Thad Jones, Pepper Adams Quintet - Mean What You Say

Styles: Flugelhorn And Saxophone Jazz
Year: 1966
File: MP3@320K/s
Time: 41:14
Size: 98,1 MB
Art: Front

(4:36)  1. Mean What You Say
(7:42)  2. H And T Blues
(4:55)  3. Wives And Lovers
(3:23)  4. Bossa Nova Ova
(4:38)  5. No Refill
(6:30)  6. Little Waltz
(5:20)  7. Chant
(4:07)  8. Yes Sir, That's My Baby

A classic set recorded for Milestone and reissued under the OJC imprint, this date is co-led by Thad Jones (heard throughout on flügelhorn) and baritonist Pepper Adams; pianist Duke Pearson, bassist Ron Carter, and drummer Mel Lewis complete the band. The high-quality hard bop unit performs four of Jones' originals, a song apiece by Carter and Pearson, and Burt Bacharach's "Wives and Lovers" and "Yes Sir, That's My Baby." Jones and Adams always made for a potent team, but the rise of the Thad Jones/Mel Lewis Orchestra meant that this particular quintet only lasted a short time. ~ Scott Yanow http://www.allmusic.com/album/mean-what-you-say-mw0000309726

Personnel:  Thad Jones- flugelhorn;  Pepper Adams - baritone saxophone;  Duke Pearson – piano;  Ron Carter – bass;  Mel Lewis - drums

Mean What You Say

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Joanie Sommers - Hits and Rarities

Styles: Jazz, Vocal
Year: 1995
File: MP3@320K/s
Time: 77:38
Size: 179,1 MB
Art: Front

(2:47)  1. Don't Pity Me
(2:20)  2. If You Love Him
(2:32)  3. Johnny Get Angry
(2:01)  4. One Boy
(2:13)  5. When the Boys Get Together
(2:54)  6. Summertime
(2:17)  7. My Heart Belongs to Daddy
(2:12)  8. That Old Devil Moon
(2:19)  9. Little Girl Bad
(2:04) 10. Bobby's Hobbies
(2:53) 11. What's Wrong with Me?
(2:31) 12. Let's Talk about Love
(2:17) 13. Henny-Penny
(2:26) 14. A Little Bit of Everything
(2:09) 15. Why Don't You Do Right?
(2:46) 16. I'm Gonna Know He's Mine
(3:03) 17. I'd Be So Good to You
(2:21) 18. Theme from A Summer Place
(1:59) 19. Memories, Memories
(2:30) 20. Mean to Me
(2:28) 21. Goodbye Summer
(2:40) 22. My Block
(2:30) 23. Since Randy Moved Away
(1:59) 24. Goodbye Joey
(2:25) 25. I Can't Believe That You're in Love with Me
(2:28) 26. I'm Nobody's Baby
(2:12) 27. There's No Such Thing
(3:16) 28. I'll Never Stop Loving You
(2:36) 29. Call Me
(3:22) 30. Out of This World
(2:52) 31. A Lot of Livin' to Do

Joanie Sommers scored her biggest chart success with "Johnny Get Angry" in 1962. The single, her second solo release, peaked at the number seven spot and charted for more than two months. Her first solo record, "One Boy," was a number from the musical Bye Bye Birdie and only hit number 54 in 1960. She continued to record through the decade, but never had another winner that rose as high on the charts as "Johnny Get Angry." She later achieved a different kind of success in commercials with several different jingles that she sang for Pepsi during the '60s and again two decades later. (The title of one of her later albums, Come Alive, was even derived from one of the Pepsi ad campaigns.)

Sommers, whose real name is Joan Drost, was born in New York but grew up in California. During her high school and college years, she sang in school bands. She was 18 years old when Warner Bros. signed her to a contract in 1959 and paired her with Edd Byrnes on one of his singles. She also had a small role in 77 Sunset Strip, the television series that featured Byrnes in the role of Kookie. In addition, she sang on Byrnes' "I Don't Dig You" and "Hot Rock," which appeared on one of his albums. Sommers released an album of her own, the jazz-oriented Positively the Most, and it helped establish her presence in easy listening and adult circles. Fans and critics often cite her 1965 album, Softly the Brazilian Sound, as one of her best efforts.

In 1966, the singer signed with Columbia Records. One of her following recordings was a version of "Alfie," which both Cher and Dionne Warwick also covered it. While Sommers' version didn't get the notice that the other two did, she had the satisfaction of placing in the Top Ten in the easy listening category. She also appeared in On the Flip Side, a television special that starred Rick Nelson. The show's soundtrack contains two versions of "Try to See It My Way," one of which is a duet with Nelson while the other is a Sommers solo. The singer, married with three children, stepped out of the spotlight as the '70s approached. Before retiring, she made numerous television appearances on the shows of Johnny Carson, Dinah Shore, Dean Martin, Mike Douglas, Bobby Darin, and others. Sommers started singing and making appearances again during the '80s. ~ Linda Seida http://www.allmusic.com/artist/joanie-sommers-mn0000784759/biography

Hits and Rarities

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Bill Evans - Escape

Styles: Saxophone Jazz, Jazz Fusion
Year: 1996
File: MP3@320K/s
Time: 74:09
Size: 171,2 MB
Art: Front

(5:34)  1. Swing Hop
(5:59)  2. Escape
(6:19)  3. Reality
(6:00)  4. The Sunday After
(4:38)  5. Rattletrap
(5:15)  6. Flash In Dreamland
(7:39)  7. Coravilas
(4:55)  8. Easilee
(5:27)  9. Undercover
(5:55) 10. La Di Da
(4:38) 11. Armsakimbo
(6:15) 12. Aftermath
(5:30) 13. Undercover (Remix - Marcus' Mad Flav)

From Miles Davis' Doo-Bop to albums by Greg Osby and Steve Coleman, much of the "jazz/rap fusion" released has been more hip-hop than jazz essentially, hip-hop with jazz overtones. Bill Evans, however, has featured rappers in much the way a hard bopper would feature a singer -- on "Reality" and the poignant, reggae-influenced "La Di Da," rapper Ahmed Best successfully interacts with an actual, spontaneous, improvisatory band instead of merely pre-recorded tracks. Best's rapping style a cerebral approach akin to De La Soul and A Tribe Called Quest instead of more hardcore rappers like Tupac Shakur and Ice-T  is well-suited to this challenging and complex jazz-fusion setting. On the instrumental side, Escape's triumphs range from the hard-edged jazz-funk pieces "Undercover" and "Rattletrap" to the sensuous, Brazilian-influenced "Coravillas." Though capable of tenderness and vulnerability, Evans has the good sense to avoid bloodless "smooth jazz" altogether. ~ Alex Henderson http://www.allmusic.com/album/escape-mw0000647830

