Showing posts with label Ken Peplowski. Show all posts
Showing posts with label Ken Peplowski. Show all posts

Friday, September 13, 2024

Ken Peplowski - At Mezzrow

Styles: Clarinet And Saxophone Jazz
Year: 2024
Time: 60:06
File: MP3 @ 320K/s
Size: 138,3 MB
Art: Front

(7:21) 1. Vignette
(4:39) 2. Prisoner Of Love
(9:26) 3. Beautiful Love
(6:23) 4. All The Things You Are
(8:12) 5. Like Young
(3:54) 6. The Shadow Of Your Smile
(5:21) 7. Cabin In The Sky
(5:01) 8. Bright Mississippi
(4:18) 9. Here's To Life
(5:26) 10. Who Knows

Ken Peplowski is an extraordinary jazzman with over 70 personal recordings to his name and prestigious collaborations with a wide range of artists, including Charlie Byrd, Mel Tormé, Hank Jones, Peggy Lee, Woody Allen, Benny Goodman, and Madonna. Needless to say, this album, modestly titled Live at Mezzrow, is a true gem that your ears will quickly embrace, as Ken Peplowski’s melodic sense and saxophone playing are so commanding. On this recording, the band leader is accompanied by Ted Rosenthal on piano, Martin Wind on double bass, and Willie Jones III on drums, offering a captivating performance captured during two one-hour sets. We particularly appreciate the simplicity of this setup, which guarantees a very “club” sound, with Ken Peplowski’s playing alone bringing a form of modernity through his propositions. So, we sit down quietly, a glass in hand, and listen, captivated by the beauty of the moment.

In his own words, Peplowski shares the journey behind the album: “Like most musicians, when the dreaded Covid, along with the accompanying lockdown, struck in 2020, it was the end of work. As a sort of very dark cosmic joke, not only did I have a severe case of Covid in March 2020, but my beloved dog Honeypie had to be euthanized in April 2021. In June of that year, I was diagnosed with multiple myeloma.”

So, this is a very special album with a unique story. Indeed, SmallsLIVE owner and pianist Spike Wilner proposed the idea of this live album to Peplowski, who immediately accepted. The acclaimed multi-instrumentalist said, “This is my favorite way to record I like to work on musical material for a year or two, find interesting pieces that are less often played, revive a few pieces that I haven’t played in years, and simply go into the studio with friends and record like a band on stage, playing the music, with its imperfections, and that’s exactly what we did.”

We crave more of such imperfections because a ten-track live album seems a bit short once we’ve immersed ourselves in this ambiance. Ken Peplowski Live at Mezzrow includes unique interpretations of jazz classics as well as lesser-known gems, all delivered with an authority and nuance that only Peplowski and his colleagues can achieve. Each selection tells a story of Peplowski’s fruitful musical adventures with the architects of this art. The live performance is a true masterclass in interaction, with Peplowski’s melodic refrains soaring above Rosenthal’s harmonic reflections, supported by the rhythmic section of Willie Jones III and Martin Wind, themselves talented melodic musicians.

Needless to say, this album can quickly go on repeat, creating an honest and warm ambiance. Although they are covers, they are arranged with such talent that they can be considered recompositions, and this is probably why this album slips surreptitiously into our “Essentials”. By Thierry De Clemensat https://www.paris-move.com/reviews/ken-peplowski-live-at-mezzrow-eng-review/

Personnel: Ken Peplowski - Clarinet & Tenor Saxophone; Ted Rosenthal - Piano; Martin Wind - Bass; Willie Jones III - Drums

At Mezzrow

Thursday, July 11, 2024

Randy Sandke - The Music Of Bob Haggart

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 60:00
Size: 138,4 MB
Art: Front

(3:26)  1. It Ain't Necessarily So
(2:30)  2. It Takes a Long Pull To Get There
(2:35)  3. I Got Plenty O' Nuttin'
(3:00)  4. Summertime
(3:11)  5. Bess, You Is My Woman Now
(2:12)  6. Oh, I Can't Sit Down
(3:24)  7. I Loves You, Porgy
(4:26)  8. My Man's Gone Now
(3:07)  9. Bess, Oh Where's My Bess?
(2:23) 10. There's a Boat Dat's Leavin' Soon For New York
(3:20) 11. Mardi Gras Parade
(3:22) 12. What's New?
(5:42) 13. Dogtown Blues
(3:10) 14. My Inspiration
(4:39) 15. South Rampart Street Parade
(4:58) 16. At the Jazz Band Ball
(4:27) 17. Big Noise From Winnetka

Most jazz fans are well acquainted with some arrangement or another of George Gershwin's Porgy and Bess, but few of them are acquainted with Bob Haggart's charts of the score. The reason is simple: Haggart's arrangements, released at the same time as the Porgy and Bess movie, were pushed to the back of the record racks by versions of the same music by (among others) Miles Davis and Gil Evans, the Modern Jazz Quartet, the Oscar Peterson Trio and Louis Armstrong and Ella Fitzgerald. Modern-day trumpeter Randy Sandke has decided that this was an unfair quirk of history, and after some detective work and painstaking transcription he's reassembled Haggart's Porgy and Bess plus some other charts under the prosaic title The Music of Bob Haggart.

Haggart's charts for Gershwin don't try to reinvent the wheel as other interpreters at the time did; their sound, straightahead, tart and tight, takes the listener back to Gershwin's own idiom with minimum fuss and maximum verve. Frequent solo breaks allow the stellar band Sandke has assembled to shine; while everyone puts their best foot forward in this endeavor, the two most impressive players are Jon-Erik Kellso on the (frequently muted) puje, sounding period without sounding old, and Sandke himself, alternately caressing and goosing some of the most famous melodies ever written. Jazz fans shouldn't lose sleep over having favored Miles, Oscar or Louis and Ella for so many years; Haggart's version isn't that compelling. But, as this recording proves, it can be a lot of fun in the right hands. ~ Andrew Lindemann Malone  http://jazztimes.com/articles/13713-the-music-of-bob-haggart-under-the-direction-of-randy-sandke-randy-sandke

Personnel:  Bob Haggart (arranger, bass); Randy Sandke (leader, trumpet); Scott Robinson (tenor & baritone saxophones); Jack Stuckey (baritone saxophone); Byron Stripling (trumpet); John Allred, George Masso, Wycliffe Gordon (trombone); Ken Peplowski (clarinet); Derek Smith, Ed Metz, Sr. (piano); Howard Alden (guitar); Greg Cohen (bass); Joe Ascione, Tony DeNicola (drums).

