Ann Hampton Callaway - Blues In The Night

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 55:35
Size: 130,6 MB
Art: Front

(3:31) 1. Swingin' Away The Blues
(5:40) 2. Blue Moon
(6:22) 3. Spring Can Really Hang You Up The Most
(3:24)  4. Lover Come Back To Me
(5:14)  5. Stormy WeatherWhen The Sun Comes Out
(3:43)  6. The I'm-Too-White-To-Sing-The-Blues Blues
(6:21)  7. Willow Weep For Me
(2:45)  8. Hip To Be Happy
(5:55)  9. It's All Right With Me
(4:35) 10. No One Is Alone
(4:51) 11. Blues In The Night
(3:08) 12. The Glory Of Love

Ann Hampton Callaway shows off her persuasive pipes on this memorable program of familiar songs and originals. Backed by pianist Ted Rosenthal, bassist Christian McBride and drummer Lewis Nash, she explores the kind of songs that drive Broadway wild. Sherrie Maricle's Diva big band appears on four tracks, while band members Anat Cohen (tenor saxophone) and Jami Dauber (trumpet) fill in on three additional selections with a moving spirit. With a blues theme running through her album, Callaway aims for the dramatic. You can pick up traces of expressive singers in her presentation; singers who have made an impact on her interpretation of this material, such as Lena Horne, Sarah Vaughan, Peggy Lee and Ella Fitzgerald. Callaway's "Hip to be Happy differs from most of the program. Here, she has put on her "Annie Ross thinking cap and has come up with a highly original song that feels as hip as Lambert, Hendricks Ross. She sings it with her sister, Liz, in a cool and comfortable posture. 

Blues in the Night fills the room with big band sounds as Callaway turns on the charm. She enjoys playing the role with authority. Her big voice belts the blues strong enough, and this band turns on the power for emphasis. Quieter interpretations such as "It's All Right with Me, "Spring Can Really Hang You Up the Most and "Willow Weep for Me demonstrate the singer's heartfelt sincerity. Stephen Sondheim's "No One is Alone, from Into the Woods, brings a beautiful passion to the forum, magnified by Anat Cohen's sultry tenor statements. Tender ballads such as this one reveal the true blue side of Callaway's stage presence, while her program holds plenty of other surprises for her audience. Blues in the Night has all the right ingredients for a true jazz celebration.~ Jim Santella https://www.allaboutjazz.com/blues-in-the-night-ann-hampton-callaway-telarc-records-review-by-jim-santella.php

Personnel: Ann Hampton Callaway: vocals; Ted Rosenthal: piano; Christian McBride: double bass; Lewis Nash: drums; Liz Callaway: vocals; David Gilmore: guitar. Sherrie Maricle and the Diva Jazz Orchestra (1, 4, 6, 11): Sherrie Maricle: drums, leader; Noriko Ueda: double bass; Kristy Norter: alto saxophone, flute; Erica von Kleist: alto saxophone, clarinet, flute; Anat Cohen, Scheila Gonzalez: tenor saxophone, clarinet; Lisa Parrott: baritone saxophone; Tanya Darby, Jami Dauber, Nadje Noordhuis, Alicia Rau: trumpet; Deborah Weisz, Jennifer Krupa: trombone; Leslie Havens: bass trombone.

Blues In The Night

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Sherrie Maricle & The Diva Jazz Orchestra - TNT: A Tommy Newsom Tribute

Styles: Big Band

Year: 2005

File: MP3@320K/s

Time: 64:14

Size: 147,5 MB

Art: Front

(4:22)  1. Titter Pipes

(6:43)  2. Pensativa

(7:55)  3. Three Shades Of Blue

(4:56)  4. Moonlight (What A Little Moonlight Can Do)

(9:03) 5. Nat Cole Medley (Mona Lisa/Nature Boy/Straighten Up & Fly Right/Route 66)

(5:31)  6. Too Late Now

(6:20)  7. Trail Mix (On The Trail/Surrey With The Fringe On Top)

(6:32)  8. Remember Medley (Remember/I Remember You)

(7:19)  9. Come Sunday

(5:27) 10. Red Door

TNT is the fifth album by the explosive New York-based all-female DIVA Jazz Orchestra, blending a contemporary mainstream big band sound with a progressive flavor. Founded by a former relief drummer for the Buddy Rich Big Band, Stanley Kay, the fifteen piece big band has been under the direction of bandleader/drummer Dr. Sherrie Maricle for the last several years. Whether in the studio or in concert, the group has drawn critical acclaim for its play. This record is a tribute to composer/arranger Tommy Newsom, who provided all of the arrangements and two original charts. "Titter Pipes," the opening swinging number, highlights a chase between Scheila Gonzalez on tenor sax and Karolina Strassmayer on alto. The other Newsom chart is "Three Shades of Blue," a slow and bluesy piece. Of the other pieces on the album, Claire Fischer's "Pensativa" is one of the most delicious. Strassmayer shows her range with a flute solo, followed by a moving run on the piano by Chihiro Yamanaka, backed up by bassist Noriko Ueda. Anat Cohen takes center stage on clarinet with the Billie Holiday favorite "Moonlight," played in a New Orleans/Dixieland style.

The "Nat Cole Medley" is a cleverly crafted musical collage of melodies and harmonies with a playful version of "Straighten Up and Fly Right" that finds the band on vocals. Barbara Larangona provides one memorable performance with her emotional flugelhorn solo on the slow and mellow "Too Late Now." I did not particularly care for the heavy trombone statements in the beginning of "Trail Mix," which is mostly a matter of taste. Scheila Gonzalez delivers a passion-filled baritone sax solo on "Remember Medley." The finale, "Red Door," is another swinging number that simmers with a torrid pace and features Maricle's powerful drumming. In appraising the album I would give an "F" for the color selection in the liner notes, whose lack of contrast makes for difficult reading. Musically, this is an exciting, entertaining, and thoroughly enjoyable CD that warrants a grade of "F" for many things: (F)ine arrangements by Newsom, superbly interpreted by the (F)abulous musicianship of a (F)irst-class all-(F)emale extraordinary big band that plays with (F)inesse, (F)reshness, and (F)ire.By Edward Blanco https://www.allaboutjazz.com/tnt-a-tommy-newsom-tribute-sherrie-maricle-lightyear-entertainment-review-by-edward-blanco.php

Personnel: Sherrie Maricle: drums; Chihiro Yamanaka: piano; Noriko Ueda: bass; Karolina Srassmayer, Leigh Pilzer, Anat Cohen, Scheila Gonzalez, Lisa Parrot: saxophone; Leisi Whitaker, Barbara Larangona, Tanya Darby, Jamie Dauber: trumpet; Deborah Weisz, Jen Krupa, Leslie Havens: trombone.

TNT: A Tommy Newsom Tribute

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Laila Biali - Your Requests

Styles: Vocal And Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 44:47
Size: 108,0 MB
Art: Front

(4:18) 1. Bye Bye Blackbird
(5:29) 2. Blame It On My Youth
(2:57) 3. But Not for Me
(4:51) 4. My Funny Valentine
(4:28) 5. My Favorite Things
(4:28) 6. Corcovado (Quiet Nights of Quiet Stars)
(5:30) 7. Pennies from Heaven
(5:18) 8. Autumn Leaves
(3:24) 9. The Nearness of You
(3:59) 10. All the Things You Are

While the jazz pipeline produces plenty of artists who pay no mind to an audience's interests, those types figures with tunnel vision, in many if not most ways rarely reach their full potential. Instead, it's the musicians who make it a point to communicate who tend to forge the strongest bonds with those on the receiving end. Laila Biali is one such figure. This JUNO-winning gem of a vocalist, pianist, arranger and songwriter always manages to connect.

