Thursday, November 19, 2015

Cedar Walton Trio - Song Of Delilah

Bitrate: MP3@320K/s
Time: 58:32
Size: 134.0 MB
Styles: Piano jazz
Year: 2011
Art: Front

[11:48] 1. Song Of Delilah
[ 6:16] 2. Beautiful Love
[ 8:15] 3. Golden Earrings
[ 5:50] 4. Ghost Of A Chance
[ 4:48] 5. Around The World
[ 8:20] 6. My Foolish Heart
[ 6:05] 7. Street Of Dreams
[ 7:06] 8. Weaver Of Dreams

Cedar Walton on Piano; Buster Williams on Bass; Willie Jones III on Drums.

Cedar Walton recorded this CD as a tribute to Victor Young, composer and music director, who had 22 Academy Award nominations for his film scores. Cedar Walton has brought with him two top artists, Buster Williams on bass and Willie Jones III on drums. Each track has generous solos by each member of this well matched trio. Track #5, “Around the World (in 80 Days)”, won Mr. Young a posthumous Oscar.

Song Of Delilah

Donald Harrison - Big Chief

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 55:42
Size: 133,6 MB
Art: Front

(4:39)  1. Hiko Hiko
(8:16)  2. Uptown Ruler
(3:11)  3. Big Chief
(2:23)  4. Walkin Home
(2:51)  5. Shave Em Dry
(6:18)  6. Hu-Ta-Nay
(4:44)  7. Indian Blues
(3:03)  8. Shallow Water
(5:12)  9. Ja-Ki-Mo-Fi-Na-Hay
(7:08) 10. Indian Red
(1:54) 11. Two-Way-Pocky-Way
(5:57) 12. Cherokee

Alto saxophonist Donald Harrison explores another area of his New Orleans heritage, the music of the Mardi Gras "Indians." His solos are more bluesy and R&B-flavored, while the supporting cast includes Dr. John on piano, along with Cyrus Chestnut, drummer Carl Allen, bassist Phil Bowler, percussionists Bruce Cox and Howard Smiley Ricks, and Harrison's father on vocals.

Personnel:  Donald Harrison, Jr - alto sax, tenor sax, trombone, vocals; Dr. John - vocals, piano;  Cyrus Chestnut - piano, background vocals;  Phil Bowler - bass, vocals; Carl Allen - drums, vocals;  Howard Ricks - conga, timbales, vocals;  Bruce Cox - timbales, vocals

Big Chief

Julian Shore - Filaments

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 55:43
Size: 128,0 MB
Art: Front

(7:20)  1. Grey Light, Green Lily
(7:52)  2. Made Very Small
(6:17)  3. Big Bad World
(6:21)  4. Whisper
(6:16)  5. Give
(5:24)  6. I Will If You Will
(4:24)  7. Misdirection/Determined
(4:48)  8. Like A Shadow
(4:37)  9. Venus
(2:20) 10. Whisper (Reprise)

There is nothing wrong with mellow jazz. As long as distance can be maintained from the hackneyed, dialed-in feel of smooth jazz, it can be a refreshing change of pace from the intensity and analytical focus of a lot of modern art music, jazz or otherwise. Listening to pianist Julian Shore's Filaments, there's the sense that he set out to craft music easy on the ears without compromising any of his personal artistic values. The opening "Grey Light, Green Lily" sets the tone for the entire album, its gently chiming, misty piano harmonies, wordless vocals and Kurt Rosenwinkel's yearning guitar solo combine to form a moody, atmospheric sound reminiscent of mid-1980s Pat Metheny Group. Other reference points would be Brian Blade's Fellowship Band and Jeremy Udden's Plainville bucolic, easygoing jazz that makes no bones about its pop and folk influences.

Vocals figure prominently throughout Filaments. Several tunes feature the voices in the front line singing, horn-like and wordlessly, a strategy that works extremely well for Shore's lilting, carefree melodies. The up-tempo waltz, "Big Bad World," benefits hugely from this approach, and the ensuing dialogue between Shore and Rosenwinkel is one of the album's highlights. "Made Very Small," "Whisper" and "Misdirection / Determined" have lyrics sung by their author, Alexa Barchini, the words perfectly capturing the moody, vaguely emotional aspect of the music. Barchini sings them in a pop- jazz style not dissimilar to that of Norah Jones or Sia Furler. Her voice is close-miked, soft and intimate, and conveys the feeling that she's sharing a secret that is just beyond one's grasp. "Whisper (reprise)" subs a slinky swaying dobro for the femme vocals  a whimsical touch.

