Melissa Stylianou,Gene Bertoncini,Ike Sturm - Dream Dancing

Styles: Vocal Jazz
Year: 2022
Time: 47:15
File: MP3 @ 320K/s
Size: 110,0 MB
Art: Front

(3:57) 1. Sweet And Lovely
(4:50) 2. If You Never Come To Me
(5:17) 3. My Ideal
(3:20) 4. It Could Happen To You
(4:29) 5. For Chet
(3:30) 6. Perdido
(4:58) 7. Corcovado
(5:24) 8. Time's A-wastin'
(5:45) 9. My One And Only Love
(5:41) 10. It Might As Well Be Spring

Vocalist Melissa Stylianou, guitarist Gene Bertoncini, and bassist Ike Sturm make for a canorous combination. A working trio elevated by keen conversational rapport and an embrace of spur-of-the-moment suggestions, theirs is quite simply a perfect partnership.

With supreme skill and creative charm(s), these three turn old favorites into new treasures. Stylianou shines across opener “Sweet and Lovely,” the first of several pieces benefiting from bantering string dialogue and interplay. Voice and guitar glide together at the outset of “My Ideal,” which later surprises with the insertion of the bridge from “The Man I Love.” A perky “Perdido” makes a swinging case for this outfit’s lighthearted genius. The leader captivates with some pure-voiced Portuguese on “Corcovado.” And everybody operates with apt anticipation during “It Might as Well Be Spring.”

Though standards for trio are the obvious order of the day, there are notable exceptions in programming and performance that focus on the bonds behind and within the music. Bertoncini’s affecting “For Chet,” a composition paying tribute to Chet Baker, offers a glimpse into the guitarist’s rich past, which saw work with that storied trumpeter as well as many other legends of the music.

A pair of voice-and-bass beauties “It Could Happen to You” and a rightly bluesy “Time’s A-Wastin’” (a.k.a. “Things Ain’t What They Used to Be”) speak to a chemistry developed over the course of many years and shared experiences. Stylianou’s rendezvous with Bertoncini on “My One and Only Love” nods to that pair’s first musical encounter some 14 years ago, when mutual connection Sturm made the introduction. The music, of course, took care of the rest, as it does to this very day.
By Dan Bilawsky https://jazztimes.com/reviews/albums/melissa-stylianou-featuring-gene-bertoncini-ike-sturm-dream-dancing-anzic/

Dream Dancing

---

Gene Bertoncini & Michael Moore - Two Is Time

Styles: Guitar Jazz
Year: 1989
Time: 67:13
File: MP3 @ 320K/s
Size: 153,9 MB
Art: Front

(5:07) 1. It Had To Be You
(4:23) 2. I'm Getting Sentimental Over You
(8:05) 3. The Bad And The Beautiful / Laura
(4:34) 4. Killer Joe
(2:16) 5. Chopin Prelude Variations / Django
(4:51) 6. Whisper Not
(4:18) 7. Cherokee
(5:19) 8. These Foolish Things
(5:10) 9. Wonderful Girl
(3:38) 10. You've Changed
(4:49) 11. I'm All Smiles
(4:55) 12. The Lilter
(9:42) 13. It's Might As Well Be Spring / Spring Can Really Hang You Up The Most

Recording and performing together since the late '70s, Gene Bertoncini and Michael Moore once more undertake the daunting task of making a guitar-bass duet session attractive to listeners without being boring or maudlin. Like their earlier efforts, Two in Time successfully fills the bill. The interesting play list, with a balanced mix of slow and up-tempo tunes, contributes much to making this a satisfying session. The medley of "The Bad and the Beautiful" and "Laura," with most of the players' attention given to the latter, is intriguing in the way that it segues back and forth between Moore's dark, brooding bowing on "Laura" and Bertoncini's upbeat guitar.

Moore also bows on "You've Changed" which is a highlight of his introspective but very lyrical approach to the music. Revealing their classical roots, Bertoncini and Moore pay homage to Chopin with variations on one of his preludes, cleverly linked a medley with John Lewis' "Django." Ray Noble's "Cherokee" swings, while "These Foolish Things" makes your foot tap. Although Bertoncini stays mostly with the electric guitar on this set, he gets unplugged on "Wonderful Girl" (really "I'm in Love With a Wonderful Guy"). The one original, Moore's "The Lilter," takes on a Scottish motif with the bass and guitar replacing the bagpipes. Two fine artists very contented with each other and a comfortable song list makes for pleasant jazz played in a chamber setting.
By Dave Nathan https://www.allmusic.com/album/two-in-time-mw0000675570#review

Personnel: Guitar – Gene Bertoncini; Bass – Michael Moore (2)

Two Is Time

---

Gene Bertoncini - Jobim: Someone To Light Up My Life

Styles: Bossa Nova
Year: 1996
Time: 62:46
File: MP3 @ 320K/s
Size: 143,7 MB
Art: Front

(5:41) 1. Chopin Prelude/How Insensitive
(5:37) 2. Dindi
(3:21) 3. Quiet Night Of Quiet Stars (Corcovado)
(3:19) 4. Someone To Light Up My Life
(4:45) 5. Triste
(4:45) 6. Double Rainbow (Chovendo Na Roseiro)
(3:55) 7. Crossroads (Caminhos Cruzados)
(5:38) 8. No More Blues (Chega De Saudade)
(5:31) 9. Rome Montage (From The Adventurers)
(6:16) 10. Song Of The Jet (Samba Do Avião).mp3
(4:48) 11. Portrait In Black And White (Zingaro)
(5:04) 12. Once I Loved (O Amor Em Paz)
(5:56) 13. If You Never Come To Me
(4:18) 14. Felicidade

The veteran guitarist's collection of bossa novas by the late Antonio Carlos Jobim demonstrate his gift for counterpoint and improvisation in this all-acoustic masterpiece. Accompanied only by the Latin percussion of John Arruci and Jon Bates, Bertoncini plays an astonishingly uptempo "Corcavado" that seems to have overdubbed guitar lines but doesn't.

