Eliane Elias - Eliane Elias Plays Jobim

Styles: Vocal And Piano Jazz
Year: 1989
Time: 58:02
File: MP3 @ 320K/s
Size: 132,9 MB
Art: Front

(4:46) 1. Waters Of March / Agua De Beber
(4:25) 2. One Note Samba
(3:00) 3. Don't Ever Go Away (Por Causa De Voce)
(3:03) 4. Sabiá
(5:11) 5. Passarim
(8:27) 6. Don't Ever Go Away
(6:32) 7. Desafinado
(5:31) 8. Angela
(8:52) 9. Children's Games
(5:46) 10. Dindi
(2:24) 11. Zingaro

This is not an album for those die-hard bossa fans. These popular Jobim tunes all were revisited by Elias with the goal of bridging the gap between Brazilian music and jazz; that goal was achieved. She affirms herself in this complex idiom, resulting in an album that can be enjoyed by any jazz connoisseur.

On this record, Elias responds successfully to all the challenges that come with interpreting a legendary artist like Jobim. Enriching Jobim's harmonies through her own musical wisdom, already in the album's first track ("Waters of March"/"Água de Beber"), she escapes from the trap of a conventional soothing rendition. Together with the talents of percussionist Naná Vasconcelos, she instills there a true Brazilian samba spirit, with its restless, somewhat aggressive quality. "Sabiá," usually recalled under Jobim's dense orchestration, receives a delicate ad-lib treatment that metamorphoses into a ballad.

"Desafinado," one of the best known Jobim tunes in America, may be the biggest surprise, with itsunstable jazz rhythm joined by creative re-harmonization. "Angela," a haunting, mysterious melody, is properly explored as a calm ballad. "Zíngaro," or "Retrato Em Preto E Branco," is faithful to its Brazilian sentiment in which a ballad feel menaces to take charge but is soon substituted by a typically Brazilian melancholy. "Samba de Uma Nota Só," in a funky interpretation, is not recognizable until they come to the bridge.

Then a samba feel takes place, with hot solos and cuíca interventions with the jazzy drumming of deJohnette's enriching the overall pancultural result. The album closes with Elias singing "Don't Ever Go Away" with her heartfelt tone backed by a piano that betrays the classical music tradition inherent to the formation of the Brazilian sensitivity. By Alvaro Neder
https://www.allmusic.com/album/eliane-elias-plays-jobim-mw0000315237#review

Personnel: Piano, Voice – Eliane Elias; Bass – Eddie Gomez; Drums – Jack DeJohnette

Eliane Elias Plays Jobim

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Roseanna Vitro - Tell Me The Truth

Size: 139,6 MB
Time: 60:05
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. On Your Way Down (5:56)
02. Walkin' After Midnight (4:25)
03. Respect Yourself (5:54)
04. Your Mind Is On Vacation (5:10)
05. I'll Be Long Gone (7:09)
06. Foolin' Myself (5:51)
07. Tell Me The Truth (5:21)
08. When Will I Be Loved (4:23)
09. Fortunate Son (5:26)
10. A Healing Song (5:57)
11. I'll Fly Away (4:27)

It is completely fitting that vocalist Roseanna Vitro conceive of and release a recording devoted to the music of the American South. But, this is not just any thoughtlessly- assembled concept recording. Vitro is the master of intelligently programmed and produced thematic albums as evidenced by: Catching Some Rays: The Music of Ray Charles (Telarc, 1997); The Time of My Life: Roseanna Vitro Sings the Songs of Steve Allen (Seabreeze, 1999); Conviction: Thoughts of Bill Evans (A Records, 2001); The Delirium Blues Project: Serve or Suffer (Half Note Records, 2008); The Music of Randy Newman (Motema, 2011); and Clarity: Music of Clare Fischer (Random Act, 2014). At best, these are not subjects one would expect addressed on a jazz recording. That said, Vitro, and husband/producer Paul Wickliffe, have made a creative habit of envisioning and producing such unlikely, and well-executed projects.

A native of Hot Springs, Arkansas, Vitro is part of a rich local musical tradition that included Johnny Cash, Bob Dorough, Glenn Campbell, Al Green, Levon Helm, among others. Her Southern bona fides are beyond question. But "Southern Music" describes a diffuse expanse of material. This is where Vitro is at her programming best. In all her similar projects, she resists the obvious. She proves this by kicking off Tell Me the Truth with Allen Toussaint's "On Your Way Down," a darkly-colored classic covered by Little Feat, Gov't Mule, and Phish, among many others. In Vitro's hands, this menacing, New Orleans Gris Gris is transformed into an upbeat, Latin-inflected tome on humility when especially gifted. Pianist Mark Soskin provides a sharp arrangement that features guitarist Mitch Stein in an assertive and distorted guitar solo and saxophonist Tim Ries waxing R&B on tenor.