Filaments features playing that is both subtle and strong. Drummer Tommy Chase has an easy-flowing yet hard-driving feel, and his awareness of subtle shading and coloration really make Shore's pieces come alive. Shore's piano playing most prominent on the trio track "I Will If You Will" is understated yet commanding; eloquent, in a style similar to pianist Bill Evans or, perhaps, Brad Mehldau. The guest soloists add a lot. Rosenwinkel is utterly distinctive and yet he demonstrates a deep musical kinship with Shore and his music. Saxophonist Noah Preminger digs deeply into "Venus," a ballad that, at times, sounds like a duet with Crane's pattering cymbals and toms. Shore switches to the Rhodes for the up-tempo "Like A Shadow," which benefits from Crane's more aggressive drumming and a bluesy solo from guitarist Jeff Miles. "Give" is a bright, punchy and driving piece that expands the group's sound further to include a brass section. One minor quibble; several of Shore's tunes make use of similar chord progressions and melodic lines, which leads to a sort of aural deja vu. Filaments is an unusually mature statement from a young pianist who makes full use of a wide-open musical palette. Not the sort of recording that blows its audience away, instead, Filaments quietly seduces, drawing its audience closer. ~ Dave Wayne  http://www.allaboutjazz.com/julian-shore-filaments-by-dave-wayne.php
 
Personnel: Julian Shore: piano, Rhodes (8); Phil Donkin: bass; Tommy Crane: drums; Alexa Barchini: vocals (2-5, 7-8); Shelly Tzarafi: vocals (1, 3-5, 8); Kurt Rosenwinkel: guitar (1, 2, 5); Jeff Miles: guitar (3, 4, 8); Kurt Ozan: acoustic guitar, dobro (4, 10); Noah Preminger: tenor saxophone (9); Godwin Louis: alto saxophone (5); Billy Buss: trumpet (5); Andrew Hadro: baritone saxophone (5).

Filaments

Chuck Wayne - The Jazz Guitarist

Styles: Guitar Jazz
Year: 1954
File: MP3@224K/s
Time: 34:31
Size: 55,8 MB
Art: Front

(3:06)  1. You Brought a New Kind of Love To Me
(2:42)  2. S.S. Cool
(2:29)  3. Mary Ann
(3:26)  4. Butterfingers
(2:43)  5. Taking a Chance on Love
(2:58)  6. Sirod
(2:33)  7. While My Lady Sleeps
(3:18)  8. Tasty Pudding
(2:32)  9. Prospecting
(2:54) 10. Sidewalks of Cuba
(2:19) 11. Uncus
(3:26) 12. Stella by Starlight

Chuck Wayne's participation in some of the earliest bebop recordings have lead many to conclude that he was purely a bop-style guitar player. Yet on the recordings he made in the mid-1940s, first with the Billy Eckstine Band and later with Dizzy Gillespie, his swing oriented guitar collides with the "new music" being played by the more modern musicians on the set. It was with George Shearing that Wayne had his greatest success, making a major contribution to the Shearing sound. This particular album reissues two sets cut by Wayne during the 1950s. The first, covering tracks 1-4 and 7-10, is from 1953 sessions with his Quartet featuring Zoot Sims and Brew Moore; the second session, made the following year with the John Mehegan Quartet, comprises the other four tunes. There are some standards along with seven originals, including five by Wayne. Words that can best be used to describe the latter are "innocuous," "pleasant," "nice background music." These arrangements could be heard in a hundred lounges and small clubs throughout the country during the years when this album was made. 

While there is virtually no inventiveness going on, the playing is entertaining. One quality that comes through with the Wayne guitar is its hornlike sound, which adds a dimension to his playing and is especially complementary when either Sims or Moore is soloing, as on "While My Lady Sleeps," "Side Walks of Cuba" and "Uncus." One exception to the ordinariness of the material is the arrangement of the Victor Young/Ned Washington masterpiece, "Stella by Starlight," where John Mehegan's piano and Wayne's guitar engage in interplay which comes close to being avant-garde. Several of the players at these sessions were from the upper echelons of jazz; it's regrettable they were not offered more interesting or challenging music to perform. ~ Dave Nathan  http://www.allmusic.com/album/the-jazz-guitarist-mw0000098308

Personnel: Chuck Wayne (guitar), Zoot Sims, Brew Moore (tenor saxophones), John Mehegan, Harvey Leonard (piano), Vinnie Burke, George Duvivier (bass), Joe Morello, Ed Shaughnessy (drums).

The Jazz Guitarist

Nicki Parrott - Sentimental Journey

Styles: Vocal Jazz
Year: 2015
File: MP3@320K/s
Time: 59:10
Size: 139,5 MB
Art: Front

(4:49)  1. It's Magic
(4:53)  2. Again
(4:36)  3. Just One Of Those Things
(4:35)  4. Fools Rush In
(3:42)  5. If I Give My Heart To You
(4:11)  6. I'll See You In My Dreams
(2:58)  7. Que Sera, Sera
(4:54)  8. That Old Feeling
(4:24)  9. My One And Only Love
(3:42) 10. Blue Skies
(3:37) 11. Quizas, Quizas, Quizas
(4:26) 12. Secret Love
(4:40) 13. Sentimental Journey
(3:36) 14. Dream A Little Dream

Nicki Parrott, an internationally acclaimed bassist, arrived in New York in May of 1994, the recipient of a grant from the Australia Council for the Arts allowing her travel to the US and study with her mentor, one of the world’s premiere double bassists, Rufus Reid. In the same year she was also nominated for the “Australian Young Achievers Award”. Today, Nicki Parrott is a world-class double bassist and an emerging singer/songwriter. In her work with artists from around the globe she has brought a signature sound to every bass part she has played. She performs regularly at the world’s best Jazz Festivals and can be seen Monday’s at the Iridium Jazz Club in New York City with the legendary guitarist and inventor, Les Paul. Since June of 2000, this union has been an ideal showcase for her musical abilities, flair for improv, and gift for entertaining a crowd. Born in Newcastle, Australia, Nicki Parrott began her musical training on the piano at the age of four. She also took up the flute and continued to play both instruments throughout her school years. At the age of 15, Nicki switched her focus to the double bass, formed a band with her older sister Lisa (alto sax) and began composing instrumental pieces that they would eventually record for their premier CD release, The Awabakal Suite (2001).

