Cheryl Bentyne - The Book of Love

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 49:16
Size: 113,2 MB
Art: Front

(4:31)  1. You Don't Know Me
(4:48)  2. Be My Love
(3:40)  3. Blue Moon
(3:25)  4. Lets Do It
(5:05)  5. Don't Say A Word
(4:17)  6. The Book of Love
(4:29)  7. You Taught My Heart to Sing
(4:52)  8. You Go To My Head
(4:35)  9. Cry Me A River
(5:30) 10. I'm A Fool To Want You
(2:49) 11. Goodbye
(1:11) 12. The Book of Love (Reprise)

Much like fellow West Coaster Karrin Allyson, Cheryl Bentyne has shown a certain affection for thematic recordings. Allyson released her superb Coltrane tribute, Ballads: Remembering John Coltrane, in 2001, and Bentyne answered with her own tribute to Anita O'Day, Let Me Off Uptown, in 2005. Bentyne now returns with The Book of Love, a suite of standards based on a literary motif.  The Book of Love is divided into a seven chapters covering longing, flirtation, lust, love, joy, disillusion, and finally loss. Bentyne is clothed in a variety of musical attire for this reading. The opening "You Don't Know Me uses a Ray Charles line of orchestral outerwear to accent a soulful guitar-organ-piano ensemble warmly cushioning Bentyne's firm alto. "Be My Love is more simply clad with Wayne Johnson's classical guitar and bearing the jewel of Armen Ksajikian's cello solo.  "Blue Moon wears the flapper brocade of the 1920s Jazz Age. Bentyne playfully duets with John Pizzarelli while dancing with violinist Charlie Bisharat's best Joe Venuti. "Let's Do It wears the cloth of the guitar-piano quartet, swinging in three time signatures. Bentyne displays her superb lyric control best here. Having progressed through longing and flirtation, we arrive at lust, represented by the single song "Don't Say a Word, a contemporary piano-orchestra piece written by pianist Bill Cantos. Tenor saxophonist Bob Sheppard plays a Zoot Sims-inspired ballad solo and Bentyne captures the ember of the piece gracefully.

Love (containing the original title track) and joy reveal a gem in a regimented "You go to My Head, adorned with full orchestra and a languid guitar/piano/bass/drums rhythm section. Bentyne sings straight, employing a linear melody method not characteristically used on this song. Trumpeter Chris Tedesco blows a bright two-chorus solo that is a highlight.  But it is not longing, flirtation, lust or love that make the best songs; it is disillusion and loss. "Cry Me A River is formally dressed with stings and presented by Bentyne in a sardonically prideful manner. The true grief and anger are reserved for "I'm a Fool to Want You, where Bentyne's vocal sweetness is tainted by saline tears and bitterness. She sings in the context of her guitar-piano quartet accented again by Charlie Bisharat's violin. The disc closes with a smoky, Latinesque "Goodbye before signing off with a reprise of the original title track. Bentyne continues to deliver measured, intelligently defined recordings that brighten the jazz vocal landscape.By C.Michael Bailey https://www.allaboutjazz.com/the-book-of-love-cheryl-bentyne-telarc-records-review-by-c-michael-bailey.php

Personnel:  Cheryl Bentyne, Zoe Allen, John Pizzarelli, Mark Kibble, Alvin Chea: vocals;  Grant Geissman, Wayne Johnson: guitar; Charlie Bisharat: violin;  Armen Ksajikian: cello;  Bob Sheppard:tenor saxophone;  Chris Tedesco: trumpet;  Corey Allen: piano, keyboards;  Bill Cantos: piano;  Kevin Axt: bass guitar; Dave Tull: drums;  Don Alias, Scott Breadman: percussion;  The City Of Prague Symphony.

The Book of Love

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Ann Hampton Callaway - Fever: a Peggy Lee Celebration!

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 51:10
Size: 118,1 MB
Art: Front

(3:43) 1. Fever
(3:18) 2. Till There Was You
(2:36) 3. The Glory Of Love (Feat. John Pizzarelli)
(6:06) 4. The Folks Who Live On The Hill
(1:47) 5. Sing A Rainbow
(2:57) 6. I Don't Know Enough About You
(3:37) 7. Claire De Lune
(5:54) 8. Black Coffee
(3:51) 9. I Love Being Here With You
(3:26) 10. The Other Part Of Me
(3:22) 11. Johnny Guitar
(4:53) 12. Where Can I Go Without You?
(2:38) 13. This Is A Very Special Day / It's A Good Day
(2:55) 14. Angels On Your Pillow

Peggy Lee was a remarkable singer and songwriter, but to some listeners, deeply enigmatic. Her time, often well behind the beat, conveyed a subtle sense of irony. "Are you getting this?" she sometimes seemed to say, "or am I going too fast for you?" She could be exuberant and world weary almost in the same breath. It was seemingly up to the audience to decipher her meaning. Lee could convey expectation and experience simultaneously, as in her version of "Folks Who Live on The Hill." "Fever."

Well, it was not as if much imagination was needed, with a drummer dropping exclamation points, but tastefully, not bump and grind. As much as any singer of her generation, even more than Anita O'Day, Lee could convey emotional turmoil, never perhaps really distant from her personal life. She was a singer for adults, like O'Day or Billie Holiday. She could sing sweetly, but that was not her customary image by the time she reached the 1960s.

Those same qualities are gloriously evident in Ann Hampton Callaway's well-chosen celebration of Lee. Just in case the listener were inclined to miss them, Callaway's version and it is her version of "Fever" includes a wry commentary on Lee's first marriage to guitarist Dave Barbour, when she was in her apprenticeship to Benny Goodman in the 1940s. It is a nod to Lee's songwriting as well, like "Captain John Smith and Pocahontas," that Lee apparently added. It is instructive to listen to Callaway doing "Till There Was You."

This tune dates from the 1950s, and Lee sold it as a straight love song, no fireworks. Callaway gives a different impression, regret perhaps. When you think of Lee as the voice of experience as in "Is that All There Is?," Calloway's quality is strikingly different. It is the same on "Folks Who Live on the Hill." Lee could have been looking into the future, but Callaway leaves the impression that she has seen it all.

"Black Coffee" has been done by so many artists since Sarah Vaughan that it would take a book to compare them. Callaway gives it a solid blues treatment, and like some others, she has the right voice for it, down and dirty. Lee pretty much did it that way too, but not every singer has. Callaway is true to the original, but then so was Lee. Preference is a matter of taste.

On the other hand, some of the material is, well, if not obscure, probably new to some. "The Other Part of Me," for instance, or "Johnny Guitar," is presumably related to a Joan Crawford film made in 1954 about the risks an independent woman had to take on the Wild West. Lee started young and had a long career that included acting. Not everyone will be familiar with her entire trajectory, or coded allusions to aspects of her personal life.

