Saturday, November 30, 2024

Cannonball Adderley, Milt Jackson - Things Are Getting Better

Bitrate: MP3@320K/s
Time: 52:46
Size: 120.8 MB
Styles: Soul jazz, Saxophone jazz
Year: 1958/2012
Art: Front

[4:58] 1. Blues Oriental
[0:44] 2. A Few Words
[7:09] 3. Things Are Getting Better
[4:45] 4. Serves Me Right (Take 5)
[5:18] 5. Groovin' High
[6:56] 6. The Sidewalks Of New York (Take 5)
[6:23] 7. Sounds For Sid
[6:43] 8. Just One Of Those Things
[4:34] 9. Serves Me Right (Take 4, Alternate)
[5:12] 10. The Sidewalks Of New York (Take 4, Alternate)

This title provides ample evidence why alto Cannonball Adderley is considered one of the masters of his craft. Here he joins forces with Modern Jazz Quartet co-founder Milt Jackson on vibes to create a variety of sonic atmospheres. They are backed by the all-star ensemble of Wynton Kelly on piano, Percy Heath on bass, and the one and only Art Blakey on drums. The moody "Blues Oriental" opens the set with Jackson immediately diving in with his trademark fluid runs and shimmering intonation. Adderley counters with a light and lively line that weaves between the rhythm section. The optimistic "Things Are Getting Better" is a good-natured romp as the co-leads trade and cajole each other into some downright rollicking exchanges. This directly contrasts with the sultry "Serves Me Right," which allows the combo members to demonstrate their collective musical malleability. The interaction between Adderley and Jackson sparkles as they entwine their respective playing with an uncanny singularity of spirit. The cover of Dizzy Gillespie's "Groovin' High" contains another spirited performance with some thoroughly engaging improvisation, especially during Adderley's voracious solos. "Sidewalks of New York" bops freely as Jackson unleashes some sublime licks against a hearty and equally boisterous sax. Adderley's "Sounds for Sid" demonstrates his uncanny ability to swing with a strong R&B vibe. With drop-dead timing and profound instrumental chops, this cut is undoubtedly one of the best from Adderley's earliest canon. The album concludes with a jumping reading of Cole Porter's "Just One of Those Things." While Wynton Kelly has been uniformly solid, his interjections stand out here as he bridges and undergirds the two as they banter with flair and aplomb. This set can be recommended without hesitation to all manner of jazz enthusiast, as it quite literally offers something for every taste. [Some reissues include two bonus tracks supplementing the original seven-song running order, alternate takes of "Serves Me Right" and "Sidewalks of New York."] ~Lindsay Planer

Things Are Getting Better

Thursday, November 28, 2024

Miriam Aida - Come On Home

Styles: Vocal
Year: 2008
Time: 48:46
File: MP3 @ 320K/s
Size: 112,2 MB
Art: Front

(3:16) 1. Come On Home
(3:53) 2. A Handful Of Soul
(4:24) 3. Two Steps From The Blues
(3:03) 4. Now That You're Gone
(3:56) 5. You'd Be So Nice To Come Home To
(2:58) 6. Make Sure You're Sure
(3:41) 7. The Man I Love
(2:50) 8. A Night In Tunisia
(4:52) 9. Skylark
(3:13) 10. Jive Samba
(6:00) 11. Ruby And The Pearl
(3:00) 12. Rainbows End
(3:33) 13. I'm Not Ashamed

Miriam Aïda, one of Sweden’s most popular singers with an international following, has performed in Japan, UK, Brazil, France, Spain, USA, Turkey, Russia, Italy, Germany and of course all around Sweden and Scandinavia, both as a solo artist as well as with the band A Bossa Elétrica. She has shared the stage with many great Brazilian musicians such as Hermeto Pascoal, Badi Assad and master guitarist Marco Pereira.

After exploring the music traditions of Brazil and her success with the albums such as Quatro Janelas, Letras ao Brasil & É de Lei! she has been spotted in several national TV shows.

Miriam ́s extensive talent travels through a number of musical landscapes and since her album-debut in 2002 she has released 8 albums as a leader. Since 2010 she is an acclaimed radio profile for Swedish National Radio as a producer and music journalist. She has hoasted the Swedish Radio live broadcast JazzAward "Jazzkatten" several times and on the PolarPrize 2017 she interviewed Wayne Shorter on PolarTalks.

Following the success of the Swedish Grammy, Manifest and World Music Awards nominated albums Letras ao Brasil (2009) and Visans Väsen (2011), mixing Swedish traditional songs with Brazilian rhythms, her album AFRO SAMBA ORCHESTRA - É de Lei!" was awarded "Rhythm of the Year" by Manifestgalan.

The album honors the Brazilian legend and founder of Afro Samba, Baden Powell. And was recorded in Sweden and Rio de Janeiro in collaboration with the Brazilian arranger Jayme Vignoli. É de Lei! features one of Rio’s greatest singers, Marcos Sacramento.

Artist of the year at Swedish World Music Awards 2012

"A versatile artist, colorful, headstrong, audacious and personal. A performer who twists and turns on the familiar and who creates new perspectives for all of us.” This was the jury’s statement when Miriam Aïda received the price for Artist of the year at the Swedish World Music Awards in 2012.
https://info4993393.wixsite.com/miriamaida/about

Come On Home

Ronnie Cuber - Four

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 66:43
Size: 153,9 MB
Art: Front

(4:50)  1. Battery Blues
(7:24)  2. Sidewinder
(5:28)  3. Motivation
(9:17)  4. Tenderly
(6:56)  5. Just Friends
(6:14)  6. Bluesette
(5:24)  7. Coming Home Baby
(6:02)  8. How High the Moon
(8:49)  9. Sugar
(6:15) 10. Four

Ronnie Cuber's always a hell of a swinger, but he sounds especially nice here  really letting his baritone hit some bold, soulful sounds in the company of Hammond organist Brian Charette, guitarist Ed Cherry, and drummer Adam Nussbaum! The record's got this soul jazz vibe that's a bit different than some of Cuber's other records and features a number of tunes penned by older heroes of the genre – like Horace Silver, Lee Morgan, Stanley Turrentine, and others – which makes for a set of songs that has Ronnie sounding completely wonderful all the way through. There's few cats who could ever make a baritone sax sound this wonderful – and we think you'll agree after hearing tracks that include "Four", "Battery Blues", "Bluesette", "Coming Home Baby", "Sugar", and "Motivation". https://www.dustygroove.com/item/936387/Ronnie-Cuber:Four

Personnel: Ronnie Cuber – baritone saxophone; Ed Cherry – guitar; Brian Charette – Hammond B3.; Adam Nussbaum – drums

Four

Cannonball Adderley - Quintet In Chicago

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 34:03
Size: 78,2 MB
Art: Front

(4:40)  1. Limehouse Blues
(6:14)  2. Stars Fell on Alabama
(5:46)  3. Wabash
(4:33)  4. Grand  Central
(5:34)  5. You' re A Weaver Of Dreams
(7:13)  6. The Sleeper

This exciting session consists of the 1959 edition of The Miles Davis Sextet minus its leader, though it was later reissued as Cannonball & Coltrane, as there was evidence that both men had considerable input into the date. A brisk "Limehouse Blues" features great exchanges between the saxophonists, while Adderley's soulful "Wabash" is more easygoing. This newly remastered CD is a distinct improvement over the earlier retitled reissue. ~ Ken Dryden  http://www.allmusic.com/album/cannonball-adderley-quintet-in-chicago-mw0000088595

Cannonball Adderley Quintet: Cannonball Adderley (alto saxophone); John Coltrane (tenor saxophone); Wynton Kelly (piano); Paul Chambers (bass); Jimmy Cobb (drums).

Quintet In Chicago

Bobby Hutcherson - Stick Up!

Styles: Vibraphone Jazz
Year: 1997
File: MP3@320K/s
Time: 40:26
Size: 93,1 MB
Art: Front

(6:26)  1. Una Muy Bonita
(6:58)  2. 8/4 Beat
(6:59)  3. Summer Nights
(6:57)  4. Black Circle
(9:32)  5. Verse
(3:32)  6. Blues Mind Matter

One of Bobby Hutcherson's best albums, Stick-Up! was also his first official release not to feature drummer Joe Chambers, who was a major part of Hutcherson's outside leanings. Instead, Stick-Up! stakes out the middle ground between hard bop and the avant-garde, offering a set of structured yet advanced modal pieces indebted particularly to Coltrane. Hutcherson's originals (five out of six selections) show him at the top of his game as a composer, and the ensemble's playing is tight and focused throughout, but what really lifts Stick-Up! to the top tier of Hutcherson's discography is its crackling energy. It's quite possibly the hardest-swinging album he ever cut, and part of the credit has to go to the stellar rhythm section of McCoy Tyner on piano, Herbie Lewis on bass, and Billy Higgins on drums, who lay down a driving, pulsating foundation that really pushes Hutcherson and tenorist Joe Henderson. Tyner in particular is a standout, charging relentlessly forward on the intricate "8/4 Beat" and "Black Circle" and lending a Coltrane-ish flavor to the spiritually searching "Verse." The lone non-Hutcherson piece, Ornette Coleman's sometimes overlooked "Una Muy Bonita," is given a fantastic, rollicking treatment as catchy as it is progressive, proving that the piece is a classic regardless of whether it's interpreted freely or with a steady groove and tonal center. Hutcherson's originals are uniformly strong and memorable enough to sit very well next to it, and that coupled with the energetic performances ranks Stick-Up! with Dialogue and Components as the finest work of Hutcherson's tenure at Blue Note.
~ Steve Huey https://www.allmusic.com/album/stick-up%21-mw0000028035

Personnel: Joe Henderson - tenor saxophone;  Bobby Hutcherson - vibraphone, composer; McCoy Tyner - piano; Herbie Lewis - bass; Billy Higgins - drums

Stick Up!

