Willie Nelson - My Way

Styles: Vocal, Great American Songbook
Year: 2018
File: MP3@320K/s
Time: 35:25
Size: 81,3 MB
Art: Front

(2:44)  1. Fly Me To The Moon
(3:22)  2. Summer Wind
(3:58)  3. One For My Baby (And One More For The Road)
(2:57)  4. A Foggy Day
(3:55)  5. It Was A Very Good Year
(2:37)  6. Blue Moon
(2:58)  7. I'll Be Around
(2:48)  8. Night And Day
(2:27)  9. What Is This Thing Called Love
(2:44) 10. Young At Heart
(4:51) 11. My Way

Willie Nelson is country music personified, but he’s no red-headed stranger to the Great American Songbook, either. On “My Way,” the prolific Texan swings and croons through 11 songs associated with Frank Sinatra, with whom he formed an unlikely and undeniable mutual admiration society. Nelson has been releasing albums at a pace rarely seen these days among major stars, much less 85-year-olds who’ve been on the road forever. “My Way” is his second new recording release this year, after the reflective “Last Man Standing,” and it’s a joy from start to finish. With “Stardust,” his 1978 smash, Nelson became an early adherent to the now-ubiquitous crossover interpretation of pop standards. And though he’s recorded some of these songs before including “Fly Me to the Moon” and “One for My Baby (And One More for the Road)” the string and horn arrangements led here by Matt Rollings accommodate both Ol’ Blue Eyes’ world and Nelson’s idiosyncratic interpretations. 

“Fly Me to the Moon” gains a slightly more spirited pace than on Nelson’s 2009 “American Classic,” and “Summer Wind” includes a lyrical Nelson solo on Trigger  that nylon-string Martin guitar of his with an extra hole resulting from years of use. The backing really shines on “One for My Baby,” and Nelson’s vocal shows how he is indeed a “kind of poet” even when the song is not his own composition. Nelson lends a special grace to “It Was a Very Good Year” and “Young at Heart,” while, on “My Way,” his phrasing and Mickey Raphael’s harmonica provide a bluesy intimacy that might make some who don’t care much for Sinatra’s braggadocio and bombast on his own version give the song another chance.https://chicago.suntimes.com/entertainment/willie-nelson-my-way-frank-sinatra-music-review/

My Way

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Randy Brecker - Score

Styles: Trumpet Jazz 
Year: 1969
File: MP3@320K/s
Time: 38:10
Size: 88,1 MB
Art: Front

(4:34)  1. Bangalore
(7:17)  2. Score
(5:14)  3. Name Game
(1:21)  4. The Weasel Goes Out To Lunch
(4:09)  5. Morning Song
(4:33)  6. Pipe Dream
(5:14)  7. The Vamp
(5:44)  8. The Marble Sea

Randy Brecker's debut album features the trumpeter leading two distinct all-star small groups, each with younger brother Michael (who was only 19 when this was recorded) on tenor sax, Larry Coryell on guitar, and Hal Galper on piano. The tunes alternate between jazz-rock (a style the Brecker Brothers were later to successfully exploit) and modern mainstream jazz. There are the customary fades, popular at the time, and a light, though constant, beat throughout that makes the music both accessible and even danceable, an impressive feat considering that virtually all the tunes are originals. The Brecker Brothers exhibit a command of their horns and a maturity that was to serve them well for many years. The recording has weathered the years well, in part because even the fusion pieces never lose their focus, nor do they compromise artistry for popular fads. "The Weasel Goes Out to Lunch" is a cute, though very short, take on the childhood theme, with the remaining tracks fine examples of late-'60s popular jazz. With well-constructed arrangements, strong soloing, and catchy melodies, Brecker knew he was onto something, and this album was the first of several successful ventures. 

~ Steve Loewy https://www.allmusic.com/album/score-mw0000097519

Personnel:  Randy Brecker - Trumpet, Flugelhorn;  Michael Brecker - Tenor Saxophone;  Jerry Dodgion - Alto Flute;  Larry Coryell - Guitar;  Hal Galper - Piano;  Eddie Gomez - Bass;  Mickey Roker - Drums;  Chuck Rainey - Electric Bass;  Bernard Purdie - Drums

Score

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Andre Previn & Russ Freeman - Double Play!

Styles: Piano Jazz
Year: 1957
File: MP3@320K/s
Time: 41:49
Size: 96,0 MB
Art: Front

(3:04)  1. Take Me Out To The Ball Game
(3:37)  2. Who's On First?
(5:11)  3. Called On Account Of Rain
(5:01)  4. In The Cellar Blues
(3:58)  5. Batter Up
(4:58)  6. Double Play
(6:03)  7. Safe At Home
(5:41)  8. Fungo
(4:12)  9. Strike Out The Band

Pianists André Previn and Russ Freeman team up with drummer Shelly Manne in a trio to play eight of their originals (along with the standard "Take Me Out to the Ball Game"), all given titles having to do with baseball. Double Play! was advertised as the first time that two pianists recorded what was then modern jazz together. Previn and Freeman had very complementary styles, making it difficult to know who was playing when, although a complete play-by-play is included. ~ Scott Yanow https://www.allmusic.com/album/double-play-mw0000095044

Personnel: André Previn - piano;  Russ Freeman - piano;  Shelly Manne - drums

Double Play!

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Lalo Schifrin - Jazz Meets The Symphony 6 - Kaleidoscope

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 66:12
Size: 157,7 MB
Art: Front

(5:12)  1. Paraphrase
(5:53)  2. Bachianas Brasileiras No. 5
(9:14)  3. Jazzette
(9:21)  4. Peanut Vendor
(5:05)  5. Pavane
(8:41)  6. To Be Or Not To Bop
(6:42)  7. El Salon Mexico
(3:59)  8. Slaughter on Tenth Avenue
(5:10)  9. Prelude No. 2
(6:51) 10. The Cincinnati Kid

"Schifrin has scored so many movies that he can probably come up with luminous orchestral textures and ear-tingling timbral effects in his sleep." ~ JazzTimes 

"The immovable objects of symphony orchestra and jazz group are getting more closely in sync, thanks to the irresistible forces of Schifrin's long experience in both camps and his own luscious personal orchestral signatures." ~ All Music Guide 

The latest edition in the Grammy-nominated series featuring new works by Lalo Schifrin. From the outset, Jazz Meets the Symphony testified to Schifrin's sparkling vision as well as his genius, and this sixth incarnation offers newly resplendent proof of both. 

