The Rein de Graaff Trio, Conte Candoli, Bob Cooper - Thinking Of You

Styles: Piano, Trumpet And Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 65:54
Size: 151,1 MB
Art: Front

(11:31)  1. Thinking Of You
( 9:53)  2. We'll Be Together Again
(10:33)  3. Star Eyes
(10:11)  4. I'll Remember April
( 8:34)  5. Ow!
( 5:58)  6. Loverman
( 9:12)  7. Oleo

This previously unreleased 1993 recording features two legendary West Coast jazz musicians, trumpeter Conte Candoli and tenor saxophonist Bob Cooper. Recorded shortly before Cooper suffered a fatal heart attack aged 67 the two musicians perform a set of standards backed by a seriously good Dutch rhythm section.  http://www.amazon.co.uk/Thinking-You-Rein-Graaff-Trio/dp/B001U041MM

Personnel: Conte Candoli (trumpet), Bob Cooper (tenor saxophone), Rein de Graaff (piano), Koos Serierse (bass), Eric Ineke (drums)

Thinking Of You

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Adam Cohen - Like A Man

Styles: Vocal, Folk
Year: 2011
File: MP3@320K/s
Time: 37:05
Size: 85,3 MB
Art: Front

(6:01)  1. Out of Bed
(3:20)  2. Matchbox
(3:31)  3. Like A Man
(3:31)  4. Sweet Dominique
(4:42)  5. What Other Guy
(3:10)  6. Girls These Days
(4:14)  7. Lie Alone
(2:39)  8. Overrated
(3:29)  9. Beautiful
(2:23) 10. Stranger

On his fourth solo recording, songwriter Adam Cohen, progeny of one of pop music's greatest poets, Leonard Cohen, finally quits struggling against his birthright and surrenders. And in doing so, he's come all the way over to the side he seemed so determined to escape. Thank goodness. Like a Man assembles ten songs about what else? Love. There's no mistaking the singer's lineage: it's in his expressive baritone (his voice, though still somewhat flat, is not gruff or harsh). The arrangements and production bear his dad's influence: nylon-string guitars, upright bass, piano, subtle strings, and harmony vocals by no less than Jennifer Warnes. For those suspecting that Cohen is merely channeling and cashing in on his dad's rep, that's their problem. He makes no secret of his father's influence, but his way of writing songs is certainly his own. He uses fewer metaphorical or metonymic devices; his approach is more halting, less authoritative, but he possesses a keen eye for observation. Cohen is a mature songwriter whose work has been featured on other artists' records, but this is the first time his own voice so completely possesses his material. 

The title track, with its damning observations and admissions about the male gender, offers no excuses, its vulnerability evident. Producer Patrick Leonard's lilting string arrangements and Warnes' hushed backing vocals lend the song a quiet power. "Sweet Dominique" is as poignant a love song seen through the rearview mirror of life as you're likely to find. "What Other Guy" is from the same perspective, but without the distance of time to lessen the ache. It's all the more devastating because the protagonist knows virtually everything about his former, still-longed-for love, including "what you smell like when the night ends." Warnes' multi-tracked backing vocals on the chorus underscore the song's poignancy and tenderness. Like a Man was a recording Cohen had to make; it feels like he's coming to terms with exactly who he is. No, he's not as profound as his dad, but who the hell is? Measure him up to other great songwriters of his own generation born between the late '60s and the mid-'70s and he shines. ~ Thom Jurek  http://www.allmusic.com/album/like-a-man-mw0002203943

Personnel: Adam Cohen (vocals, nylon-string guitar); Bruce Geitch (steel guitar); Pat Leonard (piano, harmonium, Hammond b-3 organ, synthesizer).

Like A Man

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Rondi Charleston - Signs of Life

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 44:15
Size: 106,5 MB
Art: Front

(4:37)  1. DNA
(4:36)  2. Signs of Life
(5:37)  3. How the River Flows
(4:19)  4. The Wind Speaks
(4:12)  5. Footprints
(3:17)  6. Spirit Voices
(3:32)  7. In These Hours
(4:38)  8. Reflections
(2:55)  9. Babe's Blues
(3:22) 10. Chega de Saudade
(3:04) 11. The Cave Knows

Motéma Music recording artist, Rondi Charleston, is an award winning jazz singer/lyricist/composer whose work has appeared in film, TV and on stage throughout the U.S. and Europe. Her most recent album, Signs of Life, climbed the Jazz Week charts for ten consecutive weeks and has critics raving; JazzTimes says “she is a songwriter whose poetic, narrative, and compositional skills are comparable to such modern masters as Joni Mitchell and Paul Simon.”Touring nationally in support of Signs of Life, Rondi and her all-star band gave sold out performances from coast to coast from Yoshi’s in San Francisco to Mayne Stage in Chicago to Joe’s Pub in New York with TV appearances on such prestigious stations as PBS Chicago Tonight and ABC’s Windy City Live. She has collaborated with some of the foremost jazz luminaries of our time including Fred Hersch, Lynne Arriale and Dave Stryker. Rondi was chosen for the Women in Jazz Festival at Jazz at Lincoln Center, and has played Birdland and BlueNote with her quartet in New York City. Her original song, “The Cave Knows”, for the film, No Place on Earth, is currently featured on The History Channel as well as in worldwide theatrical release. In addition Rondi is a Juilliard graduate, Emmy and Peabody award winning journalist at ABC News Primetime Live. Bio ~ http://motema.com/artists/rondi-charleston/

Signs of Life

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Sonny Red - Red, Blue & Green

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 77:06
Size: 176,9 MB
Art: Front

(6:16)  1. Moon River
(4:24)  2. I Like the Likes of You
(5:38)  3. Super-20
(4:36)  4. Bye, Bye Blues
(8:55)  5. The Mode
(6:34)  6. Never, Never Land
(4:18)  7. Ko-Kee
(6:34)  8. Images
(4:50)  9. Blues for Donna
(5:22) 10. Dodge City
(8:33) 11. Blue Sonny
(5:14) 12. The Rhythm Thing
(5:46) 13. Bewitched, Bothered and Bewildered

Sylvester “Sonny Red” Kyner, Jr. was part of the fruitful exodus of Detroit jazzmen to New York in the late 1950s. Though his style was steeped in the deft architectures of Bebop his sound and approach also incorporated a healthy fascination with earlier traditions. This disc dusts off two of his sessions for the Jazzland label and delivers a substantial program of mainly originals from a player who should have recorded more often. A strong team of sidemen fronted by guitarist Grant Green (on leave from Blue Note) is on board to assist. Throughout the disc Green’s guitar is unusually dry in terms of amplification making his single note lines seem all the more carefully chosen. “The Mode,” an up tempo swinger contrary to the connotation of its title, is positively charged by crystal clean solos from Red, Green, Harris and Tucker. 

