Polly Gibbons - Is It Me?

Styles: Vocal Jazz
Year: 2017
File: MP3@320K/s
Time: 59:57
Size: 137,9 MB
Art: Front

(5:47)  1. Ability To Swing
(4:06)  2. You Can't Just...
(5:24)  3. Sack Full Of Dreams
(4:15)  4. Wrap Your Troubles In Dreams
(5:58)  5. Wild Is The Wind
(5:46)  6. Basin St. Blues
(3:45)  7. Midnight Prayer
(4:57)  8. Is It Me...?
(5:41)  9. Pure Imgination
(5:09) 10. Dr. Feelgood
(4:38) 11. I Let A Song Go Out Of My Heart
(4:27) 12. Don't Be On The Outside (Bonus Track)

With half a dozen albums to her name, British vocalist Polly Gibbons has no need to prove her worth but that hasn't inhibited her from pulling out all the stops on her second album for Resonance following on from 2014's My Own Company. Thomas Dolby's "Ability To Swing" proves just that, courtesy of a first class powerhouse of an American horn section (the album was recorded in the States where Gibbons plays gigs with increasing frequency, such is her in-demand status). The brass also acts as a sonic turbo-charged engine on the funky "You Can't Just...," one of three songs penned by Gibbons and her pianist/arranger and fellow Brit, James Pearson. The pair also co-wrote the wistfully lyrical title track. "Basin Street Blues" is given an up-tempo makeover but there are sultry soul-infused numbers such as "Midnight Prayer" (another Gibbons/Pearson original) and Gary McFarland's "Sack Full Of Dreams." There are also quartet backed numbers like "Wrap Your Troubles In Dreams" and the ruminative ballad "Wild Is The Wind." 

The uncompromising soul/blues outing "Dr Feelgood" with the horn section in attendance contrasts with standards like Duke Ellington's "I Let A Song Go Out Of My Heart" which is afforded a straight-ahead treatment elevated by a touch of accelerando mid-way through. The final track, "Don't Be On The Outside" is denoted as a bonus track since it's the only live track on the album, setting it apart from the preceding 11 numbers. In 2016, Gibbons supported George Benson and Gladys Knight on their sell-out tours including two nights at London's Royal Albert Hall. Those prestigious concerts were just another sign that her star is rising. Possessed of a powerfully soulful voice, she is undoubtedly maturing into one of Britain's finest singing talents and this album, replete with stellar arrangements, is another testament to that fact. ~ Roger Farber https://www.allaboutjazz.com/is-it-me-polly-gibbons-resonance-records-review-by-roger-farbey.php

Personnel: Polly Gibbons: vocals; Tamir Hendelman: piano; James Pearson: piano; Shedrick Mitchell: Hammond Organ; Graham Dechter: guitar; Kevin Axt: bass; Ray Brinker: drums; Willie Murillo: trumpet; Vinny Dawson: trumpet; Bob McChesney: trombone; Andy Martin: trombone; Bob Sheppard: alto saxophone, tenor saxophone, clarinet, flute; Brian Scanlon: alto saxophone, tenor saxophone, flute; Keith Bishop: alto saxophone, tenor saxophone, clarinet, flute; Tom Peterson: baritone saxophone, tenor saxophone.

Is It Me?

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Natalie Jacob - Sooner or Later

Styles: Vocal Jazz
Year: 2024
Time: 45:09
File: MP3 @ 320K/s
Size: 104,2 MB
Art: Front

(3:43) 1. Exactly Like You
(4:57) 2. Wave
(4:47) 3. I Could Write A Book
(4:11) 4. Smile
(4:12) 5. East of the Sun (And West of the Moon)
(3:25) 6. What A Little Moonlight Can Do
(5:42) 7. Corcovado (Quiet Nights of Quiet Stars)
(5:14) 8. I've Got You Under My Skin
(4:01) 9. Sooner or Later
(4:53) 10. No More Blues (Chega De Saudade)

Sooner Or Later is jazz vocalist Natalie Jacob's debut release. It is a refreshing addition to the jazz landscape, blending classic Great American Songbook tunes and bossa nova standards. Produced by Grammy Award winner Scotty Barnhart, the album benefits from the contributions of an outstanding ensemble, including Barnhart on trumpet, pianist Tamir Hendelman, guitarist Anthony Wilson, bassist Carlitos del Puerto, drummer Clayton Cameron and percussionist Kevin Winard. This all-star lineup created a rich backdrop for Jacob's compelling vocal interpretations.

