The Manhattan Transfer, Take 6 - The Summit: Live on Soundstage

Styles: Vocal, Swing 
Year: 2018
File: MP3@320K/s
Time: 71:45
Size: 165,6 MB
Art: Front

(6:52)  1. Mean Joe (Killer Joe) (Live)
(3:53)  2. Straighten Up and Fly Right (Live)
(2:56)  3. Tuxedo Junction (Live)
(3:18)  4. Candy (Live)
(4:24)  5. It's Good Enough To Keep (Airmail Special) (Live)
(3:59)  6. Just In Time (Live)
(4:30)  7. I've Got Life (Live)
(1:27)  8. Spread Love (Live)
(2:50)  9. Happy (Live)
(3:37) 10. Like Someone In Love (Live)
(0:51) 11. Twilight Zone / Twilight Tone (Live)
(0:58) 12. Gold Mine (Live)
(0:49) 13. Route 66 (Live)
(0:53) 14. Mary (Live)
(1:58) 15. Operator (Live)
(4:08) 16. A Nightingale Sang in Berkeley Square (Live)
(5:03) 17. Overjoyed (Live)
(3:41) 18. Stand By Me (Live)
(2:00) 19. Trickle Trickle (Live)
(1:30) 20. Boy From New York City (Live)
(6:12) 21. Birdland (Live)
(5:46) 22. What'd I Say (Live)

Riding a wave of nostalgia in the '70s, the Manhattan Transfer resurrected jazz trends from boogie-woogie to bop to vocalese in a slick, slightly commercial setting that balanced the group's close harmonies. Originally formed in 1969, the quartet recorded several albums of jazz standards as well as much material closer to R&B/pop. Still, they were easily the most popular jazz vocal group of their era, and the most talented of any since the heyday of Lambert, Hendricks & Ross during the early '60s. When the group was formed in the late '60s, however, the Manhattan Transfer was a hippie novelty act similar to the Lovin' Spoonful or Spanky & Our Gang. The lone LP that appeared from the original lineup leader Gene Pistilli plus Tim Hauser, Erin Dickins, Marty Nelson, and Pat Rosalia was Jukin', assembled by Capitol. Somewhat of a satire record, it was the last appearance on a Manhattan Transfer album for all of the above except Hauser. After Hauser met vocalists Laurel Masse and Janis Siegel in 1972, the trio re-formed the Manhattan Transfer later that year with the addition of Alan Paul. The group became popular after appearances at a few New York hot spots and recorded their own debut, an eponymous LP recorded with help from the jazz world (including Zoot Sims, Randy Brecker, Jon Faddis, and Mel Davis). Featuring vocalese covers of "Java Jive" and "Tuxedo Junction" as well as a Top 40 hit in the aggressive gospel tune "Operator," the album rejuvenated the field of vocalese (dormant since the mid-'60s) and made the quartet stars in the jazz community across Europe as well as America.

The Manhattan Transfer's next two albums, Coming Out and Pastiche, minimized the jazz content in favor of covers from around the music community, from Nashville to Los Angeles to Motown. A single from Coming Out, the ballad "Chanson d'Amour," hit number one in Britain. Though Masse left in 1979 for a solo career, Cheryl Bentyne proved a capable replacement, and that same year, Extensions introduced their best-known song, "Birdland," the ode to bop written by Weather Report several years earlier. Throughout the '80s, the group balanced retreads from all aspects of American song. The 1981 LP Mecca for Moderns gained the Manhattan Transfer their first American Top Ten hit, with a cover of the Ad Libs' 1965 girl group classic "The Boy from New York City," but also included a version of Charlie Parker's "Confirmation" and a surreal, wordless tribute named "Kafka." (The album also earned the Manhattan Transfer honors as the first artist to receive Grammys in both the pop and jazz categories in the same year.) The production on virtually all these was susceptible to '80s slickness, and though the group harmonies were wonderful, all but the most open of listeners had trouble digesting the sheer variety of material. 