The Music Of Bob Haggart

Sunday, June 30, 2024

Eddie Higgins Featuring Scott Hamilton & Ken Peplowski - A Handful of Stars

Styles: Piano And Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 71:40
Size: 164,4 MB
Art: Front

(6:16)  1. In  Love In Vain
(6:04)  2. You Leave Me Breathless
(8:20)  3. A Handful Of Stars
(6:42)  4. Come Rain Or Come Shine
(6:14)  5. April In Torino
(8:16)  6. Night Has A Thousand Eyes
(5:39)  7. Flamingo
(6:01)  8. Breezin' Along With The Breeze
(7:17)  9. A Portrait Of Jenny
(5:28) 10. Softly As In A Morning Sunrise
(5:17) 11. All Too Soon

A solid bop-based pianist, Eddie Higgins has never become a major name, but he has been well-respected by his fellow musicians for decades. After growing up in New England, he moved to Chicago, where he played in all types of situations before settling in to a long stint as the leader of the house trio at the London House (1957-1969). Higgins moved back to Massachusetts in 1970 and went on to freelance, often accompanying his wife, vocalist Meredith D'Ambrosio, and appearing at jazz parties and festivals. Eddie Higgins has led sessions of his own for Replica (1958), Vee-Jay (1960), Atlantic, and Sunnyside; back in 1960, he recorded as a sideman for Vee-Jay with Lee Morgan and Wayne Shorter.
By Scott Yanow https://itunes.apple.com/us/artist/eddie-higgins/id80690717#fullText


Personnel: Eddie Higgins – piano; Scott Hamilton - tenor sax; Ken Peplowski - tenor sax; clarinet; Jay Leonhart – bass; Joe Ascione - drums

A Handful of Stars

Tuesday, June 11, 2024

Scott Hamilton, Ken Peplowski & Spike Robinson - Groovin' High

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 65:13
Size: 150,2 MB
Art: Front

(4:52)  1. Blues Up And Down
(5:06)  2. You Brought A New Kind Of Love To Me
(7:31)  3. That Ole Devil Called Love
(5:08)  4. Shine
(7:30)  5. The Goof And I
(7:00)  6. What's New
(7:14)  7. I'll See You In My Dreams
(8:27)  8. Groovin' High
(5:42)  9. Body And Soul
(6:37) 10. The Jeep Is Jumpin'

Fans of jam sessions and tenor battles will definitely want this CD. Tenors Scott Hamilton, Ken Peplowski and Spike Robinson (constantly pushed by the brilliant rhythm section of pianist Gerry Wiggins, guitarist Howard Alden, bassist Dave Stone and drummer Jake Hanna) take turns raising the temperature on such viable devices as "Blues Up and Down," "Shine," "I'll See You In My Dreams" and "The Jeep Is Jumpin'." Robinson (easily the oldest of the trio of tenors) gets a slight edge and generates the most heat, but the saxophonists actually complement each other quite well. A consistently exciting set.
By Scott Yanow http://www.allmusic.com/album/groovin-high-mw0000077010

Personnel: Scott Hamilton (tenor saxophone); Ken Peplowski (tenor saxophone); Spike Robinson (tenor saxophone); Howard Alden (guitar); Gerald Wiggins, Gerry Wiggins (piano); Jake Hanna (drums).

Groovin' High

Sunday, April 21, 2024

Carol Welsman - Memories Of You

Styles: Piano And Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 60:51
Size: 139,3 MB
Art: Front

(3:49)1. Don't Be That Way
(2:45)2. Why Don't You Do Right
(3:28)3. Moonglow
(3:10)4. Stompin' At The Savoy
(5:47)5. As Time Goes By
(4:49)6. When You're Smiling
(4:10)7. Johnny Guitar
(4:02)8. Fever
(2:53)9. Goody Goody
(3:08) 10. The Very Thought Of You
(2:39) 11. On A Slow Boat To China
(4:50) 12. Memories Of You
(3:03) 13. Sing Sing Sing
(3:50) 14. Where Or When
(4:15) 15. More Than You Know
(4:06) 16. The Glory Of Love

Carol Welsman is a talented singer/pianist who hails from Canada and now spends much of her time in Los Angeles. Her numerous achievements include five Juno (Canadian Grammy) Award nominations and several CDN Smooth Jazz Awards. Like bossa nova icon Joao Gilberto and his guitar, Carol's honey-and-whiskey voice and her crisp, rhythmically articulate piano lines seem an integral part of each other. Also possessing wonderful arranging skills, she's an authentic vocal/instrumental artist who brings an irresistible blend of musicality and lyrical insight to everything she touches.

Memories of You is a special project she did in partnership with Producer Takao Ishizuka, to celebrate the 50th anniversary of his company, All Art Promotion. For the past 50 years, Ishizuka and All Art Promotion have been a major driving force in bringing jazz musicians to Japan. The year 2009 also was the 100th anniversary of the birth of Benny Goodman, so they decided to join forces with Ken Peplowski the best jazz clarinet player in the world now in my opinion to do a Benny Goodman tribute album. They also wanted to include vocal numbers popular in Japan, and found the tunes made famous by Peggy Lee a perfect fit.

Thus, the program consists of well-known tunes associated with Goodman and songs associated with Peggy Lee. Her Los Angeles-based regular band (Pierre Coté on guitar, Rene Camacho on bass and Jimmy Branly on drums) is augmented by Brazillian percussionist Cassio Duarte, and legendary drummer Frank Capp, who used to play with Peggy Lee, appears on two tracks as guest drummer. This is a wonderful jazz vocal album, full of wonderfully inventive arrangements, superb singing, and musicianship of highest order. Pressed on the superior-sounding HQCD, the sound quality of this CD is so good that it received the highest honor from the Jazz Critique Magazine of Japan, the 2009 Jazz Disc Gold Award in the vocal album category. It means that the magazine recognized it as the best-sounding jazz vocal album released in 2009. Recommended!
http://www.eastwindimport.com/product-info.asp?CategoryName=HQCDProductID=1584

Personnel: Carol Welsman (piano, vocal); Ken Peplowski (clarinet); Pierre Conté (guitar); Jimmy Branly (drums); Cassio Duarte (percussion); Frank Capp (drums)

Memories Of You

Thursday, January 11, 2024

Harry Allen & Ken Peplowski & Scott Hamilton - Like The Brightest Star

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 69:47
Size: 165,5 MB
Art: Front

(9:58) 1. You And The Night And The Music
(7:24) 2. Like The Brightest Star
(7:39) 3. Somebody I Just Met
(8:51) 4. Topsy
(3:42) 5. It Was So Beautiful
(5:33) 6. Das Blues
(6:59) 7. The Shadow Of Your Smile
(4:59) 8. That Old Black Magic
(5:32) 9. Old Folks
(9:04) 10. Sleep

The three major masters of Tenor Saxoph, Harry Allen & Ken Peplofski & Scott Hamilton This masterpiece allows you to fully listen to the charm of the Jazz Tenor Sax in an ensemble by Solo. Recorded at The Hideaway Studio in California at February 19 & 20, 2019.
https://www.amazon.com/Like-Brightest-Star-Three-Tenors/dp/B07Y1XMMHJ

Personnel: Harry Allen Harry Allen - tenor sax; Ken Peplowski - tenor sax; Scott Hamilton - tenor sax; Tom Lanier - Tom Ranier - piano; David Stone - bass; Kevin Canner Kevin Kanner - drums

Like The Brightest Star

Tuesday, December 19, 2023

Ruby Braff - Cornet Chop Suey

Styles: Cornet Jazz, Swing
Year: 1994
File: MP3@320K/s

Time: 59:31
Size: 137,0 MB
Art: Front

(5:09) 1. Cornet Chop Suey
(4:29) 2. Nancy with the Laughing Face
(5:12) 3. Ooh, That Kiss
(4:33) 4. Do It Again
(4:55) 5. Love Me or Leave Me
(4:38) 6. It’s the Same Old South
(4:31) 7. It Had to Be You
(3:45) 8. I Must Have That Man
(4:14) 9. Sweet and Slow
(6:24) 10. Shoe Shine Boy
(4:34) 11. High Society Medley
(7:03) 12. Lover, Come Back to Me

