Eve Haslam - A Thousand Years Ago / Beautiful Love

Album: A Thousand Years Ago
Size: 131,6 MB
Time: 56:53
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals, Bossa Nova
Label: Satin Steel Jazz Productions
Art: Front

01. A Day In The Life Of A Fool (Feat. Rich Willey) (4:08)
02. Once I Loved (Feat. Andy Page) (5:34)
03. I'm Glad There Is You (Feat. Brian Felix) (4:10)
04. Simply Me (Feat. Rich Willey) (4:05)
05. Shadows Fall (Feat. Brian Felix & Rich Willey) (5:32)
06. So Many Stars (Feat. Andy Page) (4:18)
07. Leaves From The Book Of Changes (Feat. Rich Willey) (4:00)
08. A Thousand Years Ago (Feat. Rich Willey) (5:05)
09. How Insensitive (Feat. Andy Page) (5:57)
10. The Nearness Of You (Feat. Rich Willey) (3:30)
11. Charade (Feat. Andy Page) (4:31)
12. When Your Lover Has Gone (Feat. Andy Page) (5:57)

"Born in New York and long based in Asheville, North Carolina, singer Eve Haslam is the leader of Satin Steel Jazz. Her debut album, "A Thousand Years Ago", is scheduled to be released in 2013 and is dedicated to her composer-father, Herb Haslam.

"The cd features trumpeter Rich Willey (who formerly toured as 2nd chair with Maynard Ferguson), pianist Brian Felix, bassist Zack Page, drummer Justin Watt, Byron Hedgepeth on congas and, on a few selections, nylon string guitarist Andy Page.

"Eve's attractive and often haunting voice perfectly fits the material and her performances are quite impressive. During Antonio Carlos Jobim’s 'How Insensitive,' her interpretation brings out both the beauty and sadness of this classic. The jazz waltz “Simply Me,” the warm ballad “Shadows Fall,” the swinging “Leaves From The Book Of Changes” and the thoughtful “A Thousand Years Ago” - are Herb Haslam's compositions.

"Willey in particular is well featured, both as a soloist and in close interplay with vocals. He co-stars on the opening selection, a high-powered version of “A Day In the Life Of A Fool.” Eve and Willey blend together well and display a savvy marriage not only on the opener but throughout “I’m Glad There Is You,” “Charade” and an upbeat version of “The Nearness Of You” (which finds Willey sounding a bit like Clark Terry). On these selections, Eve is swinging hard while always remaining true to the composer’s intent; she owns every tune.

“Once I Loved,” “So Many Stars,” and “When Your Lover Has Gone” have Andy Page’s acoustic guitar giving the vocalist a quiet bossa nova backdrop. She excels in these gentle settings, never overwhelming the mellow rhythm section and balancing the melancholy moods with her own sultry optimism.

"Eve Haslam’s music and cd, "A Thousand Years Ago", is a strong start to her recording career." Scott Yanow, Jazz Journalist and Music Critic

A Thousand Years Ago

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Album: Beautiful Love
Size: 101,6 MB
Time: 44:23
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Beautiful Love (5:19)
02. Boss Nova Sundays (3:05)
03. I'm In Love Again (4:42)
04. If You Never Come To Me (4:28)
05. I'll Be Seeing You (2:14)
06. How Does The Wine Taste (2:41)
07. What Are You Doing The Rest Of Your Life (3:22)
08. The Face I Love (3:46)
09. I Concentrate On You (4:30)
10. Solitude (5:36)
11. Moon River (4:35)

"A very expressive and lightly swinging singer, Eve Haslam made a strong impression last year with her debut recording 'A Thousand Years Ago'. While that set featured her joined by a quintet, on 'Beautiful Love' she is heard in a more intimate setting that perfectly fits her warm and inviting voice.

Accompanying her on the 11 love songs of 'Beautiful Love' are pianist Bill Covington (from Asheville, North Carolina) and bassist Shannon Hoover (from nearby Greenville, South Carolina), both of whom play with subtlety, sympathy and impeccable taste. They contribute concise solos that add to the appeal of the music.

Eve Haslam and her musicians are very spontaneous throughout these performances, but because they listen closely to each other and think in similar ways, the music flows logically from one selection to another with no missteps or hesitant moments. Ms. Haslam starts out the set with a version of "Beautiful Love" that builds up gradually in passion while displaying her beautiful voice. She introduces the memorable melody of Matthew Breindel's "Bossa Nova Sundays" (which receives its debut recording), scats very well on Antonio Carlos Jobim's "If You Never Come To Me" and, on a surprising version of "I'll Be Seeing You," is quite effective during her single wordless chorus.

Throughout 'Beautiful Love', Eve Haslam alternates interpretations of the lyrics with scatted and wordless sections. In all cases, she gets her message across. Other highpoints include the rewarding obscurity "How Does The Wine Taste," a swinging "I Concentrate On You," and a heartfelt rendition of "Solitude."

'Beautiful Love' is highly recommended to fans of tasteful and quietly inventive jazz singers." ~Scott Yanow, Jazz Journalist and Music Critic

Beautiful Love

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Marlon McClain - TBC

Size: 86,4 MB
Time: 36:55
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Soul/Blues/Funk Jazz
Art: Front

01. Me & You (4:02)
02. Positivity (4:10)
03. That Ain't Right (4:13)
04. Radiation Blues (4:39)
05. Where Are You (3:36)
06. Step Into The Light (4:08)
07. Tokyo Time (4:24)
08. Gwuwgwun (4:22)
09. You Know (3:16)

Throughout the 1970s, Portland-based octet Pleasure tastily intermingled elements of jazz, funk, and R&B into a kinetic fusion culminating with the top-10 signature hit, "Glide." While each member also exhibited talents on a number of outside projects, guitarist Marlon McClain has remained the most prolific on record since the group disbanded. The versatile player worked with The Dazz Band for nearly a decade and also wrote and produced for the likes of En Vogue and Kenny G before shifting his focus to a solo career. Connoisseurs of the groove still relish his first individual outing, 1981's Changes; but it was with 2010's TBD that he came into his own as a frontman, spearheading the writing, production, and primary instrumental duties.

Continuing to employ the smoothly rippled contemporary jazz vibes found on TBD, but also throwing in a healthy serving of brasher funk riffs, the newly released TBC compellingly exposes McClain's abilities as both a rock-influenced leader and cool soul man. There are even some cases, as in the intriguingly titled "Gwuwgwun," where both tendencies meet and result in the kind of jams in which both purists and cutting-edge types can revel. But it's the spitfire nature of numbers like the opening "Me & You" and the gutsy "Radiation Blues" that most strongly evoke the emotional voice of his axe. Bearing the influence of Johnny "Guitar" Watson, "Me & You" at once stimulates and relaxes through its percolating rhythm arrangement and McClain's thoughtfully electric plucking. "Radiation Blues" is sprinkled with a Hendrix sensibility, enhanced by steady but subtle keyboard work and light vocal flourishes.