Personnel: Bill Evans (soprano, alto & tenor saxophones, background vocals); Mark Ledford, Loni Groves, Robin Beck, M.C.900 FT JESUS (vocals); Ahmed Best (rap vocals); Wallace Roney (trumpet); Ken Meccia (trombone); Chelsea Orchestra (strings); Jim Beard (Hammond B-3 organ, keyboards, bass, drums, programming, loops, background vocals); Jon Herington, Gary Poulson, Lee Ritenour, Nick Moroch (guitar); Ron Jenkins, Victor Bailey, Mark Egan, Marcus Miller (bass); Max Risenhoover, Billy Kilson, Steve Ferrone (drums); Manolo Badrena (percussion, background vocals); Nalini (background vocals). .

Escape

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Gail Jhonson - Keep The Music Playing

Styles: Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 42:02
Size: 96,5 MB
Art: Front

(0:21)  1. Intro/Gail & Genie
(4:05)  2. Just For Kicks
(4:18)  3. Heaven
(4:12)  4. How Do You... Playing?
(3:46)  5. Soleh
(4:07)  6. I Wanna Love You
(3:40)  7. I'll Be Around
(4:55)  8. Gimme Your Groove
(4:48)  9. Goodnight
(4:02) 10. Sunrise
(3:44) 11. Take What You Need

Gail is definintely keeping the music playing in 2009!  Pearls...the new CD by Gail Jhonson is now signed by NuGroove Records, based in Moorestown NJ. This Cd follows her well-received musical tracks from her 2004 release Keep The Music Playing  ... which starts off with a lively tune called “Just For Kicks”, with Norman Brown on wah-guitar & "Big Game" James Manning on bass. Followed by the classic "Heaven" by BeBe & CeCe Winans. “How Do You Keep the Music Playing”, beautifully presented in the contemporary jazz style... with a feminine touch! "Soleh" is a duet with jazz superstar Norman Brown and bassist extraordinaire Sekou Bunch. “I Wanna Luv U” is a ballad that brings to mind the great songs of yesterday, featurning upcoming producer/songwriter Addam "Gift" Driver and the sweet voice of Charlia. And then there is “I’ll Be Around” a remake of the Spinners smash hit! Pamela Williams on sax lends her groove to “Gimme Your Groove”. Gail lays it back with “Goodnight” a slow groove, and “Sunrise” wakes you up as only Vidais Lovette can with the vocals. “Take What You Need” invites you in and leads you to a “Tropical Island” where Gail Keeps The Music Playing for you!

Born and raised in the city of Philadelphia, Gail Denise Jhonson began piano lessons in elementary school at age 10. Proving to be a gifted student she advanced quickly and played her 1st gig’s at age 14 playing organ with numerous local Funk and R&B bands. On her musical pursuit, by 18 she enrolled into Berklee College of Music and later received a B.A. in composition. Returning home, as a “jazz pianist”, Gail performed with several jazz bands, and other popular Philadelphia artists. She left Germantown in 1985, with her keyboard strapped on and landed an audition with Morris Day (of the “Time”). She eventually moved to Los Angeles to make her dream career come true!  By 2004, Keep The Music Playing, Gail Jhonson’s highly acclaimed debut contemporary jazz CD on her own (Philly The Kid Records), brought her into the international recording spotlight. Led by the hit singles Heaven and Just For Kicks the CD received strong support from the music industry ((“I have shared the stage with Gail many times, and have always found it to be musically inspiring. She has years of experience supporting countless artists but it’s so good to hear her step up, front and center and embrace the spotlight as a solo artist. She does so with grace, elegance, musical integrity and a whole lot of style!” Dave Koz).) and heavy spins on many of the nations smooth jazz stations; Gail’s solo career is now cemented in success!  Gail additionally works as the music director, keyboardist and vocalist for smooth jazz super star guitarist and vocalist Norman Brown where Gail is quite busy. In 2005 the nations highly successful and much anticipated Norman Brown’s Summer Storm Tour was launched with special guest Peabo Bryson, Everett Harp & Brenda Russell followed by the major success of the 2006 Summer Storm 2 Tour with special guest Patti Austin, Alex Bugon and Paul Taylor!!

In addition to putting the finishing touch’s on her follow up to the Keep The Music Playing CD, which is slated for a September 2007 release, Gail is currently working on the music for Summer Storm 3 with this year’s special guest Jeff Lorber and Marion Meadows!!  Gail recently competed in the Capitol Jazz Challenge, Washington DC and last year performed for four weeks in Austrailia with Rain Pryor’s Fried Chicken & Latkas. While there Gail had the extreme pleasure of performing with Abarigal jazz musicans, an experience Gail calls “exhilirating” and looks forward to recording!!  In past years, she has performed with Pink, Minako Honda, Norman Brown, Vanessa Williams, Bobby Lyle/featuring Mindi Abair, Jermaine Jackson, and Morris Day. With early influiences of Duke Ellington and Herbie Hancock and later Stevie Wonder and Joe Sample Gail has recorded with Bobby Womack, Ray Parker Jr. Vesta, Howard Hewitt, Brian Culbertson, OC Smith, Paul Jackson Jr. Pamela Williams, Phil Perry and yes Milli Vanilli. Her various television performances include: BET on Jazz, MTV, Lou Rawls/Parade of Stars, Soul Train, The Tonight Show and numerous video performances.  Gail also has a love for theatre, particularly Gospel Musicals. Her first professional experience was offered as a piano substitute for the stage play Eubie, at the Ivar Theatre, in Hollywood. She soon began playing for a Langston Hughes play, Tamborines to glory, directed by the late Lincoln Kilpatrick, at The Bradley Theatre also in Los Angeles.  Thereafter, she was scoring and was the music director for gospel performances Saving Grace and Reason for the Season, written by Dennis Rowe. In 2003, Gail produced the Saving Grace Cd, with performances by a muti-talented cast including her son, rap artist/producer VEIN and her daughter Tamina, a wonderful vocalist and budding musician.  Presently, Gail finds time to for songwriting, producing, and piano instruction. She has written, Funk Keyboards, a contemporary guide to chords, rhythms and licks and Dictionary of Keyboard Grooves published by Hal Leonard as part of Los Angeles Musician's Institute Master Class Series. Gail is a member of Musicians Union (local 47), Bmi, Naras and has a Certificate of Service, Music Education-Post-secondary/State of California. http://www.cdbaby.com/cd/jhonson