Using songs from her live performances gave Jacob an easy familiarity with the material, and it shows from the opening number, "Exactly Like You." With an arrangement by the swinging and sensitive pianist Hendelman, Jacob delivers the lyrics in an attentive hand-in-glove fashion. Both Barnhart and Hendelman offer clear and definitive solos. The first of the Antonio Carlos Jobim numbers is "Wave," on which the percussionist Winard lays down the soothing boss nova rhythm on which Jacob covers the lyrics with a sunny and gently sailing delivery.

Brooks Bowman's classic "East Of The Sun (And West Of The Moon) has an ingenious charm driven by the Del Puerto opening bass line that leads into the rhythm section's groove. Jacob uses her voice as an instrument of empathy and intimacy, delivering the lyrics with composure. Jacob, who has French-Canadian heritage and has spent time in Montreal, Canada, brings her bilingual skills to bear on Jobim's "Corcovado," singing in English and French with her nuanced phrasing shining through. The collaboration with percussionist Kevin Winard and guitarist Anthony Wilson is particularly noteworthy as their expressive playing complements Jacob's vocals perfectly.

The irrepressible Cole Porter wrote the swinging gem "I've Got You Under My Skin." The rhythm section of Hendelman, Del Puerto and Cameron lays a harmonic foundation and flexible groove which supports Jacob's vibrant vocal lines.

The title track, "Sooner Or Later," is a Stephen Sondheim creation done in a bluesy style. With Barnhart's muted trumpet in the background, Jacob shows she has an emotional connection to the lyrics, infusing them with a contemporary freshness. Jobim's "No More Blues" (Chega De Saudade) closes the session joyfully. Backed by the full ensemble's stellar contribution, Jacob's vocals have an unerring sense of swing and bustling with vital energy. By Pierre Giroux
https://www.allaboutjazz.com/sooner-or-later-natalie-jacob-self-produced

Personnel: Natalie Jacob on vocal, Scotty Barnhart on Trumpet, pianist Tamir Hendelman, guitarist Anthony Wilson, bassist Carlitos Del Puerto, drummer Clayton Cameron, and percussionist Kevin Winard.

Sooner or Later

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Jeff Hamilton Trio - Live At Jazz Port Townsend 2022

Styles: Jazz,Straight-ahead/Mainstream
Year: 2022
File: MP3@320K/s
Time: 42:35
Size: 98,7 MB
Art: Front

(5:19) 1. Make Me Rainbows
(6:43) 2. Catch Me If You Can
(4:53) 3. Helen’s Song
(7:42) 4. Bucket of Fat
(6:08) 5. Thou Swell
(5:07) 6. The Pond
(6:40) 7. The Barn

The Jeff Hamilton Trio concert from the 2022 Jazz Port Townsend will air this week on Jazz Northwest. The trio includes Jeff Hamilton on drums, Tamir Hendelman on piano and Jon Hamar on bass. The trio plays a crowd-pleasing selection of jazz standards and originals in this main stage matinee concert recorded last month.
https://www.knkx.org/podcast/jazz-northwest/2022-08-22/jeff-hamilton-trio-live-at-jazz-port-townsend

Tamir Hendelman, piano; Jon Hamar, bass; Jeff Hamilton, drums

Live At Jazz Port Townsend 2022

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Nicola Sabato - Bass Tales

Styles: Contemporary Jazz
Year: 2019
File: MP3@320K/s
Time: 62:44
Size: 145,6 MB
Art: Front

(6:09) 1. Last Shop
(6:36) 2. Three Views of a Secret
(4:31) 3. First Trip
(3:22) 4. Tale of the Fingers
(5:49) 5. When You Go
(5:17) 6. The Shade of the Cedar Tree
(6:07) 7. What's New
(4:38) 8. Unit Seven
(5:56) 9. Goodbye Porkpie Hat
(3:36) 10. Scarlett's Blues
(6:31) 11. Ain't That Nothing
(4:05) 12. Tricotism

Nicola Sabato is a double bass player capable of developing with harmony and coherence his own path and proposal, which are well rooted in the history of jazz and of his own instrument, without neglecting “modernity” and appeal. As high-value sideman with a great personality, Nicola Sabato has refined his own skill thanks to a legend of double bass as Pierre Boussaguet, whom here in Italy we have maybe somewhat overlooked, and he met along his way two real giant artists like Ray Brown and John Clayton, surely some of the most decisive encounters for Nicola’s musical career.