Fans who especially took to breezy tunes like "Come On" and "Dreaming of You" on TBD will find similarly pleasurable moments in the softly pulsating "Step into the Light" and the chilled-out "Where Are You" on TBC. The sliding wah-wah scales of the latter seep unassumingly and deliciously over a laid back beat pattern in a mode that conveys imagery of oceanic landscapes and the feeling of a quiet evening by firelight. Meanwhile, the former hooks the ears quickly with tightly accented percussive sounds balancing McClain's legato stylings. For those looking to relive a bit of the gliding funk, the jam session found in "That Ain't Right" (featuring Thomas McElroy on keys) should do the trick.

Over the span of nine tracks, TBC traverses a colorful road of styles and textures that fit together snugly without trying too hard—or without coming loose along the way. Even the outright dance flow of the fast-paced "Positivity"—with its pairing of airy chords and concise vocal melodies—is right in the pocket with both the softer selections and harder-hitting numbers. The end result is a soothing and impelling album that's a solid listen any time, any place. Recommended. ~Review by Justin Kantor

TBC

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Christine Albert - Everything's Beautiful Now

Size: 99,4 MB
Time: 42:32
File: MP3 @ 320K/s
Released: 2014
Styles: Folk, Country
Art: Front

01. Everything's Beautiful Now (3:46)
02. Lean My Way (Feat. Troupe Gammage) (2:54)
03. Old New Mexico (Feat. Jerry Jeff Walker & Eliza Gilkyson) (4:45)
04. On That Beautiful Day (4:10)
05. Flower Of The Moon (3:42)
06. For A Dancer (4:16)
07. At Times Like These (3:33)
08. Someday Isle (3:50)
09. Little One (3:27)
10. Keep Me In Your Heart (4:18)
11. My Heart's Prayer (3:47)

A mainstay of the Austin, Texas music community courageously explores the richness of loss and the power of transformation on a long awaited solo album. Christine Albert has released 6 albums as part of the Folk/Americana duo Albert and Gage, with husband and musician extraordinaire Chris Gage. She is also well known for her unique take on French music in the three CD "Texafrance" series.

On "Everything's Beautiful Now" Christine returns as a songwriter of depth and sensitivity. After experiencing the loss of over a dozen close friends and family members in the last few years, this collection of surprisingly hopeful and inspiring songs was born. "Everything's Beautiful Now" were some of the last words spoken to Christine by her mother-in-law in her final hours and the song is written in her voice. "My Heart's Prayer" - penned by South Dakota's Tom Peterson - is a message to those who have passed..."will you still know my face in that faraway place; will we meet over on the other shore." A simple and intimate arrangement of Warren Zevon's "Keep Me in Your Heart" is equally poignant as Zevon's message to his loved ones when he was close to the end.

Christine sings a Shake Russell and Dana Cooper duet, "Lean My Way", with her son Troupe Gammage of the synth-pop band SPEAK, showcasing that uncanny family harmony blend; the Jerry Jeff Walker/Christine Albert composition "Old New Mexico" tells the true story of Christine's leap of faith when she left Santa Fe for Austin and she is joined on vocals by Jerry Jeff and Eliza Gilkyson, a close friend and fellow New Mexico transplant; Jackson Browne's "For a Dancer" fits right in with the theme of the album and features killer three part background vocals by the members of SPEAK.

Christine's own songs ring true to who she is. "Flower of the Moon" and "Little One" are celebrations of growth and empowerment; "At Times Like These" is a musical sympathy card - reminding us that the only way past grief is through it; "Someday Isle" speaks to the necessity of overcoming fear to find your true self.

Produced by Chris and Christine in their own MoonHouse Studio in Austin, Texas, the CD features Gage's instrumental gifts on piano, B3, acoustic and electric guitars, accordion, lap steel, harmonies and more; the Austin sound is reinforced by Lloyd Maines on Dobro, Kym Warner (The Greencards) on mandolin and Kim Deschamps on pedal steel with the A-team rhythm section of bassist Glenn Fukunaga and drummer Paul Pearcy. Upright bass player David Carroll adds the right touch to "My Heart's Prayer" and vocalist Kira Small's harmony is simply beautiful. Another of Christine's New Mexico compadres, Busy McCarroll, sings the third part on "Flower of the Moon."

This is not an album that a twenty year old would record, but is an authentic exploration of a rite of passage we all experience when we reach a certain age. "I needed to record these songs for my own healing; my hope is that others will also be comforted in some way."

Everything's Beautiful Now

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Angela Cervantes & Chema Saiz - Recordando A Ella Fitzgerald & Joe Pass

Size: 125,3 MB
Time: 53:55
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Oh, Lady Be Good! (6:01)
02. Take Love Easy (4:41)
03. Why Don't You Do Right (3:13)
04. Don't Be That Way (4:34)
05. How High The Moon (4:09)
06. Georgia On My Mind (4:37)
07. Giant Steps (3:37)
08. Lush Life (4:22)
09. Gone With The Wind (3:24)
10. I'm Beginning To See The Light (3:09)
11. Once I Loved (5:07)
12. How High The Moon (Live Version) (6:55)

Angela Cervantes:
Ibicenca de cuna, comienza su aprendizaje musical de coro clásico, canto y piano. Trabaja como cantante solista de varios grupos locales, como locutora musical en Cadena Cien Ibiza y Formentera, y forma parte de dos compañías de teatro locales., En 1999 entra en el Aula de Música Moderna y Jazz de Barcelona, en la escuela de artes escénicas "El Timbal”, cursando interpretación, danza y estructuración corporal. Se forma con Deborah J. Carter, Carme Canela, Raquel Lojendio, Ivana Kotov, Mireia Lara, Shamanka Phoenix, Emmanuel Djob, Federico Rey... y asiste a clases magistrales de: Pat Metheny, Perico Sambeat, Sheila Jordan, Deborah J. Carter, Jennifer Batten, Paul Farrington, Mike Mossman, Antonio Sánchez, Jerry Gonzalez, Bernardo Sasseti, Steve Rodby... A finales de 2005 se traslada a Madrid. Formó parte del elenco del espetáculo ”Jazzing Flamenco”, de la Compañía de danza Antonio Najarro. Ha impartido numerosos cursos de voz y dicción, en la escuela de sonido e imagen CES (Madrid), para alumnos de doblaje y radio. Coordina y canta en las Jam Sesions de el Marula Café. Es corista de la banda tributo a Pink Floyd, “The Pink Tones”.
Realizó coros, en el disco “Amar la Trama” de Jorge Drexler, y en el disco debut de la toledana “María Toledo”. Aparece como artista invitada en numerosos discos y será el alma y la voz de diversas formaciones como Ángela Cervantes Quintet, Trío Ángela Cervantes- Ariel Bringuez-Israel Sandoval, Vocalese, Norman Hogue, “Plays the music of Louis Prima”.