As for Callaway, this recording only goes to show she has not chosen to coast on past successes, of which there have been many. She is, like Lee, quite versatile, ranging far beyond basic blues, and very much her own singer and songwriter, no matter who her formative influences were.

There are plenty of subtle clues about Callaway's outlook in her singing: anyone who can do a song like "Thoughts and Prayers" is not about to compromise artistry or talent for anyone. Nor, one suspects, would Peggy Lee either. Jazz can be complicated, and so too, its best exponents.By Richard J Salvucci https://www.allaboutjazz.com/fever-a-peggy-lee-celebration-ann-hampton-callaway-palmetto-records

Personnel: Ann Hampton Callaway: voice / vocals; John Pizzarelli: guitar; Ted Rosenthal: piano; Martin Wind: bass, acoustic; Tim Horner: drums; Bob Mann: guitar.

Fever: a Peggy Lee Celebration!

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Ruby Braff and The Flying Pizzarellis - C'est Magnifique!

Styles: Cornet Jazz
Year: 2007
File: MP3@320K/s
Time: 74:23
Size: 171,2 MB
Art: Front

(7:49) 1. Lulu's Back in Town
(4:55) 2. Was I to Blame for Falling in Love with You?
(9:47) 3. You're a Lucky Guy
(6:03) 4. When a Woman Loves a Man
(7:03) 5. C'est Magnifique
(9:52) 6. My Honey's Lovin' Arms
(4:38) 7. I Didn't Know What Time It Was
(5:59) 8. They Can't Take That Away from Me
(4:28) 9. As Time Goes By
(8:37) 10. Sometimes I'm Happy
(5:06) 11. Dancing on the Ceiling

Ruby Braff's final studio recording sessions took place with musicians who played with the fire and inspiration required by the demanding cornetist, including familiar faces like guitarist Bucky Pizzarelli and drummer Jim Gwinn, though guitarist John Pizzarelli, bassist Martin Pizzarelli, and pianist Ray Kennedy had never before worked with him. Braff's battle with emphysema during the last few years of his life required him to use a wheelchair to get around airports to save his breath for performing, but he is still a powerful presence on this session, around two months before his illness progressed to the point that he could no longer perform.

Like any Braff-led recording, these dates include a selection of tried and true standards that he had played many times throughout his career, all played in swinging fashion and a timeless manner. The opener, "Lulu's Back in Town," is notable as he plays in short bursts, keeping the solos moving through the group to keep all the musicians on their toes, a pattern that follows in most of the selections.

Braff had a knack for reviving forgotten chestnuts like "My Honey's Loving Arms" and "You're a Lucky Guy." "C'est Magnifique" is not one of Cole Porter's best-known works, but Braff's sassy cornet and the campy vocal chorus (which includes a mix of recording session attendees, vocalist/pianist Daryl Sherman, jazz critic Dan Morgenstern, jazz author Ross Firestone, and producer Rachel Domber among them the last three likely making their recording debuts!) add to its appeal. John Pizzarelli's warm, friendly vocals are featured in both "They Can't Take That Away from Me" and "As Time Goes By," which brings up another Braff mandate: when the composer wrote an opening verse to set up a song, it shouldn't be omitted.

This rewarding session closes the career of a marvelous cornetist who kept high standards throughout his career rather than bowing to the demands of record labels, casual jazz fans, or promoters; he is missed but will not be forgotten.By Ken Dryden
https://www.allmusic.com/album/cest-magnifique%21-mw0000581925#review

Personnel: Ruby Braff - cornet; Bucky Pizzarelli - guitar; John Pizzarelli - guitar, vocal (tracks 8 and 9); Ray Kennedy - piano; Martin Pizzarelli - bass; Jim Gwinn - drums
The Oo-La-La Singers (track 5): Rachel Domber, Daryl Sherman, Adam and Dan Morgenstern, Al Lipsky, Gail and Ross Firestone

C'est Magnifique!

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John Pizzarelli - John Pizzarelli Salutes Johnny Mercer: Live At Birdland

Size: 152,0 MB
Time: 64:52
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals, Guitar Jazz
Art: Front

01. I Got Out Of Bed On The Right Side (Live) (3:50)
02. Intro Dearly Beloved (Live) (0:28)
03. Dearly Beloved (Live) (4:22)
04. Goody Goody (Live) (4:03)
05. You Medley (Live) (7:21)
06. Skylark (Live) (3:53)
07. Intro I'm Old Fashioned (Live) (0:26)
08. I'm Old Fashioned (Live) (2:31)
09. Jamboree Jones (Live) (3:13)
10. Emily (Live) (3:11)
11. Accentuate The Positive (Live) (5:11)
12. Academy Award Medley (Live) (3:46)
13. Slue Foot (Live) (3:10)
14. Intro October Medley (Live) (0:31)
15. October Medley (Live) (5:33)
16. Intro Somethings Gotta Give (Live) (0:21)
17. Somethings Gotta Give (Live) (4:09)
18. Empty Tables (Live) (2:56)
19. Too Marvelous For Words (Live) (3:45)
20. And So To Bed (Live) (2:00)

Jazz guitarist/vocalist John Pizzarelli is a technically proficient fretman with a soft voice, charming stage presence, and knack for uptempo swing. Most often performing in a trio setting sans drums, Pizzarelli has found his niche covering jazz standards and American popular song in his own urbane style. The son of journeyman swing guitarist Bucky Pizzarelli, John began performing with his father at age 20 and made his recorded debut with his 1983 release, I'm Hip -- Please Don't Tell My Father. Growing up, John was exposed to the music of such jazz luminaries as Les Paul and Django Reinhardt, and he has justifiably drawn comparisons to both of these legendary guitarists.

Pizzarelli's updated old-school sound caught the ear of many jazz purists early on; notably, in 1993 the John Pizzarelli Trio opened various dates on Frank Sinatra's tour, eventually participating in the legendary vocalist's 80th birthday celebration at Carnegie Hall. Interestingly, Pizzarelli's growing popularity garnered him a lead spot in the 1997 Broadway production of Dream, a tribute to composer Johnny Mercer. His 1998 RCA release, Meets the Beatles, found him reinterpreting classic songs by the iconic Liverpool quartet, while the following year he paid tribute to one of his biggest influences, pianist/vocalist Nat King Cole, on P.S. Mr. Cole. Pizzarelli then signed with the Telarc label in 1999 and released two standards-based albums, Kisses in the Rain and Let There Be Love, in 2000.

