Jacintha - The Girl from Bossa Nova

Styles: Vocal, Brazilian Jazz, Bossa Nova
Year: 2004
File: MP3@320K/s
Time: 45:17
Size: 104,0 MB
Art: Front

(4:34) 1. O Ganso
(3:15) 2. So Danço Samba
(4:48) 3. Dindi
(3:44) 4. Once I Loved
(4:32)  5. Desafinado
(5:07) 6. So Nice
(5:08) 7. Wave
(5:06) 8. How Insensitive
(4:51) 9. Corcovado
(4:07) 10. Waters Of March

Jacintha picks up the tempo on her first bossa nova session. Featuring a program of some of the most well known classics of the genre, including several Jobim favorites like So Nice, Desafinado, Dindi and Corcovado, as well as less familiar tunes like O Ganso and So Danco Samba, this CD is a striking change of pace for Jacintha. With superb work from tenor Harry Allen and guitarist John Pisano (ex-Diana Krall), the album's supreme finishing is the magical playing of legendary Brazilian master percussionist Paulinho Da Costa, who blesses the entire album with an authentic bossa nova vibe.By Editorial Reviews https://www.amazon.com/Girl-Bossa-Nova-Jacintha/dp/B00027JYWQ


Personnel: Acoustic Guitar – John Pisano; Bass – Darek Oleszkiewicz; Drums – Tim Pleasant; Percussion – Paulinho Da Costa; Piano – Bill Cunliffe; Tenor Saxophone – Harry Allen ; Vocals – Jacintha .

The Girl from Bossa Nova

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Lyn Stanley - Interludes

Styles: Vocal
Year: 2015
Time: 58:41
File: MP3 @ 320K/s
Size: 136,7 MB
Art: Front

(4:03) 1. How Long Has This Been Going On
(3:33) 2. Just One Of Those Things
(4:37) 3. Black Velvet
(4:23) 4. More Thank You Know
(4:31) 5. Boulevard Of Broken Dreams
(5:26) 6. Whole Lotta Love
(3:28) 7. Last Tango In Paris
(5:09) 8. Don't Explain
(2:58) 9. Nice 'n Easy
(5:13) 10. The Island
(3:53) 11. It's Crazy
(4:47) 12. In A Sentimental Mood
(3:15) 13. I Was A Little Too Lonely
(3:18) 14. I'm A Fool To Want You

Vocalist/producer Lyn Stanley has established herself as a foremost stylist of the Great American Songbook. That is no mean feat. The sheer amount of vocal music made each year around the Songbook is impressive. It is too bad that the quality of a great many of those recordings is not equally impressive. Stanley's two previous recordings, Lost in Romance (A.T. Music, LLC, 2013) and Potions: From the '50s (A.T. Music, LLC, 2014), have been an evolving prelude to the present. "How Long has This Been Going On," the opener for Interludes demonstrates Stanley's command of the standard.

But it is not the jazz standard that is special about Interludes. Stanley addresses two more recent compositions: "Black Velvet," released by Alannah Myles in 1989 and Led Zeppelin's "Whole Lotta Love," from Led Zeppelin II (Atlantic, 1969).

Lyn Stanley takes on the most white-hot anthem of the carnality of youth. She does so unflinchingly. There is little to be nostalgic about young love once you've learned what you are doing. And that is Stanley's point with covering this song. Arranged by guitarist John Chiodini the nominal blues-rock monolith becomes a steamy rumba propelled by bassist Chuck Berghofer and drummer Paul Kreibich, whose deft tom-tom work amps up the performance's already heady sensuality. Then, there is Stanley, who produced this recording, ensuring that a proper mixture of Bobby Gentry's "Ode to Billy Joe," Peggy Lee's "Fever," and Dusty Springfield's "Son of a Preacher Man" are admixed into one grown up vision of love, sex, and the whole shooting match.

Think if George Gershwin had composed "Summertime" with J.J. Cale and you may begin to get the idea. Stanley must be applauded for taking this gigantic artistic chance. So many "jazz" covers of contemporary material end so badly. In this case, not so. This is a special release in every way. By C. Michael Bailey https://www.allaboutjazz.com/interludes-lyn-stanley-at-music-llc-review-by-c-michael-bailey

Personnel: Lyn Stanley: vocals; Mike Garson, Bill Cunliffe: piano; Chuck Berghofer: bass; Ray Brinker, Paul Kreibich: drums; John Chiodini: guitar; Cecilia Tsan: cello; Brad Dutz: percussion; Bob McChesney: trombone; Hendrik Meurkens: harmonica; Steve Rawlins: finger snaps.

Interludes

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Lyn Stanley - Potions

Styles: Vocal Jazz
Year: 2015
Time: 58:45
File: MP3 @ 320K/s
Size: 137,0 MB
Art: Front

(2:55) 1. Lullaby Of Birdland
(4:01) 2. Cry Me A River
(3:40) 3. Fly Me To The Moon
(3:29) 4. Hey There
(2:35) 5. I'm Walkin'
(4:35) 6. You Don't Know Me
(4:27) 7. In The Still Of The Night
(4:39) 8. The Thrill Is Gone
(3:31) 9. A Summer Place
(3:26) 10. Love Potion #9
(3:52) 11. Teach Me Tonight
(3:21) 12. After The Lights Go Down Low
(5:23) 13. Misty
(2:47) 14. The Party's Over
(5:56) 15. The Man I Love

We Baby Boomers are a persnickety bunch. We revel in our nostalgia while keeping a jaundiced eye on current trends and how derivative they are compared with those we experienced when they were really new. Critics dismiss this nostalgia as wasted pathos, pining away for what can never be again. That is missing the point. Memory and reminiscence are powerful comforts much like a cat's purr. They help us recall and allow us to put the past into perspective in the relative safety of our own minds and time.

Music proves to be a most potent generator of nostalgia. Most properly, it acts as our life soundtrack, the Stones' "Gimme Shelter" in turbulent times and Vivaldi's "Winter" when calm. A well-programmed collection of songs, housed within a thoughtful theme can be a most effective nostalgia stimulant. Such programming maximizes the joy and pleasure of the music above and beyond the songs considered individually.

It is this invention in programming and repertoire choice that makes singer Lyn Stanley accomplished by any measure. Her debut recording, Lost in Romance (A.T. Music, LLC, 2011) revealed the singer's keen ear for the well-known and not-so-well-known in the American Songbook. By including the less known songs, Stanley has effectively expanded the Songbook, something she continues on Potions: From the '50s.

On Potions, Stanley assembles 15 pieces prominent in the 1950s. They are not all jazz standards or showtunes, though both are in evidence. Stanley's artistic care and attention to detail expresses itself from the start in George Shearing's superb "Lullaby of Birdland." Pianist Bill Cunliffe consorts with bassist Mike Valerio and drummer John Robinson, establishing a light Latin vibe over which Stanley delivers George David Weiss' piquant lyrics. Tom Rainer provides a woody clarinet to the mix, making the piece quite international. "Cry Me a River" is taken at a ballad pace, accented by Ricky Woodards's tenor saxophone. The effect is close, smoky, intimate.