From France to South America via New York and Mexico, from ballet to film via chamber music and bop, Kaleidoscope recorded in the Sydney Opera House is "jazz symphonic" at its finest. https://www.amazon.com.br/Kaleidoscope-Jazz-Meets-Symphony-6/dp/B000AAF1UY

Personnel: Lalo Schifrin (piano, composer);  James Morrison (trumpet, flugelhorn, trombone);  Christian McBride (acoustic bass);  Gordon Rytmeister (drums);  Sydney Symphony Orchestra.

Jazz Meets The Symphony 6 - Kaleidoscope

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Ronny Whyte Feat. Harry Allen - All in a Night's Work

Styles: Piano And Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 51:22
Size: 118,5 MB
Art: Front

(2:24)  1. Devil May Care
(5:49)  2. The Folks Who Live on the Hill
(5:38)  3. I'll Remember April
(4:05)  4. So Far
(3:20)  5. Warm Goes to Warm
(4:45)  6. I Wish I Didn't Love You So
(4:21)  7. Have You Met Miss Jones?
(4:19)  8. With so Little to Be Sure Of
(3:39)  9. The World Is in My Arms
(4:23) 10. Nobody Else but Me
(4:02) 11. Never Let Me Go
(1:46) 12. Love Theme From "The Mole People"
(2:43) 13. All in a Night's Work

Ronny Whyte spent his first six years of life in a log cabin that his father built on the outskirts of Seattle. He would pet the deer and beavers on his way to the outhouse. A far cry from Ronny’s world today. He is considered a premiere interpreter of Classic American Popular Song, an outstanding jazz pianist, and a successful songwriter. He was featured on Marian McPartland’s Piano Jazz on NPR. An ASCAP Award-winning songwriter, his lyric Forget the Woman was recorded by Tony Bennett and his music for The Party Upstairs won the MAC Award for Best Song of 2006. He produces and hosts Midday Jazz Midtown at Saint Peter’s in Manhattan, a weekly concert series. For two years Ronny appeared Off-Broadway in the hit musical Our Sinatra as well as its two national big band tours which played more than 90 cities. He was featured twice at New York’s JVC Jazz Festival, and there was inducted into the Cabaret Jazz Hall of Fame. The Ronny Whyte Trio has performed in concert at Carnegie/Weill Hall, New York’s Town Hall, Washington’s Corcoran Gallery and the Mellon Jazz Festival in Philadelpha. Ronny has had major engagements in New York at the Café Carlyle, Rainbow & Stars, the Oak Room at the Algonquin, and Feinstein’s at the Regency. Abroad he has starred in Paris, Tokyo, Tel Aviv, Sao Paolo, Caracas, and Johannesburg. Ronny often makes guest appearances with symphony orchestras playing his arrangement of Porgy & Bess for Jazz Trio & Orchestra and other Gershwin works.  In the theatre he has played such diverse roles as Bobby in Company, Oberon in A Midsummer Night’s Dream, Joey in Pal Joey, and Vernon in They’re Playing Our Song. Mr. Whyte has recorded eleven CDs for Audiophile; his CD All in a Night’s Work was selected “Jazz Album of the Week” by the New York Times. Originally from Seattle, he divides his time between the New York area and his house in Milford, Pennsylvania. When not performing or writing, he is an avid tennis player, gardener, and gourmet cook. http://ronnywhyte.com/about-ronny-whyte/

Musicians: Ronny Whyte – Piano, Vocals; Harry Allen – Tenor Saxophone; Frank Tate – Bass; Joe Cocuzzo – Drums

All in a Night's Work

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Kate Reid - The Heart Already Knows

Styles: Vocal Jazz
Year: 2018
File: MP3@320K/s
Time: 47:33
Size: 109,5 MB
Art: Front

(4:41)  1. Something to Live For
(3:11)  2. Confessin'
(3:15)  3. No More
(3:52)  4. Two Grey Rooms
(3:10)  5. Stars
(6:57)  6. Busy Being Blue
(4:46)  7. Just a Lucky so and So
(3:58)  8. Secret o' Life
(4:54)  9. If I Should Lose You
(5:12) 10. Minds of Their Own
(3:33) 11. Lazin' Around

The honest communication between two musicians in a performance setting can result in a very intimate and personal performance. This record features jazz vocalist Kate Reid with pianists Fred Hersch, Taylor Eigsti and guitarists Romero Lubambo, Paul Meyers and Larry Koonse. The material highlights Kate Reid in various 'feels' including swing, samba, bossa, ballad and contemporary. https://store.cdbaby.com/cd/katereid13

Personnel:  Kate Reid vocals;  Paul Meyers guitar (1,7);  Larry Koonse guitar (2,4);  Fred Hersch piano (3,9,11);  Romero Lubambo guitar (5,10);  Taylor Eigsti piano (6,8)

The Heart Already Knows

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Lew Soloff - With a Song in My Heart

Styles: Trumpet Jazz 
Year: 1998
File: MP3@320K/s
Time: 68:17
Size: 156,5 MB
Art: Front

(7:56)  1. Come Rain or Come Shine
(6:53)  2. Andantino from Tchaikovsky Symphony No.4 (2nd Movement)
(4:52)  3. The Way You Look Tonight
(6:04)  4. I'm a Fool to Want You
(8:32)  5. Mea Culpa
(7:44)  6. Deguello
(9:05)  7. Istanbul
(7:18)  8. One for Emily
(9:47)  9. With a Song in My Heart

With a Song in My Heartis a mellow, straight-ahead jazz quartet date. Soloff is full of expressiveness and solo ideas, and his session mates provide understated, sensitive support. Mulgrew Miller turns in some excellent solos, particularly on "I'm a Fool to Want You." The program is a blend of four standards, a couple classical pieces, and a couple Soloff originals. The Tchaikovski piece is especially interesting; Rob Mounsey's expert arrangement distills the essence of the symphony down to the quartet format, remaining true to its classical roots, yet providing some solo opportunities in a jazz quartet setting. 