Since then, he has recorded an album with pianist George Shearing and celebrated ten years of performing with his trio by releasing the concert album Live at Birdland in 2003. Taking a break from swing, Pizzarelli released Bossa Nova in 2004. Largely featuring the works of Brazilian composer Antonio Carlos Jobim, the album showcased the Pizzarelli Trio on such classics of the genre as "The Girl from Ipanema" and "Aguas de Marco [Waters of March]." In 2005 Pizzarelli returned to his usual fare of American standards with Knowing You (though he penned the title track), and, backed by the Clayton-Hamilton Jazz Orchestra, paid his tribute to the legend himself with 2006's Dear Mr. Sinatra. With a Song in My Heart, featuring the songs of composer Richard Rodgers, followed in 2008. In 2010, Pizzarelli paid homage to legendary pianist/bandleader Duke Ellington with Rockin' in Rhythm: A Duke Ellington Tribute. The following year he appeared with his father on Family Fugue. In 2012, Pizzarelli released the album Double Exposure, featuring his take on classic jazz standards as well as contemporary pop standards from his youth, including works by Elvis Costello, Billy Joel, Steely Dan, and others.By Matt Collar

John Pizzarelli Salutes Johnny Mercer

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John Pizzarelli - Stage & Screen

Styles: Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 61:44
Size: 141,9 MB
Art: Front

(5:53) 1. Too Close For Comfort
(3:04) 2. I Love Betsy
(5:19) 3. I Want To Be Happy
(7:43) 4. Tea For Two
(6:25) 5. Just In Time
(2:36) 6. Some Other Time
(4:41) 7. Where Or When
(9:00) 8. Oklahoma Suite
(4:46) 9. Time After Time
(3:20) 10. You're All The World To Me
(4:06) 11. As Time Goes By
(4:45) 12. Coffee In A Cardboard Cup

Evoking heartfelt memories of love and longing, sunshine, laughter and more, vocalist/guitarist John Pizzarelli's Stage & Screen delivers vibrant interpretations of classic songs from Broadway and Hollywood. The album provides not only nostalgia and hopeful vibes, but what amounts to orchestral artistry by Pizzarelli, pianist Isaiah J. Thompson and bassist Mike Karn as a bonus. Pizzarelli, a Grammy award winner and long an internationally acclaimed performer and entertainer, has been credited as being a prime interpreter of the Great American Songbook and jazz standards while maintaining a repertoire including the music of those like Paul McCartney, Joni Mitchell, Antonio Carlos Jobim and the Beatles. He's played with, among many others, Rosemary Clooney, Natalie Cole, Buddy DeFranco and his father Bucky Pizzarelli.

"In thinking about some of the songs that I really love to play, it struck me how many of them come from either a Broadway show or from a movie," Pizzarelli says. "An idea like Stage & Screen frees me to explore a wide range of songwriters and eras, and it continues to offer a wealth of new possibilities." And the album celebrates the 40th anniversary of Pizzarelli's 1983 debut recording.

It features Pizzarelli's vintage, incisive strumming guitar work and is embellished by bandmates Karn and Thompson. Karn, a story in his own right, is a talented tenor saxophonist who has worked with many big names, including Joe Lovano and then switched to the bass and mastered that as well. Thompson is the prodigious pianist first eyed by Pizzarelli when Thompson was just 16. Since then Thompson, a Juilliard School graduate, has performed with Ron Carter, Steve Turre and many other jazz stars.

The trio's empathy makes Stage & Screen one of 2023's early album of the year candidates. Several of the classics are familiar, yet made special by Pizzarelli's soothing and artful, and at other times crackling and energetic vocals. "Tea for Two," "Just In Time" and "Where or When" are notably enchanting lullabies with Pizzarelli's guitar work accented by Karn's softly rumbling melodies on bass and Thompson's lyrically inventive piano ripples. Then there's "I Want To Be Happy," a romp showcasing Pizzarelli's ability and agility for not just lulling romance but also jamming, witty riffs, ably matched by Karn and Thompson's whipping runs of their own.

Two special highlights deserve mention. "Some Other Time" is a lilting Pizzarelli solo, a gem of enchanting rhythm and melancholy. "Oklahoma Suite" becomes a rich mosaic of the sights and sounds of the famed musical Oklahoma! from Karn's theme-setting bass opening, through Thompson's rollicking piano and Pizzarelli's joyful, whipping guitar strumming on "Oh What a Beautiful Morning," "The Surrey with the Fringe on Top," "People Will Say We're in Love" and others. People will say Stage & Screen makes for a lot of fun memories for many of us, and enduring music. By Steve Monroe
https://www.allaboutjazz.com/stage-and-screen-john-pizzarelli-palmetto-records

Personnel: John Pizzarelli: guitar; Mike Karn: bass, acoustic; Isaiah J. Thompson: piano.

Stage & Screen

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Hilary Kole - Haunted Heart

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 50:15
Size: 115,6 MB
Art: Front

(2:07)  1. It's Love
(2:41)  2. There's a Small Hotel
(3:32)  3. 'Deed I Do
(3:39)  4. I Didn't Know About You
(3:01)  5. Better Than Anything
(6:27)  6. Like a Lover
(4:59)  7. Blackberry Winter
(3:36)  8. The Snake
(5:01)  9. Old Boyfriends
(2:55) 10. How Am I to Know
(5:19) 11. What'll I Do
(2:05) 12. You for Me
(4:47) 13. Haunted Heart

This listener can't recall in years so smashing a solo CD debut as this winner. Hilary Kole's lengthy runs in cabaret and club appearances with song revues "Our Sinatra" and "Singing Astaire," singing some of the best of the American Songbook, have served her well. The mix here is flawless, ranging from such evergreens as Rodgers-Hart's "There's A Small Hotel" to worthy but lesser known gems such as '40s swinger "'Deed I Do" and Bob Haymes' "You For Me." What's most impressive is how Kole inhabits each with a thoroughness and emotional authenticity that belies her young years. Her delivery of "Better Than Anything," (heretofore owned by wonderful Irene Kral), is breezily knowing. Tedd Firth (piano) and Mark McLean (drums) make for swinging easy company throughout the set. With Alec Wilder and Loonis McGlohon's "Blackberry Winter," it's the American art song at its no-frills finest, evoking the straight- to-the-heart sound of the late Nancy LaMott.

The range of what she can do with a lilting, warm soprano is evident as Kole tosses off "You knew damn well I was a snake before you took me in," warbling Oscar Brown, Jr.'s bit of Freudian storytelling, "The Snake." That segues into a dark night take on Tom Waits' toughly nostalgic "Old Boyfriends." Particularly fine on musings from the trenches of love, if Kole's shrewd, swinging take on "How Am I To Know" isn't enough, just wait for her battered but still standing rendition of Irving Berlin's "What'll I Do." Kudos to all, including producer John Pizzarelli. This is a memorable first effort.
~Andrew Velez http://www.allaboutjazz.com/haunted-heart-hilary-kole-justin-time-records-review-by-andrew-velez.php
 

Personnel: Hilary Kole: vocals; Tedd Firth: piano; Paul Gill: bass; Mark McLean: drums; John Pizzarelli: guitar.