After completing high school, Nicki moved to Sydney and attended the New South Wales Conservatorium of Music, where she graduated with an Associates degree in Jazz Studies. When bassists such as the legendary Ray Brown (Dizzy Gillespie, Ella Fitzgerald, Duke Ellington, Oscar Peterson) and John Clayton (Diana Krall, Whitney Houston) were playing in town, Nicki would find them, contact them and arrange lessons from them. She was awarded a scholarship to the prestigious Pan Pacific Music Camp, and soon after, took first place in the 1992 Jazz Action Society's Annual Song Competition for her composition, Come and Get It. In 1990, Nicki began touring Australia with Russian musicians Daniel Kramer and Alexander Fischer playing sold out shows across the country. This was followed by successful tours with American trumpeters Bobby Shew and Chuck Findley. When she was off the road, Nicki was consistently playing bass with other world-renowned jazz musicians like New Zealand’s Mike Nock (piano), Australia's Dale Barlow (tenor sax), Paul Grabowsky (piano), Bernie McGann (alto sax) and the explosive Ten Part Invention.

In May of 2002, The Nicki and Lisa Parrott Quartet headlined the prestigious Mary Lou Williams Jazz Festival held at the Kennedy Center in Washington D.C. The show was broadcast on NPR and was well received by the press. She was also the resident bassist with the Kitchen House Blend, a house band that premiered and performed new music from local New York composers. They would blend jazz, hip-hop, classical and rock in one evening...“It was a very creative experience”. Nicki expanded her musical repertoire and appeared on the Broadway stage in such shows as: Imaginary Friends, You're a Good Man Charlie Brown, Summer of '42, and Jekyll and Hyde. She is still active on Broadway today and regularly performs in the comedic musical, Avenue Q. Since coming to the United States Nicki Parrott has performed and/or recorded with such notable musicians as Randy Brecker, Skitch Henderson, Jose Feliciano, Rebecca Paris, Bucky Pizzarelli, John Pizzarelli, Warren Vache Jr., Clark Terry, Michel Legrand, Billy Taylor, Dick Hyman, Patti Labelle & the New York Pops Orchestra, Annie Ross, the Florida Pops Orchestra, Terri Thornton, Holly Hoffman, DIVA, Marlena Shaw, Monica Mancini, Patrice Rushen, Harry Allen, Red Holloway, Kenny Davern, Mike Stern, Bernard Purdie, John Tropea, David Krakauer, Howard Alden, Randy Sandke, Greg Osby, Jack Wilkins, Ken Peplowski, Johnny Frigo, Joe Wilder, Houston Person, Wycliffe Gordon, Rachel Z and Johnny Varro.

Nicki has also performed at most of the world’s major jazz festivals. In the United States she’s appeared at the Newport Jazz Festival (2005), the Litchfield Jazz festival (2005), the Jazz in July concert series at the 92nd street Y (2003, 2004), the Detroit Jazz Festival (2005) and the Lionel Ha mpton Jazz Festival (2001). Outside the USA Nicki has appeared at the Cully Lavaux Festival (Switzerland - 1995), the Grimsby Jazz Festival (UK - 1996), Berlin Jazz Festival (Germany - 1998), the Ottawa Jazz Festival (2004), the Krakow Music Festival (Poland), JazzAscona (2005, 2006), Bern Jazz Festivals (Switzerland - 2005, 2006), Edinburgh Jazz & Blues Festival (UK - 2006) and of course, she has played at numerous music festivals across Australia. Nicki Parrott is committed to the continuing musical education women receive in order to further their careers and ultimately remain active as musicians past their teen years. In keeping with her sense of community, Nicki’s desire is to teach underprivileged kids to play instruments and learn to enjoy music. It is her belief t hat teaching music to children helps keep them interested in school and out of trouble. http://musicians.allaboutjazz.com/nickiparrott

Personnel:  Nicki Parrott (vocals & bass); John Di Martino (piano);  Adrian Cunningham (tenor sax, clarinet & flute); Frank Vignola (guitar);  Alvin Atkinson (drums)

Sentimental Journey

Wednesday, November 18, 2015

Hank Mobley - Reach Out!

Bitrate: MP3@320K/s
Time: 37:40
Size: 86.2 MB
Styles: Hard bop, Saxophone jazz
Year: 1968/2005
Art: Front

[6:44] 1. Reach Out (I'll Be There)
[5:49] 2. Up, Over, And Out
[5:15] 3. Lookin' East
[7:23] 4. Goin' Out Of My Head
[5:28] 5. Good Pickin's
[6:59] 6. Beverly

Reach Out was one of the few times Hank Mobley left behind driving, aggressive hard bop, choosing to concentrate on lightly grooving bop and soul-jazz instead. Essentially, the session resulted in the most commercially oriented record he made, complete with two pop covers ("Reach Out (I'll Be There)," "Goin' Out of My Head") and a laidback, swinging vibe. That wouldn't necessarily be a bad thing, but the band -- an impressive lineup of Woody Shaw (trumpet, flugelhorn), George Benson (guitar), Lamont Johnson (piano), Bob Cranshaw (bass) and Billy Higgins (drums) -- sounds constrained by the material and their desire to make the music appeal to a wide audience. Things rarely are worse than on "Reach Out," where the group not only fails to lay down a groove, but they often sound on the verge of falling apart, especially during Higgins' poorly timed breaks. They recover shortly afterward, but no one sounds particularly enthusiastic, including Mobley. In fact, Mobley's presence on the record feels strangely minimal. Only during "Good Pickin's" -- a laidback bop original that's easily the best thing here -- does he come alive, weaving a spell with long, liquid lines, but its subtle grace just illustrates the problems with this curiously bland record. ~Stephen Thomas Erlewine

Reach Out!

