Hendrik Meurkens - Manhattan Samba

Styles: Brazilian Jazz, Harmonica Jazz
Year: 2020
File: MP3@320K/s
Time: 41:36
Size: 96,4 MB
Art: Front

(5:44) 1. Clear of Clouds
(6:24) 2. Manhattan Samba
(5:19) 3. One for Manfredo
(6:47) 4. Dona Palmeira
(5:04) 5. The Fropple
(4:43) 6. Bonita
(2:21) 7. Frenzelosa (Choro No. 2)
(5:11) 8. Aquelas Coisas Todas

Composer, virtuoso on both the vibraphone and harmonica, German-born New York-based Hendrik Meurkens presents yet another colorful and tantalizing taste of Brazilian music on the exquisite Manhattan Samba. A proponent of the samba and bossa nova styles of music after a full immersion while living in Rio de Janeiro in the early 1980s, Meurkens continues documenting his passion for the music, this time offering new compositions, includes previously recorded tunes and features the music of Brazilian/jazz masters Ivan Lins, Toninho Horta and Antonio Carlos Jobim.

Recognized as perhaps the most important harmonica voice since Toots Thielmans, for this album, Meurkens performs only on the harmonica and surrounds himself with a core quartet featuring Brazilian pianist Helio Alves, Brazilian bassist Gustavo Amarante and Brazilian percussionist/drummer Portinho. Argentinian bassist Fernando Huergo also participates on three tracks.

Recorded in Augsburg, Germany in 2020, the eight-piece collection of Brazilian jazz begins with the samba-tinged "Clear of Clouds," followed by the fast-tempo title track highlighting the leader on many solo moments throughout. Offering a lighter side of the music on the tribute for the late pianist Manfredo Fest, "One for Manfredo" showcases the talents of pianist Alves along with powerful drumming from Portinho.

The Lins classic "Dona Palmeira" is the first of a couple of very soft and beautiful tunes performed on this album. Speaking of classics, the Jobim staple "Bonita" is the closest to a tender ballad you will encounter here, striking and warm in every way, performed as duet between Meurkens and Alves. The brief choro-styled "Frenzelosa (Choro No. 2)" is a spicy, fast-played, shoulder-moving, Carnival-styled number sure to energize anyone.

Closing out the session is another wonderful genre staple from the great Brazilian guitarist Toninho Horta, "Aquelas Coisas Todas," as the harmonica master and distinguished band mates put a cap on one of the finest musical experiences of Brazilian/jazz on the 2021 jazz landscape.By Edward Blanco
https://www.allaboutjazz.com/manhattan-samba-hendrik-meurkens-self-produced

Personnel: Hendrik Meurkens: harmonica; Helio Alves: piano; Fernando Huergo: bass; Portinho: drums; Gustavo Amarante: bass

Manhattan Samba

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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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Lyn Stanley - Interludes

Styles: Vocal
Year: 2015
Time: 58:41
File: MP3 @ 320K/s
Size: 136,7 MB
Art: Front

(4:03) 1. How Long Has This Been Going On
(3:33) 2. Just One Of Those Things
(4:37) 3. Black Velvet
(4:23) 4. More Thank You Know
(4:31) 5. Boulevard Of Broken Dreams
(5:26) 6. Whole Lotta Love
(3:28) 7. Last Tango In Paris
(5:09) 8. Don't Explain
(2:58) 9. Nice 'n Easy
(5:13) 10. The Island
(3:53) 11. It's Crazy
(4:47) 12. In A Sentimental Mood
(3:15) 13. I Was A Little Too Lonely
(3:18) 14. I'm A Fool To Want You

Vocalist/producer Lyn Stanley has established herself as a foremost stylist of the Great American Songbook. That is no mean feat. The sheer amount of vocal music made each year around the Songbook is impressive. It is too bad that the quality of a great many of those recordings is not equally impressive. Stanley's two previous recordings, Lost in Romance (A.T. Music, LLC, 2013) and Potions: From the '50s (A.T. Music, LLC, 2014), have been an evolving prelude to the present. "How Long has This Been Going On," the opener for Interludes demonstrates Stanley's command of the standard.

But it is not the jazz standard that is special about Interludes. Stanley addresses two more recent compositions: "Black Velvet," released by Alannah Myles in 1989 and Led Zeppelin's "Whole Lotta Love," from Led Zeppelin II (Atlantic, 1969).

Lyn Stanley takes on the most white-hot anthem of the carnality of youth. She does so unflinchingly. There is little to be nostalgic about young love once you've learned what you are doing. And that is Stanley's point with covering this song. Arranged by guitarist John Chiodini the nominal blues-rock monolith becomes a steamy rumba propelled by bassist Chuck Berghofer and drummer Paul Kreibich, whose deft tom-tom work amps up the performance's already heady sensuality. Then, there is Stanley, who produced this recording, ensuring that a proper mixture of Bobby Gentry's "Ode to Billy Joe," Peggy Lee's "Fever," and Dusty Springfield's "Son of a Preacher Man" are admixed into one grown up vision of love, sex, and the whole shooting match.

Think if George Gershwin had composed "Summertime" with J.J. Cale and you may begin to get the idea. Stanley must be applauded for taking this gigantic artistic chance. So many "jazz" covers of contemporary material end so badly. In this case, not so. This is a special release in every way. By C. Michael Bailey https://www.allaboutjazz.com/interludes-lyn-stanley-at-music-llc-review-by-c-michael-bailey

Personnel: Lyn Stanley: vocals; Mike Garson, Bill Cunliffe: piano; Chuck Berghofer: bass; Ray Brinker, Paul Kreibich: drums; John Chiodini: guitar; Cecilia Tsan: cello; Brad Dutz: percussion; Bob McChesney: trombone; Hendrik Meurkens: harmonica; Steve Rawlins: finger snaps.

Interludes

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Hendrik Meurkens - The Jazz Meurkengers

Styles: Harmonica Jazz
Year: 2024
Time: 53:42
File: MP3 @ 320K/s
Size: 123,6 MB
Art: Front

(5:49) 1. A Slow One
(6:09) 2. Belgian Beer At Dawn
(6:01) 3. A Lullaby For Benny
(5:37) 4. Silver's Serenade
(6:05) 5. Meurks' Mood
(6:59) 6. Dreamsville
(5:53) 7. If I Were A Bell
(5:46) 8. A Tear For Toots
(5:19) 9. Smada

Harmonica virtuoso Hendrik Meurkens brought together an outstanding group of musicians in The Jazz Meurkengers, which is a swinging tribute to the allure of hard-bop jazz. Supported by the resourceful and highly adaptable rhythm section of pianist Steve Ash, bassist Chris Berger and drummer Andy Watson, the band was augmented by the impeccable guitarist Ed Cherry on four tracks and bebop tenor saxophonist Nick Hampton on four different tracks giving the ensemble the energy, creativity, and reverence of the jazz tradition.

