Dan Reynolds - Nowhere Home

Styles: Vocal, Piano
Year: 2008
File: MP3@320K/s
Time: 41:09
Size: 96,2 MB
Art: Front

(3:02)  1. German Park
(3:15)  2. Diane
(3:39)  3. Paper
(3:36)  4. October Moon
(3:35)  5. Nowhere Home
(4:01)  6. Left My Heart
(3:11)  7. Third Most Special
(4:31)  8. Why Do I Let You
(3:25)  9. Maize And Blues
(4:45) 10. The Birthday Wish
(4:04) 11. So Much More Living

As a kid, Dan used to ride his bike to the used record shop and buy up old folk-rock records from the 25-cent bin Beatles, Simon & Garfunkel, Lightfoot, Croce… He taught himself to play guitar along with every song. He fell in love with that music, and eventually met talented local musicians who helped him learn even more songs, guitar and harmony. Local artists like Jill Jack and Billy Brandt introduced him to a wide array of new (and old) music as well as highly-respected musicians like Nolan Mendenhall and David Mosher. In the years that followed, David and Dan became good friends, and Dan sought David's help in becoming a better musician and songwriter. It wasn't easy for Dan to find his own voice. His early songwriting attempts lacked direction and emotion, and most of the songs ended up on the cutting room floor. But late one night, while going through the most emotionally intense time of his life, Dan stopped by David's house with a stack of crumpled papers and hand-scrawled notes stuffed into his guitar case. One by one, he played through the four or five songs that had practically written themselves in the preceding days and weeks, while David listened. For the first time, Dan's voice came through loud and clear. He had finally found the motivation and intensity he needed, and they started recording that night. Dan continued writing and, before he was done, several more songs had taken shape. His first original album, "Nowhere Home", was born. In addition to producing Dan's first album, David Mosher contributed his immense instrumental and vocal talents to the project. He is featured on mandolin, banjo, dobro, fiddle, bass and backing vocals. Nolan Mendenhall provides his signature bass tracks on several songs as well. Their collaboration helped each of Dan's songs come to life - even before those songs were ever heard by an audience. Dan works as a writer and editor, performing live music around his hometown of Ann Arbor, Michigan whenever opportunities arise. You'll also find him working in the backwoods of his northern Michigan camp, and taking on odd jobs for neighbors and friends to help make ends meet. https://store.cdbaby.com/cd/reynoldsdan

Nowhere Home

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Dave Stryker - The Chaser

Styles: Guitar Jazz
Year: 2006
File: MP3@320K/s
Time: 62:54
Size: 145,1 MB
Art: Front

(7:06)  1. The Great Divide
(7:15)  2. Brighter Days
(7:32)  3. I Wish You Love
(7:03)  4. Close To You
(5:52)  5. The Chaser
(7:08)  6. Katmandu
(7:12)  7. Mode J.W. (For James Williams)
(6:41)  8. I Didn't Know What Time It Was
(7:03)  9. Our Miss Brooks

This chapter in guitarist Dave Stryker's musical book, which already includes some 25 titles as a leader or co-leader in settings ranging from trios and quartets to his Blue to the Bone band, Trio Mundo and the exciting Stryker/Slagle Band, is a neoclassic organ trio outing providing ample opportunity for his agile playing with its warm, resonant tone. He's accompanied by organist Jared Gold, whose sound exhibits the influences of Larry Young's harmonic chording and Jimmy Smith's virile attack, along with drummer Tony Reedus, whose percussive embellishments and integral, exhilarating work help to create this group's fat sound. Stryker's musical interests and ability are such that each project affords listeners an often unique and exciting listening experience. The guitarist worked in the bands of organist Brother Jack McDuff and, later, tenor saxophonist Stanley Turrentine between the mid-'80s and mid-'90s, honing his chops in the presence of the masters. He also developed that most revered of musical traits a distinctive sound on his instrument. His style embraces influences of Delta blues, Wes Montgomery and Pat Martino while being individualistic, mature and showing an eagerness to evolve. 

The Chaser is anything but predictable, featuring five Stryker originals including a couple straight-ahead burners the title track as well as "The Great Divide," which has a stunning change in tempo from Stryker's fiery exploration of the melody to a smoldering walk as Gold begins his solo. "Brighter Days" is an effervescent swinger, "Katmandu" a bluesy samba; "Mode J.W.," a remembrance of late pianist James Williams, boils with intensity and passion. There's a fine, up-tempo waltz treatment of "I Wish You Love," the arrangement in contrast to a more sedate, if equally delicious, reading of this tune on Grant Green's Street of Dreams album from the '60s. "Close to You" is done as a delicately crafted ballad, while the standard "I Didn't Know What Time It Was" is captivating in its use of shifting meters. The album closes in a soulful visit with Harold Vick's good and greasy line "Our Miss Brooks," which surely had Stryker thinking of his time with McDuff. It's in the bag. If you're not already hip to Stryker, The Chaser is a grand introduction to his superior playing and should whet your appetite for other elements in his discography. If you're already a fan, the album should speak for itself. 

~ Rick Erben https://www.allaboutjazz.com/the-chaser-dave-stryker-mel-bay-records-review-by-rick-erben.php

Personnel: Dave Stryker: guitar; Jared Gold: organ; Tony Reedus: drums.

