Tuesday, May 2, 2023

Scott Hamilton Quartet & Harry Allen - Burghausen Jazz Festival 2007

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 88:47
Size: 205,4 MB
Art: Front

( 8:45) 1. Just You, Just Me
( 8:06) 2. Lonesome Road
( 9:18) 3. Cotton Tail
( 5:52) 4. Chelsea Bridge
( 8:43) 5. Sweet Georgia Brown
(10:06) 6. Did You Call Her Today
( 9:48) 7. Tickle Toe
( 7:02) 8. This Is All I Ask
(12:26) 9. Blues Up & Down
( 8:36) 10. Blue Caper

Scott Hamilton is the premier 'mainstream' saxophonist of today. Born in Providence, Rhode Island, in 1954, he came along at the time when the kind of jazz he loved-the small-group swing of such great stylists as Illinois Jacquet and Eddie Lockjaw Davis-was out of fashion, and largely out of the public ear. Scott's handsome sound and impeccable phrasing were a rare commodity among young jazzmen. So when he signed to Concord Records, and began making albums for label boss and mainstream advocate Carl Jefferson, it caused surprise and excitement among both devotees of the style, and in the wider musical world.

His first Concord set, [Scott Hamilton is A Good Wind Who IS Blowing Us No Ill] was made in 1977 and took it’s title from an admiring remark from veteran jazz critic Leonard Feather. But it became only the first in a long and memorable series of albums for the label, which now stretches to nearly 30 releases They feature Scoff's playing in all kinds of settings-with small groups, string orchestras, in partnership with such distinguished players as Ruby Braff and Dave McKenna, and in many other situations. The constant is Scoff's creative imagination and the beautiful, honeyed sound he gets out of the tenor saxophone.

While he acknowledges the sidelong influence of players such as John Coltrane, he continues to perform the music he loves, which first brought him into jazz - great ballads and blues, played from the heart, with the timeless virtues of swinging playing underscoring every phrase. A worldwide following of admirers wouldn't have it any other way. Long regarded a consummate interpreter of standards, Scoff Hamilton's big, warm tenor saxophone tone and unerring sense of swing have a way of making every tune he plays uniquely his own. For his latest Concord Jazz outing, Hamilton-with the help of his simpatico group featuring John Bunch (piano), Dave Green (bass), and Steve Brown (drums)-presents some of his very favorite tunes. Tunes which happen to have been penned by other great jazz players, including such legendary jazz musicians/composers as Dave Brubeck, Fats Waller, Illinois Jacquet, Benny Carter, and many others.
https://www.allaboutjazz.com/musicians/scott-hamilton

Gene Lees writes, "Stan Getz was once asked his idea of the perfect tenor saxophone soloist. His answer was, 'My technique, Al Cohn's ideas, and Zoot's time.' The fulfillment of that ideal may well be embodied in thirty-year-old Harry Allen."

BMG recording artist Harry Allen has over twenty recordings to his name. Three of Harry's CDs have won Gold Disc Awards from Japan's Swing Journal Magazine, and his CD Tenors Anyone? won both the Gold Disc Award and the New Star Award. His recordings have made the top ten list for favorite new releases in Swing Journal Magazine's reader's poll and Jazz Journal International's critic's poll for 1997, and Eu Nao Quero Dancar (I Won't Dance), the third Gold Disc Award winner, was voted second for album of the year for 1998 by Swing Journal Magazine‚s reader‚s poll.

Harry has performed at jazz festivals and clubs worldwide, frequently touring the United States, Europe, and the Far East. He has performed with Rosemary Clooney, Ray Brown, Hank Jones, Frank Wess, Flip Phillips, Scott Hamilton, Harry 'Sweets' Edison, Kenny Burrell, Herb Ellis, John Pizzarelli, Bucky Pizzarelli, Gus Johnson, Jeff Hamilton, Terry Gibbs, Warren Vache, and has recorded with Tony Bennett, Johnny Mandel, Ray Brown, Tommy Flanagan, James Taylor, Sheryl Crow, Kenny Barron, Dave McKenna, Dori Caymmi, Larry Goldings, George Mraz, Jake Hanna, and Al Foster, among others.

Harry is featured on many of John Pizzarelli's recordings including the soundtrack and an on-screen cameo in the feature film The Out of Towners starring Steve Martin and Goldie Hawn. He has also done a series of commercials for ESPN starring Robert Goulet.

