Phil Woods, Franco D'Andrea - The Gershwin Affair (2-Disc Set)

Phil Woods looks forward to every trip to Italy, as producer Paolo Piangiarelli treats him like a valued houseguest who is an old friend. The Philology label owner also makes sure that the alto saxophonist is always joined in the studio by some of Europe's very best jazz musicians; for this 2005 session, it is Woods' reunion with the brilliant pianist Franco D'Andrea. The two discs are filled with favorites from the vast George Gershwin songbook, nearly all of which have been played on countless jazz record dates over the decades. Yet with a pair of veterans joining forces like Woods and D'Andrea, they continue to find new facets for their improvisations within these timeless standards, while never losing sight of the melody.

The pianist's dissonant introduction of "I've Got Rhythm" sets up an adventurous flight for the duo, while "Lady be Good" also seems in danger of overexposure, but their jaunty approach keeps it fresh as well. The two songs that aren't by Gershwin still fit the mood of the day. "Do You Know What It Means to Miss New Orleans?" was no doubt inspired by the devastating Hurricane Katrina that hit the Crescent City only weeks before the recording session; Woods' delightful solo is full of spirit and sneaks in a few quotes, including a brief snatch of "Things Ain't What They Used to Be." The old warhorse "St. Louis Blues" is putty in D'Andrea's hands as he takes it in atypical post-bop directions. Highly recommended. ~Ken Dryden

Album: The Gershwin Affair (Disc 1)

Bitrate: MP3@320K/s

Time: 56:27

Size: 129.2 MB

Styles: Post bop, Saxophone jazz

Year: 2011

[6:15] 1. A Foggy Day

[6:42] 2. Embraceable You

[4:03] 3. I Got Rhythm

[3:11] 4. But Not For Me

[4:35] 5. It Ain't Necessarily So

[6:25] 6. Oh Lady Be Good

[7:39] 7. Somebody Loves Me

[8:55] 8. Medley 's Wonderful Liza Soon

[8:38] 9. Do You Know What It Means To Miss New Orleans

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Album: The Gershwin Affair (Disc 2)

Bitrate: MP3@320K/s

Time: 54:37

Size: 125.0 MB

Styles: Post bop, Saxophone jazz

Year: 2011

Art: Front

[ 8:13] 1. The Man I Love

[ 5:45] 2. Fashinatin' Rhythm

[ 5:26] 3. Summertime

[11:23] 4. Nice Work If You Can Get It

[ 5:55] 5. Medley 1 May Man Gone Now Strawberry

[ 5:20] 6. Medley 2 The Can't Take That Away From Me Love Walked In

[ 6:09] 7. Our Love Is Here To Stay

[ 6:22] 8. St Louis Blues

The Gershwin Affair (Disc 1), (Disc 2)                

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Willie Bobo - Talkin' Verve

Bitrate: MP3@320K/s
Time: 55:32
Size: 127.1 MB
Styles: Latin jazz, Salsa
Year: 1997
Art: Front

[5:23] 1. Grazing In The Grass
[6:11] 2. Lisa
[2:41] 3. Black Coffee
[4:14] 4. The Look Of Love
[3:22] 5. Dreams
[2:37] 6. Evil Ways
[2:42] 7. Night Song
[2:33] 8. Mercy, Mercy, Mercy
[3:16] 9. Roots
[2:46] 10. Spanish Grease
[5:10] 11. Shotgun Blind Man, Blind Man
[2:38] 12. Stuff
[3:04] 13. Night Walk
[3:01] 14. Fried Neck Bones And Some Homefries
[5:45] 15. Sham Time

Whatever the meaning of the word "talkin," this is still a most valuable release because it succinctly sums up Willie Bobo's Verve recordings, most of which have yet to see the light of the laser. By this time, Bobo had followed Mongo Santamaria into the marketplace as an energetic exponent of the Latin boogaloo, even scoring a minor hit with "Spanish Grease." But Bobo went even further than Mongo toward an accommodation with the '60s scene, adding the R&B-oriented electric rhythm guitar of Sonny Henry, dropping the piano, incorporating strings and even an occasional graceful vocal now and then. While there are a few covers of '60s standards here, like "The Look of Love" and "Grazing in the Grass" -- and he had the great sense to seek out and record a hip-shaking version of Eddie Harris' "Sham Time" -- Bobo's biggest contribution on these tracks was in providing the inspiration for the Latin rock boom to come. "Evil Ways" is almost an exact blueprint for Carlos Santana's career-launching hit version; "Spanish Grease" reappeared uncredited six years later as Santana's "No One to Depend On," and Santana also played Bobo's lowdown "Fried Neck Bones and Some Homefries" in the band's early days. With Bobo's galvanic congas and timbales swinging at all times, few CDs by a single artist capture the ambience of late-'60s jazz radio in the evening as well as this one. ~Richard S. Ginnell

Talkin' Verve

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Diane Nalini - Songs of Sweet Fire

Styles: Jazz, Vocal
Year: 2006
File: MP3@256K/s
Time: 63:19
Size: 116,7 MB
Art: Front

(3:09)  1. The Cuckoo Song
(5:03)  2. Sigh No More
(4:00)  3. For Love Of You
(8:25)  4. Rain Every Day
(4:36)  5. Desi's Blues
(4:44)  6. Mistress Mine
(3:44)  7. The Fabulous Minstrel
(3:06)  8. Take Those Lips Away
(3:11)  9. The Lover And His Lass
(5:15) 10. The Beauty Of Your Eyes
(3:38) 11. Be Merry
(2:58) 12. She Loves Another
(4:00) 13. Goodbye To The Devil
(3:41) 14. Till The World Goes Round
(3:41) 15. Under The Blossom

