Ruth Price - Sings With Johnny Smith

Bitrate: 320K/s

Time: 35:00

Size: 80.1 MB

Styles: Vocal jazz, Standards

Year: 1956/2012

Art: Front

[2:38] 1. This Heart Of Mine

[3:33] 2. When You Wish Upon A Star

[1:55] 3. I'm Nobody's Baby

[3:22] 4. Sleeping Bee

[3:53] 5. It Never Entered My Mind

[2:09] 6. Wonderful Guy

[3:36] 7. Until The Real Thing Comes Along

[2:37] 8. Time After Time

[3:24] 9. Goodbye

[2:05] 10. Back In Your Own Back Yard

[3:17] 11. I'll Be Seeing You

[2:26] 12. Run, Little Rain Drop, Run

This album is a set of standards delivered by Ruth Price (who didn't make enough albums during her performing career), backed by Johnny Smith, one of jazz's eminent guitarists. Smith gained significant attention with his album Moonlight in Vermont, which Down Beat named as jazz album of the year, while Price performed in relative obscurity throughout her short career. Because this CD, originally issued by Teddy Reig's Roost Records, offers just a mite more than a half-hour's worth of music, each note should be savored. Price and Smith work wonderfully well together on tasteful arrangements played in an urbane, intelligent, and subdued manner. There are no pyrotechnics on this session. Their collaboration on "This Heart of Mine" rivals Sarah Vaughan's classic rendition. Gordon Jenkins' "Goodbye," with Smith's dramatic guitar and John Rae's softly stroked vibes playing in support of Price, is a highlight of the album. On "When You Wish Upon a Star," made popular by Ukelele Ike Edwards in Pinocchio, Smith abandons his chordal playing for a single string approach behind Price. While comprised mostly of slow ballads, the serious atmosphere is relieved from time to time with an upbeat number, such as "Time after Time" and a bouncy "Back in Your Own Back Yard," done with swinging merriment. Not blessed with an overwhelming voice or great range, Price concentrates on her interpretive skills as she works her cool vocals with very good results. Price didn't record a lot during her career, but what is available is well worth having. ~Dave Nathan

Sings With Johnny Smith

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Tom Harrell - The Art Of Rhythm

Bitrate: 320K/s
Time: 64:47
Size: 148.3 MB
Styles: Trumpet jazz, Latin jazz
Year: 1995
Art: Front

[7:35] 1. Petals Danse
[7:40] 2. Madrid
[6:14] 3. Oasis
[5:43] 4. Caribe
[7:40] 5. Doo Bop
[6:14] 6. Exit In
[4:18] 7. Recitation
[5:38] 8. Las Almas
[6:18] 9. Cinco Quatro
[7:24] 10. Samba De Amor

Tom Harrell's latest release places his lyrical trumpet and flugelhorn in a Latin jazz setting. All the compositions are his own, and the ensembles employ a number of different artists: featuring Greg Tardy on both clarinet and tenor saxophone, the session also includes violinist Regina Carter, drummers Yoron Israel, Duduka Da Fonseca and Leon Parker, bassists Ugonna Okwego, David Finck, and Andy Gonzalez, bassoonist Makanda Ken McIntyre, and David Sanchez on both soprano and tenor saxophones. Tracing the jazz flugelhorn from early exponent Clark Terry through the late `50s explorations of Miles Davis and Roy Eldridge, then to the later popularity of Chuck Mangione, Harrell's dark, legato expressiveness compares favorably with the instrument's intended function, and the leader is especially comfortable providing softer, gentler Latin melodies.

"Petals Danse" combines Romero Lubambo's acoustic guitar with Greg Tardy's clarinet and Harrell's flugelhorn for a softly flowing piece that evokes memories of Chet Baker's lovely sound. "Samba Do Amor," featuring Sanchez' tenor and Mike Stern's electric guitar, is a lively composition that allows much room for improvisation by them both as well as Harrell. "Madrid" combines the timbres of Brian Carrott's marimba and Gary Smulyan's bass clarinet with flugelhorn and acoustic guitar over a spirited marching rhythm. The dramatic "Oasis" and "Caribe," both highly rhythmic compositions with intriguing twin bassists and appropriate percussion, feature Dewey Redman's tenor saxophone with the highlights of this session. On the former, Redman is supported by exciting piano counterpoint from Danilo Perez; on the latter, Redman's fiery statements are tempered by the steel drum accompaniment of Adam Cruz. Keeping the rhythm at a fascinating level, "Cinco Quatro" is in 5/4 and features lyrical solos from Sanchez on soprano sax, Harrell on flugelhorn, and Lubambo's acoustic guitar. Saxophonist Tardy is especially bold, but always lyrical on "Doo Bop" and "Recitation," and as clarinetist on "Las Almas."

Tom Harrell shares the spotlight with many on this session, introducing new talent and featuring veterans. In dedicating the album to two of his respected associates – the proprietor of Los Angeles' premier jazz club, Catalina Popescu, and powerful Santana trumpeter Luis Gasca – Harrell reminds the general public that his heart remains intent on bringing a wide array of art to his appreciative audiences. Recommended. ~Jim Santella

The Art Of Rhythm

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Ken Slavin - I'll Take Romance

Bitrate: 320K/s
Time: 56:23
Size: 129.1 MB
Styles: Cabaret, Vocal
Year: 2007
Art: Front

[4:37] 1. Thoughts Of Your Smile
[1:50] 2. You'd Be So Nice To Come Home To
[2:57] 3. Tea For Two
[3:14] 4. I'll Take Romance (Snappy Vers)
[4:35] 5. Alone
[3:08] 6. Just You, Just Me
[4:33] 7. But Beautiful
[3:55] 8. Come Rain Or Come Shine
[3:51] 9. I Can't Reach Your Heart
[3:12] 10. Day By Day
[3:43] 11. I Could Have Danced All Night
[3:54] 12. Do Nothin' Til You Hear From Me
[2:51] 13. Mangos
[3:17] 14. That's My Desire
[3:43] 15. Summer Samba (So Nice)
[2:57] 16. I'll Take Romance (Sexy Vers)

"I choose to work in the jazz and cabaret genres because they offer me the most freedom," Ken says.

