Jillian Edwards - Covers

Bitrate: MP3@320K/s
Time: 38:20
Size: 87.8 MB
Styles: Country/Pop/Rock
Year: 2016
Art: Front

[4:08] 1. When A Man Loves A Woman
[3:35] 2. The Middle
[4:10] 3. Lean On Me
[4:20] 4. No One
[3:18] 5. God Only Knows
[4:02] 6. You Are My Sunshine
[2:49] 7. First Day Of My Life
[3:45] 8. I Want You To Want Me
[3:29] 9. When I Need You
[4:41] 10. You've Got A Friend

"I'm recording songs I love & putting my own little heart into'em! Dreamy takes on old + new favorites, by yours truly. I am getting in the studio to re-imagine some of the best songs of all time. I’m diving into songs that are outside of myself, & I’m thrilled to be taking my own swing at’em! I’m covering songs that resonate with something inside me – songs that have stamped themselves into my life, one way or another. I’m adopting these songs as they’re my own for this record, & I hope to honor them w/a fresh perspective. I love recording my own songs, but this record is a moment for me to take a deep breath & do something new. I would be honored to have you alongside me in this process! I’m going all out on this album (it’s my FIRST full length album, ever) & I would be so grateful for your support." ~Jillian

Jillian Edwards is singer-songwriter based in Nashville, TN. Originally from Dallas, TX, this 25-year old indie songstress has been compared to the likes of angels, with a sound influenced by artists such as Alison Krauss, Patty Griffin and Mindy Smith. Jillian’s ability to silence a room of strangers with just the distinct pureness of her voice and an acoustic guitar is a scene to behold. Combining raw talent with honest melodies, she continues to captivate new fans and keep old ones faithfully returning each time she graces a stage. You may have caught her opening for a variety of talented artists over the last few years, including Drew & Ellie Holcomb, Josh Garrels, Ben Rector, David Ramirez, the Civil Wars, & more.

Jillian wowed her earliest listeners in 2009 when she released her EP, Galaxies & Such. In late 2011, she graced fans with her second release, Headfirst, holding the #1 spot on singer-songwriter charts for its entire release week. It wasn’t long after that Jillian was planning a wedding, marrying the love of her life in December 2012. Married life quickly led to a musical side project with her husband, Will Franklin Chapman and brother-in-law, Caleb Chapman, both members of the band Colony House. They named the indie-folk trio “The Inlaws,” recording an EP and playing several successful local shows over the past year. In 2013, Jillian also had the honor of co-writing and singing on the title track of Ellie Holcomb’s latest album, “With You Now.” You may have also noticed her vocals on the “How Great Thou Art” track from Steven Curtis Chapman’s blue grass record, “Deep Roots.” In September, Jillian performed on the cast of Studio Tenn's "The Hank Legacy" where one review described her as possessing an “enchanting voice that evokes the purity of Alison Krauss and the smoky warmth of Norah Jones.” Songs from Jillian's 2011 release “Headfirst” are faithfully played by both Delta Airlines inflight radio and Sirius XM.

Covers

---

Al Haig - Plays Jerome Kern

Styles: Piano Jazz
Year: 1978
File: MP3@320K/s
Time: 38:59
Size: 89,8 MB
Art: Front

(7:20)  1. The Way You Look Tonight
(3:50)  2. Dearly Beloved
(3:24)  3. Yesterdays
(4:31)  4. All the Things You Are
(2:53)  5. Can I Forget You
(4:34)  6. The Folks Who Live On the Hill
(4:40)  7. I'm Old Fashioned
(5:17)  8. The Song Is You
(2:27)  9. They Didn't Believe Me

There is a curious sense of history revisited, or rewritten, in the release of this album by Al Haig. More than three decades ago, in 1947, Haig was a member of the large orchestra (woodwings, strings, French horns) conducted by Johnny Richards for a Dizzy Gillespie record session. The date was dedicated to Jerome Kern; in fact, two of the four songs recorded, The Way You Look Tonight and All the Things You Are are found in the present Haig collection. As one of the first and most gifted pianists to become involved in the revolutionary new jazz of the period, Haig was in and out of the bebop scene for several years, working from time to time with big bands such as Charlie Barnet’s or Jimmy Dorsey’s, but also answering calls from Dizzy or Bird. The present album finds Al in his element, provided with material from the long-prolific pen of Jerome Kern. Haig’s version of Yesterdays (introduced in a 1933 musical, Roberta) finds him in a reflective mood, with fills and ornamentations that are at times evocative of Art Tatum. It is interesting that even on the up tempo pieces such as I’m Old Fashioned, Al bears little resemblance to Bud Powell, who was generally accepted in his day as the pace-setting bebop pianists. The supple bass work on this and other tracks is by Jamil Nasser. ~ From the 1980 liner notes. https://www.cdbaby.com/cd/alhaig

Personnel:  Bass – Jamil Nasser;  Piano – Al Haig;  Helen Merrill – Vocal.

Plays Jerome Kern

---

Richie Beirach & Andy Laverne - Too Grand

Styles: Piano Jazz
Year: 1994
File: MP3@256K/s
Time: 62:21
Size: 114,4 MB
Art: Front

( 5:36)  1. Footprints
( 8:36)  2. Nature Boy
( 4:30)  3. Moonlight In Vermont
( 4:54)  4. So What
( 5:46)  5. Zingaro
( 5:18)  6. Monk's Dream
( 6:29)  7. Milestones
(12:38)  8. In Your Own Sweet Way
( 8:29)  9. Passion Dance

Pianists Richie Beirach & Andy LaVerne have each made a number of first rate solo releases, so a follow up to there earlier collaboration, "Universal Mind," was essential. This time they're on separate keyboards rather than sharing one instrument. They kick things off with an aggressive daredevil take of Wayne Shorter's "Footprints," followed by brilliant interpretations of other classics like "So What," "Monk's Dream," and "In Your Own Sweet Way." The intense closer is a no-holds-barred version of McCoy Tyner's "Passion Dance." Highly recommended for fans of jazz piano. ~ Ken Dryden http://www.allmusic.com/album/too-grand-mw0000436586

Personnel:  Richie Beirach (piano), Andy LaVerne (piano).