Biali has a keen awareness that the act of making music does not or should not exist in a vacuum, and that those who create are often best fueled by people who'll be hearing their creations. Her success, be it through covers or finely-crafted originals, has always been linked to the understanding of a need for receptive ears, and that fact is magnified with this listener-friendly project.

Focusing on standards for the first time in a decade, Biali plays right to her people. Having specifically asked social media followers for some requests, they obliged with more than 150 entries. Eager to honor their wishes, Biali went through the list and picked ten classics, put her inimitable arranging stamp on all of them, and then hit the studio. Working with an ace band including saxophonist Kelly Jefferson, bassist George Koller, drummers Larnell Lewis and Ben Wittman, and percussionist Maninho Costa, she found the perfect balance points in both honoring and personalizing the material.

Opening with a take on "Bye Bye Blackbird" that vacillates between straight time in seven and a driving 4/4 swing, all while showcasing the vocal melody's malleable place in time and spotlighting Jefferson's tenor and Lewis' handiwork, it's immediately obvious that this is not your basic standards session. Add to that an evocative take on "Blame It On My Youth" with textural enhancements from organist Sam Yahel and it's clear that stylistic variety within the greater whole is another early selling point for the program.

As Biali moves toward the center of the album she welcomes a variety of high-profile guests into her music. Not surprisingly, each and every one of them brings their own brand of magic to bear on her artful arrangements. Anat Cohen's clarinet makes a winning appearance on an effervescent, Brazilian-bound take on "But Not For Me." Gregoire Maret's harmonica obbligato and soloing helps to accentuate the gentle charms of "Corcovado (Quiet Nights of Quiet Stars)." And three singers of note each make an appearance alongside the leader: Kurt Elling takes notable melodic liberties during an emotionally on-point rendition of "My Funny Valentine"; Emilie-Claire Barlow meshes beautifully with Biali for an energized "My Favorite Things"; and breakout vocal sensation Caity Gyorgy drops by for a gliding "Pennies from Heaven" buoyed by a "Poinciana"-esque groove.

Leaving those visitors behind for the back end of the set, Biali continues to dazzle while sharing space with some core collaborators. The wonderful marriage between her pure-toned pipes and piano work is key at the outset of a stirring "Autumn Leaves," which later spotlights Jefferson's fiery soprano. Biali engages in a winning pas de deux with Koller on an absorbing "The Nearness of You." And then, throwing a real curveball as a closer, she gives her voice a rest and offers the keys her full attention for a smartly-shaped instrumental take on "All the Things You Are." An outing that's both in tune with Laila Biali's fanbase and musical mindset,Your Requests is a real gift to one and all. By Dan Bilawsky
https://www.allaboutjazz.com/your-requests-laila-biali-act-music

Personnel: Laila Biali: piano and vocals; Kelly Jefferson: tenor saxophone, soprano saxophones; George Koller: bass; Larnell Lewis: drums; Ben Wittman: drums, percussion; Maninho Costa: percussion; Sam Yahel: Hammond B3 (2); Anat Cohen: clarinet (3); Kurt Elling: vocals (4); Emilie-Claire Barlow: vocals (5); Grégoire Maret: harmonica (6); Caity Gyorgy: vocals (7).

Your Requests

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Maria Anadon - A Jazzy Way

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 55:36
Size: 128,2 MB
Art: Front

(3:46)  1. Old Devil Moon
(4:40)  2. I Didn't Know What Time It Was
(3:33)  3. Confirmation
(4:12)  4. Comes Love
(6:15)  5. My One And Only Love
(4:21)  6. Stolen Moments
(3:35)  7. Black Coffee
(2:50)  8. Devil May Care
(3:50)  9. Wouldn't It Be Loverly?
(4:53) 10. You Don't Know What Love Is
(2:56) 11. I'm Old Fashioned
(5:09) 12. Tenderly
(4:03) 13. The Best Is Yet to Come
(1:28) 14. One Note Samba

Portuguese singer Maria Anadon's refreshing take on the Great American Songbook gives each of these standards new life after decades of countless recorded versions in more traditional settings. Her percussive scatting and rich alto voice highlight "Old Devil Moon," while Anat Cohen's playful clarinet decorates Anadon's dramatic "Comes Love." The brisk setting of Oliver Nelson's "Stolen Moments" recasts this timeless early-'60s blues into a new light, also featuring a potent Cohen tenor sax solo. If Anadon has one handicap, it is her occasional difficulty clearly enunciating English lyrics in up-tempo numbers like "Confirmation" and the awkward handling of "Wouldn't It Be Loverly?" where she seems to be trying to correct its title. 

The rhythm section is outstanding, anchored by veteran drummer and jazz educator Sherrie Maricle (longtime leader of Diva), bassist Noriko Ueda, and pianist Tomoko Ohno. Maria Anadon has made a major statement with her debut recording for the North American jazz audience. 

~ Ken Dryden  http://www.allmusic.com/album/a-jazzy-way-mw0000461975

Personnel: Maria Anadon (vocals); Anat Cohen (clarinet, saxophone, tenor saxophone); Noriko Ueda (bass instrument); Tomoko Ohno (piano); Sherrie Maricle (drums).

A Jazzy Way

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Melissa Stylianou - No Regrets

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 56:23
Size: 131,1 MB
Art: Front

(4:34) 1. Nice Work If You Can Get It
(3:29) 2. Remind Me
(7:10) 3. I Got It Bad (Feat. Billy Drewes)
(5:07) 4. Humming To Myself
(5:14) 5. I Wish I Knew
(3:40) 6. Somebody's On My Mind (Feat. Anat Cohen and Linda Oh)
(3:31) 7. Down by the Salley Gardens (Feat. Matt Wilson)
(5:31) 8. A Nightingale Can Sing The Blues (Feat. Billy Drewes)
(8:06) 9. I'll Never Be The Same (Feat. Anat Cohen)
(6:30) 10. Polkadots and Moonbeams
(3:26) 11. I Mean You (Feat. Bruce Barth)

Canadian by birth and training, the singer Melissa Stylianou has been living in New York for a decade now, where she has made herself known and appreciated for her valuable collaborations ( Ben Monder , Chris Lightcap , Matt Wilson , Rodney Green ) and concerts in prestigious clubs like Blue Note, Iridium, Jazz Standard or Birdland. If in the previous four discs he faced a varied repertoire, alternating well-known standards with themes by Tom Waits , Biörk or Johnny Cash, in this No Regrets he chooses to immerse himself in tradition accompanied by a first-rate trio, including pianist Bruce Barth , the double bass playerLinda May Han Oh and drummer Matt Wilson . In some pieces the clarinetist Anat Cohen and the saxophonist Billy Drewes participate as guests. The record was also recorded in the most traditional way: live in a single session, with a double track recorder.

Stylianou is a singer with a clear and sensual timbre, who manifests her jazz identity with a brilliant technique and an intense interpretative taste. His singing favors atmospheres of intimate colloquiality but knows how to soar in moments of whimsical rhythmic tension. The disc is a nice roundup of well-known standards and a few songs that are not very popular but with a valuable "historical curriculum." Among them we have "Somebody's on My Mind,"Billie Holiday is linked to her magical interpretation, the archaic "Humming to Myself" sung by Connee Boswell , or "A Nightingale Can Sing the Blues," linked to the languid versions of Peggy Lee and Julie London .

Melissa offers us successful versions of it, for elegance and sobriety, accompanied from time to time by Anat Cohen, Linda Oh and Billy Drewes. Another happy choice, which goes beyond the jazz tradition, is the traditional "Down by the Salley Gardens" sung with poetic intensity with only the accompaniment of the drums. Among the best known themes, we particularly appreciated the dynamic version of the Monkian "I Mean You," in duo with Bruce Barth. Translate By Google.... https://www.allaboutjazz.com/no-regrets-melissa-stylianou-anzic-records-review-by-angelo-leonardi.php

Personnel: Melissa Stylianou: vocals; Bruce Barth: piano; Linda Oh: double bass; Matt Wilson: drums. Guests: Anat Cohen: clarinet; Billy Drewes: alto sax.