Diane Nalini was born in Montreal, Quebec, and began singing jazz at the age of three. A gifted and sophisticated singer; she has performed in the United Kingdom, Malta, South Africa, and Canada, and has received airplay in Denmark and Brazil. In addition to her flourishing jazz career, Nalini also studied Chinese calligraphy and watercolour for ten years with Virginia Chang. In that time she exhibited and sold paintings with Chang, and was also a member of the Ting Sung group. Nalini received an honours physics degree from McGill University, and earned a doctoratal degree in Physics from Oxford University as a Rhodes Scholar. She now works as a physics professor at the University of Guelph. Nalini released her first album, After Dusk, in 2001, and Tales … My Mama Told Me in 2002. Songs of Sweet Fire (2006) is her third full length album, and features original music set to the sonnets and songs of William Shakespeare. 

The evolution of the album dates back to 2000, when Nalini was a student in the UK. Having previously experimented setting music to texts by Lord Alfred Tennyson and García Lorca, she turned to Shakespeare for an ensemble show in Oxford. It was here that she first set original music to Shakespearean texts, completing “Mistress Mine” and “Rain Every Day,” two songs from Twelfth Night. Nalini comments that after her initial experience, “Shakespeare was in my blood, and every year after that, I would tackle a few more songs from the plays” (Setting Shakespeare to Music). Her fifteen-song collection covers a wide array of music, from original jazz to funk and blues. The sonnets and poems were each carefully selected, as she comments, “It was very important to me to let the phrasing of the words dictate the style of music I wrote for each song. I decided to set only those songs which were in more modern sounding English, to highlight the timelessness of Shakespeare’s words” (University of Guelph News Release).

Nalini’s adaptation puts “a uniquely modern spin” on the words of Shakespeare, which is rarely done musically, and is rarer still within the jazz and blues genre (Biography). Her renditions have been hailed by critics as “overwhelming,” “eloquent,” and “captivating” (Diane Nalini Reviews). While Shakespeare’s plays and words have been an inspiration to musicians for centuries, spurring musicals, operas, and even rock music, Nalini states that her music has a fun, and original sound as it “is groove-based…. and rhythm-based” (Cosmic Coincidence and Shakespeare). It is this fresh sound that has great potential to deliver the unchanged words of Shakespeare, to an audience largely outside theatrical culture. Nalini also put another of her talent to work, as a means of adapting Shakespeare. 

The lyrics in the linear notes are accompanied by fifteen original watercolours she created for the album. Her designs, while not directly relatable to Shakespeare, without the corresponding prose, have a notable distinction as they are one example of how the works of Shakespeare have transposed into contemporary Canadian society, inspiring unlikely and beautiful contributions to the artistic community. In a recent proposal, Nalini outlines her visualization process for each piece, and how the language, and themes of Shakespeare were the underlying force in colour, design, and framing. In the piece accompanying Desi’s Blues, for instance, Nalini explains, “a hand kept coming to mind. To me, the hand belongs to Othello or Iago, Desdemona’s oppressors.  It overpowers her source of solace, the willow tree” (Proposal 5).  Nalini's Songs of Sweet Fire debuted at the University of Guelph on May 25th, 2006 and served as a kick-off event to the Shakespeare-Made in Canada Festival, which ran from January to May 2007. ~  Danielle Van Wagner  http://www.canadianshakespeares.ca/multimedia/audio/a_nalini.cfm

Songs of Sweet Fire

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Ivan Lins - Inventario Incontra

Styles: Brazilian Jazz, Italian Jazz
Year: 2012
File: MP3@320K/s
Time: 51:20
Size: 118,2 MB
Art: Front

(3:40)  1. Imprevedibile
(4:48)  2. Stella D'A Mia (Renata Maria)
(4:01)  3. Con Me (Sou Eu)
(3:53)  4. Illuminati (Lluminados)
(3:53)  5. Cartomante (v.a.)
(4:31)  6. Dentro Ai Tuoi Occhi (Guarde Nos Olhos)
(3:19)  7. Madalena
(4:40)  8. Nascere Di Nuovo (Comecar De Novo)
(3:11)  9. Maybe One Day, Maybe In Vain (Lembra De Mim)
(4:05) 10. Camaleonte (Camaleao)
(4:00) 11. Un Giorno Dopo L'altro
(2:40) 12. O Tempo Me Guardou Voce
(4:32) 13. Amore Sincero (De Nosso Amor Tao Sincero) Felicita

“All (members of group InventaRio) are excellent musicians, and admirers of my work. Recording with this group was simple and surprising. I soon realized that they are very creative, which brought a new sound to the songs.”

~ Ivan Lins  http://www.ceccarelligiovanni.com/?page_id=805

Personnel: Ivan Lins – vocals, vocoder, piano, keyboards;  Dadi – vocals, guitars;  Giovanni Ceccarelli – piano, keyboards;  Ferruccio Spinetti – bass;  Francesco Petreni – drums, percussions.

Giovanni Ceccarelli is also featured as arranger and artistic producer.

Special guests: Samuele Bersani, Jessica Brando, Bungaro, Chico Buarque, Chiara Civello, Vanessa Da Mata, Maria Pia De Vito, Maria Gadu, Petra Magoni, Tosca – vocals; Fabrizio Bosso – flugelhorn; Vinicius Cantuária – vocals, guitars; Gnu Quartet – flute, violin, alto, cello; Fausto Mesolella – electric guitar.

