Christian Jacob - New Jazz Standards Vol 5 • the Music of Carl Saunders

Styles: Piano Jazz

Year: 2022
Time: 59:01
File: MP3 @ 320K/s
Size: 135,8 MB
Art: Front

(4:19) 1. August in New York
(6:42) 2. A Ballad for Pete Candoli
(4:58) 3. Zig Zag Waltz
(4:33) 4. The Hipper They Are The Harder They Fall
(5:42) 5. Complex Simplicity
(5:16) 6. A Ballad for Now
(3:04) 7. A Pill for Bill
(5:28) 8. Silver Ambience
(4:26) 9. Dark Blanket
(4:48) 10. Sweetness
(4:20) 11. Admired
(5:19) 12. Encore

New Jazz Standards Vol 5 • the Music of Carl Saunders

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Featuring 12 of Carl Saunders' finest songs and the consistently brilliant playing of Christian Jacob, New Jazz Standards delivers in a special way!

Carl Saunders is one of the world's great jazz trumpeters, a super technician who is a masterful improviser with his own sound. In his career he has performed with a countless number of jazz greats.

This recording (and Series) feature Saunders' originals taken from his New Jazz Standards book. "I have been writing tunes all of my life," says the trumpeter-composer. "I had many of them sitting by the piano, unorganized and looking like a bit of a mess. I finally decided to print them out and organize them in a folder and finally publishing them into a book which I called New Jazz Standards which has over 300 songs."

"I let the artists pick whatever tunes they want to do from the book and interpret them in their own style." The rewarding series has thus far showcased quite an array of talent, starting with flutist Sam Most and continuing with sets starring trombonist Scott Whitfield, pianist Roger Kellaway, and guitarist Larry Koonse.

For Vol. 5, Carl Saunders wanted to feature pianist Christian Jacob. "He's one of the very best, a complete classical musician who has mastered jazz."

Multi-Grammy nominated Christian Jacob, who was born in France, studied classical music from the age of four and was considered a child prodigy but became attracted to jazz and improvisation by the time he was ten. He not only attended the Berklee College of Music but won a series of awards as a student and for a time taught at the college. He gained his initial fame in the jazz world when he played and arranged for some of the great.

The pianist suggested that bassist Darek Oles be part of this project. Oles has made many recordings including sets with Brad Mehldau and Charles Lloyd.

Saunders says "Christian and I decided on the great Joe LaBarbera for the drum duties who is one of the most musical drummers on the scene. When you listen to him play music comes out of his drums.

https://www.summitrecords.com/release/new-jazz-standards-vol-5-the-music-of-carl-saunders-christian-jacob/

Personel:

Christian Jacob, piano

Darek Oles, bass

Joe LaBarbera, drums

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Lyn Stanley - The Moonlight Sessions, Vol. Two

Styles: Vocal Jazz
Year: 2017
File: MP3@320K/s
Time: 58:18
Size: 136,8 MB
Art: Front

(3:50)  1. Makin' Whoopee
(3:19) 2. The Very Thought of You (feat. Christian Jacob)
(3:19)  3. That Old Feeling (feat. Mike Garson)
(2:34)  4. Summer Knows
(4:06)  5. Over the Rainbow (feat. Christian Jacob)
(5:02)  6. How Deep Is the Ocean? (feat. Mike Garson)
(4:54)  7. Angel Eyes (feat. Mike Garson)
(5:51)  8. At Seventeen (feat. Mike Garson)
(4:43)  9. You've Changed
(3:27) 10. Smile
(5:46) 11. Love Me or Leave Me (feat. Tamir Hendelman)
(2:42) 12. How Insensitive (feat. Christian Jacob)
(5:27) 13. Since I Fell for You (feat. Mike Garson)
(3:12) 14. I'll Be Seeing You

Song Stylist Lyn Stanley completes her Moonlight Sessions with Volume 2. This present offering follows only a few months after the release of her well-received The Moonlight Sessions, Volume 1 (A.T. Music, 2017), capping her project with a collection of carefully selected, well-covered standards, with a couple of surprises. Stanley's three-part creative paradigm, started with Volume 1 is continued and completed here. Stanley aimed to: one, reestablish a measure of audio fidelity (analog) to recording and playback; two, reassert the Great American Songbook as the gateway to understanding the history of jazz; and three, redefine what a "song stylist" is. She has largely accomplished this, while still offering something beyond these creative vectors: a deeply intimate consideration of iconic life songs. The disc opens with a perfect Stanley vehicle, "Makin' Whoopie." She give the standard a spot-on sardonic reading that smolders with experience and humor. Hendrik Meurkens' harmonica provides just a slippery enough slope to send the song into the stratosphere. Stanley's romantically-charged, wistful reading of "That Old Feeling" segues nicely into the first surprise, "Summer Knows" from the film, Summer of '42 (Warner Bros., 1971). This pairing is a slick bit of programming deserving attention. The second such diptych involves the other surprise, Janis Ian's 1974 single "At Seventeen" from her album Between The Lines (Columbia). This is Stanley's most daring and inspired inclusion in this recital and she sings the song with a sepia nostalgic charge that makes the piece fit with the rest of the set list. Juxtaposed against the almost sheer darkness of "Angel Eyes," the two songs give ready evidence to Stanley's command of her repertoire and direction. Critic's Note: Anno Domini 2017, marks the 100th Anniversary of recorded jazz, deftly noted by the release of the Original Dixieland Jazz Band's shellac "Dixieland Jass Band One-Step (A)/Livery Stable Blues (B)," Victor 18255, recorded February 26, 1917 and released March 7, 1917. Just for perspective, in 1917, my father was 18 months old and my mother was yet to be born for two years. It is also the twentieth anniversary of me writing for All About Jazz. The first recording I reviewed for the magazine was Art Pepper's San Francisco Samba (Contemporary, 1997), published December 1, 1997. I am using this present review as part of a series noting my twentieth anniversary with the magazine and paying special tribute to my fellow writers at All About Jazz and Publisher Michael Ricci. ~ C.Michael Bailey https://www.allaboutjazz.com/lyn-stanley--the-moonlight-sessions-volume-2-lyn-stanley-at-music-llc-review-by-c-michael-bailey.php

