Tony Lakatos - I Get Along With You Very Well

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 67:45
Size: 155,9 MB
Art: Front

(5:30) 1. Doctor, Lawyer, Indian Chief
(6:14) 2. Skylark (feat. Jimmy Scott (Vocal))
(4:37) 3. I Get Along With You Very Well
(5:34) 4. Georgia On My Mind
(3:03) 5. The Nearness Of You (feat. Jimmy Scott (Vocal))
(5:23) 6. Skylark
(5:52) 7. April In My Heart
(7:49) 8. Stardust (feat. Jimmy Scott (Vocal))
(5:32) 9. Little Break From Hoagy (feat. George Mraz, Adam Nussbaum)
(7:05) 10. The Nearness Of You
(3:10) 11. Heart And Soul
(4:39) 12. Big Breath
(3:11) 13. A Woman Likes To Be Told

Tony Lakatos,the great Hungarian jazz saxophone player was born on 13th November, 1958 in Budapest.His father was a fantastic Hungarian musician, a violinist.His brother, Roby Lakatos is a great violinist living in Brussels.

As for a start, Tony, then Tónika /Antal/ started learning to play the violin, as it was traditional in his family.To my knowledge,their family is one of the most outstanding gypsy musician families of Hungary, his ancestors can be traced back as belonging to the best violinist family, the Bihari family./I'm not quite sure of the name, though./ The little Tony got to like the saxophone,but his parents didn't approve of him changing his musical instrument.

At last, he still started playing, and he appeared at one of Hungary's jazz festivals at the age of 17 as a great talent and surprise for everyone. Eversince then he has played with all the most renowned Hungarian musicians like Szakcsi Lakatos Béla /piano/,Dresch Mihály /saxophone/,Pecek Lakatos Géza /drums/,Balázs Elemér /drums/,Lattmann Béla /bass guitar/ and numerous others.

He moved to Germany in 1985 /or so/ and has been living there since then, in Stuttgart.He has played with numerous American, German and European jazz musicians.He has had concerts all around Europe,USA and even in Japan. Tony Lakatos returns to Hungary quite often, so we are lucky to be able to listen to his inventive music.He does not only play jazz standards but also a great composer in his own right. Tony is married with two daughters, a good hearted, very nice person.
https://www.last.fm/music/Tony+Lakatos/+wiki

Personnel: Tony Lakatos - Tenor & Soprano Saxophones; George Mraz - Bass; Tim Lefebvre - Electric Bass; Adam Nussbaum - Drums; Jimmy Scott - Vocals

I Get Along With You Very Well

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Jimmy Scott - Holding Back the Years

Styles: Vocal
Year: 1999
File: MP3@320K/s
Time: 49:14
Size: 113,4 MB
Art: Front

(5:16)  1. What I Wouldn't Give
(5:06)  2. The Crying Game
(5:23)  3. Jealous Guy
(5:28)  4. Holding Back the Years
(5:13)  5. How Can I Go On Without You
(3:49)  6. Almost Blue
(4:27)  7. Slave to Love
(6:18)  8. Nothing compares 2 U
(4:54)  9. Sorry Seems to Be the Hardest Word
(3:15) 10. Don't Cry Baby

After venturing into the rock and soul catalog with renditions of Bob Dylan, Curtis Mayfield, and the Talking Heads songs, Little Jimmy Scott really digs here with a program made up almost entirely by pop hits from the last three decades. Due in part to the insight of producers Gerry McCarthy and Dale Ashley, Scott tackles contemporary material that, in its elegance, jazz overtones, and passion, is perfectly suited to his special brand of vocal savvy and knack for the great standards. Of course, he could probably cover almost any song and transform it into something unique, which is what he often does here. 

With his gentle pacing, vulnerable-sounding yet powerful soprano, and unerring sense of dynamics, Scott entirely refashions classics like Bryan Ferry's "Slave to Love," Elton John and Bernie Taupin's "Sorry Seems to be the Hardest Word," and the movie theme "The Crying Game." And while maybe not wrought anew, his versions of John Lennon's "Jealous Guy," Elvis Costello's "Almost Blue," and Prince's "Nothing Compares 2 U" are still stunning. He even gives Simply Red's Mick Hucknell a few needed lessons in vocal phrasing with an in-the-pocket rendition of the title track. Better to showcase Scott's singular voice, the arrangers wisely supply him with an unobtrusive and classy backdrop punctuated with subtle, yet keen solo breaks. An amazing set by one of the best singers around. ~ Stephen Cook https://www.allmusic.com/album/holding-back-the-years-mw0000047014

