Nat Birchall Unity Ensemble - New World

Styles: Spiritual Jazz
Year: 2024
Time: 41:17
File: MP3 @ 320K/s
Size: 94,7 MB
Art: Front

( 8:16) 1. New World
( 4:59) 2. Exaltation
( 8:21) 3. Greetings of Love
( 8:55) 4. Jubilation
(10:44) 5. Elevation

Nat Birchall returns with a new studio album with an expanded Unity Ensemble. Six original compositions played by a seven-piece group featuring the legendary UK tenor saxophonist, Alan Skidmore and guest percussionist Mark Wastell.

Both musicians joined the group onstage at a John Coltrane tribute concert at London’s Café Oto last year, the resulting performance showing just how compatible all the musicians were, so Nat thought it would be propitious to record the group in the studio with their special guests.

Both Nat and Alan are Coltrane devotees of the highest order, but they each have their own individual style, and at the sessions their playing complimented each other’s beautifully. With no trace of anyone attempting to “outdo” the other one the recording dates were a testament to the whole group’s selfless approach to music making.
https://natbirchallmusic.bandcamp.com/album/new-world

Personnel: Nat Birchall – Tenor, soprano saxophone, bells, cabasa; Adam Fairhall – Piano; Michael Bardon – Bass; Paul Hession – Drums; Lascelle Gordon – Percussion

Special guests: Alan Skidmore – Tenor saxophone; Mark Wastell – Percussion

New World

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Cheryl Bentyne - The Cole Porter Song Book

Styles: Vocal, Swing
Year: 2009
Time: 55:34
File: MP3 @ 320K/s
Size: 127,8 MB
Art: Front

(5:18) 1. Love For Sale
(3:55) 2. It's De-Lovely
(3:16) 3. My Heart Belongs To Daddy
(4:10) 4. It's All Right With Me
(4:18) 5. Night And Day / Find Me A Primitive Man
(3:24) 6. I Love Paris
(3:39) 7. All Of You
(6:44) 8. I Concentrate On You
(3:06) 9. You'd Be So Nice To Come Home To
(5:47) 10. Everytime We Say Goodbye
(3:36) 11. Begin The Beguine
(3:40) 12. What Is This Thing Called Love?
(2:20) 13. Just One Of Those Things
(2:14) 14. Let's Misbehave

While much of the world knows Cheryl Bentyne as one-quarter of the multi-Grammy-winning Manhattan Transfer, this compelling vocalist has a story all her own - one that includes a solo career that encompasses a variety of musical styles.

Born and raised near Seattle, Washington, Bentyne was exposed to music at a very early age. Her father, a jazz clarinetist and bandleader, held his band's rehearsals at the family's home. It wasn't long before Cheryl was singing in her dad's band. After high school, she performed in Seattle area coffee houses where she met and joined a regional group called The New Deal Rhythm Band. The band combined campy comedy numbers with improvisation and “theatrical” swing. The New Deal served as a training ground for Bentyne to sharpen her performance technique and develop her own distinct style.

While on tour with The New Deal, Bentyne caught the attention of a talent agent who assured her that her singing ability could support a solo career and encouraged her to assemble material for her own show. Within a few months she moved to Los Angeles and was booked regularly at such legendary clubs as the Troubadour and the Bla-Bla Cafe.

In the spring of 1979, Bentyne’s manager told her about an audition that was to change her life. The Manhattan Transfer was searching for a new singer to replace the departing Lauren Masse. What they were looking for seemed like an impossible combination at the time - a soprano who was gifted and agile enough to immediately blend with the group’s unique four-part harmony sound, and yet who also possessed a strong individual musical personality which would contribute to the group's evolution. But Bentyne accomplished the impossible: she landed the job and made a vocal contribution that was immediate and decisive. The Manhattan Transfer won its first Grammy, for “Birdland,” a track from the 1979 album, Extensions (Best Jazz Fusion Performance). Since then, the Transfer has scored ten more Grammys.

Bentyne has sung some of the most memorable solos in the Transfer's repertoire: “Good-bye Love,” Benny Goodman's solo on “Down South Camp Meeting” (both on the 1983 release, Bodies and Souls) and “Meet Benny Bailey” (on their landmark 1985 recording, Vocalese). She won a Grammy (which she shares with Bobby McFerrin) for her arrangement of “Another Night In Tunisia” (also on Vocalese). Her hot performance in the video and single release “So You Say” (from Brasil, 1987) helped broaden the Transfer’s audience via frequent appearances on BET. She also wrote and co-wrote tracks for the Transfer’s 1992 release, The Offbeat of Avenues, including the Grammy winning “Sassy.”

But Bentyne has maintained a solid solo career separate and apart from her work with the world-famous vocal quartet. In 1988, she appeared on bassist Rob Wasserman’s highly acclaimed Duets album. Four years later, she released her solo debut album, Something Cool, a tribute to June Christy and other jazz singers of the 1950s.

Beyond the recording studio and performance stage, Bentyne has also dabbled in recording for motion pictures. She appears on the soundtrack to the 1990 film Dick Tracy, in “Back in Business,” a song she performed with Lorraine Feather and fellow Transfer member Janis Siegel. She also collaborated with trumpeter/composer Mark Isham in the soundtrack to the 1991 Alan Rudolph film, Mortal Thoughts.

In 2000, Cheryl recorded and released an original cast album of her new musical revue based the music and wit of Cole Porter. Dreaming Of Mister Porter has played to sold-out audiences and received rave reviews in Boston and Seattle.

Bentyne joined the Telarc label in 2004 with the release of Talk of the Town, an album that featured a number of standards from the great American songbook. The album also featured a star-studded lineup of session players: pianist Kenny Barron, saxophonist David “Fathead” Newman, flugelhornist Chuck Mangione, percussionist Don Alias and drummer Lewis Nash.

Bentyne’s second Telarc outing released in April 2005, Let Me Off Uptown, is a tribute to legendary songstress Anita O’Day.https://www.allaboutjazz.com/musicians/cheryl-bentyne/

The Cole Porter Song Book

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Syd Lawrence And His Orchestra - The Big Sound Of Syd Lawrence

Styles: Big Band
Year: 1989
Time: 69:14
File: MP3 @ 320K/s
Size: 158,5 MB
Art: Front

(3:03) 1. My Favourite Things
(3:03) 2. Days of Wine And Roses
(3:23) 3. Deep Purple
(3:26) 4. One O'Clock Jump
(3:40) 5. Raindrops Keep Falling On My Head
(3:06) 6. Alfie
(2:57) 7. April in Paris
(3:17) 8. On The Sunny Side Of The Street
(3:45) 9. Jumpin' At The Woodside
(3:13) 10. As Time Goes By
(2:59) 11. By The Time I Get To Phoenix
(4:36) 12. The Very Thought Of You
(2:35) 13. Spanish Eyes
(3:26) 14. Moog Indigo
(3:17) 15. I'll Be Seeing You
(3:07) 16. There, I've Said It Again
(2:47) 17. Georgia On My Mind
(4:21) 18. At The Woodchoppers Ball
(3:19) 19. The One I Love (Belongs To Somebody Else)
(3:09) 20. All My Loving
(2:33) 21. How Soon

Syd Lawrence (1923-1998), was a British bandleader from Chester, England who became famous in the UK for his orchestra's Big Band Sound which drew on the 1940's style of music of Glenn Miller and Count Basie amongst others.

Syd had been a talented trumpet player during the Second World War. He had written and arranged music and his early talent was recognised in those fields as well. He was based in Cairo during the war years, playing and arranging for the RAF service bands. After he left the forces, he played with some of the leading British dance bands of the 1940's, finally being invited to join the BBC's Northern Dance Orchestra in 1953. He stayed with this band for 16 years playing alongside fellow trumpet player Stan Hibbert.

In 1967 Syd teamed up with several of his colleagues at the Northern Dance Orchestra to play the music that he was most enthusiastic about, that of Glenn Miller. Early concerts at the Mersey Hotel in Manchester were a great success, and larger venues were found to play in as the reputation of his band grew.

Yorkshire Television gave The Syd Lawrence Orchestra a regular spot on the comedy show Sez Les. As the music became more popular, Syd and his band started touring around the UK, which they did with great success for many years. Several records were made along with radio and television appearances on variety shows.

Syd retired from touring in 1994 and died of an aneurism in 1998. Following his death, the Syd Lawrence Band continued on and still tours. The orchestra has been led by Brian Pendleton, and presently by Chris Dean
https://www.last.fm/music/The+Syd+Lawrence+Orchestra/+wiki

The Big Sound Of Syd Lawrence

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Elkie Brooks - 'Round Midnight

Styles: Vocal
Year: 1993
Time: 49:51
File: MP3 @ 320K/s
Size: 114,3 MB
Art: Front

(3:41) 1. All Night Long
(2:36) 2. What Kind Of Man Are You
(2:50) 3. Since I Fell For You
(3:04) 4. Cry Me A River
(3:20) 5. Don't Explain
(3:09) 6. Just For A Thrill
(2:58) 7. 'Round Midnight
(3:02) 8. Hard Times
(3:02) 9. Black Coffee
(3:19) 10. Travellin' Light
(3:07) 11. Drinking Again
(3:33) 12. Here's That Rainy Day
(3:26) 13. Save Your Love For Me
(2:20) 14. Don't Smoke In Bed
(2:54) 15. Crazy He Calls Me
(3:23) 16. Spring Can Really Hang You Up The Most

British pop-jazz-blues crooner Elkie Brooks (born Elaine Bookbinder) dominated U.K. radio in the late '70s with a series of hit singles that established her as "the biggest-selling female album artist in the history of the British pop charts." The Manchester native, who grew up in an extremely musical family, left school at the age of 15 to join a dance band in London. She eventually mad the jump to radio, as well as numerous appearances with legendary jazz bandleader Humphrey Lyttelton, before embarking on a career in pop music.