For this Concord CD, the great veteran cornetist Ruby Braff is joined by guitarist Howard Alden, bassist Frank Tate and (on five of the twelve numbers) clarinetist Ken Peplowski and drummer Ronald Zito. Braff has never recorded a dull album and his highly expressive playing is the main reason to acquire this disc although Alden is also in particularly good form. Highlights include a rapid rendition of "Cornet Chop Suey," "Do It Again," an unusual instrumental version of "It's the Same Old South," an emotional "It Had to Be You" and a medley of songs from the film High Society. By Scott Yanow
https://www.allmusic.com/album/cornet-chop-suey-mw0000116513#review

Personnel: Cornet – Ruby Braff; Bass – Frank Tate (2); Clarinet – Ken Peplowski (tracks: 3, 6, 7, 10, 12); Drums – Ronald Zito* (tracks: 3, 6, 7, 10, 12) Guitar – Howard Alden

Cornet Chop Suey

Wednesday, May 3, 2023

Ken Peplowski - Last Swing Of The Century

Styles: Clarinet Jazz, Big Band
Year: 1998
File: MP3@320K/s
Time: 65:28
Size: 150,5 MB
Art: Front

(2:20)  1. Let's Dance
(3:27)  2. Hunkadola
(3:12)  3. Between The Devil And The Deep
(6:59)  4. King Porter Stomp
(5:17)  5. Moon Glow
(6:08)  6. Stealin' Apples
(2:32)  7. You Turned The Tables On Me
(3:07)  8. Bugle Call Rag
(3:19)  9. Don't Be That Way
(4:00) 10. Memories Of You
(4:11) 11. Restless
(3:16) 12. Get Happy
(5:14) 13. Sometimes I'm Happy
(4:56) 14. China Boy
(3:29) 15. Down South Camp Meetin'
(3:53) 16. Good-Bye

Last Swing Of The Century - Big Band Music of Benny Goodman released on Concord Jazz in 1999 by Benny Goodman Orchestra alumnus, Ken Peplowski, is a heartfelt tribute to The King of Swing and the wonderful arrangements he commissioned in the 1930s and 1940s. Recorded the last night of a 15-concert tour, the CD is the perfect collection of swing standards for those who dance or those that spectate. Ken Peplowski takes 16 essentials, long associated with one of the greatest names in jazz and reinteprets it with veterans of various Benny Goodman orchestras including Randy Sandke, Eddie Bert, Bobby Pring, Ben Aronov, Frank Capp and Jack Stuckey along with other brilliant musicians as Conte Candoli, Frank Vignola, Bob Milikan, Scott Robinson, Joe Romano, Rickey Woodard, and Richard Simon.

 Although the cliche that big bands will never come back is somewhat true, Ken Peplowski is the closest that some listeners near the end of this century will remember as bringing the music back to the ‘90s with taste, drive and creativity. Peplowski doesn’t compromise the artistic integrity of his mentor even though each soloist is playing in their own style, with no re-creations of solos from old records! Popular standards such as “Let’s Dance,” “Moon Glow,” “Bugle Call Rag,” “Don’t Be That Way,” and the “King Porter Stomp,” receive some of the very best arrangements they’ve ever had. On “Memories Of You,” Ken spotlights Bobby Pring’s trombone and the young, Frank Vignola’s mellow guitar. He duets with Vignola on one of Goodman’s favorites, “China Boy,” originally recorded with Teddy Wilson and Gene Krupa in 1936. 

The clarinet of Ken Peplowski, taken up in honor of Goodman, is brilliant on this hard-swinging set of performances by his orchestra and serves as an excellent example of what can be done and has been done to the keep the music of the Big Band Era fresh and vital. Last Swing Of The Century - Big Band Music of Benny Goodman captures the brilliant essence of Benny Goodman and is ever so essential.
By Paula Edelstein http://www.allaboutjazz.com/last-swing-of-the-century-big-band-music-of-benny-goodman-ken-peplowski-concord-music-group-review-by-paula-edelstein.php 

Musicians: Ken Peplowski, clarinet; trumpets; Conte Candoli, Bob Milikan, Randy Sandke; trombones,  Eddie Bert, Bobby Pring; saxophones,  Jack Stuckey - lead alto,  Scott Robinson - tenor,  Joe Romano - alto, Rickey Woodard - tenor; rhythm section, Ben Aronov-piano, Frank Vignola - guitar, Richard Simon - bass, Frank Capp - drums.

Last Swing Of The Century

Sunday, January 8, 2023

Ed Polcer & His Swingtet - Lionel, Red & Bunny

Bitrate: MP3@320K/s
Time: 61:08
Size: 140.0 MB
Styles: Big band, Swing
Year: 2008
Art: Front

[3:02] 1. King Porter Stomp
[3:45] 2. Stompin' At The Savoy
[3:20] 3. Darn That Dream
[3:45] 4. Softly, As In A Morning Sunrise
[2:27] 5. It Might As Well Be Spring
[5:57] 6. Bernies Tune
[3:28] 7. I See Your Face Before Me
[4:23] 8. Down By The Old Mill Stream
[4:22] 9. Don't Take Your Love Away From Me
[2:49] 10. Just One Of Those Things
[4:01] 11. I Can't Get Started With You
[2:49] 12. Blue Skies
[4:17] 13. I'm Old Fashioned
[3:34] 14. I May Be Wrong
[4:12] 15. I Hadn't Anyone Til You
[4:50] 16. Almost Like Being In Love

In addition to Ed Polcer, this swinging CD features (among others) vibraphonist John Cocuzzi as well as Vince Giordano, John Allred, Ken Peplowski, Ken Ascher, Joe Ascione, Norman Simmons, Frank Tate, and Judy Kurtz on vocals.

Ed Polcer has become one of the most sought after performers on the jazz festival circuit. He has appeared in hundreds of concerts, festivals and jazz parties throughout the United States, Canada and Europe. Ed joined Benny Goodman's Sextet for an American tour in 1973. An expert showman, Ed has led numerous concerts with varied themes, including his extensive U.S. tours for Columbia Artists. In 1992, '93 and '94, "A Night At Eddie Condon's", transported the audience back to the famous nightclub and gave a musical retrospective of American jazz over the last 100 years. Since 1996, Ed's "Magic of Swing Street" has offered classic jazz in its many forms as it was played on New York's fabled W. 52nd Street, including four appearances at New York's Lincoln Center. Ed's recent presentation, "When Broadway Meets Swing Street", merges show tunes with the world of swing. "Lionel, Red & Bunny" is a centennial celebration of legendary jazz musicians Lionel Hampton, Red Norvo and Bunny Berigan.

In 2004, he was honored to play for the official opening of the Louis Armstrong House museum, and became a member of the Statesmen of Jazz. President Clinton invited Ed to play for the 1994 Congressional Ball in the White House, and in 2001, Ed appeared in a command performance in Bangkok for the King of Thailand. If you dropped in at Eddie Condon's club in New York City between 1975 and 1985, chances are good you ran across Ed. Besides being the resident cornetist and bandleader at that historic jazz spot, he was also the manager and co-owner. At Princeton University, he joined Stan Rubin's Tigertown Five, perhaps the best-known collegiate Dixieland group of the day. With that band he made several Carnegie Hall appearances and performed at the wedding of Prince Rainier and Grace Kelly in Monaco.

