Polly Gibbons - Is It Me?

Styles: Vocal Jazz
Year: 2017
File: MP3@320K/s
Time: 59:57
Size: 137,9 MB
Art: Front

(5:47)  1. Ability To Swing
(4:06)  2. You Can't Just...
(5:24)  3. Sack Full Of Dreams
(4:15)  4. Wrap Your Troubles In Dreams
(5:58)  5. Wild Is The Wind
(5:46)  6. Basin St. Blues
(3:45)  7. Midnight Prayer
(4:57)  8. Is It Me...?
(5:41)  9. Pure Imgination
(5:09) 10. Dr. Feelgood
(4:38) 11. I Let A Song Go Out Of My Heart
(4:27) 12. Don't Be On The Outside (Bonus Track)

With half a dozen albums to her name, British vocalist Polly Gibbons has no need to prove her worth but that hasn't inhibited her from pulling out all the stops on her second album for Resonance following on from 2014's My Own Company. Thomas Dolby's "Ability To Swing" proves just that, courtesy of a first class powerhouse of an American horn section (the album was recorded in the States where Gibbons plays gigs with increasing frequency, such is her in-demand status). The brass also acts as a sonic turbo-charged engine on the funky "You Can't Just...," one of three songs penned by Gibbons and her pianist/arranger and fellow Brit, James Pearson. The pair also co-wrote the wistfully lyrical title track. "Basin Street Blues" is given an up-tempo makeover but there are sultry soul-infused numbers such as "Midnight Prayer" (another Gibbons/Pearson original) and Gary McFarland's "Sack Full Of Dreams." There are also quartet backed numbers like "Wrap Your Troubles In Dreams" and the ruminative ballad "Wild Is The Wind." 

The uncompromising soul/blues outing "Dr Feelgood" with the horn section in attendance contrasts with standards like Duke Ellington's "I Let A Song Go Out Of My Heart" which is afforded a straight-ahead treatment elevated by a touch of accelerando mid-way through. The final track, "Don't Be On The Outside" is denoted as a bonus track since it's the only live track on the album, setting it apart from the preceding 11 numbers. In 2016, Gibbons supported George Benson and Gladys Knight on their sell-out tours including two nights at London's Royal Albert Hall. Those prestigious concerts were just another sign that her star is rising. Possessed of a powerfully soulful voice, she is undoubtedly maturing into one of Britain's finest singing talents and this album, replete with stellar arrangements, is another testament to that fact. ~ Roger Farber https://www.allaboutjazz.com/is-it-me-polly-gibbons-resonance-records-review-by-roger-farbey.php

Personnel: Polly Gibbons: vocals; Tamir Hendelman: piano; James Pearson: piano; Shedrick Mitchell: Hammond Organ; Graham Dechter: guitar; Kevin Axt: bass; Ray Brinker: drums; Willie Murillo: trumpet; Vinny Dawson: trumpet; Bob McChesney: trombone; Andy Martin: trombone; Bob Sheppard: alto saxophone, tenor saxophone, clarinet, flute; Brian Scanlon: alto saxophone, tenor saxophone, flute; Keith Bishop: alto saxophone, tenor saxophone, clarinet, flute; Tom Peterson: baritone saxophone, tenor saxophone.

Is It Me?

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Cheryl Bentyne - The Book of Love

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 49:16
Size: 113,2 MB
Art: Front

(4:31)  1. You Don't Know Me
(4:48)  2. Be My Love
(3:40)  3. Blue Moon
(3:25)  4. Lets Do It
(5:05)  5. Don't Say A Word
(4:17)  6. The Book of Love
(4:29)  7. You Taught My Heart to Sing
(4:52)  8. You Go To My Head
(4:35)  9. Cry Me A River
(5:30) 10. I'm A Fool To Want You
(2:49) 11. Goodbye
(1:11) 12. The Book of Love (Reprise)

Much like fellow West Coaster Karrin Allyson, Cheryl Bentyne has shown a certain affection for thematic recordings. Allyson released her superb Coltrane tribute, Ballads: Remembering John Coltrane, in 2001, and Bentyne answered with her own tribute to Anita O'Day, Let Me Off Uptown, in 2005. Bentyne now returns with The Book of Love, a suite of standards based on a literary motif.  The Book of Love is divided into a seven chapters covering longing, flirtation, lust, love, joy, disillusion, and finally loss. Bentyne is clothed in a variety of musical attire for this reading. The opening "You Don't Know Me uses a Ray Charles line of orchestral outerwear to accent a soulful guitar-organ-piano ensemble warmly cushioning Bentyne's firm alto. "Be My Love is more simply clad with Wayne Johnson's classical guitar and bearing the jewel of Armen Ksajikian's cello solo.  "Blue Moon wears the flapper brocade of the 1920s Jazz Age. Bentyne playfully duets with John Pizzarelli while dancing with violinist Charlie Bisharat's best Joe Venuti. "Let's Do It wears the cloth of the guitar-piano quartet, swinging in three time signatures. Bentyne displays her superb lyric control best here. Having progressed through longing and flirtation, we arrive at lust, represented by the single song "Don't Say a Word, a contemporary piano-orchestra piece written by pianist Bill Cantos. Tenor saxophonist Bob Sheppard plays a Zoot Sims-inspired ballad solo and Bentyne captures the ember of the piece gracefully.

Love (containing the original title track) and joy reveal a gem in a regimented "You go to My Head, adorned with full orchestra and a languid guitar/piano/bass/drums rhythm section. Bentyne sings straight, employing a linear melody method not characteristically used on this song. Trumpeter Chris Tedesco blows a bright two-chorus solo that is a highlight.  But it is not longing, flirtation, lust or love that make the best songs; it is disillusion and loss. "Cry Me A River is formally dressed with stings and presented by Bentyne in a sardonically prideful manner. The true grief and anger are reserved for "I'm a Fool to Want You, where Bentyne's vocal sweetness is tainted by saline tears and bitterness. She sings in the context of her guitar-piano quartet accented again by Charlie Bisharat's violin. The disc closes with a smoky, Latinesque "Goodbye before signing off with a reprise of the original title track. Bentyne continues to deliver measured, intelligently defined recordings that brighten the jazz vocal landscape.By C.Michael Bailey https://www.allaboutjazz.com/the-book-of-love-cheryl-bentyne-telarc-records-review-by-c-michael-bailey.php

Personnel:  Cheryl Bentyne, Zoe Allen, John Pizzarelli, Mark Kibble, Alvin Chea: vocals;  Grant Geissman, Wayne Johnson: guitar; Charlie Bisharat: violin;  Armen Ksajikian: cello;  Bob Sheppard:tenor saxophone;  Chris Tedesco: trumpet;  Corey Allen: piano, keyboards;  Bill Cantos: piano;  Kevin Axt: bass guitar; Dave Tull: drums;  Don Alias, Scott Breadman: percussion;  The City Of Prague Symphony.

The Book of Love

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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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Patrick Williams - Home Suite Home

Bitrate: MP3@320K/s
Time: 50:37
Size: 115.9 MB
Styles: Big band swing
Year: 2015
Art: Front

[ 3:20] 1. 52nd & Broadway
[ 6:06] 2. Home Suite Home I. Elizabeth (The Beautiful Scientist)
[ 7:49] 3. Home Suite Home Ii. Greer (The Dreamer)
[ 7:47] 4. Home Suite Home Iii. Patrick B. (The Real Deal)
[ 4:33] 5. A Hefti Dose Of Basie (To The Memory Of Neal Hefti)
[ 3:47] 6. I've Been Around
[10:20] 7. Blue Mist (For Catherine)
[ 6:51] 8. That's Rich (For Buddy)

Patrick Williams: conductor; Dave Grusin: piano; Chuck Berghofer: bass; Peter Erskine: drums; Dean Parks: guitar; Dan Higgins: alto saxophone; Jeff Driskill: alto saxophone; Bob Sheppard: tenor saxophone; Tom Scott: tenor saxophone; Gene Cipriano: baritone saxophone; Wayne Bergeron: trumpet; Dan Fornero: trumpet; Bob Summers: trumpet; Michael Stever: trumpet; Arturo Sandoval: trumpet; Charlie Loper: trombone; Andy Martin: trombone; Bob McChesney: trombone; Craig Gosnell: bass trombone; Dan Grecco: percussion; Patti Austin: vocals (1); Frank Sinatra Jr.: vocals (6); Tierney Sutton: vocals (6).

