Jesper Thilo Quartet - Stardust (Feat. Olivier Antunes & Bo Stief)

Size: 148,4 MB
Time: 63:27
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Cool Jazz, Trumpet Jazz
Art: Front

01. Let's Fall In Love (5:29)
02. Let's Face The Music And Dance (4:51)
03. Bewitched (6:26)
04. Hoe Down (4:45)
05. I'm Confessin' That I Love You (7:22)
06. Jessica's Day (4:39)
07. Strike Up The Band (8:50)
08. Stardust (4:59)
09. If I Could Be With You (3:50)
10. The Man I Love (5:57)
11. Soul Sister (6:14)

One of the top European straight-ahead jazz musicians from 1970 onward, Danish reedman Jesper Thilo has appeared on many records with American artists in addition to recording with his fellow countrymen. His tenor sound is reminiscent of Zoot Sims. Thilo, who has also occasionally played alto and clarinet, first recorded as a leader for Storyville in 1973, and in the 1980s and 1990s on Storyville his sidemen at various times included Hank Jones, Kenny Drew, Clark Terry, Roland Hanna, and Harry "Sweets" Edison. Thilo also appeared on Miles Davis' Aura (with compositions and arrangements by fellow Dane Palle Mikkelborg), released by Columbia in 1989. After the turn of the millennium Thilo has continued recording for a variety of labels, including several releases on Stunt Records: Remembering Those That Were (2009), On Clarinet (2010), and Scott Hamilton Meets Jesper Thilo (2011). ~Biography by Scott Yanow

Stardust

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Jerome Epps - Eclectic Fusion

Size: 104,6 MB
Time: 44:52
File: MP3 @ 320K/s
Released: 2007
Styles: Jazz
Art: Front

01. Smooth Funk (6:16)
02. Midnight Groove (5:16)
03. Rumba Salsa Rump (3:51)
04. Too Hip 2 Hop (5:02)
05. Enigma (5:42)
06. Celebracion (4:13)
07. Bossa De Nova (4:31)
08. Awakening (9:58)

Born in Washington DC, Jerome Epps began to embrace music at a very young age. With his father being an accomplished jazz saxophonist, Jerome would listen to his dad practice for hours to the likes of Miles, Coltrane, Bird, Sergio Mendes, Antonio Carlos Jobim, and the virtual who’s who of jazz. Yet there would take a slight detour on the path to fully appreciating jazz. And that detour was called: “Jimi Hendrix”. The Jazz world was put on hold while performed in numerous rock bands, influenced by Eric Clapton (Cream), Terry Kath (Chicago), Jimmy Page (Zepplin), and the original Santana band. Later his interests would shift back towards r&b, soul and funk, only to make the ultimate migration to more progressive jazz-rock fusion artists like Chick Corea, Al Dimeola, John McLaughlin’s Mahavishnu Orchestra, and Weather Report.

Oddly enough, as a youngster Jerome’s first music teacher was Roberta Flack (of “Killing Me Softly” fame) who taught him within the D.C. public school system. Years later he studied Music Education at Howard University where he met Dizzy Gillespie at a Latin-Jazz seminar. A priceless experience indeed.

Later, after moving west, Jerome finished his education at San Jose State University where he studied classical and jazz guitar. Hence, this musical path has led to Jerome’s new CD release “Eclectic Fusion” which embraces his eclectic roots in jazz, r&b, funk, latin, rock and fusion, while blending this sound with contemporary dance beats. Hence we give you “Eclectic Fusion”. Enjoy!

Eclectic Fusion

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Yuko Ito - O Cantador

Size: 103,0 MB
Time: 44:14
File: MP3 @ 320K/s
Released: 2014
Styles: Brazilian Rythms
Art: Front

01. Mas Que Nada (4:55)
02. Samba De Verao (4:56)
03. Travessia (4:50)
04. Sina (4:49)
05. Batucada Surgiu (3:09)
06. Guerrilla (Eu Nao Sou Ninguem) (4:35)
07. Eu So Quero Um Xodo (3:14)
08. O Cantador (5:02)
09. Takeda No Komori- Uta (4:07)
10. Serrado (4:32)

New York based vocalist Yuko Ito's second Album "O Cantador" co-produced by great pianist / Composer Cidinho Teixeira. The recording is a collection of Brazilian songs by Jorge Ben, MarcosValle, Miton Nascmento, Djavan Dominguinhos, Dori Caymmi. She also recorded Japanese traditional song"Takeda No Komoriuta". She put original melody with african chant.
Also she recorded Japanese Rock Band Red Warriors's song "Guerrilla" She made Brazilian Portugeses lyrics on it.

Bio:
A native of Tokyo, Japan, she has been performing publicly in wide range of styles: pop, rock, R&B, jazz funk, gospel, free jazz and various forms of Brazilian music since high school. Her early musical career began when she founded the girl’s rock band Sissy Boy, which produced two CDs: Marcy’s Factory, with Vaan Media, and Kick Off Boy’s, with Crown Records Japan. Even with her early success in Japan, Yuko's musical vision was broad and she chose to move to New York in 1994. A vocal coach soon encouraged her to explore jazz and eventually this led to her receiving B.F.A degree from City College of New York in music (Jazz Vocal Performance). After a jam session Yuko attended while still in school, she was invited by jazz artist Sabir Mateen to perform with him. This encouraged her to continue to draw deeply from the jazz tradition in her work. She has performed with the Harlem Gospel Choir and appeared at Blue Note (New York), She has also performed with the Harlem Gospel Choir in Times Square on Good Morning America (ABC) and “New Yorker”( NHK BS1).

Having been lured by positive lyrics, unique beats and passionate movement, Yuko grew with her rebellious rock attitude into a mature songstress and it shows on her new album Mania De Você . Yuko Ito, originally from Japan, has evolved into a born again Brazilian New Yorker.

O Cantador

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Barrelhouse Chuck - Combo Classics

Size: 108,2 MB
Time: 43:51
File: MP3 @ 320K/s
Released: 2014
Styles: Blues, Rock
Art: Full

01. Hot & Heavy (2:53)
02. Time Is Tight (3:12)
03. Depression Blues (3:27)
04. Chuckabilly (Live) (3:00)
05. Pacific Blue (3:37)
06. My Dog Don't Bow Wow (Perry Weber Vocals) (4:47)
07. Bright Sounds Of Big Moose (3:23)
08. Walk Don't Run 69 (2:09)
09. Porchlight (Nick Moss Vocals) (4:12)
10. Wah Wah Blues (5:04)
11. Farfisa B3 Boogie For Winwood (1:05)
12. Don't Go To Dallas (Oscar Wilson Vocals) (4:22)
13. Slam Hammer (2:35)

When I was growing up a lower middle class Irish-Italian kid in New York City, few families could afford big Wurlitzer or other in home organs. Much to their chagrin, many an Italian kid who had aspirations to play something with a keyboard were awarded an accordion. But then came the combo organ. Vox, Farfisa and others took the concepts of the organ, accordion, transistors and bright colored plastic to create a portable organ that musical combos could use. Those were heady days; with the advent of the transistor replacing the old vacuum tubes, equipment and electronics got lighter and easier to move and transport. No longer would keyboard players have to rely on the old out of tune house piano at their gigs. A new age was upon us musically.