The Chaser

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Weather Report - 8:30

Styles: Jazz Fusion
Year: 1979
File: MP3@320K/s
Time: 71:35
Size: 166,5 MB
Art: Front

(9:47)  1. Black Market
(6:04)  2. Teen Town
(8:01)  3. A Remark You Made
(4:45)  4. Slang
(2:52)  5. In A Silent Way
(6:58)  6. Birdland
(3:33)  7. Thanks For The Memory
(9:28)  8. Badia/Boogie Woogie Waltz
(2:36)  9. 8:30
(8:34) 10. Brown Street
(3:16) 11. The Orphan
(5:35) 12. Sightseeing

Weather Report is generally regarded as the greatest jazz fusion band of all time, with the biggest jazz hit ("Birdland") from the best jazz fusion album (1977's Heavy Weather). But the group's studio mastery sometimes overshadows the fact that it was also a live juggernaut so don't overlook the outstanding live and studio album from 1979, 8:30. This was a rare quartet version of Weather Report, with co-leaders in keyboardist Joe Zawinul and saxophonist Wayne Shorter. The bassist was the inimitable Jaco Pastorius, the drummer a young Peter Erskine. Pastorius is otherworldly on early gems like "Black Market," the breakneck "Teen Town," and his solo showcase, "Slang" (in which he quotes Jimi Hendrix's "Third Stone from the Sun"). Shorter is most involved on the CD's slower pieces like "A Remark You Made," "In a Silent Way," and his own solo piece, "Thanks for the Memory"; Zawinul and Erskine shine on the swinging version of "Birdland" and roller coaster ride of the "Badia/Boogie Woogie Waltz" medley. 

Four studio tracks (composing what was side four of the original album version) close 8:30 with a flourish and some surprises. Pastorius duets on drums with Zawinul on the brief title track, then plays double drums with Erskine (as Erich Zawinul plays percussion) on the playful "Brown Street." Zawinul then throws a curve with "The Orphan," dueting with Shorter as ten members of the West Los Angeles Christian Academy Children's Choir chant harmonies. The saxophonist gets in the last word, though, with his burning composition "Sightseeing" on which he plays unison lines with Zawinul over Pastorius' rare walking bassline and Erskine's most aggressive drumming. A future jazz standard ending one of this band's standard-setting CDs. ~ Bill Meredith https://www.allmusic.com/album/830-mw0000198916

Personnel: Joe Zawinul – keyboards, bass synthesizer, vocoder, percussion; Wayne Shorter – tenor saxophone, soprano saxophone; Jaco Pastorius – fretless bass guitar, percussion, drums on "8:30" & "Brown Street"; Peter Erskine – drums; Erich Zawinul – percussion on "Brown Street"; The West Los Angeles Christian Academy Children's Choir – vocals on "The Orphan"

8:30

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Art Farmer - The Summer Knows

Styles: Jazz, Bop
Year: 1976
File: MP3@320K/s
Time: 34:31
Size: 80,3 MB
Art: Front

(7:42)  1. The Summer Knows
(5:24)  2. Manhã De Carnaval
(4:55)  3. Alfie
(6:13)  4. When I Fall In Love
(4:45)  5. Ditty
(5:30)  6. I Should Care

This relaxed session features fluegelhornist Art Farmer in a quartet with pianist Cedar Walton, bassist Sam Jones and drummer Billy Higgins. The material (which includes such tunes as "Alfie," "When I Fall in Love" and "I Should Care") is given lyrical treatment by these masterful players on this ballad-dominated date. ~ Scott Yanow https://www.allmusic.com/album/the-summer-knows-mw0000649502

Personnel:  Art Farmer - flugelhorn; Cedar Walton - piano; Sam Jones - bass; Billy Higgins - drums

The Summer Knows

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Connie Evingson - Little Did I Dream

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 52:22
Size: 121,7 MB
Art: Front

(4:04)  1. Little Did I Dream
(4:14)  2. Peel Me A Grape
(3:39)  3. Our Love Rolls On
(3:25)  4. Zanzibar
(3:28)  5. Can't Take You Nowhere
(3:08)  6. Heart's Desire
(3:33)  7. Wheelers And Dealers
(3:46)  8. Zoot Walks In
(4:33)  9. Eastwood Lane
(2:58) 10. You Are There
(3:37) 11. I Want To Be A Sideman
(4:35) 12. My Attorney Bernie
(3:44) 13. Snowbound
(3:32) 14. Listen Here

The late Tip O'Neill once said, .."All politics is local." This certainly can be said for jazz also. All of America's metropolitan areas have a jazz contingency. Chicago has Kurt Elling, Patricia Barber, and Von Freeman; Washington DC has Buck Hill; and New York has who knows how many? The Twin Cities, Minneapolis-St. Paul, also has noted jazz talent in Dave Frishberg and vocalist Connie Evingson. Pianist/vocalist Frishberg, a native of St. Paul, has a long jazz résumé that includes School House Rock (Rhino, 1996), as well as having written numerous songs recorded by Blossom Dearie, Mel Tormé, Rosemary Clooney, Diana Krall and Tony Bennett. Frishberg exists in a rarified realm where his only peers in jazz songwriting are the great Mose Allison and Bob Dorough. For her part, Connie Evingson has released a spate of fine recordings that include Let It Be Jazz (Summit, 2003), The Secret of Christmas (Minnehaha Music, 2003) and Gypsy in My Soul (Minnehaha Music, 2005). With the release of Let It Be Jazz, a collection of Beatles tunes, Evingson began a successful run of thematic recordings that addressed holiday fare and Le Hot Club Django. Continuing in this direction, Evingson rolls out a festive collection of Frishberg classics, illustrating why Frishberg and Evingson are such essential fixtures to 21st Century jazz. Frishberg's fresh, smart lyrics are well-delivered by the ultra-hip Evingson, who reveals through her immense talent the diamonds that are Frishberg's lyrics. The title song, as well as the beautifully sexy "Peel Me a Grape," reveals Frishberg as a masterful poet and lyricist in the same vein as Ira Gershwin, Oscar Hammerstein, and Lorenz Hart. He is a master of the internal rhyme, an essential component to any successful lyric writing. Evingson's vocals are certain and sure. She deftly navigates the strolling' "Zoot Walks In," joined by Frishberg in the introduction, where the singer's vocalese power is displayed as well as Frishberg's keen pianism. "I Want to be a Sideman" quotes Glenn Miller's "In the Mood" musically and a musician's simple wish to be, not the leader, but a part of a band. "My Attorney Bernie" is great fun. Evingson and Frishberg swing for the fences and knock it out with Little Did I Dream. ~ C.Michael Bailey https://www.allaboutjazz.com/little-did-i-dream-songs-by-dave-frishberg-connie-evingson-minnehaha-music-review-by-c-michael-bailey.php

