Jaclyn Guillou - Winter for Beginners

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 45:38
Size: 104,8 MB
Art: Front

(5:06)  1. Land of the Silver Birch
(4:23)  2. In a Wooden House
(5:16)  3. When the Leaves Fall
(5:13)  4. Winter for Beginners
(6:24)  5. Spring is like a Promise for Beauty
(4:53)  6. Summer Where? (Mr. Sun)
(4:34)  7. Clouds
(4:31)  8. Castle Garden
(5:15)  9. Poetry Man

If ever there was a voice that could balance an icy chill with fireplace comfort and warmth, it's this one. On Winter For Beginners, Jaclyn Guillou's intoxicating voice takes the ear through an odyssey of the seasons, communing with nature in all of its beauty, be it rich or stark. Guillou's originals are built in a contemporary and exploratory vein, eschewing form(al) simplicities for something more complex and meaningful, yet everything is easy and natural to grasp; she bridges modernity with accessibility in seamless fashion. At times, it's her way with words that catches attention and draws in the ear ("In A Wooden House" and "Castle Garden"), but she's just as likely to charm with the tonal purity of her wordless lines. Those heavenly sounds, which alternately move in step-wise fashion, create angular beauty, walk in tandem with guest cellist Peggy Lee, or simply take in the surroundings, aren't a key ingredient here; they're the key ingredient.

Seven of the nine tracks featured herein come from Guillou's fertile mind, but she bookends the album with two vastly different covers that speak to her diversified musical portfolio a beautiful recasting of a traditional number called "Land Of The Silver Birch" and a modern jazz-folk-soul inflected take on Phoebe Snow's "Poetry Man." Both numbers fit in perfectly with her original material, both in sound and spirit. All nine songs truly come together to form a travelogue of sorts. Guillou's companions on this journey do a splendid job bringing her thoughts to musical life. Pianist Bruno Hubert provides directional guidance and serves as a source of support; guitarist David Blake's lines refract and glow in the sonic atmosphere; special guests tabla player Neelamjit Dhillon, producer/trumpeter Brad Turner, and Lee add new layers of depth to the work; and the bass-drum team of James Meger and Andrew Millar add subtle touches and provide momentum and power when needed. It's a team effort, but it's also Guillou's show. And with a voice like that, it shouldn't be any other way.
~ Dan Bilawsky  http://www.allaboutjazz.com/winter-for-beginners-jaclyn-guillou-cellar-live-review-by-dan-bilawsky.php

Personnel: Jaclyn Guillou: vocals; Bruno Hubert: piano; David Blake: guitar; James Meger: bass; Amdrew Millar: drums; Brad Turner: flugelhorn (5), trumpet, triangle (6); Peggy Lee: cello (1, 3, 8); Neelamjit Dhillon: table (6).

Winter for Beginners

---

Dave Pike - Smooth Bar Jazz

Styles: Vibraphone Jazz
Year: 2015
File: MP3@320K/s
Time: 71:39
Size: 165,0 MB
Art: Front

(5:38)  1. Sono
(4:05)  2. Melvalita
(5:17)  3. Philumba
(4:48)  4. Cattin Latin
(4:58)  5. Jamaica Farewell
(3:55)  6. Ginha
(7:43)  7. La Bamba
(3:39)  8. My Little Suede Shoes
(4:30)  9. Carnival Samba
(3:46) 10. St. Thomas
(3:56) 11. Matilda, Matilda
(4:41) 12. Sambolero
(3:12) 13. Mambo Bounce
(2:27) 14. Limbo Rock
(5:14) 15. Serenidade
(3:44) 16. Calypso Blues

Dave Pike has been a consistent vibraphonist through the years without gaining much fame. He originally played drums and is self-taught on vibes. Pike moved with his family to Los Angeles in 1954 and played with Curtis Counce, Harold Land, Elmo Hope, Dexter Gordon, Carl Perkins, and Paul Bley, among others. After moving to New York in 1960 he put an amplifier on his vibes. Pike toured with Herbie Mann during 1961-1964, spent 1968-1973 in Germany (recording with the Kenny Clarke-Francy Boland big band), and then resettled in Los Angeles, playing locally and recording for Timeless and Criss Cross. ~ Scott Yanow  http://www.allmusic.com/artist/dave-pike-mn0000593911/biography

Smooth Bar Jazz

---

Eric Legnini - Rhythm Sphere

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 54:59
Size: 126,3 MB
Art: Front

(7:48)  1. Prima Vista
(7:46)  2. Duke Ellington Sound of Love
(3:07)  3. The Sorcerer
(5:17)  4. For Jan
(2:10)  5. Rhythm Sphere
(6:12)  6. You Don't Know What Love Is
(8:00)  7. Mr The Hipster
(8:18)  8. Inner Urge
(6:17)  9. Le Jardin des Sables

The brainchild of Belgium's most accomplished pianist, jazz outfit the Eric Legnini Trio achieved success across Europe with their acoustic take on various Great American Songbook standards. Born in Huy in 1970, Eric Legnini began playing the piano at age six and, after becoming a teacher of jazz piano at the Royal Conservatory of Brussels in the '90s, teamed up with saxophonist Jacques Pelzer to record the debut album Never Let Me Go. Legnini spent the next two decades balancing his own recording career with performing with the likes of Toots Thielemans, Flavio Boltro, and Stefano di Battista before teaming up with bassist Thomas Bramerie and drummer Franck Agulhon in 2012 to record the covers album Ballads under the guise of the Eric Legnini Trio. ~ Jon O’Brien  http://www.allmusic.com/artist/eric-legnini-trio-mn0002890716

Personnel:  Eric Legnini (Piano);  Philippe Aerts (Double Bass);  Joe Lovano (Saxophone);  Félix Simtaine (Drums).

Rhythm Sphere

---

Ethel Ennis - This Is Ethel Ennis

Styles: Jazz, Vocal

Year: 1963

File: MP3@224K/s

Time: 57:14

Size: 101,3 MB

Art: Front

(3:01)  1. He Loves Me

(2:51)  2. An Occasional Man

(3:17)  3. Dear Friend

(2:39)  4. Nobody Told Me

(2:33)  5. As You Desire Me

(2:58)  6. Joey, Joey, Joey

(2:46)  7. The Moon Was Yellow (And the Night Was Young)

(2:21)  8. Who Will Buy?