No Regrets

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Artemis - Artemis

Styles: Jazz, Post Bop
Year: 2020
File: MP3@320K/s
Time: 51:54
Size: 119,6 MB
Art: Front

(7:24)  1. Goddess Of The Hunt
(7:20)  2. Frida
(6:12)  3. The Fool On The Hill
(5:01)  4. Big Top
(3:27)  5. If It's Magic
(5:27)  6. Nocturno
(6:25)  7. Step Forward
(5:29)  8. Cry, Buttercup, Cry
(5:05)  9. The Sidewinder

It's truly exhilarating yet sadly mundane and reductive that a recording as vital and victorious as Artemis will be universally hailed as a first from an all- female supergroup. That it cuts across all generational, cultural, international, and ethnic planes. That Blue Note Records has expanded its ever legendary ranks to include, well, you know, a female supergroup. It's like the more we think we've gotten past these worn, tired types of qualifiers we realize all the more we really haven't.

Until that day we no longer feel the need to identify such things, we turn, as every society does, to our artists to lead, and lead Artemis does. How could it not when pianist and musical director Renee Rosnes joins equally fierce forces with tenor saxophonist Melissa Aldana, clarinetist Anat Cohen, trumpeter Ingrid Jensen, drummer Allison Miller, bassist Noriko Ueda, and featured vocalist Cecile McLorin Salvant for a tough, tight and tenacious nine song set that catches fire immediately with Miller's "Goddess of the Hunt." A wily composition that brings each member to the fore without breaking the ensemble's inherent integrity. On "Goddess of the Hunt" propelled by Rosnes' and Ueda's insistence and Miller's persistence Aldana and Jensen run the gamut as Cohen binds it all together. It's a kick-off not to be to missed.

Aldana's precocious "Frida," one of the tunes the saxophonist didn't include on her emotionally weighted study suite of the painter Frida Kahlo, Visions (Motema, 2019) weaves more space for the five to establish both an intrinsic group synergy and individual personality. Never opting out for ego's sake, Jensen's intricate rendering of John Lennon and Paul McCartney's "The Fool On the Hill" allows for each voice to freely interpret one of rock's greatest ruminations with a real time urgency for the real time absurdity we live through daily. All five minutes of Rosnes' finger snapping, toe tapping "Big Top" is sheer joy to listen to and a virtuoso testament by the septet to the Greek goddess that inspires them. Salvant makes a stunning entrance with Stevie Wonder's elegant 1977 ballad "If It's Magic." Cohen, whose high flights of fancy and in depth explorations of shadow and light throughout the album almost steals the whole show, brings the contemplative "Nocturno" for each player to color. In stark contrast of mood and style, Ueda's punchy swing-fest "Step Forward" lets us marvel at Cohen's acrobatics, Jensen's lyrical agility, and Rosnes' whimsical sense of light. It's a remarkably fluid piece. Which is a fine way to describe the whole of this debut by a crew of veterans. Inspired by the times around them, Artemis returns the inspiration tenfold.~ Mark Jurkovic https://www.allaboutjazz.com/artemis-artemis-blue-note

Personnel:  Renee Rosnes: piano; Allison Miller: drums; Melissa Aldana: saxophone, tenor; Noriko Ueda: bass; Ingrid Jensen: trumpet; Cecile McLorin Salvant: voice / vocals; Anat Cohen: clarinet, bass.

Artemis

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Anat Cohen Tentet - Triple Helix

Styles: Clarinet Jazz
Year: 2019
File: MP3@320K/s
Time: 51:17
Size: 117,8 MB
Art: Front

( 6:28)  1. Milonga Del Angel
(11:15)  2. Triple Helix: I First
( 5:36)  3. Triple Helix: ii for Anat
( 5:02)  4. Triple Helix: iii last
( 4:21)  5. Miri
( 4:51)  6. Footsteps & Smiles
( 7:48)  7. La Llorona
( 4:34)  8. Lonesome Train
( 1:17)  9. Morning Melody (Epilogue)

Few musical ploys are as riveting as intricacy, especially when the ensemble at hand is sizable. But without a wealth of eloquence in play, elaboration can be its own worst enemy, a knot of tangles void of emotion. Anat Cohen knows this, and though her Tentet’s second album boasts some truly formidable crossweaves, there’s seldom a moment when poise doesn’t carry the day.  Much of the grace that guides these victories has to do with what the leader has deemed the group’s “flexible” nature. As with the Gil Evans-led ensemble on Sketches of Spain or Ellington’s troupe on “A Tone Parallel to Harlem,” listeners never hear the mechanics of the work at hand, just the resultant art floating through the air. This applies to all the tunes from Astor Piazzolla’s “Milonga del Angel” to Stan Kenton’s “Lonesome Train”but especially the program’s centerpiece, a Carnegie Hall and Chicago Symphony Center commission penned by Tentet musical director Oded Lev-Ari that gives the album its title. 

The three sections of “Triple Helix” are varied in disposition. Though Cohen’s clarinet is out front, the band’s level of interplay is wily; the score steers them away from all things obvious. The Rite of Spring and Rhapsody in Blue flash by, even a phrase from “Turkey in the Straw” pops up. But in the end, former Tel Aviv schoolmates Lev-Ari and Cohen deliver an original and deeply affecting work whose dramatic aspects are given lots of room to reveal themselves. That flexibility thing shows up in the album’s other pieces too. The bouncy “Footsteps & Smiles” is a crowd-pleasing fanfare, detailed and swinging. “Miri” allows Cohen to wax bittersweet; “La Llorona” augments that feel and throws in a bit of spookiness. By the time Triple Helix is done, it’s hard to decide if its success rests on stylistic breadth or the deep rewards of partnership. Probably both. https://jazztimes.com/reviews/albums/anat-cohen-tentet-triple-helix-anzic/

Triple Helix

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Duchess - Laughing At Life

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 55:26
Size: 128,8 MB
Art: Front

(3:11)  1. Swing Brother Swing
(3:49)  2. On the Sunny Side of the Street
(6:08)  3. Laughing at Life
(3:14)  4. Everybody Loves My Baby
(4:27)  5. Stars Fell on Alabama
(3:43)  6. Give Him the Ooh La La
(3:07)  7. Where Would You Be Without Me
(5:59)  8. Creole Love Call
(3:30)  9. Hallelujah I Love Her (Him) So
(5:02) 10. Ev’ry Time We Say Goodbye
(3:07) 11. Strip Polka
(4:57) 12. Here’s to the Losers
(2:58) 13. We’ll Meet Again
(2:07) 14. Dawn (Bonus Track)

Jollity seems to be at a premium these days, so thank God for DUCHESS. This fizzy vocal trio is the antidote to all things grim, bringing joy to the masses one smile and song at a time. Amy Cervini, Hilary Gardner, and Melissa Stylianou three of the most captivating vocalists around today clearly appreciate great music laced with good humor. With their trio debut DUCHESS (Anzic Records, 2015) they delved into a brand of Boswell Sisters-inspired music that you just don't hear much in the here and now. That overwhelmingly positive presentation smart and sassy in conception, polished and pert in execution put DUCHESS in a different category from all of the other vocal jazz groups out there in the mix. Oded Lev-Ari laid the groundwork with his arrangements, tapping into an appealing retro sound; the stylishly swinging trio of pianist Michael Cabe, bassist Paul Sikivie, and drummer Matt Wilson brightened the picture around and beneath the vocalists; guitarist Jesse Lewis and saxophonist Jeff Lederer added their inimitable instrumental voices to a number of tracks; and the three frontwomen put merriment front and center in their music. That turned out to be a formula for success, so DUCHESS saw no need to rock the boat here. 