Personnel: Connie Evingson: vocals; Dave Frishberg: piano (vocal on track 13); Gordy Johnson: bass; Phil Hey: drums; Dave Karr: flute, tenor and baritone saxophone, narration (8); Mark Henderson: tenor saxophone (5, 8).

Little Did I Dream

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Booker Little - How We Do

Styles: Trumpet Jazz
Year: 2018
File: MP3@320K/s
Time: 127:48
Size: 294,8 MB
Art: Front

(4:16)  1. Sweet and Lovely
(5:11)  2. If I Should Lose You
(5:35)  3. Milestones
(5:39)  4. Calling Softly
(4:30)  5. Dungeon's Waltz
(6:37)  6. Jewel's Tempo
(5:54)  7. Matilde
(6:45)  8. We Speak
(5:43)  9. Moonlight Becomes You
(6:19) 10. Forward Flight
(4:49) 11. Man of Words
(8:10) 12. Quiet, Please
(4:55) 13. The Grand Valse
(5:31) 14. A New Day
(6:16) 15. Strength and Sanity
(6:51) 16. Life's a Little Blue
(5:57) 17. Victory and Sorrow
(5:16) 18. Booker's Blues
(5:39) 19. Bee Tee's Minor Plea
(5:24) 20. Who Can I Turn to (When Nobody Needs Me)
(5:39) 21. Minor Sweet
(6:41) 22. Opening Statement

The first trumpeter emerging after Clifford Brown's death to gain his own sound, Booker Little had a tremendous amount of potential before his premature death. He began on trumpet when he was 12 and played with Johnny Griffin and the MJT + 3 while attending the Chicago Conservatory. 

Little was with Max Roach (1958-1959) and then freelanced in New York. He recorded with Roach and Abbey Lincoln, was on John Coltrane's Africa/Brass album, and was well-documented during a July 1961 gig at the Five Spot with Eric Dolphy. Little had a memorable melancholy sound and his interval jumps looked toward the avant-garde, but he also swung like a hard bopper. Booker Little led four sessions (one album apiece for United Artists, Time, Candid, and Bethlehem), but died of uremia at the age of 23, a particularly tragic loss. ~ Scott Yanow https://www.allmusic.com/artist/booker-little-mn0000097529/biography

How We Do

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Paolo Alderighi, Stephanie Trick - Double Trio Always

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 63:41
Size: 147,0 MB
Art: Front

(4:45)  1. Always
(4:35)  2. Panama
(5:03)  3. After You've Gone
(4:07)  4. Promenade aux Champs-Elysees
(4:21)  5. Hindustan
(3:04)  6. Truckin'
(4:35)  7. Nel blu dipinto di blu (Volare)
(5:01)  8. Stradivarius
(3:39)  9. Booogie Wooogie
(5:23) 10. Fig Leaf Rag
(5:18) 11. Whispering
(4:45) 12. New Orleans Function (Flee as a Bird / Oh, Didn't He Ramble)
(3:55) 13. Love Me Tender
(5:03) 14. With a Smile and a Song

The most acclaimed four-hands jazz piano duo presents a studio album with fourteen original arrangements of jazz classics with their Double Trio combo. Paolo Alderighi (from Milan, Italy) and Stephanie Trick (from St. Louis, Missouri) have been working together as a four-hands jazz piano duo since 2011. In this album (their fourth together after "Two for One”, "Sentimental Journey” and “Double Trio Live 2015") they present fourteen original arrangements of jazz classics with their “Double Trio” combo: four-hands piano duo plus rhythm section. This studio recording features their Italian rhythm section and complements the previous Double Trio album. Paolo and Stephanie met at a piano festival in Boswil (near Zürich), Switzerland, in 2008 and started to work together on a four-hands piano project dedicated to classic jazz, preparing arrangements of songs from the Swing Era, as well as drawing from the ragtime and blues repertoire. The convention of four hands on one piano is very common in classical music but a fairly rare occurrence in jazz, due to the fact that jazz is an improvised music. https://store.cdbaby.com/cd/paoloandstephanie4

Double Trio Always

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Eric Person And Meta-Four - Extra Pressure

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 72:31
Size: 167,2 MB
Art: Front

( 6:32)  1. The Pull
( 5:11)  2. Fall Out
( 5:23)  3. Personal Blues
( 4:54)  4. There Will Be Better Days
( 6:18)  5. Song of September
(10:29)  6. This Devotion
( 7:20)  7. Perfection
( 8:59)  8. Plummett
( 4:41)  9. Special Someone
( 8:24) 10. Constellation
( 4:16) 11. Extra Pressure

What are the exact parameters of post bop? For a term that’s trundled about as frequently as this one there’s a decided lack of consensus as to its meaning. The phrase itself isn’t much help. ‘After bop’ covers basically everything that followed and arose out of bebop’s beginnings over a half-century ago. Further narrowing reveals that post bop music has connections to bebop but in some way has moved beyond the original boundaries of the music. By this broad definition the music of Eric Person and Meta-Four fit firmly into the framework of post bop. But rather than dwell on the demarcations of what he’s doing, Person dispenses with definitions and turns his attentions to simply making music of lasting quality. I first encountered Person’s playing on Dave Holland’s “Dream of the Elders” (ECM) and was impressed by his ability to remain lyrical even in the midst of heated improvisation. It’s a talent that served him soundly as a sideman and carries over equally well into his work as a leader. This disc marks his fourth solo disc after a trio of recordings for Soul Note and the first on his own Distinction Records. 