(2:45)  9. Night Club

(3:04) 10. Love, Don't Turn Away

(2:40) 11. Starry-Eyed and Breathless

(2:02) 12. When Did I Fall in Love

(2:28) 13. The Boy from Ipanema

(2:15) 14. When Will the Hurt Be Over

(2:31) 15. Now I Have Everything

(2:06) 16. Matchmaker, Matchmaker

(2:08) 17. San Juan

(2:41) 18. For a Little While

(2:00) 19. I've Got That Feeling

(2:44) 20. About Love

(2:37) 21. We Could Learn Together

(2:38) 22. Look at Me

Baltimore jazz institution Ethel Ennis was born November 28, 1932. Beginning her vocal career while a pianist in a high school jazz group, she quickly went on to sing with everyone from Louis Armstrong to Duke Ellington to Count Basie. Ennis' debut LP, Lullabies for Losers, appeared on Jubilee in 1955, with the follow-up, Change of Scenery, issued two years later on Capitol; around the same time, she toured Europe with Benny Goodman, but finding the grind of the road too intense, she returned home to Baltimore, and  much to the detriment of her rising fame rarely played outside of the Charm City area in the decades to come. After 1958's Have You Forgotten?, Ennis did not resurface until six years later, landing at RCA for This Is Ethel Ennis; three more LPs Once Again, Eyes for You and My Kind of Waltztime quickly followed by another eight-year studio hiatus which finally ended with the 1973 release of the BASF album 10 Sides of Ethel Ennis. That same year, she also sang the National Anthem at the re-inauguration proceedings of President Richard Nixon. Ennis next turned up on vinyl in 1980 with Live at Maryland Inn; a self-titled follow-up was 14 years in the making, with If Women Ruled the World appearing in 1998. ~ Jason Ankeny  http://www.allmusic.com/artist/ethel-ennis-mn0000206512/biography

Repressing. 2007 reissue of this album from the Baltimore native, originally released on RCA in 1958. In her heyday, the critics hailed as "the most accomplished singer performing today." That stature was earned by her magnificent voice, her brilliant compositions, her joyful performances and her collaboration with the finest musicians. Ethel Ennis first won national recognition for her recording 'Lullaby for Losers' in 1955. In 1958, Benny Goodman chose her as the female vocalist for the all-star band that he took to Europe for the Brussel's World Fair. This Is Ethel Ennis is highly indicative of the taste, originality and selectivity that went into her choice of songs. Poker. ~ Editorial Reviews http://www.amazon.com/This-Is-Ethel-Ennis/dp/B000X20ZBY

This Is Ethel Ennis

---

The Drummonds Feat. Renee Rosnes - When You Wish Upon A Star

Styles: Jazz, Post-Bop
Year: 2011
File: MP3@320K/s
Time: 59:03
Size: 135,5 MB
Art: Front

(7:09)  1. Nature Boy
(6:07)  2. Autumn In New York
(5:32)  3. Over The Rainbow
(7:00)  4. Alone Together
(5:40)  5. When You Wish Upon A Star
(3:48)  6. Danny Boy
(5:52)  7. Lullaby Of Birdland
(5:13)  8. The Sound Of Silence
(6:34)  9. Polka Dots And Moonbeams
(6:04) 10. Like Someone In Love

It is refreshing to hear three of the most forward thinking musicians in the jazz mainstream tackle material from the Great American Songbook in a decidedly conventional manner. Bassist Ray Drummond, drummer Billy Drummond (no relation), and pianist Renee Rosnes, all first call New York area players and leaders in their own right, play tunes like “Autumn In New York,” “Danny Boy,” and “Like Someone In Love,” without deconstructing melodies or demolishing song-forms. The music adheres to a straight-ahead piano trio format, with Rosnes taking the lead voice and the bass and drums in supportive roles.  The opening cut, “Nature Boy,” is a good example of the trio’s overall sound. After Rosnes’ brief introduction, the bass and drums enter and establish a medium tempo while the piano states a partially reharmonized version of the melody. Rosnes fashions a solo that is full of daring bop lines yet firmly grounded by the accompaniment. “Alone Together” begins with Ray Drummond playing the head over Rosnes’ chords, features a solo consisting of dancing phrases by the pianist, and an exchange of eights and fours between the bass and drums. The highlight of the set is a stunning version of Arlen and Harburg’s “Over The Rainbow.” Amidst the Drummonds’ sensitive support, Rosnes’ understated treatment captures the tune’s exquisite melancholy without becoming dramatic or sentimental. ~ David A.Orthmann  http://www.allaboutjazz.com/when-you-wish-upon-a-star-the-drummonds-32-records-review-by-david-a-orthmann.php

Personnel: Renee Rosnes (piano); Billy Drummond (bass instrument); Ray Drummond (drums).

When You Wish Upon A Star

---

Candy Dulfer - Candy Store

Styles: Jazz Funk, Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 54:11
Size: 126,0 MB
Art: Front

(4:11)  1. Candy
(3:45)  2. L.A. Citylights
(3:54)  3. Music=Love
(3:03)  4. La Cabana
(4:02)  5. 11:58
(4:28)  6. Summertime
(4:24)  7. Soulsax
(4:51)  8. Smokin' Gun
(4:27)  9. Back To Juan
(4:43) 10. If I Ruled The World
(4:32) 11. Everytime
(3:55) 12. My Philosophy
(3:51) 13. Bum Bum

Candy Dulfer was just twenty years old when she scored her first international hit, "Lily Was Here, a duet with Eurhythmics guitarist Dave Stewart. At that time, she was already an experienced saxophonist, having started at the age of six, heavily influenced by her father, jazz saxophonist Hans Dulfer. Though "Lily Was Here performed well on the pop charts, Dulfer has been more of a soul/funk artist, evidenced by Candy Store. Dutch-born Dulfer led her first band, Funky Stuff, at the age of fourteen. Her career has included performances with Stewart, Prince, Pink Floyd, Maceo Parker, Aretha Franklin, Beyonce and David Sanborn, among others. Candy Store features all-original songs, penned by Dulfer and her sidemen, Thomas Bank, Chance Howard and Ulco Bed. "Candy is a funky tribute to the band leader. Howard, who wrote the track, raps while Bed delivers a soulful rhythm guitar. Dulfer plays alto sax in a style similar to that of Sanborn. The music is even of the soul-jazz style that was Sanborn's signature for many years.