Blues musicians embraced and adopted this new fangled device as did the rockers like Steve Winwood from the Spencer Davis Group and Traffic, the Doors and others. In the liner notes Chuck comments on the fab song of his youth, ”96 Tears”, by ? and the Mysterions that he played in every juke box he saw. Later on, Otis Spann became his Farfisa role model with his recording of “Ain’t Nobody’s Business” with drummer S.P. Leary. Chuck includes a passionate and lilting version of this (with S.P. again on drums!) on this album.

Barrelhouse Chuck pays homage to that 1960’s classic instrument by packing up all his great songs featuring the combo organ and giving us this great new CD “Combo Classics”! A very 1960’s looking photo of a combo organ adorns the CD cover, and inside and on back we have a beautiful, bright red compact combo organ of Chuck’s. Behind the CD in the jewel box we have a classic advertisement for “the new Rheem stereo compact combo electronic organ.” What a cool package, but cooler yet is what’s on the silver disc inside the package. All designed by Harmonica Todd Levine!

Chuck offers up thirteen prime and classic cuts of his combo organ virtuosity. He’s got hot newer stuff along with some of his older works on the combo and they are all hot stuff. The Spann classic includes Billy Flynn on guitar along with exquisite vocals by Chuck and Bethany Thomas. He lends his unique Farfisa sound to the Ventures “Walk Don’t Run 69” where he, Flynn and Kenny Smith give us that beach classic Lake Michigan styled!

“Depression Blues” written by Sunnyland Slim gives us some relevant commentary on today’s economic woes, where Chuck laments about people being laid of by the thousands as he makes the Farfisa sing also to us. Backing him again are Flynn and Leary along with Hash Brown on guitar, Todd Levine on fat tone harp and Rick Holmes on bass. He offers up the Farfisa on two newer cuts with the Swedish Trickbag group to open the album. Earl Hooker’s “Hot and Heavy” and what I like to call an original Swedish-Chicago surf tune called “Pacific Blue” a Goering original.

Good stuff just oozes from all over this CD.

The Goering-Flynn original “Chuckabilly-Live” features two amazing instrumentals where the instruments actually seem to talk to us. Chuck’s organ and Flynn’s guitar seemingly sing out to and grab us in this cut. Chuck goes to the Lowry organ to do the “Bright Sound of Big Moose”, a super tribute to Johnny “Moose” Walker. Nick Moss joins Chuck on two tracks and sings on one of them, his own “Porchlight”. James Cotton’s “Slam Hammer" by Benny Rickun on harp” from Perry Weber & The DeVilles. Perry plays nice guitar on two cuts. Curtis Salgado’s wicked harp adds so much to these tracks, too. Lynwood Slim does the singing on the other song, the J. Haliday-Ray Charles classic “I Choose to Sing the Blues”. Chuck hits us with an R.M.I. and Rheem on the first two and a Vox on the third. Classic stuff done by a man who has exerted full mastery over the combination organ, perhaps even more so than he has the piano! Space does not permit comments on every track, but suffice it to say all thirteen are equally special. I do have to mention, though, the Barrelhouse Chuck tribute to the great Stevie Winwood that he closes with, where Chuck plays the Farfisa on his “Farfisa B3 Boogie for Winwood”; along with Jim Mckaba on B3 it's classic stuff!

Run, do not walk, to the CD store (or even faster, run to your computer) and get this CD today. You won’t regret it. This is blues and early rock organ at its’ finest and no one- NO ONE!- does it better than Barrelhouse Chuck! ~by Steve Jones from The Crossroads Blues Society of Northern Illinois.

Combo Classics

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The Asian Jazz All Stars Power Quartet - Live At The Living Room

Bitrate: 320K/s
Time: 71:45
Size: 164.3 MB
Styles: Fusion
Year: 2012
Art: Front

[13:54] 1. Carrot Cake
[19:22] 2. African Skies
[ 8:48] 3. This Guy's In Love
[11:49] 4. Wrappin' It Up
[17:50] 5. Tiramisu (For Hino)

The name says it all; four of Asia's leading jazz musicians—Singaporean pianist/organist Jeremy Monteiro, Philippine saxophonist Tots Tolentino, Hong Kong guitarist Eugene Pao and Thai drummer, Hong Chanutr Techatana-nan—combine to produce a powerful, electro-acoustic jazz fusion which draws inspiration from the Larry Goldings/Peter Bernstein/Bill Stewart trio. Recorded at the Living Room, Bangkok during a month-long jazz festival in June 2011 to celebrate the venue's tenth anniversary, this recording captures the quartet in exuberant mood.

After thirty years at the piano, Monteiro returned to his early love, the Hammond organ, in recording Groovin' at Groove Junction (Jazznote Records, 2009)—nominated for an Independent Music Award—and his organ sound leaves a large imprint on the session. Peter Bernstein's grooving, Blue Note-flavored "Carrot Cake" opens proceedings with strong solos from tenor player Tolentino and Monteiro. Gigging with his organ trio Organamix these last couple of years has sharpened Monteiro's organ chops, and his playing is confident and imaginative. Pao in turn stretches his digits, showing the kind of tasteful attack that has seen him work with pianists Chick Corea and Herbie Hancock, guitarist Joe Pass , saxophonist Jackie McLean, and drummers Jack DeJohnette and Bill Bruford.

A nineteen-minute interpretation of "African Skies" pays homage to its creator, saxophonist Michael Brecker. Pao, Tolentino and Monteiro all performed and/or recorded with Brecker, and the quartet really cooks on this free-spirited workout. Tolentino wisely follows his own path on a rousing tenor exploration, rather than trying to emulate the foremost post-Coltrane tenorist that Brecker was. Monteiro ratchets up the intensity a notch with a searching, extended solo before the quartet shifts down a gear, setting Pao loose with the task of bringing things back to the boil, which he does with a fluid, bluesy solo with plenty of bite. Chanutr Techatana-nan's effervescent, driving rhythms are a key to the dynamism of this track, and the quartet's energy throughout the recording.

Burt Bacharach/Hal David's "This Guy's in Love" provides a beautiful oasis of slowly swinging calm, with Tolentino and Pao's lyricism to the fore. Another fine Monteiro solo opens Larry Goldings "Wrappin' it Up," before Tolentino picks up the reins with a snaking solo which gains gradually in potency. This mid-tempo number showcases more measured, though no less impressive playing from the quartet and Pao in turn shines with a mazy run.

