Maria Schneider Orchestra - Data Lords (Disc 1), (Disc 2)

Album: Data Lords (Disc 1)
Styles: Big Band
Year: 2020
File: MP3@320K/s
Time: 52:58
Size: 121,6 MB
Art: Front

( 9:41) 1. A World Lost
(13:37) 2. Don't Be Evil
(10:17) 3. CQ CQ Is Anybody There?
( 8:11) 4. Sputnik
(11:11) 5. Data Lords

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Album: Data Lords (Disc 2)
Time: 43:06
Size: 99,1 MB

( 5:45) 1. Sanzenin
( 5:42) 2. Stone Song
( 9:04) 3. Look Up
( 3:59) 4. Braided Together
(11:11) 5. Bluebird
( 7:22) 6. The Sun Waited For Me

The skillfully designed cover art tells part of the story; a leaf half as nature intended the remainder, a circuit board doppelganger. The pastoral soundscapes associated with the music of Grammy-winning composer/bandleader Maria Schneider belie her activist alter-ego. An outspoken critic of copyright protections, prejudicial revenue schemes and the abuses of "big data," Schneider has authored op-eds and testified before the US Congress. She ventures onto unfamiliar terrain, coalescing her passions on a masterwork double album, Data Lords.

The two discs are respectively designated as "The Digital World" and "Our Natural World" and the first CD opens with the ominous "A World Lost." Ben Monder's brooding guitar and Richard Perry's tenor sax preside over rumbling brass; the piece is as dark as the title suggests. Monder's electric guitar becomes an emblematic figure in a substantial portion of the digitally-focused disc. "CQ CQ, Is Anybody There?" is based on the low-tech forerunner of the digital world; Schneider's engineer father was a ham radio operator.

The piece features Donny McCaslin on tenor saxophone and Greg Gisbert on trumpet, with electronics, a rarity in Schneider's recordings. The two set up a clash between organic and enhanced sounds. A harbinger of the competition for technological dominance is manifested in the shadowy "Sputnik" where Scott Robinson's baritone sax takes center stage. The title track closes the first disc with an appropriately chaotic and conflicted warning of the potential risks of an AI dominated world.

Returning to more familiar ground, "Our Natural World" is not a divestiture from the concept but solace from the intrusion of mechanization. The striking "Sanzenin" is a meditative reflection on the Buddhist gardens in Ohara, Japan. Gary Versace's accordion evocatively soars above the low reeds. Schneider further lifts the spirits with the lavishly textured "Look Up" with Marshall Gilkes' inspired trombone interwoven with pianist Frank Kimbrough. Schneider builds on her visual observations of nature in the eleven-minute "Bluebird" and the second-disc closing piece "The Sun Waited for Me." Both of those, hopeful and energized arrangements are in the vein of her work on The Thompson Fields (ArtistShare, 2015).

Schneider found her inspiration to take a larger risk in working briefly with David Bowie on his final studio album Blackstar (ISO Records, 2016). The post-production version of the single "Sue (Or in a Season of Crime)" caught Schneider off guard but also opened her mind to new ideas. Data Lords was commissioned by the Library of Congress and premiered at the Library in 2016. Schneider has described the project as "very dark, chaotic, and intense." By comparison to her other releases, it's true but that account shouldn't be off-putting to her fans. Data Lords is often gorgeous and always intriguing. It is Schneider's best collection to date and sure to end up on most of the appropriate year-end lists. This is intoxicating music and highly recommended. By Karl Ackermann https://www.allaboutjazz.com/data-lords-maria-schneider-orchestra-artist-share