The early '60s saw the budding young singer releasing singles for Decca and EMI, as well as opening for everyone from Carl Perkins to the Beatles, but commercial success remained elusive. She joined the blues-rock band Dada in 1970, which would eventually find success through a name change (Vinegar Joe) and the arrival of a new vocalist, Robert Palmer. The popular group released three beloved records before disbanding in 1974, and after a brief stint with U.S. Southern rock band Wet Willie, Brooks decided to take another crack at a solo career. The resulting Rich Man's Woman, Two Days Away, Shooting Star, Live & Learn, Pearls, and Pearls II, as well as frequent sold-out tours and numerous silver, gold, and platinum recordings, would go on to cement her reputation well into the 21st century. By James Christopher Monger
https://www.allmusic.com/artist/elkie-brooks-mn0000797077#biography

'Round Midnight

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Clarence Penn - Behind the Voice

Styles: Jazz
Year: 2024
Time: 39:25
File: MP3 @ 320K/s
Size: 91,1 MB
Art: Front

(3:16) 1. Send One Your Love
(5:36) 2. Come Talk to Me
(4:09) 3. Growing Trade
(5:54) 4. Sometimes It Snows in April
(3:55) 5. Everlong
(4:59) 6. The Heart of the Matter
(3:49) 7. Why Can't It Wait Till Morning
(3:57) 8. Human Nature
(3:46) 9. You Are

Clarence Penn has been one of the most dynamic drummers in jazz since his New York City arrival 33 years ago. His work with Wynton Marsalis, Betty Carter, Diane Reeves and Michael Brecker has been extensively documented, as have his own musical explorations, including 2014's "Monk: The Lost Files." "Behind the Voice" goes a whole new direction as Penn unfurls inventive reimaginings of the works of influential drummers behind some of the greatest pop music created.

Songs by Phil Collins, Levon Helm, Stevie Wonder, Peter Gabriel & Dave Grohl receive expansive modern treatments through Penn's production along with a bevy of collaborators, including vocalists Kurt Elling, Aaron Marcellus & Toku, guitarists Adam Rogers & Gilad Hekselman, and many more. "... a celebration of their artistry, their passion, and their indelible mark on the music we cherish." "... gesture and space surging from a place of heart-felt and fluid integrity... Penn exudes such enthusiasm and love for the music-it is simply impossible not to feel uplifted." By Jazz Time https://www.amazon.com.au/Behind-Voice-Clarence-Penn/dp/B0D1CS2X5R

Behind the Voice

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Glenn Miller Orchestra Scandinavia - A String of Pearls

Styles: Jazz, Big Band
Year: 2011
Time: 61:47
File: MP3 @ 320K/s
Size: 145,3 MB
Art: Front

(3:23) 1. Moonlight Serenade
(3:12) 2. In The Mood
(3:07) 3. Perfidia
(3:01) 4. Little Brown Jug
(3:34) 5. Tuxedo Junction
(3:05) 6. Under Blue Canadien Skies
(3:12) 7. A String Of Pearls
(2:57) 8. Everybody Loves My Baby
(4:48) 9. Chattanoga Choo-Choo
(3:36) 10. American Patrol
(2:59) 11. Fifth Avenue
(4:37) 12. In A Sentimental Mood
(3:28) 13. Song Of The Volga Boatmen
(3:21) 14. Serenade In Blue
(3:04) 15. Pennsylvania 6-5000
(3:11) 16. When Johnny Comes Marching Home
(4:38) 17. At Last
(2:26) 18. Caribbean Clipper

The Glenn Miller Orchestra Scandinavia, located in Stockholm, Sweden, started to operate July 1st 2010, with permission and authorization from Glenn Miller Productions, Inc., New York, U.S.A. GMO, Scandinavia operates in Sweden, Norway, Denmark and Finland.

Early in 2010, after several years of negotiations, Glenn Miller Productions, Inc. offered Jan Slottenäs the opportunity to acquire a license of the names "Glenn Miller" and "Glenn Miller Orchestra" in Scandinavia, including Finland, from July 1st of the same year. This resulted in Jan, who was in the middle of arrangements for his own band´s 25th anniversary, immediately travelling to New York to meet with David Mackay, JR, CEO of Glenn Miller Productions, Inc. The agreement was signed on March 12, 2010.

Jan's band, under his own name (also specializing in Glenn Miller´s music) became famous for playing as close to Glenn´s original sound as possible. Jan´s intention is to maintain that line with the Glenn Miller Orchestra Scandinavia. More.......https://glennmillerorchestra.se/index.php/orchestra-portrait

A String of Pearls

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Hank Jones, Thad Jones - Phases

Styles: Piano And Trumpet Jazz
Year: 2019
File: MP3@320K/s
Time: 97:38
Size: 226,1 MB
Art: Front

(4:09)  1. Shadowland
(3:34)  2. Pretty Brown
(4:26)  3. You Are Too Beautiful
(6:35)  4. Buzz-At
(2:39) 5. Bye and Bye When the Morning Comes
(5:01)  6. Six and Four
(3:33)  7. You Don't Know What Love Is
(4:34)  8. Lonesome Road
(6:13)  9. Keepin' up with the Joneses
(6:46) 10. Nice and Nasty
(4:10) 11. There Is No Greater Love
(8:05) 12. Ray-El
(4:57) 13. Three and One
(3:16) 14. On the Alamo
(2:52) 15. Little Girl Blue
(4:50) 16. It Had to Be You
(2:29) 17. Teach Me Tonight
(6:23) 18. Lady Luck
(3:14) 19. Mack the Knife
(6:07) 20. Sput 'N' Jeff
(3:34) 21. Royal Garden Blues

The oldest of the Jones brothers, Hank Jones has been a supreme accompanist and underrated soloist. He's among the most accomplished sight readers in jazz, and his flexibility and sensitive style have kept him extremely busy cutting sessions and working in various groups and styles ranging from swing to bebop. He's worked with vocalists, played in big bands and done many solo, trio, and combo dates.

Born in 1918 in Vicksburg, Mississippi, Jones moved with his family to the Detroit area while still a child, and studied piano early, listening carefully to Art Tatum, Teddy Wilson, Earl Hines, and Fats Waller. He began playing in the midwest at age 13, and worked in territory bands. Jones met Lucky Thompson in one of these groups, and Thompson invited him to New York in 1944 to work with Hot Lips Page at the Onyx Club. Jones worked for a while with John Kirby, Howard McGhee, Coleman Hawkins, Andy Kirk, and Billy Eckstine, then began touring in 1947. He worked with Jazz at the Philharmonic, then accompanied Ella Fitzgerald from 1948 to 1953. Jones also cut many sessions for Norman Granz's labels in the late '40s and early '50s, many with Charlie Parker. He worked and recorded in the '50s with Artie Shaw, Benny Goodman, Lester Young, Milt Jackson, and Cannonball Adderley before joining CBS' staff in 1959. He worked on such programs as The Ed Sullivan Show and stayed with CBS until they disbanded the staff in 1976. He recorded several sessions with Savoy in the mid- and late '50s, playing with Donald Byrd, Herbie Mann, Wendell Marshall, and Kenny Clarke, among others. He also recorded solo and quartet dates for Epic. His quartet with Osie Johnson, Barry Galbraith, and Milt Hinton became one of New York's busiest during the early '60s, sometimes doing three dates a day. They cut albums for Capitol and ABC in 1958, though Galbraith missed the ABC sessions.