The group's 1985 tribute to vocal pioneer Jon Hendricks, titled Vocalese, marked a shift in the Manhattan Transfer's focus. Subsequent works managed to keep the concepts down to one per album, and the results were more consistent. Such records as 1987's Brasil, 1994's Tubby the Tuba (a children's record), 1995's Tonin' ('60s R&B), and 1997's Swing (pre-war swing) may not have found the group at their performance peak, but were much more easily understandable for what they were. The group stayed very active and concept-heavy during the 2000s, beginning with a tribute to Louis Armstrong for 2000's The Spirit of St. Louis. They included a pair of Rufus Wainwright songs among the jazz material on 2004's Vibrate, and released An Acapella Christmas the following year. The Symphony Sessions followed in 2006, offering re-recordings of some of their best-known songs with orchestral arrangements. In 2009, the Transfer saluted one of the biggest names in jazz with The Chick Corea Songbook, and featured contributions from Corea, Airto Moreira, Christian McBride, and Ronnie Cuber, among others. During the early 2010s, the group focused more on performing, although both Bentyne and Hauser were forced to find temporary replacements during medical procedures. After spinal surgery in 2013, Hauser returned to the group, but then died suddenly from cardiac arrest in October 2014. Following his death, vocalist Trist Curless of the a cappella group m-pact joined the group full-time. In 2018, the group returned with the eclectic studio album Junction, which they dedicated to Hauser. ~ John Bush https://itunes.apple.com/us/album/the-summit-live-on-soundstage/1444195701

The Summit: Live on Soundstage

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Patrice Jégou - If It Ain't Love

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 66:51
Size: 154,7 MB
Art: Front

(3:19)  1. Lover Come Back to Me (A Cappella)
(2:40)  2. Jersey Bounce
(4:46)  3. Baubles, Bangles, And Beads
(5:08)  4. Yes We Can, Can
(5:34)  5. I'm So Glad I'm Standing Here Today
(4:05)  6. Wrap Your Troubles in Dreams
(3:14)  7. If It Ain't Love
(4:42)  8. Estate (Summer)
(3:24)  9. Lover Come Back to Me
(3:40) 10. Waltz for Debby
(4:42) 11. Losing You
(3:04) 12. Just Squeeze Me
(3:53) 13. Where Do You Start?
(5:00) 14. Remembrances (In Memory of Stan Getz)
(4:25) 15. Please Send Me Someone to Love
(5:08) 16. It Might Be You

Listening to Canadian vocal artist Patrice Jégou's second album, If It Ain't Love, one would never think that she once was a world-class professional figure skater. One would also immediately discern that she and her similarly world-class musical partners have delivered a perfect-10 performance. Surrounded on the opener by Take 6's Mark Kibble and Alvin Chea, Jégou and the "sextet" burn a capella through a terrific send up of "Lover Come Back to Me." Backed by the swinging Clayton-Hamilton Jazz Orchestra and a fine Count Basie-like arrangement by John Clayton, Jégou covers the old Benny Goodman horse, "Jersey Bounce" with flair. Things soften with a gorgeously lush rendition of "Baubles, Bangles and Beads" with Maestro Jorge Calandrelli's strings caressing Jégeou's vocal silk. The tone grows funk-gospel gumbo on Allen Toussaint's "Yes We Can, Can" (with Tata Vega joining Jégou) and followed by the highly inspirational "I'm So Glad I'm Standing Here Today." Jégou and her friends soar celestial on both cuts. Across the session, Ms. Jégou demonstrates that she has very strong vocal chops, graceful lyric sensitivity, ace pitch and a killer groove feel. She works extremely well with all the various ensembles large, small and a capella.

