Gerry Gibbs Thrasher Dream Trio - Live In Studio (Feat. Ron Carter & Kenny Barron)

Size: 177,1 MB
Time: 77:22
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Wives And Lovers (6:07)
02. Summer Of '42 The Summer Knows (6:01)
03. Casino Royale/The Look Of Love (Feat. Cassandra Wilson) (4:33)
04. Spartacus Love Theme (3:36)
05. On A Clear Day You Can See Forever (Feat. Roy Hargrove) (6:44)
06. Oklahoma! The Surrey With The Fringe On Top (3:53)
07. Alfie (Feat. Cassandra Wilson) (6:27)
08. Watch What Happens (Instrumental) (5:22)
09. Un Homme Et Une Femme (A Man And A Woman) (3:22)
10. Cast Your Fate To The Wind (Live) (3:35)
11. Summer Of '42 What Are You Doing The Rest Of Your Life (5:45)
12. Mondo Cane More (4:22)
13. Watch What Happens (Feat. Cassandra Wilson) (4:06)
14. Music To Watch Girls By (4:14)
15. Girl Talk (4:43)
16. Charade (Feat. Roy Hargrove) (4:25)

Drummer Gerry Gibbs has been living a recurring dream with slight variations for the past few years. In December of 2012, he laid down tracks with two of his idols—the legendary Ron Carter and the estimable Kenny Barron—and dubbed their group the Thrasher Dream Trio. The eponymous debut from that band, featuring fifteen tracks recorded at those sessions, was, not surprisingly, a strong and classy affair filled with standards, some originals, and other jazz-friendly fare, such as Stevie Wonder's "Don't You Worry 'Bout A Thing" and Burt Bacharach's "Promises, Promises."

At the time of that album's release, those last-mentioned tracks could simply be viewed as part of the well-rounded program. But looking back now, it actually seems like they were dropped as hints of what was to come. About a year-and-a-half after that first Thrasher Dream Trio album was recorded, Gibbs brought the band together again to lay things down for We're Back (Whaling City Sound, 2014), a jazz-does-R&B project with A-list guests—vibraphonist Warren Wolf, saxophonist Steve Wilson, and organist Larry Goldings. That album offered multiple helpings of Wonder and Earth, Wind & Fire along with single servings of Bacharach, Marvin Gaye, Miles Davis, and the Average White Band. As on the trio's first album, the sparks were flying. The playing field, however, had changed a bit.

For this, the third go-around for this group, Gibbs does it again, tweaking the formula without altering the essence of the trio. This time he turned the focus toward pop-ish material from the '50s and '60s—the work of Bacharach, Henry Mancini, Michel Legrand, and others of that ilk—and put an audience in front of the band, recording live at Systems Two Recording Studio. Guests are part of the package again—now it's trumpeter Roy Hargrove and vocalist Cassandra Wilson, each appearing on a few tracks—and they help to add another wrinkle or two to the project without drawing focus away from the trio.

The album opens on a fluid "Wives And Lovers" that allows Barron's lyricism to shine through, gives Carter a chance to step into the spotlight, and puts Gibbs' brushwork at center stage. From there, the trio moves on with an unusually upbeat take on "The Summer Knows," a Wilson-enhanced version of "The Look Of Love" that moves from bossa nova to swing, and a variety of other familiar hits of yesteryear. Hargrove joins in for "On A Clear Day," quoting Ellington at one point and playfully trading solos with Gibbs; Vince Guaraldi's cheerfulness shines through on a perky trio performance of his "Cast Your Fate To The Wind"; "More" is transformed from a stale confection into an enjoyable swinger; and "Watch What Happens" happens twice—first as a cheerful, Brazilian-based instrumental, then as a swing-centered feature for Wilson.

Along the way there are plenty of other bright spots—an appropriately noir-ish "What Are You Doing The Rest Of Your Life?" with Hargrove on flugelhorn, a leisurely stroll through "Girl Talk"—and plenty of moments that serve as simple reminders as to why Barron and Carter are loved, respected, and emulated the world over. Their time and taste are impeccable, and when married to Gibbs' in-the-tradition drumming, you know the music is going to go in the right direction every time. ~Dan Bilawsky

Personnel: Kenny Barron: piano; Ron Carter: acoustic bass; Gerry Gibbs: drums; Roy Hargrove: trumpet, flugelhorn (5, 7, 11, 16); Cassandra Wilson: vocals (3, 7, 13).

Live In Studio

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Lonnie Plaxico - West Side Stories

Styles: Jazz, Post Bop
Year: 2006
File: MP3@320K/s
Time: 65:27
Size: 151,5 MB
Art: Front

( 6:41)  1. West Side Stories
( 7:22)  2. Climb Every Mountian
( 3:30)  3. I Want It To Be
( 6:27)  4. Robin's Dance
( 3:45)  5. One Less Bell To Answer
(10:06)  6. Funkadelic
( 6:03)  7. I Want To Know What Love Is
( 3:50)  8. Longer
( 7:15)  9. Duke It Out
( 6:56) 10. Speaking In Tongues
( 3:27) 11. Your Love Speaks To Me

West Side Stories, Lonnie Plaxico's eleventh recording as a leader, draws from memories of growing up in Chicago and listening to a variety of sounds from the '70s R&B, popular music and smooth jazz as well as his collaboration in the development of advanced M-Base musical concepts in the '80s. To coin a phrase from none other than the Godfather of Soul, James Brown, Plaxico might just be one the hardest working bassists in the business. He is a player with clear abilities, intensity and keen ideas who has contributed to many recordings, including releases by Art Blakey's Jazz Messengers, Greg Osby and Cassandra Wilson.

The credits for the recording suggest an M-base class reunion. Prominent stars like vocalist Cassandra Wilson and saxophonists Gary Thomas and Steve Coleman bring their progressive skills to the project. Starting with the title track, "West Side Stories, you get a hint of Plaxico's flair for music off the beaten path, complete with turbulent ostinato patterns and killer horn arrangements. Even though the bass is somewhat lost the in mix, the band handles the complex arrangement precisely, thanks to tight writing and performance. Bringing back the memories of yesteryear, covers include Burt Bacharach's "One Less Bell to Answer (featuring Steve Coleman's alto sax and Cassandra Wilson's smoky vocals) and a jazz radio-friendly version of the '70s rock group Foreigner's hit "I Want To Know What Love Is (featuring Carla Cook on vocals). Though Plaxico brings the funk on a number of tunes impressively via some serious thumb-slapping on his electric axe, upbeat joints like "Speaking in Tongues Out become exhausting and repetitious. Yet the slower tunes, "I Want It to Be and the smooth "Your Love Speaks to Me, both sung by Wilson, linger all the more in this somewhat mixed bag of new and old grooves by a clearly talented bassist.~ Mark F.Turner https://www.allaboutjazz.com/west-side-stories-lonnie-plaxico-plaxmusic-review-by-mark-f-turner.php

Personnel: Lonnie Plaxico: all basses, keyboard (3); Cassandra Wilson:vocals (3,5,8,11); Carla Cook: vocals (7); Gary Thomas: tenor sax (1,2,4,6,7,9,10); Ravi Coltrane: alto sax (6); Steve Coleman: alto sax (5,8); Gary Pikard: tenor sax (8); David Lee Jones: alto sax (11); Alex Norris: trumpet (1,2,4,6,7,9,10); Jeff Hermason: trumpet (8); Kenny Growhowski: drums; Jeff Haynes:percussion (3,8,11); Khalil Kwame Bell:percussion (6,7,11); George Colligan:B3 organ, piano, Fender Rhodes.

West Side Stories

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Various Artists - Ella 100 - Live at the Apollo!