In the 1980's, Ed was honored to serve as President of the International Art of Jazz, as well as a member of the Advisory Panel of the Jazz Musicians Foundation of New York. Ed's biography has been included in the New Grove Dictionary of Jazz, the Encyclopedia of Jazz in the '70s and the Biographical Encyclopedia of Jazz, both compiled by Leonard Feather and Ira Gitler, and Trumpet Kings by Scott Yanow. In Great Britain, Ed is listed in The Guinness Who's Who of Jazz, as well as Jazz, the Essential Companion and Jazz, the Rough Guide. Chip Deffaaa devoted a full chapter to Ed in Traditionalists and Revivalists in Jazz.

Lionel, Red & Bunny

Friday, August 19, 2022

Wesla Whitfield - Let's Get Lost

Styles: Vocal
Year: 2000
File: MP3@320K/s
Time: 60:48
Size: 139,8 MB
Art: Front

(3:40) 1. Let's Get Lost
(5:29) 2. Don't Blame Me
(4:58) 3. I Can't Believe That You're in Love with Me
(5:12) 4. Too Young to Go Steady
(3:07) 5. I Just Found out About Love
(2:28) 6. It's Me Remember?
(4:41) 7. You're a Sweetheart
(4:51) 8. They Really Don't Know You
(3:25) 9. I've Got My Fingers Crossed
(5:19) 10. On the Sunny Side of the Street
(3:40) 11. Hoory for Love
(3:23) 12. You're the One for Me
(5:25) 13. Where Are You
(2:32) 14. I'm Shooting High
(2:36) 15. Warm and Willing

Although not in the same class as innovators like Jerome Kern, Irving Berlin, George Gershwin, Cole Porter or Harold Arlen, the composer Jimmy McHugh (1894-1969) achieved, by any standard, the songwriting trifecta. His songs were of exceeding musical merit, they enjoyed huge commercial success, and they have endured the test of time. In his seminal book, American Popular Song, Alec Wilder observed that Mr. McHugh “wrote a great many songs, among them some of the best pop songs ever written.” In The Unsung Songwriters, his survey of Tin Pan Alley songwriters published last year, Warren W. Vaché noted that Mr. McHugh’s songs “have become fixtures in the jazz catalog . . . and will probably remain an integral segment of our musical heritage.” Yet, for all that, Mr. McHugh’s songs are rarely associated with him. The singer Wesla Whitfield seeks to remedy that situation on her latest recording, Let’s Get Lost: The Songs of Jimmy McHugh.

At the beginning of the new century, Wesla Whitfield has emerged as one of the finest living interpreters of songs from the beginning of the last century. Like Rosemary Clooney and Sylvia Syms, Ms. Whitfield is a jazz-influenced storyteller rather than an improviser. Her dry, acidic voice has a way of sharpening the edges of a song. Never content to simply define a song by its tempo, Ms. Whitfield extracts meaning from every word. She focuses the listener’s attention on lyrics in a way that can make you think you are hearing the words to a warhorse like “I Can’t Believe That You’re In Love With Me” for the first time.

She mines all the wit from Johnny Mercer’s lyric for “You’re the One for Me” without ever sounding like she is trying to be witty. Ms. Whitfield also has the gift of taking antiquated expressions like “You’re a Sweetheart” or “that doggone moon above” (from “Don’t Blame Me”) and making them sound natural and even poignant. With her tendency to hold long, sustained notes with no vibrato and her clear-eyed approach to lyrics, Ms. Whitfield’s ballad singing strongly recalls the late Irene Kral.

As always, anchoring this collection is Ms. Whitfield’s pianist, arranger and husband, Mike Greensill. Both as an accompanist and an arranger, Mr. Greensill seems to have a deep understanding of exactly the kind of support his wife requires. He plays with a light touch and an attentive ear. His smart, superbly crafted arrangements make good use of not only the reeds but also the rest of the excellent rhythm section. Mr. Greensill also explores the many gradations of tempo that exist between slow and fast on this generally well-paced CD.

Like all of Ms. Whitfield’s recordings, Let’s Get Lost is a mixture of the familiar and the forgotten. Even veteran song hounds will be surprised by the three beautiful and obscure ballads unearthed here: “Warm and Willing,” “They Really Don’t Know You” and “It’s Me, Remember.” There are also a number of rarely heard verses reunited with their more often encountered choruses. Throughout his long career, Mr. McHugh wrote with some very talented lyricists including Frank Loesser, Ted Koehler, Harold Adamson, and his most prominent partner, Dorothy Fields. The album allows the composer’s unique “voice” to be heard by not drawing too heavily from any one of these collaborations.

Let’s Get Lost is not by any means ground breaking or revelatory. However, it is a thoughtful and satisfying examination of the music of a songwriter whose best work surprisingly reflects Tin Pan Alley’s vision of itself: bright, optimistic and, most importantly, hummable.
~Mattheu Bahlhttps://www.allaboutjazz.com/lets-get-lost-the-songs-of-jimmy-mchugh-wesla-whitfield-review-by-mathew-bahl

Personnel: Wesla Whitfield: vocals; Mike Greensill: piano; Ken Peplowski: clarinet, tenor sax; Gary Foster: alto flute, clarinet, bass clarinet, tenor sax; Michael Moore: bass; Joe LaBarbera: drums.

Let's Get Lost

Sunday, March 13, 2022

Allan Vaché, Antti Sarpila, Ken Peplowski - Summit Meeting


Size: 181,3 MB
Time: 78:47
File: MP3 @ 320K/s
Released: 1995
Styles: Clarinet And Saxophone Jazz
Art: Front

1. Original Dixieland One Step (6:29)
2. What Can I Say After I Say I'm Sorry (3:29)
3. Air Mail Special (4:50)
4. These Foolish Things (4:15)
5. Cherry (9:53)
6. Royal Garden Blues (5:25)
7. You'll Always Be Mine (3:09)
8. Nuages (3:23)
9. A Shanty In Old Shanty Town (4:48)
10. Yellow Dog Blues (5:30)
11. Who's Sorry Now (8:05)
12. I've Started All Over Again (4:48)
13. Blues # 3 (7:57)
14. Bye Bye Blues (6:41)

The day before this CD was made, clarinetists Allan Vache and Antti Sarpila recorded the enjoyable Swing Is Here in Hamburg, Germany. Ken Peplowski, himself a notable clarinetist, was in town and was hoping to sit in, so another session was arranged for the following day. Pianist Mark Shane, bassist Len Skeat and drummer Joe Ascione keep the proceedings moving while the three clarinetists play many heated passages. Sarpila doubles on soprano, while Peplowski contributes some tenor, but it is when all three are matching wits on clarinet that this set approaches the classic level. Highlights of the Dixieland/swing material include "Original Dixieland One Step," "Air Mail Special," "Royal Garden Blues" and "Bye Bye Blues." A clarinet fanatic's dream.~Scott Yanowhttps://www.allmusic.com/album/summit-meeting-mw0000066372

Personnel: Allan Vache (clarinet); Antti Sarpila (soprano saxophone, clarinet); Ken Peplowski (tenor saxophone, clarinet); Mark Shane (piano); Len Skeat (bass); Joe Ascione (drums)

Summit Meeting

Monday, November 15, 2021

V.A.- Ice on the Hudson: Songs by Renee Rosnes & David Hajdu

Styles: Vocal
Year: 2018
File: MP3@128K/s
Time: 51:12
Size: 48,5 MB
Art: Front

(5:11) 1. A Tiny Seed
(5:13) 2. I Used to Like to Draw
(3:13) 3. Trotsky in Mexico
(3:42) 4. All But You
(3:24) 5. To Meet My Brother
(6:17) 6. The Passage
(6:34) 7. Little Pearl
(3:01) 8. I Like Pie
(5:34) 9. Ice on the Hudson
(3:42) 10. I Still Feel the Same
(5:17) 11. Confound Me

Ice on the Hudson features vocalists René Marie, Janis Siegel, Darius de Haas and Karen Oberlin and an all-star ensemble interpreting diverse songs about the emotional complexities of adult life in today’s world. There’s a special chemistry that’s found only in the rarest of songwriting partnerships, forever linking the names of composer and lyricist in the minds of listeners. The names Renee Rosnes and David Hajdu are already well known to music lovers: Rosnes as one of her generation’s most acclaimed jazz composers and pianists, Hajdu as an award-winning author and critic. With Ice on the Hudson, their first collaborative album of songs, the pair reveals a breathtaking synergy, crafting a collection of deeply felt and genre-defying songs that join words and music with alchemical results.