There are three albums that came out under his name, one of which ‘Lined with a groove’ can count on the extraordinary support of Jeff Hamilton on drums; while ‘Cruisin’ with the Nicola Sabato Quartet’ is a cool work based on a very personal retrieval of an elegant jazz which is certainly not lacking in any flashes. Nicola Sabato is undoubtedly a musician to monitor with a great attention and interest in relation to his own clever and sensible approach to a kind of music, jazz, that is able to look forward in the best way when it doesn’t forget its basic principles, structural debts and the beauty of what has been left to build on itself and beside.
We have told with Nicola Sabato so as to know more datails about his music, his own personal path as well as his undeniable Italian origin. https://www.jazzmusicarchives.com/artist/nicola-sabato

Line-up/Musicians: Bass – Nicola Sabato; Piano – Tamir Hendelman

Bass Tales

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Nicola Sabato - California Hang

Styles: Hard Bop
Year: 2023
File: MP3@320K/s
Time: 59:29
Size: 137,2 MB
Art: Front

(6:18) 1. These Are Soulful Days
(6:23) 2. The Masquerade Is Over
(4:44) 3. Brigas Nunca Mais
(5:30) 4. Bad Motor Scooter Blues
(5:56) 5. Jingles
(7:41) 6. I Guess I'll Hang My Tears Out To Dry
(4:46) 7. Happy Go Lukey
(7:00) 8. Buhaina Buhaina
(3:53) 9. L.a. Bounce
(7:14) 10. Everything Happens To Me

With the creative passion that characterizes him, Nicola Sabato has transformed the California sun into a pure groove extract. The ingredients are simple: just go on site to dialogue with the most highly rated musicians of the jazz world and its surroundings (they have played with Diana Krall, Roy Hargrove, Nancy Wilson, John Pizzarelli, Kurt Elling, Barbra Streisand , Gladys Knight…). An inspired guitarist, a virtuoso pianist and a boosted drummer, each at the height of his personal expression this could only give a jazz cocktail of rare intensity!

Such a meeting of high-flying musicians, united by an uncompromising musical project, reminds us of what an artistic enterprise based on passion and culture is. Evocation of Wes Montgomery and Art Blakey, shuffles, samba, blues… the musical vitality of this album is worth the detour! A jazz that speaks to everyone, with the intensity of sincere projects.Translate By Google
By Jean Szlamowicz https://www.nicolasabatojazz.com/news-1

Personnel: Nicola Sabato : bass/arr.; Graham Dechter : guitar; Tamir Hendelman : piano; Jeff Hamilton: drums

California Hang

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Judy Whitmore - Isn't It Romantic

Styles: Vocal
File: MP3@320K/s
Time: 53:33
Size: 148,7 MB
Art: Front

(3:32) 1. It Could Happen To You
(4:05) 2. I Remember You
(3:39) 3. Sunday In New York
(5:20) 4. You Go To My Head
(5:33) 5. The Nearness Of You
(4:15) 6. The Birth Of The Blues
(5:41) 7. Speak Low
(4:57) 8. Isn't It Romantic
(3:53) 9. In The Wee Small Hours Of The Morning
(4:20) 10. But Beautiful
(4:15) 11. Just a Little Loving'
(3:55) 12. Hallelujah I Love Him So

Sometimes it is a pleasure to listen to an album simply because the quality of the music is so consistently gratifying. And if the music is sung as well as Judy Whitmore sings it on Isn't It Romantic, well, that is icing on the cake, as are the superb performances by her supporting cast, especially pianist Tamir Hendelman and saxophonist Rickey Woodard.