Styles: Jazz, Vocal
Year: 2020
File: MP3@320K/s
Time: 74:43
Size: 172,6 MB
Art: Front

 1. David Alan Grier/Ayo - Vintage 1934 “Apollo Amateur Night” Radio Broadcast / Judy (3:58)
 2. David Alan Grier - Ella 100 Co-Host David Alan Grier Opening (1:50)
 3. Patti Austin/Count Basie Orchestra - A-Tisket, A-Tasket (3:13)
 4. Patti Austin/Count Basie Orchestra - When I Get Low I Get High (3:33)
 5. David Alan Grier/Count Basie Orchestra - Do Nothin’ Till You Hear From Me (4:16)
 6. Lizz Wright/The Ella 100 All-Star Quartet - Love You Madly (4:37)
 7. Lizz Wright/The Ella 100 All-Star Quartet - The Nearness Of You (6:40)
 8. Ayo/Afro Blue - Oh, Lady Be Good (4:26)
 9. Patti Austin/Afro Blue/Count Basie Orchestra - How High The Moon (4:54)
10. Count Basie Orchestra - Back To The Apollo! (Apple) (5:45)
11. Patti Austin/David Alan Grier/Count Basie Orchestra - I Loves You, Porgy / There’s a Boat Dat’s Leavin’ Soon for New York - Medley (6:31)
12. Cassandra Wilson/Count Basie Orchestra - Cry Me A River (5:35)
13. Ledisi/Count Basie Orchestra - Honeysuckle Rose (3:38)
14. Monica Mancini/Brian Nova - Once In A While (5:51)
15. Patti Austin/David Alan Grier/Count Basie Orchestra - You’ll Have To Swing It (Mr. Paganini) / Paganini Bows Reprise (6:12)
16. Ella Fitzgerald - People (3:36)

To be taken back in time within the scope of a period piece movie has long been a staple. Some journeys feel much more real than others, but the concept is commonplace. Venturing into the past with only the audio of a CD or record is, as they might have said back in 1934, "a whole different kettle of fish." A live audience first laid eyes and ears on this 100th birthday celebration honoring the sensational Ella Fitzgerald (born on April 25th, 1917), live at the Apollo in 2017. It took a host of talent to do justice to one seventeen-year old singer in this project recreating the night of November 21, 1934, when the teenage Fitzgerald made her debut at the Apollo Theater in Harlem. With only voice and musical instruments to channel us back to 1934, emcee David Alan Grier accurately took us there. The feel of an old-time radio show was present. Fittingly, seventeen-year old Ayodele Owalabe started the show with "Judy," the same tune another seventeen-year old had sung performing on that same stage in 1934, launching her prolific career.

It just wouldn't have been right to not have The Count Basie Orchestra perform with the many singers who proceeded to hit the stage one after another. The orchestra was in full swing and later tore the house down with an all instrumental take on "Back to the Apollo." Prior to that, Patti Austin stole the show early, finding her inner child Ella and playfully scatting through the classic "A Tisket-A Tasket." Impressively changing gears on a dime, Austin then took "When I Get Low I Get High" on a sultry road which had the crowd buzzing. Keeping your mind in 1934 may be a challenge sometimes due to some rough editing which keeps pulling you back to reality. However, the show itself didn't skip a beat with Andra Day's feisty take on "Ain't Misbehavin.'" David Alan Grier proved to be well more than an emcee with a riveting version of "Do Nothin' Till You Hear from Me." Moving right along, the incomparable Lizz Wright took her "wrightful" place center stage, along with the Ella 100 All Star Quartet featuring guitarist Brian Nova, bassist Nathan East, pianist Shelly Berg and, far from last and least, drummer Gregg Field. The quartet leader, Field, most notably played with Fitzgerald "back in the day." While the quartet changed the mood from the big sound of the orchestra and played superbly, it was Wright who smoldered into "Love You Madly" and, like butter, slid into a heartfelt "The Nearness of You." Wright seemed to take the audience's breath away.

A fun spin on "Oh, Lady Be Good" by Afro Blue had elements of The The Modernaires. The Count Basie Orchestra and Austin returned to the stage to join Afro Blue in a kicked-up look at "How High is the Moon." After a brief repartee which clarified that Grier was as unfunny in 1934 as he is in the present, he again stunned in a magnificent duet with Austin of "I Loves You Porgy." Cassandra Wilson's delightful bend on "Cry Me A River" followed. Next up, Ledisi took a run on "Honeysuckle Rose." With due respect, the show lost a little steam at this point. Neither Ledisi's voice nor scatting sensibilities were on a par with her predecessors. Not that she isn't a fine singer, perhaps just not the best choice to be singing Ella Fitzgerald tunes. Monica Mancini yes Henry Mancini's daughter then sang "Once in A While" joined by Brian Nova's fine Joe Pass interpretation on guitar. Grier and Austin returned for a finale that was Broadwayesque, as opposed to the big band power push one might expect in honoring a jazz singer. Not to mention the fact that The Count Basie Orchestra was in the house. There are certainly way more hits than misses and a couple of the hits were home runs or triples. An enjoyable listening experience was enhanced when the record closed with a live recording of "People" sung in all its glory by the legend herself. With just one song you clearly hear and understand why Ella Fitzgerald is heralded as the "The First Lady of Song."~ Jim Worsley https://www.allaboutjazz.com/ella-100-live-at-the-apollo-various-artists-concord-jazz

Personnel:  The Count Basie Orchestra: band/orchestra; David Alan Grier: voice / vocals; Patti Austin: voice / vocals; Monica Mancini: voice / vocals; Cassandra Wilson: voice / vocals; Ledisi: voice / vocals; Ella Fitzgerald: voice / vocals; Afro Blue : voice / vocals; Lizz Wright: voice / vocals; Andra Day: voice / vocals; Brian Nova: guitar; Gregg Field: drums; Nathan East: bass; Shelly Berg: piano.

Ella 100: Live at the Apollo!

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Don Byron - A Fine Line: Arias And Lieder

Styles: Clarinet Jazz 
Year: 2000
File: MP3@320K/s
Time: 49:57
Size: 115,2 MB
Art: Front

(4:54)  1. Check Up
(2:52)  2. Zwielicht (Twilight)
(8:06)  3. Glitter And Be Gay
(5:06)  4. Basquiat
(2:43)  5. It's Over
(4:55)  6. Creepin'
(4:02)  7. Nessun Dorma
(3:51)  8. Soldier In The Rain
(4:52)  9. Reach Out I'll Be There
(6:16) 10. The Ladies Who Lunch
(2:15) 11. Larghetto

Don Byron continues to fascinate and puzzle jazz listeners with his refusal to be pigeonholed. Even as he completes one project, he's working on the next one, which inevitably will be a departure from all of the CDs that precede it. Yet, each of Byron's CD's enlarge not only the body of his work, but also the fullness of his musical perspective. Possessing interests in jazz, classical works, pop, klezmer, country/western, funk, theatrical repertoire, rap and Latin music, Byron's background is such that his curiosity about various forms can take any direction in future productions. While many jazz artists remain consistent and predictable, Byron naturally and without pretense investigates approaches that few other jazz musicians would attempt. Plus, Byron's dedication to the revival of the jazz clarinet remains admirable, extending the tradition through an original aesthetic, or perhaps a through an imaginative synthesis, that positions a clarinetist as the creative leader of advances in music, and indeed African-American culture.Thus, no one except perhaps Byron' producer Hans Wendl knows where Byron will go next. This unpredictability leads to one inevitability: that Byron'CD's always will present a thematic concept, complete with detailed musical proof of his hypotheses. Byron recorded the music of Mickey Katz not because it would become the flavor of the month, but because he believes in the excellence of the klezmer music that had been overlooked. He brought together modern poetry and rap on Nu Blaxploitation because it asserts a statement about African-American culture that mainstream culture didn't hear as did Tuskegee Experiments. Music For Six Musicians threw out the common view of Afro-Caribbean music as consisting of a regular beat more akin to jazz and introduced the more authentic clavé that Byron heard in his Bronx boyhood neighborhood and in Boston where he played in Latin bands while attending Berklee. Romance With The Unseen assumed an intellectual basis for the notion of "romance" and associated with it anger, longing and unity. So where is Don Byron going with A Fine Line: Arias & Lieder?  Byron'contention this time is that, even though modern music has advanced to the point of non-singability, African-influenced musical concepts have tethered songs to the tradition of the more classical arias of opera and lieder of composers like Schumann. 

