Dave Bass - No Boundaries

Styles: Piano Jazz
Year: 2019
Time: 72:40
File: MP3 @ 320K/s
Size: 167,1 MB
Art: Front

(5:31) 1. Lennie’s Pennies
(7:13) 2. Spy Movie End Credits
(4:40) 3. Agenbite of Inwit
(6:20) 4. If I Loved You
(6:07) 5. La Mulata Rumbera
(4:29) 6. Tango Adagio
(4:08) 7. Time of My Life
(5:24) 8. Siboney
(5:49) 9. Neither Have I Wings
(7:05) 10. Danzon #1
(5:09) 11. Swing Theory
(6:44) 12. In The Rain
(3:55) 13. Hallucinations

In 2015, Dave Bass retired from the Office of the Attorney General of California after twenty years of service and returned to his first professional love playing the piano, a career that a wrist injury forced him to abandon about thirty years ago. No Boundaries is the third release, and second for Whaling City Sound, in Bass' comeback. "My first two CDs were recorded while I was still working as a lawyer, during whatever vacation time I could amass," he explains.

Bass seems intent on proving the title of No Boundaries by opening and closing it with tunes by two of modern music's most challenging pianists. "To my mind, Lennie Tristano and Bud Powell are connected, which is why I begin and end with their compositions," the pianist explains. "Just the linear approach in the heads show how they spent a lot of time playing classical repertoire, then went their own way." The oddly shaped melody of "Lennie's Pennies," which Bass has been playing since the 1970s, illuminates the colorful rhythmic and harmonic connections between his piano, Carlos Henriquez's bass and Jerome Jennings' drums. And Bass hauls piano ass through the closing "Hallucinations" like a jackrabbit with its tail on fire, tangling and untangling complicated and crackling lines like electric lightning.

Three tracks that swap Jennings out for percussionists Carlos Caro, Mauricio Herrera and Miguel Valdes pull No Boundaries into Latin jazz, but it's no stretch. "All three are from Cuba," Bass says, "and their rhythm is so strong that you can play anything on top of them." In "Siboney" and especially "La Mulata Rumbera," Bass illustrates precisely that, driving his piano through two different active lines simultaneously, twinkling and wrinkling the upper register while his left hand stomps out rhythm with flamenco fury simply great Latin jazz piano.

Bass just keeps pushing (stylistic) walls down: A cinematic moody brooding with saxophonist Ted Nash titled "Spy Movie End Credits" because it "just sounded that way"; channeling bop pianist Elmo Hope through the thick, knotty James Joyce nod "Agenbite of Inwit"; and a gorgeous "If I Loved You" that showcases Karrin Allyson's simply breathtaking vocal from the Rodgers/Hammerstein songbook.

Multi-instrumentalist Nash contributes saxophones, clarinets, and flutes, and co-produced No Boundaries with Bass. "I don't generally produce other people's records, but I really think that Dave is an evocative composer and I believe in his vision," suggests Nash. "I love his passion. He has the enthusiasm of a college student, plus maturity, and he's hearing very personal sounds." By Chris M. Slawecki https://www.allaboutjazz.com/no-boundaries-dave-bass-whaling-city-sound

Personnel: Dave Bass - piano Ted Nash - flute, alto flute, clarinet, bass clarinet, soprano sax, alto sax, tenor sax (all tracks except 13), Karrin Allyson - vocals (tracks 4, 7) Carlos Henriquez - bass Jerome Jennings - drums (all tracks except 5, 8, 10) Carlos Caro - guiro, bongos, bell (tracks 2, 4, 5, 8, 10) Miguel Valdes - bata, conga (tracks 5, 8, 10) Mauricio Hernandez - timbales, maracas (tracks 4, 5, 8, 10)

No Boundaries

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Karrin Allyson - A Kiss for Brazil

Styles: Vocal And Piano Jazz
Year: 2024
Time: 46:28
File: MP3 @ 320K/s
Size: 106,9 MB
Art: Front

(5:18) 1. Flor de Lis
(5:10) 2. Month of March in Salvador (Dunas)
(4:03) 3. The Gift (Recado Bossa Nova)
(4:58) 4. O Grande Amor
(3:57) 5. Antigua
(4:57) 6. The Island
(4:57) 7. Manha de Carnaval
(4:37) 8. So Many Stars
(4:45) 9. Wave
(3:40) 10. Only Trust Your Heart

A Kiss for Brazil is Kansas-bred Grammy-nominated singer Karrin Allyson's third release to feature Brazilian music (From Paris to Rio, Concord, 1999; Imagina, Concord, 2008), and her first to showcase Brazilian musicians: Vitor Gonçalves on piano and accordion, Rafael Barata at the drums, plus the acclaimed singer-guitarist and songwriter Rosa Passos

"Month of March in Salvador (Dunas)" is easily unassuminglyn the high point. Passos cowrote "Dunas" with the poet Fernando de Oliveira for the album Festa (Velas, 1993). With the help of Barata, Allyson created an excellent new English counterpart to the lyric, which speaks of the many natural wonders of Bahía at summer's end. Passos sings the Portuguese, Allyson, the English, in a setting that swings gently around Passos' rhythmic guitar, the wispy timbres and luxurious phrasing of the two singers echoing one another as Gonçalves weaves a languid throughline with his accordion. Together, they create an ambiance that is effortlessly appealing and warmly gracious.

American jazz musicians have long been attracted to Brazilian songs, adapting them by (among other things) creating a substantial body of English lyrics that, frankly, tend to fall short of the mark as art and craft, with notable exceptions. Susannah McCorkle, who was fluent in several languages and worked as a translator, wrote sensitive and nuanced English lyrics, some of which can be heard on her Sabía album (Concord, 1990). Jobim penned powerful English translations of his own words. "Inútil Paisagem" springs to mind first, along with "Águas de Março" and "Triste." With her refreshingly lucid lyric to "Month of March in Salvador," Allyson situates herself among the exceptional few.