Jones continued recording at Capitol, Argo, and Impulse in the early '60s, at times working with his brother Elvin. He made a host of recordings in the '70s. There were solo dates for Trio and Galaxy, and trio sessions for Interface and Concord, among others in the '70s. There were duo dates with Flanagan for Verve and Galaxy in the late '70s. Jones served as pianist and conductor for the Broadway musical Ain't Misbehavin in the late '70s. He also played in the Great Jazz Trio, originally with Ron Carter and Tony Williams. (Buster Williams replaced Carter on the trio's first recording date.) Jones continued with the trio into the '80s, though Eddie Gomez and Al Foster later became his mates, and Jimmy Cobb replaced Foster in 1982. The trio also backed Art Farmer, Benny Golson, and Nancy Wilson. Jones was the resident pianist at the Cafe Ziegfeld in the early '80s, and toured Japan with George Duvivier and Sonny Stitt. He kept his recording blitz going into the digital era. In 1989, he was named a National Endowment for the Arts Jazz Master. In 2004, he was awarded as an ASCAP Jazz Living Legend; five years later, he received a National Medal of Arts; and in 2009, Jones earned a Lifetime Achievement award at the Grammys. One year later, he died in the Bronx while in hospice, just a few weeks after returning from performance dates in Japan. ~ Ron Wynn https://www.allmusic.com/artist/hank-jones-mn0000558339/biography

A harmonically advanced trumpeter/cornetist with a distinctive sound, as well as a talented arranger/composer, Thad Jones (the younger brother of Hank and older brother of Elvin) had a very productive career. Self-taught on trumpet, he started playing professionally with Hank Jones and Sonny Stitt when he was 16. After serving in the military (1943-1946), Jones worked in territory bands in the Midwest. During 1950-1953 he performed regularly with Billy Mitchell's quintet in Detroit and he made a few recordings with Charles Mingus (1954-1955). Jones became well-known during his long period (1954-1963) with Count Basie's Orchestra, taking a "Pop Goes the Weasel" chorus on "April in Paris," and sharing solo duties with Joe Newman. While with Basie, Jones had the opportunity to write some arrangements and he became a busy freelance writer after 1963. He joined the staff of CBS, co-led a quintet with Pepper Adams, and near the end of 1965, organized a big band with drummer Mel Lewis that from February 1966 on, played Monday nights at the Village Vanguard. 

During the next decade the orchestra (although always a part-time affair) became famous and gave Jones an outlet for his writing. He composed one standard ("A Child Is Born") along with many fine pieces including "Fingers," "Little Pixie," and "Tiptoe." Among the sidemen in the Thad Jones-Mel Lewis Orchestra (which started out as an all-star group and later on featured younger players) were trumpeters Bill Berry, Danny Stiles, Richard Williams, Marvin Stamm, Snooky Young, and Jon Faddis, trombonists Bob Brookmeyer, Jimmy Knepper, and Quentin Jackson, the reeds of Jerome Richardson, Jerry Dodgion, Eddie Daniels, Joe Farrell, Pepper Adams, and Billy Harper, pianists Hank Jones and Roland Hanna, and bassists Richard Davis and George Mraz. In 1978, Jones surprised Lewis by suddenly leaving the band and moving to Denmark, an action he never explained. He wrote for a radio orchestra and led his own group called Eclipse. In late 1984 Jones took over the leadership of the Count Basie Orchestra but within a year bad health forced him to retire. Thad Jones recorded as a leader for Debut (1954-1955), Blue Note, Period, United Artists, Roulette, Milestone, Solid State, Artists House, A&M, Metronome, and many of the Thad Jones-Mel Lewis Orchestra's best recordings have been reissued on a five-CD Mosaic box set.~ Scott Yanow https://www.allmusic.com/artist/thad-jones-mn0000133119/biography

Phases

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Elkie Brooks & Humphrey Lyttelton - Trouble in mind

Styles: Vocal And Trumpet Jazz

Year: 2003

File: MP3@320K/s

Time: 51:48

Size: 95,6 MB

Art: Front

(3:53)  1. Three Long Years

(4:51)  2. Trouble in mind

(5:57)  3. Ev'ry day I have the blues

(4:01)  4. I cried for you

(2:58)  5. If you're goin' to the city

(3:19)  6. Jelly bean blues

(3:25)  7. Yesterdays

(3:03)  8. Mister bad penny blues

(4:50)  9. Rocky mountain blues

(3:23) 10. I'm gonna lock my heart

(4:34) 11. Some other spring

(4:34) 12. Do your duty

(2:54) 13. What's your story mornin' glory

British pop-jazz-blues crooner Elkie Brooks (born Elaine Bookbinder) dominated U.K. radio in the late '70s with a series of hit singles that established her as "the biggest-selling female album artist in the history of the British pop charts." The Manchester native, who grew up in an extremely musical family, left school at the age of 15 to join a dance band in London. She eventually mad the jump to radio, as well as numerous appearances with legendary jazz bandleader Humphrey Lyttelton, before embarking on a career in pop music. The early '60s saw the budding young singer releasing singles for Decca and EMI, as well as opening for everyone from Carl Perkins to the Beatles, but commercial success remained elusive. She joined the blues-rock band Dada in 1970, which would eventually find success through a name change (Vinegar Joe) and the arrival of a new vocalist, Robert Palmer.

The popular group released three beloved records before disbanding in 1974, and after a brief stint with U.S. Southern rock band Wet Willie, Brooks decided to take another crack at a solo career. The resulting Rich Man's Woman, Two Days Away, Shooting Star, Live & Learn, Pearls, and Pearls II, as well as frequent sold-out tours and numerous silver, gold, and platinum recordings, would go on to cement her reputation well into the 21st century. By James Christopher Monger https://itunes.apple.com/us/artist/elkie-brooks/id14933100#fullText

Personnel: Elkie Brooks (vocals); Humphrey Lyttelton (trumpet, bongos); Mick Hutton (cuatro, bass guitar); Jimmy Hastings (flute, clarinet, alto saxophone); Kathleen Stobart (tenor saxophone, baritone saxophone); Pete Strange (trombone); Ted Beament (piano); Adrian Macintosh (drums).

Trouble in mind

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Rebecca Pidgeon - SONGS OF L.A.

Styles: Vocal
Year: 2024
Time: 40:09
File: MP3 @ 320K/s
Size: 92,7 MB
Art: Front

(3:38) 1. Happy Bottom Club
(2:28) 2. Everybody Learning to Fly
(3:12) 3. Valjean
(3:33) 4. Big As The Sea
(2:59) 5. Murder In My Room
(3:02) 6. Cry
(3:50) 7. The Magical Blend
(3:10) 8. 12733
(3:29) 9. Una Y Otra Vez
(3:14) 10. Eyes Wide Open
(3:32) 11. China Lake
(3:57) 12. Sex Magic

Singer/songwriter Rebecca Pidgeon will be releasing her 11th full-length album Songs of L.A. on February 23, 2024, in CD and digital formats. The album expresses Pidgeon’s longtime “fascination with filmmaking, both its beauty and its seamier exploitative side.” The song and video for “Cry” are out now.

The new songs were composed with long-time writing partner David Batteau, and they focus on figures like the pioneering female aviator Poncho Barnes, who flew stunts in Hell’s Angels and Betty Page, the 1950s pin-up girl who mysteriously disappeared at the height of her popularity.

Sonically, Songs of LA is Rock-oriented, a return to Pidgeon’s 1980s Indie Rock origins. She wrote several of these songs on autoharp, giving them a jangly sound.
https://wildfiremusic.net/2023/12/23/rebecca-pidgeon-explores-a-fascination-with-filmmaking-for-songs-of-l-a/

SONGS OF L.A.

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Fay Claassen - Close To You

Styles: Vocal Jazz
Year: 2020
Time: 48:36
File: MP3 @ 320K/s
Size: 112,6 MB
Art: Front

(4:20) 1. The Fool On The Hill
(4:20) 2. Sailing
(3:55) 3. If You Leave Me Now
(4:48) 4. Close To You
(3:28) 5. Got To Get You Into My Life
(5:13) 6. One Day I'll Fly Away
(4:42) 7. I Can't Make You Love Me
(4:34) 8. Killing Me Softly
(3:29) 9. Spinning Wheel
(5:16) 10. At Seventeen
(4:25) 11. The First Time I Saw Your Face

To Dutch and German Jazz aficionados Fay Claassen needs no introduction. Born in Nijmegen Fay is without doubt one of the Netherlands best know jazz vocalists and recipient of multiple Edison awards (known as the Dutch Grammys) as well as the prestigious German “Preis der Deutschen Schallplattenkritik”, a “Golden Record Award” and the “Chet Baker Award”.

Fay has always been known for her wide repertoire choice and and her ability to fearlessly go where most would not dare. This recording titled “Close to you” is Fays latest release and once again is confirmation of this. “Close to You” was released earlier in 2020 follows her 2018 release “Dutch Songbook”, recorded with the WDR Big Band, that also reached into a treasure trove of material rarely touched by jazz artists.

“Close to You” (Wedgeview Music) features eleven spectacular arrangements of well known pop gems, largely from the late 1960’s and early 1970’s, including among others compositions by Lennon & McCartney classic “The Fool on the Hill”, Blood, Sweat & Tears “Spinning Wheel” and of course the title track, Burt Bacharach and Hal David’s “Close to You”. Recorded at Wedge View Studios in the Netherlands the album features a large line-up of musicians including standard rhythm section comprising of Roeland Jacobs (Piano), Frans van Geest (Bass), Marcel Serierse (Drums) and Daniel de Moraes (Guitar). Strings, Woodwinds were conducted by Alexandrea Arrieche and most tracks feature guest performances from Hermine Durloo, Benjamin Herman, Antonio Serrano, Lo van Gorp, Teus Nobel, Peter Tiehuis and Karel Boehlee.

The album features spectacular arrangements by Roeland Jacobs that elevate these classic songs to a new level while at the same time paying full respect to the original. The musical performances throughout the album are excellent yet, in my opinion, it is Claassen’s vocal performances on this album that make this set a true winner.

