Thursday, July 10, 2025

Teresa Luján - Sings Anita O'Day

Styles: Vocal Jazz
Year: 2021
Time: 46:09
File: MP3 @ 320K/s
Size: 106,9 MB
Art: Front

(2:52) 1. Fine and Dandy
(4:16) 2. Honeysuckle Rose
(5:45) 3. A Nightingale Sang in Berkeley Square
(3:15) 4. Sing, Sing, Sing
(2:46) 5. Pick Yourself Up
(5:36) 6. Somebody's Crying
(3:43) 7. Let's Face the Music and Dance
(3:19) 8. Four Brothers
(2:26) 9. Drum Boogie
(4:04) 10. Tenderly
(3:27) 11. Whisper Not
(4:34) 12. Tea for Two

"I saw Anita O'Day live in 1987, at Teatro Principal in Valencia. Her and clarinetist Buddy DeFranco were the guest artists in tour with Woody Herman’s Orchestra, which was then led by Frank Tiberi. I barely knewher then; she looked like a nice old grandma, but I wasn’t impressed. Almost 70 then, her best days were behind her. I discovered her little by little, thanks to the wonderful albums that I slowly managed to get my hands on, and to films like Jazz on a Summer’s Day (1960), where a hat with feathers, a pair of white gloves and a black cocktail dress became the iconic get-up that today we associated with her.

In any case, for those of us without ties to her and her times, her independent character, her defiance of apartheid, her addiction problems and her flashes of genius on stage feel very far away. For us, Anita O'Day means mainly a vocal style. A style that share with Billie Holiday the limitations of their tone and timbre —as well as the creative solutions to overcome them—, with Ella Fitzgerald the passion of rhythm, and with Mel Tormé the overwhelming imagination necessary to recreate well-known songs and turn theminto one surprise after another.

Teresa Luján is also an independent soul among us. A singer who spends her time teaching and investigating —she is one of the foremost experts in Tete Montoliu when she decides to face an audience, it is always after careful consideration of the project. She is not particularly keen on experimenting, butwhen she looks back in search of inspiration, there isn’t a hint of nostalgia in her eye. Her interest in Henry Mancini or the Boswell sisters is focused on the more timeless aspects of their work. Now, with her tribute to Anita O'Day she wants to highlight just how modern she was.

This CD also represents a step forward in Teresa Lujan’s career as a singer. For the first time she is confronting an artistwith a similar stylistic frame, range and color to her own. Although Teresa’s voice has a deeper timbre and a more pronounced vibrato, she manages to sidestep the main danger in this endeavor, which was imitation. And she does so using her strongest suit, which she also shares with her admired O’Day: the more jazz-oriented aspects of her craft. And being backed by a trio —and an excellent trio at that,withMiano, Ferrer and Pérez, experts inmaking the music walk— a fresh, swinging approach is guaranteed. When all is said and done, a feeling of freedom pervades their music, and the end result belongs to all of them, not taxes, no tolls, no buts.

The choice of songs hearkens back to Anita O'Day, but with subtle innovations with respect to her better-known versions. The first three tracks were already on the LP 'Anita' (1956), with orchestrations by Buddy Bregman and some tunes for small group. Teresa Luján’s «Fine and Dandy» still uses the original arrangement, but focusing more on the pure vocal sensuality of the first bars, to later go into a beautiful scat that remindsme of Chet Baker. From the initial walkin’ bass, «Honeysuckle Rose» also sounds like the 1956 arrangement, but Teresa adds a vocal solo, followed by two more by Richi Ferrer and Fabio Miano. «A Nightingale Sang in Berkeley Square» is the first ballad,which lets Teresa showmore of her personality, her range of colors and phrasing, as she let’s herself be dragged by the beautiful melody, never straying too far from the intimacy that O'Day imparted to her own version. (tbc: https://www.freshsoundrecords.com/teresa-lujan-albums/53998-sings-anita-o-day.html)

Personnel: Teresa Luján (vocals), Fabio Miano (piano), Richi Ferrer (bass), Julio Pérez (drums). Recorded at Infinity Estudios, Madrid, June & September 2019

Teresa Luján Sings Anita O'Day

Jeb Patton - Whisper Not

Styles: Avantgarde jazz, Contemporary jazz, Free jazz
Year: 2025
Time: 38:38
File: MP3 @ 320K/s
Size: 89,0 MB
Art: Front

(7:34) 1. Cheesecake
(5:49) 2. Whisper Not
(5:29) 3. Take the Coltrane
(7:36) 4. Darn That Dream
(4:50) 5. My Heart Stood Still
(7:16) 6. Solar

Jeb Patton has earned a distinguished reputation in the international jazz community. Gifted with exquisite technique, commanding swing, and a profoundmelodic commitment, he has made a lasting impact on the contemporary jazz scene.

Under the mentorship of Sir Roland Hanna and Jimmy Heath, Jeb earned his Master of Arts degree, summa cum laude, in 1997 from the Aaron Copland School of Music, Queens College, City University of New York. During his studies, he was also honored with the Louis Armstrong Award for Composition by the ASCAP Foundation.

