Friday, November 20, 2015

New York Jazz Quartet - Oasis

Styles: Post-Bop, Hard Bop
Year: 1981
File: MP3@320K/s
Time: 37:38
Size: 86,4 MB
Art: Front

( 5:23)  1. Don't Come, Don't Call
( 4:26)  2. It's Just A Social Gathering
( 4:25)  3. Funk House
( 5:43)  4. Cram It Damn It
(13:21)  5. The Patient Prince
( 4:16)  6. Oasis

A little more throttle would have been welcome on New York Jazz Quartet's cruising-paced Oasis set from 1981. As it is, Roland Hanna on piano, Frank Wess on tenor sax and flute, George Mraz on bass, and Ben Riley on drums take a low-key approach to two Wess originals and four from Hanna. It's a pleasant session, but not one that lives up to the potential of its lineup. 

The material is respectable and the quartet knows it well enough, but perhaps not sufficiently to transform written parts into a dynamic group effort. Mraz is the standout performer. He is in command of a ready flow of ideas and is captured with a rich, full sound. His duet with Hanna on the pianist's blues "Funk House" is a highlight that finds the pair expertly working the spaces they give each other. Elsewhere, though, Hanna, a pianist who can summon fire, passion, and drama from his instrument, is quite restrained, seemingly content to focus on his writing, rather than stimulating group interplay. Wess, too, does not take many chances or seize the opportunity to stretch out. The one sequence where he does open up is the third section of his 13-minute suite, "The Patient Prince," where he unleashes an impressive series of unrestrained choruses on tenor sax. 

If the goal of this quartet was to create relaxed, subdued performances, then Oasis can be considered a success. Otherwise, except for the bassist, the set does not fully exploit the potential of the music or the capabilities of these leading players. ~ Jim Todd  http://www.allmusic.com/album/oasis-mw0000091042

New York Jazz Quartet: Frank Wess (tenor saxophone, flute); Roland Hanna (piano); George Mraz (bass); Ben Riley (drums).

Oasis

Lionel Loueke - In a Trance

Styles: Vocal And Guitar, Latin Jazz
Year: 2007
File: MP3@320K/s
Time: 51:28
Size: 118,2 MB
Art: Front

(4:23)  1. A Prayer for Peace
(0:51)  2. Benny's Tune
(4:07)  3. In a Trance
(5:45)  4. Mivakpola
(2:46)  5. Gbeto
(4:58)  6. Fifa
(1:25)  7. Nagbe
(4:45)  8. Okagbe
(7:04)  9. Be-Nin-Bop
(3:44) 10. Boum Boum!!!
(6:07) 11. Always Will Be
(5:27) 12. Nonvignon

When Benin-born guitarist/vocalist Lionel Loueke appeared at this summer's Ottawa International Jazz Festival, he was a real highlight amongst the entire group of stellar young players in trumpeter Terence Blanchard's band. His solo spot, where he used looping and harmonizing devices to create a veritable mini-orchestra with just one voice and guitar, illustrated how technology can be used to create something natural. Jazz Luddites regularly rail against the use of electronics to tarnish the "pure nature of jazz, but Loueke clearly doesn't subscribe to such a narrow view. Technology is only as good as the hands it's in, and an increasing number of artists are finding ways to utilize it to stretch the shape of jazz. Loueke came relatively late to the guitar. After mastering indigenous percussion instruments in Benin, he picked up guitar at the age of seventeen and, in the ensuing fifteen years, has amassed a wide breadth of formal education at institutions including Paris' American School of Modern Music and Boston's Berklee School of Music. In the past three years Loueke has recorded and performed with significant artists including Herbie Hancock, Charlie Haden and, of course, Blanchard who has used Loueke increasingly since the release of Bounce (Blue Note, 2003). 

Loueke's solo debut, In a Trance, demonstrates in no uncertain terms why these artists are clamouring to work with him. Playing acoustic guitar almost exclusively even more specifically, the nylon-stringed variety Loueke combines the folk music of his birthplace and other locales with a rich harmonic language that may not be jazz by a reductionist definition, but is by any contemporary standard. If there's any frame of reference for Loueke, it's Egberto Gismonti. Like Gismonti, Loueke's enthic roots are clear, but while "Nonvignon has an unmistakable highlife groove, Loueke's guitar lines insidiously incorporate more outside-the-box thinking. "Benny's Tune stems from the same raw Brazilian tradition that Gismonti has explored for decades more Amazon rainforest than Rio de Janeiro. The most remarkable thing about In a Trance is its live nature, with no overdubs. Loueke's organic use of looping technology transforms one voice and one guitar into something much bigger. He transforms his guitar into a percussion instrument, creating rhythm loops by slapping it and using his fingers on it as if it were a drum. That's not particularly new, but the percussive intro to "Mivakpola demonstrates just how much farther Loueke takes his instrument.