Also remarkable is his soft, understated version of "Double Rainbow." Any guitar student or jazz fan will be mesmerized by Bertoncini's crisp playing on "Zingaro.By Ken Dryden
https://www.allmusic.com/album/jobim-someone-to-light-up-my-life-mw0000087917#review

Jobim: Someone To Light Up My Life

---

Gene Bertoncini With Bill Charlap & Sean Smith - Gene Bertoncini

Styles: Guitar And Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 77:59
Size: 180,2 MB
Art: Front

( 8:28)1. Japanese Maple
(9:39) 2. Medley; Lullaby Of The Leaves/Summer Night
(9:45) 3.Ellington,StrayhornMedley; Lush Life/Chelsea Bridge/In A Sentimental Mood
( 9:34)4. Dream Dancing
(10:10)5. You Can't Go Home
( 9:42)6. Emily
( 9:30)7. My Funny Valentine
(11:07)8. Medley; Sophisticated Lady/ All The Things You Are

The Floating Jazz Festival, organized by Chiaroscuro owner Hank O'Neal, has produced many outstanding live sessions, this trio date takes its place among the very best. Not satisfied with just tackling familiar standards, guitarist Gene Bertoncini's group opens with bassist Sean Smith's captivating ballad "Japanese Maple." The leader's classically flavored arrangement of "My Funny Valentine" is refreshing. Several tracks are devoted to long but well played medleys. Pianist Bill Charlap rounds out this outstanding trio, whose playing throughout seems to have mesmerized the audience into devoted silence, less they miss a moment of music. ~ Ken Dryden http://www.allmusic.com/album/gene-bertoncini-mw0000047219

Personnel:  Bill Charlap (piano), Gene Bertoncini (guitar), Sean Smith (bass).

Gene Bertoncini

---

Chuck Redd - All This And Heaven Too

Styles: Vibraphone Jazz
Year: 2002
File: MP3@320K/s
Time: 62:40
Size: 144,9 MB
Art: Front

(4:31)  1. How About You'
(5:42)  2. More Than You KNow
(5:47)  3. They Say It's Wonderful
(7:10)  4. Indian Summer
(5:32)  5. Three In One
(5:51)  6. All This And Heaven Too
(5:13)  7. Speaking Of Sounds
(7:21)  8. Barbados
(4:39)  9. I Know Why
(4:51) 10. Bennie's Pennies
(5:59) 11. Once Is Not Enough

When one learns that vibraphonist Chuck Redd got his start as a drummer in the Charlie Byrd Trio, it's easy to understand where he began developing his taste. All This and Heaven Too, his second album as a leader, even resembles a particular Byrd album that he played on in 1998, Au Courant. Like that album, Redd has combined vibraphones with guitar and bass for an intimate but spunky sound. Four of the tracks are filled out a bit by Ken Peplowski on either tenor sax or clarinet. The album gets a bouncy start with "How About You?" before delving into the quieter "More Than You Know." Redd's solos are filled with melody and lovingly realized, while Gene Bertoncini, switching between the electric and acoustic guitar, injects his leads with rhythm and soul. George Mraz's bass holds it all together, offering a steady underpinning to the trio. While song choices like Irving Berlin's "They Say It's Wonderful" reveal the band's interest in traditional forms, the group also tackles Charlie Parker's "Barbados." It only made sense that once classic forms of jazz became established in the '80s and '90s, instruments assigned to the dustbin clarinets, acoustic guitars, and vibraphones would make a comeback. Chuck Redd and friends, however, accomplish much more than a rehashing of yesteryear on All This and Heaven Too. While fans of older jazz styles will enjoy the album, anyone interested in superbly executed music should give it a listen. ~ Ronnie D.Lankford Jr. https://www.allmusic.com/album/all-this-and-heaven-too-mw0000660148

Personnel: Chuck Redd - vibraphone;  Ken Peplowski - clarinet, tenor saxophone; Gene Bertoncini - guitar, acoustic guitar; George Mraz - bass

All This And Heaven Too

---

Michel Legrand - After The Rain

Styles: Piano Jazz
Year: 1983
File: MP3@320K/s
Time: 43:28
Size: 100,6 MB
Art: Front

(8:54)  1. Nobody Knows
(6:21)  2. After The Rain
(6:28)  3. I Was Born In Love With You
(7:55)  4. Orson's Theme
(7:46)  5. Pieces Of Dreams
(6:02)  6. Martina (Les Enfants Qui Pleurent)