Ken came of age in the 1970s and '80s - during the height of Disco and New Wave music - but always had a secret love affair with the music of the 1930s and '40s: the timeless jazz and pop standards of the Great American Songbook. "I was born in the wrong era," he has often commented.

He was influenced by many classic jazz and pop singers -- all of whom were famous before he was born. His "music school" was his bedroom (and sometimes the shower!), where he sang along with records by Sarah Vaughan, Nat "King" Cole, Frank Sinatra, Johnny Mathis, Patsy Cline, Tony Bennett, Ella Fitzgerald, Matt Monro, Peggy Lee, Mel Torme, Doris Day, Eydie Gorme, Bobby Darin, Jo Stafford and his longtime favorite, '50s and '60s pop superstar Connie Francis.

I'll Take Romance

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Scott Hamilton, Howard Alden, Frank Tate - A Splendid Trio

Styles: Mainstream Jazz, Standards
Year: 2011
File: MP3@320K/s
Time: 61:49
Size: 142,1 MB
Art: Front

(5:19)  1. There'll Be Some Changes Made
(4:26)  2. The Duke
(5:41)  3. Guess I'll Hang My Tears Out to Dry
(4:55)  4. I Won't Dance
(7:30)  5. Swedish Pastry
(7:22)  6. Upper Manhattan Medical Group
(4:04)  7. With Someone New
(5:09)  8. Russian Lullaby
(5:11)  9. Changes
(6:24) 10. Just One More Chance
(5:42) 11. Indian Summer

Scott Hamilton, Howard Alden, and Frank Tate have a lot in common, in addition to each of them having worked with the late cornetist Ruby Braff on number of record dates and concerts. All three of them have vast repertoires of standards and jazz works, while they all keep the melody within reach when constructing their superb solos. The lack of piano is never an issue, as Alden's adept use of his seven-string electric guitar enables him to add depth to his playing, while Hamilton's big swinging tone is a throwback to the heyday of Coleman Hawkins, Lester Young, and Ben Webster. The trio members show they mean business with the energetic treatment of the old warhorse "There'll Be Some Changes Made," featuring intricate interwoven lines and top-drawer solos. Their lyrical setting of Dave Brubeck's "The Duke" is an intimate swinger that captures the nuances of Ellington suggested by the pianist in this timeless piece. 

They rework the Billy Strayhorn gem "Upper Manhattan Medical Group" as a breezy bossa nova, while the late Flip Phillips ballad "With Someone New" is a lush duet for tenor sax and guitar, with Hamilton's breathy vibrato beautifully complemented by Alden's subtle playing. "Indian Summer" is another old chestnut that still stimulates great jazz performances, with potent solos all around and an extended feature for Tate. The title A Splendid Trio is very much truth in advertising for this rewarding CD. ~ Ken Dryden  http://www.allmusic.com/album/a-splendid-trio-mw0002141885

Personnel:  Scott Hamilton - Tenor Saxophone; Howard Alden – Guitar; Frank Tate - Bass

A Splendid Trio

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The Stan Kenton Alumni Band - Road Scholars (Live)

Styles: Jazz, Big Band
Year: 2014
File: MP3@320K/s
Time: 68:06
Size: 157,1 MB
Art: Front

(5:20)  1. Neverbird
(4:08)  2. I Have Dreamed
(5:11)  3. Stompin' at the Savoy
(6:33)  4. Chico & The Man
(6:07)  5. Sneaky
(5:10)  6. Yesterdays
(3:56)  7. Beautiful Friendship
(6:32)  8. Stockholm Sweetnin'
(6:13)  9. Cinnamon & Clove
(3:47) 10. Nessun Dorma
(2:41) 11. Lullaby of Broadway
(3:16) 12. Reed Rapture
(7:14) 13. Alex Revisited
(1:53) 14. America the Beautiful

Road Scholars? A clever title indeed, but these gentlemen (and three ladies) are more akin to "road maestros," an appraisal that is abundantly clear from A to Z on this latest recording by trumpeter Mike Vax's turbo-charged Stan Kenton Alumni Band, taped at various concerts during the band's 2013 spring tour, a two-week, three-thousand-mile odyssey that encompassed a dozen concerts in six states and the District of Columbia. About four thousand people were lucky enough to see and hear the band in person; the rest of us will have to make do with these fourteen imperfect snapshots culled from its series of remarkable performances. The word "imperfect" is used not owing to any weakness in the band itself but simply because there is nothing as impressive or inspiring as seeing a band such as this while seated in the audience. 

Be that as it may, inserting this recording in a CD player and pressing "play" is the next best thing to being there. The repertoire runs the gamut from Jose Feliciano to Giacomo Puccini, Jerome Kern to Quincy Jones, the band is sharp and smokin' from the outset, and there's never a letdown during almost seventy minutes of splendid music-making. The disc opens, appropriately enough, with trumpeter Ray Brown's free and easy flag-waver, "Neverbird," written in honor of Kenton's tour bus, which bore that nickname, but never recorded by the Kenton orchestra. Agile solos courtesy of tenor Pete Gallio and trumpeter Carl Saunders, exemplary timekeeping (as is always the case) by drummer Gary Hobbs and bassist Jennifer Leitham. Trombonist Dale DeVoe arranged Rodgers and Hammerstein's "I Have Dreamed" (from The King and I), on which he solos with trumpeter Don Rader and the band's youngest member, pianist Charlie Ferguson. The litmus test for any big band is Bill Holman's classic arrangement of "Stompin' at the Savoy," and if the Kenton alums don't ace it they come extremely close, thanks to forceful blowing by the ensemble and persuasive solos from Ferguson, Rader, Leitham and tenor Rick Condit. Feliciano's lyrical theme from "Chico and the Man" is next (solos by Vax and Condit), followed by trumpeter Steve Huffsteter's impish original, "Sneaky" (on which he is out front with Gallio, Saunders and alto Kim Richmond) and another memorable Holman chart, "Yesterdays," with Condit sitting in for its catalyst, the late Bill Perkins. 