While Patsy Cline's "Walkin' After Midnight" has been covered by other jazz vocalists (Patrice Jegou, Livia Devereux, Lawrence Lebo, Tierney Sutton; Kari Gaffney), Vitro injects a breezy, strolling quality to the song. She sings with a soulful abandon steeped in the jazz tradition. Vitro shares duet singing duties with Al Chestnut on the Staple Singers' "Respect Yourself" and trio duties with Kate McGarry and Cindy Scott (with one Sara Caswell on violin) on Eli Yamin's "A Healing Song, all with festive results. Creedence Clearwater Revival's "Fortunate Son" in transmuted into a 21st Century jazz anthem. Vitro finds much common ground with Mose Allison on the latter's "Your Mind is on Vacation," at the same time turning the soul meter on Boz Scagg's "I'll Be Long Gone." Roseanna Vitro should be rightly heard as one of our leading jazz vocalists today. Her track record of smartly programmed recordings is ample evidence of this. Tell Me the Truth is a valuable addition to her continuing contribution to jazz vocals. By C.Michael Bailey

Personnel: Roseanna Vitro: vocals, arrangements; Mark Soskin: piano, group and horn arrangement; Dean Johnson: bass; Rudy Royston: drums; Mitch Stein: guitars; Tim Ries: saxophone; Nathan Eklund: trumpet; Al Chestnut: vocals (3); Sara Caswell: violin (10); Kate McGarry: vocals (10); Cindy Scott: vocals (10).

Tell Me The Truth

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Sara Schoenbeck & Wayne Horvitz - Cell Walk

Styles: Avant-Garde Jazz, Chamber Jazz, Free Improvisation
Year: 2020
Time: 64:45
File: MP3 @ 320K/s
Size: 148,7 MB
Art: Front

(3:49) 1. Undecided
(2:11) 2. Twining
(4:18) 3. No Blood Relation
(3:00) 4. Long Wing
(2:26) 5. 3 Places in Southern California
(6:37) 6. The Fifth Day
(3:31) 7. Deep Well Well
(2:14) 8. Tin Palace
(3:37) 9. Cell Walk
(6:13) 10. Sutter St.
(3:07) 11. Laughter
(2:58) 12. for Lou Harrison
(3:28) 13. Sleeper Ship
(5:58) 14. Ironbound
(3:58) 15. Marcuselle
(3:22) 16. We Will Be Silk
(3:50) 17. American Bandstand

The relationship between Sara Schoenbeck, one of the only bassoon practitioners to truly and successfully fold the instrument's sound into the realm of chamber jazz, and pianist Wayne Horvitz, a touchstone in creative music, has been documented in the past. The work of Horvitz's Gravitas Quartet, formed in 2004 and featuring Schoenbeck alongside trumpeter Ron Miles and cellist Peggy Lee, is but one indicator of the way those two have managed to meld the roaming and refined into a single concept; and the pianist's Some Places Are Forever Afternoon (Songlines Recordings, 2015), drawing inspiration from the work of poet Richard Hugo while adding guitarist Tim Young, bassist Keith Lowe and drummer Eric Eagle to the established foursome, is yet another, more forward look at how they connect. Both of those bands and formats suit the pairing, but neither one highlights it like this pared-down meeting.

Clearing away their comrades, Schoenbeck and Horvitz settle in for a collection of (mostly) miniatures that both rise to great heights and sink to dark depths, all the while showcasing synergy and sympathies of an extraordinary nature. The program includes spellbinding melodic drifts spied from a distance and sourced from the heavens, descents into catacombs echoing cacophonous lines, meetings with the proudly sedate, and curious turns of phrase that soothe and suggest multiple pathways. The music is never short on surprise, and it's always focused on a fine balance in voicing and vision(s).

Opening on "Undecided," a beautifully resigned gambol and glide across waters of reflection, and "Twining," which finds the bassoon wrapping a dark plait around stark piano, Schoenbeck and Horvitz immediately establish a duality in emotional expressions. As they continue exploring different nooks, what started out as that single, yin-and-yang split becomes ever more fragmented. The waltz-time flow of "No Blood Relation" is a source of comfort. The prickly and foreboding messages in "Long Wing" offer warnings. The propulsive "Tin Palace" drives Stravinsky-esque menace straight to the heart. And "For Lou Harrison," presumably dedicated to the contemporary classical composer, builds atop dancing and dizzying note pairs.

