Jan Lundgren, Peter Asplund Quartet - California Connection

Styles: Piano And Trumpet Jazz
Year: 1996
File: MP3@320K/s
Time: 63:35
Size: 147,5 MB
Art: Front

(4:24)  1. Au Privave - Studio
(4:28)  2. Att Angöra En Brygga
(5:48)  3. Swedish Pastry
(6:51)  4. What is This Thing Called Love
(5:08)  5. Södermalm
(3:22)  6. I Hear a Rhapsody
(5:08)  7. How Deep is the Ocean
(6:44)  8. Stockholm Sweetnin'
(6:34)  9. Indian Summer
(6:13) 10. There Will Never Be Another You
(4:33) 11. When It's Sleepy Time Down Sout
(4:20) 12. Cottontail

The “California connection” on this colorful studio date, recorded in January ’96, is scrupulously forged between two marvelous young Swedish musicians, Asplund and Lundgren, and a duo of long–time West Coast stalwarts, Carpenter and Kreibich. Although Asplund was only 27 at the time and Lundgren 29, they play with an awareness and maturity far beyond their years, while Carpenter (37) and Kreibich (40) balance the scales with the bright eyed energy and enthusiasm of callow apprentices. Asplund and Lundgren met and became friends in ’93 when Jan received Sweden’s prestigious Thore Swanerud Award for young swing/bop musicians (Asplund had earned the award in 1990). After Lundgren was named Sweden’s Jazz Musician of the Year in ’94, he and Asplund decided to record an album of standards. 

The result is California Connection, whose cast was assembled on behalf of Four Leaf Clover by veteran Los Angeles producer Dick Bank. The quartet connects at every conceivable level on eight of the twelve selections, and for variety Lundgren and Asplund play without the rhythm section on Swanerud’s best known composition, “Södermalm,” Lundgren and Carpenter alone interpret Irving Berlin’s “How Deep Is the Ocean,” Lundgren plays with Carpenter/Kreibich on the late Stan Hasselgaard’s “Swedish Pastry,” and Asplund does likewise on “I Hear a Rhapsody.” Asplund’s horn is muted on “Rhapsody,” “Cottontail” and “Stockholm Sweetnin’,” open the rest of the way (and sounds at times like a flugelhorn, even though there’s no mention of that in the notes). In any case, he displays uncommon resourcefulness and superior chops, as does Lundgren, who is beyond any doubt one of the most accomplished young post–bop pianists not only in Sweden, but anywhere in the world. Good as Asplund and Lundgren are, Carpenter and Kreibich have no trouble keeping pace with them, and this is about as commendable a session of modern mainstream Jazz as any quartet is likely to fashion.~ Jack Bowers https://www.allaboutjazz.com/california-connection-jan-lundgren-four-leaf-clover-records-review-by-jack-bowers.php

Personnel: Peter Asplund, trumpet; Jan Lundgren, piano; Dave Carpenter, bass; Paul Kreibich, drums.

California Connection

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Andy Summers - Green Chimneys: The Music of Thelonius Monk

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 70:04
Size: 161,1 MB
Art: Front

(5:57)  1. Green Chimneys
(4:36)  2. Hackensack
(3:29)  3. Brilliant Corners
(3:55)  4. Monk's Dream
(5:41)  5. 'Round Midnight
(4:56)  6. Bemsha Swing
(5:31)  7. Shuffle Boil
(3:16)  8. Boo Boo's Birthday
(4:14)  9. Evidence
(5:15) 10. Ugly Beauty
(4:08) 11. Think of One
(3:17) 12. Light Blue
(2:50) 13. Ruby My Dear
(2:30) 14. Crepescule with Nellie
(4:36) 15. Locomotive
(3:10) 16. Off Minor
(2:37) 17. Ruby (Electric Version)