Rader, Richmond and Ferguson shine again on Rick Stitzel's lively arrangement of the standard "A Beautiful Friendship." Besides playing great trombone, Scott Whitfield is one-half of a delightful singing duo with Ginger Berglund , and they are simply marvelous on Quincy Jones' Stockholm Sweetnin'" and Johnny Mandel's "Cinnamon and Clove," after which Vax's soaring trumpet is showcased on Puccini's enchanting "Nessun Dorma," an aria immortalized by tenor Luciano Pavarotti. Whitfield is the soloist on Harry Warren's engaging "Lullaby of Broadway," nicely arranged by Lennie Niehaus for Kenton's dance book, which precedes the album's lone Kenton composition / arrangement, "Reed Rapture," a sumptuous tone poem for the saxophones (sans rhythm section) written in 1940. The band rings down the curtain with DeVoe's debonair "Alex Revisited," a close cousin to his equally well-knit "Alex's Tune," which debuted on the band's earlier album Sounds from the Road (Summit 518), and DeVoe's powerful Kenton-inspired arrangement of Samuel Ward's "America the Beautiful." DeVoe, Ferguson, Hobbs and baritone Phil Hilger solo on "Alex Revisited." 

Apart from its obvious awareness and proficiency, this truly is an alumni band, as no less than a dozen of the twenty members including everyone in the trumpet section once played with the renowned Stan Kenton Orchestra. Needless to say, that kind of experience is worth more than its weight in gold. The Kenton alliance extends to three of the saxophonists, three trombonists and, perhaps most decisively, to drummer Hobbs who teams with Leitham to act as the ensemble's unerring compass, reinforced along the way by percussionist Dee Huffsteter. To observe that these Road Scholars have passed every test would be an understatement. Even with sound that is inescapably variable, the band rises above every obstacle to produce a recording whose excellence would surely have left Kenton himself beaming with pride. ~ Jack Bowers  http://www.allaboutjazz.com/stan-kenton-alumni-band-road-scholars-by-jack-bowers.php#.VBoThRawTP8

Personnel: Mike Vax: trumpet, music director; Dennis Noday: trumpet; Carl Saunders: trumpet; Don Rader: trumpet; Steve Huffsteter: trumpet; Kim Richmond: alto sax; Pete Gallio: tenor sax; Rick Condit: tenor sax; Joel Kaye: baritone sax; Phil Hilger: baritone sax; Roy Wiegand: trombone; Dale DeVoe: trombone; Kenny Shroyer: trombone; Scott Whitfield: trombone, vocals; Rich Bullock: bass trombone; Charlie Ferguson: piano; Jennifer Leitham: bass; Gary Hobbs: drums; Dee Huffsteter: percussion; Ginger Berglund: vocals.

Road Scholars (Live)

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Remi Charmasson Quintet - The Wind Cries Jimi

Styles: Jazz Fusion
Year: 2013
File: MP3@320K/s
Time: 46:29
Size: 107,0 MB
Art: Front

(6:12)  1. Little Wing
(6:03)  2. One Rainy Wish
(7:19)  3. Burning Of The Midnight Lamp
(5:44)  4. Voodoo Chile
(3:29)  5. Wait Until Tomorrow
(6:22)  6. Them Changes
(6:22)  7. The Wind Cries Mary
(4:55)  8. People Get Ready

Mountain Hendrix. For the climb, should borrow the most prestigious tracks, trying to browse faster, more sporting than the predecessors? Should we open a new passage that illuminates the work in a new light? Rémi Charmasson and his quintet favor a middle way, staying true to the particular condition of the left Seattle for composition, while sidelining the most famous plane its image, guitar hero. Certainly we hear on The Wind Cries Jimi few solos anthology - especially in "Wait Until Tomorrow" surge of energy saturated sublimated by the wah-wah effects and overlays. But the choice of repertoire makes it clear that the group prefers to focus on longer written pieces. We do not find here the "Hey Joe," "Wild Thing", "Purple Haze" and other "Red House" titles certainly true undergoing shock treatments at concerts Hendrix but harmonically more minimalist. The quintet has retained securities representing the essence of the composition hendrixienne and stressing its "pop", "Burning of the Midnight Lamp", "One Rainy Wish", "Little Wing" ... 

The harmonic digressions Perrine Mansuy contribute widely to reveal further write this wealth. In addition, arrangements highlight the pieces as songs, thanks to the interpretation of Laure Donnat truly inhabited by the texts she appropriates masterfully bypassing the melody and pushing far the art of rubato . We may be surprised to hear at the end of album, "People Get Ready" by Curtis Mayfield: the latter having had a significant influence on Hendrix, one will see a way to contextualize it in the sixties, instead of restrict it to a meteorite would have changed everything in less than four years. The long quote from "Hey Jude" at the end of "The Wind Cries Mary" is the same approach. The greatest success of The Wind Cries Jimi is make people want to listen to Hendrix. Not to prefer the original to the copy, but to rediscover the richness of a work sometimes masked by the excess of the purely guitar musician. Translate by google  http://www.citizenjazz.com/Remi-Charmasson-Quintet.html
 

Personnel:  Laure Donnat – Vocals; Remi Charmasson – Guitars; Bernard Santacruz – Bass; Perrine Mansuy - Piano, Organ, Synthesizers; Bruno Bertrand - Drums

The Wind Cries Jimi

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Tierney Sutton - Paris Sessions

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 52:19
Size: 120,1 MB
Art: Front

(3:27)  1. You Must Believe in Spring
(2:16)  2. Ilm
(5:53)  3. Don't Go to Strangers
(5:53)  4. Beija Flor
(3:12)  5. You're Nearer
(5:20)  6. Estate
(4:54)  7. All Too Soon
(3:43)  8. Asma
(3:32)  9. Body and Soul
(5:46) 10. Izzat
(4:37) 11. Don't Worry 'Bout Me
(3:42) 12. Answer Me, My Love

Think you know every aspect of Tierney Sutton's artistic persona? Think again. Hearing the Paris Sessions is to hear Sutton anew. Sure, it's that same one-of-a-kind voice, but there's no Tierney Sutton Band here, incredibly novel arrangements aren't a priority on this one, and there's no grand umbrella theme to contend with. This is simply a captivating listen-by-candlelight album that strikes to the heart of Tierney Sutton. Paris Sessions is easily the most informal item in Sutton's discography, but the idea of informality shouldn't carry a negative connotation; quite the opposite, in fact. This is a work of unfiltered beauty, successfully pairing vocal temptress with guitar and bass guitar. Two of the numbers recorded at this two day session "Don't Go To Strangers" and "Answer Me, My Love" appeared on Sutton's After Blue (BFM Jazz, 2013); the other ten more standards, some bossa nova detours, and three originals written by Sutton's chief collaborator on this project, guitarist Serge Merlaud  are heard for the first time.