Soloff keeps his trumpet muted throughout the all-acoustic program, leaving the program sounding mellow and introverted throughout. A little sonic variety might have provided some additional interest. ~ Dave Hugles https://www.allaboutjazz.com/with-a-song-in-my-heart-lew-soloff-fantasy-jazz-review-by-dave-hughes.php

Personnel:  Lew Soloff, trumpet;  Mulgrew Miller, piano;  George Mraz, bass;  Victor Lewis, drums;  Emily Mitchell, harp;  Rob Mounsey, arrangements.

With a Song in My Heart

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Scott Wendholt - Through the Shadows

Styles: Trumpet Jazz
Year: 1994
File: MP3@320K/s
Time: 54:10
Size: 125,0 MB
Art: Front

(8:04)  1. Through the Shadows
(7:57)  2. Hour of the Pearl
(5:05)  3. Kaleidoscope
(5:33)  4. You Know I Care
(7:36)  5. Totem
(6:23)  6. Beatrice
(7:26)  7. Awaiting Spring
(6:01)  8. Just In Time

On trumpeter Scott Wendholt's second recording as a leader he has gathered together a group of his better-known peers  tenor saxophonist Don Braden, pianist Bruce Barth, bassist Ira Coleman, and drummer Billy Drummond  to perform five post-bop originals, two jazz classics, and one standard. In addition to proving himself an under-recognized talent on his chosen instrument, Wendholt displays promise as a composer, having written some challenging material for this recording. The title track begins as a ballad with the melody played by Braden on flute and Wendholt on muted trumpet that, after a brief drum interlude, begins a new melody played by trumpet and tenor sax over a driving Afro-Latin groove. 

"Hour of the Pearl" opens with a piano intro that segues into a relaxed swinger, while "Kaleidoscope" is a burning blues with a lightning-quick melody. Other favorites include a swinging version of Sam Rivers' "Beatrice" that features Wendholt's muted trumpet and a up-tempo, pianoless version of the standard "Just in Time." Drummond's drumset versatility stands out throughout this recording, showing why he is one of the busiest musicians on the jazz scene. Through the Shadows is a positive step in the development of this fine musician. ~ Greg Turner https://www.allmusic.com/album/through-the-shadows-mw0000613204

Personnel:  Trumpet – Scott Wendholt;  Bass – Ira Coleman;  Drums – Billy Drummond; Piano – Bruce Barth;  Tenor Saxophone, Flute – Don Braden

Through the Shadows

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Ernie Watts, Pete Christlieb, Rickey Woodard - The Tenor Trio

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 62:06
Size: 142,6 MB
Art: Front

(4:11)  1. Blues Up and Down
(7:23)  2. Strollin'
(5:42)  3. Groovin' High
(6:28)  4. Love for Sale
(4:04)  5. St. Thomas
(5:41)  6. Fried Bananas
(5:47)  7. Here's to Alvy
(6:06)  8. Holy Land
(5:52)  9. Moten Swing
(5:16) 10. Eternal Triangle
(5:30) 11. Little Pony

In his book Jazz For Beginners, Ron David says that nobody really loves jazz. "People love Miles or Dixieland or Free Jazz or Fusion or two, three or four of the above but nobody loves jazz. It's too varied." Truer words were never written. I like to think of myself as a lover of all kinds of jazz, but when it really comes down to it, I prefer swing, bop, fusion, and anything that smacks of the blues. Sure I relate to Miles, Coltrane and Ornette, but they appeal more to my brain than my viscerals. Basie, Blakey and Metheny hit me right in the gut. Since The Tenor Trio bops and swings simultaneously, here's one CD that really presses my buttons. The Tenor Trio consists of saxmen Ernie Watts, Pete Christlieb and Ricky Woodard. Once his cushy gig on the Tonight Show ended, Watts quickly became a respected mainstream player with a succession of fine albums. Christlieb is a lesser known but no less capable Tonight Show alum. Woodard has blown his sax for Ray Charles and the Clayton-Hamilton Orchestra. These three pros engage in some friendly but ferocious battles on this superbly arranged 10-track release. There are no originals here, but the saxmen put their collaborative stamp on some well-chosen chestnuts. The three saxophones blend beautifully, the solos are intensely competitive, and terrific backup is provided by pianist Gerry Wiggins, bassist Chuck Berghofer and drummer Frank Capp. Tunes include Horace Silver's "Strollin'," Sonny Rollins' "St. Thomas," Benny Moten's "Moten Swing," and Neil Hefti's "Little Pony." The Tenor Trio delivers graceful, joyous bop that's never dissonant. Mainstream jazz seldom sounds this catchy. ~ Ed Popp https://www.allaboutjazz.com/the-tenor-trio-watts-christlieb-and-woodard-jvc-review-by-ed-kopp.php

Personnel:  Tenor Saxophone – Ernie Watts, Pete Christlieb, Rickey Woodard;  Bass – Chuck Berghofer;  Drums – Frank Capp;  Piano – Gerry Wiggins

The Tenor Trio

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Eddie Calvert - Tulips From Amsterdam

Styles: Trumpet Jazz
Year: 1977
File: MP3@320K/s
Time: 38:49
Size: 90,9 MB
Art: Front

(4:23)  1. My Love
(2:08)  2. Zambesi
(3:26)  3. Rock Me On A Reinbow
(3:31)  4. Loneliness
(3:01)  5. Mistral
(2:56)  6. Oh,mein Paps
(3:25)  7. If You Wanna See Me Agein
(2:09)  8. Cherry Pink And Apple
(3:08)  9. Plesse Love
(2:39) 10. Nostalgia
(4:36) 11. Sauselito
(3:21) 12. Tulips From Amsterdam

Eddie Calvert, known as the man with the golden trumpet, was born in Preston, Lancashire on the 15th March 1922 as Albert Edward Calvert. As a child he was exposed to his family's love of brass band music and he learned to play many brass instruments but concentrated on the trumpet. He joined the Preston Town Silver Band at the age of 11 but the war interrupted his musical career and by the late 1940s he returned to play in various amateur brass bands, eventually moving to the professional circuit with the dance bands Geraldo and Billy Ternet. Going solo, he appeared on TV with the Stanley Black Orchestra. He signed to the Columbia label, part of the EMI group and released an instrumental trumpet version of the German song Oh Mein Papa which had most famously been covered in English as Oh My Papa by Eddie Fisher. Calvert's instrumental easily won the chart battle in the UK and it remained at no.1 for nine weeks at the beginning of 1954. Over a year later he was involved in another chart battle for supremacy with the song Cherry Pink And Apple Blossom White and this time it was much closer with both his and a very similar trumpet version by Perez Prado reaching no.1 in the Spring of 1955. Several other hits followed including a version of Stranger In Paradise, John And Julie and Mandy, while Little Serenade was his final hit in June 1958. When the 1960s provided no change of fortune, Calvert moved away to settle in South Africa where he lived out the remainder of his life, dying on the 7th of August 1978. 