Tuesday, November 26, 2024

Gene Bertoncini - Jobim: Someone To Light Up My Life

Styles: Bossa Nova
Year: 1996
Time: 62:46
File: MP3 @ 320K/s
Size: 143,7 MB
Art: Front

(5:41) 1. Chopin Prelude/How Insensitive
(5:37) 2. Dindi
(3:21) 3. Quiet Night Of Quiet Stars (Corcovado)
(3:19) 4. Someone To Light Up My Life
(4:45) 5. Triste
(4:45) 6. Double Rainbow (Chovendo Na Roseiro)
(3:55) 7. Crossroads (Caminhos Cruzados)
(5:38) 8. No More Blues (Chega De Saudade)
(5:31) 9. Rome Montage (From The Adventurers)
(6:16) 10. Song Of The Jet (Samba Do Avião).mp3
(4:48) 11. Portrait In Black And White (Zingaro)
(5:04) 12. Once I Loved (O Amor Em Paz)
(5:56) 13. If You Never Come To Me
(4:18) 14. Felicidade

The veteran guitarist's collection of bossa novas by the late Antonio Carlos Jobim demonstrate his gift for counterpoint and improvisation in this all-acoustic masterpiece. Accompanied only by the Latin percussion of John Arruci and Jon Bates, Bertoncini plays an astonishingly uptempo "Corcavado" that seems to have overdubbed guitar lines but doesn't.

Also remarkable is his soft, understated version of "Double Rainbow." Any guitar student or jazz fan will be mesmerized by Bertoncini's crisp playing on "Zingaro.By Ken Dryden
https://www.allmusic.com/album/jobim-someone-to-light-up-my-life-mw0000087917#review

Jobim: Someone To Light Up My Life

Nancy Wilson, Cannonball Adderley - S/T

Bitrate: MP3@320K/s
Time: 43:57
Size: 100.6 MB
Styles: Standards, Vocal jazz
Year: 1962/1993
Art: Front

[2:42] 1. Save Your Love For Me
[2:17] 2. Never Will I Marry
[2:58] 3. The Old Country
[2:23] 4. Happy Talk
[4:15] 5. The Masquerade Is Over
[2:32] 6. A Sleepin' Bee
[2:13] 7. Little Unhappy Boy
[4:29] 8. Teaneck
[4:55] 9. I Can't Get Started
[5:09] 10. One Man's Dream
[3:56] 11. Never Say Yes
[6:03] 12. Unit 7

An excellent collaboration of the Nancy Wilson voice with the Cannonball Adderley alto sax from the early '60s. While this 1961 recording was the first time Wilson was with Adderley in the studio, it was not the first time they had worked together. After singing with Rusty Bryant's band, Wilson had worked with Adderley in Columbus, OH. (It was there that Adderley encouraged her to go to N.Y.C. to do some recording, eventually leading to this session.) Not entirely a vocal album, five of the 12 cuts are instrumentals. A highlight of the album is the gentle cornet playing of Nat Adderley behind Wilson, especially on "Save Your Love for Me" and on "The Old Country." Cannonball Adderley's swinging, boppish sax is heard to excellent effect throughout. Joe Zawinul's work behind Wilson on "The Masquerade Is Over" demonstrates that he is a talented, sensitive accompanist. On the instrumental side, "Teaneck" and "One Man's Dream" are especially good group blowing sessions. On the other end of the spectrum, Adderley's alto offers a lovely slow-tempo treatment of the Vernon Duke-Ira Gershwin masterpiece, "I Can't Get Started. the listeners on their musical toes, the first couple of bars of "Save Your Love for Me" are quotes from "So What" from the Miles Davis Sextet seminal Kind of Blue session. Given the play list and the outstanding artists performing it, why any serious jazz collection would be without this classic album is difficult to comprehend. ~Dave Nathan

Nancy Wilson, Cannonball Adderley

Christian Sands - Foot Prints

Bitrate: MP3@320K/s
Time: 65:24
Size: 149.7 MB
Styles: Traditional jazz combo
Year: 2002
Art: Front

[4:05] 1. Four
[4:07] 2. Canteloupe Island
[6:19] 3. Wave
[5:26] 4. All Blues
[6:11] 5. Sands Of Eqypt
[4:38] 6. Footprints
[4:49] 7. Ryan's Groove
[4:38] 8. I'll Remember April
[6:08] 9. A Night Intunisia
[5:41] 10. Wind Chimes
[7:35] 11. Maiden Voyage
[5:42] 12. Ain't No Sunshine

Christian Sands has been described as "a dynamic pianist with extraordinary musical maturity beyond his years". He is indeed an accomplished musician with great poise and sophistication. He possesses a warm, unpretentious personality together with an honest, heartfelt approach to playing which keeps him in demand. He has been playing the piano since 4 years old. Age 5 is when he wrote his first musical composition. On this debut recording, he wrote and arranged several of the songs.

Foot Prints

Sunday, November 24, 2024

Marilyn Monroe - I Wanna Be Loved By You

Styles: Vocal
Year: 2008
Time: 48:22
File: MP3 @ 320K/s
Size: 117,2 MB
Art: Front

(3:00) 1. I Wanna Be Loved By You
(3:33) 2. Diamonds Are A Girls Best Friend
(2:39) 3. I'm Gonna File My Claim
(3:03) 4. You'd Be Surprised
(2:21) 5. A Fine Romance
(2:58) 6. Kiss
(3:26) 7. Bye Bye Baby
(3:38) 8. After You Get What You Want You Don't Have It
(3:24) 9. When Loves Go Wrong Nothing Goes Right
(1:21) 10. Some Like It Hot
(5:09) 11. My Heart Belongs To Daddy
(2:46) 12. She Act Like A Woman Should
(2:59) 13. When I Fall In Love
(3:13) 14. Do It Again
(2:31) 15. I'm Through With Love
(2:14) 16. The River Of No Return

Who really was Marilyn Monroe? I Wanna Be Loved By You tries to answer this question. Charting her life journey, from Norma Jean’s rise to fame up to her controversial death, this play centres around the private persona of America's most infamous sex symbol.

In I Wanna Be Loved By You, Monroe’s character is played by all three of the female cast members at different points in the play. This strategy works well to emphasise Monroe’s conflicting personalities, the pre-celebrity young girl, the iconic actress and pin-up, and the private Marilyn, known to nobody but herself. This production also cleverly depicts Monroe’s love/hate relationship with the press. Each scene is broken up by a frantic media scrum, intruding into the play in the same interfering fashion they had in Monroe’s short life. At one point, Joe DiMaggio, Monroe’s second husband, states that “the press are either at your feet or your throat,” a line reminiscent of today’s treatment of celebrity.

I Wanna be Loved By You is excellent at detailing the events of Monroe’s life, from her marriages - including those to DiMaggio and Arthur Miller - to her relationship with her mum and her drug addiction. Yet this production doesn’t unravel any of the secrets it promises to and this is a problem. I Wanna Be Loved By You tries to do too much. Fifty minutes is not enough time to accurately comment on every aspect of Monroe’s life. Focusing on one would have been difficult enough. As a result, this production provides an interesting account of a complex character, but barely scratches the surface.By Liz Rawlings https://www.festmag.com/edinburgh/archive/i-wanna-be-loved-by-you

I Wanna Be Loved By You

Stella Bass - Too Darn Hot

Styles: Vocal
Year: 2014
Time: 53:42
File: MP3 @ 320K/s
Size: 123,8 MB
Art: Front

(4:02) 1. All The Things You Are
(4:40) 2. I Keep Going Back To Joe's
(2:10) 3. Too Darn Hot
(5:29) 4. Aeroplane
(6:03) 5. A Nightingale Sang In Berkeley Square
(5:03) 6. Back To Black
(3:12) 7. The Frim Fram Sauce
(5:22) 8. The Nearness Of You
(3:47) 9. Why Don't You Do Right
(4:42) 10. Estate
(3:37) 11. A Wink And A Smile
(5:28) 12. Black Coffee

Singer Stella Bass is a stalwart of Dublin's live music scene, leading small jazz ensembles and collaborating with the HotHouse Big Band and the Dublin City Jazz Orchestra. Bass's debut jazz recording follows Smoke and Sound (Self Produced 2010), her cabaret tribute to Kurt Weil, Bertold Brech, Marlene Dietrich et al. In the main, Too Darn Hot sees Bass mine the jazz standards of the 1930s and 1940s, repertoire she's polished every Sunday for years in Dublin's chic Cafe en Seine. To stand out in a market awash with standards recordings requires something special and Bass, with her beguiling voice, comes fairly close. Whilst this set is unlikely to generate excitement amongst fans of more contemporary jazz there's no denying Bass's qualities as a singer and interpreter.