The nine-track session opens with a Meurkens original, "A Slow One," with a bubbling tone and slicing swing. Meurkens, Cherry and Ash are leading the way, each focusing equally on melody and texture as they interrogate the music. "Belgian Beer At Dawn" is another Meurkens number and contrafact based on the chord changes on "Stella By Starlight." It is a spirited chart, with Meurkens offering a juicy and distinct solo while Hampton's tenor has a rich tone in his unhurried playing. Watson makes his drums musically expressive in his exchanges with Meurkens and Hampton.

Horace Silver's composition "Silver's Serenade" comes from the 1963 Blue Note recording of the same name. It is one of Silver's most recognizable pieces, with an artful balance of mood and structure. Meurkens, Cherry and Ash use authoritative solos filled with long, seamless phrases conveying knowledge of harmony and form. Peter Gunn was a 1950s TV detective series in which jazz was noteworthy. The Henry Mancini composition "Dreamsville" was the background music to the romantic sequences. Meurkens, Cherry, and Ash are again front and center, with solos unsurpassed in clarity and elegance. In all the charts in which Cherry participated, his guitar work has been fluid and expressive, and his solos brimming with soul and sophistication.

"If I Were A Bell" was composed by Frank Loesser for the 1950 musical "Guys and Dolls." It became a jazz standard after it was recorded by trumpeter Miles Davis on the 1958 Prestige album Relaxin' with The Miles Davis Quintet. Meurkens' arrangement has a powerful sense of swing with an energetic solo from Hampton. Ash's up-tempo excursion shows he is a pianist who relishes logic and discovery.

Toots Thielemans was a Belgian-born musician who made his mark on jazz history with the playing of the chromatic harmonica. Acknowledging his inspiration from his playing, Meurkens wrote a ballad, " A Tear For Toots." for Thielemans's centennial year in 2022. Meurkens' reading is heartfelt and filled with delicate lyricism. Both Cherry and Ash are emotionally lucid and sure-footed. In summary, Meurkens and his ensemble have crafted a tasteful and inventive release.By Pierre Giroux https://www.allaboutjazz.com/the-jazz-meurkengers-hendrik-meurkens-cellar-music-group

Personnel: Hendrik Meurkens - harmonica; Ed Cherry - guitar on tracks 1,4,6,8; Nick Hempton - tenor saxophone on tracks 2,5,7,9; Steve Ash - piano; Chris Berger - bass; Andy Watson - drums

The Jazz Meurkengers

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Cccn Jazz Orchestra, Hendrik Meurkens - Big Band Brasil

Styles: Harmonica And Vibraphone Jazz
Year: 2024
Time: 60:10
File: MP3 @ 320K/s
Size: 138,2 MB
Art: Front

(6:48) 1. Meet You After Dark (feat. Diego Urcola)
(5:41) 2. Brigas Nunca Mais
(9:11) 3. Bolero para Paquito (feat. Paquito D'Rivera)
(7:16) 4. A Slow One (feat. José Valentino)
(4:56) 5. A Felicidade
(6:12) 6. Caminhos Cruzados (feat. Claudio Spiewak)
(5:28) 7. Herb's Samba
(5:22) 8. Lingua de Mosquito (feat. Ismael Vergara)
(9:12) 9. A Summer in San Francisco

Hendrik Meurkens, a virtuoso on both the chromatic harmonica and the vibraphone, is the most important jazz harmonica player since Toots Thielemans. German-born but now based in New York, Meurkens’ recordings and performances garner worldwide acclaim because the transcendent beauty of his music has universal appeal.

A two-mallet player in the tradition of Milt Jackson and Bobby Hutcherson, Hendrik Meurkens was en-route to being an instantly recognizable vibraphonist when he heard Toots Thielemans. Inspired by the sound of Thielemans’ harmonica, he taught himself the difficult-to-master instrument.

Hendrik Meurkens’ other life-changing musical experience was his introduction to samba and bossa nova. He was so moved by Brazilian music that after perfecting his unique musical voice at Berklee, as a vibraphone major, he moved to Rio in the early 80s to totally immerse himself in music and culture of Brazil.

A regular Monday night gig at the popular Rio club, Bar 21, soon demonstrated his acceptance by Brazilian musicians. Meurkens’ poignant, emotionally affecting harmonica proved to be a sound that Brazilians strongly embraced, and during his Rio days, he met many musicians who later became collaborators in both Europe and New York.

Back in Germany by ’83, he became a respected studio musician, recording with European Radio Orchestras and leading his own groups, as well as accompanying visiting legends like Harry ‘Sweets’ Edison and Buddy Tate.

Within ten years, he had established himself as the “new jazz harmonica voice,” and moved to New York, thanks to an exclusive contract with the prestigious label, Concord Records. He has since recorded fifteen albums, and continues to perform as both a guest artist, and with his own groups, both in festivals and clubs globally.

Hendrik Meurkens’ profound involvement in both jazz and Brazilian music resulted in a very personal and instantly recognizable version of Samba jazz. This music, a cross-cultural amalgam guaranteed to touch the heart, features his harmonica and vibes along with piano, bass and drums, playing his stirring originals and arrangements. The group has been documented on a number of CDs, most notably the Hendrik Meurkens desert island disc, October Colors.

As a featured artist, he has recorded with Charlie Byrd, Jimmy Cobb, Ivan Lins, Monty Alexander, Claudio Roditi, Manfredo Fest and Mundell Lowe, as well as backing such leading artists as Astrid Gilberto and Olivia Newton John and touring with the Ray Brown Trio, Paquito D’Rivera, Oscar Castro Neves, Herb Ellis, Herbie Mann, Charlie Byrd, and James Moody among many others.

Also a successful composer (his compositions have been recorded by other artists and featured in the Hollywood movie, “Dolores Claiborne,”) Hendrik Meurkens remains equally at home playing jazz or Brazilian music. “My mission is simple,” he explains. “I want to create music of great beauty.”

Like any great musician, Hendrik Meurkens still practices incessantly, yet his music remains very melodic and rhythmically pleasing. “I like beautiful music, Sinatra, Jobim, Charlie Parker, so I concentrate on playing things that the audience can enjoy. Complicated music doesn’t really mean anything except for professionals who want to analyze it. I want people to feel what I do and the best way to do that is to play something touches their hearts.”https://hendrikmeurkens.com/blog/

Personnel: Hendrik Meurkens, Harmonica and Vibraphone; Paquito D’Rivera, alto sax on track 3; Diego Urcola, trumpet on track 1; Claudio Spiewak, acoustic guitar on track 6; Ismael Vergara, clarinet on track 8; Jose Valentino, flute on track 4; Gina “Mali” Chaverri, vocals on track 9

Big Band Brasil

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Hendrik Meurkens & Misha Tsiganov - Junity

Styles: Harmonica And Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 62:07
Size: 144,0 MB
Art: Front

(5:17) 1. Blackbird
(4:07) 2. Luiza
(6:12) 3. Lady Bear's Lullaby
(4:47) 4. Junity
(4:15) 5. Norwegian Wood
(3:59) 6. Olena
(4:18) 7. Pent Up House
(4:48) 8. Ruby, My Dear
(4:00) 9. Menina na Janela
(5:03) 10. West Coast Blues
(4:40) 11. Scriabin
(6:45) 12. Close Enough For Love
(3:48) 13. Etude Op.2, No.1

Junity? No, that's not a misprint. Take "junto," the Brazilian word for together, and marry it with "unity"; that's how you get "junity," a hybridized term that accurately describes the relationship between harmonica master Hendrik Meurkens and pianist Misha Tsiganov.