This high-quality outing (reissued on CD) features composer Michel Legrand faring quite well as a jazz pianist. He performs six of his compositions (only "Pieces of Dream" is well-known) with a lyrical septet also including altoist Phil Woods (doubling on clarinet), tenor saxophonist Zoot Sims, trumpeter Joe Wilder, guitarist Gene Bertoncini, bassist Ron Carter, and drummer Grady Tate. The music generally swings, has plenty of fine melodic solos, and gives listeners a taste of some fresh Legrand material. ~ Scott Yanow https://www.allmusic.com/album/after-the-rain-mw0000267685

Personnel:  Piano, Producer – Michel Legrand; Bass – Ron Carter; Drums – Grady Tate; Guitar – Gene Bertoncini; Saxophone – Zoot Sims; Saxophone, Clarinet – Phil Woods; Trumpet, Flugelhorn – Joe Wilder 

 

R.I.P.
After The Rain

---

Calabria Foti - In The Still Of The Night

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 49:09
Size: 115,0 MB
Art: Front

(4:07)  1. Just one of those things
(3:40)  2. Miss Otis regrets
(4:09)  3. Anything goes
(5:14)  4. What is this thing called love
(4:35)  5. Night and day
(5:22)  6. I concentrate on you
(4:43)  7. Ev'ry time we say goodbye
(3:18)  8. Get out of town
(4:14)  9. It's alright with me
(5:41) 10. So in love
(4:01) 11. In the still of the night

With In the Still of the Night, vocalist Calabria Foti joins the ranks of Ella Fitzgerald, Frank Sinatra, Oscar Peterson, and many others -vocalists and instrumentalists who have dived deeply into the Cole Porter canon. It takes a very special talent to deftly probe the poetic and pithy romantic lingo that the Classic material offers. So, while that ocean is Trench deep, how is one to pluck new musical perspectives and give old ones a novel patina? Foti, along with a cadre of musicians of same mind, does so and strikes it rich here. Launching into things with a marvelous Latin-tinged send-up of "Just One of Those Things," we get the immediate idea that this run-through of Porter's material 11 of his greatest from Broadway and Hollywood -is going to be a fine and unique ride. Whether it is a "fabluelous" send up of "Miss Otis Regrets" or any of the rest, the selections here are delivered with an elegantly restrained texture that's spearheaded by Foti's marvelously versatile and in-command chops.  While Foti's voice is pitch-perfect and liquid gold, the keen thing about her effort stylistically is her extraordinary rhythmic and dynamic sense and the manner in which she plays with the beat ("Anything Goes," "Night and Day"). A careful listen yields an almost Chet Baker-esque approach to time. Key words in each lyric line are subtlely emphasized and de-emphasized with an instrumentalist's flair ("What is This Thing Called Love," "Every Time We Say Goodbye" with neat cello quotes of "Goodbye" and "My One and Only Love" -and "Get Out of Town"). There's no saccharine served at this table. That's no surprise, since Foti is a heralded violinist, as well as a premier chanteuse. Ever get that sense you're experiencing a memorable musical candlelight dinner conversation? You will here. ("I Concentrate on You," "In the Still of the Night"). It's luscious stuff. The ensemble on the session all crème and superb throughout includes producer/arranger pianist Michael Patterson (an outstanding job), guitarist Gene Bertoncini, bassist Ike Sturm, cellist Richard Locker, and drummer Jared Schonig. Cameos across the date by clarinetist Eddie Daniels and trombonist Bob McChesney add savory fill material always in perfect synch with what's going on. There's no stepping on heels in this dance. In the Still of the Night is certainly a fine addition to those aforementioned classic Songbook albums of the Greats and one that entices and enthralls with sublime taste. It is indeed the genuine turtle soup. ~ Nicholas F.Mondello https://www.allaboutjazz.com/in-the-still-of-the-night-calabria-foti-moco-records-review-by-nicholas-f-mondello.php

Personnel: Calabria Foti: vocals; Michael Patterson: piano; Eddie Daniels: clarinet; Gene Bertoncini: guitar; Richard Locker: cello; Bob McChesney: trombone; Ike Sturm: bass; Jared Schonig: drums. 

In The Still Of The Night

---

Grover Washington, Jr. - All The King's Horses

Styles: Saxophone Jazz
Year: 1972
File: MP3@320K/s
Time: 32:12
Size: 74,4 MB
Art: Front

(3:50)  1. No Tears, In The End
(3:49)  2. All The King's Horses
(5:07)  3. Where Is The Love
(3:05)  4. Body And Soul (Montage)
(4:25)  5. Lean On Me
(7:03)  6. Lover Man
(4:50)  7. Love Song 1700