While there are tweaks to the cast on this sophomore date Jared Schonig picks up where Wilson left off on drums, bassist Matt Aronoff takes the baton from Sikivie, clarinetist Anat Cohen and trombonist-vocalist Wycliffe Gordon join in as special guests on two songs apiece everything basically works off of the same template used for the group's debut. The result? More high times, womanly wit, tight harmonies, unadulterated swing, and welcome surprises. Laughing At Life starts in a pure jazz vein that's heightened by Lederer's horn ("Swing Brother Swing") and ends with a breezy tone that's established through Lewis' guitar work ("We'll Meet Again," "Dawn"). A bevy of musical gems rest between those points. Some, more or less, stay on the straight and narrow ("On The Sunny Side Of The Street"); many, however, do not. The ladies of DUCHESS let their hair down from time to time, capitalizing on bawdy themes with a nudge and a wink (Johnny Mercer's "Strip Polka") and impressing with rapid fire lyrics and turn-on-a-dime movements ("Everybody Loves My Baby"). And when they're not riding high over a cooking band or engaging in musical high jinks, they melt the heart ("Stars Fell On Alabama"). Simply put, this is a class act. DUCHESS' blend of the silly and sophisticated adds up to one satisfying musical sum. ~ Dan Bilawsky https://www.allaboutjazz.com/laughing-at-life-duchess-anzic-records-review-by-dan-bilawsky.php

Personnel: Amy Cervini: vocals; Hilary Gardner: vocals; Melissa Stylianou: vocals; Michael Cabe: piano; Matt Aronoff: bass; Jared Schonig: drums; Jesse Lewis: guitar (1, 3, 6, 7, 9-11, 13, 14); Jeff Lederer: (1, 3, 11, 12); Anat Cohen: clarinet (4, 13); Wycliffe Gordon: trombone (5, 8), vocals (5, 8).

Laughing At Life

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Anat Cohen Tentet - Happy Song

Styles: Clarinet Jazz
Year: 2017
File: MP3@320K/s
Time: 53:28
Size: 123,1 MB
Art: Front

( 3:57)  1. Happy Song
( 4:42)  2. Valsa Para Alice
( 8:36)  3. Oh Baby
(12:16) 4. Anat's Doina(A Maysé,Der Gasn Nigun,Foile-Shtick)
( 6:51)  5. Loro
( 6:52)  6. Trills and Thrills
( 4:30)  7. Goodbye
( 5:40)  8. Kenedougou Foly

In his fascinating autobiography, Miles Davis once said that Gil Evans would call him on the phone now and then just to share a quick thought you know, the kind of thing some people used to do before these random impulses were relegated to texts or Tweets. His classic example was a 3AM call where his longtime friend and collaborator rang to say "If you're ever depressed, Miles, just listen to 'Springsville,'" and just as abruptly hung up. Anat Cohen deserves such a story as well not just because everyone should have such a friend in their life, but because her titular "Happy Song" is just the same kind of ray of sunshine that's worth waking someone up to share. The piece is adeptly expanded from its initial trio rendition on Luminosa (Anzic, 2015), beautifully encapsulating the spirit of this new ensemble and providing a perfect introduction to their wildly colorful debut. Not content to rest too long after a previous pair of enchanting Brazilian-themed recordings, the poly-faceted clarinetist follows up here in delightful fashion with a bigger musical palette and expanded group to match. 

Cohen's catalogue has always encompassed music all around the world, and the Tentet (well, the term just sounds more fun and informal than "dectet") is a crack team of fellow New York City players who share the same love of all encompassing groove and swing. Alongside the ever-present South American element, Happy Song visits the golden age of Hollywood with a big-band Bix Beiderbecke romp, crosses over to west Africa with the infectious rhythmic trance of "Kenedougou Foly," and shows the leader's native roots by using a klezmer piece as the loose basis for its dramatic extended centerpiece. Her fleet clarinet twines with some fuzzy guitar in the slow-burner of "Trills and Thrills," a wailing jam contributed by musical director Oded Lev-Ari. He isn't counted as one of the ten, but he's as vital in shaping the album's form as anyone else; the arrangements are wonderfully adroit in using all the players without ever feeling crowded. Even with a couple thoughtful lulls in "Trills" and Gordon Jenkins' "Goodbye," Happy Song bounces and swings with all the warmth its title promises. It shows Anat Cohen's wide-ranging mind and instrumental prowess as expansive as ever, and it's a vibrantly joyous affair indeed. ~ Geno Tackara https://www.allaboutjazz.com/happy-song-anat-cohen-anzic-records-review-by-geno-thackara.php

Personnel: Anat Cohen: clarinet; Oded Lev-Ari: musical direction; Rubin Kodheli: cello; Nadje Noordhuis: trumpet, flugelhorn; Nick Finzer: trombone; Owen Broder: baritone sax, bass clarinet; James Shipp: vibraphone, percussion; Vitor Gonçalves: piano, accordion; Sheryl Bailey: guitar; Tal Mashiach: bass; Anthony Pinciotti: drums.

Happy Song

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Five Play - Five Play Plus

Styles: Jazz, Post Bop
Year: 2007
File: MP3@320K/s
Time: 56:20
Size: 130,1 MB
Art: Front

(4:33)  1. Theme From Mr. Broadway
(5:43)  2. That Old Feeling
(5:13)  3. Funk In A Deep Freeze
(8:17)  4. Crazy, He Calls Me
(6:12)  5. If I Only Had A Brain
(5:56)  6. Polka Dots And Moonbeams
(4:50)  7. Pure Imagination
(5:38)  8. Bud Powell
(4:26)  9. In The Wee Small Hours Of The Morning
(5:29) 10. On The Good Ship Lollipop

Here's another bright and swinging album by drummer Sherrie Maricle's able quintet, Five Play (a.k.a. DIVA Lite), encumbered at times by questionable mixing but as a whole quite engaging. For the group's second recording on Arbors, Maricle has assembled an international troupe of all-stars from the larger ensemble alto saxophonist Karolina Strassmayer hails from Austria, tenor Anat Cohen from Israel, bassist Noriko Ueda and drummer Tomoko Ohno from Japan and set aside room for guest shots by two members of DIVA's first-class trumpet section, Jami Dauber and Barbara Laronga, on five selections to lend color and variety to the two-reed front line (and to lend the album its title).  Every member of the group is impressive Cohen, Strassmayer and Ohno especially so on their showcase numbers, Cohen (clarinet) on "That Old Feeling, Strassmayer on "Crazy, He Calls Me, Ohno on the Arlen/Harburg classic from The Wizard of Oz, "If I Only Had a Brain. Dauber frames tasteful solos on Hank Mobley's "Funk in Deep Freeze, Leslie Bricusse/Anthony Newley's "Pure Imagination, and (muted) Richard Whiting/Sidney Clare's show-stopper for Shirley Temple, "On the Good Ship Lollipop. 

Laronga does the same on Chick Corea's boppish "Bud Powell and the standard "In the Wee Small Hours of the Morning (on which Ueda carries the melody). Maricle, who swings consistently in the style of her chief role model, the legendary Buddy Rich, bonds with Ohno and Ueda to form a taut and agile rhythm section on which Cohen, Strassmayer and their guests can always lean for support. As for the mixing gaffe alluded to earlier, it affects mainly Strassmayer on the quintet numbers, "Theme from Mr. Broadway and "Polka Dots and Moonbeams, wherein her alto sounds remote and is largely overshadowed by the more prominently recorded rhythm section. But that's hardly enough to put a damper on the session, which is lively and invigorating from start to finish, with sparkling group interplay and admirable solos by every member of the crew. If you've not heard Five Play before, this is a splendid way to get acquainted. 