These two men have been playing together for nearly a decade, appearing together on stages across the world and pleasing Meurkens albums like Samba To Go! (Zoho Music, 2009) and Celebrando (Zoho Music, 2012). Junity, a program containing seven harmonica-piano duo tracks and six quartet performances, highlights their simpatico relationship. This record is the first to focus in on the Meurkens-Tsiganov partnership, but it's not the first time these men have worked as a twosome. Over the years they've done a few duo tours in Russia, and the warm reception they received on those occasions likely contributed to the decision to make this type of record.

Both men seem to have eclectic taste(s), demonstrated in the song selections on this album. A pair of Lennon/McCartney classics ("Blackbird" and "Norwegian Wood"), a few jazz standards (Thelonious Monk's "Ruby, My Dear," Wes Montgomery's "West Coast Blues," and Sonny Rollins "Pent-Up House"), some Tsiganov-initiated nods to Russia ("Scriabin," "Etude Op. 2, No. 1" and "Lady Bear's Lullabye"), and Brazilian-based music all have a place at the table. And despite differences in origin, all of the material is tied together neatly.

Within the quartet program there are songs that fully integrate the four menMeurkens, Tsiganov, bassist Oleg Osenkov and drummer Willard Dyson and there are songs that still tend to zone in on the co-leaders, with Dyson and Osenkov gently coloring around them; "West Coast Blues" and "Pent-Up House" belong to the former category while "Close Enough For Love" belongs to the latter. The majority of the duo material is extremely lyrical, projecting a sense of longing. A notable exception is "Menina Na Janela," a sprightly Meurkens-penned choro that's all sunshine and cheer. Regardless of the mood, Junity does what it sets out do: it shines a light on the beautifully collaborative nature of the Meurkens-Tsiganov partnership. It's a match made in heaven. By Dan Bilawsky
https://www.allaboutjazz.com/junity-hendrik-meurkens-hms-review-by-dan-bilawsky

Personnel: Hendrik Meurkens: harmonica; Misha Tsiganov: piano; Oleg Osenkov: bass (1, 3, 5, 7, 10, 12); Willard Dyson: drums (1, 3, 5, 7, 10, 12).

Junity

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Hendrik Meurkens - Samba Jazz Odyssey

Styles: Jazz, Big Band
File: MP3@320K/s
Time: 63:16
Size: 145,8 MB
Art: Front

(7:22) 1. A Night in Jakarta
(5:41) 2. Manhattan Samba
(5:37) 3. Prague in March
(5:40) 4. Sambatropolis
(7:51) 5. Mountain Drive
(9:03) 6. You Again (Live)
(5:56) 7. Bolero para Paquito
(7:42) 8. Samba Tonto
(8:20) 9. Choro

Maestro Hendrik Meurkens isn’t just an acclaimed artist, whom we have all come to admire. He’s a man brimming with incandescent ideas which manifest into musical gold. What makes Meurkens so special is the singularity of his sound. A German-born, New York-based harmonica player who performs Latin Jazz. If there is a Venn diagram of these attributes, he would be one of the few in the middle. That he has carved such a niche over a storied career should put this album under a special light. Samba Jazz Odyssey is an adventure with seven pieces composed by Meurkens, which were undoubtedly informed by his trailblazing musical journeys around the world. The maestro pairs with the august WDR Big Band, from Cologne, Germany, with arrangements which were also conducted by Michael Philip Mossman, a Grammy-nominated arranger. “This project is very special to me,” said Meurkens. “It is everybody’s dream to record with the WDR Big Band, and I was honored to collaborate with them.” The resulting production is a vivid voyage through samba jazz in its many forms.

A Night in Jakarta isn’t just a get-up samba with feel good effect. It exemplifies the theme of this project, a veritable tour of samba jazz, which begins in the South Pacific. Meurkens wrote the piece as an honorific for the Java Jazz Festival organizers based in Jakarta. He and his Samba Jazz Quartet have played at this well-regarded festival many times. Meurkens has fond memories, particularly of the late-night jam sessions at the hotel. Paul Heller (tenor saxophone) and Raphael Klemm (trombone) deliver dazzling solos to get this album going.

Meurkens first recorded Manhattan Samba on his album Poema Brasileiro (Concord, 1996). It’s a tune of many layers, runs, and hits. The band plays as one, navigating the sections with aplomb. Pascal Bartoszak (flute) offers an uplifting and thoughtful solo. Meurkens’ harmonica solo is beautiful and buoyant, bright and bluesy. The maestro is at home at this piece because well…he’s at home. After all, he’s a New Yorker. And this piece is a musical dedication to the vibrant samba jazz scene in New York, as many terrific Brazilian artists live in the Big Apple. Next stop, central Europe. Prague in March is one of Meurkens’ veritable hits, as many accomplished artists have recorded it over the years, including Claudio Roditi, the Brazilian trumpeter. This particular arrangement is by Carlos Franzetti for a project on which he and Meurkens collaborated. In fact, Meurkens wrote this masterpiece before he immigrated to the US, just one year after the Berlin Wall fell. The namesake of the song, Prague, is also its inspiration. Meurkens was fascinated with this beautiful city, and on this rendition, check out Ludwig Nuss’ refined trombone solo.

Sambatropolis is another of Meurkens’ popular compositions, recorded previously with English and Portuguese lyrics. It’s a terrific ode to the samba jazz scene of New York. The back-and-forth trades between Meurkens and Johan Hörlén (alto saxophone) are pure delight. This juxtaposition of virtuosity may spark memories or engender one to imagine the music geniuses found at many New York jazz clubs.

On Mountain Drive, we find ourselves somewhere in the American West, driving amid the Rocky Mountains. Meurkens named his piece after a car ride from Denver to Aspen. The natural beauty of the jagged mountains and greenery enveloped Meurkens’ mind. For this particular rendition, Andi Haderer (trumpet) goes to work with a terrific solo. “I love the groove that Mossman found for the band. He added a totally new perspective with his arrangement,” reflects Meurkens.