Keep The Music Playing

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Frank Foster - The House That Love Built

Styles: Saxophone Jazz
Year: 1982
File: MP3@256K/s
Time: 53:57
Size: 99,4 MB
Art: Front

( 7:51)  1. I Remember Sonny Stitt
( 7:42)  2. The House That Love Built
( 8:14)  3. John R. And Garfield
( 9:58)  4. Scandia Skies
( 9:30)  5. Lightly Stroking
(10:39)  6. Dunbar's Delight

A very talented tenor saxophonist and arranger, Frank Foster was associated with the Count Basie Orchestra off and on from 1953 to 1995. Early on, he played in Detroit with many talented local players and, after a period in the Army (1951-1953), he joined Basie's big band. Well featured on tenor during his Basie years (1953-1964), Foster also contributed plenty of arrangements and such originals as "Down for the Count," "Blues Backstage," and the standard "Shiny Stockings." In the latter half of the 1960s, Foster was a freelance writer. In addition to playing with Elvin Jones (1970-1972) and occasionally with the Thad Jones/Mel Lewis Orchestra, he led his Loud Minority big band. In 1983, Foster co-led a quintet with Frank Wess and he toured Europe with Jimmy Smith in 1985. Although influenced by John Coltrane in his playing, Foster was able to modify his style when he took over the Count Basie ghost band in 1986, revitalizing it and staying at the helm until 1995. 

Outside of his Basie dates, Foster led sessions for Vogue, Blue Note (1954 and 1968), Savoy, Argo, Prestige, Mainstream, Denon, Catalyst, Bee Hive, SteepleChase, Pablo, and Concord. Foster suffered a stroke in 2001 that prevented him from playing the saxophone, but he continued to compose and arrange music during the first decade of the new millennium. He died at home in Chesapeake, Virginia in late July 2011; Frank Foster was 82 years old. ~ Scott Yanow https://itunes.apple.com/us/artist/frank-foster/id949560#fullText

Personnel:  Bass – Jesper Lundgård;  Drums – Aage Tanggaard;  Piano – Horace Parlan;  Tenor Saxophone, Composed By – Frank Foster

The House That Love Built

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Pepper Adams - The Cool Sound Of Pepper Adams

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 33:11
Size: 77,4 MB
Art: Front

(10:17)  1. Bloos, Blooze, Blues
( 7:27)  2. Settin' Red
( 7:39)  3. Like What Is This?
( 7:47)  4. Skippy

The Cool Sound of Pepper Adams is the kind of record one buys for its remarkable cover art (depicting a flame-haired beauty cupping a seashell to her ear) only to discover the music contained therein is just as spellbinding. A wonderfully soulful session featuring striking contributions from pianist Hank Jones and drummer Elvin Jones, its four lengthy cuts pulsate with energy and invention. Despite complementing Adams' baritone leads with Bernard McKinney's euphonium, the music never sounds bloated. Instead, it's supple and slinky, with a dexterity that's utterly winning. Still, there's no mistaking the physicality of Adams' tone. Songs like "Bloos, Blooze, Blues" and "Like…What Is This?" are as rich and smooth as crushed velvet. ~ Jason Ankeny http://www.allmusic.com/album/the-cool-sound-of-pepper-adams-mw0000097915

Personnel: Pepper Adams (baritone saxophone), Bernard McKinney (euphonium), Hank Jones (piano), George Duvivier (bass), Elvin Jones (drums).

The Cool Sound Of Pepper Adams

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Gloria Lynne - Lonely And Sentimental

Styles: Vocal

Year: 1959

File: MP3@320K/s

Time: 35:35

Size: 81,9 MB

Art: Front

(3:15)  1. Am I Blue

(2:43)  2. For All We Know

(3:17)  3. In Other Words

(3:15)  4. 'tis Autumn

(2:46)  5. Hands Across The Table

(2:39)  6. Love I've Found You

(2:38)  7. Blue And Sentimental

(3:03)  8. Then I'll Be Tired Of You

(2:33)  9. Man Of Mine

(3:22) 10. Little Girl Blue

(2:38) 11. We Never Kissed

(3:19) 12. Sentimental Melody

Gloria Lynne recorded many albums for Everest in her early days, slipped away into obscurity, and then in the 1990s made a comeback. An excellent singer whose style falls between bop, 1950s middle-of-the-road pop, and early soul, Lynne was always capable of putting on a colorful show. Her mother was a gospel singer and Lynne started out singing in church. She had five years of concert training and in 1951 won the legendary amateur competition at the Apollo Theater. Lynne sang with some vocal groups, became a solo artist, and in 1958 was discovered by Raymond Scott, who at the time was a top A&R man at Everest. During her busy period with Everest (at least ten records were cut between 1958-1963), Lynne had hits in "I Wish You Love" (a song she virtually made a standard) and "I'm Glad There Is You." She recorded with both orchestras and jazz combos, becoming quite popular for a period. However, with the rise of rock and the change in the public's musical tastes, Lynne was forgotten for a time. Only a commercial record in 1975 for ABC broke the silence. But starting in the early '80s, Lynne started working regularly again, regained some of her earlier fame, and in the early '90s recorded a couple of CDs for Muse; her initial Everest date also reappeared as an Evidence CD. Gloria Lynne has remained active into the 21st century, and issued one of her strongest albums in decades, From My Heart to Yours, on the Highnote label in 2007. ~ Scott Yanow https://itunes.apple.com/us/artist/gloria-lynne/id132350#fullText

Lonely And Sentimental

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The Paul Bley Quartet - Solemn Meditation