Inventario Incontra

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Tom Dempsey - Saucy

Styles: Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 61:56
Size: 142,5 MB
Art: Front

(5:59)  1. One Hundred Ways
(6:48)  2. Bock to Bock
(5:04)  3. Saucy
(6:46)  4. Ted's Groove
(7:44)  5. Bridge Over Troubled Water
(4:33)  6. Always Around
(7:45)  7. My Secret Love
(7:22)  8. Ceora
(5:06)  9. The Big Bailout
(4:44) 10. Pat-a-Tat-Tat

One of the greatest pairings that revolutionized the sound of modern jazz happened over a series of Blue Note recordings with the late organ master Jimmy Smith and guitar virtuoso Kenny Burrell. Back At The Chicken Shack was one of the most important recordings to create a special hybrid of improvisational music steeped in blues yet layered with an undeniable lyrical sense of purpose and righteous swing. With the latest effort from Tom Dempsey we find that magnificent blend of spontaneous in the moment groove coupled with a dynamic soulful and soul filled look at both the past and the present of what the guitar / organ trio format has yet to offer. 

There is a roll reversal here as Dempsey is the obvious leader on this date but organ wiz Ron Oswanski who is also an accomplished leader in his own right provides the perfect counterpoint to the incredibly clean and precise single note runs that Dempsey rips off with ease. One of the most underrated drummers in Alvin Atkinson is the rhythm king, always in the pocket and swinging hard no matter the tempo. The Dempsey originals here are hitting that musical happy place between classic Kenny Burrell and a slightly more post modern Pat Martino but instead of banging out some familiar covers and simply doing an easy riff, Dempsey digs deep and displays a firm harmonic base and addictive lyrical presence to delight those that felt this sound was perhaps locked away in the jazz witness protection program. "Ted's Groove" and "Saucy" could be easily mistaken for lost tunes from fifty years ago but instead can pass for standards patiently waiting in the on deck circle. 

The covers of "One Hundred Ways" and the classic Lee Morgan tune "Ceora" are each built on not only the traditions of their time but on the personal experiences of Dempsey which is key to his establishing his own foothold in modern jazz. There is a very simple conceptual basis for this recording, feeling good. If you don't feel good after experiencing Saucy then hang tight, you should be receiving your autopsy report shortly. Tom Dempsey is the real deal and has put together not only a release but an ensemble that should be around for a long time. This is the land of rhythm and groove. Better still, this is groove squared. An absolute winner! ~ Brent Black  http://www.criticaljazz.com/2013/07/tom-dempsey-saucy-planet-arts-2013.html

Personnel: Tom Dempsey: guitars; Ron Oswanski: organ; Alvin Atkinson: drums.

Saucy

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James Williams Magical Trio - Awesome!

Styles: Piano Jazz
Year: 2000
File: MP3@224K/s
Time: 65:29
Size: 105,2 MB
Art: Front

(6:30)  1. It's Alright With Me
(7:37)  2. Quietude
(6:56)  3. Time After Time
(4:06)  4. Lonely Moments
(3:50)  5. Somebody Loves Me
(7:00)  6. Give Me The Simple Life
(7:02)  7. Sophisticated Lady
(6:16)  8. Go Tell It On The Mountain
(7:52)  9. Sweet And Lovely
(8:14) 10. Sonnymoon For Two

The title of pianist James Williams 1992 recording with tenor saxophonists George Coleman, Joe Henderson and Billy Pierce is James Williams Meets The Saxophone Masters (DIW/Columbia). This millenium, the designation “master” certainly belongs to Williams. The Memphis born musician was raised on Gospel and R&B, but soon turned to the music of the hometown pianists Harold Mabern and Phineas Newborn for jazz inspiration. He did an extended stint as Art Blakey’s pianist (1977-81). After leaving the Messengers he began the Magic Trio, recording with Ray Brown and Art Blakey. Elvin Jones replace Blakey for number two, the he tried two young(er) cats in Charnett Moffett and Tain Watts, for three. He has also created two ambitious projects: The Contemporary Piano Ensemble, which recorded four pianists, Harold Mabern, Mulgrew Miller, Geoff Keezer, and Williams in tribute to Phineas Newborn and his I.C.U., a jazz Gospel band that blends the sacred with the secular for some moving music.

This reunion of The Magic Trio finds Williams reunited with bassist Ray Brown and drummer Elvin Jones. Recorded ten years after the trio’s initial session, the ten tracks elicit a wow factor reserved usually for the likes of Tommy Flanagan and Hank Jones. James Williams, like the aforementioned peers, speaks the language of the modern mainstream piano. Working with the hall-of-fame Brown and Jones, Williams chose classic composers, Cole Porter, George Gershwin, Sonny Rollins, and Thad Jones, as the common ground for the band’s interplay. As there is no competition between musicians, the session acts as a loving reunion of three master musicians. ~ Mark Corroto  http://www.allaboutjazz.com/awesome-james-williams-magical-diw-review-by-mark-corroto.php

Personnel: James Williams (piano), Ray Brown (bass), Elvin Jones (drums).

Awesome !

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Bob DeVos - DeVos' Groove Guitar

Bitrate: MP3@320K/s
Time: 61:30
Size: 140.8 MB
Styles: Guitar jazz
Year: 2003
Art: Front

[5:12] 1. Tom Thumb
[7:07] 2. The Look Of Love
[7:04] 3. Driftin'
[6:18] 4. Prayin' For Your Return
[8:37] 5. The End Of A Love Affair
[6:59] 6. Cantaloupe Island
[8:28] 7. Round Midnight
[4:59] 8. Coming Home Baby
[6:42] 9. Come Rain Or Come Shine

Bob’s second CD features Bob with Hammond B-3 master Gene Ludwig and legendary drummer Billy James, and includes Emedin Rivera on percussion.