That's the sign of a very talented artist. She's got the chops and the breadth to belt out Big Band swinging behind the Clayton-Hamilton unit ("If It Ain't Love," "Just Squeeze Me," "Please Send Me Someone to Love") or to go romantically seductive ("Estate" and "Remembrances"). She's a capella bella on "Wrap Your Troubles in Dreams"" and swings tail on a second send-up of of "Lover Come Back to Me" (both of these with the entire, Grammy-heavy Take 6 crew). Her performance of Bill Evans' classic, "Waltz for Debby" is dynamically dynamic and her take on Randy Newman's country-esque "Losing You" is sentimental, not saccharine. "Where Do You Start" is a Jégou-Calandrelli vocal gem that's as wonderful as Barbra Streisand's celebrated version (which was also done by Maestro Calandrelli). Stephen Bishop's "It Might Be You" from Tootsie (Warner Bros., 1983) is Jégou being pop pure that wraps a fine ribbon around the fifteen prior goodies. Kudos are due to the all-star cast of performers and arrangers, including Jorge Calandrelli, John Clayton, Mark Kibble, Mike Lang and David Paich. The production values all around are impeccable, as one would expect from Jégou and her entire star-quality family. It certainly is to our benefit that Patrice Jégou gave up skates for song. She is a very gifted and versatile talent and it's all here to relish. To paraphrase an old Tennessee Ernie Ford '50s pop tune: "You hear sixteen tunes and what do you get?" in the case of If It Ain't Love, possibly a small golden Gramophone. ~ Nicholas F.Mondello https://www.allaboutjazz.com/if-it-aint-love-patrice-jegou-prairie-star-review-by-nicholas-f-mondello.php

Personnel: Patrice Jegou: vocals; Mark Kibble: vocals (1, 8, 9), percussion (9); Alvin Chea: vocals (1); Take 6: vocals (6) ; The Clayton-Hamilton Orchestra (2, 7, 12, 15); Gilbert Castellanos: trumpet (2); Mike Lang: piano (3, 5, 8, 10, 11, 12, 13, 14, 16) Rhodes (4,14), Ramon Stagnaro: guitar (3, 13,), acoustic guitar (14); Kevin Axt: bass (3, 5, 8, 13); Ray Brinker: drums (3, 13); Luis Conte (3, 13): Percussion (3); David Lang: Wurlitzer (4); David Paich: Hammond B-3, piano (4); Dean Parks: guitar (4); Abraham Laboirel, Sr.: bass (4, 14); Steve Ferrone: drums (4, 14); Lenny Castro: percussion (4, 14); Tom Scott: tenor saxophone (3); Choir (4, 5): Bill Cantos (4), Kurt Lykes, Jamie McCrary, Jason Morales, Melodye Perry, Alfie Silas. Tiffany Smith, Tata Vega; Larry Koonse: acoustic guitar (5, 8), guitar (14); Michael Thompson: electric guitar (5, 8); John "J.R." Robinson: drums (5, 8); Yaron Gershovsky: piano (9), Boris Kozlov: bass (9); Cliff Almond: drums (9); Steve Patrick, Mike Barry: trumpets (9); Doug Moffet: tenor and baritone saxophone (9); Sam Levine: alto saxophone (9); Roy Agee: trombone (9); Greg Phillinganes: keyboards(16).

If It Ain't Love

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Gordon Goodwin's Big Phat Band - The Phat Pack

Styles: Big Band
Year: 2006
File: MP3@320K/s
Time: 75:12
Size: 173,6 MB
Art: Front

(6:07)  1. Cut n’ Run
(3:39)  2. Too Close For Comfort
(6:36)  3. Count Bubba’s Revenge
(6:13)  4. Play That Funky Music
(6:39)  5. The Phat Pack
(4:47)  6. Hunting Wabbits 2 (A Bad Hare Day)
(7:36)  7. La Almeja Pequena (The Little Clam)
(6:53)  8. Get in Line
(5:09)  9. Attack of the Killer Tomatoes
(5:30) 10. Under the Wire
(6:28) 11. Whodunnit?
(5:20) 12. It Was a Very Good Year
(4:08) 13. Ever Braver, Ever Stronger (An American Elegy)