Chema Saiz:
Comienza los estudios de guitarra a una edad muy temprana, centrándose en la música clásica y la música popular de su país. Descubre el jazz en la adolescencia y en los años 80 recibe lecciones de Sean Levitt, John Abercrombie, Jerry Bergonzy, Dave Liebman, Barry Harris, Jimmy Ponder, Bill Dobbins y Chuck Israels. En la especialidad de guitarra clásica se ha formado principalmente con Jorge Cardoso y Demetrio Ballesteros, obteniendo el título superior en 1999. Ha trabajado con figuras tan representativas del mundo del jazz como Lou Bennet, FrankLacy, Jorge Pardo, Tony Moreno, Antonio Serrano, Bobby Martínez, Abdú Salím, Bob Mover, Jeff Gordon, Charles Schneider, Dominique Di Piazza, Bill Saxton, Uffe Markussen, Greg Bandy, Chano Domínguez, Federico Lechner, Israel Sandoval, Moisés P. Sánchez y reconocidas cantantes como Eva Cortés, Celia Mur o Ester Andújar. Ha publicado como líder cinco discos (el último en Abril de 2012) en los que cuenta con la inestimable colaboración de músicos como Borja Barrueta, Toño Miguel, Ariel Brínguez, Guillermo McGill y Bobby Martínez, entre otros. Chema Saiz es considerado por muchos como una de las voces más singulares del jazz español.

Recordando A Ella Fitzgerald & Joe Pass

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Lizzy Loeb - Drawing Lines

Styles: Vocal, Guitar

Year: 2009
File: MP3@320K/s
Time: 54:41
Size: 125,9 MB
Art: Front

(3:04)  1. Living At All
(3:47)  2. Truth And Nothing But The Truth
(4:06)  3. Who Are You
(2:44)  4. Smells
(3:50)  5. Drawing Lines
(2:39)  6. No Surprises Left
(3:24)  7. Love Well
(4:14)  8. The One
(4:21)  9. Later Or Sooner
(3:43) 10. James
(3:52) 11. Matter Of Pride
(4:45) 12. Stand Still With Me
(3:38) 13. My Muse
(3:41) 14. None Or Too Much
(2:46) 15. Victims Of Sympathy

A 23-year-old singer, songwriter and guitarist and the daughter of jazz guitarist Chuck Loeb and Spanish singer Carmen Cuesta. She was born in New York City and grew up in both the US and Spain, and was raised in a household environment full of music and musicians. At the age of 15 she took up the guitar and began writing and singing her own songs.  Her musical influences are eclectic, ranging from James Taylor, Stevie Wonder and The Beatles to Ella Fitzgerald, Antonio Carlos Jobim, Mariah Carey and Sting. Her guitar influences are also diverse, including blues, jazz, and rock. Bio ~ http://www.last.fm/music/Lizzy+Loeb

Drawing Lines

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Moreno D'Onofrio Jazz Guitar Trio - Love Letters

Styles: Guitar Jazz
Year: 2010
File: MP3@320K/s
Time: 48:56
Size: 112,4 MB
Art: Front

(4:06)  1. Sometime Ago
(5:00)  2. Stella By Starlight
(4:53)  3. Alone Together
(7:18)  4. In A Sentimental Mood
(4:58)  5. Manhã de Carnaval
(3:55)  6. Beatrice
(4:10)  7. All The Things You Are
(5:29)  8. Love Letters
(4:10)  9. Oleo
(4:52) 10. Body And Soul

Born in Turin(Italy)on 13th August 1961. He began studying guitar very early. At the age of 13 he had his first musical experience playing live pop music.At 15 and afterwards he took part in the performances of some musical groups organized by his city.As a self-taught guitarist, he soon discovered to be keen on jazz and classical music; this fact lead him at first to approach classical guitar and then jazz guitar improvisation. In 1988 he founded the "Interplay" quartet, with other musicians of his region performing in jazz clubs and in theatres in Northern Italy. He prefers acoustic jazz and likes playing in small groups such as duo, trio, quartet. In 1993 he took part in some stages playing in duo with the American guitarist Jim Hall "Moreno, thank you for playing so beautifully" J.H. In December 1995, during a performance of Classical Music at the "Agnelli Theatre" in Turin, he was invited to play a solo: jazz improvisations "For Acoustic Jazz Guitar". In May 2001 he performed with the American guitarist Garrison Fewell from Boston.

In May 2002 he performed with the American harpist Park Stickney from New York.nFrom 2003 he has collaborated with Ares Tavolazzi (cb) and Luigi Bonafede (dr). In 2004 he performed in London playing at Royal Festival Hall and in jazz clubs (jazz live St.Giles Church) with Ben Hazleton (b) and Seb Rochford (dr). He has also invited to take part at the 7th International Festival Jazz in Moncalieri (TO). In 2005 he recorded in trio with Luciano Milanese (cb) e Carlo Milanese (dr) his cd "Love Letters" Jazz Guitar Trio (Music Centre BA 093) "An impeccable instrumentalist whose velvety timbre is highly captivating. On every track virtuosity always gives way to a musical taste of the highest degree. A record you would never stop listening to." (Luca Bandirali) Jazzitalia. In 2006 he formed the jazz duo with Ivano Sabatini (cb) recording the cd "Laverne Walk" Jazz Duo (Music Centre BA 132). He has invited at Radio 3 RAI to play alive his cd. From 1988 he has been teaching Jazz Theory, Improvisation Techniques, Jazz Guitar, History of Jazz, Jazz Ensembles and Ear Training at the "Istituto Musicale Civico della Città di Rivoli", a Music Institute near Turin. 