What an albatross to have the Police hanging round your neck. So when it's all over, the singer gets even more famous and corners the market in sophisticated JazzRock, the drummer gets on with spending the money and stretching into movies and session fun, and the guitarist gets to play whatever he wants. Which has varied from turn it up Progressive Rock to echo Summers' days in the Soft Machine to delicate Blues and Folk experiments. But Green Chimneys is another matter: it's a fine, accessible homage to the immortal Thelonius Monk from a British club jazzer who got very lucky in pop. Monk's mastery of compositional architecture - from the blues to the birth of bop - lifts good players toward the stars. On Green Chimneys, Summers even gets Sting in to schmooze his way through one classic, 'Round Midnight. Except that Sting gives an affecting, genuine performance, while Summers' bigger band strip down to etched-naked chords and sinister brushes waiting for Andy's "do I not like that?" solo. Add cello, trumpet, saxophones and organ to a guitar trio, and you never know what colour comes next. Evidence leads with a fat, tight horn trio stating a fast funk theme against Summer's stinging blues leads, dissolves into big band call and return, segues into a blues rock chorus or two and dances out of the room heading for where Jeff Beck plays Mingus. Then there's the Pat Metheny-on-that-peyote-he-got-from-Tom Waits of Bemsha Swing, or the New Orleans funeral band - on Hackensack - plugging directly into a mobile 240AC outlet while Joey DeFrancesco's B3 vamps its way through the crowd on a flatbed truck right behind the hearse. Or the way the band rhythmically collapse Three Blind Mice into the angular, stop-time Jazzfunk of Monk's Dream, and the outrageous blend of Metal and Jimmy Smith on Shuffle Boil, where Summer's tone and phrasing deliver the impact usually carried by distortion. This is a guitar fan's album, but if the straighter moments of Zappa's methodical madness and subtly-caged playing ever tickled your sweet spots, Green Chimneys will make you happy too. And if you saw Peter Erskine drum with the Yellowjackets in London recently, his endlessly inventive accents and effortless leaps from supportive to lyrical to driving to painterly will be a joy revisited. ~ Ian Nicolson https://www.allaboutjazz.com/green-chimneys-andy-summers-rca-victor-review-by-ian-nicolson.php

Personnel:  Guitar, Banjo, Guitar [Dobro] – Andy Summers; Cello – Hank Roberts; Double Bass, Bass – Dave Carpenter; Drums – Bernie Dresel, Peter Erskine; Organ [Hammond B-3] – Joey De Francesco; Saxophone [Soprano, Tenor], Clarinet – Steve Tavaglione; Trumpet – Walt Fowler

Green Chimneys: The Music of Thelonius Monk

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Bill Cunliffe - Bill Plays Bud

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

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

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

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

Bill Plays Bud

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Alan Pasqua, Peter Erskine, Dave Carpenter - Standards

Styles: Piano Jazz, Post Bop
Year: 2007
File: MP3@320K/s
Time: 68:30
Size: 158,9 MB
Art: Front

(9:05)  1. The Way You Look Tonight
(7:46)  2. Dear Old Stockholm
(6:10)  3. Deep in a Dream
(6:31)  4. Con Alma
(6:29)  5. It Never Entered My Mind
(6:26)  6. Speak Low
(7:26)  7. I'm Glad There Is You
(5:41)  8. I Hear Rhapsody
(6:03)  9. I'm Old Fashioned
(6:47) 10. I Could Have Danced All Night

