Marcus Goldhaber With Jon Davis Trio - Take Me Anywhere

Styles: Vocal And Piano
Year: 2008
File: MP3@320K/s
Time: 74:11
Size: 170,6 MB
Art: Front

(4:13)  1. No Moon At All
(4:26)  2. I Get Along Without You Very Well
(4:29)  3. Take Me
(4:30)  4. With Plenty of Money and You
(4:16)  5. In the Oeuvre of the In-between
(3:55)  6. A Walk
(2:53)  7. You're Beautiful, You Know That
(4:08)  8. I Fall Apart
(5:11)  9. Top Hat, White Tie & Tails
(3:28) 10. A Felony Called Love
(5:10) 11. I Fall In Love Too Easily
(4:30) 12. She Knows
(4:03) 13. A Lovely Way to Spend an Evening
(4:51) 14. I've Never Been In Love Before
(6:12) 15. My Ship
(3:37) 16. Look for the Silver Lining
(4:10) 17. When I Take My Sugar to Tea

Marcus Goldhaber's new CD comes on like a plate full of comfort food. This collection of 17 songs (almost half of which are original and the rest familiar standards) is done straightforwardly with the Jon Davis Trio (Davis on piano, Martin Wind on bass and Marcello Pellitteri on drums with drummer Lieven Venken on one track). Goldhaber's soft, warm voice and lyric-driven laid back style tells each story effortlessly. He also takes a couple of tired chestnuts ("With Plenty Of Money And You" and "When I Take My Sugar To Tea") and gives them a fresh new approach with changes of tempo and new rhythm patterns. And just to let you know where his heart is, Goldhaber does two numbers "I Fall In Love Too Easily" (done as a waltz) and "A Lovely Way To Spend An Evening" strongly associated with Sinatra.

Since Goldhaber works mostly with the Jon Davis Trio, they all read each other well. The piano work is just enough to allow the vocal to take the spotlight, but also shines with solos on most of the tracks. Wind's wonderfully lyrical arco bass is captured on the original "A Walk" and the aforementioned "When I Take My Sugar To Tea". Also worth mentioning is Pellittieri's intricate tempo changes on "I've Never Been In Love Before" and Venken's performance on "Look For The Silver Lining". A surprise visit by Hendrik Meurkens' harmonica adds seasoning to the original "Take Me". This CD bears witness to the fact that Goldhaber is a hopeless romantic, that old-fashioned breed of singer called a crooner. In a climate which pushes reality and actuality, it's nice to find something that bespeaks of light, both moon and candle. ~ Marcia Hillman  http://www.allaboutjazz.com/take-me-anywhere-marcus-goldhaber-fallen-apple-records-review-by-marcia-hillman.php

Personnel: Marcus Goldhaber: vocals; Jon Davis: piano; Martin Wind: bass; Marcello Pellitterri: drums and percussion (4, 6); Lieven Venken: drums (16); Hendrik Meurkens: harmonica (3).

Take Me Anywhere

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Nina Simone - High Priestess Of Soul

Styles: Jazz, Vocal
Year: 1967
File: MP3@320K/s
Time: 35:51
Size: 88,1 MB
Art: Front

(3:09)  1. Don't You Pay Them No Mind
(2:18)  2. I'm Gonna Leave You
(2:06)  3. Brown Eyed Handsome Man
(3:26)  4. Keeper Of The Flame
(2:48)  5. The Gal From Joe's
(2:49)  6. Take Me To The Water
(2:52)  7. I'm Going Back Home
(2:21)  8. I Hold No Grudge
(3:39)  9. Come Ye
(3:10) 10. He Ain't Comin' Home No More
(3:07) 11. Work Song
(4:01) 12. I Love My Baby

Perhaps a bit more conscious of contemporary soul trends than her previous Philips albums, this is still very characteristic of her mid-'60s work in its eclectic mix of jazz, pop, soul, and some blues and gospel. Hal Mooney directs some large band arrangements for the material on this LP without submerging Simone's essential strengths. The more serious and introspective material is more memorable than the good-natured pop selections here. 

The highlights are her energetic vocal rendition of the Oscar Brown/Nat Adderley composition "Work Song" and her spiritual composition "Come Ye," on which Simone's inspirational vocals are backed by nothing other than minimal percussion. ~ Richie Unterberger  http://www.allmusic.com/album/high-priestess-of-soul-mw0000691461

High Priestess Of Soul

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Mark Murphy - Some Time Ago

Styles: Vocal
Year: 2000
File: MP3@224K/s
Time: 54:00
Size: 86,9 MB
Art: Front

(5:16)  1. There's No More Blue Time
(8:49)  2. Peacocks
(5:21)  3. Bohemia After Dark
(5:11)  4. With Every Breath I Take
(6:14)  5. You're My Alter Ego
(6:29)  6. Life's Mosaic
(5:22)  7. Some Time Ago
(5:38)  8. That Old Black Magic
(5:35)  9. Why Was I Born/I'm A Fool To Want You

A preface to this review is order. I’m something of a curmudgeonly customer when it comes to jazz vocals. I can readily dig on classic (and admittedly popular) singers such as Holiday, Fitzgerald, Vaughn, Simone and so on. But when it comes to male vocalists, not only are the numbers comparatively smaller, but the pool of contenders seems to my ears spread far thinner. A few notables, such as Bill Henderson and Johnny Hartman, come to mind but even these illustrious crooners had their share of off days. The human voice may be the most complex of all musical instruments, but it’s been saddled with the greatest number of clichés, particularly when it comes to jazz singing.

With his latest recording (according to the liners his 32nd!) Murphy hasn’t made a complete believer out of me, but he makes a convincing argument nonetheless. There’s a smoky after hours ambiance to both his delivery and that of his backing combo that dispenses with triviality early on and concentrates simply on playing from the collective heart. Racy, bop-inflected numbers like Oscar Pettiford’s “Bohemia After Dark” are interspersed with darker, more ruminative offerings such as the velvety reading of “With Every Breath You Take. There’s even a rollicking rendition of the old Jazz Messengers classic “Mosaic” that ignites along a trail of melodic gunpowder sown by Ballou’s ballistic brass.