~ Jack Bowers https://www.allaboutjazz.com/five-play-plus-five-play-arbors-records-review-by-jack-bowers.php

Personnel: Sherrie Maricle, leader, drums; Anat Cohen, tenor sax, clarinet; Karolina Strassmayer, alto sax, flute; Tomoko Ohno, piano; Noriko Ueda, bass. Special guests: Jami Dauber (3, 7, 10), Barbara Laronga (8-10), trumpet, flugelhorn.

Five Play Plus

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Diva Jazz - A Swingin' Life

Styles: Jazz, Post Bop
Year: 2014
File: MP3@320K/s
Time: 54:46
Size: 127,7 MB
Art: Front

(4:53)  1. What The World Needs Now Is Love Sweet Love
(6:32)  2. Nothin'
(5:03)  3. All My Tommorrows
(2:45)  4. All Of Me
(6:09)  5. The Very Thought Of You
(4:38)  6. Pennies From Heaven
(4:17)  7. Blues Medley [Goin' To Chicago Blues; Kansas City; Every Day I Have The Blues]
(5:15)  8. Blackberry Winter
(2:58)  9. Wonder Why
(6:38) 10. Nocturne #6 Opus 9, Number 2
(5:34) 11. Blues For Hamp

What do you get when you have fifteen talented and swinging female jazz musicians in an orchestral setting? The answer, drummer Sherrie Maricle and the DIVA Jazz Orchestra offering A Swingin' Life as proof that hard-charging big band music is not the exclusivity of the male gender. Building upon the work of more than a dozen previous albums, DIVA presents music from the Great American Songbook and more, capturing eleven audacious tracks recorded live by Jazz at Lincoln Center at Dizzy's Club Coca Cola in New York and, at the renowned Manchester Craftsman's Guild in Pittsburgh.  Adding to the experience of these live performances are two very special guests, two giants of the business, two vocalists who have left their mark on the jazz world. Legendary singers Marlena Shaw and Nancy Wilson lend their vocal charm on five beautiful charts and while some are certainly swinging tracks for sure, there are a couple of ballads that take your breath away. Wilson takes the Van Heusen/Sammy Cahn standard "All My Tomorrows," to another level expressing heart-felt emotion as the band plays humbly. Vocalist Shaw lays down a warm and gentle performance delivering a fantastic interpretation of Alec Wilder's "Blackberry Winter" for the two soft spots of the album.  However, the limited tender material here is the exception and not the rule as the swinging times obviously carry the date. Opening up with a rousing rendition of Burt Bacharach's "What The World Need Now Is Love," the DIVA's announce their intentions with a full blast of the brass and reeds capped off by a solo from tenor saxophonist Janelle Reichman. 

Appearing once again as one of the main soloist, Reichman, this time on the clarinet, joins trumpeter Jami Dauber on the Stanley Kay piece "Nothin,'" another perky burner showcasing the band. On another of the few light tunes, Nadje Noordhuis on the flugelhorn is simply enchanting on the time-honored Ray Noble classic "The Very Thought of You" as Maricle is heard on the soft brushes making this number, one to remember. The group gets back to some hard-driving sounds on the swinging version of "Pennies from Heaven." Maricle and the girls get real bluesy on "Blues Medley," a fusion of "Going to Chicago Blues," "Kansas City," and "Every Day I have the Blues," featuring singer Shaw. 

The DIVAs show their powerful instrumental voices on the last three tunes showcasing their reach on "Wonder Why," "Nocturne #6 Opus 9, Number 2," and the Terry Gibbs arranged finale "Blues For Harp," demonstrating quite ably why this orchestra is regarded as one of the best jazz bands in the business. Kudos to Sherrie Maricle and the DIVA Jazz Orchestra as they roar through a splendid repertoire of big band jazz on A Swingin' Life, combining instrumental muscle with the elegant vocals in a live setting that is thankfully, documented well here. ~ Edward Blanco https://www.allaboutjazz.com/a-swingin-life-diva-jazz-mcg-review-by-edward-blanco.php

Personnel: Sherrie Maricle: drums; Sharel Cassity: alto saxophone, flute; Karoline Strassmayer: alto saxophone (3, 4); Leigh Pilzer: alto saxophone, flute, baritone saxophone (3, 4); Kristy Norter: alto saxophone (3, 4); Janelle Reichman: clarinet, tenor saxophone (3, 4); Anat Cohen: clarinet, tenor saxophone (3, 4); Roxy Coss: tenor saxophone; Scheila Gonzalez: tenor saxophone (3, 4); Lisa Parrott: baritone saxophone; Tanya Darby: lead trumpet, Flugelhorn; Liesl Whitaker: lead trumpet (3, 4); Jami Dauber: trumpet , Flugelhorn; Barbara Laronga: trumpet (3, 4); Carol Morgan: trumpet, Flugelhorn; Nadje Noordhuis: trumpet, Flugelhorn; Deborah Weisz: trombone; Jennifer Krupa: trombone; Lori Stuntz: trombone (3, 4); Leslie Havens: bass trombone; Tomoko Ohno: piano; Chihiro Yamanaka: piano (3, 4); Noriko Ueda: bass; Nancy Wilson: vocals (3, 4); Marlena Shaw: vocals (7, 8, 9).

Swingin' Life

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Anat Cohen - Claroscuro

Styles: Clarinet And Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 67:35
Size: 155,5 MB
Art: Front

(6:46)  1. Anat's Dance
(6:21)  2. La Vie En Rose
(8:51)  3. All Brothers
(6:01)  4. As Rosas Nao Falam
(4:23)  5. Nightmare
(7:41)  6. Tudo Que Voce Podia Ser
(7:44)  7. And The World Weeps
(6:06)  8. Olha Maria
(2:42)  9. Kick Off
(4:45) 10. Um A Zero
(6:10) 11. The Wedding

Art begets art on Anat Cohen's Claroscuro. The Israeli-born, New York-based multi-reedist leaves the confines of Benny Goodman's world behind, following her clarinet-only sojourn into king of swing territory, Clarinetwork: Live At The Village Vanguard (Anzic, 2010), with a wide-ranging musical treatise on the balance between light and dark. Cohen addresses each end of the color spectrum on its own terms during this eleven-song program but, more often than not, plays one off the other within a single performance. She's savvy enough to know that dark doesn't exist without light and that the contrast and marriage between the two is what makes them stand apart. Jason Lindner's "Anat's Dance" opens the program and focuses on Cohen's sunny clarinet work, Lindner's moody piano and the shifting rhythmic terra firma that morphs beneath them. Cohen's bass clarinet connects with Paquito D'Rivera's clarinet as they move over a primal percussion foundation on her "Kick Off, while pan-global rhythmic purpose and open exploration collide on drummer Daniel Freedman's "All Brothers." These prove to be the only originals on this album, but originality resides in every second of music. Cohen delivers her most soulful tenor performance to date on "The Wedding," produces some poignant soprano work at the start of "Tudo Que Voce Podia Ser," and walks a line between seductive and mournful on "As Rosas Nao Falam." She shares a deep and abiding love for choro music with D'Rivera ("Um A Zero"), engages in a Louis Armstrong-based love affair with trombonist/vocalist Wycliffe Gordon ("La Vie En Rose") and calls on her famous Cuban clarinet companion again for a trip through clarinetist Artie Shaw's psychosis-slathered theme song ("Nightmare"). Both men join Cohen on one track, Dr. Lonnie Smith's "And The World Weeps," and the results are electric; the song goes from mannered dirge to bluesy epic in Duke Ellingtonian fashion. Cohen's omnivorous musical persona is well-documented on Notes From The Village (Anzic, 2008), where she jumped from saxophonist John Coltrane and singer Sam Cooke to pianist Fats Waller with ease, and Noir (Anzic, 2007), where she hit a homerun merging "Samba de Orfeu" and "Struttin' With Some Barbeque," but she works the musical diversity concept in a different way on this one. Notes From The Village was pleasing in a hard-to-pin-down way and Noir was fueled by passion, but Claroscuro succeeds on poise and shapeliness. The unrestrained enthusiasm that Cohen beautifully exhibits in other places is replaced here by a more deliberate and controlled balance of highs and lows, ups and downs....and light and dark. Claroscuro is a colorful date that confirms what's already been said about Anat Cohen on numerous occasions: she's one of a kind. ~ Dan Bilawsky https://www.allaboutjazz.com/claroscuro-anat-cohen-anzic-records-review-by-dan-bilawsky.php