Composer, arranger and band leader Patrick Williams leads some of the finest jazz musicians in L.A. on another exciting portrait of big band swing on Home Suite Home, an album that's far more personal than all of his previous works. Documenting a personal homage to his family and his first musical love, Williams pays tribute to his children and wife stating "I tried to capture the essence of the personality of my wife and three children in musical terms...""is truly a labor of love." In addition to the all-star list of players on his band, Williams augments the group with vocalist's Patti Austin, Tierney Sutton and Frank Sinatra, Jr. gracing the stage with the likes of pianist Dave Grusin, trumpeter Arturo Sandoval, drummer Peter Erskine and long-time associate, saxophonist Tom Scott as special guests adding the final ingredients to his most ambitious and masterful musical project to date.

A prolific composer, the band leader offers eight original tunes leading off with "52nd & Broadway" featuring vocalist Austin fronting a full-on swinging orchestra. The tribute to his children is the center-piece of the disc and incorporated in the three-part suite beginning with his first homage, this time for daughter Elizabeth on "Home Suite Home I. Elizabeth (The Beautiful Scientist)" featuring sparkling solos from tenor men Scott and Bob Sheppard. "Home Suite Home II. Greer (The Dreamer)" is a far more subdued and humble piece of music highlighted by the sweet solos from Dan Higgins. The last homage, "Home Suite Home III. Patrick B. (The Real Deal) features a robust ensemble and showcases the chops of drummer Erskine, saxophonist Scott and trumpeter Michael Stever.

Williams pens the most ambitious track for his wife of 54 years dedicating "Blue Mist (For Catherine)" where trumpeter of note Sandoval leads the band on a delicate lush and introspective soft ballad conveying a warm message of love. One of the non-tribute pieces of the set that stands out here is, the swinging orchestral piece "I've Been Around" featuring a smart duet between vocalists Frank Sinatra Jr. and Tierney Sutton.

Aside from dedications to his family, Williams also includes a tip of the hat to trumpeter/composer and arranger Neal Hefti on "A Hefti Dose of Basie (To The Memory of Neal Hefti)" as the band dose a marvelous impersonation of the Basie orchestra featuring the stylish horn of trumpeter Stever taking the honors on lead. The last non-family tribute is a big band swinging chart entitled "That's Rich (For Buddy)" with various members of the band on solo excursions including drummer Erskine doing his best impersonation of the late great drummer Buddy Rich. When all is done, Patrick Williams' Home Suite Home, is far more than a tribute to family, friends and the music he loves, it's a tasteful creatively-designed flavor of big band swing performed with gusto that hits home. ~Edward Blanco

Home Suite Home

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Andy LaVerne Feat. John Patitucci, Bob Sheppard, Dave Weckl - Pleasure Seekers

Styles: Piano Jazz, Post Bop
Year: 1991
File: MP3@320K/s
Time: 53:51
Size: 127,7 MB
Art: Front

(5:17) 1. Pleasure Seekers
(5:54) 2. Pleasure Centre
(4:45) 3. Chestnuts
(5:33) 4. My Name Only
(4:00) 5. Parisian Thoroughfare
(7:15) 6. Sticky Mike's Frog Bar
(4:23) 7. Triple 3 Double 2
(7:42) 8. Kissing Thru Glass
(5:22) 9. Reverse Osmosis
(3:35) 10. Clearer, Cleaner, Safer, Greener

On this CD, keyboardist Andy Laverne performs eight of his own compositions, one song co-written with guitarist Chuck Loeb, and Bud Powell's "Parisian Thoroughfare." Laverne's arrangements for the quartet (which also includes Bob Sheppard on tenor and various reeds, bassist John Patitucci and drummer Dave Weckl) use light funky rhythms and put an emphasis on melodic improvising.

With the exception of "Chestnuts" (based on "All the Things You Are"), the chord changes are all new. Somehow the quartet (which had only first come together just a few days earlier) sounds like a regularly working band. Overall, this is a pleasing session of accessible yet reasonably explorative jazz.By Scott Yanow https://www.allmusic.com/album/pleasure-seekers-mw0000265528

Personnel: Piano – Andy LaVerne (tracks: 1-10); Acoustic Bass, Electric Bass – John Patitucci (tracks: 1-10); Saxophone, Clarinet, Flute – Bob Sheppard (tracks: 1-10); Drums – Dave Weckl (tracks: 1-10)

Pleasure Seekers

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Staci Griesbach - My George Jones Songbook

Styles: Vocal
Year: 2021
File: MP3@320K/s
Time: 64:10
Size: 148,0 MB
Art: Front

(4:53) 1. The Grand Tour
(5:04) 2. He Stopped Loving Her Today
(4:41) 3. A Good Year for the Roses
(4:56) 4. He Thinks I Still Care
(4:39) 5. Walk Through This World with Me
(4:57) 6. A Picture of Me Without You
(5:17) 7. Golden Ring
(5:36) 8. Bartender's Blues
(2:55) 9. Why Baby Why
(4:33) 10. Take Me
(3:12) 11. White Lightning
(5:29) 12. You're Still on My Mind
(3:45) 13. Tender Years (Tes Tendres Années)
(4:06) 14. The Race Is On

Some might question why write an All About Jazz review of an album featuring songs made popular by George Jones? Duke Ellington had the answer when he said, "There are simply two kinds of music, good music and the other kind ... the only yardstick by which the result should be judged is simply that of how it sounds. If it sounds good it's successful; if it doesn't it has failed." Staci Griesbach and her colleagues have made good music according to the Duke's criterion.

Growing up on a working farm in Wisconsin, Griesbach heard plenty of country music George Jones, Patsy Cline, Shania Twain, etc. Now living in Santa Monica, she's made jazz vocal recordings featuring the three singers just listed. In 2016 she studied with Celia Vaz in Rio de Janeiro, Brazil. The range of feelings and genres in her latest recording, My George Jones Songbook, is a testament to her taste and talent in choosing music and musicians for her art.

At first blush the notion of George Jones music as the centerpiece for a jazz recording might provoke discomfort. He is considered the best male country vocalist of his time by many. A self-avowed alcoholic who told mostly melodramatic musical stories, George was damn good at bending the notes and his elbow.

Most importantly, though,, is that this recording is by a vocalist who has taken risks and succeeded. Griesbach's vocal range is exceptional. The first six cuts begin with three of George Jones' melancholy melodramas. She then switches to an upbeat mainstream scat, followed by a Bossa Nova with English and Portuguese lyrics segueing to a Cole Porter preface for Norro Wilson's and George Richey's tune. By the end of the six openers the listener knows the girl can sing.

The lucky #7 cut is reminiscent of Marcus Miller funk and SNL with Kevin Axt on bass, Joe Bagg on organ, Ryan Dragon on trombone, Willie Murillo on trumpet, Brian Clancy on tenor sax and Jake Reed on drums complementing the lyric's sarcasm.