Personnel: Vocals – Jimmy Scott;  Bass – Hilliard Greene; Drums – Victor Jones;  Guitar – Matt Muniseri;  Harmonica – Gregorie Maret ; Piano   Saxophone – Bruce Kirby; Strings – David Gotay, Hye Kyung Seo, Susan Aquila, Wayne Graham;  Trumpet – Pamela Fleming

Holding Back the Years

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Jimmy Scott - Falling in Love Is Wonderful

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 38:37
Size: 90,3 MB
Art: Front

(4:04)  1. They Say It's Wonderful
(4:02)  2. I Wish I Didn't Love You So
(3:27)  3. There Is No Greater Love
(3:23)  4. If I Should Lose You
(4:50)  5. Why Try to Change Me Now
(3:54)  6. I'm Getting Sentimental Over You
(3:29)  7. Someone to Watch Over Me
(3:36)  8. How Deep Is the Ocean
(4:22)  9. I Didn't Know What Time It Was
(3:25) 10. Sunday, Monday or Always

The Eighteenth Century saw the zenith of a subset of opera singers known collectively as the castrati. These singers, eunuchs relieved of their primary sexual characteristics between the ages of 7 and 10 years, had voices full, with high range and perfect timbre. Technically, the normal male voice deepens during puberty under the pressure of increasing secretion of the male sex hormone testosterone, or more probably its biological byproduct dihydrotestosterone. The male vocal cords increase 70% in length during this time, where the female vocal cords increase by only 34%. Testosterone initially produces swelling of the vocal cords, followed by a permanent thickening due to the accumulation of collagen. These changes contribute further to the lowering of vocal pitch. Removal of testosterone causes absence of male-type growth of the larynx or voice box. In the only recorded autopsy of a castrato, the size of the larynx was conspicuously small, with vocal cords the length of a female high soprano. However, in a castrato overall body growth continues unhindered, resulting in a voice very different from that of the prepubescent boy. While the pitch may have been similar to that of a female, the timbre of the voice was different. A leading Eighteenth Century opera critic Charles de Brosses described the castrato sound as being "as clear and penetrating as that of choirboys but a great deal louder with something dry and sour about it yet brilliant, light, full of impact." What does this have to do with Jazz Vocalist Jimmy Scott? Mr. Scott was born with a familial condition commonly known as Kallman’s Syndrome. This is a heredity condition that not only affects Mr. Scott but also his brother and several maternal uncles. In this condition, the cells of the hypothalamus gland responsible for making and secreting the hormones necessary to stimulate the release of the sex related hormones testosterone in the male or estrogen in the female, fail to develop. 

This results in the afflicted never fully developing to sexual maturity. In essence, those who have Kallman’s Syndrome are natural castrati. The result in Mr. Scott’s case is his perfect, beautiful voice. Pristine, crystalline, faultless are all adjectives that fairly describe this unique voice. Born in Cleveland, OH in 1925, Jimmy Scott received musical training for an early age and was invited to sing with Lionel Hampton’s band in the late 1940s. He recorded several well-received sides for Savoy in the 1950s. In 1962, when he thought his contract was completed, Mr. Scott went to Ray Charles’ Tangerine label and recorded the famous Falling In Love Is Wonderful. Shortly before the album’s release, Scott’s previous label sued Tangerine claiming that Scott remained under contract to Savoy. It would be 40 years before Falling In Love Is Wonderful would again be legally heard. Rhino Record’s specialty label Rhino Hand Made has recently released Falling In Love Is Wonderful to a welcoming jazz public. The recording sports the arrangements of Marty Paich and Gerald Wilson and the piano playing of Ray Charles. It is a collection of love songs ballads so sincerely emoted in such a perfect voice that one would think the songs were written for Jimmy Scott. "There Is No Greater Love," "I’m Getting Sentimental Over You," and "Someone To Watch Over Me" are all rendered with careful affection and respect. This is a voice and music of another time. Densely romantic and heartbreakingly open, Jimmy Scott and his exquisite voice should be declared a national treasure. In 1992, interest in Mr. Scott began to pique with the Sire release of All the Way. Since then, Mr. Scott has continued to record critically acclaimed discs, his most recent being 2002’s But Beautiful (Milestone MCD-9321-2). His voice sports the maturity of his 77 years and the sweetness of his life. ~ C.Michael Bailey https://www.allaboutjazz.com/falling-in-love-is-wonderful-jimmy-scott-tangerine-review-by-c-michael-bailey.php

Personnel: Jimmy Scott: vocals.