Too Grand

---

Mickey Tucker - Hang in There

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 57:48
Size: 132,4 MB
Art: Front

(13:10)  1. Wombat Children
( 7:30)  2. Hang In There
( 8:32)  3. Happy
( 8:21)  4. Cloud Seven
( 8:11)  5. Star Eyes
( 5:30)  6. Mickey's Tucker
( 6:32)  7. Hook-Turns And Hectares

For pianist Mickey Tucker's second Steeplechase recording he gathered a group of fine young players, saxophonists Javon Jackson and Donald Harrison, trumpeter Greg Gisbert, and drummer Marvin "Smitty" Smith, augmented by veteran bassist Ray Drummond, to perform a challenging program of six hard bop-oriented originals, four by Tucker, and a nice trio arrangement of the standard "Star Eyes." With two former Jazz Messengers and Jackson and Harrison on the front line, the music takes on a Jazz Messenger-like flavor, with the melodies of "Happy" and "Hook Turns and Hectacres" adding a modern twist. Tucker's "Happy" has one of the fastest-moving melodies one will ever hear. Starting with a fast piano-drums duet, the composition moves into a tricky line so fast the horns can hardly play it, then into blazing uptempo for the soloists fueled by Smith's driving drumming. Other favorites include the finger poppin "Wombat Children," the funky "Cloud Seven," and another up-tempo burner, "Mickey's Tucker." A welcome addition to Tucker's small discography. ~ Greg Turner http://www.allmusic.com/album/hang-in-there-mw0000423309

Personnel:  Mickey Tucker (Piano);  Javon Jackson and Donald Harrison (Saxophone); Greg Gisbert (Trumpet);  Marvin ‘Smitty’ Smith (Drums);  Ray Drummond (Bass).

Hang in There

---

Steve Bailey, Victor Wooten - Bass Extremes - Cookbook

Styles: Jazz Contemporary
Year: 1998
File: MP3@320K/s
Time: 63:29
Size: 147,1 MB
Art: Front

(6:43)  1. To Serve Man
(2:14)  2. 1/2 Fast
(4:54)  3. Not at 3
(5:37)  4. What So
(5:34)  5. Acoustic Brew
(3:55)  6. Madonna Lee
(6:41)  7. Bassically Yours
(4:25)  8. Cool Groove
(6:01)  9. Glorius Pastorius
(5:28) 10. Eye Of The Beholder
(5:40) 11. Gloria's Child
(6:12) 12. Little Stevie Ray Charles Mingus

Bass Extremes is the name of a collection of works by bassists Victor Wooten and Steve Bailey. It has been released as on CD, video, and in a book of sheet music and tablature. The book was transcribed by Roy Vogt. The Bass Extremes project has also included drummer Derico Watson and Oteil Burbridge. https://en.wikipedia.org/wiki/Bass_Extremes

Personnel:  Steve Bailey, Victor Wooten, Will Lee, Oteil Burbridge (bass); Steve Bailey (background vocals); Victor Wooten (cello, shaker); Will Lee (vocals, background vocals); Oteil Burbridge (vocals); Gregg Bissonette, Kenny Aronoff , Joel Taylor (drums); Jim Roberts (congas).

Cookbook

---

Jessica Young - When I Fall in Love

Styles: Vocal Jazz
Year: 2017
File: MP3@320K/s
Time: 56:24
Size: 129,4 MB
Art: Front

(5:37)  1. Summertime
(3:57)  2. My Heart Belongs to Daddy
(3:07)  3. Blue Skies
(5:18)  4. You Don't Know What Love Is
(3:02)  5. They Can't Take That Away from Me
(5:55)  6. My Funny Valentine
(5:15)  7. Do Nothin' Till You Hear from Me
(5:21)  8. Bewitched
(4:57)  9. Georgia on My Mind
(5:59) 10. When I Fall in Love
(3:45) 11. Let's Fall in Love
(4:05) 12. God Bless the Child

Jessica Young is a 26 year-old from Denver, NC. She started playing the piano at the age of 3; and later, earned a Bachelor of Arts Degree with a concentration in Piano Performance from Queens University of Charlotte. After attending college, she learned how to play guitar, and starting writing songs. She has been to Nashville to record her first album, but returned to her roots in North Carolina to record her second album with an independent label. Her music can make you want to dance, cry, or feel great. ~ Bio http://www.sonicbids.com/band/jessicayoung/

When I Fall in Love

---

Betty Carter, Carmen McRae - Duets: Live at the Great American Music Hall

Bitrate: MP3@320K/s
Time: 61:43
Size: 141.3 MB
Styles: Vocal jazz
Year: 1996
Art: Front

[6:45] 1. Am I Blue
[7:56] 2. Sometimes I'm Happy
[2:58] 3. Isn't It Romantic
[3:35] 4. Sophisticated Lady
[2:51] 5. I Hear Music
[8:08] 6. Love Dance
[4:21] 7. What's New
[3:38] 8. Stolen Moments
[5:54] 9. But Beautiful
[5:33] 10. Ballad Medley: Glad To Be Unhappy/Where Or When
[6:10] 11. It Don't Mean A Thing (If It Ain't Got That Swing)
[3:48] 12. That Old Devil Moon

Betty Carter - vocals; Carmen McRae - vocals, piano; Eric Gunnison - piano; Jim Hughart - double bass; Winard Harper - drums.