Bill Bell - Just Swing Baby

Bitrate: MP3@320K/s
Time: 71:31
Size: 163.7 MB
Styles: Traditional jazz combo, Piano jazz
Year: 2003
Art: Front

[6:05] 1. Cotton Tail
[5:25] 2. Strollin'
[7:42] 3. Charisma
[4:37] 4. What Is This Thing Called Love
[5:04] 5. If You Could See Me Now
[4:06] 6. Wierd Blues
[7:43] 7. Laura
[5:12] 8. Theme From Black Orpheus
[9:33] 9. Isfahan
[4:55] 10. Come Rain Or Come Shine
[3:12] 11. Tribute To Fallen Comrades
[7:52] 12. Why Wait

Bill Bell, jazz pianist, composer, arranger has earned the title "Jazz Professor" for completing over 30 years of successful University and College jazz teaching. Recently retired from teaching, Mr. Bell still holds adjunct professor positions in jazz at both Stanford University and the University of California, Berkeley. He was also the chairman of the music department at the College of Alameda from 1991 to 2001. Hundreds of his students occupy prominent positions in both the jazz and pop industries. Most notable are trumpeter, Jon Faddis; pianist, Benny Green; drummer, Will Kennedy; and pianist, Michael Wolfe.

Bill Bell's performance career as a pianist is equally distinguished. He has toured as musical director and piano accompanist for legendary jazz singer Carmen McRae. He has also worked with Joe Williams, Nancy Wilson, Anita Oday, Dianne Reeves, Lou Rawls and the Supremes. His credits also include work with instrumentalists Milt Jackson, Kenny Burrell, Louie Bellson, Benny Carter, and Clark Terry. Bill Bell is also the featured pianist on the Art Farmer CD "Live at Stanford".

Just Swing Baby

John Pizzarelli - Our Love Is Here To Stay

Bitrate: MP3@320K/s
Time: 45:53
Size: 105.1 MB
Styles: Jazz vocals, Guitar jazz
Year: 1997
Art: Front

[2:46] 1. Dream
[5:07] 2. Love Is Here To Stay
[4:49] 3. Avalon
[4:28] 4. Honey Pie
[2:57] 5. Day I Found You (The Pollywog Song)
[3:30] 6. (I've Got A Gal In) Kalamazoo
[4:03] 7. Have Another One, Not Me
[4:32] 8. Little Girl
[3:00] 9. Nina Never Knew
[3:21] 10. Rhythm Is Our Business
[2:59] 11. It's Sunday
[4:14] 12. Say Hey Kid

John Pizzarelli's singing has improved through the years, he has become a particularly strong guitarist (very adept at fast tempos), and his likable personality has remained as constant as his love for swing-era tunes. Joined by a swinging big band arranged by Don Sebesky in the style of Count Basie, Pizzarelli and his trio (with pianist Ray Kennedy and bassist Martin Pizzarelli) play enthusiastically on a set of swingers and ballads. Although the slower material is fine, it is the romps (particularly "Avalon," "Little Girl," "Rhythm Is Our Business" and the instrumental "Say Hey Kid") that are most memorable. An enjoyable outing. ~Scott Yanow

Our Love Is Here To Stay

Ella Mae Morse & Freddie Slack - The Hits Of

Styles: Vocal And Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 38:59
Size: 91,0 MB
Art: Front

(3:13)  1. Cow-Cow Boogie
(2:52)  2. The House of Blue Lights
(3:02)  3. Riffette
(2:22)  4. Get Off It and Go
(2:39)  5. I Love You, Yes I Do
(3:03)  6. Mr Five By Five
(1:57)  7. Oakie Boogie
(3:02)  8. The Blacksmith Blues
(2:53)  9. Big Foot Pete
(3:01) 10. Strange Cargo
(2:51) 11. 40 Cups of Coffee
(2:30) 12. Down the Road a Piece
(2:59) 13. Buzz Me
(2:31) 14. Rock 'N' Roll Wedding

One of the most talented and overlooked vocalists of the '40s, Ella Mae Morse blended jazz, country, pop, and R&B; at times she came remarkably close to what would be known as rock & roll. When she wasn't yet 14, Morse had her first taste of the big time, when Jimmy Dorsey's band came to Dallas for a stay at the Adolphus Hotel and she called for an audition. Unbeknownst to her, the band needed a new female vocalist. Believing that Morse was indeed 19, as she and her mother claimed, Dorsey hired her. When he received a letter from the school board declaring that he was responsible for The Morse's care, Dorsey fired her. Morse joined former Dorsey pianist Freddie Slack's band in 1942; she was only 17 when they cut "Cow Cow Boogie," which became Capitol Records' first gold single. 

