Chris Standring - Wonderful World

Styles: Guitar Jazz, Jazz Funk
Year: 2021
File: MP3@320K/s
Time: 51:05
Size: 117,9 MB
Art: Front

(4:54) 1. How Insensitive
(5:50) 2. Night & Day
(4:49) 3. Autumn in New York
(4:44) 4. Estate
(4:47) 5. What a Wonderful World
(3:54) 6. Green Dolphin Street
(4:16) 7. Alfie
(4:40) 8. Falling in Love with Love
(4:56) 9. Sunrise
(3:40) 10. Maxine
(4:30) 11. My Foolish Heart

Wonderful World, the fourteenth album as leader by British guitarist Chris Standring, was no doubt recorded with the best of intentions. And make no mistake, the music is warm and lovely, furnishing an opulent showcase for Standring's mellow guitar. Aside from that, however, there's not a whole lot to say. Standring's "orchestra" consists of a nineteen-member string section, while Geoff Gascoyne's syrupy arrangements call to mind popular string-laden sessions from the 1950s and '60s, "easy listening" albums for "late-night lovers" designed by Percy Faith, Jackie Gleason, Bobby Hackett and others, except this time there's a guitar leading the way instead of a trumpet, oboe or English horn. It's a step removed from Mantovani or the 101 Strings orchestra.

Besides the strings, Standring is supported on various tracks by bassists Gascoyne, Chuck Berghofer or Darek Oles and drummers Peter Erskine, Harvey Mason or David Karasony, but their primary task is to keep time while the orchestra plays and Standring solos. Berghofer does have one brief solo, on Cole Porter's "Night and Day." Elsewhere, it's basically all Standring all the time, save for a brief guest appearance by flugelhornist Randy Brecker on Standring's slow-breaking "Sunrise." Of the album's eleven tunes, only one "On Green Dolphin Street" pushes forward more rapidly than a ballad.

The others from Jobim's "How Insensitive" to the standards "Autumn in New York," "Falling in Love with Love" and "My Foolish Heart" to "Estate," Burt Bacharach/Hal David's theme from "Alfie" and Donald Fagen's "Maxine" assume the same hushed and reposeful stance, calmly awaiting the entrance of Standring's genteel and melodious manifestos. The atmosphere is so even-tempered that the drummers could have left their sticks at home, as brushes alone even "On Green Dolphin Street" are more than adequate. There is one vocal, by Kathrin Shorr on the title song. As noted, the music is charming, and Standring is a splendid guitarist, but Wonderful World is best suited for those who are happiest living on a diet comprised solely of tender ballads and love songs. By Jack Bowers
https://www.allaboutjazz.com/wonderful-world-chris-standring-ultimate-vibe

Personnel: Chris Standring: guitar; Geoff Gascoyne: bass; Randy Brecker: trumpet; Peter Erskine: drums; Harvey Mason: drums; David Karasony: drums; Chuck Berghofer: bass, acoustic; Darek Oles: bass; Kathrin Shorr: voice / vocals

Wonderful World

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Dizzy Gillespie, The Double Six Of Paris - Dizzy Gillespie & The Double Six Of Paris

Styles: Trumpet Jazz,Vocal, Bop
Year: 1963
File: MP3@320K/s
Time: 39:02
Size: 91,1 MB
Art: Front

(3:45)  1. Emanon
(2:46)  2. Anthropology
(4:16)  3. Tin Tin Deo
(3:28)  4. One Bass Hit
(3:31)  5. Two Bass Hit
(2:28)  6. Groovin' High
(3:05)  7. Oo-Shoo-Be-Doo-Be
(3:02)  8. Hot House
(3:36)  9. Con Alma
(3:10) 10. Blue 'N' Boogie
(3:08) 11. The Champ
(2:44) 12. Ow

This odd but successful pairing finds the Double Six of Paris singing vocalese in French to a dozen bebop classics associated with Dizzy Gillespie. Gillespie, with pianist Bud Powell and a rhythm section, take solos that uplift this date; two songs feature his quintet (with James Moody on alto). Not for all tastes, but this is a unique and colorful addition to Gillespie's discography.By Scott Yanow
https://www.allmusic.com/album/dizzy-gillespie-the-double-six-of-paris-mw0000649530