The quartet featured is Person’s new working unit and is comprised of three other players whose interests are evenly aligned with his own. Moving across a program consisting completely of originals the four players engage in tight interplay that negates their relatively short time together as a group. Person divides his energies between alto and soprano and often shapes beautifully engineered solos that favor the higher registers of his horn. Esposito’s tactful keys serve as swinging support in conjunction with the loose rhythmic accompaniment of Henderson and Strickland. The pianist sounds particularly energized on his own “Personal Blues” which also features strong solos from Person and Henderson. Strickland’s funk-infused traps fuel Person’s “There Will Be Better Days” with a taut syncopation and Person’s silver-toned soprano also locks into the foot-tapping, hopeful groove. On “Song of September” the band shifts smoothly into ballad mode. Person caresses the melody on alto with a soothing gentleness of spirit that still carries an underlying edge. “This Devotion” alights on a supple bass solo by Henderson before moving into an extended passage highlighting Person’s sprightly soprano and a later interlude by Esposito. “Special Someone” is similarly light hearted thanks to the amicable blend of soprano and piano. The closing title track leaves things off in an open-ended state contributing to the feeling that these are players who have much more to say and will be using future forums to continue their discourse. The piece also contributes to the anticipation that will no doubt presage Person’s next release. With “Extra Pressure” Person and his partners have created another addition to his growing discography worthy of praise and investigation. Anyone with an interest in that dubiously titled style of jazz known as post-bop would be well served by seeking this disc out for perusal. ~ Derek Taylor https://www.allaboutjazz.com/extra-pressure-eric-person-distinction-review-by-derek-taylor.php

Personnel: Eric Person- alto & soprano saxophones; John Esposito- piano; Carlos Henderson- bass; E.J. Strickland- drums.

Extra Pressure

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Miriam Klein - Ladylike

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 39:33
Size: 91,1 MB
Art: Front

(4:47)  1. Comes Love
(3:20)  2. What a Little Moonlight Can Do
(4:42)  3. You've Changed
(5:05)  4. The Man I Love
(2:09)  5. Big Stuff
(7:54)  6. Fine and Mellow
(3:31)  7. I Cried for You
(3:50)  8. Yesterdays
(4:10)  9. Body and Soul

Miriam Klein (27 March 1937 in Basel) is a Swiss jazz singer. Miriam Klein gained fame for the first time, when she appeared on the scene in Paris with Pierre Michelot, Don Byas and Art Simmons in the 1950s. After education at the music school in Vienna, she went back to Switzerland and has sung in the group of her husband Oscar Klein since 1963. In 1960s and 1970s, she gained international fame as a singer. In 1973, her famous album Lady Like was published. The album was dedicated to Billie Holiday. In the album, she performed with the musicians Roy Eldridge, Dexter Gordon and Slide Hampton. She recorded also music with Albert Nicholas (1971) and Wild Bill Davison (1976). In 1977, Klein worked with Fritz Pauer's trio and in 1978 with Roland Hanna and George Mraz in her album By Myself. In 1981/82, she made a tour with Kenny Clarke, Hanna and Isla Eckinger. In 2001, she took part in My Marlin, the album of her son David Klein. https://en.wikipedia.org/wiki/Miriam_Klein

Ladylike

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Jesse Davis - They Call Me Mr. Lonely

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 36:08
Size: 84,5 MB
Art: Front

(2:38)  1. They Call Me Mr. Lonely
(2:41)  2. Stormy
(2:25)  3. Didn't We
(3:20)  4. Sonny
(3:02)  5. The Flip Side Of Love
(3:41)  6. This Is My Life
(2:46)  7. Moving Along
(2:48)  8. The Masquerade Is Over
(2:57)  9. Simple As I Am
(3:38) 10. Medley - You Make Me So Very Happy / Can't Take My Eyes Off You
(2:55) 11. Funny How Time Slips Away
(3:10) 12. Loving Games

A former student of Ellis Marsalis at the New Orleans Center for Creative Arts, Jesse Davis is one the most respected musicians in New Orleans. In addition to leading his own group, Davis has performed with such stellar jazz musicians as Jack McDuff, Major Holley, Cecil Payne, Illinois Jacquet, Chico Hamilton, Junior Mance, Kenny Barron, Cedar Walton, Nicholas Payton, and Roy Hargrove. He toured in 1996 along with Phil Woods, Charles McPherson, and Gary Bartz in the group Sax Machine. Playing saxophone since the age of 11, when he received his first instrument from his tuba-playing brother, Davis initially dreamed of becoming a professional football player. Turning to music after breaking his collarbone, he received a full scholarship to study music at Northeastern Illinois University. He continued his studies briefly at William Patterson College in Wayne, New Jersey, before transferring to the New School in New York, where he studied with jazz historian Ira Gitler. While still a student, he received awards for his solo performances at Notre Dame, Wichita State, N.Y.U., Southern University, and Loyola. In 1989, he received a Most Outstanding Musician award at the Down Beat Music Festival in Philadelphia. Recording with his own quartet since 1991, Davis led the band in more than 50 shows in Spain, France, Italy, and the U.K. in 1993, 1994, and 1995. He returned to New Orleans in 1996. Davis made his acting debut in the Robert Altman film Kansas City. ~ Craig Harris https://www.allmusic.com/artist/jesse-davis-mn0000845855/biography

