the album and in many ways he edits his solos in contrast to his loquacious brother. Consistently underrated and underappreciated, Nat started his professional life trying to sound like Chet Baker. He moved eventually to work on the Gillespie approach. He believed the reason that the Adderley music was appreciated was because it was based on the Black Southern Church, not the classical tradition.

Victor Feldman is one of the few UK musicians who moved successfully to the US. He was a composer: he wrote four of the pieces on the album. Before joining Cannonball, he worked with Woody Herman and Shelly Manne. His percussive piano playing is featured throughout.

The superb rhythm section powers all the music. Louis Hayes eventually spent six years with Cannonball. He is one of the key bop drummers. His work on this album shows him to be the kind of drummer who works for the band rather than to inflate his own ego. The fluidity of Sam Jones playing is matched by the rich sound he plucks from his bass. Eventually he spent seven years with Cannonball.

The rolling rhythm of ‘Exodus opens the album before a scorching solo from Cannonball establishes the joyful mood. A more restrained solo from Nat has him, after a while, reaching for the upper register. Victor Feldman tries to keep the intensity high.

Randy Weston’s ‘Hi Fly’ is introduced by Feldman on piano and the jaunty theme is played before Feldman turns to the vibraphone with the alto and trumpet punctuating the vibraphone solo. Nat Adderley’s solo is slightly more abstract than some of this other work. The assertive Cannonball finishes the piece with a flourish.

The group uncoils Tadd Dameron’s ‘Our Delight’ with energy and zest. The speed suits Cannonball who races ahead to challenge; his brother who is less happy with the tempo. Feldman uses the vibes for his solo before Louis Hayes has a brief musical comment.

‘Serenity’ is one of those pieces that is programmed to give the alto and trumpet some respite. It is a tune that is shapely, rhapsodic, romantic and not very memorable. However, the interplay with Sam Jones gives the piece added depth. ‘Sack O’ Woe’ and ‘This Here’ are feel-good pieces precursors of the kind of compositions that Cannonball would play in the future such as ‘Mercy Mercy’. In 1961, at a time when others were experimenting, Cannonball played straightahead jazz. This album was recorded at a time, just after his stint with Miles Davis on ‘Kind of Blue’. Cannonball connected with audiences who appreciated the great passion that he could bring to his improvisation.

Record producer Orrin Keepnews described Cannonball as ‘one of the most completely alive human beings I had ever encountered: a big man and a joyous man.’ You get a sense of some of those qualities when listening to the music of this night in Copenhagen.By Jack Kenny https://jazzviews.net/cannonball-adderley-quintet-in-concert/

Personnel: Cannonball Adderley (alto saxophone); Nat Adderley (trumpet); Victor Feldman (piano, vibraphone); Sam Jones (bass); Louis Hayes (drums)

In Concert