Nicola Conte & Rosalia De Souza - Garota Moderna

Styles: Bossa Nova
Year: 2002
File: MP3@320K/s
Time: 61:38
Size: 142,2 MB
Art: Front

(5:16) 1. Maria Moita
(5:45) 2. Bossa 31
(2:32) 3. Adriana
(4:38) 4. Tempo Futuro
(4:23) 5. Saudosismo
(5:26) 6. Canto De Ossanha
(3:44) 7. Fica Mal Com Deus
(4:43) 8. Mais
(3:41) 9. As Gotas
(3:31) 10. Mar Azul
(3:49) 11. Ipanema
(7:15) 12. Zona Sul
(6:49) 13. Samba Novo

Italian producer Nicola Conte was responsible for one of the biggest underground dance hits of 2000, the wonderfully catchy and light "Bossa Per Due." That song and the album it was on, also titled Bossa Per Due, were a refreshing blast of laid-back Brazilian jazz meeting Stereolab at cocktail hour and made Conte one of the most sought-after producers in the world.

In 2003 he hooked up with Rosalia de Souza, and on her debut record, Garota Moderna, Conte has done perhaps his best work yet. Over 13 tracks he and de Souza create a light, swinging, and hip mood that never flags and is a complete joy from beginning to end.

Most of the songs are cut from the same cloth as Bossa Per Due: bossa nova-influenced rhythms spiced with loungy jazz touches and liberally borrowing elements from electronic dance music and easy listening. The frothy tropical cocktail is topped off with de Souza's sensual and sweet (and mostly sung in Portuguese) vocals.

She never oversings or does anything remotely dramatic, often forgoing words altogether and crooning wonderful la-de-das. She is the perfect foil for Conte's winking and swinging sonic constructs. Tracks like "Maria Moita," "Tempo Futuro," "Mais," and "Ipanema" are sly groovers that sound like they should be playing in a James Bond movie set in Brazil.

In fact the whole record is a retro-futuristic treat. It should appeal to dance music mavens, jazz fans, Brazilian music lovers, and just about anyone who likes easygoing, sunny dance music. It will also further cement Conte's position as a top-notch producer.By Tim Sendra
https://www.allmusic.com/album/garota-moderna-mw0000024730

Personnel: Vocals – Rosalia De Souza; Alto Saxophone [Alto Sax], Flute – Gaetano Partipilo; Double Bass – Pietro Ciancaglini; Bass [Fender] – Davide Penta (track 4); Drums – Lorenzo Tucci; Guitar – Enrico Bracco (tracks: 2, 3, 5, 10, 12), Alberto Parmegiani (tracks 1,6),Guido Di Leone (track 11); Keyboards [Electronic] – Gianluca Petrella (track 7); Piano, Organ – Pietro Lussu; Organ – Sam Paglia (track 6); Vibraphone – Pasquale Bardaro; Percussion – Tarek Abou Chanab (track 7); Trumpet – Fabrizio Bosso (track 9); Producer, Arranged By – Nicola Conte; Written-By – Nicola Conte (tracks: 2, 4, 8, 9, 12, 13), Rosalia De Souza (tracks: 4, 8, 9, 13)

Garota Moderna

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Wilma Baan - So nice

Styles: Vocal
Year: 2021
File: MP3@320K/s
Time: 50:14
Size: 120,7 MB
Art: Front

(4:28) 1. So nice
(3:59) 2. Social call
(4:24) 3. Close enough for love
(4:09) 4. Do nothing till you hear from me
(3:08) 5. Better than anything
(5:29) 6. Folks who live on the hill
(4:46) 7. Teach me tonight
(4:02) 8. Day by day
(3:10) 9. End of a love affair
(4:29) 10. Where do you start
(3:20) 11. I didn't know what time it was
(4:45) 12. Here's to life

When you hear 'So Nice', the debut release from vocalist Wilma Baan, you may wonder why you haven't heard her before. Wilma's rich, mellow tone, impeccable timing and elegant delivery pay homage to her musical influences (Julie London, Nancy Wilson, Dianne Reeves) on this accomplished recording of 12 treasures from the standard repertoire.

The arrangements by Graham Harvey provide a sparklingly fresh take on these much-loved songs including a wonderfully sensitive version of the inexplicably under recorded 'Day by Day' and on a poignant rendition of 'Here's to Life', producer Claire Martin coaxes every nuance and shade from Wilma's charming vocal performance.