Personnel: Lyn Stanley: vocals; Mike Garson: piano; Christian Jacob: piano; Tamir Hendelman: piano; Chuck Berghofer: bass; Ray Brinker: drums; Bernie Dresel: drums; Joe LaBarbara: drums; Luis Conte: percussion; John Chiodini: guitar; Chuck Findley: trumpet; Rickey Woodard: tenor saxophone; Bob McChesney: trombone; Hendrik Meurkens: harmonica.

The Moonlight Sessions, Vol.Two

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Lyn Stanley - The Moonlight Sessions, Vol. 1

Styles: Vocal Jazz

Year: 2017

File: MP3@320K/s

Time: 50:42

Size: 116,6 MB

Art: Front

(4:56)  1. All or Nothing at All (feat. Christian Jacob)

(4:06)  2. Willow Weep for Me (feat. Tamir Hendelman)

(4:34)  3. Moonlight Serenade (feat. Christian Jacob)

(5:16)  4. My Funny Valentine (feat. Mike Garson)

(4:52)  5. Embraceable You (feat. Tamir Hendelman)

(3:01)  6. Why Don't You Do Right?

(2:59)  7. Girl Talk (feat. Mike Garson)

(4:19)  8. Crazy (feat. Mike Garson)

(3:07)  9. Close Your Eyes (feat. Mike Garson)

(4:38) 10. How Insensitive (feat. Tamir Hendelman)

(4:58) 11. Break It to Me Gently (feat. Mike Garson)

(3:49) 12. In the Wee Small Hours

With release of her various audiophile editions (LP, CD, reel-to-reel) of The Moonlight Sessions, Volume 1, Lyn Stanley brings into clear focus the driving forces behind her previous three releases: Lost in Romance (A.T. Music, LLC, 2011); Potions: From the '50s (A.T. Music, LLC, 2014); and Interludes (A.T. Music, LLC, 2015). These forces include: one, reestablishing a measure of audio fidelity (analog) to recording and playback; two, reassert the Great American Songbook as the gateway to understanding the history of jazz; and three, redefine what a "song stylist" is. Stanley has made it a sharp point to pay close attention to the sonics of her recordings. She has always been able to surround herself with the best musicians and record in the warmest of environments like Hollywood, CA's Capitol Recording Studios, and Los Angeles, CA's The Village Studios and LAFx using Frank Sinatra's Telefunken U47 ("Telly") microphone, to boot. The recordings were analog mixed and mastered to 1/4" 30ips stereo tape, with engineering provided by Al Schmitt/Steve Genewick (tracking); Michael Bishop (mixing) and Bernie Grundman (mastering). The media produced for distribution are: One-Step 180 gram/45RPM/Double Vinyl LP; stereo SACD (Super Audio CD) Hybrids; and 1/4" 15ips reel-to-reel tape. What all this gear-head speak means is that the environment for the music has all the proper sonic nutrients and dry warmth to produce the type of recorded sound we, of a certain age, can remember hearing. Stanley's aim is to record and produce media able to provide test material for high- end audiophile playback systems; to do it thoughtfully and creatively; and to honor the music produced. Stanley's repertoire here is already amply time-tested to the point where it is fair to ask, ..."if we could possibly need one more standards vocal set?" Every generation needs an artist to set an example of how the songs making up the Great American Songbook are performed as nominally envisioned by the composers. For me, my introduction to the Songbook was through Linda Ronstadt's mid-'80s standards recordings, What's New (Asylum, 1983); Lush Life (Asylum, 1984); and For Sentimental Reasons (Asylum, 1986). Were these great vocal recordings? I suspect they were good enough as they got me interested in these songs from the 1920s-'50s that basically defined a jazz canon after 1945.

For the front end of the 21st Century, a solid argument can be made that Lyn Stanley is an artist bearing the mantle of teacher, to a new generation of music listeners, of the times and places from which jazz, instrumental and vocal music came. This extant collection of songs called "standards" has been nothing if not durable in its various interpretations. What Stanley provides in her previous three recordings, and now The Moonlight Sessions, Volume 1, is an elegantly conservative approach to these songs that can be compared to that of Frank Sinatra. Sinatra had great respect for the composers and songwriters providing him material, and he honored them in his styling of their songs. His interest was never about improvisation; it was always about sincere and well-balanced delivery. So, too, is Stanley's charge. Her recordings' superb sonics and carefully considered arrangements provide a nourishing environment for her to present these songs in a sophisticated manner befitting their introduction to the newly exposed. Finally, Stanley reminds us of the difference between a "song stylist" and a "jazz singer," though, if we were to construct a proper Venn diagram, there would certainly be overlap between the two. In comparison, Stanley has more in common with Sinatra than, say, Betty Carter. She is not going to detonate some barrage of scat and vocalese fireworks; rather, Stanley delivers her melodies unadorned by nothing more than her warm and intimate alto voice. On The Moonlight Sessions, Volume 1 Stanley addresses her material with spare yet graceful instrumental ornamentation. Her rhythm section is anchored by pianists Mike Garson, Christian Jacob, and Tamir Hendelman; bassist Chuck Berghofer; and drummers Ray Brinker, Bernie Dresel, {Joe LaBarbara}}. Added to this considerable firepower are other notable musicians, specifically chosen for the given compositions.