This project is an unusual matchup between two very individual vocalists that generally works. Both Carmen McRae and Betty Carter show a lot of good humor during their duets, cracking occasional jokes and often jamming quite spontaneously. With suitable support from pianist Eric Gunnison, bassist Jim Hughart and drummer Winard Harper along with a very enthusiastic audience at San Francisco's Great American Music Hall, Carter usually takes vocal honors while McRae comes up with the most humorous lines. Some of the ensembles are ragged but this encounter is overall quite successful. The CD reissue adds three previously unreleased selections that feature McRae without Carter. Now if only someone had teamed together Ella Fitzgerald and Sarah Vaughan for a full album. ~Scott Yanow

Duets

---

Various - Blue Boat

Bitrate: MP3@320K/s
Time: 61:42
Size: 141.3 MB
Styles: Swing, Jump blues
Year: 1994
Art: Front

[4:32] 1. Steen Vig - Blue Boat
[4:37] 2. Ole Fessor Lindgreen - Memphis Blues
[4:17] 3. Gene "Mighty Flea" Conners - Soul Country
[4:02] 4. Gene "Mighty Flea" Conners - The Flea Is Jumping
[4:54] 5. Gene "Mighty Flea" Conners - Blue Turning Grey Over You
[6:01] 6. Gene "Mighty Flea" Conners - Taps Miller
[5:42] 7. Gene "Mighty Flea" Conners - We Sure Do Need Him Now
[5:57] 8. Gene "Mighty Flea" Conners - Tee
[5:37] 9. Ole Fessor Lindgreen - Kansas City Man Blues
[5:31] 10. Gene "Mighty Flea" Conners - Copenhagen Hip Hop
[7:24] 11. Gene "Mighty Flea" Conners - Foo Foo Blues
[3:02] 12. Steen Vig - Hotel Blækregning

This is a fun set. Steen Vig, a thick-toned tenor saxophonist who also is heard on soprano, displays a flexible style that ranges from swing and Dixieland to spirited jump tunes. He used up to seven pieces on these spirited performances, which sometimes include both Mighty Flea Conners and Fessor Lindgreen on trombones and guitarist Cornell Dupree. Highlights include the debut of Sidney Bechet's previously unrecorded "Blue Boat," Conners' "The Flea Is Jumping," "Taps Miller" and Clarence Williams' "Kansas City Man Blues." It is sad, listening to the joy of the music, to realize that Vig would pass away, on Jan. 1, 1994 when he was just 49. ~Scott Yanow

Blue Boat

---

Tadd Dameron, John Coltrane - Mating Call

Bitrate: MP3@320K/s
Time: 35:02
Size: 80.2 MB
Styles: Bop
Year: 1957/2016
Art: Front

[5:32] 1. Mating Call
[5:07] 2. Gnid
[5:21] 3. Soultrane
[6:19] 4. On A Misty Night
[6:49] 5. Romas
[5:51] 6. Super Jet

These half-dozen tracks from November 30, 1956 -- containing what would be John Coltrane's final studio outing of the year -- find the tenor saxophonist in the company of Tadd Dameron (piano), John Simmons (bass), and Philly Joe Jones (drums). Recordings have been issued with Coltrane's name outranking or insinuating that he is the session leader. However Dameron not only offers up some exceptional interplay against Coltrane, the pianist actually supplied 10-percent of the top-shelf material. The unmistakable rat-a-tat-tat of Philly Joe Jones opens the exotic "Mating Call." Dameron almost immediately responds on the seductive verse that sets the pace. Coltrane bursts through with confident soul as Dameron occasionally interjects his own animated punctuation. By comparison, the pianist takes his turn with consideration and subdued introspection. Yet Dameron steers clear of a mini duet between himself and Jones prior to the final reprise of the chorus. As a sidebar: parties who revel in the production work of Rudy Van Gelder are encouraged to spin "Mating Call"'s echoplex-laden fade out for some old-school excitement.

It remains unknown whether Dameron titled the lovely and melodic "Gnid" after the acronym for the social-disease yielding "Gram-Negative Intracellular Diplococci." The name aside, "Gnid" features the ensemble at their collective best. The uniform guidance of Dameron and Coltrane is explored immediately as they unfurl the spry theme before taking the respective reigns. The pianist's solo reveals hints of Duke Ellington's "Take the 'A' Train" as a build up to Coltrane's inventive and playful counterpoint. "Soultrane" may well be Dameron's greatest gift to Coltrane as the ballad is custom-built for the tenor player's tender yet empathetic sonic terminology. Nowhere is this more evident than when the rhythm hits double-time with a lack of competition from the bandstand, while Coltrane takes the combo around corners with acuity and fluidity to spare. Giving props to the pop songbook standard "September in the Rain," Dameron's "On a Misty Night" is a study in contrasts. Coltrane embraces the singsong quality of the chorus in broad, hearty strokes. On the other hand, Dameron's playing has a Thelonious Monk feel in places -- especially as the swinging backbeat vacillates in and out of a double-time pattern. The sturdy blues of "Romas" has Dameron calling the shots with a stealth-like vibe that Coltrane fleshes out in the ensuing instrumental banter.