Harry was born in Washington D.C. in 1966, and was raised in Los Angeles, CA and Burrillville, RI. He received a Bachelor of Arts degree in music in 1988 from Rutgers University in New Jersey, and currently resides in New York City.
https://www.allaboutjazz.com/musicians/harry-allen

Personnel: Scott Hamilton - tenor sax; Harry Allen - tenor sax; Olaf Polziehn - piano; Dave Green - bass; Steve Brown - drums

Burghausen Jazz Festival 2007

Mark Weinstein & Omar Sosa - Tales From The Earth

Styles: Flute Jazz
Year: 2009
File: MP3@320K/s
Time: 62:34
Size: 157,9 MB
Art: Front

(1:22)  1. Sunrise
(5:52)  2. Invocation
(4:46)  3. Walking Song
(2:36)  4. Tea Break
(3:32)  5. Forest Journey
(5:57)  6. River Crossing
(4:39)  7. Children At Play
(7:08)  8. Men's Talk
(5:21)  9. Flirtation
(1:39) 10. Praise
(4:30) 11. Spirit Messenger
(5:52) 12. Celebration
(4:02) 13. Elders Speak
(5:13) 14. Gratitude

Tales from the Earth by flutist, Mark Weinstein and pianist/vibraphonist, Omar Sosa, is one of the most extraordinary musical expeditions in a long time. The need for a subtext is not necessary; the extraordinary depth and ethereal beauty of the music would suffice. Nevertheless, once that subtext becomes evident, then the music touches parts of the body that much music might not. There is really no beginning and no end; this musical continuum needs only be entered with eyes wide shut and ears open; listening with the heart, soul, and every pore of the being is essential. Perhaps it is the result of a childhood epiphany, which Weinstein recalled years later. Like epic music that is worshipful and healing, profoundly hypnotic as an interminable dance, it simply skips and rushes, cartwheels and catapults. The notes and phrases are alive and breathe as they entwine into each other like gilded braid. One strain, an idea, and then the voice of another world of music unfolding almost like an ocean tumbling in harness. Suddenly drums and kalimbas sing and, with a rumble and thud, quaking of the earth begins. Sadness flows as one of the darkest moments of human history is relived; then, not joy, but resignation and peace. Such primeval beauty in melody, harmonic and utterly exquisite polyrhythms, slicing through voices that meander in more melodic counterpoint.

Weinstein probably imagined something like this all his life, however it is pure chance that brought the flutist together with guitarist extraordinaire, Jean-Paul Bourelly and piano wizard Sosa. The occasion was the Black Atlantic/Congo Square series that Bourelly was organizing in Berlin in 2004. For Weinstein, the opportunity to play with these musicians, as well as bassist Yola Wesolowska and balaphon master Aly Keita, was the lure. Then the chilling subtext comes into play the venue for the recording was the same building that was once the Ministry of Information during the Nazi era. For Weinstein the project now must have been one by Divine design and the music reflects just that; none of the music was written. The music appears to have been dictated by a Divine muse and attendant spirits. Nothing else can explain the mesmerizing set that simply flows from track to track. The heavenly suite opens with a brilliant "Sunrise" dawn aglow and alive with kalimba and brass percussion. The stage for the exorcism of pain is set by contrapuntal voices led by Aho Luc Nicaise, and the musical healing begins. In this 14-part suite, unwritten yet unfolding with inspired beauty through each of its sections as it tracks the journey of the group in a tale reminiscent of the ancient Legend of Gilgamesh the musical expedition makes its "Forest Journey" and "River Crossing." Then "Praise" and the "Spirit Messenger," who helps them through the "Celebration" of lives lived and pain left behind. Santeria and catharsis for Mark Weinstein and the whole Human Diaspora as the extraordinary improvised musical experience closes appropriately with "Gratitude." ~ Raul D´Gama Rose https://www.allaboutjazz.com/tales-from-the-earth-mark-weinstein-ota-records-review-by-raul-dgama-rose.php
 
Personnel: Mark Weinstein: concert alto and bass flutes; Omar Sosa: vibraphone, marimba, piano, percussion; Aly Keita: balafon; Jean Paul Bourelly: guitar; Stanislou Michalak: bass; Marque Gilmore: drums; Aho Luc Nicaise: lead vocals, percussion; Mathias Agbokou: vocals, percussion.