Bassist Howard opens "Music = Love with a Bootsy Collins-like vocal intro. Howard and Dulfer perform vocals on this song, which includes the horns of Jan van Duikeren and Louk Boudesteijn. John Blackwell joins the ensemble on drums, one of only three tracks with an acoustic drum kit the album's one glaring weakness. Heavy reliance on programming is usually the death knell for any kind of jazz album, but excellent songwriting and strong performances by Dulfer and others easily overcome the artificial sounds of the programs. A good example of this is "La Cabana, a Latin piece that begs for drums, cymbals, congas and perhaps timbales. Yet the horns, Bank's keys and Howard's bass still manage to make this a delightful tune. Dulfer shows off her singing chops on "Summertime, a playful dance track. She also adds tenor and baritone to her sax play. The background horns are fabulous. Howard's bass helps set the tone for "Smokin' Gun, a reggae-like song. Bank's programming sounds more like the real thing on this track than any other, including crisp cymbal slides. Candy Store is not for hardcore jazz fans who want their music straight, with no outside influences. However, Dulfer is a diverse musician whose music includes elements of pop, soul and funk. If you approach this album without any preconceptions of what jazz ought to be, you may find plenty to enjoy here. ~ Woodrow Wilkins  http://www.allaboutjazz.com/candy-store-candy-dulfer-heads-up-international-review-by-woodrow-wilkins.php
 

Personnel: Candy Dulfer: alto sax, baritone sax (2, 6), tenor sax (2, 6, 10), background vocals, Rhodes (5), lead vocals (6), horn arrangement (8); Thomas Bank: keyboards, programming, Rhodes (10); Chance Howard: bass, lead synth (1), lead vocals (1, 3), rap (1), synth bass (6), background vocals, intro chat (3, 7); Ulco Bed: guitar, bass (7, 11); Kasper van Kooten: drums (2); Jan van Duikeren: trumpet (2, 7-10), horn arrangements; Louk Boudesteijn: trombone (2-4, 6-8, 10); Trijntje Oosterhuis: backing vocals; John Blackwell: drum fills (7), drums (3, 11).

Candy Store

---

Jan Lundgren - Something To Live For

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 57:04
Size: 131,1 MB
Art: Front

(5:36)  1. Something To Live For
(4:44)  2. In A Sentimental Mood
(3:33)  3. Raincheck
(4:16)  4. Isfahan
(5:34)  5. Prelude To A Kiss
(3:16)  6. Azure
(3:57)  7. Caravan
(6:03)  8. Blood Count
(5:03)  9. Reminiscences Of A Duke; I. Pace
(5:58) 10. Reminiscences Of A Duke; II. Mood
(5:18) 11. Reminiscences Of A Duke, III. Speed
(3:40) 12. Looking Glass

"Reminiscences of a Duke," the highlight of this tribute to Duke Ellington and Billy Strayhorn, is a triumph for Lundgren and the 63-year-old Swedish composer Magnus Linden. Throughout the album, Lundgren plays with his usual clarity of touch and conception. Meeting considerable challenges offered by Linden in the composer's 15-minute suite, he surpasses himself. Building on hints at themes abstracted from Ellington tunes, Linden uses strings, woodwinds and French horn for settings that require the pianist's formidable technical command and stimulate his inventiveness. Linden manages to evoke Ellington's music, provide ideal settings for Lundgren and demonstrate virtuosity in orchestration. Some of his writing is reminiscent of Charles Ives (in the movement titled "Mood") and Eddie Sauter ("Pace"), but it has a pungent modernity all its own. His work is all the more impressive because Linden accomplishes impressive depth and texture using only 12 pieces, demonstrating a masterful command of resources.

Lundgren plays the fastest and most demanding passages ("Speed") without sacrificing a bit of the emotion that the music demands. Yet, he performs with the precision of a classical pianist playing a concerto, which this music resembles in some respects. Linden is not the only hero of this album who may be unfamiliar to most listeners. The other is Bo Sylven, 31 years old, a contemporary of Lundgren and a writer of great skill. He provides stimulating arrangements of "Something to Live For," "Prelude to a Kiss," "Blood Count" and other Ellington and Strayhorn pieces. Lundgren's trio with bassist Mattias Hjort and drummer Rasmus Kihlberg plays "Azure" and "Raincheck" without the orchestra. Lundgren is alone in a reflective performance of Ellington's barely known 1966 composition "Looking Glass." Tracking Lundgren's growth from one recording to the next over the past five years or so has been one of the rewarding listening experiences of the 1990s. If this album is an indication, his increasing individuality and expressiveness as a soloist will lead to important work in the new century. ~ Doug Ramsey  http://jazztimes.com/articles/10951-something-to-live-for-jan-lundgren

Personnel: Jan Lundgren (piano); Jakob Ruthberg (viola); Rasmus Kihlberg (drums)

Something To Live For

---

Ralph Bowen - Soul Proprietor

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 70:34
Size: 161,8 MB
Art: Front

(10:27)  1. Invitation
( 6:57)  2. Soul Proprietor
( 8:50)  3. My Ideal
( 6:57)  4. Spikes
( 8:55)  5. Under A Cloud
( 8:22)  6. The First Stone
( 9:45)  7. Inner Urge
( 6:08)  8. Meltdown
( 4:10)  9. Peace

As revolutionary as the compact disc has been to the music industry, sometimes you really can have too much of a good thing. More specifically, I can’t help but echo what producer Michael Cuscuna once told me about new releases. He bemoaned the fact that many of today’s discs are just too long, wearing out their welcome way before concluding their run, and I can’t help but admit that after about 50 minutes or so my attention starts to wander. So what does all this have to do with saxophonist Ralph Bowen’s most recent Criss Cross session as a leader? Well, at just about 70 minutes in duration, Soul Proprietor is definitely on the long side, but it holds up extremely well thanks to a great program of standards and originals and a cohesive ensemble that locks in tight for the duration. Bowen first came to the fore as a member of the hard bop unit Out Of the Blue in the ‘80s. Since then the saxophonist has kept a low profile, active mainly as a college educator, yet his stature as a mature soloist has not diminished. Although he had previously recorded a set for Criss Cross many years ago, Soul Proprietor is a return to form and it features an outstanding rhythm section with organist Sam Yahel, guitarist Peter Bernstein, and drummer Brian Blade. As an added bonus, trumpeter John Swana fills out the front line on several tracks giving things an updated groove in the lineage of Larry Young’s Unity.