Tolentino's swinging "Tiramisu"—dedicated to Japanese trumpeter Terumasa Hino—clocks in at almost eighteen minutes and is perhaps the most ambitious and satisfying tune of the CD. The quartet burns on this hard-grooving number for the first eight minutes. Monteiro then unfolds a vaguely spacey solo over a drone before launching into adventurous improvised waters. Pao's liveliest playing of the session sets the seal on a powerful performance.

Jazz-fusion—for want of a better term—is alive and kicking in Asia, as this excellent recording demonstrates. So far, only Asian audiences have been fortunate to see this incendiary quartet on tour. Hopefully, it will go into the studio with some original material soon and launch itself beyond Asia. ~Ian Patterson

Jeremy Monteiro: organ; Eugene Pao: guitar; Tots Tolentino: tenor saxophone; Hong Chanutr Techatana-nan: drums.

Live At The Living Room

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Charlier/Sourisse - Eleven Blues

Bitrate: 320K/s
Time: 63:43
Size: 145.9 MB
Styles: Bebop, Blues-jazz
Year: 2010
Art: Front

[5:50] 1. Congo Square
[5:12] 2. Way Back Home
[4:20] 3. Meeting At Douglaston
[4:30] 4. Mingus Street Blues
[3:11] 5. Singin'drum
[7:05] 6. Tribute To Mister H
[9:40] 7. Couleurs Nuit
[4:43] 8. Celebration Station
[5:32] 9. Two And Four Driving
[7:34] 10. Used To Be A Waltz
[6:00] 11. La Seconde Danse

THIS album demonstrates yet again the elasticity of the blues form.

Each of the French duo's compositions explores a different angle, from the pastoral Couleurs Nuit, via the stately Mingus Street Blues to the pulsating Meeting At Douglaston. Benoit Sourisse's keyboard work is nimble and imaginative throughout, while co-leader Andre Charlier's subtle and swinging playing reaches a peak on his feature, Singin' Drum. Guitarist Jean-Marie Ecay and guest saxophonist Kenny Garrett turn in superior solos.

Eleven Blues

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Halie Loren - Stages

Bitrate: 320K/s

Time: 64:21

Size: 147.3 MB

Styles: Vocal

Year: 2010

Art: Front

[3:15] 1. Danger In Loving You

[3:24] 2. Sunny Afternoon

[5:40] 3. I Still Haven't Found What I'm Looking For

[4:03] 4. More

[4:47] 5. Cry Me A River

[4:29] 6. The Girl From Ipanema

[3:53] 7. Free To Be Loved By Me

[4:21] 8. Is You Is Or Is You Ain't My Baby

[3:34] 9. Love Me Like A River Does

[3:35] 10. They Oughta Write A Song

[3:40] 11. High Heel Blues

[6:00] 12. Summertime

[3:30] 13. My Rainbow Race

[5:04] 14. I'd Rather Go Blind

[4:57] 15. Nearness Of You

The studio is a safe place for musicians looking to birth an album in a controlled environment, but the stage is the real proving ground for performers. These people make their mark when lights are low, nerves are tested and safety nets are removed. This is where the real deal musicians get separated from the great pretenders and vocalist Halie Loren is as real as they come.

Loren, who may be the best-kept vocal secret in the Pacific Northwest, put out this low-key live album in 2010, but her reach was limited and it went largely unnoticed. Now, with the release of her head-turning Heart First (Justin Time, 2012), Loren's new label is fanning the flames of interest by reissuing this album with a few bonus tracks tacked on for good measure.

Her three-pronged approach to programming, which includes standards, pop pieces co-opted for jazzier purposes and originals, serves her well here. She jumps from U2 ("I Still Haven't Found What I'm Looking For") to Antonio Carlos Jobim ("The Girl From Ipanema") to Hoagy Carmichael ("The Nearness Of You") with apparent ease. She delivers classic material like "Cry Me A River" with polish, unlocks the potential that exists within The Kinks' "Sunny Afternoon" and taps into her inner-Sarah McLachlan on "Free To Be Loved By Me," which proves to be the most memorable original on display. Risky material choices occasionally meet with mixed results, as "High Heel Blues" proves to be a triumph while a tropically-infused take on Pete Seeger's "My Rainbow Race" is a bit too sugary, but Loren's willingness to move beyond the overdone is ever admirable.

Loren occupies the space that exists between pop and jazz, but that dual allegiance hasn't done her any favors in the past. Neither camp seemed willing to stake claim on her, but she deserves to be embraced by both. Now, with this live reissue following on the heels of her strongest studio album to date, this matter will hopefully be rectified. ~Dan Bialwsky

Halie Loren: vocals; Matt Treder: keyboards; Mark Schneider: bass; Tim McLaughlin: trumpet; Brian West: drums.

Stages

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Red Norvo - Pretty Is The Only Way To Fly

Bitrate: 320K/s
Time: 31:26
Size: 72.0 MB
Styles: Cool jazz
Year: 1962/2010
Art: Front

[4:38] 1. I'll Remember April
[4:06] 2. Spider's Nest
[3:39] 3. Tenderly
[3:51] 4. Lullaby Of Birdland
[3:14] 5. Stella By Starlight
[3:52] 6. Scorpion's Nest
[3:47] 7. Funny Valentine
[4:16] 8. Love For Sale

Red Norvo was an unusual star during the swing era, playing jazz xylophone. After he switched to vibes in 1943, Norvo had a quieter yet no-less fluent style than Lionel Hampton. Although no match for Hampton popularity-wise, Norvo and his wife, singer Mildred Bailey, did become known as "Mr. and Mrs. Swing."
Red Norvo had a long and interesting career. He started on marimba when he was 14 and soon switched to xylophone. Active in vaudeville in the late '20s as a tap dancer, Norvo joined Paul Whiteman's orchestra in the early '30s (meeting and marrying Mildred Bailey). He recorded some extraordinary sides in the early to mid-'30s that showed off his virtuosity and imagination; two numbers (the atmospheric "Dance of the Octopus" and "In a Mist") had Benny Goodman playing bass clarinet, remarkably. Norvo led his own band during 1936-1944 which, with its Eddie Sauter arrangements (particularly in the early days), had a unique ensemble sound that made it possible for one to hear the leader's xylophone. In 1944, Norvo (who by then had switched permanently to vibes) broke up his band and joined Benny Goodman's Sextet. Through recordings and appearances, he showed that his style was quite adaptable and open to bop. Norvo welcomed Charlie Parker and Dizzy Gillespie to a 1945 record date, was part of Woody Herman's riotous first Herd in 1946, and recorded with Stan Hasselgard in 1948. At the beginning of the 1950s, Norvo put together an unusual trio with guitarist Tal Farlow (later Jimmy Raney) and bassist Charles Mingus (later Red Mitchell). The light yet often speedy unisons and telepathic interplay by the musicians was quite memorable. Norvo led larger groups later in the decade, had reunions with Benny Goodman, and made many fine recordings. The 1960s found Red Norvo adopting a lower profile after he had a serious ear operation in 1961. He worked with the Newport All-Stars later in the decade, and from the mid-'70s to the mid-'80s was once again quite active, making several excellent recordings. However, his hearing eventually worsened and a serious stroke put Red Norvo out of action altogether after 55 years of music. He died on April 6, 1999, at the age of 91.