Tales From The Earth

Rachel Portman - Beyond the Screen - Film Works on Piano

Styles: Piano, Stage & Screen
Year: 2023
File: MP3@320K/s
Time: 60:44
Size: 140,0 MB
Art: Front

(2:16) 1. The Cider House Rules: Piano Suite
(2:53) 2. Chocolat: Piano Suite
(2:18) 3. The Pier (From "Never Let Me Go", Arr. For Piano & Cello)
(3:53) 4. One Day: Piano Suite
(2:34) 5. Good Night You Kings (From "The Cider House Rules", Arr. For Piano)
(2:32) 6. The Duchess: Piano Suite
(3:30) 7. Letter Box (From "Snow Flower And The Secret Fan", Arr. For Piano & Cello)
(2:50) 8. Girl Rising: Piano Suite
(3:57) 9. Still Life: Piano Suite
(2:58) 10. Vianne Sets Up Shop (From "Chocolat", Arr. For Piano & Cello)
(3:10) 11. Emma: Piano Suite
(2:26) 12. I'd Miss You (From "Their Finest", Arr. For Piano)
(4:54) 13. Snow Story (From "Smoke", Arr. For Piano & Cello)
(2:43) 14. Passage Of Time (From "Chocolat", Arr. For 2 Pianos)
(3:25) 15. Frozen Lake (From "The Human Stain", Arr. For Piano & Cello)
(2:13) 16. Life Is Sweet: Piano Suite
(3:09) 17. Book Of Photographs (From "Still Life", Arr. For Piano & Cello)
(2:43) 18. The Last Dinner (From "Despite The Falling Snow", Arr. For Piano)
(5:07) 19. Never Let Me Go: Piano & Cello Suite
(1:03) 20. Good Night You Kings (From "The Cider House Rules",Arr.For Piano)- A Calm Version

This week's Feature Album, Beyond the Screen - Film Works on Piano, is a solo piano album by the renowned British composer Rachel Portman, featuring some of her most beloved and memorable film scores.

The album includes compositions from a variety of films, such as "Chocolat," "Emma," "The Cider House Rules," and "Never Let Me Go," among others. Portman's unique style of blending classical, contemporary, and folk elements is showcased throughout the album, and her beautiful piano playing brings a fresh perspective to these well-known compositions. Beyond the Screen is a delightful and introspective collection of music that captures the essence and emotional depth of some of the most iconic films of the past few decades.
https://www.abc.net.au/classic/featured-music/feature-albums/beyond-the-screen-rachel-portman/102129314

Personnel: Rachel Portman (piano), Raphaela Gromes (cello)

Beyond the Screen: Film Works on Piano

Billy Childs - The Winds of Change

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 52:34
Size: 120,7 MB
Art: Front

( 6:21) 1. The Great Western Loop
(10:32) 2. The Winds Of Change
( 8:02) 3. The End Of Innocence
( 7:12) 4. Master Of The Game
( 7:33) 5. Crystal Silence
( 6:45) 6. The Black Angel
( 6:05) 7. I Thought I Knew

On 2023's The Winds of Change, Billy Childs embraces a thrilling, deeply sophisticated post-bop sound that evokes his work from the early '70s and '80s with artists like Freddie Hubbard and J.J. Johnson. The Winds of Change marks his third album with the jazz-friendly Mack Avenue label, following 2017's Grammy-winning Rebirth and 2020's Acceptance. As with those records, here Childs leads a small group, this time a veritable all-star ensemble featuring trumpeter Ambrose Akinmusire, bassist Scott Colley, and drummer Brian Blade.

Together,they delve into a mix of originals and covers inspired by Childs' longtime passion for film music, especially the moody West Coast film noir, neo-noir, and hard-boiled soundtracks associated with composers like Jerry Goldsmith, Michel Legrand, and Bernard Herrmann. The opening "The Great Western Loop" (perhaps a reference to Alfred Hitchcock's North by Northwest?) begins with a spiraling piano riff offset by big, chunky, dark bass hits and Akinmusire's climbing trumpet melody. It's a kinetic, harmonically rich composition that wouldn't sound out of place on any of Freddie Hubbard's fusion-influenced albums.

That song along with the shimmering, late-afternoon balladry of the title track and the slow-churning "The End of Innocence" also feel like a song cycle. Part of this is due to the empathetic interplay between Childs and Akinmusire, who both play with a painterly touch, their shadowy harmonies caressing the vast cityscapes and West Coast mountain ranges the songs seem to conjure. Just as evocative are the covers, including an airy take of Chick Corea's 1972 composition "Crystal Silence" where Akinmusire's breathy trumpet veritably traces the glassy surface of Childs' chordal lake.

There's also a roiling, militaristic rendition of Kenny Barron's "The Black Angel," originally featured on the aforementioned Hubbard's 1970 album of the same name, a further affirmation of the deeply personal influences at play on The Winds of Change.By Matt Collar https://www.allmusic.com/album/the-winds-of-change-mw0003900312

The Winds of Change