From 1995 to 1997 he taught Jazz Guitar, Harmony, Musical Theory, Improvisation Techniques, Ear Training in a Music School in his home City. From 2002 he has been teaching jazz guitar and modern guitar at the "Civico Istituto Musicale Brera" Novara. He played for Lecco Jazz, Cremona Jazz, Monteroduni Jazz Festival (Eddie Lang Jazz Festival – Isernia), the "Unione Musicale" and "San Filippo" theatre of Turin, Jazz for Greenpeace, Guitar Interactive (Multimedia application for PC on jazz and blues guitar), the theatre of the Castle of Rivoli and G.R.E.A. (European Art Research Group), Auditorium of Montceau-Les Mines(F) Ravensburg Jazz Festival (G), Rai 2 Television (Sereno Variabile. Furthermore, he took part in a lot of jam-session playng with Italian musicians such as Larry Nocella and Massimo Urbani. http://www.jazzitalia.net/artisti/morenodonofrio_eng.asp#.VBI5IxZZjkc

Love Letters

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Sarah Gillespie - Stalking Juliet

Styles: Folk
Year: 2009
File: MP3@320K/s
Time: 48:05
Size: 110,7 MB
Art: Front

(4:25)  1. Stalking Juliet
(4:14)  2. Big Mistake
(3:28)  3. Close Range
(3:44)  4. How The Mighty Fail
(4:23)  5. Malicious Simone
(5:53)  6. Million Moons
(6:11)  7. Ahmed & Dangerous
(2:32)  8. Houdini Of The Heart
(6:27)  9. Don't Be Sorry
(4:44) 10. Call Me Stupid Ungrateful Vici
(2:01) 11. Sleep Talking

Stalking Juliet is the first album from Sarah Gillespie, a UK-based singer and songwriter. Musically and lyrically this record constantly surprises, challenges and rewards in equal measure. Gillespie has written all of the album's 11 tracks two of them in collaboration with producer and arranger Gilad Atzmon.The songs have strong melodies and in some cases seductive hooks, but this is not a light and frivolous take on the world. Gillespie gives no indication of self-pity or bitterness but many of the lyrics, as well as some of the instrumental arrangements, suggest an anger about the experiences that have inspired her to write these words. This is by no means a bad thing: the anger is leavened with humor, and produces some memorable lines: in one case, where a character is described as "rolling your eyes like a sugar high child."

Gillespie has a powerful voice which eloquently transmits this anger and disdain, and would be far less suited to passivity or self-pity. Titles such as "Big Mistake," "How the Mighty Fall," and "Call Me Stupid, Ungrateful, Vicious and Insatiable" the latter a co-composition with Atzmon clearly reflect their lyrical content. Musically these songs show influences as diverse as country, rock and Middle Eastern styles, while "Houdini of the Heart" another Atzmon co-composition could have emerged from a work by Berthold Brecht and Kurt Weill. 

Atzmon is best known as a saxophonist and, indeed, his sax playing is crucial to the overall feel of much of this album; but here he predominantly plays accordion, with touches of harmonica on many tracks. Billy Adamson's electric guitar is used sparingly but to good effect, particularly on the beautiful "Million Moons," while Asaf Sirkisand Ben Bastin are a key rhythm section throughout. Tales of lost love, broken hearts, broken promises and, occasionally, true romance, permeate this record. Gillespie delivers the songs with honesty and passion, and even when their meanings are unclear she still creates an implicit understanding of what's going on. Her voice is original, hard-edged much of the time with a husky and seductive tone at the lower end of her range. This is an assured debut from a performer of great potential. ~ Bruce Lindsay  http://www.allaboutjazz.com/stalking-juliet-sarah-gillespie-egea-records-review-by-bruce-lindsay.php#.VBXbXhawTP8
 

Personnel: Sarah Gillespie: vocals, guitar; Gilad Atzmon: accordion, alto and tenor saxophones, clarinet, harmonica; Asaf Sirkis: drums, urdu; Ben Bastin: electric and double-bass; Billy Adamson: guitar; Sameer Makhoul: violin, oud; John Turville: piano; Emma Stockton: backing vocals (2, 5).

Stalking Juliet

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Mulgrew Miller & Kluvers Big Band - Grews Tune

Styles: Piano Jazz, Big Band
Year: 2012
File: MP3@320K/s
Time: 56:58
Size: 130,6 MB
Art: Art

( 6:45)  1. Thinking Out Loud
( 8:53)  2. Return Trip
( 6:38)  3. Samba D'Blue
( 9:37)  4. Grew's Tune
(13:07)  5. Hand In Hand
(11:55)  6. When You Get There

The Klüvers Big Band was founded in Denmark in 1977 as a government-supported orchestra for concerts and education, conducted by Jens Klüver. Numerous well-known jazz artists have performed with the orchestra; pianist Mulgrew Miller was recruited for a series of concerts with the band in 2012, though he was not known for working with large ensembles. Several of his compositions were selected and big-band arrangements by two Americans (Dennis Mackrel and Matt Harris) and one Dane (trumpeter Jesper Riis) were commissioned for these performances. Miller thrives in this modern big-band setting, while both the solos and ensemble work by the band are first-rate, as are the imaginative arrangements. The driving "Thinking Out Loud" makes a powerful opener, with Miller's potent chops and Morten Lund's pulsating drumming. 

Trumpeter Jakob Buchanan and tenor saxophonist Claus Waidtlow are showcased along with the pianist in the brisk post-bop vehicle "Return Trip," followed by the engaging "Samba d'Blue." "Hand in Hand" mixes funk, blues, and gospel in an infectious soul-jazz setting. Perhaps this recording will make The Klüvers Big Band better known outside of Europe, along with encouraging others to recruit Mulgrew Miller for record and concert dates with a big band. ~ Ken Dryden  http://www.allmusic.com/album/grews-tune-mw0002424108

Grews Tune

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Jacqui Dankworth - It Happens Quietlly

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 56:16
Size: 129,3 MB
Art: Front

(5:28)  1. A Nightingale Sang in Berkeley Square
(4:19)  2. In the Still of the Night
(4:59)  3. It Happens Quietly
(3:58)  4. I'm Glad There is You
(5:52)  5. A Love Like Ours
(5:12)  6. My Foolish Heart
(4:16)  7. Make Someone Happy
(5:28)  8. Blame it on My Youth
(4:51)  9. Ill Wind
(4:42) 10. At Last
(3:45) 11. The Man
(3:20) 12. The Folks Who Live on the Hill

It Happens Quietly is an album of great beauty. Singer Jacqui Dankworth is at the top of her game, investing this collection of songs with superb technique and humanity. She's ably assisted by superb musicians, and by some of the loveliest and most creative arrangements to grace a jazz record for some time. There's an element of poignancy too, as this album is the last work undertaken by Jacqui's father, Sir John Dankworth, before his death in 2010.  Sir John was one of the UK's best-known and most talented jazz saxophonists, composers and arrangers. Jacqui followed her mother, Dame Cleo Laine, to become an accomplished actress as well as a fine singer while her brother Alec Dankworth took up the double-bass, and is also featured on this recording. It Happens Quietly boasts some fine arrangements written by Sir John with the assistance of Ken Gibson. Coupled with Jacqui's voice, these arrangements give the album a calm gentleness, a romanticism and a very human warmth. There's terrific musicianship, too. Harry Warren's "At Last" typifies all of these qualities; a superbly relaxed ensemble performance, Tim Garland's tenor solo adding a touch of urgency, and Jacqui's perfectly timed vocals creating a faultless reading of this beautiful song. The highlights come thick and fast across all 12 tunes, but honorable mentions should go also to Karen Sharp's mellow tenor solo on "Ill Wind," Ben Davis' cello on "A Love Like Ours;" and Steve Brown's Latin-tinged drums and Chris Allard's fluid guitar on "In The Still of the Night."

