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

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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

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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

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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

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