Beginning with pulsing drum hits, You Again is Mossman’s composition, and it unfolds with a steady groove and blooming harmonies. The band is put through the paces, and it’s clearly up to the task as the full sonic and dynamic range is on display. Meurkens contributes an epic harmonica solo that demonstrates his effortless mastery. Joining him with remarkable solos: Jens Neufang (baritone sax), Andy Hunter (trombone), Mattis Cederberg (bass trombone), Hans Dekker (drums), Paul Shigihara (guitar), and Rob Bruynen (trumpet). This piece is a jam session. Meurkens wrote Bolero Para Paquito for Paquito D’Rivera, the legendary jazz saxophonist and clarinetist. “Paquito remains one of my main inspirations in Latin Jazz, and he has so much positive energy,” said Meurkens. In fact, Paquito recorded the piece, too. And this particular arrangement by Franzetti is a thoughtful and well-placed work. One highlight is indeed Billy Test’s piano solo.

The premiere recording of Samba Tonto is a high point of this album. A samba in seven with a bridge that undulates between 2/4 and 3/8 could make your head spin. But the move among meters is handled gracefully, with colorful woodwinds and lush harmonies. Paul Shigihara (guitar) adds his stamp with a modern and soulful solo. The album ends with Choro, the well-known piece composed by A.C.Jobim. But you’ve never heard it like this before. Mossman’s cinematic arrangement frames the number in a special manner, giving space for solos by Billy Test (piano), Ludwig Nuss (trombone), Ruud Breuls (trumpet), and Meurkens (harmonica).

Jazz Samba Odyssey exemplifies basic addition. One plus one equals two. But the combination of Meurkens, Mossman, and the WDR Big Band have given us something ever more. This album is a calculus of creativity, a diagram of distinction, and a watershed work for the jazz and samba communities. It has been a distinct honor for Doug Davis, Matthew Mayer, and I to help produce this album for maestro Meurkens and the entire group. The project has indeed been an odyssey into the music, from the heart, and out of this world. Kabir Sehgal – Multi-GRAMMY & Latin GRAMMY Award winning producer, New York Times Bestselling Author. https://jazzdelapena.com/new-york-report/hendrik-meurkens-and-the-wdr-big-band-release-samba-jazz-odyssey-may-20-2022/

Samba Jazz Odyssey

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Stefanie Schlesinger - Angel Eyes

Styles: Vocal
Year: 2004
File: MP3@320K/s
Time: 50:06
Size: 133,1 MB
Art: Front

(5:04)  1. Say That You Love Me
(4:55)  2. Stay
(3:25)  3. Welcome Back
(3:34)  4. The Way He Makes Me Feel
(8:05)  5. When Sunny Gets Blue
(4:52)  6. Four Sweet Words
(4:40)  7. Angel Eyes
(4:28)  8. L'amore Che Non C'e
(4:19)  9. No Reason For Spring
(4:33) 10. Hoffnung
(2:04) 11. Close Your Eyes

Stefanie Schlesinger - vocal, Wolfgang Lackerschmid- vibes / gramorimba, Bob Degen - piano, John Lee - bass, Karl Latham - drums, Roger Squitero - percussion, Slide Hampton - trombone, Hendrik Meurkens - harmonica, Johannes Faber - trumpet on her new album "Angel Eyes" Schlesinger goes a step further than most of her singing colleagues.

It presents not only promising new songs (most composed by her musical director and vibraphonist, Wolfgang Lackerschmid), but provides the "standards" in unusual and highly surprising arrangements. Or who would ever "Angel Eyes" heard as bluesy 5/4 strokes and Michel Legrand's "The Way He Makes Me Feel" (from the movie "Yentl") as R & B Waltz? Anyway: "Angel Eyes" is not just the album a good singer plus band. It is also an album full of great solos and brilliant instrumental moments.Including the trombone Champion Slide Hampton, piano wizard Bob Degen and harmonica master Hendrik Meurkens - For the combined forces of some live jazz legends care. There are a lot of music to be discovered between the singing verses. Translate by google  http://hipjazz.net/angeleyes

Angel Eyes

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Hendrik Meurkens - Cobb's Pocket

Styles: Harmonica Jazz
Year: 2019
File: MP3@320K/s
Time: 50:18
Size: 116,3 MB
Art: Front

(6:07)  1. Driftin'
(4:47)  2. Cobb's Pocket
(8:34)  3. Frame for the Blues
(6:29)  4. Slidin'
(5:40)  5. Slow Hot Wind
(5:35)  6. Unit Seven
(6:25)  7. Polka Dots and Moonbeams
(6:38)  8. A Slow One

It may be posited that what Louis Armstrong was to the trumpet, Toots Thielemans was to the mouthorgan. With Thielemans now blowing in the Upper Room, the field is open to aspiring and worthy replacements. Hendrik Meurkens fits that bill appropriately and is a leading contender, for sure. Like his aforementioned hero, Meurkens is not only a superior harmonica player, he is, like Thielemans, a multi-instrument-playing musician.

Cobb's Pocket, a very fine effort, has Meurkens fronting a terrific rhythm section consisting of B-3 organ, guitar and drums. Not a lengthy album -there are only eight tracks. The session offers terrific ensemble playing and great jazz improv across a variety of grooves. "Driftin'" is a Herbie Hancock-composed head-tilting ear-wormer that has Meurkens and Bernstein's guitar working its way over a hip, with a struttin' head and LeDonne chiming in before Meurkens, Bernstein and LeDonne deliver pocketed solos. The pairing of harmonica and guitar on melodies is an excellent touch that adds a robust dimension. The title cut, a Meurkens composition, is a respectful and furiously-paced tip of the hat to legendary drummer Jimmy Cobb. It is a burner with leader and cadre delivering smoking solos. Maestro Meurkens is a technical wizard. He holds little back and swings heavily throughout the date. His chops have chops. His improvisations are swinging, extended lines that resemble of those of a saxophonist or pianist. Remember, Meurkens is also an ace vibraphonist. He is (and all are) soulful on Slide Hampton's "Frame for the Blues" and he demonstrates great dynamic taste on "Polkadots and Moonbeams." Bernstein offers great swing and a tasty solo on the leader's "Slidin' and Henry Mancini's bossa, "Slow Hot Wind." LeDonne, as underrated as he is talented, is a swinger in the finest B-3 tradition. Cobb, a near-nonegenarian at the time of the session, is tasty and driven throughout and offers a fine solo on "Unit Seven."

Cobb's Pocket is shorter in length, but extensive in its delivery of an A-1 entertaining session. This is a pocket to be picked. And yes, The Baron would be proud. https://www.allaboutjazz.com/cobbs-pocket-hendrik-meurkens-in-and-out-records-2

Personnel: Hendrik Meurkens: harmonica; Peter Bernstein: guitar; Mike LeDonne: B-3 organ; Jimmy Cobb: drums.