Sir John appears on "A Nightingale Sang In Berkeley Square" and "The Man." He can be heard on both songs bringing the musicians together, counting in the tune. His single instrumental appearance is his alto solo on "The Man," one of his own tunes with lyrics by Jacqui. It's a light-hearted, even jaunty, song and Sir John's brief solo actually taken from an earlier recording of the song for a music library project fits elegantly into the arrangement. Two stripped-down duo performances also stand out. On "Blame It On My Youth" Jacqui is accompanied solely by Malcolm Edmonstone's piano, on "The Folks Who Live On The Hill" she's joined by Allard on acoustic guitar. Such sparse, spacious arrangements could readily expose any imperfections. Here they serve to demonstrate Jacqui's absolutely exquisite vocals controlled, crystal-clear, perfectly capturing the subtle emotional power of the lyrics and Edmonstone and Allard's masterful skills as accompanists.  "It happens quietly" Jacqui sings on the title song, written by her father and lyricist Buddy Kaye, "because it's real." Her voice, the music, the arrangements, celebrate life; friendship, love, family, relationships; in its perfect, and not so perfect, moments. It Happens Quietly is one of the perfect moments. ~ Bruce Lindsay  http://www.allaboutjazz.com/it-happens-quietly-jacqui-dankworth-specific-jazz-review-by-bruce-lindsay.php#.VBTlkRawTP8

Personnel: Jacqui Dankworth: vocals; Henry Lowther: trumpet; Barnaby Dickenson: trombone; Dave Laurance: French horn; John Dankworth: alto saxophone; Tim Garland: soprano saxophone, tenor saxophone; Jimmy Hastings: flute, bass clarinet; Karen Sharp: tenor saxophone, bass clarinet; Malcolm Edmonstone: piano; Chris Allard: guitar; Alec Dankworth: bass; Andrew Bain: drums; Sally Herbert: violin; Everton Nelson: violin; Francis Dewar: violin; Alison Dodds: violin; Gareth Griffiths: violin; Peter Hanson: violin; Ian Humphries: violin; Tom Piggott-Smith: violin; Clare Finnemore: viola; Bruce White: viola; Ian Brurdge: cello; Chris Worsley: cello; Ben Davis: cello; Steve Watts: bass (2, 5, 7); Steve Brown: drums (2, 5, 7).

It Happens Quietlly

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Diane Linscott & Charlie Prawdzik - Our Day At The Movies

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 53:41
Size: 123,4 MB
Art: Front

(4:51)  1. It's Magic
(3:59)  2. It's You Or No One
(3:50)  3. You, My Love
(4:23)  4. It All Depends On You
(5:00)  5. My Dream Is Yours
(4:55)  6. Never Look Back
(5:51)  7. Little Girl Blue
(3:39)  8. There's A Rising Moon
(3:56)  9. Hold Me In Your Arms
(3:51) 10. My Love Comes To Me
(3:24) 11. Secret Love
(3:17) 12. I'll Never Stop Loving You
(2:38) 13. It's You Or No One

"With a great idea for an album, Diane Linscott shows off her gorgeous personal style in a collection of thirteen songs from Hollywood's Golden Age, all originally performed by Doris Day. Ms. Linscott is a top-notch singer, both skilled and warm, and she is backed by a sympathetic band that features the graceful accompaniment of Charlie Prawdzik on piano and the steady time of bassist Mark Neuenschwander. These are songs that deserve to be remembered, and we're grateful to Diane Linscott for recalling them."       ~ Dick Hyman  http://www.cdbaby.com/cd/linscottprawdzik

Our Day At The Movies

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Larry Fuller Trio - Easy Walker

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 54:04
Size: 124,3 MB
Art: Front

(5:28)  1. Groove Yard
(3:21)  2. In Like Flynn
(3:26)  3. Hymne a L' Amour
(4:05)  4. Ray's Idea
(6:26)  5. Easy Walker
(4:14)  6. Caravan
(6:11)  7. Compassion
(8:01)  8. Honey Suckle Rose
(6:34)  9. Consider
(6:13) 10. Candy's Blues

If I were a musician blessed with talent and the motivation required to fully develop it, then I would be faced with an infinite number of choices upon entering the recording studio. Able to play almost anything, what would I choose? Luckily, being in a group with Ray Brown, Jeff Hamilton and Larry Fuller would simplify matters considerably. I would be required to play bebop and blues, and swing my butt off in the process. Such a scenario is fun to dream about, but Easy Walker, pianist Larry Fuller’s first CD as a leader, is the real deal. Recorded in ’98 with Brown and Hamilton, it features ten tunes, including two Fuller originals (“In Like Flynn” and “Candy’s Blues”) that showcase the Seattle-area pianist’s incredible facility and uncanny sense of swing. Larry Fuller was the last pianist to play with Ray Brown, and it’s easy to imagine this recording as his fond farewell to the late, great bassist. Many of the arrangements are vintage Ray, and a few of the composers, including Billy Taylor and Milt Jackson, were his friends and contemporaries. However, farewell or not, the fact is that no one enjoyed working with Ray Brown more than Larry, who told me in 2000, “It’s a dream to play with Ray.” You can hear it in the music. ~ Jason West  http://www.allaboutjazz.com/easy-walker-larry-fuller-pony-boy-records-review-by-jason-west.php#.VBTT2RawTP8

Personnel: Larry Fuller, piano; Ray Brown, bass; Jeff Hamilton, drums.