Pretty Is The Only Way To Fly

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Cris Barber - This Moment To Be Free

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 61:32
Size: 141,3 MB
Art: Front

(4:17)  1. My Foolish Heart
(5:47)  2. I Got It Bad
(4:13)  3. I Only Have Eyes For You
(3:12)  4. Be Sure
(4:42)  5. Family Line
(3:51)  6. Sunny
(4:59)  7. Love For Sale
(5:06)  8. Going In
(3:31)  9. Blackbird
(4:44) 10. What Is It
(4:24) 11. Nature Boy
(3:55) 12. Devil May Care
(4:03) 13. What A Little Moonlight Can Do
(4:41) 14. Calling You

Southern California award-winning jazz vocalist Cris Barber has released her fourth album with “This Moment To Be Free” and it’s another winner of a recording. Often compared to Diana Krall, Barber uses her warm smooth vocals to interpret a terrific selection of pop and jazz standards like Victor Young’s “My Foolish Heart,” Cole Porter’s “Love For Sale,” and Paul McCartney’s “Blackbird” to name a few. All together the CD boasts fourteen tunes where the lady swings and voices love ballads to the heart. What makes this album a success is not only Barber’s vocal talents but her phenomenal backup. Assisting the Singer here is a core quintet comprised of first-call Los Angeles studio and concert players among them, Karen Hammack (piano), Barry Cogert (bass), Aldo Bentivegna (drums), Kurt Rasmussen (percussions), Jamie Findlay (guitar) and Greg Vail (sax and flute). Also appearing as special guest is guitarist Laurie Morvan performing on her original, “Family Line,” and Mark Barnes playing the Hammond B3 on “Family Line” and “What Is It.” Eden Ahbez’s classic standard “Nature Boy” is given one heck of an overhaul here as Barber voices the lyrics to a splendid Latin jazz rendition for one of the finer tunes on the disc. 

The lady and the band swing on the jazz staple “Devil May Care” with superb piano chops from Hammack. This tune is followed up by another sizzler in “What A Little Moonlight Can Do” where saxophonist Vail scorches one behind the singer’s lead. Barber shows a bit of her tender side on Duke Ellington’s “I Got It Bad,” and the love tune “Be Sure,” then turns a bit funky on the pop finale of “Sunny” completing one fine session of wonderful light hearted contemporary jazz with a twist. “This Moment To Be Free” is one of the finer jazz vocals recordings you’ll find this year and Cris Barber’s splendid performance is one reason why. ~ Edward Blanco  Ejazznews.com   http://www.cdbaby.com/cd/crisbarber4

This Moment To Be Free

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Gigi Gryce - Doin' The Gigi

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 68:20
Size: 157,2 MB
Art: Front

(11:24)  1. Blues In Bloom
( 4:40)  2. A Premoniton Of You
( 7:37)  3. A Night In Tunisia
( 5:34)  4. Down Home
( 3:01)  5. Blues In Bloom
( 2:30)  6. Dancing the Gigi (A.K.A Strange Feelin')
( 3:32)  7. Sonor (A.K.A Sonar)
( 4:15)  8. Down Home
( 3:59)  9. Take The A Train
( 2:37) 10. Stompin' at the Savoy
( 4:31) 11. I'll Walk Alone
( 4:57) 12. Caravan
( 1:46) 13. All The Things You Are
( 0:08) 14. Announcements By Al 'Jazzbo' Collins & Hugh Downs
( 0:19) 15. Movin'
( 2:34) 16. There Will Never Be Another You
( 2:45) 17. Man Of Moods
( 2:02) 18. The Blues Walk (A.K.A Somebody Done Stole My Blues, Loose Walk)

Gigi Gryce had a short but productive career, which lasted roughly a decade before he abruptly left jazz in the early 1960s to become a teacher. This compilation of unissued performances is an important addition to his legacy, particularly the 1961 Birdland broadcast, which features the working band he used for his Rat Race Blues album (pianist Richard Wyands, trumpeter Richard Williams, bassist Julian Euell, and drummer Mickey Roker), plus the addition of vibraphonist Eddie Costa (who died tragically in a car wreck the following year). Beginning with an extended workout of Norman Mapp's "Blues in Bloom" (though it is actually a modal work, not a blues), the sextet's loping treatment is full of inventive solos. Gryce tackles "A Night in Tunisia" at a brisk clip, taking a sparkling two chorus solo, while also featuring each member of the band in turn. The sextet is also heard in two studio tracks from 1961, a brief "Blues in Bloom" and Gryce's sassy blues "Doin' the Gigi" (also known as "Strange Feeling"). 

The credits have been lost to another studio date with Williams and Wyands, though the bassist and drummer are unknown. The introduction of Gryce's setting of "Take the 'A' Train" transforms the famous theme from a subway to a locomotive, showcasing Williams and Wyands before the leader opens his solo with a humorous, unexpected quote from "Dixie." Gryce's ballad playing is the highlight of "I'll Walk Alone" (a Sammy Cahn-Jule Styne piece from a '40s film), with a fine open horn solo by Williams and muted work behind the saxophonist at the conclusion. A 1957 TV broadcast is the source of several performances, featuring Gryce leading a band with baritone saxophonist Cecil Payne, pianist Duke Jordan, bassist Wendell Marshall, and drummer Art Taylor. 

They are all fairly concise due to the time constraints of the television program, but they hint at the strengths of the quintet. Stand-out tracks include the abbreviated version of Gryce's brisk "Movin'," and a midtempo rendition of the standard "There'll Never Be Another You." The detailed liner notes by Noel Cohen and Michael Fitzgerald, which were adapted from their biography of Gigi Gryce, plus the numerous photos, are added bonuses to this valuable collection of essential bop. ~ Ken Dryden  http://www.allmusic.com/album/doin-the-gigi-mw0002166656

Doin' The Gigi

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George Barnes - Don't Get Around Much Anymore

Styles: Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 55:13
Size: 127,2 MB
Art: Front

(2:08)  1. Fascinatin' Rhythm
(4:26)  2. Don't Get Around Much Anymore
(2:42)  3. Pick Yourself Up
(6:48)  4. Moonglow
(4:07)  5. Perdido
(4:08)  6. I Can't Get Started
(3:29)  7. Blues Goin' Up
(0:40)  8. Introductions
(2:54)  9. Why Was I Born?
(5:29) 10. When Sunny Gets Blue
(3:52) 11. Sweet Georgia Brown
(3:26) 12. Cheerful Little Earful
(3:07) 13. Theme From The Flinstones
(3:26) 14. I May Be Wrong
(4:24) 15. Three Little Words

George Barnes has been unjustly overlooked by fans of jazz guitar, since he spent a good portion of his career as a studio musician, but the initial appearance in 2003 of this previously unreleased 1977 concert (recorded just a few months prior to his death) adds an important final chapter to his recorded legacy. 