Cobb's Pocket

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Gabriel Espinosa - Songs Of Bacharach And Manzanero

Bitrate: MP3@320K/s
Time: 49:55
Size: 114.3 MB
Styles: Vocal jazz, Latin jazz
Year: 2016
Art: Front

[5:09] 1. Adoro
[5:06] 2. (They Long To Be) Close To You (Feat. Tierney Sutton)
[5:02] 3. Como Yo Te Ame
[3:18] 4. The Look Of Love (Feat. Tierney Sutton)
[5:00] 5. Esta Tarde Vi Llover
[4:46] 6. What The World Needs Now (Feat. Tierney Sutton)
[4:04] 7. Somos Novios
[6:16] 8. Raindrops Keep Falling On My Head (Feat. Tierney Sutton)
[4:40] 9. Cuando Estoy Contigo
[6:29] 10. Alfie (Feat. Tierney Sutton)

Bassist-composer-arranger Gabriel Espinosa explores the common ground between two prolific and influential popular composers who came to prominence during the ‘60s in their respective countries -- Burt Bacharach in the United States and Armando Manzanero in Mexico. With five-time Grammy Award-nominated vocalist Tierney Sutton handling the five familiar Bacharach tracks and Espinosa himself singing the Spanish lyrics of five tunes by his fellow countryman and native of Yucatan, this alluring concept album is brimming with the kind of sophisticated harmonies, unexpected chord progressions and changing meters that mark both acclaimed composers’ work, while also being unabashedly romantic at his core.

As Espinosa states, “I’m not a jazz musician, I’m not a Brazilian musician or Afro-Cuban musician or bolero musician. I’m a little bit of everything, so I put a little bit of everything in these songs.” What do the famed American pop composer and beloved Mexican bolero composer have in common? Espinosa rattles off a list of qualities: “Beautiful melodies, beautiful harmonies, beautiful lyrics. Friendly songs. Songs that people can relate to. Songs that people can sing along to. They’re beautiful songs. To me, they are like the new American Songbook writers. Bacharach is a magic composer. Nobody was writing popular music like that in the ‘60s. And Manzanero is the equivalent of Jobim, but in the Mexican bolero music tradition. He is one of the idol composers in Mexico.” ~Grady Harp

The ensemble is Gabriel Espinosa, vocals, Tierney Sutton, vocals, Misha Tsiganov, piano and fender Rhodes, Mauricio Zottarelli, drums, percussion. Jim Seeley, trumpet, flugelhorn, Hendrik Meurkins, harmonica, Gustavo Amarante, electric bass, Joe Martin, acoustic bass, Gabriel Espinosa, eclectic bass, Rubens De La Corte, acoustic guitar, Itai Kriss, flute, and Johathan Gomez, bongos.

Songs Of Bacharach And Manzanero

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Various - The Colors Of Latin Jazz: Corcovado

Bitrate: MP3@320K/s
Time: 62:40
Size: 143.5 MB
Styles: Bossa Nova, Latin jazz
Year: 1999
Art: Front

[6:46] 1. Karrin Allyson - Corcovado (Quiet Nights)
[6:41] 2. Manfredo Fest - Tristeza De Nos Dois (Sad For Both Of Us)
[5:16] 3. Marcos Silva - So Far Away
[3:35] 4. Tania Maria - Triste
[3:31] 5. Charlie Byrd - How Insensitive
[5:07] 6. Manfredo Fest - Ela E Carioca (She's A Child Of Rio)
[4:28] 7. Susannah McCorkle - Caminhos Cruzados
[5:00] 8. Hendrik Meurkens - A Summer In San Francisco
[4:26] 9. Karrin Allyson - Coração Vagabundo
[5:28] 10. Trio Da Paz - Vera Cruz
[5:04] 11. Tania Maria - Comecar De Novo (To Begin Again)
[7:14] 12. Charlie Byrd - Corcovado

Not many artists have immersed themselves in quite the cultural combination that Concord Special Products has assembled for the Colors of Latin Jazz series. This six-CD series captures the sweet, hot, happy, and rhythmic joys of Latin jazz. Colors of Latin Jazz: Corcovado! is the perfect culmination for the initial offerings of this splendid and exciting series. The perfect nightcap is the sweet voice of Karrin Allyson originally heard on Daydream and here on "Corcovado." She's as soft as the tear of a raindrop. Her serene essence is heard again in Portuguese singing Caetano Veloso's "Coracao Vagabundo," a soft bossa nova originally issued on From Paris to Rio. Romero Lubambo, Nilson Matta, and Duduka Da Fonseca join Trio Da Paz on the five-minute reprise of "Vera Cruz" featured from Brasil From the Inside. By the time you hear "Summer in San Francisco" by Hendrik Muerkens or Manfredo Fest and Susannah McCorkle emanating their resonant beauty on a pair of Antonio Carlos Jobim classics, you will have enjoyed the fluid, relentless pull of great bossa novas that have evolved into modern day Latin jazz classics for the 21st century aficionados and keepers of the Latin jazz flame. Tania Maria's sweet edge on "Triste" and "Comegar de Novo" prove why you have to blame it on the bossa nova, since she leaves you with such a pleasant feeling that expands with each listen. The great Charlie Byrd strums a beautiful "How Insensitive" originally issued on his The Bossa Nova Years. The clarinet solo of Ken Peplowski is a glowing example of the beauty and adaptability of the instrument in a Latin jazz ensemble. Charlie Byrd also closes the set with a reprise of "Corcovado," playing with the quiet, cool restraint that he is known for. Colors of Latin Jazz: Corcovado! is not only beautiful for the sheer range of the bossa novas it includes, but it is the spring amidst the rocks and a tree with its first leaves bearing The Colors of Latin Jazz. A generous gift from some of the finest artists performing Latin jazz. ~Paula Edelstein

The Colors Of Latin Jazz: Corcovado

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Hendrik Meurkens - Harmonicus Rex

Bitrate: MP3@320K/s

Time: 58:11

Size: 133.2 MB

Styles: Harmonica jazz

Year: 2016

Art: Front

[4:28] 1. Mundell's Mood

[5:06] 2. Slidin'

[5:42] 3. In Your Own Sweet Way

[4:09] 4. Aftenoon

[6:37] 5. Skj

[4:54] 6. Falling In Love With Love

[5:30] 7. A Summer In San Francisco

[5:41] 8. Up Jumped Spring

[5:05] 9. Mean Dog Blues

[5:21] 10. Darn That Dream

[5:33] 11. What's New

Hendrik Meurkens: harmonica; Dado Moroni; piano; Marco Panascia: bass; Jimmy Cobb: drums; Joe Magnarelli: trumpet, flugelhorn; Anders Bostrom: alto flute.