The following year, Morse began recording solo. Although her recordings were consistently solid and sold fairly well (frequently charting better on the Black charts than on the pop charts), Morse never obtained a huge following. She retired from recording in 1957, and died of respiratory failure on October 16, 1999. ~ Stephen Thomas Erlewine  https://itunes.apple.com/us/artist/ella-mae-morse/id73169047#fullText

The Hits Of

Bobby Hutcherson - Enjoy The View

Styles: Vibraphone Jazz
Year: 2014
File: MP3@320K/s
Time: 43:36
Size: 100,3 MB
Art: Front

(5:51)  1. Delia
(5:04)  2. Don Is
(7:02)  3. Hey Harold
(6:44)  4. Little Flower
(5:41)  5. Montara
(5:09)  6. Teddy
(8:02)  7. You

Bobby Hutcherson's 2014 album, Enjoy the View, finds the vibraphonist joining forces with saxophonist David Sanborn, organist/trumpeter Joey DeFrancesco, and drummer Billy Hart on a set of swinging, funky, and adventurous songs. This is Hutcherson's first album of studio material since 2009's Coltrane-inspired Wise One, and follows his 2012 live album, Somewhere in the Night, which also featured DeFrancesco. In a similar vein to Sanborn's more straight-ahead acoustic collaboration with keyboardist Bob James, 2013's Quartette Humaine, Enjoy the View eschews Hutcherson's more contemporary leanings for a visceral hard bop- and soul-jazz-influenced sound. 

Here we get a bevy of inspired original compositions, including the moody opening cut, "Delia," the impressionistic and driving modal soul of "Hey Harold," and the swinging, funky "Teddy." Ultimately, Enjoy the View is an album of expansive, highly engaging music that harks back to the best of Hutcherson's '60s and '70s work. ~ Matt Collar  http://www.allmusic.com/album/enjoy-the-view-mw0002605950

Personnel: David Sanborn (saxophone); Joey DeFrancesco (trumpet, organ); Bobby Hutcherson (vibraphone).

Enjoy The View

James Morrison & Marian Petrescu - A Fine Bromance

Styles: Trumpet And Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 73:59
Size: 183,3 MB
Art: Front

(5:27)  1. My Romance
(9:54)  2. On The Trail
(6:55)  3. The Man I Love
(7:22)  4. Gentle Rain
(9:59)  5. In A Mellow Tone
(4:57)  6. A Fine Romance
(8:11)  7. If You Never Come To Me
(9:32)  8. Body And Soul
(5:30)  9. On The Sunny Side Of The Street
(6:06) 10. What Is This Thing Called Love

A natural musician able to play many instruments in numerous styles, James Morrison has made a strong impression every time he has played in the United States. Born into a musical family, Morrison began on the cornet when he was seven and was soon also playing trombone, tuba, and euphonium. Within a few years, he was also playing alto sax and leading a Dixieland band. He worked steadily as a teenager and at the age of 18 joined Don Burrows' quintet, touring Australia and the Far East. In 1987, he visited the U.S. as a member of Red Rodney's group and was soon a popular fixture on the European jazz festival circuit. Two years later, a pair of his albums (Postcards From Down Under and Swiss Encounter) were released on Atlantic at the same time in the U.S., and he toured with Gene Harris' Philip Morris Superband as a trombonist. 

To show off his versatility, on his 1991 album Snappy Doo (which also includes a rhythm section), Morrison overdubbed himself on four trumpets, four trombones, five saxophones, and piano. In addition to playing music (he has the ability to trade fours with himself on trumpet and trombone), James Morrison does stunt flying, climbs mountains, and drives a racing car. ~ Scott Yanow  https://itunes.apple.com/nz/artist/james-morrison/id263793377#fullText

A Fine Bromance

Harry Connick Jr. - That Would Be Me

Styles: Vocal, Pop&Rock
Year: 2015
File: MP3@320K/s
Time: 39:51
Size: 92,0 MB
Art: Front

(3:33)  1. (I Like It When You) Smile
(3:47)  2. (I Do) Like We Do
(4:24)  3. Tryin' to Matter
(3:34)  4. Songwriter
(3:06)  5. Do You Really Need Her
(3:57)  6. You Don't Need a Man
(3:37)  7. You Have No Idea
(3:30)  8. Where Prisoners Drown
(3:08)  9. (I Think I) Love You a Little Bit
(3:55) 10. Every Time I Fall In Love
(3:16) 11. Right Where It Hurts

That Would Be Me is something of an ironic title for this 2015 album, considering how it's a relatively radical overhaul of Harry Connick, Jr.'s sound. Squalls of New Orleans horns can be felt (if not always heard); there are hints of R&B and gospel; his piano is seductive enough to flirt with the louche and, as always, Connick has a way with a ballad, easing into the slower tempos without ever seeming lazy. In this respect, That Would Be Me is recognizably a Harry Connick, Jr. record. Thing is, there's the production an unapologetically brash pop blast, orchestrated separately by Butch Walker and Eg White. Both producers have recorded with P!nk, and Walker, like Connick, has a background in music reality TV Walker got there before Connick, working on the legendary 2006 series Rock Star: Supernova but White's modern pop is a better touchstone for Connick's album than Walker's rock. 

