Chris Connor - Sings Ballads Of The Sad Cafe

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 37:46
Size: 87,6 MB
Art: Front

(3:37)  1. These Foolish Things
(3:14)  2. Bargain Day
(3:48)  3. The End Of A Love Affair
(3:30)  4. Glad To Be Unhappy
(5:00)  5. Ballad Of The Sad Cafe
(4:23)  6. Good Morning Heartache
(4:27)  7. Something I Dreamed Last Night
(4:51)  8. Lilac Wine
(4:52)  9. One For My Baby (And One More For The Road)

Chris Connor uses several different musical settings for this album of torch songs, but the main distinction is between the arrangements that employ strings, such as "The End of a Love Affair," and those that use horns, such as "Bargain Day." The backgrounds color Connor's vocal interpretations, and she often interacts with the musicians, notably with flautist Eddy Jaspar in "These Foolish Things," a virtual duet. But her primary goal is to render the lyrics with a combination of precision and emotional distance. In this sense, the heart of the album is "Glad to Be Unhappy," which Connor begins by singing the rarely heard introductory verse, then gives musical coloration to by varying the notes at the end of each line. The listener is not meant to believe the emotions the lyrics describe, but rather to savor them along with the singer. Charles DeForest's "Ballad of the Sad Café," which takes nothing but its title from Carson McCullers' popular 1951 novella, is nevertheless literary in its descriptions of lonely people, and Connor, again through note alteration, gives it a reading that puts it at a further emotional remove. The trick, of course, is that the singer's posture puts her in an even darker position than that of the songwriters; at least they are still feeling something, while she seems to be so far from love that she is denying all feeling. And in that denial, her torch burns all the brighter. ~ William Rulhmann https://www.allmusic.com/album/sings-ballads-of-the-sad-cafe-mw0000478244  

Personnel:  Vocals – Chris Connor; Alto Saxophone – Marshall Royal, Phil Woods; Baritone Saxophone – Charlie Fowlkes; Bass – Don Payne, Eddie Jones; Cello [Violoncello] – Dave Soyer, Maurice Brown; Conductor, Arranged By – Ralph Sharon; Drums – Billy Exiner, Ed Shaughnessy, Sonny Payne; Flute – Bobby Jaspar; Guitar – Barry Galbraith, Freddie Green, Kenny Burrell; Piano – Stan Free ; Reeds [Saxes] – Bobby Jaspar, Jerry Sanfino, Morton Lewis, Stan Webb, Steve Perlow Tenor Saxophone – Frank Foster, Seldon Powell; Trombone – Al Grey, Eddie Bert, Frank Rehak, Dick Hixon, Wayne Andre,  Willie Dennis; Trumpet – Donald Byrd, Ernie Royal, Harry Edison, Joe Newman, Snooky Young; Viola – Dave Markowitz, Isadore Zir; Violin – Gene Orloff, George Ockner, Harry Katzman, Harry Melnikoff, Harry Urbont, Leo Kruczek, Mac Ceppos, Ray Free, Sam Rand, Sylvan Shulman, Tosha Samaroff;

Sings Ballads Of The Sad Cafe

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Ella Fitzgerald, Count Basie, Joe Williams - One O'Clock Jump

Styles: Vocal And Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 47:06
Size: 108,0 MB
Art: Front

(3:02)  1. Too Close for Comfort
(3:35)  2. Smack Dab in the Middle
(3:27)  3. Amazing Love
(3:33)  4. Only Forever
(3:00)  5. Don't Worry 'Bout Me
(3:03)  6. Stop, Pretty Baby
(4:27)  7. One O'Clock Jump
(1:55)  8. Jamboree
(2:37)  9. I Don't Like You No More
(8:30) 10. From Coast To Coast
(3:00) 11. Too Close for Comfort ( Alternative Take)
(2:20) 12. One O'Clock Jump  (EP version)
(4:33) 13. One O'Clock Jump (Alternative Take)

This recording could be considered a near-sibling to April In Paris, since several of its tracks date from sessions out of the same month. Others overlap with material cut for The Greatest! Count Basie Plays . . . Joe Williams Sings Standards, and it isn't as compelling a record, either as a Joe Williams vehicle or a Basie showcase, as either of those, though it does have its moments, most notably the original finale, Arranger Ernie Wilkins' "From Coast to Coast," an 8½-minute blow-out; the Ella Fitzgerald-Joe Williams duet on "Too Close For Comfort," and the title track, rearranged by Wilkins but close to the classic rendering, which features lively solos by Frank Wess, Benny Powell, Frank Foster, and (especially)Joe Newman and Henry Coker. 

Williams is the dominant presence on the album, singing on seven of the original 10 tracks, and his presence is a bit of a drag on some of the proceedings, especially "Only Forever." His work with Basie from this era is better represented on Count Basie Swings, Joe Williams Sings, although he and the band acquit themselves very well here on "Stop, Pretty Baby, Stop," where all hands are firing on all cylinders at once for a change. The bonus tracks include a heavier, punchier outtake of "One O'Clock Jump" featuring the same soloists, plus a Williams-solo version of "Too Close For Comfort." The CD is a good package, with superb sound, though some historical notes would've been nice to put the sessions in perspective. A handy mid-priced reissue. ~ Bruce Eder  http://www.allmusic.com/album/one-oclock-jump-mw0000245828

Personnel: Count Basie (piano); Ella Fitzgerald (vocals); Joe Williams (vocals); Freddie Green (guitar); Frank Wess (flute, tenor saxophone); Marshall Royal (clarinet, alto saxophone); Bill Graham (alto saxophone); Frank Foster (tenor saxophone); Charlie Fowlkes (baritone saxophone); Reunald Jones, Joe Newman , Thad Jones, Wendell Culley (trumpet); Henry Coker, Benny Powell, Bill Hughes (trombone); Sonny Payne (drums).

One O'Clock Jump

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Marshall Royal - Gordon Jenkins Presents Marshall Royal

Bitrate: MP3@320K/s
Time: 41:41
Size: 95.4 MB
Styles: Saxophone jazz
Year: 1960/2007
Art: Front

[2:13] 1. Caravan
[3:18] 2. Ain't Misbehavin'
[3:26] 3. Birth Of The Blues
[4:52] 4. Take The A Train
[3:23] 5. When I Grow Too Old To Dream
[4:27] 6. Intermezzo
[3:24] 7. Blue Prelude
[2:43] 8. Battle Royal
[3:28] 9. Goodbye
[2:46] 10. Pagan Love Song
[3:30] 11. Black Coffee
[4:05] 12. Blues For Beverly

Altoist Marshall Royal led relatively few sessions in his career, just three full albums of his own, with the second one not released until 1978. For this project from 1960, Royal, who was still with Count Basie's big band, is backed by a string section, an occasional choral group (which sometimes gets in the way), and a rhythm section (partly from Basie's orchestra) on arrangements by Gordon Jenkins. Jenkins was best known for his lush charts for commercial settings, and the music on this CD reissue is not that much of a stretch for him. He essentially frames Royal's alto as if it was a voice. Royal, who sounds a lot like Johnny Hodges, plays well on the concise performances although much of the time he sticks near the melody. There are a few medium-tempo numbers included but this is mostly a ballad set. The overall results are nice if not particularly challenging. ~Scott Yanow

Gordon Jenkins Presents Marshall Royal

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