"The Island" is Alan and Marilyn Bergman's English version of Ivan Lins' "Começar de Novo," a story unto itself. Lins recounted the song's history in a 2014 social-media post. To encapsulate, he wrote "Começar de Novo [Beginning Again]" in 1979, with his longtime collaborator Vitor Martins. The Globo network had commissioned the piece for the telenovela Malu Mulher (1979-80). Martins' lyric speaks of starting over after a relationship has ended, summoning one's courage, contemplating lessons learned; all themes addressed in the novela. But, as Lins pointed out, there are lines between the lines.

In 1979, Brazil was still under military rule, led by President João Figueiredo, a cavalry man who a year earlier had publicly expressed a preference for the smell of horses over that of the people ("o cheirinho dos cavalos é melhor do que o cheiro do povo"). When Martins wrote about making a fresh start "without your dominion, without your spurs," he was indirectly, metaphorically addressing Figueiredo as well, whose term would drag on for another six years. Working with Martins' lyric, Lins struggled to create music that expressed the whole ball of wax, personal and political. He planned to show it to Elis Regina, but Brazilian popular singer Simone got there first (Som Livre, 1979). It boosted her career and turned out to be his most enduringly popular tune.

"Começar de Novo" has taken on a life of its own since then. In addition to its place as the theme song for Malu Mulher, it served as the soundtrack for a groundbreaking and much discussed sex scene in the series, complete with on-screen feminine orgasm. It is this ethos that the Bergmans pursued in writing "The Island," supplanting the Martins lyric with a forthrightly libidinous invitation to tryst on a fantasy island. Allyson sets the scene perfectly, singing seductively and sincerely, with Gonçalves tendering a rhapsodic piano solo over Barata's sizzling cymbals. She ends in a barely audible whisper ("we're almost there"). The performance is charming, but her chops would have allowed her to include the Portuguese lyric as well, for a deeper resonance.

Allyson did not intend for A Kiss for Brazil to be as she put it a "deep dive" into Brazilian music, but more "an act of affection" for what it has given her, and for Rosa Passos, her guest artist. Working with Passos was "a breeze," she emphasized, "like a Brazilian breeze on the beach," a warm sentiment that pervades the program. By Katchie Cartwright
https://www.allaboutjazz.com/a-kiss-for-brazil-karrin-allyson-origin-records

Performers: Karrin Allyson - vocal, piano (8,10), shakers (7); Rosa Passos - vocal (2,4), rhythm guitar (2); Vitor Gonçalves - Fender Rhodes (1,9), piano (3,4,5,6,7), accordion (2,3,7,8); Harvie S - bass; Yotam Silberstein - guitar (1-9); Rafael Barata - drums (1-9)

A Kiss for Brazil

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Diane Schuur - Midnight

Styles: Vocal And Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 48:30
Size: 111,2 MB
Art: Front

(2:58)  1. Meet Me, Midnight
(4:49)  2. When October Goes
(3:49)  3. Stay Away From Bill
(4:18)  4. I'll Be There
(4:12)  5. Consider The Point From Both Ends
(3:31)  6. What Is Love?
(4:06)  7. He Loved Me
(2:39)  8. Southwind
(3:31)  9. Our Love Will Always Be There
(3:32) 10. No Heartache Tonight
(3:58) 11. Good-bye My Love
(4:02) 12. Life Is Good
(2:59) 13. Anytime

Diane Schuur has been singing for an adoring public since the age of nine. Those who have praised and supported her talent include Count Basie, Dizzy Gillespie, B.B. King, Stan Getz and Leonard Feather. She has been nominated five times for Grammy Awards and has received two, for Timeless in 1986 and Diane Schuur with the Count Basie Orchestra in 1987.  Midnight is a video-enhanced CD, Schuur’s third release for Concord Records and her first under the tutelage of Barry Manilow and his co-producer, co-writer and arranger, Eddie Arkin. Over the course of a year, Manilow, Arkin and their lyricists Marty Panzer, Bruce Sussman and Adrienne Anderson composed thirteen songs for Schuur; two of the selections feature lyrics by Johnny Mercer.

The attempt to create and maintain a smoky, after-hours ambience is generally successful, with good variety, order and pacing; Dan Higgins’ alto sax solos are especially poignant and communicative. The chemistry between Manilow and Schuur seems felicitous; the CD is produced and polished to a slick sheen, with big-name jazz and soul soloists, well-harmonized arrangements, and an orchestra of glistening strings conducted by Jorge Calandrelli. Schuur’s vocal instrument is in its usual fine form, with good rhythmic and harmonic sensibilities, three-plus octave range, and impeccable intonation (although her emotional intensity sometimes causes her to over-sing and her vibrato to become tremulous). The guest appearances by Allyson, McKnight and Manilow each fit their respective selections and arrangements to a tee. Those who like their music lush, polished, dramatic and emotional are apt to find this CD to their liking. Those who like an edge to their jazz, a spirit of adventure and unpredictability, would probably do well to look elsewhere. ~ J.Robert Bragonier  http://www.allaboutjazz.com/midnight-diane-schuur-concord-music-group-review-by-j-robert-bragonier.php

Personnel: Diane Schuur (vocals, piano); Phillip Ingram, Yvonne Williams (vocals, background vocals); Karrin Allyson, Barry Manilow, Brian McKnight (vocals); Eddie Arkin, Oscar Castro-Neves, Anthony Wilson (guitar); Gayle Levant (harp); Dan Higgins (flute, alto saxophone); Tommy Morgan (harmonica); Bill Liston (clarinet, saxophone, tenor saxophone); Warren Luening (trumpet, flugelhorn); Andy Martin (trombone); Alan Broadbent, Randy Kerber (piano); Alan Estes (vibraphone, percussion); Harvey Mason, Sr. , Peter Erskine (drums); Paulinho Da Costa (percussion).