Once again, Byron has recorded a thematic album that posits an idea and then makes his point through example. The listener, then, may be taken aback by the proximity of Bernstein's operatic aria of "Glitter And Be Gay" two tracks away from Roy Orbison's "It's Over." In fact, Byron'choice of singers (who have collaborated in the past with pianist Uri Caine as well) is apt. Patricia O'Callaghan seems to be a student not of genre, but of voice, as she exhibits chameleonic versatility by sounding like two distinctively different singers on her extroverted rendition of "Glitter And Be Gay" and then her soft and subtle performance of Stevie Wonder's "Creepin." Singer Mark Ledford proves to be just as versatile, wordlessly singing the melodic lines of Ornette Coleman's "Check Up" in unison with Byron and then lowering his voice an octave in a range closer to Byron's bass clarinet on "It's Over."The one track involving Cassandra Wilson, Stephen Sondheim's "The Ladies Who Lunch," is notable for the fact that it leads the listener to realize the natural next step in her career: the Broadway theater. She is unexpectedly effective in presenting the story-telling nature of the tune, complete with narrative, rhetorical questions, humor and anecdotal descriptions. So where does all of this leave Byron, the intellectual center of the album? Giving Henry Mancini due respect for his unparalleled talent for tunesmithing, Byron is reduced to playing above the background singers on "Soldier In The Rain" after introducing the melody. And how do you work a clarinet into the overwrought tune, "It's Over"? Rather than taking center stage in the vocal numbers, Byron alternates the sung "arias und lieder" with compare-and-contrast clarineting of classical compositions like Puccini's "Nessun Dorma" or Chopin's "Larghetto." Byron has composed one minor-keyed étude, "Basquiat," that he performs in duo with Caine. As usual, Don Byron is uncompromising, thought-provoking and controversial on A Fine Line: Arias & Lieder. Some listeners, especially those who have followed Caine's just-as-challenging work, will endorse it. Some, with demands for consistency and most easily digestible musical consumption, will argue against it. But once again, no one will be neutral about Don Byron's music. ~ AAJ Staff https://www.allaboutjazz.com/a-fine-line-arias-and-lieder-don-byron-blue-note-records-review-by-aaj-staff.php

Personnel: Don Byron: clarinet, bass clarinet; Uri Caine: piano; Jerome Harris: bass guitar, acoustic guitar; Paulo Braga: drums, percussion; Mark Ledford, Patricia O'Callaghan, Dean Bowman, Cassandra Wilson: vocals.

A Fine Line: Arias And Lieder

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Courtney Pine - Modern Day Jazz Stories

Styles: Saxophone And Flute Jazz
Year: 1995
File: MP3@320K/s
Time: 59:00
Size: 136,1 MB
Art: Front

( 1:24)  1. Prelude - The Water Of Life
( 4:21)  2. The 37th Chamber
( 4:56)  3. Don't 'Xplain
( 8:48)  4. Dah Blessing
( 5:58)  5. In The Garden Of Eden - Thinking Inside Of You
(10:36)  6. Creation Stepper
( 7:33)  7. Absolution
( 3:50)  8. Each One - Must) Teach One
( 6:39)  9. The Unknown Warrior - Song For My Forefathers
( 3:41) 10. I've Known Rivers
( 1:09) 11. Outro - Guiding Light

On his return to Antilles and his debut with the Verve Group, Courtney Pine reaches out to unchartered musical zones, reflecting the sound of the street in a modern mix of pop, hip hop and jazz music. Described as Courtney's most focused album to date, Modern Day Jazz Stories combines the worlds of jazz and hip hop, utilizing the traditional sounds of jazz instruments simultaneously with turntables, but without overdubs. Full album to ship to jazz and college radio. ~ Editorial Reviews https://www.amazon.com/Modern-Jazz-Stories-Courtney-Pine/dp/B000004703

Personnel: Saxophone [Tenor], Saxophone [Soprano], Flute – Courtney Pine; Double Bass – Charnett Moffett; Drums, Percussion – Ronnie Burrage; Guitar – Mark Whitfield; Piano [Acoustic], Organ [Hammond B3] – Geri Allen; Trumpet – Eddie Henderson; Voice – Cassandra Wilson

Modern Day Jazz Stories

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Jasmine - Tropical Breeze (Feat. Cassandra Wilson)

Bitrate: MP3@320K/s
Time: 34:36
Size: 79.2 MB
Styles: Contemporary jazz
Year: 2010
Art: Front

[3:23] 1. O Pepita Daughter To Be
[4:00] 2. Jasmine
[4:25] 3. Pretty Black One
[3:17] 4. Everything I Do With You
[4:59] 5. Malaguena
[3:30] 6. Dream Dancer
[2:50] 7. Dream Street
[3:49] 8. Rose Tower
[4:19] 9. Tropical Breeze

When Tropical Breeze was recorded in 1980 by the Brazilian group Jasmine, the music world had yet to hear of Cassandra Wilson. 24 at the time, the singer was still six years away from her first album as a leader and her second appearance on records (with altoist Steve Coleman) was five years in the future. Born in Jackson, Mississippi, Cassandra Wilson had had seven years of classical piano lessons, learned guitar, and played clarinet in her high school’s concert and marching bands. But it was as a singer that she began working professionally in the mid-1970s, gaining experience in a variety of situations in the South during the five years before she recorded with Jasmine.

Even many of the most devoted Cassandra Wilson fans have probably not heard her debut although virtually every jazz listener now knows who she is. Wilson recorded with Jasmine during a year when she lived in New Orleans, a period when she also worked with Ellis Marsalis and Earl Turbinton. In 1982 she moved to East Orange, New Jersey and began singing in New York including with Dave Holland. An important early turning point was when she met up with Steve Coleman, who at the time was involved in creating new music with a co-op called the M-Base Collective.

The music of M-Base tended to feature crowded ensembles, unpredictable funk rhythms, and very adventurous solos. As the only singer in the collective, Cassandra Wilson had to carve out her own role and somehow she succeeded at not being buried in the ensembles. She also did well singing with Henry Threadgill in the group New Air.

But Cassandra Wilson was too strong a musical personality, and had too many fresh ideas, for her to remain a side person forever. In 1986 she recorded her debut as a leader, Point of View. While that and its follow-up Days Aweigh were outgrowths of her associations with M-Base, 1988’s Blue Skies found her for the first time interpreting standards. Her singing, while strongly influenced by Betty Carter, hinted at her future directions.

Tropical Breeze (Feat. Cassandra Wilson) mc
Tropical Breeze (Feat. Cassandra Wilson) zippy

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Olu Dara - Neighborhoods

Styles: Vocal, Cornet, Guitar
Year: 2001
File: MP3@320K/s
Time: 43:36
Size: 105,1 MB
Art: Front

(3:58)  1. Massamba
(4:54)  2. Neighborhoods
(4:45)  3. Herbman
(3:26)  4. Strange Things Happen Everyday
(3:50)  5. Bell & Ponce (At The Movie Show)
(4:09)  6. I See the Light
(3:57)  7. Out On the Rolling Sea
(4:30)  8. Bluebird
(3:18)  9. Used to Be
(4:10) 10. Red Ant (Nature)
(2:35) 11. Tree Blues

?Olu Dara used to be known as a melodic avant-garde cornetist, but in the 1990s he completely changed his musical identity, emerging as a singer and country blues guitarist. Strangely enough on this set, although he is pictured with a guitar, Dara does not play much guitar (other than on a couple solo pieces) and primarily focuses on singing, with his cornet making a few brief appearances. The music is mostly outside of jazz, more in the areas of pop, funk, reggae, and folk music. Unfortunately, the 11 performances (all but the traditional "Out on the Rolling Sea" are Dara originals) are not at all memorable, his singing is a bit mundane, and a guest spot for Cassandra Wilson on "Used to Be" is rather forgettable. The results are disappointing overall. ~ Scott Yanow https://www.allmusic.com/album/neighborhoods-mw0000391886

Personnel: Olu Dara (vocals, cornet, wooden horn, harmonica, guitar); Coster Massamba (vocals, congas, cowbell, shekere); Cassandra Wilson (vocals); John Abrams (tenor saxophone); Rod Williams (piano, electric organ); Dr. John (Fender Rhodes piano, Hammond B-3 organ); Fredger "Said" Dupree (Wurlitzer electric piano); Kwatei Jones-Quartey, Ivan Ramirez (guitar); Alonza "Skip" Gardner (bass); Larry Johnson, Greg Bandy (drums); Cantrese Alloway, Terrill Joyner, Rucyl Mills (background vocals).