Barnes leads his brand new quartet (with fellow guitarist Duncan James, bassist Dean Reilly, and drummer Benny Barth) through a delightful program of standards ("Sweet Georgia Brown," "Moonglow," and "Why Was I Born?"), gems from the vast Duke Ellington band book ("Don't Get Around Much Anymore" and "Perdido"), as well as the popular "Theme From the Flintstones." Barnes' fluid playing and that of his group make them sound as if they had been together far longer. The excellent sound by engineer Larry Cummings is identical to the mix heard by the audience that very evening. The warm, detailed liner notes by Barnes' daughter, Alexandra Barnes Leh, add a nice touch to this highly recommended release. ~ Ken Dryden  

http://www.allmusic.com/album/dont-get-around-much-anymore-mw0000019616

Personnel: George Barnes, Duncan James (electric guitar); Dean Reilly (bass); Benny Barth (drums).

Don't Get Around Much Anymore

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François Raulin - Echoes Of Spring

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 55:22
Size: 126,8 MB
Art: Front

(4:03)  1. Carolina Shout (James P. Johnson)
(4:37)  2. Morning Air (Willie Smith "The Lion")
(8:55)  3. Aunt Hagar's Blues (W.C. Handy) (tribute to Art Tatum)
(1:35)  4. The Second Portrait of the Lion (Duke Ellington) - Portrait of the Duke (Willie Smith "The Lion")
(2:02)  5. Echoes of Spring (Willie Smith "The Lion")
(5:24)  6. Kitten on the keys (Zez Confrey)
(4:44)  7. Ain't Misbehavin' (Thomas "Fat's" Waller, Andy Razaf)
(1:38)  8. Child of a Disordered Brain (Earl "Fatha" Hines) - Zig Zag (Willie Smith "The Lion")
(5:28)  9. In the Dark - Flashes (Bix Beiderbecke)
(4:04) 10. In a mist (Bix Beiderbecke)
(4:07) 11. Boogie Woogie on St Louis Blues (W.C. Handy)
(5:15) 12. Tonk (Duke Ellington, Billy Strayhorn)
(3:23) 13. Fast and Furious (Duke Ellington)

To say that they were waiting, the Echoes of Spring , released on the label of the young pianist Edouard Ferlet , Melissa, about the Harlem stride piano, after the happiness felt in concert: the program of the two great pianists, François Raulinand Stephan Oliva , turned into effect in a number of festivals since its inception in Grenoble in March 2006. Thanks to the network so AFIJMA have supported and carried such a creation in the various festivals of Bordeaux to Nevers, program which have evolved over time and gain fluency. No current pianist is probably able to play as James P. Johnson , true "tickler" evil ticklers key. Starting from ragtime, but also inspired by the great Romantic composers like Liszt, he hoisted above the style he invented, the stride , where the left hand is powerful and metronomic while the right goes up in refinement improvisation and ornamentation. Fats Waller, Oscar Peterson, Earl Hines, Count Basie, Art Tatum, Duke Ellington , Monk ... all modern pianists would pay tribute tostride , be inspired while diverting. 

This music full of polyrhythms and reefs is a real challenge, a recreation of every moment, very elaborate despite the apparent fluidity, simmering subtlety of certain passages, the other filament. It was seasoned musicians to make this tradition alive. The quintet of Raulin and Oliva, whose musicians have long known, is the ideal training: the energies released will always deploy generously. Nothing more beautiful than the work of arrangement and intelligent complementarity of the two pianists who play all registers; nothing more disturbing than sweet counterpoints blowers, unite their sensual. Monniot Christophe plays all saxophones, the sharp angle between the gap and the arabesque, cuddly baritone, fiery alto, sopranino to the flickering . As for the clarinetist Lawrence Outside , it is one of the few to be able to balance its cheeky turbulence, sometimes exceeded its rowdy stridency, including the well because they practice both the "lag ear" while Sébastien Boisseau provides only a rhythmic Burning bass. The program starts with a bang on with the truculent "Carolina Shout" by James P. Johnson, the workhorse reminiscent of banjo drilled on "piano rolls" from 1918. Then it's delicious "Morning Air" Willie The Lion Smith , musician steeped in Chopin and Rachmaninoff who loved embroidery precious melodies with a sense of color which is found in Duke Ellington [ 1 ]. In fact, it should list all the songs, the assembly is very convincing. 

Changes tones, breaks the alarming climate "A Child of Disordered Mind" (a solo 's Earl Hines (1940), beautifully rearranged by Oliva) or bright roughness of "Boogie Woogie on St. Louis Blues" dedicated to the same Earl Hines. We listen to a stroke this time music loudly seasons - breakaway "Is not Misbehaving" by Fats Waller reviewed by Raulin, ripping blues "Aunt Hagar's Blues" introduces bass and clarinet, or the final played four hands, "Fast and Furious" as in the time of Duke and Billy Stayhorn. But how not to be moved to listen to "Flashes / In the Dark" by Bix Beiderbecke , or "In A Mist", only written for the piano by the young white cornetist Davenport (Iowa) composition? "A guy who had the atmosphere in the fingers" said Boris Vian . A visionary melody in many ways, where pianists find unusual agreements, a penchant for the phrase in arabesque. As for the title composition, "Echoes of Spring", it illuminates its melancholy sweetness that jazz of the past, the quintet has managed to make incredibly current. This fragile melody of January 1939, including the arrangement of François Raulin has kept the harmonies and swinging the left hand, also reminds us that the poet TS Eliot that sometimes the spring is not synonymous with renewal and that "April is the month Cruellest" ...Translate by google  ~ Sophie Chambon   http://www.citizenjazz.com/Francois-Raulin-Stephan-Oliva.html

Echoes Of Spring

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Michael Gray & Pearl Django - Souvenirs: Stephane Grappelli Remembered

Bitrate: 320K/s
Time: 39:42
Size: 90.9 MB
Styles: Gypsy swing
Year: 1999
Art: Front

[3:27] 1. Minor Swing
[3:10] 2. Souvenirs De Villengen
[3:19] 3. Pent-Up House
[4:30] 4. Splendor In Feathers
[4:15] 5. Saskia
[4:02] 6. In My Solitude
[5:15] 7. It's Only A Paper Moon
[4:14] 8. I'll Remember April
[3:04] 9. Sweet Lorraine
[4:21] 10. Tears

Neil Andersson, Guitar; Michael Gray, Violin; Dudley Hill, Guitar; Rick Leppanen, Bass; Shelley D. Park, Guitar.
New Stories: appears on Splendor in Feathers and I'll Remember April. John Bishop, Drums (tracks 4 & 7); Doug Miller, Bass (tracks 4 & 7); Marc Seales, Piano (tracks 4 & 7).
Special guests: Will Dowd, Drums (track 8); David Lange, Accordion (track 2); Paul Sawyer, Electric Guitar (track 8).