They Call Me Mr. Lonely

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Sebastian Sternal - Home

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 59:52
Size: 140,1 MB
Art: Front

(2:24)  1. I Am the Ocean
(3:28)  2. Go
(3:52)  3. Sand
(5:16)  4. Home
(2:32)  5. Gravity
(5:37)  6. Winter
(5:15)  7. Alias
(7:02)  8. All of You
(6:25)  9. Fade Away
(4:38) 10. Solita
(3:37) 11. Talking Politics
(4:44) 12. Baloo Boo Boo
(4:57) 13. Twin Song

Sebastian Sternal should be well recognised on these pages as we reviewed his both Echo Jazz wining orchestral projects here as well as a calm and charming duo entitled Canada or quartet recording with his friend Frederick Koster. Here he continues to explore his fascination in jazz piano trio classic approach. And to make it even more exiting both of his partners are top piano trios members. Grenadier is a bass pillar of Brad Meldhau’s group when Burgwinkel is an extremely mighty drum-force  of the Pablo Held Trio, among the others. As should be expected then those three are perfectly merged in together here and they are all feeling easy like a fish in a water. From an opening I am the Ocean intro’s however it becomes clear that it is not going to be another modal piano game. Sternal’s approach gains vastly from his symphonic landscapes and this path attracts his colleagues in crime vastly with their capability to follow whatever comes. Go is a super modern piece with fascinating piano fingering coming more from the classical music than from choppy or beefy rich jazz school represented by others. Accordingly following bass riffs as well as spacious drumming are up to tempo. Additionally rhythmic landscapes set by drummer are the quality of its own. 

Coming after Sand slows almost into the border of de-fragmentation. It’s almost like a piano tune anatomy lesson with the surgeons precision of drum bits lines precise like a scalpel’s cuts with the firm grip of the bass catch. Title piece takes my imagination from the piano trio territory to the landscape I remember from Pat Matheny’s Group with Sternal Burgwinkel conversation bringing back memories of  dialogues between Lyle Mays and Paul Wertigo from his 70’s super-group. Gravity comes as a more dance piece, but groovy passages that Sternal plays here holds on groups voice strongly. Following Winter gives more opened space for Larry to shine and his bass walk is here both, lyrical and incredibly charming. Jonas is a drummer that every bass-man is dreaming about. Sound-scapes he creates around the bass lines as well the ground prepared under the piano lines are striking like thunder. This is probably he most elegiac piece, reminding me with its intensity cooperation between Tord Gustavsen and Mat Eilertsen. Allias falls into similar territory but bass had been given much more narrative capacity here, which had been very well used indeed. All of You , the only standard on this CD tributes its author obviously but as it comes from musicians like those here we are not getting usual approach based on the choral quotes. Pretty much opposite. Sternal with friends are acting here like psychologists researching the subject, dragging pieces of memories from your head, touching moments and referring to this secret associations which All of Us are holding inside of our most private inner space. It comes in a similar way as the Masabumi Kikuchi’s trio used to build up momentum. Quote with anti-quote, hold the line with minimalist touch but an incredible emotional tension. I could continue finding connections and revealing paths for you another page but it would be sadistic to take all this pleasure out of you. Instead I am leaving it here as it is. Needless to say that what we are finding on this recording is a real treasure chest. Full of absolute erudition and understanding of what happened in the jazz and classical piano world during the last hundred years. Cherry picking from this Master Cake is a real debauchery for everyone who loves to rob Sweet- shops. http://jazzpress.gpoint-audio.com/2017/10/sebastian-sternal-home-feat-larry-grenadier-jonas-burgwinkel-realised-31stof-march-2017-label-traumton-records-jazz/

Personnel:  Piano – Sebastian Sternal; Bass – Larry Grenadier; Drums – Jonas Burgwinkel

Home

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Claude Bolling - Suite For Flute And Jazz Piano Trio

Styles: Piano Jazz
Year: 1975
File: MP3@320K/s
Time: 34:12
Size: 79,0 MB
Art: Front

(5:18)  1. Baroque And Blue
(7:45)  2. Sentimentale
(5:22)  3. Javanaise
(3:54)  4. Fugace
(3:03)  5. Irlandaise
(5:09)  6. Versatile (with Bass Flute)
(3:40)  7. Veloce

Jean-Pierre Rampal may never get down and dirty on this album, considered "his first jazz recording," but the music is nonetheless infectious, breezy, playful, and crystal clear. The legendary flutist is so technically accomplished that anything too "swinging" from him seems a bit stiff, but this is where drummer Marcel Sabiani, bassist Mel Young, and legendary jazz pianist (and friend of Duke Ellington) Claude Bolling take over, all making these compositions seem jazzier than they are on paper. As an example, both "Baroque and Blue" and "Sentimentale" flirt with the morning air, with themes that somewhat separate Rampal's fluttering passages from all the hipster riffs. Track for track, note for note, there is nothing substandard about these "clazzical" hybrids. "Fugace" is a great countermelody express elevator, delightful in its energy and polish. "Javanaise" takes it slow enough for Charlie Brown to waltz about on the ice-skating rink. "Versatile" is a bouncy little trapeze act on the bass flute, and "Véloce" is a fantastic race to the wedding altar, a fantastic balance of tension and release, a nail-biter, a Buster Keaton melodrama, a cream pie in the face, and a precise exclamation mark to close the album. Here and there, Bolling and company manage to get Rampal to loosen his tie. Slightly. It's not quite jazz, but it's still spellbinding music. ~ Glenn Swan https://www.allmusic.com/album/claude-bolling-suite-for-flute-and-jazz-piano-trio-mw000062386