Merlaud is along for this entire ride, an equal partner seated beside the singer. Some brief numbers even cede more than a minute to Merlaud, allowing for proper mood setting and introductions ("You Must Believe In Spring" and "You're Nearer"). Elsewhere, Sutton leads the way, coolly gliding into a scene in inimitable fashion ("Estate"). Seven of the twelve numbers on the program also include the acoustic bass guitar work of Kevin Axt. He provides integral support when holding down the bottom end, but he also takes on the role of rhythm guitarist on several occasions, allowing Sutton and Merlaud to drift along above. Sometimes it takes the arrival of an album to realize that something was missing in the first place. Such is the case with Paris Sessions. This is the hushed Sutton stunner that the jazz world didn't even know it needed. ~ Dan Bilawsky  http://www.allaboutjazz.com/paris-sessions-tierney-sutton-bfm-jazz-review-by-dan-bilawsky.php#.VBoZBRawTP8
 

Personnel: Tierney Sutton: vocals; Serge Merlaud: acoustic guitar, electric guitar; Kevin Axt: acoustic bass guitar.

Paris Sessions

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Sam 'The Man' Taylor - Somewhere In The Night

Bitrate: 320K/s
Time: 34:29
Size: 79.0 MB
Styles: Saxophone jazz
Year: 1964/2011
Art: Front

[2:42] 1. Somewhere In The Night (Theme From Naked City )
[2:43] 2. Cry Me A River
[2:53] 3. Jitterbug Waltz
[2:16] 4. Marnie Theme
[2:53] 5. The Night We Called It A Day
[2:47] 6. Easy Living
[3:05] 7. Moonlight Becomes You
[3:22] 8. Midnight Sun
[3:01] 9. Moonglow
[2:56] 10. Night Train
[2:50] 11. Where Are You Tonight
[2:56] 12. Lament

A certified honking sax legend, Sam "The Man" Taylor's non-stop drive and power worked perfectly in swing, blues, and R&B sessions. He had a huge tone, perfect timing, and sense of drama, as well as relentless energy and spirit. Taylor began working with Scat Man Crothers and the Sunset Royal Orchestra in the late '30s. He played with Cootie Williams and Lucky Millinder in the early '40s, then worked six years with Cab Calloway. Taylor toured South America and the Caribbean during his tenure with Calloway. Then, Taylor became the saxophonist of choice for many R&B dates through the '50s, recording with Ray Charles, Buddy Johnson, Louis Jordan, and Big Joe Turner, among others. He also did sessions with Ella Fitzgerald and Sy Oliver. During the '60s, Taylor led his own bands and recorded in a quintet called the Blues Chasers. ~ Ron Wynn

Somewhere In The Night

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Bill Allred's Classic Jazz Band - Things Ain't What They Used To Be

Bitrate: 320K/s
Time: 76:52
Size: 176.0 MB
Styles: Big band
Year: 2006
Art: Front

[5:35] 1. Things Ain't What They Used To Be
[4:04] 2. I'm Comin' Virginia
[5:16] 3. When My Dreamboat Comes Home
[3:01] 4. You Can Depend On Me
[4:01] 5. Travelin' Blues
[2:43] 6. I'm Gonna Stomp Mr. Henry Lee
[5:30] 7. Caravan
[3:39] 8. At The Jazz Band Ball The Joint Is Jumpin'
[7:20] 9. The Man I Love
[4:01] 10. Lady Of Spain
[4:21] 11. Memphis Blues
[4:53] 12. Yes Sir, That's My Baby
[5:06] 13. Get Your Kicks On Route 66
[2:56] 14. High Society
[3:17] 15. You Must Have Been A Beautiful Baby
[5:06] 16. In A Sentimental Mood
[5:56] 17. Old Man River

This CD is respectfully dedicated to the late Dean Harvey, super jazz fan, devoted husband of Lois Harvey and co-founder of our loyal fan club. Dean was always after us to play Things Ain't What They Used To Be. We played it often as a head chart, but never could find an appropriate arrangement of it. Enter: talented arranger, percussionist Terry Waddell. Terry crafted a super version of this Ellington composition and it seemed to be the perfect title tune. Terry also arranged the wild treatment of Lady Of Spain. The arranging genius of Dave MacKenzie is again present in Jay's bass solo, In A Sentimental Mood, Bill's Route 66 and the classic Old Man River. The eclectic mixture of tunes on this, our actual 12th CD, features all of the guys including our piano battalion, Randy, Jeff and Bill. Usually in this business you are really scraping for piano players. Not us, in this case. As in all of our other CDs we still leave room for some works of our mentor, Matty Matlock.

In our estimation, no one could capture the excitement of music of the period and write it for 8-10 guys quite like Matty. He was also a wonderful clarinet player. Highly underrated. 2007 will mark the 100th anniversary of his birth in Paducah, Kentucky. Too bad there is no Matty Matlock plaque there.

So, here we are, still roaring along in this our 12th effort to embrace stuff from early trad to hard core swing. We still enjoy a loyal fan base and a substantial market for good music, played well. Yes, Things Ain't What They Used To Be. Why, there used to be a band in every corner saloon. Most towns had a real jazz club, some even had a radio station that played jazz. Man, those were great times. We need to bring them back.