Number 8 in her songbook is James Taylor's "Bartender Blues, a country song penned before country was cool. Taylor once said George Jones could bend notes like a pedal steel guitarist. On Griesbach's "Grand Tour" she bends her voice with the Rich Hinman pedal steel guitar enough to make a grown man or woman cry.

By now you get the idea. My George Jones Songbook is more than a compendium of George Jones' hits. The last six cuts are as varied as the others. "White Lightning" was written by J.P. Richardson, known to most rock'n'rollers as The Big Bopper back in the day. Fiddle player Stuart Duncan is showcased on "Why Baby Why," the closest to pure country music on the recording, understandable since the harmonic obstacles to changing it are, if not insurmountable, unrealistic.

Griesbach's "Take Me" is as close to third stream music as a George Jones song will ever get. She ends the piece with what might be considered a tip of the hat to Judi Silvano and Joe Lovano echoes of smooth jazz in her dialogue with Bob Sheppard on tenor. Griesbach becomes a Francophile by using Johnny Halladay's French lyric for a light and breezy "Tender Years." She finishes that tune via a scat sing-along with pianist Jeremy Siskind.

Mention should be made of the nature of the arrangements. Jeremy Siskind, Tamir Hendelman, Otmaro Ruiz, Willie Murillo, Rahsaan Barber, and Addison Frei show considerable talent in the broad range of styles applied here. An example of their creativity is the use of Artyom Manukyan on cello for "He Stopped Loving Her Today." As an alternative to the pedal steel guitar, the cello adds an artistic element to what country music haters might consider an overwrought tear-jerker.

"He Stopped Loving Her Today" songwriter Bobby Braddock complimented Griesbach on this recording by saying she may have created a new musical genre he called "countryjazz...jazzneck...whatever." No insult intended to Mister Braddock, but as usual, the Duke said it best, speaking about the different kinds of music. "My George Jones Songbook" is good music.
By William H. Snyder https://www.allaboutjazz.com/my-george-jones-songbook-staci-griesbach-staci-griesbach

Personnel: Staci Griesbach: voice / vocals; Tamir Hendelman: piano; Jeremy Siskind: piano; Otmaro Ruiz: piano; Rahsaan Barber: saxophone; Addison Frei: piano; Jake Reed: drums; Kevin Axt: bass; Aaron Serfaty: percussion; Nando Raio: bass, acoustic; Bob Sheppard: saxophone, tenor; Willie Murillo: trumpet; Brian Clancy: saxophone, tenor; Bruce Forman: guitar; Ryan Dragon: trombone; Joe Bagg: piano; Rich Hinman: guitar, steel; Stuart Duncan: violin; Artyom Manukian: cello; John Hatton: bass, acoustic.

My George Jones Songbook

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Mark Winkler - Late Bloomin' Jazzman

Styles: Vocal
File: MP3@320K/s
Time: 50:20
Size: 117,9 MB
Art: Front

(3:32) 1. It Ain't Necessarily So
(3:25) 2. Don't Be Blue
(4:43) 3. When All the Lights in the Sign Worked
(4:27) 4. Late Bloomin' Jazzman
(3:43) 5. In Another Way
(5:01) 6. Bossa Nova Days
(3:17) 7. Old Devil Moon
(3:44) 8. I Always Had a Thing for You
(4:01) 9. Before You Leave
(4:33) 10. Old Enough
(5:36) 11. Marlena's Memories
(4:13) 12. If Gershwin Had Lived

Anyone who can hold their own on a stage on in a studio with Cheryl Bentyne cannot be all bad, right? Even if one's taste runs more to Harry Connick, Jr than to Mark Murphy, it is difficult not to get seriously into Mark Winkler. Oh, he can sing, for sure, but even if he could not carry a tune, he is a lyricist for the ages. Not all ages, mind you. But for those of a certain age, sensibility, and experience. As people are wont to say of life, "tell me your truth," not tell me the truth. Winkler tells the audience his truth. And more than a few will nod in agreement. Winkler may be a romantic, but he is no fool.

"You're playing better than in your well-regarded youth...the prodigies come and go, don't they?" If there is a mirror image to "September Song," "Late Bloomin' Jazzman" must be it, and Brian Swartz' tart trumpet adds the exclamation point. Yeah, novelty is sometimes confused with talent, or youth with beauty. Is it not, one thinks, the truth of the well-traveled?

"Bossa Nova Days" really drives it home. "I wasn't born for these times, music's not musical, and words don't even rhyme." Winkler remembers being lost in those bossa nova days, "singing of lost romance, sand beneath my feet." You, too, brother? "Take me back," he intones. Well, maybe not to Brazil, but some less exotic shore worked just as well. There were wars in 1967, too, but they had not visited one's doorstep yet. Not better times, but memory convinces otherwise. "Old Enough" explains it all. With ironic good humor. "I'm old enough not to be fooled by the lights and the show." "This time the clever is gone." And one gets it, including, "too many notes and too little feeling." Rueful, but funny. "I'm still young enough to know that I don't know that much." Point taken.

Too sentimental? Maudlin? Then try "Old Devil Moon." Winkler can swing, and he does not try too hard. The musicians are especially well placed here: Rich Eames on piano; Bob Sheppard on tenor sax; Christian Euman on drums; Gabe Davis on bass; and Grant Geissman on guitar, with Brian Swartz playing a solid backup line. Players of this caliber make it easier for a singer to sound good.

"Marlena's Memories" is almost too painful to hear, but a good reminder of how ordinary are the sources of pain. Winkler confesses he once wrote bad songs. Somehow, that seems implausible.

There are twelve tracks here. It really is not possible to write about all of them. And probably not necessary. To paraphrase a Founding Father, "If you have to ask, you will never know." A memorable performance indeed in a most memorable career.
By Richard J Salvucci https://www.allaboutjazz.com/late-bloomin-jazzman-cafe-pacific-records

Personnel: David Benoit: Piano; John Clayton: Drums; Jamieson Trotter: Piano; Bob Sheppard: Saxophone, Tenor; Nolan Shaheen: Flugelhorn; Kevin Winard: Drums; Jon Mayer: Piano; Gabe Davis: Bass, Acoustic; Clayton Cameron: Drums; Brian Swartz: Trumpet; Grant Geissman: Guitar; Christian Euman: Drums; Mark Winkler: Voice / Vocals.

Late Bloomin'Jazzman

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Chris Botti - When I Fall In Love

Styles: Trumpet Jazz 
Year: 2004
File: MP3@320K/s
Time: 58:49
Size: 135,7 MB
Art: Front

(4:22)  1. When I Fall In Love
(5:09)  2. What'll I Do
(6:04)  3. No Ordinary Love
(3:21)  4. My Romance
(3:41)  5. Let's Fall In Love
(4:57)  6. Cinema Paradiso
(4:36)  7. Someone To Watch Over Me
(5:31)  8. La Belle Dame Sans Regrets
(3:11)  9. Nearness Of You
(4:03) 10. How Love Should Be
(4:09) 11. Make Someone Happy
(4:53) 12. One For My Baby
(4:44) 13. Time To Say Goodbye (Con te Partiro)

While his ballad album emphasizes the clear tone and gentle spirit that this lyrical trumpeter releases quite naturally, it also serves to exhibit the nuances with which Chris Botti can convince. His subtle improvisations ooze heartfelt emotion from start to finish. Comparisons with Miles Davis and Chet Baker prove valid. While Columbia prefers to market his good looks and youthful, boyish charm, they know they've got a winning formula here, in this evocative trumpet soloist. Backed by a large studio orchestra and close friends and acquaintances, Botti interprets thirteen sensual ballads with passion and understanding. And who can resist "Con te Partiro"? As he closes out the album with this dramatic aria, the clear tones of his open trumpet ring through the halls in glory. It's a triumphant closing for a session that pays homage to centuries of lyrical beauty. Botti has harnessed that spine-tingling feeling into his solemn work. As Sting sings "La Belle Dame Sans Regrets" in French, the session turns light and bouncy. He and Botti pour the gentle bossa gracefully and gently. Paula Cole interprets "How Love Should Be" slowly with a dramatic spirit. She builds the piece gradually and infuses a sincere plea. Botti replies with a muted trumpet whisper that tugs at your heartstrings. His "One for My Baby" seals the message for good. Open and boldly confident, the trumpeter makes no secret of his feelings. Late at night, in the wee hours, he's in love with a ballad. Highly recommended for all lovers this one hits home.
 