Haunted Heart

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Ray Brown Trio - Some of My Best Friends Are...Guitarists

Styles: Contemporary Jazz, Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 66:04
Size: 152,3 MB
Art: Front

(7:28) 1. Squeeze Me
(3:36) 2. I Want To Be Happy
(5:30) 3. Heartstrings
(3:13) 4. Blues for Ray
(5:12) 5. Fly Me To The Moon
(5:01) 6. The Song Is You
(7:47) 7. Little Darlin'
(6:01) 8. Blues For Junior
(4:27) 9. Tangerine
(6:04) 10. My Funny Valentine
(4:42) 11. Blues For Wes
(6:56) 12. Soulful Spirit

The fifth in Ray Brown's series of recordings pairing his working trio with several different musicians from the same family of instruments (although one volume was exclusively singers) features a half-dozen guitarists, ranging from fellow Oscar Peterson alumni Herb Ellis (who worked with Brown in the pianist's most famous trio) and Ulf Wakenius to veteran Kenny Burrell, as well as seasoned players like John Pizzarelli and Bruce Forman and the rising star Russell Malone. Each song sounds as if the group could be a working quartet, due to the great interaction between the trio and each guest. Pizzarelli shines in a bluesy, strutting take of Duke Ellington's "Just Squeeze Me" (erroneously labeled as Fats Waller's "Squeeze Me") which has a nice series of exchanges between the guitarist and the leader.

Ellis brings back memories of the Oscar Peterson Trio with a heated performance of "I Want to Be Happy" during which pianist Geoff Keezer is up to the task of carrying on where Ellis left off. Wakenius is the guest on a particularly moody take of "My Funny Valentine." Burrell, Forman, and Malone also fare nicely on each of their pair of tracks, so it's very easy to recommend this very enjoyable disc.~Ken Drydenhttps://www.allmusic.com/album/some-of-my-best-friends-are-guitarists-mw0000224992

Personnel: Ray Brown - Bass; Geoff Keezer - Piano; Karriem Riggins - Drums; Kenny Burrell, Herb Ellis, Bruce Forman, Russell Malone, John Pizzarelli, Ulf Wakenius - Guitar.

Some of My Best Friends Are...Guitarists

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Bria Skonberg - So Is the Day

Styles: Vocal And Trumpet Jazz
Year: 2012
File: MP3@320K/s
Time: 63:26
Size: 148,1 MB
Art: Front

(4:10)  1. Keep Me In The Back Of Your Mind
(7:35)  2. So Is The Day
(7:30)  3. Hip Check
(4:03)  4. I Wish I Hadn't Forgotten
(4:48)  5. Have A Little Heart
(3:45)  6. Far Away
(5:12)  7. Penny In Your Pocket
(4:29)  8. Let Yourself Go
(5:49)  9. Chilliwack Cheer
(4:08) 10. Big Yellow Taxi
(7:48) 11. Gymnopedie
(4:03) 12. My Friend

It's a rare talent that can straddle and dare request membership in the trumpet artist continuum emanating from Louis Armstrong and progressing down through his "Neo Orleans" progeny: Byron Stripling, Wynton Marsalis and Nicholas Payton (whose big band trumpet section Skonberg graces). However, with her bravura performance on So is the Day, Bria Skonberg confirms that she is not only indeed a triple threat musician player, vocalist and composer but also that that esteemed lineage, consummate entertainers all, would heartily approve her membership. This stunningly beautiful British Columbia native plays (and writes and sings) at levels of excellence and maturity far beyond her years. Whether it's plunging and growling away, soaring across the horn's range ferociously, or delivering beautifully constructed lyrical solo lines, Skonberg demonstrates solid chops and great command of her instrument. Displaying artistic flexibility and fire, she unabashedly channels Armstrong, Cootie Williams, Warren Vache, and other legendary players. It's also obvious that Skonberg is an admiring student of the vocal tradition, too. She exhibits stylistic shades of Peggy Lee, Dinah Washington, and Diana Krall. She has a beautiful voice both soul sultry and innocent sweet and an instrumentalist's feel for melodic line and rhythm. Her vocal and horn chops intertwine seamlessly. "Have a Little Heart" is a perfect example. An insightfully versatile composer, Skonberg delivers nine engaging originals, all stylistically unique. 

She's done her homework; the forms and lyric phrasings are classic. "I Wish I Hadn't Forgotten" frames Skonberg with guest John Pizzarelli, a perfect vocal partner, on an elegant guy/gal swinger. "Penny in Your Pocket" grinds blue with Scott Elias' organ. "Hip Check" (a sidewinder turned inside out to 5/4 time) and "Chilliwack Cheer" deal Cajun spice. "Far Away," the most contemporary of her originals, modulates dreamily. Three well-known selections are given refreshed presentations performed with verve. Joni Mitchell's "Big Yellow Taxi" shines with a bouncy Caribbean groove and a beauty of a Skonberg flugelhorn solo. "Let Yourself Go" and Erik Satie's over-recorded "Gymnopedie" are done in Latin-esque treatments. Skonberg's supporting crew is stellar throughout, and seems to relish placing Skonberg in the spotlight. Swinging woodwind artist Victor Goines, trombone stars Wycliffe Gordon and Michael Dease, and a rhythm section of (terrific) pianist Jeff Lashway, the versatile Randy Johnston on guitar, bassist Kelly Friesen, and drummer Ulysses Owens, Jr. collectively and individually energize. So is the Day, while tipping a hat to tradition, appropriately pushes Bria Skonberg to the forefront of today's musical talents. She has it all so does this superb recording. ~ Nicholas F.Mondello  

http://www.allaboutjazz.com/so-is-the-day-bria-skonberg-random-act-records-review-by-nicholas-f-mondello.php
 

Personnel: Bria Skonberg: trumpet, flugelhorn, vocals; Victor Goines: tenor saxophone, clarinet, flute; Wycliffe Gordon: trombone (1, 9); Michael Dease: trombone (11); Jeff Lashway: piano; Scott Elias: organ (7);Randy Johnston: guitar; Kelly Friesen: bass; Ulysses Owens, Jr.: drums; Roland Guerrero: percussion; John Pizzarelli: guitar, vocals (4).