Opening with Lennon & McCartney’s “The Fool on the Hill” the scene is set. Couched in an easy Bossa Nova feel with the occasional odd meter bar this track immediately grabs your attention and leaving the listener wanting more. Christopher Cross’s 1980 hit “Sailing” follows and while the arrangement does not diverge a great deal from the original it presents one of the finest vocal performances on the album. In particular I liked the treatment given to Bonnie Raitt’s “I can’t Make You Love Me”. This track is the most contemporary of the repertoire presented on the album and Jacobs arrangement underscores this. I particularly enjoyed the opening straight eighth string motif with Peter Tiehuis’ introduction to the melody, a great way to open without giving away the farm!

“At Seventeen”, originally made famous by Janis Ian, is in my opinion one of the many highlights on this album. The combination of Fay’s vocal reading of the piece together with the Latin flavored arrangement and the contribution by Spanish Harmonica player Antonio Serrano converge to take this folk classic to a whole new level.

The album closes with, what in my mind is the true highlight of the album, “The First Time I saw your Face”. This song, originally written by Ewan MacColl for folk singer Peggy Seeger and of course best known for the 1972 release by Roberta Flack, has been one of my favorite songs for many years. Claassen’s performance on this album defies superlatives’, pure story telling at it’s best.

I would have to admit, based purely on the track list, this would not be an album that would normally end up on my playlist. Yet, after listening, once again I was reminded never to judge an album from preconceived notions. This album exudes class from the first note to the last. As stated above, the arrangements are spectacular as are the performances. The sonic quality of the recording is direct and balanced beautifully giving great clarity to the often complex layering.

What I particularly enjoyed with this album is its pure honesty, there are no science projects here, just great material beautifully arranged and featuring world class vocal performances. I can’t recommend this album highly enough.https://jazzineurope.mfmmedia.nl/2020/12/cd-review-fay-claassen-close-to-you/

Close To You

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Bunky Green - Healing The Pain

Bitrate: MP3@320K/s
Time: 65:00
Size: 148.8 MB
Styles: Post bop, Saxophone jazz
Year: 1990
Art: Front

[7:29] 1. The Thrill Is Gone
[6:40] 2. A Raisin In The Sun Walter's Theme
[7:12] 3. Who Can I Turn To
[6:02] 4. Broadway Melody Of 1940 I Concentrate On You
[4:40] 5. A Raisin In The Sun Love Theme
[5:49] 6. You've Changed
[4:55] 7. Wild Green
[3:38] 8. A Raisin In The Sun Radio Theme
[5:29] 9. Everything I Have Is Yours
[3:46] 10. Seashells
[7:21] 11. Goodbye
[1:53] 12. A Raisin In The Sun Love Them (Reprise)

In listening to Bunky Green, one can hear where Greg Osby, Steve Coleman, and Gary Thomas came from. Green sails in and out of the chord changes and makes most of his solos into a do-or-die situation full of emotional intensity, especially when he plays alto. On this diverse CD (which finds him also performing a bit on soprano), Green shows that he is not afraid to occasionally caress a melody (as on a slow "Everything I Have Is Yours") and frequently emphasizes unexpected notes, particularly during a fascinating version of "I Concentrate on You." Joined by a fine rhythm section consisting of pianist Billy Childs, bassist Art Davis, and drummer Ralph Penland, Green is in top form on what may very well be his definitive recording. Highly recommended. ~Scott Yanow

Healing The Pain

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Frances Faye - Frances Faye Swings Fats Domino

Bitrate: MP3@320K/s
Time: 26:51
Size: 61.5 MB
Styles: Jazz-blues-R&B
Year: 1958/2013
Art: Front

[2:17] 1. My Blue Heaven
[1:59] 2. I'm In Love Again
[2:49] 3. Blueberry Hill
[1:55] 4. Wait And See
[2:32] 5. Ain't That A Shame
[2:29] 6. Blue Monday
[1:56] 7. I'm Walkin'
[2:16] 8. Goin' Home
[1:47] 9. Bo Weevil
[2:00] 10. It's You I Love
[2:23] 11. When My Dreamboat Comes Home
[2:24] 12. Poor Me

Fans of female vocalists of the '50s inevitably bemoan the lack of respect given to one of the true greats. Frances Faye, like Peggy Lee, was a dishy, somewhat off-kilter blonde who could scribble out a mean tune when the mood hit her. She was actually a recording presence in the decades prior, writing and co-writing songs that were recorded by herself and other artists such as the Andrews Sisters all through the late '30s and '40s. Faye started her professional career at 16, filling in for a local pianist on an amateur show when some misfortune befell him. She made her first stage appearance in Brooklyn two years later, and spent the next few years on the vaudeville and nightclub circuit, as an accompanist for singers. When one of these singers was canned by a nightclub owner right before the downbeat, Faye took over. An extensive career as a nightclub performer followed and, by 1934, her schedule had her working 11 months a year, much of that out on the road. In 1936, she had her first hit record, the thoughtful "No Regrets," in 1936. "Well, All Right" primed the jukeboxes across the nation after the Andrews Sisters cut the song. The following year, Faye co-starred in the Bing Crosby and Martha Raye vehicle Double or Nothing; Faye played the sister of Raye, and they perform a nightclub act together. A musical highlight is the performance of "After You," with both gals plus Crosby. As a singer, Faye was considered to be on the level of a Dinah Washington, in terms of power and not at all of the cutesy-cutesy female pop singer variety. When she played her own keyboard accompaniment, club owners sometimes complained that she had pounded the piano so hard that all that remained of parts were sawdust. Faye could do the type of romantic material that more commercial performers such as the bubbly Doris Day were known for, but also included obscure songwriting gems in her repertoire as well as funky, naughty rhythm & blues numbers. Faye continued to compose throughout her career, including the songs "Purple Wine," "You're Heavenly," "Frances and Her Friends," and "A Good Idea." As if more intent on pleasing music critics than the general audience and bless her heart for it she left the big-time Capitol contract and began cutting sides for the jazz-oriented Bethlehem company. As expected, quality improved, as well as range. Yet her career seemed to suffer due to lack of more general exposure. While other vocalists had done TV, Faye had not. Her film career was not much better, consisting of only two small bits. Perhaps she was not glamorous enough for the '50s mass media or Hollywood crowd; "I'm not pretty but I'm neat. Meticulous. You could eat off me," was how the singer herself described her appearance. Even more likely, the industry was not so receptive to performers who were so open about their alternative sexuality. Faye was not only an influence on the sassy-and-saucy nightclub performers such as Lena Horne, Eartha Kitt, and Bette Midler, but was also one of the very first openly gay female performers, dropping the rhyming couplet "Faye, Faye, gay, gay/is there any other way?" into her on-stage patter just in case anyone didn't get the idea. She made her last major recordings in 1964, but continued club gigs all the way into the '80s. Well into the 1970s, she was still headlining in New York, Los Angeles, Las Vegas, Chicago, Miami, as well as England and Australia. In 1977, Frances Faye played a wise-cracking madam in the French film director Louis Malle's controversial film Pretty Baby, which, in the words, of Faye, "opens with me in bed smoking an opium pipe with a wig half off my head." After a series of strokes, perhaps brought on by so much excitement, she died in the early '90s. It was only near the end of that decade that any of her previously out of print material began to see the light of day in reissue form. Bethlehem led the charge with Frances Faye Sings Folk Songs, which manages to be simultaneously marvelous and a completely misleading example of her style. Fans surely sang their own chorus of "Well, All Right" when the artist's two volumes of live recordings were repackaged on a single CD, entitled Frances Faye: Caught in the Act. Her career was one of the subjects of the interesting documentary film Chop Suey, directed by Bruce Weber.~ bio by Eugene Chadbourne

Frances Faye Swings Fats Domino

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Pat Metheny - MoonDial

Styles: Guitar Jazz
Year: 2024
Time: 58:10
File: MP3 @ 320K/s
Size: 138,0 MB
Art: Front

(6:23) 1. MoonDial
(4:48) 2. La Crosse
(2:38) 3. You're Everything
(4:23) 4. Here, There and Everywhere
(2:58) 5. We Can't See It, But It's There
(7:13) 6. Falcon Love
(7:12) 7. Everything Happens To Me / Somewhere
(5:03) 8. Londonderry Air
(5:28) 9. This Belongs To You
(3:14) 10. Shoga.mp3
(3:50) 11. My Love And I
(6:56) 12. Angel Eyes
(1:13) 13. MoonDial (epilogue)

With the release of Dream Box in the spring of 2023, I took off on a long solo tour around the world, sitting alone onstage for two and a half hours for the very first time. I had played a few tunes here and there by myself each night for years but had never built a presentation that focused solely on solo guitar playing for such an extended run of concerts.

This was a tour that represented not just the sound and conception of the Dream Box release but also was an opportunity for me to look at some of the other ways I have released records in a solo setting across the years.

Along with music from Dream Box, the concerts gave me a chance to revisit and extend the concepts represented on projects like New Chautauqua, Zero Tolerance for Silence, One Quiet Night, What's It All About, even a bit of Orchestrion and more, all in one setting. Each one of those solo recordings, like Dream Box, is distinct in some way and unlike the others.