While the swing side of harmonica master Hendrik Meurkens' personality has basically been dormant for the past fifteen years, it hasn't disappeared. After highlighting his Brazilian jazz bona fides on record after record, Meurkens now returns to straight-ahead jazz on this instantly pleasing date. Harmonicus Rex, despite it's humorously monstrous title, isn't a roaring beast. There are no high speed scenarios to speak of and no bash-and-crash displays to witness. This record's strength is in its ability to get the point across without all of that needless showboating. It's essentially a model for how feel and taste can trump tempo and dynamic excess in terms of establishing a swinging environment. And with a cast that includes drumming legend Jimmy Cobb and under-the-radar heavies like pianist Dado Moroni and bassist Marco Panascia, it's easy to see why this album projects that train of thought.

In observing Meurkens here, it becomes increasingly clear that he's a master conversationalist with some incredible ears and reflexes. That's something that's often overlooked in discussions of his work, but it's central to the success of his art. Whether trading solos with trumpeter Joe Magnarelli on "Mundell's Mood," responding to Moroni with brief and subtle gestures during "In Your Own Sweet Way," blending and balancing his sound against that of Anders Bostrom's alto flute, or playing off of the rhythm section when in the spotlight, Meurkens' foremost concern is how he relates to the other musicians and the music at hand. Meurkens clearly relies on a recipe that calls for stirring all of the essential elements of a straightforward date together and cooking everything on low to medium settings. It's a formula for success. By exploring the mellow environs of ballads like "Afternoon" and "Darn That Dream," inviting a little heat and embracing the swing uplift on "SKJ" and "Up Jumped Spring," finding the sweet spots between those locales, and even taking a quick dip into bossa territory on "A Summer In San Francisco," Meurkens manages to create a complete picture that offers rich viewpoints to admire from wherever you happen to be standing. ~Dan Bilawsky

Harmonicus Rex

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Hendrik Meurkens - A Night In Jakarta

Styles: Harmonica jazz
Year: 2010
File: MP3@320K/s
Time: 53:05
Size: 123,5 MB
Art: Front

(6:01)  1. A Night in Jakarta
(5:36)  2. A Ilha
(5:05)  3. Choronto
(4:41)  4. They Can't Take That Away From Me
(4:20)  5. September Choro
(6:21)  6. The Winter Sea
(6:36)  7. Bolero Para Paquito
(2:52)  8. Choro no.8
(6:51)  9. Prague In March
(4:39) 10. Here's That Rainy Day

Ever since he started taking harmonica solos in the mid-'50s, Toots Thielemans has been without any close competition on his instrument, at least until Hendrik Meurkens arrived on the scene. Born in Germany to Dutch parents, Meurkens began as a vibraphonist, not playing harmonica until he heard Thielemans when he was 19. He traveled to the U.S. to study at Berklee and spent time in Brazil in the early '80s, during which he immersed himself in Brazilian jazz. Back in Berlin, Meurkens worked in the studios, but also recorded with the Danish Radio Orchestra and had his own jazz group. He made a record in Brazil for the Bellaphon label (1989) and since 1991 has recorded several sets for Concord and Concord Picante as a leader, in addition to appearing on records as a sideman with Charlie Byrd. ~ Scott Yanow  http://www.allmusic.com/artist/hendrik-meurkens-mn0000575401/biography

Personnel:  Hendrik Meurkens - harmonica, vibes;  Misha Tsiganov – piano, fender rhodes;  Gustavo Amarante – bass; Adriano Santos – drums, pandeiro, perc.

A Night In Jakarta

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Hendrik Meurkens - Samba To Go!

Styles: Brazilian Jazz, Harmonica Jazz
Year: 2009
File: MP3@320K/s
Time: 52:56
Size: 124,0 MB
Art: Front

(5:19)  1. Spaceburger
(6:36)  2. Odessa in April
(4:30)  3. Samba To Go!
(5:45)  4. Só Tinha De Ser Com Você
(2:59)  5. Choro No.14
(6:06)  6. Mountain Drive
(5:28)  7. Joe's Donut
(5:13)  8. Bossa Sketch
(4:24)  9. A Choro For You
(6:34) 10. My Foolish Heart

A timely follow up to the his critically acclaimed Sambatropolis (Zoho, 2008) released early last year, chromatic harmonica player and vibraphonist Hendrik Meurkens, presents us with another brilliant embrace of the Brazilian music that this Dutch-born New York raised musician, has so enthusiastically adopted as his own. Samba to Go! is a natural continuation of Meurkens' love for the choro and samba rhythms that he explored on the previous album. While still borrowing some music from such legends as Antonio Carlos Jobim and Victor Young for this album, Meurkens offers seven originals, some new and others previously recorded which, are nevertheless provided new arrangements here. Bringing back the same personnel from Sambatropolis, which features drummer and percussionist Adriano Santos and bassist Gustavo Amarante who have anchored the rhythm side for years, Meurkens enlists the help of reed man Rodrigo Ursaia while Luiz Simas plays the piano on "A Choro for You," and Ze Mauricio handles the congas on three pieces. The major change on this album is the addition of Russian-born pianist Misha Tsiganov who also performs on the Fender Rhodes 88 elevating an already stellar rhythm section to another level.

Meurkens opens the music revisiting the tune "Spaceburger," from his first album Samba Importado (Bellaphon, 1989), recorded two decades ago in Brazil, this time using the vibes to express this delightful melody. "Odessa In April" is one of his newer pieces and possesses that unique Brazilian flavor that's now expected from an artist who weaves the rhythms through the sound of his familiar harmonica. The title piece is a quick-paced samba that moves with up-tempo intensity and features the harmonica player in high gear. Presenting an exquisite rendition of the Antonio Carlos Jobim standard, "So Tinha De Ser Com Voce," Meurkens once again draws on the vibes for this gorgeous ballad. Getting down to expressing the choro style of Brazilian music that Meurkens enjoys so much, "Choro No. 14" dedicated to musician and friend Ronaldo Folegatti and "A Choro for You" are two frisky, whirlwind numbers he delivers on harmonica in stylish fashion with Tsiganov laying down fine piano lines on the latter. 

The exceptional "Mountain Drive," a retreat from Amazon River (Megaforce, 2005) and the shoulder-moving, boppish read of "Joe's Donut," containing a slice of the Afro-Cuban flavor in the mix, are clear highlights. Wrapping up another winning release, Meurkens employs his harmonica in a soft and tender way, performing a heart-warming interpretation of Victor Young's immortal love ballad, "My Foolish Heart," to complete a most compelling album of Brazilian styled music. Hednrik Meurkens continues his love affair with the music of Brazil on Samba To Go!, his evolution of the samba and choro styles and his flawless command of the harmonica and vibes making this another masterpiece of an album. ~ Edward Blanco  http://www.allaboutjazz.com/samba-to-go-hendrik-meurkens-zoho-music-review-by-edward-blanco.php
 

Personnel: Hendrik Meurkens: harmonica, vibes; Rodrigo Ursaia: tenor saxaphone, soprano saxophone,flutes; Mish Tsiganov: piano, Fender Rhodes; Gustavo Armante: bass; Adriano Santos: drums,pandeiro, percussions; Luiz Simas: piano(9); Ze Mauricio: congas, pandeiro, percussions (3, 7, 9).