So Is the Day

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Don Sebesky - I Remember Bill - A Tribute To Bill Evans

Styles: Crossover Jazz, Hard Bop

Year: 1998

File: MP3@320K/s

Time: 78:34

Size: 183,6 MB

Art: Front

(4:46)  1. Waltz for Debby

(5:29)  2. I Remember Bill

(8:24)  3. So What

(4:07)  4. Quiet Now

(6:16)  5. All the Things You Are

(6:47)  6. Peace Piece

(5:58)  7. Bill, not Gil

(7:22)  8. Very Early

(4:22)  9. (T.T.T.T.) Twelve Tone Tune Two

(4:52) 10. Autumn Leaves

(5:06) 11. Blue in Green

(7:52) 12. I'm Getting Sentimental over You

(1:18) 13. Epilogue

(5:53) 14. Bill Evans Interview

Veteran arranger Don Sebesky crafts an often-glowing portrait of famed jazz pianist Bill Evans in this quite welcome orchestral jazz tribute. While he is too often derided (and unfairly) as the guy who mucked up Wes Montgomery and other CTI stars with strings and horn sections, Sebesky often presents subtle arrangements that offer keen respect for a soloist's musicianship. When a listener notices Sebesky's work, it's often in the occasional punctuation mark or interesting sound combinations he creates. But it's his respect for the featured musician that sets him apart and probably drew him to this project. Here, Sebesky has gathered a prominent collection of top-shelf jazz musicians, many of whom actually worked with Evans during his career. But one instrumentalist he did not recruit was a pianist. A wise move. This permits appropriate direction from the bassist and drummer and allows reliance on a rhythm player who is not burdened by aping or avoiding Bill Evans' style. Such daunting responsibility falls to the guitarist; in most cases, Larry Coryell, who is outstanding in his eight appearances here and, perhaps, emerges as this session’s real star.

The material is carefully drawn from Evans' originals and standards associated with the pianist. But, in a quest for variety, the result is something of a mixed bag. Standouts include sterling takes of "All the Things You Are" (with Lee Konitz), Sebesky's oddly-titled "Bill, Not Gil" and "T.T.T.T." (both featuring Bob Brookmeyer and Eddie Daniels) and, of course, "Waltz for Debby" (with Joe Lovano and Tom Harrell). But Sebesky achieves greatness with his transformation of Evans' lovely "Peace Piece" into an elegant adagio. Effectively coordinating strings, harp, percussion and Hubert Laws' flute, he has surely crafted one for the ages here. His boisterous take on "So What" (with solid contributions from Joe Lovano, Tom Harrell and Larry Coryell) is also worthwhile, but seems reminiscent of his showy work with Wes Montgemery. The three vocal tunes (separately featuring Chet Baker-like John Pizzarelli, Jeannie Bryson and the intolerable New York Voices), though, all are quite unnecessary and seem to break any mood Sebesky may have been aiming for. Still, it's refreshing to hear high-quality orchestral jazz being made in the late nineties  and one hopes Don Sebesky will be in the forefront of keeping it alive. ~ Douglas Payne https://www.allaboutjazz.com/i-remember-bill-a-tribute-to-bill-evans-don-sebesky-rca-victor-review-by-douglas-payne.php

Personnel: Tom Harrell: flugelhorn; Bob Brookmeyer: valve trombone; Joe Lovano: tenor sax; Lee Konitz: alto sax; Eddie Daniels: clarinet; Hubert Laws: flute; Larry Coryell, Ken Sebesky: guitar; John Pizzarelli: guitar, vocals. Marc Johnson, Eddie Gomez: bass; Joe LaBarbera, Marty Morell, Dennis Mackrel: drums; Toots Thielmans: harmonica; Sue Evans, Joe Passaro: percussion; Dave Samuels: vibraphone; New York Voices (Darmon Meader, Lauren Kinhan, Peter Eldridge, Kim Nazarian), Jeanie Bryson: vocals; with brass, woodwinds and strings.

I Remember Bill - A Tribute To Bill Evans

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John Pizzarelli - With A Song In My Heart

Styles: Vocal And Guitar Jazz
Year: 2008
File: MP3@320K/s
Time: 43:25
Size: 101,4 MB
Art: Front

(3:53) 1. With A Song In My Heart
(2:27) 2. This Can't Be Love
(4:36) 3. I Like To Recognize The Tune
(4:13) 4. It's Easy To Remember
(2:59) 5. Johnny One Note
(4:12) 6. Nobody's Heart
(4:25) 7. Happy Talk
(2:47) 8. Mountain Greenery
(3:40) 9. I Have Dreamed
(2:34) 10. The Lady Is A Tramp
(4:36) 11. She Was Too Good To Me
(2:59) 12. You've Got To Be Carefully Taught

John Pizzarelli salutes composer Richard Rodgers with this songbook including a dozen of his works. The vocalist/guitarist is accompanied by his trio, with Larry Fuller replacing Ray Kennedy, bassist Martin Pizzarelli, and drummer Tony Tedesco. Pizzarelli adds a personal touch to "I Like to Recognize the Tune" by altering Lorenz Hart's lyrics a bit, while also scatting up a storm in unison with his guitar. Bucky Pizzarelli is an added guest and soloist for "It's Easy to Remember," an intimate duet with the vocalist playing rhythm. Cesar Camargo Mariano takes over at the piano for the breezy bossa nova setting of "Happy Talk." Arranger Don Sebesky wrote the charts for the six tracks and a quartet of brass and reeds, highlighted by the snappy scoring of "The Lady Is a Tramp," recalling Pizzarelli's previous Telarc salute to Frank Sinatra (Dear Mr. Sinatra, in which he trades fours scatting with each of the horns). This release is a little short in the CD era, clocking in at just over 43 minutes, but there's never a dull moment.~ Ken Dryden https://www.allmusic.com/album/with-a-song-in-my-heart-mw0000793387

Personnel: John Pizzarelli – guitar, vocals; Larry Fuller – piano; Martin Pizzarelli – bass; Tony Tedesco – drums; John Mosca – trombone, baritone horn; Andy Fusco – alto saxophone, tenor saxophone, bass clarinet; Kenny Berger – baritone saxophone, bass clarinet; Tony Kadlech – trumpet, flugelhorn

Special guests: Bucky Pizzarelli – guitar (track 4); Cesar Camargo Mariano – piano (track 7); Don Sebesky – Swing Seven Arrangements

With A Song In My Heart

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John Pizzarelli - Better Days Ahead (Solo Guitar Takes on Pat Metheny)

Styles: Guitar Jazz
File: MP3@320K/s
Time: 57:51
Size: 134,3 MB
Art: Front

(3:44) 1. Better Days Ahead
(4:39) 2. Spring Ain't Here
(8:17) 3. April Wind/Phase Dance
(5:18) 4. September Fifteenth
(4:19) 5. James
(5:52) 6. Antonia
(4:50) 7. (It's Just) Talk
(2:26) 8. Letter From Home
(5:58) 9. If I Could
(4:09) 10. Last Train Home
(2:49) 11. From This Place
(3:09) 12. The Bat
(2:15) 13. Farmer's Trust

Better Days Ahead features both signature songs and deep cuts from Metheny’s prolific career, including material dating back from The Pat Metheny Group’s influential eponymous album from 1978, through the title track of 2020’s Grammy-nominated From This Place. Though it contains some gloriously meditative music, the album was created in a perfect storm. “Two weeks after canceling all my live performances on April 1, 2020” remembers John, “my father, Bucky passed away from the Coronavirus. Five days after that I turned sixty, and two days later my mother Ruth was taken by the same virus. After sixty years of marriage, and within one week of each other, both my parents were gone.”