Grover Washington, Jr.'s sophomore date for Creed Taylor's Kud imprint was released in late 1972. Like its predecessor Inner City Blues, this session was produced by the label boss himself and was arranged and conducted by Bob James. Assembled for the date were large horn and string sections. The former contained stalwart talents like Detroit's Pepper Adams on baritone saxophone, and trumpeters Marvin Stamm and Ernie Royal. Other players on the session included what would become the heart of the CTI session crew: guitarists Cornell Dupree and Eric Gale, bassists Ron Carter and Gordon Edwards (who only appears on the opening cut), drummer Idris Muhammad (though Billy Cobham is also here), and percussionists like Airto Moreira and Ralph MacDonald. The real star of course is the soloist. Washington's debut, Inner City Blues, had done surprisingly well especially since it was a date originally intended for Hank Crawford who couldn't make the scene. This time out, both Taylor and James played to Washington's tremendous strengths as an emotional player whose melodic improvising referenced everything from Motown to Stax and Volt, from Ray Charles to early James Brown and the Fabulous Flames, to Donny Hathaway, who had an uncanny knack with current pop hits. James too was discovering his own strengths in this field as a pianist and really shines behind Washington on tracks like "Where Is the Love," (written by MacDonald, actually), and Bill Withers' "Lean on Me." Washington was equally versed on both tenor and alto, and possesses two very different tones on the horns. This gave James the opportunity to color the tunes with a rather startling array of colors, shades, and textures, making the two a wonderful team. Along with the aforementioned winners are the title track by Aretha Franklin with the slow, deep blue saxophone lines accompanied by hand percussion, a tight snare and hi-hat kit rhythm, and James ghostly chords on the Fender Rhodes. But the large backdrop of horns lends so much weight to the tune it almost breaks wide open. 

Then there's the gorgeous and radical-re-envisioning of "Body and Soul," as a montage illustrated wonderfully by James impressionistic strings and woodwinds underneath Washington's bluesy take on the melody. The standard "Lover Man" is reintroduced here and includes a new interlude written by James. Washington's playing on the tune is actually reminiscent of Crawford's in feel (during his time with Ray Charles), but Washington also evokes Ben Webster in the chances he takes improvising on his solo. As if all this weren't adventurous enough, the set closes with "Love Song 1700," an adaptation from a song by classical composer Henry Purcell. Here is the genius of James at work. His love for Purcell and classical composition of this era shows up throughout his career, but the way he orchestrates strings and winds behind Washington -- who could inject pure soul into even the dullest music of Lawrence Welk  is provocative, lovely, and haunting, even in its more overblown moments. When All the King's Horses was originally released, it wasn't received as well as Inner City Blues had been the previous year. In retrospect, however, this set has assumed its proper place in Washington's catalog: as one of his more ambitious and expertly performed sessions.

~ Thom Jurek https://www.allmusic.com/album/all-the-kings-horses-mw0000314316

Personnel:  Grover Washington Jr. – tenor and alto saxophone;  Bob James – arranger, conductor, electric piano, Harpsichord;  Richard Tee – organ;  Arthur Clarke, Pepper Adams – baritone saxophone;  John Frosk, Alan Rubin, Ernie Royal, Marky Markowitz, Marvin Stamm, Snooky Young, Jon Faddis – trumpet, flugelhorn;  Paul Faulise, Tony Studd, Wayne Andre – trombone;  Brooks Tillotson, Donald Corrado, Fred Klein, Ray Alonge – French horn;  George Marge – alto saxophone, flute, English horn, oboe;  Cornell Dupree, David Spinozza, Eric Gale, Gene Bertoncini – guitar;  Margaret Ross – harp;  Ron Carter – bass;  Gordon Edwards – bass;Bernard Purdie – drums;  Billy Cobham – drums;  Airto Moreira – percussion;  Ralph MacDonald – congas;  Richard Dickler, Emanuel Vardi – viola;  Alexander Cores, Bernard Eichen, Irving Spice, Joe Malin, John Pintaualle, David Nadien, Emanuel Green, Gene Orloff, Harold Kohon, Harry Lookofsky, Joe Malin, Max Ellen, Paul Gershman – violin;  Charles McCracken, George Ricci – cello

All The King's Horses

---

Gene Bertoncini, Frank Vignola - Meeting Of The Grooves

Bitrate: MP3@320K/s
Time: 53:04
Size: 121.5 MB
Styles: Bop, Guitar jazz
Year: 2002
Art: Front

[5:01] 1. It Had To Be You
[5:21] 2. If I Had You
[7:00] 3. Jitterbug Waltz
[5:24] 4. Moonlight In Vermont
[4:02] 5. Darn That Dream
[6:47] 6. Jobim Medley
[4:40] 7. These Foolish Things
[4:59] 8. Out Of Nowhere
[5:56] 9. Flying Colors Alone Together
[3:49] 10. But Not For Me/Girl Crazy/Embraceable You

This duo meeting of guitarists Gene Bertoncini and Frank Vignola pairs musicians separated by a generation in age, but that's all. Both men have proven themselves as strong soloists in group settings and each of them has made rewarding solo CDs, but they are also very much up to the task of the necessary give and take of guitar duets. They make the most of timeless melodies from the Great American Songbook, including "If I Had You," "Moonlight in Vermont," and "Out of Nowhere." Their vigorous workout of Fats Waller's "The Jitterbug Waltz" and an enticing medley of bossa nova favorites by Antonio Carlos Jobim also prove to be stimulating. It's a shame there isn't also a video of this studio session, which would be of considerable interest to jazz guitarists and fans. Highly recommended. ~Ken Dryden

Meeting Of The Grooves mc
Meeting Of The Grooves zippy

---

Royce Campbell, Gene Bertoncini - A Tribute To Charlie Byrd

Bitrate: MP3@320K/s
Time: 59:41
Size: 136.6 MB
Styles: Guitar jazz
Year: 2003
Art: Front

[6:21] 1. Shiny Stockings
[4:48] 2. Meditation
[5:50] 3. The Days Of Wine And Roses
[3:26] 4. Mood Indigo
[5:52] 5. How Insensitive
[5:09] 6. Zing Went The Strings Of My Heart
[4:49] 7. Desafinado
[7:08] 8. In A Mellow Tone
[4:26] 9. Prelude To A Kiss
[5:11] 10. One Note Samba
[6:35] 11. Blues For Charlie

Royce Campbell, electric guitar, Gene Bertoncini, acoustic guitar, Chuck Redd, drums, Keter Betts, bass.