As if building up to a high-energy conclusion, "Super Jet" is an outright bop-inspired vehicle into the pure improvisational nature of jazz. Coltrane is beginning to show signs of his mile-a-minute phrasing that would later become known as "sheets of sound." Dameron loses none of the momentum during his response and finally, Jones gets a chance to trade licks with Coltrane as the pair demonstrate their uncanny ability to complete -- or at the very least complement -- each other's performances. ~Lindsay Planer

Mating Call

---

Susannah McCorkle - Someone To Watch Over Me: The Songs Of George Gershwin

Bitrate: MP3@320K/s
Time: 61:35
Size: 141.0 MB
Styles: Jazz vocals
Year: 1998
Art: Front

[5:23] 1. They Can't Take That Away From Me
[4:15] 2. Who Cares
[4:18] 3. Someone To Watch Over Me
[4:51] 4. It Ain't Necessarily So
[5:20] 5. How Long Has This Been Going On
[1:13] 6. I Got Rhythm Intro
[3:37] 7. I Got Rhythm
[3:37] 8. Love Walked In
[3:44] 9. I Loves You Porgy
[4:58] 10. They All Laughed
[3:07] 11. Summertime
[4:13] 12. 's Wonderful
[4:49] 13. I Was Doing All Right
[4:01] 14. I Got Plenty O' Nuthin'
[4:03] 15. Will You Remember Me Drifting Along With The Tide

Alto Saxophone [Alto Sax], Flute [Alto Flute] – Jerry Dodgion; Bass – Dick Sarpola, Steve Gilmore; Drums – Rich DeRosa; Guitar – Howard Alden; Tenor Saxophone, Flute [Alto Flute] – Chris Potter;Trombone – Conrad Herwig; Trumpet, Flugelhorn – Randy Sandke; Vocals – Susannah McCorkle.

Throughout her career, singer Susannah McCorkle recorded many "songbook" sets dedicated to the music of a particular composer or lyricist. She followed up sets of Cole Porter and Irving Berlin in 1997 with a full program of George Gershwin's music. On this CD, McCorkle performs 15 Gershwin songs in settings ranging from an octet that includes tenor saxophonist Chris Potter, trumpeter Randy Sandke, trombonist Conrad Herwig, and altoist Jerry Dodgion to duets with guitarist Howard Alden ("I Loves You, Porgy"), bassist Dick Sarpola ("I Was Doing All Right" and "Love Walked In"), and her musical director, pianist Allen Farnham (a medley of "Will You Remember Me?" and "Drifting Along with the Tide"). Even when singing such well-known tunes as the title cut, "How Long Has This Been Going On," "I Got Rhythm" (to which she adds an introduction explaining Ira Gershwin's method of coming up with lyrics), and "'S Wonderful," McCorkle comes up with fresh variations and subtle creativity. Although one wishes that she had unearthed more Gershwin obscurities, listeners should be grateful that Susannah McCorkle recorded a long string of easily recommended vocal jazz albums during her lifetime. ~Scott Yanow

Someone To Watch Over Me

---

Bernard Berkhout - Doctor Bernard & His Swing Orchestra

Bitrate: MP3@320K/s
Time: 51:37
Size: 118.2 MB
Styles: Big band, Swing
Year: 2011
Art: Front

[3:48] 1. Roll 'em
[3:52] 2. Minnie The Moochers Wedding Day
[3:26] 3. Jersey Bounce
[4:10] 4. St. Louis Blues
[4:43] 5. He Ain’t Got Rhythm
[3:28] 6. I Would Do Most Anything For You
[3:44] 7. House Hop
[3:02] 8. Swingtime In The Rockies
[3:31] 9. Estrelita
[3:07] 10. Sing Me A Swing Song (And Let Me Dance)
[4:15] 11. Down South Camp Meeting
[3:56] 12. Happy As The Day Is Long
[3:00] 13. You Turned The Tables On Me
[3:29] 14. Let’s Dance

Clarinettist Bernard Berkhout formed the Swing Orchestra in 2008. The big band consists of 18 musicians and focuses entirely on 1930s jazz. The Swing Orchestra is in high demand both in the Netherlands and abroad. Lindy Hoppers love to dance to this style of music and the Swing Orchestra is followed by Lindy Hoppers from all over Europe.

The music of Bernard Berkhout’s Swing Orchestra is based entirely on the ideas and arrangements of Benny Goodman. The orchestra comprises only professional musicians and reproduces the ambience and style of the thirties with exactly the same line-up as the traditional Goodman big band: 4 saxes, 3 trumpets, 2 trombones and a rhythm section – but now led by the world’s best contemporary swing clarinettist, Bernard Berkhout. Benny Goodman’s music is brought out of the 1930s and into the 21st century in an incomparable manner!

Doctor Bernard & His Swing Orchestra

---

Kenny Burrell - Ellington Is Forever Vol 1

Bitrate: MP3@320K/s
Time: 72:47
Size: 166.6 MB
Styles: Guitar jazz
Year: 1975/1995
Art: Front

[ 1:48] 1. Jump For Joy
[ 8:38] 2. Caravan
[ 4:38] 3. Chelsea Bridge
[ 4:30] 4. Mood Indigo
[ 3:13] 5. Don't Get Around Much Anymore
[15:31] 6. C-Jam Blues
[ 9:31] 7. It Don't Mean A Thing (If It Ain't Got That Swing)
[ 5:09] 8. I Didn't Know About You
[ 3:25] 9. My Little Brown Book
[10:26] 10. Blues Medley
[ 2:51] 11. Do Nothin' Till You Hear From Me
[ 2:59] 12. Take The A Train