~ Sharon Mawer https://www.allmusic.com/artist/eddie-calvert-mn0000793645

Personnel:  Eddie Calvert - Trumpet;  Francis Goya - guitar;  Yvan De Souter - bass guitar;  Guy Delo - keyboards;  Jean-Pierre Onredt - drums;  Patricia Mersen - vocals

Tulips From Amsterdam

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Nicki Parrott - Stompin'At The Savoy

Styles: Vocal Jazz
Year: 2018
File: MP3@320K/s
Time: 61:16
Size: 142,4 MB
Art: Front

(4:28)  1. It Ain't Necessarily So (feat. Byron Stripling)
(3:46) 2. Gee, Baby, An't I Good to You (feat. Byron Stripling)
(5:01)  3. They Can't Take That Away from Me (feat. Byron Stripling)
(3:24)  4. It don't Mean a Thing (feat. Byron Stripling)
(4:53)  5. Cheek to Cheek (feat. Byron Stripling)
(3:19)  6. Everytime We Say Goodbye
(5:06)  7. Dream a Little Dream of Me (feat. Byron Stripling)
(4:03)  8. Stompin' at the Savoy (feat. Byron Stripling)
(4:15)  9. Mr Paganini
(5:59) 10. Summertime (feat. Byron Stripling)
(4:15) 11. Tea for Two
(4:14) 12. Our Love Is Here to Stay (feat. Byron Stripling)
(4:07) 13. Evil Gal Blues (feat. Byron Stripling)
(4:20) 14. This Time the Dream's on Me

Dedicated to Ella Fitzgerald & Louis Armstrong!
Nicki Parrott, an internationally acclaimed bassist, arrived in New York in May of 1994, the recipient of a grant from the Australia Council for the Arts allowing her travel to the US and study with her mentor, one of the world’s premiere double bassists, Rufus Reid. In the same year she was also nominated for the “Australian Young Achievers Award”.Today, Nicki Parrott is a world-class double bassist and an emerging singer/songwriter. In her work with artists from around the globe she has brought a signature sound to every bass part she has played. She performs regularly at the world’s best Jazz Festivals and can be seen Monday’s at the Iridium Jazz Club in New York City with the legendary guitarist and inventor, Les Paul. Since June of 2000, this union has been an ideal showcase for her musical abilities, flair for improv, and gift for entertaining a crowd. Born in Newcastle, Australia, Nicki Parrott began her musical training on the piano at the age of four. She also took up the flute and continued to play both instruments throughout her school years. At the age of 15, Nicki switched her focus to the double bass, formed a band with her older sister Lisa (alto sax) and began composing instrumental pieces that they would eventually record for their premier CD release, The Awabakal Suite (2001). After completing high school, Nicki moved to Sydney and attended the New South Wales Conservatorium of Music, where she graduated with an Associates degree in Jazz Studies. When bassists such as the legendary Ray Brown (Dizzy Gillespie, Ella Fitzgerald, Duke Ellington, Oscar Peterson) and John Clayton (Diana Krall, Whitney Houston) were playing in town, Nicki would find them, contact them and arrange lessons from them. She was awarded a scholarship to the prestigious Pan Pacific Music Camp, and soon after, took first place in the 1992 Jazz Action Society's Annual Song Competition for her composition, Come and Get It. In 1990, Nicki began touring Australia with Russian musicians Daniel Kramer and Alexander Fischer playing sold out shows across the country. This was followed by successful tours with American trumpeters Bobby Shew and Chuck Findley. When she was off the road, Nicki was consistently playing bass with other world-renowned jazz musicians like New Zealand’s Mike Nock (piano), Australia's Dale Barlow (tenor sax), Paul Grabowsky (piano), Bernie McGann (alto sax) and the explosive Ten Part Invention.

In May of 2002, The Nicki and Lisa Parrott Quartet headlined the prestigious Mary Lou Williams Jazz Festival held at the Kennedy Center in Washington D.C. The show was broadcast on NPR and was well received by the press. She was also the resident bassist with the Kitchen House Blend, a house band that premiered and performed new music from local New York composers. They would blend jazz, hip-hop, classical and rock in one evening...“It was a very creative experience”. Nicki expanded her musical repertoire and appeared on the Broadway stage in such shows as: Imaginary Friends, You're a Good Man Charlie Brown, Summer of '42, and Jekyll and Hyde. She is still active on Broadway today and regularly performs in the comedic musical, Avenue Q. Since coming to the United States Nicki Parrott has performed and/or recorded with such notable musicians as Randy Brecker, Skitch Henderson, Jose Feliciano, Rebecca Paris, Bucky Pizzarelli, John Pizzarelli, Warren Vache Jr., Clark Terry, Michel Legrand, Billy Taylor, Dick Hyman, Patti Labelle & the New York Pops Orchestra, Annie Ross, the Florida Pops Orchestra, Terri Thornton, Holly Hoffman, DIVA, Marlena Shaw, Monica Mancini, Patrice Rushen, Harry Allen, Red Holloway, Kenny Davern, Mike Stern, Bernard Purdie, John Tropea, David Krakauer, Howard Alden, Randy Sandke, Greg Osby, Jack Wilkins, Ken Peplowski, Johnny Frigo, Joe Wilder, Houston Person, Wycliffe Gordon, Rachel Z and Johnny Varro. Nicki has also performed at most of the world’s major jazz festivals. In the United States she’s appeared at the Newport Jazz Festival (2005), the Litchfield Jazz festival (2005), the Jazz in July concert series at the 92nd street Y (2003, 2004), the Detroit Jazz Festival (2005) and the Lionel Ha mpton Jazz Festival (2001). 