“Never, Never Land” opens with a bright piano fantasia by Walton followed by Red’s reflective horn above a pillowy rhythm. “Ko-Kee” works off a swaggering set of blues-inflected changes and an authoritative core statement by Walton. The hard bop flag waves more prominently on the next several tunes, which trade up Green for the crisp trumpet stylings of Blue Mitchell. The brassman’s vivacious tone is especially effective on the rollicking “Blues For Donna” and his agile phrases work as a fine foil for bringing out Red’s more extroverted side. Green reconvenes with Humphries in tow for the final three tracks and the drummer even takes a few blistering choruses on the aptly titled “The Rhythm Thing.” Tucker’s tiptoe bass preface to “Blue Sonny” serves as another highlight of the final stretch and sets the stage smoothly for one of Red’s most creative solos of the entire disc. One thing that really moves these sessions beyond the scope of the usual hard bop chaff of their vintage is the way Red’s various rhythm sections react to and support his own fluid inventions. 

Tucker was a vastly underrated session bassist who possessed the requisite chops for a leadership role, but always seems to favor lending his prodigious talent to the causes of others. Harris and Walton weren’t as uniformly altruistic, each carving out satisfying solo careers of their own. As for the drummers, Cobb served at the rhythmic core of one of Miles Davis’ most famous aggregations- the Kind of Blue ensemble, and Humphries eked out paychecks working behind the likes of Donald Byrd, Dizzy Gillespie and John Coltrane. Albert “Tootie” Heath is also listed in the original liners, but is absent on the tray card roster so it’s unclear whether or not his sticks actually in service on any of the dates. Red’s discography as a leader is fairly slight to begin with and since his Blue Note material ( Out of the Blue ) once again out of circulation this generous Fantasy two-fer becomes something of an essential purchase for listeners hungry to hear the unsung hard bop hero’s work. ~ Derek Taylor http://www.allaboutjazz.com/red-blue-and-green-sonny-red-fantasy-jazz-review-by-derek-taylor.php
 

Personnel: Sonny Red- alto saxophone (all tracks); Grant Green- guitar (1, 3, 5, 8-13); Barry Harris- piano (1, 3, 5, 8-13); George Tucker- bass (all tracks); Jimmy Cobb- drums (1-7, 11-13); Cedar Walton- piano (2, 4, 6-7); Lex Humpries- drums (8-10).

Red, Blue & Green

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Claudio Roditi, Klaus Ignatzek, Jean-Louis Rassinfosse - Smile

Styles: Trumpet And Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 67:50
Size: 155,7 MB
Art: Front

(6:24)  1. Light In The Dark
(6:46)  2. Little Sunflower
(5:05)  3. Eu e a Brisa
(3:34)  4. Believe It Or Not
(6:12)  5. Corcovado
(3:28)  6. Cantaloupe Island
(6:45)  7. Misty
(4:19)  8. The Shadow Of Your Smile
(7:19)  9. The Monster And The Flower
(4:27) 10. Obrigado
(5:22) 11. Moonlight And Tears
(8:04) 12. The Girl From Ipanema

The trio of Brazilian-born trumpeter Claudio Roditi, German pianist Klaus Ignatzek and Belgian bassist Jean-Louis Rassinfosse has been working together for some years now. Roditi has been based in New York since 1976, after study at Berklee, and has a considerable and well-deserved reputation as a trumpeter within both hard-bop and Latin-jazz traditions; he has worked with, amongst many others, Joe Henderson and McCoy Tyner. He worked for some time with Dizzy Gillespie’s United Nations Orchestra and then with the Jazz Masters, Slide Hampton’s Gillespie tribute band. His work with Cuban reed player Paquito D’Rivera attracted many plaudits.

 Klaus Ignatzek is a thoroughly accomplished pianist, equally at home in bop and hard-bop idioms, who has extensive experience working with European and American greats. Rassinfosse is another European musician who has worked successfully with a whole catalogue of masters, both European (such as Tete Montoliu and Michel Petrucciani) and American (e.g. Pepper Adams and Clifford Jordan). For ten years he worked and recorded with Chet Baker  so he knows a thing or two about accompanying a trumpeter. The three have recorded some beautiful trio albums for the Nagel Hayer label  Three for One (recorded 2002, NH 2028), Light in the Dark (recorded 2004, NH 2004) and Reflections (recorded 2005, NH 2065). On these drumless recordings, the sense of space and transparency allows the interplay of instruments to be heard with exceptional clarity; there is an intimacy of mutual attention and subtlety of exchange which makes the recordings chamber jazz of a high order. Here the trio has been supplemented by the addition of Dutch drummer Hans Dekker and a body of strings arranged and conducted by Steffen Drabek. 