Personnel: Piano – Claude Bolling; Bass [String Bass] – Max Hédiguer; Drums – Marcel Sabiani; Flute – Jean-Pierre Rampal

Suite For Flute And Jazz Piano Trio

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Dave Liebman, Richard Beirach - Balladscapes

Styles: Saxophone And Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 74:20
Size: 171,3 MB
Art: Front

(4:31)  1. Siciliana
(3:21)  2. For All We Know
(6:32)  3. This Is New
(4:33)  4. Quest
(6:29)  5. Master of the Obvious
(5:52)  6. Zingaro
(4:37)  7. Sweet Pea
(4:46)  8. Kurtland
(6:08)  9. Moonlight in Vermont
(4:12) 10. Lazy Afternoon
(8:47) 11. Welcome / Expression
(9:09) 12. Dl
(5:16) 13. Day Dream

If there is an artistic partnership that deserves to be called "historical," it is the one between Dave Liebman and Richie Beirach : the first encounter between the two who are almost the same age, the sopranist having only one more year than the pianist - happens indeed almost fifty years ago, when the two were still students, and they were together in 1973 for First Visit , the first work on behalf of Liebman. Since then the collaboration has never stopped: together in the Quartet Quest, with Billy Hart and Ron McClure , they have recorded numerous duo works (the last, Unspoken, is from 2013) and have worked together in many different formations. It is therefore based on their highly developed agreement and their common sensibility that this CD is based, which is atypically focused above all on ballads above all . As evidence of the openness and ellipticity of the two, however, the first of these thirteen ballads is none other than a passage by Johan Sebastian Bach, the "Sicilian" from the Sonata for piano and flute in E-flat Major BWV 1031, which Liebman reinterprets to his way to the soprano sax. Then followed by well-known pieces such as the following "For All We Know" and "Zingaro" by Antonio Carlos Jobim one of the highest moments of the work, for the originality and delicacy of the, as in the case of the Shorteriana "Sweet Pea" or of the medley coltraneana "Welcome / Expression," interspersed with original compositions, even if not previously unpublished, of the two protagonists. The figure is that of a very tidy and linear chamber classicism, enriched, however, besides the understanding of the musicians, by the very great interpretative skills of the two. In particular, Beirach appears to be extremely sensitive in measuring time and pauses, so as to create intimate, never dense atmospheres, while Liebman shows off to his soprano his proverbial expressive complexity that makes him one of the greatest living interpreters (and not only), a gift that he also replicates in the reduced occasions in which he takes up the tenor and the flute (in particular, precisely in "Zingaro"). A disc masterfully performed by two Masters, a synthesis of the artistic work they have been leading for a lifetime. ~ Neri Pollastri https://www.allaboutjazz.com/balladscapes-dave-liebman-intuition-review-by-neri-pollastri.php

Personnel: Dave Liebman: sax (soprano, tenore), flauto; Richie Beirach: pianoforte.

Balladscapes

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Dorothy Dandridge - 15 Famous Songs

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 44:53
Size: 105,1 MB
Art: Front

(2:25)  1. It's Easy To Remember
(3:12)  2. What Is There To Say
(3:08)  3. That Old Feeling
(3:01)  4. The Touch Of Your Lips
(3:36)  5. Chattanooga Choo Choo
(3:20)  6. The Nearness Of You
(4:05)  7. I'm Glad There Is You
(1:51)  8. I've Grown Accustomed To Your Face
(3:40)  9. Body And Soul
(3:33) 10. How Long Has This Been Going On
(2:32) 11. I've Got A Crush On You
(2:41) 12. I Didn't Know What Time It Was
(2:11) 13. Taking a chance on love
(4:22) 14. My heart belongs to Daddy
(1:09) 15. Whatcha say

Actress/singer Dorothy Dandridge was Hollywood's first African-American superstar, becoming the first black performer ever nominated for a Best Actress Oscar. Born November 9, 1922, in Cleveland, she was the daughter of actress Ruby Dandridge, and with sister Vivian teamed in the song-and-dance duo the Wonder Children. The family relocated to Los Angeles during the mid-'30s, and in 1937 Dandridge briefly made her film debut in the Marx Brothers classic A Day at the Races. Meanwhile, she continued her singing career, and with Vivian performed as the Dandridge Sisters, sharing stages with the likes of Jimmie Lunceford and Cab Calloway as well as recording with Louis Armstrong. During the early '40s, Dandridge appeared in a series of musical film shorts, and as the decade progressed she became a sensation on the nightclub circuit. Her mainstream breakthrough was the title role in Otto Preminger's 1954 screen musical Carmen Jones, a performance which earned her an Academy Award nomination and made her a star; nevertheless, she did not reappear onscreen until 1957's Island in the Sun, and despite winning a Golden Globe for her work in 1959's Porgy and Bess, she was offered virtually no future film roles, returning to nightclubs by the early '60s. Plagued by years of personal hardships as well as professional hurdles, Dandridge was found dead of an overdose of anti-depressants on September 8, 1965. Three decades later, her career enjoyed a kind of renaissance with an acclaimed 1997 biography by film historian Donald Bogle in addition to Introducing Dorothy Dandridge, a 1999 HBO film starring Halle Berry. Smooth Operator, a long-unreleased recording date from 1958 featuring the Oscar Peterson trio, was finally issued in 1999 as well. ~ Jason Ankeny https://www.allmusic.com/artist/dorothy-dandridge-mn0000190742/biography