Stanley's nod to Sinatra is in a sprite and bouncy "Fly Me to the Moon. The singer assimilates the country and western of Eddy Arnold's "You Don't Know Me" and the early New Orleans rock of Fats Domino's "I'm Walkin,'" Bill Cunliffe and guitarist Thom Rotella trading eights in the solo section. Central to the collection's theme is Leiber & Stoller's "Love Potion #9." Stanley pulls a sexy samba out of the tune, propelled by Kenny Werner's piano and Hammond B3. Stanley punctuates the disc with a delicate and revealed "Misty" that showcases her command of all things ballad.

The music industry is changing so quickly and seems moving away from the cogently produced arranged album format. That is too bad. On Potions, Stanley perfects the thematic ring of her collection, adding one more bit of the past, analog recording. Music this warm should be bonded like fine brandy heated by the smoke of a Monte Cristo.By C. Michael Bailey
https://www.allaboutjazz.com/potions-from-the-50s-lyn-stanley-at-music-llc-review-by-c-michael-bailey

Personnel: Lyn Stanley: vocals; Kenny Werner: keyboards; Bill Cunliffe: Keyboards; Mike Lang: keyboards; Johannes Weidermeuller: bass; Mike Valerio: bass; Joe LaBarbera: drums; Ari Hoenig: drums; John Robinson: drums; Glenn Drewes: trumpet, flugelhorn; Thom Rotella: guitar; Rickey Woodward: tenor saxophone; Tom Rainer: clarinet; Luis Conte: percussion.

Potions

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Joe La Barbera - World Travelers

Styles: Jazz, Bop
Year: 2024
Time: 74:20
File: MP3 @ 320K/s
Size: 170,8 MB
Art: Front

( 9:50) 1. Blue Notes
( 5:24) 2. Landmarks Along The Way
(10:09) 3. Lake Erie
( 7:24) 4. Barcelona
( 6:43) 5. You Know I Care
( 5:15) 6. It's a Big Wide Wonderful Word
(10:43) 7. Simone
( 9:12) 8. Soultrane
( 9:35) 9. Grand Central

Drummer Joe La Barbera has an extensive and impressive resume. At the age of 20, he played in the second drum chair for the Buddy Rich Big Band before driving the 1972 stellar lineup of Woody Herman's Thundering Herd. In 1978, he was offered the prestigious opportunity to be part of the acclaimed (and what turned out to be the final) line-up of the Bill Evans Trio, where he stayed until the pianist's tragic death in 1980. Later, gigs with Chuck Mangione, Tony Bennett, Art Pepper and Art Farmer, to name but a few, showcased La Barbera's versatility and ability to play in any style, and to steer and complement whatever the leader's vision called for.

Afterwards he settled in Los Angeles and became an in-demand freelancer. In the '90s he formed his own quintet with local friends, trumpeter Clay Jenkins, saxophonist Bob Sheppard and pianist Bill Cunliffe, all of whom have extensive and impressive resumes as well.. Each had stints in big band settings, offering a great understanding of the subtle importance of a song's arrangement. Bassist Jonathan Richards (who replaced founding member Tom Warrington), by far the youngster in the band, is a great find and fits perfectly. This tight-knit group has been (in between occasional side gigs) mainly active ever since. Their debut release was The Joe La Barbera Quintet Live (Jazz Compass, 1999). World Travelers is the group's fifth release.and their first since Silver Streams (Jazz Compass, 2012).

This live record is the perfect vehicle to showcase the band's abilities, strengths and empathy with each other. Four newer originals open the record. Cunliffe's "Blue Notes" sets the table with the bass and drums setting a groove one can drive a truck (and sometimes a high performance sports car) through. It is a sultry bop piece which has twists and turns leading to some captivating duo leads and solos by the horns. The Joe Lovano-penned barn-burner "Landmarks Along the Way" also has an unconventional form, hinting at John Coltrane's "Giant Steps." The crowd's response at the song's end says it all.

La Barbera's original "Lake Erie" begins appropriately with a drum solo. Here, he shows in less than two minutes his prodigious ability and impeccable taste. The song then segues into an old-school Blue Note, Art Blakey-type performance. Pianist Alan Pasqua's composition "Barcelona" is a lovely bossa nova. The interplay and harmonies between Sheppard and Jenkins are simpatico. Sheppard shines on a lilting soprano saxophone (he plays tenor saxophone on all other tracks), while Jenkins' solo is beautifully thought out. It is simple, eloquent and lyrical. Richards shows he belongs with these masters during his break. Here and throughout the record, Cunliffe is the glue that holds everything together, while also showing off his impressive soloing skills.

The remaining cuts are five carefully selected songs which are familiar, but not quite standards. Pianist Duke Pearson's lovely ballad, "You Know I Care" features a sensitive Sheppard, while the other ballad, Tadd Dameron's "Soultrane," showcases Jenkins' expressive vocabulary. "Simone" by Frank Foster is perhaps the album's best-known piece. It is a minor-key blues waltz which includes a lovely bowed bass solo by Richards and a wonderful solo by Cunliffe reminiscent of McCoy Tyner.

The remaining two tracks are up-tempo jam fests. "It's a Big, Wide, Wonderful World" was written for a 1940 Broadway musical, while the classic John Coltrane tune, "Grand Central" is the set's closer. The former has a Latin-tinged intro before the familiar melody appears, while the latter stays true to the original. Both tracks allow all the players a chance to blow. Once again, the groove created by La Barbera and Richards is deep and foundational, allowing plenty of room for everyone to explore the compositions, utilizing their unique sensibilities.

The album was recorded live at the Los Angeles club, Sam First. Recently, the owners decided to start their own label and release albums recorded at their venue. Initially, all releases are digital only, followed later by a very Limited Edition (only 200) vinyl option. For example, the digital files for this album were released in February 2023, but the vinyl LP was released in August.

The Joe La Barbera Quintet comprises extraordinary players, but more than that, they are an experienced, well-oiled group where the whole is even greater than the sum of its talented parts. Put them in a live, intimate setting, with a wonderful mix of great originals and covers and the result is the front-runner for live jazz album of the year.By Dave Linn https://www.allaboutjazz.com/world-travelers-joe-la-barbera-sam-first-records

Line-up/Musicians: Joe La Barbera: drums; Bob Sheppard: saxophone, tenor; Clay Jenkins: trumpet; Bill Cunliffe: piano; Jonathan Richards: bass

World Travelers

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Lauren White - At Last

Styles: Vocal 
Year: 2007
File: MP3@320K/s
Time: 49:27
Size: 113,5 MB
Art: Front

(3:01)  1. My One And Only
(4:01)  2. All I Do is Cry
(5:47)  3. Blue Bayou
(3:32)  4. Do You Remember
(4:06)  5. Mack the Knife
(7:02)  6. Love for Sale
(3:58)  7. Brand New Love
(4:33)  8. Superstar
(5:46)  9. My Funny Valentine
(3:14) 10. Why They Call it Falling
(4:21) 11. At Last

Musical suspicions are immediately raised when jazz singer Lauren White is described as a cross between Linda Ronstadt and Norah Jones. White is a twenty year-old native of Grapevine, Texas; a child prodigy singer from age four. She did, indeed, study with the same vocal coach as Jones, but the latter has little of White's smoky and seductive vocal assets as a jazz chanteuse. White performs Roy Orbison's "Blue Bayou"which was one of Ronstadt's biggest hits on At Last, and even sings it in a similar manner, Still, her demeanor is significantly more low-key, avoiding the range of "Blue Bayou on the rest of the album. Now for the good news. This is one impressive debut session. The set list research factor alone shows that roughly half of this album will be unfamiliar material to most listeners. Beginning as a slinky seductress in an after-hours boite on Ira Gershwin's "My One and Only," White follows it up with her original "All I Do Is Cry" in a very similar mode. A jolt of familiarity follows with "Blue Bayou," but then she provides a poignant original, Do You Remember." In order to please the masses, Kurt Weill's world-famous "Mack The Knife" follows. Although delivered in the standard swing format, drummer Mark Ferber makes it interesting with an Ahmad Jamal "Poinciana -type pattern. White takes a chance on the Cole Porter classic "Love For Sale," beginning with the spooky verse, and when the familiar melody sets in, it is played for the storytelling of a "woman of the streets." 