Initially a self-taught instrumentalist, Michael Gray learned to play violin while homesteading in Alaska. Michael is originally from Philadelphia. Since moving to the Puget Sound area, he has kept busy performing and recording with groups including Highwire, Grass Backwards, Quo ad Hoc, Point No Point and Odd Men Out. Michael is an accomplished composer and has recently acquired part-time teaching positions at Cornish College and the University of Washington.

With a performance history spanning almost two decades, Pearl Django endures as one of the most highly regarded Hot Club style groups working today. Although the band’s roots are firmly in the music made famous by Django Reinhardt and Stephan Grappelli, its extensive repertoire includes traditional jazz classics and original compositions. Pearl Django has performed at festivals, dances and nightspots throughout the U.S. and abroad. They have played at the prestigious Festival Django Reinhardt in Samois sur Seine and have been featured on NPR’s “All Things Considered.” The band’s signature style is marked by pristine and dexterous string work, colors of Bal Musette, the steady pulse of rhythm guitar and an unmistakable swing that delights audiences of all musical sensibilities. Throughout the years, Pearl Django has cultivated a devoted and enthusiastic following and they continue to play to packed houses wherever they perform.

Souvenirs: Stephane Grappelli Remembered

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Jill Barber - Mischievous Moon

Bitrate: 320K/s

Time: 41:15

Size: 94.5 MB

Styles: Vocal jazz, Jazz-pop

Year: 2011

Art: Front

[3:39] 1. Chances

[2:57] 2. Be My Man

[2:55] 3. Never Quit Loving You

[4:10] 4. Mischievous Moon

[4:07] 5. Took Me By Surprise

[4:06] 6. Tell Me

[4:40] 7. Oh My My

[3:48] 8. Tenderness

[2:38] 9. Old Flame

[2:05] 10. A Wish Under My Pillow

[3:26] 11. If It Weren't For Loving You

[2:38] 12. All My Dreams

The first notes of the first song on this album fill you with foreboding: brushed drums, a simple string bassline, and even simpler piano chords played in pulsing eighth notes, Fats Domino style. Sweet Mother of Claudine Longet, you wonder, what have I gotten myself into? Then Jill Barber's voice comes in, with that unmistakable mid-century blend of little-girl timbre and orotund vowels, and you have your answer: you've gotten yourself into a mess of nostalgia, and the only thing that will deliver you to the other side of these 41 minutes with your sanity intact will be the quality of the songs. Luckily for you, these are great songs. Also luckily for you, Jill Barber and her co-conspirators recognize no functional difference between torch ballads, Patsy Cline-era country music, and cocktail jazz. Best of all, if their love of these various musical anachronisms is ironic, it's impossible to tell -- the wordless background vocals, the plinking pianos, the string sections, and Barber's little-girl-about-town singing style all combine to create what sounds like a purely and sincerely loving pastiche of musical elements that, for anyone under the age of 60, will sound both eerily familiar (from movies your parents like) and utterly foreign. From the decorous cha-cha of "Took Me by Surprise" (with its unbelievably cheesy horn chart) to the torchy orchestral pop of "Tenderness," the music is certainly gimmicky, but the pleasure is real. And this is pop music, people: pleasure is pretty much all that counts. ~Rick Henderson
 

Mischievous Moon

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Rossano Sportiello & Matthias Seuffert - Swingin' Duo By The Lago

Bitrate: 320K/s
Time: 69:21
Size: 158.8 MB
Styles: Stride piano jazz, Saxophone jazz
Year: 2007
Art: Front

[4:52] 1. Rifftide
[5:32] 2. Ask Me Now
[5:13] 3. The Man I Love
[6:26] 4. Blue Five Jive
[4:41] 5. You Go To My Head
[4:14] 6. Diga Diga Doo
[4:20] 7. Imagination
[4:37] 8. Lester Leaps In
[6:55] 9. Chelsea Bridge
[3:50] 10. Swingin' By The Lago
[7:48] 11. After Supper
[6:16] 12. Cherokee
[4:32] 13. Body And Soul

After several encounters with Rossano, our first opportunity to perform together arose with Marc Richard´s European Swing Allstars in 2003.We thoroughly enjoyed the encounter both personally and musically, so we planned right then to do a recording together. Thanks to our Australian friend and drummer Anthony Howe, this duo-CD is now available. He recorded us at the Ascona Jazz Festival 2006 during two afternoon sessions - therefore the title “Swingin´ By The Lago”. Because of the rigid time schedule, the duos were developed spontaneously and without detailed prearrangements. The intimate ensemble playing of two balanced voices confronts the musicians with a special task, but if it works it is a great pleasure. It is inspiring and very exiting to play together with Rossano! We consider swing and feeling the main ingredients of our music.

During the second afternoon Anthony joined us on drums and one of the world´s best jazz saxophone players sat in: Harry Allen. We think, the three quartet tunes somehow reflect the typical atmosphere you experience during the Ascona Jazz Festival when musicians meet at the jam session after their concerts at night. Thanks a lot for your cooperation, Rossano, Anthony and Harry! I´m much obliged to Nicolas Gilliet, musical director of the Ascona Jazz Festival, who provided the room and a concert grand piano for the recording session. Over the years, he has repeatedly given us the chance to present jazz in its many facets. You´ll find three bonus tracks on this CD. They were recorded live during a concert performance of my quartet at Bungertshof in Königswinter near Bonn. Many thanks to Johannes, Michael and Meikel! Walter and Stefan Schlund used a radio-transfer-van to record the concert. Michael Schneider and Stefan mastered both sessions. Evidently, they got great ears and know what to do, so the mastering was great fun as well.

About the musicians:
Rossano Sportiello is one of the world´s leading stride, swing and bebop piano players. The French institution, L’Académie du Jazz, recognized his work on solo piano as the “Prix du Jazz Classique 2005”. He has played with such jazz luminaries as Slide Hampton, Gerry Mulligan, Bucky Pizzarelli, Dick Hyman, Houston Person, Dado Moroni,Eddie Locke, Dan Barrett, Harry Allen, Scott Robinson, Carl Fontana, Rebecca Kilgore, Reggie Johnson, Scott Hamilton, Bob Wilber, Kenny Davern,Warren Vaché, Ken Peplowski, Butch Miles, Jake Hanna and Johnny Frigo.