Across all of the tunes Murphy receives sensitive and supple accompaniment from his sidemen. Mezquida sometimes sounds reticent to blow in tandem with Murphy’s lyrics opting more frequently for background shading between the leader’s choruses. Musiker, who handles the musical arrangements, fronts the rhythm section with a firm, but flexible hands. LaSpina and Smith alternate bass chores, but both players match well with Harper’s sensitive brushes and mallets.

Though he favors a brand of scat singing that wobbles and falters a bit into indulgent repetition, Murphy can’t be faulted for an absence of sincerity. He wears his emotions on his proverbial sleeves, doling them out in honest increments to all that will take the time to listen. The naked emotiveness comes to a melancholy head on the closing medley, where Murphy laments a solitary existence spent in the absence of love. Murphy is a seasoned veteran and as such he’s long since surpassed the need to prove himself. The security of both of his position and his artistry is conveyed handsomely through this recording and make it recommendable even to those (such as myself) who might be a tough sell. ~ Derek Taylor  http://www.allaboutjazz.com/some-time-ago-mark-murphy-review-by-derek-taylor.php

Players: Mark Murphy- vocals; Dave Ballou- trumpet; Allan Mezquida- alto saxophone; Lee Musiker- piano/arranger; Steve LaSpina- bass; Sean Smith- bass; Winard Harper- drums.

Some Time Ago

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Scott DuBois - Landscape Scripture

Styles: Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 61:22
Size: 141,9 MB
Art: Front

( 8:00)  1. Spring Haystacks
(10:33)  2. Prairie Suite
( 4:59)  3. Goodbye
( 3:29)  4. Summer Haystacks
(13:06)  5. Lake Shore Suite
( 5:30)  6. Autumn Haystacks
( 9:28)  7. Passing Spirit
( 6:15)  8. Winter Haystacks

Guitarist, Scott DuBois has taken a masterly turn with Landscape Scripture, an extended piece that carries aural impressions of one of Claude Monet's famous series of paintings, "Haystacks." The renowned French master had conceived of his pastoral exhibit in a series of 25 canvases that looked at the iconic sculptures of hay at different times of day, and at different times of the year. DuBois has created his suite around aspects of the paintings depicted by the four seasons and turned out a romantic impression of these paintings. It may not have been easy to think of the guitarist as a seasoned impressionist until this record. But here, DuBois will surprise many.

Using aural dynamics to depict the visual aspect of light falling on inner ear, DuBois creates gorgeous meditations in both earthy tones and heavenly hues. The drama of his work intensifies with his use of woodwinds bass and drums, a somewhat interesting challenge, considering that his setting for the music is peaceful and altogether static, albeit suggestive of visually gentle to vigorous movement. As it would in the annual turn of events, the record begins with a contemplative look at "Spring Haystacks." DuBois' guitar bubbles over with spritely flurries of notes and harmonic overtones, as he seduces the bass into a hypnotic whirring duet. Meanwhile, the swirl of reedman Gebhard Ullmann's bass clarinet notes emerges in diaphanous sheets of sound playing counterpoint to the guitar as drummer Kresten Osgood uses overlapping splashes of cymbals and fibrillating drum skins to complete the joyous setting.

The pace and setting is altogether warmer and suggestive of more riotous colors and tones in "Summer Haystacks," and the melody here, too, is reminiscent of folk songs almost de rigueur in the season of gaiety and sunshine. The descending structure of "Autumn Haystacks" mimics the shedding of leaves, brisk winds and an earth of bronze and gold glinting in a the cooler light of the sun. "Winter Haystacks" is composed of hushed notes from a deeply meditative bass clarinet, set against a shriller guitar, while the drums and bass echo the imminent arrival of bleak snowdrifts.

This powerful suite is interspersed with mini-suites connecting the four seasons. "Prairie Suite" and "Lakeshore Suite" contain powerful imagery of the sweeping vistas of the American Midwest, while "Goodbye" and "Passing Spirit" are shorter works noteworthy for their thematic connection to DuBois' overall meditation on the Monet works. All four interconnecting pieces are markedly beautiful for their compositional elegance and myriad moods. It is also rare for four different musicians to come together in such complete empathy with a work of singular complexity. This intensity of the playing on each musician's part contributes to the memorableness of the composition and, therefore, the entire record. ~ Raul D’Gama Rose  http://www.allaboutjazz.com/landscape-scripture-scott-dubois-sunnyside-records-review-by-raul-dgama-rose.php

Personnel: Scott DuBois: guitar; Gebhard Ullmann: tenor saxophone, bass clarinet; Thomas Morgan: bass; Kresten Osgood: drums.

Landscape Scripture

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Mark Elf - Live At Smalls

Styles: Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 68:47
Size: 158,0 MB
Art: Front

( 8:58)  1. Quick Silver
( 9:04)  2. 109 West
( 4:12)  3. 52nd St. Theme
( 5:37)  4. It Was Written In the Stars
(10:51)  5. Stella By Starlight
( 9:59)  6. Too Close for Comfort
( 6:58)  7. The Theme
(13:04)  8. 109 West

After putting out a series of studio-recorded CDs during the 1990s that received a lot of airplay on jazz radio stations, Mark Elf finally released his first live CD. The guitarist is in excellent form throughout, joined by bassist Neal Miner and drummer Joe Strasser. Elf's driving take of Horace Silver's "Quicksilver," a rapid-fire "52nd Street Theme," and his lyrical arrangement of "Stella By Starlight" are among the highlights of the featured standards. Elf only plays one original, but includes two separate takes of "109 West," a strutting blues that's quite effective in either rendition. Recommended. ~ Ken Dryden  http://www.allmusic.com/album/live-at-smalls-mw0000618317

Personnel: Mark Elf (guitar); Neal Miner (bass); Joe Strausser (drums).