Ice on the Hudson, due outOctober 12 via SMK Jazz (a newly launched imprint curated by Smoke Sessions Records), brings together four magnificent vocalists: revered, GRAMMY® Award-nominated jazz singer René Marie; Manhattan Transfer co-founder and nine-time GRAMMY® winner Janis Siegel, celebrated musical-theater actor and art-song interpreter Darius de Haas; and acclaimed jazz/pop performer Karen Oberlin. Their voices are matched by a stunning ensemble, featuring Rosnes at the piano along with cellist Erik Friedlander, saxophonists Steve Wilson and Seamus Blake, clarinetist Ken Peplowski, bassist Sean Smith, drummer Carl Allen, and percussionist Rogerio Boccato. While both Rosnes and Hajdu can boast considerable accomplishments in their respective fields, songwriting was a fairly new endeavor for both. Rosnes had had a handful of instrumental compositions set to lyrics, and Hajdu had collaborated on a few songs with Fred Hersch and others. When Rosnes and Hajdu decided to try writing together, five years ago, “Everything clicked,” in Hajdu’s words.

“Renee is one of the most gifted, most sophisticated and most creative composers alive,” Hajdu says. “I consider myself the luckiest boy in the music world for getting to write with this flat-out genius. We both enjoy the exhilarating thrill of doing something that we care about, that draws on our professional and life experiences, but that provides a whole new set of challenges for us.” For Rosnes, who has long drawn inspiration for her own music from sources as diverse as the natural world and the visual arts, the partnership has given her rich depths of emotion and narrative to plumb. “David is a powerful and compelling storyteller,” she says, “and each of his lyrics has many layers and great substance. It’s been a fulfilling experience to take his words and search for melodies that truly allow the story to shine through.” Given the tantalizing complexity of Hajdu’s words, Rosnes found herself exploring a wide range of sensibilities, never concerned with genre. Ultimately, while some pieces fit comfortably into the jazz songwriting tradition of Jon Hendricks or Bob Dorough, others evoke the world of musical theater or such respected singer-songwriters as Joni Mitchell or Randy Newman. “When I embarked on this project with David, I put the idea of genre out of my mind,” she explains. “I was most interested in allowing the lyrics to inspire and move me in whatever direction that musically translated to.”

“A Tiny Seed” opens the album with a parable both timeless and timely, about a wall-building king and the seemingly small detail that grows to topple his kingdom. Marie’s wry, soulful vocal offers inspiration to those hoping to turn such fairy tales into reality. Her serpentine lines bring an exotic mystery to “Little Pearl,” a reinterpretation of Rosnes’ instrumental “The Quiet Earth.” Siegel’s voice seems to float into a whimsical daydream on “I Used to Like to Draw,” a tender reminiscence of the childhood days when we all gave vent to our imaginations, before the supposed reality of adult life quashed such fancies. Siegel also sings “The Passage,” which takes the natural splendor that inspired Rosnes’ instrumental piece “Gabriola Passage” into the realm of transcendence. On the title track, “Ice on the Hudson,” she takes the bizarre fact that the Hudson River flows both upstream and downstream as a metaphor for the often contradictory aspects of grown-up reality one of several instances of complex ideas that stem from the collaboration between two artists with a wealth of life experience.

Oberlin offers a bit of culinary respite from the world’s divisiveness on the playful “I Like Pie” and a bit of romantic perspective on “I Still Feel the Same.” The moving “All But You” builds from scraps of both songwriters’ biographies to paint a picture of living with a missing someone. Rosnes suggested a song based on her experience as an adopted child wondering about her birth parents, which Hajdu countered with his own background. “Renee said it felt strange growing up not knowing who her biological parents were, but my father sat at the dinner table with me every night my whole life, and I don’t know who my father was either. We share that feeling of a hole in your life, that there are people who could have been there who were not.” Hajdu based “To Meet My Brother” on the tragic loss of his sister and the feeling of wanting to be reunited, whatever the cost. Darius de Haas brings tender yearning to that piece and an urgent sensuality to “Confound Me.” His knack for theatrical drama illuminates “Trotsky in Mexico,” a Sondheim-like musing on the Russian revolutionary’s fling with Frida Kahlo. https://reneerosnes.com/music/ice-on-the-hudson-the-songs-of-renee-rosnes-david-hajdu/

Vocalists: Janis Siegel; Karen Oberlin; René Marie; Darius de Haas

Musicians:Renee Rosnes, piano; Steve Wilson, alto & soprano sax; Seamus Blake, tenor sax; Ken Peplowski, clarinet; Erik Friedlander, cello; Sean Smith, bass; Carl Allen, drums; Rogerio Boccato, percussion

Ice on the Hudson: Songs by Renee Rosnes & David Hajdu

Friday, October 22, 2021

Peggy Lee - Love Held Lightly: Rare Songs by Harold Arlen

Styles: Vocal
Year: 1993
File: MP3@320K/s
Time: 47:53
Size: 117,5 MB
Art: Front

(2:40) 1. Look Who's Been Dreaming
(4:18) 2. Love Held Lightly
(3:30) 3. Buds Won't Bud
(3:39) 4. Can You Explain?
(2:31) 5. Wait'll It Happens To You
(4:39) 6. Come On, Midnight
(4:25) 7. Happy With The Blues
(3:27) 8. Bad For Each Other
(2:50) 9. Love's No Stranger To Me
(2:39) 10. I Could Be Good For You
(4:14) 11. Got To Wear You Off My Weary Mind
(2:44) 12. I Had A Love Once
(3:38) 13. Love's A Necessary Thing
(2:35) 14. My Shining Hour

In 1988, Peggy Lee was persuaded to leave her casual retirement by the promise of recording some recently unearthed Harold Arlen songs. Her voice was far less attractive and vivacious than it had been even in the '70s, and health problems forced her to record everything from a wheelchair; what's more, when she heard the results, she refused to let the record be released for another three years. Nevertheless, Love Held Lightly is an important album, not just because it saves a few Arlen compositions from the brink of disaster, but also because Lee's unpretty voice serves this material well. When she sings "Come on, Midnight" or "I Had a Love Once," she sings the twilight years with as much poignancy as she sang middle age on her '60s hit, "Is That All There Is?" Her group featured sensitive accompaniment from Ken Peplowski on tenor and Keith Ingham on piano (the latter also arranged and directed). Another highlight, "Buds Won't Bud," blossoms from just another saloon song into a playful, what-the-hell romp. Eight of the songs received their first recording here, including a Lee/Arlen collaboration from decades previously. The only standard, "My Shining Hour" (lyric by Johnny Mercer), comes last, thus allowing Lee to end on a wise, confident note, accompanied only by acoustic guitar.~ John Bush https://www.allmusic.com/album/love-held-lightly-rare-songs-by-harold-arlen-mw0000093720