Samba To Go!

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Marcus Goldhaber With Jon Davis Trio - Take Me Anywhere

Styles: Vocal And Piano
Year: 2008
File: MP3@320K/s
Time: 74:11
Size: 170,6 MB
Art: Front

(4:13)  1. No Moon At All
(4:26)  2. I Get Along Without You Very Well
(4:29)  3. Take Me
(4:30)  4. With Plenty of Money and You
(4:16)  5. In the Oeuvre of the In-between
(3:55)  6. A Walk
(2:53)  7. You're Beautiful, You Know That
(4:08)  8. I Fall Apart
(5:11)  9. Top Hat, White Tie & Tails
(3:28) 10. A Felony Called Love
(5:10) 11. I Fall In Love Too Easily
(4:30) 12. She Knows
(4:03) 13. A Lovely Way to Spend an Evening
(4:51) 14. I've Never Been In Love Before
(6:12) 15. My Ship
(3:37) 16. Look for the Silver Lining
(4:10) 17. When I Take My Sugar to Tea

Marcus Goldhaber's new CD comes on like a plate full of comfort food. This collection of 17 songs (almost half of which are original and the rest familiar standards) is done straightforwardly with the Jon Davis Trio (Davis on piano, Martin Wind on bass and Marcello Pellitteri on drums with drummer Lieven Venken on one track). Goldhaber's soft, warm voice and lyric-driven laid back style tells each story effortlessly. He also takes a couple of tired chestnuts ("With Plenty Of Money And You" and "When I Take My Sugar To Tea") and gives them a fresh new approach with changes of tempo and new rhythm patterns. And just to let you know where his heart is, Goldhaber does two numbers "I Fall In Love Too Easily" (done as a waltz) and "A Lovely Way To Spend An Evening" strongly associated with Sinatra.

Since Goldhaber works mostly with the Jon Davis Trio, they all read each other well. The piano work is just enough to allow the vocal to take the spotlight, but also shines with solos on most of the tracks. Wind's wonderfully lyrical arco bass is captured on the original "A Walk" and the aforementioned "When I Take My Sugar To Tea". Also worth mentioning is Pellittieri's intricate tempo changes on "I've Never Been In Love Before" and Venken's performance on "Look For The Silver Lining". A surprise visit by Hendrik Meurkens' harmonica adds seasoning to the original "Take Me". This CD bears witness to the fact that Goldhaber is a hopeless romantic, that old-fashioned breed of singer called a crooner. In a climate which pushes reality and actuality, it's nice to find something that bespeaks of light, both moon and candle. ~ Marcia Hillman  http://www.allaboutjazz.com/take-me-anywhere-marcus-goldhaber-fallen-apple-records-review-by-marcia-hillman.php

Personnel: Marcus Goldhaber: vocals; Jon Davis: piano; Martin Wind: bass; Marcello Pellitterri: drums and percussion (4, 6); Lieven Venken: drums (16); Hendrik Meurkens: harmonica (3).

Take Me Anywhere

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Hendrik Meurkens - Sambatropolis

Styles: Brazilian Jazz, World Fusion
Year: 2007
File: MP3@320K/s
Time: 55:29
Size: 127,7 MB
Art: Front

(5:47)  1. Sambatropolis
(4:58)  2. Nem lá Nem Cá
(5:26)  3. Ocean Lights
(4:23)  4. The Bee
(5:24)  5. Fotografia
(3:05)  6. Hot and Stuffy
(4:54)  7. Você Vai Ver
(6:21)  8. You Don't Know What Love Is
(4:22)  9. Choro Da Neve
(5:51) 10. A Summer in San Francisco
(4:52) 11. Bernie's Tune

Playing the vibes and the harmonica is a rather unusual combination. Hendrik Meurkens was drawn to these instruments after he heard Lionel Hampton play the vibraphone on Benny Goodman's Live at Carnegie Hall (Columbia, 1938) and, a few years later, the harmonica of Toots Thielemans. Even as he emerged as an adept player of these instruments, Meurkens was dipping into jazz, and particularly bebop. But he was also pursuing another tangent in Brazilian music. Meurkens has long been letting the two streams converge to give his compositions a particular scope and depth. Meurkens varies the line-up of his bands to give his music more pith and character. 

He gets off on the right note assimilating swing on the heated "Sambatropolis." Jed Levy and Rodrigo Ursaia fire up the swing on their tenor saxophones, while letting a bop impulse add dimension and tensility. Meurkens brings his own vision to bear, swerving in and out of the melody with broad, facile strokes. Besides, his conversation with the sax men is decidedly topnotch. The mood is quite different on the intimate "Ocean Lights." The ballad glows, given its soul by Meurkens on harmonica; however it wouldn't quite be the same without pianist Helio Alves, who is not only full of fluid ideas, but is also an empathic complement. Antonio Carlos Jobim's "Voce Vai Ver" is another hallmark. The gentle strains of the bossa are dewdrops from the vibes; pretty yes, but also creating a splash and leaving an impress. "Choro Da Neve" spirals on the chorinho. The heady pulse is fanned by Meurkens on the harmonica with Adriano Santos driving the rhythm on the drums. Adding to the excitement are exhilarating contributions from Alves and Ursaia. Meurkens has come up with a winning blend, once more. ~ Jerry D’Souza http://www.allaboutjazz.com/sambatropolis-hendrik-meurkens-zoho-music-review-by-jerry-dsouza.php

Personnel: Hendrik Meurkens: harmonica, vibes (2, 7, 8, 10, 11); Rodrigo Ursaia: tenor sax (1, 2, 4, 5, 6, 9), flute (3, 7); Jed Levy: tenor sax (1, 5, 8, 10, 11), flute (2); Helio Alves: piano; Ian Macdonald: piano (8, 11); Pedro Ramos: cavaquinho (9); Gustavo amarante: bass; Adriano Santos: drums (2, 4, 6-11), Mauricio Zottarelli: drums (1); Duduka Da Fonseca: drums (3, 5).

