Scott Robinson - Melody From The Sky

Styles: Saxophone Jazz 
Year: 2007
File: MP3@320K/s
Time: 71:34
Size: 166,4 MB
Art: Front

(5:46)  1. Davenport Blues
(3:45)  2. Where Is Love?
(2:59)  3. Just Like A Melody Out Of The Sky
(4:49)  4. Isfahan
(6:35)  5. Yardville
(3:35)  6. I'm Making Believe
(8:27)  7. Saxophone Blues
(3:42)  8. This Is No Laughing Matter
(4:26)  9. Sweet Rhythm
(2:36) 10. The Swan
(5:34) 11. Ups And Downs
(3:54) 12. Count Your Blessing Instead Of Sheep
(3:32) 13. For No Reason At All In C
(2:37) 14. Singin The Blues
(4:42) 15. C Here
(4:27) 16. A Melody From The Sky

Known as a multi-talented/stylistic woodwindist, Robinson concentrates on the C-Melody saxophone for this CD, which makes it not only a rarity, but an event unto itself. He also showcases a four-pitch selection: organ based, string quartet flavored, straight-ahead swing, and guitar-oriented jams with either James Chirillo or Marty Grosz on four cuts apiece. Mark Shane and Larry Ham split keyboard duties, with Lee Hudson or Greg Cohen on bass, and occasionally Cohen plays a bass marimba originally owned by Sun Ra. On the lighter side is the solo laden, easily swung "Davenport Blues," the relaxed quartet take of "This Is No Laughing Matter," the quaint "For No Reason at All," and the old-timey, stride-based title track. With the strings the slowed torch song "Where Is Love?" is short and sweet with no solos, the quartet adds spice without being overbearing during "I'm Making Believe," and turns "Count Your Blessings" into a languid, heartfelt ice melter. Also in a classical/romantic vein is the serene 3/4 Saint Saens piano (Ham)/sax ballet "The Swan." The organ numbers provide the greatest contrast and offer Robinson a challenge to make the sounds mesh; in fact, the keyboard sounds more like a C-3. In this area are the classic ballad "Isfahan," the reverential organ- (Shane) based "Sweet Rhythm" with choppy, banjo-like chords from Grosz, the modern "Freedom Jazz Dance"-type Robinson original "C Here" with organ by Ham on top (no foot pedal bass), and a loping legato sax and subtle marimba lurking behind while stretched, long organ tones from Ham inform the ballad take on "Singin' the Blues." In an Earl Bostic tone, Rudy Wiedhoeft's '20s-era "Saxophone Blues" is an 8+ minute-long, blues-drenched, country-styled groove swing, with again Ham and Chirillo's single-line solo a highlight. The best swinger is a John Kirby/Raymond Scott/Keystone Cops-ish Robinson-penned "Ups & Downs," trumped up by Jon Erik-Kellso's trumpet, while a hard bopping sax/guitar (Chirillo) line sets the fuse on Robinson's "Yardville," while Grosz and Cohen's slight marimba inserts a buoy for Robinson's good swing on "Just Like a Melody out of the Sky." If it were just a matter of sound, this would be a novelty item, but Robinson plays the C-melody so well without straining or going overtly smooth. The instrument, though not being produced anymore, deserves a revisit and a close listen on this truly delightful, high-variety recording that is better upon repeated listenings. Highly recommended. ~ Michael G.Nastos https://www.allmusic.com/album/melody-from-the-sky-mw0000064494

Personnel: Scott Robinson - C-melody saxophone; Jon-Erik Kellso - trumpet ; Marty Grosz, James Chirillo- Guitar; Ming Yeh - violin; Larry Ham - piano, organ; Carol Benner - viola

Melody From The Sky

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Dick Sudhalter & His Friends - With Pleasure

Bitrate: MP3@320K/s
Time: 63:46
Size: 146.0 MB
Styles: Jazz/Blues
Year: 2015
Art: Front

[2:38] 1. From Monday On
[3:48] 2. Blue River
[2:57] 3. Jamboree Jones
[3:34] 4. Home
[3:36] 5. Lost
[4:42] 6. If I Were A Rich Man
[4:16] 7. Waiting At The End Of The Road
[3:01] 8. I'm Shooting High
[2:53] 9. I'll Be A Friend With Pleasure
[3:06] 10. Lyin' To Myself
[2:37] 11. Boneyard Shuffle
[2:54] 12. Come Easy, Go Easy, Love
[3:39] 13. By The Fireside
[3:03] 14. Mountain Greenery
[5:02] 15. Let Me Daydream
[4:40] 16. Farewell Blues
[4:21] 17. (When It's) Sleepy Time Down South
[2:49] 18. Madame Dynamite

Dick Sudhalter, c, t, fluegelhorn & dir; Dan Barrett, tb; Bob Reitmeier, cl, as & ts (Or) Joe Muranyi, cl; Dan Levinson, cl & ts; Dave Frishberg, p, v; Howard Alden, g & bj (or) James Chirillo, g; Putter Smith, sb & tuba (or) Bill Crow, sb; Dick Berk, d; Daryl Sherman, v.

