Dutch Swing College Band - Dutch Swing College Band 75

Styles: Jazz, Swing
Year: 2022
File: MP3@320K/s
Time: 46:17
Size: 107,7 MB
Art: Front

(2:54) 1. 2020 Rag
(3:56) 2. Lulu's Back in Town
(4:13) 3. Aunt Hagar's Blues
(2:52) 4. Oriental Strut
(4:01) 5. Rent Party Blues
(2:34) 6. Darktown Strutters Ball
(2:48) 7. The Eel
(3:16) 8. Shim-me-sha-wabble
(3:53) 9. Lazy Mood
(2:41) 10. Charleston
(3:44) 11. Quincy Street Stomp
(3:42) 12. The Mooche
(2:35) 13. Georgia Swing
(3:01) 14. Tiger Rag

The Dutch Swing College Band has endured numerous personnel changes in its more than fifty-year history as one of the Netherlands' top jazz ensembles. Although no members remain from the original group, the latest lineup continues to honor the tradition-rooted approach of the founders.

Bob Kaper replaced clarinet player Peter Schilperoort during an illness in 1966, and remained with the band; he has led the Dutch Swing College Band since Schilperoort's death in 1990. The fourth leader in the group's history, Kaper succeeds Frans Vink, Jr. (1945-46), Joop Schrier (1955-60), and Schilperoort (1946-55; 1960-1990). Kaper previously led the Beale Street Seven, a group he founded in 1957.

An amateur group from 1945 until turning professional in 1960, the Dutch Swing College Band reached their early peak in the late '40s, when they were tapped to accompany such jazz musicians as Sidney Bechet, Joe Venuti, and Teddy Wilson. The New Melbourne Jazz Band recorded an album, A Tribute to the Dutch Swing College Band, featuring music associated with the Holland-based group. By Craig Harris
https://www.allmusic.com/artist/dutch-swing-college-band-mn0000130996/biography

Dutch Swing College Band 75

---

Roxy Coss - Chasing The Unicorn

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 56:58
Size: 196,8 MB
Art: Front

(5:46)  1. Chasing the Unicorn
(4:40)  2. A Shade of Jade
(3:46)  3. You're There
(4:52)  4. Free to Be
(4:15)  5. Oh! Darling
(5:08)  6. Never Enough
(5:17)  7. Virgo
(5:13)  8. Unwavering Optimism
(5:57)  9. Benny's Tune
(6:00) 10. Endless Cycle
(5:59) 11. Crazy

The title of the third, and latest release of New York based saxophonist Roxy Coss, Chasing the Unicorn (Posi-Tone, 2017), enables a vision that all artists embrace-that elusive and mythical state of total expression attained by only an elite few, that which not only presents beauty and passion to the universe, but is integrated into the social and spiritual dynamic of the culture it embraces. The pursuit in itself is where sounds, sights, and emotions are gathered to create true art. In the saxophone world, this conjures up names like Parker, Coltrane, Shorter, and Henderson. This pursuit of an impossible, elusive, and ultimately expressive state is the world where saxophonist Roxy Coss resides. Known largely for her work with trumpeter Jeremy Pelt, Coss developed rapidly as a leader, and more importantly, as a composer, during her quintet's three year residency at New York's famed Smoke Jazz Club. Her musical relationship with guitarist Alex Wintz prompted a change in her approach to the traditional jazz quintet, replacing the trumpet with guitar, creating a front line partner with greater harmonic and melodic versatility. On this recording, she adds pianist Glenn Zaleski, who dwells in the modern aesthetic territory of pianists such as Brad Mehldau while echoing influences of the great Bill Evans.

This is equatable to the leader Coss, who can't seem to shake the tethers tied to masters like Wayne Shorter and Joe Henderson in her pursuit of her own distinctive sound. That being said, she achieves a wonderful blend of lyricism and inspired intensity throughout her solos on both tenor and soprano saxophones, and on her interpretation of Wayne Shorter's classic hard bop ballad, "Virgo," a daunting and pensive bass clarinet. New York firebrands, bassist Rick Rosato, and drummer Jimmy Macbride round out the quintet, and deliver as one would expect. Rosato's lovely tone, sense of timing, form, and melodic invention underpins the foundational pulse of MacBride's fluid playing, echoing the percussive sentiments of his mentor, Kenny Washington.