Classically trained, Bass's technical chops are evident from the first notes of Jerome Kern/Oscar Hammerstein's "All The Things You Are"; more importantly, her voice possesses soul, swing and pizzazz. Noteworthy too, are the arrangements of pianist Phil Ware, whose deft use of space and dynamics frame Bass's performances beautifully while enabling the excellent supporting cast to shine.

Bass has assembled some of Dublin's finest jazz musicians and they do her proud; guitarist Hugh Buckley impresses at slow tempos as on the Kern/Hammerstein tune and equally, when the band is swinging, as on Cole Porter's "Too Darn Hot." Trumpeter Danny Healy uncorks a gem of a solo on Jack Segal/Marvin Fischer's "I Keep Going Back to Joe's," providing sympathetic support to Bass's gently bluesy delivery. On Manning Sherwin/Eric Mascwitz's ballad "A Nightingale Sang in Berkeley Square," tenor saxophonist Robert Geraghty and Buckley's understated lyricism underscores Bass's nuanced delivery.

The leader injects a little fun with "Frim Fram Sauce," Redd Evans/Joe Ricardel novelty song popularized by the Nat King Cole Trio. Despite the frivolous lyrics, this old-fashioned swinger has endured, from Ella Fitzgerald/Louis Armstrong to Diana Krall half a century later. Ware's arrangement for trumpet, saxophones and Karl Ronan's trombone adds little-big band luster to Joseph 'Kansas Joe' McCoy's blues tune "Why Don't You Do Right?" Bass would probably settle for a fraction of the million copies that Peggy Lee and Benny Goodman's version shifted in 1942.

Bass also convinces on contemporary fare. On Robert Palmer's "Aeroplane" her poignant delivery and Buckley's emotive intervention combine to eclipse the original. Amy Winehouse's perfect retro-pop tune "Back to Black" is slowed down and artfully rearranged for horns; the rhythm section of Ware, bassist Nev Lloyd and drummer Dominic Mullan bring a subtle jazz sensibility to both tracks. Bass provides another highlight with Bruno Martino/Bruno Brighetti's "Estate," typically sung as a bossa nova since Joao Gilberto popularized the song; Bass instead sticks convincingly to the original Italian version in a compelling duet with Ware.

Hoagy Carmichael/Ned Washington's 'The Nearness of You," Ramsey McLean/Marc Shaiman's breezy "A Wink and a Smile" and Sonny Burke/Paul Francis Webster's sultry, late-night blues "Black Coffee" round out an enjoyable set. Too Darn Hot just confirms what jazz aficionados in Dublin already know Bass is a class act.By Ian Patterson https://www.allaboutjazz.com/too-darn-hot-stella-bass-self-produced-review-by-ian-patterson

Personnel: Stella Bass: vocals; Phil Ware: piano, Rhodes piano, arrangements; Hugh Buckley: guitar; Dominic Mullan: drums; Nev Lloyd: double bass; Danny Healy: trumpet, flugelhorn; Michael Buckley: alto saxophone; Robert Geraghty: tenor saxophone; Karl Ronan: trombone.

Too Darn Hot

Renee Olstead - Renee Olstead

Styles: Jazz, Vocal
Year: 2004
File: MP3@320K/s
Time: 44:24
Size: 106,0 MB
Art: Front

(4:12)  1. Summertime
(3:31)  2. Taking A Chance On Love
(3:20)  3. Is You Or Is You Ain't My Baby?
(4:26)  4. Someone To Watch Over Me
(4:11)  5. Breaking Up Is Hard To Do
(3:32)  6. A Love That Will Last
(2:56)  7. Meet Me, Midnight
(4:34)  8. Sunday Kind Of Love
(3:16)  9. On A Slow Boat To China
(3:27) 10. What A Difference A Day Makes
(3:21) 11. Midnight At The Oasis
(3:32) 12. Sentimental Journey

With a seriously bluesy jazz voice, Olstead wows everyone who hears her, including the renowned David Foster who co-produced this album of classics. Unless someone told you, you might never suspect that Olstead is only in high school! Renee Olstead...hear her...you won't believe your ears. 

No less an expert on pop affairs than Neil Sedaka likens the impossibly mature voice of 14-year-old vocalist/TV star (CBS' Still Standing) Renee Olstead to "Patsy Cline, Ella Fitzgerald and Billie Holiday all wrapped in one." There's no disputing the sultry vocal talents showcased on this debut that balances familiar chestnuts from the great American songbook ("Summertime," "Someone to Watch Over Me," "Sentimental Journey") with more recent fare that veers from R 'n' B sass ("Is You Is Or Is You Ain't My Baby") to 70s chart hits like Sedaka's own "Breaking Up Is Hard to Do" and Maria Muldaur's "Midnight at the Oasis." 

A cynical ear might question how much of Olmstead's own life informs these bluesy performances: how trying can eigth grade be for an attractive redhead with a major label contract? Indeed, the tagline for at least one latter-day Ella Fitzgerald project comes frequently to mind here: "Is it real, or it Memorex?" Olmstead is yet another teen protege of hugely successful producer David Foster (who's midwifed the careers of Josh Groban and Michael Buble in recent years), and he provides her with some sturdy jazz arrangements to riff emotively on here even if his production is as slick and bloodless as ever. Still, Foster's penchant for overwrought melodrama is kept mercifully in check on his own composition "I Want a Love to Last," while his shrewd teaming of the young chanteuse with fellow teen pop phenom Peter Cincotti on Sedaka's "Breaking Up.." deftly underscores the promising talents of both. ~ Jerry McCulley - Editorial Reviews  http://www.amazon.com/Renee-Olstead-RENEE-OLSTEAD/dp/B00020HEL6

Personnel: Reneé Olstead (vocals); Carol Weisman (vocals); Dean Parks (guitar, acoustic guitar); Don Shelton (clarinet, alto saxophone, tenor saxophone);  Warren Luening (trumpet); Alan Broadbent, Billy Childs, Billy Childs Trio, Gerald Clayton (piano); Brian Bromberg (bass instrument); Jeff Hamilton , David Tull (drums); Neil Devor (programming); Peter Cincotti (vocals, piano); Dennis Budimir (guitar); Chris Botti, Rick Baptist (trumpet); Chris Dawson (piano); Joe La Barbera, Vinnie Colaiuta (drums).

Renee Olstead


David Bitelli & Ollie Usiskin - Harlesden Sessions

Styles: Jazz
Year: 2024
Time: 49:19
File: MP3 @ 128K/s
Size: 45,2 MB
Art: Front

(3:45) 1. Determination
(3:17) 2. Train
(2:49) 3. The Agreed 2 Step
(3:23) 4. Partly Party
(2:29) 5. Rovelli
(5:50) 6. The Reminder
(3:06) 7. Just Go
(3:20) 8. Caution
(5:55) 9. The Rise
(3:32) 10. Tod You Once
(4:56) 11. Temperamental
(3:29) 12. Particulate Motion
(3:23) 13. The Underneath

Tenor saxophone and drums is now a familiar setting within the loose definitions of jazz and improvised music. If John Coltrane and Rashied Ali really made the format “a thing”, then there have been no shortage of musicians queuing up to dip their toes in the water.

With no harmony instrument or bass to hold down the bottom end, it can seem an unforgiving setting for both musician and audience, yet there is a remarkable variety of sounds, textures, rhythmic and melodic possibilities that lend themselves to this format.

These sessions that were recorded on a rather ad hoc basis on “occasional Thursdays” (I just love that as detailed information for the recording dates for the performances), yet the music just flows with the sheer joy of playing and making music together. Apart from that the music is a lot of fun, in the best possible way.

Both musicians are hugely experienced in a a wide range of musical styles. Bitelli came to prominence with the soul-jazz band Working Week and as a member of the anarchic and iconic British big band Loose Tubes. In addition, he has also been a member of Mike Westbrook’s band as well as leading his own groups.

His partner in crime is drummer Usiskin who CV is equally as impressive, including playing with guitarists Nigel Price and Jim Mullen. He has also recorded for SLAM in the past with bassist Max Oliver, presenting a recording of freely improvised duets on the album Usiskin/Oliver Duo.

Taking up the gauntlet of the tenor/drums format, the two musicians draw on their experience to present a series of thirteen improvised duets that focus on groove and melody, and thrive on the variety of music that they can conjure out of thin air.

On this outing Usiskin does not feel the need to make a lot of noise or clatter restlessly around the kit. He is simply brings a concentrated focus on rhythmic movement and patters that do not just lend themselves to melodic statements from the saxophonist but positively suggest them. There is nothing flashy about Usiskin’s playing, but he is constantly inventive varying the beat, subtle changes in dynamics and not afraid to take the lead when required.

By the same token, Bitelli must be overjoyed to have such a supportive partner. His lines are lean, concise and free to pick up melodies and his own rhythmic motifs knowing that his colleague with every step of the way. The saxophonist’s playing is a joy throughout, relishing the rock solid groove from Usiskin on ‘Determination’ for him to work from, and the delicate brushwork that accompanies his improvisation on ‘The Rise’, enabling him to move into more abstract areas before moving back into a lovely melodic improvisation that brings the piece to a close.

Bitelli is a natural storyteller, and the drummer a natural listener, throwing questions and observations into the mix in ‘Told You Once’, and when the tenorist does push the music further out on ‘Train’ exploring split tones and multiphonics that can be drawn out of his instrument, Ususkin is right there with just the right thing to say.