Dick Sudhalter has had an unusual dual career as a superior trad-oriented cornetist and as a jazz journalist. The crowning achievement of his latter career was the co-authorship (with Philip Evans and William Dean-Myatt) of the superb Bix Beiderbecke biography Bix: Man and Legend. Less known is that Sudhalter has long been a fine improviser himself. He grew up in Boston and played in England in the 1960s (organizing the New Paul Whiteman Orchestra). Since returning to the U.S., Sudhalter has freelanced on the classic jazz scene, played with the New York Jazz Repertory Company and the Classic Jazz Quartet, and recorded for several labels including Audiophile and Challenge. ~Scott Yanow

With Pleasure mc
With Pleasure zippy

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Randy Reinhart - As Long As I Live

Styles: Cornet And Saxophone Jazz
Year: 2007
File: MP3@256K/s
Time: 67:57
Size: 126,4 MB
Art: Front

( 5:45)  1. At The Jazz Band Ball
( 7:17)  2. As Long As I Live
( 6:33)  3. Too Late Now
( 6:16)  4. Nobody's Sweetheart
( 3:21)  5. I Guess I'll Have To Change My Plan
( 2:50)  6. Weatherbird Rag
( 4:36)  7. Mood Indigo
( 9:53)  8. The Blues My Naughty Sweetie Gives To Me
(10:59)  9. Yellow Dog Blues
( 4:15) 10. More Than You Know
( 6:07) 11. Clarinet Marmalade

A critic's job is to critique, and while that doesn't necessarily mean finding fault, it does mean that you're supposed to be able to hear the good and bad together and comment on both. The problem comes when an album is so consistently appealing that you have a hard time getting distance from its charms. That's exactly the problem with this live album from cornettist and trombonist Randy Reinhart, who coats every tune on this winning program of trad and swing standards with a tone so sweet and burnished that listening to it makes you feel like you're eating ice cream. The fact that his accompanists include clarinetist Kenny Davern, trombonist Dan Barrett, and pianist John Sheridan only adds to the difficulty of gaining critical distance. So suffice it to say that the band's charging rendition of "At the Jazz Band Ball" is a masterpiece of group-improv tension and release, that their ten- and 11-minute-long versions of "Blues My Naughty Sweetie Gives to Me" and "Yellow Dog Blues" are too short, and that when Reinhart and Barrett switch instruments on "I Guess I'll Have to Change My Plan" the only reason you notice is that their brilliance changes color slightly. And when you listen closely to the opening head on "As Long as I Live," you'll hear harmony work between the cornet, trombone, and clarinet that is liable to make you tear up. Innovative? Not in the slightest. Masterful, brilliant, inspiring? Absolutely. ~ Rick Anderson http://www.allmusic.com/album/as-long-as-i-live-mw0000350778

Personnel: Dan Barrett (cornet, trombone); Frank Tate (double bass); James Chirillo (guitar); Kenny Davern (clarinet); Randy Reinhart (cornet, trombone); John Sheridan (piano); Tony DeNicola (drums).

As Long As I Live

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Simone Kopmajer - Didn't You Say

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 62:05
Size: 143,3 MB
Art: Front

(4:07)  1. Didnt You Say
(3:50)  2. Baubles, Bangles And Beads
(3:49)  3. Ghost In This House
(4:29)  4. Ive Never Been In Love Before
(6:19)  5. Bewitched, Bothered, Bewildered
(4:30)  6. Come Fly With Me
(4:06)  7. S Wonderful
(4:25)  8. Forgetting To Breathe
(4:41)  9. Pathway Out Of The Darkness
(5:12) 10. Everything Must Change
(5:00) 11. Kiss
(3:35) 12. How Sweet It Is
(4:35) 13. Tennessee Waltz
(3:20) 14. Dont Explain

A cool-toned Austrian jazz vocalist, Simone Kopmajer sings in flawless English. She had classical piano lessons starting at the age of eight and at 12 began playing saxophone. She performed in a youth big band and sang regularly in her father's band as a teenager. At 17 she studied with Sheila Jordan, who encouraged her. Kopmajer also studied with Mark Murphy, Jay Clayton, and Michele Hendricks. Since earning a Masters from the University of Music and Dramatic Arts in Graz, Austria, Kopmajer has toured the Netherlands twice with the Euro Big Band, appeared at European jazz festivals, and recorded three CDs: Moonlight Serenade (for the Japanese Venus label), her best-known set Romance (for Zoho), and her privately released Taking a Chance on Love. Each CD emphasizes her own fresh versions of standards. ~ Scott Yanow http://www.allmusic.com/artist/simone-kopmajer-mn0001897290/biography

Personnel:  Bass [Upright, Electric] – Richie Goods;  Drums – Tim Horner;  Guitar – James Chirillo (tracks: 1, 3, 6, 8, 9, 11);  Piano, Producer – John Di Martino;  Trumpet, Flugelhorn – Tim Ouimette (tracks: 4, 5, 7);  Vocals, Producer – Simone Kopmaje

Didn't You Say

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Bob Wilber & Dick Hyman - A Perfect Match

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 65:53
Size: 151,7 MB
Art: Front