The suave and irrepressible Rat Pack, whose urbane image was shrewdly nurtured for so many years by Ol' Blue Eyes, meistersinger Frank Sinatra himself, is no longer with us. Luckily, we have as partial solace The Phat Pack, the convivial third recording by jack-of-all-trades Gordon Goodwin's Big Phat Band. Goodwin bows respectfully to his illustrious predecessors by reprising two songs closely associated with members of the Rodent Gang, Sinatra's "It Was a Very Good Year" and Sammy Davis Jr.'s "Too Close for Comfort," also appending an evocative title song that could have served as the Pack's overture in a cabaret or concert hall. One of the more engaging aspects of any album by Goodwin's exemplary ensemble is that one never knows quite what to expect from moment to moment as the music veers in a heartbeat from straight-ahead swing to funk, Latin, neo-hip shuffle and back again not to mention such wild anomalies as "Hunting Wabbits 2," Goodwin's quirky salute to Elmer Fudd and those incomparable Warner Bros. cartoons from the '40s and '50s (for "Hunting Wabbits 1," see the BPB's previous album, XXL). Needless to say, the all-star band is razor-keen throughout, lending power and charisma to Goodwin's personable compositions and charts. 

Soloists aren't named, but that has to be Eric Marienthal's nimble soprano on "Wabbits," his aggressive alto on "Get in Line" and "Attack of the Killer Tomatoes," Andy Martin's supple trombone on "Tomatoes," Wayne Bergeron's screaming trumpet on "La Alma Pequena (The Little Clam)." That's ironic, as clams are almost never a part of Bergeron's musical diet. As usual, Goodwin has invited several well-known guest artists to sit in, and all of them are superb. Vocalist Dianne Reeves positively nails "Too Close for Comfort," alto David Sanborn is suitably raunchy on "Play That Funky Music," ace clarinetist Eddie Daniels burns rubber on the grueling "Under the Wire," and the vocal group Take 6 takes charge on "It Was a Very Good Year." Another Goodwin staple is the patriotic finale, in this case the poignant "Ever Braver, Ever Stronger (An American Elegy)." So much to say, so little space remaining. Highlights (besides those already mentioned) include "Cut 'n Run," "Count Bubba's Revenge," "Whodunnit?" Well, let's be honest. Everything else. And it should be noted that the disc is accompanied by a DVD with soundtrack, photos, lyrics and other extras. Alas, I was unable to play my copy, as it requires a compatible Direct Show DVD player, which I don't have. As Sinatra would have intoned, "That's Life." Goodwin's debut album, Swingin' for the Fences, was Grammy-nominated, XXL earned one (in a minor category), and if this isn't a leading contender for the top big band prize, I'll eat broccoli (yuck!) with my supper (please don't tell my wife I said that). ~ Jack Bowers https://www.allaboutjazz.com/the-phat-pack-gordon-goodwin-immergent-records-review-by-jack-bowers.php

Personnel: Gordon Goodwin: leader, composer, arranger, piano, tenor saxophone; Wayne Bergeron, Dan Fornero, Bob Summers, Dan Savant, Pete DeSiena (4,6,12): trumpet; Eric Marienthal: alto, soprano saxophone, flute; Sal Lozano: alto saxophone, flute, piccolo; Brian Scanlon, Jeff Driskill: tenor saxophone, clarinet; Jay Mason: baritone saxophone, bass clarinet; Andy Martin, Alex Iles, Charlie Morillas, Craig Ware, Craig Gosnell (2): trombone; Grant Geissman, Carl Verheyen (4): guitar; Rick Shaw: acoustic, electric bass; Bernie Dresel, Ray Brinker (10,11,13): drums; Luis Conte, Brad Dutz (4,6,12): percussion. Special guests: Dianne Reeves (2): vocal; David Sanborn (4): alto saxophone; Eddie Daniels (10): clarinet; Take 6 (12): vocal.

The Phat Pack

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The Count Basie Orchestra - All About That Basie

Styles: Jazz, Big Band, Swing
Year: 2018
File: MP3@320K/s
Time: 48:11
Size: 110,9 MB
Art: Front

(4:40)  1. Everyday I Have The Blues
(4:26)  2. Can't Hide Love
(3:38)  3. My Cherie Amour
(3:24)  4. Don't Worry ‘Bout Me
(4:25)  5. Tequila
(4:53)  6. Hallelujah
(3:53)  7. April In Paris
(3:08)  8. Honeysuckle Rose
(4:35)  9. Hello
(4:56) 10. Sent For You Yesterday
(6:08) 11. From One To Another