Midnight

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Karrin Allyson - Yuletide Hideaway

Styles: Holiday
Year: 2013
File: MP3@320K/s
Time: 42:52
Size: 100,0 MB
Art: Front

(3:24)  1. Yuletide Hideaway
(3:37)  2. Winter Oasis
(3:26)  3. Christmas Bells Are Ringing
(3:45)  4. Winter Wonderland
(3:30)  5. Let It Snow! Let It Snow! Let It Snow!
(4:01)  6. This Time Of Year
(3:11)  7. Snowbound
(3:33)  8. Christmas Time Is Here
(3:12)  9. It's Love, It's Christmas
(3:22) 10. Have Yourself A Merry Little Christmas
(2:28) 11. You're All I Need For Christmas
(2:32) 12. I Like Snow
(2:44) 13. The Christmas Song

Four-time Grammy nominee, singer/pianist Karrin Allyson, released the sophisticated ‘Yuletide Hideaway’ on November 1st. The 13-song album is a combination of original Holiday songs and Christmas standards, and features Allyson’s trademark elegant, dreamy vocals. From ‘Let It Snow’ and ‘Winter Wonderland’ to Allyson’s stunning original title track and more, the album is at times playful, introspective, spirited  a timeless classic-in-the-making  as Allyson’s understated sophistication suggests a cozy, contemplative December evening by the fireplace, perhaps alone, perhaps with loved ones by our side.  http://www.birdlandjazz.com/event/410971-karrin-allysons-yuletide-new-york/

Yuletide Hideaway

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Karrin Allyson Sextet - Shoulder to Shoulder: Centennial Tribute to Women’s Suffrage

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 49:57
Size: 117,8 MB
Art: Front

(1:58)  1. Preamble
(3:17)  2. The March of the Women
(4:40)  3. The Great Convention
(1:38)  4. Susan B. Anthony (1873)
(3:30)  5. I’ll Be No Submissive Wife
(1:34)  6. Frederick Douglass (1888)
(4:11)  7. Anti Suffrage Rose
(2:41)  8. She’s Good Enough To Be Your Baby’s Mother
(1:38)  9. Elihu Root (1894)
(3:48) 10. Columbia’s Daughters
(1:43) 11. Sojourner Truth (1851)
(3:49) 12. The Promised Land
(4:34) 13. Winning the Vote
(1:35) 14. Alice Paul (1921)
(4:18) 15. Way Down Below
(4:57) 16. Big Discount

The Karrin Allyson Sextet releases Shoulder to Shoulder: Centennial Tribute to Women’s Suffrage, a very special and timely album, today to celebrate the centennial of women’s voting rights. In addition to five-time Grammy nominee Karrin Allyson, the sextet also features Ingrid Jensen (trumpet),Mindi Abair (alto saxophone) Helen Sung (piano),Endea Owens (bass), and Allison Miller (drums). Shoulder to Shoulder seeks to re-create the multi-decade debate  warts and all that culminated in the enactment of t he nineteenth amendment. “We want to highlight this significant movement in American history. One that we shouldn’t forget and that is relevant today. It’s also one in which music played an important role,” said Karrin Allyson.

A remarkable artist, Allyson is also an activist who feels equally comfortable on the bandstand, as she does at the podium making the case for women’s rights. In fact, she has a history of writing songs (“Big Discount,” “Way Down Below”) that challenge conventional political wisdom and call for societal change. Most of t hese songs are propaganda. They were composed in the nineteenth or early twentieth century to advance or abridge women’s voting rights. In fact, the “suffrage” repertoire is made up of hundreds of songs, and Allyson and the productio n team selected ones that typified the back -and-f or th debate of t he struggle. That these songs can be re-imagined speaks not only to their timeless quality but the power of music in advancing social movements. The “war” over women’s rights was waged, in part, through and by music. And here these songs are made relevant again through modern jazz. Because of t he theme’s inclusive import, Allyson and the production team invited several notable guests to “lend their voices” to the debate. Adding copious artists can risk turning any project from a cohesive musical statement to a “gathering place.” Alas,Allyson’s powerful and profound vocals provide the through line and beginning-to-end narrative arc of the entire production. This album is very much a story. 

And Allyson is its storyteller, with each guest thoughtfully featured to dramatize historical episodes in the women’s suffrage movement. Shoulder to Shoulder has an incredible array of featured artists. Guest appearances by Madeleine Peyroux (vocals),Kurt Elling (vocals),Regina Carter (violin),Denis e Donatelli (vocals), Veronica Swift (vocals), Rapsody (rap),Antonia Bennett (vocals),Emily Estefan (vocals),Pauline Jean (vocals),Olivia Culpo (cello) and a Choir of over forty Women's Rights Activists. There are several spoken word performances that re-create the debateover woman’s suffrage: Harry Belafonte performs a speech by Frederick Douglass, Rosanne Cash performs a speech by Susan B. Anthony, Julie Swidler performs a speech by Alice Paul,Lalah Hathaway performs a speech by Sojourner Truth, and Peter Eldridge performs a speech by Elihu Root. There is even a brief appearance by Roberta Flack on the album. Susan Morrison of The New Yorker serves as an Executive Producer of the project, which was produced by multi-Grammy winners Kabir Sehgal, John Daversa, and Doug Davis.more..... https://karrin.com/wp-content/uploads/2019/09/S2S-Press-Release.pdf

Shoulder to Shoulder: Centennial Tribute to Women’s Suffrage

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Karrin Allyson - Some of That Sunshine

Styles: Vocal And Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 57:28
Size: 132,1 MB
Art: Front

(4:08)  1. Wish You Were Mine
(4:21)  2. Home
(4:31)  3. As Long as I Know You Love Me
(4:56)  4. Some of That Sunshine
(4:17)  5. Shake It Up
(4:32)  6. Just as Well
(4:59)  7. Time Is a Funny Thing
(4:35)  8. One of These Days
(4:03)  9. Nobody Said Love Was Easy
(5:37) 10. Happy Now
(4:30) 11. Right Here Right Now
(3:51) 12. You Don't Care
(3:02) 13. Big Discount

Throughout her fifteen albums, Karrin Allyson, five-time Grammy nominee in the Best Jazz Vocalist category, has demonstrated an uncanny ability to ‘get inside’ a lyric  to take over a song and reshape it into something magical. “Ever since her impressive debut (I Didn’t Know About You, Concord, 1992) Karrin Allyson has successfully pulled material from both the pop and jazz world and it all works well with her voluptuous huskiness and rhythmic sensibility.” ~ Roger Crane, The International Review of Music