Styles: Piano Jazz

Year: 2008

File: MP3@320K/s

Time: 79:58

Size: 186,7 MB

Art: Front

(6:03)  1. Birk's Works

(3:17)  2. O Plus One

(3:40)  3. Porgy

(3:34)  4. Solemn Meditation

(3:42)  5. I Remember Harlem

(3:06)  6. Drum Two

(4:04)  7. Everywhere

(5:33)  8. Beau Didley

(3:28)  9. Persian Village

(3:25) 10. Triangle

(4:21) 11. Valse Hot

(4:36) 12. Lullaby Of The Leaves

(5:07) 13. You Go To My Head

(3:33) 14. For The Love Of Pike

(3:47) 15. Goody Speaks

(3:29) 16. Polynesia

(5:27) 17. I'll Remember April

(3:53) 18. Willow Weep For Me

(5:45) 19. Pike's Peak

This early quartet date from pianist Paul Bley is somewhat historic because it was the recording debut of both bassist Charlie Haden and vibraphonist Dave Pike. With drummer Lennie McBrowne completing the group, Bley explores a lot of unlikely material in an early postbop manner including Bill Harris' "Everywhere," Roy Eldridge's "I Remember Harlem" and some group originals. The liner notes by Carla Borg (soon to be Carla Bley), who has her "O Plus One" recorded by the group, are also noteworthy. ~ Scott Yanow http://www.allmusic.com/album/solemn-meditation-mw0000269651

Personnel:  Paul Bley – piano;  Dave Pike – vibraphone;  Charlie Haden – bass;  Lennie McBrowne - drums

Solemn Meditation

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Lou Donaldson - Play The Right Thing

Styles: Saxophone Jazz
Year: 1991
File: MP3@224K/s
Time: 49:54
Size: 80,5 MB
Art: Front

(6:21)  1. Play the Right Thing
(6:09)  2. Whiskey Drinkin' Woman
(6:54)  3. Marmaduke
(5:53)  4. Harlem Nocturne
(7:58)  5. This Is Happiness
(6:24)  6. I Had the Craziest Dream
(4:12)  7. The Masquerade Is Over
(6:00)  8. Footpattin' Time

As specifically indicated by the album's title, the title tune's bluesy cast, and Sweet Lou Donaldson's own determined liner notes, this CD aims to strike a blow for soul-jazz, a once-popular, then-maligned idiom newly returned from exile. That it does with no frills, no apologies, and an idiomatic supporting cast. For Donaldson, it was a return to the style that lit up inner-city jukeboxes for him in the 1960s, and though his alto sax lacks some of the majesty that he could summon forth, his bop-flavored technique remained in fine shape in his mid-sixties. It was also a reunion with Donaldson's occasional organist Dr. Lonnie Smith, who contributes plenty of understated savvy to his solos and bass pedal underpinning. Peter Bernstein is the crisp, tasteful guitarist and Bernard Purdie remains the genre's premier timekeeper, assisted by conguero Ralph Dorsey. Together, they work over a series of standards ("Harlem Nocturne," "I Had the Craziest Dream"), some vintage bop (Charlie Parker's "Marmaduke"), and a few Donaldson compositions. "Whiskey Drinkin' Woman," a humorous slow blues featuring Donaldson's high-pitched, good-natured vocals, became a popular feature of his stage act into the next century. With all of these ingredients in place, the CD achieves a comfortable level of competence without really grabbing hold of a groove and riding it the way Donaldson could in his Blue Note days. Also, the sound is a little dry. ~ Richard S.Ginell http://www.allmusic.com/album/play-the-right-thing-mw0000264811

Personnel: Lou Donaldson (vocals, alto saxophone); Peter Bernstein (guitar); Dr. Lonnie Smith (organ); Bernard "Pretty" Purdie (drums); Ralph Dorsey (congas).

Play The Right Thing

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Mary Halvorson Octet - Away with You

Styles: Guitar Jazz, Avant-Garde 
Year: 2016
File: MP3@320K/s
Time: 56:01
Size: 128,4 MB
Art: Front

(6:18)  1. Spirit Splitter (No. 54)
(8:04)  2. Away with You (No. 55)
(9:59)  3. The Absolute Almost (No. 52)
(4:41)  4. Sword Barrel (No. 58)
(7:34)  5. Old King Misfit (No. 57)
(5:31)  6. Fog Bank (No. 56)
(5:14)  7. Safety Orange (No. 59)
(8:35)  8. Inky Ribbons (No. 53)

Continuing her streak of outstanding releases, guitarist extraordinaire Mary Halvorson once again shows her determination to build upon her unique style as a composer and bandleader. She's taken her septet from 2013's superb Illusionary Sea and added an eighth member, pedal steel guitarist Susan Alcorn, and the resulting music is typical Halvorson: harmonically complex, emotionally compelling, and full of interesting moments worth savoring. The first thing one notices about Alcorn's presence is the sense of atmosphere she provides. On the third track, "The Absolute Almost," she offers spare, crystalline notes that gradually emerge and then drift away, providing a somber opening to the cut. Then Halvorson herself joins in, with carefully placed notes that emerge in a pensive dialogue with Alcorn to continue the subdued conversation, before a break in which the rest of the band jumps in to take the piece in a dramatically different direction, full of bounce and rhythmic drive. (It's little surprises like these that always make listening to a Halvorson record such an adventure.) Alcorn's role seems to liberate Halvorson's playing, freeing up subtle opportunities for her to contribute to the group as an equal rather than as a dominant voice.

It's also immediately evident how well this group works together as a unit. Drummer Ches Smith and bassist John Hébert have worked as Halvorson's partners for several recordings, to the point that they are an intuitive element of the rhythmic fluidity that is one of her trademarks. Even during the record's more raucous moments, there's never a sense that they're in danger of losing control of the pulse. And the horns are as fabulous as you would expect: with Jonathan Finlayson, Jon Irabagon, Ingrid Laubrock and Jacob Garchik in the lineup, Halvorson has a superlative brass section for her rich compositions, each member equally adept as a soloist or as an ensemble contributor. Perhaps the most engaging aspect of the recording is its strong emotional core. Listening to the opening of the record, "Spirit Splitter," and the jubilant horn interplay that propels the track, it is clear that this is music to be enjoyed, not simply admired or respected. 

Whether we are taken down a path of exultant cacophony or melancholy musings, with Halvorson as our guide it is sure to involve her irresistible melodic sensibility. I'm sure Halvorson's next installment in her impressive catalog will continue to surprise and astonish, but in the meantime she's given us another exceptional record to celebrate. 

~ Troy Dostert https://www.allaboutjazz.com/away-with-you-mary-halvorson-firehouse-12-records-review-by-troy-dostert.php
 

Personnel: Mary Halvorson: guitar; Susan Alcorn: pedal steel guitar; Jonathan Finlayson: trumpet; Jon Irabagon: alto saxophone; Ingrid Laubrock: tenor saxophone; Jacob Garchik: trombone; John Hébert: bass; Ches Smith: drums.