15 Famous Songs

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Glenn Zottola - Reflections Of Charlie Parker

Styles: Saxophone Jazz 
Year: 2016
File: MP3@320K/s
Time: 34:26
Size: 79,9 MB
Art: Front

(3:41)  1. Moonlight In Vermont
(3:01)  2. Oh, Lady Be Good!
(3:18)  3. It Might As Well Be Spring
(4:08)  4. In The Wee Small Hours of The Mourning
(3:22)  5. What Is This Thing Called Love'
(4:05)  6. I'm In The Mood For Love
(3:11)  7. Embraceable You
(4:30)  8. Smoke Gets In Your Eyes
(2:25)  9. I May Be Wrong (But I Think You're Wonderful!)
(2:41) 10. Three Little Words

Moonlight In Vermont"" is the opening song of this album and is one of my favorites and has that classic 50s string feel of the era. The small group track which is next is ""lady be good"" and what a ball playing with this Rhythm section that included really tasteful pianist Don Abney along with jazz legends Oscar Pettiford and Kenny Clarke real stars from the Golden Age of Jazz who played extensively with Charlie Parker. The last track ""I'm in the mood for Love"" is a beautiful arrangement slightly more contemporary that i am sure Charlie Parker would of loved to blow on as i did."" ~ Glenn Zotolla ..Editorial Reviews https://www.amazon.com/Tribute-Charlie-Parker-Glenn-Zottola/dp/B00IJ041UI

Tribute To Charlie Parker

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Lem Winchester, Benny Golson - Winchester Special

Styles: Vibraphone And Saxophone Jazz 
Year: 1991
File: MP3@320K/s
Time: 39:28
Size: 91,2 MB
Art: Front

(10:02)  1. Down Fuzz
( 4:01)  2. If I Were A Bell
( 7:00)  3. Will You Still Be Mine
( 7:31)  4. Mysticism
( 4:11)  5. How Are Things In Glocca Morra
( 6:42)  6. The Dude

This excellent CD reissue features the ill-fated vibraphonist Lem Winchester teamed up with tenor saxophonist Benny Golson, pianist Tommy Flanagan, bassist Wendell Marshall and drummer Art Taylor for three standards, an obscurity and two of the leader's originals. The music falls between bop and hard bop with consistently swinging solos that are generally fairly inventive. This was one of Winchester's three recordings for the New Jazz label; all are easily recommended to straightahead jazz fans. ~ Scott Yanow https://www.allmusic.com/album/winchester-special-mw0000271817

Personnel: Vibraphone – Lem Winchester; Tenor Saxophone – Benny Golson;  Bass – Wendell Marshall; Drums – Arthur Taylor; Piano – Tommy Flanagan

Winchester Special

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George Shearing With Brass Choir - Burnished Brass

Styles: Piano Jazz 
Year: 1958
File: MP3@320K/s
Time: 33:59
Size: 80,6 MB
Art: Front

(3:07)  1. Memories Of You
(2:15)  2. Lulu's Back In Town
(2:48)  3. If You Were Mine
(3:04)  4. Burnished Brass
(2:27)  5. These Things You Left Me
(2:49)  6. Mine
(2:26)  7. Beautiful Love
(2:41)  8. Cuckoo In The Clock
(3:44)  9. Sometimes I Feel Like A Motherless Child
(2:44) 10. Cheek To Cheek
(3:12) 11. Blame It On My Youth
(2:38) 12. Basie's Masement

For a long stretch of time in the 1950s and early '60s, George Shearing had one of the most popular jazz combos on the planet so much so that, in the usual jazz tradition of distrusting popular success, he tended to be underappreciated. Shearing's main claim to fame was the invention of a unique quintet sound, derived from a combination of piano, vibraphone, electric guitar, bass, and drums. Within this context, Shearing would play in a style he called "locked hands," which he picked up and refined from Milt Buckner's early-'40s work with the Lionel Hampton band, as well as Glenn Miller's sax section and the King Cole Trio. Stating the melody on the piano with closely knit, harmonized block chords, with the vibes and guitar tripling the melody in unison, Shearing sold tons of records for MGM and Capitol in his heyday. The wild success of this urbane sound obscures Shearing's other great contribution during this time, for he was also a pioneer of exciting, small-combo Afro-Cuban jazz in the '50s. Indeed, Cal Tjader first caught the Latin jazz bug while playing with Shearing, and the English bandleader also employed such esteemed congueros as Mongo Santamaria, Willie Bobo, and Armando Peraza. As a composer, Shearing was best known for the imperishable, uniquely constructed bop standard "Lullaby of Birdland," as well as "Conception" and "Consternation." His solo style, though all his own, reflected the influences of the great boogie-woogie pianists and classical players, as well as those of Fats Waller, Earl Hines, Teddy Wilson, Erroll Garner, Art Tatum, and Bud Powell and fellow pianists long admired his light, refined touch. He was also known to play accordion and sing in a modest voice on occasion. 