Personnel: Composed By, Conductor – Maria Schneider; Accordion – Gary Versace; Alto Saxophone, Clarinet, Flute, Alto Flute, Piccolo Flute – Dave Pietro; Alto Saxophone, Soprano Saxophone, Clarinet, Flute, Alto Flute – Steve Wilson (2); Bass – Jay Anderson; Bass Clarinet, Contrabass Clarinet, Baritone Saxophone – Scott Robinson (2); Bass Trombone – George Flynn (2); Drums, Percussion – Johnathan Blake; Guitar – Ben Monder; Piano – Frank Kimbrough; Tenor Saxophone – Rich Perry; Tenor Saxophone, Flute – Donny McCaslin; Trombone – Keith O'Quinn, Marshall Gilkes, Ryan Keberle; Trumpet, Flugelhorn – Greg Gisbert, Mike Rodriguez (9), Nadje Noordhuis, Tony Kadleck

Data Lords (Disc 1),(Disc 2)

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Sarah Vaughan - Songs with the Joe Lippman Orchestra

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 37:08
Size: 85,7 MB
Art: Front

(3:18) 1. Black Coffee
(3:31) 2. That Lucky Old Sun (Just Rolls Around Heaven All Day)
(3:09) 3. Bianca
(3:20) 4. The Nearness Of You
(3:16) 5. Summertime
(2:35) 6. As You Desire Me
(3:00) 7. I’m Crazy To Love You
(3:01) 8. Just Friends
(2:41) 9. Make Believe (You Are Glad When You're Sorry)
(3:11) 10. You’re Mine, You
(2:42) 11. Give Me A Song With A Beautiful Melody
(3:18) 12. You Taught Me To Love Again

In the 1940s, when most women singers adorned big bands as stage attractions rather than legitimate members of jazz ensembles, Sarah Vaughan, along with her predecessor Ella Fitzgerald, helped elevate the vocalist's role as equal to that of the jazz instrumentalist. A woman known for her many vicissitudes, Vaughan's outspoken personality and artistic eloquence brought her the names "Sassy" and "The Divine One.” A talented pianist, she joined the ranks of the 1940s bebop movement and became, as a member of the Earl Hines and Billy Eckstine bands, one of its most celebrated vocalists. Her dynamic vocal range, sophisticated harmonic sense, and horn-like phrasing brought Vaughan million-selling numbers and a stage and recording career that spanned half a decade.

Sarah Lois Vaughan was born the daughter of Asbury and Ada Vaughan on March 27, 1924, in Newark, New Jersey. As a youth Vaughan took piano lessons and attended the Mount Zion Baptist Church, where she served as a church keyboardist. At home Vaughan played the family's upright piano and listened to the recordings of jazz artists Count Basie and Erskine Hawkins. After discovering Newark's numerous theaters and movie houses, she skipped school and left home at night to watch dances and stage shows. By age 15, she performed at local clubs, playing piano and singing.

Not long after, Vaughan took the train across the river to Harlem to frequent the Savoy Ballroom and the Apollo Theatre. One evening, in 1943, she sat in at the Apollo amateur show, a fiercely competitive contest that often exposed lesser talents to the harsh criticism of the theater's audience. Vaughan's moving performance of "Body and Soul" not only brought a fever of applause from the crowd, it also caught the attention of singer Billy Eckstine. Eckstine informed his bandleader Earl "Fatha" Hines about the young singer. Hines then allowed Vaughan to attend the band's uptown band rehearsal. At the rehearsal, Vaughan's singing won immediate praise from Hines and his musicians. One of the premiere modern big bands of the era, Hines's ensemble included such talents as trumpeters Dizzy Gillespie and Fats Navarro, saxophonist Charlie Parker, and trombonist J. J. Johnson. As the only female bandmember, Vaughan shared the vocal spotlight with Eckstine and played piano, often in duet settings with Hines. Vaughan debuted at the Apollo with Hines's band on April 23, 1943.

Not long after, most of Hines's modernist sidemen, including Gillespie, Parker, and Eckstine, gradually left the band. Vaughan remained briefly with Hines's band until she accepted an invitation to join Eckstine's newly-formed bebop big band in 1944. In December of that year, she cut her first side "I'll Wait and Pray," backed by the Eckstine band, which included Dizzy Gillespie, saxophonists Dexter Gordon and Gene Ammons, and pianist John Malachi.