Personnel: Anat Cohen: clarinet, alto saxophone, tenor saxophone; Jason Lindner: piano; Joe Martin: bass; Daniel Freedman: drums; Wycliffe Gordon: trombone, vocal; Paquito d’Rivera: clarinet.

Claroscuro

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Anat Cohen - Notes From the Village

Styles: Clarinet And Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 60:25
Size: 138,7 MB
Art: Front

(9:08)  1. Washington Square Park
(6:26)  2. Until You're In Love Again
(8:21)  3. Siboney
(9:12)  4. After The Rain
(7:07)  5. J Blues
(5:42)  6. Lullaby For the Naive Ones
(5:20)  7. A Change is Gonna Come
(9:04)  8. Jitterbug Waltz

Anat Cohen, an Israeli-born multi-reedist who favors clarinet, is rapidly emerging from the jazz 'underground.' Notes from the Village (an allusion to Dostoevsky's novella?), her fourth release as a leader, is sure to enhance her growing reputation. Ably abetted by Jason Lindner (keyboards), Omer Avital (bass) and Daniel Freedman (drums), with strong support by Gilad Hekselman (guitar), Cohen covers a lot of musical ground on Notes, from graceful tone poetry to raw-boned 'world-bop.' Playing the soprano and bass clarinets and the soprano and tenor saxophones with equal facility, her sound is light and unforced, ranging from subtle pastels to bold primary colors. Tracks like "Washington Square Park" and "Until You're in Love Again" (both originals) and Ernesto Lecuona's "Siboney" display the former quality, while workouts such as "J Blues," "Lullaby for the Naïve Ones" (also originals) and Fats Waller's "Jitterbug Waltz" flaunt Cohen's considerable technique and quicksilver imagination. The band members, frequent collaborators on various outings, exude well-oiled synergism. Lindner is particularly strong—as a creative and empathetic accompanist whose paripatetic style links intimately with Cohen's, and as an arranger, writing rhythmically vibrant charts for three tracks. ~ Tom Greenland https://www.allaboutjazz.com/anat-cohen-notes-from-the-village-and-suelos-by-tom-greenland.php

Personnel: Anat Cohen: clarinet, bass clarinet, tenor sax, soprano sax; Jason Lindner: piano, Fender Rhodes, Prophet 08 Keyboard; Omer Avital: bass; Daniel Freedman: drums, percussion; Gilad Hekselman: guitar.

Notes From the Village

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Anat Cohen & Fred Hersch - Live In Healdsburg

Size: 142,5 MB
Time: 61:30
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. A Lark (Live) ( 8:22)
02. Child's Song (Live) ( 7:21)
03. Isfahan (Live) ( 8:05)
04. Jitterbug Waltz (Live) ( 8:16)
05. Lee's Dream (Live) ( 5:20)
06. The Peacocks (Live) (10:24)
07. The Purple Piece (Live) ( 8:27)
08. Mood Indigo (Live) ( 5:12)

On their debut recording as a duo Live In Healdsburg, Anat Cohen and Fred Hersch, two of most prolific and celebrated artists in jazz today display qualities they have in abundance: empathy, open hearts, big ears, quick instincts, and an ego-less approach to the music. These two expert collaborators combine virtuosity and beauty, which permeates every note they play. Live In Healdsburg comes on the heels of Anat's Tentet recording, Happy Song, and her two Grammy nominated Brazilian albums, Outra Coisa: The Music of Moacir Santos (with 7-string guitarist Marcello Gonçalves) and Rosa Dos Ventos (with Trio Brasileiro). For Fred Hersch, Live In Healdsburg is the follow up recording to his latest CD, the double Grammy nominated Open Book (his 7th and 8th nominations). This album with Ms. Cohen is the latest release in a stunningly deep discography that dates back to the 1980s and encompasses more than twenty albums as a leader, and the publication of his autobiography Good Things Happen Slowly: A Life In and Out of Jazz.

Live In Healdsburg

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Anat Cohen & Marcello Gonçalves - Outra Coisa

Styles: Clarinet And Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 46:44
Size: 112,0 MB
Art: Front

(3:44)  1. Amphibious
(3:03)  2. Coisa No 1
(3:21)  3. Outra Coisa
(3:49)  4. Coisa No 6
(4:07)  5. Coisa No 10
(4:31)  6. Naña (Coisa No 5)
(3:48)  7. Coisa No 9
(4:31)  8. Mãe Iracema
(4:25)  9. Oduduá
(5:25) 10. Maracatucutê
(4:47) 11. Paraíso
(1:07) 12. Carrossel

This intimate jewel finds Cohen's clarinet and Marcello Gonçalves' 7-string guitar wrapped up in the work of one of Brazil's greatest composer-arrangers the late Moacir Santos. Gonçalves took Santos' scores and arranged/reduced them to fit this duo, reframing these songs while retaining the allure or duende, if you prefer endemic to the originals. Making this happen was no small musical feat, as there's quite a bit going on in Santos' compositions, but these two make it look easy. Moods and mannerisms vary here, but good chemistry remains a true constant. "Amphibious" utilizes unison lines and twining gestures in service of painting excitement, "Coisa No. 1" holds onto sportive sentiments while traveling on a cooler flow, "Outra Coisa" has an intoxicating rhythmic and melodic standing that proves potent, and "Coisa No. 6" appears as a picturesque starry night coming into its own. Further highlights include a somewhat frolicsome "Nanã (Coisa No. 5)," a "Mãe Iracema" that moves from uncertain beginnings into a hip and catchy groove stream, and a mournful "Paraíso" that wouldn't have felt out of place on Cohen's Poetica (Anzic Records, 2007). A dozen Santos tunes in total are given over to investigation here, and not a one carries a wasted thought. ~ Dan Bilawsky https://www.allaboutjazz.com/anat-cohens-brazilian-bonanza-outra-coisa-and-rosa-dos-ventos-by-dan-bilawsky.php
 

Personnel: Anat Cohen: clarinet; Marcello Gonçalves: 7-string guitar.