Representing the other half of a two-release project from drummer Peter Erskine's Fuzzy Music label that also includes Worth The Wait (2008), with trumpeter Tim Hagans and the Norrbotten Big Band, Standards is exactly what the title implies a session of old standards with a couple of new acquaintances thrown in for good measure. In an attempt to come as close as possible to the sound produced in a concert experience, the recording was made in an acoustically live space and enhanced with two pair of KMF Audio Stereo Tube Microphones. Performed by a veteran trio that also features pianist Alan Pasqua and bassist Dave Carpenter, the music is rhythm-based light jazz taken from the Great American Song Book and played in a straight-ahead style that comes across with warmth and elegance. Opening with the Sinatra staple "The Way You Look Tonight, Pasqua leads the music with light touches on the keys, giving way to an extended solo by Carpenter and putting a new face on this old classic that composers Jerome Kern and Dorothy Fields would not recognize. The Van Heusen/de Lange cushy ballad, "Deep In a Dream, features Erskine's soft brush strokes, which he employs many times throughout the recording. The drummer uses the cymbals and picks up the sticks for a rather interesting rendition of Dizzy Gillespie's "Con Alma that swings to a different rhythm and beat than the original, while Pasqua performs magnificently on a beautiful interpretation of "It Never Entered My Mind. The group goes on to play delicious versions of standards including "Speak Low, "I'm Old Fashioned and "I Could Have Danced All Night, but none of these match the intensity and energy conveyed by their performance of "I Hear a Rhapsody, clearly the best cut on the disc. Completing a two record release that stretches the range in performance from featuring new music with the big band sound to the limited voice of a small combo, Standards represents the other side of Erskine's musical personality with a repertoire of familiar tunes that jazz audiences will love. ~ Edward Blanco https://www.allaboutjazz.com/standards-peter-erskine-fuzzy-music-review-by-edward-blanco.php

Personnel: Alan Pasqua: piano; Dave Carpenter: bass; Peter Erskine: drums.

Standards

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Eddie Daniels - The Five Seasons

Styles: Clarinet Jazz
Year: 1995
File: MP3@320K/s
Time: 65:55
Size: 154,1 MB
Art: Front

(4:02)  1. Spring I
(6:55)  2. Spring II
(4:26)  3. Spring III
(8:16)  4. Summer I
(2:41)  5. Summer II
(4:05)  6. Summer III
(8:14)  7. Autumn I
(2:43)  8. Autumn II
(5:23)  9. Autumn III
(4:40) 10. Winter I
(2:10) 11. Winter II
(6:19) 12. Winter III
(5:54) 13. The Fifth Season

This is an interesting jazz version of Vivaldi's The Four Seasons. The great clarinetist Eddie Daniels performs with the Los Angeles Chamber Orchestra (whose personnel and instrumentation is unidentified) plus pianist Alan Broadbent, bassist Dave Carpenter, and drummer Peter Erskine. The arrangements by Jorge Calandrelli put each of the seasons in three movements, alternating between straight classical interpretations and jazz improvising off of the melodies. 

Calandrelli also contributed a closing "The Fifth Season." Daniels plays brilliantly throughout, but the music comes across as a bit trivial, alternating between two very different idioms and rarely trying to mix them together. Better to get Eddie Daniels' Breakthrough album (which is a better third stream effort) instead. ~ Scott Yanow https://www.allmusic.com/album/the-five-seasons-mw0000184664

Eddie Daniels (Clarinet); Bernard Rubenstein (Conductor); Alan Broadbent (Piano); Dave Carpenter (Bass); Peter Erskine (drums); Los Angeles Chamber Orchestra.

The Five Seasons

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Peter Erskine, Richard Torres - From Kenton To Now

Bitrate: MP3@320K/s
Time: 63:40
Size: 145.8 MB
Styles: Progressive jazz
Year: 1995
Art: Front

[6:45] 1. L.A. Stomp
[8:09] 2. Blues For All
[7:37] 3. Happy Day
[7:18] 4. Artistry In Rhythm
[5:56] 5. I Love You (Sweetheart Of All My Dreams
[6:16] 6. Modern Drummer Blues
[7:27] 7. Intermission Riff
[5:24] 8. The Park
[3:55] 9. Richard's Blues
[4:48] 10. Constance

Bass – Dave Carpenter; Drums – Peter Erskine; Piano – Alan Pasqua; Tenor Saxophone – Richard Torres.

Drummer Erskine, tenor saxophonist Torres, and pianist Alan Pasqua crossed paths in the Stan Kenton band of 1972. (Pasqua was subbing for an ailing Kenton.) This reunion, with Dave Carpenter on bass, is a highly charged blowing session. Torres is hot throughout the date, with a robust sound, soulful inflections, a straight ahead sense of rhythm, and pliant, supple lines. Pasqua, who performed with Tony Williams’ New Lifetime in the early ’70s, demonstrates a climactic style of solo-building. Carpenter is perfectly at home in this strong company.