Personnel: Peggy Lee (vocals), John Chiodini (guitar), Phil Bodner (alto saxophone, bass flute), Ken Peplowski (tenor saxophone), Glenn Zottola (trumpet, flugelhorn), George Masso (trombone), Keith Ingham (piano), Mark Sherman (vibraphone, percussion), Jay Leonhart (bass), Grady Tate (drums),

Love Held Lightly

Friday, September 24, 2021

Marty Grosz & His Hot Combination - Marty Grosz & His Hot Combination

Styles: New Orleans Jazz Revival
Year: 2006
File: MP3@320K/s
Time: 70:28
Size: 162,1 MB
Art: Front

( 4:14)  1. Alabamy Home
( 4:52)  2. Did I Remember?
( 4:02)  3. If It Ain't Love
( 4:34)  4. You
( 4:55)  5. What'll I Do?
( 4:59)  6. Don't Let It Bother You
( 3:59)  7. I'd Rather Be With You
( 4:09)  8. Murder In The Moonlight
( 7:01)  9. Four Or Five Times
( 4:40) 10. Life Begins When You're In Love
( 6:06) 11. Spoken Introduction To Just A Gigolo
( 3:39) 12. Just A Gigolo
(10:00) 13. Spoken Introduction To English Blues
( 3:11) 14. English Blues

Marty Grosz is a fine guitar player and singer, and has earned a solid rep as a purveyor of classic jazz styles. He's joined on Marty Grosz and His Hot Combination by a number of other players associated with classic styles, including clarinetist Ken Peplowski and trumpeter Jon-Erik Kellso. The main idea of the album, then, is fairly straightforward: surround yourself with great players, choose a handful of standards, and play your heart out. The collection begins with a spry, instrumental take on Dave Ringle and Duke Ellington's "Alabamy Home" before delving into a fine vocal version of Harold Adamson and Walter Donaldson's "Did I Remember?"

The track list includes lots of love songs and a neat take on "Just a Gigolo," revealing that Grosz has a romantic sensibility tinged with humor. The only item that distracts from the proceedings is Grosz's lengthy spoken introductions to "Just a Gigolo" and "English Blues." While both are more like funny monologues than introductions proper, they're too long and serve to interrupt the flow of music. Otherwise, Marty Grosz and His Hot Combination is a lovely album that reveals how joyful jazz was before the modern era. ~ Ronnie D.Lankford  
http://www.allmusic.com/album/marty-grosz-and-his-hot-combination-mw0000408647.

Personnel: Marty Grosz (vocals, guitar); Ken Peplowski (clarinet, tenor saxophone); Jon-Erik Kellso (trumpet); James Dapogny (cornet, piano); Arnie Kinsella (drums).

Marty Grosz & His Hot Combination

Monday, June 21, 2021

Randy Sandke - Uptown Lowdown - A Jazz Salute to The Big Apple

Styles: Trumpet Jazz
File: MP3@320K/s
Time: 82:46
Size: 191,7 MB
Art: Front

(3:07) 1. Echoes of Harlem / Drop Me Off in Harlem
(3:37) 2. Jungle Nights in Harlem
(3:33) 3. Boys from Harlem
(2:31) 4. Sugar Hill Penthouse (3:07) 5. Blue Belles of Harlem
(5:28) 6. Harlem Speaks
(3:09) 7. Chinatown, My Chinatown
(6:44) 8. Rose of Washington Square / Broadway Rose
(5:13) 9. Slumming on Park Avenue
(5:59) 10. 42nd Street
(5:48) 11. Scrapple from the Apple
(8:14) 12. Nostalgia in Times Square
(8:31) 13. Grand Central
(4:42) 14. 52nd Street Theme
(7:47) 15. Take the "A" Train
(5:09) 16. What's New

It took a German recording team to enable trumpeter/arranger Randy Sandke to assemble this all-American, 12-piece ensemble for a panorama of New York-inspired tunes, recorded in the Big Apple in the Sylvia and Danny Kaye Playhouse as part of the 1999 JVC Jazz Festival. In doing so, he raided the Lincoln Center Jazz Orchestra, as well as several independent history-minded players in the area, and emerged with a band that fires off the numbers with crisp virtuosity in any idiom called for. Thankfully, there is also more than enough gusto in the playing, due in no small part to the live festival recording situation. "The Harlem Medley," a lengthy leadoff stream of delicacies from the land of Ellingtonia, gets close enough to the Ellington sound to convey the idea without being slavishly imitative or ghostly.

The Lincoln Center Jazz Orchestra boys know their Ellington craft well and apply the plunger mutes accordingly. From there, the band doubles back to Dixieland, works its way up to swing, and slides without a glitch into bebop ("Scrapple From the Apple"), a Mingus shuffle blues ("Nostalgia in Times Square"), transitional Coltrane ("Grand Central"), and some Monk ("52nd Street Theme"), before being deposited back in Harlem by naturally the "'A' Train." In between the main tour stops, Concord Jazz teammates guitarist Howard Alden and clarinetist Ken Peplowski serve up another of their fluid duets on Irving Berlin's "Slumming on Park Avenue."

Other high points include clarinetist Allan Vaché wailing in the trad flagwaver "Chinatown" and trumpeters Sandke and Warren Vaché duking it out on "42nd Street." In all, a well-recorded souvenir of what sounds like a heartwarming local celebration.~ Richard S.Ginell https://www.allmusic.com/album/uptown-lowdown-a-jazz-salute-to-the-big-apple-mw0000102679

Personnel: Randy Sandke - trumpet; Warren Vaché - trumpet; Wycliffe Gordon - trombone; Ken Peplowski - clarinet, tenor sax; Allan Vaché - clarinet; Scott Robinson - alto sax, tenor sax, flute; Joe Temperley - baritone sax; Howard Alden - guitar; Eric Reed - piano; Mark Shane - piano; Rodney Whitaker - bass; Joe Ascione - drums

Uptown Lowdown - A Jazz Salute to The Big Apple

Thursday, June 10, 2021

Ken Peplowski - Easy to Remember (Extended)

Styles: Clarinet And Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 100:27
Size: 232,3 MB
Art: Front

(4:31) 1. It's Easy to Remember
(5:51) 2. Restless
(7:58) 3. Copi
(3:42) 4. With Every Breath I Take
(3:22) 5. Louisa
(8:02) 6. Everything I Love
(4:41) 7. I've Grown Accustomed to Her Face
(1:55) 8. Single Petal of a Rose
(3:52) 9. Love Came
(7:07) 10. Good Old Days
(2:36) 11. Junk
(5:37) 12. Smoke Rings
(7:16) 13. High on You
(3:51) 14. Love Came 1 - New York Mix
(3:50) 15. Love Came 2 - New York Mix
(4:30) 16. It's Easy to Remember 1 - New York Mix
(4:32) 17. It's Easy to Remember 2 - New York Mix
(4:42) 18. I've Grown Accustomed to Her Face - New York Mix
(5:51) 19. Restless - New York Mix
(6:31) 20. High on You - New York Mix

Clarinetist Ken Peplowski can be counted on for about one new record a year; it apparently takes him most of that year to decide on material to include on the next album. Peps has been a staple in the jazz world for quite some time, having debuted at age 10 in 1969 in his home town of Cleveland, OH, and toured with Tommy Dorsey's ghost band (led by Buddy Morrow) in the late '70s, before settling in New York. The rap on him is that he is the epitome of jazz traditionalism, but, as this CD demonstrates, that judgment fails adequately to recognize his adventurousness.