Guitarist Bob DeVos has been on the jazz scene for decades as he worked with such luminaries as Sonny Stitt, Jimmy McGriff and Pat Martino. Recently, he has been a member of Ron McClure’s quartet. But even as he has remained busy with numerous gigs, his recording career hasn’t been as active as his talent deserves. Producer Jack Kreisberg--who has helped Pittsburgh B-3 organist Gene Ludwig receive belated recognition as well--did something about DeVos’ relatively low public profile. He called him to the attention Joe Morabia of the Loose Leaf Records label after Kreisberg heard DeVos performing at a jazz organ summit set up by WBGO-FM announcer Dorthaan Kirk, the widow of "Rahsaan" Roland Kirk. The result is DeVos’ Groove Guitar!, appropriately entitled right down to the exclamation mark.

Not that DeVos’ style consists of a series of exclamations, for he’s too proficient and low key for that. Rather, the excitement from DeVos’ playing comes directly from the groove, which Ludwig helps establish along with drummer Billy James, who had performed with groove organist Don Patterson and Sonny Stitt. Indeed, all three musicians have remained dedicated to the well-known B-3 organ/guitar sound, made famous by the likes of Jimmy Smith/Quentin Warren or Jack McDuff/George Benson. And the trio’s interests are in the groove itself, rather than in the entertaining pyrotechnics sometimes associated with Dr. Lonnie Smith or the sonic experimentations of Larry Goldings.

Laid back and obviously enjoying themselves, DeVos’ group breezes through the CD’s 9 tunes selected by DeVos himself based upon his interest in recording them. Varied from Thelonious Monk’s "Round Midnight" to Burt Bacharach’s "The Look of Love," DeVos approaches all of the music with an ease that invites the listener to enjoy the music. From the soulful appeal of Curtis Mayfield’s "Prayin’ for Your Return" to the now-famous vamp of Herbie Hancock’s "Cantaloupe Island," the trio takes all of the tracks at a medium tempo that allows for opportunities to stretch out and explore their inherent melodic possibilities. In spite of the differences in the styles for which the tunes originally were written, DeVos finds the common element of groove to link them all.

His public awareness relatively low compared to other recording jazz guitarists, Bob DeVos has remained steadfast in the essential elements of his style: melodic clarity, logical solo construction, assured confidence, a ringing tone and an irresistible groove on his guitar(!). He certainly deserves the attention that DeVos’ Groove Guitar! will bring him. ~Don Williamson

DeVos' Groove Guitar

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René Marie - Live At Jazz Standard

Bitrate: MP3@320K/s
Time: 68:47
Size: 157.4 MB
Styles: Vocal jazz
Year: 2003
Art: Front

[ 7:16] 1. Deed I Do
[ 6:57] 2. Babes In Arms/Where Or When
[ 6:11] 3. State Fair/It Might As Well Be Spring
[ 4:04] 4. Porgy And Bess/I Loves You, Porgy
[ 9:26] 5. Nature Boy
[10:01] 6. Suzanne
[ 7:11] 7. Shelter In Your Arms
[ 6:22] 8. A Damsel In Distress/A Foggy Day
[ 6:51] 9. Paris On Ponce
[ 4:23] 10. How Can I Keep From Singing

Idiosyncratic jazz vocalist Rene Marie makes her presence unequivocally apparent on her second MaxJazz release, Live at Jazz Standard. Recorded over three nights in 2003 at the New York City club, the album features Marie's usual mix of standards and originals. Stylistically resting comfortably somewhere between Betty Carter and Shirley Horn, Marie digs into such classics as "Where or When," "Nature Boy," and "A Foggy Day," making each song different from the next and utterly unforgettable. You may never hear another version of "It Might as Well Be Spring" sang as spritely as the one that appears early on, and her take of "I Loves You Porgy" is as heartbreaking as her a cappella turn on "How Can I Keep From Singing?" is dramatic. Backed sensitively by pianist John Toomey, bassist Elias Bailey, and drummer T. Howard Curtis III, Marie just gets better with each solo release. ~Matt Collar

Live At Jazz Standard

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Cannonball Adderley - Know What I Mean

Bitrate: MP3@320K/s

Time: 58:06

Size: 133.0 MB

Styles: Hard bop, Soul jazz

Year: 1961/2011

Art: Front

[5:12] 1. Waltz For Debby

[6:14] 2. Goodbye

[5:55] 3. Who Cares

[2:52] 4. Venice

[5:06] 5. Toy

[5:49] 6. Elsa

[4:05] 7. Nancy (With The Laughing Face)

[4:52] 8. Know What I Mean

[5:52] 9. Who Cares (Take 4)

[5:03] 10. Toy (Take 8)

[7:00] 11. Know What I Mean (Take 12)

What's better than a Bill Evans Trio album? How about a Bill Evans trio album on which the bassist is Percy Heath, the drummer is Connie Kay, and the leader is not Evans but alto sax god Cannonball Adderley, making the group actually a quartet? It's a different sort of ensemble, to be sure, and the musical results are marvelous. Adderley's playing on "Waltz for Debby" is both muscular and sensitive, as it is on the other Evans composition here, a modal ballad called "Know What I Mean?" Other treats include the sprightly "Toy" and two takes of the Gershwin classic "Who Cares?" The focus here is, of course, on Adderley's excellent post-bop stylings, but it's also interesting to hear Evans playing with a rhythm section as staid and conservative as Kay and Heath (both charter members of the Modern Jazz Quartet). It's hard to imagine any fan of mainstream jazz not finding much to love on this very fine recording. ~Rick Anderson

Know What I Mean?