Sharing a rare commitment to the mastery of their instrument, jazz guitarists have a strong bond to an axe which – despite huge popularity in other genres – has by and large, seemed to elude jazz throughout the music’s history. When thinking of true non-crossover jazz guitarists, only a handful come to mind: Django Reinhardt, Charlie Christian, Wes Montgomery, Freddie Green (only in terms of longevity, not originality), and Grant Green. George Benson’s roots were in straight-ahead but he eventually sold out to the tasteless modern aesthetic of smooth jazz. And then there was Charlie Byrd. In terms of legends, that’s really it!

In a century when guitar became the most widely heard and played instrument in the world, namely in non-jazz settings, jazz guitarists’ dedication to their trade is admirable since they represent a handful of instrumentalists that dared to delve head-on into the jazz idiom. If you think about it, the aforementioned can only truly be called jazz legends, compared to the throngs of saxophonists, trumpeters, pianists, bassists, and drummers out there credited for great contributions to the music’s development.

Germany's Jardis label prides itself on producing the finest in today’s jazz guitar. Following his critically acclaimed Trioing with drummer Bill Goodwin and fellow DC native bassist Paul Langosch (long a collaborator with crooner Tony Bennett), the mostly unknown guitarist Royce Campbell released his second effort for Jardis, A Tribute to Charlie Byrd. Campbell’s professional connection to Byrd originated in 1998, when the two and veteran Gene Bertoncini, another regional name, collaborated for a tribute to another six string master, Joe Pass. When asked to do the tribute album, Campbell thought it fitting that Bertoncini be on the project. Having worked closely with the man who had greatly influenced the introduction and acceptance of the Brazilian bossa nova and samba within the jazz world, Campbell appropriately chose to do mostly bossa nova works by Jobim and songs out of the Duke Ellington songbook: tunes that had been close to Byrd’s heart.

While the session is highly predictable and laid back, the solo work is magnificent and the overall artistry of the musicians is masterful. Filling out the quartet is a “who’s who” of DC’s thriving jazz scene. Drummer and vibraphonist Chuck Redd (also of the Smithsonian Jazz Masterworks Orchestra) displays tasteful stick and brushwork, very reminiscent of the Charlie Byrd “feel” – not surprising since Redd had been Byrd’s own drummer for 19 years. And finally, one of DC’s living jazz legends, Keter Betts fills in on bass. You might recognize Betts’ name from several years as bassist for both Byrd and “First Lady of Song” Ella Fitzgerald. Highly recommended. ~Matt Merewitz

A Tribute To Charlie Byrd mc
A Tribute To Charlie Byrd zippy

---

Gene Bertoncini - Body and Soul

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 42:55
Size: 98,5 MB
Art: Front

(4:24)  1. The Shadow of Your Smile
(3:26)  2. My Funny Valentine
(4:15)  3. How Are Things in Glocca Morra
(4:20)  4. Body and Soul
(2:20)  5. Edelweiss
(3:31)  6. 'Round Midnight
(3:03)  7. Stardust
(2:03)  8. But Beautiful
(3:17)  9. I Remember You
(4:16) 10. Greensleeves
(2:54) 11. Cavatina
(3:17) 12. Sophisitcated Lady
(1:42) 13. Snowfall

There aren't a great many exponents of nylon-string acoustic jazz guitar, but Gene Bertoncini, one of the true masters, belongs near the top of the list. On this exquisite solo album, the veteran guitarist is recorded via a technology called Direct Stream Digital. Without going into cumbersome details, what this means is unparalleled sound quality, giving a glass-like sheen to Bertoncini's musical thoughts. It must be said, however, that Bertoncini would sound great recorded in far less ideal circumstances. His arrangements combine the unlimited possibilities of jazz reharmonization with the rigors of legit classical guitar technique, resulting in highly individual reworkings of great standards. The title track becomes a landscape of dark clusters and dissonance, while in parts of "My Funny Valentine" and "Greensleeves," the melody occurs in the low register, framed by high-register chords and patterns  not something you're likely to hear from even the best electric jazz guitarist. Bertoncini even makes lesser showtunes like "Edelweiss" and "How Are Things in Glocca Morra" sound like mini-symphonies.~ David R.Adler https://www.allmusic.com/album/body-and-soul-mw0000007411

Body and Soul

---

Morgana King - Miss Morgana King

Bitrate: MP3@320K/s
Time: 33:49
Size: 77.4 MB
Styles: Jazz vocals, Easy listening
Year: 1965/2018
Art: Front

[2:43] 1. Try To Remember
[3:45] 2. All Blues
[2:58] 3. Cuore Di Mama
[3:20] 4. Sometimes I Feel Like A Motherless Child
[2:40] 5. Bluesette
[4:37] 6. I'll Follow You
[3:46] 7. Meditation
[3:35] 8. Easy Living
[3:18] 9. Who Can I Turn To
[3:02] 10. The Night Has A Thousand Eyes

Bass – Milt Hinton, Richard Davis; Drums – Mel Lewis; Guitar – Gene Bertoncini; Harp – Gloria Agostini; Percussion – George Bevens, Phil Kraus; Piano, Celesta – Benny Aronov.