Outra Coisa

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Anat Cohen & Trio Brasileiro - Alegria Da Casa

Styles: Clarinet, Brazilian Jazz
Year: 2016
File: MP3@320K/s
Time: 44:32
Size: 106,0 MB
Art: Front

(4:50)  1. Murmurando
(3:20)  2. Waiting For Amalia
(3:27)  3. Alegria Da Casa
(3:15)  4. Baiao Guri
(3:56)  5. In The Spirit Of Baden
(4:18)  6. Valsa Para Alice
(3:30)  7. Engole O Choro
(3:00)  8. Sarue Latino
(6:33)  9. Feia
(3:35) 10. Santa Morena
(4:43) 11. Anat's Lament

One of the most difficult things to achieve in the art of musical performance is simplicity. The balance between technical skills and the spirit of the music is an elusive goal. I am very pleased to hear that Anat Cohen, Dudu Maia, Douglas Lora and Alexandre Lora have brilliantly achieved that goal in Alegria da Casa, the recording that I am listening to right now. The music of Brazil is rich, varied and draws its inspirations from many different sources. Mastering its many idioms is a daunting task, even for Brazilians. However, when I hear the joy and bounciness of these tracks, I feel transported not to a serious concert hall, but to a happy gathering of friends in a botequim, or corner bar in a small Brazilian town, where the music flows spontaneously and everyone takes part in the roda, or circle of musicians. This is the soul that permeates this record, and that is why it is so enjoyable for me, a Brazilian musician in Seattle, to put it on, close my eyes and join the party. You can picture the smiles on the players’ faces as they captured these sounds. This music can be enjoyed by anyone, anywhere. The Selection of great choro classics (Santa Morena, Murmurando) and original compositions is finely balanced We hear what we would expect, but then we are surprised by new pieces that coexist nicely in the recording as a whole.  I hope that everyone that hears it enjoys it as much as I do. 

Formed in 2011, Trio Brasileiro has already made a name for itself as an ensemble worthy of international attention. Their stunning virtuosity is matched with remarkable musicianship and a deep devotion to the language of music, allowing them to achieve a one-of-a-kind sound that shares equal parts understated subtlety and irresistible groove. But it is their love of the traditional music of Brazil and the connection between brothers – by birth and by bonds of friendship – that create a very rare and profound beauty. Trio Brasileiro includes the celebrated guitarist and full time member of the award-winning Brasil Guitar Duo, Douglas Lora; one of Brazil’s finest mandolin virtuosos, Dudu Maia, and the amazing percussionist and brother of Douglas, Alexandre Lora. Trio Brasileiro is dedicated to performing the great traditional choro music of Brasil by Jacob do Bandolim, Ernesto Nazareth and others, as well as their own compositions, which are modern reflections of that great traditional musical form. Trio Brasileiro’s discography includes “Simples Assim” (2012), “Alegria da Casa” - featuring the amazing clarinetist Anat Cohen (2015) and “Caminho do Meio” (2015).

Dudu, Douglas and Alexandre live in Brazil and have been touring as a trio in the U.S. since 2011 with overwhelming success, with sold out performances and standing ovations all along the country. The trio has performed with great success in New York, Chicago, Boston, Bay Area, Minneapolis, Portland, Seattle, Bloomington, Louisville, Cedar Rapids, etc. Since 2011, Trio Brasileiro has also led the faculty of the annual Centrum Choro Workshop, the biggest event dedicated exclusively to Choro music in the U.S. http://www.triobrasileiro.com/bio

Personnel:  Anat Cohen – Clarinet;  Dudu Maia – bandolim;  Douglas Lora - 7 String Guitar;  Alexandre Lora - Pandeiro & Percussion;  Special Guest: Gabriel Grossi - Harmonica (3) 

Alegria Da Casa

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Ulysses Owens Jr. - Onward & Upward

Styles: Jazz
Year: 2014
File: MP3@320K/s
Time: 58:27
Size: 134,8 MB
Art: Front

(1:00)  1. Onward & Upward Intro
(4:33)  2. People Make the World Go Round
(6:49)  3. Just 25 Miles To Anywhere
(6:25)  4. SST
(5:25)  5. Exodus
(4:33)  6. Samba Jam
(8:09)  7. Fee Fi Fo Fum
(6:30)  8. The Gift Of Forgiveness
(5:38)  9. For Nelson
(6:22) 10. Human Nature
(2:57) 11. Drum Postlude

There’s such a sense of ease to Ulysses Owens’ third album as a leader, you know the 31-year-old drummer has strongly benefited from his work as a sideman with such high-profile artists as Christian McBride, Kurt Elling and Mulgrew Miller. A collection of relaxed-in-the-groove numbers including three pop-soul covers, Onward and Upward invests heavily in airy melodies even as Owens asserts himself rhythmically. Produced by Owens, the album provides optimum conditions for a topnotch cast to shine. The soloists include trumpeter Jason Palmer, in sprightly form on Wayne Shorter’s “Fee Fi Fo Fum,” guitarist Gilad Hekselman, bringing an unexpected cutting edge to the Phyllis Hyman tune “Just 25 Miles to Anywhere,” and clarinetist Anat Cohen, bridging styles with bassist Reuben Rogers and Owens on the trio improvisation “Samba Jam.” Cohen also is featured on tenor saxophone, teaming with trombonist Michael Dease to glowing effect on “For Nelson” (a tribute to vibraphonist Steve by Dease and Owens). And then there’s the protean young pianist Christian Sands, Owens’ running partner in the McBride bands, who ranges from freewheeling dazzlement on “SST” to elegantly contained playing on Michael Jackson’s “Human Nature,” a contemporary trio arrangement featuring bassist Matthew Rybicki that has real lyrical weight. The album also features a stealthy jazzification of the Stylistics’ “People Make the World Go Round,” featuring vocalist Charles Turner. Smoothly asse. ~ Lloyd Sachs  http://jazztimes.com/articles/129498-onward-and-upward-ulysses-owens-jr

Personnel: Ulysses Owens Jr.: Drums, Percussion & Vocals;  Anat Cohen: Tenor Saxophone & Clarinet;  Jason Palmer: Trumpet;  Michael Dease: Trombone;  Gilad Hekselman: Guitar;  Christian Sands; Piano;  Reuben Rogers: Bass;  Charles Turner: Vocals (2);  Adam Rongo: Alto Saxophone (9);  Benny Benack: Trumpet (8) & Vocals / Percussion (1);  Matthew Rybicki: Bass (8, 9, 10).

Onward & Upward

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Maria Mendes - Innocentia

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 51:25
Size: 118,5 MB
Art: Front

(3:28)  1. Smile
(3:51)  2. Innocentia
(3:58)  3. When You Wish Upon a Star
(4:03)  4. O Ovo
(4:52)  5. Inverso
(4:01)  6. Handful of Soul
(4:02)  7. Innocent Travels
(3:33)  8. Sonatina Coreografica: IV. Baiao
(6:08)  9. The Summer Knows
(6:51) 10. Bachianas Brasileiras: V. Aria Cantilena
(3:42) 11. Fragile
(2:50) 12. Agua de Beber (Bonus Track)

The first thing that strikes you about Maria Mendes is the purity of her tone and her graceful, lyrical phrasing. She glides over her band, adding emphasis here, lingering there, scatting in unexpected directions and occasionally soaring to a heady high when the mood takes her. Clearly, she has spent time on her craft. Born in Portugal and classically trained from the age of 12, it was at Codarts University (in her adopted home of Rotterdam) that the long-time classical music enthusiast decided to explore her connection to Brazil through jazz improvisation. There she would join the dots between Western standards by the likes of Ella Fitzgerald, Charlie Parker and Betty Carter, and the freer, percussive styles of Brazil  artists such as Hermeto Pascoal, for instance. Listen closely and you will also hear Shirley Horn’s deft use of silence, and the precision and spoken melodies of Carmen McRae. Periods of study and training followed in Brussels, New York and Rio. Then came a series of commanding performances and prizes in several international competitions such as Montreux Jazz Vocal competition. In 2012, debut album Along the Road (Dot Time records) announced her arrival on the world stage as a vocalist with a unique touch. Original composition ‘Saia Preta’, inspired by a saudade-soaked taxi ride through Rio de Janeiro, revealed Mendes’ potential as a songwriter, not to mention the deep affection that she has for her mother’s homeland. Musicians and critics were lining up to praise her … even legends. Quincy Jones had this to say about Mendes: “I see a promising, shining future for this young talented singer.”