Over the past few decades, it seems that too few vocalists have presented the song in the style or tempo that Ella Fitzgerald did on her Cole Porter Songbook (Verve, 1956). Guitarist Anthony Wilson, who also did the arrangement, gets in some fine blues licks on his solo, as does the appropriate use of Joe Bagg's Hammond B-3 organ. White sings Rodgers & Hart's "My Funny Valentine"a tune which should be given a temporary rest. Her version is ameliorated, however, by Ricky Woodward's gutsy tenor sax solo. Country singer Lee Ann Womack's Why They Call It Falling" is an unexpected treat; a lighthearted look at love on which Norah Jones could also have done a fine job. With the appetite-whetting At Last, the only question is: what's next? ~ Michael P.Gladstone https://www.allaboutjazz.com/at-last-lauren-white-groove-note-records-review-by-michael-p-gladstone.php

Personnel: Lauren White: vocals; Bill Cunliffe: piano; Anthony Wilson: guitar; Ricky Woodard: tenor sax; Brian Piper: piano and arrangements; Chuck Berghofer: bass; Joe Bagg: Hammond B-3 organ; Mark Ferber: drums.

At Last

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Bill Cunliffe - Playground Swing

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 48:48
Size: 113,1 MB
Art: Front

(3:00)  1. A-Tisket, A-Tasket
(3:00)  2. The Wheels On the Bus
(3:22)  3. Meet the Flintstones
(3:19)  4. Chim Chim Chir-Ee
(4:09)  5. Over the Rainbow
(2:05)  6. Supercalifragilisticexpialidocious
(4:02)  7. This Old Man
(2:24)  8. Lullaby
(3:32)  9. Old McDonald / Mulberry Bush / Skip to My Lou / Farmer in the Dell / Three Blind Mice
(3:19) 10. Whistle While You Work
(2:55) 11. Frere Jacques
(3:16) 12. I've Been Working On the Railroad
(3:19) 13. It's a Small World
(2:55) 14. Twinkle, Twinkle, Little Star
(4:04) 15. Happy

These tunes take me back to Mrs. Doyle’s kindergarten class at Shawsheen Elementary School in Andover, Mass. I first heard “Over the Rainbow” in “The Wizard of Oz,” which aired once a year on the NBC-TV affiliate in Boston. “Meet the Flintstones” we all knew, of course, from the television show. Come to think of it, most of the songs I learned as a kid were from TV. The first movie I ever saw in a theater was “Mary Poppins” in 1964, and I was thrilled by the tunes in that wonderful Sherman Brothers score. Later that year, at the World’s Fair in New York, my dad and I took the “It's a Small World” ride and were serenaded by animatronic Disney figures singing that earworm of a song (also written by the Shermans). The other tunes are things we sang in school. I would sometimes accompany the children’s choirs at the piano, which I began learning at 8. I would say that every tune on this recording I knew by heart and played on the piano before I was 10! I had the chance to do a children’s album for the Yamaha Disklavier series which are MIDI products a few years ago, and I’m glad I had the foresight to ask my friend , co prodocer and engineer Dave Kreisberg to record it at the pianos in the David Abell store in Los Angeles. Abell, who sold me my Yamaha C7 a number of years ago, was a wonderful man. He represented to me the ideal piano retailer: warm, elegant, artistically and charitably inclined, yet always able to make good use of a sales opportunity. The track Happy was an afterthought on my part. In 2014, I arranged this tune for the Cal State Fullerton Jazz Orchestra, and thought it would be fun to recreate it in a more electronic vein, getting my old friends, drummer/producer Curt Bisquera and vocalist Daniela Spagnolo in on the action. I dedicate this project to my brother John (Frere Jacques!), 1959-1985. Miss him every day. I hope you enjoy this project as much as I had fun doing it. ~ Bill Cunliffe September 2015 https://store.cdbaby.com/cd/billcunliffe2

Playground Swing

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Bill Cunliffe - Bill Plays Bud

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 61:06
Size: 146,1 MB
Art: Front

(6:16)  1. Melancholia
(5:26)  2. Un Poco Loco
(8:49)  3. Polka Dots and Moonbeams
(4:25)  4. Comin' Up
(6:05)  5. Hallucinations
(3:46)  6. Tempus Fugit
(4:49)  7. Sure Thing
(6:01)  8. 52nd Street Theme
(3:51)  9. Borderick
(3:09) 10. Dusk at Saudi
(4:17) 11. Willowgrove
(4:06) 12. Glass Enclosure

Bouncing With Bill. Chick Corea's recent tribute to Be Bop pioneer Bud Powell, Remembering Bud Powell (Concord/Stretch 9012-2) was a welcome tribute to the Charlie Parker/Dizzy Gillespie of the piano. Bud Powell, while constantly being critically acknowledged, has had relatively few program recordings of his music by other musicians. Joining Corea in recognizing Powell is the East Coast-West Coast pianist Bill Cunliffe. Standard and Nonstandard Fare. The Cunliffe and Corea recordings share several Powell originals. Both boast "Tempus Fugit," "Glass Enclosure," and "Dusk in Saudi." "Willow Grove" is also represented on both discs. Each pianist includes a personal composition. But, where Corea confines himself to all original compositions; Cunliffe chooses to explore both rarer Powell compositions and jazz standards closely associated with Powell. "Coming Up" and "Sure Thing" are rarely heard Powell vehicles that are brought out for closer inspection by Cunliffe. "Tempus Fugit" and "Hallucinations" along with "Un Poco Loco" are capably interpreted, often with the original Powell arrangements. Ralph Moore and More. Tenor Saxophonist Ralph Moore proves he is empathetic with both Powell and Cunliffe. His muscular support and solos on "Polka Dots and Moonbeams" and "52nd Street Theme" make this already excellent disc a gem. Dave Carpenter provides a solid bottom upon which Cunliffe rocks and croons; while Joe La Barbera and Papo Rodriguez provide the rhythmic direction. The music herein is personally played by musicians of great substance. The modest Naxos price should make this fine recording a must have. Naxos Jazz. This recording is among the third wave of Naxos Jazz releases, all of which have been review within these electric pages by this critic. I have found that all of these recordings have been of a very high quality. All, for the most part, have been recorded live direct to two track digital, preserving that special spontaneity that is jazz. Naxos Jazz has also provided a wide variety of styles and performances, all executed superbly. The other recent Naxos Jazz recordings include Donny McCaslin's Exile and Discovery (Naxos Jazz 86014-2), Clifford Adams' The Master Power (Naxos Jazz 86015-2), the Mike Nock Quintet's Ozboppin' (Naxos Jazz 86019-2), Flipside's Flipside (Naxos Jazz 86013-2), and Larry Karush's Art of the Improviser (Naxos Jazz 86011-2). ~ C.Michael Bailey https://www.allaboutjazz.com/bill-plays-bud-bill-cunliffe-naxos-review-by-c-michael-bailey.php?width=1920

Personnel: Bill Cunliffe: Piano, Ralph Moore: Tenor Saxophone, Dave Carpenter: Acoustic Bass, Joe La Barbera: Drums, Papo Rodriguez: Percussion

Bill Plays Bud

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Jackie Allen - Which ?