The idea is to try to keep coming up with different angles and ways of thinking about music while hopefully keeping a fundamental aesthetic at work in all of it. In other words, to continue the research. Just before the tour started, I made a discovery.

Some years back, I had asked Linda Manzer, one of the best luthiers on the planet and one of my major collaborators, to build me yet another acoustic Baritone guitar, but this time one with nylon strings as opposed to the steel string version that I had used on the records One Quiet Night and What's It All About.

My deep dive into the world of Baritone guitar began when I remembered that as a kid in Missouri, a neighbor had shown me a unique way of stringing where the middle two strings are tuned up an octave while the general tuning of the Baritone instrument remains down a 4th or a 5th. This opened up a dimension of harmony that had been previously unavailable to me on any conventional guitar.

There were never really issues with Linda's guitar itself, but finding nylon strings that could manage that tuning without a) breaking or b) sounding like a banjo was difficult.

Just before we hit the road, I ran across a company in Argentina (Magma) that specialized in making a new kind of nylon string with a tension that allowed precisely the sound I needed to make Linda's Baritone guitar viable in my special tuning.

It has happened to me a few times along the way where an instrument has instantly peeled open up a whole new range of possibilities. The initial moments spent with the Roland guitar synth of the late 70s/early 80s come to mind as another example.

Literally, minutes after finally finding nylon strings that could handle this tuning and placing them on the Manzer guitar, I again experienced one of those revelatory flashes. There was suddenly a whole new palette of sound under my fingers, just like that. This all occurred just three days before the tour was set to begin. But there was no doubt that this was something that I could jump right into on the bandstand.

Across the first 50+ concerts of the tour, I gradually introduced this new instrument. At first, it was just one tune. Then two. By the time the tour's first leg ended, Linda's nylon-string Baritone guitar could be twenty or twenty-five minutes of the concert. It is a beautiful, rich, almost infinite feeling new world for me.

As soon as that first part of the tour went to break, I headed into the studio. I wanted to capture the magic of this new sound as quickly as possible and build on the immediate experiences that emerged from playing it every night for several months while it was all still fresh. The result of this journey is this recording; MoonDial.

While it fits exactly in line as a followup to One Quiet Night and What's It All About in that it is a purely solo guitar record - just me, the guitar, and a mic - but with the particular sound of nylon strings, it offers a very different kind of feeling.

These recordings took place across a few winter nights during that first brief hiatus in the Dream Box tour at the end of 2023.

The challenge was to whittle down the dozens of tunes I had found myself drawn to during the many overtime soundchecks and dressing room practice sessions spent with this new axe while on the road with it. I couldn't put the thing down.

Finally, I settled on a repertoire. Featured here are some new originals written just for this instrument, a couple of older tunes of mine revisited, a treasured Chick Corea piece dedicated here to my longtime friend, all mixed together with a few of my favorite songs by other composers from across the eras.

The feeling of this record follows the instrument's nature. The central vibe here is one of resonant contemplation. This guitar allows me to go deep. Deep to a place that I maybe have never quite gotten to before. This is a dusk-to-sunrise record, hard-core mellow.

I have often found myself as a listener searching for music to fill those hours, and honestly, I find it challenging to find the kinds of things I like to hear. As much "mellow" music as there is out there, a lot of it just doesn't do the thing for me.

This record might offer something to the insomniacs and all-night folks looking for the same sounds, harmonies, spirits, and melodies that I was in pursuit of during the late nights and early mornings that this music was recorded.

There were a lot of clear nights during that December, and in my imagination, it seemed like the moon was checking out what I was searching for up on the upstate NY mountain where I was recording.

This music is a reflection of those solitary winter hours for me. But mostly, it represents a new sonic and harmonic realm that I hope everyone will enjoy hearing as much as I have enjoyed getting to know it.https://patmetheny.com/current-release/

MoonDial

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Syd Lawrence - Syd Lawrence with the Glenn Miller Sound

Styles: Jazz, Big Band
Year: 1969
Time: 36:27
File: MP3 @ 320K/s
Size: 83,5 MB
Art: Front

(3:25) 1. Chattanooga Choo Choo
(4:01) 2. St. Louis Blues
(4:01) 3. Perfidia
(3:23) 4. American Patrol
(3:24) 5. In the Mood
(2:52) 6. Pennsylvania 6-5000
(4:07) 7. Tuxedo Junction
(3:18) 8. Adios
(4:28) 9. At Last
(3:22) 10. String of Pearls

Born in Wilmslow, Cheshire, England, in 1923, Lawrence was a talented trumpet player during World War II. He wrote and arranged music. He was based in Cairo during the war years, playing and arranging for the RAF service bands. After he left the armed forces, he played with some of the leading British dance bands of the 1940s, finally being invited to join the BBC Northern Dance Orchestra in 1953. He stayed with this band for sixteen years playing alongside fellow trumpet player Stan Hibbert.

In 1967, Lawrence teamed up with several of his colleagues at the Northern Dance Orchestra to play the music that he was most enthusiastic about, that of Glenn Miller. Early concerts at the Mersey Hotel in Manchester were a success, and larger venues were found to play in as the reputation of his band grew.

Respected comedian Les Dawson discovered the Syd Lawrence Orchestra playing in a bar. He liked them so much, that he wanted them to play backing music for his show Sez Les. He begged Yorkshire Television to give them a chance and they did. And so the Syd Lawrence Orchestra was given their first real break on TV and a regular spot on the comedy show. As the music became more popular, Lawrence and his band started touring around the UK, which they did with great success for many years.

In 1969 he signed with Philips Records and the band's first release was on the low-price Contour label (catalogue no. 6870 550), selling at 10/6d. Titled "Syd Lawrence with the Glenn Miller Sound", and credited to The Syd Lawrence Orchestra, it was recorded at Strawberry Studios on 23 and 25 September 1969. It had ten tracks, all being songs or tunes previously recorded by Miller between 1939 and 1942; some being slightly extended or rearranged. The Orchestra went on to record about fifteen long playing albums, usually at the Strawberry Recording Studios in Manchester along with radio and television appearances on variety shows. He appeared with his band on 3-2-1 and also occasionally was a vocalist.

Lawrence retired from touring in 1994 and died of an aneurysm in 1998. Following his death, the Syd Lawrence Band continued on and still tours. The orchestra was led by Bryan Pendleton, and is currently led by Chris Dean. In 2011 it was voted the Best Big Band in the Land for the 11th consecutive year.https://en.wikipedia.org/wiki/Syd_Lawrence

Syd Lawrence with the Glenn Miller Sound

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Al Grey - Grey's Mood

Bitrate: 320K/s
Time: 54:30
Size: 124.8 MB
Styles: Bop, Trombone jazz
Year: 2008
Art: Front

[5:05] 1. Face It Here It Is
[5:06] 2. Night Train
[3:14] 3. Catch up with that (Take 2)
[3:29] 4. Solitude
[6:21] 5. Grey's Mood
[2:56] 6. Drums On Chris
[7:04] 7. Bedroom Eyes
[6:33] 8. Something For Grey
[2:23] 9. Shufflin' In Orange's Arenes
[8:50] 10. Mellow For Love
[3:24] 11. Catch up with that (Take 1)

This excellent set (last available as a Classic Jazz LP) features Al Grey on two sessions in peak form. The trombonist is the lead voice in an octet for four numbers that also feature tenorman Hal Singer, and he joins forces with tenor saxophonist Jimmy Forrest (they were both in Count Basie's band at the time) in a quintet also including pianist Tommy Flanagan for three other tunes. Grey wrote six of the seven numbers, all but one of which are blues. Grey and Forrest would soon leave Basie and team up on a regular basis until the tenor's death. Accessible and swinging music.By Scott Yanow

Grey's Mood

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Jane Duboc/Gilson Peranzzetta - The Smiling Hour

Styles: Vocal
Year: 2024
Time: 43:47
File: MP3 @ 320K/s
Size: 101,0 MB
Art: Front

(3:41) 1. The Smiling Hour
(4:57) 2. No Tomorrow
(3:11) 3. Iluminados
(6:11) 4. Love Dance
(3:22) 5. The Island
(3:56) 6. Velas Içadas
(4:34) 7. Remember Me
(4:15) 8. Vieste
(6:20) 9. September
(3:17) 10. Aos Nossos Filhos

Jane Duboc is an experienced singer and composer. Having worked with names such as Toninho Horta, Djavan and Sivuca, she has appeared on more than 100 albums. Milton Nascimento and Toninho Horta composed several themes especially for her, and is an awarded professional. Since her childhood, she studied classical piano and acoustic guitar at the conservatory. At this time, she led several vocal and instrumental groups which were presented in school festivals, with good TV coverage.

At 17, having received a scholarship to study piano, violão, voice and flute at the Music College of Georgia University, in Columbus, GA, she lived there for six years, having married musician Gay Vaquer, with whom she had his son Jay Vaquer. During that time, she formed the Fane Jazz Band, which she led, playing violão, guitar and singing. She also gave Music History classes in the university. In 1971, she interpreted "No ano 83" (Sérgio Sampaio) in Rede Globo's VI FIC (International Song Festival).