Matthias Seuffert is internationally considered a versatile and multi-faceted Jazz clarinetist and saxophonist from early jazz through to bebop. He has recorded with some of the best jazz players on both sides of the Atlantic Ocean and lectured at the jazz faculty of Trinity College of Music, London. Musicians he has worked with include Red Holloway, Eddie Locke, Jimmy Woode, Herb Hardesty, Warren Vaché, Dan Barrett, Tom Baker, Kenny Davern, Harry Allen, Marty Grosz, Jon-Erik Kellso, Keith Nichols, Alan Barnes, Trevor Richards, The European Swing Allstars and The European Saxophone Quartet.

Swingin' Duo By The Lago

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Barbra Lica - That's What I Do

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 47:54
Size: 110,4 MB
Art: Front

(2:14)  1. Because I Say So
(3:05)  2. You Are My Sunshine
(2:33)  3. Pretend
(4:52)  4. The Graduation Blues
(3:41)  5. That's What I Do
(3:37)  6. Quiet  Nights
(4:25)  7. Vienna
(4:33)  8. P.S. I Love You
(3:18)  9. A Million Miles
(3:39) 10. Scarlett O'Hara
(4:15) 11. Going Away
(3:54) 12. But Not For Me
(3:40) 13. Young At Heart

Barbra Lica has a classy kewpie-doll voice like jazz-singers Blossom Dearie and Stacey Kent.Touches of class are all over her debut CD That’s What I Do, starting with the jazz all-stars of her band: Archie Alleyne on drums or Steve Heathcote; Reg Schwager or Rob Piltch on guitars; Brian Dickinson, Joe Sealy or Robi Botos on piano; Paul Novotny on bass; Kevin Turcotte on trumpet; Bob DeAngelis and Tom Szczesniak respectively on clarinet and bass a line-up as good as it gets.Barbra’s set-list is a bold and tasteful dish of high end standards (Gershwin, Mercer, Jobim, Billy Joel), pop chestnuts (“You are My Sunshine,” “P.S. I Love You.” “Pretend,” “Young at Heart”), and half a dozen originals. If you like these standards and chestnuts done with a true jazz flair you are going to love listening to Barbra do them. Her voice and singing style are captivating, and the arrangements are impeccable. Just listen and feel better, like letting in sunshine and fresh air. Barbra’s lucid phrasing and pacing are markedly intelligent, like most of the instrumental solo’s, especially Perry White’s tenor sax solo on “But not for me.” The opening original, “Because I Say So,” and the closing (album title song) “That’s What I Do,” (both co-written with guitarist Colin Story) are typical of Barbra’s work:  distinct melody, naturally flowing lyric lines, stylish structure, clever rhymes(“sweater/weather, enjoyment/employment), and a positive, out-front, confidence. It’s a pleasure to be around any tune Barbra is singing. Bring it on.

~ Stanley Fefferman  http://opusonereview.com/p=1787

That's What I Do

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Gene Ludwig Trio With Bill Warfield Big Band - Duffs Blues: Live From The Zoellner Arts Center

Styles: Soul Jazz, Big Band
Year: 2008
File: MP3@320K/s
Time: 71:38
Size: 165,3 MB
Art: Front

( 9:00)  1. Duff's Blues (Live)
( 7:46)  2. Totem Pole  (Live)
( 6:26)  3. The Organ Grinder  (Live)
( 7:22)  4. The Circuit  (Live)
( 9:40)  5. Naked City  (Live)
( 8:31)  6. Dance Of The Coal Cars  (Live)
(11:35)  7. Dolphin Dance  (Live)
(11:14)  8. Breakin' The Ice  (Live)

It’s too bad the Hammond B3 organ isn’t showcased more often with a big band. It’s a terrific combine producing a big, deep, meaty sound. Case in point: this CD, putting together veteran B3 organist Gene Ludwig, who got his start four decades ago in Pittsburgh, and Big Apple trumpeter Bill Warfield’s Big Band. Ludwig’s trio provides guitarist Bob DeVos and drummer Rudy Petschauer, while Warfield provides arrangements and fields the brass, reeds and bassist Bob Bowen. This isn’t one of those either/or situations where big band or organ trio play; there’s a lot of interaction between the two, with Warfield providing ensemble riffs, shout choruses, solos and composed interludes to keep the big-band feel alive even during long solos and tracks. 

Ludwig’s “Duff’s Blues” kicks things off with a dollop of soul jazz: a B3 lead segues into churning big band and organ, Joe Wilder blows a zesty trumpet solo, Tim Sessions offers brash trombone, and the band fades to choruses of B3 licks traded with guitar (catch the “Killer Joe” allusions) before a drum-break finale. The amazing Wilder (an octogenarian since 2002) brings his burnished tone and articulate ideas to a long solo on Lee Morgan’s Latin-with-4/4 bridge “Totem Pole,” while Warfield takes the trumpet solo on Woody Shaw’s “The Organ Grinder.” Ludwig, who favors the resonant middle register of the B3 and avoids the repetitive clichés of soul organ, is a robust presence throughout the CD as both soloist and ensemble fattener. Warfield’s arrangements swing and/or groove with exhilarating authority, from a classic take on “Dolphin Dance” to the funky percolation of his own “Dance of the Coal Cars.” The tenor saxophones of Dave Riekenberg and Glenn Cashman, who also arranged his own rippling, jumpy “The Circuit,” fit right in the brawny B3 combo tradition, and it’s good to hear such yeomen in the New York big-band trenches as baritone saxophonist Ed Xiques and bass trombonist Sam Burtis stretch out on solos. ~ George Kanzler  http://jazztimes.com/articles/20824-duff-s-blues-live-from-the-zoellner-arts-center-gene-ludwig-trio-with-the-bill-warfield-big-band

Personnel: Gene Ludwig (organ, Hammond b-3 organ); Bob DeVos (guitar); Ben Ken (alto saxophone); Jon Owens, Bill Warfield, Danny Cahn (trumpet); Tim Sessions (trombone); Randy Petshauer (drums); Glenn Cashman (tenor saxophone); Ed Xiques (baritone saxophone); Dave Spier, Joe Wilder (trumpet); Sam Burtis (trombone).

Duffs Blues:Live From The Zoellner Arts Center

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Jackie McLean - New Soil

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 38:34
Size: 88,5 MB
Art: Front

(11:18)  1. Hip Strut
( 7:34)  2. Minor Apprehension
( 7:24)  3. Creasy
( 6:47)  4. Sweet Cakes
( 5:28)  5. Davis Cup

Jackie McLean's New Soil, is not the most acclaimed album in the classic Blue Note catalogue, but this 1959 release deserves more attention that it gets, being supremely well-played, well-written and within the limitations of its time well-recorded. This vinyl reissue, remastered from the original tapes by the good folks at Acous-Tech, is part of a series of albums fifty titles in all, so far that includes some of the most well-known Blue Note recordings from the 1950s and '60s, and may well represent the finest production runs of these albums ever, though that come at a price: fifty dollars each, for two 45 RPM LPs.