Neighborhoods

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Cassandra Wilson - Another Country

Bitrate: MP3@320K/s
Time: 43:34
Size: 99.7 MB
Styles: Vocal jazz
Year: 2012
Art: Front

[4:31] 1. Red Guitar
[4:14] 2. No More Blues
[5:38] 3. O Sole Mio
[2:25] 4. Deep Blue
[4:22] 5. Almost Twelve
[5:20] 6. Passion
[6:23] 7. When Will I See You Again
[4:11] 8. Another Country
[3:24] 9. Letting You Go
[3:02] 10. Olomuroro

Creatively, Cassandra Wilson has never rested on her laurels, and her new album, Another Country, is no exception to the rule. Nine of the ten songs are composed by Ms. Wilson and/or her collaborating partner, guitarist-producer Fabrizio Sotti, with the tenth a very special arrangement by the duo of the classic aria, O Sole Mio. Recorded in Florence, Italy, the entire sound of the album is intimate, guitar-driven, and lushly romantic. Launched by the lead single, Red Guitar, Another Country is poised to invigorate Cassandras intensely loyal fan base as well as greet new audiences.

Another Country mc
Another Country zippy

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Cassandra Wilson - Sings Standards

Bitrate: MP3@320K/s
Time: 58:53
Size: 134.8 MB
Styles: Jazz vocals
Year: 2002
Art: Front

[ 5:42] 1. Polka Dots And Moonbeams
[ 3:31] 2. I Wished On The Moon
[ 5:54] 3. 'round Midnight
[ 4:35] 4. Angel
[ 5:13] 5. I've Grown Accustomed To His Face
[ 6:28] 6. Chelsea Bridge
[ 3:02] 7. I'm Old Fashioned
[ 6:34] 8. Baubles, Bangles And Beads
[ 3:04] 9. Blue Skies
[ 4:06] 10. Blue In Green
[10:39] 11. Body And Soul

Cassandra Wilson is ostensibly a jazz singer, but more often than not crosses the creative line between folk, pop, and jazz. This collection of previously released tracks features Wilson on various jazz standards giving one a nice view of Wilson as simply a jazz vocalist. While this is in no way a "must have" for fans of the much lauded singer, it is a nice place for jazz aficionados to begin listening to this singular artist. ~Matt Collar

Sings Standards

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Cassandra Wilson - Closer To You: The Pop Side

Bitrate: MP3@320K/s
Time: 57:41
Size: 132.1 MB
Styles: Jazz vocals
Year: 2009
Art: Front

[4:54] 1. Love Is Blindness
[4:06] 2. Time After Time
[4:35] 3. Fragile
[5:47] 4. Closer To You
[5:13] 5. Last Train To Clarksville
[6:03] 6. The Weight
[5:38] 7. Tupelo Honey Angel
[4:59] 8. Harvest Moon
[5:26] 9. I Can't Stand The Rain
[5:06] 10. Lay Lady Lay
[5:49] 11. Wichita Lineman

Cassandra Wilson: guitar, vocals; Chris Whitley: guitar; Lonnie Plaxico: bass, acoustic bass; Jim Keltner: drums; Reginald Veal: upright bass; Calvin "Fuzz" Jones: upright bass; Cyro Baptista: percussion; T Bone Burnett: guitar, vocals; Charles Burnham: violin; Lance Carter: drums; Keith Ciancia: piano, keyboards; Jeff Haynes: percussion; Brandon Ross: acoustic guitar, guitar, steel guitar; Marvin Sewell: acoustic guitar; Kevin Breit: banjo, bouzouki, guitar, mandolin, electric guitar, guitar (resonator); Cecilia Smith: marimbas; Perry Wilson: drums; Mark Peterson: bass, acoustic bass; Doug Wamble: acoustic guitar; Fabrizio Sotti: guitar; Xavyon Jamison:drums; Kevin Johnson: percussion.

One of the eminent jazz singers of this time, Cassandra Wilson's deep timbre is as unmistakable as it is alluring. Her acumen as a musician, her voice an exquisite instrument and the way she interprets and arranges songs—uniquely filled with soul and emotion—would set her in the upper echelon of singers regardless of genre. From roots in Mississippi, where she began playing music at the age of five to her involvement in the advanced music theories of M-Base with saxophonist Steve Coleman and a growing body of diverse work, she continues to press onward. Following her second Grammy-winning release, Loverly (Blue Note, 2008), a celebrated program of jazz standards, Wilson presents Closer To You: The Pop Side, a compilation of pop songs culled from previous Blue Note recordings. She makes the trans-American Songbook shine even brighter with contemporary favorites that include works from U2, Sting, Cyndi Lauper, Van Morrison, Glenn Campell, and even The Monkees. The collection epitomizes Wilson's idiosyncratic style: elegant, sexy, mysterious, and well-informed of the intricacies of music, song, and lyrics. Her imprint is heard on a western scatting version of the Monkee's "Last Train to Clarksville," and some delta blues on "The Weight"—that ever rocking 1968 hit by The Band.

Once called the "reluctant diva," this set shows Wilson's altruistic nature, which has placed her among superb artists, such as Terri Lyne Carrington, Marvin Sewell, Cyro Baptista, and producer T-Bone Burnett, who are integral collaborators and not just background fillers for the vocalist. Together they take these popular songs into unusual locations that are earthy, visceral and filled with artistic liberties. Highlights abound. A lovely version of Cyndi Lauper's 1980's smash "Time After Time," some Brazilian flair on Sting's ever thoughtful "Fragile" and a gorgeous redo of Van Morrison's "Tupelo Honey," where Wilson's soulful intonations are sublime. Neil Young's "Harvest Moon" is mesmeric with its canopy of acoustic guitar and the sounds of birds/insects likened to a warm summer's night, as the vocalist soothingly croons. The set closes with Glenn Campbell's popular "Wichita Lineman," proving that whether the song is jazz, rock, or country, no one can deliver it quite like Cassandra Wilson. ~Mark F. Turner

Closer To You: The Pop Side

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Jacky Terrasson & Cassandra Wilson - Rendezvous

Styles: Vocal And Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 49:01
Size: 112,8 MB
Art: Front

(5:47)  1. Old Devil Moon
(5:45)  2. Chan's Song
(4:47)  3. Tennessee Waltz
(5:06)  4. Little Boy Lost
(2:38)  5. Autumn Leaves
(4:59)  6. It Might As Well Be Spring
(3:25)  7. My Ship
(3:02)  8. I Remember You
(4:47)  9. Tea For Two
(5:29) 10. If Ever I Would Leave You
(3:09) 11. Chicago 1987

For this notable set, pianist Jacky Terrasson teams up with the smoky, chance-taking vocalist Cassandra Wilson, either Lonnie Plaxico or Kenny Davis on bass and percussionist Mino Cinelu. The music is quite impressionistic and atmospheric. Terrasson and Wilson stick to standards, but their renditions of such songs as "Old Devil Moon," "My Ship," "Tea for Two" and even "Tennessee Waltz" are quite haunting and floating, slightly disturbing and occasionally sensuous. Terrasson, who takes "Autumn Leaves" and "Chicago 1987" (the one non-standard) as solo pieces, was on his way to forming his own style, while Wilson had certainly found her niche. An intriguing matchup. ~ Scott Yanow http://www.allmusic.com/album/rendezvous-mw0000595600

Personnel: Jacky Terrasson (acoustic & electric pianos); Cassandra Wilson (vocals); Lonnie Plaxico, Kenny Davis (bass); Mino Cinelu (percussion).