(5:21)  1. In A Mellotone
(5:47)  2. Wings N' Things
(6:41)  3. Taffy
(5:47)  4. It's Only A Paper Moon
(4:45)  5. Mona Lisa
(4:41)  6. L.B. Blues
(4:17)  7. Eternally - Terry's Theme From Limelight
(4:32)  8. Limbo Jazz
(5:20)  9. Wisteria
(5:53) 10. He Loves And She Loves
(7:13) 11. It Don't Mean A Thing
(5:29) 12. Cote d'Azur

In the 1960s altoist Johnny Hodges and organist Wild Bill Davis recorded eight albums together, several of which included trombonist Lawrence Brown. This 1997 set sounds very similar to that band and would probably confuse listeners in a blindfold test. Bob Wilber, normally a soprano saxophonist and clarinetist, always did sound a bit like Hodges on alto, but the biggest surprise is Dick Hyman. On piano, Hyman has displayed the ability to do close impressions of nearly every jazz stylist. He sticks to organ throughout this date and sounds exactly like Davis both in tone and ideas. With trombonist Britt Woodman (who played alongside Lawrence Brown for a time in Duke Ellington's band), guitarist James Chirillo, bassist Phil Flanigan, and drummer Joe Ascione, Wilber and Hyman perform songs either written by Hodges or closely associated with the group. Some are numbers that have rarely been performed since the Hodges/Davis band, including "Wings N' Things," "Taffy," and the catchy "L.B. Blues." Even the more familiar tunes (such as "In a Mellotone," "It's Only a Paper Moon," and "It Don't Mean a Thing") are played in the style of the group. Two offbeat selections, Charlie Chaplin's "Eternally" and Wilber's tribute to Hodges ("Cote d'Azur"), also fit into the idiom. Although purposely derivative, the music is so well played (and fairly obscure) that both Hodges and Davis fans will want this unusual tribute. ~ Scott Yanow http://www.allmusic.com/album/a-perfect-match-a-tribute-to-hodges-wild-bill-davis-mw0000039687

Personnel: Bob Wilber (alto saxophone); James Chirillo (guitar); Britt Woodman (trombone); Dick Hyman (organ); Joe Ascione (drums).

A Perfect Match

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Ken Peplowski - A Good Reed

Styles: Clarinet And Saxophone Jazz 
Year: 1997
File: MP3@320K/s
Time: 59:37
Size: 137,5 MB
Art: Front

( 7:46)  1. Luck Be A Lady
( 7:07)  2. Dream Theme
(17:25)  3. Homage Concerto For Clarinet
( 7:08)  4. Deep
( 6:14)  5. I've Never Been In Love Before
( 7:53)  6. Purple Gazelle
( 6:00)  7. Royal Garden Blues

Featuring the seventeen-minute "Homage Concerto For Clarinet And Jazz Orchestra" with Loren Schoenberg's big band backing clarinetist Ken Peplowski, this session is well-balanced, with four numbers by the leader's small group and four with the large ensemble. Peplowski plays clarinet on three tracks; tenor saxophone on the other four. His experience with the Tommy Dorsey ghost orchestra under Buddy Morrow's direction, working some with Benny Goodman, and more recently with Rosemary Clooney, Mel Torme, and as a duo with Howard Alden, has gained the clarinetist considerable exposure; this is his fourteenth Concord Records album as a leader. On tenor saxophone, Peplowski maintains a quiet posture on "Luck Be A Lady" and "I've Never Been In Love Before." The latter is arranged by guitarist James Chirillo, includes Schoenberg's big band, and features a delightful bass clarinet solo by Danny Bank. 

Bassist Greg Cohen composed "Dream Theme" with the random qualities of a stereotypical dream in mind; it features Peplowski's dreamy tenor, the composer's lyrical bass solo, and pianist Ben Aronov's dreamy keyboard work as well. The "Homage Concerto for Clarinet and Jazz Orchestra" in three movements was written by Chirillo and naturally infuses a classical bent. The names of each movement, "Swing," "Elegy," and "Driving," give one a feel for what is being accomplished. It is Peplowski's strong point, and the big band backs him capably. Duke Ellington's "Purple Gazelle" finds guest tenorist Loren Schoenberg beside the quartet of clarinetist Peplowski, pianist Aronov, bassist Cohen, and drummer Chuck Redd. With a Latin rhythm and a unique Monkish piano outing, the clarinet and tenor saxophone trade phrases and work very well together. The full orchestra returns for the final track, Duke Ellington's arrangement of "Royal Garden Blues." Up-tempo, yet relaxed with a swing, the big band works out behind the confident and imaginative clarinet solos by Ken Peplowski. ~ Jim Santella https://www.allaboutjazz.com/a-good-reed-ken-peplowski-concord-music-group-review-by-jim-santella.php?width=1920

Personnel: Ken Peplowski (clarinet, tenor saxophone); James Chirillo, Paul Meyers (guitar); Jon Gordon , Steve Wilson (flute, alto saxophone); Doug Lawrence, Mark Lopeman (clarinet, tenor saxophone); Danny Bank (bass clarinet, baritone saxophone); Loren Schoenberg (tenor saxophone); John Edkert, Greg Gisbert, Tony Kadleck, Bob Millikan (trumpet); Eddie Bert, Bobby Pring, Mike Christianson (trombone); Tim Newman (bass trombone); Dick Katz, Benny Aronov (piano); Chuck Redd (drums)