Personnel: Chris Botti- trumpet, vocals; Shane Fontayne, Dean Parks- guitar; Federico Gonzalez Pena, Greg Phillinganes- piano; Billy Childs- piano, electric piano; Jon Ossman, Brian Bromberg- bass; Billy Kilson, Vinnie Colaiuta - drums; Paulinho Da Costa- percussion; Dominic Miller- guitar on "La Belle Dame Sans Regrets;" Mitch Dalton- guitar on "Someone to Watch Over Me;" Alec Dankworth- bass on "Someone to Watch Over Me;" Ralph Salmins- drums on "Someone to Watch Over Me;" Jeff Lorber- keyboards on "No Ordinary Love;" Bob Sheppard- tenor saxophone on "No Ordinary Love;" Gil Goldstein- accordion on "La Belle Dame Sans Regrets"Paula Cole- vocal on "What'll I Do?" and "How Love Should Be"Jill Zadeh- vocal on "No Ordinary Love; Sting- vocal on "La Belle Dame Sans Regrets;" The London Session Orchestra: Isobel Griffiths- conductor; Ken Silleto, Rolf Wilson, Roger Garland, Thomas Bowes, Jonathan Evans-Jones, Patrick Kiernan, Boguslaw Kostecki, Julian Leaper, Rita Manning, Steve Morris, Maciej Rakowski, Jackie Shave, Cathy Thompson, Debbie Widdup, Paul Willey, Dave Woodcock- violin; Edward Vanderspar, Peter Lale, George Robertson, Ivo Van Der Werff, Vicci Wardman, Bruce White- viola; Anthony Pleeth, Dave Daniels, Caroline Dearnley, Paul Kegg, Anthony Lewis, Frank Schaeffer- cello; Chris Laurence, Mary Scully, Alec Dankworth, Patrick Lannigan- double bass; Fiona Hibbert- harp; Phil Todd, Stan Sulzmann, Karen Jones, Helen Keen- flute, alto flute; Andy Panayi- bass flute; Jane Marshall- English horn; David Theodore- oboe; Nick Rodwell, Anthony Pike- clarinet; Jamie Talbot- bass clarinet, tenor saxophone; Derek Watkins, John Barclay, Guy Barker- trumpet, flugelhorn; Mike Thompson, David Pyatt, Richard Bissill- French horn; Peter Beachill, Richard Edwards, Mark Nightingale- trombone; Dave Stewart- trombone, bass trombone; Nigel Hitchcock- alto saxophone; Mitch Dalton- guitar; Ralph Salmins- drums.

When I Fall In Love

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Maggie Herron - Renditions

Styles: Vocal And Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 50:48
Size: 118,6 MB
Art: Front

(5:34)  1. Centerpiece
(4:05)  2. Ain't Misbehavin'
(4:53)  3. All of Me
(2:42)  4. Perhaps, Perhaps, Perhaps
(3:58)  5. I'm Beginning to See the Light
(4:19)  6. I Will
(4:16)  7. Just One of Those Things
(2:58)  8. Come Away with Me
(3:56)  9. I'll Be Seeing You
(4:24) 10. Don't Wait Too Long
(5:35) 11. I Thought About You
(4:03) 12. Gee Baby, Ain't I Good to You

Jazz vocalist and pianist Maggie Herron takes a bit of a departure on her latest platter titled Renditions. Her previous four albums featured original compositions but with her latest she has chosen to go the standard route, reinterpreting some classics of the genre with a few surprises along the way. She is the core of her Pacific Rim band which also includes Darek Oles on bass and Ray Brinker on drums. Featured guests include Larry Koonse (guitar), Rocky Holmes (alto sax), Dean Taba (bass), Bob Sheppard (flute) and Noel Okimoto (drums).

The album opens with “Centerpiece” featuring the core trio at its expressive best. Herron’s piano and vocals are a nice match, both endearing with her husky jazz voice, excellent scatting and melodic piano tones. The song locks into an understated groove before piano, bass and drum solos are revealed. With the classic “Ain’t Misbehavin” it’s just Herron and Oles reinterpreting the familiar melody and soaking it in some fabulous piano and bass interaction. One of the prettiest tracks has to be “All Of Me” featuring Koonse’s crystalline leads and infectious rhythmic strums and Holmes’ tuneful alto sax. Just an all-around great track. 

Another heartwarming rendition is of The Beatles’ “I Will” which sounds great in the trio format. Herron’s vocals and piano are particularly convincing and the bass solo fits in like a glove. This is another one of those jazz albums that exudes warmth and thoughtfulness with great care taken, treating these classics with the respect they deserve. A four star release to these ears. https://www.seaoftranquility.org/reviews.php?op=showcontent&id=22053

Renditions

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Judy Wexler - Crowded Heart

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 47:49
Size: 110,8 MB
Art: Front

(4:40)  1. Circus Life
(5:00)  2. Parisian Heartbreak
(5:23)  3. Crowded Heart
(3:51)  4. Painted on Canvas
(4:45)  5. Stars
(4:55)  6. The Last Goodbye
(4:33)  7. Take My Breath Away
(4:17)  8. I Took Your Hand
(4:53)  9. It's Only Smoke
(5:27) 10. And We Will Fly

For her fifth album, Judy Wexler has embraced a concept that's oddly foreign in the jazz vocal realm. Instead of walking her way down the all-too-familiar avenues for singers classic Broadway-cum-jazz material, canonical works written by revered jazz figures, pop tunes reshaped with harmonic facelifts, self-penned originals she takes the road less traveled by focusing on the work of jazz composers thriving in the present. In doing so she magnifies the importance of these artists, highlights material worthy of greater attention, and elevates her own standing as a gifted stylist and interpreter. Wexler winds her way through this series of new jazz standards with comfort and ease, telling stories and shaping melodies with smarts and sophistication. Whether exploring love's various shades and shapes, peeling back the many layers of emotion in the human experience, moving deftly through simile and metaphor, or unpacking day-to-day life in all its turbulence, she remains a font of feeling and truth. Working closely with pianist Alan Pasqua, her longtime musical partner and co-producer/arranger on this project, Wexler manages to inhabit these songs and deal with them on her own terms while still remaining true to the source material. That's apparent right from the start, as she steps into a world of Luciana Souza's making for "Circus Life." The adrenaline rush and buoyancy of the original prove influential, but there's added weight and poignancy in Wexler's performance. She doesn't simply work from the mold here, and this performance is all the richer because of that fact. 