Bowen’s husky tone brings on “Invitation” with confidence, Swana quickly falling into the mix with his own distinctive voice. Things unfold in a relaxed manner, Bowen preferring to use space rather than cramming every beat with rapid flurries of notes. Peter Bernstein opens the title track and sings the melody in uncluttered fashion before stepping aside for Bowen to launch his initial gambit. “My Ideal” and “Peace” are spots where Bowen really gets to shine, the former a ballad feature and the latter a solo tour-de-force chock full of harmonics and over blowing. “Spikes” emerges as a cleverly disguised line built on Rhythm changes and at one point Swana and Bowen go at it without any accompaniment, their intertwined lines uniting in stimulating counterpoint. With a section in the odd meter of 7/2, Bowen’s “Meltdown” tackles Coltrane’s changes from “Countdown” but in a sage new way that offers a real challenge to all.  Of course, Yahel and Blade have worked together regularly, most recently as members of Josh Redman’s current trio, while the two joined forces with Bernstein on Yahel’s Criss Cross debut. Thankfully, Bowen and Swana have harnessed the power of this trio and the whole proves to be even greater than the sum of the individually gifted parts. ~ C.Hovan Andrew http://www.allaboutjazz.com/soul-proprietor-ralph-bowen-criss-cross-review-by-c-andrew-hovan.php

Personnel: Ralph Bowen (tenor sax), John Swana (trumpet), Peter Bernstein (guitar), Sam Yahel (organ), Brian Blade (drums).

Soul Proprietor

---

Jenny Evans - Girl Talk

Styles: Vocal Jazz

Year: 1993

File: MP3@320K/s

Time: 61:57

Size: 142,1 MB

Art: Front

(4:15)  1. Too Close To Comfort

(6:03)  2. Girl Talk

(3:57)  3. Love For Sale

(5:22)  4. Miss Otis Regrets

(5:16)  5. Song For My Father

(4:12)  6. There Will Never Be Another You

(4:09)  7. Autumn Leaves

(3:55)  8. Dat Dere

(5:47)  9. Jenny's Place

(4:07) 10. St. Thomas

(6:22) 11. Mr. Bojangles

(3:45) 12. I Wanna Be Near To You

(4:39) 13. 's Wonderful

Born in London, England, in the lowly outskirts of Beckenham, Jenny Evans is a talented master of many trades. She is an unforgettable jazz singer, but she has also been an actress and lyricist, and she has run a jazz club for five years called Jenny's Place. She has been in musicals such as Blood Brothers, her voice has been used in films, and she even has a M.A. degree in linguistics to fall back on (as if she would ever need to). Evans moved to Munich, Germany, in 1976 to study to be a teacher of music and English. While working toward her degree, she became the lead singer for a band called Old Socks New Shoes. The ragtime numbers she performed with the group slowly blended toward classic jazz. Though she appears comfortable and capable singing anything from Gershwin songs to numbers by the Beatles, her sultry voice seems made just for jazz. In 1997, Evans released her debut album for ENJA Records, Shiny Stockings. The album won her good reviews by many. Girl Talk hit the stores in 1999 with tracks like "Love for Sale," "Mr. Bojangles," and "I Wanna Be Near to You." Evans keeps busy between recordings, playing at many clubs and festivals, and touring in Europe, Germany, Australia, Russia, and Japan. ~ Charlotte Dillon  https://itunes.apple.com/us/artist/jenny-evans/id58282661#fullText

Girl Talk

---

Derek Smith Trio - Love For Sale

Styles: Piano Jazz
Year: 1989
File: MP3@320K/s
Time: 49:32
Size: 113,9 MB
Art: Front

(6:08)  1. Love For Sale
(5:34)  2. Autumn Leaves
(6:18)  3. Summertime
(3:51)  4. One To Warm Up On
(5:19)  5. When Sunny Gets Blue
(5:30)  6. Tristessa
(7:35)  7. Sweet Lorraine
(3:21)  8. Too Close For Comfort
(5:52)  9. A Day In The Life Of A Fool (Carnival)

A powerful swing-based pianist, Derek Smith is heard in top form throughout this trio set with bassist George Duvivier and drummer Bobby Rosengarden. The nine-song program (which has been reissued on CD) is highlighted by "Love for Sale," "Autumn Leaves," "Too Close for Comfort" and Smith's "One to Warm Up On." Easily recommended to fans of mainstream piano. ~ Scott Yanow  http://www.allmusic.com/album/love-for-sale-mw0000308750

Personnel: Derek Smith (piano); Bobby Rosengarden (drums).

Love For Sale

---

Sir Roland Hanna - Everything I Love

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 72:18
Size: 175,4 MB
Art: Front

(3:19)  1. Comedy Tonight
(5:23)  2. A Tribute
(2:48)  3. Lullaby Of The Leaves
(6:30)  4. I Hear A Rhapsody
(5:22)  5. You'd Be So Nice To Come Home To
(4:50)  6. Send In The Clowns
(5:26)  7. In The Blue Of The Evening
(5:57)  8. All Blues
(7:18)  9. Comes Autumn
(6:30) 10. Embraceable You
(7:24) 11. How Deep Is The Ocean
(6:45) 12. Alone Together
(4:39) 13. Everything I Love

Pianist Roland Pembrooks Hanna was born on February 10, 1932 in Detroit, Michigan and passed away on November 13, 2002 at the age of 70. He began his professional career in 1958, when he joined Benny Goodman’s band for a concert in Belgium. He was conservatoire trained and provided his services to Sarah Vaughan, Al Hibbler, Carmen McRae, the Thad Jones-Mel Lewis Orchestra and Charles Mingus. In 1970, President William Tubman of Liberia honored Hanna with Knighthood in 1970 for humanitarian services henceforth, Sir Roland Hanna. Sir Roland Hanna belonged to a rarified group of pianists that includes Hank Jones, Barry Harris, Tommy Flanagan, and Mulgrew Miller. These pianists share in common an urbanity and grace unbridled. Each has amassed talent in all styles and genres before stamping music with his own indelible character. Nowhere is this better heard than when Sir Roland, in particular, performs solo, as he does on Everything I Love, recorded shortly before his death. This album is one of two recordings Hanna made for IPO Recordings as their inaugural set of three releases (the remaining two are Sir Roland Hanna and Carrie Smith  I’ve Got a Right to Sing The Blues and Dubravka Tomsic  A Liszt Recital ). Hanna drinks deep and provides an expansive breadth of the American Song Canon. 

He performs a liberal sprinkling of Cole Porter with the title cut and a very balladic "You’d Be So Nice to Come Home To." Two Sondheim chestnuts in "Comedy Tonight" and "Send in the Clowns" grace the package, each played with sensitivity and resourcefulness. The highpoint of the recording is Hanna’s own "Bags A Tribute" which exists as a set of variations on Milt Jackson’s "Bag’s Groove." This is thrilling and well performed. Sir Roland Hanna has left us a beautiful love letter in the form of Everything I Love. We are blessed that he thought of us before leaving. ~ C.Michael Bailey http://www.allaboutjazz.com/everything-i-love-sir-roland-hanna-ipo-recordings-review-by-c-michael-bailey__1439.php 

Solo performer: Sir Roland Hanna (piano).