Thanks, and enjoy our number 12. Good Listening! ~BILL ALLRED

BILL ALLRED - leader, trombone, vocals; JOHN ALLRED - trombone; CHARLIE BERTINI – trumpet, vocals; BOBBY PICKWOOD – trumpet, vocals; TERRY MYERS – clarinet, tenor/baritone saxes; BILL HUNTER – piano; RANDY MORRIS – piano, trumpet, vocals; JEFF PHILLIPS – piano; JAY MUELLER – bass, tuba; WARREN SAUER – drums; BOB LEARY – guitar, banjo; MAX CORZILIUS - drums. Recorded at Starke Lake Studios in Ocoee, FL April, 2006

Things Ain't What They Used To Be

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Rosemary Clooney - Sentimental Journey

Bitrate: 320K/s
Time: 57:49
Size: 132.4 MB
Styles: Vocal
Year: 2001
Art: Front

[3:31] 1. That Old Black Magic
[3:56] 2. I'm Glad There Is You
[3:33] 3. I've Got My Love To Keep Me Warm
[5:04] 4. You Go To My Head
[3:06] 5. And The Angels Sing
[4:43] 6. Happiness Is A Thing Called Joe
[2:26] 7. I'm The Big Band Singer
[3:47] 8. You Belong To Me
[2:48] 9. I'll Be Around
[3:49] 10. I've Got A Right To Sing The Blues
[2:43] 11. Ya Got Class
[4:17] 12. Rockin' Chair
[2:06] 13. The Singer
[3:51] 14. They Can't Take That Away From Me
[4:06] 15. Sentimental Journey
[3:57] 16. I Cried For You.Who's Sorry Now.Goody Goody

Rosemary Clooney's renaissance on Concord continues with Sentimental Journey, her 20th-plus disc for the label. This set of standards and two new set pieces recalls her pre-"Come-On a My House" days while asserting her ongoing strength at 73. Clooney moves from various shades of romance ("That Old Black Magic," "Happiness Is a Thing Called Joe") to a display of comic timing ("Ya Got Class") that suggests she could've developed a second career on the "legitimate" stage. Supple solos by Matt Cowan (tenor sax) and bandleader Matt Catingub (alto) bring further depth to the likes of "And the Angels Sing" and "You Belong to Me." The single most affecting track, though, is an "I'll Be Around" that finds Clooney accompanied by Catingub's solo piano--a finer tribute to Frank Sinatra, who defined the song on In the Wee Small Hours, than the two stolid odes to him and the craft. ~Rickey Wright

Sentimental Journey

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Ralph Reichert Quartet With Randy Sandke - Reflections

Styles: Trumpet And Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 77:07
Size: 176,9 MB
Art: Front

( 9:22)  1. Just In Time
( 8:03)  2. My Ideal
( 9:42)  3. Reflections
( 9:08)  4. Darn That Dream
(10:17)  5. Bernie's Tune
( 9:25)  6. Nancy With The Laughing Face
( 9:49)  7. It Might As Well Be Spring
(11:17)  8. What Is This Thing Called Love

Mainstream albums that continue to interpret and reinterpret the Great American Songbook have to be assessed with a different set of criteria than more overtly contemporary forms of the idiom. They rarely break any new ground, and the players, while often highly capable, or not necessarily what one would call adventurous. Still, there's a lot to be said for a well-organized, well-executed set of mainstream jazz, and tenor saxophonist Ralph Reichert and his quartet, on the live set Reflections , clearly have it. Energetic and swinging at times, tender and heartfelt at others, Reichert and the group are filled with a positive energy and the songs literally jump out of the speakers. This may not be trend-setting music, but it is clearly compelling stuff, and makes as good an argument as any that the mainstream can still be vibrant and exciting. 

Guest trumpeter Randy Sandke has an interesting history that saw him turn down an opportunity to play with Janis Joplin because of a hernia in his throat, a condition which, while ultimately cured, caused him to eschew the trumpet and work as a guitarist for most of the '70s. He returned to the trumpet again in the '80s, working with artists including Vince Giardino, Bob Wilbur and, most notably, Benny Goodman's last band in the mid-'80s, which established him as a fine player in the swing tradition. He possesses a sharp tone, and a direct and economical style. Drummer Wolff Reichert demonstrates a sense of time, conciseness and flair that comes from one of his main influences, Steve Gadd. Pianist Buggy Braune is a comfortable accompanist, and a soloist who brings together traditions as diverse as Oscar Peterson and Bill Evans. Bassist Andreas Henze may have a background in classical music, but here he swings hard, contributing a number of well thought-out solos. And Ralph Reichert is a melodic player with a sense of the dramatic that comes from the Joe Lovano school; this comes as no surprise as he also works with guitarist Hendrik Meyer, exploring and expanding on the work done by Lovano with John Scofield. 

The set list may be conventional, with the band working their way through well-heeled tunes including "Darn That Dream," "It Might As Well Be Spring" and "What Is This Thing Called Love," and giving a more straightforward and less idiosyncratic reading of Monk's "Reflections," but the set is wonderfully paced, generating energy at just the right time, while knowing exactly when to slow down the pace and let the audience breathe. Without a doubt the Birdland Jazzclub in Hamburg must have been an extremely fun place to be on March 8, 2002, when this set was recorded. What Reflections lacks in creative originality it more than makes up for in sheer engagement, playfulness and fun. And in this case that's absolutely more than enough. ~ John Kelman  http://www.allaboutjazz.com/reflections-ralph-reichert-nagel-heyer-records-review-by-john-kelman.php#.VBXOzBawTP8
 

Personnel: Ralph Reichert (tenor saxophone), Buggy Braune (piano), Andreas Henze (bass), Wolff Reichert (drums), With special guest Randy Sandke (trumpet)

Reflections

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Kluvers Big Band With Matt Harris - Reflections

Styles: Jazz, Big Band
Year: 2013
File: MP3@320K/s
Time: 69:56
Size: 160,6 MB
Art: Front

(6:18)  1. Reflections
(4:52)  2. Looking Glass
(4:16)  3. El Gatote
(8:06)  4. The Prez
(5:05)  5. Top Daddy
(5:51)  6. Cherokee
(7:02)  7. Beijo Inocente
(5:22)  8. I Loves You Porgy
(5:18)  9. Yesterdays
(5:47) 10. Los Brujos
(6:13) 11. Madelyn's Song
(5:41) 12. Inside Out

Matt Harris graduated from the University of Miami with a Bachelor's degree and from the Eastman School of Music with a Master's Degree in Jazz Composition. He moved to Los Angeles in 1984 after touring with jazz greats Maynard Ferguson and Buddy Rich. Matt's versatility as a writer, arranger, and performer keep him very busy in the L.A. studios. His music can be heard on numerous jingles, film scores, CDs, and live productions. Matt has four CDs of original music including "Reflections", his first big band recording, featuring the Kluvers big band from Arhus, Denmark. Matt has three piano books and more than 150 pieces of music published by Kendor Music, Walrus Music, Heritage Jazz Works and UNC Jazz Press. 