The Legendary Count Basie Orchestra celebrates their 80th anniversary as the premiere big band in jazz with a collection of classic material a twist on a few modern hits (Adele, Leonard Cohen, Stevie Wonder, and others). Special guests include: Stevie Wonder, Carmen Bradford, Kurt Elling, Take 6, Jamie Davis, Jon Faddis, Wycliffe Gordon, Joey DeFrancesco, Eric Reed, Rickey Woodard, and Gregg Field. ~ Editorial Reviews https://www.amazon.com/About-That-Basie-Count-Orchestra/dp/B07FDVCMHP

Featuring Take 6, Kurt Eling, Carmen Bradford, Jon Faddis, Wycliffe Gordon, Jamie Davis, Joey Defrancesco and Stevie Wonder…

All About That Basie

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Take 6 - Iconic

Styles: Vocal, R&B 
Year: 2018
File: MP3@320K/s
Time: 41:28
Size: 95,1 MB
Art: Front

(4:13)  1. Back In Love Again
(4:04)  2. Can't Stop The Feeling
(4:14)  3. Change The World
(4:17)  4. Sailing
(3:10)  5. Don't Know Why
(3:56)  6. Got To Get You Into My Life
(4:25)  7. All This Love
(4:29)  8. Could It Be I'm Falling In Love
(3:59)  9. Roof Garden
(4:37) 10. Nothing But The Blood

Veteran genre-blurring vocal group Take 6 earns its first No. 1 on any Billboard chart, as the act’s new album, Iconic, debuts atop the Contemporary Jazz Albums chart (dated May 12). The album sold a little more than 1,000 copies in the week ending May 3, according to Nielsen Music. The new album features Take 6’s reworks of such familiar songs as Justin Timberlake’s “Can’t Stop the Feeling!,” Christopher Cross’ “Sailing,” Eric Clapton's "Change the World" and Norah Jones’ “Don’t Know Why.” Iconic is Take 6’s sixth top 10 on the Contemporary Jazz Albums tally. 

The group has also logged top 10s on Top Gospel Albums, along with top 40 efforts on Top R&B/Hip-Hop Albums and the Holiday Albums chart. https://www.billboard.com/articles/columns/chart-beat/8455707/take-6-iconic-jazz-albums-chart

Iconic

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David Benoit - Here's To You, Charlie Brown: 50 Great Years!

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 41:54
Size: 96,6 MB
Art: Front

(3:06)  1. Linus and Lucy
(4:18)  2. Charlie Brown Theme
(4:38)  3. Pebble Beach
(4:30)  4. Linus Tells Charlie
(4:34)  5. Frieda
(5:17)  6. Christmas Time Is Here
(3:08)  7. Getting Ready
(4:05)  8. Blue Charlie Brown
(4:28)  9. Red Baron
(3:47) 10. Happiness

An album of Peanuts-related music performed by David Benoit is a no-brainer, not only because of the retirement and death of Charles Schultz, who drew the comic strip, but also because Benoit has in recent years taken over writing the music for the ongoing series of shows, which were scored originally by Vince Guaraldi. Benoit emphasizes his predecessor by devoting seven of the album's ten tracks to Guaraldi compositions. Unfortunately, he begins with one of those exercises in necrophilia that is usually the province of the less-talented progeny of great singers, overdubbing a few of his own unnecessary noodlings on the original recording of "Linus and Lucy." Fortunately, things improve after that, as the trio of Benoit, bassist Christian McBride, and drummer Peter Erskine is joined by a series of high-profile guest musicians: guitarist Marc Antoine on "Pebble Beach" and "Red Baron"; trumpeter Chris Botti on Benoit's "Linus Tells Charlie"; saxophonist Michael Brecker on "Freda"; and guitarist Russell Malone on "Blue Charlie Brown." Despite the spring release date, the inclusion of the near-standard "Christmas Time Is Here" is inevitable, and here it's sung by Take 6. In an inspired move, the album closes with Al Jarreau's winsome take on "Happiness," a song from the stage musical You're a Good Man, Charlie Brown. All in all, this is a pleasant, if minor, addition to Benoit's catalog. ~ William Ruhlmann http://www.allmusic.com/album/heres-to-you-charlie-brown-50-great-years%21-mw0000061082

Personnel: David Benoit (piano); Al Jarreau, Take 6 (vocals); Michael Brecker (tenor saxophone); Chris Botti (trumpet); Vince Guaraldi (piano); Marc Antoine, Russell Malone (guitar); Christian McBride (bass); Peter Erskine (drums).