Everything I Love

---

Christopher Phillips & Jaimee Paul - Hear My Prayer: 14 Devotional Hymns Of Prayer

Size: 150,0 MB
Time: 64:22
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz, Pop, Gospel
Art: Front

01. Pass Me Not, O Gentle Savior (4:25)
02. I Surrender All (4:57)
03. Just As I Am (4:32)
04. Just A Closer Walk With Thee (5:23)
05. Precious Lord, Take My Hand (4:38)
06. I Need Thee Every Hour (4:26)
07. Saviour, Like A Shepherd Lead Us (4:21)
08. Nearer, My God, To Thee (3:53)
09. Fairest Lord Jesus (4:39)
10. Rock Of Ages (5:13)
11. Abide With Me (4:07)
12. I Am Thine, O Lord (5:04)
13. Take My Life And Let It Be (4:11)
14. My Jesus, I Love Thee (4:26)

14 devotional hymns of prayer and meditation featuring the intimate piano stylings of Christopher Phillips and the jazz tinged vocals of Jaimee Paul. Christopher Phillips is the Director of Worship and Arts at Christ Church Nashville and an accomplished pianist as well. As the director of the Christ Church Choir, Christopher has the opportunity to work with and feature soloists such as the incomparable, Jaimee Paul. Jaimees love of music was instigated by her parents and then cultivated through her early years, singing in both school and church choirs. Jaimee was also attracted almost equally to two kinds of music that are not as different as some people imagine: gospel and jazz. Hear My Prayer was the perfect format for Jaimee to bring her love of jazz and gospel together and collaborate with her friend and colleague, Christopher Phillips, to infuse these 14 heartfelt hymns with the emotion and style that are such key elements of both genres.

Hear My Prayer

---

Dale Storr - Jammin' With The Wind: A Tribute To James Carroll Booker III

Size: 107,3 MB
Time: 46:11
File: MP3 @ 320K/s
Released: 2016
Styles: New Orleans Piano Jazz/Blues, Vocals
Art: Front

01. Keep On Gwine (3:13)
02. Goodnight Irene (4:55)
03. Classified (8:09)
04. Booker's Bounce (2:13)
05. Besame Mucho (3:14)
06. Rockin' Pneumonia (3:08)
07. Pixie (3:05)
08. Pop's Dilemma (3:42)
09. Booker's Burden (4:04)
10. Hambone (3:19)
11. Junco Partner (4:20)
12. I'll Be Seeing You (2:45)

This record consists of Booker originals, popular tunes James used to cover and a few of my own originals in the style of the ‘Bayou Maharajah’. Some of the tunes I’ve stuck to quite faithfully, some of them I’ve spun my own take on but with every recording I’ve had Booker in mind and spirit.
To finish, you need to know what Booker could do and to sum that up I’ll leave you with the words of one of Booker’s students, the great Dr.John aka Mac Rebennack.
“Booker could play it all – stride piano, butterfly, boogie, all the other New Orleans styles, the Chicago styles, bebop, avant-garde jazz, classical, even pop! He’d sit down at the piano and play knock-out versions of all kinds of tunes – everything from Malaguena boogie to Bach fugues. There were just too many things Booker did that were so outrageously beautiful that I just can’t see how he ended up like he did. I consider him to be a genius. If I was ever blessed to meet one, James Carroll Booker was.”

Dale Storr: British Blues Award Nominee ~ 2010/11/12/13/14/15

Dale Storr's musical journey has taken him from his rural Lincolnshire upbringing to his own musical mecca, New Orleans. Dale's early musical interests were inspired by his parents' record collection of early rock'n'roll and country music. His interest grew deeper when he began playing the piano at the age of six cocking an ear to the piano-based music of Little Richard, Jerry Lee Lewis and Fats Domino. The slip-note piano of stylist Floyd Cramer was also another influence that had entered Dale's musical sub-consciousness. As a young boy, his emerging talent led to him winning numerous school and county music competitions as a solo instrumentalist. He also started performing live in local venues at the age of ten, playing organ.

His ability eventually took him away from home to the city of Sheffield. Here he performed with a series of local bands most notably, Sheffield's own rock'n'blues legend, Frank White. Other performers who benefit or have subsequently benefited from having Dale play alongside them are acclaimed British blues exponents, King King feat. Alan Nimmo (the Nimmo Brothers) and Kevin Thorpe, 60's icon Dave Berry, American soul star Earl Thomas, Texas guitar legend Rocky Athas (Black Oak Arkansas), and US R&B giant Eugene 'Hideaway' Bridges, supporting along the way, the likes of Duke Robillard and highly acclaimed New Orleans pianist Henry Butler to name but a few. The evocative music of New Orleans became a passion for the young musician who immersed himself into the styles of other heroes like Professor Longhair, Dr.John, Allen Toussaint, Tuts Washington and James Booker. The latter performer became a particular source of inspiration and resulted in Dale studying the sometimes complex technique of this legendary pianist/singer. Although he himself would probably down-play it, Dale has indeed encompassed much of Booker's music and style in his own playing.

In March of 2006, Dale's passion for New Orleans music saw him perform his debut theatre gig as a soloist, concentrating on the New Orleans piano styles of his afore mentioned influences. The success of that performance led to further dates and Dale has not looked back since. Following the acclaim of those early solo performances Dale added another dimension by bringing in Vocals, and also adding a full line-up of Drums, Bass and Horns consisting of some of the cream of the British Blues & Jazz scene. Since then Dale has gone from strength to strength and his army of fans keeps on growing. Dale's ambition has always been to play the music of New Orleans, which can be anything from a classically influenced minuet, a latin rhumba, a back o' town junker blues to a frenzied boogie woogie. As seen with every Dale Storr performance, he's certainly fulfiiling that ambition.'