The music is taken for the most part from the Great American Songbook, and much of it is performed at a medium to slow tempo, which suits Whitmore's sultry delivery to a T. Her grasp of emotional substance is superior, her timing impeccable, her warm mid-range voice steady and clear as a bell. To affirm that Whitmore brings out the best in every one of these songs would be a completely accurate summation. As to the songs, they include such enduring gems as "It Could Happen to You," "I Remember You," "You Go to My Head," "The Nearness of You," "Speak Low," "In the Wee Small Hours of the Morning," "But Beautiful" and of course, "Isn't It Romantic" (including the seldom-heard verse and an ardent solo by Woodard on alto).

Whitmore also sings Peter Nero's "Sunday in New York," Barry Mann/Cynthia Weill's "Just a Little Lovin,'" Ray Charles' "Hallelujah I Love Him So" and (with guest vocalist Peisha McPhee) Buddy DeSylva/Lew Brown/Ray Henderson's "The Birth of the Blues." For comparison's sake, Whitmore edges close to Frank Sinatra's definitive reading of "The Wee Small Hours," which is the highest praise a listener can bestow. Elsewhere, she holds her own against better-known versions of every tune, mostly by being unpretentious and letting the music speak for itself.

While Hendelman and Woodard are the most prominent soloists, there are engaging statements along the way by flutist Lori Bell, trumpeter Mike Rocha, bassist Alex Frank, and guitarists Mitchell Long and Larry Koonse. The rhythm section (Hendelman, Frank, drummer Dean Koba) is bright and attentive. And even though it is Whitmore's voice that carries the day, there is far more to her than mere vocal chords. Aside from a solid career as a jazz and cabaret performer and recording artist, Whitmore who is named for Judy Garland, a friend of her grandfather's at MGM Studios is a best-selling novelist, a theatre producer, a therapist with a master's degree in clinical psychology, and a licensed commercial jet pilot who also rides horses and cans peaches.

Where does she find the time? That must remain Whitmore's secret. Listeners should be grateful that she found time to record Isn't It Romantic, as it is easily endorsed as one of the year's most impressive vocal albums.By Jack Bowers
https://www.allaboutjazz.com/isnt-it-romantic-judy-whitmore-arden-house-music__24624

Personnel: Judy Whitmore: voice / vocals; Tamir Hendelman: piano; Lori Bell: flute; Ricky Woodard: saxophone; Mike Rocha: trumpet; Mitchell Long: guitar; Larry Koonse: guitar, electric; Alex Frank: bass; Dean Koba: drums; Brian Kilgore : percussion.

Isn't It Romantic

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Staci Griesbach - My George Jones Songbook

Styles: Vocal
Year: 2021
File: MP3@320K/s
Time: 64:10
Size: 148,0 MB
Art: Front

(4:53) 1. The Grand Tour
(5:04) 2. He Stopped Loving Her Today
(4:41) 3. A Good Year for the Roses
(4:56) 4. He Thinks I Still Care
(4:39) 5. Walk Through This World with Me
(4:57) 6. A Picture of Me Without You
(5:17) 7. Golden Ring
(5:36) 8. Bartender's Blues
(2:55) 9. Why Baby Why
(4:33) 10. Take Me
(3:12) 11. White Lightning
(5:29) 12. You're Still on My Mind
(3:45) 13. Tender Years (Tes Tendres Années)
(4:06) 14. The Race Is On

Some might question why write an All About Jazz review of an album featuring songs made popular by George Jones? Duke Ellington had the answer when he said, "There are simply two kinds of music, good music and the other kind ... the only yardstick by which the result should be judged is simply that of how it sounds. If it sounds good it's successful; if it doesn't it has failed." Staci Griesbach and her colleagues have made good music according to the Duke's criterion.

Growing up on a working farm in Wisconsin, Griesbach heard plenty of country music George Jones, Patsy Cline, Shania Twain, etc. Now living in Santa Monica, she's made jazz vocal recordings featuring the three singers just listed. In 2016 she studied with Celia Vaz in Rio de Janeiro, Brazil. The range of feelings and genres in her latest recording, My George Jones Songbook, is a testament to her taste and talent in choosing music and musicians for her art.