Live At Smalls

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King Curtis - Plays Great Memphis Hits

Styles: Jazz Funk
Year: 1967
File: MP3@320K/s
Time: 31:10
Size: 71,9 MB
Art: Front

(2:58)  1. Knock On Wood
(2:27)  2. Good to Me
(2:39)  3. Hold On! I'm Coming
(3:17)  4. When Something Is Wrong With My Baby
(2:20)  5. Green Onions
(2:43)  6. You Don't Miss Your Water
(2:38)  7. Fa-Fa-Fa-Fa-Fa (Sad Song)
(2:36)  8. In the Midnight Hour
(2:36)  9. The Dog (aka Walking the Dog)
(2:24) 10. I've Been Loving You Too Long
(2:30) 11. Last Night
(1:56) 12. Jump Back

King Curtis was the last of the great R&B tenor sax giants. He came to prominence in the mid-'50s as a session musician in New York, recording, at one time or another, for most East Coast R&B labels. A long association with Atlantic/Atco began in 1958, especially on recordings by the Coasters. He recorded singles for many small labels in the '50s -- his own Atco sessions (1958-1959), then Prestige/New Jazz and Prestige/TruSound for jazz and R&B albums (1960-1961). Curtis also had a number one R&B single with "Soul Twist" on Enjoy Records (1962). He was signed by Capitol (1963-1964), where he cut mostly singles, including "Soul Serenade." Returning to Atlantic in 1965, he remained there for the rest of his life. He had solid R&B single success with "Memphis Soul Stew" and "Ode to Billie Joe" (1967). Beginning in 1967, Curtis started to take a more active studio role at Atlantic, leading and contracting sessions for other artists, producing with Jerry Wexler, and later on his own. He also became the leader of Aretha Franklin's backing unit, the Kingpins. He compiled several albums of singles during this period. All aspects of his career were in full swing at the time he was murdered in 1971. ~ Bob Porter  https://itunes.apple.com/us/artist/king-curtis/id823440#fullText

Plays Great Memphis Hits

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Lee Lessack - Chanteur

Styles: Jazz, Vocal
Year: 2011
File: MP3@320K/s
Time: 44:11
Size: 101,5 MB
Art: Front

(4:20)  1. The Summer Knows/Between Yesterday and Tomorrow
(3:17)  2. I Will Wait for You (From the Umbrellas of Cherbourg)
(3:28)  3. Importance of the Rose (L'important C'est La Rose)
(2:38)  4. She
(2:21)  5. The Sound of Your Name
(4:16)  6. Windmills of Your Mind/Autumn Leaves
(4:33)  7. Yesterday When I Was Young
(3:56)  8. Pieces Of Dreams
(3:30)  9. What Now My Love
(3:31) 10. Hymne a L'Amour
(4:00) 11. Song of Bernadette
(4:15) 12. If We Only Have Love

Recognizing the influence of the French chanson on the cabaret scene, Philadelphia performer Lee Lessack's first release since 2005's duets collection In Good Company pays homage to the Gallic songbook with 12 covers of some of its best-loved pieces. Apart from the flamenco guitar on The Thomas Crown Affair's Oscar-winning theme "The Windmills of Your Mind" (one of four tracks featured penned by Michel Legrand), long-term collaborator John Boswell's timeless piano arrangements are the only accompaniment, allowing Lessack's rich baritone vocals to take center stage on renditions of English-language tracks penned by French songwriters (Legrand's "The Summer Knows [Theme from Summer of '42]" and "Pieces of Dreams"), English-language translations of French-recorded numbers (Gilbert Bécaud's "What Now My Love" and "The Importance of the Rose"), and songs associated with French artists (Charles Aznavour's "She," "Yesterday When I Was Young"). 

Considering his pronunciation of Edith Piaf's "Hymne à l'Amour" appears perfectly acceptable, it's a shame he didn't have the courage to tackle more than one French-sung composition, while the likes of Jennifer Warnes' "Song for Bernadette," the Leonard Cohen-penned ode to the 19th century French saint who claimed she saw the Virgin Mary, and "If We Only Have Love," from the late-'60s off-Broadway musical Jacques Brel Is Alive and Well and Living in Paris, seem rather tenuous and arbitrary selections. Chanteur is a tastefully arranged tribute to the French greats of yesteryear, but it's probably more captivating as a live cabaret show than a rather perfunctory studio album. ~ Jon O’Brien  http://www.allmusic.com/album/chanteur-mw0002181069

Personnel: Lee Lessack (vocal); David Boswell (guitar); John Boswell (piano).

Chanteur

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Jim Snidero Quartet - While You Are Here

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 54:36
Size: 125,4 MB
Art: Front

(5:45)  1. While Your Here
(6:44)  2. Intimacy
(6:44)  3. A Few to Many
(4:18)  4. Fly Little Bird Fly
(7:57)  5. State Of Affairs
(9:25)  6. I Concentrate On You
(6:49)  7. I Can't Get Started
(6:50)  8. Front Line

A fine post-bop improviser and alto saxman, Jim Snidero is a bit underrated but is well-appreciated by his fellow musicians. He attended the University of North Texas and moved to New York in 1981. Snidero toured and recorded with Jack McDuff, he's been a member of the Toshiko Akiyoshi Jazz Orchestra since the mid-'80s, has worked with the backup bands of Frank Sinatra and Eddie Palmieri, and has spent time playing with the Frank Wess Sextet, the Mel Lewis Orchestra, and the Mingus Big Band. As a leader, Jim Snidero has recorded for the Japanese East World label (1984), Ken, Square Discs, Red, and Criss Cross. He has also recorded as a sideman with Brian Lynch, Conrad Herwig, and Tom Varner, and been active in jazz education both as a teacher and as an author of instructional books. ~ Scott Yanow  https://itunes.apple.com/us/artist/jim-snidero/id218375938#fullText

Personnel: Jim Snidero (alto saxophone); Benny Green (piano); Tony Reedus (drums).