Jammin' With The Wind

---

Terri Jo Jenkins - From This Moment

Size: 118,8 MB
Time: 51:00
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Blues Vocals
Art: Front

01. Accentuate The Positive (4:45)
02. My Love Is A Mountainside (3:07)
03. You Made Me So Very Happy (4:11)
04. This Is (4:44)
05. Garden In The Rain (3:56)
06. Afternoon Tea (4:48)
07. The Night Of Her Insistence (4:15)
08. From This Moment On (5:19)
09. Let's Get Lost (3:46)
10. My Old Addiction (6:08)
11. Hallelujah (5:57)

Terri Jo has been singing professionally since her childhood in Venango, NE. She released her first record (with her two sisters) when she was just 14 years old. Her first solo CD, "Legend of Strawberry Moon" was recorded in1996 and her second release of original songs, "Stores Around Me" was produced on the Tremulant Records label in 1999.

Terri Jo was nominated for local folk artist of the year in 1998, 1999, 2000 & 2004 by KZUM public radio in Nebraska. She has been a songwriting competition winner and has had her music featured on radio programs across the country and in Canada. Terri Jo has been a guest on the national radio programs, River City Folk and Woodsongs Old -Time Radio Hour as well as many local folk & jazz radio programs. Terri Jo's song, Six Little Angels, was chosen to be included on a special holiday program produced for National Public Radio stations across the country and hosted by legend, Judy Collins. Terri Jo's song, While I Drive, has also been heard on the popular NPR show, Car Talk.

Terri Jo's 2008 solo release of original songs, "Turn the Page" is on the Prairie Dog Music label & includes notable midwest musicians Dr. John Walker; trumpeter, Darryl White, songwriter, DeAnne Allison, singer/ songwriter, Nick Dahlquist & more.

In addition to the all women a capella group, Baby Needs Shoes, and her solo songwriting work, Terri Jo also performs as a jazz vocalist, having recorded with the Nebraska group, Jazz Factory; Denver's Mile High Jazz Trio; and nationally recognized jazz pianist, Jeff Jenkins. She was the featured vocalist at the Jazz en Vercor festival in France in 2009, 2010, & 2011 and also performs with the 9 member Colorado based jazz band, Park Hill Brass.

From This Moment

---

Butch Miles - Swings Some Standards

Size: 102,9 MB
Time: 41:57
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. I May Be Wrong (6:06)
02. Where Or When (5:53)
03. Under A Blanket Of Blue (6:01)
04. Keepin' Out Of Mischief Now (4:28)
05. Marsol Blues (6:11)
06. Love Walked In (6:54)
07. Goodnight Sweetheart (6:21)

A colorful soloist and an impressive technician in the tradition of Buddy Rich and Gene Krupa, Butch Miles graduated from West Virginia State College in 1966 and worked locally in West Virginia. He toured with Mel Tormé (1972-1974) and made a strong impression propelling Count Basie's Orchestra (1975-1979). After a few months with Dave Brubeck (recording Back Home for Concord in 1979) and a year with Tony Bennett, Miles became a busy freelance musician. He has played at many jazz parties and festivals with a countless number of musicians, including -- most notably -- Gerry Mulligan, Zoot Sims, Woody Herman, Wild Bill Davison, Clark Terry, Scott Hamilton, Warren Vache, and Bob Wilber's Bechet Legacy. Miles led seven fine albums for Famous Door (1977-1982) that feature swing standards and a couple of records for Dreamstreet, including a vocal date. In 1997, Butch Miles toured with the Count Basie Orchestra (under the direction of Grover Mitchell) and showed that he was still a fiery drummer quite skilled at showmanship.

Swings Some Standards

---

The Hep Chaps - Swingin' On Nothing

Size: 115,3 MB
Time: 49:08
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz: Retro Swing, Jive, Vocals
Art: Front

01. Swingin' On Nothing (3:39)
02. Tickle Toe (2:45)
03. Cherokee (4:17)
04. S'wonderful (3:13)
05. The Lady Is A Tramp (3:29)
06. One For Press (3:23)
07. Easy To Dance With (3:01)
08. The D.I.Y. Song (3:35)
09. Summertime (3:59)
10. Cape Cod (3:45)
11. Into It (3:29)
12. Lady Be Good (3:31)
13. Spook's Holiday (2:55)
14. Hit That Jive Jack (4:00)

In incredible six-piece band formed by David Howarth and John Wallace, delivering punchy Swing Rhythms via original songs with zany lyrics and reworking favorites from the original Swing era. Rock'n'Roll fans will know John Wallace as a member of The Stargazers, and David Howarth from his roles in the stage musicals "Buddy" and "Good Rockin' Tonight". The Hep Chaps line-up also features guitar-ace Zac Zdravkovic, leader of British Rock'n'Roll favorites The Jive Romeros.

A fantastic album with boasts catchy swinging tunes, both new and old performed by the finest musicians the Swing Scene has to offer - and great vocals too!

Swingin' On Nothing

---

Earl Hines - Up To Date With Earl Hines

Styles: Piano Jazz
Year: 1965
File: MP3@320K/s
Time: 38:31
Size: 93,5 MB
Art: Front

(2:09)  1. Linger Awhile
(2:22)  2. Wrap Your Troubles In Dreams
(2:48)  3. It's A Pity To Say Goodnight
(3:26)  4. I've Got The World On A String
(2:04)  5. Sunday
(6:57)  6. It Had To Be You
(3:25)  7. A Cottage For Sale
(2:55)  8. Father's Freeway
(3:42)  9. The Man With The Horn
(2:25) 10. But Not For Me
(2:19) 11. Everything Depends On You
(3:54) 12. The Hour Of Parting

A brilliant keyboard virtuoso, Earl “Fatha” Hines was one of the first great piano soloists in jazz, and one of the very few musicians who could hold his own with Louis Armstrong. His so-called 'trumpet' style used doubled octaves in the right hand to produce a clear melodic line that stood out over the sound of a whole band, but he also had a magnificent technical command of the entire range of the keyboard. Earl Kenneth Hines was born into a musical family in Duquesne, Pennsylvania, on December 28, 1905. His father worked as a foreman at the local coal docks and played cornet with the Eureka Brass Band, a group that performed at picnics and dances. His mother, played organ and gave him his first piano lessons. Hines's sister, Nancy, also played organ, and his brother, Boots, played piano; his aunt sang light opera and his uncle played a variety of brass instruments. At age nine Hines started taking piano lessons, but he soon outgrew his teacher. He then studied classical technique under Von Holz, a teacher who introduced him to exercise books, and began to dream of becoming a concert pianist. In his teens Hines moved to Pittsburgh, where he attended Schenley High School and continued to study music. His musical direction changed abruptly when family members took Hines to the Liederhouse, a club featuring jazz, and he fell in love with the rhythm-filled music. After discovering the burgeoning jazz scene, he abandoned his plans to play classical music and immersed himself in jazz. At age 15 he formed a group with a violinist and drummer, and soon the trio was performing at high school functions, nightclubs, and church socials. Because Hines worked many late-night engagements, he decided to leave school when he was 16.