Backing her every step of the way from the recording studio to the Blue Note in New York – is her highly attuned band of Dutch all-stars: Karel Boehlee on piano (Toots Thielemans Band, Hein van de Gein Trio); Clemens van der Feen on acoustic bass (Franz van Chossy Trio, Jesse van Ruller Trio) and Jasper van Hulten on drums (Eric Vloeimans, Tuto Puoane Band). Thankfully, Mendes has kept faith with the same team and together with her close collaborator Martin Fondse, the highly acclaimed composer and pianist, they have conceived follow-up album Innocentia for your pleasure. More exhilarating and emotionally complex than its predecessor think lazy summer days in the throes of childhood or the finding hope in moments of despair Innocentia also features virtuoso clarinet player Anat Cohen from Israel. There are many high points to savour. A rendition of ‘When You Wish Upon a Star’ sets the standard free from its occasionally mawkish confines as Boehlee ups the tempo and embarks on a Glasper-esque excursion.

Then there’s Mendes dueling with drummer van Hulten on Hermeto’s ‘O Ovo’ before a mischievous Cohen muscles in and almost steals the show. Elsewhere Mendes demonstrates that she’s a highly capable scat singer a la Ella on ‘Água de Beber’. And let’s not forget their version of Portuguese composer Heitor Villa-Lobos’ ‘Bachianas Brasileiras Nr 5 (Cantilena)’, featuring some lovely lyrical interplay between Mendes and Cohen. The album also features imaginative readings of songs by the likes of Sting and Jimmy Woode not your typical bedfellows. That is another hallmark of Mendes. She is open and inquisitive when it comes to her music, yet able to put her stamp on a tune, whether it is sung in English or Portuguese. ‘Fragile’ is typical of the mood of this album wistful, rooted in innocence and vulnerability. Innocentia is a marked progression in the career of Mendes. Under the guidance of composer and close collaborator Martin Fondse, she has obviously grown as a composer and bandleader, and not just a vocalist. But it is as a performer that she truly excels, moving the listener … stirring the soul. Press play, catch her in concert and prepare to be quietly stunned by her depth of emotion. http://maria-mendes.com/jazz-innocentia-about/

Personnel:  Maria Mendes: vocals;  Anat Cohen: clarinet on tracks n. 4, 5, 8,10;  Karel Boehlee: piano;  Clemens van der Feen: acoustic bass;  Jasper van Hulten: drums

Innocentia

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Alexis Cole & Bucky Pizzarelli - A Beautiful Friendship

Size: 127,6 MB
Time: 54:25
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. A Beautiful Friendship (4:15)
02. East Of The Sun (4:07)
03. Honeysuckle Rorse (3:24)
04. I Thought About You (5:16)
05. If I Were A Bell (3:28)
06. Just Friends (3:36)
07. Mood Indigo (3:50)
08. Blue Moon - Moonglow (3:40)
09. On The Street Where You Live (5:37)
10. Stardust (2:57)
11. Stompin' At The Savoy (3:46)
12. On The Sunny Side Of The Street (3:15)
13. These Foolish Things (3:01)
14. Watch What Happens (4:07)

On this release, vocalist Alexis Cole joins forces with guitarist Bucky Pizzarelli. Joining them are are Nicki Parrott on bass and vocals, Frank Vignola on guitar, Anat Cohen on clarinet, and Warren Vache on trumpet.

Called "one of the great voices of today," by Jonathan Schwartz, Alexis Cole has been compared to classic jazz singers such as Sarah Vaughan and Anita O'Day. She's performed with the Boston Pops and New York Philharmonic on stage at venues from Avery Fisher Hall to the Kennedy Center.Her nine recordings, which feature musical luminaries such as Fred Hersch, Eric Alexander, Matt Wilson, Harry Pickens, Don Braden and Pat LaBarbara, have received high praise in the jazz press and are spun on radio world-wide.

In addition to her many performances on great stages, Alexis can be seen at top jazz venues like Dizzy's Club at Jazz at Lincoln Center, Birdland, The Jazz Standard, Blues Alley, and Billboard Live, Tokyo. Cole is the recipient of a Swing Journal Gold Disk award, and was a winner of the NY Jazzmobile and Montreux Jazz Festival vocal competitions, and a finalist of the Sarah Vaughan Competition.

Bucky Pizzarelli is an American jazz guitarist and banjoist, and the father of jazz guitarist John Pizzarelli and upright bassist Martin Pizzarelli. The list of musicians Pizzarelli has collaborated with over his career includes Les Paul, Stephane Grappelli, and Benny Goodman. Pizzarelli acknowledges Django Reinhardt, Freddie Green, and George Van Eps for their influences on his style and mode of play.

A Beautiful Friendship 

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Anat Cohen - Luminosa

Size: 140,3 MB
Time: 60:21
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Post-Bop
Art: Front

01. Lilia (5:58)
02. Putty Boy Strut (4:39)
03. Ima (4:03)
04. Bachiao (Feat. Romero Lubambo) (3:35)
05. Cais (Feat. Romero Lubambo) (9:44)
06. Happy Song (3:49)
07. In The Spirit Of Baden (Feat. Romero Lubambo) (5:21)
08. Ternura (6:30)
09. Espinha De Bacalhau (4:44)
10. Beatriz (Feat. Romero Lubambo) (4:32)
11. The Wein Machine (Feat. Gilad Hekselman) (7:21)

Anat Cohen's music is literally all over the map. Across her previous six albums, Cohen has explored the sounds of America, Brazil, France, Cuba, South Africa, and her homeland, Israel; she's addressed the work of John Coltrane, Antonio Carlos Jobim, Benny Goodman, Abdullah Ibrahim, Sam Cooke, Jacques Brel, Edith Piaf, Louis Armstrong, Ernesto Lecuona, Luiz Bonfa, and numerous others; and she's delivered original material that speaks to her ceaseless globetrotting. Here, she continues to explore a wide range of music, but there's a bit more focus on a single locale.

A strong Brazilian current runs through Luminosa. With three Milton Nascimento-associated pieces, two performances from a choro outfit, and key contributions from guitarist Romero Lubambo and percussionist Gilmar Gomes, many may simply look at this as a Brazilian-themed album. But that's not what this is. For Luminosa also contains a dimension-rich take on Flying Lotus' perky and mechanized "Putty Boy Strut," Cohen originals like the touching "Ima" and the excitable "Happy Song," and music that defies easy categorization. Luminosa, like every other Cohen release, is simply the artist's extension of self.

The aforementioned tracks prove to be album highlights, but there's lots more to admire here. "Beatriz," an intimate beauty that features Cohen's bass clarinet, is unforgettable; Choro Aventuroso—Cohen, accordionist Vitor Goncalves, guitarist Cesar Garabini , and pandiero virtuoso Sergio Krakowski—shines on "Ternura," which sings with a sense of longing, and "Espinha De Bacalhau," which comes off as sunny and gleeful; and Cohen's tenor saxophone makes for a good match with Gilad Hekselman's guitar on "The Wein Machine." Luminosa, like Claroscuro (Anzic Records, 2012) before it, manages to be both expansive and cohesive. It's another strong showing from one of jazz's shining stars. by Dan Bilawsky

Personnel: Anat Cohen: clarinet, bass clarinet, tenor saxophone; Jason Lindner: piano, Wurlitzer electronic piano, analog synthesizer; Joe Martin: bass; Daniel Freedman: drums; Gilmar Gomes: percussion (1, 2, 4, 5, 7); Romero Lubambo: guitar (4, 5, 7, 10); Gilad Hekselman: guitar (11); Vitor Goncalves: accordion (8, 9); Cesar Garabini: 7-string guitar (8, 9); Sergio Krakowski: pandeiro (8, 9).

Luminosa

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