Stanley's Volume 1 recital kicks off with a clever "All or Nothing at All," bookended with trumpet quotes (courtesy of Chuck Findley) from George Gershwin's A Rhapsody in Blue. That little touch adds a sepia patina to the song before Stanley brings the song into the present. Stanley sings con brio, as does Findley in his finely-structured obbligato and solos. Tenor saxophonist Rickey Woodard digs deep, producing a muscular, virile tone to play foil to Stanley's coolly jaded protagonist on "Willow Weep for Me." The tempo is measured and determined, never lagging: a hard feat to achieve at slow tempo. The inclusion of Glenn Miller's "Moonlight Serenade" (with lyrics by Mitchell Parish) is a pleasant surprise and a smart nod to the Swing Era, when jazz was the popular music. Again, Stanley sings languidly, with a crepuscular recline in her voice. "My Funny Valentine" and "Embraceable You" deserve added attention for their ubiquity in recorded literature. Music writer Scott Yanow's published "Ten Songs That Should Be Avoided" in his book The Jazz Singers: The Ultimate Guide (Backbeat, 2008). This list necessarily includes "My Funny Valentine." Unless one can bring something dramatically new to this war-horse as Laurie Antonioli did darkly on her 2015 Varuna (Origin Records), it should be allowed to rest. My defense for Stanley's inclusion is her beautiful and conservative treatment, which presents the melody as originally intended. Then, compare it to Chet Baker's idiosyncratic Chet Baker Sings (Pacific Jazz, 1954) to hear two vastly different approaches to the same song. This same reasoning works for "Embraceable You": Listen to Stanley's purring performance of the tune, and then to Charlie Parker's famous 1947 recording to hear what the big deal about jazz is. That said, Stanley did not play everything by the book. Her performance of Willie Nelson's (by way of Patsy Cline) "Crazy" is arranged as a polite roadhouse romp where the singer lets her hair down. The inclusion of Brenda Lee's "Break It to Me Gently" is inspired, forcing the perimeter of what are considered "standards" a little further out. Stanley closes with "The Wee Small Hours in the Morning," reminding us, of necessity, of Frank Sinatra in our musical collective consciousness...and of the necessity of Lyn Stanley and her mission. Now, on with Volume 2! ~ C.Michael Bailey https://www.allaboutjazz.com/the-moonlight-sessions-volume-1-lyn-stanley-at-music-llc-review-by-c-michael-bailey.php

Personnel: Lyn Stanley: vocals; Mike Garson: piano; Christian Jacob: piano; Tamir Hendelman: piano; Chuck Berghofer: bass; Ray Brinker: drums; Bernie Dresel: drums; Joe LaBarbara: drums; Luis Conte: percussion; John Chiodini: guitar; Chuck Findley: trumpet; Rickey Woodard: tenor saxophone; Bob McChesney: trombone; Hendrik Meurkens: harmonica.

The Moonlight Sessions, Vol.One

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The Tierney Sutton Band - The Sting Variations

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 66:55
Size: 155,2 MB
Art: Front

(5:46)  1. Driven to Tears
(5:53)  2. If You Love Somebody Set Them Free
(6:16)  3. Seven Days
(4:37)  4. Shadows in the Rain
(3:49)  5. Walking in Your Footsteps
(4:36)  6. Fragile/The Gentle Rain
(4:25)  7. Message in a Bottle
(4:45)  8. Fields of Gold
(4:03)  9. Fortress Around Your Heart
(5:07) 10. Language of Birds
(3:01) 11. Every Little Thing He Does Is Magic
(4:46) 12. Every Breath You Take (Lullabye)
(4:11) 13. Synchronicity I
(5:35) 14. Consider Me Gone

The Sting Variations is a logical follow up to seven-time Grammy nominee Tierney Sutton's solo album After Blue, in which Tierney Sutton re-imagined Joni Mitchell's iconic album Blue. This time, the full ensemble "The Tierney Sutton Band" returns with their unique interpretation of the best of Sting's diverse repertoire. "The Sting Variations" continues the band's history of their remarkably creative exploration of well-known songs. Embracing both massive hits and more obscure, deep album tracks from Sting’s catalog, The Sting Variations is the latest studio triumph from a group that has toured the world, and in recent years has headlined at the Hollywood Bowl, Carnegie Hall, the Kennedy Center and Jazz at Lincoln Center. Tierney and the band can also be heard on movie and television soundtracks, including the Academy Award-nominated film The Cooler, as well as on television commercials for prestigious brands such as BMW, Green Giant, Yoplait yogurt and Coca-Cola. Most recently, the band scored Clint Eastwood’s new film Sully. Imbued with immense talent and a genuine love for music and people, Tierney Sutton’s voice is one that transcends stylistic boundaries, touching the hearts of all who hear it. http://www.bfmjazz.com/index.php/artists/tierney-sutton-band/sting-variations/sting-variations-one-sheet
 

Musicians:  Tierney Sutton – Vocals;  Christian Jacob – Piano;  Kevin Axt – Bass;  Ray Brinker - Drums, Percussion

The Sting Variations

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Tierney Sutton - Desire

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 57:35
Size: 132,5 MB
Art: Front