Chris Traves' mellifluous trombone solo on 'Close Enough for Love' demonstrates the generous contributions made by Chris (he also co-produced the album with Claire Martin) Josh Morrison and Dave Chamberlain throughout the recording (Dave can be heard playing the guitar on tracks 1 & 8).

For Wilma,'So Nice' represents the fulfilment of a long-held ambition; to record songs that have deeply moved and inspired her and that have sustained her love for the jazz repertoire through the years.
https://www.allaboutjazz.com/album/so-nice-wilma-baan

Personnel: Wilma Baan - vocals; Graham Harvey - piano, Fender Rhodes, arrangements; Dave Chamberlain - double bass, guitars (1, 8); Josh Morrison - drums; Claire Martin - percussion; Chris Traves - trombone (3), percussion

So nice

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Greta Matassa - Portrait

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 62:46
Size: 145,6 MB
Art: Front

(5:03)  1. Pieces of Dreams
(3:38)  2. To Make You Feel My Love
(4:43)  3. The Shining Sea
(5:11)  4. Prelude to a Kiss
(4:06)  5. If You Never Fall in Love with Me
(5:01)  6. Down Here on the Ground
(4:18)  7. That Day (From "Cinema Paradiso")
(3:43)  8. The Beat of My Heart
(4:29)  9. The One Who Loves the Most / Softly as I Leave You
(4:33) 10. Gone with the Wind
(5:27) 11. Just for a Thrill
(4:43) 12. Baubles Bangles and Beads
(7:46) 13. Lush Life

Greta Matassa has made choices in her career that have sacrificed some visibility in exchange for lifestyle. Yet the Seattle based vocal artist has established herself firmly as one of America's finest singers, and one of the best that jazz has to offer in the new century. To this point, the jazz public at large had not heard from Matassa in 11 years, since her last solo Origin release, The Smiling Hour (Origin, 2008). With Portrait (Origin, 2019), Matassa explores the best music she has performed in the past decade with her working quintet that includes pianist Darin Clendenin, bassist Clipper Anderson, saxophonist Alexey Nikolaev and drummer Mark Ivester.

The entire album plays like a set they might perform one evening in an intimate setting. There is a beautiful chemistry illustrated broadly in the intricacies of the musical interaction, and effortless sense of swing from piece to piece. Opening with Michel LeGrand's "Pieces of Dreams," the listener hears immediate impressions of a long tenured band, with the scorching solo of Nikolaev weaving its way through the elegant comping of Clendenin, and the one mind tamdem of Anderson and Ivester. It is a melody perfect to highlight the cadence of Matassa's innovative approach, her amazing sense of tonality and range, and deep connection with the blues. Innocently sequestered between melodies composed by the likes of Ellington and LeGrand is a Bob Dylan jewel, "To Make You Feel My Love." Matassa switches gears to present this soulful rendition, giving the impression that this tune's intimate setting may well be in Detroit. In short, the opening two numbers clearly establish not only Matassa's versatile skill set, but her willingness to go deep into a melody with a musician's mind.

Her instrument has always been unquestionably top tier, her ability to interpret within the mood and emotive qualities of a tune second to none. Why shouldn't one of the finest voices in jazz perform one of the genre's most beautiful and memorable melodies? With "Prelude to a Kiss" Matassa reveals her perfect pitch, the enabler that allows her to journey outside of a melody with the insight of a composer in spontaneous motion. Pianist Clendenin delivers an elegant solo, and the perfect phrasing to allow Matassa's impeccable articulation of the lyrics tell the story, and establish the vibe of the Ellington classic.

"If You Never Fall In Love With Me," features Matassa and Nikolaev in a lively exchange with voice playing counterpoint to tenor in horn-like fashion. Matassa's abilities to solo without words is more akin to a fine horn player than a practitioner of more traditional scat. "Beat of My Heart" is a playful tune lyrically delivered in rapid fire articulation. Matassa delivers a scintillating, hard-swinging solo. Her work on this tune is representative of her artistry, of the immaculate musicianship she employs, that which has been a constant on stage and in the studio over her career that now spans more than a quarter century. "Gone With The Wind" begins with Matassa and bassist Anderson in tandem. The band enters the fray swinging gently with Clendenin's tasteful harmony setting things in motion. Choosing to record this album with her standard quintet that she has mainly performed with over the past decade shows its true colors on this piece. The chemistry and comfort level achieved is that which is achieved over time, over countless hours on stage and in rehearsal. In this sense, Portrait is the truest recording Matassa has made in her career in terms of being representative of her time as a working musician, as part of a working band. 