A Good Reed

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The New York Allstars - Hey Ba-Ba-Re-Bop!!: The New York Allstars Play Lionel Hampton

Bitrate: MP3@320K/s
Time: 63:28
Size: 145.3 MB
Styles: Swing, Vibraphone jazz
Year: 1999
Art: Front

[ 9:27] 1. Air Mail Special
[ 6:47] 2. Moonglow
[ 6:01] 3. Ring Dem Bells
[ 3:49] 4. Indian Summer
[ 5:23] 5. Hey! Ba-Ba-Re-Bop
[ 3:15] 6. A Nightingale Sang In Berkeley Square
[ 7:07] 7. Avalon
[ 7:35] 8. Rose Room
[ 3:59] 9. Body And Soul
[10:01] 10. Flying Home

Bass – Dave Green; Clarinet – Antti Sarpila; Drums – Ed Metz Jr.; Leader – Randy Sandke; Piano – Thilo Wagner; Rhythm Guitar – James Chirillo; Tenor Saxophone – Antti Sarpila; Trombone – Roy Williams; Trumpet – Randy Sandke; Vibraphone – Lars Erstrand.

Trumpeter Randy Sandke heads a strong group of American and European swing/mainstream players on a set of ten songs associated with vibraphonist/bandleader Lionel Hampton. Sandke, trombonist Roy Williams, and Antti Sarpila (on clarinet and saxophones) make for a solid front line, while vibraphonist Lars Erstrand sometimes comes close to duplicating the sound of Hampton. The octet romps through such songs as "Air Mail Special," "Hey Ba-Ba-Re-Bop," "Avalon," and of course an extended "Flying Home," along with some other swing standards and ballads. The music is as fun and infectious as one would expect, with Sandke in particular in fine form. ~Scott Yanow

Hey Ba-Ba-Re-Bop: The New York Allstars Play Lionel Hampton

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Houston Person - Something Personal

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 63:20
Size: 145,4 MB
Art: Front

(7:40)  1. The Second Time Around
(5:01)  2. Crazy He Calls Me
(5:11)  3. I'm Afraid The Masquerade Is Over
(7:43)  4. The Way We Were
(7:03)  5. Guilty
(6:00)  6. Change Partners
(5:51)  7. Teardrops from My Eyes
(4:50)  8. Something Personal
(4:00)  9. On The Sunny Side Of The Street
(9:55) 10. I Remember Clifford

Houston Person still remembers the day in 1950 that changed his life. He was a typical 16-year-old in his hometown of Florence, SC. He sang in the high-school choir and glee club, but he was mostly interested in football and basketball. Then, Christmas morning, his parents gave him a surprise gift: a tenor saxophone. Several decades, hundreds of albums, and thousands of concerts later, his life and career remain centered around the tenor sax. When it comes to soul-jazz, Person has been at the top of the genre for more years than he may care to admit. Through all the different styles coursing through those decades  from hard bop, through fusion, to avant-garde Person has been steadfast in his dedication. All of Houston Person's trademarks are present on his newest recording. With the phenomenal vibes of Steve Nelson and the top-flight rhythm section ably led by pianist John di Martino Houston & Co. caress the ballads with lush melodicism and swing heartily through the up-tempo numbers. ~ Editorial Reviews  http://www.amazon.com/Something-Personal-Houston-Person/dp/B0157THUHO

Personnel:  Houston Person - Tenor Saxophone;  Steve Nelson – Vibes;  John di Martino – Piano;  James Chirillo – Guitar;  Ray Drummond – Bass;  Lewis Nash - Drums

Something Personal

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James Chirillo - Sultry Serenade

Bitrate: MP3@320K/s
Time: 71:15
Size: 163.1 MB
Styles: Guitar jazz
Year: 2000
Art: Front

[5:54] 1. When Lights Are Low
[4:45] 2. I Love You, Samantha
[6:03] 3. Sultry Serenade
[6:42] 4. Counterpoise #2 For Electric Guitar And Trumpet
[5:24] 5. If I Only Had A Brain
[6:49] 6. Move
[4:47] 7. Elend
[7:07] 8. Can't We Be Friends
[3:04] 9. Bourbon Street Parade
[5:33] 10. Lush Life
[4:49] 11. I'm Always Chasing Rainbows
[5:05] 12. Fancifree
[5:06] 13. Blues For Valerie

James Chirillo debuts as a leader with a superb guitar jazz disc. As soon as I would like to compare Mr. Chirillo to, say, a Joe Pass, a Herb Ellis, or a Charlie Byrd, I would just as soon say he was a Teddy Wilson on guitar. Urbane, that is how I would describe James Chirillo. He is more Oscar Peterson than Art Tatum and more Gene Harris than either. Chops to spare, Chirillo wastes no notes. He is precise, like Basie and Miles. His recital here, with various sized groups is an exercise in elegant restraint. No death defying arpeggios, only clear, clean playing.