Morgana King recorded two vocal masterpieces on Mainstream Records in the mid-sixties, first being well known vocal tour de force classic "A Taste Of Honey", next came equally magnificent "Miss Morgana King", arranged to perfection by the late arranging master Torrie Zito, doing the ultimate with a huge studio orchestra surrounding the glorious vocalizations of Morgana King, legendary "singer's singer" known by true connoisseurs of great singers as one of the all time greatest! Why this vocal treasure has gone unreleased for decades is a mystery, every great performance of each classic standard is definitive, never has "Try To Remember" been sung with such depth and exquisite vocal beauty, Miles Davis "All Blues" becomes a stunning jazz anthem that defies description. Would be great to have this timeless masterpiece be given proper release on Compact Disc, for now anyone who wants enjoy the finest in the world of sublime musical sounds, start downloading and enjoy the most unique singer on the planet in her finest hour...Bravo Morgana King! ~Bradley Briggs

Miss Morgana King

---

Wayne Shorter - Odyssey Of Iska

Styles: Saxophone Jazz
Year: 1970
File: MP3@320K/s
Time: 40:14
Size: 93,0 MB
Art: Front

( 8:02)  1. Wind
( 8:16)  2. Storm
( 3:24)  3. Calm
(11:32) 4. De Pois Do Amor, O Vazio (After Love, Emptiness)
( 8:57)  5. Joy

Exotic percussion-based proto-World Music worked for Wayne Shorter on Super Nova, so he tried it again the next year (1970) on Odyssey of Iska. The sound is very similar but the lineup completely different: here Wayne plays tenor and soprano; unlike Super Nova, where he stuck exclusively to soprano. Dave Friedman plays vibes and marimba; Gene Bertoncini, guitar; Ron Carter and Cecil McBee on bass; and there are three drummers: Billy Hart, Alphonse Mouzon, and Frank Cuomo. The pieces are, with one exception, given one-word titles: "Wind," "Storm," "Calm," "Joy," and "De Pois do Amor, o Vazio (After Love, Emptiness)." So like Super Nova, there is one Brazilian tune among a lot of mood music (quieter mood here, for the most part). "Wind" is quieter than "Storm," which comes in with a guitar intro that flirts with rock and roll before resolving into something more rich and strange. Here Shorter doesn’t play nearly as stormily as he does elsewhere. It is always tempting with music titled in this way to speculate on the relation of particular parts to the theme: does Shorter come in playing the role of the storm’s eye? He leaves it to Friedman and the others to stir up most of the fuss, such as it is. For a man who went up ‘gainst the wall with Coltrane, I would have expected more of a storm.

"Calm" is, well, you know. With the possible exception of "Storm," this album should carry a commendation from the FDA for truth in packaging: what you see on the label is what you get. Or is there a subtext for deconstructionists? On "Calm" Shorter does sound as if he has a certain sense of foreboding. Still, he stays within the wider parameters of the mood. "De Pois do Amor, o Vazio" sounds like "Calm the Sequel" until about a minute in, when suddenly we’re in a funky Rio dance hall. Bertoncini is competent, the backing dutiful. To my barbaric ears, however, Shorter sounds more emptied by love on "Calm" than on this track. He raises some sparks here (not too many), but "emptiness"? I dunno. And "Joy"? Is it joyful? Sure. I make no claim to find Mr. Shorter’s storm, calm, emptiness, or joy wanting. I only wonder if his titles do not impose on the listener and compel him to judge the music by its success or failure in raising the specified feelings. Of course, programmatic titles like this in jazz are older than "Struttin’ with Some Barbecue" (now there would have been a great one to cover on this album), but still always risky. This album, like Super Nova, now sounds more dated than much of Shorter’s work with Art Blakey and Miles Davis, as well as his earlier Blue Notes. It may be historically important as a forerunner of Weather Report, or nostalgic for old jazz flower pushers. Shorter always plays well. But if you only have money for one Shorter album, Etc. is the one to find. ~ Robert Spencer https://www.allaboutjazz.com/odyssey-of-iska-wayne-shorter-blue-note-records-review-by-robert-spencer.php

Personnel:  Wayne Shorter – tenor saxophone, soprano saxophone;  Gene Bertoncini – guitar;  Ron Carter, Cecil McBee – bass;  Billy Hart, Alphonse Mouzon – drums;  Frank Cuomo – drums, percussion;  David Friedman – vibraphone, marimba

Odyssey Of Iska

---

Paul Desmond - Skylark

Styles: Saxophone Jazz
Year: 1973
File: MP3@320K/s
Time: 53:51
Size: 124,4 MB
Art: Front

(6:10)  1. Take Ten
(9:42)  2. Romance De Amor
(4:51)  3. Was A Sunny Day
(6:44)  4. Music For A While
(5:20)  5. Skylark
(3:59)  6. Indian Summer
(5:55)  7. Music For A While (alt tk)
(5:38)  8. Skylark (alt tk)
(5:27)  9. Indian Summer (alt tk)

Moving over to the CTI label with Creed Taylor, Paul Desmond injects a bit of the 1970s into his sound, obtaining agreeable if not totally simpatico results. Here, the cool altoist is teamed with the progressive-slanted drumming of Jack DeJohnette (who might have been too busy a drummer for his taste), and Bob James' electric and acoustic pianos, with Ron Carter as the bass anchor, Gene Bertoncini on rhythm guitar, and, most interestingly, another individualist, Gabor Szabo, on solo electric guitar. For the first and only time, even taking into account the most inspired moments of Jim Hall, Desmond is not the most interesting soloist on his own record, for it is Szabo who most consistently draws you in with his mesmerizing incantations over vamps from the rhythm section. 