The cover of the CD features a portrait of Matassa's mother, painted by her late father. Matassa alludes to conversations about jazz and art around the kitchen table at 3 AM, about learning to understand the parallels between jazz improvisation and abstract expressionism. This album bears the imprint of familial love, whether it be that of her father, or that of the kinship that has bonded her band together over a significant stretch of time. Either way, Portrait is a gathering point for Matassa's sheer artistry. 

By Paul Rauch https://www.allaboutjazz.com/portrait-greta-matassa-origin-records-review-by-paul-rauch.php

Personnel: Greta Matassa: vocals; Darin Clendenin: piano; Clipper Anderson: bass; Mark Ivester: drums; Alexey Nikolaev: saxophones.

Portrait

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Claire Daly & George Garzone - VuVu for Frances

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 59:45
Size: 137,5 MB
Art: Front

(6:22) 1. All the Way
(6:23) 2. Sweet Georgia Bright
(4:51) 3. Fools Rush In
(4:54) 4. People Will Say We're in Love
(4:06) 5. The Lonely Goatherd
(2:22) 6. Mood Indigo
(4:55) 7. Warm Valley / What Am I Here For
(4:43) 8. Hold Out Your Hand
(3:51) 9. Half Nelson
(3:47) 10. Harlem Nocturne (feat. Jon Davis)
(3:15) 11. The Very Thought of You
(4:49) 12. The Saga of Harrison Crabfeathers
(5:22) 13. Manhattan (feat. George Garzone)

Working jazz musicians have long been accustomed to the necessity of playing just about anything, in any setting, and Claire Daly is no exception. The intrepid baritone saxophonist has recorded tributes to Thelonious Monk and Rahsaan Roland Kirk and, in 2016, she even offered a distinctive take on Motown classics with 2468 West Grand Boulevard (Glass Beach Jazz). With the enviable versatility on her formidable horn which has brought her consistent acclaim, she now turns to more conventional jazz fare, uniting with tenor saxophonist George Garzone, a mentor and collaborator who brings his lighter touch to a wide-ranging, enjoyable set of standards and show tunes.

Daly's episodic work with Garzone goes back at least to 1998, when she appeared on his Moodiology (NYC Records), an album characteristic of Garzone's assertive style. Here he is much more subdued—indeed, the "VuVu" in this record's title is a neologism from Garzone which indicates his willingness to focus his contributions in a melodic, understated manner. Daly too stays largely within a restrained, lyrical temperament, suitable for a repertoire which ranges from Duke Ellington's "Mood Indigo" to Rodgers and Hart's "I'll Take Manhattan." Ironically, the one cut in which the two saxophonists turn it loose is the Rodgers & Hammerstein number "Lonely Goatherd," one of two tunes from that songwriting team (the other being "People Will Say We're in Love"). On "Goatherd," Daly's arrangement uses an odd-meter framework to unleash some ferocious playing from both saxophonists, particularly during their mutual improvisation toward the close of the track. In other respects, the two play it straight, hewing closely to the tunes of the classic repertoire.

The rest of the band includes pianist Jon Davis, bassist Dave Hofstra, and drummer David F. Gibson. They provide all the support needed to let Garzone and Daly do their thing and with the delicate touch required on pieces such as Duke Ellington's "Warm Valley," rendered gorgeously before transitioning into the briskly paced "What Am I Here For?" There are a few surprises here, including a brief vocal turn from Daly on Steve Kuhn's "Hold Out Your Hand," and Davis switching to keyboards for a vigorous treatment of Kuhn's modal "Saga of Harrison Crabfeathers." For the most part the quintet refrains from taking too many chances, preferring to let the melodies shine lambently. And there is nothing to fault them for in that regard; when Daly and Garzone generate their tender dialogue on "Fools Rush In," it is easy to appreciate the genuine reverence the two veterans bring to this material.By Troy Dostert
https://www.allaboutjazz.com/vuvu-for-frances-clare-daly-with-george-garzone-daly-bread

Personnel: Claire Daly: saxophone, baritone; George Garzone: saxophone, tenor; Jon Davis: piano; Dave Hofstra: bass; David F. Gibson: drums.

Additional Instrumentation: Daly: vocals (8); Davis: keyboards (12).

VuVu for Frances

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