The resulting live recording comes, unfortunately, as something of a disappointment. Dekker is a good drummer, and he doesn’t, in any crude sense, swamp the work of Roditi, Ignatzek and Rassinfosse; but he does, unavoidably, change the nature of their musical conversation, particularly rhythmically, and the change isn’t for the better, since the rhythms have become much more homogenous. But the real problem lies with the strings. Mixing jazz soloists with stings has never been an easy thing to bring off  it is easy to think of many attempts which failed and hard to think of many that succeeded (Clifford Brown with Neil Hefti’s arrangements?, Art Pepper with Bill Holman’s arrangements?). The strings here largely have the effect of muddying the textures still further; some of the writing is rather oversweet and there are times when there seems to be little real connection between what the four jazz musicians are doing and what the strings are doing. Nor does the recording balance really integrate them consistently. Roditi, in any case, doesn’t seem to be on his very best form. Ignatzek is excellent; indeed, some of his solos are the best reason for listening to the album, and will probably be the reason I shall make occasional future returns to it. 

The best of Roditi-Ignatzek-Rossinfosse is to be heard on their ‘pure’ trio albums, not on this rather unsatisfying, if well intentioned, creation . ~ Glyn Pursglove  http://www.musicweb-international.com/jazz/2007/Roditi_smile_2072.htm

Personnel :  Claudio Roditi (Trumpet, flugelhorn, vocals), Klaus Ignatzek (piano), Jean-Louis Rassinfosse (bass), Hans Dekker (drums), Bremen Philharmonic Strings, Steffen Drabek (conductor, arranger)

Smile

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Oliver Jones - Second Time Around

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 53:08
Size: 122,3 MB
Art: Front

(4:30)  1. Broadway
(2:53)  2. Remembering Chris
(6:00)  3. When I Fall In Love
(7:56)  4. Simple Blues
(4:29)  5. Museric Waltz
(4:26)  6. D for Doxas
(7:08)  7. Misty
(4:11)  8. Surrey With a Fringe On Top
(4:21)  9. Dizzy-Nest
(7:11) 10. Angel and Mr. Jones

Oliver Jones was already in his fifties when he was discovered by the jazz world. He had started playing piano when he was seven and at nine, he studied with Oscar Peterson's sister Daisy; the Peterson influence is still felt in his style. Jones played with show bands and worked with pop singer Ken Hamilton (1963-1980), much of the time in Puerto Rico. It was not until he returned to Montreal in 1980 that he committed himself to playing jazz full-time. Since the mid-'80s, Oliver Jones has recorded extensively for Justin Time and established himself as a major modern mainstream player with impressive technique and a hard-swinging style. ~ Bio  https://itunes.apple.com/ca/artist/oliver-jones/id29498006#fullText

Second Time Around

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The Ali Ryerson Jazz Flute Big Band - Game Changer

Size: 157,5 MB
Time: 68:11
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz: Big Band
Art: Front

01. Daahoud (5:27)
02. Ana Maria (5:49)
03. Stolen Moments (6:39)
04. Speak Like A Child (7:02)
05. Con Alma (8:42)
06. Girl Talk (6:53)
07. Pavane (7:41)
08. Impressions (6:26)
09. Sail Away (5:49)
10. Lil' Darlin' (7:38)

Yes, the idea seems rather implausible: a big band comprised of sixteen flutes and rhythm. Flutist Ali Ryerson is the catalyst and guiding hand behind the Jazz Flute Big Band (JFBB), which was formed in 2005 and has been performing at various events across the country ever since. Before dismissing it out of hand, give the JFBB's debut album, Game Changer, a listen; you may be in for a pleasant surprise. It's remarkable what well-written charts can do for an ensemble, even one that consists primarily of a single instrument (or five, if you subdivide the C, alto, bass and contrabass flutes nnd piccolo).

Needless to say, arranging for a nineteen-piece band sixteen of whose members are playing flute posed an enormous challenge for the half-dozen craftsmen chosen to carry out the enterprise, and each of them has come through with flying colors. Mike Wofford wrote three charts, Bill Cunliffe and Mike Abene two apiece. Mark Levine scored Clifford Brown's bop classic "Daahoud," Steve Rudolph the Herbie Hancock ballad "Speak Like a Child," Billy Kerr the classical composer Gabriel Faure's brooding "Pavane." Completing the program are Wayne Shorter's "Ana Maria," Oliver Nelson's "Stolen Moments," Tom Harrell's "Sail Away" (Wofford), Dizzy Gillespie's "Con Alma," John Coltrane's "Impressions" (Cunliffe), Neal Hefti's "Girl Talk" and "Li'l Darlin'" (Abene).

The FJBB's rhythm section (Levine, piano; Rufus Reid, bass; Akira Tana, drums) is exemplary, as are its trio of guest soloists: Hubert Laws ("Stolen Moments"), Nestor Torres ("Con Alma") and Holly Hofmann ("Girl Talk"). Ryerson (alto flute) trades with Hofmann on "Girl Talk" and solos on "Sail Away." Others who solo are Paul Lieberman on "Daahoud," Marc Adler on "Ana Maria," Jamie Baum on "Speak Like a Child," Kerr and Fernando Brandao on "Pavane," Bob Chadwick on "Li'l Darlin.'" And if you think flutists can't swing as hard as anyone, try "Impressions" (fiery solo courtesy of Andrea Brachfield).

Notwithstanding the absence of brass and reeds, Game Changer sounds much like any other well-written and superbly performed big-band album. The flutes are clearly more subdued but no less pleasing, the charts as admirable as could be envisioned for an ensemble of this kind. In other words, they are far from bland, nor is the tasteful Jazz Flute Big Band, which is off to an impressive start. ~By Jack Bowers

Personnel: Ali Ryerson: leader, C and alto flute; Marc Adler: C and alto flute; Jamie Baum: C and alto flute; Andrea Brachfeld: C and alto flute; Fernando Brandao: C, alto and bass flute; Bob Chadwick: bass flute; Richard Ford: C and alto flute; Kris Keith: C and alto flute; Zachary Kellogg: piccolo, C flute; Billy Kerr: C and alto flute; Paul Lieberman: C, alto and bass flute; Rachel Rodgers: C flute; Jonathan Royce: C and alto flute; Donna Sevcovic: bass flute; Stan Slotter: C and alto flute; Keith Underwood: bass and contrabass flute; Mark Levine: piano; Rufus Reid: bass; Akira Tana: drums, percussion. Guest Soloists — Holly Hofmann: C flute; Hubert Laws: alto flute; Nestor Torres: C flute.