Through the intercession of jazz writer and pianist Leonard Feather, Vaughan recorded her first date as a leader for the small Continental label. Under the production of Feather, Vaughan and Her All-Stars attended their session on New Year's Eve 1944. Acting as the session's producer and pianist, Feather assembled such sidemen as Dizzy Gillespie and saxophonist Georgie Auld to cut four sides: "Signing Off," Feather's "No Smoke Blues," Gillespie's "Interlude" (a vocal version of "Night in Tunisia"), and "East of the Sun," on which Gillespie replaced Feather on keyboard.On a second session, Feather relinquished the piano duties to Nat Jaffe, and brought together Gillespie and Charlie Parker.
.....More https://www.allaboutjazz.com/musicians/sarah-vaughan/

Songs with the Joe Lippman Orchestra

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Andrea Pozza Trio - Blue Toy

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 77:42
Size: 178,4 MB
Art: Front

(7:35) 1. Blue Toy
(6:35) 2. Night Flower
(6:04) 3. I Was Doing All Right (Feat. Mila Ogliastro)
(4:52) 4. You Can Say That Again
(4:59) 5. If This Isn't Love (Feat. Mila Ogliastro)
(7:00) 6. By Herself (Mila In Silence)
(4:37) 7. Close To The Rainbow
(6:54) 8. Isn't This A Lovely Day (Feat. Mila Ogliastro)
(5:54) 9. Non Stop Riders
(3:31) 10. I Don't Know Why (Feat. Mila Ogliastro)
(6:46) 11. Isfahan
(6:37) 12. Who Cares (Feat. Mila Ogliastro)
(6:13) 13. Peggy's Blue Skylight

Andrea Pozza is considered "true jazzman:" eclectic pianist capable of handling with great ease any repertoire, he has been active on the national and international jazz scene for nearly 30 years and is recognized by critics and audiences as one of the most representative figures in jazz. Andrea Pozza is a complete artist as well as a valuable partner for great musicians. Thanks to these qualities he plays both as a sideman and frontman and is one of the most respected jazz pianists in Italy and abroad.

Pozza’s career started more than thirty years ago and has led him to perform at an early age (he made his debut only 13) with superstars such as Harry "Sweet" Edison, Bobby Durham, Chet Baker, Al Grey, Scott Hamilton, George Coleman, Charlie Mariano, Lee Konitz, Massimo Urbani, Luciano Milanese. Pozza has been part of the Enrico Rava Quintet (with Roberto Gatto, Rosario Bonaccorso and Gianluca Petrella) from 2004 to 2008 with whom he recorded "The Words And The Days" (released in 2007).

His intense concert activity, in addition to his solo career, sees him present in different formations including Rosario Bonaccorso Quartet and New York Connection co-directed with Emanuele Cisi. In addition, Pozza collaborates with Fabrizio Bosso, Tullio DePiscopo, Dado Moroni, Ferenc Nemeth, Bob Sheppard. He also played with Sal Nistico, Steve Grossman and Gianni Basso, with whom he has worked steadily for more than 25 years and recorded several CDs.

In 2011 the piano jazzman released "Gull's Flight" (Abeat rec, 2011) with the Andrea Pozza European Quintet, involving Christian Brewer on alto sax, Shane Forbes on drums, Dick DeGraaf on tenor and soprano sax and Jos Machtel on upright bass. In 2013 Andrea Pozza recorded "A Jellyfish from the Bosphorus" (Abeat Rec.,2013) the last one in trio with Aldo Zunino on upright bass and Shane Forbes on drums. His most recent albums are "I Could Write a Book" and "Who cares?" (Fonè Jazz, 2014) with Scott Hamilton, one of the most important sax in the world.