Outside the USA Nicki has appeared at the Cully Lavaux Festival (Switzerland - 1995), the Grimsby Jazz Festival (UK - 1996), Berlin Jazz Festival (Germany - 1998), the Ottawa Jazz Festival (2004), the Krakow Music Festival (Poland), JazzAscona (2005, 2006), Bern Jazz Festivals (Switzerland - 2005, 2006), Edinburgh Jazz & Blues Festival (UK - 2006) and of course, she has played at numerous music festivals across Australia. Nicki Parrott is committed to the continuing musical education women receive in order to further their careers and ultimately remain active as musicians past their teen years. In keeping with her sense of community, Nicki’s desire is to teach underprivileged kids to play instruments and learn to enjoy music.

It is her belief t hat teaching music to children helps keep them interested in school and out of trouble. https://musicians.allaboutjazz.com/nickiparrott

Personnel:  Nicki Parrott, vocals, bass;  Byron Stripling, trumpet, vocals;  John Di Martino, piano;  Alvin Atkinson, drums

Stompin' at the Savoy

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Marlene Verplanck - You'd Better Love Me

Size: 145,7 MB
Time: 61:31
File: MP3 @ 320K/s
Released: 1977/1997
Styles: Jazz Vocals
Art: Front & Back

01. While We're Young (4:29)
02. You Leave Me Breathless (3:47)
03. What I Was Warned About (2:20)
04. Easy Street (2:27)
05. Tenderly (2:18)
06. An Occasional Man (2:39)
07. Have Yourself A Merry Little Christmas (2:27)
08. Love (3:08)
09. Love All The Quiet Flower People (2:58)
10. If I Gave You (2:49)
11. Accent On Youth (2:28)
12. You Go To My Head (2:30)
13. The Boy Next Door (2:09)
14. The Crickets Are Calling (1:38)
15. I Know Your Heart (2:45)
16. This Funny World (3:09)
17. The Winter Of My Discontent (2:29)
18. Gone With The Wind (2:15)
19. You Are For Loving (2:38)
20. Ev'ry Time (4:19)
21. Tiny Room (2:56)
22. You'd Better Love Me (2:43)

Marlene VerPlanck paid tribute to the Great American Songbook. VerPlanck, who grew up in Newark, New Jersey listening to Frank Sinatra and Ella Fitzgerald on WNEW radio, collaborated throughout her long career with her husband, arranger, composer, and conductor Billy VerPlanck. Her 17th album, 2000's My Impetuous Heart, reunited her with some old friends, including jazz pianist Hank Jones and special guests jazz pianists George Shearing and Marian McPartland and guitarist Bucky Pizzarelli. VerPlanck's career was a long string of success stories, which showcased her as a versatile singer with a gorgeous, pliable voice that knew how to tell a story.

She started singing at age 19. Her career stretched back to the '50s when she worked with Tex Beneke and Charlie Spivak. Her first big break came in 1955 when she teamed up with pianist Hank Jones, flutist Herbie Mann, trumpeter Joe Wilder, bassist Wendell Marshall, and drummer Kenny Clarke on I Think of You with Every Breath I Take on Savoy Records. She met her husband while performing with Charlie Spivak's band, then both moved over to the Dorsey Brothers Orchestra. Tommy Dorsey died in 1956, so the VerPlancks decided to stay in New York City to pursue studio work with the likes of Sinatra, Perry Como, Tony Bennett, Antonio Carlos Jobim, Blood, Sweat & Tears, and even Kiss. Millions of people outside the jazz world first heard VerPlanck's voice, though, doing jingles in the '60s: "Weekends were made for Michelob/Yeah!" and "Winston tastes good like a cigarette should!" and "Mmm good/Mm-mm good/That's what Campbell's Soups are/Mm-mm good." After thousands of commercial jingles and hours and hours of studio session work in New York, the VerPlancks decided to settle down in their house in Clifton, New Jersey, and began performing and recording together.

Their first recording together was A Breath of Fresh Air, arranged, produced, and conducted by Billy VerPlanck in 1968. In 1976, Marlene VerPlanck hooked up with North Carolina-based composer/pianist Loonis McGlohon, who hired her to do two installments of a radio show he co-hosted called Alec Wilder's American Popular Song. Afterwards, she recorded Marlene VerPlanck Sings Alec Wilder, and later, after Wilder's death, she appeared on the radio show The American Popular Singers, co-hosted by McGlohon and opera singer Eileen Farrell. Ver Planck performed at Carnegie Hall, Michael's Pub, and the Rainbow Room in New York City. She appeared on Entertainment Tonight, The Today Show, and CBS Sunday Morning. In the Digital Mood, featuring VerPlanck, Mel Tormé, and Julius La Rosa with the Glenn Miller Orchestra, became the first big-band CD to go gold in the '90s. VerPlanck remained active as a live performer and recording artist in the 2000s and 2010s, following up the aforementioned My Impetuous Heart with such albums as Once There Was a Moon (2008), One Dream at a Time (2010), Ballads... Mostly (2013), and The Mood I'm In (2016), all released by the Audiophile Records label. Marlene VerPlanck died in January 2018 in Manhattan at the age of 84. ~ by Robert Hicks

You'd Better Love Me

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Janet Planet & John Harmon - Da Capo

Size: 125,6 MB
Time: 53:34
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. To Be Yet Again (3:26)
02. Lucky Me (3:07)
03. The Gift Of Surrender (4:49)
04. Sundowner (4:35)
05. In A Perfect World (A Father's Dream) (4:02)
06. Child Of Light - A Lullabye (6:06)
07. Today And Everyday (4:21)
08. Half A Bubble Off (3:53)
09. Lately (3:13)
10. Another Lonely Spring (3:45)
11. The Time Is Right (2:57)
12. El Tigre (6:05)
13. I Raise My Glass (To You) (3:07)

This collection of pieces reflects a musical relationship of over 40 years with the remarkable talents of my dear friend, Janet Planet. What a joy it was revisiting some of our earliest collaborations and the flood of memories they rekindled! Da Capo...from the beginning...Thinking back, we've shared a profound musical journey! I feel both privileged and humbled to have been a part of it. - John Harmon

Da Capo

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Phil Allen's Concert Jazz Band - North Greenbush Blues