Eleven of these performances were recorded at Pyatt Hall in Vancouver, where Horvitz had the use of a beautifully-maintained Steinway D, and a follow-up session in Brooklyn added six more, all involving his addition of electronics. But the collected works play like one single statement and offer little to no hint of a split-session mentality. Whether paying a debt to Cecil Taylor with the title track, lending slow-flow paranoia form on "Sutter St.," entering the alien territory of "We Will Be Silk," or visiting the idyllic-turned-mysterious "American Bandstand," Schoenbeck and Horvitz operate as one, playing to the music and moment more than the spaces they inhabit.

Cell Walk, broaching fresh territory in multiple ways, suggests an unusually aligned sense of understanding shared between two unique artists. This is the rare case where the phrase "one of a kind" can be applied to the individual(s), the collective entity and its album all at once. Delivering music with incredible depth of presence, Sara Schoenbeck and Wayne Horvitz prove mesmerizing.
By Dan Bilawsky https://www.allaboutjazz.com/cell-walk-sara-schoenbeck-wayne-horvitz-songlines-recordings>

Personnel: Bassoon – Sara Schoenbeck; Piano, Electronics, Producer – Wayne Horvitz

Cell Walk

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Brenda Earle Stokes - Motherhood

Styles: Vocal And Piano Jazz
Year: 2024
Time: 55:14
File: MP3 @ 320K/s
Size: 127,9 MB
Art: Front

(5:00) 1. The Endless Wait
(4:25) 2. This Is Your Childhood
(4:54) 3. Who Am I Now?
(5:05) 4. Where Are the Mothers?
(6:35) 5. Kathleen
(6:51) 6. Loose Tooth Blues
(4:57) 7. Saying Goodbye
(8:11) 8. Sharp Edges
(5:24) 9. The Strength of a Woman
(3:48) 10. Happy Mother's Day

Motherhood is a salient subject if ever there was one. Yet few jazz musicians ever touch on it in their work, never mind dedicating an entire record to the topic. The real or keenly felt need to keep up with the Joneses in a musical atmosphere that typically applauds and promotes standard bearers, hyper-masculine happenings, politically charged firebrands, and cutting-edge quests doesn't leave much room for an honest and open-hearted look at the scope of selflessness and self-discovery involved with maternal matters. The truth is that it takes serious bravery and being real two things that are in surprisingly short supply nowadays to show yourself and share a good deal about this journey, and Brenda Earle Stokes is one of the seemingly few willing to go here.

Consciously or not, this Canadian-born, New York City-based pianist-vocalist-composer began to contemplate exploring motherhood through song as she captured thoughts, fragments and lyrics in a notebook while pushing her young son's stroller around her neighborhood. Eight years later, during a residency at the Banff Centre for Arts and Creativity, Stokes armed with her written musings, voice memos, perspective and experience(s) wrote eight compositions in nine days, essentially birthing this project.

Few stones are left unturned here as Stokes gives a candid look at motherhood in her own inimitable voice. "The Endless Wait" the opener, with some of the leader's most moving singing, plus ace trumpet work from Ingrid Jensen offers outward expression for the mind in pregnancy, contemplating possibilities, time and ties to the generations. In doing so it introduces confessional qualities in Stokes' songcraft that carry across the entire program.

Whether taking us through wonderful yet trying years of growth during "This is Your Childhood," processing identity at once lost, subsumed and discovered through parenting on the questioning "Who Am I Now?," exploring beauty and body issues (and society's role in aggravating and propagating both) in the gently flowing "Where Are The Mothers?," or the increased responsibilities and stresses that squeeze a woman with school-aged children on singer-songwriter gem "Kathleen," Stokes has a knack for removing blinders that a significant portion of the civilized world intentionally or willingly wears when it comes to matters of motherhood. And her bandmates Jensen, bassist Evan Gregor, drummer Ross Pederson, backing vocalists Melissa Stylianou and Nicole Zuraitis use their expertise to help flesh out her clear and communicative vision at every turn.

Weighty matters logically dominate this discourse, but Stokes has a real way of softening some of the blows and/or adding humor in her delivery. She uses "Loose Tooth Blues" as a hip trip into a second-grader's shoes, presents Mr. Potato Head as prime fodder in a talk of letting go and moving on during the emotion-raising "Saying Goodbye," and offers a rundown of modern society's ever-present dangers with humor-streaked, beat poet brilliance in "Sharp Edges." And when all of that is played, sung and done, there are the celebrations a supremely soulful "The Strength of a Woman" and laudatory "Happy Mother's Day" which elevate those who deserve to be on a pedestal ever so high in the sky. May this be the start of a jazz trend to recognize motherhood in all its truths, difficulties, joys and wonders.By Dan Bilawsky
https://www.allaboutjazz.com/motherhood-brenda-earle-stokes-self-produced

Personnel: Brenda Earle Stokes - voice and piano; Evan Gregor - bass; Ross Pederson - drums; Ingrid Jensen - trumpet; & Nicole Zuraitis - backing vocals

Motherhood

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