Styles: Vocal Jazz
Year: 1999
File: MP3@320K/s
Time: 63:58
Size: 146,9 MB
Art: Front

(2:13)  1. Too hot for words
(4:22)  2. Day dream
(5:50)  3. Doodlin'
(5:36)  4. Lost in the stars
(4:11)  5. Dearly beloved
(4:10)  6. My romance
(5:14)  7. In you go
(4:36)  8. Left alone
(3:36)  9. I was a little too lonely
(3:30) 10. Which
(4:27) 11. Admit it
(4:49) 12. I'm just a woman
(3:16) 13. It's bad for me
(3:42) 14. The meaning of the blues
(4:21) 15. The last dance

Integration. Jackie Allen’s Which? is the second vocal release from Naxos Jazz. The budget label broke the ice with Gail Wynters’ 1998 release My Shining Hour (86027-2). Allen’s breathy sensuousness is a good label foil for Wynters’ earthy purring. Both vocalists hold the impeccable Bill Cunliffe on piano, Allen also having him as band leader, arranger, and associate producer. She employs Grammy-winning Ralph Jungheim as her executive producer. The Naxos Jazz stable continues to accumulate major jazz talent with appearances by Red Holloway playing his no-nonsense tenor and Gary Foster his cerebral alto. Differentiation. Jackie Allen’s voice is frankly alto, a reality that neatly works in her favor on the current collection of standards and originals. A snapshot of the cuts reveals a sexy, quirky “Too Hot For Words”, a smoky, smoldering “Doodlin’”, and an almost choral “Lost in the Stars”. Cole Porter’s “Which?” hosts a Red Holloway solo that showcases his 12-gauge blues sensibility and Roy McCurdy’s simply splendid march drumming. Allen’s own “Admit It” finds Foster waxing poetic is his own alto way. The torch of the disc is “I’m Just a Woman”, with lyrics and a deliver that would make NOW blanche, then blush (with a super Holloway R&B solo to boot). Never Let Down. Jackie Allen finds herself in the company of excellent musicians and her considerable talent profits from the Naxos Jazz approach which has framed her wounded yet playful alto range with a warm ornament analog sound (Just check out the bass duet on “The Meaning Of The Blues” and Bruce Paulson’s humid trombone on “The Last Dance”). Recommended. ~ C.Michael Bailey https://www.allaboutjazz.com/which-jackie-allen-review-by-c-michael-bailey.php

Personnel: Jackie Allen (vocals); Gary Foster (alto saxophone); Red Holloway (tenor saxophone); Bruce Paulson (trombone); Bill Cunliffe (piano); Jim Hughart (bass); Roy McCurdy (drums).

Which ?

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Donna Byrne - It Was Me

Styles: Vocal Jazz
Year: 1996
File: MP3@320K/s
Time: 51:07
Size: 117,5 MB
Art: Front

(3:00)  1. It's You Or No One
(4:21)  2. It Was Me
(4:25)  3. Lulllaby Of The Leaves
(6:27)  4. Lover Come Back To Me
(5:05)  5. The Fool On The Hill
(4:54)  6. Lady Be Good
(5:54)  7. Another Star
(4:57)  8. Exactly Like You
(5:08)  9. Sometime Ago
(3:21) 10. Go Easy
(3:31) 11. Three Bears

In 1995 Donna Byrne was described by Tony Bennett as one of the "best young jazz singers in the country." More often that not, these complements are little more than throw always done as a courtesy. But Byrne's latest album reveals she deserves that complement and more. Teamed with outstanding instrumentalists, they perform a program of a couple of jazz standards, nods to Stevie Wonder and the Beatles, but mostly classic entries from the Great American Songbook. Irrespective of the source of the song, Byrne brings to each of them a freshness and style that's a joy to listen to and, for a musician, a pleasure to share the performance with her. Byrne is blessed with perfect pitch from which she never waivers no matter what she's singing. Her sensitivity to the picture lyrics are conveying and her impeccable phrasing coupled with bass player (and Byrne's husband) Marshall Wood's arrangements that accent the most favorable features of her vocal qualities, help make the album an auspicious event. How all of this comes together is nowhere better illustrated than with the medley of "When Your Lover has Gone" and "Lover, Come Back to Me" an album highlight. On the former, the trumpet of the venerable Herb Pomeroy embroiders pretty musical figures behind Byrne's poignant rendition of the first half of the medley. 

Then Artie Cabral's high powered drumming leads the segue into the second part of the medley as Ken Peplowski's tenor barges upon the scene behind Byrne's exciting swinging. Peplowski picks up the solo cudgels engaging in an extended conversation with Gray Sargent's guitar as Byrne follows on with a moody chorus of the first half of the medley. The result is more than six minutes of an excellent performance of two warhorses with new saddles thrown over them. The other medley on the album shares the highlight award. On the first half of the pair of songs, Byrne's wordless vocalizing and Peplowski's sax replicate tenor sax player Lucky Thompson's authoritative 1956 recording of Oscar Pettiford's "Tricrotism," transforming it into a jazz sonata for vocal scat and tenor sax. Byrne follows by sliding into a medium tempo "Exactly Like You." The remaining tracks are done with equal enthusiasm and proficiency making the listener not only pleased with this album, but looking forward in anticipation of her next release. ~ Dave Nathan http://www.allmusic.com/album/it-was-me-mw0000647908

Personnel: Donna Byrne (vocals); Ken Peplowski (tenor saxophone, clarinet); Herb Pomeroy (trumpet, flugelhorn); Bill Cunliffe (piano); Gray Sargent (guitar); Marshall Wood (bass); Artie Cabral (drums).
 

Thank You my Friend!!!