Among the other record projects, Andrea Pozza loves to remember: “Plays Ellington, Monk and Himself” (GoFour, 2005); “Sweet Lorraine” (Venus, 2005); “Love Walked In” (33Records, 2007); “Drop This Thing” (2007), "New Quiet" (2010) e “Blu Daniel” (2011) with Aldo Zunino (bass) and Shane Forbes (drums) by Dejavu Records. And two others cds recorded with Enrico Rava, “Andrea Pozza meets Gianni Basso feat. Enrico Rava – Making ’whoopee” (Philology, 2003) and "The Words And The Days" with Enrico Rava Quintet (ECM, 2005).http://www.jazzmusicarchives.com/artist/andrea-pozza

Blue Toy

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Tim Armacost - The Inevitable Note

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 71:07
Size: 163,1 MB
Art: Front

(9:05) 1. Lazy Afternoon
(6:08) 2. Since Before We Met
(8:56) 3. Work Wonk
(7:19) 4. Ramble In The Gramble
(9:43) 5. Yaomacost
(7:25) 6. I Love My Chiru
(8:48) 7. The Mayor's Counsel
(6:26) 8. A Sliver Of Silver
(7:12) 9. Lynn's Tune

Saxophonist Tim Armacost is a force to be reckoned with. He has slowly and steadily built a reputation and a body of work that has marked him out as a player of great originality and distinction. It is only to be hoped that recordings such as this will help propel his musical trajectory further.

In danger of becoming a musician’s musician, Armacost is very much his own man having processed his influences and distilled them into his own unique take on the modern jazz tradition. In his playing one can detect the influence of John Coltrane in the saxophonist’s steely tone, and the rhythmic dexterity and lyrical agility of Sonny Rollins, yet Armacost is able to project this in his own voice to which he adds his harmonic ingenuity.

Not prone to pyrotechnics, although he can turn up the heat when required, Armacost’s solos have a patient quality about them, and delivered if he all the time in the world to say what needs to be said before moving on.

With The Inevitable Note Armacost presents a neatly programmed set of contemporary hard bop with some cracking compositions that suit this new quintet very well indeed. Opening with ‘Lazy Afternoon’, the quintet settles into their groove. The theme is delivered with a commanding tenor statement for Armacost before he launches into his first solo of the album.

Immediately capturing the attention with a hard edged tone and melodic figures that never quite go where one might expect. This is followed by Joe Locke’s vibes solo that brings the pace down and releasing the tension built up by the saxophonist.

‘Ramble in the Gramble’ kicks off with a frantic bass riff that lifts the drummer and pianist carrying them along as the tenor picks up the theme. Armacost’s solo is a little more fragmentary as he rides the bass line that continues to propel the music along. Joe Locke’s vibes solo follows a similar path as the notes fly from his mallets, carefully building his melodic phrases over the tumultuous rhythm section.

Davis’s bass is again to the fore as he introduces ‘Yaomacost’ with his strong and full sound on the instrument gripping the attention. Switching to soprano saxophone, the playing is lyrical and tender from Armacost. If the tone is not as full as his tenor sound, his control and use of dynamics give his playing a lightness if touch that is most appealing. This can be evidenced on ‘A Sliver of Silver’ where his phrases tumble over each other in a lucid solo that generates real excitement.

Back on tenor, Armacost displays a gentle swagger on ‘The Mayor’s Counsel’ in a statement of real authority, as does a splendid solo from pianist Jim Ridl, once again propelled along with urgency and good taste by the bass and drums team of Kenny Davis and Rudy Royston.

Interestingly this fine album will be released not just digitally, but in the physical format of a 180gram LP, with no immediate plans to release on CD. For audiophiles everywhere a chance to add another quality album to the collection while the rest of us should make haste and dust off our turntables in readiness.By Nick Lea https://jazzviews.net/tim-armacost-the-inevitable-note/

Personnel: Tim Armacost (tenor & soprano saxophones); Joe Locke (vibraphone); Jim Ridl (piano); Kenny Davis (double bass); Rudy Royston (drums)

The Inevitable Note

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