(7:15)  1. It's Only A Paper Moon
(4:52)  2. My Heart Belongs To Daddy
(5:45)  3. Long Daddy Green
(4:58)  4. Fever
(4:37)  5. It's All Right With Me
(4:23)  6. Then I'll Be Tired Of You
(5:22)  7. Cry Me A River
(4:54)  8. Love Me Or Leave Me
(3:54)  9. Heart's Desire
(5:38) 10. Whatever Lola Wants
(5:50) 11. Slylark

Dark chocolate is a beautifully nefarious romantic ideal. Rather than possessing the youthful sweetness of milk chocolate, it instead offers a libertine bitterness, a taste that must be acquired to appreciate but once acquired, no other taste can sate. Having to learn to like something so that knowledge will bring added pleasure is an adult concept, perhaps a hedonistic one, that Paul obviously meant to express when he divinely penned to those salacious Corinthians, "For now we see through a glass, darkly; but then face to face: now I know in part; but then shall I know even as also I am known." Dark chocolate has the added decadence of danger. That thing denied that is so coveted because it is denied. It is this dark romance that Tierney Sutton began investigating on her previous effort, On The Other Side (Telarc, 2007), and has continued to cultivate on Desire. 

Where On The Other Side rubbed together the innocent lyrics of "Get Happy" and "You Are My Sunshine" with sensual too-close-for-comfort support, Desire further strips down this tact to the bare essentials. Drummer Ray Brinker and bassists Trey Henry and Kevin Axt provide Sutton tactile terrain over which the vocalist redevelops these standards anew. "It's Only a Paper Moon" has Brinker quietly brushing double time, just a low hum of anxiety beneath Sutton and pianist Christian Jacob, who rendezvous darkly. Against Kevin Axt's complex bass line and Jacob's piano seasoning, Sutton stretches like Eliot's cat on "My Heart Belongs to Daddy." . Sutton gives a superbly sardonic kiss-off on "Cry Me a River" and "Love Me or Leave Me." Her unique ability to sing words while conveying their exact opposite is the key to what has made these last two albums so artistically successful. Again, it is Henry's bass figure, ascending and descending, that provides the jagged terrain Sutton must travel to thumb her nose at an ex-lover. "Whatever Lola Wants" is delivered with a languid and spoiled attitude. Jacob's solo shards are delivered over a brilliantly off time left hand figure, so menacing that this ballad may best be reserved for Halloween (in the best possible way). The closing "Skylark" is as spooky as they come. With Desire, Sutton tempers her signature sound: edgy, intelligent, and beautiful. ~C. Michael Bailey https://www.allaboutjazz.com/desire-tierney-sutton-telarc-records-review-by-c-michael-bailey.php

Personnel: Tierney Sutton: vocals; Christian Jacob: piano; Trey Henry and Kevin Axt: bass: Ray Brinker: drums.

Desire

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The Tierney Sutton Band - ScreenPlay

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 67:51
Size: 157,7 MB
Art: Front

(5:31)  1. The Windmills of Your Mind
(4:40)  2. Moon River / Calling You
(4:05)  3. On a Clear Day (You Can See Forever)
(5:48)  4. What Are You Doing the Rest of Your Life?
(4:29)  5. I've Got No Strings
(5:59)  6. If I Only Had a Brain
(5:31)  7. The Sound of Silence
(2:27)  8. Goodbye for Now
(3:23)  9. Diamonds Are a Girl's Best Friend
(4:11) 10. Hopelessly Devoted to You
(5:01) 11. You're the One That I Want
(4:20) 12. How Do You Keep the Music Playing?
(2:59) 13. Ev'ry Now and Then
(6:24) 14. It Might Be You
(2:55) 15. Arrow

Cinema-related "standards" have been fertile territory for musicians to harvest ever since Al Jolson walked miles for smiles. With Screenplay, 8-time Grammy-nominated vocalist Tierney Sutton here as the Tierney Sutton Band takes a fascinating retrospective, delivering fifteen tunes we have often heard  but never this creatively. The result is a showcase that is unique, engaging, and in terms of how Sutton, pianist Christian Jacob, bassists Trey Henry and Kevin Axt and drummer Ray Brinker collectively speak brilliant. "The Windmills of Your Mind" spins slowly with a Brinker cymbal "drone," Jacob's keys sparkling, and Sutton poetic. "Moon River" is paired with the lesser-known "Calling You" in which Sutton's lyric and dynamic delivery is Siren-seductive, drawing us in to both rainbow's end and desert zephyrs. "On a Clear Day" is a swinger with Sutton and Henry whipping up a tempest before a torrid Jacob trip and Brinker burning. Sutton inquires "What Are You Doing the Rest of Your Life" fairly straightforwardly in a stunningly beautiful duo with Jacob. The rarely heard "I've Got No Strings," here a ballad, adds those of guitarist Serge Merlaud to Sutton's truth-telling. With "If I Only Had a Brain" Sutton cooks soulful with funkster Kevin Axt's electric bass and Henry's arco working a savvy complement. Simon and Garfunkel's "Sound of Silence" plays like a Medieval chanson with Sutton the trobairitz. 