While You Are Here

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Jessye Norman - I Was Born in Love with You: Jessye Norman Sings Michel Legrand

Styles: Vocal
Year: 2000
File: MP3@320K/s
Time: 63:28
Size: 145,9 MB
Art: Front

(4:42)  1. Summer Knows
(4:00)  2. Dans Ses Yeux
(4:39)  3. Je Vivrai Sans Toi
(6:40)  4. What are you doing the rest of your life?
(3:24)  5. I was born in love with you
(3:03)  6. Dis - moi
(3:47)  7. Les Enfants Qui Pleurent
(3:34)  8. Moon And I
(2:28)  9. Celui - là
(4:44) 10. Windmills of your Mind
(4:52) 11. You must believe in Spring
(3:53) 12. La Valse Des Lilas
(3:43) 13. Afterthoughts
(3:43) 14. Les Parapluies De Cherbourg
(6:09) 15. Between Yesterday and Tomorrow

Five-time Grammy and three-time Academy Award winner Michel Legrand is one of the greatest songwriters active today. His "Windmills of Your Mind" and "You Must Believe In Spring," among others, are classics of the popular song repertoire. Soprano Jessye Norman is one of the most beloved singers in all of music. She has dazzled audiences throughout the world with her mastery of the operatic and song literature. This recording offers a rare opportunity for two superstar performers from different musical worlds to collaborate in a program. Norman's dark, rich soprano is ideal in fifteen Legrand classics sung in both French and English. Her shading and flawless breath control makes each song a mini-masterpiece. Legrand's delicate piano playing provides lyrical, blues-inflected accompaniment and he is supported by a veteran rhythm section of Ron Carter on bass and Grady Tate on drums. http://www.allmusic.com/album/i-was-born-in-love-with-you-jessye-norman-sings-michel-legrand-mw0000609994

Personnel:  Bass – Ron Carter; Drums – Grady Tate;  Piano – Michel Legrand;  Vocals – Jessye Norman

I Was Born in Love with You: Jessye Norman Sings Michel Legrand

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Jesse Van Ruller - European Quintet

Styles: Guitar Jazz
Year: 1997
File: MP3@320K/s
Time: 61:19
Size: 140,6 MB
Art: Front

(5:04)  1. Debits 'n Credits
(4:37)  2. Bewitched
(6:18)  3. The Ruler
(6:14)  4. De Poesch
(4:44)  5. I'll Be Seeing You
(8:03)  6. Two Walk
(4:18)  7. Green's Greenery
(8:00)  8. Vienna Night Express
(6:28)  9. You're My Everything
(7:29) 10. This Could Be the Start of Something Big

Jesse van Ruller won the Thelonious Monk Competition in Washington in 1995. The jury, consisting of Pat Metheny, John Scofield, Jim Hall, Pat Martino and Mark Whitfield, was of the opinion that van Ruller is one of the most promising talents of his time. He graduated summa cum laude from the Hilversum Conservatory in 1995, where he studied with Wim Overgaauw. Since then he has performed with numerous renowned musicians and ensembles amongst which are George Duke, Joe Lovano, Pat Metheny, Peter Erskine, Mike Stern, Tom Harrell, Philip Catherine, Toots Thielemans, the Roy Hargrove Quintet, Christian McBride, Seamus Blake, Metropole Orchestra, Asko Ensemble, WDR Big Band, Birmingham Symphony Orchestra and the Berliner Philharmoniker.

His first CD, European Quintet, was released in 1996. The second, Herbs, fruits, balms & spices followed in 1998. For this album van Jesse extended his line-up with musicians from different musical backgrounds such as Latin and Tango. The third album CATCH! was recorded by the Jesse van Ruller Quartet and also features phenomenal trumpeter Roy Hargrove. The album was nominated for the Edison Music Award 2000 in the category Best Dutch Artist of the Year. Van Ruller was also nominated for the Edison Jazz Award and the Bird Award 2001 and 2002. His fourth album, “Here and There”, was released on Criss Cross Records and features van Ruller in quartet with David Hazeltine, Nat Reeves and Joe Farnsworth, and in trio with Frans van Geest and Willie Jones III. Jesse's following Cd Trio (Emarcy/Universal Music) features Frans van der Hoeven on bass and Martijn Vink on drums. 

The trio line-up gives Jesse the freedom and space to display his impressive talents as a jazzguitarist and composer, exploring standards and new compositions. Besides leading his own trio Jesse plays a significant role in the Jazz Orchestra of the Concertgebouw and he works as a sideman in groups of vocalists Francien van Tuinen and Fleurine, pianist Michiel Borstlap and in duo with fellow-guitarist Maarten van der Grinten. Jesse recently introduced a new collaboration with Michiel Borstlap (keys), Jeroen Vierdag (bassguitar) and Martijn Vink (drums, electronic rhythms) under the name REDUX. Electronic beats and loops are used as a basis for improvisation. A fresh new sound coming straight from Amsterdam! Jesse's current album Circles was recorded in New York for Criss Cross Records. The album consists of mainly new compositions and features Seamus Blake (sax), Sam Yahel (Hammond B3) and Bill Stewart (drums). Circles is available around the globe. http://musicians.allaboutjazz.com/jessevanruller

European Quintet

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Jaki Byard & The Apollo Stompers - Phantasies II

Size: 97,3 MB
Time: 42:19
File: MP3 @ 320K/s
Released: 1991
Styles: Jazz: Piano Jazz, Big Band
Art: Front

01. Manhattan (1:57)
02. New York Is A Lonely Town (4:31)
03. 2-5-1 (5:39)
04. BJC Blues (Dedicated To B.B. King) (4:05)
05. Up Jumps One (Dedicated To Count Basie) (7:20)
06. Pt. 1 Mellow Septet Concerto Grosso (5:12)
07. Pt. 2 There Are Many Worlds Concerto Grosso (4:38)
08. June Night (2:29)
09. Send In The Clowns (2:39)
10. Bright Moments (3:46)