Sceptics may well view this recording as music that Bitelli and Usiskin played to please themselves, the resulting album though is one that I am sure will please many.

You can also check out our Take Five segment we have done with Bitelli and Usiskin.By Nick Lea https://jazzviews.net/david-bitelli-ollie-usiskin-harlesden-sessions/

Personnel: David Bitelli (tenor saxophone); Ollie Usiskin (drums)

Harlesden Sessions

Friday, November 22, 2024

Nick Colionne - Influences

Styles: Guitar, Smooth Jazz
Year: 2014
Time: 54:43
File: MP3 @ 320K/s
Size: 127,7 MB
Art: Front

(5:04) 1. Slammin'
(4:48) 2. Got To Keep It Moving
(4:36) 3. Nico's Ride
(5:25) 4. Whatcha Gonna Do
(4:06) 5. Born Again
(4:21) 6. When You Love Somebody
(3:50) 7. Here's To You
(3:51) 8. C-Ray
(5:22) 9. Whatta 'bout You
(5:01) 10. Sting Like A King B
(3:44) 11. Got To Keep It Moving (Short)
(4:29) 12. Got To Keep It Moving (Long)

Well into his third decade of making the strings sing with his very own sweet Chicago soul, guitarist Nick Colionne digs deep as he takes musical stock of the people and things that helped propel his career and fully establish his place as one of the real cats, a cat that finds connection with his audience in a way that not many can.

Influences is a musical journey of self re-discovery, offering a palate of moods and flavors born of life experiences, challenges and the effect of the people past and present that have helped shape and mold his sound. Music can be the ultimate healer not only for the creator but also those of us who seek the escapism. Nick gets this and you immediately feel him from the opening strains as he provides lift with this feel good collection of new sides. His chops have never been more exacting, his melodies more exhilarating, his hooks more infectious.

Collaborating again with the great James Lloyd on 'Pieces Of A Dream' and inviting Maysa on the journey gives 'Influences' just the right amount of spice and pop, but in the end it is all about Nick as he bears his soul though this collection of musical chapters in this his latest book, one written with his strings and sings of the places he s been and the places he still has to go.

The lead single Got To Keep It Moving is certain to fire up his legions of fans and find its rightful place atop the radio charts. Never one to take what he has for granted, Colionne knows he has been blessed with a great gift and he will continue to share it as he connects with his fans through live performance in 2014 and share Influences in a way that only he can.By Editorial Reviews https://www.amazon.com/Influences-Nick-Colionne/dp/B00I89Y330

Influences

One For All - The Third Decade

Styles: Jazz
Year: 2016
Time: 65:50
File: MP3 @ 320K/s
Size: 152,9 MB
Art: Front

(5:16) 1. Easy
(5:59) 2. Buddy's
(6:20) 3. It's Easy To Remember
(7:36) 4. Daylight
(5:33) 5. Ghost Ride
(7:11) 6. For Curtis
(4:32) 7. Ruth
(4:29) 8. Babataytay
(6:38) 9. K Ray
(6:21) 10. Frenzy
(5:49) 11. Hey, Stevie D

Hard to believe it will be twenty years ago next year that the hard bop ensemble One For All debuted with Too Soon To Tell on the fledgling Sharp Nine label. Formed as a group that regularly played together at an uptown Broadway club called Augie's, each member was just at the start of their own budding careers. Even today, it continues to be a surprise that these gentlemen still find the time to assemble for the occasional record date or live appearance.

Much has transpired since 1997. Augie's was transformed into Smoke, the club that continues to thrive and provides the imprimatur for the record label documenting the set at hand. Fifteen albums are to be found in the band's oeuvre, including four on Sharp Nine, five for Criss Cross Jazz, four for the Japanese Venus label, and two live concert recordings. Indeed on the cusp of starting their third decade together as a band, this fittingly titled set brings into focus all of the best qualities of these gentlemen, including their composing talents and singular musical voices. It also happens to be their first new release in five years.

The proceedings open with the Steve Davis original "Easy." Those crisp snare hits from drummer Joe Farnsworth announce that we are indeed in for a pleasurable ride. The warm timbre of the three-piece horn section is a trademark of this unit and it's all here to enjoy from the very first note. The tempo picks up with David Hazeltine's "Buddy," a tribute to his mentor and fellow pianist Buddy Montgomery. The sprightly bossa tempo brings some joyous shouting from trumpet ace Jim Rotondi.

Hazeltine is also responsible for the cheery arrangement of "It's Easy to Remember" and another tribute in the guise of "K-Ray." Dedicated to recently deceased drummer Killer Ray Appelton, this one is a brisk and swinging ditty that finds Farnsworth in all his glory. Particular attention should be paid to the sound the drummer achieves. His toms are tuned high and his ride cymbal has a nice, dry ping, all of which are individualistic and very pleasing. His solo statements are articulate and engaging and never wear out their welcome.

Both Davis' "Daylight" and Eric Alexander's "Frenzy" are ebullient numbers that bristle with excitement. The former speaks with a jaunty Latin-esque voice while the latter is straight ahead swing buoyed by John Webber's rock solid bass lines. For Rotondi's contributions, there's the 16th note groove of "For Curtis" and the long-lined "Ruth," both of which settle into a pleasurable platform for soloing. Although it goes without saying, both Davis and Rotondi are chock full of great ideas and say much over the course of their many solos.

Alexander, Davis, Hazeltine, and Rotondi have largely served as the band's main arrangers/writers over the course of the band's history. It is then a pleasure to find that this date marks the first time all six members contribute to the program. Webber's "Babataya" recalls some of the funky gems from the Blue Note era, such as Lee Morgan's "Party Time." Farnsworth's "Hey,Stevie-D" makes for a fine shuffle that puts Alexander in the mood to strut his stuff. And speaking of Alexander, his gorgeous ballad "Ghost Ride" serves as moment of calm in an otherwise pretty upbeat session.

Over the course of The Third Decade's eleven generous tracks, we get to hear a well-honed machine operating at peak power. Even though distances often keep these six gentlemen apart, one can only hope their new home at Smoke Sessions will provide for further releases and the we won't have to wait another five years before the next one.By C. Andrew Hovan
https://www.allaboutjazz.com/the-third-decade-one-for-all-smoke-sessions-records-review-by-c-andrew-hovan

Personnel: Jim Rotondi: trumpet & flugelhorn; Eric Alexander: tenor saxophone; Steve Davis: trombone; David Hazeltine: piano; John Webber: bass; Joe Farnsworth: drums

The Third Decade

Artistry Jazz Group - Tribute!

Styles: Vocal And Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 70:31
Size: 162,0 MB
Art: Front

(3:50)  1. Palo Alto
(4:04)  2. Shirley Steps Out
(5:14)  3. Last Night When We Were Young
(4:08)  4. Bijou
(3:02)  5. Up an' Atom
(6:08)  6. Lost in a Summer Night
(2:55)  7. The Bad and the Beautiful
(2:44)  8. Undercurrent Blues
(5:13)  9. The Man that Got Away
(3:57) 10. Fantasy
(6:34) 11. As You Are
(6:58) 12. The St. Vitus' Dance
(5:31) 13. Changing My Tune
(6:00) 14. Lotus Blossom
(4:06) 15. Boplicity

An absolute gem, featuring some of the best players in Scandinavia in an extremely well thought-out program of music, paying tribute to "musicians and artists who shaped new sounds and ideas." It's the brainchild of independent record producer Torgil Rosenberg and pianist Jan Lundgren. Three top Swedish musicians, Peter Asplund on trumpet, Klas Lindqvist on alto sax and clarinet, and Janne Bengtsson on flute, join Lundgren's already all-star Artistry group, filling out the sound on selected numbers. The choice of musicians and composers receiving tribute is highly eclectic, ranging from alto saxophonist Lee Konitz, pianist Horace Silver, trumpeter Miles Davis and big band leader Stan Kenton to singer June Christy, Swedish composer/pianist Nils Lindberg (paired with US bassist Red Mitchell, who lived in Sweden for many years) and composers George Gershwin and Billy Strayhorn. The album opens with reed multi-instrumentalist Jimmy Giuffre's arrangement of Lee Konitz's marvelous post bop piece, "Palo Alto," on which Lundgren solos superbly. It continues with Mel Powell's quirky "Shirley Steps Out," with reed man Klas Lindqvist taking solo honors.

Vocalist Vivian Buczek is a revelation, displaying full-fledged confidence and a maturity only hinted at in her previous recordings with the group. She performs great versions of Harold Arlen's bittersweet "Last Night When We Were Young" and George Gershwin's "Changing My Tune," switches with consummate ease from Queen of Cool June Christy to Judy Garland, albeit singing the best, bluesiest song in Garland's book, "The Man That Got Away," written by Harold Arlen and Ira Gershwin for the 1954 film A Star Is Born.  Buczek does her best with the rather dated "back to nature" lyrics of Lindberg and Mitchell's "As You Are" and turns in a fine wordless vocal on "Undercurrent Blues," by Chico O'Farrill whose arrangements ushered King of Swing Benny Goodman, somewhat unwillingly, into the bebop era.