Game Changer

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Bia Sion - A Levada Do Jazz

Size: 90,4 MB
Time: 38:56
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz Vocals
Art: Front

01. The Man I Love (4:48)
02. But Not For Me (3:37)
03. Embraceable You (3:19)
04. Blue Moon/Moonglow (3:15)
05. Cheek To Cheek (2:32)
06. Moon River (3:03)
07. Ain't Misbehavin' (2:25)
08. Fever (3:07)
09. Someone To Watch Over Me (3:04)
10. Sway (2:50)
11. Love For Sale (4:46)
12. All Of Me (2:03)

Finalmente chega ao formato cd pelo selo Descobertas, o repertório do show "A Levada do Jazz", idealizado por Bia Sion em 2005 e levado aos palcos a partir de 2006. Amante do jazz e do swing, herança familiar, Bia acabou encontrando no contrabaixista Dôdo Ferreira a direção musical que precisava para seu show e naturalmente isso se reflete no cd de estúdio gravado sem pressa em 2008 com produção musical de Marcelo Alonso Neves. Sob sua batuta estão os sensacionais músicos Marco Tommaso (piano), Adriano Souza (piano) e João Cortez (bateria), além de canjas imperdíveis de seu primo Roberto Sion (sax) e de David Ganc (flauta).

No repertório, grandes standards americanos compostos por mestres como “The Man I Love” e “Embraceable You” de George & Ira Gershwin, “Love for Sale” de Cole Porter, “Blue Moon” de Hart & Rodgers e Cheek to Cheek de Irving Berlin. Segundo a própria Bia Sion, “A música sempre fez parte da minha vida...Contei com o fundamental apoio de profissionais de enorme gabarito (entre eles, Dôdo Ferreira, Marisa Alvarez Lima (fotos Capa), Marcelo Alonso Neves e Marcelo Fróes) que me ajudaram a realizar este cd. "A Levada do Jazz" sou eu, Bia Sion, que adora jazz, palco e um microfone”.

A Levada Do Jazz

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Emi Takada - I'm All Smiles

Size: 112,0 MB
Time: 48:25
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. I'm All Smiles (4:14)
02. So In Love (4:06)
03. It's All Right With Me (4:23)
04. Do Nothing 'til You Hear From Me (5:06)
05. Night And Day (4:19)
06. We'll Be Together Again (6:17)
07. You And The Night And The Music (4:22)
08. Come Rain Or Come Shine (5:55)
09. Agua De Beber (4:11)
10. Never Let Me Go (5:27)

First of all, I would like to thank all the musicians, Bob Henschen, Aric Nitzberg and Tim Solook, who helped me to record this debut jazz CD album with their creative input of ideas, elegant playing and warm support.

I was born and raised in Japan, but I am now living in Houston, and I firmly believe that all things happen for a reason. I believe everyone is connected to each other in this life. Music binds people together because it is the universal language, cutting through all differences and separations which come from ethnicity, language, belief system and economic status. I feel this bond very strongly because singing is my life, my heart, my passion and my love. Every time I sing, I am telling a story with music, and I sing my true heart out. That’s all I can do. My desire is that my feelings touch and connect with people’s true hearts when they listen to my singing.

I always respect the lyricist and the composer who created such masterpieces, so most of time I try to sing a song as written for the first chorus, because I don’t want to break a beautiful melody line or alter the meaning of the lyrics. I simply deliver them with deep feeling and emotion.

When I first heard Cole Porter’s song, “So in Love”, I cried. He is so honest and brave to expose his true heart. He really knows what love is. He is a very special person for me, which is why I chose three of his songs, “So in Love”, “It’s All Right with Me” and “Night and Day” for this album.

“I’m All Smiles” expresses my own happiness and gratitude for my precious family, beautiful friends and my music. Life is never simple, but whatever happens in my life, “I’m All Smiles”. .

I'm All Smiles

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Brian Lynch & Emmet Cohen - Questioned Answer

Size: 164,8 MB
Time: 71:28
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Bebop, Modern Jazz
Art: Front

01. Dark Passenger ( 7:29)
02. How Deep Is The Ocean ( 8:21)
03. Buddy ( 9:05)
04. Distant Hallow ( 8:29)
05. I Wish I Knew ( 7:17)
06. Petty Theft (11:17)
07. Just In Time ( 6:03)
08. Questioned Answer ( 7:37)
09. Blues By Four ( 5:45)

Four highly regarded musicians from three different age groups come together for a two-leader session resulting in one terrific album. That's Questioned Answer by the numbers, but there's a lot more to the story than basic numerics.

The partnership between veteran trumpeter Brian Lynch and rising star pianist Emmet Cohen was born out of serendipity and mutual appreciation. Lynch first heard Cohen when they were both working the 2011 Jazz Cruise—the former as a featured soloist and the latter with his trio from the University of Miami's Frost School of Music. Not too long after, Lynch took on the title of Professor of Jazz Trumpet at that fine institution, putting him in a position to work with Cohen—then finishing his undergraduate work—on a regular basis. That's when the seeds of this album were sown.

The album itself is split between duo and quartet performance. The six originals—three from each leader—feature the quartet of Lynch, Cohen, bassist Boris Kozlov, and drummer Billy Hart. Together, that group makes its way through uncertain scenarios ("Petty Theft"), lets a simple and hip groove carry the day ("Buddy"), and swings along with aplomb. Hart always keeps things interesting, alternately adding sounds of stability and surprise; Kozlov provides pointed bass lines that provide architectural undergirding; Cohen comps, locks riffs in with Kozlov, and tosses off imaginative solo statements; and Lynch floats, flies, and bounds along.