The second CD featuring Jaki Byard's Apollo Stompers (a young big band) is actually superior to the first one. Although most of the soloists (other than guitarist Peter Leitch and trumpeter Graham Haynes) remain obscure, the material is more stimulating than on the debut set. In addition to a few standards, Byard penned tributes to B.B. King and Count Basie along with a two part "Concerto Grosso." His very versatile piano has its share of short solos, hinting at many earlier jazz styles. ~by Scott Yanow

Phantasies II

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The Andrew Allen Trio - Live! From The Cantina: A Star Wars Jazz Tribute

Size: 101,3 MB
Time: 42:39
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Soul Jazz, Hammond Organ
Label: Andrew Allen Trio
Art: Front

01. Star Wars Main Theme (From Star Wars) (6:09)
02. Parade Of The Ewoks (From Return Of The Jedi) (5:39)
03. Cantina Band (From Star Wars) (2:48)
04. The Imperial March (Darth Vader's Theme) (From The Empire Strikes Back) (5:19)
05. Princess Leia's Theme (From Star Wars) (3:08)
06. Tie Fighter Attack (From Star Wars) (1:27)
07. Han Solo And The Princess (From The Empire Strikes Back) (5:46)
08. Tales Of A Jedi Knight (Luke's Theme) (From Star Wars) (5:02)
09. Yoda's Theme (From The Empire Strikes Back) (3:34)
10. Duel Of The Fates (From The Phantom Menace) (3:42)

With a new chapter already demolishing Fandango records, there is bound to be a plethora of Star Wars merchandise that will monopolize store shelves. However, some of the most interesting stuff are the unofficial products on the fringe, such as Live! From the Cantina: A Star Wars Jazz Tribute, a charming and sharply rendered homage to John Williams' indelible soundtracks. This is no ordinary tweaking; the Andrew Allen Trio take the original compositions and swing for the moon, often hitting a grand slam.

Allen's ambitions are immediately evident on "Luke's Theme," stripping the introspective, melancholy tones of Williams' version for something familiar yet dramatically different. Brad Esau's soothing saxophone recaptures the easily recognizable melody but Allen shoots for a '60s vibe with his organ, reaching the twilight zone of psychedelic lounge music. As Allen is lost in an otherworldly groove, Esau and drummer Truman House are let off the chain. Esau's sax is smoking while House's drums stutter with wild abandon.

The target audience for this album will be, of course, Star Wars buffs; however, the tight chemistry between the musicians will reel in serious fans of the genre. The fiery saxophone and crashing drums of "Tie Fighter Attack" will pummel even the most exuberant of serious jazz groups. There is much to love here, one of the most original and inventive releases of the year. Highly recommended. ~by Stacey Zering

Live! From The Cantina

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Erik Leuthauser - In The Land Of Oo-Bla-Dee

Size: 177,0 MB
Time: 77:00
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front

01. Confirmation (3:38)
02. All Of Me (2:23)
03. In Walked Bud (4:19)
04. Misterioso (3:52)
05. Our Place (Frank's Place) (5:08)
06. Days Of Wine And Roses (4:06)
07. Sweet Sue, Sweet You (2:57)
08. There's A Small Hotel (4:30)
09. It Could Happen To You (4:33)
10. Moose The Mooche (5:01)
11. St. Thomas (3:31)
12. Im Land Von Oo-Bla-Dee (3:14)
13. Ornithology (3:36)
14. I Was Telling Him But Now I Cry Alone (Betty Carter Medley) (6:35)
15. September In The Rain (4:20)
16. Careless (5:10)
17. Wave (5:50)
18. Yardbird Suite (4:09)

Erik Leuthäuser ist ein überaus begabter und origineller junger Musiker, der den Begriff des Jazzsängers im eigentlichen Sinne wieder neu und frisch belebt. Er widmet sich mit einer Ernsthaftigkeit und gleichzeitig mit grosser Leichtigkeit den virtuosesten Jazzkompositionen und verneigt sich mit seiner Debut-CD vor den grossen Meistern des Jazz, die ihm ganz eindeutig schon lange enge Wegbegleiter sind. Von Ihnen erzählt er uns – in seiner Muttersprache deutsch. Das ist mutig und wirkt in wenigen Momenten manchmal auch etwas kantig, doch mich hat die Direktheit und Frische darin sehr berührt! Es ist Bebop, der auch junge Leute erreichen soll, die bislang keine Berührung damit hatten – Erik erzählt in seinen Texten von seinem Lebensalltag als Schüler und Student, von seiner Motivation, diese Musik zu machen und natürlich erzählt er von der Musik und den Grossen des Jazz und macht sie dadurch für uns wieder ganz quicklebendig … Von diesem jungen Mann werden wir sicher in den kommenden Jahren noch mehr hören! ~Esther Kaiser

In The Land Of Oo-Bla-Dee

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Jakob Norgren Jazz Orchestra - Pathfinding

Size: 103,0 MB
Time: 42:50
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Pathfinding (9:08)
02. Some Kind Of Dancing (6:23)
03. Serendipity (6:26)
04. Parade (7:51)
05. Secret Walks Part 1 (6:33)
06. Secret Walks Part 2 (6:26)

The last word has yet to be spoken on the role of the baritone saxophone in jazz big band writing. Duke Ellington used Harry Carney to great, often magnificent effect. Then, in 1960, Gerry Mulligan took things further with his Concert Jazz Band.

At that moment the Beatles and the beat boom that followed sounded the death knell for jazz as popular music. Big bands were no longer economically viable and the few that survived showed little interest in this always neglected member of the sax family.

It might have been "end of the story" had not a few enthusiasts battled on. They include the Swede Jakob Norgren who has managed to persuade his country's Arts Council to back this, first album of his jazz big band (other efforts have been mainly soul-oriented).