In 1977, she returned to Brazil, forming English-singing Group Fein. Her song "Pollution" attracted the interest of late poet/singer/composer Raul Seixas, who was committed to social criticism. He decided to record it as a single, but censorship vetoed the lyrics as "subversive", so she had to scat-sing it. That opened to her the opportunity of participating in Raul's own records. Then she joined arranger/producer/conductor Erlon Chaves' Banda Veneno, having recorded two albums with them. She also was a member of Rede Globo' choral, which had several engagements in the vignettes and soundtracks of that major TV outing, also participating in an Chico Anísio' album. With Gay Vaquer she recorded an album for RCA, Mourning the musicians, with the participation of important musicians such as Luiz Eça, Paulo Moura and Noveli.

Soon she would be touring with Egberto Gismonti with his shows "Água e vinho I e II," and appearing in Egberto's album "Tree" as backing vocalist and percussionist. Wrote and recorded the soundtrack for movie Janaína (with Marlene França) and for the play "Encontro no bar," with Camila Amado and Otávio Augusto. Recorded the albums Acalantos Brasileiros and Música popular do Norte, for label Marcus Pereira. The latter was recorded live during shows which carried the same name, with the participation of Elis Regina and Nara Leão. With Guto Graça Melo she composed and recorded the soundtrack for the movie Amor bandido, by Bruno Barreto. In 1978 she joined the Rio Jazz Orchestra, led by saxophonist/surgeon Marcos Szpillman, singing jazz and standard themes.

Appeared in the albums of the Motokas, Skates, Claudinha Telles and Roupa Nova, at the time "The Fanks." Recorded her first Lp in 1980, Languidez (Aycha), in which worked Hélio Delmiro, Luís Avelar, Osvaldo Montenegro, Toninho Horta, Djavan and Sivuca. Was awarded as the best interpreter of the Rede Globo' MPB Shell - National Song Festival, with song "Saudade." This brought to her a contract with label Som Livre, for which recorded the single "Cheiro de Amor," a hit soon recorded again by Maria Betânia. She also worked in that label with the vocal group Cantamor, and recorded two more albums there. In 1982, she recorded her solo album Jane Duboc (Som da Gente), and was awarded as the best interpreter of the I Festival da Mulher (I Woman's Festival) in São Paulo, SP. In the same year she had a good rating in the MPB Shell Festival with song "Tentação" (Tunai/Sérgio Natureza). In 1983 she recorded "A valsa dos clowns" (Edu Lobo/Chico Buarque) for the album O grande circo místico (Som Livre). In 1985 issued LP Ponto de partida (RCA), with special guest Toquinho. With Toquinho she would also tour Brazil and Italy with his show Doce vida, praised by many including Elis Regina, and would record the soundtrack album in Milan. In 1986 she sang for more than 30.000 people, at the anniversary of Belo Horizonte MG. Her 1987 album Minas em mim (Continental) had the songs composed especially for her by Milton Nascimento, Toninho Horta and Tavito, among other names. Also, it was arranged by great musicians César Camargo Mariano, Chiquinho de Morais and Cido Bianchi.

This year is a milestone in her career, as she bent towards more sentimental interpretations and compositions, aiming the major audience. Her single "Chama da paixão" was a big hit reaching the Top Five. "Sonhos" was another hit. Her songs were included in the highly popular Brazilian soap-operas, a deed repeated by her delivery of "Besame" (Flávio Venturini/Murilo Antunes). She would record also the albums Feliz (1988), Brasiliano (1991, Globo Records), Jane Duboc (1993), and Partituras (1995). Was awarded with the Prêmio Sharp de Música, as the best singer of 1992. In March, 1996, together with saxophonist/conductor Roberto Sion, inaugurated a major convention center in Japan, recording there the CD From Brazil to Japan, then touring all Japan. With renowned violonista Sebastião Tapajós she recorded in 1997 the album Da minha terra, a tribute to Pará's composers. She also wrote the books Entre paredes (poems) and child musicals Jeguelhinho and Bia e Buze. By Alvaro Neder

One of the most requested contemporary arrangers and pianists of MPB, Gilson Peranzzetta has had classical training since he was a child, also being heavily influenced by jazz and Brazilian instrumental music. As a composer, he has had his songs recorded by Djavan, Edu Lobo, Leny Andrade, Sarah Vaughan, George Benson, Dianne Schurr, Quincy Jones, Toots Thielemans, Shirley Horn, and other artists. He has been touring extensively through the U.S., Europe, and Japan. His classical compositions include the suites "Miragem" (for piano and orchestra) and "Metamorfose" (for piano and string quartet). In the '60s, Peranzzetta was a member of the group Samba Jazz, also playing with Taiguara. He toured Europe with the group Central do Brasil, and became Ivan Lins' arranger and pianist for several years. His longtime affinity for guitarist Sebastião Tapajós yielded the most interesting album in duo with him, Afinidades. By Alvaro Neder
https://www.amazon.com/Smiling-Hour-Gilson-Peranzzetta/dp/B0D6WCBJGX

The Smiling Hour

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Glenn Zottola/Angela DeNiro - Rare Elegance

Styles: Jazz
Year: 2024
Time: 29:12
File: MP3 @ 320K/s
Size: 67,5 MB
Art: Front

(3:31) 1. It Might As Well Be Spring
(4:49) 2. Autumn In New York
(3:45) 3. Don't Go To Strangers
(5:11) 4. It Never Entered My Mind
(3:05) 5. Baubles, Bangles and Beads
(5:00) 6. What Are You Doing The Rest of Your Life
(3:48) 7. My One And Only Love

Born Glenn Paul Zottola, 28 April 1947, Port Chester, New York, USA. Zottola first played trumpet at the age of three, his early start explained by the fact that his father not only played trumpet but was also a manufacturer of trumpet mouthpieces (his brother, Bob Zottola, played with the bands of Charlie Barnet, Maynard Ferguson and Billy May). At the age of nine Glenn was playing in public, and within three years was performing regularly on television and had made an appearance at the Atlantic City Jazz Festival. In the early 60s he played a leading role in a documentary film, Come Back. In 1967 he joined the Glenn Miller Orchestra, then under the direction of Buddy De Franco. In 1970, Zottola was briefly with Lionel Hampton and then began a fruitful decade that saw him backing a wide range of artists, including Bob Hope, Al Martino, Patti Page, Tony Martin, Robert Merrill and Mel Tormé. Towards the end of the 70s Zottola played lead trumpet in the orchestra accompanying the touring version of Chicago. In 1979 he joined Tex Beneke and that same year became a member of the Benny Goodman Sextet for a national tour.

Zottola began the 80s in fine style, playing, singing and acting in Swing, a musical presented at the Kennedy Center in Washington, DC, before playing in the pit bands of several Broadway shows including Evita, Annie and Barnum, and also for the Stratford, Connecticut revival of Anything Goes, which starred Ginger Rogers. In the early 80s he joined Bob Wilber’s Bechet Legacy band, playing on record sessions and international tours. Zottola has also recorded with Butch Miles, George Masso, Keith Ingham and Maxine Sullivan. In the mid-80s, in addition to his regular appearances with Wilber, Zottola led his own big band at the Rainbow Room in New York City and then joined forces with Bobby Rosengarden to co-lead a big band at the Hyatt Regency Hotel in Greenwich, Connecticut. He toured overseas, playing jazz festivals in Ireland, Holland and Finland, while his US festival appearances have included St. Louis, Sacramento and the Kool Jazz Festival in New York. In 1988 he was featured soloist in Wilber’s recreation of Benny Goodman’s 1938 Carnegie Hall concert. In 1990 Zottola was headlining at the Clearwater Jazz Festival in Florida and late in 1991 toured the UK and Europe with a band led by Peanuts Hucko.

Unusually among brass players, Zottola is also an accomplished saxophonist, playing alto with flair. Although rooted in the mainstream of jazz and with a marked kinship for the swing era, his playing shows flashes of a deep awareness of bop and post-bop developments in the music. The exceptional talent he displayed as a child has not been dissipated but has been nurtured into an impressive all-round ability.https://www.allmusic.com/artist/glenn-zottola-mn0002154652

Rare Elegance

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Oliver Jones, Hank Jones - Pleased To Meet You

Styles: Piano Jazz
Year: 2009
Time: 52:57
File: MP3 @ 320K/s
Size: 124,3 MB
Art: Front

(6:29) 1. What Am I Here For?
(5:18) 2. Groove Merchant
(4:19) 3. Ripples
(4:44) 4. Makin' Whoopee
(5:19) 5. I'll Remember April
(6:09) 6. Star Eyes
(4:55) 7. Blues For Big Scotia
(4:38) 8. Cakewalk
(2:32) 9. Monk's Mood
(6:41) 10. I Remember OP
(1:48) 11. Lonely Woman

What a surprise to hear the first-ever recording that joins piano maestros Hank Jones and Oliver Jones.