There are times and places where Wexler and Pasqua choose to create by ironing out some aspects of the model Gregory Porter's "Painted On Canvas," for example, is coolly paved in 4/4 here but they're just as quick to uncover or explore an illustrative wrinkle heretofore unseen. That point shows true and clear on "It's Only Smoke," a Larry Goldings original with lyrics penned by Cliff Goldmacher. Rather than wring sentiment from Goldmacher's pen, Wexler lets his words and Goldings' melody shine under the light of their inherent beauty. She reminds us that sometimes a song just needs to be appreciated, not mined. In choosing to explore the work of artists like Porter, Souza, Kurt Elling, and Rene Marie, Wexler shows a fondness for individualism and demonstrates a keen ear for strong material. That gift is not terribly surprising, given her sterling reputation and high standing in the vocal community, but it still deserves to be noted. ~ Dan Bilawsky https://www.allaboutjazz.com/crowded-heart-judy-wexler-jewel-city-jazz-review-by-dan-bilawsky.php

Personnel: Judy Wexler: vocals; Alan Pasqua: piano, melodica , whistling; Larry Koonse: guitar; Josh Johnson: alto saxophone; Bob Sheppard: alto flute; Stefanie Fife: cello; Darek Oles: bass; Steve Hass: drums; Aaron Serfaty: percussion.

Crowded Heart

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Bob Sheppard - Close Your Eyes

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 50:06
Size: 115,8 MB
Art: Front

(6:16)  1. Close Your Eyes
(6:29)  2. Surface Tension
(6:15)  3. Goodbye
(6:07)  4. Brain Fog
(4:36)  5. Fast Company
(6:29)  6. Phantoms
(4:43)  7. Lightness
(5:23)  8. Gazelle
(3:41)  9. All in a Row

The distinction between East Coast and West Coast jazz is probably an outdated oversimplification. Yet it is hard not to think of Close Your Eyes as quintessentially Californian. Its airiness and clarity insinuate ocean breezes and sunlight. Bob Sheppard of Los Angeles is one of the most skilled multireed players in jazz. He is a studio musician, professor, clinician and first-call sideman (Freddie Hubbard, Joni Mitchell, Steely Dan, James Taylor). Close Your Eyes is a rare project under his own name, and the most complete document to date of his art. It is polished, sophisticated, intricately organized music. Alan Pasqua or John Beasley play piano and B3. Gabe Noel/Antonio Sánchez/Walter Rodriguez are on bass/drums/percussion. Guitarist Larry Koonse and trumpeter Alex Sipiagen join on two numbers each. But it doesn’t sound like a small-group session because Sheppard, who usually solos on tenor saxophone, overdubs himself on six other woodwind instruments to create layered horn backgrounds. Every tune is arranged into a tight, multifaceted design. People (East Coast people?) who require lots of blood and guts in their jazz might find performances like “Surface Tension” and “Brain Fog” and “Fast Company” too intellectual. But even such charts, with their high degree of difficulty, their tricky meters and clever unisons, get down to business when the solos kick in. Sipiagen and Koonse and Pasqua wait for their moments, then kill. Every Sheppard improvisation is a unique revelation of unpredictable finesse. In a lucid tenor saxophone tone, he dances among ideas like Baryshnikov. Kenny Barron’s “Phantoms” is perfectly quiet and ominous, but the best track is “Goodbye.” Like every piece on this album, it is precisely calibrated, but only to set up Sheppard, whose smeary, floating solo is an elegant, passionate iteration of melancholy. ~ Thomas Conrad https://jazztimes.com/reviews/albums/bob-sheppard-close-your-eyes/

Personnel: Bob Sheppard - Saxophone; Antonio Sanchez -Drums; Alan Pasqua - Piano & Organ; John Beasley- Piano & Organ; Larry Koonse- Guitar; Alex Sipiagen- Trumpet & Flugelhorn; Gabe Noel - Bass; Walter Rodriguez- Percussion

Close Your Eyes

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Bob Sheppard - The Fine Line

Styles: Saxophone, Flute Jazz
Year: 2019
File: MP3@320K/s
Time: 54:54
Size: 126,7 MB
Art: Front

(4:44)  1. Edge of Trouble
(5:52)  2. Run Amok
(4:54)  3. The Fine Line
(5:08)  4. People Make the World Go 'Round
(7:20)  5. I Didn't Know What Time It Was
(5:36)  6. Maria's Tango
(5:38)  7. Above & Beyond
(4:11)  8. Joegenic
(4:24)  9. Thanks for the Memory
(7:02) 10. A Flower Is a Lovesome Thing

Ironically, probably the only reason that Bob Sheppard isn't a household name (other than in jazz households) is because he's such an in-demand sideman. Splitting his time between Los Angeles, and New York he also teaches jazz at The University of Southern California Thornton School of Music. But he's worked, amongst many others, with such jazz luminaries as Chick Corea, Herbie Hancock, Peter Erskine and from the popular music world, Joni Mitchell, Steely Dan and Stevie Wonder. This also explains why recordings under his own name are so relatively infrequent. His previous album, Close Your Eyes (Challenge, 2011) featuring, amongst others, drummer Antonio Sanchez, was highly lauded and rightly so. The Fine Line came about through Sheppard's chance meeting with Dutch bassist Jasper Somsen at the 2013 Jazzahead Network Event in Bremen, Germany. The two hit it off immediately and resolved to work together. However, due to their mutually busy schedules it took almost two years before they were able to share a stage in The Netherlands for a full week of concerts, followed by masterclasses and radio appearances. Shortly afterwards, Anne de Jong, General Director of Challenge Records offered Somsen the opportunity to work on several projects, and happily this album was one of them. To complete the line-up Sheppard shrewdly recruited keyboardist John Beasley, who appeared on Sheppard's previous album, plus virtuoso drummer Kendrick Scott.  Sheppard's fast-paced opener, "Edge Of Trouble," sees the sax maestro establishing a serpentine hook on soprano saxophone. 

There's also a florid solo from guest vibraphonist Simon Moullier, who later makes essential contributions to "Maria's Tango" and "Joegenic." All the while Scott propels the piece along with his crackling drums. "Run Amok" with Sheppard on tenor, has a Brecker Brothers feel courtesy of Benjamin Shepherd on electric bass and some Miles-ian harmon-muted trumpet from Mike Cottone. Billy Strayhorn "A Flower Is A Lovesome Thing" is given a sumptuous treatment by Sheppard and the Rodgers, and Hart standard "I Didn't Know What Time It Was" sees Sheppard soloing on soaring soprano. One oddity, rarely heard in a jazz context, but nonetheless a winning version here, is Ralph Rainger's "Thanks For The Memory," which became Bob Hope's signature tune on which Sheppard imparts some evocatively glissando-rich slinky tenor with Somsen delivering a fluid pizzicato bass solo. Sheppard's languid Latine-esque title track benefits from some subtly dulcet wordless vocals from Maria Puga Lareo. With The Fine Line Sheppard has succeeded once more in producing an album populated by vibrant, memorable tunes that invite constant and frequent replays. ~ Roger Farbey https://www.allaboutjazz.com/the-fine-line-bob-sheppard-challenge-records-review-by-roger-farbey.php

Personnel: Bob Sheppard: tenor saxophone, soprano saxophone, flute, alto flute; John Beasley: piano; Jasper Somsen: double bass; Kendrick Scott: drums. Plus guests: Mike Cottone (2): trumpet; Simon Moullier (1,6,8): vibraphone; Maria Puga Lareo (3): vocals; Benjamin Shepherd (2,4): electric bass; Aaron Safarty (3,6): shaker.