She also chooses the closer, going for Miles Davis' "Boplicity" and handling Ray Passman and Holli Ross' high-speed "Bebop Lives" lyrics with great aplomb. Hollywood composer David Raskin's "The Bad And The Beautiful" is one of two outstanding solo outings by Lundgren. The other is a lovely, lingering interpretation of Billy Strayhorn's "Lotus Blossom."  Guitarist Jacob Fischer's solo does wonders for "Fantasy" by Prince of Pretension Stan Kenton (based on a piece by classical composer Maurice Ravel), while Hans Backenroth plays some terrific bass on Horace Silver's "The St. Vitus' Dance." Only rarely do albums come any better than this.By Chris Mosey http://www.allaboutjazz.com/tribute-jan-lundgren-volenza-review-by-chris-mosey.php

Personnel: Jan Lundgren: piano;  Vivian Buczek: vocal;  Jacob Fischer: guitar;  Hans Backenroth: bass;  Johan Löfcrantz Ramsay: drums;  Peter Asplund: trumpet, flugelhorn;  Klas Lindqvist: alto sax, clarinet;  Janne Bengtsson: flute.

Tribute!

Jon De Lucia - The Brubeck Octet Project

Styles: Saxophone Jazz
Year: 2024
Time: 49:29
File: MP3 @ 320K/s
Size: 114,4 MB
Art: Front

(0:38) 1. Curtain Music
(4:17) 2. Love Walked In
(4:05) 3. Fugue on Bop Themes
(4:29) 4. Let's Fall In Love
(5:58) 5. IPCA
(6:20) 6. September in the Rain
(5:17) 7. I Hear A Rhapsody
(2:57) 8. The Way You Look Tonight
(4:39) 9. Prelude
(4:12) 10. What Is This Thing Called Love
(5:54) 11. Love Me or Leave Me
(0:37) 12. Closing Theme

Synchronicity is a wondrous thing. Item: At around the same time that Albert Ayler was developing his sound in the U.S.A., the Ethiopian tenor saxophonist Getatchew Mekurya was forging a strikingly similar one in Addis Ababa. Neither player had heard the other, and Mekurya had never heard any jazz at all. Feel the Force?

Rewind a decade or so and we encounter another space/time portal, this one connecting the U.S.A.'s East Coast and West Coast. In New York, in 1949-50, Miles Davis was fronting a nonet whose 78rpm singles were later compiled on the album Birth Of The Cool (Capitol, 1957). In Oakland, in 1948-49, Dave Brubeck was leading an octet whose 78rpm singles were later compiled on the album Dave Brubeck Octet (Fantasy, 1956).

The Davis and Brubeck bands were both exploring an approach to jazz that eschewed the heated intensity of bop. Both were experimenting with new, classically influenced harmonies and ensemble voicings. There was one significant difference between them: Davis' band, in the main, played original compositions, and Brubeck's, in the main, played covers, albeit harmonically, and often rhythmically, reimagined. (The Davis/Brubeck and Ayler/Mekurya parallels are not analogous in another way, since Davis and Brubeck would have known through the grapevine what each other was up to and must almost certainly have heard at least some of each other's recordings. But feel the Force or what?)

Fast forward seven decades, and the alto saxophonist Jon De Lucia has put together another octet, with Brubeck's instrumentation, this time on the East Coast. The band revisits twelve of Brubeck's scores. De Lucia has expanded Brubeck's original arrangements while retaining their spirit and he has done a beautiful job. The Brubeck Octet Project retains the vibe of the original recordings, being deliciously anachronistic while simultaneously modern (or perhaps that should be timeless), and the players (see Personnel) are on a par with the 1948-49 lineups.

Audio quality is far richer and has considerably more presence than the indifferent sound of Brubeck's original tracks (check the YouTube below). The Brubeck Octet Project by no means cancels out Dave Brubeck Octet, but it seems probable that anyone who enjoys the earlier album will enjoy this 2024 salute.By Chris May
https://www.allaboutjazz.com/the-brubeck-octet-project-jon-de-lucia-museum-clausum

Personnel: Jon De Lucia - Alto Saxophone, Leader; Brandon Lee - Trumpet; Scott Robinson - Tenor Saxophone; Becca Patterson - Trombone; Jay Rattman - Baritone Saxophone and Clarinet; Glenn Zaleski - Piano; Daniel Duke - Bass; Keith Balla - Drums

The Brubeck Octet Project

Wednesday, November 20, 2024

Diana Panton - Solstice/Equinox

Styles: Vocal
Year: 2017
Time: 64:44
File: MP3 @ 320K/s
Size: 150,9 MB
Art: Front

(4:42) 1. They Say It's Spring
(6:14) 2. The Heather On The Hill
(4:10) 3. Up Jumped Spring
(4:21) 4. That Sunday, That Summer
(6:25) 5. Estate
(6:06) 6. Manhattan
(4:38) 7. La Fin Des Vacances
(4:47) 8. September In The Rain (Septembre Sous La Pluie)
(4:39) 9. Tis Autumn
(5:36) 10. Septembre
(4:49) 11. Cloudy Morning
(3:37) 12. I Like Snow
(4:32) 13. By The Fireside

Diana Panton is one of the brightest lights on the jazz scene today. Her work has been consistently praised by listeners and music critics alike for her ethereal vocals, exceptional song selection and raw emotional intensity.

Panton's keen aesthetic sense attracted the attention of some of the jazz world's most respected masters, including Don Thompson (Officer of the Order of Canada) and Reg Schwager (Member of the Order of Canada) who together form her regular trio. "When the great singer Sheila Jordan said, Diana Panton 'sounds like the sweetest bird you'll ever hear', she helped define some of the ephemeral delicacy that marks Panton as unique." (Stuart Broomer, Toronto Life)

Before recording her first album, Panton completed an Honours Master's degree in French literature and fulfilled a teaching engagement at the University of Paris (France), followed by a position as a French Sessional Lecturer at McMaster University (Canada). She studied art in Paris and currently teaches French Immersion Art at Westdale Secondary (Canada).

When the time finally arrived to release her first solo album (2005), the late great Montreal jazz critic Len Dobbin called ...yesterday perhaps one of the finest debut CDs he had heard in years! It landed Diana on the covers of VIEW and NOW Magazine and the album made NOW's TOP 10 Discs of the Year. The album was also awarded a Silver Disc Award upon its release in Japan in 2011.

Since her initial CD release, Panton’s impressive catalogue of internationally acclaimed self-produced albums have garnered numerous honours, including two JUNO wins, a second Silver Disc Award in Japan, seven JUNO nominations, nine Hamilton Music Awards, a host of National Jazz Award nominations, Canadian and American Independent Music Award nominations, including Best Audiophile Recording at the Rocky Mountain International HiFi Press Awards. Panton was a first-place jury-selection to perform at the Jazz à Juan Révélations in France where she was voted Première Dauphine by the Juan public.

Panton’s albums have topped the charts on Amazon and iTunes in Canada and the US, the HMV chart in Hong Kong and Japan and Books.com in Taiwan. I Believe in Little Things charted simultaneously on Billboard's Jazz and Children's Music Charts and went to Number 1 on Amazon.com's Movers and Shakers Chart for the highest percentage increase of sales (in any genre) within a 24-hour period, following an interview on NPR. Her albums have made the year-end lists of ICI Musique, NOW Magazine, Library School Journal, The Hamilton Spectator, DownBeat Magazine, etc.

Panton’s much-anticipated blue release (2022) is the final chapter in a trilogy of works that began with pink (2009 / Silver Disc Award Winner in Japan), followed by RED (2015 JUNO Winner). The release dates span over a decade and chart an ultimately ill-fated relationship. Lauded for her exceptional song selection, blue showcases Panton at the height of her interpretive powers. Don Thompson sculpts bespoke arrangements around Panton's emotive vocals, featuring stirring accompaniment by the renowned Penderecki String Quartet, plus bassist Jim Vivian with spectacular solos by Phil Dwyer, Reg Schwager and Thompson himself. Listeners who appreciate musical excellence and feeling in music will be rewarded.

Panton is the recipient of a 2022 Hamilton Arts Creator Award nomination, a 2019 Significant Person Award (Hamilton), a 2018 Westdale Wall of Distinction inductee, the 2017 Woman of Distinction in Arts/Culture/Design by the Hamilton YWCA, the 2017 OSSTF Wayne Clark Teaching Award, a 2017 Hamilton Wentworth District School Board's Profiling Excellence distinction, the 2016 Hamilton Arts Award for Music. She has been a featured host on CBC Radio. Previous Tonic radio host Tim Tamashiro named her one of Canada’s TOP 5 Jazz Vocalists and the listenership at JAZZ.FM voted Panton onto their list of the Top 25 of Canada's Most Significant Jazz Musicians.
https://www.allaboutjazz.com/musicians/diana-panton/

Solstice/Equinox

Artistry Jazz Group - Too Darn Hot: Together With Cole Porter

Styles: Vocal And Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 72:24
Size: 168,1 MB
Art: Front

(5:00)  1. Anything Goes
(5:05)  2. You Do Something To Me
(4:42)  3. What Is This Thing Called Love?
(4:25)  4. You're The Top
(5:02)  5. In the Still Of The Night
(4:19)  6. At Long Last Love
(4:39)  7. Down In The Depths of The Ninetieth Floor
(5:30)  8. Dream Dancing
(4:13)  9. Too Darn Hot
(4:40) 10. After You, Who?
(4:48) 11. All Through The Night
(4:39) 12. It's All Right With Me
(4:28) 13. I Concentrate On You
(4:42) 14. From This Moment On
(6:07) 15. I Happen To Be in Love

Laid back, elegante and personal, Cole Porter is celebrated by the pianist Jan Lundgren together with musicians from the Swedish jazz elite. A comprehensive booklet is included, with images and stories of Cole Porter and the 15 songs. Timelessness is about the hardest thing to accomplish. As well as creating something new and unique out of music and worldfamous artists that already have been played, celebrated and interpreted in a numerous of ways. That does not stop the Artistry Jazz Group from undertaking Cole Porter, in a pearl gallery of songs from Porter's great treasury. Count on a virtous jazz experience thanks to renowned musicians such as the pianist Jan Lundgren, the bass player Hans Backenroth, the guitarist Jacob Fischer, the drummer Johan Löfcrantz Ramsay and the big discovery; vocalist Vivian Buczek.