Here's To You, Charlie Brown: 50 Great Years!

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Take 6 - Believe

Size: 120,6 MB
Time: 51:16
File: MP3 @ 320K/s
Released: 2016
Styles: R&B, Gospel
Art: Front

01. Beautiful Day (2:55)
02. Reset (3:24)
03. You Know You're In Love (Feat. Stevie Wonder) (4:11)
04. When Angels Cry (4:02)
05. Here In L.A (3:09)
06. Walk Away (4:05)
07. Statistic (3:49)
08. You Make Me Happy (3:20)
09. On Your Side (4:46)
10. Keep The Faith (Feat. Dtoxx) (3:39)
11. You're All I Need (3:19)
12. Song For You (3:01)
13. 5 Minutes With God (3:28)
14. When Angels Cry (Acapella) (4:02)

Take 6's first album in four years was fostered in large part by industry veteran Ross Vannelli. The vice-president of the group's new label, Vannelli also had a hand in each song on Believe as a co-writer, arranger, producer, and multi-instrumentalist. Vannelli was so involved with Believe that it could have been credited to Take 7, but it's a Take 6 album through and through, mixing mature R&B and jazz with a little gospel. Three cuts are strictly a cappella. The first two, "Reset" and "You Make Me Happy," are among the most joyous and dazzling songs in the group's catalog, while "When Angels Cry" -- a full backing band version of which also appears here -- is a solemn inspirational. The majority of the material is new and original. One exception is "On Your Side," a ballad that first appeared on Glenn Jones' It's Time, co-written by Jones and Vannelli. The Khristian Dentley-fronted "Statistic" is also something of a throwback with its rhythmic likeness to late-'90s Timbaland, yet no other group of that era sang so convincingly about working to keep a relationship alive. There are several soothing and romantic numbers, including "You Know You're in Love," which includes harmonica from old friend Stevie Wonder, as well as a handful of additional spiritual inclusions, such as "On Your Side" and "5 Minutes with God," the latter written by Diane Warren. ~by Andy Kellman

Believe

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Brian McKnight - I'll Be Home For Christmas

Bitrate: 320K/s
Time: 43:03
Size: 98.6 MB
Styles: Holiday, R&B
Year: 2008
Art: Front

[4:35] 1. The Christmas Song
[3:40] 2. Silver Bells
[2:43] 3. Let It Snow (With Brian McKnight Jr & Nikolas McKnight)
[4:06] 4. Christmas You And Me (With Vince Gill)
[3:14] 5. I'll Be Home For Christmas
[3:26] 6. Silent Night (With Noel Schajris)
[2:17] 7. It's The Most Wonderful Time Of The Year
[2:43] 8. Adeste Fideles
[4:38] 9. Who Would Have Thought
[3:35] 10. Angels We Have Heard On High
[3:38] 11. Christmas Medley What Child Is This Away In A Manger The First Noel
[4:23] 12. Bless This House (With Take 6)

Fans of R&B vocalist Brian McKnight probably already own BETHLEHEM, McKnight's 1998 Christmas release. But one good holiday album deserves another, and McKnight's smooth, alluring voice sounds better than ever on 2008's I'LL BE HOME FOR CHRISTMAS. The tunes are a bit more secular than BETHLEHEM, including "The Christmas Song," "Silver Bells," and "It's the Most Wonderful Time of the Year," while carols "Silent Night" and "Angels We Have Heard on High" balance the contemporary with the traditional, with guests Vince Gill, Josh Groban, and Take 6 stopping by to add color.

I'll Be Home For Christmas

Mo' Albums...
◊ James Taylor - James Taylor At Christmas
◊ Martina McBride - White Christmas

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