The three classics on the program—"How Deep Is The Ocean," "I Wish I Knew," and "Just In Time"—provide a clear look at the musical relationship between Cohen and Lynch as they deliver personalized interpretations of the material sans drums and bass. A wonderful sense of urgency develops during "How Deep Is The Ocean," "Just In Time" proves to be highly playful in nature, and "I Wish I Knew" shows Lynch at his most melodious. Cohen and Lynch may be decades removed from one another, but this album is firm proof that they're on the same page when it comes to music. ~Dan Bilawsky

Personnel: Brian Lynch: trumpet; Emmet Cohen: piano; Boris Kozlov: bass; Billy Hart: drums. .

Questioned Answer

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Charlie Wood - New Souvenirs

Size: 119,2 MB
Time: 50:38
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. No Repose (4:06)
02. Music Is My Monkey (2:42)
03. Promised Land (3:58)
04. Angel Of Despair (4:29)
05. Detache (2:33)
06. Don't Think (6:21)
07. Until The Fall (4:23)
08. Mercy (4:18)
09. Tube (5:40)
10. The Tide (5:00)
11. Ghost Town (4:13)
12. Winter Song (2:49)

Charlie Wood’s first ever UK studio album ‘New Souvenirs’ was released 3 November 2014 on Perdido Records. Featuring 12 brand new, self-penned tracks, the album is his strongest and most personal so far. The singer / pianist has crafted an eclectic set of songs that reflect his own upbringing in Memphis, where he was steeped in jazz, blues and R&B soul – and where he was recently honoured with a Brass Note on Beale Street bearing his name, the Memphis music equivalent of a star on the Hollywood Walk of Fame.

Whilst the songs on New Souvenirs wear their diverse influences proudly, they are melded into a cohesive whole by Charlie’s impressive lyrical élan, drawn perhaps from his academic background – Wood was pursuing a degree in English Literature when he got the call from legendary blues guitarist Albert King to join his touring band back in 1989. The album was co-produced by Wood and his wife, renowned jazz vocalist Jacqui Dankworth.

Wood chose musicians who could interpret the sentiment of his work, but who were also versatile enough to just follow the muse and were happy to stray across musical genre in order to do so. Musicians featured include Chris Allard (guitar), Dudley Phillips (bass), Nic France (drums), Tom Walsh (trumpet), Ben Castle (sax) and Mark Nightingale (trombone). Three tracks also include a string section featuring members of the Britten Sinfonia, led by violinist Magnus Johnston.

Having cut his teeth in Memphis – where he even had the honour of having an official ‘Charlie Wood Day’ declared! – Charlie spent many years there performing nightly with his Hammond organ trio in a long-standing residency at King’s Palace on Beale Street. The gig became known to touring musicians and locals alike, attracting impromptu sit-ins from B.B. King, Georgie Fame, Joey DeFrancesco, George Coleman, Mulgrew Miller, Alvin Batiste, and many others.

Charlie had already received stellar reviews for his previous original releases, including “Southbound” and “Who I Am” on Ben Sidran’s GoJazz label and “Flutter and Wow” on Memphis-based Archer Records. He’s also becoming recognised as a talented and original arranger (he wrote all the horn and string arrangements on this album), with recent scores performed by the RTÉ Concert Orchestra, the Brodsky Quartet, the Liverpool Philharmonic, MYJO, and numerous others.

New Souvenirs

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Duke Pearson - On Green Dolphin Street

Size: 196,9 MB
Time: 84:48
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Piano Jazz
Art: Front

01. Say You're Mine (5:24)
02. Exodus (5:45)
03. Angel Eyes (2:39)
04. Le Carrousel (4:47)
05. I'm An Old Cow Hand (4:42)
06. Le Carrousel (Alternate Take) (4:14)
07. Say You're Mine (5:27)
08. I'm An Old Cow Hand (Alternate Take) (4:29)
09. Say You're Mine (Alternate Take) (5:27)
10. Jeannine (5:28)
11. Bags Groove (4:59)
12. When Sunny Gets Blue (5:05)
13. I'm A Fool To Want You (5:21)
14. I Love You (4:30)
15. The Golden Striker (5:25)
16. On Green Dolphin Street (6:43)
17. Bluebird Of Happiness (4:16)

Duke Pearson was an accomplished, lyrical, and logical — if rather cautious — pianist who played a big part in shaping the Blue Note label's hard bop direction in the 1960s as a producer. He will probably be best remembered for writing several attractive, catchy pieces, the most memorable being the moody "Cristo Redentor" for Donald Byrd, "Sweet Honey Bee" for himself and Lee Morgan, and "Jeannine," which has become a much-covered jazz standard. Pearson was introduced to brass instruments and the piano as a youth, and his abilities on the latter inspired his uncle, an Ellington admirer, to give him his nickname. Dental problems forced Pearson to abandon the brass family, so he worked as a pianist in Atlanta and elsewhere in Georgia and Florida before moving to New York in 1959. There, he joined Donald Byrd's band and the Art Farmer-Benny Golson Sextet, and served as Nancy Wilson's accompanist. In 1963, he arranged four numbers for jazz septet and eight-voice choir on Byrd's innovative A New Perspective album; one of the tunes was "Cristo Redentor," which became a jazz hit. From 1963 to 1970, Pearson was in charge of several recording sessions for Blue Note, while also recording most of his albums as a leader. He also led a big band from 1967 to 1970 and again in 1972, hiring players like Pepper Adams, Chick Corea, Lew Tabackin, Randy Brecker, and Garnett Brown. Pearson continued to accompany vocalists in the 1970s, such as Carmen McRae, but he spent a good deal of the latter half of the decade fighting the ravages of multiple sclerosis. ~Richard S. Ginell

On Green Dolphin Street

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Bev Zizzy - Woman In Black

Size: 100,5 MB
Time: 41:51
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Blues Vocals
Art: Front

01. Woman In Black (2:53)
02. Rock Bottom (5:00)
03. I Think Of You In Colors (2:44)
04. What About The Children (4:40)
05. Kissin' Snakes (1:59)
06. She Was Fire (2:26)
07. Because Of You (2:47)
08. It's Not Those Special Days (3:48)
09. Brand New Day (2:20)
10. I'm Movin' On (2:46)
11. I Don't Wanna Do It No More (2:58)
12. The Right Attitude (2:00)
13. If My Life Were A Song (2:24)
14. Let Go And Love Completely (3:00)

Bev is passion. Powerful singer/songwriter, sultry jazz singer, award winning language teacher, world traveller, and lifelong yogi dedicated to the power of giving, her third CD Woman in Black.