Connick largely skirts the tastefulness of Adele and Will Young, however, allowing himself to indulge in both cheerfully robust rockers ("[I Like It When You] Smile") and cornball soft rock ("Songwriter"). Sometimes the slick textures and electric pianos evoke the golden age of Yacht Rock, but Connick is up to something clever, letting the rhythms hit with the force (if not the precise style) of hip-hop-infused R&B, and glossing the whole proceedings in a crisp, reflective sheen so it winds up reinforcing either his sly pop classicism or modern wit, depending on the listener's point of view. This savvy swing is the key to the success of That Would Be Me, because Connick winds up expanding his horizons without selling out his musical aesthetic. ~ Stephen Thomas Erlewine  http://www.allmusic.com/album/that-would-be-me-mw0002882706

That Would Be Me

Tuesday, November 17, 2015

Dee Dee Bridgewater - Midnight Sun

Bitrate: MP3@320K/s
Time: 56:41
Size: 129.8 MB
Styles: Jazz vocals
Year: 2011
Art: Front

[7:23] 1. Midnight Sun
[5:51] 2. Angel Eyes
[4:56] 3. My Ship
[4:58] 4. Que Reste-T-Il De Nos Amours (I Wish You Love)
[5:21] 5. Lonely Woman
[4:18] 6. Speak Low
[4:09] 7. I'm A Fool To Want You/I Fall In Love Too Easily
[5:04] 8. L' Hymne à L'amour
[3:42] 9. The Island
[5:11] 10. Good Morning Heartache
[5:42] 11. Here I'll Stay

Midnight Sun, issued by Decca/Emarcy, is a ballads collection of jazz and pop standards assembled from Dee Dee Bridgewater's recordings for Verve and other UMG-associated labels dating back to 1993's Keeping Tradition, and moving through 2010's Eleanora Fagan (1915-1959): To Billie with Love from Dee Dee. For those who've followed Bridgewater's career by collecting her albums over the last 18 years, there is only one track here you likely don't already own, a gorgeous version of the Edith Piaf standard "L'hymne a L'amour (J'ai Deux Amours)," previously only issued in Japan as a bonus track on the album of the same name. It's a gorgeous duet with guitarist Luis Winsberg sung in both French and English. Other highlights here include the title track from 1997's Dear Ella album (written by Johnny Mercer), her fine version of the Earl Brent and Matt Dennis nugget "Angel Eyes" from Keeping Tradition, "Lonely Woman," from Love & Peace: A Tribute to Horace Silver, and Kurt Weill's and Jay Lerner's "Here I'll Stay" from This Is New, released in 2002. As an album, these tracks -- all beautifully remastered -- hold together very well despite the variety of instrumental settings, and Bridgewater imbues them all with her consummate phrasing and intimacy. ~Thom Jurek

Midnight Sun

Yehudi Menuhin, Stéphane Grappelli - Jealousy & Other Great Standards

Bitrate: MP3@320K/s
Time: 65:10
Size: 149.2 MB
Styles: Continental jazz/Classical
Year: 1988
Art: Front

[3:04] 1. Jealousy
[3:38] 2. Tea For Two
[2:52] 3. Limehouse Blues
[3:16] 4. These Foolish Things
[4:06] 5. The Continental
[5:07] 6. A Nightingale Sang In Berkeley Square
[3:02] 7. Sweet Sue, Just You
[4:46] 8. Skylark
[4:27] 9. Laura
[2:35] 10. Sweet Georgia Brown
[4:08] 11. I'll Remember April
[3:33] 12. April In Paris
[5:05] 13. The Things We Did Last Summer
[3:35] 14. September In The Rain
[4:38] 15. Autumn Leaves
[4:16] 16. Autumn In New York
[2:55] 17. Button Up Your Overcoat

Grappelli was a master of collaboration and the pure joy and explosive exuberance of that shines through in this wonderful collaboration with Menuhin on some old favorites. The great become even greater when their spirits merge in music. Get it while you still can if it is not already in your collection. ~ Lindsay N. Bowker

Jealousy & Other Great Standards

Art Hodes - The Authentic Art Hodes Rhythm Section

Bitrate: MP3@320K/s
Time: 49:47
Size: 114.0 MB
Styles: Jazz-blues, Dixieland
Year: 2010
Art: Front

[3:45] 1. Maybe Not At All (Not On The First Night Baby)
[4:55] 2. Wasted Life Blues
[3:53] 3. Big Butter And Egg Man
[5:32] 4. Jelly Roll Blues
[4:11] 5. There'll Be Some Changes Made
[6:53] 6. Back Water Blues
[3:42] 7. You Rascal You (I'll Be Glad When You're Dead)
[6:10] 8. When It's Sleepy Time Down South
[3:54] 9. What A Friend We Have In Jesus!
[6:48] 10. Silent Night

The title of this Parkwood set is a bit ironic, since pianist Art Hodes is the entire rhythm section. Hodes performs a pair of duets ("Jelly Roll Blues" and "When It's Sleepy Time Down South") with the great trumpeter Doc Cheatham, and joins Doc in accompanying singer Carrie Smith. The feeling throughout is of 1920s classic blues recordings, helped out by Smith's ability to emulate another Smith, Bessie. Among the more memorable vocal selections are "Big Butter and Egg Man," "There'll Be Some Changes Made" and "Backwater Blues." ~Scott Yanow

