Antonio Zambrini & Rita Marcotulli - La Conversazione

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 42:17
Size: 98,6 MB
Art: Front

(3:40) 1. Beatriz
(3:15) 2. Natale a Riminni
(2:26) 3. Garrincha
(5:49) 4. Small Ballad
(6:11) 5. La Strada
(5:39) 6. Melamp
(2:25) 7. Passato di Vedura
(3:35) 8. Giant Steps
(3:18) 9. Antonia
(2:35) 10. Canto Triste
(3:19) 11. Here's That Rainy Day

Born 1959, Rome, Italy. Playing piano from early childhood, Marcotulli studied classical music at the Santa Cecilia Conservatory before being drawn to Brazilian music. She also began moving onto the fringes of jazz and established a local reputation at first, before becoming well known among contemporary jazz audiences both at home and abroad. This was largely due to playing with musicians such as Chet Baker, Richard Galliano, Jon Christensen, Palle Danielsson, Peter Erskine, Steve Grossman, Joe Henderson, Hélène La Barrière, Joe Lovano, Tony Oxley, Michel Portal, Enrico Rava, Michel Bénita, Aldo Romano and Kenny Wheeler. In 1987 she was nominated for the Best Young Talent award in the Music Jazz Poll and the following year she was a member of Billy Cobham’s band, touring Europe and the USA and appearing on 1989’s Incoming. She spent some time in Sweden, before returning to Italy in the early 90s. In the late 90s, she played the San Remo festival in duo with Pat Metheny and also appeared as a member of a piano trio, with Paul Bley and John Taylor, at the Olympic Theatre of Vicenza.

Among other musicians with whom Marcotulli has worked and sometimes recorded are Sal Nistico, Pino Daniele, Andy Sheppard, Charlie Mariano, Marilyn Mazur, Roberto Gatto, Bob Moses, and she has had a long-term musical relationship with Dewey Redman. Marcotulli has claimed the influence of musicians such as Thelonious Monk, Bill Evans and John Coltrane. A highly skilled performer, she chooses to play in a style that derives as much from pop and folk as jazz. In addition to playing in jazz circles, Marcotulli has also composed music for the dance theatre and for films. By AllMusic
https://www.allmusic.com/artist/rita-marcotulli-mn0000808191/biography

La Conversazione

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Coleman Hawkins & Henry "Red" Allen - Reunion In Hi-Fi. The Complete Classic Sessions

Reunion In Hi-Fi. The Complete Classic Sessions CD 1
Styles: Saxophone And Trumpet Jazz
Year: 2009
Time: 61:21
File: MP3 @ 320K/s
Size: 142,0 MB
Art: Front

(5:52) 1. Love Is Just Around The Corner
(5:32) 2. Let Me Miss You, Baby
(4:42) 3. Ride, Red, Ride
(8:27) 4. I Cover The Waterfront
(5:30) 5. 'S Wonderful
(3:45) 6. St. James Infirmary
(6:52) 7. Algiers Bounce
(5:14) 8. Love Me Or Leave Me
(5:38) 9. I've Got The World On A String
(4:10) 10. Ain't She Sweet
(5:35) 11. Sweet Lorraine

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Reunion In Hi-Fi. The Complete Classic Sessions CD 2
Time: 68:41
File: MP3 @ 320K/s
Size: 159,6 MB
Art: Front

(3:00) 1. Battle Hymn Of The Republic
(4:22) 2. Frankie And Johnny
(2:58) 3. When The Saints Go Marchin' In
(6:23) 4. South
(4:28) 5. Won't You Come Home, Bill Bailey?
(5:02) 6. The Blues
(3:55) 7. Maryland, My Maryland
(3:32) 8. Stormy Weather
(3:45) 9. Mean To Me
(5:57) 10. The Lonesome Road
(4:34) 11. Sleepy Time Gal
(5:00) 12. Summertime
(3:16) 13. All Of Me
(2:36) 14. Tea For Two
(4:49) 15. Wild Man Blues
(4:57) 16. Rosetta

Five blowing sessions from 1957 and 1958 find singing trumpeter Henry "Red" Allen and tenor saxophonist Coleman Hawkins jamming with some of New York's best mainstream traditional jazz musicians. The seed bed, as it were, for these studio recording dates was the Metropole, a big smoky nightclub up on Seventh Avenue, not far from Times Square. Hawkins, a seasoned veteran of the music, often comes across as gruff and blustery in this company, exactly as he did when they gigged together at the Metropole, where rowdy, beer-swilling audiences loudly demanded material that was more old-fashioned than what Hawkins preferred to play at that point in his life. Hawkins and Allen hadn't recorded together since 1933.

Their initial contact had been as members of Fletcher Henderson's Orchestra, and the presence of ex-Henderson bandsmen in trombonist J.C. Higginbotham and clarinetist Buster Bailey makes the first 11 tracks (most of which was initially released as Ride, Red, Ride in Hi Fi and reissued by RCA Bluebird in 1990 as World on a String) feel like a true reunion. Presented as Henry "Red" Allen's All-Stars, the group was supported by a rhythm section led by pianist Marty Napoleon. Allen himself played and sang some of the best jazz of his life on this album.