Falling in Love Is Wonderful

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Jimmy Scott - All the Way

Styles: Vocal, Jazz
Year: 1992
File: MP3@320K/s
Time: 47:10
Size: 109,2 MB
Art: Front

(4:59)  1. All the Way
(5:08)  2. Embraceable You
(5:15)  3. Angel Eyes
(4:53)  4. At Last
(5:31)  5. Someone to Watch over Me
(5:14)  6. Ev'ry Time We Say Goodbye
(4:38)  7. I'll Be Around
(5:23)  8. My Foolish Heart
(6:06)  9. I'm Getting Sentimental over You

The recording history of Little Jimmy Scott is peppered with long hiatuses from the studio. He was absent for a period of seven years from 1962 to 1969 and then for more than 15 years from 1975 to 1990. Bordering on singing in the range of a counter tenor, Scott brings a distinctive, immediately recognizable sound and sensitivity to material he sings. It is hard to find any other vocalist, other than Billie Holiday, who matches Scott's depth of emotion that he applies to the classic standards he favors. All the Way was recorded more than 40 years after Scott made his first album for Roost. Over those years, even with his long absences, he has been able to command the services of top of the line musicians. He is one of those rare vocalists that jazz musicians like to be on the stage or in the studio with. And this album is no exception, featuring an all-star lineup that includes Kenny Barron, Ron Carter, and Grady Tate on rhythm. David "Fathead" Newman's soulful sax on such cuts as "All the Way" compliments Scott's delivery perfectly. Like Scott, Newman leaves abundant room between the measures to allow the song to breathe, the listeners to gain the full flavor of what he has played and to anticipate what's to follow in a second or two. On such tunes as "Angel Eyes" and "At Last," Scott's delivery goes beyond mere poignancy, and moves close to reverence, such respect he has for the classics he has put in the song list. This is good stuff. Strings magically appear on some tracks. But they are done tastefully and don't get in the way. Jimmy McDonough's knowledgeable highlights of Scott's career are a welcome added attraction. ~ Dave Nathan http://www.allmusic.com/album/all-the-way-mw0000079980

Personnel: Jimmy Scott (vocals); Johnny Mandel (arranger); David "Fathead" Newman (saxophone); Kenny Barron (piano); John Pisano (guitar); Ron Carter (bass); Grady Tate (drums).

All the Way

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Jimmy Scott - Over The Rainbow

Styles: Vocal
Year: 2001
File: MP3@320K/s
Time: 56:30
Size: 129,8 MB
Art: Front

(3:18)  1. Pennies From Heaven
(3:48)  2. Over The Rainbow
(5:44)  3. All Or Nothing At All
(3:56)  4. Strange Fruit
(5:27)  5. Don't Take Your Love From Me
(5:35)  6. Just Friends
(4:49)  7. P.S. I Love You
(4:34)  8. Everybody's Somebody's Fool
(3:19)  9. If You Only Knew
(5:00) 10. I Got It Bad (And That Ain't Good)
(5:04) 11. I'll Close My Eyes
(5:50) 12. When Did You Leave Heaven?

There have been few 75-year-old vocalists working in any popular music style that sounded as good as Scott did on this session from late 2000, aided by contributions from top players like Joe Beck (guitar) and Grady Tate (drums). Scott loves those sentimental songs, and this set is full of standards in that vein, from the title track and "Pennies From Heaven" to "P.S. I Love You" (the Jenkins-Mercer composition, not the Beatles song) and "I Got It Bad (And That Ain't Good)." For the most part the arrangements are appropriately small-scale, letting Scott's voice hog the foreground and squeeze plenty of nuances from his sad vibrato. "Over the Rainbow" itself suffers from an excessive wash of vibes, but fortunately that's not typical of most of the set, which just does toe the right side of gushing emotion. It is a refreshing change of pace, though, when a trace of somber darkness is introduced on the foreboding, doomy arrangement of "Strange Fruit," which benefits from a guest shot by David "Fathead" Newman on tenor sax. ~ Richie Unterberger   http://www.allmusic.com/album/over-the-rainbow-mw0000001817

Personnel: Little Jimmy Scott (vocals); Joe Beck (guitar, acoustic guitar, electric guitar); Grégoire Maret (harmonica); Justin Robinson (alto saxophone); David "Fathead" Newman , Bob Kindred (tenor saxophone); Larry Willis, Michael Kanan (piano); Joe Locke (vibraphone); George Mraz (acoustic bass); Clarence Penn, Grady Tate (drums).

RIP 

Jul 1925/Jun 2014

Over The Rainbow

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