Easy Walker

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Nicole Yarling - Joe Williams Presents Nicole Yarling: Live At Manchester Craftsmen's Guild

Size: 150,6 MB
Time: 64:51
File: MP3 @ 320K/s
Released: 1999
Styles: Jazz Vocals
Art: Front

01. The Best Things In Life Are Free (3:57)
02. The Way You Love Me (4:17)
03. Dig (5:28)
04. We'll All Be Free (5:16)
05. My One And Only Love (3:58)
06. That Old Black Magic (3:23)
07. I Know Why A Caged Bird Sings (4:20)
08. Freedom Jazz Dance (4:11)
09. Conception (4:14)
10. Love For Sale (5:02)
11. Blame It On My Youth (5:16)
12. Who She Do (Joe Williams) (5:06)
13. Imagination (Joe Williams) (4:43)
14. After You're Gone (Joe Williams) (5:32)

When Joe Williams puts his imprimatur on an unknown singer and uses his considerable influence to give her career a boost, it's worth paying close attention. The unknown singer (and violinist) in question is named Nicole Yarling and Williams not only sponsored her debut album, he lent his majestic voice to the project in what's billed as his final recording before his death last March 29.

As for Yarling, it's clear from the first notes of Joe Williams Presents... why the old master took her under his wing. Along with the requisite technical skills, a sweet, smooth voice and plenty of vocal range, she has that ineffable quality that makes good performers great ones: charisma. The sheer sense of joy she imparts in her singing - something Joe Williams always projected - is irresistible. And though she's making her debut as a jazz recording artist, she's no beginner. With years of training and singing in night clubs, as well as some high-profile pop gigs (she sang with Jimmy Buffett's band for several years), Yarling knows how to deliver a song with confidence and style.

While she seems most at home in a loose, soul-funk vein - check her no-holds-barred take on Eddie Harris' "Freedom Jazz Dance" - Yarling can also get straight to the heart of classic ballads like "My One and Only Love." She even contributes two fine, poetic original compositions to the proceedings, and provides some nice fills and solos on the violin.

But the album's real magic happens when Williams joins Yarling for a staggering duet of "Blame It On My Youth." To Yarling's credit, she holds her own with Williams, whose humor, wisdom and impeccable timing draw out all the subtle meanings of the lyrics. If that's not enough, Williams sticks around for three more bonus cuts, closing, poignantly, with a slow, gorgeous reading of "After You've Gone." A perfect coda for a wonderful album and a great, great artist. ~Joel Roberts

Personnel:
Nicole Yarling - vocals, violin; Joe Williams - vocals; David Siegel - piano; Jeff Grubbs- bass; John Yarling- drums; Henry Johnson - guitar.

Joe Williams Presents Nicole Yarling

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John Basile - No Apologies

Size: 127,5 MB
Time: 54:51
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz: Guitar Jazz
Art: Front

01. S' Bout Time (5:11)
02. Stop Look Listen (To Your Heart) (4:27)
03. Everything I Love (3:23)
04. Where Are You (7:08)
05. Sideshow (5:13)
06. Perugia (5:26)
07. Unit Seven (3:20)
08. Cinema Paradiso (4:30)
09. For All Time (6:01)
10. Dream Dancing (4:51)
11. Summer Night (5:17)

When asked about his most important influences, the first two names he mentions are not other guitar players; Frank Sinatra heads the list and then Bill Evans. Perhaps this explains why John Basile is one of a select group of jazz instrumentalists who doesn’t sound like everyone else. He particularly likes to play in the duo and trio formats to exploit the intimacy those settings present for both player and listener.

Musically, his guitar style utilizes a finger-style technique that approaches the guitar like a piano. For John, the challenge of comping harmonic chord fragments and playing melodies simultaneously provides a backdrop for a more open style of playing and improvising.

His labels, Underhill Jazz and now StringTime Jazz, have produced five innovative and critically distinguished releases: "Amplitudes" - solo guitar improvisations; "No Apologies" - featuring Pat Bianchi on organ and Carmen Intorre on drums for a soulful organ trio with a modern approach to unique standards; "Time Will Reveal" - featuring Joe Locke on vibes and Bassist David Finck showcasing a modern jazz guitar approach to pop tunes; "Animations" – with John Ambercrombie in duo with Basile exploring the essence of string improvisations of standards and originals; and "It Was A Very Good Year" – an eclectic exploration of jazz, folk, and pop tunes featuring two trios.

Guitar icon Jim Hall says “John Basile’s playing has the essence of great jazz guitar: beautiful tone, marvelous swing, terrific technique, and excellent phrasing. You can’t ask for more!” Legendary guitarist, John Abercrombie hails “John’s new CD has one of the most appropriate titles! Great Playing, Great Tunes, Great Sound…"No Apologies" needed!”

John Basile is also a formidable, sought after educator and clinician, offering a variety of educational outreach programs to colleges and universities here and around the world. He also works in the field of radiology and manages a large Medical Group in the NY area and is an official with USA Boxing, officiating as a judge and referee in Golden Glove competitions throughout the NY area.
Personnel:
Nicole Yarling - vocals, violin; Joe Williams - vocals; David Siegel - piano; Jeff Grubbs- bass; John Yarling- drums; Henry Johnson - guitar.

No Apologies

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Champagne Charlie & The Bubbly Boys - Decodance

Size: 72,8 MB
Time: 30:43
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz, Retro Swing, Ragtime
Art: Front

01. Gangway (2:40)
02. Mississippi Mud (2:06)
03. You're Driving Me Crazy (3:05)
04. Everything Stops For Tea (2:38)
05. Running Wild (2:40)
06. My Canary Has Circles Under His Eyes (2:56)
07. What'll I Do (4:18)
08. You're The Cream In My Coffee (2:07)
09. I Wish I Could Shimmy Like My Sister Kate (2:33)
10. Puttin' On The Ritz (2:46)
11. So Long For Now (2:49)

Decodance is a musical celebration of the wild dance music of the inter-war period. Some of the very best songwriters of the age are gathered here, including Irving berlin, Ray Henderson, Walter Donaldson and Harry Warren. These songs were made famous by Fred Astaire, Josephine Baker, Jessie Mathews to name a few.

Champagne Charlie and his Bubbly Boys present an album of wit, whimsy and gay abandon! Roll back the rug and show off your Black Bottom! The dance crazes and sentiments of this fascinating era are lovingly brought to life here.

Champagne Charlie formed his band in 2007 at the famous Burgh Island Hotel Summer Ball to celebrate his passion for this music. Taking inspiration from some of the great British Dance band leaders such as Harry Roy and Jack Hylton, Charlie and the boys are delighted to have recorded their debut album and hope you like it as much as we have enjoyed making it.

The ideal accompaniment for your very own 1920s party. Enjoy!