At this time, McLean was still feeling his way between Charlie Parker idolatry and finding his own sound. He's about half way there on this date, even as he admits his stylistic debt to his master in the liner notes. McLean's playing is solid and assured throughout, and his two writing credits on the album reveal a musician capable of complete statements. Trumpeter Donald Byrd steals the opener, the softly swinging blues, "Hip Strut," with his gorgeous, burnished lower-register solo, slowly working it over the staccato theme. Pianist Walter Davis Jr.. an unsung keyboard hero if ever there was one carries the tune through with a bluesy workout, before comping Paul Chambers bowed bass solo to wrap it up. McClean's "Minor Apprehension" is as close to a penultimate hard-bop song as you'll ever hear: fast, hard swinging and aggressive, with standout turns from the frontline. 

It's Drummer Pete La Roca who turns it upside-down, when he drops the melody, rhythm and pace from his solo, to play a series of abstract triplets, only to recapitulate the theme with the horns for a final bar before it's over. Davis' "Greasy" opens with a boogie-woogie piano line that would be right at home on a Bull Moose Jackson platter, setting up some fine straight-ahead blues playing. Of course, all of these basics can be heard on ten dollar CD version of this album, without breaking the bank, which begs the question: What are you getting for your fifty dollars, and is it worth it? Rudy Van Gelder in whose studio this and most other Blue Note records of the era were recorded has a mixed legacy as an engineer. His best quality recordings and New Soil is among them capture the horns with all of their overtones and shadings intact. 

Byrd's solo on "Hip Strut" is perfect example of capturing not just the notes, but his horn's gorgeous and distinctive bronze tone. The drum solo on "Minor Apprehension" reveals the kit in natural space and depth. Even the piano the perpetual RVG Achilles Heel sounds passably good (not great, but decent enough). For the collector who loves this record and has the equipment to hear all the detail that it has to offer, New Soil is worth hearing. ~ Gregg Simmons  http://www.allaboutjazz.com/new-soil-jackie-mclean-blue-note-records-review-by-greg-simmons.php#.VE_X6clZi5g
 

Personnel: Donald Byrd: trumpet; Jackie McLean; alto sax; Walter Davis Jr: piano; Paul Chambers; bass: Pete La Roca; drums.

New Soil

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Dan Cray Trio - Over Here Over Heard

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 57:05
Size: 131,0 MB
Art: Front

( 7:14)  1. That Old Black Magic
( 8:24)  2. At Least
(10:26)  3. Useless Landscape
( 7:41)  4. Barbara
( 8:12)  5. More Than You Know
( 6:34)  6. Hammer Head
( 8:30)  7. Moon River

Often, when a trio plays jazz, it covers classics or performs original material written by the leader usually the pianist. On Over Here Over Heard, the Dan Cray Trio does both and pleases a live audience in the process. The trio brings some varied credentials. Cray was a finalist in the 2003 Montreux Jazz Festival Solo Piano Competition. His associations have included Kurt Elling and the Chicago Jazz Orchestra, and he has released three studio albums with his trio, the previous being Save Us (Bluejazz, 2005). Clark Sommers is a bassist who has performed at jazz festivals in the United States, Ireland, France and Canada. He's performed with Elling and Kevin Mahogany, and shared billing with Tony Bennett, Diana Krall, B.B. King, The Staples Singers, Koko Taylor and Buddy Guy. Greg Wyser-Pratte started on piano and played trumpet for nine years before turning to drums. He graduated Northwestern University in 1998 with a bachelor of music degree in jazz studies. As a student or professional, he has worked with Max Roach, Rufus Reid and the Chicago Jazz Orchestra, among others. The Harold Arlen-Johnny Mercer classic, "That Old Black Magic," is given a fresh, invigorating treatment. Cray carries the lead throughout, but Sommers and Wyser-Pratte engage proudly. The drummer really comes through during the song's climactic conclusion. Cray does more than justice to Horace Silver's "Barbara." 

This upbeat selection is one of the more enjoyable pieces on a recording that's loaded with them. Cray's piano is exceptional, while Wyser-Pratte's mix on the toms, snare and cymbals adds a nice complement. Already engaging, the song comes to a high-energy conclusion. If there's one disappointment on the disc, its that the bass doesn't come through clearly at low volume. The acoustic bass can get lost in the background any recording by large ensemble, especially with a horn section. However, in a trio, it should be more clearly audible without having to raise the volume, boosting the subwoofer or employing equalization. Still, Over Here Over Heard is an enjoyable collection of seven tracks. All run more than six and a half minutes, giving the musicians plenty of room to operate. ~ Woodrow Wilkins  http://www.allaboutjazz.com/over-here-over-heard-dan-cray-crawdad-productions-review-by-woodrow-wilkins.php#.VE0iXslZi5g
 

Personnel: Dan Cray: piano; Clark Sommers: bass; Greg Wyser-Pratte: drums.

Over Here Over Heard

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ACQ (Amy Cervini Quartet) - Famous Blue

Size: 119,0 MB
Time: 51:13
File: MP3 @ 320K/s
Released: 2007
Styles: Jazz Vocals
Art: Front

01. Because I Told You So (4:47)
02. How He Sings (5:22)
03. Sliding Down (4:43)
04. Famous Blue Raincoat (6:54)
05. No Moon At All (4:43)
06. Mushaboom (5:52)
07. Extraordinary Machine (3:49)
08. Don't Fence Me In (6:27)
09. Don't Explain (5:29)
10. Holiday (3:02)

The ACQ (Amy Cervini Quartet) is an exciting addition to the New York City jazz scene, stretching the boundaries of traditional vocal jazz repertoire and creating new sounds.

Their debut album features songs by Leonard Cohen, Jonatha Brooke, Edgar Meyer, Fiona Apple, Leslie Feist, Weezer, a new young composer/arranger/producer Oded Lev-Ari and some standard jazz repertoire by Cole Porter and Billie Holiday.

Amy Cervini is a regular at New York clubs including Birdland, The 55 Bar, The Knitting Factory, The Jazz Standard, Cornelia Street Café and Joe’s Pub. She has also appeared at numerous clubs and concert halls around the world; from Toronto to Tel-Aviv. Ms. Cervini is currently a member of the New York-based vocal jazz group, Monday Off that released their long awaited, self-titled sophmore CD in December 2006. Amy has also been featured as a back-up vocalist with the New York band Pharaoh's Daughter.

Amy made her Carnegie Hall debut in 2002 singing with the New York Pops Orchestra as part of their 25th Anniversary Gala Celebration. She shared the stage with Bucky Pizzarelli, Christine Ebersole, Peter Appleyard and sang in the debut performance of a selection from a new musical written by Kathie Lee Gifford. Ms. Cervini also premiered the part of “Obum” in Patricia Burgess’ jazz opera, “Reflections of the Watermoon” at New York City’s Merkin Hall. Amy is also a member of Numinous+, a group conducted by Joseph Phillips and featuring his compositions.

Famous Blue

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