Erskine’s crisp articulation, commanding sense of time, and clean fills and solos put a synergistic touch on the performances. Torres’ “Blues for All,” a take-off on Miles Davis’ “All Blues,” contains his best solo-shades of the late Shelly Manne tap-dancing over a march beat. Torres composed six originals for the date. There are also tunes associated with Kenton: the late bandleader’s “Artistry in Rhythm” and Ray Wetzel’s “Intermission Riff.” ~Owen Cordie

From Kenton To Now mc
From Kenton To Now zippy

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George Kahn - Freedom Vessel...

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 60:57
Size: 139,7 MB
Art: Front

(5:44)  1. Millenium Schmellenium
(5:03)  2. Blues for Sonny
(4:59)  3. Evan's seven
(7:53)  4. Freedom vessel
(8:46)  5. Bill & Gil's excellent adventure
(4:52)  6. The way you do the things you do
(5:35)  7. One moment of your life
(5:33)  8. Samba by starlight
(3:30)  9. Over the rainbow
(4:09) 10. Strollin' (wif ma bebe)
(4:48) 11. The garden

Melodic jazz piano trio, music from the heart, direct to the hands. No drum machines, no synthesizers, playing live, real, in the moment. Music to listen to over and over again.Creating a time and place that is new, yet familiar. George Kahn is a jazz pianist who has played in and around Los Angeles for the last 20 years. His current group, "Party of Four" features M.B. Gordy on drums, Karl Vincent on Bass and Eric Marienthal on saxes. They will play anywhere that people will pay them to show up! George's misson in life is to return jazz to the glory days before synthesizers and drum machines raomed the earth.

Review by Phrygia, from MP3.com: OK, we are sickened by the amount of fun these guys are having. What's the matter with desolate guilt ridden music? Well, to tell you the truth, it sucks, so here we bring you some brassy jazz that wipes the cool off the mirror and hazes it up with something incredibly hot. George Kahn is what the teeming listeners would consider a 'mature' composer and musician, in the sense that he incorporates what we here in the Land of Phrygia Musical Appreciation and Phenomenal Artists College feel to be the most intense, if not the most difficult, music to master in the world. Classical music has cadence, structure, and is imprisoned or freed by the conductor. But when it comes to pure agility and stamina, Acid Jazz outshines any other genre in the abilities of the artists. That's where the crucial element comes in? Is it credible? For George, we would have to say no, it's not that credible. It's friggin' Incredible!  https://store.cdbaby.com/cd/gkahn3

Personnel:  George Kahn - Piano, Eric Marienthal - Saxes, Bobby Rodriguez on trumpet, Joe Labarbera on drums and Dave Carpenter on bass.

Freedom Vessel...

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Dick Weller - New West

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

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

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

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

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

New West mc
New West zippy

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Peter Erskine, Bob Sheppard, Dave Carpenter - Lava Jazz

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

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

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

Lava Jazz mc
Lava Jazz zippy

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Terry Gibbs - From Me To You: A Tribute To Lionel Hampton

Size: 153,2 MB
Time: 65:55
File: MP3 @ 320K/s
Released: 2003
Styles: Jazz
Art: Front

01. Midnight Sun (4:08)
02. Blues For Hamp (5:53)
03. Ring Dem Bells (3:49)
04. Moonglow (3:47)
05. Gates Got Rhythm (3:23)
06. On The Sunny Side Of The Street (4:56)
07. From Me To You (7:00)
08. Red Top (5:51)
09. Evil Gal Blues (4:19)
10. Hey! Ba-Ba-Re-Bop (3:57)
11. Two-Finger Boogie Shuffle (3:22)
12. The World Is Waiting For The Sunrise (2:15)
13. Star Dust (7:12)
14. Flying Home (5:56)

“No one wants to see a short Jew singing love songs—unless you’re Al Jolson. But rhythm songs? So long as you have a good time it’s OK.” —Terry Gibbs

Trust me, it’s more than just OK and you will have a good time, as vibraphone master Terry Gibbs sings, swings, and generally carouses his way through this tribute to Lionel Hampton. Featuring many of the classic songs usually associated with the late great King of the Vibes, including “Midnight Sun,” “Hey! Ba-Ba-Re-Bop,” and “Evil Gal Blues,” plus some new compositions by Gibbs himself – this record that will make any fan of classic swing smile.