For those who missed it the first time, Desmond remakes "Take Ten" without the Middle Eastern elements "Romance de Amor" is eventually dominated by Szabo, and the inclusion of "Was a Sunny Day" proves that Desmond's involvement with the music of Paul Simon in 1970 was not a passing infatuation. Don Sebesky is credited with the "arrangements" but his orchestrating hand is not felt except for a single solo cello (George Ricci) in an adaptation of Purcell ("Music for a While"). It's a cautious change of pace for Desmond, although the fiercer context into which he was placed doesn't really fire his imagination. ~ Richard S.Ginell http://www.allmusic.com/album/skylark-mw0000651923

Personnel: Paul Desmond (alto saxophone); Gabor Szabo, Gene Bertoncini (guitar); George Ricci (cello); Hilary James , Bob James (piano, electric piano); Jack DeJohnette (drums); Ralph MacDonald (percussion).

Skylark

---

Sandra King, Richard Rodney Bennett - The Magic Window

Bitrate: MP3@320K/s
Time: 53:24
Size: 122.2 MB
Styles: Vocal jazz
Year: 1988/1995
Art: Front

[2:40] 1. Like Someone In Love
[4:04] 2. Only The Lonely
[3:21] 3. It Could Happen To You
[3:38] 4. I Could Have Told You
[3:58] 5. Going My Way
[2:39] 6. What Does It Take
[4:57] 7. The Second Time Around
[3:34] 8. Humpty Dumpty Heart
[5:28] 9. Medley You Think Of Everything Welcome To My Dream
[2:37] 10. And His Rocking Horse Ran Away
[4:26] 11. I'll Only Miss Him When I Think Of Him
[2:57] 12. I Thought About You
[4:32] 13. All My Tomorrows
[4:27] 14. The Magic Window

Sandra King-voc, Richard Rodney Bennett-voc & pno, Gene Bertoncini-gtr, Michael Moore-bs in a celebration of Jimmy Van Heusen's music. Recorded at Mapelshade Studios, Glen Dale, MD (11/10/1986/11/11/1986).

The Magic Window

---

Hubert Laws - The Rite Of Spring

Styles: Flute Jazz
Year: 1971
File: MP3@320K/s
Time: 30:50
Size: 70,8 MB
Art: Front

(7:43)  1. Pavane
(9:03)  2. Rite Of Spring
(3:34)  3. Syrinx
(6:01)  4. Brandenburg Concerto No 3, First Movement
(4:27)  5. Brandenburg Concerto No 3, Second Movement

Long before Wynton decided he could play classical chops as well as the real long-haired interpreters, even though he was a jazz musician, Hubert Laws and his partners at CTI gave it a run with a jazz twist, and for the most part with a far more adventurous repertoire. Unfortunately, the results were just about as thrilling as Wynton's, with a few notable exceptions. For whatever reason, flutist Hubert Laws, known for his soul-jazz deftness, decided to take on handful of classical texts with the help of Bob James on piano, harpsichord, and electric piano; bassist Ron Carter, who doubles on cello; and drummer Jack DeJohnette, along with percussionists Airto and David Friedman, a pair of classical guitarists, and a trio of bassoonists. The program ranges from Debussy's lovely "Syrinx" and Faure's "Pavane," to Stravinsky on the title cut and two movements of the third Brandberg Concerto by Bach. The problem with so much variation and ambition is that it's bound to get caught up somewhere. That catching place is in the articulation of the actual transcriptions. They are stiff, rigid, oddly intoned, and lackluster except in Debussy's "Syrinx," which is gorgeous throughout with its strange meter and lilting cadence. On the rest, the only place the tunes work is in the sections where the players engage in jazz improvisation upon the score, which is a swirling, engaging free-for-all of color, texture, and nuance. But since this happens so irregularly, the pieces just seem to grate on the listener. This is a brave but ultimately failed experiment. ~ Thom Jurek http://www.allmusic.com/album/the-rite-of-spring-mw0000649611

Personnel : Hubert Laws (flute); Walter Kane, Jane Taylor, Wally Kane (bassoon); Ron Carter (cello, bass); David Friedman (vibraphone, percussion); Bob James (piano, electric piano, harpsichord); Gene Bertoncini, Stuart Scharf (guitar); Jack DeJohnette (drums); Airto Moreira (percussion).