Sambatropolis

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Hendrik Meurkens - New York Nights

Bitrate: MP3@320K/s
Time: 54:42
Size: 125.2 MB
Styles: Brazilian jazz, Harmonica jazz
Year: 2000
Art: Front

[5:49] 1. I Didn't Know What Time It Was
[5:27] 2. It Could Happen To You
[6:06] 3. New York Nights
[2:37] 4. You Stepped Out Of A Dream
[5:45] 5. Slidin'
[6:22] 6. Bittersweet
[6:59] 7. My Foolish Heart
[4:59] 8. The Cottage
[5:45] 9. Second Waltz
[4:49] 10. Scrapple From The Apple

The harmonica is common enough that many can immediately identify with Hendrik Meurkens' unusual agility on the instrument. This straightforward set of ten standards is distinguished for including Eric Alexander on tenor sax on several of the tunes, along with a first rate rhythm section with the venerable Jimmy Cobb on drums. Meurkins mixes the bop-infused selections well, reaching back to Bird's "Scrapple from the Apple," throwing in standards such as "My Foolish Heart" and "You Stepped Out of a Dream," and touching them off with a few very fine originals. Meurkens blows his harmonica as though it were a trumpet or saxophone, and his pure tone and natural swing pleasurably create generally upbeat, often exciting solos. While few surprises are in store, and the harmonica-ist never grandstands, his strong command of the instrument is a thrill to hear, and his modest meat-and-potatoes approach hits the mark. Alexander comes from the same mold as Meurkens, and the saxophonist's finely crafted improvisations add immeasurable to this enjoyable recording. ~Steve Loewy

New York Nights

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Carol Saboya - Belezas: The Music Of Ivan Lins and Milton Nascimento

Styles: Brazilian Jazz, Bossa Nova
Year: 2012
File: MP3@320K/s
Time: 54:11
Size: 124,4 MB
Art: Front

(4:08)  1. Bola De Meia, Bola De Gude (Sock Ball and Marbles)
(4:12)  2. Who Is in Love Here (a Noite)
(4:26)  3. Abre Alas (Open the Way)
(4:35)  4. Tristesse
(4:33)  5. Beleza E Canção (Beauty And Song)
(4:21)  6. Anima
(3:53)  7. Soberana Rosa (She Walks This Earth)
(4:26)  8. Doce Presença (Sweetest Presence)
(5:37)  9. Tarde (Evening)
(4:50) 10. Tres Pontas (Tres Pontas Town)
(4:23) 11. Velas Içadas (Hoisted Sails)
(4:42) 12. Estrela Guia (Oh, Shining Star)

Brazilian vocalist Carol Saboya's previous recording with her father, pianist Antonio Adolfo La e Ca: Here and There (AAM Music) was one of the highlights of 2010. She returns as headliner on Belezas: The Music of Ivan Lins and Milton Nascimento again, supported by Adolfo and his very fine quartet. Composers Lins and Nascimento represent a late '60s answer to bossa nova, which had dominated Brazilian (and a good bit of American jazz) in the late 1950s and early '60s. Called MPB (Musica Popular Brasileira), this music was less a musical genre and more a combination of original songwriting and updated folk themes. 

The twelve-song recital is sung in Portuguese and English with splendid musical direction by Adolfo and accompaniment by guitarist Claudio Spiewak, whose clean lines and elastic chording properly dress up- tempo pieces like "Tres Pontas" and ballads like "Doce Presenca," which features the excellent Hendrik Meurkens working his Latin harmonica magic. Providng soprano ("Tristesse") and tenor saxophone ("Tarde"), Dave Liebman proves a master of musical barometric pressure, manipulating a song's humidity to effect just the proper sensuousness to complement Saboya's well-balanced soprano.

In what seems an endless flood of Latin jazz, excellence always finds its way and is properly manifested in Saboya and Adolfo. The pair's specific choice of such a narrow wedge of Brazilian music tightens the focus of the disc, making it intelligent and aesthetic entertainment. There is much to be learned and enjoyed about Belezas: The Music of Ivan Lins and Milton Nascimento, and we are lucky to have it to enjoy. 

~ C.Michael Bailey  http://www.allaboutjazz.com/belezas-the-music-of-ivan-lins-and-milton-nascimento-carol-saboya-aam-music-review-by-c-michael-bailey.php
 

Personnel: Antonio Adolfo: piano; Claudio Spiewak: acoustic and electric guitars; Jorge Helder: double bass; Rafael Barata: drums and percussion; Dave Liebman: soprano and tenor saxophones (4, 9); Hendrik Meurkens: harmonica (8).

Belezas: The Music Of Ivan Lins and Milton Nascimento

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Carol Saboya, Antonio Adolfo, Hendrik Meurkens - Copa Village

Styles: Brazilian Jazz, Bossa Nova
Year: 2015
File: MP3@320K/s
Time: 50:26
Size: 116,1 MB
Art: Front

(4:55)  1. The Girl From Ipanema
(4:22)  2. Copa Village
(4:07)  3. Show de Bola
(5:03)  4. O Bôto
(4:09)  5. Como Se Fosse
(4:34)  6. Água de Beber
(5:02)  7. Pois É
(3:26)  8. Pretty World
(4:54)  9. Two Kites
(4:17) 10. Nosso Mundo
(5:33) 11. Visão

Back in 1969, pianist Antonio Adolfo was working with vocalist Elis Regina. While touring through Sweden, Regina and her band had the opportunity to connect with Toots Thielemans, leading to the recording of Elis & Toots (Philips, 1969). Now, more than forty-five years later, Adolfo finds himself in a similar situation, working alongside another sunny Brazilian singer and European harmonica player—vocalist Carol Saboya, who happens to be his daughter, and vibraphonist/harmonica player Hendrik Meurkens. Copa Village finds these three delivering a program of cheery originals and Antonio Carlos Jobim numbers. The album ostensibly draws a parallel between Rio de Janeiro's Copacabana sector and New York's Greenwich Village in the '50s and '60s; the music, however, does not. The cast may include New York-based Brazilians, and Copa Village may have been recorded in The Big Apple, but these sun-dappled songs don't speak to the intense and gritty attitude of that city. This beautiful music flows in the Brazilian breeze, inducing smiles and soothing ears as it flies along.

The album opens with "The Girl From Ipanema/Garota De Ipanema," giving Saboya a chance to work through both the English and Portuguese lyrics connected to this oft-covered song. From there, it's off to the chipper, choro-ish title track, Meurkens' "Show De Bola," and Jobim's lesser-known "O Boto." Each one is different and distinct, yet all are winsome in nature. There are reflective moments to be found further down the line, as everybody slowly glides along on "Pois é" and gently coasts through "Visão," but gaiety and effervescence often win out on this outing. Saboya, Adolfo, and Meurkens prove to be a well-matched set of charmers, delivering seductive and stylish songs in seemingly effortless fashion. ~ Dan Bilawsky  http://www.allaboutjazz.com/copa-village-carol-saboya-aam-music-review-by-dan-bilawsky.php

Personnel: Carol Saboya: vocals; Hendrik Meurkens: harmonica, vibraphone; Antonio Adolfo: piano; Claudio Spiewak: acoustic guitars, electric guitars; Itaiguara Brandao: bass; Adriano Santos: drums; Andre Siquera: percussion.

Copa Village

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