The album is a sequel to last years success album We Like Previn, where the same constellation, at that time under the name of The Swedish Connection, interpreted André Previn  with excellent reviews both in Sweden and abroad. As with the previous album, Too Darn Hot comes with a ambitious and comprehensive booklet with stories about the composer, the selected songs and the musicians. Information that brings the listening and enjoyment to an extra dimension. http://www.volenza.se/en/music/ajg/too-darn-hot

Personnel: Jacob Fischer (guitar); Jan Lundgren (piano); Johan Löfcrantz Ramsay (drums); Vivian Buczek (Vocal);Hans Backenroth (bass).

Too Darn Hot: Together With Cole Porter

Stella Cole - Stella Cole

Styles: Vocal Jazz
Year: 2024
Time: 47:05
File: MP3 @ 320K/s
Size: 108,7 MB
Art: Front

(4:31) 1. The Boy Next Door
(4:18) 2. P.S. I Love You
(2:42) 3. (Love Is) The Tender Trap
(4:44) 4. My Foolish Heart
(4:32) 5. Over the Rainbow
(3:59) 6. Detour Ahead
(3:37) 7. Moon River
(3:21) 8. My Future
(3:29) 9. When the Sun Comes Out
(3:06) 10. Walking in the Sunshine
(4:52) 11. Blame it On My Youth
(3:49) 12. On the Street Where You Live

Beginning with an impromptu a cappella clip of “Over the Rainbow,” Stella Cole has become a global viral sensation for simply doing what she has been passionate about her whole life - singing songs from the Great American Songbook. Buoyed in part by her weekly livestream concerts on Tiktok from 2020 to 2022, the multi-talented singer’s ever-growing numbers both embody and defy every superlative cliché (staggering, mind blowing, through the roof). Her most viral singing video has a whopping 27 million views. With a combined social media following of over 1.6 million, Stella has caught the attention of superstars David Foster, James Taylor, Michael Buble, John Mayer and Meghan Trainor.

Countless devoted fans from social media flock to see her perform, many of them traveling cross country and overseas to attend her sold out headlining concerts around the world. She has performed in venues like Madison Square Garden, Carnegie Hall, The Kennedy Center, Birdland and the Cafe Carlyle. In 2023, she toured the United States, Australia and New Zealand with Scott Bradlee’s Postmodern Jukebox. She released a stylish, swinging rendition of Miley Cyrus’ “Flowers” with the group in 2023 to mass acclaim, racking up more than 6 million views. More.....https://www.stellacole.net/bio

Stella Cole

Monday, November 18, 2024

Monica Zetterlund - Diamanter

Styles: Vocal Jazz
Year: 2005
Time: 76:04
File: MP3 @ 320K/s
Size: 175,1 MB
Art: Front

(2:46) 1. En Man Mer Att Glomma
(3:13) 2. Folkvisa Ifran Satra
(4:09) 3. Dobeedobedo
(4:06) 4. Adagio
(2:54) 5. I Valet Och Kvalet
(4:24) 6. Trubblel
(3:35) 7. Soolaimon
(3:49) 8. Vad Vet Val Jag?
(1:29) 9. Zapovalsen
(3:20) 10. Du Mitt Liv
(3:04) 11. Hej, Man!
(3:41) 12. Pa Lyckans Smala Hav
(3:08) 13. Siv & Gunne
(2:56) 14. Du Som Stack eller Den Svenska Gymnastikens Betydelse
(4:11) 15. Lattillganglig Musik
(4:23) 16. Vart Tog Du Vagen?
(4:29) 17. Jungfru Maria
(2:35) 18. Elin I Hagen
(3:36) 19. Sa Skuggar Jag Dej
(3:20) 20. Sommarregn
(3:01) 21. Nu Ar Det Gott Attt Leva
(3:44) 22. Kom

Monica Zetterlund sang with Ib Glindeman's band in Denmark and saxophonist Arne Domnerus' band in Stockholm in 1957, recording with Domnerus beginning in 1958. She began performing abroad in the late '50s. In the United States, Zetterlund's credibility as a jazz singer rests largely upon Waltz for Debbie, a recording made in 1964 with pianist Bill Evans' trio. In addition to several solo records, she's also recorded with the Thad Jones-Mel Lewis orchestra (It Only Happens Every Time, 1977) and bassist Niels-Henning Ørsted Pedersen (This Is All I Ask, 1998), among others.

Her repertoire also incorporated such non-jazz idioms as Swedish folk songs and classical music. Zetterlund's celebrity transcended music; classically beautiful, she was also an actress in her native Sweden. She continued to perform until her death in May of 2005 after a fire broke out in her apartment.
By Chris Kelsey https://www.allmusic.com/artist/monica-zetterlund-mn0000589209#biography

Diamanter

Diana Panton - Red

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 61:30
Size: 141,3 MB
Art: Front

(6:13)  1. Say It (Over and Over Again) [feat. Phil Dwyer]
(4:00)  2. That's All (feat. Don Thompson)
(4:10)  3. You're the Top (feat. Reg Schwager)
(4:41)  4. You're My Thrill (feat. Phil Dwyer)
(4:32)  5. Make Yourself Comfortable (feat. Reg Schwager)
(3:34)  6. 24 Hours a Day (feat. Phil Dwyer)
(5:37)  7. The Island (feat. Phil Dwyer with strings)
(4:26)  8. Isn't That the Thing To Do (feat. Don Thompson)
(3:36)  9. Who Cares? (feat. Phil Dwyer)
(5:53) 10. Love Dance (feat. Reg Schwager)
(5:06) 11. I Know Why and So Do You (feat. Red Schwager)
(4:07) 12. I Only Love Because of You (feat. Don Thompson)
(5:29) 13. Amazing (feat. Don Thompson)

As a follow-up to her critically acclaimed pink album about the twists and turns of new love (2011 Silver Disc Award Winner in Japan), Diana Panton’s red album is an exploration about deeper love. Don Thompson's (Order of Canada) specially tailored string quartet arrangements, plus harp compliment Panton’s honest delivery, while Phil Dwyer’s saxophone (2012 JUNO Award Winner) underscores the sensuality of much of the album. There is also a delectable duet with bluesman Harrison Kennedy that has unbeatable chemistry! http://www.amazon.ca/Red-Diana-Panton/dp/B00EZ3WIW6

Personnel: Diana Panton – vocal; Don Thompson - piano, vibes; Reg Schwager – guitar; Phil Dwyer – saxophone; Jim Vivian – bass; Harrison Kennedy - vocal (track 5); Moshe Hammer - first violin; Praise Lam - second violin; Diane Leung – viola; Coenraad Bloemendal – cello; Erica Goodman - harp

Red

Doug Raney Quartet - Listen

Bitrate: MP3@320K/s
Time: 44:36
Size: 102.1 MB
Styles: Guitar jazz
Year: 1981/1994
Art: Front

[9:02] 1. Come Rain Or Come Shine
[5:51] 2. In A Sentimental Mood
[6:22] 3. Autumn Song
[8:24] 4. Don't Listen
[8:55] 5. Bird Feathers
[6:00] 6. Moment's Notice

Bass – Jesper Lundgård; Drums – Billy Hart; Guitar – Doug Raney; Tenor Saxophone – Bernt Rosengren. Recorded December 4, 1980.

The son of legendary guitarist Jimmy Raney, Doug Raney has understandably been heavily influenced by his father. He's an impressive soloist, and utilizes almost identical full tones, crisp chording, and fluid voicings. He made his first recording with his father and Al Haig in the mid-'70s, then did duo dates with his dad in the late '70s. Raney recorded for Steeplechase in the '70s and '80s, and Criss Cross in the '80s. He recorded with Chet Baker and Bernt Rosengren, and played in Horace Parlan's band. Raney has a couple of sessions available on CD. ~ Ron Wynn

Listen

Joan Chamorro & Friends - Tenor Summit

Styles: Swing, Jazz
Year: 2024
Time: 41:36
File: MP3 @ 320K/s
Size: 95,6 MB
Art: Front

(10:27) 1. After Supper
(10:12) 2. Anthropology
( 8:13) 3. Body and Soul
(12:43) 4. Blues Up and Down

Joan Chamorro's impact on the development of young jazz musicians within the region of Barcelona is truly remarkable. Small groups. Big bands. Instrumentalists and singers. He is a prime example of what highs a dedicated individual can achieve.