For fans of jazz, it is deeply, satisfyingly appropriate that Kenny Burrell should be the one to organize this splendid homage to Duke Ellington. It is a well-known fact that Burrell was the Duke's favorite guitarist, and legend has it that on one occasion when Burrell couldn't make a date, Ellington chose to cut the guitar part from the score rather than have it performed by a lesser player. On Ellington Is Forever, Vol. 1, Burrell has put together a small big band, if you will, to perform 12 Ellington or Strayhorn compositions. It is a high-class affair, featuring such notables as Jimmy Smith, Thad Jones, and Joe Henderson, who turns in one of the most memorable solos on the record on "Caravan." The leader remains mostly inconspicuous throughout, comping tastefully and soloing with his typical funkiness when the music calls for it, but never drawing undue attention to himself. In fact, Burrell is so subservient to the music, so respectful of the contributions of his fellow musicians, that one would never guess that Ellington Is Forever is his own project. This is clearly an affectionate tribute, one born out of close association as well as great appreciation. Besides Burrell, another notable Ellington collaborator present on these dates is pianist Jimmy Jones, whose solo rendition of "Take the 'A' Train" puts the song "in requiem status" according to no less an authority than Jerome Richardson, who is also present on this record. What makes Ellington Is Forever really special, however, is the presence of vocalist Ernie Andrews on two tracks, who swings soulfully through terrific renditions of "Don't Get Around Much Anymore" and "My Little Brown Book." A long time favorite of Burrell, Andrews simply owns this material. His contributions are too brief. As far as shortcomings are concerned, it ought to be mentioned that the recording is slightly lacking in lower frequency response. For example, Stanley Gilbert's bass, though masterfully played, lacks the resonance that the listener would like to hear. This, however, is a minor complaint. Ellington Is Forever, Vol. 1 is a fitting tribute to one of the giants of American music, and the second volume, which followed two years later, is just as good. ~Daniel Gioffre

Ellington Is Forever Vol 1

---

Irene Reid - The Uptown Lowdown

Styles: Vocal, Soul
Year: 2009
File: MP3@320K/s
Time: 39:26
Size: 90,5 MB
Art: Front

(4:41)  1. I'm Walkin'
(5:47)  2. Candy
(4:43)  3. Mamma, He Treats Your Daughter Mean
(5:06)  4. I Believe I Can Fly
(5:20)  5. I'll Take You Back
(4:02)  6. If I Never Get To Heaven
(5:16)  7. Me and Mr. Jones
(4:28)  8. Long John Blues

Irene Reid is a survivor, a voice from a golden age of jazz and blues singers. In the 1960s, she toured with Count Basie and recorded for Verve, then disappeared for decades, only to sound better than ever on a trio of CDs with organist Charles Earland before his death in late 1999. Like its predecessors, The Uptown Lowdown is relaxed, soulful, elemental music roots with elegance. Reid sings in a style at the early intersection of jazz and R&B, with a sweet and gritty voice that recalls Dinah Washington and Ruth Brown. She covers some of their songs here, but she gives them her own spin, swinging mightily with a phrasing as natural as speech. She draws with ease on wellsprings of feeling, from a secure plaintiveness to bawdy humor, adding her own depths to "Me and Mr. Jones" and infusing a gospel spirit into the contemporary R&B of Robert Kelly's "I Believe I Can Fly." Earland builds potent grooves with drummer Greg Rockingham and blends his organ keyboards with two tenors and trumpet, creating a lush carpet of sound for Reid's rich voice. Eric Alexander contributes some booting tenor solos, and guitarist Bill Boris adds cutting, soulful blues. ~ Stuart Broomer https://www.amazon.com/Uptown-Lowdown-Irene-Reid/dp/B00000DUC6

Personnel: Irene Reid (vocals); Eric Alexander,  Mike Karn (tenor saxophone); James Rotondi (trumpet); Charles Earland (Hammond B3 organ); Bill Boris (guitar); Greg Rockingham (drums).

The Uptown Lowdown

---

Arthur Blythe - Focus

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 62:13
Size: 142,8 MB
Art: Front

(6:52)  1. Opus 1
(3:18)  2. Children's Song aka That Old Man
(4:58)  3. C.C. Rider
(2:53)  4. Once Again
(8:09)  5. My Son Ra
(6:20)  6. Hip Toe
(6:50)  7. Night Song
(3:16)  8. Bubbles
(5:00)  9. Stuffy Turkey
(5:19) 10. Night Creeper
(7:58) 11. In A Sentimental Mood
(1:16) 12. Focus

After what many considered a dry period in the early 1990s, Arthur Blythe gently began his return to alto prominence through exotic collaborations with cellist David Eyges and mallets player Gust William Tsilis. Focus presents one of his most unusual ensembles since the early '80s tuba/cello/guitar quintet. The sparse, foreign sound of this new quartet takes a moment to adjust to, but after a short distance into “Opus 1” (a Blythe original, not the old Sy Oliver chestnut) we are completely sucked in. Tsilis’s tinkly marimba carries the air of the Brazilian rainforest or African veldt but, within the full context of the album, manages to sound comfortably at home. Two obscure Monk tunes, actually expansions of prior art, are assayed here. “Children’s Song,” a recasting of “This Old Man,” is taken slowly and decorated by Blythe’s signature wide vibrato. “Stuffy Turkey,” drawing heavily from Coleman Hawkins’ “Stuffy”, gets the Bourbon Street treatment; Stewart’s vigorous puffing sounds perfectly fitting, and Brooks is sufficiently flexible to negotiate all the different turns this multi-hued album takes. Two duo tracks offer Blythe and friends a chance for more introspective action. “Once Again” is a mysterious duet for Blythe and Tsilis, their lines woven together like a rich textile. As the altoist matches wits with Stewart on “Hip Toe,” they fill in the numerous spaces nicely with spontaneous phrases and thoughtful responses. Only Ellington’s “In A Sentimental Mood” flounders, and significantly so. Blythe’s intonation is quite unsteady at times, and Tsilis mostly noodles with a seeming lack of direction as if he were unfamiliar with the tune. However, Blythe quickly redeems things on the title piece, a too-short solo of impressive lyricism which brings a satisfying end to a most surprising experience. More evidence that Blythe still has plenty of good, creative notions within his expansive mind. ~ Todd S.Jenkins  https://www.allaboutjazz.com/focus-arthur-blythe-savant-records-review-by-todd-s-jenkins.php

Personnel: Arthur Blythe, alto sax; Gust William Tsilis, concert grand marimba; Bob Stewart, tuba; Cecil Brooks III, drums.