Coss leads the way on the title track, with a winding angular melody on soprano, switching to a harmonic role mid piece on bass clarinet. The piece personifies Coss' compositional prowess, and the wonderful rapport this quintet attains throughout this recording. Rosato and Macbride maintain the balance between form and spontaneous invention, enabling Wintz to play the role as counterpoint foil for Coss, and blending ever so deftly with pianist Zaleski to create a layered approach to harmony. Coss' original pieces are worthy palettes for musical interpretation, and throughout the course of her three albums Roxy Coss (Self Produced, 2010), Restless Idealism (Origin, 2016), and now Chasing the Unicorn, they are seemingly fleeing the constraint of her ever evolving hard bop notions of uniformity. "Free to Be" personifies this continually liberating progression for Coss, building the melody off of a melodic triad with Wintz and Zaleski. Her soprano solo builds to an improvised counterpoint exchange with Wintz, that is validation of Coss' audible vision of what she wants her quintet to sound like. Any notion that eschewing the traditional jazz quintet front line with trumpet as some sort of trivial maneuver to establish uniqueness is vanquished. Her musical bond with Wintz is comparable with any saxophone/trumpet pairing, with the added chordal, harmonic dimensional rapport. Coss' decision to cover the Lennon/McCartney classic, "Oh! Darling" makes perfect sense, being that it is built on the blues, an aspect of Coss' personal approach that is offered in exquisite fashion by her probing and soulful tenor.

The aforementioned foray into Shorter's "Virgo" displays the artist's versatility in this interpretive rendition delivered on bass clarinet. One of Shorter's more tender melodies is sublimely treated with emotive phrasing and a deep, pulsing tone, adrift with relentless romanticism. Roxy Coss' understanding of the jazz language, of identifying her personal approach as a leader continues to progress, or rather advance, utilizing giant strides rather than short, measured steps. Sure, she has spent ten years now in New York, ten years away from the west coast stronghold of jazz that is her native Seattle. In traditional terms, she has paid her dues. She has been able to create art that is emblematic of her upbringing, being the daughter of brilliant sculptor, and light and sound artist, Mary Coss. She has done so with a tenor saxophone and a passionate allegiance to the masters that have paved the way. She is willing to escape the boundaries of her fears, and continue to endeavor into that which is mythical in vision, yet tangible in form. Chasing the Unicorn is a reflection of just that.
By Paul Rauch https://www.allaboutjazz.com/chasing-the-unicorn-roxy-coss-posi-tone-records-review-by-paul-rauch.php

Personnel: Roxy Coss: tenor and soprano saxophones, bass clarinet; Alex Wintz: guitar; Glenn Zaleski: piano; Rick Rosato: bass; Jimmy Macbride: drums.

Chasing The Unicorn

---

Antonio Zambrini, Andrea Di Biase, Jon Scott - Songs From The Procol Harum Book

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 48:42
Size: 111,7 MB
Art: Front

(6:51) 1. Pilgrim's Progress
(6:01) 2. Crucifiction Lane
(8:20) 3. A Salty Dog
(5:36) 4. Homburg
(7:58) 5. Fires (Which Burnt Brightly)
(5:41) 6. Quite Rightly So
(3:48) 7. Something's Following Me
(4:24) 8. A Whiter Shade Of Pale

Antonio Zambrini is esteemed one of the best italian composer. The last three recordings by Antonio Zambrini , “Quartetto”, “Due colori” and “Musica” ( all by Abeat records ) have been of great success either in critics and sales all around many countries. It’s the first time that Antonio Zambrini is recording some songs by other people’s.

To do that he choose the repertoire of Procol Harum, the band from England who, during the ‘60 and ’70 years, created some very well known songs all over the world such as “A Whiter Shade of Pale”, “Homburg”, “Salty Dog”, “Something’s following me” and many more…Elegance of touch, accurate care of choosing notes, deep but peaceful improvisation, predilection of intimate situations, makes Antonio one of the most original pianist of the Italian scene.