Decodance

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Rochelle Lightfoot - Rochelle Lightfoot Jazzy Classics

Size: 116,4 MB
Time: 49:51
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals, Big Band
Art: Front

01. Almost Like Being In Love (2:08)
02. This Can't Be Love (2:11)
03. Don't Get Around Much (2:33)
04. Our Love Is Here To Stay (3:28)
05. Orange Colored Sky (2:24)
06. The Very Thought Of You (4:32)
07. Straighten Up And Fly Right (2:38)
08. It's Too Darn Hot (3:46)
09. The Nearness Of You (2:58)
10. Night And Day (2:29)
11. I've Got Rhythm (3:05)
12. Someone To Watch Over Me (4:23)
13. L-O-V-E (2:29)
14. Route 66 (2:57)
15. I Wish You Love (4:08)
16. Smile (3:35)

Singing with a big band orchestra is incomparable. The "Jazzy Classics" album is the artists personal vocal renditions of 16 popular pure jazz songs written, composed and sung by great legends such as: George and Ira Gershwin, Cole Porter, Charles Chaplin, Duke Ellington, Ella Fitzgerald, Judy Garland, Sarah Vaughn, Nancy Wilson, Nat King Cole, and Louis Armstrong just to name a few. Each individual song was hand picked for its lyrical significance which touches on the artist's life journey over the past 8 years. Expect to hear rich ballads, upbeat swings, tremendous horns, soothing strings, soulful stories, playful scats and sultry vocals. This album is for the big band jazz enthusiast! This album is dedicated to the artist's musical mentor, who is to the legendary Melton Mustafa Sr., a great musician, songwriter, composer, professor, and leader of the Melton Mustafa Orchestra, in Miami Florida.

Rochelle Lightfoot Jazzy Classics

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Rufus Reid - Quiet Pride: The Elizabeth Catlett Project

Size: 135,3 MB
Time: 58:45
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Post Bop
Art: Front

01. Prelude To Recognition ( 1:48)
02. Recognition ( 7:42)
03. Mother And Child (12:56)
04. Tapestry In The Sky (15:49)
05. Singing Head ( 8:29)
06. Glory (11:57)

On Rufus Reid’s ambitious new project, the 70-year-old jazz legend channeled inspiration from famed artist Elizabeth Catlett’s work and composed a six-part movement using a 20-piece orchestra to accompany his upright. Reid’s profound vision comes to life beginning with the ominously bowed opening of “Prelude to Recognition,” which flows into “Recognition,” a powerfully contrasting jazz tune with cleverly phrased walking lines over syncopated drumbeats. As the album concludes with the big band sound of “Glory,” Reid takes a victory lap while displaying the rich, ruminative lines that have solidified him as a jazz staple. ~Jon D'Auria

Quiet Pride:The Elizabeth Catlett Project  

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Géraldine Laurent - Time Out Trio

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 47:13
Size: 108,6 MB
Art: Front

(4:03)  1. Autumn Nocturne
(4:09)  2. Lester Left Town
(5:52)  3. I Fall In Love Too Easily
(2:38)  4. Rejoicing
(5:18)  5. Skylark
(7:13)  6. Fable Of Faubus
(4:23)  7. A Quiet
(6:23)  8. Repeat
(5:00)  9. Tijuana Gift Shop
(2:10) 10. Love Letters

Formidable, as her compatriots would say. Time Out Trio, the debut album from young French saxophonist Geraldine Laurent, introduces a bare knuckle force of nature, well-versed in the jazz tradition but not afraid to put her own abandoned spin on it. Rough-edged, risk-taking, high octane, totally in the moment, the music bursts out of the speakers like a hurricane. Laurent's alto playing is rooted in Charlie Parker, his wild, sometimes squawking, clattering attack played with a slightly softer read and with a narrower embouchure, but still well tough. Other voices echo round the edges: alto saxophonists Ornette Coleman, Cannonball Adderley and Joe Harriott. And occasionally, on the infrequent ballad, the divine Paul Desmond. But most of the time, Laurent, who's on-mic for practically the entire 47 minutes of the album, just wails. Recorded in a Paris studio in December 2006, Time Out Trio has an in-your-face, warts-and-all, lo-fi live sound, brilliantly suited to Laurent's gutsy style. There are nine standards and one original, and it's surely no coincidence that two of the tunes are by bassist and bandleader Charles Mingus, whose turbulent spirit resonates here. The longest track, a seven-plus minute head-charge through Mingus' ferocious "Fables Of Faubus," is outstanding. 

Laurent romps through the tune and an extended solo paying full homage to reed player Eric Dolphy's signature, incandescent reading on Charles Mingus Presents Charles Mingus (Candid, 1960), avoiding the tortured outer extremes of Dolphy's vocalizations, yet communicating plenty of her own rebel passion. Mingus, you sense, would have loved it. Other standouts though there isn't one dud on the set include dynamic readings of Wayne Shorter's "Lester Left Town" and Hoagy Carmichael's "Skylark," and Laurent's own "A Quiet," which is a soft, wistful ballad before the gas gets turned up. Laurent is perfectly matched by her colleagues, bassist Yoni Zelnik and drummer Laurent Bataille. Both stand toe-to-toe alongside her throughout, and Mingus analogies continue to suggest themselves. Zelnik plays with the same muscle and abandon, Bataille with the confrontational zeal of the great man's favorite drummer, Danny Richmond. Most of the time, they work the engine room Zelnik with a mixture of ostinatos and free flourishes, Bataille in call-and -response and each thrills on his couple of brief solos. This is an extraordinary debut album, and Geraldine Laurent is a gale force blast of good news.~ Chris May http://www.allaboutjazz.com/time-out-trio-geraldine-laurent-dreyfus-records-review-by-chris-may.php#.VBH_qRZZjkc

Personnel: Geraldine Laurent: alto saxophone; Yoni Zelnik: bass; Laurent Bataille: drums.