Loueke's writing ranges from the darkly lyrical "Fifa to the melancholy solo electric lament "Always Will Be, the blues-inflected "Boum-Boum!!! and the brief, rhythm-driven "Nagbe, where he builds a virtual chorus of vocals in real time. Intimate and revealing of a mind that views stylistic barriers as artifices to be dissolved, In a Trance demonstrates in the most musical way just how seamlessly technology can integrated. Loueke may have but one voice and one instrument, but in their surprising variety and orchestration, he makes clear why he's become so widely in demand in such a short period of time. 
~ John Kelman  http://www.allaboutjazz.com/in-a-trance-lionel-loueke-self-produced-review-by-john-kelman.php

Personnel: Lionel Loueke: guitars, vocals.

In a Trance

Thursday, November 19, 2015

Bob Brookmeyer - Jazz Is A Kick

Bitrate: MP3@320K/s
Time: 36:21
Size: 83.2 MB
Styles: Post bop, Trombone jazz
Year: 1960/2004
Art: Front

[4:53] 1. Air Conditioned
[4:35] 2. Exactly Like You
[3:22] 3. This Can't Be Love
[4:33] 4. Green Stamps
[4:40] 5. The Things I Love
[3:30] 6. Only When You Are Near
[3:17] 7. You're My Everything
[7:27] 8. Co-Operation

This interesting LP matches together valve trombonist Bob Brookmeyer with the slide trombone of Curtis Fuller. Four songs use a modern rhythm section (pianist Wynton Kelly, bassist Paul Chambers and drummer Paul Motian) while the other four have a strong Count Basie feel (with trumpeters Thad Jones and Joe Newman, pianist Hank Jones, bassist Ed Jones and drummer Charlie Persip making their presence felt). Brookmeyer and Fuller display contrasting styles while blending together quite well on the ensembles. ~Scott Yanow

Jazz Is A Kick

Mike Jones Trio - Plays Well With Others

Bitrate: MP3@320K/s
Time: 62:56
Size: 144.1 MB
Styles: Piano jazz
Year: 2013
Art: Front

[6:12] 1. Besame Mucho
[6:11] 2. It's A Wonderful World
[5:48] 3. September Song
[4:33] 4. I Know Why And So Do You
[3:55] 5. Box Viewing Blues
[3:40] 6. Detour Ahead
[2:59] 7. Day By Day
[5:09] 8. Corcovado
[4:18] 9. I'm Walkin
[6:27] 10. Deed I Do
[4:42] 11. I'm Old Fashioned
[5:01] 12. I Thought About You
[3:56] 13. Obscuro Blues

Mike Jones: piano; Mike Gurrola: bass; Jeff Hamilton: drums.

Pianist Mike Jones not only Plays Well with Others, he plays well—period. Using a sharp, two-fisted style that hearkens back to Dave McKenna, Dick Hyman and even Earl Hines, undergirded by a buoyant melodicism worthy of Barry Harris, Tommy Flanagan or his namesake Hank Jones, it's clear there's not much that Jones can't accomplish musically with keyboard in hand. And when the "others" he is playing with are bassist Mike Gurrola and drummer Jeff Hamilton, so much the better.

Gurrola represents a step up from Jones' "regular" bassist, the magician Penn Jillette, with whom "Jonesy" (Jillette's pet name for him) has been sharing the stage for more than a decade as the opening act preceding Penn and Teller's popular Las Vegas comedy / magic show. Jillette "found" Jones playing at a Las Vegas nightspot and let him know he could open for Penn and Teller with one proviso, that the neophyte Jillette would be his bassist. Given that choice, what could Jones do? He and Jillette have been performing together ever since.