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Anthony Strong - Stepping Out

Bitrate: MP3@320K/s
Time: 48:09
Size: 110.2 MB
Styles: Vocal
Year: 2012
Art: Front

[2:36] 1. Too Darn Hot
[2:16] 2. Change My Ways
[3:51] 3. Luck Be A Lady
[3:00] 4. Stepping Out With My Baby
[3:09] 5. L-O-V-E-
[3:29] 6. Falling In Love
[4:09] 7. Someone Knows
[4:13] 8. My Foolish Heart
[4:13] 9. My Ship
[2:55] 10. Witchcraft
[3:44] 11. When I Fall In Love
[3:27] 12. Overjoyed
[3:11] 13. Earlybird
[3:47] 14. Learning To Unlove You

Not too many years ago it seemed that the art of the male jazz vocalist was heading in the same direction as black and white televisions and 8-track cartridges. One or two notable voices kept the flame alive, but new, young, vocal talent wasn't emerging. Then it started: a slow process, but new male singers began to appear. In the UK the most obvious example of the new breed is the million-selling Jamie Cullum. Anthony Strong's performance on Stepping Out suggests that there's a contender for Cullum's crown.Singer, songwriter and pianist Strong already had a wealth of experience before recording Stepping Out, his third release after the self-produced Guaranteed! (2009) and the 5 song EP Delovely (Guaranteed Records, 2011). He's been a session pianist and he's supported stars including B.B. King. He also spent a year playing Jerry Lee Lewis in a West End production of Million Dollar Quartet. Now signed to French label Naïve (Adele's record company), Strong's career is rapidly gaining momentum.

On Stepping Out Strong mixes his own songs (with lyrics by Guy Mathers) and Songbook standards. He keeps things short and swift—14 songs in 48 minutes. A proper album, in other words. It's a smart move for two reasons: nothing gets bogged down in over-extended solos and every single tune is a radio-friendly 4 minutes 16 seconds or less. The standards are almost universally familiar, but Strong gives them enough of a shake-up to keep things fresh. His own songs; "Change My Ways" "Earlybird," "Learning To Unlove You" and "Falling In Love"; are immediately impressive.

In another smart move, Strong has surrounded himself with some of the UK's finest straight-ahead players—musicians who know how to swing, how to lay back and how to back a singer in a sympathetic way. The core rhythm section players—bassists Tom Farmer and Calum Gourlay, drummers Sebastian De Krom and Matt Skelton—are superb throughout.The up-tempo swingers are the album's most enjoyable numbers. Strong's timing and technique are exceptional, his commitment is clear. He's not a singer who tears at the heartstrings like Kurt Elling or Ian Shaw might do. He's at the more escapist end of the spectrum, his voice maintaining its welcoming, relaxed, vibe whether he's performing a hard-driving song such as "Change My Ways" or a ballad like the excellent "My Foolish Heart." The exception is "Learning To Unlove You," a convincing and passionate solo performance.

The album credits name check the company that made Strong's suit (Without Prejudice, for the fashion-conscious). Such a credit may seem rather superfluous, but it's a sign that everything about his image is being taken seriously and that's no bad thing. Stepping Out is slick, engaging and likeable—if Strong was an English football team he'd be ready for the Premier League. ~Bruce Lindsay

Anthony Strong: vocals, piano; Quentin Collins: trumpet; Alistair White: trombone; Alex Garnett: alto saxophone; Brandon Allen: tenor saxophone; Chris Allard; guitar; Tom Farmer: bass (1, 3, 5, 6, 7, 9, 12); Sebastian De Krom: percussion, drums (1, 3, 5, 6, 7, 9, 12); Calum Gourlay: bass (2, 4, 8, 10, 11); Matt Skelton: drums (2, 4, 8, 10, 11); Nigel Hitchcock: tenor saxophone (1, 2, 13); James Morrison: trumpet (3); Daniel Pioro: strings; Palome Deike: strings; Charlotte Bonneton: strings; Glensi Roberts: strings; Jenny Ames: strings; Robert Ames: strings; Magda Pietraszewska: strings; Tristan Horne: strings.

Stepping Out

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Kate McGregor - Summer Breeze

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 48:25
Size: 111,9 MB
Art: Front

(3:21)  1. The Look Of Love
(2:50)  2. Ain't No Sunshine
(3:09)  3. Come Away With Me
(3:04)  4. No Expectations
(3:48)  5. How Insensitive
(4:01)  6. This Masquerade
(3:45)  7. A Whiter Shade Of Pale
(3:05)  8. Don't Know Why
(2:58)  9. Midnight At The Oasis
(3:34) 10. It's Too Late
(3:23) 11. Wade In The Water
(4:16) 12. Troubled Girl
(4:13) 13. Scarborough Fair
(2:52) 14. How Late Can You Be

Classy songs, classy voice, warm arrangements evoke the feel of the “Summer Breeze” that blow gently across the Mediterranean Island of Ibiza Kate McGregor and her double bass have become both a regular feature and a guarantee of fine entertainment on the live music scene of Ibiza After her successful debut recording on the Café del Mar album earlier this year Kate has now released her own album and a beautiful selection of songs are laid out for everyone to enjoy. Performed with style by Kate and her guitarist Volker Schmitz, who also handles all the arrangements “Summer Breeze” is a mix of old and new material from such great writers and musicians as Bacharach The Rolling Stones to Noah Jones The whole piece of work has laid back jazzy feel and has resulted in a surprisingly up to date and ambient interpretation of some timeless classics.  https://bibliotek.kk.dk/ting/object/150014%3A0000000007192990