In 1922 Hines went to work with singer/band leader Lois B. Deppe at the Liederhouse, where he earned $15 a week. The band made forays into West Virginia, Ohio, and New York City, and in 1923 the young pianist traveled to Richmond, Indiana, where he attended his first recording session. In 1924 Hines led his own band for a short time and then, following the advice of pianist Eubie Blake, he moved to Chicago. In Chicago he met a cadre of first-class musicians, including Louis Armstrong, Jelly Roll Morton, and Benny Goodman, who were beginning to re-write the rules of jazz. In 1927 he joined with Armstrong and Zutty Singleton, and the trio performed a regular gig at the Café Sunset, an establishment that catered to gangsters and other high-dollar rollers. When the club temporarily closed in 1927, the band broke up and Hines joined clarinetist Jimmy Noone's band at the Apex Club. Armstrong, however, would soon call again, and together the old friends would make jazz history. In 1928 Hines rejoined Louis Armstrong on the Hot Five and Hot Seven recording sessions, playing on the classic “West End Blues”, “Fireworks”, “Basin Street Blues” and composing “ A Monday Date”, the young pianist was transformed from a local talent with potential into a jazz innovator to be emulated. Hines played with drummer Singleton, banjoist Mancy Cara, trombonist Fred Robinson, and clarinetist Jimmy Strong, and the group broke new ground, opening up a range of new musical possibilities for jazz players. Hines, was Armstrong's match, and the two traded solos and ideas, taking one another to new heights. No one had ever played the piano like that. He fashioned complex, irregular single- note patterns in the right hand, octave chords with brief tremolos that suggested a vibrato, stark single notes, and big flatted chords. The same year, Hines recorded as a soloist. He went into the studio in and recorded his first ten piano solos including versions of “A Monday Date,” “Blues in Third”, and “57 Varieties”.

On December 28, 1928, Hines's birthday, he began leading his own big band at the Grand Terrace Ballroom, a luxurious Chicago nightspot partly owned by Al Capone. “The Grand Terrace was the Cotton Club of Chicago,” Hines said, “and we were a show band as much as a dance band and a jazz band.” Hines and his orchestra worked seven days a week, performing three shows a night on weekdays and four shows on Saturdays. A national broadcast popularized the band outside Chicago, and the group spent two to three months of each year touring. The band also became one of the first African-American groups to travel widely in the South during the 1930s. Hines earned his nickname during this period. After he had given a radio announcer a “fatherly” lecture about his immoderate drinking, the announcer began introducing the pianist as “Father” Hines. The Grand Terrace band recorded frequently, and throughout the 1930s scored a number of hits, including “G.T. Stomp,” “Harlem Laments,” and “You Can Depend on Me.” Hines remained at the Grand Terrace for 11 years and then, believing he was underpaid, left with his band in 1940.

Hines held his band together for the next eight years, and they continued to perform such popular hits as “Jelly Jelly,” “Boogie-Woogie on the St. Louis Blues,” and “Stormy Monday Blues.”. Billy Eckstine became the band's popular singer and in 1943 both Dizzy Gillespie and Charlie Parker were added. In 1946 Hines suffered an injury in an automobile accident that caused him to curtail his touring; by 1948, due to a decline in the popularity of big bands, he broke up the 24-member group. Later in 1948 Hines reverted to sideman status and rejoined his old friend Armstrong. Louis Armstrong's All Stars toured Europe in 1948-49, and attended the 1948 jazz festival at Nice, France. In 1951 Hines left Armstrong to work in a number of smaller settings. In September of 1955, Hines settled into a regular job at the Hangover Club in San Francisco, one of the last bastions for more traditional forms of jazz. Although he toured annually, traveling to Canada, England, and the European continent, the Hangover Club was his mainstay during the late 1950s and early 1960s. In 1963 Hines opened his own club in Oakland, but the venture was short-lived. In 1964 he abandoned his low profile by playing a successful series of dates at the Little Theatre in New York, and the pianist was once more in great demand. In 1966 Hines joined the State Department's jazz combo and traveled to Russia as a goodwill ambassador. During the 1970s he continued to tour the United States and the world with his quartet, and recorded prolifically during this period, turning out classics like “Tour De Force” and “Quintessential Continued” with natural ease.

Although Hines disliked his nickname, critics have pointed out that it is an appropriate one: he is indeed the father of modern jazz piano. Before him, most jazz pianists were either blues performers, or stride pianists, Hines filled the space between these approaches with an almost hornlike style. Today jazz aficionados accept the piano as a mainstay of jazz, thanks to Hines's seminal work with Armstrong and his work as a soloist in 1928. Unlike some early jazz performers, he continued to embrace new music over his 50-year career, and his personal style continued to grow in complexity. Even at the late stage of his career, Hines constantly took chances and came up with surprising and consistently fresh ideas. Despite heart problems and arthritis, Hines performed until a week before his death in Oakland, California, on April 22, 1983 Aptly referred to as “the first modern jazz pianist,” Earl Hines differed from the stride pianists of the 1920s by breaking up the stride rhythms with unusual accents from his left hand. While his right hand often played octaves so as to ring clearly over ensembles, Hines had the trickiest left hand in the business, often suspending time recklessly but without ever losing the beat. Earl “Fatha” Hines left a discography of well over one hundred albums alone, not counting the early sides, and hundreds of sessions as accompanist and sideman. http://musicians.allaboutjazz.com/earlhines

Personnel:  Bass – Aaron Bell;  Drums – Jimmy Crawford;  Piano – Earl Hines;  Tenor Saxophone – Budd Johnson;  Violin, Cornet – Ray Nance

Up To Date With Earl Hines

---

Peggy Lee & Quincy Jones - Blues Cross Country + If You Go (CD 1/2)

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 75:51
Size: 175,0 MB
Art: Front