Away with You

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Pepper Adams - Hollywood Quintet Sessions

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 76:07
Size: 177,1 MB
Art: Front

(5:53)  1. Muezzin'
(6:20)  2. Unforgettable
(8:26)  3. Baubles, Bangles and Beads
(3:50)  4. My One and Only Love
(6:00)  5. Freddie Froo
(6:26)  6. Minor Mishap
(4:57)  7. Blackout Blues
(8:41)  8. High Step
(6:32)  9. Zec
(5:48) 10. Alone Together
(8:10) 11. 5021
(4:58) 12. Four Funky Folk

Music in general, jazz in particular, and notably baritone saxophonist Pepper Adams all had a breakthrough year in 1957. Given his New Star award in Down Beat magazine's critics poll and much acclaim working with the Stan Kenton Orchestra, Adams left Detroit that year for important recording sessions on both the East and West Coasts. Teamed here with musicians based in the Los Angeles area, Adams proved as adept at hard bop as with the cool school sound the California jazzmen had established. Two dates from the summer of 1957 (Pepper Adams Quintet for the Mode label and Critics' Choice from Pacific Jazz) feature drummer Mel Lewis on all the cuts, with help from pianists Carl Perkins or Jimmy Rowles, Kenton trumpeters Stu Williamson or Lee Katzman, bassist Leroy Vinnegar, and on the second assemblage fellow Detroiter bassist Doug Watkins. The result is a solid collection of standards and compositions from emerging Motor City jazzmen Tommy Flanagan, Barry Harris, Thad Jones, and Adams. The distinguished sound of the baritone makes for an intriguing partnership alongside the brass of Williamson or Katzman. Five tracks with the Perkins/Williamson combine produced the calypso to hard bop "Muezzin'," with a singing trumpet followed by baritone, and "Freddie Froo," a hard bopper based on the same batting order, both originals by the leader. A spry version of the usually mundane "Unforgettable," a frantic, wow factor-saturated take of "Baubles, Bangles and Beads," and the tender, deep, and mellow "My One and Only Love" round out the first session. 

Katzman plays very well, trumping his relatively little-known status on three of the next eight tracks. He's excellent taking the lead on Flanagan's now legendary "Minor Mishap," adds to the breezy cool of "High Step" from the pen of Harris, and assists the band in bright, inventive, and adroit 4/4 to 3/4 time changes during the Thad Jones number "5021." Rowles in particular consistently stands out for his inserted solo segments on "5021," and manhandles the other Thad Jones contribution, a furious flyer titled "Zec," in a way original boppers Charlie Parker and Miles Davis would be envious of. His piano leads are simply elegant and refined on two more originals written by Adams: on the bluesy "Four Funky Folk" (originally on the World Pacific LP Blowin' the Blues) and especially during his feature on "Blackout Blues." Of course, Mel Lewis is the consummate professional with every swinging note. But the star here is Adams, emerging with brimming confidence and a solid concept beyond his peers and influences, and exhibiting a style that perfectly reflects his highly intelligent, dry, quick-witted, and fluid personality. For fans and students of the big horn, this is a homework project, and a testament to one of the greatest players of all time on his instrument. ~ Michael G.Nastos http://www.allmusic.com/album/hollywood-quintet-sessions-mw0001219041

Personnel:  Pepper Adams - baritone saxophone;  Stu Williamson, Lee Katzman – trumpet;  Carl Perkins , Jimmy Rowles  - piano;  Leroy Vinnegar, Doug Watkins – bass;  Mel Lewis - drums

Hollywood Quintet Sessions

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Jill Johnson - Songs For Daddy

Styles: Jazz, Vocal
Year: 2014
File: MP3@320K/s
Time: 41:04
Size: 94,3 MB
Art: Front

(2:56)  1. Crazy In Love
(3:25)  2. Hallelujah I Love Him So
(3:18)  3. Fly Me To The Moon
(3:36)  4. Moon River
(3:06)  5. Something's Gotta Give
(3:07)  6. That's Life
(3:53)  7. Love Is Here To Stay
(4:04)  8. The Very Thought Of You
(3:21)  9. No Other Daddy But You
(2:46) 10. After You've Gone
(4:07) 11. Everybody Loves Somebody
(3:19) 12. I Can't Give You Anything But Love

There is no doubt that Jill Johnson is Sweden's uncrowned queen country, but in the fall Jill Johnson takes a step to the side of country music and release an American Songbook albums! An album that is a tribute to Jill's father who has supported her throughout her career. After Jill's success as a singer, musician and songwriter, not least in country music, with the acclaimed Swedish Television series "Jills veranda" and the hit show "Jill" on the Stock Exchange in the spring, choose Jill this autumn to try something for her brand new; To record American classics from the 20s onwards. Standards that are arranged for big band and strings of arranger and musician Anders Berglund. Jill and Anders have talked about making this album together for several years, but not until now has always been right. Anders Jill took under their wing 15 years ago, after they had worked together during the Eurovision Song Contest in 1998 and has presented Jill for big bands, symphony orchestras and invited to collaborations with musicians such as Putte Wickman and Svante Thuresson. "Songs For Daddy" is a tribute album to my father who was a great inspiration in my career. His love of "the American songbook" and jazz have been with me since I was a child and I have long promised him that one day I will play in a big band album. Songs from the past with the likes of Ella Fitzgerald, Frank Sinatra, Ray Charles and Dean Martin. I decided to make the disc now because I'm doing a big band medley of floor show "JILL" and for that I want daddy to be part of it! On "Songs For Daddy" are the very personal and original song "No Other Daddy But You," Jill wrote with his låtskrivarkollegor in Nashville earlier this year. But it also contains classics like Fly Me To The Moon, Everybody Loves Somebody, Moon River and Hallelujah I Just Love Him So and even a big band version of her big hit Crazy In Love. "Songs For Daddy" is a tribute to Jill's father, Tommy, but also a declaration of love to all the fantastic music Jill has been with her from her childhood! (Translate by Google) http://jilljohnson.se/en/songs-for-daddy/

Songs For Daddy

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Mel Tormé - Songs Of New York

Styles: Vocal Jazz
Year: 1963
File: MP3@320K/s
Time: 33:40
Size: 79,3 MB
Art: Front

(2:31)  1. Sunday In New York
(3:23)  2. Autumn In New York
(2:28)  3. Lullaby Of Birdland
(2:15)  4. Broadway
(2:42)  5. The Brooklyn Bridge
(2:35)  6. Let Me Off Uptown
(2:23)  7. 42nd Street
(2:16)  8. Sidewalks Of New York
(3:53)  9. Harlem Nocturne (Nocturne For The Blues)
(2:19) 10. New York, New York
(2:20) 11. There's A Broken Heart For Every Light On Broadway
(3:12) 12. Manhattan
(1:19) 13. My Time Of Day

This thematic recording, with songs all relating to New York City, has vocalist Mel Tormé singing in fine fashion. Some of the familiar numbers are swingy, some stringy, but all are done with the heartfelt passion of a man who has lived in the Big Apple and has many tales to tell. Among some of the favorites are "Autumn in New York" with its ever poignant and heartbreaking lyric, the jumping "Let Me Off Uptown," a classic rendition of "Harlem Nocturne," and the obligatory "New York, New York." 