Joan Chamorro (1962) is a Catalan musician. He studied classical saxophone at the Barcelona Conservatory with Professor Adolf Ventas. Parallel studies at the conservatory, he obtained the title of Bachelor Superior Taller de Barcelona. Part of a band called Big Band musicians workshop, which operates in several European festivals.

In addition, working with the Big Band Bellaterra Big Band John Dubuclet, Big Band Jazz Terrassa, the Supercombo Eladio Reinón- Tete Montoliu Orchestra Radio Televisión Española, accompanies Manhattan Transfer and Stevie Wonder. Also working on several projects with the Orchestra of the Teatro Libre.

For a year, he collaborated with the theater group Comedians, with whom he performed at festivals in cities such as New York, Santiago, Paris, Venice ... Also played in most of the festivals that take place in Spain ( Barcelona, Terrassa, San Sebastian, Madrid ...). Has worked with renowned musicians such as Slide Hampton, Tete Montoliu, Frank Foster, Gary Smulyan, Dick Oatts, Bebo Valdés, Ralf Lalama, Teddy Edwards, Frank Wess, Jessy Devis, Dennis Rowland, Josep Maria Farràs, Perico Sambeat, Lluis Vidal, Randy Brecker, Carmen Lundy, David Mengual, David Xirgu Mike P. Mossman, John Mosca, Bart Van Lier, David Allen, Bobby Shew Judy Niemack and many more.

As far as musical tastes, he is also very interested in the music of the twenties and thirties (Bix Beiderbecke, Louis Armstrong, Sydney Becher, Adrian Rollins etc.) Currently leads a quintet ( Andrea Motis & Joan Chamorro Quintet) which is a tribute to the great composer and baritone saxophonist Gerry Mulligan; The Big Band Terrace, the Barcelona Jazz Orchestra, the Jazz Fumanchu Servants and supercombo Dani Alonso; and professor of the Taller and the School of Music in St. Andrew. www.jazz-clubs-worldwide.com

Tenor Summit

Sunday, November 17, 2024

Diana Panton - Blue

Styles: Vocal
File: MP3@320K/s
Time: 64:50
Size: 149,0 MB
Art: Front

(6:13) 1. Where Do You Start?/once Upon A Time
(4:01) 2. Yesterday
(3:42) 3. Without Your Love
(4:16) 4. Losing My Mind
(3:08) 5. This Will Make You Laugh
(4:33) 6. The Trouble With Hello Is Goodbye
(3:47) 7. I'm Gonna Laugh You Right Out Of My Life
(3:54) 8. To Say Goodbye
(5:22) 9. Meaning Of The Blues
(2:14) 10. I'll Only Miss Him When I Think Of Him
(5:52) 11. It's Always 4 Am
(5:08) 12. Just Sometimes
(2:17) 13. How Did He Look?
(3:27) 14. Nobody's Heart
(4:12) 15. Spring Will Be A Little Late This Year
(2:36) 16. You Are There

Two-time JUNO Award winner Diana Panton has established herself as one of the brightest lights on the international jazz scene, a songbird praised by listeners, musicians, and critics alike for her thoughtful song selection and emotional intensity. Diana is pleased to announce the October 28 release of her tenth album, blue.

Blue represents the culminating gesture in a musical narrative of romance that began with pink (2009 JUNO nominee in Canada and Silver Disc Award winner in Japan), followed by RED (2015 JUNO winner). With release dates spanning more than a decade, this trilogy charts the emotional arc of an ill-fated romantic relationship. The eponymous colours symbolically suggest content: pink is the infatuation of first-time love, RED, the passion of true love, and blue, the heartbreak and mystery of love lost.

"The release dates were deliberately spread over a decade from the first to the final album in the trilogy in order for the music to better reflect different stages in a relationship," says Diana Panton. "I knew that my voice and perspective would be more mature if I waited to record the blue album a little later in my life."

blue showcases Diana Panton, exuding confidence and completely in command of her interpretive powers. Her lustrous, evocative vocals are backed by the artistry of four longtime musical colleagues who made significant contributions to the beauty and passion of the RED album of 2015. The four include three Order of Canada honourees: tenor saxophonist Phil Dwyer C.M., guitarist Reg Schwager C.M., and pianist/arranger Don Thompson O.C., plus first-call bassist Jim Vivian. The sonic landscape of blue also features the extraordinary talents of the Penderecki String Quartet, who acquired their name in 1986 upon the invitation of the great Polish composer himself.

Diana Panton's tenth release is not a casual listen, but a penetrating delve into feelings that accompany the fragments of a broken relationship. "Where Do You Start?" shows that Panton knows precisely where to start, and that is by delivering the pure, unaccompanied poetry of her beautiful, clear voice with its bold superiority of interpretation and intonation. Pianist Don Thompson provides his own musical commentary to the quixotically titled "Where Do You Start?" and the pair segues into the haunting strains of the popular song from the '60s, "Once Upon a Time."

Highlighting his interpretative gifts as a composer/arranger and pianist, talents required to create the unfiltered emotive content permeating blue, is Don Thompson's work on "The Trouble with Hello is Goodbye." This song from the '70s showcases the Penderecki String Quartet's artistry, features a supremely emotive sax improv by Phil Dwyer, and underpins Diana Panton's uncomplicated, honest way with a musical phrase.

In "To Say Goodbye," Panton dips into the rich lower register of her vocal range to capture the profound sadness of the song's lyrics, an expression so true that the listener instinctively feels she is living every word. Also noteworthy is Diana Panton's interpretation of Norma Winstone's poignant lyrics for "Just Sometimes," inspiring another flawless solo from tenor saxophonist Phil Dwyer.

In command of a keen aesthetic sense, Diana Panton has attracted the attention of some of the jazz world's most respected masters. When legendary multi-instrumentalist Don Thompson first heard the nineteen-year-old Diana sing, with unabashed enthusiasm he urged her to audition for the renowned Banff Centre for the Arts Jazz Workshop. It was there that she studied under Norma Winstone, and, in subsequent visits, with Sheila Jordan and Jay Clayton.

When the time arrived for her to go into the recording studio, award-winning guitarist Reg Schwager was invited to join Don Thompson in laying down a collaborative sound that has proved to be, on all of her albums, the perfect setting for the delicate nuance of Diana's pure vocals. The late, great jazz critic Len Dobin called the product of that first session, ...yesterday perhaps, one of the finest debut albums he had heard in years.

Since the release of that first album in 2005, Diana Panton's career has gathered astounding momentum, drawing international acclaim for her nine albums and the impressive variety and quality of her catalogue of songs. The numerous honours garnered include JUNO Awards for RED in 2015 and I Believe in Little Things in 2017, two Silver Disc Awards in Japan, seven JUNO nominations, nine Hamilton Music Awards, and a host of National Jazz Award nominations and Canadian and American independent music award nominations.

I Believe in Little Things charted simultaneously on Billboard's Jazz and Children's Music charts and went to #1 on Amazon's "Movers and Shakers" chart, following an interview on NPR. The album received a four-star review in DownBeat magazine and was one of their Best Albums of 2016. Panton's albums have made the year-end lists of ICI Musique, NOW Magazine, Jazz Critique Magazine, the Montreal Mirror, and DownBeat, among others, and, in addition to reaching #1 on Amazon and iTunes in Canada and the US, have made bestseller lists in Hong Kong, Japan, and Taiwan.
By Michael Major https://www.broadwayworld.com/bwwmusic/article/Diana-Panton-Announces-New-Album-blue-20220912

Personnel: Diana Panton – Vocals, Producer; Phil Dwyer – Saxophone; Reg Schwager – Guitar; Don Thompson – Piano, Arranger; Jim Vivian – Bass; Penderecki String Quartet:; Jerzy Kaplanek – Violin; Jeremy Bell – Violin; Christine Vlajk – Viola; Katie Schlaikjer – Cello

Blue

Doug Raney Quartet - Raney '96

Bitrate: MP3@320K/s
Time: 67:23
Size: 154.3 MB
Styles: Guitar jazz
Year: 1996
Art: Front

[7:34] 1. Giant Steps
[8:33] 2. Besame Mucho/The Dolphin
[7:45] 3. I Fall In Love Too Easily
[5:31] 4. Querido
[6:09] 5. Fried Pies
[8:19] 6. Moose The Mooche
[7:44] 7. Re Person I Knew
[8:23] 8. I Loves You Porgy
[7:21] 9. Afro Blue

Bass – Lennart Ginman; Drums – Herlin Riley; Guitar – Doug Raney; Piano – Ben Besiakov. Recording Date: July, 1996.

The son of the late great Jimmy Raney, Doug carries on the tradition in his own way. Here, the Denmark-based guitarist is supported by pianist Ben Besiakov, bassist Lennart Ginman and drummer Herlin Riley. Fluent and swinging, Raney deftly negotiates the myriad harmonies of both “Giant Steps” and “Moose The Mooch,” a rhythm changes workout that features some especially hip, dissonant comping by Besiakov. On Pat Martino’s Latinesque “Querido” and Wes Montgomery’s swinging “Fried Pies,” he not only demonstrates his ability to blow over disparate grooves, but also salutes two of his biggest influences. “I Fall In Love Too Easily” and “I Loves You Porgy” provide the ballad portion of the program and suggest that melodic gifts may at least be partially genetic. Beautiful work from one of the instrument’s most underrated players.By Jim Ferguson

Raney '96

Edith Piaf, Jacqueline François, Charles Aznavour, Yves Montand - Paris Chante ... Paris Sings ...