Since graduating, Jeb has toured extensively across the United States and abroad with the Heath Brothers and Jimmy Heath’s Generations Quintet, performing in theaters, festivals, concert halls, colleges, and jazz clubs. Since moving to New York in 1996, Jeb has collaborated with esteemed musicians such as Charles McPherson, The Jimmy Heath Big Band, The Dizzy Gillespie Alumni Big Band, The Dizzy Gillespie All Stars, George Coleman, the Faddis/Hampton/Heath Sextet, James Moody, Jeremy Pelt, Mike Mossman, Lewis Nash, Antonio Hart, The Vanguard Jazz Orchestra, The Carnegie Hall Jazz Band, Barbara Cook, Jessye Norman, Frank Wess, Dmitry Baevsky, Grant Stewart, Mike Karn, Joe Magnarelli, Lew Tabackin, Jerry Weldon, Sachal Vasandani, Pete Van Nostrand, Roberta Gambarini, Rodney Green, David Wong, Winard Harper, Diego Urcola, Peter and Will Anderson, Willie Jones III, and Marlene Ver Planck, as well as leading his own trio.

This recording, made in Barcelona during Jeb Patton’s quartet tour of Spain in May 2022, features the pianist accompanied by three top Spanish jazz musicians: Santi de la Rubia, Ignasi Gonzalez and Roger Gutierrez. Jeb Patton plays with fullness, strength, and remarkable range. His touch and the intelligent development of his musical ideas make him a pianist with a truly unique voice. Jeb breathes fresh life into time-honored jazz standards, making them sound vibrant and exciting once again.

Jeb Patton Quartet: Jeb Patton (piano), Santi de la Rubia (tenor sax), Ignasi González (bass), Roger Gutiérrez (drums). Recorded at Estudi Medusa, Barcelona, May 17, 2022

Whisper Not

Joan Fort - So Far, So Good

Styles: Avantgarde jazz, Contemporary jazz, Free jazz
Year: 2025
Time: 57:02
File: MP3 @ 320K/s
Size: 131,6 MB
Art: Front

(4:21) 1. So Far, So Good
(3:55) 2. Fly With The Wind
(6:09) 3. So Nice
(6:40) 4. Bush Baby
(4:34) 5. Hocus Pocus
(7:27) 6. Escapade
(4:26) 7. Where's The Plunger
(7:34) 8. You Taught My Heart To Sing
(5:32) 9. Book's Bossa
(6:20) 10. With A Song In My Heart

When I heard the first bars of the opening tune, “So Far, So Good”, I thought, “Wow! The Poll Winners are back”, recalling that famous trio from the ‘50s featuring Barney Kessel, Ray Brown, and Shelly Manne. But the comparison quickly fades as Joan Fort, Philip Lewin and David Puime are definitely having their own sound and are able to take the music to another direction.

Lucky Thompson’s composition “Fly With The Wind” lives up to its name as the band truly takes flight. It swings hard and the interaction between the guitar and the drums is great. “So Nice”, written by the legendary bebop piano player Elmo Hope, has a great feel with Fort playing beautiful lines in his solo and supported by Lewin’s warm bass sound and Puime’s nice fat swinging brushes. Fort’s own composition, “Bush Baby”, begins with a beautiful guitar intro which leads to the melody in a relaxed medium tempo and I hear the phrasing and melodic influence of Jim Hall and Jimmy Raney which is very rare these days. Lee Morgan’s “Hocus Pocus” sounds really swinging in this great trio arrangement and the chase choruses between Puime and Lewin are an example of musicality.

The trio expands into a quartet for the next few tunes with the addition of the excellent pianist Timothy Banchet. “Escapade”, written by the great Kenny Dorham, has a very relaxed and warm feel. Fort’s “Where’s The Plunger?” is a fast swinger with great solos from Fort and Banchet and nice, clear phrasing from Puime. Timothy’s beautiful piano intro is the beginning of awonderful duo performance of the ballad “You Thought My Heart To Sing”, with Fort on guitar. The samba “Book’s Bossa”, written by bassist Walter Booker is played which such a groovy feel that it is impossible not to dance.

The closing tune of this remarkable debut album is the Richard Rogers and Lorenz Hart’s standard “With A Song InMy Heart”. This could not be a better ending, starting with a gorgeous rendition of the seldom heard verse by Fort and the beautiful voice of guest singer Sanna van Vliet. The tune ends in up-tempo with a wonderful trumpet solo from Paolo Petrecca another surprising guest. 

This is a remarkable debut album of three great inventive and swinging musicians who are making music on a very high level with the guest soloists as an extra plus. They know the language and have the tradition solid in their pockets. The future of Jazz is definitely safe in their hands. I can’t wait to hear their next album! — Eric Ineke

Personnel: Joan Fort (guitar), Philip Lewin (double bass), David Puime (drums). Guest: Timothy Banchet (piano, on #6, 7, 8 & 9), Sanna van Vliet (voice on #10), Paolo Petrecca (trumpet on #10). Recorded at Studio Conservatorium van Amsterdam, October 4 & 5, 2023

So Far, So Good

OH HAPPY DAY