Matt has been commissioned to write music for bands from Australia, New Zealand, Japan, The Airmen of Note, The Falconaires, and many high schools and colleges throughout the country. He has also arranged music for the Hollywood Bowl Orchestra and the Metrapole Orchestra from the Netherlands. Matt is the Co-Director of Jazz Studies at California State University Northridge, directing the award winning Jazz "A" Band and teaching jazz arranging, improvisation, combos, jazz harmony, class piano, and private piano instruction. Matt’s performance schedule includes Bellavino Wine Bar in Westlake, High Schools, Universities, and various venues across the globe. http://www.cdbaby.com/cd/mattharris3

Reflections

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Dee Daniels - Intimate Conversations

Styles: Vocal Jazz
Year: 2014
File: MP3@320K/s
Time: 51:31
Size: 118,2 MB
Art: Front

(3:41)  1. Exactly Like You
(6:08)  2. All the Way
(4:28)  3. Come Try My Love
(6:27)  4. Get Here
(5:31)  5. I Who Have Nothing
(5:03)  6. Don't Touch Me
(5:00)  7. 4 Am
(5:21)  8. A Song for You
(4:14)  9. I Wish You Love
(5:34) 10. You'll Never Walk Alone

Dee Daniels, “Intimate Conversations” (Origin Records). Dee Daniels sang once with the Buffalo Philharmonic Orchestra, and though the concert was in 2002, I remember distinctly how good she was. She brought great emotion to a bunch of Ellington songs, and she sang the heck out of the blues. She was fun to write about, too. It’s not every day you can report accurately: “She held that note until it was thin as a ribbon, then fattened it out and pulled it down into the lowlands.” In short, it’s great to hear from Dee Daniels again after all these years. She is in good company, too. She is joined by musicians including but not limited to Cyrus Chestnut on piano.

Wycliffe Gordon on trombone, Houston Person on sax and Russell Malone on guitar. There are tremendous growly sax and trombone solos, almost like another singer, and Daniels responds to that vibe. (“All the Way” has to be heard to be believed.) The atmosphere is gritty and Tin Pan Alley. Daniels plays piano for herself in Leon Russell’s “A Song For You,” a kind of signature song for her. My one criticism of Daniels is that she doesn’t quite have the romance bit down. In “Exactly Like You” she doesn’t sound exactly loving. “Come Try My Love,” a tune of iffy quality that Daniels wrote, lacks that note of longing. The antagonistic blues “Don’t Touch Me” sounds like it’s more her speed. Then again, sometimes recordings can be a bit sterile. OOO½ (Mary Kunz Goldman)  http://www.buffalonews.com/gusto/classical/cd-review-dee-daniels-intimate-conversations-20140914

Personnel: Dee Daniels (vocals); Russell Malone (guitar); Ken Peplowski (clarinet); Houston Person, Bob Kindred (tenor saxophone); Wycliffe Gordon (trombone); Cyrus Chestnut (piano); Ted Brancato (keyboards).

Intimate Conversations

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Kenny Barron & Dave Holland - The Art Of Conversation

Styles: Jazz
Year: 2014
File: MP3@320K/s
Time: 64:25
Size: 147,8 MB
Art: Front

(6:14)  1. The Oracle
(6:21)  2. The Only One
(7:32)  3. Rain
(5:58)  4. Segment
(6:11)  5. Waltz For K.W.
(6:21)  6. In Walked Bud
(6:42)  7. In Your Arms
(5:14)  8. Dr Do Right
(6:09)  9. Seascape
(7:37) 10. Day Dream

Two jazz greats, pianist Kenny Barron and bassist Dave Holland will be releasing a new duo record titled The Art of Conversation October 14th on the recently revived Impulse! Records label. The album features seven originals (four from Holland and three from Barron) as well as covers of Monk, Parker and Ellington. In addition to the record the pair, who have been performing together since 2012, will embark on a U.S./European tour from late October through early December. Impulse! was relaunched earlier this year with a focus on new records from a number of artists including Madeleine Peyroux, Jacky Terrasson, Randy Weston and Barron. Before this year's releases, the label had been inactive since Alice Coltrane's Translinear Light in 2004. http://www.jazz.fm/index.php/news-a-events-mainmenu/10659-dave-holland-a-kenny-barron-the-art-of-conversation

Personnel :  Kenny Barron – Piano; Dave Holland – Bass.

The Art Of Conversation

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Dizzy Gillespie - Essential Live (NYC Town Hall, June 22, 1945)

Size: 94,8 MB
Time: 40:43
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz: Trumpet Jazz, Bop
Art: Front

01. Intro (Live) (1:19)
02. Bebop (Live) (7:12)
03. A Night In Tunisia (Live) (7:34)
04. Groovin' High (Live) (7:17)
05. Salt Peanuts (Live) (7:52)
06. Hot House (Live) (7:14)
07. Fifty Second Street Theme (Live) (2:12)

The historic live Town Hall sessions by Dizzy Gillespie and Charlie Parker from 1945 have been discovered on an acetate pressing, and are transferred with digital enhancement to CD. Why this concert was not issued initially is understandable, but Ira Gitler's informative and insightful liner notes suggest they likely were misplaced. What Gitler's essential writing also reveals is that these dates were approximate by only weeks to the original studio recordings of these classics, and there was no small amount of controversy surrounding this revolutionary bebop. Clearly bop was a vehicle for intricate melodic invention followed by lengthy soloing, aspects of which Parker with Gillespie were perfectly suited for. Fact is, the situation surrounding the sonic capture and extended neglected shelf life of this performance was far from optimal. Symphony Sid Torin is the M.C., rambling as always, making repeated references to Dizzy "Jillespie" and misidentifying Max Roach as Sid Catlett on "Salt Peanuts." (Catlett does sit in on "Hot House" in a more supportive than demonstrative role.) The tracks with the brilliant Roach are on fire, particularly the super-hot "Salt Peanuts," with pianist Al Haig flying beside him. Haig is perhaps the most impressive musician. The rhythm section, especially Haig, is more present in the mix and up front, while the trumpet and alto sax are buried. As the concert progresses, it gets better, with Gillespie's muted trumpet clearer. Parker lays back on the mike, but not in spirit or bravado for "Interlude," which is now known as "A Night in Tunisia," and better balanced during "Groovin' High," which was originally titled "Whispering." There seems to be an unplanned slight key chance in the bridge of "Groovin' High." A late-arriving Parker was in part replaced by tenor saxophonist Don Byas, who sounds terrific on the opener, "Bebop," until Parker steps on-stage and ups the ante. At under 41 minutes in length, this can be looked upon as a historical document, likely appealing only to completists. But the overriding factor of previously undiscovered Diz and Bird makes the CD something all bebop fans should readily embrace, despite its audio deficiencies. ~Review by Michael G. Nastos