As a way to deal with the pain, Pizzarelli developed these musical interpretations in early-morning sessions, alone with his guitar. “I had watched my father do this my whole life,” he remembers. “Before we ventured out to a day filled with recording sessions, ‘The Tonight Show,’ or late-night jazz gigs, he would practice classical pieces. So that’s what I felt compelled to do during this rough period. I started out playing standards, but then felt drawn to the idea of deconstructing Pat Metheny’s group arrangements from my seven-string guitar. I had loved the recordings of the Pat Metheny Group since I was a teenager, and I welcomed the challenge of diving deep into his canon of remarkably dense and moving material. Every day, it was a miraculous diversion from my own personal grief and the tragedy of the pandemic I saw unfolding on the nightly news.”

Coincidentally, Metheny reached out to Pizzarelli to send condolences on his recent loss. “When I told him I had been working on his songs, Pat graciously sent me a treasure trove of his lead sheets. Now, I could hold this music in my hands and dive into every note. It’s like the holy grail to get that from a composer!”

Metheny himself offered kind words of encouragement: “I have admired John for years as a fantastic musician with an amazing ability to communicate. His love and understanding of classic song forms runs deep, almost as a birthright, thanks to having grown up on the knee of one of the greatest guitarists ever, his dad Bucky. His vast reserve of knowledge into the nuts and bolts of why those Great American Songbook tunes have the musical impact they do continually give his performances an insightful edge that connects him with a deep tradition. His life in music brings authority and insight that is increasingly rare as time moves on. To say it was flattering to have John address these tunes, knowing all the great music he has been around his whole life, is an understatement. It is an incredible honor for me.”(To be continued) https://www.thekurlandagency.com/2021/04/14/new-album-john-pizzarellis-better-days-ahead-a-solo-guitar-celebration-of-pat-metheny/

Better Days Ahead (Solo Guitar Takes on Pat Metheny)

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John Pizzarelli Trio - For Centennial Reasons: 100 Year Salute to Nat King Cole

Styles: Vocal And Guitar Jazz
Year: 2019
File: MP3@320K/s
Time: 52:04
Size: 120,4 MB
Art: Front

(4:32)  1. Straighten Up and Fly Right
(2:36)  2. A Hundred Years from Now
(3:22)  3. The Very Thought of You
(3:18)  4. (I Would Do) Anything for You
(4:52)  5. I'm Such a Hungry Man
(4:46)  6. It's Only a Paper Moon
(3:39)  7. Body and Soul
(3:22)  8. Nat King Cool
(4:03)  9. When I Fall in Love
(2:35) 10. Save the Bones for Henry Jones ('Cause Henry Don't Eat Meat)
(3:55) 11. Hit That Jive, Jack!
(3:06) 12. Could-'Ja
(3:20) 13. Red Sails in the Sunset
(4:32) 14. (Get Your Kicks On) Route 66

When guitarist/vocalist John Pizzarelli last paid tribute to his primary musical inspiration with 1999’s P.S. Mr. Cole, he was in his late thirties, and Nat Cole probably still cast an imposing shadow as a legendary jazz master. P.S. was his second release honoring his hero, following not long after 1994’s Dear Mr. Cole, a swinging trio session with Benny Green and Christian McBride. A third Pizzarelli album celebrating the inimitable Cole might seem like overkill, but For Centennial Reasons (oy, that pun) has more to do with Pizzarelli’s age than Cole’s. At 58, he’s lived a dozen years longer than the pop star, who died of lung cancer in 1965 just shy of his 46th birthday. Pizzarelli’s no less reverent here than on the previous albums, but instead of approaching the elder master with “Mr. Cole” formality, he imbues the 12 standards (and two originals) with a lived-in ease and familiarity that make it one of his more satisfying sessions. Featuring his finely calibrated trio with bassist Mike Karn and pianist Konrad Paszkudzki, the album seamlessly ranges across a smart array of material with only three repeats from the earlier albums (the relaxed opener “Straighten Up and Fly Right,” the quietly besotted “It’s Only a Paper Moon,” and the jivey closer “Route 66”). Whether he’s wending his way through well-worn ballads such as “The Very Thought of You” and “Body and Soul,” or cutting loose on obscure pieces like Bobby Troupe’s “I’m a Hungry Man” and Danny Barker’s “Save the Bones for Henry Jones (Cause Henry Don’t Eat Meat),” Pizzarelli finds the ideal tempo, his phrasing a model of grace and efficiency. Pizzarelli was never a wild man musically, but the older-and-wiser persona suits him on his latest Nat Cole communion. https://jazztimes.com/reviews/albums/john-pizzarelli-trio-for-centennial-reasons-100-year-salute-to-nat-king-cole-ghostlight/#
 

Personnel:  Guitar, Vocals – John Pizzarelli; Co-producer – Jessica Molaskey; Double Bass – Mike Karn; Drums – Konrad Paszkudzki

For Centennial Reasons: 100 Year Salute to Nat King Cole

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The John Pizzarelli Trio - Let's Share Christmas

Styles: Christmas, Vocal Jazz, Swing, Big Band 
Year: 1995
File: MP3@320K/s
Time: 43:36
Size: 101,5 MB
Art: Front

(2:25)  1. Let It Snow, Let It Snow, Let It Snow
(3:55)  2. Let's Share Christmas
(3:23)  3. White Christmas
(5:03)  4. Have Yourself A Merry Little Christmas
(4:19)  5. What Are You Doing New Year's Eve?
(2:50)  6. Sleigh Ride
(3:46)  7. Christmas Time Is Here
(3:44)  8. I'll Be Home for Christmas
(3:10)  9. Santa Claus Is Near
(3:48) 10. The Christmas Song
(3:12) 11. Snowfall
(3:54) 12. Silent Night

Let's Share Christmas is an engaging holiday record from John Pizzarelli. Featuring several songs arranged and conducted by Johnny Mandel, Michel Legrand and Claire Fischer, the album isn't just Pizzarelli and his trio  instead, his small combo combines with a series of 40-piece orchestras that give the music a grand, elegant sweep that combines the best of big-band pop and hip, swinging jazz. ~ Thom Owens https://www.allmusic.com/album/lets-share-christmas-mw0000080446

Personnel:  John Pizzarelli – guitar; Martin Pizzarelli – double-bass; Ray Kennedy – piano; Harry Allen – saxophone; Jay Berliner – guitar; Jeff Clayton – saxophone; Andy Fusco – saxophone; Bill Watrous – trombone; Michel Legrand – conductor; The Vanguard Jazz Orchestra; Clayton/Hamilton Jazz Orchestra

Let's Share Christmas

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Bucky & John Pizzarelli - Passion Guitars

Bitrate: MP3@320K/s
Time: 62:08
Size: 142.2 MB
Styles: Guitar jazz
Year: 2001
Art: Front

[7:03] 1. Besame Mucho
[5:58] 2. Triste
[5:19] 3. One Note Samba
[5:30] 4. The Girl From Ipanema
[5:42] 5. Line For Lyons
[5:08] 6. I Found A New Baby
[2:59] 7. Orchids In The Moonlight
[6:53] 8. Maybe This Summer
[5:17] 9. S'wonderful
[6:47] 10. The Day In The Life Of A Fool
[5:27] 11. Meditation

Recorded in 1997, this schmaltzy project (subtitled “Easy Listening, Lite Jazz”) features the John Pizzarelli trio augmented by the presence of father Bucky Pizzarelli and fellow guitarist Gene Bertoncini.