Stephen Holden, in a NY TIMES concert review, praised Allyson as “one of the most grounded singers working today,” with an “exceptionally keen eye for the smart, semi-obscure pop or jazz number that speaks directly to the moment.” In his Wall Street Journal preview, writer Will Friedwald buzzed, “she sings with amazing subtlety.” And in his lead Jazztimes Magazine CD review, VOX critic Christopher Loudon said Allyson’s songs “shimmer with tender vibrancy.” Now, in a brand-new album to be released on 3 August 2018, Karrin steps forward commandingly in a new role as songwriter, revealing thirteen new songs in an astonishing range of styles and moods. Teaming up with the remarkable L.A. producer and recording artist Chris Caswell and her very talented current working band  Miro Sprague on piano, Jeff Johnson on bass, Rod Fleeman on guitar and Jerome Jennings on drums and featuring guest artists Regina Carter on violin and the magisterial Houston Person on tenor saxophone, she has produced an album full of unexpected delights, including a guest appearance from mega-bassist Lee Sklar. “It feels like coming home in a way,” says Allyson “As a young musician I was writing songs in a variety of styles, even before I discovered jazz. I loved the singer-songwriters of my youth and I followed their influence. Now, after years of performing all sorts of jazz and Brazilian and French music, I’m coming back to where I started.”

“These songs are quite varied in style very ‘Allyson-like’, I suppose you could say. I’ve always loved to mix things up. Take the title track “Wrap Up Some of that Sunshine” featuring violinist and MacArthur fellow Regina Carter that’s more of a traditional swing- standard. And then there are a few unabashedly romantic ballads like “Just As Well” featuring Houston, “You Don’t Care”, (lyrics by my Dad) and "Time is a Funny Thing”. I drop back more into my pop roots with songs like “As Long as I Know You Love Me”, "One of these Days”, "Happy Now”, and “Home"…and dig into the blues with “Right Here Right Now”, “Wish You Were Mine” and "Nobody Said Love was Easy”. I am acutely aware of the political scene and its challenges and so I penned a couple songs begging for change; "Big Discount" and "Shake it Up”. “Though I take every song I sing very personally, of course, there’s something extremely personal-and scary too, about singing your own stuff... the audience gets to know you even better  And I’m ready for that.” So, if you like soulful, sly, heartfelt, groovy songs with meaningful (and fun) lyrics here they are brand new, welcome and somehow beautifully familiar. https://store.cdbaby.com/cd/karrinallyson2

Personnel:  Karrin Allyson, voice and piano, Rhodes;  Chris Caswell, Hammond B-3, accordion;  Miro Sprague;, acoustic piano and Rhodes;  Jeff Johnson, bass;  Jerome Jennings, drums.

Special Guests:  Lee Sklar featured on “One of These Days”;  Regina Carter (Some of That Sunshine, Time is a Funny Thing, Big Discount);  Houston Person (Right Here, Right Now, Just as Well, Nobody Said Love Was Easy).

Some of That Sunshine

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Karrin Allyson - Azure-Te

Bitrate: MP3@320K/s
Time: 61:06
Size: 139.9 MB
Styles: Jazz vocals
Year: 1995
Art: Front

[5:15] 1. How High The Moon / Ornithology
[4:34] 2. Gee Baby, Ain't I Good To You
[4:14] 3. Bernie's Tune
[5:23] 4. Night And Day
[6:58] 5. Blame It On My Youth
[4:06] 6. Yardbird Suite
[5:58] 7. Good Morning Heartache
[5:23] 8. Stompin' At The Savoy
[6:34] 9. Azure Te
[6:17] 10. Some Other Time
[6:19] 11. Samba '88

On piano: Paul Smith, Laura Caviani; on trumpet & flugelhorn: Stan Kessler, Mike Metheny; on bass: Bob Bowman, Gerlad Spaits; Todd Strait, drums: Rod Fleeman, acoustic guitar; Danny Embrey, electric guitar; Kim Park , alto & tenor saxaphones; Randy Weinstein, harmonica.

Karrin Allyson is one of the best jazz singers to emerge in the 1990s. She is a masterful scatter, as she shows on some of these selections (including "How High the Moon" and "Yardbird Suite"), but she is also quite expressive on ballads (including "Blame It on My Youth" and "Some Other Time"). The strong backup musicians (a variety of top Kansas City players with guest spots for violinist Claude Williams and flügelhornist Mike Metheny) keep the music swinging. Highly recommended. ~Scott Yanow

Azure-Te mc
Azure-Te zippy

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Frank Mantooth - Ladies Sing For Lovers

Bitrate: MP3@320K/s
Time: 62:23
Size: 142.8 MB
Styles: Swing, Jazz vocals
Year: 2005
Art: Front

[5:14] 1. If You Could See Me Now (With Karrin Allyson)
[4:48] 2. When Did You Leave Heaven (With Kristen Gustafson)
[5:14] 3. You'll See (With Paula West)
[4:50] 4. You Don't Know What Love Is (With Sunny Wilkinson)
[4:59] 5. It Never Entered My Mind (With Jay Clayton)
[4:50] 6. Good Morning Heartache (With Margaret Carlson)
[4:28] 7. My Heart Won't Lie (With Oleta Adams)
[5:59] 8. Imagination (With Rebecca Parris)
[5:22] 9. Why Stars Come Out At Night (With Stacy Rowles)
[4:52] 10. Ballad Of The Sad Young Men (With Sheila Jordan)
[5:41] 11. The Nearness Of You You're Nearer (With Anne Hampton Callaway)
[5:59] 12. I Got It Bad And That Aint' Good (With Diane Schuur)