Rendezvous

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Various - The Aretha Franklin Songbook

Bitrate: MP3@320K/s
Time: 56:05
Size: 128.4 MB
Styles: Jazz/Soul/R&B
Year: 2013
Art: Front

[4:43] 1. Dr. Lonnie Smith - Think
[4:40] 2. George Benson - Don't Let Me Lose This Dream
[5:39] 3. Stanley Turrentine - Dr. Feelgood
[4:35] 4. Cassandra Wilson - Angel
[4:59] 5. B.B. King - Spirit In The Dark
[4:19] 6. Will Downing - Daydreaming
[7:45] 7. Jimmy Smith - After Hours
[3:46] 8. Grover Washington, Jr. - All The King's Horses
[2:27] 9. Dianne Schuur - Climbing Higher Mountains
[7:13] 10. Quincy Jones - Daydreaming/First Time Ever I Saw Your Face
[5:55] 11. Stanley Turrentine - Dr. Feelgood (Alt. Take)

She is both a 20th and 21st century musical and cultural icon known the world over simply by her first name: Aretha. The reigning and undisputed “Queen Of Soul” has created an amazing legacy that spans an incredible six decades, from her first recording as a teenage gospel star, to her current releases. Her many countless classics include “(You Make Me Feel Like) A Natural Woman,” “Chain Of Fools,” “I Never Loved A Man (The Way I Love You)”; her own compositions “Think,” “Daydreaming” and “Call Me”; her definitive versions of “Respect” and “I Say A Little Prayer”; and global hits like “Freeway Of Love,” “Jump To It,” “I Knew You Were Waiting (For Me),” her worldwide chart-topping duet with George Michael, and “A Rose Is Still A Rose.”

The recipient of the U.S.A.’s highest civilian honor, The Presidential Medal Of Freedom, an eighteen (and counting) Grammy Award winner – the most recent of which was for Best Gospel Performance for “Never Gonna Break My Faith” with Mary J. Blige in 2008 – a Grammy Lifetime Achievement and Grammy Living Legend awardee, Aretha Franklin’s powerful, distinctive gospel-honed vocal style has influenced countless singers across multi-generations, justifiably earning her Rolling Stone magazine’s No. 1 placing on the list of “The Greatest Singers Of All Time.”

The Aretha Franklin Songbook

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Gerry Gibbs Thrasher Dream Trio - Live In Studio

Bitrate: MP3@320K/s
Time: 77:18
Size: 176.9 MB
Styles: Contemporary jazz
Year: 2015
Art: Front

[6:09] 1. Wives And Lovers
[6:01] 2. Summer Of '42
[4:33] 3. The Look Of Love
[3:36] 4. Spartacus Love Theme
[6:44] 5. On A Clear Day You Can See Forever
[3:53] 6. The Surrey With The Fringe On Top
[6:27] 7. Alfie
[5:22] 8. Watch What Happens
[3:22] 9. A Man And A Woman
[3:32] 10. Cast Your Fate To The Wind
[5:45] 11. What Are You Doing The Rest Of Your Life
[4:19] 12. More
[4:05] 13. Watch What Happens (Feat. Cassandra Wilson)
[4:14] 14. Music To Watch Girls By
[4:43] 15. Girl Talk
[4:25] 16. Charade

Kenny Barron: piano; Ron Carter: acoustic bass; Gerry Gibbs: drums; Roy Hargrove: trumpet, flugelhorn (5, 7, 11, 16); Cassandra Wilson: vocals (3, 7, 13).

Drummer Gerry Gibbs has been living a recurring dream with slight variations for the past few years. In December of 2012, he laid down tracks with two of his idols—the legendary Ron Carter and the estimable Kenny Barron—and dubbed their group the Thrasher Dream Trio. The eponymous debut from that band, featuring fifteen tracks recorded at those sessions, was, not surprisingly, a strong and classy affair filled with standards, some originals, and other jazz-friendly fare, such as Stevie Wonder's "Don't You Worry 'Bout A Thing" and Burt Bacharach's "Promises, Promises."

At the time of that album's release, those last-mentioned tracks could simply be viewed as part of the well-rounded program. But looking back now, it actually seems like they were dropped as hints of what was to come. About a year-and-a-half after that first Thrasher Dream Trio album was recorded, Gibbs brought the band together again to lay things down for We're Back (Whaling City Sound, 2014), a jazz-does-R&B project with A-list guests—vibraphonist Warren Wolf, saxophonist Steve Wilson, and organist Larry Goldings. That album offered multiple helpings of Wonder and Earth, Wind & Fire along with single servings of Bacharach, Marvin Gaye, Miles Davis, and the Average White Band. As on the trio's first album, the sparks were flying. The playing field, however, had changed a bit.

For this, the third go-around for this group, Gibbs does it again, tweaking the formula without altering the essence of the trio. This time he turned the focus toward pop-ish material from the '50s and '60s—the work of Bacharach, Henry Mancini, Michel Legrand, and others of that ilk—and put an audience in front of the band, recording live at Systems Two Recording Studio. Guests are part of the package again—now it's trumpeter Roy Hargrove and vocalist Cassandra Wilson, each appearing on a few tracks—and they help to add another wrinkle or two to the project without drawing focus away from the trio.

The album opens on a fluid "Wives And Lovers" that allows Barron's lyricism to shine through, gives Carter a chance to step into the spotlight, and puts Gibbs' brushwork at center stage. From there, the trio moves on with an unusually upbeat take on "The Summer Knows," a Wilson-enhanced version of "The Look Of Love" that moves from bossa nova to swing, and a variety of other familiar hits of yesteryear. Hargrove joins in for "On A Clear Day," quoting Ellington at one point and playfully trading solos with Gibbs; Vince Guaraldi's cheerfulness shines through on a perky trio performance of his "Cast Your Fate To The Wind"; "More" is transformed from a stale confection into an enjoyable swinger; and "Watch What Happens" happens twice—first as a cheerful, Brazilian-based instrumental, then as a swing-centered feature for Wilson.

Along the way there are plenty of other bright spots—an appropriately noir-ish "What Are You Doing The Rest Of Your Life?" with Hargrove on flugelhorn, a leisurely stroll through "Girl Talk"—and plenty of moments that serve as simple reminders as to why Barron and Carter are loved, respected, and emulated the world over. Their time and taste are impeccable, and when married to Gibbs' in-the-tradition drumming, you know the music is going to go in the right direction every time. ~Dan Billawsky

Live In Studio

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Various Artists - Bob Belden's Shades Of Blue

Styles: Contemporary Jazz, Post-Bop
Year: 1996
File: MP3@320K/s
Time: 70:40
Size: 162,3 MB
Art: Front

(6:54)  1. Dianne Reeves, Geri Allen - Maiden Voyage
(5:34)  2. Jacky Terrasson - Un Poco Loco
(5:49)  3. John Scofield - Tom Thumb
(2:36) 4. Cassandra Wilson, Ron Carter - Joshua Fit De Battle Ob Jericho
(8:21)  5. Tim Hagans, Bob Belden - Siete Ocho
(7:40)  6. Marcus Printup - You've Changed
(5:36)  7. Holly Cole, Javon Jackson - Hum Drum Blues
(5:56)  8. Geoff Keezer - 2300 Skiddoo
(6:08)  9. Renee Rosnes - Song For My Father
(6:51) 10. Kurt Elling - Tanganyika Dance (The Man From Tanganyika)
(4:41) 11. T.S. Monk, Ron Carter - Evidence
(4:29) 12. Eliane Elias - Una Mas

In 1994, producer-tenor saxophonist Bob Belden received the unusual assignment of putting together a variety of all-star groups to revisit tunes associated with the Blue Note legacy. From November 1994 to March 1995 he recorded most of Blue Note's then-current roster, documenting 39 compositions in all. Twelve are on this CD, while many of the others have been released in Japan. Each of the dozen numbers uses a different group and they are generally consistent, if not filled with surprises. Dianne Reeves, Cassandra Wilson, Holly Cole, and Kurt Elling are heard on vocal features (Reeves and Elling fare best), trumpeter Marcus Printup shows off his warm tone on "You've Changed," and, in a performance that brings back the "Bitches Brew" era (and is both the most modern and the most dated of these interpretations), Belden, trumpeter Tim Hagans and three keyboardists explore Andrew Hill's "Siete Ocho." 