“Ring Dem Bells,” a delicious Duke Ellington romp, takes a joyous trip into the past, with Gibbs’ vocals duetting with the band. Gibbs sings again on a gently nostalgic “Sunny Side of the Street,” and the infectious “Hey! Ba-Ba- Re-Bop,” making one wonder why it’s taken him over five decades years to be recorded as a vocalist again (his last vocal recording was on “Lemon Drop” with Woody Herman, 54 years ago).

Accompanying Gibbs is the quartet of Pete Christlieb on tenor sax, Anthony Wilson on guitar, Mike Melvoin on piano, Dave Carpenter on bass, and Jeff Hamilton on drums. Their playing is solid, especially on their solos.

The album also features guest stars Joey DeFrancesco on organ and bluesy singer Barbara Morrison. DeFrancesco makes his mark on the seriously cool “Blues for Hamp.” (Christlieb and Melvoin are especially strong on this track as well.) It’s a swinging and entirely appropriate tribute, and Gibbs has some of his best moments here with a great solo punctuated by his singing (humming? talking?) along with the groove.

Barbara Morrison’s take on “Evil Gal Blues” (a song first recorded by Dinah Washington) is sultry, soulful, and serious. It’s low-down blues, with Gibbs’ vibes acting as a sympathetic chorus to the powerful vocals and DeFrancesco chiming in to punctuate the “I’m no good for you” message.

Gibbs puts the mallets down in fact if not in spirit for “Two-Finger Boogie Shuffle,” a struttin’ piano duet with Melvoin. Gibbs plays it as advertised, with two fingers, and the result is a cool, syncopated stride that’s pure pleasure.

Whether it’s fast and furious (“The World is Waiting for Sunrise”) or easy and romantic (“Star Dust”), Gibbs and band handle it with class and style— just like Hampton did. I think he’d approve of From Me to You. It truly does capture Hamp’s musicality, swing, and, above all, joy. Bravo, Mr. Gibbs, I think you’ve succeeded in ensuring that your audience has almost as much fun as I’m sure you had recording this. ~Lisa Dornell

Personnel: Terry Gibbs - Vibes, Dave Carpenter - Bass, Michael Melvoin - Piano, Joey DeFrancesco - Organ, Anthony Wilson - Guitar, Jeff Hamilton - Drums, Barbara Morrison, Terry Gibbs - Vocals.

From Me To You

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Carol Welsman - The Language Of Love

Bitrate: MP3@320K/s
Time: 52:50
Size: 121.0 MB
Styles: Easy Listening
Year: 2003
Art: Front

[3:12] 1. Taking A Chance On Love
[3:42] 2. You Take Me Away
[2:39] 3. On A Slow Boat To China
[5:43] 4. A Nightingale Sang In Berkeley Square
[3:31] 5. Can't Help Falling In Love
[3:31] 6. Just One Of Those Things
[4:11] 7. Coracao Leviano
[4:38] 8. Every Breath You Take
[4:00] 9. A Fool I Know
[4:47] 10. There's No Such Thing As Love
[4:12] 11. The Man I Love
[4:25] 12. Chanson De Maxence
[4:14] 13. Senza Fine

Acoustic Guitar – Oscar Castro-Neves; Backing Vocals – Kate Markowitz; Bass – Dave Carpenter; Drums, Percussion – Alex Acuña; Electric Guitar – Ramon Stagnaro; Flute – Gary Meek; Percussion – Calos Del Rosario; Violin, Viola – Charlie Bisharat.