At first blush the notion of George Jones music as the centerpiece for a jazz recording might provoke discomfort. He is considered the best male country vocalist of his time by many. A self-avowed alcoholic who told mostly melodramatic musical stories, George was damn good at bending the notes and his elbow.

Most importantly, though,, is that this recording is by a vocalist who has taken risks and succeeded. Griesbach's vocal range is exceptional. The first six cuts begin with three of George Jones' melancholy melodramas. She then switches to an upbeat mainstream scat, followed by a Bossa Nova with English and Portuguese lyrics segueing to a Cole Porter preface for Norro Wilson's and George Richey's tune. By the end of the six openers the listener knows the girl can sing.

The lucky #7 cut is reminiscent of Marcus Miller funk and SNL with Kevin Axt on bass, Joe Bagg on organ, Ryan Dragon on trombone, Willie Murillo on trumpet, Brian Clancy on tenor sax and Jake Reed on drums complementing the lyric's sarcasm.

Number 8 in her songbook is James Taylor's "Bartender Blues, a country song penned before country was cool. Taylor once said George Jones could bend notes like a pedal steel guitarist. On Griesbach's "Grand Tour" she bends her voice with the Rich Hinman pedal steel guitar enough to make a grown man or woman cry.

By now you get the idea. My George Jones Songbook is more than a compendium of George Jones' hits. The last six cuts are as varied as the others. "White Lightning" was written by J.P. Richardson, known to most rock'n'rollers as The Big Bopper back in the day. Fiddle player Stuart Duncan is showcased on "Why Baby Why," the closest to pure country music on the recording, understandable since the harmonic obstacles to changing it are, if not insurmountable, unrealistic.

Griesbach's "Take Me" is as close to third stream music as a George Jones song will ever get. She ends the piece with what might be considered a tip of the hat to Judi Silvano and Joe Lovano echoes of smooth jazz in her dialogue with Bob Sheppard on tenor. Griesbach becomes a Francophile by using Johnny Halladay's French lyric for a light and breezy "Tender Years." She finishes that tune via a scat sing-along with pianist Jeremy Siskind.

Mention should be made of the nature of the arrangements. Jeremy Siskind, Tamir Hendelman, Otmaro Ruiz, Willie Murillo, Rahsaan Barber, and Addison Frei show considerable talent in the broad range of styles applied here. An example of their creativity is the use of Artyom Manukyan on cello for "He Stopped Loving Her Today." As an alternative to the pedal steel guitar, the cello adds an artistic element to what country music haters might consider an overwrought tear-jerker.

"He Stopped Loving Her Today" songwriter Bobby Braddock complimented Griesbach on this recording by saying she may have created a new musical genre he called "countryjazz...jazzneck...whatever." No insult intended to Mister Braddock, but as usual, the Duke said it best, speaking about the different kinds of music. "My George Jones Songbook" is good music.
By William H. Snyder https://www.allaboutjazz.com/my-george-jones-songbook-staci-griesbach-staci-griesbach

Personnel: Staci Griesbach: voice / vocals; Tamir Hendelman: piano; Jeremy Siskind: piano; Otmaro Ruiz: piano; Rahsaan Barber: saxophone; Addison Frei: piano; Jake Reed: drums; Kevin Axt: bass; Aaron Serfaty: percussion; Nando Raio: bass, acoustic; Bob Sheppard: saxophone, tenor; Willie Murillo: trumpet; Brian Clancy: saxophone, tenor; Bruce Forman: guitar; Ryan Dragon: trombone; Joe Bagg: piano; Rich Hinman: guitar, steel; Stuart Duncan: violin; Artyom Manukian: cello; John Hatton: bass, acoustic.

My George Jones Songbook

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Polly Gibbons - All I Can Do

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 68:06
Size: 157,3 MB
Art: Front

(5:08)  1. Permit Me to Introduce You to Yourself
(6:28)  2. Good Hands Tonight
(4:21)  3. Beautiful Things
(5:21)  4. If You Had the Chance
(6:36)  5. Some of My Best Friends Are the Blues
(4:30)  6. Anything Goes
(5:39)  7. This Is Always
(5:03)  8. All I Can Do
(7:23)  9. Everything Must Change
(5:48) 10. I'm Just a Lucky so and So
(6:24) 11. Nothing Compares to You
(5:20) 12. Sugar in My Bowl