The late Frank Mantooth was best known for his swinging big-band arrangements. For what would be his final major project, Mantooth arranged a dozen love songs for a string orchestra, featuring 12 talented female jazz singers on a tune apiece. The results are rather light on jazz with just occasional brief solos, usually from saxophonist Kim Park, and not much improvising from the singers. The vocalists generally stick close to the melodies while the strings and horns play unadventurous parts. Due to the quality of the singers, some of the performances are touching, particularly Karrin Allyson on "If You Could See Me Now," Margaret Carlson on "Good Morning Heartache," and Rebecca Parris during "Imagination," while Diane Schuur's wide range and powerful voice rather overwhelm "I Got It Bad (And That Ain't Good)." But overall, this ambitious outing is much safer than expected and a slight disappointment. Considering the singers, Mantooth's abilities, and the excellent musicians, one would expect more surprises and adventure. ~Scott Yanow

Ladies Sing For Lovers

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Karrin Allyson - By Request: The Best Of Karrin Allyson

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 65:47
Size: 153,1 MB
Art: Front

(5:26)  1. Night And Day
(6:02)  2. Moanin'
(5:55)  3. What's New
(3:54)  4. O Pato (The Duck)
(4:07)  5. Sous Le Ciel De Paris (Under Paris Skies)
(4:15)  6. Life Is A Groove (Jordu)
(6:44)  7. Everything Must Change
(4:20)  8. A Felicidade (Happiness)
(6:11)  9. Sweet Home Cookin' Man
(6:20) 10. Nature Boy
(3:44) 11. And So It Goes
(3:48) 12. Cherokee
(4:54) 13. Next Time Around (Soultrane)

Straight-ahead jazz vocalist Karrin Allyson came from Kansas City to the world at large, becoming as popular as any singer of her generation. These 12 selections plus one previously unissued track, done over a span of 11 recordings and 15 years, show why she has become likable, marketable, and admired within certain circles of the mainstream standard-bearers. She also writes a little, plays some piano, interprets others' lyrics to well-known standards, and tosses in a considerable amount of seductive Brazilian or French tunes done in their native language. Allyson's controlled voice never soars skyward or through wispy clouds, but her sensible style is one that easily attracts regular nightclubbers, as well as festival crowds who just want to hear good music professionally performed. Her sophistication through the years has grown considerably, but she has never been the cutesy singer who needed to grow up, and has remained as poised and polished as the first day she chose to sing for a living. This recording also displays a mix of the many collaborators she has worked with, including many of her friends from home. She's very comfortable with the blues, as the Bobby Timmons evergreen "Moanin'" displays, going from a scatted intro to the famous Jon Hendricks lyric. She uses two guitarists for the light samba take of "Night and Day," the perky "O Pato," and the convincing, heartfelt "Nature Boy." An accordion accompanies the waltz "Sous le Ceil de Paris," and she sings well in Portuguese on the happy, bouncy "A Felicidade." Working separately and together with the wonderful singer Nancy King, Duke Jordan's "Jordu" is turned into "Life Is a Groove" with Allyson's swinging lyrics, while her original "Sweet Home Cookin' Man" is a fan favorite about an imaginary sweetheart gourmet chef, with the modal piano of Paul Smith keeping the griddle sizzling. In retrospect, her version of the ballad "What's New?" is especially poignant and bittersweet to hear, considering that the late tenor saxophonist Bob Berg and pianist James Williams are backing her up. Both died far too young, making this statement a forever unanswered question. "Cherokee" is the most unusual arrangement, jamming the gears from idle neutral to furiously fast sixth gear at the drop of a flag like a drag race. Certainly there are those who would choose different tracks, but this is a very good overview of what Allyson has done in her relatively short career and there's much more to come. ~ Michael G.Nastos http://www.allmusic.com/album/by-request-the-best-of-karrin-allyson-mw0000816546

Personnel: Karrin Allyson (vocals, piano, shaker); Nancy King (vocals); Danny Embrey (guitar, acoustic guitar, electric guitar); Rod Fleeman (acoustic guitar); Carter Brey (cello); Randy Weinstein (harmonica); Gil Goldstein (accordion, piano); Kim Park (alto saxophone); Bob Berg (tenor saxophone); Paul "Scooby" Smith, Mulgrew Miller, James Williams , Bruce Barth (piano); David Finck, John Patitucci, Bob Bowman (acoustic bass); Todd Strait (drums, percussion); Lewis Nash (drums); Michael Spiro (pandeiro, shaker, surdo).

By Request: The Best Of Karrin Allyson

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Karrin Allyson - From Paris To Rio

Styles: Vocal Jazz, Brazilian Jazz
Year: 1999
File: MP3@320K/s
Time: 67:48
Size: 160,9 MB
Art: Front

(4:07)  1. Sous Le Ciel De Paris (Under Paris Skies)
(5:10)  2. Samba Saravah
(5:03)  3. Te Amo (I Love You)
(3:54)  4. O Pato (The Duck)
(4:41)  5. Ne Me Quitte Pas (If You Go Away)
(4:56)  6. Plasir d'Amour (The Pleasure Of Love)
(4:29)  7. O Barquinho (My Little Boat)
(4:27)  8. Coração Vagabundo (My Vagabond Heart)
(3:29)  9. Parisian Thoroughfare
(5:13) 10. Des Histoires
(5:27) 11. Inutil Paisagem (Useless Landscape)
(5:01) 12. Catavento e Girasol (Windmill And Sunflower)
(6:47) 13. Aria (from Bachianas Brasileiras No.5) • Belo Horizonte
(5:01) 14. That Day (Cinema Paradiso)