A Detroit native, ninety-year-old Hank Jones is from the family that gave us Thad Jones and polyrhythmist Elvin Jones, and he has participated in historic bebop sessions with Charlie Parker and memorable duets with Tommy Flanagan. Montreal's Oliver Jones, who once followed in the footsteps of Oscar Peterson, has emerged to forge a virtuosic path as a Canadian music icon not unlike his erstwhile predecessor.

But their performances shine even brighter than the rare nature of this recording. Both men have the virtuosity to turn even an innocuous repertoire into something special, and thankfully don't have to here; Pleased to Meet You gives them something to work with.

Significantly, the label has chosen not to identify the order of their solos on ensemble pieces and duets. Yet it isn't hard to tell the two men apart. Hank Jones has the touch of an alchemist: notes are never ebony and ivory once he touches them lightly. They become burnished purveyors of dynamic sound, full of tonal color and timbral elegance. He holds an ever-burning torch for the stride geniuses of the past, such as Willie "The Lion" Smith, stepping on flatted fifths every once in a while (on "Ripples," for instance). On "Monk's Mood" and "Lonely Woman," both of which he plays alone, American music history flows through, and swirls around him. He is fleet-fingered, playing solos with rapid-fire double helix runs. Sometimes he turns them into inverted commas, pausing before quoting the melodies inside out.

Hank is generous with Oliver, allowing the younger man space to run riot with his florid, almost Byzantine whorls. Once it was well nigh impossible to tell Oliver Jones and Oscar Peterson apart, but the younger pianist has become his own man. He shows occasionally that he has heard Peterson and Ravel and Debussy as well. But he quotes only from his own vast store of intelligent and melodious phrases and metaphors. He constructs his solos like towering architectural wonders with grace and legato splendor. And he is tender as the night as he eulogizes his dear friend on "I Remember OP."

These two giants are joined on bass and drums by young pretenders to their respective thrones: Brandi Disterheft is a princess of the bass violin. She plays with great sensitivity and solos with confident majesty on all her tracks. Jim Doxas, Oliver Jones' drummer, shows himself to be a sublime melodist when he deftly brushes brass and skins on "What Am I Here For."

This is truly rare record a moving document in modern music that recalls the majesty of yesterday and the promise of tomorrow.By Raul d'Gama Rose
https://www.allaboutjazz.com/pleased-to-meet-you-hank-jones-justin-time-records-review-by-raul-dgama-rose

Personnel: Piano – Hank Jones, Oliver Jones (5); Bass – Brandi Disterheft; Drums – Jim Doxas

Pleased To Meet You

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Flora Purim - Open Your Eyes You Can Fly

Styles: Latin Jazz, Vocal
Year: 1976
File: MP3@320K/s
Time: 37:21
Size: 85,7 MB
Art: Front + Back

(4:29)  1. Open Your Eyes You Can Fly
(5:09)  2. Time's Lie
(4:44)  3. Sometime Ago
(4:08)  4. San Francisco River
(6:11)  5. Andei (I Walked)
(4:19)  6. Ina's Song (Trip to Bahia) / Transition
(2:29)  7. Conversation
(5:49)  8. Medley: White Wing (aka Asa Branca)

As an original member of Chick Corea's group Return to Forever, Purim subsequently drew praise as a solo act. Recording for the jazz label Milestone since 1973, Purim's sensual and strong voice was singular enough to withstand the pitfalls that hampered the work of many Latin jazz fusion artists. Open Your Eyes You Can Fly represents a commercial breakthrough, and has the artist again supplemented by adventurous players and top-notch songwriting. The best of the three Chick Corea tracks is the title song. With it's emotive and stinging guitar solo from David Amaro, it features Purim at her most accessible and charming. 

The remake of "Sometime Ago" has one of Corea's more accessible melodies, as Purim turns in one of her more sweet and fulfilling vocals. The melodic and soothing "San Francisco River" has the artist writing solely with frequent Corea collaborator Neville Potter on the evocative track. Despite the great work here, Open Your Eyes You Can Fly, lacks consistency. But with the great talents assembled and great voice, it's easy to overlook that fact. Hermeto Pascoal's "Andei (I Walked)" has a great synthesizer solo from George Duke and a flute solo from Pascoal. "Ina's Song (Trip to Bahia)" features Purim singing in Portuguese, starting off slow but then enlivened by her passion filled vocalizations. Produced by jazz producer Orrin Keepnews, this features the artist more lucid and joyful than some of her other work. For the reason it is recommended. ~ Jason Elias  http://www.allmusic.com/album/open-your-eyes-you-can-fly-mw0000263439

Personnel: Flora Purim (vocals); Hermeto Pascoal (flute, electric piano, harpsichord, percussion, background vocals); George Duke (electric piano, Arp & Moog synthesizers, background vocals); David Amaro (acoustic, electric & 12-string guitars); Egberto Gismonti (acoustic guitar); Alphonso Johnson (acoustic & electric basses); Ron Carter (acoustic bass).

Open Your Eyes You Can Fly

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Three Decades - Jazz Harmony

Styles: Jazz
Year: 2024
Time: 40:00
File: MP3 @ 320K/s
Size: 92,6 MB
Art: Front

(3:13) 1. Click Clack
(4:40) 2. Cry Me a River
(3:09) 3. All Of Me
(5:51) 4. My Funny Valentine
(3:35) 5. Cheek To Cheek
(4:42) 6. Summertime
(2:26) 7. Orange Colored Sky
(3:50) 8. No More
(4:28) 9. Harlem Nocturne
(4:02) 10. So We Dance

Erkki from Alba-Recods had put a couple of discs in the envelope for the signatory. Thanks for them. Albahan is primarily known as a wooden law on classical music, but occasionally makes jazz exceptions. The discs now sent differ in style and content and performers quite different. That's why I first focus on female trio Jazz Harmony's product. According to the record, the Jazz Harmony album of the Three Decades Jazz Harmony includes wonderful evergreen jazz standards and its own production. Presented in the guaranteed Three Decades style.

The whole is mainly shaped by old familiar nostalgic jazz standards. Great table setting. I have been involved in dozens of international jazz singers competitions in Finland and in the Baltic countries. As a competition organizer, jury and media representative. And it has always been difficult. Tasks, etc., in live performances against each other. So also on this album. Occasionally, the song harmony of this album is very sweet, American, but not always in the best balances (?). Now, the arrangements are partly lacking in the soul's soul and the state of being fond of well -being. The vocals of the members of the trio are in themselves very good Finnish class. The piano contact of Gilda Nevala's accompaniment is somehow too fascinating, and the quick penetration of the clavies is too many.

On the other hand, the accompaniment of "nude" gave the Estrad singer space. I believe that as a live presentation, the whole is even better. As the only cheerful company for a different break, a couple of tracks have been tried as Armstrong-Hands, which turned into a tasty feminine scratching. A few arrangements also did not please the signatory. I undoubtedly came to mind Finnishness and stream of stream ... Unfortunately, for example, Summertime represented that direction. With the Lady Summertime Jazz Singer Contest, hundreds of spirits are fitted. Slowly and rhythmic. However, now Spark's wandering tenor blasting gave the atmosphere.

But despite all the partial negative things I mentioned above, it is really great that there are such female jazzers to the album in Finland. Because it's a bit older ladies, their experience and routine get (give) many things forgiven. So, so, a nice snack for the songs of the first half of the last century and a nostalgic blasting for the jazz singer at that time, such as Andrew Sisters and homely siblings, Harmony Sisters. On this album, I would have expected Lady to have an even stronger grip on the song. And an intensive more damping feeling.Translate By Google
https://www.jazzrytmit.fi/s8-levyarvostelut/c29-levyarvostelut/three-decades-jazz-harmony

But it's good for me. Great "girls". My listening recommendation on this disc and possible live enjoyment. (Or) Gilda Nevala (vocals, piano), Spark [= Salla Niemi] (vocals, tenor saxophone, altar saxophone, washboard, bass), Esther (vocals, Laundry, Ukulele) Little Grand Trio; Lotta Laaksonen Violin, Anne Korhonen Viola, Maija Juuti Cello Recording, Mixing & Free Mastering Gilda Nevala, Juha Järvinen / Beatlake Oy Pre-Recording Masi Created #3 Mastering Lauri Heikkilä / Astral Studio

Jazz Harmony

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Shana Tucker - Hiding in the Light

Styles: Vocal
Year: 2024
Time: 37:52
File: MP3 @ 320K/s
Size: 87,4 MB
Art: Front

(5:04) 1. My Favorite Things
(4:58) 2. Time After Time
(3:59) 3. Hiding in the Light
(4:37) 4. Overjoyed
(3:28) 5. How We Love
(5:18) 6. Fast Car
(5:46) 7. The First Time Ever I Saw Your Face
(4:39) 8. Kiss of Life

In the ever-evolving landscape of music, certain artists emerge like beacons of innovation, reshaping genres and leaving an indelible mark on listeners. With a career marked by creativity, artistry and clever storytelling, renowned singer-songwriter and cellist SHANA TUCKER captivates audiences with her innovative blend of music known as ChamberSoul.

And on June 4, 2024, she released her highly anticipated latest album, Hiding in the Light.