Here, supported by a superlative rhythm section, Peplowski has compiled a collection that ranges from Bobby Short's Caf' Carlyle rendition of the title tune to pianist Rosenthal's original "Good Old Days"; "Restless" (from Benny Goodman's book) on tenor sax to Paul McCartney's "Junk"; a revisitation of "Copi" and "Everything I Love" to Joe Cohn's father Al's "High on You"; and Cy Coleman's beautiful "With Every Breath I Take" to the serendipitous "Smoke Rings," with standards from Jobim, Lerner and Loewe, Strayhorn and Ellington to round out the program. Throughout its more than 66 minutes, the threads that hold it all together are Peplowski's innate musicality and impeccable good taste.

To my ear, the album's trajectory soars after Short's contribution; the old cabaret singer's spirit is willing, but his raspy voice is weak. Peps' tenor is breathy and Cohn's and Leonhart's solos, laid-back on a gently swinging "Restless." "Copi" is a lovely, slow jazz waltz for tenor, while Peps' introspective clarinet drips clover honey on "Every Breath." Jobim's "Louisa," suggested by Peps' frequent duo partner Howard Alden, is as delicate as a blossom, featuring delicious interplay between Peplowski's clarinet and Rosenthal's piano. A long, elegant, out-of-rhythm clarinet cadenza opens Cole Porter's "Everything I Love," clearly one of the high points of the album; the eventual addition of other instruments interrupts the reverie with almost abrupt suddenness, although the comfortable swing of the rendition, the beauty of the tune, and, in eight minutes, its thoroughness of exploration make the intrusion easy to forgive.

Peps' brief, unaccompanied solo on Ellington's "Single Petal of a Rose" seems to capture perfectly the Duke's intent; this to me is the album's emotional center. Nothing could follow it more appropriately than a Strayhorn ballad. Rosenthal's brisk original, remotely reminiscent of "Savoy," injects a nice change of pace, while Paul McCartney's pleasantly simple "Junk," wistfully sung by Kim Liggett, with Cohn's accompaniment and Peplowski's clarinet obbligato, provides some unexpected variety.

The album concludes with a solidly swinging "Smoke Rings" and an up-tempo "High on You," taken with a samba beat; Peps switches to tenor for both of these.~ J.Robert Bragonier https://www.allaboutjazz.com/easy-to-remember-ken-peplowski-nagel-heyer-records-review-by-j-robert-bragonier.php?width=1920

Personnel: Ken Peplowski - clarinet, tenor sax; Joe Cohn- guitar; Ted Rosenthal - pianist; Joe Fitzgerald - bassist; Jeff Brillinger - drummer; Bobby Short - vocals (track 1); Kim Liggett- vocals(track 11)

Easy to Remember (Extended)

Monday, May 17, 2021

Susie Meissner - Tea For Two

Bitrate: MP3@320K/s
Time: 66:05
Size: 151.3 MB
Styles: Jazz vocals
Year: 2015
Art: Front

[3:20] 1. If I Were A Bell
[7:06] 2. Tea For Two
[4:40] 3. Mean To Me
[2:42] 4. Moonlight Saving Time
[6:52] 5. Laura
[4:10] 6. Love Is Here To Stay
[4:04] 7. Moonglow
[2:33] 8. Just You, Just Me
[4:51] 9. Everything I Love
[6:46] 10. Guess I'll Hang My Tears Out To Dry
[4:50] 11. I Didn't Know Time It Was
[4:46] 12. Crazy He Calls Me
[4:55] 13. Triste
[4:22] 14. Say It Isn't So

A major jazz and swing singer, Susie Meissner always seems to have a smile in her voice. In addition to her very appealing tone and impeccable musicianship, the enthusiasm that she displays when she performs is infectious. She always swings and is an excellent improviser yet the lyrics that she interprets are very important to her. "When I perform a song," says Susie, "I want to express the emotions of the words so the listener is experiencing the lyrics the way that the writer intended. I'm never casual about the lyrics." Her skill at reviving and revitalizing classic songs is very much in evidence throughout her finest recording, Tea For Two.

Since the New York-based Susie Meissner also performs regularly in Philadelphia, particularly at Chris' Jazz Café, for her latest recording she decided to feature some of Philly's best jazz musicians along with a few guests. Heard along the way are such greats as tenor-saxophonist Larry McKenna (a Philadelphia legend), valve trombonist John Swana, trumpeter Freddie Hendrix, guitarist Paul Meyers and clarinetist Ken Peplowski plus the superb rhythm section of pianist John Shaddy, bassist Lee Smith and drummer Dan Monaghan.

Tea For Two

Thursday, May 13, 2021

Susie Meissner - I Wish I Knew

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 61:33
Size: 142,0 MB
Art: Front

(6:08) 1. The Great City
(5:13) 2. I Wish I Knew
(3:20) 3. It Could Happen to You
(5:31) 4. I've Grown Accustomed to Her Face
(6:20) 5. Poinciana
(7:00) 6. Alfie
(3:39) 7. Hello Young Lovers
(3:39) 8. The Theme from "The Sandpiper" (The Shadow of Your Smile)
(5:48) 9. Ev'ry Time We Say Goodbye
(3:23) 10. In a Mellow Tone
(8:20) 11. You Go to My Head
(3:07) 12. The Party's Over

Over the past decade and three previous recordings, Philadelphia-based vocalist Susie Meissner has crafted an intelligently conceived and thoughtfully paced survey of the Great American Songbook. Meissner's considerations of the standard jazz repertoire, in concert with pianist John Shaddy's sturdy arrangements and educated performance manner, have emerged, evolving from chaste and reverent beginnings, into rich and supple layerings of stylistic and technical outreach with each subsequent recording.

Meissner's debut, I'll Remember April (Lydian Jazz, 2009), emerged as a fully realized collection of the most standard of standards. Whether a strolling "You'd Be So Nice to Come Home To" or a languidly humid "Never Let Me Go," Meissner delivered the goods with a clear-bell tone and brightly quaffed control. The addition of a tenor saxophone (David Mann) and trumpet (Greg Riley) to her solid rhythm section rounded out the routine mainstream jazz combo, who proved capable of close reading of The Songbook.

On I'm Confessin' (Lydian Jazz, 2011), Meissner adds her earlier horn front with Wycliffe Gordon's solid trombone. Gordon brought his deep knowledge of 1920s through '40s popular music to the project providing that slight sepia tint to the music. Meissner remains in close orbit with better known standards, delivered with the same commanding confidence delivered on I'll Remember April. The singer embraces Duke Ellington and Hoagy Carmichael with equal fervor and authority.