There are the usual standards. "When The Lights Are Low" and "Lush Life" are well played standard fare. "If I Only Had a Brain", to my knowledge only covered by Tuck Andress, is grandly executed here. It is definitely not the standards that are most interesting here. It is the classical pieces. One is a tone poem composed by John "Israel" Carisi shortly before his death. "Counterpoise" is a moody duet for trumpet and guitar with Carisi himself providing the trumpet. "Elend", a tome by the 20thCentury Zemlinski, adds more to the reputation of these classical capabilities. Otherwise, this is a grand mainstream fare. Randy Sandke, a N-H regular, is on hand, adding his regular brand of panache and aplomb. As for Chirillo, he is superb, a talent awaiting the appropriate recognition. ~C. Michael Bailey

James Chirillo: Guitar; Alan Simon: Piano; Greg Cohen: Bass; Dave Ratajczak: Drums, Percussion; Randy Sandke: Trumpet; Scott Robinson: Tenor Saxophone, Bass Saxophone; Vera Mara: Vocals; John Carisi: Trumpet.

Sultry Serenade

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Bobby Gordon - Bobby Gordon Plays Joe Marsala

Styles: Clarinet Jazz
Year: 2007
File: MP3@320K/s
Time: 62:23
Size: 143,7 MB
Art: Front

(3:28)  1. Woo-Woo
(4:20)  2. Southern Comfort
(2:27)  3. Don't Cry Joe
(4:08)  4. Little Sir Echo
(3:40)  5. Say When
(3:38)  6. Morning Star
(4:07)  7. Hot String Beans
(3:45)  8. Jim-Jam Stomp
(3:34)  9. And So To Sleep Again
(3:00) 10. I Don't Have To Dream Any More
(4:11) 11. Angelique
(4:21) 12. Bird Man Blues
(3:36) 13. Village Blues
(4:47) 14. Like Never Before
(3:50) 15. Lower Register
(2:49) 16. You Can Never Give Me Back My Heart
(2:33) 17. I Must Be Dreaming

The first impression one gets when listening to this well-crafted tribute to the 100th birthday of Joe Marsala (and available now, thirty years after his death) is the feeling of having been transported to the past, albeit with clear digital technology. The CD is traditional jazz at its best with none of the hiss so common in remastered recordings of the 1930s era after all, the disc was recorded in 2007.  During the sessions, clarinetist Bobby Gordon made no attempt to write arrangements that modernized the tunes; all of them are played in their original swinging big band era style, of which Marsala is a direct product. To recreate the selections, much of the sheet music was obtained from publishers who still carried them, while others came from collectors' files and even auction sites like eBay.

On the never-before-recorded "Angelique," violinist Russell George obviously channels Stephane Grappelli in one of his solos; "Village Blues swings hard while George, trumpeter Randy Reinhart and Gordon trade solos until they all come together, improvising New Orleans-style until the end. The same happens with "Southern Comfort and "Little Sir Echo," the latter being the most enjoyable (and upbeat) of the three. The title track has a bluesy feel on which Gordon stretches and the brilliant "I Don't Have To Dream Anymore opens with a syncopated bass line by Vince Giordano and has another fine Reinhart solo. 

Another previously unrecorded tune, "Say When," begin with notes resembling the theme from the film An Affair to Remember but soon evolves through each musician's lead turns, one of the most beautiful coming from pianist Keith Ingham. This disc brings listeners back to a bygone era ripe for discovery by younger jazz fans. ~ Ernest Barteldes http://www.allaboutjazz.com/bobby-gordon-plays-joe-marsala-lower-register-bobby-gordon-arbors-records-review-by-ernest-barteldes.php
 

Personnel: Bobby Gordon: clarinet; Keith Ingham: celesta; James Chirillo: guitar; Russell George: violin; Randy Reinhart: trumpet; Vince Giordano: bass guitar; Arnie Kinsella: drums; Steve Little: drums.

Bobby Gordon Plays Joe Marsala

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Pamela Luss With Houston Person - Sweet and Saxy

Styles: Vocal And Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 44:38
Size: 102,7 MB
Art: Front

(4:34)  1. Canadian Sunset
(4:08)  2. You Better Go Now
(3:44)  3. Star Eyes
(3:26)  4. Can't Get Out of This Mood
(3:28)  5. Why Was I Born?
(5:42)  6. Maybe You'll Be There
(3:56)  7. Nice 'n Easy
(5:31)  8. You Belong To Me
(2:18)  9. Don'cha Go Away Mad
(2:42) 10. Ain't No Sunshine
(5:04) 11. It's Too Late

Through three fine recordings, jazz vocalist Pamela Luss has stayed the course singing standards in her own inimitable, alluring fashion. Blessed with a solid vocal instrument that at-times wavers with a girlish fascination for pure or unrequited love, Luss gives it another go on this, her fourth album, backed up by Houston Person's working band featuring the excellent pianist John DiMartino, and at times guitarist James Chirillo. The lust Luss is able to conjure is hard to resist, as she stands tall and lean among these well-known songs, interpreted with just a dash of sass, a large portion of confidence, a slight vibrato, and an at-times lissome eye toward a hopeful future. 

Person works well with most singers (i.e. Etta Jones) but here he seems to feed off of the vocal lines Luss dishes out. They're clearly having fun trading phrases on occasion, or in retort when the vocalist makes statements like the come-and-run-away ballad "You Better Go Now," the light bossa nova take of "Can't Get Out Of This Mood," or the sensual, samba-tinged "You Belong to Me." Chirillo is particularly tasteful on the five numbers where he's added on, strumming like the seasoned Freddie Greene during "Nice & Easy," and diving into the shuffle "Teardrops from My Eyes" - more of this one please Ms. Luss! DiMartino is also the arranger of these selections, increasing the sophistication of tracks like the temptation calypso "Canadian Sunset," controlling the swing factor of "Star Eyes," or enhancing a bluesy feeling to "Why Was I Born?".