Focus

---

Lee Konitz - Frescalalto

Styles: Saxophone Jazz 
Year: 2017
File: MP3@320K/s
Time: 50:32
Size: 117,9 MB
Art: Front

(9:35)  1. Stella By Starlight
(6:25)  2. Thingin
(5:17)  3. Darn That Dream
(4:58)  4. Kary's Trance
(7:26)  5. Out of Nowhere
(3:25)  6. Gundula
(9:19)  7. Invitation
(4:02)  8. Cherokee

The whim of the first disc of Impulse! if it is taken to the threshold of the nineties, yet another step in a career that would not be enough to tell two Treccani and their Appendices. A life in jazz as there have been few, and as ever (maybe) there will be, that of Lee Konitz. From the beginning the court of Lennie Tristano 's legendary Birth of the Cool Miles, by Claude Tornhill and Stan Kenton to fraternal association with Warne Marsh , the glittering wonders scattered among the fifties and sixties (put hands and ears least of Motion , in a trio with Elvin Jones and Sonny Dallas ) infinite series of collaborations between the seventies and eighties have made it the absolute giant status ( Satori and Duplicity , published by the Italian Horo, the essential). Until the present day, ECM Angel Song , with Kenny Wheeler , Bill Frisell and Dave Holland , to a brace Blue Note, Alone Together and Another Shade of Blue , the giant Live at Birdland , with Brad Mehldau , Charlie Haden and Paul Motian , and the very recent Costumes Are Mandatory , given to the press thanks to Ethan Iverson , Mr. Bad Plus. It lacked just a Impulse! to complete the priceless collection. Lacuna finally filled with drummer Kenny Washington , which producing Frescalalto has somehow settled a debt contract in 1977, when Konitz wanted him for his nonet spalancandogli for the first time the doors of a recording studio. Four decades later the two are back together with Peter Washington (no relation) and never less than excellent Kenny Barron to complete the quartet. Gregori luxury for a delicious condensate Konitz-thought. Structured around the usual standard punch ( "Stella By Starlight," "Darn That Dream," "Cherokee") and above all the warm tone and sinuous saxophone, in that unmistakable ruling that the weather made it more human, real bewitching. Okay, we are not the parts of the Live at Birdland , and the rhythm section sometimes thinks only keep going without realizing that we would need very different care, greater sensitivity. But heck! Konitz enough. When sounds (Please listen to the joyous reinterpretation of "Out of Nowhere") and even when sudden humming, with the affectionate and approximate pace of those who in life has seen pretty much all. Other percent of these discs Mr. Konitz! ~ Luca Canini https://www.allaboutjazz.com/frescalalto-lee-konitz-impulse-review-by-luca-canini.php

Personnel: Lee Konitz: saxophone (alto) voice; Kenny Barron: piano; Peter Washington: bass; Kenny Washington: drums.

Frescalalto

---

Christine Tassan & Les Imposteures - Entre Felix & Django

Size: 131,6 MB

Time: 55:51

File: MP3 @ 320K/s

Released: 2016

Styles: Jazz: Gipsy Jazz, Vocals

Art: Front

01. Entre Felix Et Django (3:02)

02. Le P'tit Bonheur - Minor Swing (3:33)

03. Artillerie Lourde - Les Cent Mille Façons De Tuer Un Homme (4:12)

04. Le Bal - Montagne Sainte-Genevieve (4:40)

05. Tears - Notre Sentier (6:40)

06. Tzigani - Tzigane - Fulginiti (5:35)

07. La Mouche A Feu - Peche A La Mouche (4:24)

08. Reel Des Bottines A Martine - Moi Mes Souliers - Nuits De Saint-Germain-Des-Pres (4:24)

09. Le Tour De L’île - Troublant Bolero (4:37)

10. Mystery Pacific - Le Train Du Nord - Blues Clair (4:47)

11. Melodie Au Crepuscule - L'hymne Au Printemps (3:44)

12. Nuages - Bozo (5:31)

13. Entre Felix Et Django – Epilogue (0:36)

Personnel:
Christine Tassan: lead guitar, rhythm guitar, vocal
Martine Gaumond: violin, podorhythm, back vocal
Lise-Anne Ross: rhythm guitar, back vocal
Blanche Baillargeon: double bass, back vocal

It has been ten years since Christine Tassan et les Imposteures started tending their craft in the gypsy jazz milieu and performing standards, and there is no doubt that they are definitely here to stay. Pioneers in a domain usually reserved for men and precursors of the gypsy wave that swept across Québec, this all-woman quartet continues to reinvent this timeless music while integrating new ideas and influences with an originality and flair we have become familiar with. From standards to original compositions, the Imposteures’ musical arrangements innovate, rejuvenate and leave room for unbridled creativity from four talented and accomplished young women.

Since their inception in 2003 the group has solidified their reputation. With more than 400 concerts in various venues and festivals, including numerous appearances in major events Christine Tassan, Lise-Anne Ross et Blanche Baillargeonand tours across Canada and France, they have cultivated the adoration and loyalty of an ever growing fan base. We have had the chance to see them at the Montreal International Jazz Festival, at the Lévis Jazz Festival, at the Guitar Festival in Rouyn-Noranda, at the April in Paris Vancouver festival and in St-Pierre-et-Miquelon. On two occasions, their show has been taped and broadcasted by CBC Radio as part of the Concerts on demand, in Montreal and Saskatoon. Over the years, the band has shared the stage with illustrious gypsy swing musicians, including John Jorgenson, Tchavolo Schmit, Angelo Debarre, Rodolphe Raffalli and David Reindhart.