 

It Was Me

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Doc Severinsen & His Big Band - Swingin' The Blues

Bitrate: MP3@320K/s
Time: 53:59
Size: 123.6 MB
Styles: Big band
Year: 2008
Art: Front

[0:56] 1. Intro A La Indigo
[3:57] 2. C Jam Blues
[3:31] 3. Everyday I Have The Blues
[3:38] 4. Wang Wang Blues
[4:18] 5. In A Sentimental Mood
[5:03] 6. Happy Go Lucky Local Blues
[0:43] 7. Doc And Snooky Banter
[3:00] 8. Don't Touch Me
[3:10] 9. Topsy (Arr. T.P.T. Newsom) Topsy
[4:01] 10. What's New
[2:37] 11. The Hucklebuck
[4:10] 12. All Blues
[6:52] 13. West End Blues
[7:55] 14. The Supreme Sacrifice

Doc Severinsen, Tom Delibero, Snooky Young, Conte Candoli, Dennis Tribuzzi, Chuck Findley - trumpet/flugelhorn; Barbara Morrison - vocals; Ed Shaughnessy - drums; Ernie Watts - tenor sax; Mike Daigeau, Steve West - trombone; Ernie Tack - bass trombone; John Bambridge, Karolyn Kafer - alto sax/ soprano sax/flute/clarinet; Phil Feather, Doug Webb - tenor sax, flute, clarinet; Bill Perkins - baritone sax; Ross Tompkins - piano; Bill Cunliffe - piano, Hammond B3 organ#; John Leitham - bass.

Over the last few years, Doc Severinsen has kept a big band together by playing concerts and touring. This successor to the Tonight Show Band, so important to the success of the Johnny Carson show, continues to feature fresh, imaginative arrangements and stellar musicians to perform them. Many members of the group not only played with Severinsen on the Tonight show, but have their roots in the big band, swing tradition like Conte Candoli, Bill Perkins and especially Snooky Young who anchors the trumpet section. Critical to the success of a big band is a drummer who can drive the group, as well as take a roof raising solo from time to time. Ed Shaughnessy fills that prescription. Not only does he move the band with his relentless beat, but he hammers out some significant solos. That he is out of the Gene Krupa school of drumming is evident on Topsy. His performance recalls the Krupa solo on "Sing, Sing, Sing" at the 1938 Carnegie Hall Concert. He isn't all that subtle, but he sure can swing. "Topsy" is one of the highlights of the session and alone is worth the price of the album.

Severinsen is also generous is his distribution of solo time among the rest of the band members, as well as reserving time for himself. Doc is especially prominent on the Joe Oliver/Clarence Williams "West End Blues", an early favorite of Louis Armstrong. After an opening chorus from Severinsen, Bill Perkins comes in, assuming the Harry Carney baritone sax role on "In a Sentimental Mood", getting strong backing from Ross Tompkins' piano. Severinsen takes some more licks on a fervent arrangement of Bob Haggard's classic "What's New" recalling that Haggard was the first to occupy the bass chair in the original Tonight Show Band. The CD's denouement, "The Supreme Sacrifice", is a gospel-like number complete with Bill Cunliffe's Hammond B-3 organ, rumbling choruses from Mike Daigeau's trombone and Snooky Young' trumpet, with some parting shots from Severinsen. As icing on this musical cake, vocalist Barbara Morrison joins the group as "girl singer". Her presence also strengths the blues credentials for this session. She plays Joe Williams on "Every Day I Have the Blues" and does "Don't Touch Me" (pleasantly risque), and" The Hucklebuck", sharing the stage with Conte Candoli's trumpet. Probably no other form of jazz demands good, solid arrangements than big band swing. This album has outstanding material, with seven arrangements by the dependable Tommy Newsom and the rest divided among Artie Butler, John Bambridge and Bill Holman. Good arrangements, a fine play list and top flight musicians in a driving big band puts this album in the highly recommended category. ~Dave Nathan

Swingin' The Blues

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Clayton-Hamilton Jazz Orchestra - Shout Me Out

Styles: Jazz, Big Band
Year: 2000
File: MP3@320K/s
Time: 63:30
Size: 152,7 MB
Art: Front

(9:27)  1. Shout Me Out
(6:36)  2. Max
(4:47)  3. Plunger Mute Syndrome
(7:03)  4. Yellow Flowers After
(4:46)  5. Grizzly
(3:35)  6. Day by Day
(5:28)  7. Nice to Meet You
(4:58)  8. One for Horace Tapscott
(2:04)  9. Barbara's Rose
(5:39) 10. I Want a Little Girl
(9:04) 11. How Insensitive

If there were an award for “most improved big band,” the opinion here is that the C–HJO would win going away, as its two most recent albums ( Explosive!, with vibraphonist Milt Jackson, and now Shout Me Out! ) have moved well beyond its earlier endeavors to prove beyond any doubt that this is one of the most talented and exciting ensembles performing anywhere in the lower forty eight. Clearly, the primary role model is Basie, and the C–HJO is emphatically adhering to the swinging blueprint laid bare by the Count and refined during his many years in the big band trenches. Coleader John Clayton’s deeply grooved “Nice to Meet You” is dedicated to Basie, and there are innumerable splashes of the Count’s peerless style elsewhere on the album, from wailing shout–choruses and assertive rhythms (punctuated by co–leader Jeff Hamilton’s assiduous drum work) to pianist Bill Cunliffe’s spare, Basie esque phrasings, crisp unison passages by brass and reeds and boppish narratives by the band’s squadron of accomplished soloists. There are three other dedications, Hamilton’s “Max” (for longtime friend and Jazz supporter Max Ketteman), co–leader Jeff Clayton’s “Barbara’s Rose” (for St. Louis Jazz promoter Barbara Rose) and Charles Owens’ “One for Horace Tapscott,” honoring the pianist who was a leading player on the Los Angeles Jazz scene. Bassist John Clayton, the band’s principal composer / arranger, also wrote “Shout Me Out!,” “Plunger Mute Sydrome” (for 22–year–old phenom Isaac Smith) and “Grizzly,” while trumpeter Clay Jenkins contributed “Yellow Flowers After.” Completing the program are the standards “I Want a Little Girl” (charmingly sung and played by veteran trumpeter Snooky Young) and “Day by Day” (featuring Rickey Woodard’s thundering tenor sax) and Antonio Carlos Jobim’s “How Insensitive” (performed not by the band but as a “conversation” between John Clayton’s arco bass and Hamilton’s drums). The other soloists are baritone Lee Callet, guitarist Jim Hershman and both Clayton brothers (John on bowed bass, Jeff on alto) on "Shout Me Out!"; Woodard, Hamilton, Cunliffe and trumpeter Bobby Rodriguez on "Max"; trumpeter Jenkins on "Yellow Flowers"; trumpeter Oscar Brashear, trombonist George Bohanon and bassist Christoph Luty on "Grizzly"; Woodard, Smith and Brashear on "Nice to Meet You"; Cunliffe, Hamilton and alto Owens on "Horace Tapscott"; Jeff Clayton and trombonist Ira Nepus on "Barbaras Rose." If you want to hear a band that has found its niche and speaks in a clear and confident voice, check this one out. ~ Jack Bowers https://www.allaboutjazz.com/shout-me-out-clayton-hamilton-jazz-orchestra-review-by-jack-bowers.php 

Personnel: Jim Hershman (guitar); Jeff Clayton (flute, piccolo, oboe, alto saxophone); Charles Owens (clarinet, soprano saxophone, tenor saxophone); Keith Fiddmont (clarinet, alto saxophone); Rickey Woodard (clarinet, tenor saxophone); Lee Callet (bass clarinet, baritone saxophone); Clay Jenkins, Oscar Brashear, Bobby Rodriguez (trumpet); Isaac Smith , George Bohannon, Ira Nepus (trombone); Maurice Spears (bass trombone); Bill Cunliffe (piano); Jeff Hamilton (drums).