Perhaps the single track where Luss comes a bit out of her comfort zone is the playful "Don'tcha Go Away Mad," always a tongue-in-cheek favorite, as those asking for forgiveness while looking for an amicable exit from confrontation can relate to. This is a good combination of vocalist and backup band, one that could, at some point in time, explore a more down-home blues approach. While hers is a voice that does take some getting used to, she's refining her method with each recording, becoming a true professional interpreter of the tried-and-true American popular songbook. ~ Michael G.Nastos http://www.allmusic.com/album/sweet-and-saxy-mw0000824422

Personnel: Pamela Luss (vocals); James Chirillo (guitar); Houston Person (tenor saxophone); John Di Martino (piano); Willie Jones III (drums).

Sweet and Saxy

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Houston Person - Mellow

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 55:44
Size: 127,9 MB
Art: Front + Back

(5:41)  1. Sunny
(6:26)  2. Too Late Now
(4:56)  3. In A Mellow Tone
(4:56)  4. To Each His Own
(6:11)  5. What A Difference A Day Made
(4:16)  6. Two Different Worlds
(6:41)  7. Blues In The Am
(5:34)  8. Who Can I Turn To?
(7:42)  9. God Bless The Child
(3:15) 10. Lester Leaps In

Houston Person's Mellow could easily have been called "Up Close and Personal." With dozens and dozens of recordings to his credit, it's just the latest in a long list of exemplary sets that always evidence the warmth of his tone and the directness of his tenor sax phrasing. Also mixed in as well is a funky R&B feeling. That is particularly noticeable on the bouncy "Sunny" that opens the set. Everyone gets into a sweet heat, most notably when James Chirillo pungently strums his guitar, John J. DiMartino jumping in with emphatic piano. Ultimately Person wraps it all up with blazing, beefy blasts that gradually diminish and fade away as if into some celestial cloud-space.  With that old gem of Lane-Lerner's, "Too Late Now," the contrast is dramatic. It's typical of Person's deep knowledge of the Great American Songbook. Long ago Lester Young suggested that jazz soloists ought to know the lyrics of a song. 

This is a lush, unhurried take on which the emotional connection is immediate as Person soars with his saxophone. He can also be surprising as with that old Dinah Washington standby, "What a Difference a Day Makes," recast here with a distinctly bolero-like feel. The rhythm is dynamic, the beat clear and effect irresistible. Person's own "Blues in the AM" is the most specifically blues-drenched number on the set, a showcase for the gospel side of his playing, inspiring Chirillo to chime in with particularly inventive enthusiasm. The set closes with a rollicking "Lester Leaps In" and they're clearly having a blast. You will too. ~ Andrew Velez  http://www.allaboutjazz.com/mellow-houston-person-highnote-records-review-by-andrew-velez.php#.VH0xvsmHmtg

Personnel: Houston Person: tenor saxophone; John Di Martino: piano; James Chirillo: guitar; Ray Drummond: bass; Lewis Nash: drums.

Mellow

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James Chirillo - Sultry Serenade

Bitrate: 320K/s

Time: 71:10

Size: 162.9 MB

Styles: Post bop, Guitar jazz

Year: 2000

Art: Front

[5:50] 1. When Lights Are Low

[4:45] 2. I Love You, Samantha

[6:03] 3. Sultry Serenade

[6:42] 4. Counterpoise #2 For Electric Guitar And Trumpet

[5:24] 5. If I Only Had A Brain

[6:49] 6. Move

[4:47] 7. Elend (From Op. 27, No. 7)

[7:07] 8. Can't We Be Friends

[3:04] 9. Bourbon Street Parade

[5:33] 10. Lush Life

[4:49] 11. I'm Always Chasing Rainbows

[5:05] 12. Fancifree

[5:06] 13. Blues For Valerie

If you dig jazz guitar that's particularly smooth and cool, then you'll want to check out James Chirillo, who's performed with Tiny Grimes and Benny Goodman. Chirillo's playing sneaks up on you. His reading of heads is pretty basic: it's lyrical but sticks to the ink for the most part. But that's right before he begins to swing, develops his solo and, in the bargain, attracts your attention. Cases in point include "When Lights Are Low," "If I Only Had a Brain" and "I'm Always Chasing Rainbows," all of which find him negotiating myriad chord changes with apparent ease. But Chirillo can also step out of the box, so to speak. On a Latin version of "I Love You, Samantha," he sensitively supports Vera Mara's sultry vocal on acoustic guitar, moving on to contribute an elegantly understated solo. Then there's his foray into the formal on John Carisi's "Counterpoise #2 for Electric Guitar and Trumpet" and his own "Blues for Valerie," which displays his compositional chops and improvisational abilities in the context of a subdued blues. While it's a bit surprising that this is Chirillo's first recording as leader, it's a safe bet it won't be his last. ~Jim Ferguson

Acoustic Guitar, Electric Guitar – James Chirillo; Bass – Greg Cohen; Bass Saxophone, Tenor Saxophone – Scott Robinson; Drums, Percussion – Dave Ratajczak; Piano – Alan Simon; Trumpet – John Carisi (track 4), Randy Sandke; Vocals – Vera Mara (track 2).