Norgren concentrates on writing and arranging, leaving the lion's share of soloing to tenor saxophonist Jonas Kullhammar. When he does play, it is in a markedly more probing, post-John Coltrane-style than that of Mulligan, or fellow Swede Lars Gullin, who established an international reputation on the instrument in the 1950s and early 60s.

An inquiring and original mind is at work here. When he's not playing jazz, Norgren works as a research assistant in cognitive neuroscience at Stockholm's Karolinska Institutet, which each year awards the Nobel Prize in Physiology or Medicine. He also teaches psychology and social studies.

He describes Kullhammar, his collaborator on this project as "one of the most important Swedish jazz artists of the new millennium."

"Pathfinding," the title track, sets the tone for the album, Kullhammar emerging out of a brass-led ensemble to test the range of his tenor. "Some Kind of Dancing," which follows, is more relaxed, with a slightly Eastern feel, opening with bass and drums and featuring lyrical flugelhorn by Jonne Bentlöv.

"Serendipity" features straight-ahead jazz writing and playing, but with the theme stated by the leader on contra alto clarinet.

"Parade" has what Norgren describes as "a New Orleans groove." It features a "conversation" between Kullhammar and Mats Äleklint on trombone. "Secret Walks" is in two parts, the second more interesting than the first, bringing the album to a slightly sudden but still coherent conclusion.

If as a big band composer Norgren occasionally bites off a mite more than he can comfortably chew, that is surely better than simply churning out tired old charts trading on nostalgia for glory days long gone. ~by Chris Mosey

Personnel: Jakob Norgren, Jonas Kullhammar, Peter Friedman, Lina Lövstrand, Kai Sundquist, Christian Herluf Pedersen: reeds; Fredrik Oscarsson, Jonne Bentlöv, David Ljunggren, Oscar Lindblom: trumpets; Mats Äleklint, Michael Rörby, Johan Åström, Klas Eriksson: trombones; Mathias Lundquist: piano; Lars Ekman: bass; Isak Andersson: drums.

Pathfinding

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Kitty Kallen - The Kitty Kallen Collection 1939-62

Size: 159,6+169,0 MB
Time: 69:20+73:23
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop/Rock Vocals
Art: Front

CD 1:
01. A Table In A Corner (3:12)
02. So Many Times (2:58)
03. Love For Sale (3:00)
04. The Moon And The Willow Tree (3:08)
05. Wham (3:06)
06. Moonlight Becomes You (2:54)
07. They're Either Too Young Or Too Old (3:03)
08. Star Eyes (3:04)
09. Besame Mucho (2:59)
10. When They Ask About You (2:56)
11. I'm Beginning To See The Light (1:59)
12. I Don't Care Who Knows It (3:01)
13. Guess I'll Hang My Tears Out To Dry (3:26)
14. Yah-Ta-Ta, Yah-Ta-Ta (2:25)
15. 11 60 Pm (2:41)
16. I'll Buy That Dream (3:18)
17. It's Been A Long, Long Time (3:22)
18. The Wonder Of You (3:13)
19. Waitin' For The Train To Come In (3:04)
20. My Heart Belongs To Daddy (3:02)
21. Kiss Me Sweet (1:28)
22. Juke Box Annie (2:52)
23. Our Lady Of Fatima (2:44)
24. The Aba Daba Honeymoon (2:12)

CD 2:
01. To Be Loved By You (2:55)
02. Are You Looking For A Sweetheart (2:51)
03. Little Things Mean A Lot (2:57)
04. In The Chapel In The Moonlight (2:49)
05. Take Everything But You (2:44)
06. I Want You All To Myself (Just You) (3:01)
07. Don't Let The Kiddy Geddin (2:11)
08. I'd Never Forgive Myself (2:37)
09. Honestly (2:21)
10. Forgive Me (2:54)
11. Just Between Friends (2:39)
12. Sweet Kentucky Rose (2:44)
13. How Lonely Can I Get (2:44)
14. Go On With The Wedding (2:52)
15. Will I Always Be Your Sweetheart (2:47)
16. How About Me (2:58)
17. Lasting Love (2:49)
18. Crying Roses (2:17)
19. Love Is A Sacred Thing (2:34)
20. If I Give My Heart To You (2:44)
21. That Old Feeling (2:26)
22. Need Me (3:14)
23. Got A Date With An Angel (2:00)
24. Hey Good Lookin' (2:01)
25. Summertime Lies (2:49)
26. It Wasn't God Who Made Honky Tonk Angels (2:52)
27. My Coloring Book (3:18)

American songstress KittyKallen had a remarkable career, starting in the swing era of the late '30s and extending beyond the rock 'n' roll explosion of the '50s into the early '60s, racking up a lengthy run of hits spanning two decades. She began her career as a singer with some of the most popular orchestras of the swing and big band years - Jack Teagarden, Jimmy Dorsey, Harry James and briefly with Artie Shaw - and with the Dorsey and James outfits enjoyed a dozen hits during the early '40s, including three No. 1s. As a solo artist she readily found a niche in the mainstream pop world of the late '40s and early '50s, scoring many more hits, with the career highlight being a No. 1 on both sides of the Atlantic with Little Things mean A Lot in 1954. She was able to maintain her popularity and profile on radio and TV through the '50s despite the rapid changes in popular taste, updating her style to ensure she had hits into the 1960s. This great-value 51-track collection covers the breadth of her career from her recording debut with Jack Teagarden in 1939, through to her last Top 20 hit in 1962, naturally including all her 31 Billboard and Cashbox chart entries, and provides an admirable showcase for her distinctive talent.