Shout Me Out

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John Proulx - The Best Thing For You

Styles: Vocal and Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 71:27
Size: 164,1 MB
Art: Front

(5:56)  1. The Best Thing For You (Would Be Me)
(5:36)  2. Sing
(4:31)  3. Jogger Chronicles
(5:17)  4. Love Is For Dreamers
(4:50)  5. I Can't Give You Anything But Love
(5:56)  6. Angel
(5:24)  7. Wabash
(5:33)  8. Before We Say Goodnight
(4:38)  9. Push Hands Anna
(5:29) 10. And So It Goes
(4:12) 11. Two of a Kind
(5:04) 12. In the Days of Our Love
(3:46) 13. Here's to the "Chuckster"
(5:07) 14. Proulx's Blues

While female jazz vocalists outnumber male jazz vocalists five to one, it would be a fallacy to believe there is not a wealth of talent among the men singers. With Louis Armstrong and Chet Baker now memories, and Mark Murphy and Jon Hendricks in twilight, as Kurt Elling ascends their throne, there exists a vocal diaspora of the most refined and sonically appealing voices singing, and they are all men. Andy Bey, Beat Kaestli, Henry Darragh and John Proulx all have beautifully sweet and slightly androgynous voices that are able to flatter a broad range of song types. Proulx, who has previously released the uniformly excellent Moon and Sand (2006) and Baker's Dozen: Remembering Chet Baker on Maxjazz, proves again, on The Best Thing For You, that he is the leader of this pack.

The Best Thing For You weighs heavier with Proulx originals than standards and the entire assembly hangs as if born together. Proulx has great empathy with Irving Berlin, spinning his title tune into a tale that can only be described as delightful. Proulx channels Berlin's stage spirit in his own tunes, like the "Push Hands Anna," which is almost a throwback to the wartime Andrews Sisters, but sings perfectly now. Proulx programs the McHugh/Fields chestnut "I Can't Give You Anything But Love" with his own "Love Is For Dreamers," which he duets with Sara Gazarek. His excellent vocals and piano smooth the two rather different songs together into a homogenous whole, making perfect sense.

Proulx's core trio includes bassist Chuck Berghofer and drummer Joe LaBarbera, who also supported the singer on his two previous outings. Guitarist Larry Koonse, trumpeter Ron Stout and reed multi-instrumentalist Bob Sheppard all appear in different contexts. Pianist Bill Cunliffe shares production and song arrangement services with Proulx, while playing piano on Marian McPartland's "In The Days of Our Love." Proulx sings Peggy Lee's lyrics like they were penned yesterday. The duet between Cunliffe and Proulx is very effective. He also duets with the Berghofer on "Here's to The Chuckster," a song Proulx penned in honor of the bassist. Proulx is not a blues singer per se, but does demonstrate his affinity for the style on the piano, rendering a swinging "Proulx's Blues," which closes this most excellent recital. ~ C.Michael Bailey  http://www.allaboutjazz.com/the-best-thing-for-you-john-proulx-maxjazz-review-by-c-michael-bailey.php

Personnel: John Proulx: vocals. piano; Chuck Berghofer: bass; Joe La Barbera: drums; Sara Gazarek: vocals (4, 6, 8); Michael Feinstein: vocals (11); Bill Cunliffe: piano (12); Bob Shepphard: soprano, tenor saxophone & flute (1, 3, 5, 8, 10, 11); Larry Koonse: guitar (2, 4, 7-9); Ron Stout: trumpet (1, 3, 7, 11); Jeremy Boersma: cello (6).

The Best Thing For You

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John La Barbera Big Band - On The Wild Side

Styles: Big Band
Year: 2003
File: MP3@320K/s
Time: 62:09
Size: 145,0 MB
Art: Front

( 4:22)  1. Mayreh
( 7:21)  2. So What
( 4:25)  3. Tiger of San Pedro
( 7:15)  4. Message from Art
(10:33)  5. Walk on the Wild Side Suite
( 5:16)  6. Cachaça Gotcha
(10:30)  7. Eleanor Rigby
( 6:16)  8. Cloth of Silver - Threads of Blue
( 6:06)  9. Highland Crossing

Good things, it has been said, come to those who wait. Well, we've waited a long time for John La Barbera, the middle third of the multi-talented La Barbera brothers, to record his first big-band album, and it's good. Check that; it's better than good much closer, one might reasonably argue, to spectacular. As a composer and arranger, La Barbera knows how to make a big band swing like there's no tomorrow; one doesn't spend nearly two decades playing and writing for Buddy Rich without learning that. La Barbera has further helped the cause by putting together an ensemble whose rhythm section (on five tracks), plus trumpeter Clay Jenkins and tenor saxophonist Bob Shepard, doubles as the Joe La Barbera Quintet (Bill Cunliffe, piano; Tom Warrington, bass). Yes, that's younger brother Joe on drums, driving the band relentlessly forward, and older brother Pat on tenor, soloing brightly on five of the nine selections. The rest of the band is a who's who of top-drawer West Coast sidemen who can nail anything La Barbera or anyone else dreams up. The leader even persuaded elder statesman Bud Shank, playing as well as ever at age seventy-five (when the recording was made), to take the album's first solo, on Horace Silver's fast-moving bop theme "Mayreh."

Besides transforming the Beatles' shopworn "Eleanor Rigby" into an ingenious big band tour de force and reupholstering the dramatic suite from Elmer Bernstein's "Walk on the Wild Side," originally arranged for Rich, John wrote the growling "Tiger of San Pedro" (which trombonist Bill Watrous used as the title of one of his '70s albums), the supple "Cachaça Gotcha," mercurial "Cloth of Silver-Threads of Blue" and evocative "Highland Crossing," while brother Joe penned the powerful remembrance of Art Blakey, "Message from Art," to which he, Shepard and trombonist Bruce Paulson have added the exclamation marks. Pat's tenor is showcased on "Tiger," "Eleanor Rigby" and Miles Davis' "So What," his soprano on "Highland Crossing," and both instruments on "Wild Side." Jenkins solos adroitly on four tracks, trumpeters Wayne Bergeron and Dennis Farias bare their chops on "Tiger" and "Crossing," respectively, and alto Kim Richmond is customarily forceful on "Gotcha." Worth waiting for? Without a doubt. Horace Silver, who cuts right to the chase, keenly assesses Wild Side in one dead-on sentence on the album's cover: "Good arrangements... good band... good performance." There's not much one can add to that.~ Jack Bowers http://www.allaboutjazz.com/on-the-wild-side-john-la-barbera-jazz-compass-review-by-jack-bowers.php

Personnel: Wayne Bergeron, Dennis Farias, Bob O'Donnell, Clay Jenkins, trumpet; Brian Scanlon, alto, soprano sax, flute, piccolo; Kim Richmond, alto sax; Bob Sheppard, Pat La Barbera (2, 3, 5, 9), Tom Peterson (1, 4, 6-8), tenor sax; Bob Carr, baritone sax, bass clarinet; Bruce Paulson (1, 4, 6-8), Alex Iles, Andy Martin, Bill Reichenbach (2, 3, 5, 9), trombone; Ken Kugler, bass trombone; Bill Cunliffe (1, 4, 6-8), Tom Ranier (2, 3, 5, 9), keyboards; Tom Warrington, bass; Joe La Barbera, drums; Scott Breadman (6), percussion.