Happily (for the listener), Jillette generously stepped aside for this recording date to make room for Gurrola. Add the perceptive and resourceful Hamilton and you have a piano trio that can stand its ground against any other. While Jones sets the tone with his bright and engaging melodic lines and clever ad libs, Gurrola and Hamilton provide the rhythmic muscle and unwavering support that keep the motor humming and the bus moving forward. And even though Jones has technique to burn, he is thoroughly at ease with a ballad, as he shows on "September Song," "I Know Why," "I Thought About You" and "Detour Ahead" (the last sans Gurrola and Hamilton). The session harbors a pair of charming blues ("Box Viewing Blues," "Obscuro Blues"), both written by Jones, to chaperon the tunes already named plus the standards "Besame Mucho," "It's a Wonderful World," "Day by Day," "Deed I Do" and "I'm Old Fashioned," Consuelo Velazquez' "Besame Mucho," Antonio Carlos Jobim's "Corcovado" and Fats Domino's "I'm Walkin.'"

"Magicians' hands aren't quicker than the eye," Penn Jillette writes, "but Jonesey's fingers might be." While quickness is assuredly a virtue, so is the ability to produce beautiful music at any tempo. Jones, Gurrola and Hamilton are aces-high in both areas, traits that help make Plays Well with Others a superlative piano trio recording. ~Jack Bowers

Plays Well With Others

Julie London - 2 albums: Julie Is Her Name / Vol. 2

Album: Julie Is Her Name
Bitrate: MP3@320K/s
Time: 30:44
Size: 70.4 MB
Styles: Vocal jazz
Year: 1955/2014
Art: Front

[2:55] 1. Cry Me A River
[3:14] 2. I Should Care
[2:27] 3. I'm In The Mood For Love
[2:24] 4. I'm Glad There Is You
[3:08] 5. Can't Help Lovin' That Man
[1:49] 6. I Love You
[1:59] 7. Say It Isn't So
[2:22] 8. It Never Entered My Mind
[3:12] 9. Easy Street
[1:32] 10. 's Wonderful
[1:50] 11. No Moon At All
[1:41] 12. Laura
[2:05] 13. Gone With The Wind

For a time, Julie London was as famous for her sexy album covers as for her singing. Her debut is her best, a set of fairly basic interpretations of standards in which she is accompanied tastefully by guitarist Barney Kessel and bassist Ray Leatherwood. "Cry Me a River" from this album, was her biggest hit, and her breathy versions of such numbers as "I Should Care," "Say It Isn't So," "Easy Street," and "Gone with the Wind" are quite haunting. ~Scott Yanow

Julie Is Her Name

Album: Julie Is Her Name Vol 2
Bitrate: MP3@320K/s
Time: 26:24
Size: 60.5 MB
Styles: Jazz vocals
Year: 1958/2015
Art: Front

[2:29] 1. Blue Moon
[1:44] 2. What Is This Thing Called Love
[2:44] 3. How Long Has This Been Going On
[2:40] 4. Too Good To Be True
[2:05] 5. Spring Is Here
[1:51] 6. Goody Goody
[2:02] 7. The One I Love (Belongs To Somebody Else)
[2:16] 8. If I'm Lucky
[1:47] 9. Hot Toddy
[2:48] 10. Little White Lies
[1:48] 11. I Guess I'll Have To Change My Plan
[2:06] 12. I Got Lost In His Arms

Three years after her debut, Julie Is Her Name, Julie London returned to the intimate jazz guitar and bass backing that resulted in a Top Ten album and single (the still-popular "Cry Me a River"). You can almost see the cigar-smoking executives at Liberty Records planning this one out -- "Hey, if the public loved it the first time, they're bound to love it again, right?" Well, to give the cigar-chompers some credit, Julie London favored this backing for her live performances and she originally had to fight to be able to record with this intimate jazz backing. Plus, every uptown singer -- from Johnny Mathis to Chet Baker to Sarah Vaughan -- was recording with a guitar/bass duo after Julie Is Her Name hit big, so why not the lady who started it all? For once, pandering to the public equaled taking the artistic high road, because while Julie Is Her Name, Vol. 2 may not be as fresh or unexpected as its predecessor, it actually stands up as a slightly stronger album. London's breathy vocals aren't that different, but she seems more confident and she swings more, even on the ballads. Howard Roberts may not have been a "name guitarist" like Barney Kessel, who played on the debut, but his work here is strong and bassist Red Mitchell lays an entire rhythm section worth of foundation for London to stretch out on. This album was also better recorded than London's debut and the release has a fuller, richer sound to it. Since the plunging-neckline album cover to London's debut was talked about as much as the music, Liberty Records decided to continue the concept by literally putting spotlight beams on the famed beauty's chest. Thankfully, Julie London had enough jazz credentials and focused vocal talent that such blatant cheesecake shots remain of secondary importance to the music contained on the album. ~Nick Dedina

Julie Is Her Name Vol 2

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