These sessions, reissued from Atlantic label recordings of 1963, have a disclaimer regarding the transfer from analog to digital, in that quality may be lost in spots. Don't let that dissuade you, as any dropouts are minimal. These are well done and worthwhile offerings from Tormé and friends. ~ Michael G.Nastos http://www.allmusic.com/album/songs-of-new-york-mw0000649757

Personnel: Mel Tormé (vocals); Dave Barbour (guitar); Dorothy Remsen (harp); Gerald Vinci, James Getzoff, Marvin Limonick, Lou Raderman, Henry Roth, Israel Baker, Paul Shure, Harry Bluestone (violin); Alvin Dinkin, Allan Harshman (viola); Margaret Aue, Edgar Lustgarten (cello); Arnold Koblentz (oboe); Gene Cipriano, John Lowe, Paul Horn, Ronnie Lang, Buddy Collette (woodwinds); Frank Beach, Al Porcino, Ray Triscari, Stu Williamson (trumpet); Richard Taylor "Dick" Nash , Lew McCreary, Lloyd Ulyate (trombone); John Kitzmiller (tuba); Jimmy Rowles (piano); Shelly Manne (drums).

Songs Of New York

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Jaco Pastorius & Bireli Lagrene - Stuttgart Aria

Styles: Piano And Guitar Jazz
Year: 1986
File: MP3@320K/s
Time: 54:49
Size: 126,4 MB
Art: Front

( 4:51)  1. American Boy
( 4:46)  2. Donna Lee
( 7:40)  3. Stuttgart Aria I
( 6:02)  4. Jaco Reggae
( 5:55)  5. The Chicken
( 8:56)  6. Teresa
(10:09)  7. Stuttgart Aria II
( 6:30)  8. The Days Of Wine And Roses

At the end of their tour European tour and the triumphant concert in Rome documented on Heavy 'n Jazz Jaco Pastorius, guitarist Bireli Lagrene, and percussionist Serge Bringolf decided to leave the continent with at last one studio recording under their belt. The result is Stuttgart Aria. With the addition of three additional musicians Jan Janke on synths and keyboards, Peter Lubke on drums, and keyboardist Vladislav Sendecki (the keyboardists never played at the same time) the date went off as a series of formatted tunes with extended improvisations anchoring them to the album. While the styles here vary wildly; they are all rooted deeply in the jazz fusion and R&B worlds. To be fair, the trio of Lagrene, Pastorius, and Bringolf could have executed these songs very well especially since one of them was "Donna Lee," Pastorius' transcription of the Charlie Parker bebop classic that he recorded on his own first solo album for Columbia. The keyboards seem to get in the way, and sound stilted based against the loose groove created by the pair of string players. And then there's the matter of Pastorius' "singing" on the title track, which is a meld of James Brown funk, high-tech rock, and jazz. 

It's one long riff; Lagrene gets to riff on forever as Pastorius indulges his weak voice and awful lyrics ("people got to be free/give 'em a shot of R&B"), quoting from Sly Stone and any other tune he can think of. It just comes off as indulgent as hell without any substance other than Lagrene's playing to hold it in place. But there are astonishing moments as well, when Pastorius drives a dub-riddled "Jaco's Reggae" into the stratosphere with a meld of chordal and scalar riffs that never, ever sacrifice the track's rhythm for the sake of improvisation. Lagrene's chunky, knotty chords give it a deeper feel, lending the bottom a wide base. There is also a gorgeous performance of "Teresa" with the single weepiest bassline Pastorius ever recorded. The set ends with a serious lyrical, lush, and moving version of Henry Mancini's "Days of Wine and Roses" that pairs Lagrene and Pastorius together in a silky weave of emotion and musical virtuosity, exchanging harmonics and chromatic melody in a painterly fashion. This disc is far from perfect, and must have been a bit of a drag to even make ever such a high-energy tour, but it's not without merit especially for serious fans of the two principals. ~ Thom Jurek http://www.allmusic.com/album/stuttgart-aria-mw0000654208

Personnel:  Backing Vocals – Jan Jankeje;  Bass [Synthesizer] – Jan Jankeje (tracks: 6, 8);  Drums – Peter Lübke;  Electric Bass [Fender 86], Piano, Vocals – Jaco Pastorius;  Electric Guitar, Backing Vocals – Bireli Lagrene;  Keyboards, Synthesizer – Vladislaw Sendecki*

Stuttgart Aria

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Glenn Zottola - Too Marvelous For Words

Size: 100,3 MB
Time: 32:13
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. Too Marvelous For Words (4:35)
02. Body And Soul (3:32)
03. Oh, Lady Be Good (2:53)
04. Embraceable You (3:03)
05. Three Little Words (2:32)
06. Poor Butterfly (2:29)
07. Sometimes I'm Happy (3:32)
08. You Go To My Head (3:27)
09. When Your Lover Has Gone (4:06)
10. Fine And Dandy (1:58)

In his career,Glenn Zottola has been best known as a brilliant and swinging trumpeter who occasionally doubled quite effectively on alto. But on this special project, he is heard as a talented tenor-saxophonist who draws on the sounds and styles of Lester Young and Coleman Hawkins, finding his own voice somewhere in between. Glenn sounds quite at home playing with the vintage rhythm sections yet gives the music his own twist and never tries to just merely copy or recreate the past.
Relatively few jazz musicians have been equally comfortable on both brass and reed instruments. Benny Carter, Ira Sullivan and Scott Robinson come to mind along with just a handful of others. Glenn was never told that it was difficult to play both brass and reeds, so he developed his own musical conceptions, giving one the impression that it is effortless. But that is consistent with his career for he has often made the difficult seem natural.