On The Wild Side

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Milt Jackson - Explosive! Meets The Clayton-Hamilton Jazz Orchestra

Styles: Vibraphone Jazz
Year: 2002
File: MP3@320K/s
Time: 64:15
Size: 149,1 MB
Art: Front

(5:54)  1. Bags' Groove
(7:41)  2. Since I Fell For You
(5:25)  3. Evidence
(3:28)  4. Back Home Again In Indiana
(5:23)  5. Deed I Do
(5:20)  6. The Nearness Of You
(5:36)  7. Major Deagan (Blues For Dan)
(5:48)  8. Emily
(6:53)  9. Along Came Betty
(6:00) 10. Revibal Meeting
(6:43) 11. Recovery

In a recording career that's spanned more than half a century, the masterful vibraphonist Milt Jackson has seldom been less than flawless. For Explosive!, his fifth disc on Quincy Jones's well-distributed Qwest label, Jackson is suitably teamed with the well-populated Clayton-Hamilton Jazz Orchestra. It too, is no exception; offering a sterling collection of Jackson's pleasing blend of blues and ballads. Jackson has only recorded with big bands on a surprisingly infrequent basis (his Verve recordings with Ray Brown, two dates from the early 1960s on Riverside and some work in the late 70s with Count Basie's band come to mind). But he has plenty of connections to this music. Helmsman arranger/bassist John Clayton studied with Jackson's soul mate and frequent musical sparring partner, Ray Brown. Clayton has also served a rewarding apprenticeship in Basie's band and his tasteful, swinging arrangements recall the brassy soulfulness Quincy Jones offered to many a Basie session (and plenty others like Ray Charles too).

So Milt's at home here still swinging like he did back in the Forties (consider how he enlivens Monk's "Evidence" here and recall the vibraphonist was heard on the original all those years ago). If there's any gripe - and it's a true quibble - it's that Jackson seems like a guest on his own session. He swings in between the more dominating orchestra (with exceptional offerings from reedman Jeff Clayton, trumpeter Snooky Young and trombonist George Bohanon) and even sits out of "Deed I Do" and "The Nearness of You" altogether. But, as expected, he's above reproach and completely in charge of "Major Deegan," the inevitable "Bag's Groove," and the newer originals, "Revibal Meeting" and "Recovery." Explosive! could have been recorded in the late Fifties, at a time when jazz orchestras like this flourished. Today, it's positively out of the ordinary to hear a big star front a (real) big band. But it shows how ageless and timeless the concept is when it's done right as it is here. ~ Douglas Payne 

http://www.allaboutjazz.com/explosive-milt-jackson-warner-bros-review-by-douglas-payne.php

Players:Milt Jackson: vibes; John Clayton, Jr.: arco bass; Jeff Hamilton: drums; Jeff Clayton: alto sax, flute, clarinet; Byron Stripling, Eugene "Snooky" Young, Oscar Brasher, Clay Jenkins, Bobby Rodriguez: trumpet; Ira Nepus, George Bohanon, Isaac Smith: trombone; Maurice Spears: bass trombone; Keith Fiddmont: alto sax, flute, clarinet; Ricky Woodward, Charles Owens: tenor sax, clarinet; Lee Callet: baritone sax, bass clarinet; Bill Cunliffe: piano; Christoph Luty: bass; Jim Hershman: guitar.

Explosive! Milt Jackson Meets The Clayton-Hamilton Jazz Orchestra

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Melissa Sweeney - Golden Thread

Styles: Vocal Jazz
Year: 2004
File: MP3@320K/s
Time: 54:23
Size: 124,9 MB
Art: Front

(6:08)  1. You're My Thrill
(3:24)  2. My Baby Just Cares For Me
(4:55)  3. Golden Thread
(6:07)  4. Sex Kills
(5:38)  5. I Have Dreamed
(4:31)  6. Skylark
(6:57)  7. Pavane
(3:19)  8. Sweet Lorraine
(5:12)  9. Vivo Sonhando
(3:02) 10. Why Don't You Do Right
(5:05) 11. Where I Belong

The lady, Melissa Sweeney, has a voice, warm, rich-toned, mature; and she had a childhood that sounds like heaven a "record fiend" mother who provided her with the sounds of Benny Goodman, Artie Shaw, Nat King Cole, MJQ, Ella, Anita O'Day; and then a tender-age job at KBIG-FM jazz station in Los Angeles and the access to thousands of promo copies of jazz LPs. A voice, a feeling for the history of jazz, and the savy/good fortune of hooking up with pianist Bill Cunliffe as arranger/producer of her debut disc, Golden Thread. The set opens with "You're My Thrill," lushly-arranged, with a Lady in Satin atmosphere. The arrangements on Golden Thread alternate between classy string treatments including "You're My Thrill," to a jazzier piano/bass/drums trio with great horn solos on several tunes, including the marvelous rendition of Joni Mitchell's "Sex Kills", with the Rob Lockart's saxophone smoldering around Sweeney's telling of Mitchell's dark tale. 

"My Baby Just Cares" has the sparer arrangement, an insouciant bounce, the trombone dancing with Sweeney's vocal in front of the sparkle of Cunliffe's piano work. Hoagy Carmichael's "Skylark" rolls along in a relaxed mode, with drummer Joe La Barbera providing some beautifully subtle brushwork. The set has standards, a Brazilian sound (the Jobim/Gilberto tune "Vivo Sonhando"), French lyrics ("Pavane"), and first-rate pop songs ("Sex Kills and Paul Simon's "Where I Belong"), wrapped in classy arrangements with a gorgeous voice out front.~ Dan Mcclenaghan  http://www.allaboutjazz.com/golden-thread-melissa-sweeney-azica-records-review-by-dan-mcclenaghan.php#.VBdabBawTP8

Personnel: Melissa Sweeney - vocals; Bill Cunliffe - piano and arrangements; George Bohanon - trombone solo; Joe La Barbera - drums; Derek Oles and Tom Warrington - bass; John Chiodini - guitar; Paulino DaCosta - percussion; Ricky Woodard, Rob Lockart, Bob shepard - sax solos; John Yoakum, Brian Scanlon - woodwinds; John Mascon - French horn; Peter Kent - concertmaster;
Amy Schulman -harp

Golden Thread

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Jacintha - Jacintha is her name

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 53:27
Size: 122,9 MB
Art: Front

(5:32)  1. Willow weep for me
(5:21)  2. The thrill is gone
(6:07)  3. Something cool
(4:06)  4. Don't smoke in bed
(4:03)  5. Light my fire
(4:14)  6. I'm in the mood for love
(5:42)  7. God bless the child
(6:14)  8. Round midnight
(4:05)  9. I'll never smile again
(3:17) 10. Gone with the wind
(4:40) 11. Cry me a river