The Fine Line

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Deborah Shulman - The Shakespeare Project

Styles: Vocal 
Year: 2019
File: MP3@320K/s
Time: 45:21
Size: 104,6 MB
Art: Front

(6:46)  1. All the World's a Stage / If Music Be the Food of Love - As You Like It & Twelfth Night
(3:17)  2. Blow Blow Thou Winter Wind - As You Like It
(4:50)  3. Dunsinane Blues - The Story of Macbeth
(4:37)  4. Shall I Compare Thee to a Summer's Day - Sonnet 18
(1:55)  5. Who is Sylvia - Two Gentlemen of Verona
(4:01)  6. You Spotted Snakes - A Midsummer Night's Dream
(3:43)  7. When to the Sessions of Sweet Silent Thought - Sonnet 30
(2:49)  8. Sigh No More Ladies - Much Ado About Nothing
(3:13)  9. Oh Mistress Mine - Twelfth Night
(2:41) 10. My Love is as a Fever - Sonnet 147
(3:59) 11. Take All My Loves - Sonnet 40
(3:26) 12. Our Revels Now Are Ended - The Tempest

William Shakespeare's works have generated many musical endeavors. Duke Ellington's Such Sweet Thunder (Columbia Records, 1957) and Leonard Bernstein's score for West Side Story are among those which come to mind. In 1941, British composer Arthur Young recorded Shakespeare in Swing (Decca Records, 1941), which featured his compositions over Shakespeare's words. And, in 1964, celebrated British reed player John Dankworth and his wife, Cleo Laine, recorded Shakespeare and All that Jazz, (Fontana Records, 1964), a collection predominantly of Dankworth's jazz tunes with lyrics taken from Shakespeare. With The Shakespeare Project, vocalist Deborah Shulman not only resurrects and refreshes some of the Young/Dankworth-Lane efforts, but adds some terrific new originals from pianist/co-producer, Jeff Colella. Starting with a track which combines Dankworth's "All the World's a Stage" around the up-tempo "If Music Be the Food of Love," it is obvious that this is not going to be a novelty or an over-intellectualized effort. The upbeat tone continues with the modal and swinging, "Blow, Blow Thou Winter Wind," which features tasty guitar work from Larry Koonse. Dankworth's "Dunsinane Blues" is an azure head-tilter with Shulman and pianist Collela soulful. The ballad "Shall I Compare Thee to a Summer's Day" is a textured, dramatic highlight on which Shulman and all shine bright. A challenge which is met exceptionally well here is Shulman's vocal approach to the 16th century lyric. Her voice is very attractive and swinging. The manner in which she caresses the lyrics is exceptional. Dankworth's "Who Is Sylvia?" is an inquisitive, theatrical Laboriel/Shulman duo. His "You Spotted Snakes" is darker fare with tasty ensemble backing. "When to the Sessions of Sweet Silent Thought," a Colella original, is an introspective piano/vocal duet. Arthur Young's, "Sigh No More Ladies" is a bossa nova swinger with a fine Bob McChesney trombone solo and "Oh, Mistress Mine" is delivered in a lilting swing-groove with Shulman's ace piping and another fine McChesney ride. 

Duke Ellington and Billy Strayhorn's "My Love Is a Fever" and the swinging "Take All My Loves" were also recorded by Dankworth and Lane and are given a fine fresh coat here. Although the lingo served here is near a half-millennium old, Shulman and her team make this rendering as delicious as fresh-baked Elizabethan pie. Go ahead and pull out a plum. ~ Nicholas F.Mondello https://www.allaboutjazz.com/the-shakespeare-project-deborah-shulman-summit-records-review-by-nicholas-f-mondello.php

Personnel: Deborah Shulman: vocals; Jeff Colella, piano; Larry Koonse: guitar; Abraham Laboriel: bass (1, 3, 5, 10, 11); Chris Colangelo: bass (2-4, 6, 7, 12); Bob Sheppard: flute, clarinet, soprano sax, bass clarinet; Bob McChesney: trombone; Kendall Kay: drums (2, 3 ,6, 9, 12); Joe LaBarbera: drums (1, 8, 10, 11).

The Shakespeare Project

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Chick Corea, Origin - Live At The Blue Note

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 65:26
Size: 150,5 MB
Art: Front

( 1:30)  1. Say It Again - Pt. 1
( 1:28)  2. Say It Again - Pt. 2
(17:32)  3. Double Image
(10:53)  4. Dreamless
(11:26)  5. Molecules
( 9:00)  6. Soul Mates
(13:34)  7. It Could Happen To You

One thing that must be said about Chick Corea: musically, the man does not stand still. Whether one is going in his direction is another issue altogether. Chick's newest group, Origin, was recorded during a week-long gig in December '97 at New York's celebrated Birdland nightspot. It's a tight sextet with an exuberant front line - saxophonists Bob Sheppard and Steve Wilson, trombonist Steve Davis - capably supported by Corea, bassist Cohen and drummer Cruz. The band opens the set with a three-part suite, the concise "Say It Again," parts 1 and 2, and the blustery "Double Image," whose 17:32 running time provides abundant solo space for everyone. All were written by Corea, as were the next three numbers "Dreamless," "Molecules" and "Soul Mates" (the briefest of the trio at 9:00). Origin closes the set with an extended version of the standard "It Could Happen to You," on which Corea's Tatum-esque introductory statement paves the way for some zestful straight-ahead blowing by the band (I'd have welcomed more of that) and frisky solos by Chick, Sheppard (tenor), trombonist Davis and Wilson (alto). Corea lays out behind half of Wilson's chorus while Cohen's sonorous bass keeps time and Cruz deftly works the rims with sticks. Bass and drums have their say too (with Corea and Cruz trading eights) before the ensemble returns to enclose the package in style. 

An observation you can take to the bank is that Corea is a first-rate post-bop pianist (ask almost anyone); why I've seldom warmed to his muse remains a mystery, even to me. While I admire his proven technical prowess and writing skills, and must admit that he can swing hard whenever he chooses to, he simply doesn't reach me on an emotional level - a shortcoming that I know is mine, not his. This recording is a splendid example of what I am trying to point out. The melodies aren't unattractive, everyone plays well, and yet none of what is produced (with the possible exception of "It Could Happen to You") touches a responsive chord. Why? I don't know. Either it does or it doesn't, I suppose. Look, this is an ambitious session by a widely acclaimed pianist and his well-assembled working group. Although it doesn't happen to grab me, you may find yourself enraptured by its charms. Go for it. ~ Jack Bowers https://www.allaboutjazz.com/live-at-the-blue-note-chick-corea-concord-music-group-review-by-jack-bowers.php?width=1920

Personnel: Chick Corea – piano; Avishai Cohen – double bass; Adam Cruz – drums; Bob Sheppard – flute, bass clarinet, baritone saxophone, soprano saxophone, tenor saxophone; Steve Wilson - flute, clarinet, alto and soprano saxophone; Steve Davis - trombone

Live At The Blue Note

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Chris Botti - December

Styles: Trumpet, Christmas
Year: 2002
File: MP3@320K/s
Time: 45:14
Size: 105,2 MB
Art: Front

(4:32)  1. The Christmas Song
(2:50)  2. First Noel
(4:03)  3. Let It Snow! Let It Snow! Let It Snow!
(3:04)  4. Hallelujah
(2:43)  5. Perfect Day
(4:09)  6. Santa Claus Is Coming to Town
(3:10)  7. O Little Town of Bethlehem
(3:08)  8. Winter Wonderland
(3:05)  9. Little Drummer Boy
(2:01) 10. Hark! The Herald Angels Sing
(3:16) 11. Have Yourself A Merry Little Christmas
(4:59) 12. Silent Night
(4:07) 13. I'll Be Home for Christmas

Season's Greetings from Chris Botti
There are two broad categories of Jazz seasonal discs. One, represented well by Wynton Marsalis' A Crescent City Christmas Card (Sony Special Products 28812, 2002), Oscar Peterson's An Oscar Peterson Christmas (Telarc Jazz 83372, 1995), and Harry Allen's Christmas In Swingtime (Koch Jazz 51409, 2001) are serious, straight-ahead jazz offerings. These recordings will certainly appeal to all jazz fans but perhaps not to the uninitiated. At the other end of the spectrum are Kenny Gorelick's Miracles: The Holiday Album (Arista 18767, 1994), David Benoit's Remembering Christmas (GRP 9852, 1996), and Dave Koz's A Smooth Jazz Christmas (Capitol 33837, 2001), each which sold a sleigh-full of copies and appealed to listeners across all genre lines. Framed like this one could surmise that this is a juxtaposition of mainstream, serious jazz against the backdrop of a more pop-oriented brand of jazz. One would be correct. Having listened to all with some measure of enjoyment and endorsement, this listener has been hoping for recordings that fall somewhere between the two. This type of holiday offering would be lush and attractive as the latter recordings are, yet challenging to the listener in places as the former recordings are. Trumpeter Chris Botti's holiday gift, December, pretty well fits this bill. There is a little something here for everyone. First, this recording could have been entitled, "With Strings," making it similar to Scott Hamilton's recent holiday recording Scott Hamilton with Strings Christmas Love song (Concord Jazz 4771, 1997). 