Shana’s second full-length project is a collection of songs influenced by requests of her devoted audiences over the years and features ChamberSoul renditions of classics such as Roberta Flack’s "The First Time Ever I Saw Your Face," Stevie Wonder’s "Overjoyed," and "Kiss of Life" by Sade. Shana is dancing on the cusp of international discovery, delighting new audiences who are instantly taken by her timeless artistry and who leave her performances wondering why this voice is not yet world-renowned. Shana’s new, thoughtfully reimagined album of timeless favorites will prove to be a key mechanism for her transition into a realm of recognition worthy of her talents.

Known for her delightfully intimate performances and endearing audience interplay, Shana continues to inspire and push boundaries with her unique style, blending jazz, soul, and acoustic pop into an unforgettable musical experience.

At the core of Shana’ musical prowess is her approach to the cello, an instrument she wields with unparalleled grace and emotive depth. With each stroke of the bow and pluck of the string, she weaves intricate tapestries of sound, blending classical techniques with soulful, improvisation. It's a testament to her skill and artistry that she seamlessly transitions from hauntingly beautiful melodies to rhythmic grooves, captivating audiences with every note.

Shana’s talent, however, extends far beyond instrumental aptitude. As a singer-songwriter, she possesses a voice that defies categorization, effortlessly traversing genres and evoking a range of emotions. Her soul-stirring performances are imbued with passion and authenticity, drawing listeners like moths to a flame into her nuanced world of song-storytelling and musical exploration.

What truly sets Shana apart is her creation of ChamberSoul: a genre that fuses elements of jazz, soul, acoustic pop and folk music into a harmonious blend of sonic bliss. Shana transcends boundaries as a trailblazer, activating her unique brand to perpetuate a musical experience that is both timeless and contemporary. It's a genre that originates from her soul and speaks to the soul, resonating with audiences of all walks of life on a profound level.

Through collaborations with music industry greats and groundbreaking performances as the featured artist, Shana continues to push the boundaries of what's possible in music. Her dedication to artistic integrity and innovation has garnered acclaim from critics and fans alike, solidifying her place as a visionary in the music world.

As Shana prepares to release her latest album, Hiding in the Light, featuring soul-stirring renditions of iconic songs, the world eagerly awaits another chapter in her musical journey. With each performance, each song, Shana reaffirms her status as a luminary in the realm of ChamberSoul, leaving an indelible legacy for generations to come.https://www.shanatucker.com/bio

Hiding in the Light

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Ann Hampton Callaway - Jazz Goes To The Movies

Time: 54:12
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals, Cabaret
Art: Full

01. 'S Wonderful (4:32)
02. Let's Face The Music And Dance (3:06)
03. Blue Skies (4:16)
04. The Folks Who Live On The Hill (4:12)
05. As Time Goes By (3:31)
06. The Way You Look Tonight (4:40)
07. This Time The Dream's On Me (2:47)
08. The Nearness Of You (6:06)
09. How Little We Know (3:30)
10. This Can't Be Love (3:40)
11. Just One Of Those Things (2:59)
12. Taking A Chance On Love (3:20)
13. Long Ago And Far Away (4:32)
14. From This Moment On (2:55)

World renowned Tony nominee, New York Cabaret Award "Best Jazz Vocalist" winner and Theater World Award winner Ann Hampton Callaway delivers a must have album. "Jazz Goes To The Movies is a spectacular collection of all-time great movie songs lovingly performed by Ann and her ensemble led by Ted Rosenthal, winner of the Thelonious Monk International Jazz Competition." Jazz Goes To The Movies" conjures stirring images from the golden age of Hollywood. Highlights include the iconic "As Time Goes By" from Casablanca, Irving Berlin's immortal "Blue Skies" from The Jazz Singer, Jerome Kern's "The Way You Look Tonight" from Swing Time and many more movie classics!

Jazz Goes To The Movies

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Syd Lawrence - Miller Magic

Styles: Jazz, Big Band
Year: 1970
Time: 34:37
File: MP3 @ 320K/s
Size: 79,3 MB
Art: Front

(4:02) 1. Moonlight Serenade
(3:06) 2. Little Brown Jug
(2:55) 3. Elmer's Tune
(4:52) 4. Serenade in Blue
(3:10) 5. Flying Home
(4:15) 6. I've Got a Gal in Kalamazoo
(3:45) 7. Stardust
(3:31) 8. Story of a Starry Night
(2:15) 9. Jersey Bounce
(2:43) 10. Caribbean Clipper

Syd Lawrence (1923-1998), was a British bandleader from Chester, England who became famous in the UK for his orchestra's Big Band Sound which drew on the 1940's style of music of Glenn Miller and Count Basie amongst others.

Syd had been a talented trumpet player during the Second World War. He had written and arranged music and his early talent was recognised in those fields as well. He was based in Cairo during the war years, playing and arranging for the RAF service bands. After he left the forces, he played with some of the leading British dance bands of the 1940's, finally being invited to join the BBC's Northern Dance Orchestra in 1953. He stayed with this band for 16 years playing alongside fellow trumpet player Stan Hibbert.

In 1967 Syd teamed up with several of his colleagues at the Northern Dance Orchestra to play the music that he was most enthusiastic about, that of Glenn Miller. Early concerts at the Mersey Hotel in Manchester were a great success, and larger venues were found to play in as the reputation of his band grew.

Yorkshire Television gave The Syd Lawrence Orchestra a regular spot on the comedy show Sez Les. As the music became more popular, Syd and his band started touring around the UK, which they did with great success for many years. Several records were made along with radio and television appearances on variety shows.

Syd retired from touring in 1994 and died of an aneurism in 1998. Following his death, the Syd Lawrence Band continued on and still tours. The orchestra has been led by Brian Pendleton, and presently by Chris Dean. User-contributed text is available under the Creative Commons By-SA License and may also be available under the GNU FDL.
https://www.jazzmusicarchives.com/artist/syd-lawrence

Miller Magic

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Glenn Zottola/Romero Lubambo/Pamela Driggs - Summer Samba

Styles: Jazz
Year: 2023
Time: 24:47
File: MP3 @ 320K/s
Size: 57,2 MB
Art: Front

(5:07) 1. Summer Samba
(6:11) 2. Para Machuchar Meu Coracao
(4:22) 3. Ligia
(4:13) 4. Fotografia
(4:51) 5. Samba e Amor

2023 news reports and events acknowledged and celebrated 50 Years Of Hip-Hop. While noteworthy, it is doubtful that hip hop classics such as "Get Ur Freak On," "Sucker M.C.'s and "Nuthin' But a G Thang" will ever find themselves in the Great American Songbook. The genre simply cannot compare with the vast extent of musical influence emanating from that 1960s period in which Stan Getz, Astrud Gilberto, Antonio Carlos Jobim, et al, took the popular and jazz worlds by storm with the exciting bossa nova sounds of Brazil. "Summer Samba" from should-be-Hall of Fame multi-instrumentalist Glenn Zottola, virtuoso Brazilian guitarist Romero Lubambo, and outstanding vocalist Pamela Driggs epitomizes the substance, vibrancy, and perennial influence that that music has had.

The album offers a handful of beautiful and sublimely-performed selections , all firmly entrenched in the Brazilian canon. The title tune, whose Portuguese name is used here, was a big hit for Brazilian organist Walter Wanderley in 1966, and is covered straight up. Driggs certainly has Gilberto's stylings on loan and adds a fair amount of her own expressiveness to the Marcos and Sergio Paulo Valle composition. Romero Lubambo, who is outstanding throughout the session, here eases all and delivers a fine solo. Then there's Zottola. With a youthful vigor and endless elegance, his luxurious, silk-smooth tenor glides as did that girl on Ipanema Beach. The utterly lovely "Pra Machcar" has Driggs and Zottola as two cavorting musical butterflies with Lubambo adding their rhythmic breeze. Zottola's solo here is a case study in taste. And Lubambo's octaves launch him into a tasteful overdubbed solo.

Driggs, an American who is fluent in Portuguese, has all of the linguistic inflections and their give and take with lyric and melody in her command. Her dynamic approach goes hand-glove with Zottola's tenor and Lubambo's fine acoustics. With a trio set-up such as this, the players must meld perfectly. Toes must be respected and restrained involvement is key. Driggs, Zottola, and Lubambo demonstrate that they are skilled in that regard.

"Ligia," a lesser-known Jobim tune, is more balladic than typical bossa. Lubambo's tasty intro sets up Driggs seduction. It is a romantic grabber and a four-square gorgeous track. Dreamlike, "Fotographia" is also on the relaxed side. "Samba da Amor" offers Zottola's finest solo of the session and a lovely voice/sax unison leading to an apropos "suspended" ending.

"Summer Samba," even with its shorter length, is an exquisite and involving engagement. Hip tip: Hop in and don't listen alone. By Nicholas F. Mondello
https://www.allaboutjazz.com/summer-samba-glenn-zottola-romero-lumbambo-pamela-driggs-self-produced

Personnel: Glenn Zottola - Alto Saxophone; Romero Lubambo - Guitar; Pamela Driggs - Vocal.

Summer Samba

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