Of the many pianists who are featured on this set (including Geri Allen, Jacky Terrasson, Renee Rosnes, and Eliane Elias), Geoff Keezer's fairly free improvisation on Herbie Nichols' "2300 Skidoo" is the most memorable. Quite unusual is the complete absence of any of the quintet or sextet lineups that were almost a trademark of Blue Note in the '50s and '60s, and the relatively few trumpet and saxophone solos. Sure to be a collector's item, this CD is not essential but it has enough variety to keep the interest of most jazz listeners. ~ Scott Yanow  http://www.allmusic.com/album/shades-of-blue-mw0000184479

Bob Belden's Shades Of Blue

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Various - A Tribute To Joni Mitchell

Bitrate: MP3@320K/s

Time: 53:10

Size: 121.7 MB

Styles: Folk rock, Singer-songwriter

Year: 2007

Art: Front

[4:59] 1. Sufjan Stevens - Free Man In Paris

[5:05] 2. Björk - The Boho Dance

[4:56] 3. Caetano Veloso - Dreamland

[5:08] 4. Brad Mehldau - Don't Interrupt The Sorrow

[5:58] 5. Cassandra Wilson - For The Roses

[3:30] 6. Prince - A Case Of You

[2:46] 7. Sarah Mclachlan - Blue

[3:38] 8. Annie Lennox - Ladies Of The Canyon

[3:40] 9. Emmylou Harris - The Magdalene Laundries

[5:56] 10. Elvis Costello - Edith And The Kingpin

[3:58] 11. K.D. Lang - Help Me

[3:32] 12. James Taylor - River

Joni Mitchell covers dot the musical landscape the way Tim Hortons doughnut shacks line the highways of Ontario. It's a little surprising, then, that the first Mitchell tribute album to be released on a major U.S. label didn't emerge until 2007, which was coincidentally the same year Mitchell was scheduled to release Shine, her first studio effort to appear in some ten years. And as far as tribute albums go, A Tribute to Joni Mitchell isn't half bad. The compilation is split up between songs that were recorded specifically for the tribute album, such as Sufjan Stevens' "A Free Man in Paris," and those that were recorded and released previously, such as James Taylor's "River." The tracks that were recorded specifically for A Tribute are far and away the best. Stevens approaches "A Free Man in Paris" with his characteristic, and fitting, over-the-top irony and band geek sensibilities. Opening with a brass fanfare, the kind that wouldn't be out of place in the opening credits of a network news show, Stevens' cover tackles the original with an appropriate sense of theatricality and fun. Björk's lilting cover of "Boho Dance," lush with synthesized bells and whorls, arguably rivals the original. She does a very good job of allowing Mitchell's lyics to unfurl, even while she twists and transforms the song, fairy godmother-style, into something otherworldly. And Caetano Veloso's rendition of "Dreamland" is simply a revelation. It's not a huge stretch from the original, but Veloso's light, gentle vocals, augmented by the the warm, loose Brazilian instrumentation, somehow manages to grab Mitchell's narrative and bring it to life. Mitchell is a storyteller, and the best tracks on here are those that welcome and explore her narratives. The worst ignore or misinterpret them. Prince pays little attention to Mitchell's lyrics on "A Case of You," slashing the first two verses in order to cut right to the chase. This abridged version has a lot of soul, but it does little to pay tribute to Mitchell's original; Prince cut out the pathos and made the song sappy. To be fair, Mitchell's a difficult person to pay tribute to, let alone cover, seeing how she's one of those rare singer/songwriters whose abilities as a performer are equal to her compositions. This stands in stark contrast to someone like Bob Dylan, whose songs were often just as, if not more, enjoyable in their Jimi Hendrix or Joan Baez incarnations. But while she's ultimately the best performer of her own work, Mitchell, with her warbly soprano and idiosyncratic sense of composition, hasn't always lent herself to the unaccustomed ear. A Tribute to Joni Mitchell is thus a great listen for those who'd like to ease into the breadth and range of Mitchell's work by way of established, accessible artists like Prince, Sarah McLachlan and Taylor. Granted, fans will probably find themselves yearning for the original material after listening to this disc, but this is only another way in which A Tribute succeeds. These interpretations, imperfect as they can be, provide new vantage points from which Mitchell's original albums can be located, analyzed, and appreciated. ~Margaret Reges

A Tribute To Joni Mitchell

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VA - Ladies In Blue: The Best Blue Note Female Vocals

Size: 175,6+164,6 MB
Time: 75:40+70:50
File: MP3 @ 320K/s
Released: 2012
Styles: Jazz Vocals
Label: Blue Note Records
Art: Front

CD 1:
01. Stacey Kent - What A Wonderful World (4:24)
02. Norah Jones - Those Sweet Words (3:24)
03. The Bird & The Bee - How Deep Is Your Love (3:22)
04. Sabrina Starke - Yellow Brick Road (4:07)
05. Cassandra Wilson - Time After Time (4:05)
06. Traincha - What The World Needs Now (3:56)
07. Abbey Lincoln - Do Nothin' 'Til You Hear From Me (2:14)
08. China Moses - What A Difference A Day Makes (7:17)
09. Alice Ricciardi - Comes Love (4:27)
10. Billie Holiday - Detour Ahead (3:01)
11. Blossom Dearie - May I Come In (20 Bit Mastering 1998 Remastered Version) (2:12)
12. Julie London - I Left My Heart In San Francisco (2:48)
13. Jacinta - Baby Won't You Please Come Home (5:45)
14. Jutta Hipp With Zoot Sims - Violets For Your Furs (6:07)
15. Holly Cole & Javon Jackson - Hum Drum Blues (5:36)
16. Molly Johnson - Melody (3:44)
17. Grant Greens - Down Here On The Ground (Ummah Remix Feat. Dianne Reeves) (4:36)
18. Cecilie Norby - Set Them Free (4:27)

CD 2:
01. Priscilla Ahn - Dream (3:29)
02. Marlena Shaw - Feel Like Making Love (4:58)
03. Shirley Eikhard - There But For Love Go I (5:12)
04. Eliane Elias - They Can't Take That Away From Me (3:43)
05. Carmen Mcrae - The Man I Love (4:15)
06. Denise Jannah - You Must Believe In Spring (7:13)
07. Betty Carter - There Is No Greater Love (3:49)
08. Dodo Greene - Jazz In My Soul (2:35)
09. Jackie Allen - Lazy Afternoon (3:49)
10. Helen Eriksen - Arms Around You (4:45)
11. Lena Horne - Something To Live For (Live) (4:43)
12. Sarah Vaughan - Stormy Weather (With Jimmie Jones And Orchestra) (3:26)
13. Nancy Wilson - Call Me Irresponsible (2000 Remastered Version) (2:25)
14. Nina Simone - The House Of The Rising Sun (Live At The Village Gate 2004 Remastered Version) (4:37)
15. Sheila Jordan - Baltimore Oriole (2:34)
16. Sue Raney - Maybe You'll Be There (2006 Remastered Version) (2:23)
17. Annie Ross - I'm Just A Lucky So And So (4:46)
18. George Shearing - In The Night (2003 Remastered Version) (2:00)

Ladies In Blue CD 1
Ladies In Blue CD 2

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Cassandra Wilson - Coming Forth By Day

Styles: Jazz, Vocal
Year: 2015
File: MP3@320K/s
Time: 58:19
Size: 134,7 MB
Art: Front

(4:34)  1. Don't Explain
(5:07)  2. Billie's Blues
(6:18)  3. Crazy He Calls Me
(4:08)  4. You Go to My Head
(4:05)  5. All of Me
(3:50)  6. The Way You Look Tonight
(4:56)  7. Good Morning Heartache
(4:09)  8. What a Little Moonlight Can Do
(4:13)  9. These Foolish Things
(4:54) 10. Strange Fruit
(6:08) 11. I'll Be Seeing You
(5:50) 12. Last Song (For Lester)

Cassandra Wilson is the most important jazz vocalist of the past thirty years. There. I said it. I meant it. It is out in the open (not that this was any secret).