Size: 137,6 MB
Time: 59:01
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz: Big Band
Art: Front

01. North Greenbush Blues (Feat. Scott Hall, Dave Fisk & Wayne Hawkins) (7:13)
02. Speed Trap (Feat. Kevin Barcomb & Dylan Canterbury) (6:00)
03. Winter Birds (Feat. Nate Giroux & Steve Lambert) (6:25)
04. Sodwanna Bay (Feat. Phil Allen & Dylan Canterbury) (6:13)
05. Why Are You Blue (Feat. Tyler Giroux & Lee Russo) (7:17)
06. Fragile Creature (Feat. Chris Pasin) (5:15)
07. Georgia Grump (Feat. Phil Allen & Tyler Giroux) (7:33)
08. Barbara (Feat. Wayne Hawkins & Phil Allen) (6:38)
09. Northbeach (Feat. Dave Fisk, Steve Lambert & Wayne Hawkins) (6:23)

North Greenbush Blues marks the recorded debut of Indiana-born, New York State-based trombonist Phil Allen's glove-tight and remarkably robust Concert Jazz Band. The album has many pleasures, but what stands out most are Allen's impressive charts, which give the ensemble ample sustenance and reason to shine. Allen wrote six of the album's nine tunes and arranged every number including Dylan Canterbury's fast-moving "Speed Trap," Chris Pasin's melodious "Fragile Creature" and Gary McFarland's emotive "Why Are You Blue?"

The twelve-member ensemble encompasses three trumpets, four saxophones, two trombones and rhythm. Allen and Tyler Giroux play valve trombone exclusively, while tenors Kevin Barcomb and Nate Giroux alternated on the album's two recording dates, in June and July 2017. The rhythm, meanwhile, is in the capable hands of pianist Wayne Hawkins, bassist Lou Smaldone and drummer Michael Benedict. The CJB saunters from the starting gate with the sharply-grooved title theme, named for the town to which Allen and his wife Barbara relocated after moving from Colorado in 2014. Baritone saxophonist Scott Hall is the first among a number of engaging soloists to arrive, followed on the "Blues" by alto Dave Fisk and pianist Hawkins.

Canterbury's aptly named "Speed Trap" is one of the album's trio of "burners," the others being Allen's "Georgia Grump" (a brisk workout for the trombones based on "Sweet Georgia Brown") and emphatic "Northbeach," which rings down the curtain. Soloists are Hawkins, Barcomb and Canterbury on "Speed Trap," Allen and Tyler Giroux on "Georgia Grump," and Hawkins, trumpeter Steve Lambert and alto Dave Fisk on "Northbeach." Allen's "Winter Birds" is a lovely medium-tempo theme with tasteful solos by Lambert and Nate Giroux, "Sodwanna Bay" a lustrous waltz showcasing Allen and Canterbury. Tyler Giroux and alto Lee Russo are front and center on "Why Are You Blue?," trumpeter Pasin on his own "Fragile Creature." Allen wrote the tender ballad "Barbara," on which he solos with Hawkins (on electric piano), for his wife.

In sum, a generally impressive debut by Allen's Concert Jazz Band, which seems destined to move onward and upward as it advances toward maturity. ~by Jack Bowers

Personnel: Phil Allen/leader, valve trombone, Dave Fisk/Alto Sax, Lee Russo/Tenor - Soprano Sax, Flute, Nate Giroux/Tenor Sax, Kevin Barcomb/Tenor Sax, Scott Hall/Bari Sax, Dylan Canterbury/Trumpet - Flugel, Chris Pasin/Trumpet - Flugel, Steve Lambert/Trumpet - Flugel, Tyler Giroux/Valve Trombone, Wayne Hawkins/Piano - Fender Rhodes, Lou Smaldone/Bass, Mike Benedict/Drums

North Greenbush Blues

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Dee Bell - Lins, Lennox, & Life

Size: 105,5 MB
Time: 45:36
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz, Bossa Nova
Art: Front

01. By Chance (5:20)
02. After The Storm (5:38)
03. Crying Of The Waters (3:34)
04. Boa Nova (5:14)
05. Evolution (4:45)
06. Believe What I Say (3:27)
07. What Might Have Been (4:38)
08. Stay By Me (4:21)
09. That Old Black Magic (3:06)
10. Primitive (5:29)

Dee Bell has had a musical love affair with Ivan Lins for 41 years. “Many years ago,” recalls Dee, “the singer Maria Marquez turned me on to a lot of Brazilian music by giving me a tape of several of her favorite artists. Ivan Lins was represented many times and I fell in love with his music. I have listened to his recordings ever since and probably know every song that he has written.”

Ivan Lins, who is now 73, is arguably the most important Brazilian composer to emerge since Antonio Carlos Jobim and a very popular performer. He made a strong impact on the scene starting at the beginning of the 1970s and many of his songs have become popular including “Madalena,” “Love Dance,” “The Island,” and “Velas Icadas.”

Dee Bell has had a wide-ranging life that included performing in an a cappella trio from the age of ten, playing clarinet in her high school band, graduating from Indiana University in pre-med and art, co-founding and running the Earth Kitchen vegetarian restaurant in Bloomington, Indiana, teaching music in five schools, and recording several notable recordings. Her Concord Jazz debut, Let There Be Love, had Stan Getz as a sideman, trumpeter Tom Harrell was on One By One; both albums with Eddie Duran.

Sagacious Grace with Houston Person and John Stowell came out on the Laser label in 2010. 2014’s Silva-Bell-Elation matched her with her collaborator since 2012, arranger-composer-pianist Marcos Silva who has toured with Flora Purim, Toninho Horta and Edu Lobo. Silva arranged, produced and played keyboards on all of the selections on Lins, Lennox & Life.

This new project consists of six Ivan Lins’songs (the rst three have English lyrics by Dee), an original by Silva, two numbers by Annie Lennox, and the standard “That Old Black Magic.” “For a long time, I have wanted to make it easier for people to understand Ivan Lins’ music in English. My lyrics are essentially translations of what Ivan was communicating in each song.”

The set begins with the gentle “By Chance” which has Dee’s lyrics to “Acaso.” The performance not only introduces her warm and alluring voice but the fine trumpet playing of Erik Jekabson whose melodic playing on this number and “Evolution” will remind some of the lyricism of Chet Baker.