Summer Breeze

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Jan Lundgren & Bengt Hallberg - Back 2 Back

Styles: Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 50:21
Size: 118,2 MB
Art: Front

(3:07)  1. All Things
(5:07)  2. Autumn Walk
(5:15)  3. Longest Night
(2:51)  4. Cheers
(3:46)  5. Lucky Corner
(3:52)  6. Standchen, Op 135
(4:40)  7. London 5-30
(2:52)  8. Sweet Gerogia Brown
(4:24)  9. Polka du Roi, La (Menuett pa Haga)
(3:01) 10. Maple leaf rag
(4:39) 11. Picasso Blues
(6:41) 12. Lover Man

An historic meeting of two giants of modern jazz in Sweden. Bengt Hallberg, born 1932, helped to found the idiom via his work with alto saxophonist Arne Domnerus in the 1950s and attracted international attention by recording with such US legends as Clifford Brown and Stan Getz. Leonard Feather praised his "unique light-fingered style." Jan Lundgren, born 1966, gigged with Domnérus and the great Swedish clarinetist Putte Wickman before going up against such visiting American luminaries as Johnny Griffin, Benny Golson, Herb Geller and James Moody. His albums for the local Sittel label Swedish Standards (1997) and Landscapes (2003) continued the tradition established by pianist Jan Johansson of wedding jazz techniques to Swedish folk music. Producer Torgil Rosenberg brings Hallberg and Lundgren together for the first time on his small but important Volenza label. He placed them literally back to back, playing grand pianos in a Swedish Radio studio in Stockholm. It was Hallberg's first recording in nine years. 

Rosenberg describes the session as producing "seminal moments of musical communication." It opens with "All Things," a playful right-hand piece based on the chord sequence of "All The Things You Are" in which the duo get to know one another musically. This is followed by "Autumn Walk," a lovely, melancholy ballad by Hallberg inspired by the first days of fall. Next comes Lundgren's "The Longest Night," in which a dark arpeggio pattern broadens out into lush romanticism. It reflects his considerable knowledge of The Great American Songbook without ever being derivative. Two originals by Hallberg follow. "Cheers" is a ragtime romp, followed by the swinging, "Lucky Corner," dedicated to a chance meeting between two people, the angularities of initial contact soon settling into gentle familiarity. Things get heavy with the duo's treatment of Frans Schubert's "Ständchen, Opus 135," often used as a practice piece by budding pianists. Some liberties are taken but it's unlikely that the composer would have minded too much. 

There's a salute to the swing era with "Sweet Georgia Brown," another look at ragtime in the shape of Scott Joplin's "Maple Leaf Rag," while Lundgren's involvement with French accordionist Richard Galliano no doubt accounts for the inclusion of Charles Trenet's whimsical "La Polka Du Roi." Perhaps the two most interesting tracks as far as jazz lovers are concerned are kept until last: "Picasso Blues," a surrealist blues that mixes tempos and keys over a 12-bar format, followed by a freewheeling treatment of "Lover Man," immortalized in very different ways by Billie Holiday and Charlie Parker. 

~ Chris Mosey  http://www.allaboutjazz.com/back-2-back-jan-lundgren-volenza-review-by-chris-mosey.php
 

Personnel: Jan Lundgren: piano; Bengt Hallberg: piano.

Back 2 Back

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Oscar Peterson - Stephane Grappelli Quartet Vol 1

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 38:55
Size: 90,6 MB
Art: Front

(4:47)  1. Them There Eyes
(5:34)  2. Flamingo
(4:33)  3. Makin' Whoopee
(4:41)  4. Looking At You
(4:58)  5. Walkin' My Baby Back Home
(9:44)  6. My One And Only Love
(4:35)  7. Thou Swell

One of the nice things about jazz is the cross-pollination of different players in multiple settings. No one would've thought of pairing swing violinist Stéphane Grappelli and bop pianist Oscar Peterson, for instance, but the match works very well. The pair have expanded into a quartet on this reissue with the aid of double bassist Niels-Henning Ørsted Pedersen and drummer Kenny Clarke. The set, recorded in 1973 in Paris, includes a handful of standards, from Pinkard/Tracey/Tauber's "Them There Eyes" to Rodgers & Hart's "Thou Swell." As one might guess, Grappelli is in his own element on upbeat, swinging pieces like "Makin' Whoopee" and "Walkin' My Baby Back Home." Peterson likewise joins in the spirit of these pieces, making them the most interesting interpretations on the album. Other material, like the lingering "Flamingo" and "My One and Only Love," are also enjoyable, but seem rather tepid in comparison. 

The latter composition is also handicapped by its nearly ten-minute length. Peterson and Grappelli end with a nice, bouncy version of "Thou Swell" that brings the whole affair to a satisfying close. Quartet, Vol. 1 isn't a perfect recording, but it is an enjoyable one, showing how much fun it is to pair unlikely musicians in the studio and see what happens. ~ Ronnie D.Lankford, Jr.  http://www.allmusic.com/album/jazz-in-paris-oscar-peterson-stephanie-grapelli-quartet-vol-1-mw0000605894

Personnel: Oscar Peterson (piano); Stephane Grappelli (violin); Niels-Henning Orsted Pedersen (bass); Kenny Clarke (drums).