The Authentic Art Hodes Rhythm Section

Huey Lewis & The News - Greatest Hits

Bitrate: MP3@320K/s
Time: 78:42
Size: 180.2 MB
Styles: Album oriented rock
Year: 2006
Art: Front

[4:03] 1. The Heart Of Rock And Roll
[3:30] 2. I Want A New Drug
[3:53] 3. The Power Of Love
[3:28] 4. Jacob's Ladder
[4:24] 5. Stuck With You
[3:37] 6. Doing It All For My Baby
[3:50] 7. If This Is It
[3:26] 8. Do You Believe In Love
[4:09] 9. Heart And Soul
[4:17] 10. Back In Time
[4:05] 11. Perfect World
[3:50] 12. I Know What I Like
[4:25] 13. Trouble In Paradise
[3:00] 14. It's Alright
[3:31] 15. Cruisin'
[3:42] 16. Hope You Love Me Like You Say You Do
[4:40] 17. Small World, Pt. 1
[2:51] 18. But It's Alright
[3:59] 19. Hip To Be Square
[3:15] 20. Couple Days Off
[2:37] 21. Workin' For A Livin'

Hollywood, California - April 17, 2006 - The central images from a Huey Lewis and the News music video are indelible -- singing heads sprouted from the sand, Lewis' head held in a sink of ice water, and Lewis' trademark baby blues. Capitol / EMI Music Catalog Marketing is proud to announce the May 23 release of Huey Lewis And The News: Greatest Hits and a limited edition CD/DVD package, Greatest Hits & Videos. The 21-track CD includes 20 Top 20 hits, among them 17 Top 10s and six #1 singles spanning the Grammy-winning band's career, from their first Top 10 single, 1982's "Do You Believe In Love" to 2000's #1 smash duet "Cruisin'." Greatest Hits & Videos pairs the CD with a DVD collecting nine of Huey Lewis and the News' biggest and best-remembered music video moments and a concert performance clip from 1982. All ten video cuts make their DVD debut, and both packages contain liner notes essays penned by Huey Lewis, comedian/TV host Jimmy Kimmel and writer Paul Liberatore.

Greatest Hits

Ida Landsberg - Acoustic Bossa Nova

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 42:32
Size: 99,7 MB
Art: Front

(4:22)  1. You Are The Sunshine Of My Life
(2:39)  2. (I Can't Get No) Satisfaction
(3:01)  3. I Heard It Through The Grapevine
(2:37)  4. Venus
(3:50)  5. The Look Of Love
(3:19)  6. It's Too Late
(3:36)  7. Walk On The Wild Side
(3:42)  8. Sunny
(4:36)  9. Maniac
(3:13) 10. Jammin'
(3:49) 11. Fragile
(3:44) 12. You Are Not Alone

Despite the fact that bossa nova is often composed and played on a guitar the number of acoustic bossa nova albums produced presently, as in the past, are surprisingly relatively small in number. It is possibly due to this fact, that singer Ida Landsberg could release her album titled “Acoustic Bossa Nova,” without the worry of ambiguity. Safe to say there is no ambiguity from a musical aspect either; Ida Landsberg sounds like no one else on this record. As the acoustic nature of the album provides it with a theme already, the song selection was allowed to be a varied one. Several popular songs from artists of all times and genres were covered, though there does seem to be a focus on nostalgic songs from the pre 90’s era. Different moods are also explored throughout the album.

Simone Salvatore’s skillful playing ensures that the absence of other musical instruments is not missed. His virtuoso moments are impressive and well adopted to the specific songs. As well, he provides enough variety to ensure that the background never gets repetitive. Ida sounds comfortable on each track and has the controlled subtlety needed to sing bossa nova. These qualities ensure that the album is a pleasant one and Ida’s modest charisma makes the experience more memorable This quality is brought out on several occasion such as when Ida tones down the 80’s cult classic anthem “Maniac”. Whereas the original was a pulsating song that became synonymous with aerobic work outs, this version is what would be played after the exercise. The aggressive examinations are replaced with a softer approach but not one lacking in energy. She manages to be colorful in expression while always sounding in control and the same can be said about a number of songs on the album.

Ida Landerg’s choice to make an album from an unusual combination of songs is one that pays off. Most of the tracks on the album have rarely, if ever, been done in the bossa nova style and the decision to make the whole album an acoustic one is just as unique as it is effective. ~ http://bnovamusic.com/acoustic-bossa-nova/

Acoustic Bossa Nova

Sonny Rollins - Freedom Suite

Styles: Saxophone Jazz
Year: 1958
File: MP3@320K/s
Time: 51:41
Size: 119,0 MB
Art: Front

(19:35)  1. The Freedom Suite
( 4:40)  2. Someday I'll Find You
( 2:58)  3. Will You Still Be Mine?
( 5:01)  4. Till There Was You (Take 4)
( 4:16)  5. Shadow Waltz
( 4:20)  6. Till There Was You (Take 1)
( 4:59)  7. Till There Was You (Take 3)
( 5:48)  8. There Will Never Be Another You

From 1955-59, it appeared that Sonny Rollins could do no wrong. One needs only to listen to the 1-2-3 punch of Saxophone Colossus, Live At The Village Vanguard or Way Out West for confirmation. Most jazz fans know these albums backwards and forwards. One of the albums from this period that's only slightly less revered than the aforementioned triumvirate is Freedom Suite, Rollins' last recording for Riverside. Recorded as a trio (the best way to hear Rollins) with long-time collaborators Oscar Pettiford on bass and Max Roach on drums, this recording was one where Rollins was pushing at the boundaries. The title track is a side-long, five-part suite with themes that allow Rollins and his cohorts room to roam; It is surprising this piece (or at least some of its movements) hasn't become a jazz standard. The melody of the middle ballad section is stunning and the high velocity final movement could make any accomplished improviser sound good.