Carol Welsman’s love letter sends its message around the world. She sings in English, French, Italian and Portuguese on this album of treasured memories. Traces of tango, samba and bossa nova mingle casually with sensual ballads and traditional fare. Poignant arrangements of “A Nightingale Sang in Berkeley Square” and Sting’s “Every Breath You Take” sweep away the clouds and reveal a veteran vocalist with heart.

The Language Of Love is Welsman’s fifth album. Based in Toronto, and the granddaughter of Frank S. Welsman (founder and first conductor of the Toronto Symphony) has eluded the U.S. limelight. Until now. Starting out as a piano performance major at Berklee and a vocal student of Christiane Legrand in Paris, Welsman has become fluent in several languages: French, Italian, and Jazz. Her vocal preferences lie in the mainstream: pure swing with genuine passion and traces of creative invention. Welsman appears as comfortable with wordless scat singing as she does interpreting lyrics. Bongos and conga drums support her as casually as the guitars, bass and drums. Welsman’s piano accompaniment and brief solo sections enhance her vocal delivery, as do the other supporting instrumentalists. The album includes a lovely duet with Arnold McCuller on “Can’t Help Falling In Love.” But it’s the vocal impressions of Carol Welsman that take center stage on her Savoy Jazz debut. Recommended, this album heralds the arrival of an exquisite jazz singer to a wider audience. ~Jim Santella

The Language Of Love

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Ilona Knopfler - Some Kind Of Wonderful

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 57:35
Size: 142,6 MB
Art: Front

(4:45)  1. Some Kind Of Wonderful
(3:18)  2. It's The Time Of The Season
(6:38)  3. Breaking Up Is Hard To Do
(3:57)  4. One
(3:11)  5. Something
(4:44)  6. Moondance
(6:41)  7. Alfie
(4:47)  8. Unchain My Heart
(3:56)  9. Don't Let Me Be Misunderstood
(3:15) 10. He's Not There
(4:20) 11. River Man
(3:21) 12. Never My Love
(4:36) 13. Can't You See

The global influence of classic American pop songs is very apparent on Some Kind of Wonderful, Ilona Knopfler's impressive and multifaceted debut, which finds the Parisian-born singer (who spent some of her formative years in Hong Kong) tackling '60s and '70s favorites in a variety of styles. She shows her aggressive, bluesy Bonnie Raitt-flavored wares on the brass-funk driven twist through Grand Funk's "Some Kind of Wonderful" (featuring a feisty electric guitar solo by Pat Kelley), then goes jazz-trio cool on the Zombies' "It's the Time of the Season," revealing a different dimension of the tune (with the help of Eugene Maslov's piano). This kind of balance between pop/rock and different jazz forms carries throughout, and it's clear that Knopfler is most comfortable on the mid-tempo ballads, delivered with panache with jazz inflections. Although the grooves are organic and provide the most fun, Knopfler's deeper vocal artistry comes alive on gentle acoustic interpretations of "Alfie" and "Breaking Up Is Hard to Do." ~ Jonathan Widran  http://www.allmusic.com/album/some-kind-of-wonderful-mw0000037626

Personnel: Ilona Knopfler (vocals); Bill Armstrong (trumpet); Eugene Maslov (piano); Pat Kelley (guitar); Dave Carpenter (bass); Skeeto Valdez (drums); Lenny Castro (percussion).

Some Kind Of Wonderful

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Herb Geller Quartet - You're Looking At Me

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 65:19
Size: 150,6 MB
Art: Front

(4:02)  1. Summer Night
(5:10)  2. Detour Ahead
(4:11)  3. Changes
(4:43)  4. You're Looking At Me
(5:32)  5. Lullaby In Rhythm
(4:09)  6. Orson
(3:42)  7. 9:20 Special
(5:10)  8. Restless
(4:55)  9. Ill Wind
(4:07) 10. All Through the Night
(4:44) 11. The Josephine Baker Suite: The Legend
(4:39) 12. The Josephine Baker Suite: A Bitter Dream
(5:45) 13. The Josephine Baker Suite: Too Little Time
(4:25) 14. The Josephine Baker Suite: I'll Be Back!