On the surface it seems that teaming three highly experienced and accomplished guitarists guarantees a high level of artistry. While that might normally be true, here the saccharine arrangements (“Besame Mucho,” “The Girl From Ipanema,” “Orchids in the Moonlight”), plethora of stock licks, and intentionally soothing tempos and harmonies-rarely exploited by any of these three in a typically tasteful playing situation-result in music that is sickeningly sweet and syrupy. ~Jim Ferguson

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John Pizzarelli - Double Exposure

Bitrate: MP3@320K/s
Time: 54:00
Size: 123.6 MB
Styles: Jazz vocals, Guitar jazz
Year: 2012
Art: Front

[3:49] 1. I Feel Fine/Sidewinder
[5:15] 2. Harvest Moon
[3:27] 3. Traffic Jam/The Kicker
[4:51] 4. Ruby Baby
[3:54] 5. Alison
[4:00] 6. Rosalinda's Eyes
[4:16] 7. In Memory Of Elizabeth Reed
[4:25] 8. Drunk On The Moon/Lush Life
[5:08] 9. Walk Between The Raindrops
[4:09] 10. Free Man In Paris
[3:58] 11. Take A Lot Of Pictures
[2:44] 12. I Can Let Go Now
[3:59] 13. Diamond Girl

On this album, jazz guitarist and singer John Pizzarelli pays simultaneous tribute to the pop music of his adolescence (Steely Dan, Billy Joel, the Allman Brothers, Elvis Costello) and the jazz tradition in which he, as a member of the celebrated Pizzarelli dynasty, was steeped from his earliest years. The album title refers to the fact that the program takes classic pop songs and puts them in jazz settings: thus you'll hear a cool bossa nova arrangement of Joni Mitchell's "Free Man in Paris," a completely natural lounge-lizard setting of Tom Waits' "Drunk on the Moon," and a hard-swinging, boppish version of James Taylor's "Traffic Jam" that sounds like it was written for the Manhattan Transfer and incorporates the Joe Henderson composition "The Kicker." There's nothing particularly revolutionary about this idea: the line separating pop music and jazz has always been fuzzy anyway, and many jazz standards are actually show tunes. But Pizzarelli is an unusually gifted arranger as well as a drop-dead wonderful guitarist, and on several of these arrangements he suggests entirely new ways of thinking about these familiar songs. Consider, for example, his subtly elegant use of organ and violin on Neil Young's "Harvest Moon," or the way he sneaks material from Wes Montgomery's "Four on Six" into a snappy rendition of the Allman Brothers' instrumental "In Memory of Elizabeth Reed." It's also true that Pizzarelli is not gifted with a conventionally beautiful voice. He is, however, an excellent singer: listen the how he makes the most of what he's got on his voice-and-guitar bossa nova setting of Billy Joel's "Rosalinda's Eyes." What's charming about this album, beyond the sheer quality of the songs and the arrangements, is Pizzarelli's obvious and genuine love for this really broad gamut of material, and his insight into the varied qualities that make them all great songs. ~Rick Anderson

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John Pizzarelli - My Blue Heaven

Bitrate: MP3@320K/s
Time: 59:19
Size: 135.8 MB
Styles: Guitar & vocal jazz
Year: 1990/2008
Art: Front

[4:00] 1. My Blue Heaven
[3:46] 2. I'm An Errand Boy For Rhythm
[3:22] 3. It Could Happen To You
[8:02] 4. Oh, Lady Be Good
[2:32] 5. The Touch Of Your Lips
[4:05] 6. Can't Take You Nowhere
[2:51] 7. Take My Smile
[3:02] 8. That's What
[2:42] 9. Stray Horn
[2:45] 10. Best Man
[3:24] 11. Oh Me, Oh My, Oh Gosh
[3:10] 12. Don't Get Around Much Anymore
[3:16] 13. Gee Baby, Ain't I Good To You
[4:12] 14. Passion Flower
[4:25] 15. Zoot Walked In Morning Fun
[3:37] 16. Candy

Just prior to signing with RCA/Novus, John Pizzarelli recorded two sets for Chesky that featured him playing in the swing style that he would soon make quite popular. Although joined by all-stars (pianist Dave McKenna, bassist Milt Hinton, drummer Connie Kay, his father, guitarist Bucky Pizzarelli, and flugelhornist Clark Terry) rather than his regular trio, Pizzarelli's likable vocals and relaxed guitar solos are not overshadowed. In fact, this is a delightful date, with memorable renditions of such songs as "I'm An Errand Boy for Rhythm," "Lady Be Good," "The Best Man," "Gee Baby Ain't I Good to You" and "Candy." Easily recommended to John Pizzarelli fans. ~Scott Yanow

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Laurie Beechman - Time Between The Time

Styles: Vocal
Year: 1993
File: MP3@320K/s
Time: 50:43
Size: 116,8 MB
Art: Front

(2:32)  1. Another Hundred People
(3:22)  2. It Might Be You
(4:01)  3. Look At That Face
(3:18)  4. A Very Precious Love
(3:33)  5. Long Before I Knew You
(4:14)  6. The Look Of Love
(3:50)  7. A House Is Not A Home
(3:08)  8. I'll Never Stop Loving You
(4:21)  9. The Shining Sea/The Shadow Of Your Smile
(4:22) 10. Soon It's Gonna Rain/Rain Sometimes
(3:12) 11. Music That Makes Me Dance
(3:52) 12. Time Between The Time
(3:41) 13. Never Never Land
(3:11) 14. Home