Stephen Sondheim's "Goodbye for Now" is a dark, deep farewell. "Diamonds Are a Girl's Best Friend" dazzles with Sutton scat singing over Brinker's Fred Astaire like brushes. "Hopelessly Devoted to You," taken slower than usual, and the rhythmically driving "You're the One That I Want" are interesting no-ham cuts. Alan Bergman makes a cameo appearance with Sutton on "How Do You Keep the Music Playing?" and it is a touching entendre. Sutton and Jacob haunt on "Ev'ry Now and Then" and "It Might Be You." Both those tracks are gems. "Arrow," which Sutton and Jacob wrote for Clint Eastwood's Sully (Warner Bros. 2016) soundtrack closes the session dream like. Sutton's vocal chops and her phrasing are impeccable. Not only is she dead-on pitch, but, her instrument and the way she handles it across the dynamic spectrum enables her to derive new imagery from the vintage material. The effect is so stunningly beautiful and emotionally profound that it seems as if we are hearing these classics come prima. As expected, the support work of Jacob, Henry, Axt and Brinker is superb. 

Additionally, the arrangements are so creative, so colorfully savvy, that the ensemble takes on the dimension of a "vocalized orchestra."  The Tierney Sutton Band does much more than revive memories. Through the creative efforts of these masterful musicians, glorious melodies and their poetic lyrics are elevated and brilliantly honored. It is an aural Oscar. With Screenplay the play is indeed the thing. ~ Nicholas F. Mondello https://www.allaboutjazz.com/screenplay-tierney-sutton-bfm-jazz-review-by-nicholas-f-mondello.php

Personnel: Tierney Sutton: vocals; Christian Jacob: piano; Kevin Axt: bass; Trey Henry: bass; Ray Brinker: drums/percussion; Serge Merlaud: guitar (5, 12, 14); Alan Bergman: vocals (12).

ScreenPlay

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Maynard Ferguson - Live From London

Styles: Trumpet Jazz
Year: 1994
File: MP3@320K/s
Time: 58:47
Size: 136,3 MB
Art: Front

(14:36)  1. A Night In Tunisia
( 8:39)  2. In A Mellow Tone
( 8:08)  3. St. Thomas
( 3:53)  4. Fox Hunt
( 7:22)  5. Rhythm Method
( 8:18)  6. My One And Only Love
( 7:48)  7. Glenn's Den

Utilizing a 13-piece band that includes ten horns, Maynard Ferguson performs bebop with his Big Bop Nouveau on this CD. All of the music is fairly basic, using common chord changes and charts that leave plenty of room for solos. Ferguson shows at age 65 that he still has most of his outstanding range and, assisted by a trumpet section full of screamers, the performances are boisterous and sometimes a bit bombastic. Chip McNeill takes a passionate soprano solo on "A Night in Tunisia," Matt Wallace has a couple of rewarding spots on tenor and trumpeter Walter White fares well on "Fox Hunt," but it is the leader who gives this music its main personality.~ Scott Yanow https://www.allmusic.com/album/live-from-london-mw0000110888

Personnel:  Maynard Ferguson - trumpet, flugelhorn;  Chris Brown - drums;  Matt Wallace - alto saxophone, tenor saxophone;  Christian Jacob - piano, keyboards;  Roger Ingram - trumpet;  Brian Thompson - trumpet;  Chip McNeill - soprano & tenor saxophones;  Dave Pietro - alto saxophone
Ed Sargent - percussion.

Live From London

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Scott Whitfield - New Jazz Standards (Volume 2)

Styles: Trombone Jazz
Year: 2016
File: MP3@320K/s
Time: 75:15
Size: 173,7 MB
Art: Front

(6:07)  1. Prudence
(6:30)  2. More Wine
(5:46)  3. Big Darlin
(6:14)  4. Melodocity
(6:24)  5. I Remember Thad
(5:49)  6. B Squad Blues
(6:13)  7. Gamma Count
(6:21)  8. Lolly's Folly
(6:50)  9. Juarez
(6:07) 10. Another Tune for Bernie
(5:53) 11. Last Night's Samba
(6:54) 12. Symphonky Blues

On New Jazz Standards, Volume 2 (yes, the title may seem a tad optimistic at first glance; more about that later), trombonist Scott Whitfield leads a well-honed quartet playing the music of Carl Saunders. If the name Carl Saunders is new to you, he is quite simply one of the finest jazz trumpeters you've never heard and he may well be one of the best composers too. As for Whitfield, Saunders' personal choice to preside over this album, he is one of the Los Angeles area's foremost jazz trombonists, one who has led big bands on both coasts, played with a number of others, recorded ten albums as a leader and more than fifty as a sideman while "doubling" as a vocalist with wife Ginger Berglund and teaching at San Jose State University. If that sounds like a heavy schedule, it is and as you will hear, for good reason. When Saunders isn't playing trumpet in some group or other which, it must be said, isn't often and when he has free time during gigs, he writes. And writes prolifically. In fact, Saunders recently assembled more than three hundred of his compositions in book form and published it as New Jazz Standards, hence the name of this album, Volume 1 of which featured the late flutist Sam Most (Summit Records 630). 