For this 1997 recording, the underrated but great altoist Herb Geller doubles on soprano quite effectively and is joined by pianist Jan Lundgren, bassist Dave Carpenter and drummer Joe Labarbera. While Carpenter and Labarbera are fairly well-known players who are rated highly for their versatility and ability to sound tasteful and swinging no matter what the setting, Lundgren may be a new name to some. A virtuosic pianist from Sweden who appeared with increasing regularity in Los Angeles in the late 1990s, Lundgren can play in several styles, although here he mostly sticks to modern bop. 

His alert accompaniment behind Geller's solos and his own fresh improvisations uplift the music. The altoist interprets ten veteran songs, some of which (including "Summer Night," and the 1920s "Changes," Billy Strayhorn's "Orson," and "Restless," which is taken as a duet with Lundgren) are not performed that often. The final four numbers on the set are taken from Geller's musical depicting the life of Josephine Baker. The music on the latter cuts, which contains several strong melodies, easily fits into the 1950s/'60s bop style that is prevalent throughout this set. Highly recommended, and just one of several very rewarding Herb Geller dates from the 1990s. ~ Scott Yanow http://www.allmusic.com/album/youre-looking-at-me-mw0000046297

Personnel:  Herb Geller – alto sax / soprano;  Jan Lundgren – piano;  Dave Carpenter – bass;  Joe Labarbera - drums

You're Looking At Me

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Vanessa Rubin - Vanessa Rubin Sings

Styles: Vocal Jazz
Year: 1995
File: MP3@320K/s
Time: 48:44
Size: 112,1 MB
Art: Front

(3:37)  1. Our Love is Here to Stay
(5:10)  2. It's Probably Me
(4:30)  3. Being Green
(4:22)  4. All For One
(4:45)  5. My Ship
(3:07)  6. Seven Days
(3:36)  7. Once Upon a Summertime
(4:12)  8. Close Enough For Love
(3:07)  9. Morning
(2:54) 10. Unless It's You
(5:27) 11. Black Coffee
(3:52) 12. His Eye Is on the Sparrow

Vanessa Rubin has a lovely voice, but rarely wanders much from the melody. Since many of the songs that she performs on this Novus CD have already been done definitively dozens of times by others (such as "Our Love Is Here to Stay," "My Ship," "Morning," and even "Being Green"), the value of the release is not as high as it should be. Rubin does contribute new lyrics to Wayne Shorter's "Speak No Evil" (renamed "All for One"), her singing is heartfelt on "His Eye Is on the Sparrow," and Steve Turre's four appearances (on trombone and conch shells) are a major asset. But why revive "Black Coffee" (another song that has already been done perfectly) with its self-pitying attitude and dated references to cigarettes. ~ Scott Yanow  http://www.allmusic.com/album/vanessa-rubin-sings-mw0000179695

Personnel: Vanessa Rubin (vocals); Steve Turre (trombone, conch shells); Toots Thielemans (harmonica); Michael Lang (piano); Oscar Castro-Neves (acoustic guitar); Kevin Eubanks, Paul Jackson, Jr. (guitar); Bob Hurst, Dave Carpenter (bass); Marvin "Smitty" Smith, Alex Acuna (drums); Morgan Ames, Clydene Jackson, Darlene Koldenhoven, Jim Gilstrap (background vocals).

Vanessa Rubin Sings

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Eric Marienthal - Got You Covered!