Meissner's vision evolves and, at the same time, begins to quicken, on 2015's Tea for Two (Lydian Jazz), where the singer begins to mix things up beginning with a rare slow take on the title song, featuring the electronic valve instrument of John Swanna. The EVI updates the song in a surprising way, giving it just a nick of modernity within its shell of nostalgia. She also brings on the reeds of Ken Peplowski and Larry McKenna who ground the recital firmly in the mainstream. This is a nocturnal recording anchored by "Moonlight Saving Time" and "Moonglow." Peplowski and McKenna strike the necessary conservative tone to counter Swanna's progressive stance.

Meissner's band from Tea for Two is kept mostly intact on I Wish I Knew with the exception of drummer Byron Landham replacing Dan Monaghan at the trap set. This is not the only change. Meissner adjusts her repertoire outside of the tried and true to include the peripheral chestnuts like the opener "The Great City." The Curtis Lewis composition was first recorded by Nancy Wilson in 1960, showing up most recently on Lauren Henderson's Ármame (Brontosaurus Records, 2018). Meissner minds Art Peppers admonition to never start a set with a ballad. "The Great City" crackles with a steady and determined swing featuring her equally steady and determined delivery. John Swanna's clipped trumpet solo mimics the urban stop-and-go of city life.

But I Wish I Knew is equally a ballad recording featuring the title song, "I've Grown Accustomed to Her Face," and "Ev'ry Time We Say Goodbye." All of these are performed with punctilious detail at blissful ballad tempos. "You Go to My Head" is the "Tea for Two" on I Wish I Knew. Meissner takes the song at a very slow pace. Not morphine-honey slow, buy reticent in a way that is carefully crafted like fine spirits. This is the song featuring Swana's EVI, which, like on "Tea for Two" he performs to great effect, approximating the tone of the flute and delivery of a Moog. The disc highlight is a brisk and bright "In A Mellow Tone." Ken Peplowski provides the perfect swing foil to Meissner's down-the-middle delivery. Slippery and sly, Peplowski recalls the entire history of jazz clarinet in his solo, from Johnny Dodds to Buddy DeFranco. Meissner sounds perfectly comfortable in her foray into lesser considered standards. She is moving toward something significant, something of an enduring beauty, a testament to her vision.~ C. MICHAEL BAILEY https://www.allaboutjazz.com/i-wish-i-knew-susie-meissner-lydian-jazz

Personnel: Susie Meissner: voice / vocals; John Shaddy: piano; Lee Smith: bass; Byron Landham: drums; Ken Peplowski: clarinet; Larry McKenna: saxophone, tenor; John Swanna: trombone; Paul Meyers: guitar.

I Wish I Knew

Thursday, February 25, 2021

Christof Sänger Trio, Ken Peplowski - I Follow My Secret Heart

Styles: Piano, Saxophone And Clarinet Jazz
Year: 2020
File: MP3@320K/s
Time: 58:44
Size: 135,2 MB
Art: Front

(6:13) 1. Lakonia
(5:24) 2. Carioca
(6:44) 3. Gone with the Wind
(6:05) 4. Lagoa Azul
(5:37) 5. I Follow My Secret Heart
(4:07) 6. Get Happy
(6:59) 7. Recado Bossa Nova
(4:56) 8. Vals de las Islas
(7:43) 9. Just One of Those Things
(4:53) 10. Love Locked Out

Christof Sänger (born July 28, 1962 in Wiesbaden ) is a German jazz musician (pianist, composer, lecturer). Singer studied music from 1984 to 1989 at the University of Mainz . He played early in jazz combos and in the State Youth Jazz Orchestra of Hesse , but also in chamber music formations. In 1989 he attracted attention as a finalist of the Concours International de Piano Jazz Martial Solal . From 1990 he worked with musicians as diverse as Dusko Goykovich , Sunny Murray , Daniel Guggenheim and Hermeto Pascoal . With his regular trio (with bassist Christian von Kaphengst and drummer Heinrich Köbberling ) he played among others. that with theAward of the German Record Critics' award for the album "Chorinho" (1992). He also performed with Richie Cole , Bill Saxton and Allan Praskin . Since 1996, he has an international edition of his trio with George Mraz and Al Foster , with whom he also in the jazz clubs of the Big Apple a guest.

In 1996 he was the German contributor to the concert of the European Broadcasting Union . A solo album was recorded at the Montreal International Jazz Festival . He also worked with Keith Copeland , Tom Nicholas , Peter Less and Peter Fessler , introduced his group Cuban Fantasy with Sandro and Giovanni Gulino in 1998 and joined Ernie Watts’s group in 1999 , with whom he released records in 2001 and 2003. He also played with Paquito D'Rivera and the hr jazz ensemble. After giving solo concerts in Japan in 2003, he put on a Japanese edition of his trio for another tour in 2004. Since 2010 he has also been active as a pianist in the Barrelhouse Jazz Band . He also plays in the trio Classic Affairs with Lindy Huppertsberg and Tobias Schirmer .Singer is a lecturer for jazz piano at the Frankfurt University of Music and Performing Arts . https://de.wikipedia.org/wiki/Christof_Sänger

Personnel: Christof Sänger - piano; Ken Peplowski - clarinet, tenor saxophone; Rudi Engel - bass; Tobias Schirmer - drums

I Follow My Secret Heart

Tuesday, March 3, 2020

Dick Hyman, Ken Peplowski - Counterpoint

Styles: Clarinet, Saxophone and Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 63:48
Size: 147,0 MB
Art: Front

(4:18)  1. My Dearie
(5:04)  2. Danced
(3:25)  3. Mariah
(7:12)  4. Gigi
(5:36)  5. Gigi Piano
(5:31)  6. Trees
(3:40)  7. Almost Like
(5:40)  8. Follow Me
(4:02)  9. On The Street
(3:26) 10. Havent Changed
(4:43) 11. Show Me
(2:18) 12. If Ever
(6:07) 13. Wine
(2:38) 14. Thank Heaven

In the 1950s, everyone knew Lerner and Loewe’s music: songs such as “On the Street Where You Live,” “Gigi,” “The Rain in Spain,” and “They Call the Wind Maria.” 
The tunes were instantly memorable, and they seemed to be everywhere, on the screen as well as on original cast LPs, reaching homes where little other music penetrated. Many of us will remember the film Gigi, where Maurice Chevalier  via his regionally indistinct French accent and with a twinkle in his eye  sang “Thank Heaven for Little Girls.” (The girl in this case was the beautiful French actress Leslie Caron, who didn’t look little to my preteen eyes.) And some will remember the shock when Julie Andrews was not chosen for the movie version of the part she made famous onstage in My Fair Lady.Several of Lerner and Loewe’s musicals, Gigi as well as My Fair Lady, have an international flavor. No wonder. Frederick Loewe was born in Austria in 1901: his  father was a renowned tenor, who originated the role of Count Danilo in The Merry Widow. Viennese operetta had a considerable effect on American musical theater. As a counterweight to Loewe’s cosmopolitanism, Alan Jay Lerner was born in New York City 17 years later. Together, of course, they famously wrote Brigadoon, Paint Your Wagon, Gigi, and My Fair Lady. Their partnership foundered in the ’60s while they were writing Camelot, yet that hit show gave the name to the age: John F. Kennedy’s brief period as our president.  more... http://jazzbluesnews.com/2019/12/19/cd-review-dick-hyman-ken-peplowski-counterpoint-2019-video-photo-cd-cover/

Personnel:  Clarinet, Tenor Saxophone – Ken Peplowski;  Piano – Dick Hyman

Counterpoint