In June 2014, they had the great pleasure to be invited at the Django Reinhardt Festival of Samois-sur-Seine (France), one of the most prestigious gypsy jazz festivals since it takes place in the town where the great manouche guitarist lived his last years. In front of more than 2000 enthusiastic people, they stood out with their “finesse” and “joie de vivre” as the very first women and furthermore Québécois gypsy jazz band to perform on this famous stage !

Their first two albums, De bon matin (2007) and Pas manouche, c’est louche (2010), achieved rapid critical acclaim. Only a few weeks after it was released, De bon matin went to the top of Radio-Canada’s Coup de Coeur hit list and reached number one on the Radio Couleur Jazz top 4. In turn, Pas manouche, c’est louche was nominated for Best Jazz Album Creation at the ADISQ awards, alongside other great artists such as Jordan Officer, Julie Lamontagne and Christine Jensen.

On stage, we bear witness to four musicians who have mastered their talents. They improvise with ease, interpret their repertoire with dynamism, and blend their voices together in refined harmonies. But it’s their communicative energy and the personal bondBlanche Baillargeon, Martine Gaumond et Lise-Anne Ross between them that hits home the most. Christine Tassan et les Imposteures, are first and foremost four friends who have harnessed their energies and their voices to give rise to, year after year, the fruit of their creativity.

Their third album, released in October 2012, follows in the same lively spirit. Like its two predecessors, it weaves together a clever mix of original compositions and standards, songs and instrumental pieces. The album brims with a ripe confidence that clearly reveals the evolution of the group. C’est l’heure de l’apéro marks the beginning of a new chapter for Christine Tassan et les Imposteures, who are once again touring Québec, Canada and the world to showcase their new sparkling and savory show.

Entre Felix & Django 

---

Simone Kopmajer - Good Old Times

Size: 109,0 MB
Time: 46:53
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Till There Was You (3:56)
02. Lost In Love (4:20)
03. Reality (4:37)
04. Heart Of Gold (3:06)
05. That's Why (You Go Away) (3:22)
06. First Of May (4:25)
07. You're My Everything (5:08)
08. Have I Told You Lately (5:38)
09. Have You Ever Seen The Rain (3:35)
10. Lost Stars (4:20)
11. The Morning Sun (4:22)

"Good Old Times" is Simone´s new solo album in the spirit of her bestseller "Nothing´s Gonna Change". The album features guitarist Jean-Paul Bourelly, pianist Paul Urbanek, bassist Jamaaladeen Tacuma and drummer Reinhardt Winkler on a 11 song set that presents covers by Neil Young, The Bee Gees, Van Morrison and many more.

The Good Old Times

---

Cindy Bradley - Natural

Size: 112,7 MB
Time: 48:13
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz: Smooth Jazz
Art: Front

01. Girl Talk (4:06)
02. Category A (4:19)
03. Everyone But You (5:10)
04. Vibralux (4:10)
05. Imagine That (4:55)
06. Clean Break (4:28)
07. Natural (4:11)
08. Bring It Back (4:34)
09. She Bop (4:37)
10. Crush (3:19)
11. Coco's Lullaby (4:18)

Flugelhorn and trumpet really rock her boat. Cindy Bradley left some imposing traces in the sand of the smooth jazz genre with Just A Little Bit (2007), Bloom (2009), Unscripted (2011) and Bliss (2014). Natural (2017) is her fourth album in connection with the label Trippin' n' Rhythm.

The set opens with Girl Talk, a funky exchange of blows between Cindy on trumpet and Paula Atherton on sax. Sax veteran Paula had invited Cindy on her fourth album Ear Candy (2015) and the opening track is according to the principle of mutuality a great thank-you with positive effect.

On Category A Cindy works together with outstanding guitarist Chris Standring, who has a superb knack for the perfect sonic twist. Music lovers will recognize parallels to groundbreaking pieces of pop history. Everyone But You touches a romantic chord within the listener with unadulterated sound of the flugelhorn and an acoustic guitar of classical characteristic.

The meaning of the title Vibralux will be revealed, when one mingles vibrancy, the quality of being vibrant, with lux, the derived unit of luminance or illumination. The magical formula of discovering shining music. Imagine That merges symbiotically flugelhorn with horn harmonies and out of this rises the sound of sax. The epitome of trumpet and sax in a creation of sonic balance.

Clean Break is continually evolving from a disco like stomping beat to a funky bridge. Bradley breaks out from the closed manege of rhythm and enjoys the sensation of artistic freedom. Natural is constructed with funk components, David Mann's exquisite horn arrangement, Cindy's cool muted trumpet and Chris Standring's special UK guitar flavor.

Bring It Back shows Cindy's great talent as a compositional storyteller. A muted trumpet in a sonic flow closely entwined with Nick Colionne's guitar performance. She Bop bridges the gap between Bebop jazz, swing and contemporary jazz stretching the limits of these genres with an inventive sound and a modern spin.

Crush is crisp and definitely right in the groove. This well-balanced tune with a bouncy melody creates the perfect mood for every occasion. Coco's Lullaby is flugelhorn in best hummable harmony. A quiet engaging creation hook-filled with an emotional impact.

Beauty, elegance, and a quiet grace infuses distinct artistic individuality into melodies. Natural is one of those rare works of art having body, soul, and spirit.

Natural

---

Jan Daley - The Way Of A Woman

Size: 102,0 MB
Time: 41:33
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals, Smooth Jazz
Art: Front

01. Come On Daddy (3:00)
02. The One I've Been Waiting For (4:07)
03. The Way Of A Woman (3:48)
04. Cry Me A River (3:42)
05. Something Old Something New (4:43)
06. She Was A Dreamer (4:10)
07. God Bless The Child (4:23)
08. More Love (4:11)
09. Skylark (2:44)
10. When Sunny Gets Blue (3:48)
11. I Love You Tonight (2:52)

Adored for her singular magic for making what’s classic contemporary again, Jan Daley is the most multi-talented and beautiful Best Kept Secret in entertainment today. The triple-threat singer/songwriter, actress and playwright connects to audiences worldwide with her authentic, personal presentations couched with just the right amount of razzle dazzle to remind you why she’s at center stage.