Most was a master craftsman, as is Whitfield. Few contemporary trombonists can match Whitfield's clarity of tone or technical dexterity, traits that bring to mind such past masters as Carl Fontana, Urbie Green, Bill Harris and Jimmy Cleveland. And as for improvisation and flat-out swinging, he sets the bar high there as well. Saunders not only chose his helmsman well, he gave him a backup crew that is second to none, anchored by timekeeper par excellence Peter Erskine and featuring the always-resourceful pianist Christian Jacob and metronomic bassist Kevin Axt.  As to Saunders' themes, they are consistently bright and charming. While the presence of any new jazz standards is for listeners to determine, there's no doubt that Saunders has a keen ear for captivating melodies and the ability to arrange them in a tasteful and harmonious musical context. Most of them aren't based on popular standards, a staple of many jazz composers, but created out of whole cloth using only Saunders' fertile imagination as groundwork. The results are never less than admirable and often brilliant, ranging from ballads to blues, Latin to funk and straight-ahead swing. To add variety, Whitfield is overdubbed on four tracks to form a trombone choir. He and the quartet are superb, as are Saunders' prospective New Jazz Standards, which await only the auspicious verdict of an impartial jury. ~ Jack Bowers https://www.allaboutjazz.com/new-jazz-standards-volume-2-scott-whitfield-summit-records-review-by-jack-bowers.php

Personnel: Scott Whitfield: trombone;  Christian Jacob: piano;  Kevin Axt: bass;  Peter Erskine: drums;  Carl Saunders: composer, arranger.

New Jazz Standards (Volume 2)

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Tierney Sutton - I'm With the Band

Styles: Jazz, Vocal
Year: 2005
File: MP3@320K/s
Time: 61:17
Size: 141,7 MB
Art: Front

(4:58)  1. Softly, as in a Morning Sunrise
(4:49)  2. Let's Face the Music and Dance
(2:48)  3. 'S Wonderful
(4:17)  4. Between the Devil and the Deep Blue Sea
(3:07)  5. Two for the Road
(2:37)  6. East of the Sun (And West of the Moon)
(2:56)  7. People Will Say We're In Love
(4:42)  8. If I Loved You
(2:28)  9. Surrey With the Fringe On Top
(3:16) 10. Cheek to Cheek
(4:54) 11. Blue Skies
(3:31) 12. I Get a Kick Out of You
(4:49) 13. The Lady Is a Tramp
(3:19) 14. What a Little Moonlight Will Do
(4:12) 15. On My Way to You
(4:27) 16. Devil May Care

Jazz siren Tierney Sutton has produced her masterpiece. Following five well-received recordings, Sutton has done two things that ensure the superb quality of her new recording: one, she and her band perform live; and two, she fully integrates herself into the band, where all members exist as equals. Tierney Sutton has made a dent in the jazz market by releasing smartly conceived concept recordings, usually focusing on a single artist. Introducing Tierney Sutton (Challenge, 1998) was an initial affair that honored Frank Sinatra. Unsung Heroes (Telarc, 2000) offered a program consisting of jazz standards most commonly considered instrumentals (thus its ironic title). Blue in Green (Telarc, 2001) paid homage to Bill Evans, while Something Cool (Telarc, 2002) showed Sutton stretching her repertoire to include Patsy Cline and Nat King Cole. Dancing in the Dark (Telarc, 2004) was Sutton's overt tribute to the Chairman of the Board.  I'm With the Band takes everything Tierney Sutton has been doing on these discs, throws it in the air, and allows the results to fall where they may live. 

A vocal gymnast, Sutton carries the lyrically elastic torch of Betty Carter. Her control and technique make her voice (through vocalese) an instrument in her band, not in the cliched singing sort of way, but in the real scat sense. This becomes apparent right out of the chute with her lengthy introduction and scat solo on the wonderfully upbeat and off-kilter "Softly in The Morning Sunrise." On "S'Wonderful," Sutton performs in a trio with bassist Kevin Axt and drummer Ray Brinker (also on "Shat A Little Moonlight can Do"), all of whom free-form their way through the Gershwin brothers' classic. "Between the Devil and the Deep Blue Sea" is serpentine and creamy. "Two for the Road" is lazily balladic. When not displaying her considerable vocal abilities, Sutton celebrates the talents of her longtime bandmates, effectively elevating them to equals on this recording. Christian Jacob plays splendid piano throughout, harmonically anchoring the group. Bassist Kevin Axt and drummer Ray Brinker comprise a crack rhythm section which maintains a hard swing throughout. While the program may be heavy on the Sinatra, it's great to hear this repertoire performed in such a fresh and inventive way. ~ C.Michael Bailey https://www.allaboutjazz.com/im-with-the-band-tierney-sutton-telarc-records-review-by-c-michael-bailey.php
 

Personnel: Tierney Sutton: vocals; Christian Jacob: piano; Trey Henry, Kevin Axt: bass instrument; Ray Brinker: drums.

I'm With the Band

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Tierney Sutton - Unsung Heroes

Styles: Vocal
Year: 2000
File: MP3@320K/s
Time: 57:26
Size: 131,8 MB
Art: Front

(7:38)  1. Remember Me (Recordame)
(5:53)  2. Early Autumn
(7:17)  3. A Timeless Place (The Peacocks)
(3:26)  4. Bernie's Tune
(8:30)  5. Spring Is Here
(3:40)  6. Joy Spring
(6:22)  7. All for One (Speak No Evil)
(4:41)  8. Indiana / Donna Lee
(4:28)  9. When Lights Are Low
(5:29) 10. Con Alma

While jazz enthusiasts mourn the loss of many of the members of the first generation of female jazz vocalists, their enthuasiasm doesn't seem to extend to many of the vocalists struggling, and in some cases, succeeding on today's scene. Dee Dee Bridgewater, Dominique Eade, Dianne Reeves, Vanessa Rubin, Karrin Allyson, and Nnennon Freelon, among others, come to mind. More's the pity. Each of these vocalists is creating her own style, disparate though it may be, and her own presence, in today's jazz scene. Now along comes Tierney Sutton, head of the jazz vocal department at the University of Southern California and a favorite or Buddy Childers. Having stepped out into her own with her first CD, "Introducing Tierney Sutton," Tierney Sutton now needs no introduction. Instead, she is extending her interests and her range. On "Unsung Heroes," Sutton has chosen some of her favorite jazz compositions, many of which were not intended for singing but instead consisted of instrumental arrangements of distinctive soloing. Fortunately, she has discovered words to these jazz classics and added her own distinctive style to express them with class and emotion. 