In this Cd Zambrini has been supported by the doublebass player Andrea Di Biase , who studied at the Guildhall School of London and by the English drummer Jon Scott. The typical italian mood of Zambrini takes more inspiration from the “British”climate of the rhithmic section.By JazzLoft

Personnel: Antonio Zambrini (piano); Andrea Di Biase (double bass); Jon Scott (drums)

Songs From The Procol Harum Book

---

Rickie Lee Jones - Pieces Of Treasure

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 34:09
Size: 79,4 MB
Art: Front

(3:11) 1. Just in Time
(3:20) 2. There Will Never Be Another You
(3:26) 3. Nature Boy
(4:16) 4. One For My Baby
(2:50) 5. They Can't Take That Away from Me
(2:31) 6. All The Way
(4:08) 7. Here's That Rainy Day
(4:44) 8. September Song
(2:53) 9. On the Sunny Side Of The Street
(2:46) 10. It's All In The Game

Ever since Linda Ronstadt bravely took on the Great American Songbook with three albums back in 1983, pop singers with a rock background have taken on the classics of the first half of the 20th century and reinterpreted them for contemporary audiences. When Ronstadt sang them with the Nelson Riddle Orchestra, critics considered the act revolutionary. Rock originated as a rebellion against the mainstream pop of the 1950s. Now rock was dissenting from what it had become by embracing what it had campaigned against. Artists as varied as the once vulgar Rod Stewart (remember songs such as “You’re So Rude” from A Nod Is as Good as a Wink?) and anti-authoritarian as Bob Dylan have gone on to release multi-volume collections of smooth standards.

Now it’s Rickie Lee Jones‘ turn. As one might expect, she does it coolsville style with a jazz combo. She makes the songs her own through her combination of little girl style and wizened woman narration. When Jones sings, her vocals tell a story through her intonations as well as through the lyrics. At times, she makes one put down the whiskey and grab the cigarette from the ashtray as she wistfully recalls “There Will Never Be Another You”. In other songs, such as “It’s All in the Game”, the opposite is true. Listening to the singer’s sadness makes one want to reach for a drink.

Russ Titelman, who co-produced Jones’ 1979 self-titled debut (and her second record, Pirates), helms this production. But this is no retro album or exercise in 1970s nostalgia. The music and style are very different than it used to be. Titleman assembled a small jazz combo (Rob Mounsey on piano, guitarist Russell Malone, bassist David Wong, and drummer Mark McLean) to back Jones and let her vocals breathe. More importantly, to let the songs move in a metropolitan air where the spaces between sounds are as significant as the instruments themselves. There is a spareness to the arrangements that conveys urbane refinement. The music was recorded at Sear Sound during a five-day stint in New York City and sounds as sophisticated as the city that never sleeps.

Even the rural connotations of “Nature Boy” come across as cosmopolitan, thanks to Ara Dinkjian’s lead oud playing. The instrumental introduction situates Jones’ intonations about “the strange, enchanted boy” into something transcendent. The singer’s declaration that love is the secret of life makes perfect sense in this context.

Love is the primary topic of songs from the Great American Songbook, whether it’s the lack of it (i.e., “One for the Road”) or that it redeems (“Just in Time”), or how it’s the end all / be all (“All the Way”) or the memories of it (“They Can’t Take That Away From Me”). Jones croons about love with sweetness but never gushes too sentimentally. Her persona suggests that she’s always in control, even when she sings about being out of control.

May that's just a function of age. When she croons, “Here’s That Rainy Day”, she doesn’t seem upset about her fate (being alone) as much as accepting her destiny. The same is true of the opposite side of the coin. The young narrator of “On the Sunny Side of the Street” extols life’s positive virtues. You can feel the singer leaving her troubles at the door and walking down the avenue with a big smile on her face.

Jones’ ability to be both old and young makes her rendition of “September Song” compelling. She can identify with each lover of a May/December romance, no matter what age. Jones is a pirate who plunders the treasures of the Great American Songbook for all of its riches. The music is as timeless as she is. By Steve Horowitz
https://www.popmatters.com/rickie-lee-jones-pieces-of-treasure

Personnel: Rickie Lee Jones voice / vocals; Russell Malone guitar, electric.; David Wong bass; Mark McLean. drums; Mike Mainieri. vibraphone.

Pieces Of Treasure

---