The Kitty Kallen Collection 1939-62 Disc 1,Disc 2 

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Howard Alden, Bucky Pizzarelli - In A Mellow Tone

Styles: Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 65:02
Size: 149,4 MB
Art: Front

(7:30)  1. In a Mellow Tone
(7:03)  2. Do Nothing 'Till You Hear from Me
(4:57)  3. Tangerine
(5:20)  4. Snow Fall
(5:08)  5. Cherokee
(3:01)  6. In the Dark
(4:07)  7. The Very Thought of You
(3:51)  8. Three Little Words
(6:06)  9. What's New?
(4:55) 10. Moon Glow
(6:14) 11. Jitterbug Waltz
(1:20) 12. I'm Forever Blowing Bubbles
(5:24) 13. Blues for Emmett

Good taste never goes out of style and knows no demographic, as this delicate album by two masters of the seven-string demonstrates. The 45-year old Alden and the 77-year old Pizzarelli may be a generation apart, but they are certainly cut from the same cloth. A great example of how their comping and strumming styles mesh so effortlessly is heard on "Tangerine," where they trade back and forth like one guitarist overdubbed on two tracks. "Cherokee" starts with a tom-tom-inspired beat and turns into a mutual admiration society meeting with the two swapping solos back and forth with abandon. They take "Three Little Words" at an appropriately brisk tempo, but never do you get the impression that the old master and the young buck are trying to outdo each other. Rather, the feeling is of two people comfortable with each other and a shared interpretation of the material.

Alden is showcased by himself on two tunes, Bix Beiderbecke's "In the Dark," and ever-so-briefly on an old warhorse, "I'm Forever Blowing Bubbles." Alden imbues the Bix tune with a light and airy feel and rids "Bubbles" of any sense of cliché with a treatment that is beautifully introspective. The two manage to breathe new life into "Jitterbug Waltz," as if that was even necessary, taking turns dancing their way around the melody in single notes and chord phrasing. Their solos culminate in a fine bit of counterpoint before returning to the tune's basic structure. This album is a testament to both Pizzarelli's enduring genius on the guitar and Alden's innate ability to absorb the styles of those who came before and come up with something of his own making. 

~ Mitchell Seidel  http://www.allaboutjazz.com/in-a-mellow-tone-howard-alden-concord-music-group-review-by-mitchell-seidel.php

Personnel: Howard Alden and Bucky Pizzarelli: guitar.

In A Mellow Tone

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Bobby Broom - The Way I Play: Live In Chicago

Styles: Guitar Jazz
Year: 2008
File: MP3@320K/s
Time: 67:50
Size: 155,6 MB
Art: Front

( 5:49)  1. Strike Up the Band
( 6:32)  2. Donna Lee
( 9:21)  3. Fly Me to the Moon
(12:23)  4. Airegin
( 6:36)  5. Body and Soul
( 7:54)  6. Unit 7
( 7:17)  7. The Surrey With the Fringe on Top
(11:55)  8. Inception

Guitarist Bobby Broom could have easily taken a different musical direction when he released the popular contemporary/funk jazz album, Clean Sweep (GRP) in 1981. But with his early influences, guitarists Wes Montgomery, early George Benson and mentor/saxophonist Sonny Rollins, he has developed his own unique style on recordings such as Song and Dance (Origin, 2007). This voice is heard in a live setting on The Way I Play , an uncut, as it went down performance, as Broom states ..."it really is a record of how I approach my instrument." Joined by longtime members, bassist Dennis Carroll and drummer Kobie Watkins, the recording is a taste of the weekly gig the trio has held for the past few years at Pete Miller's Steakhouse in Evanston. It also mirrors Broom's other live trio recording, Deep Blue Organ Trio: Goin' To Town Live At The Green Mill (Delmark, 2006). Broom's approach is a lesson in soulfulness, lyricism, and an innate sense of timing and swing, that goes beyond academics. Carroll and Watkins do more than keep things tight rhythmically; they are integral parts of the vibrant trio connection, through interaction and individual performances.

This is an entire album of "OPM" (Other People's Music) standards from the Gershwin Brothers, Rogers and Hammerstein, et al. But it's the way that the trio approaches and interprets these classics that keeps them fresh: the retelling of Charlie Parker's "Donna Lee," each player delivering passionate solos and quick trades; or the lovely "Fly Me to the Moon," where Broom sets up the melody with a nice intro, leading into a purposed mid-tempo groove. The execution of a good ballad can be difficult, but Broom's tone and phrasing, as well as artistic touch, are simply exquisite on the trio's redo of "Body and Soul." The "cool" factor is strong on the swinging "Unit 7" with Watkins' colorful trap-work getting the spotlight on some heavy trading with Broom. Things end nicely with McCoy Tyner's "Inception." Broom plays some Django-like chords at the onset, with Carroll's bombastic bass walking and solo and another wonderful drum spot from Watkins. One audiophile criticism that comes with the territory of this unedited performance is found in the sound quality, which includes some minor crowd noise and the tinny treble from Watkins' cymbals. But in no way does it detract from this wonderful document of live jazz by one today's most authentic jazz guitarists. ~ Mark F.Turner  http://www.allaboutjazz.com/the-way-i-play-bobby-broom-origin-records-review-by-mark-f-turner.php

Personnel: Bobby Broom: guitar; Dennis Carroll: bass; Kobie Watkins: drums.

The Way I Play: Live In Chicago

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Aki Takase - Aki Takase Plays "Fats" Waller

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 49:36
Size: 115,9 MB
Art: Front

(2:49)  1. Lookin' Good, But Feelin Bad
(6:46)  2. Vipers Drag
(4:51)  3. Ain't Misbehavin
(4:46)  4. Handful Of Keys
(4:43)  5. Any Tune, But Fats Tune
(2:07)  6. Your Feet's Too Big Word And Music
(2:04)  7. Intermezzo 1.
(3:33)  8. Do You Know What It Means To Miss New Orleans
(1:03)  9. Intermezzo 2.
(2:10) 10. Hold Tight
(3:00) 11. Kuroneko Yamato
(0:53) 12. Intermezzo 3.
(2:15) 13. I Have Got A Feeling I'm Falling
(4:05) 14. Tintenfisch In Wien
(4:25) 15. Kauf Dir Einen Bunten Luftballon