Stephane Grappelli Quartet Vol 1

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Peter Eldridge - Stranger In Town

Styles: Vocal
Year: 2000
File: MP3@320K/s
Time: 56:01
Size: 128,6 MB
Art: Front

(5:35)  1. Spring is Here
(3:03)  2. The Touch of Your Lips
(3:26)  3. Someone to Light Up My Life
(6:10)  4. Out of This World
(2:57)  5. Exactly Like You
(5:28)  6. If You Could See Me Now
(3:26)  7. Every Time We Say Goodbye
(3:11)  8. Gentle Rain
(5:09)  9. Little Did We Know
(3:30) 10. This Nearly was Mine
(5:50) 11. Stranger in Town
(4:47) 12. A Flower is a Lovesome Thing
(3:23) 13. Sweet Lorraine

Peter Eldridge continues to combine all facets of his musical talents into an eclectic mix of performing, recording, composing and teaching. He released his first two solo recordings in 2001 the sophisticated pop of 'Fool No More', a collection of his original music co-produced by Peter and multitalented Ben Wittman, as well as the bittersweet standards found in 'Stranger in Town', produced by Peter and Jean Lignel, featuring an all-star cast of jazz luminaries such as Michael Brecker, Lewis Nash, Claudio Roditi and Romero Lubambo. Both CDs were recorded for the independent label Rosebud Music. This comes after years of dynamic recordings with the Grammy award-winning vocal group New York Voices, which Peter co-founded with Darmon Meader. The group has been touring the world since 1989 and released its sixth CD in 2001, the critically acclaimed Concord album 'Sing Sing Sing', a swinging big band tribute produced by another Grammy winner, Elliot Scheiner. The New York Voices was recently voted "Favorite Vocal Jazz Group" in the 2002 Jazz Times reader poll.

Reaction to Peter's solo projects has been very strong. WICN-FM of Boston gave 'Stranger in Town' its own version of the Grammy award for best jazz album of 2001. The internet music service allmusicguide.com said of 'Fool No More', "Eldridge belongs in the celebrated tradition of melodic poets, most famously represented by such disparate voices as Stevie Wonder, Paul Simon, Joni Mitchell, James Taylor and Van Morrison: singer/songwriters who create catchy, beautiful tunes with insightful lyrics that are both personal and universal... http://www.cdbaby.com/cd/petereldridge1

Personnel: Romero Lubambo (guitar); Michael Brecker, Donny McCaslin (tenor saxophone); Claudio Roditi (flugelhorn); Andy Ezrin (piano); Jean-Baptiste Boclé (vibraphone); Lewis Nash, Ben Wittman (drums).

Stranger In Town

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Clark Terry - Having Fun

Bitrate: MP3@320K/s
Time: 69:44
Size: 159.6 MB
Styles: Bop, Trumpet jazz
Year: 1980/1992
Art: Front

[4:39] 1. Mumbles
[6:56] 2. Ask Me Now
[4:06] 3. Meet The Flinstones
[5:57] 4. The Nearness Of You
[8:46] 5. It Isn't Easy Being Green
[6:59] 6. Snapper
[3:37] 7. Never
[6:38] 8. Don't Blame Me
[6:42] 9. Imagination
[4:34] 10. Laura
[5:14] 11. Mule's Soft Claw
[5:30] 12. Tee Pee Time

The title of this CD definitely fits not only its music but Clark Terry's career. The colorful flugelhornist is teamed with Red Holloway doubling on tenor and alto, bassist Major Holley (who sings along with his bass in his solos), pianist Jon Campbell and drummer Lewis Nash. Since C.T., Holloway and Holley were all humorists, the music is not only swinging, but quite enthusiastic. With titles like "Mumbles," "Meet the Flintstones," "The Snapper" and "Mule's Soft Claw," the humor isn't unexpected. An excellent and consistently swinging date. ~Scott Yanow

Having Fun

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Vincent Herring - Jobim For Lovers

Bitrate: MP3@320K/s
Time: 41:10
Size: 94.2 MB
Styles: Latin jazz, Saxophone jazz
Year: 1999
Art: Front

[3:58] 1. Brigas Nunca Mais
[4:58] 2. Samba De Avaio
[4:58] 3. Ogrande Amore
[5:37] 4. One Note Samba
[4:38] 5. Eusei Que You Te Amar
[4:26] 6. Este Seu Olhar
[6:57] 7. Once I Loved
[5:35] 8. Wave

Do we need another set of Jobim tunes? some listeners may be tempted to ask. To which the only appropriate response is: "Why not?" Alto saxophonist Vincent Herring certainly makes a good case for one more with this relaxed run-through of eight of the Brazilian singer-songwriter's works. The explicit theme pairing Jobim's music with romance treads on the toes of the obvious, but it is the only false step in this delightful dance. Herring, who picks up the tenor for the closer, "Wave," is joined in his efforts by guitarist Romero Lubambo, pianist Gary Fisher, bassist Nilson Matta, and drummer Duduka Da Fonseca. Lubambo is particularly apt in his stylings, the soft resonance of gut strings being so much in keeping with the traditions of Brazilian popular music. Herring himself is unusually relaxed, letting his lyrical side play beautifully in the tropical evocations of the repertoire at hand. ~Bill Bennett

Jobim For Lovers    

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Shirley Horn - Travelin' Light