Bev uses her music to create connection and compassion, always in a concerted effort to make the world a better place. In the 80’s she performed Delta blues. In the 90’s she experimented with African rhythms, then later led a retro-rock band. In 2003, she developed her own “acoustic soul” act, a blend of powerful originals and creative interpretations of covers. Since 2006, in addition to her solo performances, she has been regularly performing as jazz vocalist in her prairie hometown of Regina. Bev began to take herself seriously as a writer when songwriting became for her a means of dealing with life’s challenges: first, the slow loss of her mother to Alzheimer’s disease, followed by the tragic death of her 18 year old daughter, Tess, in 2002. She has channeled her talents into creating songs that help others find their lost smiles, as she has been able to do. Her CD, WOMAN IN BLACK, is dedicated to the memory of her daughter, Tesalyn.

Although a distinct Joni Mitchell influence is apparent, Tracy Chapman also resonates in her vocal dynamics, and she can deliver a wicked Etta James cover, Bev has evolved her own distinct blend of acoustic jazz, soul, and blues. Her stories are real; her vocally compelling delivery is intense, innovative, and passionate; and her lyrics, like a good story, stay with you long after the music is over.

Woman In Black

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Melani L. Skybell - Just A Chase Away

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 46:10
Size: 106,3 MB
Art: Front

(4:16)  1. Just A Chase Away
(3:18)  2. I'm Just A Lucky So And So
(4:01)  3. Nothing Is Too Wonderful To Be True
(3:55)  4. Days Like This
(4:35)  5. Let's Get Away
(4:26)  6. Got You On My Mind
(5:01)  7. The Stars In Your Eyes
(4:56)  8. Dreamflight
(3:44)  9. It Could Happen To You
(4:15) 10. Simple Life Worth Living
(3:38) 11. The First Time

Melani l. Skybell has earned her reputation as a gifted vocalist and jazz pianist,known for uplifting her audiences with her unique interpretations of classic jazz and original material, delivering her signiture great piano technique, rich vocal nuances and her personal charm. Although, Ms. Skybell originated from a classical piano background, her love of jazz, swing and latin rhythms, and her pop influenced lyrical and instramental writing has culminated in her 4th jazz influenced CD "Just A Chase Away." Besides being an entertaining soloist, Melani is known for featuring seasoned and well-known jazz musicians in her live preformances, as well as on her CD's. Her 2nd CD, My Heart Sings, included her remake of "Papa Loves Mambo," which was picked up by a VH1 movie,for the opening scene of "40 Days Until I'm Famous." Despite her various tour engagements, Ms. Skybell continues to be in demand at Dallas' hottest clubs, finest hotels and most popular restaurants. Whether she is swinging hard on her up tempos, or warming your heart with her intimate ballads, Melani L. Skybell is an exciting talent. Her musical training is extensive, her performances are exciting, and her talent is unsurpassed. She possesses "breakthrough" qualities that appeal to old and new generations of music lovers. http://www.cdbaby.com/cd/skybell4

Just A Chase Away

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Peter Zak - The Disciple

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 64:28
Size: 147,9 MB
Art: Front

(6:28)  1. The Loop
(6:55)  2. The Disciple
(5:47)  3. Montserrat
(7:15)  4. Barfly
(5:59)  5. Nutville
(4:04)  6. Prelude Op. 35 #2
(7:24)  7. Requiem
(6:31)  8. Jackie
(7:21)  9. Criss Cross
(6:41) 10. Nightfall In Kandy

Peter Zak has put out one strong trio affair after another, yet his work is often overlooked. Maybe it's due to the fact that he hasn't settled on one lineup for an extended period of time, preferring to try out different combinations for his trio recordings; or maybe it's because he doesn't stray far from the straight-ahead path; or maybe it's simply dumb (bad) luck. Regardless of the root cause of said overlooking, it's a real shame that Zak doesn't get more ink, for there's no doubting his skills as a pianist, composer, and musical communicator. Zak's latest trio affair finds him working with first-call bassist Peter Washington, who's making his fourth consecutive appearance on a Zak trio release, and drummer Willie Jones III, a longtime colleague who first connected with Zak when both men were playing in trumpeter Ryan Kisor's band in the late '90s.

Together, these three make magic without resorting to garish displays of skill and unnecessary shows of musical athleticism. They simply play music, and they play it well. While Zak contributed a few originals for this album, including the title track and the calming "Nightfall In Kandy," the majority of the music seven of the ten songs come from other pianistic points of origin. There's a Chick Corea-penned waltz ("The Loop"), a Latin-to-swing classic from Horace Silver ("Nutville"), and a calmly emotive solo piano nod to Russian composer Alexander Scriabin ("Prelude Op. 35 #2"). 

But that's not all there is to admire. Zak and company also bring out the charm in Elmo Hope's music ("Barfly"), deliver a slow-ish and sly swing reading of a Donald Byrd-associated Herbie Hancock piece ("Requiem"), tap into the blues spirit of Hampton Hawes ("Jackie"), and visit in on Thelonious Monk ("Criss Cross"). All the while, Jones provides gentle support or momentum, Washington works all the angles, supporting from below and stepping out front, and Zak mans the controls, showing strong instincts and skills in every setting. ~ Dan Bilawsky  http://www.allaboutjazz.com/the-disciple-peter-zak-steeplechase-records-review-by-dan-bilawsky.php

Personnel: Peter Zak: piano; Peter Washington: bass; Willie Jones III: drums.