What the world does not need is yet another slavish tribute to the great Fats Waller, one in which his original arrangements are re-created and his personal style respectfully reproduced. Aki Takase, being the slightly slantwise genius that she is, conceived of something very different for this project: a tribute album that would incorporate some of Waller's compositions alongside pieces by other New Orleans composers and original pieces by Takase herself some of which would allude slyly to the great man's sound, and others which would bring a completely different flavor to the mix. Her helpers include bass clarinetist Rudi Mahall, trombonist Nils Wogram, and the even more slantwise genius Eugene Chadbourne, who contributes vocals, banjo, and guitar. Familiar tunes like "Viper Rag" and "Handful of Keys" are given slightly twisted but delightful arrangements, and other period pieces like "Do You Know What It Means to Miss New Orleans" rub shoulders with Takase's own numbered intermezzi, which are often contemplative and harmonically spiky. The vocals tend to be a bit goofy, and some of the arrangements start out with long sections of skronky, atonal group improvisation. But the whole album hangs together surprisingly well and serves its purpose admirably: it celebrates the spirit of Waller's music without aping it thoughtlessly. ~ Rick Anderson  http://www.allmusic.com/album/plays-fats-waller-mw0000810088

Personnel: Aki Takase (piano, toy piano); Eugene Chadbourne (vocals, guitar, banjo); Rudi Mahall (bass clarinet); Thomas Heberer (trumpet); Nils Wogram (trombone); Paul Lovens (drums).

Aki Takase Plays "Fats" Waller

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Mirjam Van Dam - Dead Singers Society

Size: 122,4 MB
Time: 51:59
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals
Art: Front

01. Ain't Nobody's Business (2:55)
02. Lady Sings The Blues (2:48)
03. I Just Wanna Make Love To You (4:06)
04. At Last (4:46)
05. I Wanna Dance With Somebody (2:20)
06. The Greatest Love Of All (3:04)
07. God Bless The Child (5:42)
08. Rehab (3:18)
09. Help Yourself/Saving All My Love (5:06)
10. Poor Little Rich Girl (3:44)
11. Mercedes Benz (2:28)
12. Cry Baby (3:33)
13. Piece Of My Heart (2:48)
14. Me Myself And I (2:01)
15. Over The Rainbow (3:12)

Personnel:
Mirjam van Dam (vocals, percussion)
Ed Boekee (piano)

Whitney Houston, Amy Winehouse, Billie Holiday, Etta James, Janis Joplin, Judy Garland ...
All famous singers!
Dead singers.
All succumbed to their own fame and drugs.
Kudos must be a not to wear fate.
Fame and drugs seem to be a couple.
It is only a countdown to the next big star makes an end to (or not accidentally). Then she will also accede to the Dead Singers Club.

Dead Singers Society

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Dale Head - Swing Straight Up

Size: 124,1 MB
Time: 53:24
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals, Swing, Big Band, Broadway
Art: Front

01. It's All Right With Me (2:56)
02. Love Is The Name Of The Game (3:49)
03. Teach Me Tonight (4:01)
04. The Way You Look Tonight (4:00)
05. So Close To Getting Close To You (3:41)
06. My Favorite Things (4:02)
07. Come Rain Or Come Shine (4:54)
08. Blue Rondo A La Turk (4:36)
09. No Easy Way To Say Goodbye (5:01)
10. Georgia (4:38)
11. Night And Day (3:55)
12. Don't Get Me Started (7:47)

Dale Head is a high-energy singer who doubles on trumpet and makes up in drive and enthusiasm for what he may lack in singularity and polish. Swing Straight Up, on which Head is backed by Rory Snyder's admirable Night Jazz Band, underlines the singer's strengths (strong voice, an abundance of self-confidence) while serving as a reminder that Head is several furlongs short of his leading role model, the incomparable Frank Sinatra.

There's no doubt that Head's heart is in the right place (a blurb inside the album's jacket declares "Support Music in Public Schools!") but the voice doesn't always keep pace with the credo. His phrasing sometimes misses the mark, and whereas Sinatra, for one, was always solidly in control of his pipes, there are times when Head seems to be shouting to make a point. Perhaps that's simply his style, but the lack of restraint does him no favors. A firmer hand on the throttle would be helpful. On a more positive note, it's clear that Head loves what he's doing, and the warmth is contagious.

The songs, with a handful of exceptions, are from the Great American Songbook including a pair of classics by Cole Porter ("It's All Right with Me," "Night and Day"), and it is here that the contrast with Sinatra is most apparent, as Ol' Blue Eyes defined both of them and Head is unable to re-create the magic on either (thus entering the ranks of many other successors who have tried and failed). Another of the standards, Rodgers and Hammerstein's "My Favorite Things," has been given a brand new lyric (and manic tempo), while words have also been added to Dave Brubeck's "Blue Rondo a la Turk." Completing the program are three engaging originals by Joel Evans, "Love Is the Name of the Game," "So Close to Getting Close to You" and "No Easy Way to Say Goodbye." The closing number, "Don't Get Me Started," is performed by the ensemble, with crisp solos by trombonist Sandy Hughes, tenor Stephen Herrick and trumpeter Walt Beveridge. ~Jack Bowers

Personnel: Dale Head: vocals, trumpet, flugelhorn. Rory Snyder’s Night Jazz Band – Rory Snyder: director, alto sax solo (1); Dan Fava: trumpet; Jeff Lynn: trumpet; Walt Beveridge: trumpet; John Christensen: trumpet; Antony Pickard: alto sax; Ian Williams: alto sax; Stephen Herrick: tenor sax; Ryan Tomko: tenor sax; Brenda Thompson: baritone sax; Sandy Hughes: trombone; Ron Wetzel: trombone; Will Betts: trombone; Kevin Grant: bass trombone; James Wrubel: piano; Greg Reginato: guitar; Karl Hartmann: bass; Paul Yonemura: drums.

Swing Straight Up

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