Bitrate: MP3@320K/s

Time: 29:53

Size: 68.4 MB

Styles: Vocal jazz

Year: 1965/1994/2014

Art: Front

[2:46] 1. Travelin' Light

[1:42] 2. Sunday In New York

[2:59] 3. I Could Have Told You

[1:59] 4. Big City

[2:48] 5. I Want To Be With You

[2:21] 6. Some Of My Best Friends Are The Blues

[2:55] 7. Someone You've Loved

[2:48] 8. Don't Be On The Outside

[2:21] 9. You're Blasé

[2:17] 10. Yes, I Know When I've Had It

[2:25] 11. Confession

[2:28] 12. And I Love Him

This CD reissue brings back a historic session, vocalist/pianist Shirley Horn's last before she drifted into semi-retirement so she could raise her daughter. Her sidemen on this date include trumpeter Joe Newman, flutists Frank Wess and Jerome Richardson, and guitarist Kenny Burrell, but the main star throughout is Horn. Not all of the material is equally strong and none of the very concise dozen performances clocks in at even three minutes, so this is not an essential session. But Shirley Horn fans and completists will want the generally enjoyable vocal date. ~Scott Yanow

Travelin' Light

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Billy Taylor - The Billy Taylor Touch

Bitrate: MP3@320K/s
Time: 37:44
Size: 86.4 MB
Styles: Hard bop, Piano jazz
Year: 1958/2005
Art: Front

[2:54] 1. You Make Me Feel So Young
[4:47] 2. Early May
[4:21] 3. Can You Tell By Looking At Me
[4:11] 4. I Get A Kick Out Of You
[2:42] 5. Wrap Your Troubles In Dreams
[3:29] 6. Willow Weep For Me
[3:01] 7. Good Groove
[3:00] 8. What Is There To Say
[3:11] 9. Thou Swell
[3:21] 10. The Very Thought Of You
[2:42] 11. Somebody Loves Me

Billy Taylor's touch at the piano is supple, stylish, and elegant. It was cultivated in the New York City bop scene of the 1940s, where Taylor played in combos led by Gerry Mulligan, Lee Konitz, Dizzy Gillespie, Oscar Pettiford, and others. Taylor's bebop heart and mind are happily at work throughout this CD of upbeat, swinging music. Throughout, Taylor's sophisticated ease of execution, his rich musical imagination, and the strong support of his sidemen make this classy and satisfying. Seven of the tracks for The Billy Taylor Touch were recorded with Taylor's first regular trio in 1951. On these, Taylor, bassist Earl May, and drummer Ed Thigpen are joined by the fine guitarist John Collins, a rhythm specialist who gives the music much of its personality. Collins would make a similar contribution later in the '50s with the Nat "King" Cole trio. ~Jim Todd

The Billy Taylor Touch

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Yvonne Monnett - Thanks For The Memories

Bitrate: MP3@320K/s
Time: 55:40
Size: 127.4 MB
Styles: Easy Listening, Piano jazz
Year: 2004
Art: Front

[4:21] 1. On A Slow Boat To China
[3:53] 2. Only Yesterday
[5:44] 3. Thanks For The Memory
[4:31] 4. What A Difference A Day Makes
[4:20] 5. Girl Talk
[4:07] 6. S'wonderful
[6:52] 7. Everything Happens To Me
[4:12] 8. Makin Whoopee
[3:47] 9. Baby It's Cold Outside
[4:17] 10. Only Trust Your Heart
[4:33] 11. Peel Me A Grape
[4:57] 12. Let's Fall In Love

What do Stan Getz and Blossom Dearie have in common? Both offer their listeners an intimate, soothing, romantic and, at times relaxing kind of music. Swinging, simmering. The intersection of those commonalities is right where you’ll find the delightful Yvonne Monnett.

One listen to her debut CD, Thanks for the Memory, confirms those seductive traits. Repeat listenings, as you no doubt will want to do, also reveal this singer/pianist’s sound to be warm, charming, intimate and honest. She’s a knowing veteran of many years on the jazz scene who has lived the songs she loves. In other words, it’s REAL.

Thanks For The Memories

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Hank Crawford - The Soul Clinic

Bitrate: MP3@320K/s

Time: 34:40

Size: 79.4 MB

Styles: Hard bop, Soul jazz

Year: 1962/2005

Art: Front

[3:28] 1. Please Send Me Someone To Love

[5:26] 2. Easy Living

[4:19] 3. Playmates

[5:28] 4. What A Difference A Day Makes

[4:19] 5. Me And My Baby

[5:35] 6. Lorelei's Lament

[6:03] 7. Blue Stone

Phil Guilbeau (tp); John Hunt (tp, flh); Hank Crawford (as); David 'Fathead' Newman (ts); Leroy 'Hog' Cooper (bs); Edgar Willis (b); Bruno Carr (d). Recorded in New York City.

This inspired and talented group under the leadership of altoist/arranger Hank Crawford, is the Ray Charles band, minus Ray. But it is also a striking unit in its own right. The big-little-band sound is compellingly arranged and orchestrated, equally arresting on incendiary, swinging up-tempo performances as it is on blues-drenched ballads. And it provides a frame for notably lyrical and melodic soloists. The result is a joyous blend combining order and vitality in equal measure. Crawford—who also plays piano, when it is heard—is revealed as a moving and beautifully singing post-Bird alto player whose highly vocalized horn displays an instinctive understanding of structure and the tension-release qualities of good jazz.

And, while bearing a relationship to what became known as "Soul" music, it is also a reaffirmation of the validity of the original concept of that feeling. Remarkably, given the way that jazz and blues suffused its DNA, the unique voice of this gripping Ray Charles smallband operated only in concert or dance halls, outside the jazz club circuit.

The Soul Clinic

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