Songstress Karrin Allyson spreads wide her conceptual wings on her sixth release for Concord Jazz, crooning in three languages in an engaging salute to France and Brazil that may be short on Jazz but is long on emotion and charm. Allyson is cute as a button, the folks in Kansas City (where she resides) love her, and who are we to disagree? Allyson sings exactly as she looks, in a bright and lovable voice whose timbre reminds me (I’m dating myself here) of her namesake, June Allyson, a queen of the MGM musicals in the late ’40s–early ’50s. As June was always one of my favorite entertainers, that’s a compliment. Also complimentary is my admiration for Karrin’s ability to sing so fluently in French or Portuguese (a language most of us don’t learn in school), not only inflecting flawlessly (at least, as far as I can tell) but capturing as well the distinctive temperament that sets each of them apart from other languages, and for her Gilbert and Sullivan–like knack for unraveling tongue twisting lyrics almost nonchalantly (as on “O Pato” The Duck which she interprets wonderfully in English). She’s so proficient in French and Portuguese that it’s almost shocking to hear Allyson singing in her native tongue, as she does also on “Inutil Paisagem” and the album’s closing tune, “That Day” a gorgeous lyric adapted from the Italian film Cinema Paradiso. That’s the only detour from France or Brazil on the roadway, but Allyson says she had to include the song simply because it’s so lovely, and she’s right. Karrin’s no show off, preferring to let the lyrics speak for themselves, but she can scat like Ella or Sarah if she chooses to, as for example on Bud Powell’s busy “Parisian Thoroughfare.” Allyson says she has long been in love with the music of France and Brazil, and that love shines intensely throughout this ardent recital. It seems to be shared by her sidemen too, as they play with a passion usually reserved for those one holds near and dear. These are some of the best Jazz musicians KC has to offer, and it’s always a special treat to hear the superb Kim Park (alto on “O Barquinho” and “Parisian Thoroughfare,” flute on “Catavento e Girasol”). In a bumper crop of accomplished young female Jazz singers, Karrin Allyson stands as tall as that corn in Oklahoma!  “as high as an elephant’s eye” and it looks like she’s climbin’ clear up to the sky. ~ Jack Bowers  https://www.allaboutjazz.com/from-paris-to-rio-karrin-allyson-concord-music-group-review-by-jack-bowers.php?width=1920 

Personnel: Karrin Allyson, vocals, piano, percussion; Gil Goldstein, accordion, piano; Paul Smith, piano, synthesizer; Danny Embrey, Rod Fleeman, acoustic guitar; Bob Bowman, bass; Todd Strait, drums, percussion; Doug Auwarter, surdo, drums. String section

From Paris To Rio

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Various - The Colors Of Latin Jazz: Corcovado

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

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

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

The Colors Of Latin Jazz: Corcovado

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Karrin Allyson - Imagina: Songs Of Brasil

Bitrate: MP3@320K/s

Time: 60:10

Size: 137.8 MB

Styles: Vocal jazz, Brazilian jazz

Year: 2008

Art: Front

[4:19] 1. A Felicidade

[2:25] 2. Correnteza

[3:44] 3. Só Tinha De Ser Com Você

[3:40] 4. Medo De Amar

[5:16] 5. O Morro Não Tem Vez (Favela)

[4:47] 6. Estrada Branca

[5:01] 7. Outono

[5:31] 8. Double Rainbow

[2:53] 9. Imagina

[5:11] 10. Desafinado

[4:44] 11. Pra Dizer Adeus

[4:47] 12. Vivo Sonhando

[3:05] 13. Estrada Do Sol

[4:40] 14. É Com Esse Que Eu Vou

Karrin Allyson has sung Brazilian tunes before, notably on 1999's From Paris to Rio, but this time she's dedicated an entire album to the swaying rhythms of bossa nova and samba, and she's never sounded lovelier. Allyson has always been a gifted interpreter, and while her material in the past has drawn from any number of sources, her prime focus here is on the music of Antonio Carlos Jobim. While choosing oft-covered tunes like "Desafinado" and "A Felicidade" may not be the riskiest thing Allyson could have done, nor the most original, she is so clearly in love with these compositions that she's easily forgiven for adding her name to the list of artists who have lent their voices to them. Allyson's vocal instrument is somewhat coarser and more world-weary than the majority of singers who gravitate toward Jobim's material, and here she favors stripped-down arrangements that accentuate the vulnerabilities and lived-in qualities of that voice.

It works to great effect, as on "Double Rainbow," a ballad that begins sparsely, Allyson singing in Portuguese before switching over to English, a tactic she employs throughout much of the record. Accompanying herself on piano, Allyson phrases Gene Lees' Tin Pan Alley-esque lyrics, a meditation on the wonders of nature, carefully and thoughtfully, before handing the tune over to bassist David Finck, who turns in a solo that's creative but not showy. Not all of the songs here come courtesy of Jobim, and Allyson does equal justice to the moody "Pra Dizer Adeus" (Time to Say Goodbye), co-penned by Edú Lobo, Torquato Neto, and Chris Caswell, and the closing "É Com Esse Que Eu Vou," by Pedro Caetano, which pushes the beat somewhat harder than the more ballad-oriented music that populates most of the record. But in the end it's those Jobim songs that stick: Steve Nelson's vibes and marimba work lends a sensuality to "O Morro Não Tem Vez (Favela)," by Jobim and Vinícius de Moraes, and Gil Goldstein's accordion injects a bit of France into the Brazilian mood on the title track. Through it all, Karrin Allyson reminds listeners why she has consistently received praise over the years for her inherent ability to make any song her own. ~Jeff Tamarkin

Imagina: Songs Of Brasil

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Karrin Allyson - Many A New Day: Karrin Allyson Sings Rodgers & Hammerstein

Size: 126,3 MB
Time: 53:54
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals
Art: Front

01. Oh, What A Beautiful Mornin’ (4:05)
02. Many A New Day (2:58)
03. Happy Talk (3:50)
04. I Cain't Say No (4:17)
05. I Have Dreamed (4:53)
06. Out Of My Dreams (3:32)
07. Bali H'ai (5:05)
08. When I Think Of Tom - Hello Young Lovers (4:32)
09. We Kiss In A Shadow (4:36)
10. You've Got To Be Carefully Taught (4:09)
11. Something Wonderful (2:34)
12. The Surrey With The Fringe On Top (3:29)
13. Something Good (3:16)
14. Edelweiss (2:30)

Featuring Kenny Barron & John Patitucci
Four-time ‘Best Vocal Jazz Album ‘Grammy nominee Karrin Allyson's ‘Many A New Day (Karrin Allyson Sings Rodgers & Hammerstein)’ is a 14-song collection featuring Allyson’s romantic, sly and swinging take on songs that have become part of our cultural fabric, from ‘Oh, What a Beautiful Morning’ to ‘Happy Talk’ to ‘I Cain’t Say No’ and numerous others. The collection, which marks the singer’s debut on the Motéma label, features the distinctive pairing of Kenny Barron on piano and John Patitucci on bass (only the second time the two have recorded together). Richard Rodgers and Oscar Hammerstein’s legendary musical partnership is among the greatest of the 20th century, resulting in such seminal Broadway productions as The King and I, South Pacific, Sound of Music, Oklahoma and Carousel. With her distinctive vocals, Allyson takes an array of these beloved songs on an elegant, intimate and joyful ride. Her arrangements, impeccably performed by Barron and Patitucci, manage to infuse these musical theater gems with a spare, sophisticated and intimate vibe that recalls the wee-hours in a late night Paris jazz club.