Dedicated to the great '50s torch song singer and jazz vocalist Julie London, Jacintha Is Her Name was inspired by and includes performances of several of Julie's most well known songs including Cry me A River, I'm In The Mood For Love, Gone With The Wind and others. Arrangements are by 2002 Grammy nominee Bill Cunliffe on piano with BMG recording artist Harry Allen on tenor and Ron Eschete on guitar. ~Editorial Reviews http://www.amazon.com/Jacintha-Name-Dedicated-Julie-London/dp/B000096FTU
 

Personnel: Jacintha (vocals); Harry Allen (tenor saxophone); Holly Hoffman (flute); Bill Cunliffe (piano); Ron Eschete (guitar); Larry Bunker (vibraphone, congas); Derek Oleskiewicz (bass); Larance Marable (drums)

Jacintha is her name

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Bill Cunliffe - Imaginacion

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 67:11
Size: 154,2 MB
Art: Front

(6:50)  1. El Optimista
(5:57)  2. Do It Again
(7:12)  3. Bone Crusher
(8:22)  4. Afluencia
(6:57)  5. Chuco
(7:46)  6. Havana
(7:23)  7. Heat Wave
(6:04)  8. How High The Moon
(5:34)  9. Pure Imagination
(5:00) 10. Flying High

Grammy-nominated pianist Bill Cunliffe loves a good melody. He's recorded a couple of sets of Reed Kotler's beautifully lyrical tunes, most recently Tomo (Torii, '05). With his latest offering, Imaginacion, the pianist/arranger wraps some melodies his own and a few classics in a strong Latin vibe. The expanded lineup, featuring two trombones, two trumpets, and a reed player, plus piano and bass, along with three percussionists, offers more harmonic possiblities, and Cunliffe has a genius in this arena, crafting lush washes of sound over the percolating percussion.

Five of the tunes here are Cunliffe originals, and the covers are well-chosen: Steely Dan's "Do It Again," the American Songbook classic "How High The Moon," and a gorgeously cool take on Irving Berlin's "Heat Wave," featuring the gentle freon caress of Bob Shepard's flute work a highlight for this listener. And of course, there's a Reed Kotler tune (Kotler produced the disc): the spicy closer, "Flying High." The Cunliffe-penned "Chucho" (for Cuban piano great Chucho Valdes, a logical guess), cooks with one fine solo after another a trumpet soaring out of horn interplay, then Bob Shepard's tangy soprano sax, followed by a belt-it-out trombone turn, over always the ebullient percussion. This is the type of recording that earns Grammy nods beautiful and perfectly crafted tunes without a weak spot to be found. Perhaps the next review of a Bill Cunliffe record will say "Grammy Award-winner" on it. ~ Dan Mcclenaghan  

http://www.allaboutjazz.com/imaginacion-bill-cunliffe-torii-records-review-by-dan-mcclenaghan.php#.U8_yqLFryM0
 

Personnel: Bill Cunliffe--piano, arranger; Bob Shepard--sax, flute; Bobby Shew, Kye Palmer--trumpet; Bruce Paulson, Arturo Velasco--trombone; Rene Camacho--bass; Joey De Leon, Jose "Papo" Rodriquez--percussion; Ramon Banda--drums

Imaginacion

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Bill Cunliffe - Bill In Brazil

Bitrate: 320K/s
Time: 64:13
Size: 147.0 MB
Styles: Hard bop, Piano jazz
Year: 1995
Art: Front

[7:15] 1. Saudosissimo Samba Feliz
[4:23] 2. Cast Your Fate To The Wind
[6:03] 3. Leblon
[5:20] 4. She Moves On
[7:30] 5. Gentle Rain
[5:42] 6. Surfboard
[5:36] 7. Belinda
[4:48] 8. Long Time Coming
[5:37] 9. Cancao
[6:47] 10. First Encounter
[5:08] 11. Canto De Ossanha

In the liner notes to his latest release, the aptly titled Bill in Brazil, Bill Cunliffe relates the amusing story of his numerous logistical misadventures in South America. Setting out for Rio so as to lend a cultural authenticity to his Brazilian jazz venture, the pianist found out he needed a visa as well as a passport and had to divert to Buenos Aires for a weekend while waiting to straighten things out at the Brazilian embassy. Then a local terrorist attack closed the airport and he spent another night just wandering the city and hanging around jazz clubs. Finally, after surviving a psycho cab driver and a wild World Cup parade, Cunliffe defied exhaustion and set to work with some of Brazil's top musicians, creating an album of extraordinary beauty ("Long Time Coming"), demonic jazz energy ("Belinda"), and friendly tributes (Jobim's "Surfboard"). Recorded in both Rio and Los Angeles, the disc features Ricardo Silveira, Oscar Castro-Neves, drummer Elio Cafaro, pianist Marcos Ariel, and Alex Acuña. The experience also inspired Cunliffe to write four of his own tunes, in addition to Brazilian staples and pop treasures like "Cast Your Fate to the Wind" and Paul Simon's hooky "She Moves On." ~Jonathan Widran

Bill In Brazil

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Bill Cunliffe - It's About Love

Bitrate: 320K/s
Time: 60:50
Size: 139.3 MB
Styles: Post bop, Piano jazz
Year: 2007
Art: Front

[3:51] 1. At The End Of The Day
[4:35] 2. I've Been Thinking Of You Lately
[5:15] 3. Where Do I Go From Here
[5:29] 4. Nine Steps
[3:56] 5. I Can't Forget
[5:16] 6. Spring Is Near
[3:52] 7. Thank You Lord, Amen!
[4:23] 8. Song For Bill C
[5:12] 9. Cool Walk
[5:29] 10. Love Is In The Air
[5:03] 11. Thoughts Of You
[4:48] 12. Duck's Tune
[3:36] 13. Forever

It's About Love, an acoustic post-bop date that pianist Bill Cunliffe co-leads with saxman Gary Foster, is subtitled The Music of Reed Kotler. Upon seeing that name, some listeners are bound to ask, "Who is Reed Kotler?" -- and the answer is that Kotler is a talented but underexposed jazz composer from the San Francisco Bay Area. Although Kotler isn't well known, Cunliffe and Foster obviously think highly of his work; It's About Love marks the second time the improvisers have devoted an entire album to his compositions. They have good taste; Kotler often writes attractive melodies, and it's nice to see some jazzmen acknowledging a lesser known composer instead of confining themselves to overdone Tin Pan Alley standards that have long since been beaten to death. (Does the jazz world really need 5,000 new recordings of "My Funny Valentine" in the 21st century?) As it turns out, Kotler's melodies are perfect for what Cunliffe and Foster wanted It's About Love to be: an often romantic, generally laid-back and relaxed post-bop album. This 2003 date doesn't focus on ballads exclusively, but it does make lyrical performances a high priority -- more often than not, It's About Love celebrates the kinder, gentler side of post-bop. Think of John Coltrane playing "Naima" and "Central Park West," Herbie Hancock doing "Dolphin Dance," or James Williams giving us "Alter Ego"; that's the sort of good-natured vibe that frequently prevails on this CD, which was produced by Cunliffe and Kotler and lists the latter as executive producer. Cunliffe and Foster are joined by bassist Jeff d'Angelo and drummer Tim Pleasant, both of whom do their part to make It's About Love the solid effort that it is. ~Alex Henderson

It's About Love

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