Although he has loved playing tenor since he picked up his first saxophone when he was 13, Glenn Zottola
had never recorded a full set on that instrument. Making this CD even more unique is that Glenn is heard playing along with some of the earliest performances recorded for the acclaimed Classic Jazz series. Dating from 1952, the rhythm sections feature such notables as pianists Nat Pierce and Don Abney, and guitarists Mundell Lowe and Jimmy Raney taking short solos while bassist Milt Hinton, Oscar Pettiford and Wilbur Ware, and drummers Osie Johnson, Kenny Clarke and Bobby Donaldson give quiet and steady support. Because Glenn has a timeless and very flexible style, he adapts his playing on this unique set, sounding a bit like a cousin of Lester Young and Stan Getz. His style, hinting at swing, bop and cool jazz, fits the era perfectly.

Performing 10 standards including “Too Marvelous For Words,” “Body And Soul,” “Three Little Words” and “Fine And Dandy,” Glenn Zottola plays creatively within the style of 1952 cool swing without sacrificing his own individuality. If given a blindfold test, few listeners would guess that Glenn’s playing took place nearly 60 years after that of the rhythm sections and some might speculate that this was a long lost session recorded at the Lighthouse.

In any case, this is timeless music and quite fun to hear. ~Scott Yanow

Too Marvelous For Words

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Wycliffe Gordon - Hello Pops!: A Tribute To Louis Armstrong

Size: 149,8 MB
Time: 64:13
File: MP3 @ 320K/s
Released: 2011
Styles: Jazz: New Orleans Jazz
Art: Front

01. Hello Pops (4:20)
02. Keyhole Blues (3:24)
03. Up A Lazy River (3:16)
04. Dream A Little Dream (Feat. Nancy Harms) (2:52)
05. I Cover The Waterfront (3:26)
06. Basin Street Blues (7:34)
07. I've Got The World On A String (Feat. Nancy Harms) (4:44)
08. If (3:13)
09. Meatball 1,2,3 (8:13)
10. Swing That Music (3:18)
11. That Old Feeling (7:40)
12. Black And Blue (3:30)
13. Hello Brother (3:03)
14. Pops For President (3:09)
15. Hello Pops Reprise (2:24)

Hello Pops is a project that simply extends a musical homage and Hello to my favorite and most influential hero!

When deciding on the selections for this CD I chose songs that were poignant during various developmental stages of my personal as well as my musical life. The music of Louis Armstrong (Pops) was on the “hit parade” with me from day one of listening—from the Hot Fives and Sevens all the way through to the All Stars. From my first recording of “Keyhole Blues” (Hot Fives) to “Dream A Little Dream” (with Ella) to “Hello Brother” (All Stars) to “Black and Blue” (All Stars), I enjoyed each tune that Pops did with various groups and configurations.

Pops was also an inspiration for the new compositions in this session. “Hello Pops” is my way of saying thanks to Louis Armstrong for what he did for me. If I could do that for 10 quadrillion, it wouldn’t amount to what he did for me, is my direct sentiment and feeling about it all. “Pops for President” was inspired by a video clip of the All Stars with Louis singing “Black and Blue” to 100,000 Africans that were at war but called a truce just to attend his performance. What better candidate to bring world peace? Can you think of one? I can think of none!!! Pops touched EVERYBODY!!! Still brings tears to my eyes when I think about it. Come on folks, Vote Pops for Pres-i-dent!!!

“Meatball 1, 2, 3,” well, that’s something that just came to me in the dressing room after a gig one night in Wisconsin. Sitting backstage after everyone had left the theatre, I picked up my trumpet and began to play what became this tune. Who knows why I was thinking about meatballs, but here it is in this offering as a song with a simple melody and me playing Trumpet (Meatball 1), Trombone (Meatball 2), and Tuba (Meatball 3). Pops used to write songs about food so I guess he and I have that in common, and that’s just how my mind works sometimes.

I hope you enjoy this CD as much as I have enjoyed putting it together. And one last thing, “Hello, Pops. Wycliffe Gordon here, saying ‘Thank you!’ once again for the great vibes you put in the universe!!!”

Personnel for the album: Wycliffe Gordon on all featured solos on trumpet, trombone, sousaphone and vocals; Anat Cohen on reeds; Aaron Diehl on piano; Corcoran Holt on bass; Marion Felder on drums; Nancy Harms femaie vocals; Bria Skonberg and Emily Asher on trumpet and trombone supplemental. Thanks guys!

Hello Pops!

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Darden Purcell - Where The Blue Begins

Size: 124,8 MB
Time: 53:51
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Destination Moon (5:21)
02. Moon And Sand (5:17)
03. Lullaby Of The Leaves (4:40)
04. You Stepped Out Of A Dream (4:35)
05. This Bitter Earth (5:12)
06. Old Devil Moon (6:13)
07. Dam That Dream (5:45)
08. No Moon At All (3:29)
09. The Nearness Of You (4:46)
10. Wrap Your Troubles In Dreams Weaver Of Dreams (4:22)
11. Stairway To The Stars (4:06)

Darden Purcell's highly anticipated second CD, Where the Blue Begins, masterfully showcases her honey and spice drenched voice, artistic sophistication, and vocal maturity. From her adept navigation of intricate lines on "Destination Moon" to her delicate interpretation of "Stairway to the Stars," Where the Blue Begins demonstrates Purcell is a musical "tour de force."

Shawn Purcell's arrangements illuminate fresh adaptations on well-worn standards such as "Old Devil Moon" and "You Stepped Out of a Dream" as well as more obscure pieces "This Bitter Earth" and Alec Wilder's "Moon and Sand." Produced by Doc Severinsen drummer, Stockton Helbing (drums and cymbals), with musical direction by Shawn Purcell (nylon string and electric guitar), Where the Blue Begins also features first-call Washington D.C. musicians, Todd Simon (B3 organ, piano, wurlitzer and Fender Rhodes), Paul Henry (acoustic and electric bass) and Kenny Rittenhouse (flugelhorn and trumpet). From the Jazz neophyte to the most seasoned aficionado, Where the Blue Begins satisfies all.