The second side of the original issue was a romp through four Broadway showtunes/standards that always provided fertile ground for Rollins. Although this recording has been in print on CD steadily since its reissue on OJC, here it is given a 24-bit dusting off as part of "The Keepnews Collection" reissue series. There is an additional third take of "Til There Was You" that's exclusive to this release and a Pettiford/ Roach duet on "There Will Never Be Another You" that was recorded while waiting for Rollins to show up at the studio. There's also an essay by producer Orrin Keepnews that details the vibe of the session apparently Rollins was very, very nervous throughout which is barely detectable from the results. Though these features aren't enough to warrant an upgrade, Freedom Suite is a recording no jazz fan's home should be without. ~ Robert Iannapollo  http://www.allaboutjazz.com/freedom-suite-sonny-rollins-concord-music-group-review-by-robert-iannapollo.php
 
Personnel: Sonny Rollins: tenor saxophone (except for There Will Never Be Another You); Oscar Pettiford: bass; Max Roach: drums.

Freedom Suite

Houston Person - Something Personal

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 63:20
Size: 145,4 MB
Art: Front

(7:40)  1. The Second Time Around
(5:01)  2. Crazy He Calls Me
(5:11)  3. I'm Afraid The Masquerade Is Over
(7:43)  4. The Way We Were
(7:03)  5. Guilty
(6:00)  6. Change Partners
(5:51)  7. Teardrops from My Eyes
(4:50)  8. Something Personal
(4:00)  9. On The Sunny Side Of The Street
(9:55) 10. I Remember Clifford

Houston Person still remembers the day in 1950 that changed his life. He was a typical 16-year-old in his hometown of Florence, SC. He sang in the high-school choir and glee club, but he was mostly interested in football and basketball. Then, Christmas morning, his parents gave him a surprise gift: a tenor saxophone. Several decades, hundreds of albums, and thousands of concerts later, his life and career remain centered around the tenor sax. When it comes to soul-jazz, Person has been at the top of the genre for more years than he may care to admit. Through all the different styles coursing through those decades  from hard bop, through fusion, to avant-garde Person has been steadfast in his dedication. All of Houston Person's trademarks are present on his newest recording. With the phenomenal vibes of Steve Nelson and the top-flight rhythm section ably led by pianist John di Martino Houston & Co. caress the ballads with lush melodicism and swing heartily through the up-tempo numbers. ~ Editorial Reviews  http://www.amazon.com/Something-Personal-Houston-Person/dp/B0157THUHO

Personnel:  Houston Person - Tenor Saxophone;  Steve Nelson – Vibes;  John di Martino – Piano;  James Chirillo – Guitar;  Ray Drummond – Bass;  Lewis Nash - Drums

Something Personal

Jerry Bergonzi - Rigamaroll

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 62:37
Size: 143,8 MB
Art: Front

(7:59)  1. Awake
(6:34)  2. An Internal Affair
(9:56)  3. Rise Up
(6:06)  4. A Hankering
(5:29)  5. Tidlig
(9:04)  6. Rigamaroll
(8:49)  7. Do It to Do It
(8:37)  8. Lunar Aspects

For someone who’s always been reluctant to tout his skills as a composer, Boston-based saxophonist Jerry Bergonzi certainly knows how to write to his strengths.Hard-charging, riff-based tunes prove that time and again here, providing bracing impetus for a veteran reedman known for his harmonic acumen, commanding improvisations and aggressive attack. In fact, after listening to just a few compelling performances from Rigamaroll the aptly titled “Awake” will do for starters fellow saxophonists shouldn’t be surprised if they suddenly find themselves feeling a bit winded, and awestruck.

If the title track makes one thing clear, it’s that Bergonzi thrives in the company of musicians of a similar caliber and postbop inclination. The frontline he forges with trumpeter Phil Grenadier is formidable in its power and fluidity, and the contributions made by pianist Bruce Barth, bassist Dave Santoro and drummer Andrea Michelutti further elevate the level of play. The title cut is also a prime example of how Barth’s atmospheric chromaticism adds color and texture to arrangements that prominently feature restive horns and rhythmic prodding. Bassist Santoro also shines, both as a mood-setting soloist check out the resonating prelude he fashions for “Rise Up” and as a member of a rhythm section fully capable of complementing the frontline’s fire and finesse. One suspects that Bergonzi himself was surprised and delighted by how his writing inspired the kind of chemistry captured here. The album closes out with the otherworldly “Lunar Aspects,” a ballad that haunts long after the music fades away. 
~ Mike Joyce  http://jazztimes.com/articles/162839-rigamaroll-jerry-bergonzi

Personnel: Jerry Bergonzi (tenor saxophone); Phil Grenadier (trumpet); Bruce Barth (piano); Andrea Michelutti (drums).

Rigamaroll