The Disciple

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Russell Malone - Look Who's Here

Styles: Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 58:01
Size: 133,3 MB
Art: Front

(5:50)  1. The Angle
(4:07)  2. Be Careful, It's My Heart
(6:00)  3. Look Who's Here
(6:53)  4. Alfie
(7:02)  5. The Odd Couple
(7:43)  6. Soulful Kisses
(7:25)  7. Get Out Of Town
(3:47)  8. You Will Know
(3:13)  9. The Heather On The Hill
(5:55) 10. An Affair To Remember

A Wes Montgomery for the new millennium, this flashy yet honest hollow body guitarist captures all the exuberance and intimacy of the legend in the '60s, but with a certain modern attitude that makes this contemporary rather than just retro jazz. He and his quartet (pianist Anthony Wonsey, bassist Richie Goods, drummer Byron Landham) swing hard and high on the staccato punches of "The Angle," then smooth out just a bit for the heavy swaying blues of "Look Who's Here" (both Malone Originals). Malone has an amazing chemistry with Wonsey in particular, as their unique call and response, melody and harmony interplay on an upbeat twist on "The Odd Couple" makes abundantly clear. The best kinds of jazz albums feature a healthy mix of hard grooving jam sessions with plenty of improvisation, along with a few more intimate treasures. 

While there's a tender intimacy between guitar and steady percussion on Stevie Wonder's romantic "You Will Know," Malone's gentlest graces are saved for the sweet and wistful turn on Lerner and Loewe's "The Heather on the Hill." Before long, however, he's moving to the up groover category on "An Affair to Remember," which finds a happy medium between the exciting madness of the first few tracks and the eloquence of the ballads. With capable young lions like Malone on the scene, traditional jazz will stay healthy through the first years of the new century. ~ Jonathan Widran  http://www.allmusic.com/album/look-whos-here-mw0000672422

Personnel: Russell Malone (vocals, guitar); Anthony Wonsey (piano); Richie Goods (bass); Byron Landham (drums).

Look Who's Here

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Joe Sullivan - Joe Sullivan Plays Fats Waller

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 22:04
Size: 51,0 MB
Art: Front

(3:25)  1. If You Can't Be Good, Be Careful
(2:02)  2. Can't We Get Together
(2:17)  3. Never Heard of Such Stuff
(2:23)  4. There'll Come a Time When You'll Need Me
(3:32)  5. Breezin'
(2:58)  6. An Armful of You
(2:27)  7. What's Your Name
(2:57)  8. Solid Eclipse

Michael Joseph “Joe” O’Sullivan’ (November 4, 1906 – October 13, 1971) was an American jazz pianist. Sullivan was the ninth child of Irish immigrant parents. He studied classical piano for 12 years and at age 17, he began to play popular music in a club where he was exposed to jazz. He graduated from the Chicago Conservatory and was an important contributor to the Chicago jazz scene of the 1920s. Sullivan’s recording career began late in 1927 when he joined McKenzie and Condon’s Chicagoans. Other musicians included Jimmy McPartland, Frank Teschemacher, Bud Freeman, Jim Lanigan and Gene Krupa. In 1933, he joined Bing Crosby as his accompanist, recording and making many radio broadcasts. After suffering for two years with tuberculosis, he briefly rejoined Bing Crosby in 1938 and the Bob Crosby Orchestra in 1939. By the 1950s, Sullivan was largely forgotten, playing solo in San Francisco. Marital difficulties and excessive drinking caused Sullivan to become increasingly unreliable and unable to keep a steady job, either as band member or soloist. Bio ~ http://www.last.fm/music/Joe+Sullivan/+wiki

Joe Sullivan Plays Fats Waller

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Marina Xavier - When The World Was Young

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 39:48
Size: 91,7 MB
Art: Front

(3:42)  1. Tenderly
(2:20)  2. Everytime We Say Goodbye
(5:25)  3. When the World Was Young
(3:44)  4. I Fall in Love Too Easily
(3:37)  5. You Turned the Tables On Me
(4:14)  6. I Love Paris
(6:12)  7. The Nearness of You
(4:08)  8. As Long As I Live
(2:36)  9. Thanks for the Memory
(3:45) 10. Angel

Her choices make for an interesting track listing including the cabaret camp of 'Thanks for the Memory' and the Euro-broodiness of the title track 'When the World was Young'. As far as jazz inflections go Xavier's right mix of lazy smokiness and syncopated swing is on the money, with plenty of help from her cast of stellar sideman (including pianist Jeremy Monteiro).  

http://www.cduniverse.com/productinfo.asp?pid=8706702&style=music

When The World Was Young

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Oliver Jones Feat. Josee Aidans - Just for my Lady

Styles: Piano And Violin Jazz
Year: 2013
File: MP3@320K/s
Time: 57:16
Size: 131,5 MB
Art: Front

(4:13)  1. Josée's Blues
(5:45)  2. When Summer Comes
(4:26)  3. The Windmills of my Mind
(5:04)  4. Lady Be Good
(7:22)  5. You Look Good To Me
(4:38)  6. Lights of Burgundy
(4:54)  7. The Angel and Mr. Jones
(2:06)  8. The Saskatchewan Suite: Prince Albert Sunrise
(5:18)  9. The Saskatchewan Suite: Regina Sky
(3:15) 10. The Saskatchewan Suite: Saskatoon Spirit
(6:02) 11. Just For My Lady
(4:07) 12. In The Key of Geoff

Pianist Oliver Jones has become something of a national treasure on the Canadian jazz scene over the past three decades. That's all the more remarkable considering the fact that this soon-to-be eighty year old didn't start making jazz recordings until he was in his 50s. In many respects, as his recording career has evolved, Jones has become the poster boy for the Justin Time imprint; he's released about twenty records on this label over the past thirty years and, though most of those recordings have put his Oscar Peterson-esque chops and pianistic savoir-faire on display, none really tread over the exact same ground. Sure, he often favors the piano trio format, but he isn't averse to trying something different. He demonstrated that openness on Pleased To Meet You (Justin Time, 2009), a four-handed piano feast pairing him with the late, great Hank Jones, and it serves him well here; Just For My Lady finds Jones at the head of a fine foursome a piano trio augmented by violinist Josee Aidans. The mechanics, mannerisms, and musical choices Jones makes on Just For My Lady are par for the course he's set for himself in the past, but fairly predictable pathways can still lead to pretty damn good destinations. 