Here at long last it is compiled into the same package with similar recordings from 1957-1958 which have been released under numerous headings, most appropriately on the Jass label as High Standards and Warhorses. This wonderful compilation is rounded off with two excerpts from the CBS television special The Sound of Jazz, taped on December 5, 1957 with Allen leading an even tougher group combining full-strength Hawkins with the individualism of clarinetist Pee Wee Russell, trombonist Vic Dickenson, and cornetist Rex Stewart.By arwulf arwulf
https://www.allmusic.com/album/reunion-in-hi-fi-the-complete-classic-sessions-mw0001304883

Credits: Arranged By – Dewey Bregman (tracks: 2-1 to 2-7), Larry Clinton (tracks: 2-8 to 2-14); Bass – Chubby Jackson (tracks: 2-8 to 2-14), Lloyd Trotman (2) (tracks: 1-1 to 1-11), Milt Hinton (tracks: 2-1 to 2-7, 2-15, 2-16); Clarinet – Buster Bailey (tracks: 1-1 to 1-11), Pee Wee Russell (tracks: 2-15, 2-16), Sol Yaged (tracks: 2-1 to 2-7); Clarinet, Alto Saxophone – Earl Warren (tracks: 2-8 to 2-14); Cornet – Rex Stewart (tracks: 2-15, 2-16); Drums – Cozy Cole (tracks: 1-1 to 2-7), George Wettling (tracks: 2-8 to 2-14), Jo Jones (tracks: 2-15, 2-16); Guitar – Danny Barker (tracks: 2-15, 2-16), Everett Barksdale (tracks: 1-1 to 1-11); Piano – Lou Stein (tracks: 2-1 to 2-7), Marty Napoleon (tracks: 1-1 to 1-11, 2-8 to 2-14), Nat Pierce (tracks: 2-15, 2-16); Tenor Saxophone – Coleman Hawkins; Trombone – J.C. Higginbotham (tracks: 1-1 to 2-7), Vic Dickenson (tracks: 2-15, 2-16); Trumpet – Henry "Red" Allen

Reunion In Hi-Fi. The Complete Classic Sessions CD 1, CD 2

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Eric Alexander - A New Beginning - Alto Saxophone with Strings

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 48:28
Size: 121,9 MB
Art: Front

(4:41) 1. Blues for Diane
(5:40) 2. Embraceable You
(4:53) 3. All My Tomorrows
(7:21) 4. Maybe September
(4:53) 5. To Love and Be Loved
(3:44) 6. Anita
(4:43) 7. She Was Too Good to Me
(5:40) 8. Too Late Now
(6:48) 9. Blues for Diane (Alternate Take)

As difficult times often beget new beginnings, the COVID-19 quagmire gave birth to alto saxophonist Eric Alexander. To some, a tenor-to-alto switch may not seem to be a newsworthy matter, but for the initiated it's the stuff of headlines. An inveterate tenor at the apex of the scene for more than three decades, Eric put the alto away in his teen years and never looked back.

"But with the dearth of opportunities to play during the pandemic, I started to work on it," he confesses. After successfully pitching the idea of using his second saxophone-with-strings project as a debut on alto, the present recording is quite simply astounding. Working with his regular rhythm section and adding ace string arrangements, this altoist delivers one revelatory performance after another.By Editorial Reviews
https://www.amazon.com/New-Beginning-Alto-Saxophone-Strings/dp/B0BX4LVZ1V?source=ps-sl-shoppingads-lpcontext&ref_=fplfs&psc=1&smid=ATVPDKIKX0DER

A New Beginning - Alto Saxophone with Strings

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Sonja Indin - And Then She Wrote - Poetry Goes Jazz

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 59:35
Size: 137,1 MB
Art: Front

(5:03) 1. This Poem
(3:33) 2. Expecting You – Accepting You
(4:21) 3. Mom's Care (Mom's Song)
(4:45) 4. It All Seems Like Nothing At All
(5:17) 5. Rainbow
(4:19) 6. Femme Phénoménale
(3:56) 7. Inventory
(3:41) 8. And Then I Wrote
(4:28) 9. Freedom (Welcome)
(3:46) 10. Sometimes It's Hard Being A Mom
(3:31) 11. Friendship
(4:16) 12. Renewal
(4:18) 13. Vers La Fin De L'hiver (A Day In Paris)
(4:13) 14. Take Good Care – Heb Dier Sorg

There's the title cut: or rather, the George Shearing instrumental to which Indin has set her own lyrics, and whose title "And then I wrote" she (re)makes her own, in tribute to the female poets she has mobilised for her project.

Indin's feisty words against Shearing's cool vibe create a productive tension, as the female practitioner of a male dominated craft takes over the "master's tools", not so much to dismantle his house as to rebuild it, driven both by her need for liberation "Speak your mind, pronounce it" and by her desire for a revivification of a revered tradition "I first heard this song / I had to hum along, / N' then I wrote these lines / Substantial words that rhyme." Rather than being cowed by her great predecessors, or crushed by the continuing injustices of her age ("Bewildered as I am / In these modern times"), Indin resolves to make her mark, on the musical world and in her life as a woman and mother.

Because, as she writes, "Who gives in speechless? / Careless? Wordless?" Well, not Sonja Indin, that's for sure.https://propermusic.com/products/sonjaindin-andthenshewrotepoetrygoesjazz

And Then She Wrote - Poetry Goes Jazz

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