“After the Storm” is a perfect example of what Dee calls Brazilian Swing, a merging of her mellow swing style over the Brazilian rhythms provided by Marcos Silva, bassist Tyler Harlow, and drummer Zach Mondlick. “Crying of the Waters” (“Choro das Aguas”) is a particularly beautiful Lins’ song, one that benefits from Dee’s new English lyrics. “Boa Nova,” which features Dee singing Lins’ words in Brazilian, is described by her as “a sweet, fun, happy, little song in which a man sees a woman and is inspired to sing about every beautiful thing that comes to mind.”

Lins’ “Evolution,” which has lyrics by Brock Walsh, includes political thoughts that Dee says “drives the point home with what is happening these days.” To complete the Ivan Lins portion of the CD, Dee sings Patti Austin’s lyrics to his upbeat “Believe What I Say.”

Marcos Silva’s wistful “What Might Have Been” was written after sharing a plane ride with a woman when he knew that, despite their mutual attraction, they would never get together. Sandwiching an infectious version of “That Old Black Magic” are a pair of complementary tunes by Annie Lennox (the love song “Stay By Me” and the laidback “Primitive”) that are given a Brazilian treatment by the musicians and recorded for the simple reason that “I love her tunes.”

In conclusion, the singer says, “The new release is intended as a healing and calming CD, my balm for our current weary world.” It also serves as a perfect introduction to the musical magic of Ivan Lins and the beautiful singing of Dee Bell. ~Scott Yanow, jazz journalist/historian

Lins, Lennox, & Life

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Jeff Hackworth - The Heart of the Matter

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 60:43
Size: 144,6 MB
Art: Front

(6:51)  1. Big Bad Boogaloo
(5:44)  2. Fool That I Am
(5:53)  3. That Old Black Magic
(6:34)  4. 3rd Avenue Blues
(8:13)  5. September Song
(6:00)  6. Sweet Tea
(7:09)  7. The Heart of the Matter
(7:15)  8. Mr. Gentle and Mr. Cool
(6:59)  9. Tres Palabras

Veteran tenor saxophonist Jeff Hackworth doesn't fool around much on his most recent musical project and gets right to The Heart of The Matter, unveiling his seventh album as leader and follow up to his previous critically-acclaimed Soul To Go! (Big Bridge Music, 2014). Employing a muscular approach to the saxophone, Hackworth's tenor voice is pronounced here leaving little doubt that one is in for a bit of tenor madness from one of the finest reed men around. Containing four originals and fresh new treatments of five well-known standards, the music is contemporary straight ahead with a touch of soul, blues, burners and ballads all in one nice musical package that goes right to the heart.  A mainstay of New York's vibrant jazz scene, Hackworth naturally selects a group of top notch New York City sidemen to accompany him on this album but eschews the standard bass and the piano instruments in lieu of the organ and guitar for a distinctive rhythm section. Featured here are drummer Vince Ector with guitarist Ed Cherry and organist Kyle Koehler rounding out the cast of this non-standard, different, stylish and very formidable quartet. Ector's rolling drum solo intro on Hackworth's original chart "Big Bad Boogaloo" gets the music going on the steamy side with a lively up tempo burner that showcases the more than appreciable chops of the leader. Floyd Hunt's 1947 composition "Fool That I Am," is the first ballad performed here with Hackworth doing a marvelous job on one soulful tenor solo after another with one of the finest version of the standard recorded to date. The magic continues on the following Arlen/Mercer classic "That Old Black Magic," featuring all of the bandmates on separate solos in one fine swinging rendition of the standard. The original "September Song" is somewhat special for Hackworth as he states "I like to tell a story when I improvise and this song...sets the stage..." and so this one certainly does, telling a tale of great music. 

The saxophonist pays homage to "The Sugar Man" or "Mr. T" as he was better known, the late great Stanley Turrentine would have been more than pleased with Hackworth's "Sweat Tea" and the bluesy title track, both tunes displaying superb examples of tenor voicings Mr. T would have identified with. The set begins to close on an often overlooked composition by the great Duke Ellington with Hackworth and crew delivering a superb rendition of "Mr. Gentle and Mr. Cool," then finalizing the album on a delicate embrace of the gorgeous "Tres Palabras."  Tenorist Jeff Hackworth makes it quite clear that The Heart of the Matter, is providing good music, and on that account, Hackworth and crew craft another delicious statement worth repeated spins and more serious attention, well done! ~ Edward Blanco https://www.allaboutjazz.com/the-heart-of-the-matter-jeff-hackworth-big-bridge-music-review-by-edward-blanco.php

Personnel:  Jeff Hackworth: tenor saxophone;  Ed Cherry: guitar;  Kyle Koehler: organ;  Vince Ector: drums.

The Heart of the Matter

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Lou Rawls - When You Hear Lou, You've Heard It All

Styles: Vocal
Year: 1977
File: MP3@320K/s
Time: 38:12
Size: 89,7 MB
Art: Front

(4:05)  1. Lady Love
(3:30)  2. I Wish It Were Yesterday
(3:56)  3. One Life To Live
(3:11)  4. Dollar Green
(3:50)  5. Trade Winds
(4:23)  6. There Will Be Love
(3:27)  7. Unforgettable
(3:16)  8. That Would Do It For Me
(4:35)  9. I Coulda, Woulda, Shoulda
(3:56) 10. Not The Staying Kind

A smooth, often delightful album that kept Lou Rawls squarely in the love/romantic/mellow circle that he'd been scoring in throughout the late '70s. Gamble and Huff were really trimming the productions and keeping things laid-back and casual, while Rawls' emphatic, smoky vocals carried the day. They weren't getting huge pop hits, but were on the R&B charts steadily, and the album just missed the pop Top 40. ~ Ron Wynn https://www.allmusic.com/album/when-you-hear-lou-youve-heard-it-all-mw0000653080

Personnel:  Lou Rawls – Vocals;  Barbara Ingram, Carla Benton, Yvette Benson – Backing vocals;  Charles Collins – Drums;  Michael "Sugarbear" Foreman – Bass;  Dennis Harris, Roland Chambers – Guitar;  Edward Green, Leon Huff – Keyboards;  Davis Cruse – Congas, bongos;  Don Renaldo – Strings, horns