Styles: Flute And Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 46:22
Size: 106,7 MB
Art: Front

(3:25)  1. I Will
(5:12)  2. New York State of Mind
(4:19)  3. Love and Liberte
(3:40)  4. Compared to What
(5:12)  5. I've Got the World On a String
(3:42)  6. Emotion
(4:33)  7. Two Part Invention #4 In D Minor
(4:32)  8. My One And Only Love
(4:20)  9. You've Got a Friend
(4:04) 10. Stand By Me
(3:17) 11. Moody's Mood For Love

It has long been a well-known "secret" that altoist Eric Marienthal, who is best known for his association with Chick Corea's Elektric Band and with his own groups, is a great straight-ahead jazz player, too. He has made occasional guest spots through the years and shown that he is a more versatile player than originally expected. For Got You Covered, Marienthal desired to record a set live in the studio, and he utilized some of his favorite musicians, with guest pianist Chick Corea playing a duet with Marienthal on "My One and Only Love." Unfortunately, Marienthal mostly plays it safe, not digging very far into these songs beyond their melodies. 

It is pretty unusual getting to hear him play "I've Got the World on a String" and "Moody's Mood for Love," but the latter is a note-for-note re-creation of James Moody's original solo and nothing more. Everything about this set comes across as safe and unadventurous. The overall results are pleasant and reasonably pleasing as background music, but Eric Marienthal is capable of much more. ~ Scott Yanow  http://www.allmusic.com/album/got-you-covered-mw0000718269

Personnel: Eric Marienthal (flute, soprano saxophone, alto saxophone); Russ Freeman (acoustic guitar, electric guitar, 12-string guitar, classical guitar, baritone guitar); Russell Ferrante (piano, keyboards); Chick Corea (piano); Dave Carpenter (acoustic bass); Peter Erskine (drums); Luis Conte (percussion).

Got You Covered!

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Kikoski Carpenter Novak Sheppard - From The Hip

Bitrate: 320K/s

Time: 69:44

Size: 159.6 MB

Styles: Straight ahead jazz

Year: 2013

Art: Front

[7:44] 1. Star Eyes

[7:26] 2. From Ton To Tom

[9:19] 3. Bolivia

[8:37] 4. My One And Only Love

[7:58] 5. How Deep Is The Ocean

[7:41] 6. If You Could See Me Now

[6:36] 7. Autumn Leaves

[6:16] 8. Tones For Joan's Bones

[8:05] 9. Mr. PC

In 2006, pianist David Kikoski was invited to perform and record in front of a live audience at the private Beverly Hills studio of George Klabin, President of the Rising Jazz Stars Foundation. Kikoski brought in some of his first-call friends for the occasion and, with nary a rehearsal to be had, put on a stunner of a standards-based show; the nine tracks that make up From The Hip were recorded at that gathering.

Kikoski, saxophonist Bob Sheppard, drummer Gary Novak, and bassist Dave Carpenter, who passed away shortly after this recording took place, form a compelling unit that injects new life into these old gems. The eyebrow-raising bass riff that ushers in the album-opening "Star Eyes" makes it clear that this isn't a case of a group of pros simply phoning it in. This quartet invests its creative energy into this music and that investment pays off in artistically satisfying dividends.

The aforementioned "Star Eyes" proves to be a winner right out of the gate, but that's only the beginning. The band follows that up with a visit to Brazil, via Toninho Horta's "From Ton To Tom," and a trip to Cedar Walton's "Bolivia," which takes flight on the wings of Novak's full throttle drumming. Sheppard shines all by his lonesome at the outset of "My One And Only Love" while Kikoski captures the most attention on the pair of tunes that follow; his introduction and solo on "How Deep Is The Ocean" are the clear highlights there, and he's the focal point on a sans-Sheppard trio take of "If You Could See Me Now." That number opens with sparkling pianisms and ends with a piano cadenza of note, but the joyous music that takes place in between is a testament to the communicative force(s) at play between Kikoski, Novak and Carpenter.

From The Hip is terrific, but it isn't perfect. Carpenter's intonation, for example, could be called into question in a few spots, but that's beside the point. Little issues like that do little to diminish the overall experience of hearing music like this performed by musicians who are this well-studied in the art of marrying the structured with the spontaneous.

David Kikoski: piano; Dave Carpenter: bass; Gary Novak: drums; Bob Sheppard: saxophones.

From the Hip

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