Many A New Day

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Karrin Allyson - In Blue

Styles: Jazz, Vocal
Year: 2002
File: MP3@320K/s
Time: 66:43
Size: 153,9 MB
Art: Front

(6:02)  1. Moanin'
(3:57)  2. Everybody's Cryin' Mercy
(4:35)  3. Long As You're Living
(7:35)  4. The Meaning Of The Blues
(4:31)  5. My Bluebird
(5:40)  6. Hum Drum Blues
(5:41)  7. How Long Has This Been Going On?
(5:02)  8. West Coast Blues
(4:13)  9. Evil Gal Blues
(6:03) 10. Blue Motel Room
(4:11) 11. Bye Bye Country Boy
(4:20) 12. Love Me Like A Man
(4:49) 13. Angel Eyes

Ralph Waldo Emerson once stated, “Consistency is the hobgoblin of little minds.” Well, maybe, but it also implies conforming to high standards and dependability. In Blue is Karrin Allyson’s eighth Concord album and every one of those eight is a topflight jazz vocal album. The “In Blue” concept is a perfect idea for Allyson because her attractive husky voice is tailor made for the blues, and her Kansas City roots are evident in every syllable that she sings. It should also be noted that the blues are, of course, stories of loss and regret and Allyson’s conversational phrasing and appreciation for the meaning of words are amongst her many singing talents. In this era of the singer-songwriter, it is almost obligatory to compose one’s own material (unfortunately, these so-called “originals” are often not very good). But, unlike so many contemporary singers, Allyson never writes her own material. She may write very well, but she seemingly accepts that the gift of composing is a separate skill set from the gift of performing. 

However, Allyson has an impeccable ear for a good song and has successfully pulled material from both the pop and jazz world and it all works in her jazz and blues context. Mose Allison, Bobby Timmons, Oscar Brown, Wes Montgomery, Blossom Dearie are represented, as well as the noted Matt Dennis and the Gershwins, who contributed the only two standards with whiskers, “Angel Eyes” and “How Long Has This Been Going On,” respectively. The other selections are songs popularized by living artists such as Bonnie Raitt (“Everybody’s Crying Mercy” and “Love Me Like a Man”), Joni Mitchell (“Blue Motel Room”) as well as the previously mentioned Allison, Brown and Montgomery. Karrin Allyson declares that these individuals are “all heroes of mine and huge talents.”

The recently deceased Matt Dennis would have loved Allyson’s achingly beautiful and elegant rendition of his classic “Angel Eyes,” perfectly weighted this side of sentimentality. That great arrangement is by her longtime collaborator, guitarist Danny Embry. One thing that you notice about the best jazz singers (and Allyson is certainly one) is that they invariably choose the right tempo and melodic embellishments. For example, listen to her grooving on the Bobby Timmons classic, “Moanin’” or her voluptuous huskiness on Bobby Troup’s slow-beat ballad “The Meaning of the Blues.” Allyson is blessed with a sly sense of humor (and sassiness) and her albums are equally inventive and entertaining. This playful quality, for example, can be found on Leonard Feather’s “Evil Gal Blues,” (which he wrote for Dinah Washington). Playful and sexy also describe Allyson’s approach to Oscar Brown’s classic “Hum Drum Blues” and the romping, stomping “Love Me Like a Man.” Allyson is also a most gifted singer of ballads and a perfect example is her rendition of “How Long Has This Been Going On.” Ira Gershwin, who was known as unyielding regarding the accuracy of his lyrics, would have loved her reading of his classic lines. 

As always Allyson has an all-star band supporting her, including her good buddy Danny Embry, pianist Mulgrew Miller, drummer Lewis Nash, every drummer’s favorite bassist, Peter Washington and saxophonist Steve Wilson. There is not sufficient space to give this great band proper kudos. Let’s just say “absolutely Rolls Royce.” Allyson strikes gold again. The baker’s dozen songs are exquisitely crafted and perfectly delivered this is peerless jazz singing and a perfect vehicle for her evocations of love fulfilled and unfulfilled. Highly recommended. ~ Roger Crane  http://www.allaboutjazz.com/in-blue-karrin-allyson-concord-music-group-review-by-roger-crane.php

Personnel: Karrin Allyson (vocals); Steve Wilson (soprano saxophone, alto saxophone); Mulgrew Miller (piano, Fender Rhodes piano); Danny Embrey (guitar); Peter Washington (bass); Lewis Nash (drums).

In Blue

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Dave Bass - NYC Sessions

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 60:49
Size: 139,6 MB
Art: Front

(6:00)  1. The Sixties
(3:46)  2. Silence
(4:41)  3. Just A Fool
(4:51)  4. Lost Mambo
(5:01)  5. Endless Waltz
(7:15)  6. La Comparsa - Mi Montuno
(7:07)  7. Lost Valentine
(5:29)  8. My Foolish Heart
(5:29)  9. Baltic Bolero
(4:54) 10. Since I Found You
(6:12) 11. Dark Eyes

The backstory is every bit as compelling as the music as Dave Bass and an all star cast swing for the fences and swing they do! While the cast of musical co-conspirators boasts a diverse back, there is an amazing synergy of textured sound and flavored swing not often found in similar groups. Bass is a pianist taking a second chance at jazz. Early on Bass was playing with such luminaries as Bobby McFerrin but a wrist injury derailed his career. Finishing his degree, Bass went on to become Deputy Attorney General of California. While most of us would be satisfied the musical flame continued to burn and twenty years later (2010) Bass began performing. 