Where The Blue Begins

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The Rusty Scott Organ Group - The Thrill Is Gone

Size: 162,4 MB
Time: 70:04
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Blues, Hammond Organ
Art: Front

01. The CCC (6:13)
02. Mean Old Joe (7:20)
03. I Can't Remember (4:47)
04. The Thrill Is Gone (4:55)
05. Who Knew (4:49)
06. Timmonizing (4:55)
07. Funky Little Thing (5:46)
08. Lover Layne (6:26)
09. Bluesology (6:09)
10. Chicken Pickin' (6:38)
11. Curly (4:56)
12. What's Happening! (7:02)

The Rusty Scott Organ Group plays original material and organ standards and is fronted by Hammond B3 organist Rusty Scott of Boston, Massachusetts. The band's music is based on jazz, blues, boogaloo, and funk and features the B3 sound from the 50s and 60s that is associated with Hammond organ legends Jimmy Smith, Don Patterson, Dr. Lonnie Smith, and Brother Jack McDuff.

Hello Pops

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Kurt Elling - The Beautiful Day: Kurt Elling Sings Christmas

Size: 126,5 MB
Time: 54:13
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals/Xmas
Art: Front

01. Sing A Christmas Carol (4:33)
02. Wenceslaus (Image I) (1:27)
03. Star Of Wonder (2:04)
04. We Three Kings (6:31)
05. Christmas Children (4:30)
06. Wenceslaus (Image II) (0:52)
07. Some Children See Him (7:10)
08. Little Drummer Boy (2:46)
09. Wenceslaus (Image III) (1:22)
10. The Michigan Farm (Cradle Song, Op. 41 1) (3:03)
11. The Snow Is Deep On The Ground - Snowfall (6:33)
12. Same Old Lang Syne (6:17)
13. This Christmas (4:31)
14. The Beautiful Day (2:27)

When Kurt Elling embraced the meaning, the spirit and the word Christmas in creating his new album The Beautiful Day (OKeh), he also wanted to make a holiday album that celebrated the promise and magic of the season that touches people of all beliefs. Inventive and fresh, The Beautiful Day reimagines the sounds of Christmas, mixing traditional carols decked out in new arrangements with songs that are revelations and rediscovered treats. New versions of "Little Drummer Boy" and "We Three Kings" join the wistful folk-rock of Dan Fogelberg ("Same Old Lang Syne") and the jazz-and-gospel-influenced soul of Donny Hathaway ("This Christmas"). Elling's lovely duet with his daughter on the title track is the perfect ending for an album that's destined to be a holiday jazz classic.
Grammy® winner Kurt Elling is among the world's foremost jazz vocalists. He won the DownBeat Critics Poll for fourteen consecutive years and was named Male Singer of the Year by the Jazz Journalists Association on eight occasions. An international jazz award winner, the New York Times declared, "Elling is the standout male vocalist of our time." The Washington Post added, "Since the mid-1990s no singer in jazz has been as daring, dynamic or interesting as Kurt Elling. He has come to embody the creative spirit in jazz."

The Beautiful Day

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Lori Cullen - Sexsmith Swinghammer Songs

Size: 101,0 MB
Time: 34:38
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Face Of Emily (2:24)
02. Miracle Home (2:19)
03. Strange Is This Life (3:22)
04. New Love (3:06)
05. Something Right (3:01)
06. This Morning (3:06)
07. Beginner's Luck (2:37)
08. Off Somewhere (Feat. Ron Sexsmith) (2:32)
09. Then There Were Three (2:58)
10. Some Part Of Me (2:54)
11. Don't Go Yet (2:52)
12. True (3:24)

Long time friends and respected musicians Lori Cullen, Kurt Swinghammer and Ron Sexsmith come together and collaborate on a new recording - Sexsmith Swinghammer songs. Ron, who has been a huge fan of Lori’s for years, suggested to Kurt that they co-write an album of material specifically for Lori to sing. The inspired results are sure to draw attention, as always, to her remarkable voice.

Identified by jazz giant Kurt Elling as one of his favourite new vocalists, Lori Cullen’s upcoming album on True North Records is a fresh expression of jazz-infused chamber-pop. With her pure, unaffected style she delivers twelve tunes that evoke the rich creativity of 60’s/70’s composers Bacharach, Webb and Jobim. Supporting the combination of Sexsmith’s renowned lyrical approach and Swinghammer’s unique musical sensibilities, the tracks feature contributions from a dozen of Toronto’s finest musicians.

“To have two of my favourite people who also happen to be two of my favourite songwriters write an album of material for ME to sing is beyond exciting.” - Vocalist Lori Cullen

"It was a thrill for me, not only to write the words for Kurt's incredible music but then to have Lori Cullen lend her beautiful voice to these songs was a dream come true" - Lyricist Ron Sexsmith

“Having Sexsmith as wordsmith was true inspiration to pull out all the stops compositionally, and writing melodies for Lori’s breathtakingly beautiful voice was the greatest motivation one could ever ask for.” - Composer Kurt Swinghammer

The album was recorded at Toronto’s Canterbury Sound by veteran engineer Jeremy Darby and produced by Maury Lafoy, who also played bass along with the core band of drummer Mark Mariash, keyboardist Robbie Grunwald, and guitarist Swinghammer. Centered around nylon string and Rhodes, the skillfully constructed arrangements sparkle with trumpet, trombone, oboe, clarinet, recorder, and harmonica. Backing vocalists Mia Sheard and Jennifer Foster add a signature sound throughout the songs with intricately layered counterpoint parts. With his celebrated experience and sonic sensitivity, David Travers-Smith created the exquisite mix.

“Kurt Swinghammer’s fertile songwriting imagination gave this project an absolutely amazing jumping off point for both Ron Sexsmith’s straight to the heart lyrics and Lori Cullen’s beautiful interpretations. It the rarest and finest combination of music, lyrics and voice I’ve worked on.” - Producer Maury Lafoy

The first Lori Cullen CD came out at the start of a new century. Garden Path reflected a young sensibility informed by her heroes Joni Mitchell and Jane Siberry. Two years later she shifted gears to jazz standards for the well received So Much. Her third release Uneven Hill focused on original writing and dramatically broadened the scope of her sonic world. Calling For Rain in 2006 brought together all the previous elements to create a hybrid of jazz and pop which established her artistic identity. It was nominated for a Best Vocal Jazz Juno and one of her original tunes won the Colleen Peterson Songwriting Award from the Ontario Council Of Folk Festivals. The CDs Buttercup Bugle and That Certain Chartreuse continued to define her reputation as a brilliant interpreter of covers, as well as a distinctive original writer, and expanded her reputation overseas with releases in Japan.

Lori’s seventh album is a confident, mature artistic statement inspired by the personal milestone of motherhood.

Sexsmith Swinghammer Songs

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