After an impressive jazz debut with Point of View (JMT, 1985), Wilson would release seven more well- received, if not underrated, recordings before she changed the entire jazz vocals setting with Blue Light 'til Dawn (Blue Note, 1993). Wilson's singing and instrumentation had evolved into an expansive and spacious sonic landscape modelled after Miles Davis' earthy and provocative reading of the DuBose Heyward / George Gershwin song, "My Man's Gone Now" from We Want Miles (Columbia, 1982). This sound was an aurally golden fleece that Davis chased through five jazz genres and over fifty years. It was Wilson who perfected it. One of the hallmarks of Wilson's sound was her use of conventionally American Folk instruments dispersed among the traditional jazz instrumentation, all contained in 40 acres of Miles' Davis' "space." Spacious and expansive sound one can get out of the car and walk around inside. Resophonic guitars, slide guitars, banjos, upright pianos: Wilson's sound was one of a mixture of old and new. A musical eutectoid transformed into the perfect solution. Sparkling trumpet beside dead (no reverb) drumming made of a heady mix; miniature acoustic guitar against tenor saxophone...and Wilson populated her subsequent recordings with such novel formatting. New Moon Daughter (Blue Note, 1995), Rendezvous (with Jackie Terrason, Blue Note, 1998), and Traveling Miles (Blue Note, 1999) perfected her approach while reaching its apex. Her releases were of such high quality that they could not be seriously questioned.

That is not to say that perfection could not wear thin. Wilson released an additional six searching recordings before the approaching Billie Holiday. These were very good recordings in the guise of the logistics she set forth in the 1990s. And with the patience of the gods, Wilson planned this present project to be given birth on April 7, 2015, that would mark the centenary of the birth of Eleanora Fagan and that recording is Coming Forth By Day. With this recording, Wilson proves that she cannot only improve on her past, but can send her art to its zenith and beyond. Not to put too fine a point on it, Coming Forth By Day is a perfect recording. Wilson has left her organic roots and claimed the 21st Century in her music. The results are an ethereal musical climax to the memory of the legendary jazz vocalist Billie Holiday. Worthy of mention at the outset are the individuals surrounding this recording. Nick Launay, Nick Cave's producer for the last decade, a new and ground-breaking sound is brought to the already evolutionary miracle of the Cassandra Wilson 1990s. What they have collectively done is perfect the deep-bottom sonic landscape flirted with by Bob Dylan on this recent standards offering, Shadows in the Night (Columbia, 2015). On that recording, Dylan brilliant recasts the pedal-steel guitar to build low register of dark chocolate and clove with a splash of bay rum and old whiskey, poured neat on the whole affair. What Wilson does on her recording is take Dylan's intention, light that on fire and let it burn.

Coming Forth By Day features eleven re- interpretations of the Great American Songbook associated with Holiday (both "standards" and Holiday originals) plus the Wilson original "Last Song (For Lester)," conceived as an homage from Billie to her musical soulmate, Lester Young. Wilson recorded her Tour de Force in Los Angeles at the Seedy Underbelly studios with guitarists T Bone Burnett and Nick Zinner of the Yeah Yeah Yeahs, string arranger Van Dyke Parks and rhythm section from The Bad Seeds (drummer Thomas Wydler and bassist Martyn P. Casey). This is considerably different from her more organic recordings of the 1990s. It is very much updated, and not in a cheap way. While updated, Wilson's atmospheric approach remains intact using her outstanding voice (as unique and singular at Holiday's) to defy space-time musically. If I was to make a 21st Century Film Noir, I would use this music for the soundtrack. It is music noir. There is a pungent and sensual darkness to this recording. This is forward-thinking arranging and orchestrating that favors deep hues and dark colors. It is slick without being cheap and clever without being too much so. There is a level of musical thinking above what Duke Ellington considered "good" music. This is simply "it." Ten standards and one original. What makes a perfect recording? First, the repertoire. One must be careful here. This is a well-trodden path and if the warhorses of the literature are to be presented, they must be scrubbed free of nostalgia and expectations and presented in a way that is not only novel, but translational. Second is theme. Intelligently conceived recordings enhance their own beauty and importance. Coming Forth by Day was a no-brainer. Wilson and this material came together at the right time in an act of synergy hard to imagine, much less equal. And finally, third is presentation. It is hard to make the old new effectively. Wilson excels in all of these categories.

While these performances have few, if any, stylistic comparison, an internal analyses might illustrate the beauty of these treatments. So focused and refined is this vision of Wilson's, that this recital can be divide in three parts: the first that is traditional ballads (save they are anything but). "Don't explain" kicks the recording off with something that will not scare the pats off the listener (that comes later). First and foremost, Wilson summons the deep blues in this music. It permeates every corner, nook and cranny of the music. Understanding this is the key to the rest of the disc. Think Eddie "Son" House before anything and this recording comes into focus. Her voice is not honey and morphine. It is just morphine... in a Sigmund Freud injection, and not just that. It is Morpheus... the god of dreams, the analogy, the simile, the metaphor. This is music of essence, not of tangibility. So don't waste your time looking for the tangible, fools. This music exist only in your most creative dreams. "Don't Explain," "All of Me" "These Foolish Things" "I'll Be Seeing You" all catch Wilson honoring the naive and hopeful Holiday (but not too much). Holiday was much too worldly for that...that one who believed all would be okay before she learned otherwise. "All of Me" "These Foolish Things" "I'll Be Seeing You," these are the straightest pieces on the disc. Wilson's low register is employed to the maximum and every positive vibe of the past is pulled forth. Then Wilson produces a post-Modern 1960s vibe that smacks of Percy Faith or Ray Conniff in an opium dream. Van Dyke Parks string arrangements, divine a sound that every Eisenhower baby and Clinton offspring will equally appreciate. "Your Go to My Head" is no longer a Charlie Parker invitation to a listener. Instead, it is a Frank (as in Frank Sinatra) invitation to bliss from Nelson Riddle. Wilson assimilates it into all that reflects the way things should be not as they are.

From there Wilson directs things in a slightly different direction. Think of an emulsion of the 21st century experience violently coupling with the Ray Conniff / Percy Faith white-bread vision of the Civil Rights Movement with the real thing. "You Go to My Head" "The Way You Look Tonight" "What a Little Moonlight Can Do" illustrated in, Wilson's performance, the work that remains to be done by all of us. "Your Go to My Head" and "Crazy He Calls me" are Mississippi Delta earth- rich thoughts that are more basic than the composers ever intended. The centerpiece of the recording is the sublime ballad, "The Way You Look Tonight." There may be no more perfect song sung by anyone. Wilson and her handlers make it a piece of perfection that proves that when a piece is composed, the appropriate performer may not yet exist. Introduced by the sublime bass clarinet into a 1950's musical environment, Wilson sings slowly those words of love and longing. It is a perfect performance of a standard. But Wilson reserves some spine rattling performances for a rare few pieces. "Billie's Blues" "Crazy He Calls Me" "Good Morning Heartache" "Strange Fruit" "last Song (For Lester). "Billie's Blues" is a transformed piece of 12-bars that is shot well ahead of us by ingenious production. The dirt and grit of Charlie Patton and Blind Lemon Jefferson are brought into the world of T Bone Burnette. Sex is no longer a fecund and aromatic act of procreation but an experience of pleasure enjoyed only by the gods. "Good Morning Heartache" is five minutes of the most terrifying Great American Songbook you will ever hear. This is the darkest part of the whole disc. Wilson is lowered to the very basic of human experience. She twists the African America experience into the real. Billie Holiday would tremble. Aside from the Holiday parallel, Wilson's collection here amply show that the Great American Songbook is anything but dead. Every so often, an artist emerges as a breath of fresh air through the Songbook, thereby transforming it. Few efforts achieve the completeness and perfection of transformation that Coming Forth by Day does. Bob Dylan's recent Shadows in the Night does its part falling short with Dylan's less-than-perfect voice. Wilson's recording totally honors this approach, providing us a fine survey of not only Billie Holiday's oeuvre, but that of the Great American Songbook. 