A soprano, Sutton really doesn't conform to the classic jazz singer mold of a lower-voiced performer with bent notes and bluesy emoting. Instead, she takes her craft seriously and delivers bright and uncannily on-pitch interpretations involving finely crafted phrasing or wordless accompaniment to instrumental solos. The most notable example is her version of Jimmy Rowles' "The Peacocks" (renamed "A Timeless Place" for the vocal version.) With difficult intervallic repetitions imitating natural sounds and unconventional melodic lines, Sutton not only understands the interpretive demands of the piece, but also reveals in her own way its timeless beauty. Her singing backed by Childers, other horn men and guitar on some selections, her choice of pianist Christian Jacob elevates the CD to a level above "tribute" and to "interpretation." Jacob knows his Tyner, that's for sure, and his densely chorded accompaniment and fluidity in soloing completes the picture for perceiving the inherent meaning and complexity of each tune. Rather than following in the footsteps of other singers, Sutton has followed her instincts to develop a style of her own that leverages her inherent, and impressive, talent. 

~ AAJ Staff https://www.allaboutjazz.com/unsung-heroes-tierney-sutton-telarc-records-review-by-aaj-staff.php?width=1920

Personnel: Tierney Sutton, vocals; Christian Jacob, piano; Trey Henry, bass; Ken Wild, bass; Ray Brinker, drums; Gary Foster, alto flute, alto sax; Buddy Childers, flugelhorn; Alan Kaplan, trombone; Jamie Findlay, guitar

Unsung Heroes

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Tierney Sutton - Dancing In The Dark: Inspired By The Music Of Frank Sinatra

Styles: Jazz, Vocal
Year: 2004
File: MP3@320K/s
Time: 55:03
Size: 126,5 MB
Art: Front

(5:42)  1. What'll I Do
(2:48)  2. Only The Lonely
(3:24)  3. I'll Be Around
(5:49)  4. All The Way
(5:03)  5. I Think Of You
(3:13)  6. Where Or When
(5:12)  7. Without A Song
(4:54)  8. I Could Have Told You
(5:52)  9. Emily
(3:22) 10. Last Night When We Were Young
(4:16) 11. Fly Me To The Moon
(5:24) 12. Last Dance/Dancing In The Dark

Tierney Sutton's latest Telarc release celebrates the music of Frank Sinatra not the ring-a-ding-ding, devil-may-care, wise-cracking leader of the Rat Pack who was the epitome of hipness and bravado, but, as Sutton observes in the liner notes, the "dark corners" of Sinatra's work that she finds "endlessly compelling." The mood is hushed, sentimental and pensive as Sutton places her indelible stamp on such heart-wrenching Sinatra classics as "Only the Lonely," "I'll Be Around," "Last Night When We Were Young," and others. Sutton's voice, soft and smoky, is perfectly suited to the balladic repertoire, and her readings, albeit unlike Sinatra's, as well they should be, are nonetheless apt and persuasive. She is ably supported by pianist Christian Jacob, bassist Trey Henry, and drummer Ray Brinker, with whom she has worked for more than a decade. A string orchestra, conducted by Jacob, has been added on five numbers. I don't know whose idea that was, but it does little to enhance the performance, and I much prefer the seven tracks on which Sutton and the trio are on their own. 

Among the latter, Sutton is especially warm and seductive on "Only the Lonely," "I'll Be Around," "I Could Have Told You," and "Last Night When We Were Young." It should be noted that she is no less captivating on a handful of songs whose connection to Sinatra is more tenuous, including "What'll I Do," "I Could Have Told You," "Emily," and the Rachmaninoff-based melody "I Think of You." The finale, with strings attached, is a well-designed medley of Sammy Cahn/Jimmy van Heusen's "Last Dance" and Howard Dietz/Arthur Schwartz's "Dancing in the Dark," a lovely way to end an impassioned and essentially delightful homage to one of the twentieth century's meistersingers, Frank Sinatra, who was known and admired by his legions of fans simply as "the voice." 

~ Jack Bowers https://www.allaboutjazz.com/dancing-in-the-dark-tierney-sutton-telarc-records-review-by-jack-bowers.php

Personnel: Tierney Sutton, vocals; Christian Jacob, piano; Trey Henry Bass; Ray Brinker, drums; Christian Jacob, piano. On tracks 1, 4, 5, 7, 12, orchestra conducted by Jacob -- Peter Kent, concertmaster; Vladimir Polimatidi, Gina Kronstadt, Kathleen Robertson, Sharon Jackson, Susan Chatman, Erica Walczak, Kirstin Fife, Eddie Stein, Barbra Porter, Cameron Patrick, Juliann French, violin; Margot Aldcroft, Harry Shirinian, Jorge Moraga, Lynn Grants, viola; Larry Corbett, Armin Ksakajikian, Audy Stein, cello; Brad Kintscher, horn; Gary Foster, flute.