(2:29)  1. Kansas City
(3:04)  2. Basin Steet Blues
(2:38)  3. Los Angeles Blues
(2:53)  4. I Left My Sugar (In Salt Lake City)
(1:52)  5. The Grain Belt Blues
(3:21)  6. New York City Blues
(2:37)  7. Goin' To Chicago Blues
(2:37)  8. San Francisco Blues
(3:11)  9. Fisherman's Wharf
(2:05) 10. Boston Beans
(2:42) 11. The Train Blues
(2:15) 12. St. Louios Blues
(1:53) 13. Hey! Look Me Over
(2:52) 14. As Time Goes By
(2:43) 15. If You Go
(2:37) 16. Oh Love Hast Thou Forsaken Me
(2:58) 17. Say It Isn't So
(2:49) 18. I Wish I Didn't Love You So
(2:04) 19. Maybe It's Because
(2:48) 20. I'm Gonna Laugh You Out Of My Life
(2:49) 21. I Get Along With You Very Well
(2:30) 22. Gipsy Soul
(3:16) 23. When I Was A Child
(2:50) 24. Here Is Rthat Rainy Day
(2:21) 25. Smile
(2:57) 26. Deep Purple
(3:08) 27. Farewell To Arms
(3:19) 28. Fever

This two-fer from Fresh Sound features a pair of out of print Peggy Lee LP's, If You Go and Blues Cross Country originally issued on Capitol in 1961 and 1962 respectively. The albums highlight 28 songs including "Basin Street Blues," "Goin' to Chicago Blues," "As Time Goes By," and "Here's That Rainy Day." 

This is great material but is geared more toward the collector. Casual listeners would be better served by the one of the many Peggy Lee compilations. ~ Al Campbell http://www.allmusic.com/album/blue-cross-country-if-you-go-mw0002325291

Featuring: Peggy Lee (vcl), with Quincy Jones (arr, cond). Orchestras includes Jack Sheldon, Pete Candoli (tp), Frank Rosolino (tb), Benny Carter, Buddy Collette, Plas Johnson, Bill Perkins (saxes), Jimmy Rowles (p), Dennis Budimir (g), Shelly Manne (d)

Blues Cross Country + If You Go (CD 1/2)

---

Tal Farlow - The Swinging Guitar Of Tal Farlow

Styles: Guitar Jazz
Year: 1956
File: MP3@320K/s
Time: 63:15
Size: 145,2 MB
Art: Front

(4:47)  1. Taking a Chance on Love
(5:19)  2. Yardbird Suite
(5:43)  3. You Stepped Out of a Dream
(5:46)  4. The Can't Take That Away From Me
(6:42)  5. Like Someone in Love
(6:39)  6. Meteor
(5:48)  7. I Love You
(6:48)  8. Gone With the Wind
(5:10)  9. Taking a Chance on Love (alternative take)
(5:04) 10. Yardbird Suite (alternative take)
(5:26) 11. Gone With the Wind (alternative take)

The Swinging Guitar of Tal Farlow not only presents Farlow at his swinging best but also features the brilliant pianist Eddie Costa in one of his too few recordings. In many ways this is a duet recording with Farlow and Costa playing off of each other above a traditional bass accompaniment. In this case "play" is no casual adjective, the chemistry between Farlow and Costa is extraordinary with lively intertwining solos and double voicings demonstrating their intuitive rapport. Bassist Vinnie Burke is also capable of impressive solo work as demonstrated on "They Can't Take That Away From Me" in which he rises out of his supportive role to dominate the stage with a long, imaginative solo. Burke usually plays with a deep, walking bass solidity which contrasts with the often fleet, ringing guitar lines of Farlow; both crucial contributions to the success of this trio's unique "sound." Eddie Costa, who died six years later at the age of 32, was already a complete pianist at the time of this recording. He provides Farlow and Burke with sensitive and challenging comping while his solo work is always quirky and interesting revealing a percussive quality that suggests the indirect influence of his other instrument the vibes. 

Tal Farlow has never played more fluidly, displaying a rhythmic ease and agility that is sometimes startling. In this mix of swing and boppish tunes, his solo on "Yardbird Suite" is "evidence enough that at his best he belongs with Charlie Christian and Chuck Wayne as one of the early masters of the be-bop guitar. Farlow, Costa, and Burke - this was quite a trio, an exciting jazz trio that knew what playing together was all about. ~ Mike Neely  http://www.allaboutjazz.com/the-swinging-guitar-of-tal-farlow-tal-farlow-verve-music-group-review-by-mike-neely.php

Personnel: Tal Farlow, guitar; Eddie Costa, piano; and Vinnie Burke, bass.

The Swinging Guitar Of Tal Farlow

---

Eric Legnini Trio - Miss Soul

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 55:36
Size: 127,6 MB
Art: Front

(3:26)  1. The Memphis Dude
(3:46)  2. Sugar Ray
(4:00)  3. Home Sweet Soul
(4:49)  4. For all we know
(4:44)  5. Joga
(4:02)  6. Horace Vorace
(5:28)  7. La Strada
(3:56)  8. Miss Soul
(3:32)  9. Daahoud
(5:42) 10. Prelude to a kiss
(4:28) 11. Back Home
(7:41) 12. Lisbon Stomp

Eric Trio Legnigni Soul Miss a Cd that sounds black, the first sense of soul and groove high dose blown. Anchored in jazz blue notes issued by a trio in a deliberately swing angle: admit that today in the orbit of a jazz label Europeanized, keyboard particular issue, we had more or less lost the habit . Belgian pianist revealed in the orchestra of Stefano Di Battista, known as accompanist especially, has just recorded the first album released under his name in the hexagon. The opportunity to prove an undeniable expertise on square binary constructions in the manner of a Horace Silver (Home Sweet Soul). Yet the choice of themes between past and standard song today (Joga Bjork revamped) used as the basis (a delicate touch on innervated ballads blues) indicate a true adaptation talent and a sharpened sense of arrangement (he has already demonstrated with Claude Nougaro particular), Eric Legnini makes reference to both Eroll Garner as Herbie Hanckok pays tribute to Phineas Newborn (Sugar Ray and tasty bluesy version of Back Home). Pianistic personality should therefore be to understand all facets and a European trio first way (belgofranco-Italian) which has a maximum cohesion and a beautiful ensemble sound. If one believes the title Legnini chose to play on the soul spirit distilled in his female attire, with an elegance so-called swing better.

Right balance between groovy and evocations of the most introspective moments without the rhythmic vivacity is neglected. Legnini leads his listener's trio mates to a live jazz, lively, which was dated to be more relevant than the number of projects pioneering --The World There are more than listening to this album fly high once again and discover new shimmering ~ Classica Directory http://www.amazon.fr/Miss-Soul-Eric-Legnini-Trio/dp/B00DSYR5BC

Personnel:  Double Bass – Matthias Allamane (tracks: 1, 2, 12), Rosario Bonaccorso;  Drums – Franck Agulhon;  Piano – Eric Legnini

Miss Soul

---