Personnel: Trumpet – Dizzy Gillespie; Bass – Chris White , Pierre Michelot; Drums – Kenny Clark, Rudy Collins;  Ensemble – The Double Six Of Paris; Piano – Bud Powell, Kenny Barron; Tenor Saxophone – James Moody;  Vocals – Christiane Legrand, Claudine Barge, Eddy Louis, Jean-Claude Briodin, Mimi Perrin, Robert Smart, Ward Swingle

Dizzy Gillespie & The Double Six Of Paris

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Dara Tucker - All Right Now

Styles: Vocal Jazz

Year: 2009

File: MP3@320K/s

Time: 44:25

Size: 102,4 MB

Art: Front

(4:30)  1. Come Rain or Come Shine

(3:20)  2. What Is This Thing Called Love

(4:14)  3. That's All

(3:46)  4. Route 66

(3:03)  5. There Will Never Be Another You

(0:27)  6. Don't Let Me Be Lonely Tonight

(5:26)  7. Lush Life

(2:43)  8. Someday My Prince Will Come

(2:40)  9. Avalon

(3:45) 10. Time After Time

(3:11) 11. On the Street Where You Live

(3:50) 12. Don't Get Around Much Anymore

(0:35) 13. P.S. I Love You

(2:48) 14. Just a Closer Walk With Thee

Dara Tucker was born into a musical family. The product of a music minister father, and a songstress mother, she began singing in her Tulsa, Oklahoma church at age 5. By age 8 she was playing simple melodies on the piano and soon began accompanying her brothers and sisters at performances. Throughout her college years, Tucker continued to hone her skills as a vocalist and musician. After obtaining a degree in International Business and German studies, she worked for a time in the corporate language-training field, eventually relocating to Interlaken, Switzerland to study German. It was there that Tucker began to write the first of her very personal songs. “I found something within myself that I didn’t realize was there music’s ability to ensure my spiritual and emotional survival. No one can ever take that away from me,” says Tucker.

Since moving to Nashville, TN to pursue music fulltime, Tucker has begun to establish herself as a strong presence in Nashville’s burgeoning jazz scene. Displaying a love for standards and swing that belies her years, Tucker’s reverence for the Great American Songbook can be felt in her sensitive delivery of these timeless songs. She performs regularly at Sambuca Restaurant in Nashville, Tennessee and has also been featured at F. Scott’s Restaurant and Jazz Bar in the Green Hills district of Nashville, in addition to The Basement, Bosco’s and The 12th South Taproom along with Nashville’s long-standing Jefferson Street Jazz and Blues Festival. Additionally, Dara has been featured in live performances on WPLN’s (National Public Radio-Nashville affiliate) “Live From Studio C” as well as at the Oklahoma Jazz Hall of Fame and Snug Harbor Jazz Club in New Orleans. http://www.cdbaby.com/cd/daratucker

All Right Now

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Joe Farnsworth - In What Direction Are You Headed?

Styles: Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 61:53
Size: 142,5 MB
Art: Front

( 7:13) 1. Terra Nova
( 9:29) 2. Filters
(10:33) 3. In What Direction Are You Headed
( 5:00) 4. Composition 4
( 7:24) 5. Anyone but You
( 6:44) 6. Safe Corners
( 5:31) 7. Bobby No Bags
( 9:55) 8. Someday We'll All Be Free

I have been listening to music accompanied by the esteemed drummer Joe Farnsworth for over 30 years, especially via a favorite ensemble, One For All. I know he is good, but how good wasn’t clear to me until now.

Farnsworth, who will be leading a band at the Jazz Showcase from May 11th through the 14th, has always been “a drummer’s drummer,” capable of providing stalwart support of most any ensemble.

Generally known for his “old school” pocket behind post-bop performers, Farnsworth’s new album In What Direction Are You Headed? Is a wily departure from his usual fare, involving a new generation of players while keeping a veteran rhythm core at the center, creating a plaiting of generations.