The Rite Of Spring

---

Lonnie Liston Smith And The Cosmic Echoes - Renaissance

Styles: Post-Bop, Jazz Fusion
Year: 1976
File: MP3@320K/s
Time: 36:01
Size: 82,9 MB
Art: Front

(6:45)  1. Space Lady
(6:10)  2. Mardi Gras (Carnival)
(5:24)  3. Starlight and You
(5:52)  4. Mongotee
(4:12)  5. A Song of Love
(2:38)  6. Between Here and There
(4:59)  7. Renaissance

With a jacket adorned by mystical symbols of every faith and tribe Smith could think of, Renaissance is a pleasant paean to Peace, Love and Understanding that goes down easily and almost tracelessly. Smith doubles on acoustic piano and Rhodes electric piano, the latter often tarted up by gentle period Echoplex effects, and brother Donald Smith provides ethereal flute and occasional vocals. The Smiths are at their most ingratiating when sailing along in a semi-Brazilian groove on "Mardi Gras" and "A Song of Love" that pre-echoes a similar direction that Pat Metheny would take. Otherwise, the mildly spacy funk patterns and lightweight age of Aquarius atmosphere rise not too far above the level of hip '70s makeout music. Still, you could do a lot, lot worse in that genre. ~ Richard S. Ginell  http://www.allmusic.com/album/renaissance-mw0000464626

Personnel: Lonnie Liston Smith (vocals, guitar, piano, electric piano, electronics); Donald Smith (vocals, flute); Gene Bertoncini (guitar, acoustic guitar); Dave Hubbard (flute, soprano saxophone, tenor saxophone); Leon Pendarvis (Clarinet); Kenneth Bichel (synthesizer, Moog synthesizer); Wilby Fletcher (drums); Lawrence Killian (congas); Guilherme Franco (percussion).

Renaissance

---

Earl Coleman - Love Songs

Styles: Vocal
Year: 1967
File: MP3@320K/s
Time: 34:34
Size: 80,7 MB
Art: Front

(3:32)  1. People
(3:58)  2. There's No You
(2:52)  3. A Day In The Life Of A Fool
(2:57)  4. I've Got You Under My Skin
(4:44)  5. I Wish I Knew
(5:11)  6. I Won't Tell A Soul
(2:40)  7. The Work Song
(2:57)  8. Manhattan Serenade
(2:58)  9. Charade
(2:42) 10. When Did You Leave Heaven

Despite his warm voice and the optimistic liner notes, this album was Earl Coleman's only recording as a leader from 1957-76. Coleman, whose baritone voice was originally influenced by Billy Eckstine, is long overdue for rediscovery, as was Johnny Hartman who gained some posthumous fame in the 1990s. Coleman is joined by either a big band led by pianist Billy Taylor and featuring flutist Jerome Richardson, or by Taylor's combo with trumpeter Eddie Williams, guitarist Gene Bertoncini, bassist Reggie Workman and drummer Bobby Thomas. A few of the tunes, such as "People" and "Charade," are throwaways, but even those are uplifted by Coleman's warmth. Highlights include "There's No You," "I Wish I Knew" and "When Did You Leave Heaven." This underrated LP will hopefully be reissued on CD someday and makes one regret that Coleman recorded so little during his prime. ~ Scott Yanow  http://www.allmusic.com/album/love-songs-mw0000879193

Personnel:  Earl Coleman – vocals;  Frank Foster - tenor sax;  Jerome Richardson – flute;  Billy Taylor – piano;  Eddie Williams – trumpet;  Gene Bertoncini – guitar;  Billy Taylor – piano;  Reggie Workman – bass;  Bobby Thomas - drums

Love Songs

---

Gene Bertoncini, Kenny Poole - East Meets Midwest

Bitrate: MP3@320K/s
Time: 59:56
Size: 137.2 MB
Styles: Guitar jazz
Year: 2007
Art: Front

[4:09] 1. Tangerine
[3:53] 2. Do Nothin' Till You Hear From Me
[4:37] 3. All The Things You Are
[4:05] 4. The Shadow Of Your Smile
[6:18] 5. Cherokee
[5:59] 6. Estaté
[3:41] 7. How About You
[5:25] 8. Sophisticated Lady
[3:33] 9. Snowfall
[8:51] 10. Willow Weep For Me
[3:46] 11. Woman From Bahia
[5:33] 12. A Sleepin' Bee

Part of the genius of many jazz performers is the ability to set up in a studio, with or without charts, name a tune, decide on a key, roll the tape machine (or boot up the computer) and record a fully unrehearsed session in one take. It preserves the immediacy of the live moment in performing. We get that from two guitarists – Gene Bertoncini and Kenny Poole – in East Meets Midwest, the debut recording for Cincinnati-based JCurve Records.

Bertoncini, a nylon-string guitarist who has performed with Tony Bennett and Lena Horne, teams with Poole on a mellow, 12-track selection of standards, joined on five of them by Bob Bodley on acoustic bass. Bodley plays so discreetly on those selections, though, you can hardly tell he's there.

Among the more outstanding moments on this recording are a spirited renditions of "Tangerine" and "The Shadow of Your Smile." Bear in mind, though, that these and the others are more than just different versions of standards. These are lively, masterful, technically flawless, and entertaining instrumentals. Perhaps the most astounding selection is the duo's brief version of Claude Thornhill's "Snowfall." Bertoncini sets the tempo with a rhythm on his guitar, faster than the song normally takes. Poole plays a brief version of the theme on top of it, then launches right into a solo. At one point, they seem to jump into different keys and rhythms that it becomes a little difficult to tell that it they are playing "Snowfall." But Poole returns to the theme to finish the rest of the selection. ~Tim Roberts

East Meets Midwest

---