As usual, Jan is currently juggling projects in various performance arenas. Her top priority is a new jazz-kissed easy listening EP When Sunny Gets Blue. The title track is her smoky rendition of the classic ballad co-authored by her one-time songwriting teacher Jack Segal (with Marvin Fisher), introduced by Johnny Mathis with the Ray Conniff Singers and later recorded by many including Nancy Wilson, Anita O’Day and Kenny Rankin. Jan’s version, which co-produced and co-arranged with Segal himself before he passed away, is buttery smooth and drenched in sexy saxophone and is receiving glowing nods at smooth jazz radio.

Reflecting on Daley’s artistic excellence, Jack Segal assessed, “Jan is a truly talented musician, singer and lyricist. Her marvelous voice is selectively controlled and her intonation is immaculate.”

Jan Daley’s new CD “The Way of a Woman” is a testimony to the ups and downs of being in and out of love. An experience many woman can relate to says Jan. This 11-song set contains five tracks from her previous EP, and 6 new tracks that are all embellished with Jan’s flawless delivery of each and every note. On this CD you will find a new additive to her versatility – Sensousness!

The Way Of A Woman

---

Judy Niemack & Dan Tepfer - Listening To You

Size: 108,1 MB
Time: 46:38
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. There Will Never Be Another You (5:09)
02. Listening To You (4:06)
03. Body And Soul (5:45)
04. Like A Butterfly (4:14)
05. You've Taken Things Too Far (5:20)
06. When Chick Came Around (4:21)
07. You're My Thrill (5:44)
08. Epistrophy (5:43)
09. All The Things You Are (6:12)

Personnel:
Judy Niemack - vocals
Dan Tepfer - piano

Jazz aficionados are often concerned with lineages within the music and the passing of the torch. There aren’t many musicians left who have witnessed and assisted in the development of jazz and improvised music as much as saxophonist Lee Konitz has. From the height of bebop to the current avant-garde, Konitz has established himself as a cornerstone and link between many adventurous musicians.

Two such musicians are vocalist extraordinaire Judy Niemack and the exceptional pianist Dan Tepfer. Both have been fortunate enough to play and collaborate with the legendary saxophonist. It was only natural that Niemack and Tepfer would find such a rapport when they finally met via Konitz. It took the duo no time to be at ease with each other and to pursue a lively recording, entitled Listening To You.

Niemack stands apart as one of her generation’s most celebrated vocalists. She is originally from California; her jazz studies began with saxophonist Warne Marsh, who famously studied and performed with piano polymath Lennie Tristano along with Konitz. Niemack moved to New York City in the late 1970s and began to make a name as a vocalist, writing lyrics for and collaborating with many well-known musicians, including Pat Metheny, Kenny Barron, Don Grolnick, Toots Thielemans, Mike Stern, and Konitz.

Dan Tepfer has become an important figure in his generation’s developments within the worlds of jazz, modern classical and improvised music. His path within jazz crossed with Konitz very early on, whereby he established a long-running collaboration with the saxophonist.

Niemack and Tepfer’s first encounter came when Tepfer and Konitz were in Berlin for a performance. While keeping a home in New York, Niemack had been teaching for many years at the Jazz Institut Berlin, and she always made the effort to hear Konitz when he performed nearby, allowing the singer and the pianist an opportunity to be introduced in this instance. In the Spring of 2012, Tepfer returned to Berlin where he met up with Niemack to rehearse at the Jazz Institut.

In September 2012, Niemack invited Tepfer to record at Acoustic Recording in Brooklyn, New York, for her first recording in nine years. There was a special emphasis on improvisation, interpretation and taking chances during the proceedings, as Niemack has always advocated the role of the vocalist as a musician. The duo took on a number of the standards they had rehearsed in Germany, though maintaining a playfulness throughout the session. The musicians relied on pure improvisation, though letting the lyrics retain their message. Tepfer doesn’t accompany as much as interact in time to Niemack. Listeners can hear the incredibly creative treatments from Tepfer and the joy that both brought to the recording.

The program begins with a light but insistent take on Harry Warren and Mack Gordon’s “There Will Never Be Another You.” Konitz’s “Listening To You” is based on the chord changes of “All The Things You Are” and features lyrics Niemack wrote at the saxophonist’s request, which she turned into a tribute to Konitz. Tepfer and Niemack perform a lilting version of the chestnut “Body and Soul,” which is followed by “Like a Butterfly,” a piece written by her friend, pianist Ronnie Mathews; Niemack’s original lyrics describe the carefree dancing of a young girl whose responsibilities are yet to come.

Niemack’s bittersweet “You’ve Taken Things Too Far” is about taking stock after the dissolution of a relationship and coming to unexpected realizations about love. “When Chick Came Around” is another composition by Konitz with lyrics by Niemack that heralds the work of the great pianist Chick Corea. Niemack revisits Gorney and Clare’s “You’re My Thrill,” with pathos and drama, having originally recorded it with Cedar Walton on her first recording. The extemporary version of Monk and Clarke’s “Epistrophy” is a true revelation and testament to the duo’s singularity. The program concludes with Kern’s “All The Things You Are,” a beautiful sendoff.

How better to celebrate one of the most creative and exploratory musicians jazz has been blessed with? Niemack and Tepfer are two fully developed, exemplary musicians regardless of instrument, who find a way to make music resonate and creativity blossom, as their hero Lee Konitz has done for decades. Listening To You is a wonderful example of the legacy being passed and beauty being made in its honor.

Listening To You

---