Sultry Serenade

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Keith Ingham - The Keith Ingham New York 9 Vol 1

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 59:27
Size: 144,9 MB
Art: Front

(3:07)  1. Let Yourself Go
(3:51)  2. I Never Knew I Could Love Anybody
(3:16)  3. Shoe Shine Boy
(3:02)  4. Madame Dynamite
(2:55)  5. Shake Down The Stars
(2:34)  6. I'm Gonna Stomp Mr. Henry Lee
(5:05)  7. In The Middle Of A Kiss
(3:00)  8. Too Busy
(3:36)  9. Improvisation For The March Of Time
(3:11) 10. Too Good To Be True
(3:45) 11. Save Your Sorrow
(3:36) 12. It's Love I'm After
(2:49) 13. Learn To Croon
(3:14) 14. Mood Hollywood
(5:47) 15. For You, For Me, For Evermore
(3:01) 16. Here's Love In Your Eye
(2:43) 17. I Never Knew
(0:47) 18. Improvisation For The March Of Time

This, the first of two CDs, features pianist Keith Ingham and a variety of top mainstream players heard in different combinations, exploring mostly obscurities from the 1920s and '30s. Such tunes as Alex Hill's "Madame Dynamite," "I'm Gonna Stomp Mr. Henry Lee," "Too Busy," "Learn to Croon," and "Mood Hollywood" are not exactly recorded on a weekly basis in the 1990s. Ingham is joined by such fine players as cornetist Randy Reinhardt, trombonist Dan Barrett (who also plays some effective trumpet), clarinetist Phil Bodner, Scott Robinson on various reeds, guitarist James Chirillo, bassist Murray Wall, Vince Giordano on bass sax and bass, and drummer Arnie Kinsella. The bands range from an octet to several different trios. Highly recommended to fans of the idiom, along with volume two. ~ Scott Yanow  http://www.allmusic.com/album/the-keith-ingham-new-york-9-vol-1-mw0000259603

Personnel: Keith Ingham (piano); James Chirillo (guitar); Phil Bodner (clarinet, alto saxophone); Kaj Robole (soprano saxophone, baritone saxophone); Floy Robinsó (tenor saxophone); Vince Giordano (bass saxophone); Dan Barrett (trumpet, trombone); Randy Reinhart (cornet, trombone); Arnie Kinsella (drums).

The Keith Ingham New York 9 Vol 1

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John Cocuzzi - Groove Merchant

Styles: Vibraphone Jazz
Year: 2011
File: MP3@320K/s
Time: 66:02
Size: 165,2 MB
Art: Front

(4:58)  1. Groove Merchant
(4:56)  2. Crazy Rhythm
(8:05)  3. Dream Dancing
(5:10)  4. The Glory Of Love
(4:45)  5. How Am I To Know
(7:14)  6. Tenderly
(5:14)  7. Minor Drag
(3:43)  8. Mellow Guitar
(4:08)  9. Did I Remember
(3:52) 10. Last Night On The Back Porch (I Loved Her Most Of All)
(3:56) 11. Je Ne Sais Pa
(7:16) 12. What'll I Do
(2:40) 13. Lover

John Cocuzzi has long been a favorite at jazz parties for his swinging vibes, in addition to occasionally taking a turn at the piano and singing as well; he's been a featured artist since the inception of the Atlanta Jazz Party. But in a career that dates back to the 1990s, he has been recorded only sporadically, and this 2012 CD is his first CD to be issued on a widely distributed jazz label. For these sessions, Cocuzzi sticks to vibes with a few vocals, surrounded by a number of musicians who've played with him at jazz parties and/or on record dates: pianist John Sheridan, guitarist James Chirillo, bassist Frank Tate, drummer Joe Ascione, and clarinetist Antti Sarpila (who doubles on soprano sax). 

What's apparent right away is that the vibraphonist planned ahead by selecting a mix of familiar and forgotten songs, while finding a way to give them a fresh sound. Though Cocuzzi is a strong soloist, he isn't one to hog the spotlight, satisfied with taking a couple of choruses before sharing space with his mates. Cole Porter's "Dream Dancing" is recast as an easygoing samba, showcasing Sarpilla's playful clarinet, while the subtle swing of the vintage "Mellow Guitar" puts the spotlight on Chirillo, Cocuzzi, Sarpilla (on soprano), and Sheridan in turn. Cocuzzi's warm vocal in "Last Night on the Back Porch (I Loved Her Most of All)" is sincere rather than salacious, even though the song was considered suggestive when it was written in 1920s; it was considered wholesome enough to be recorded by Mitch Miller for his Singalong with Mitch series. 