On her 1990 debut album Listen to My Heart, Laurie Beechman, best known for her roles in Broadway shows like Cats and Les Miserables, predictably performed her songs from those shows along with a selection of other show music. Three years later, her second album, Time Between the Time again chose primarily from theater and film songs, but it had more of a personal character and more of a narrative structure. Recently married, the singer examined romantic love in a contemporary setting, beginning with Stephen Sondheim's "Another Hundred People," about how people find each other, moving on to early infatuation in "It Might Be You" from the film Tootsie, and, by the middle of the album, advancing to songs of full-blown devotion. Later, songs like a medley of "Soon It's Gonna Rain" from The Fantasticks and "Rain Sometimes" detailed difficulties in a long-term relationship, and the title song concerned the specific problem of maintaining a relationship in the entertainment business with its itinerant nature, before "Never Never Land" from Peter Pan and "Home" from The Wiz concluded the cycle by touching on the magical nature of love. Beechman inhabited the narrative with an actress' talent, glowing with new love on "Look at That Face," for example, but restraining her well-known ability to belt until some of the later songs. Often, however, she retained a certain distance from the material, and, just turning 30-years-old, still seemed to be trying to perform the material precisely rather than fully experience the emotions expressed in the songs. Her stage roles had required a high degree of technical efficiency, but little emotional involvement; on her solo albums, she was still feeling her way towards expressing her real feelings in song. But Time Between the Time marked a significant advance in that direction. ~ William Ruhlmann https://www.allmusic.com/album/time-between-the-time-mw0000105854

Personnel: Laurie Beechman (vocals); John Pizzarelli (guitar); Mike Renzi (piano, synthesizer); Jay Leonhart (acoustic & electric basses); Warren Odze, Terry Clarke (drums); Tom Spahn (programming).         

Time Between The Time

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John Pizzarelli - Sinatra & Jobim @ 50

Styles: Vocal And Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 51:24
Size: 118,4 MB
Art: Front

(3:08)  1. Baubles, Bangles And Beads
(4:07)  2. Aqua de Beber (feat. Daniel Jobim)
(3:59) 3. Meditation / Quiet Nights Of Quiet Stars (Medley) (feat. Daniel Jobim)
(3:53)  4. Dindi (feat. Daniel Jobim)
(5:32)  5. I Concentrate On You / Wave (Medley) (feat. Daniel Jobim)
(5:04)  6. Antonio's Song (feat. Daniel Jobim)
(4:33)  7. Two Kites (feat. Daniel Jobim)
(4:19)  8. She's So Sensitive
(4:52)  9. Bonita (feat. Daniel Jobim)
(5:50) 10. If You Never Come To Me / Change Partners (Medley) (feat. Daniel Jobim)
(6:02) 11. Canto Casual

It may have been 50 years ago today (or thereabouts) that Sgt Pepper was released and Coltrane passed away, but for John Pizzarelli one anniversary trumps them both. That is, the half-century since Frank Sinatra and Antonio Carlos Jobim first shared a studio. Given that Pizzarelli is a singer-guitarist, able to play Jobim to his own Sinatra, this momentous meeting is a fitting one for him to celebrate. It’s sentimental rather than slavish. Jobim’s grandson Daniel adds some duet vocals, singing solo on the skittish Two Kites, one of four songs Sinatra didn’t do. It’s here because Jobim’s 1980 recording featured Pizzarelli’s guitarist father, Bucky. She’s So Sensitive, another newbie, is a romantic reversal of Jobim’s grim break-up song How Insensitive, and was written by…https://www.thetimes.co.uk/edition/times2/jazz-review-john-pizzarelli-sinatra-jobim-50-c28txm350

Personnel:  John Pizzarelli (Vocal, Guitar),  Daniel Jobim (piano), Duduka da Fonseca (drums/percussion), Helio Alves (piano), Daniel Jobim (Vocals)

Sinatra & Jobim @ 50

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Bucky Pizzarelli, John Pizzarelli - Contrasts

Bitrate: MP3@320K/s
Time: 62:48
Size: 143.8 MB
Styles: Standards, Guitar jazz
Year: 1999
Art: Front

[3:53] 1. Three Little Words
[2:57] 2. Coquette
[6:54] 3. Jersey Bounce
[2:27] 4. The Bad And The Beautiful
[2:38] 5. The Minute Samba
[6:01] 6. Contrasts
[2:38] 7. Test Pilot
[4:30] 8. I Hadn't Anyone Till You/The Very Thought Of You
[5:37] 9. The Devil And The Deep Blue Sea
[6:38] 10. Two Funky People
[2:45] 11. Stage Fright
[4:50] 12. Phantasmagoria
[1:50] 13. My Romance
[4:38] 14. Emily
[2:14] 15. Guess I'll Go Back Home This Summer
[2:09] 16. For Whom The Bell Tolls

Father and son duos are relatively rare in jazz but there's no generation gap apparent between Bucky and John Pizzarelli. The two have made a number of strong LPs and CDs together (and individually as well), although it is tough to lavish sufficient praise on this duo-guitar date, played primarily on seven-string electric guitars. Each man adapts equally well, whether in the lead, providing rhythmic support for the other, or matching his partner's lyricism while playing the head of a song. An invigorating "Three Little Words" introduces the two masterful guitarists with a flourish, followed by a lightly swinging take of "Jersey Bounce," the bluesy "Two Funky People," and the strutting acoustic duet "Test Pilot." Bucky is featured on two unaccompanied miniatures, "My Romance" and the rarely heard "For Whom the Bell Tolls." Very highly recommended. ~Ken Dryden

Contrasts

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The Bucky Pizzarelli Trio - Three For All

Bitrate: MP3@320K/s
Time: 64:55
Size: 148.6 MB
Styles: Guitar jazz
Year: 2014
Art: Front

[5:21] 1. All The Things You Are
[7:50] 2. Body And Soul
[5:00] 3. Avalon
[5:41] 4. Snowfall
[5:17] 5. Stompin' At The Savoy
[7:12] 6. If I Had You
[3:01] 7. Stage Fright
[3:08] 8. It's Been A Long, Long Time/Don't Take Your Love From Me
[5:28] 9. Undecided
[3:10] 10. In The Dark
[5:38] 11. I'm Confessin'
[5:31] 12. Three For All
[2:38] 13. I Got Rhythm

Whose line is it anyway? No matter. Whether it’s jazz patriarch Bucky Pizzarelli or his son, fellow seven-string guitar master John, fashioning melodic embellishments and spinning single-note improvisations on Three for All, the level of musicianship is consistently high. What’s more, the same can be said for guitarist Ed Laub’s knowing support, scarcely a surprise given his long association with père Pizzarelli.

Not surprising, too, are the songs chosen for this date. “Body and Soul,” “I Got Rhythm,” “All the Things You Are” and “Avalon” are among the vintage pop classics, while lesser-known tunes, including the Dick McDonough-Carl Kress treat “Stage Fright,” round out the collection. Even the most weathered selections, however, have a fresh allure after Bucky and John get their fingers on them. Strings of choruses dart along, then dovetail, then dart again. Blue notes tweak the melodies, harmonic substitutions add texture and color, tricky contrapuntal passages abound, and frequent surges of rhythmic propulsion make for some exhilarating moments. Offsetting the most vibrant trio performances are some soulful interludes, a dash of melancholy lyricism and the occasional, deftly executed duet, including a Bucky and Ed pairing. ~Mike Joyce

Three For All

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