~ C.Michael Bailey  http://www.allaboutjazz.com/cassandra-wilson-coming-forth-by-day-by-c-michael-bailey.php
 

Personnel: Cassandra Wilson: vocals, guitar (10); Thomas Wydler: drums, percussion; Martyn Casey: bass; Jon Cowherd: piano, rhodes; Kevin Breit: guitar; banjo (7); Robby Marshall: saxophones, bass clarinet, melodica; Ming Vauz: guitar string effects; T Bone Burnett: baritone guitar (2, 7); Nick Zinner: guitar (4), loops (6, 8); Paul Cantelon: accordion (5); Eric Gofain: violin (11); The section Quartet, VDP Orchestra: strings.

Coming Forth By Day

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VA - Introducing M-Base

Size: 157,2 MB
Time: 67:21
File: MP3 @ 320K/s
Released: 2015
Styles: Contemporary Jazz, Vocals
Art: Front

01. Cassandra Wilson - If You Only Know How (5:02)
02. Jean-Paul Bourelly - Irate Blues (4:18)
03. Miles Davis - Blue In Green (4:07)
04. Billy Strayhorn - Chelsea Bridge (5:33)
05. Jean-Paul Bourelly - Drifter (5:03)
06. Geri Allen - For John Malachi (3:30)
07. Kevin Bruce Harris - I'm Going Home (2:58)
08. Cassandra Wilson - Lies (3:43)
09. Greg Osby - Mindgames (5:26)
10. Steve Coleman - Micro-Move (4:16)
11. Steve Coleman - On This (5:07)
12. Steve Coleman - Cüd Ba-Rith (4:57)
13. Robin Eubanks - The Night Before (4:59)
14. Cassandra Wilson - I Am Waiting (3:36)
15. Olu Dara - Electromagnolia (4:40)

The album »Introducing M-Base« introduces early works by important artists associated with the movement M-Base. Two titles of this compilation – »Irate Blues« and »On This« – come from the debut recording »Motherland Pulse« by Steve Coleman. This album was established in 1985, exactly 30 years ago.

Introducing M-Base

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Pat Martino - All Sides Now

Bitrate: MP3@320K/s
Time: 51:49
Size: 118.6 MB
Styles: Post bop, Guitar jazz
Year: 1997
Art: Front

[5:02] 1. Too High
[5:52] 2. Two Of A Kind
[5:34] 3. Progression
[4:42] 4. I'm Confessin' (That I Love You)
[3:09] 5. Ellipsis
[3:53] 6. Both Sides Now
[7:46] 7. Ayako
[5:14] 8. Two Days Old
[7:40] 9. Outrider
[2:52] 10. Never And After

The Blue Note Records debut by guitarist extraordinaire Pat Martino is spotty at best. It is primarily a series of duets and ensemble settings with a wide array of top notch guitarists spanning different genres. This recording was co-produced by jazz/fusion critic Bill Milkowski along with Matt Resnicoff. The feeling here is that Mr. Martino had been granted a minimal amount of artistic control from the onset. What we have here is something short of a hack job!

The CD commences with the Stevie Wonder tune "Too High". Charlie Hunter provides his trademark bass/leslie guitar shtick and Martino takes care of the single note runs; therefore, dictating the melody line. All in all a harmless and uneventful rendition of this generally delightful Wonder composition. The 2nd cut, a Martino original features the master along with Tuck Andress, Andress provides some sympathetic acoustic strumming behind Martino's airy electric lead. A nice tune but altogether uninspiring. The affair procedes with a Martino original called "Progression" in essence it's a duet between Kevin Eubanks on acoustic and Martino again, on the electric. Eubanks is mixed behind Martino's over the top electric. A fairly nondescript outing with Eubanks mainly comping in the background. These two guitar greats take on the chemistry of oil and water on this cut. The styles are so distinctly opposite and the listener feels that these two are off in different directions. A forgettable tune nonetheless. "I'm Confessin'" is an effective and low key effort between Pat and Les Paul. One tune with acoustic guitarist Micheal Hedges is pleasant but Hedges remains fairly low in the mix. "Ellipsis" is a totally negligible duet between Martino and rock guitar great Joe Satriani. Satriani is in the wrong neighborhood and the song never gets off the ground. These guys sounded as though they didn't want to be there but perhaps the producer's thought it was a novel approach? Satriani opens with some heavy metal type distortion than Martino enters with his his "as expected" single note runs at this juncture Satriani reduces his playing to remedial comping in the background. This is a disaster! A huge mistake. Satriani is a gifted stylist in his own right but had no business being here. Perhaps 2 or 3 days in the studio may have produced something more meaningful but I seriously doubt it. Things proceed with Martino backing Cassandra Wilson's vocal rendition of Joni Mitchell's "Both Sides Now". Two more cuts in a quartet setting with "chops of doom" guitarist Mike Stern. "Ayako" is a Martino original and along with Stern there finally seems to be a hint of chemistry in the air. The best cut on the CD, "Outrider" again features Stern along with drummer Ben Perowsky and Scott Colley on bass. This is a fast paced cut. Martino and Stern proceed at a blistering pace. Things finally get moving and we've reached the second to last tune on the entire CD. The final cut is another abysmal duet with Satriani.

Let's hope that Pat Martino enjoys a longstanding and prosperous relationship with Blue Note. He's one of the great guitarists of our time. Unfortunately, he's not off to a good start with this poorly produced and unadventurous recording. Martino doesn't blend very well with an onslaught of guitar heroes. His voice is too distinctive on the instrument. ~Glenn Astarita

Pat Martino: guitar; Tuck Andress: guitar; Les Paul: guitar; Joe Satriani: guitar; Mike Stern: guitar; Charlie Hunter: guitar; Cassandra Wilson: vocal; and various support. Recording Date: June 1, 1996 - January 15, 1997

All Sides Now

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Various - Midnight In The Garden Of Good And Evil: Music From And Inspired By The Motion Picture

Bitrate: MP3@320K/s
Time: 57:33
Size: 131.8 MB
Styles: Soundtrack
Year: 1997
Art: Front

[3:46] 1. K.D. Lang - Skylark
[3:38] 2. Joe Williams - Too Marvelous For Words
[5:06] 3. Paula Cole - Autumn Leaves
[4:07] 4. Rosemary Clooney - Fools Rush In [where Angles Fear To Tread]
[5:07] 5. Brad Mehldau - Dream
[4:44] 6. Cassandra Wilson - Days Of Wine And Roses
[3:28] 7. Kevin Spacey - That Old Black Magic
[4:28] 8. Alison Eastwood - Come Rain Or Come Shine
[3:33] 9. Clint Eastwood - Ac-Cent-Tchu-Ate The Positive
[3:42] 10. Alison Krauss - This Time The Dream's On Me
[4:46] 11. Kevin Mahogany - Laura
[3:56] 12. Diana Krall - Midnight Sun
[4:57] 13. Joshua Redman - I'm An Old Cowhand [from The Rio Grande]
[2:09] 14. Tony Bennett - I Wanna Be Around

This Clint Eastwood vanity-project was one of the biggest box office disappointments of 1997, despite a masterful performance by Kevin Spacey, Eastwood's typically subtle direction and, to these ears anyway, one of the most satisfying collections of songs gathered in service of a film in many a year. It didn't hurt that they were all penned by the late, great Johnny Mercer (a native of Savannah, GA, the film's locale and most crucial, underrated element) and with the exception of Tony Bennett's "I Wanna Be Around" and Sinatra's classic "Summer Wind," were rendered by an all-star team of jazz players (Charlie Haden, Michael Brecker, Joshua Redman, Kevin Eubanks, Christian McBride among them) and an impressive line-up of vocalists including k.d. lang, Paula Cole, Joe Williams, Rosemary Clooney, Cassandra Wilson, Alison Krauss, Diana Krall, and Kevin Mahogany. Eastwood has long been a jazz devotee and, in recent years, eager proselytizer; this album plays like a love letter to one of his most beloved musicians and composers. --Jerry McCulley

Midnight In The Garden Of Good And Evil: Music From And Inspired By The Motion Picture

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