Essential Live

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Martin Wind Quartet - Turn Out The Stars: Music Written Or Inspired By Bill Evans

Size: 167,7 MB
Time: 72:41
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Straight-Ahead/Mainstream Jazz
Art: Front

01. Turn Out The Stars ( 8:48)
02. My Foolish Heart ( 8:50)
03. The Days Of Wine And Roses ( 6:09)
04. Jeremy ( 8:01)
05. Memory Of Scotty ( 6:16)
06. Kind Of Bill ( 4:44)
07. Blue In Green (12:27)
08. T.T.T.T (11:54)
09. Goodbye Mr. Evans ( 5:28)

Has an artist ever been characterized as a hopeful romantic? If not, then let us nominate Martin Wind, not as hopeless, but a bullish and inspiring romantic. His quartet and the 36- piece Orchestra Filarmonica Marchigiana tribute to pianist Bill Evans Turn Out The Stars marries his talents, both as a jazz bassist/bandleader and orchestral arranger.

Besides leading his own quartet, and working in trio with Bill Mays and Matt Wilson, and in the guitar/bass duos with Philip Catherine or Ulf Meyer, Wind is an in-demand sideman featured in multiple projects, including Matt Wilson's Arts & Crafts and bands led by, Ted Nash, Gary Smulyan, and Pete Mills, to name just a few. He released two stellar recordings in 2013, the CD Ulf Meyer and Martin Wind At Orpheus Theater (Laika) and an audiophile LP Remember October 13th (Edition Longplay).

Recorded live at the Theatro Rossini in Pesaro, Italy, Wind's quartet includes his regular partners, saxophonist Scott Robinson and pianist Bill Cunliffe, plus drummer Joe LaBarbera, who was Bill Evans' drummer in the pianist's final trio (1978-1980). This homage to Evans is enhanced by the gorgeous and passionate arrangements Wind wrote for conductor Massimo Morganti's orchestra. The disc opens with the title track, an overture in full bloom that gives way to the quartet's recitation of melody with Robinson's saxophone laying down velvety notes. Each piece— such as the spry rendition of "The Days Of Wine And Roses," performed by the quartet or full orchestra—is dexterously accomplished. Wind has the knack for extracting the sweetest juice for each piece written by Evans or written in tribute to the great one. La Barbera's composition "Kind Of Bill" opens with a piano and bowed bass duo, then lingers in that romantic atmosphere Evans loved to reach for.

Even in full orchestra, the quartet is never overwhelmed. The luscious arrangement of "Blue In Green" plays off of the contrasts of lightness and dark, the orchestra a pastoral landscape for the quartet to rollick. The tricky "Twelve Tone Tune Two" pushes the orchestra into a challenging interchange with La Barbera's drums and the coughing horn of Robinson. At the center of this gorgeous evening is the stalwart bass of Wind, the infrastructure upon which both a quartet and a very large orchestra is held by his passionate zeal. ~Mark Corroto

Personnel: Martin Wind: bass; Scott Robinson: tenor saxophone, C melody saxophone; Bill Cunliffe: piano; Joe La Barbera: drums; Orchestra Filarmonica Marchigiana - Massimo Morganti: conductor.

Turn Out The Stars

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Glenn Zottola - The Bossa Nova Story: Glenn Zottola Salutes Stan Getz

Size: 87,6 MB
Time: 37:28
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Bossa Nova
Art: Front

01. Black Orpheus (4:36)
02. The Girl From Ipanema (3:00)
03. Gentle Rain (4:21)
04. One Note Samba (2:30)
05. Once I Loved (3:43)
06. Dindi (3:36)
07. Baubles, Bangles And Beads (2:33)
08. Meditation (2:55)
09. Triste (2:12)
10. I Concentrate On You (2:39)
11. Samba De Orfeu (5:19)

Trumpeter and saxophonist Glenn Zottola has been a serious part of the music business for more than four decades, recording thirty albums as a sideman and leader as well as adding Broadway and TV show musician to his resume. In 2014, Zottola decided to embark on the tribute circle recording a series of homage albums for the Classic Jazz Records label such as (Clifford Brown Remembered (Classic Jazz Records, 2014), Reflections of Charlie Parker (Classic Jazz Records, 2014) and now, The Bossa Nova Story, Glenn Zottola, Salutes Stan Getz. The album is a combine tribute to Getz's involvement in the bossa nova, the music of Antonio Carlos Jobim, and Brazilian jazz in general. The result of course, is a warm and beautiful portrait of the bossa style from the perspective of the tenor saxophone and the everlasting influence Stan Getz left on the music.

The world first learned of the samba and bossa nova from the 1959 film Black Orpheus by French director Marcel Camus where the original sound track had a Luiz Bonfa composition "Manha de Carnival" represented on this album as simply "Black Orpheus." The album starts off with the Orpheus song led by a gorgeous introduction from Argentinian guitarist Marcelo Berestovoy leading to Zottola's masterful solos on the piece. There have been many interpretations of Jobim's signature piece, "The Girl from Ipanema" but somehow, Zottola's Getz's impersonation, along with Tom Hartman's string arrangements, elevates this one to elite status. On the fiftieth anniversary of this classic and the twentieth anniversary of Jobim's passing, this seemed a perfect inclusion to The Bossa Nova Story.