On In What Direction are some of the finest contemporary talents: featured guitarist Kurt Rosenwinkel, altoist Immanuel Wilkins (whose appearance at last year’s Jazz Festival was woefully undersold), and keyboardist Julius Rodriguez. At the bass helm is Robert Hurst, who has moved forward from his crucial Marsalis experience to become a respected support player.

The album’s title, and title cut, comes from an attempt to bridge those generations, a way for Farnsworth to indicate to his homies that he is not straying far away from his roots but wants to move forward to involve the top tier of current musicians steeped in multi-genre upbringings. Farnsworth first played the tune with the late, sorely-missed, pianist Harold Mabern at the Vanguard. Joe then asked Mabern’s son Michael (who provides an enjoyable conversation with Farnsworth as the liner notes) if he could use the tune on the new album as a way to establish a musical trope.

Rosenwinkel’s presence invigorates Farnsworth and provides a clear subtext to the proceedings: this is not your dad’s music, but we do remember your dad. The world-recognized guitarist gets three compositions here, and his guitar is definitely not representing another version of Grant Green.

And on Mabern’s “In What Direction Are You Headed?”, the bridge is built. Rodriguez opens with a funky Fender Rhodes riff that leads to a brightly-rendered melody from both Rosenwinkel and Wilkins, an arrangement that occurs frequently. As the two meander through the bars, the playing becomes more elastic, fushionesque. Rodriguez gets the first solo while Farnsworth sounds like Buddy Rich during his “trying to be cool in the 60’s” period (not meant to be pejorative). Wilkins lets loose with a postmodern squall before Rosenwinkel steps on the effect box to render a lovely, angular statement.

Farnsworth also has a solo opportunity (one of three in the selections) that builds on his first one, an eye-opening display during selection two, Rosenwinkel’s “Filters.”

Wilkins’ contribution “Composition 4” (placed, of course, fourth on the listing) is the quietest of the songs, showcasing the album’s juxtaposition of sax and guitar. Wilkins has the melodic lead, as Rosenwinkel adds shimmering comp atop Rodriguez’s folky acoustic fills.

Rodriguez’s “Anyone But You” is the bop tune that demonstrates the youths’ ability to travel quickly, with Rosenwinkel especially impressive with his McLaughlin-like display; Wilkins, likewise. Does Farnsworth keep up? Impressively, yes. And Rodriguez is impressive, too. Any questions about how the “new generation” can deal with the “old” are answered here.

The album opener “Terra Nova” and “Safe Corners,” both Rosenwinkel compositions, are reflective tone poems that suggest geographical influences. Both have slightly Latin touches and comparatively are more austere in arrangement while gorgeous as soundscapes.

On “Bobby Low Bags” Farnsworth gives Hurst a chance to shine, and the bassist relishes the moment in bluesland. Meanwhile, Wilkins displays his bop chops, something I wasn’t sure he could pull off. Rosenwinkel, with guitar effect applied, follows through with his rejoinder, while Rodriguez shares his own piano offering before Farnsworth finishes with a short solo. Here, again, sax and guitar coalesce as Hurst completes the tune.

The closer, Donnie Hathaway’s “Someday We’ll All Be Free,” is clearly symbolic, one more bridge to join sides. The soulful ballad gets an ornate, upper registered greeting from Wilkins while Rodriguez morphs Philly soul as Rosenwinkel carries forth with an effected solo that replaces Hathaway beautifully. You’d think Wilkins picked up a soprano for this one, but it’s just another way for him to demonstrate his facility, while Hurst carries the song with his own lyrical backup.

We’ve been treated with some great music in 2023 so far, but this album blew me away unexpected but welcomed, nonetheless. Joe Farnsworth, in excellent form, not only evinces his wide talent but also his wisdom, casting a vision for our jazz future that doesn’t eschew the genre’s blues roots while still advancing. In What Direction Are You Headed? Is both a good question and an essential album for the 21st Century. By Jeff Cebulski
https://www.chicagojazz.com/post/jazz-review-joe-farnsworth-in-what-direction

Personnel: Joe Farnsworth, drums; Immanuel Wilkins, alto sax; Kurt Rosenwinkel, guitar; Julius Rodriguez, piano and fender Rhodes; Robert Hurst, bass

In What Direction Are You Headed?

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