He has a surprise or two in store for the ears, like the brief foray into swing territory on "The Windmills Of Your Mind," but those surprises are rare. In the end, when it comes to a player like Jones, the unexpected turns just don't matter that much. When he plays, every turn of a phrase and tickle of a key touch the soul, and few can make a piano sparkle through the speakers like Jones does.. Blues, ballads and straight-up swingers surface during this twelve song affair. Aidans takes the lead role on the bookends her Jones-penned namesake tune at the top of the program ("Josee's Blues") and a lovely-to-lively Gershwin number ("Lady Be Good") at the bottom but she isn't always the center of attention; bassist Eric Lagace uses his bow in the service of beauty and keeps things moving along in livelier places; drummer Jim Doxas powers the group and provides gentle percussive coloration in softer environs; and Jones gets plenty of opportunities to let loose on the 88s. Just For My Lady isn't more of the same from Jones, but it is another sterling set from one of the most accomplished pianists north of the 49th parallel. ~ Dan Bilawasky  http://www.allaboutjazz.com/just-for-my-lady-oliver-jones-justin-time-records-review-by-dan-bilawsky.php

Personnel: Oliver Jones: piano; Josee Aidans: violin; Eric Lagace: bass; Jim Doxas: drums.

Just for my Lady

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Richard Galliano & Gabriele Mirabassi - Coloriage

Styles: Accordion And Clarinet Jazz
Year: 2014
File: MP3@320K/s
Time: 55:12
Size: 126,7 MB
Art: Front

( 4:57)  1. Beritzwaltz
( 5:43)  2. Reflections
( 8:09)  3. Spleen
(10:04)  4. Il Viaggio
( 5:28)  5. Tea For Toots
( 7:16)  6. Giselle
( 4:54)  7. Coloriage
( 5:25)  8. Ballade Pour Marion
( 3:12)  9. Chiquilin De Bachin

Accordionist Richard Galliano did for European folk specifically, the early 20th century French ballroom dance form known as musette what his mentor Astor Piazzolla did for the Argentinian tango. Galliano reimagined and revitalized a musical tradition, expanding its emotional range to reflect modern sensibilities, opening it up to improvisation learned through American jazz. In fact, Galliano was more of a jazz musician than a folk one, although he blurred the lines so much that distinctions were often difficult to make. Born in France of Italian stock, Galliano began playing accordion (as his father had) at a young age. He later picked up the trombone, and studied composition at the Academy in Nice; he also fell in love with jazz as a teenager, particularly cool-era Miles Davis and Clifford Brown, and had made it his primary focus by the late '60s. Making a living as a jazz accordionist naturally proved difficult; fortunately, after moving to Paris in 1973, he landed a position as conductor, arranger, and composer for Claude Nougaro's orchestra. 

He remained there until 1976, and went on to work with numerous American and European jazz luminaries, including Chet Baker, Joe Zawinul, Toots Thielemans, Ron Carter, Michel Petrucciani, and Jan Garbarek. After meeting Astor Piazzolla, Galliano refocused on his European heritage and set about reviving and updating musette, widely considered antiquated at the time. He signed with Dreyfus in 1993, and the label gave him enough exposure to cause a stir first in his home country, then among international jazz and world music fans. Regular recordings followed; some with clarinetist/soprano saxophonist Michel Portal, some with guitarist Jean Marie Ecay, and some with his favorite rhythm section of bassist Jean-François Jenny-Clark and drummer Daniel Humair (after Jenny-Clark's untimely death, Rémi Vignolo took his place). In 2001, Dreyfus released Gallianissimo, a compilation drawing from his seven albums for the label and a new recording, Face to Face, a duet recording with French pianist and vocalist Eddy Louiss. In 2004 after several global tours and reissues of some of his earlier albums, Blues Sur Seine, a duet offering with cellist Jean-Charles Capon, was released on La Lichere; he also appeared as a soloist with Josefine Cronholm on Blue Hat by Søren Siegumfeldt's String Swing and Concerts with Portal. 

This was followed by 2005's Ruby, My Dear by the New York Trio: Galliano, bassist Larry Grenadier, and drummer Clarence Penn. In 2007, Galliano delivered Solo on Dreyfus as well as Mare Nostrum, co-headlined with Paolo Fresu and Jan Lundgren, and Luz Negra, a tango album by his own sextet. By all accounts, Galliano, in his touring, composing, and recording appearances, had become prolific on both sides of the Atlantic. The accordionist recorded with Charlie Haden, Mino Cinelu, and Gonzalo Rubalcaba on 2008's Love Day: Los Angeles Sessions, and back in Europe with the Brussels Jazz Orchestra on Ten Years Ago; both were issued on Milan. Galliano signed to Deutsch Grammophon, where he cut a trilogy of classically themed recordings: J.S. Bach in 2010, Nino Rota in 2011, and Antonio Vivaldi in 2013. The tango and bal-musette accordionist returned to jazz in 2014. Sentimentale was recorded for Resonance and produced by its founder, George Klabin. The studio band consisted of pianist-arranger Tamir Hendelman, guitarist Anthony Wilson, bassist Carlos Del Puerto, and drummer Mauricio Zottarelli. It was released in September. ~ Steve Huey & Thom Jurek, Rovi  Bio ~ https://itunes.apple.com/us/artist/richard-galliano/id41914533#fullText

Personnel: Richard Galliano (accordion); Gabriele Mirabassi (clarinet).

Coloriage

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