When You Hear Lou, You've Heard It All

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Antonio Adolfo & Orquestra Atlantica - Encontros

Styles: Piano Jazz, Big Band
Year: 2018
File: MP3@320K/s
Time: 53:01
Size: 122,6 MB
Art: Front

(5:19)  1. Partido Samba-Funk
(4:29)  2. Pentatonica
(4:33)  3. Atlantica
(4:21)  4. Luizao
(4:29)  5. Milestones
(6:42)  6. Saudade
(4:51)  7. Capoeira Yá
(6:12)  8. Africa Bahia Brasil
(5:03)  9. Delicada Jazz Waltz
(6:58) 10. Sa Marina

After forty years of gigging around the world with a who's who of jazz instrumentalists and singers, the celebrated Brazilian pianist/composer Antonio Adolfo has realized his life-long dream of writing for and recording with a world-class big band and what a band it is: the remarkable Orquestra Atlantica from Adolfo's home country, formed in 2012 and molded since then into a superior ensemble fully capable of carrying out his every wish and desire. On Encontros, the Orquestra adeptly performs nine of Adolfo's sunny compositions and one jazz standard, Miles Davis' "Milestones," neatly arranged by Atlantica trumpeter Jesse Sadoc (seven tracks) and saxophonist Marcelo Martins (three). As one would expect, the music on offer is expressly Brazilian in tone and temper which places an enormous exclamation mark on the winning side of the ledger. On top of which, Adolfo's themes ranging from samba, Frevo and capoeira to waltz, ballad and Afro-Brazilian are invariably agreeable and charming. Impressive as each one is, however, Adolfo saves the best for last: a big-band arrangement of his biggest hit, "Sa Marina," written in 1967 and released globally as "Pretty World" with lyrics by Alan and Marilyn Bergman. The new version embodies handsome solos by Adolfo and tenor saxophonist Martins, crisp exchanges between baritone Levi Chaves and trombonist Aldivas Ayres, and more exemplary work by the cleanly recorded ensemble.  The opener, "Partido Samba-Funk," is explicitly designed for dancing as well as listening. Adolfo's nimble piano is front and center alongside alto Danilo Sinna and trumpeter Sadoc. 

The ensemble is on top of its game, as it is on "Atlantica," a medium-tempo ballad named for the band and featuring Martins and guitarist Leo Amuedo, and "Luizao," a lively samba that salutes the late bassist Luizao Maia. The forceful solo is by valve trombonist Serginho Trombone (yes, that really is his name). Bop meets Frevo on the impulsive "Milestones," wherein tight ensemble work by the horns enwraps lustrous solos by Adolfo and accordionist Marcos Nimrichter.  The mood darkens on "Saudade," whose fluid rhythms underscore earnest statements by Adolfo's piano and Sadoc's flugelhorn, then lightens again on "Capoeira Ya," which turns the spotlight on an unusual Brazilian dance that is combined with martial art as well as on ace guitarist Nelson Faria. Adolfo teams with alto Sinna to enhearten "Africa Bahia Brazil," which celebrates the African influence in Brazilian culture and precedes the gentle "Delicada Jazz Waltz," whose lyrical solos are neatly designed by Adolfo and Nimrichter. "Sa Marina" rings down the curtain on a consistently bright and pleasing album that was a long time coming but well worth the wait. ~ Jack Bowers https://www.allaboutjazz.com/encontros-orquestra-atlantica-antonio-adolfo-aam-music-review-by-jack-bowers.php

Personnel: Antonio Adolfo: piano;  Nelson Faria, Claudio Jorge, Leo Amuedo: guitars;  Jorge Helder: bass;  Rafael Barata: drums;  Dada Costa: percussion;  Danilo Sinna: alto saxophone and flute;  Marcelo Martins: tenor saxophone and flute;  Marcos Nimrichter: accordion;  Ze Renato: vocals.

Encontros

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Fay Claassen - Dutch Songbook

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 65:59
Size: 152,2 MB
Art: Front

( 7:36)  1. Find That Screw
( 6:53)  2. Aan De Amsterdamse Grachten
(10:38)  3. Reach for the Rose
( 8:35)  4. Is Dit Alles
( 5:47)  5. Zonder Jou
( 5:21)  6. Opzij, Opzij, Opzij
( 7:42)  7. Dat Mistige Rooie Beest
( 7:21)  8. Five Up High
( 6:03)  9. Keep Me in Your Dreams

This album is a live recording of vocalist Fay Claassen and the WDR Big Band conducted by Torsten Maass with its fantastic soloists at the "Jazz-Schmiede" Düsseldorf on November 28th, 2015. In November 2015, Fay was asked by the management of the WDR Big Band to put together a programme with music from the Netherlands. Fay had carte blanche to choose all the music and have it arranged for her and the WDR Big Band. The music is a selection of Fay's favourite songs by Dutch composers such as Herman van Veen, Benjamin Herman and Cor Bakker. https://www.propermusic.com/product-details/Dutch-Songbook-256818

Dutch Songbook

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Marlene VerPlanck - I Think Of You With Every Breath I Take

Size: 96,5 MB
Time: 41:15
File: MP3 @ 320K/s
Released: 1983/1993
Styles: Jazz Vocals
Art: Front

01. (I Think Of You) With Every Breath I Take (3:20)
02. Accent On Youth (4:37)
03. Snuggle On Your Shoulder (Cuddle In Your Arms) (3:52)
04. Some Other Time (4:21)
05. If I Love Again (3:36)
06. We Could Make Such Beautiful Music (3:05)
07. Deep In A Dream (6:01)
08. Two Cigarettes In The Dark (5:08)
09. Without A Word Of Warning (3:24)
10. You Leave Me Breathless (3:47)

This 1983 CD is a straight reissue of Marlene Ver Planck's first album, a Savoy set that has since been reissued on CD by Denon in their Savoy series. With assistance from trumpeter Joe Wilder, flutist Herbie Mann, pianist Hank Jones, bassist Wendell Marshall and drummer Kenny Clarke, Ver Planck (who had a very impressive voice from the start) brings sincere emotion and a light swing to her renditions of ten ballads from the 1932-44 period. ~by Scott Yanow

I Think Of You With Every Breath I Take

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