The strings are tastefully arranged and provide Botti's warm open-bell tone with a plush foundation. Botti also sings. Much has been made in comparing Botti with another trumpeter/vocalist, Chet Baker. Botti's trumpet tone is full, demonstrative, friendly, and sexy. Chet Baker's tone was not. While neither is what I would call an outstanding singer, Botti does infuse his vocals with sincerity and warmth as experienced on Richard Marx's (who also produced the recording) "Perfect Day" and "Have Yourself a Merry Little Christmas. His horn does the rest of the talking on a Bossa "Santa Claus is Coming to Town," a Crescent City "Walking in a Winter Wonderland," and a James Brown funky "Little Drummer Boy." Botti is plaintive on "The first Noel" and "O Little Town of Bethlehem." He plays these with feeling and empathy. "Hark! The Herald Angels Sing" is a provocative duet with guitarist Heitor Pereira and recalls Messiah. The disc contains surprises also. In addition to the very appropriate "Perfect Day," Botti also covers Leonard Cohen's "Hallelujah" beautifully. Botti challenges us with "Drummer Boy" and "Santa Claus is Coming to Town." He soothes us with "the Christmas Song" and "Have Yourself a Merry Little Christmas."Each year, I give Holiday Recordings as gifts. This year, it will be Chris Botti's December. ~ C.Michael Bailey https://www.allaboutjazz.com/december-chris-botti-columbia-records-review-by-c-michael-bailey.php

Personnel: Chris Botti: trumpet, vocals; Billy Childs: keyboards; Anthony Wilson: guitars; Bob Sheppard: saxophones, flute; Jimmy Haslip: bass; Peter Erskine: drums; Vinnie Colaiuta: drums.

December

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Denise Donatelli - What Lies Within

Bitrate: MP3@320K/s
Time: 58:19
Size: 133.5 MB
Styles: Vocal jazz
Year: 2008
Art: Front

[3:17] 1. My Shining Hour
[5:15] 2. Sails (Velas Icadas)
[6:29] 3. Crystal Silence
[4:41] 4. I Love It When You Dance That Way
[6:17] 5. We'll Be Together Again
[7:24] 6. Like An Old Song
[3:51] 7. Beloved (Daahoud)
[5:22] 8. Four Walls
[4:25] 9. Be Cool
[4:53] 10. Make This City Ours Tonight
[6:19] 11. This Lament

Denise Donatelli: vocals; Bob Sheppard: soprano saxophone (3), alto saxophone (2,4), tenor saxophone (1,6,7), flute and alto flute (3); Carl Saunders: trumpet (4,9), flugelhorn (4); Geoffry Keezer: piano, marimba (6), vibraphone (9), percussion( 4,6); Carlos Del Rosario: organ (8), Viennese gong (6); Peter Sprague: guitar (1,2,4,7,8,10); Hamilton Price: bass (1-10); Marvin "Smitty" Smith: drums (1-10); Alex Acuna: percussion (2,8); Giovanna Clayton: cello (8).

It is refreshing indeed to hear a lovely voice fronting a superb cast of musicians, and then combining to forge one exceptional recording, which is what Los Angeles-based singer Denise Donatelli has done in What Lies Within. As she voices the lyrics of Harold Arlen's "My Shining Hour"—the opening tune in a selection of eleven uncommon standards—the words "this will be my shining hour," should refer to the magical performance on an album that may well be her finest hour of studio work yet. Not content to be seen as just another "chick singer" among the plethora of female jazz vocalists releasing albums these days, Donatelli distinguishes this recording by the assemblage of musical talent, and the guidance from pianist/producer Geoffrey Keezer who also produced the album. The singer is backed up by some of the best West Coast musicians performing in L.A. such as saxophone great Bob Sheppard, trumpeter Carl Saunders, percussionist Alex Acuna and guitarist Peter Sprague to name a few.

Suffice to say, What Lies Within is one splendid recording of elegant light jazz vocals from Denise Donatelli; a jazz singer who belongs in the upper echelon of modern jazz vocalist. Her performance, along with the accompaniment from an ensemble of first-call players makes this a first-rate recording. ~Edward Blanco

What Lies Within mc
What Lies Within zippy

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Peter Erskine & The Dr. Um Band - On Call

Styles: Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 79:04
Size: 181,8 MB
Art: Front

( 4:52)  1. For The Time Being
( 5:25)  2. Might As Well Be
( 6:09)  3. If So Then
( 6:26)  4. Uncle Don
( 6:59)  5. Silver Linings
( 4:26)  6. Two Paths
( 7:03)  7. Hipnotherapy 

( 6:58)  8. Hawaii Bathing Suit
( 9:18)  9. Dreamsville
(11:12) 10. Eleven Eleven
(10:12) 11. Northern Cross

Consummate drummer Peter Erskine, a former Weather Report member, has always shown an inclination for electric jazz fusion. Commanding The Dr. Um Band with metrical depth and angular vision, he releases On Call, a new double album on his own music label, Fuzzy Music.The disc one includes brand new material recorded in the studio whereas disc two encapsulates previously recorded tunes performed live in Occhiobello, Italy. All the members of the quartet - saxophonist Bob Sheppard, keyboardist John Beasley, and electric bassist Benjamin Shepherd penned compositions for the studio session, which opens with Erskine’s “For The Time Being”. Initially enigmatic, the piece veers to a daring, dark-toned jazz funk, with the band keeping the groovy pose on Sheppard’s “Might As Well Be”, a crossover fantasy that salutes saxophonist Jerry Bergonzi. The versatility of Beasley is perceptible through attractive attacks and strange sounds. The keyboardist contributes to the song lineup with a pair of compositions - “If So Then”, inspired by the Miles Davis Quintet, is boosted by an adventurous piano solo and exceptional collective interplay; “Silver Linings” is a respectful homage to Horace Silver whose borrowed moods adapt to the band’s style.

Penned by the bandleader, “Uncle Don” displays a ceremonious organ as the introduction and a scratching backbeat in an early stage. Afterward, the band places cool harmonic progressions on top of rock-steeped rhythms, having funky bass lines running along.The live session, filled with enthusiasm and excitement, opens with a couple of tunes by Erskine: the cerebral, blues-based “Hipnotherapy” and the funk-inflected “Hawaii Bathing Suit”. The former thrives with woody bass grooves decorated with wha-wha effects and concordant drumming, while the latter is a playful avant fusion that captivates through gorgeous unisons, apt improvisations, and an effusive drumming with strong Latin accents. After the soaringly atmospheric first section, Henry Mancini’s “Dreamville” combines bossa nova rhythms with balladic tones, whose silky textures result from mixing light funk, smooth jazz, and malleable R&B elements. The tune was retrieved from the album Second Opinion (Fuzzy Music, 2016), just like “Eleven Eleven”, a frenetic steeplechase with rock-solid rhythmic passages and powerful wha-wha bass lines. Although not too temperamental, the soloists opt for dazzling, straightforward approaches to express their lines of thought. Erskine’s mutable “Northern Cross” is not a softer either, displaying influences of American music while bridging the worlds of funk, jazz, and rock. This could be a possible outcome of having Joshua Redman playing with Return To Forever. With the live recording surpassing the studio session, On Call sparks with tremendous rhythmic engagement as it shows Erskine’s productive modus operandi.