Styles: Chanson
Year: 2024
Time: 62:20
File: MP3 @ 320K/s
Size: 144,7 MB
Art: Front

(2:20) 1. Non, je ne regrette rien
(2:17) 2. For Me... Formidable
(2:33) 3. Paris canaille
(1:27) 4. Paris à la nuit
(4:29) 5. Milord
(3:39) 6. Tu t'laissez aller
(2:28) 7. La goulante de Paris
(3:19) 8. Ce jour-là à Paris
(3:09) 9. La vie en rose
(2:07) 10. C'est si bon
(2:30) 11. La Seine
(3:20) 12. Les feuilles mortes
(2:30) 13. Jolies mômes de mon quartier
(3:15) 14. Padam, Padam
(2:07) 15. Quand tu m'embrasses
(2:59) 16. Hymne à l'amour
(2:25) 17. La Marie-Vison
(3:09) 18. Les amants de Paris
(3:49) 19. Les deux guitares
(2:28) 20. L'air de Paris
(3:09) 21. Paris se regarde
(2:40) 22. Paris

Paris chante ... Paris sings ...

Tuesday, November 12, 2024

The Modern Jazz Quartet - Lonely Woman

Bitrate: MP3@320K/s
Time: 43:23
Size: 99.3 MB
Styles: Bop
Year: 1962/2000
Art: Front

[6:15] 1. Lonely Woman
[4:00] 2. Animal Dance
[7:52] 3. New York 19
[3:50] 4. Belkis
[6:30] 5. Why Are You Blue
[2:43] 6. Fugato
[6:26] 7. Lamb, Leopard
[5:43] 8. Trieste

Having sponsored Ornette Coleman at the School of Jazz near Lennox, MA, pianist and composer John Lewis helped launch the controversial career of one of the last great innovators in jazz. Lewis' support of the ragtag Texas native was somewhat unique in jazz circles at the time and even surprising, especially considering the gulf between the classical jazz formality of his group the Modern Jazz Quartet and Coleman's radical notions of free improvisation. Nevertheless, Lewis not only saw in Coleman the first jazz genius since bebop's Parker, Gillespie, and Monk, but put pay to the praise with the MJQ's 1962 rendition of one of Coleman's most famous numbers, "Lonely Woman." (Along with Art Pepper's 1960 version of "Tears Inside," this was one of the earliest of Coleman covers done.) The 1962 Atlantic album of the same name turns out to be one of the band's best efforts. Lewis and fellow MJQ members Milt Jackson, Percy Heath, and Connie Kaye capitalize on the dramatic theme of "Lonely Woman" while adding a bit of chamber music complexity to the mix. The quartet doesn't take Coleman's free form harmolodic theory to heart with a round of quixotic solos, but the group does spotlight the often overlooked strength of his compositional ideas. And while the MJQ further plies its knack for involved pieces on Lewis originals like "Fugato" and "Trieste," the group also balances out the set with looser material more in tune with Jackson's blues and swing sensibilities. A great disc that's perfect for the curious jazz lover. ~Stephen Cook

Lonely Woman

Monday, November 11, 2024

Aaron Goldberg - The Now

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 53:21
Size: 123,8 MB
Art: Front

(6:47)  1. Trocando Em Miudos
(5:02)  2. Yoyo
(5:02)  3. The Wind In The Night
(2:47)  4. E-Land
(5:17)  5. Perhaps
(4:55)  6. Triste Baía Da Guanabara
(2:48)  7. Background Music
(6:22)  8. Francisca
(6:16)  9. One's A Crowd
(8:00) 10. One Life

Hailed by Down Beat magazine for his quick-witted harmonic reflexes, fluid command of line and cut-to-the-chase sense of narrative logic, Aaron Goldberg has made his name as one of jazz s most compelling pianists, both as a bandleader and frequent collaborator with Joshua Redman, Wynton Marsalis, Kurt Rosenwinkel, Guillermo Klein and many more. On his new release The Now, Goldberg reunites with bassist Reuben Rogers and drummer Eric Harland, the virtuoso rhythm team going all the way back to his 1998 debut Turning Point. On their fifth outing together, the trio foregrounds a central truth about the art of playing jazz: that no two performances will be the same because the music is created, in Goldberg s words, in the dynamic plane of the present.

A jazz record is literally one moment in time, Goldberg explains. Each song captures those five minutes, and not more. This is especially counterintuitive when you think about iconic jazz recordings like Kind of Blue, where we can all sing every solo. That record would sound totally different, we d all be singing different solos, if it d been recorded five minutes later or even five seconds later. That aspect of jazz is what makes it magical for me. I think every time you make an album you contribute to this illusion that jazz operates like other forms of music, where you figure out the song, you practice it, you play it a million times, then you record the definitive version. Jazz doesn t work like that, and I felt it was time to explicitly wrestle with this in some thematic way. In every idiomatic zone from Brazilian ballads to roaring bebop, Goldberg and the trio have a way of spontaneously sculpting every bar as it flows by, like a wave on a river. That Rogers and Harland have also spent the last few years working with master saxophonist Charles Lloyd has deepened their communication and subtlety beyond measure. With Goldberg, they revel in the lesser-explored corners of jazz repertoire, bringing wit, explosive chops and also keen understatement to bear on the music at hand.~ Editorial Reviews http://www.amazon.com/The-Now-Aaron-Goldberg/dp/B00OUGOE1Q

The Now

Klas Lindquist - Handle with Care

Styles: Saxophone Jazz
Year: 2024
Time: 67:05
File: MP3 @ 320K/s
Size: 154,5 MB
Art: Front

(5:31) 1. My Old Flame
(6:32) 2. Tea for Two
(6:19) 3. Prelude to a Kiss
(6:20) 4. The Day We Met
(6:13) 5. The Man with a Horn
(6:27) 6. Cry My a River
(6:23) 7. Bernadette
(6:25) 8. Stardust
(5:03) 9. Cherokee
(3:09) 10. Days of Wine and Roses
(4:55) 11. Sweet Pumpkin
(3:43) 12. Come Sunday

Considered one of "Sweden's most exciting jazz musicians," by the Goteborgs Posten, a major Swedish-language daily newspaper published in Gothenburg, Sweden, Klas Lindquist delivers his fifth album as leader with the intimate and sophisticated Handle with Care. As pianist Champian Fulton states in the liner notes, the album, "Spotlights Klas Lindquist as a soloist with a voice and perspective all his own." She essentially hits the nail on the proverbial head in describing the saxophonist's work on the recording, which is pronounced, powerful and penetrating.

A follow up to his well-received Alternate Source of Energy (Yellow Car Records 2023) with his much-regarded nonet, garnishing the recognition of Sweden's number one jazz album of 2023, it was one of several albums the leader recorded with an ensemble of nine musicians. On this session, Lindquist returns to a smaller intimate format and records with a quartet of fellow countrymen featuring pianist Leo Lindberg guiding a seasoned rhythm section of Niklas Fernqvist and drummer Daniel Fredriksson.

On tap, are only two originals with the majority of the twelve tracks featuring familiar standards from the likes of Duke Ellington, Hoagy Carmichael, Henry Mancini, and Ray Noble among others. The leader's beautiful solos begin on the opening Arthur Johnston/ Sam Coslow classic "My Old Flame," and progress on the oft-recorded Vincent Youmans/Caesar standard "Tea for Two." He treats Ellington's "Prelude to a Kiss" tenderly before presenting his first original, "The Day We Met," peppered with plenty of high notes a terrific piece of bop.

Perhaps the defining piece of the album is Lindquist's rendition of the Bonnie Lake/Jack Jenney dynamite number "The Man with a Horn," made popular by Lou Donaldson, Eric Alexander and others. This take of the standard must be compared favorably to the others and considered as one of the top versions ever recorded. Pianist Lindberg weighs in quite nicely on the American torch song from Arthur Hamilton, "Cry Me A River," as Lindquist sounds off in accompaniment of his pianist.

The two musicians do it again on "Bernadette" with Lindberg laying down some nice Bill Evans like key work as the saxophonist displays his chops in a call and response moment making this piece of music wonderful to hear. The music slows down a bit on the stylish Carmichael composition "Stardust" for a delicate and mellow take on this familiar standard. Nobel's recognizable melody of "Cherokee" brings out the bassist and drummer in a more pronounced role on the shortest but perkiest tune of the album.

The immortal Henry Mancini standard "The Days of Wine and Roses" is truly another winner with Lindquist and the band, playing off each other in one cohesive manner demonstrating just how good this group truly is. "Sweet Pumkin" and Ellington's spiritual ballad "Come Sunday," brings the music to a graceful finish. What may not be finished, however, is the favorable impression one may have after only one listen to Klas Lindquist's brilliant Handle with Care.
By Edward Blanco https://www.allaboutjazz.com/handle-with-care-klas-lindquist-self-roduced/

Personnel: Klas Lindquist - alto saxophone; Leo Lindberg - piano; Niklas Fernqvist - bass; Daniel Fredriksson - drums

Handle with Care