The band includes saxophone legend Phil Woods, the lovely and oh so talented Karrin Allyson makes a couple of vocal cameos while the remainder of this formidable 4tet is rounded off with Harvie S on acoustic bass and Ignacio Berroa on drums. The tunes are varied, eclectic yet with a smoldering soul all their own. The intimate interpretation of "My Foolish Heart" works well against the more European influenced "Dark Eyes" which is drawn from the Russian / Jewish background that is Dave Bass.  An impressive and vibrant offering of styles including a plethora of Latin influences has NYC Sessions as one of those stealth releases that will work well in any library! ~ Brent Black  http://www.criticaljazz.com/2015/02/dave-bass-nyc-sessions-whaling-city.html

Personnel: Dave Bass: piano; Harvie S: bass; Ignacio Berroa: drums; Phil Woods: alto saxophone (1, 2, 7, 8, 10, 11); Karrin Allyson: vocals (3, 5); Conrad Herwig: trombone (1, 4, 7, 10); Chris Washburne: trombone (2, 5, 9); Enrique Fernandez: flute (2, 4, 9); Carlos Caro: congas and percussion (2, 4, 5, 7, 9); Paulette McWilliams: vocals (8, 11).

NYC Sessions

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Various - Saturday Afternoon Jazz

Bitrate: 320K/s
Time: 62:13
Size: 142.4 MB
Styles: Smooth jazz, Mainstream jazz, Standards
Year: 2000
Art: Front

[4:48] 1. Mary Stallings - Surrey With The Fringe On Top
[5:53] 2. Tal Farlow - Nuages
[5:45] 3. Ken Peplowski - The Best Things In Life Are Free
[7:53] 4. Gene Harris, Jack McDuff - Soft Winds
[4:26] 5. Karrin Allyson - O Barquinho
[4:55] 6. The Monty Alexander Trio - The Summer Wind
[3:47] 7. Scott Hamilton, Howard Alden - Chelsea Bridge
[5:47] 8. Toots Thielemans - Hello Young Lovers
[5:25] 9. Howard Roberts - Dolphin Dance
[3:09] 10. George Shearing - On The Sunny Side Of The Street
[6:32] 11. Bill Mays - I'm Just A Lucky So And So
[3:48] 12. Joey DeFrancesco - Young At Heart

Another volume of classic jazz from the popular Concord series, Saturday Afternoon Jazz presents a collection of smooth yet vibrant music including songs from Django Reinhardt, Billy Strayhorn, Herbie Hancock, and Fletch Henderson. ~Stacia Proefrock

Saturday Afternoon Jazz

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Cindy Scott - Historia

Size: 128,6 MB

Time: 55:25

File: MP3 @ 320K/s

Released: 2014

Styles: Jazz: Vocals

Art: Front

01. Shaw 'nuff (4:20)

02. There Is No Greater Love (5:29)

03. What's Comin' Atcha (3:57)

04. Historia De Un Amor (7:37)

05. It's Gonna Be Okay (4:21)

06. Turnaround (Feat. Karrin Allyson) (3:40)

07. Look For The Silver Lining (3:15)

08. Laura Lee (5:14)

09. Shenandoah (4:02)

10. I Concentrate On You (5:45)

11. Silence Of The Stars (O Silencio Das Estrelas) (4:29)

12. Some Of That Sunshine (Feat. Karrin Allyson) (3:10)

Stating the obvious right off, vocalist Cindy Scott is from New Orleans. This fact thoroughly and three-dimensionally informs the twelve selections on Historia, Scott's follow-up to Let The Devil Take Tomorrow (Catahoula Records, 2009), without making a burden of it. In subtle and not-so-subtle ways, the aural aroma of the Crescent City appears like an essence, that hyperdistillation that leaves neither finger nor footprint but exists as an indelible mark on the music readily recognised. This mark is made audible immediately in Scott's arrangement (with her lyrics) of the Gillespie/Parker shot- over-the-bow, "Shaw 'Nuff." Looking at that title makes it all too easy to expect an Eddie Jefferson or even Bob Dorough sliced bebop.

What curls from the speakers is something else altogether. A French- Quarter- Sunday-Afternoon march is established by drummer Jamison Ross and perpetuated by pianist Randy Porter channelling Professor Longhair. Guitarist Brian Seeger reaches down deep into the blues and shows where Bo Diddley came from. Scott sings of taking chances to learn, stretching beyond one's conception into that next creative place. Scott makes breezy "No Greater Love," pulling the piece from the dusty silver service of standards. She blow the soot off the classic, polishing it to a high and complex Creole sheen. Porter plays a eutection of impressionistic stride and Antoine Domino- left hand magic against Ross' shimmering cymbals and Scotts wordless song.

On the nominal title cut, "Historia de un Amor," Scott waxes darkly over an earth-pulse played by bassist Dan Loomis. Seeger seasons the piece with electric guitar cries in the extended introduction and then when Scott gets her Spanish on, leading up to Seeger's craggy and urgent solo, overdriven and cutting. Scott picks up and completes this urgent ache, completing the piece as a humid Caribbean tone poem. Scott penned the English lyrics. The original "It's Gonna Be Okay" ia a cross-over dream, a song of certain hope that would be as at home in the modern country realm as it is here, full of Louisiana and sunshine.

"Look at the Silver Lining" and "Shenandoah" are so completely transformed they become a celebration of all that jazz is in its absolute exegesis. In both songs, Scott winds up and throws a wicked curve ball. The former is taken up-tempo and is perhaps the most "jazzy" of all of the selections. The latter is made even more pastoral than the original by its slower tempo amid bass harmonics and Scott's rich flute playing. Scott duets with Karrin Allyson on "Some of that Sunshine" providing an upbeat and inclusive end to a very fine recording indeed.~Review by C. Michael Bailey

Personnel: Cindy Scott: vocals; Randy Porter: piano; Dan Loomis: bass; Jamison Ross: drums; Brian Seeger: guitar (1, 4, 5); Shannon Powell: percussion; Evan Christopher: clarinet (11); Karrin Allyson: vocals (12).

Historia

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