Personnel:  Peter Erskine: drums; Bob Sheppard: saxophone; John Beasley: keyboards; Benjamin Shepherd: electric bass;

On Call

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Dan Siegel - Indigo

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 47:31
Size: 109,7 MB
Art: Front

(5:12)  1. To Be Continued
(5:29)  2. By Chance
(4:16)  3. Indigo
(3:51)  4. Beyond
(4:44)  5. Far And Away
(5:00)  6. If Ever
(4:30)  7. Spur Of The Moment
(4:33)  8. First Light
(4:48)  9. Consider This
(5:04) 10. Endless

Pianist and composer Dan Siegel is an adventurer. After his breakout smooth jazz hits in the 1980s he successfully experimented with genres ranging from new age to film and TV scores and back. Indigo, his 20th album and first in half a decade features ten new compositions which have been painstakingly arranged and performed by a crack cast of players that includes bassist and co-producer Brian Bromberg, saxophonist Bob Sheppard, guitarist Allen Hinds (and Mike Miller on two tracks), Yellowjackets' drummer Will Kennedy, vibist Craig Fundyga, and percussionist Lenny Castro on percussion. Two different brass sections alternate on five cuts. Immediately striking is Indigo's sound. Tracked live in Bromberg's home studio, it is warm, immediate, and full. These are some of Siegel's most imaginative tunes to date: contemporary jazz played in straight-ahead fashion. They are boundary-less, ecompassing elements from several popular genres in a jazz context. Opener "To Be Continued" contains elements of contemporary classical crossover, pop, and even Siegel's film music the brass section utilizes euphonium, French horn, and flügelhorns. But there is a palpable, syncopated groove in the pianist's harmonically inventive solo. The title cut begins with resonator and electric guitars in a blues groove, as Siegel's piano evokes a Ray Charles-like R&B, but as it unfolds with bright brass and a country-funk backbeat, the tune moves in several directions simultaneously and could only be encompassed by jazz. The guitar in "Beyond" actually evokes a pedal steel, but the interplay between piano, upright bass, and acoustic guitars is elegant, graceful, and emotionally deep. 

"If Ever" contains a lithe Latin tinge and a rich, expansive brass chart; its melody is impeccably crafted and contains excellent solos by Siegel and Sheppard on soprano. The R&B flavor in "Spur of the Moment" is offset by intricate counterpoint and lyric exchanges, the soloists atop the brassy, funky groove. "Consider This" is smoother and sweeter; it's soulful and cosmopolitan with Siegel adding a B-3 in support of his piano; Castro's percussion adds a Caribbean flavor. Closer "Endless" is positively euphoric, it's one of the finest moments here, due in no small part to Bromberg's knockout, fleet-fingered, woody pizzicato solo. Indigo is holistic and seamless in its articulation of contemporary jazz an extension in popular music and jazz's Big Tent tradition. More than this, though, it is a glorious, personal, panoramic statement from an artist who, after 35 years, is at the height of his creative powers. ~ Thom Jurek https://www.allmusic.com/album/indigo-mw0002820191

Personnel:  Piano, Keyboards, Composed By, Arranged By, Executive Producer – Dan Siegel;  Bass – Brian Bromberg;  Drums – Will Kennedy;  Flugelhorn – Stan Martin;  Guitar – Allen Hinds, Mike Miller;  Horn – Stephanie O'Keefe;  Percussion – Lenny Castro;  Saxophone – Bob Sheppard;  Tenor Saxophone – Steve Torok ; Trumpet, Valve Trombone – Lee Thornburg;  Vibraphone – Craig Fundyga

Indigo

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Dick Weller - New West

Bitrate: MP3@320K/s
Time: 53:39
Size: 122.8 MB
Styles: Jazz vocals
Year: 2003
Art: Front

[4:45] 1. Second Chance
[7:47] 2. New West
[3:07] 3. Overcome
[4:45] 4. Don't Fall
[4:41] 5. Movin' On
[6:19] 6. Same Difference
[4:20] 7. Seasons
[5:09] 8. Blown
[3:26] 9. Believin'
[4:41] 10. After All
[4:34] 11. Could Be Should Be

Beachfront Property - Vocals (Background); Jeff Beal - Flugelhorn, Trumpet; Dave Carpenter - Bass (Electric); Rich Eames - Piano, Producer, Synthesizer; Robert Hurst - Bass (Acoustic); Jennifer Schneider - Vocals; Bob Sheppard - Flute, Guest Artist, Sax (Soprano), Sax (Tenor); Tierney Sutton - Guest Artist, Vocals; Steve Tavaglione - Flute, Guest Artist, Sax (Soprano), Sax (Tenor); Dick Weller - Drums.

Dick Weller is a busy performer in the LA area. He moved to LA from New York City in 1992. He was working in New York clubs with folks like Mike Stern, Mike Manieri, Chuck Loeb, Andy Laverne, Jeff Andrews, Leni Stern, along with many others. In Los Angeles, he has been busy with the Bob Florence big band, as well as being an in demand performer playing in the local clubs, recording as a sideman and doing some touring.

New West is his first effort as a leader, using the talents of Tierney Sutton, the vocal group Beachfront Property, Bob Sheppard, Steve Tavaglione, Jeff Beal, Mike Miller, Rich Eames, Dave Carpenter and Bob Hurst. Very nice listening!

New West mc
New West zippy

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Peter Erskine, Bob Sheppard, Dave Carpenter - Lava Jazz

Bitrate: MP3@320K/s
Time: 56:44
Size: 129.9 MB
Styles: Bop
Year: 1997
Art: Front

[4:21] 1. Pesos
[5:50] 2. It Already Happened
[3:53] 3. Cats + Kittens
[3:24] 4. Jung At Heart
[5:13] 5. I Hear A Rap Cd
[4:29] 6. Pettwelve
[4:49] 7. You Stepped In
[3:03] 8. Journey To The Center Of Blues
[5:38] 9. Pretty Toes
[4:10] 10. Jazz Marines
[7:46] 11. Five Z's
[4:04] 12. Drizzle

When one thinks of lounge music, it is of atmospheric background sounds from the early '60s that are considered so worthless by late-'90s listeners that LPs of the style can often be located for 39 cents at used record stores. The Lounge Art Ensemble, a co-op trio consisting of tenor saxophonist Bob Sheppard, bassist Dave Carpenter, and drummer Peter Erskine, thinks of lounge music as jazz played in small clubs, but the "lounge" title does not really do their music justice. In reality, this "lounge art" is a quiet but fairly adventurous version of cool-toned bop. Erskine is heard playing a very small drum set; Carpenter often shares the melody and much of the solo space with Sheppard, and the dozen "originals" are all based on common chord changes (à la Lennie Tristano), mostly of bop standards. The versatile bassist is really the key to the trio, for he functions as both a second melody instrument and a second rhythm instrument, even sounding a bit like a rhythm guitar on the humorously titled "I Hear a Rap CD" (based on "I Hear a Rhapsody"). Throughout the date, the three musicians work together quite well (Bob Sheppard is an underrated great), and they create exciting music that makes one wish the group were more accurately titled "the Anti-Lounge Art Ensemble". ~Scott Yanow

Lava Jazz mc
Lava Jazz zippy

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