"Je Ne Sais Pa" is a delicious swinger penned by Lionel Hampton and Hank Jones that sounds like it was written at the heyday of the Swing Era; Sarpilla's alternately gritty and lightly swinging clarinet and Cocuzzi's rapid-fire vibes keep it lively. Fats Waller's "Minor Drag" is full of pep as well, focusing on Sheridan's stride chops, Sarpilla's fiery soprano, and the leader's economical but potent vibes. Groove Merchant reinforces what jazz party fans have known for years: John Cocuzzi swings effortlessly every time, inspiring those sharing the stage or studio with him. ~ Ken Dryden   http://www.allmusic.com/album/groove-merchant-mw0002265260.

Personnel: John Cocuzzi (vocals, vibraphone); James Chirillo (guitar); Antti Sarpila (clarinet, soprano saxophone); John Sheridan (piano); Joe Ascione (drums, djembe, shaker).

Groove Merchant

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Warren Vache & The Scottish Ensemble - Don't Look Back

Size: 135,1 MB
Time: 58:02
File: MP3 @ 320K/s
Released: 2006
Styles: Big Band
Art: Front

01. It Was Written In The Stars (6:46)
02. My Misteress' Eyes (2:54)
03. Spring (4:15)
04. My Love And I (5:11)
05. Molly On The Shore (4:07)
06. April In My Heart (6:14)
07. Valse Prismatique (4:12)
08. I Fall In Love Too Easily (4:32)
09. Love Is For The Very Young (5:24)
10. On The Street Where You Live (6:04)
11. Don't Look Back (8:18)

A veteran trumpeter with an extensive resume that includes stage, radio and television performances, Warren Vaché filled a void in his three-decade career with the recoding of Don't Look Back. Having once stated that "Everybody really serious about jazz music dreams of making a recording with a string ensemble, Vaché accomplishes this long-held desire by joining forces with the Scottish Ensemble, a twelve-piece virtuoso string group that once specialized in only baroque music. Playing against the backdrop of the strings, his trumpet and cornet convey a warm and pleasant mood associated with a classical-jazz atmosphere.

On six of the ten tunes on this album, Vaché leads the Scottish Ensemble, and his trumpet is the only other instrument accompanying the group. Preferring to limit the music in this manner, he employs a rhythm section on four other tracks: bassist Ronnie Rae, pianist John Rae and drummer Brian Kellock. Another important contributor to this project was guitarist James Chirillo, who provides various arrangements and wrote "Valse Prismatique. The selections include lush standards like the Harold Arlen's "It was Written in the Stars, Hoagy Carmichael's "April in My Heart, Sammy Cahn's " I Fall in Love Too Easily and an absolutely beautiful rendition of the David Raskin classic "My Love and I.

Typical of classical-jazz music, Don't Look Back quenches the thirst for that soft and gentle side of jazz that we all need a sip from sooner or later. Vaché interprets the selections on this relaxing, soul-searching and soothing jazz session with graceful accompaniment from his instrumental collaborators. ~Edward Blanc

Personnel: Warren Vache: leader, trumpet, cornet; James Chirillo: guitar; Brian Kellock: drums (3,4,8,10); John Rae: piano (3,4,8,10); Ronnie Rae: bass (3,4,8,10). Scottish Ensemble (1,2,5-7,9): Jonathan Morton: director, violin; Cheryle Crockett, Liza Webb, Lowri Porter, Tamas Andras, Laura Ghiro, Amira Bedrush-McDonald: violins; Fionna Winning, Becky Jones: violas; Alison Lawrence,Naomi Boole-Masterson: cellos;Diane Clark: double bass; Helen Macleod: harp; Katherine Mackintosh: oboe.

Don't Look Back 

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Various - Swingin' The Blues

Bitrate: 320K/s
Time: 49:56
Size: 114.3 MB
Styles: Big band
Year: 2009
Art: Front

[5:20] 1. Swingin' The Blues
[3:13] 2. Moten Swing
[5:08] 3. Blue And Sentimental
[3:49] 4. April In Paris
[5:14] 5. Lil' Darlin'
[3:36] 6. Big Noise From Winnetka
[8:09] 7. Broadway
[6:01] 8. Baby Won't You Please Come Home
[9:22] 9. The King

Randy Sandke's second volume of a concert salute to Count Basie is equal to the earlier CD. Sandke has long been underrated as a soloist, but he more than proves himself. These performances, utilizing both new charts by bandmembers as well as tried and true scores, have the feeling of Basie-type head arrangements, flowing easily yet swinging hard. Yet none of the music comes across as a museum-piece re-creation; rather, the selections featured here are updated treatments of favorites. Joining him are trombonist Dan Barrett, multi-reed player Brian Ogilvie, tenor saxophonist (and Basie alum) Billy Mitchell, pianist Mark Shane, guitarist James Chirillo, drummer Joe Ascione, and the legendary bassist and composer Bob Haggart. Mitchell arranged the lush chart of "Blue and Sentimental" and Sandke shines in "April in Paris," while omitting the traditional (if trite) quote of "Pop Goes the Weasel." The one non-Basie-related track is Haggart's fun-filled duet with Ascione of "Big Noise from Winnetka," which dates from his days as a member of Bob Crosby's Bobcats. All in all, this is a very enjoyable tribute. ~ Ken Dryden

Features Randy Sandke, Dan Barrett, Brian Ogilvie, Billy Mitchell, Mark Shane, James Chirillo, Bob Haggart & Joe Ascione.

Swingin' The Blues

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