It is enough to listen to some songs by the English Polly Gibbons to let yourself be taken by her exuberant feeling. Nothing to do with the many vocalists who have invaded the scene with a mediocre and plasticized synthesis of pop, jazz and soul. The young woman discovered by producer Ian Shaw is something special. His tone is deep, the vocal technique is sparkling and supported by musical impetus and imagination: qualities that bring him closer to the great jazz vocalists. But the artistic identity of Polly does not belong only to this musical tradition and ranges in balance between past and present. Can make credible soul themes like "Dr. Feelgood" by Aretha Franklin , folk ballad like "All I Want" by Joni Mitchelland ranges from Leonard Cohen , Prince , Marvin Gaye and D'Angelo . Other privileged areas are the blues and the classics of American song. Born into a Suffolk (England) family of farmers, she took her first steps in the colorful London music and her recording debut ( My Own Company , Diving Duck Recordings 2014) recorded it at Ronnie Scott's, with the trio of James Pearson. Soon afterwards, the contract came with George Klabin's Resonance, which is now releasing his third album.In this recording at the New York City Power Studio in front of a small audience, Polly Gibbons ranges between genres with the usual flexibility, in an effective calibration of swinging, intimate or blues-soaked atmospheres. 

The opening song "Permit Me to Introduce You to Yourself" is an incisive soul by Horace Silverand has nothing to envy to the vocal version of Dee Dee Bridgewater ; they follow the warm blues atmosphere "Good Hands Tonight" taken from the repertoire of Al Jarreau and the pop cover "Beautiful Things" of Leslie Bricusse . Having established the first reference coordinates, the singer passionately interprets "If You Had the Chance," a ballad written by her together with James Pearson. Alongside the imaginative exuberance fully evident in "I'm Just Lucky and So-So-So" - it is precisely in the intimate themes that Polly expresses the most intense moments: the ballad "This Is Always" which reminds us of Chet Baker , the poignant torch song "Nothing Compares 2 U" by Prince and the torrid blues "I Want a Little Sugar in My Bowl," a tribute to Bessie Smith and Nina Simone.~ Angelo Leonardi https://www.allaboutjazz.com/all-i-can-do-polly-gibbons-resonance-records-review-by-angelo-leonardi.php

Personnel: Polly Gibbons: vocals; Tamir Hendelman, James Pearson: piano; Shedrick Mitchell: hammond organ; Paul Bollenback: guitar; Richie Goods: bass; Mark McLean: drums.

All I Can Do

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Diana Krall - Christmas Songs

Styles: Vocal, Piano, Christmas
Year: 2005
File: MP3@320K/s
Time: 44:50
Size: 103,1 MB
Art: Front

(3:25)  1. Jingle Bells
(4:01)  2. Let It Snow
(4:23)  3. The Christmas Song
(3:14)  4. Winter Wonderland
(3:07)  5. I'll Be Home for Christmas
(3:34)  6. Christmas Time Is Here
(2:53)  7. Santa Claus Is Coming to Town
(4:19)  8. Have Yourself a Merry Little Christmas
(4:32)  9. White Christmas
(4:10) 10. What Are You Doing New Year's Eve
(3:27) 11. Sleigh Ride
(3:40) 12. Count Your Blessings Instead of Sheep

On her first full-length Christmas album, pianist/vocalist Diana Krall delivers a smoky, sophisticated, and slightly melancholy album perfectly suited to accompany egg nog cocktails and romantic afterglow holiday affairs. Although there isn't anything unexpected on Christmas Songs Irving Berlin's "Count Your Blessings Instead of Sheep" is as close to obscure as it gets Krall coos life into such standards as "Have Yourself a Merry Little Christmas," "What Are You Doing New Year's Eve," and "I'll Be Home for Christmas." It also doesn't hurt that she gains top-notch support from the Clayton-Hamilton Orchestra, whose urbane arrangements help bring to mind similar works by such iconic vocalists as Nat King Cole, June Christy, and Frank Sinatra. But it's not all deep sighs and bedroom eyes; on the contrary, Krall keeps things swinging with such uptempo numbers as the joyous "Jingle Bells," "Winter Wonderland," and the Blossom Dearie-inflected "Santa Claus Is Coming to Town." If you like your holiday albums cool and classy, Christmas Songs is a stocking stuffer that's sure to please. 