The Getz/bossa homage rolls right along with delightful treatments of such classics as "Gentle Rain," "Once I Loved" and Zottola's superb interpretation of Jobim's "One Note Samba" equally as enchanting as the famous Getz instrumental rendition. Other immortal Jobim classic such as "Dindi," Meditation," and "Triste," are all presented with the saxophonist leading the way with tasteful accompaniment from a stellar cast of players and a delightful string section. Also Included in this tribute album are non-bossa standards like Cole Porter's "I Concentrate on You," and the Robert Wright/George Forrest classic "Baubles, Bangles and Beads"—both transformed into bossa songs on the Grammy—nominated Francis Albert Sinatra & Antonio Carlos Jobim (Reprise, 1967) recording.

The program ends as it began with a delicious interpretation of another Bonfa standard "Samba de Orfeu" where the saxophonist's high flying solos are splendidly supported by guitarist Berestovoy with a little help from percussionist Emiliano Almeida capping off a memorable taste of Brazil. As tribute albums go, Glenn Zottola's The Bossa Nova Story tells a tale of a jazz icon whose saxophone changed the music and of a musical style that changed the world. The great Stan Getz and Antonio Carlos Jobim are no doubt, smiling from heaven after hearing Zottola's graceful treatment of their enduring music, well done! ~Edward Blanco

Personnel: Glenn Zottola: tenor saxophone; Marcelo Berestovoy: guitar; Jamieson Trotter: piano; Tom Lerner: bass; Joe Dougherty: drums; Emiliano Almeida: percussion; Tom Hartman: string arrangements.

The Bossa Nova Story

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Andy Bey - Pages From an Imaginary Life

Size: 154,3 MB
Time: 66:41
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. My Foolish Heart (5:04)
02. How Long Has This Been Going On? (5:44)
03. Jealousy (3:29)
04. I've Got a Right to Sing the Blues (5:50)
05. Love For Sale (4:21)
06. Worried Life Blues (4:12)
07. Bad Luck May Be Good Luck (4:49)
08. Lover Come Back To Me (3:18)
09. Good Morning Heartache (4:53)
10. Dod Eat Dog (2:12)
11. Humor Keeps Us Alive (3:46)
12. Take the "a" Train (3:19)
13. Everything I Have Is Yours (4:47)
14. All That Glitter's Not Gold (5:20)
15. All Roads Lead Back to You (5:33)

An extraordinarily gifted vocalist with the soul of a poet. ~Brent Black / www.criticaljazz.com

Solo. Playing and singing the songs that Andy Bey chooses finds Pages From An Imaginary Life as an intimate self portrait of a vocal artist. Bey digs deep and takes forgotten gems for a new round of melodic discovery. Tunes are deconstructed and reassembled his way with an organic feel that allows the listener to join this extremely talented vocalist on a very special harmonic journey. Songs are reborn with a personal interpretation of both style and elegance that embraces the notion of less is more. Simplicity is indeed the ultimate in sophistication.

Highlights are numerous including an intense yet dialed down version of "I've Got A Right To Sing The Blues" which pairs nicely with the classic "Love For Sale" which unlike other male singers, Bey's interpretation is in first person. Rare gems such as the Billy Eckstein classic "Everything I Have Is Yours" take flight while original compositions such as "Bad Luck May Be Good Luck" have an amazing sincerity with heartfelt lyrics easily relatable to a wide audience.

Andy Bey is an American original, a story teller of great depth and amazing clarity. His vocals and piano style simple enhance the ethereal flavor of an artist that doesn't just sing the words, he makes the music.
Stellar!

Pages From an Imaginar

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Claire Martin - Time & Place

Size: 110,9 MB
Time: 47:44
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Full

01. My Ship (Claire Martin & Montpellier Cello Quartet) (3:19)
02. Catch Me If You Can (4:04)
03. She's Leaving Home (Claire Martin & Joe Stilgoe) (4:20)
04. Early To Bed (3:31)
05. Featherfall (Claire Martin & Montpellier Cello Quartet) (4:44)
06. The Man Who Sold The World (Claire Martin & Montpellier Cello Quartet) (4:15)
07. 'Round Midnight (Claire Martin & Montpellier Cello Quartet) (5:23)
08. Lost For Words (Claire Martin, Joe Stilgoe & Montpellier Cello Quartet) (4:57)
09. My Man's Gone Now (Claire Martin & Montpellier Cello Quartet) (5:20)
10. Two Grey Rooms (Claire Martin & Montpellier Cello Quartet) (4:16)
11. Goodbye For Now (3:31)

Few vocalists are as elegant and eloquent as Claire Martin. She's been dubbed "The First Lady of British Jazz," but she doesn't simply belong to her own people; she's one of the crown jewels of the jazz world, contributing classy and intelligent music via her steady flow of albums on the Linn imprint.

In the past, Martin has tried plenty of different things. She collaborated with pianist-composer Richard Rodney Bennett, tipped her cap to Shirley Horn, visited the Great American Songbook, connected with pianist Kenny Barron, and forged alliances with a variety of other musicians in various settings. She tries something new again on Time And Place, joining forces with The Montpellier Cello Quartet, a group that she first performed with in 2012. On tracks like "My Ship" and "Round Midnight," this outfit adds rich, stylish and sophisticated backing; on pieces like David Bowie's "The Man Who Sold The World," the cellos bring a sense of allure and seduction to the music; and on "Featherfall," the strings deliver tear-inducing backing that heightens Martin's emotional performance. It must have been written in the stars that Martin and The Montpellier Cello Quartet would meet.

While the voice-and-cello combination is at the core of this project, Martin has other collaborators here that add volumes to the music. A small jazz combo brings her upbeat arrangement of "Catch Me If You Can" to life, Mark Anthony Turnage delivers an arrangement of Joni Mitchell's infrequently-covered "Two Grey Rooms" that gives Martin a chance to channel the composer, and electric bassist Laurence Cottle adds some indigo-hued sounds to "Round Midnight." Then there's the work of pianist Joe Stilgoe, adding upmarket support and blending nicely with the strings on his own "Lost For Words."

Somebody with Martin's skills and experience knows full well that there's a time and a place to try certain things; she certainly found them here on this aptly-titled gem. ~Dan Bilawsky

Personnel: Claire Martin: vocals; Dan James: cello; Sarah Davison: cello; Joe Giddey: cello; Siriol Hugh-Jones: cello; Joe Stilgoe: piano, vocals; Gareth Williams, piano; Jeremy Brown: bass; Laurence Cottle: electric bass; Ben Reynolds: drums.

Time & Place

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