Time Out Trio

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Katy Setterfield - Katy

Styles: Jazz, Vocal
Year: 2012
File: MP3@320K/s
Time: 44:46
Size: 102,7 MB
Art: Front

(3:05)  1. At Last
(3:34)  2. Never Tear Us Apart
(4:35)  3. I Don't Want To Hear It Anymore
(4:13)  4. Spooky
(3:22)  5. Breakfast In Bed
(4:42)  6. Song For You
(3:12)  7. The Sun Ain't Gonna Shine (Anymore)
(4:18)  8. What Becomes Of The Brokenhearted
(5:29)  9. Stay With Me Baby
(4:20) 10. Lilac Wine
(3:51) 11. Afraid To Let Go

Where do you start to write a biography? A life is like an onion; look at one layer and there are others underneath. At the most superficial level, Katy Setterfield is easy to describe. When she won the BBC show ‘The One and Only’, went on to Las Vegas and ultimately to a leading role in ‘Respect La Diva’ in the West End, it was, as they say, a case of sudden overnight success after 20 plus years of hard work. The next layer down would see Katy learning her trade in clubs and shows and theatres around the country and, at times, around the world. She has always been able to turn her hand to providing music, not just her powerful singing voice she can play keyboards with equal skill, for a variety of purposes and settings. She worked in Cyprus, Japan and around the UK with her own music and, whenever possible, with her loyal musician friends and colleagues who were more than happy to turn out and be the band behind Katy’s Komet. Her ability to sing many different styles and with a musician’s ear for accents and inflections allowed her to develop into a key performer with notable travelling music shows. Most particularly her success within the ‘Legends’ show lead on to her eight years as the leading female vocalist with ‘That’ll be The Day’ where legions of people saw and heard her sing as Dusty, Petula, Whitney, Shirley, Tina, Annie and many, many others. Not surprisingly, what these shows did not give her was the chance to be, and showcase, herself. So, then, who is she? The confident Katy who runs her own show for two hours from the front of the stage is not the one who started her musical journey. 

At the core of her career onion is the little girl who knew one thing and one thing only (well, that is if you discount horses) which was that she was going to be a musician. She loved school, but she loved getting out of it more. Her learning was more directed to proficiency with music. Music of all kinds were ‘her thing’; from Motown to Mozart. She powered her way through all the pianoforte grades until the point where the only additional qualifications were for teachers. Teachers were not actually high on Katy’s list of role models. Many little girls have performed solo karaoke with a hair brush in front of a mirror with dreams of a singing career long before anyone had heard of Simon Cowell. Few, however, have had Katy’s iron resolve to carry aspiration through to reality. Katy was born and raised on the Bucks/Herts border and supported, then and now by her family and friends. Unlike other singers, she has no need to shout ‘Mum, the girl done good!’ Katy’s parents and family know that already. Katy started 2010 with her dog, her horse and a husband. She lost them all within the year and still misses two of them. Dusty provides more than a past. Her body of work allows Katy to develop, at last, a voice of her own. Fans from her past will expect to see her perform Dusty’s trademark arm gestures, or strut her stuff as Cher, or wear the Annie Lennox hat, but as her latest CD shows, she can step out of the shadow of ‘tribute’ performances and sing the songs she wants to sing. For Katy it is, as it always has been, the song not the singer! Bio ~ http://www.katysetterfield.com/biography/biography.html

Katy

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Julian Lage Group - Gladwell

Styles: Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 50:38
Size: 116,4 MB
Art: Front

(5:33)  1. 233 Butler
(9:06)  2. Iowa Taken
(1:08)  3. Listen Daddy
(4:53)  4. Telegram
(6:49)  5. Margaret
(2:12)  6. Point The Way
(6:27)  7. However
(2:10)  8. Freight Train
(2:09)  9. Cathedral
(4:28) 10. Listening Walk
(2:21) 11. Cocoon
(3:16) 12. Autumn Leaves

The term "concept album" is usually used in connection with rock, but jazz has had its concept albums as well (Charles Mingus' The Black Saint and the Sinner Lady and Miles Davis' Sketches of Spain, for example, are among jazz's most celebrated concept albums). Gladwell is a concept album from jazz guitarist/composer Julian Lage; in the liner notes, Lage explains that he envisioned this 2010 recording as an aural depiction of "an imaginary and forgotten town known as Gladwell." Lage doesn't use any lyrics to depict his fictional town: Gladwell is strictly instrumental. And Lage, who is heard on both acoustic and electric guitar, is appealingly melodic on his own compositions (which dominate Gladwell), as well as a performance of the standard "Autumn Leaves." As a guitarist, Lage favors an airy sound along the lines of Pat Metheny and Jim Hall, and as a composer, his influences range from Metheny to Oregon to Weather Report. 

Lage is not a jazz purist; this is jazz mixed with elements of rock, folk, and European classical music. Gladwell is fusion (there is no shame attached to that word), but it isn't the aggressive and heavily amplified fusion one might associate with Scott Henderson & Tribal Tech, Niacin, or Al di Meola. Actually, the playing on this album is largely, though not exclusively, acoustic. Lage plays a lot of acoustic guitar on Gladwell, and his bassist, Jorge Roeder, is heard on upright bass exclusively (rounding out the quintet lineup are tenor saxophonist Dan Blake, cellist Aristides Rivas, and drummer/percussionist Tupac Mantilla). And while Lage clearly has chops, he doesn't beat listeners over the head with them, or his technique. Lage is very much a storyteller, and that storyteller perspective yields excellent results on Gladwell. ~ Alex Henderson http://www.allmusic.com/album/gladwell-mw0002116512
 

Personnel: Julian Lage (acoustic guitar, electric guitar); Aristides Rivas (cello); Dan Blake (melodica, tenor saxophone); Jorge Roeder (acoustic bass); Tupac Mantilla (drums, percussion).

Gladwell

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Denny Zeitlin - Live At Maybeck Recital Hall

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 63:04
Size: 144,8 MB
Art: Front

(3:37)  1. Blues On The Side
(4:08)  2. Girl Next Door
(8:50)  3. My Man's Gone Now
(2:53)  4. Lazy Bird
(8:33)  5. 'Round Midnight
(6:09)  6. Love For Sale
(4:57)  7. And Then I Wondered If You Knew
(4:58)  8. Country Fair
(4:54)  9. Sophisticated Lady
(4:38) 10. The End Of A Love Affair
(3:08) 11. Just Passing By
(6:12) 12. What Is This Thing Called Love

Although Denny Zeitlin, MD is probably a fine psychiatrist, it is the jazz world's loss that he is not a full-time musician. This live solo performance is one of his greatest triumphs, starting with his infectious opener, "Blues on the Side," which is far too complex to be compared to typical blues. He tackles John Coltrane's "Lazy Bird" at a furious tempo worthy of its composer. Zeitlin's refreshingly deliberate approach to "'Round Midnight" best captures its dark undertones. The pianist's lyrical side is also evident. "Sophisticated Lady" captures the essence of Duke Ellington's landmark work, while "Just Passing By" is a subtle original that conjures images of a brisk stroll at the beginning of autumn. Zeitlin then shifts into high gear for an intense medley of "What Is This Thing Called Love" and "Fifth House" to close with a flourish. ~ Ken Dryden  http://www.allmusic.com/album/live-at-maybeck-recital-hall-vol-27-mw0000104664

Live At Maybeck Recital Hall

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