~ Matt Collar https://www.allmusic.com/album/christmas-songs-mw0000703424

Personnel:  Diana Krall - piano, vocals, arranger

The Clayton/Hamilton Jazz Orchestra: Jeff Hamilton - drums; Robert Hurst - upright bass; Anthony Wilson - guitar; Gerald Clayton - piano on "Santa Claus Is Coming to Town"; Tamir Hendelman - piano on "Sleigh Ride", fender rhodes on "What Are You Doing New Year's Eve"; Jeff Clayton - alto saxophone, flute; Keith Fiddmont - alto saxophone, clarinet; Rickey Woodard - tenor saxophone solos, clarinet; Charles Owens - tenor saxophone, clarinet; Adam Schroeder - baritone saxophone, bass clarinet; Rick Baptist - trumpet

Christmas Songs

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Lyn Stanley - Lost in Romance

Styles: Jazz Vocals
Label: Self Released
Year: 2013
File: MP3@320K/s
Time: 62:10
Size: 143,5 MB
Art: Front

(4:44)  1. Change Partners
(4:00)  2. Watch What Happens
(4:08)  3. Fever
(4:00)  4. That Old Black Magic
(5:18)  5. The Nearness of You
(5:00)  6. You Go To My Head
(3:48)  7. I Just Want To Make Love To You
(4:26)  8. My Foolish Heart
(3:36)  9. What Am I Gonna Do With a Bad Boy Like You?
(4:47) 10. Losing My Mind
(4:07) 11. One For My Baby
(4:29) 12. Sugar on the Floor
(2:40) 13. Too Close For Comfort
(3:53) 14. Something
(3:09) 15. The Last Dance

Singer, dancer, ingenue, Lyn Stanley is a fully realized and mature talent exploding into her own. An award-winning ballroom dancer, Stanley melds that physical experience of movement with her performance of jazz standards, bringing the genre back to its dancing, kinetic roots. As executive producer, Stanley brings a Midas touch to the proceedings, producing in wholly urbane and sophisticated collection of the best the Great American Songbook has to offer. It takes a certain fortitude to record one more collection of jazz standards,but, then again, this is the most appropriate starting place for Stanley. Standards are the proving ground for Stanley's singing philosophy and that philosophy is a sound and entertaining one. 

The songs include a smoldering "Fever," an island humid "That Old Black Magic" and a late-night "The Nearness of You" (featuring the inestimable Bob Sheppard on tenor saxophone) that set a relaxed mood, one that is sure of the talent to which it's being devoted. There are no steep cliffs here, only straight and elegant byways to pass the time, with some exceptional ballad and mid-tempo vocal performances by the dense loam of talent that is Lyn Stanley. Stanley takes these songs on with a conservative ear, opting for a traditional performance. The value of this approach is to always allow the composer to speak as intended when conceiving these pieces. Stanley's singing is beyond sexy or sensuous; it is whatever transcends these anemic descriptors. This is singing and delivery that must wait for the proper word to come along to define it. The same applies for the elegance and grace her accompanying musician bring to the project, a who's who of West Coast jazz talent convening for a holiday and that holiday is Lost In Romance.~C.Michael Bailey 

(http://www.allaboutjazz.com/php/article.php?id=45010#.UhdknX-Ac1I).

Personnel: Lyn Stanley: vocals; Tamir Hendelman: piano (1, 2, 4, 5, 8, 15); Mike Lang: piano (3, 6, 9-11); Llew Matthews: piano (7, 13, 14); Trey Henry: bass (1, 2, 4, 5, 8, 15); Jim DeJulio: bass (3, 6, 9-11); Kevin Axt: bass (7, 13, 14); Jeff Hamilton: drums (1-3, 6, 9, 15); Bernie Dresel: drums (4, 5, 8, 10-12); Paul Kreibich: drums (7, 13, 14); Gilbert Castellanos: flugelhorn (1), trumpet (15); Bob Sheppard: tenor saxophone (4, 5); Thom Rotella: guitar (10-14); Bob McChesney: trombone (6, 9).

Lost in Romance

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