Dancing In The Dark: Inspired By The Music Of Frank Sinatra

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Christian Jacob - Beautiful Jazz: A Private Concert

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 56:51
Size: 130,6 MB
Art: Front

(5:33)  1. How Long Has This Been Going On
(3:32)  2. That's All
(5:05)  3. It Might as Well Be Spring
(2:14)  4. Stravinsky's Etude No. 4 in F# Major
(5:53)  5. My Romance
(5:14)  6. The Surrey With the Fringe On Top
(4:34)  7. Tea for Two
(4:33)  8. I'm Old Fashioned
(3:37)  9. One Note Samba
(6:04) 10. Body and Soul
(4:18) 11. September Song
(2:47) 12. Giant Steps
(3:22) 13. Till the Clouds Roll By

There was a time when pianist Christian Jacob thought he'd be making his mark as a classical pianist. That's perfectly understandable considering the fact that he was playing piano at age four and studying at the Metz conservatory at age six. By the time he was in college, studying at the Paris Conservatory, he was winning awards and prepping for piano competitions.

Jacob was following the prescribed course that classical piano hopefuls typically follow, but his destiny was with jazz. Jacob was taken with the work of Dave Brubeck, Oscar Peterson and other jazz luminaries early on, but it took him some time to realize that this music was his true calling. Nowadays, it's hard to imagine that Christian Jacob could've ever doubted that his fate was tied to jazz. As a sideman, Jacob has worked with a long list of greats, from trumpeter Maynard Ferguson to vibraphonist Gary Burton to arranger/bandleader Bill Holman. He's inextricably linked to the acclaimed Tierney Sutton Band, working side by side with the nominal leader on her incredibly well-received albums, and he's gained some traction as a leader through his work with the Christian Jacob Trio. He's even worked with symphony orchestras on occasion. In short, he's done a hell of a lot for a guy who didn't figure on a career in jazz, but he's never put out a solo piano disc; that is, until now.

Beautiful Jazz: A Private Concert is Jacob's love letter to the genre that whisked him away from the waiting arms of the classical world. He tackles old favorites here, revisiting and/or revising some of the very material that drew him toward jazz in the first place. Jacob brings a sense of wonder to "How Long Has This Been Going On?," tackles "That's All" in seven, muses on "My Romance," and delivers an information-dense "Surrey With The Fringe On Top." Jacob also tips his cap to pianist Bill Evans with "I'm Old Fashioned," references his classical upbringing through Stravinsky's "Etude No. 4 in F# Major," and delivers a wonderful "September Song" arrangement that's devoid of improvisation. This whole program was recorded at a private concert at Zipper Hall in Los Angeles, with Jacob playing on a Hamburg Steinway Model D Grand. Both the scene and the instrument helped to shape this album, but it's Jacob who delivers on the promise of the title. Beautiful Jazz it is. ~ Dan Bilawsky  http://www.allaboutjazz.com/beautiful-jazz-a-private-concert-christian-jacob-wilderjazz-review-by-dan-bilawsky.php

Personnel: Christian Jacob: piano.

Beautiful Jazz: A Private Concert

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The Christian Jacob Trio - Styne & Mine

Bitrate: 320K/s
Time: 64:03
Size: 146.6 MB
Styles: Piano jazz
Year: 2004
Art: Front

[4:38] 1. Just In Time
[4:55] 2. It's You Or No One
[4:39] 3. Guess I'll Hang My Tears Out To Dry
[5:08] 4. Never Never Land
[4:43] 5. Lydia's Crush
[6:45] 6. Piece One
[4:50] 7. Piece Two
[4:41] 8. Piece Three
[6:17] 9. People
[4:14] 10. As Long As There's Music
[4:46] 11. I Fall In Love Too Easily
[5:20] 12. Time After Time
[3:00] 13. The Party's Over

At Ken Poston's all-star tribute to trumpeter Maynard Ferguson in Los Angeles last October (2004), the pianist for most groups, large or small, was Maynard's son-in-law, Christian Jacob, who didn't land the gig because of family connections. When Tierney Sutton, who has worked with Jacob for nearly a dozen years and is the guest vocalist on "Guess I'll Hang My Tears Out to Dry" and "I Fall in Love Too Easily," introduces Christian as "one of the greatest living jazz pianists," she isn't saying that just to be nice. A number of astute observers agree, including Bill Holman, Benny Golson and the man whose idea it was to have Jacob perform the music of the great Broadway/Hollywood composer Jule Styne, legendary English bandleader/impresario Vic Lewis.

Even with their support and well-wishes, the album almost never happened, as no label expressed an interest in producing it. Enter Christian's wife, Wilder Jacob, who learned how to move it from drawing board to finished product practically by herself, hence the label WilderJazz. That, I surmise, is what is meant by the term "helpmate."

The album's title, Styne & Mine, refers to the fact that nine of its thirteen numbers were co-written by Styne (with various lyricists), the others by Jacob. While Styne's melodies are more familiar, Jacob's have an insistent charm of their own and might respond well to the solicitude of an accomplished lyricist (even though he has prosaically named three of them "Piece 1," "Piece 2" and "Piece 3"). Jacob also wrote "Lydia's Crush" and left the rest in Styne's capable hands.

Jacob is an excellent pianist whose formidable technique is tempered by his marvelous touch, cheerful temperament and impressive capacity to bring out the best in any song. While "one of the greatest" is clearly in the ear of the beholder, Jacob reminds me of such other renowned young pianists as Bill Charlap, Jan Lundgren, Eric Reed and Benny Green, and perhaps that is praise enough. One has to save some applause for Henry and Brinker, each of whom plays his part admirably. Henry is one of the most sought-after bassists in southern California, and it's easy to hear why. He's always at the top of his game. Like many drummers, Brinker has a natural tendency to roar, but softens his approach when necessary to help make this a trio in the best sense of the word. ~Jack Bowers

Styne & Mine

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