Shearing, who was born blind, began playing the piano at the age of three, receiving some music training at the Linden Lodge School for the Blind in London as a teenager but picking up the jazz influence from Teddy Wilson and Fats Waller 78s. In the late '30s, he started playing professionally with the Ambrose dance band and made his first recordings in 1937 under the aegis of fellow Brit Leonard Feather. He became a star in Britain, performing for the BBC, playing a key role in the self-exiled Stéphane Grappelli's London-based groups of the early '40s, and winning seven consecutive Melody Maker polls before emigrating in New York City in 1947 at the prompting of Feather. Once there, Shearing quickly absorbed bebop into his bloodstream, replacing Garner in the Oscar Pettiford Trio and leading a quartet in tandem with Buddy DeFranco. In 1949, he formed the first and most famous of his quintets, which included Marjorie Hyams on vibes (thus striking an important blow for emerging female jazz instrumentalists), Chuck Wayne on guitar, John Levy on bass, and Denzil Best on drums. Recording briefly first for Discovery, then Savoy, Shearing settled into lucrative associations with MGM (1950-1955) and Capitol (1955-1969), the latter for which he made albums with Nancy Wilson, Peggy Lee, and Nat King Cole. He also made a lone album for Jazzland with the Montgomery Brothers (including Wes Montgomery) in 1961, and began playing concert dates with symphony orchestras. After leaving Capitol, Shearing began to phase out his by-then-predictable quintet, finally breaking it up in 1978. He started his own label, Sheba, which lasted for a few years into the early '70s -- and made some trio recordings for MPS later in the decade. In the '70s, his profile had been lowered considerably, but upon signing with Concord in 1979, Shearing found himself enjoying a renaissance in all kinds of situations. He made a number of acclaimed albums with Mel Tormé, raising the singer's profile in the process, and recorded with the likes of Ernestine Anderson, Jim Hall, Marian McPartland, Hank Jones, and classical French horn player Barry Tuckwell. He also recorded a number of solo piano albums where his full palette of influences came into play. He signed with Telarc in 1992 and from that point through the early 2000s continued to perform and record, most often appearing in a duo or trio setting. Shearing, who had remained largely inactive since 2004 after a fall in his New York City apartment, died of congestive heart failure at New York's Lenox Hill Hospital on February 14, 2011. He was 91. ~ Richard S.Ginell https://www.allmusic.com/artist/george-shearing-mn0000642664/biography

Burnished Brass

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Claude Bolling - A Tone Parallel to Harlem (Tribute to Duke Ellington)

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 73:58
Size: 172,8 MB
Art: Front

(14:15)  1. Harlem
( 3:55)  2. Ring dem bells
( 3:25)  3. Things ain't that they use to be
( 3:45)  4. Creole love call
( 3:32)  5. Drop me off in Harlem
( 3:47)  6. It don't mean a thing
( 3:38)  7. Just squeeze me
( 4:16)  8. Caravan
( 3:34)  9. Harlem air shaft
( 4:39) 10. Moon mist
( 5:47) 11. Jungle traps
( 4:35) 12. Duke on my mind
( 2:50) 13. Lot of fingers
( 3:20) 14. Magenta haze
( 8:32) 15. Diminuendo in blue

This album dedicated to Duke Ellington includes recordings from 1999, two unpublished from a Big Band concert at the Maison de Radio France in February 1991, covers of previous albums (First Class, Warm Up the Band, etc., allowing thus to hear Stéphane Grappelli, Fernand Verstraete and Gérard Badini) and three solo pianos; a sort of anthology salute by Claude Bolling to the talent of the maestro illustrated by various pieces: the pianist fed by the Harlem Straight piano school, the creator of the jungle style marked by the Harlem renaissance, the master of the big band of the Classic era born in the Cotton Club, finally the powerful and fruitful composer of the post-war period (...). We can only rejoice that this repertoire is taken up by orchestras like the one directed by Claude Bolling or by Wynton Marsalis who are committed to perpetuate in their logic of interpretation (the version of Claude Bolling is in more than one remarkable title ) the work of Duke Ellington, emblematic pianist, mythical conductor and composer of genius, musician undoubtedly the most original of the American civilization.  ~  Felix Sportis - Hot Jazz

One becomes a fanatic Ellington collector because it is such a thrill to listen to alternate takes. The lesser-known alternates clips into the groove which the very familiar original has made in one's soul, and the differences make it sound "fresh". Strongly recommended ". Sjef Hoefsmit, Duke Ellington Music Society

"With this magnificent tribute to Duke Ellington, Claude Bolling has seemingly achieved the impossible; a powerful, blow-by-blow commentary on the substance of the Ducal achievements. The warmth is present, as is that relaxed, unmistakeable swing, and also the solo contributions of the Bolling entourage as so close to the classic creations of the original men (...). Yes, this is surely a memorable issue, never lets up for one moment on the responsibility for recreating, with such exactness, the sounds of the incomparable Duke and his unique company of performers. A distinctly superior act of homage all round ...~ Ken Rattenbuty, Crescendo & Jazz Music Translate By Google https://www.fremeaux.com/index.php?page=shop.product_details&category_id=64&flypage=shop.flypage&product_id=1016&option=com_virtuemart

A Tone Parallel to Harlem (Tribute to Duke Ellington)

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The Chordettes - We Three

Styles: Vocal 
Year: 2012
File: MP3@320K/s
Time: 35:29
Size: 82,6 MB
Art: Front

(2:27)  1. We Three
(2:04)  2. San
(2:11)  3. Makin' Love Ukelele Style
(1:24)  4. Oh Baby Mine (I Get So Lonely)
(2:03)  5. A Good Man Is Hard to Find
(2:30)  6. The Wedding
(2:18)  7. Hummingbird
(2:27)  8. Lonely Lips
(2:25)  9. Mr Sandman
(2:47) 10. Alice Blue Gown
(2:28) 11. Moonlight On the Ganges
(1:41) 12. Down Among the Sheltering Palms
(2:28) 13. For Me and My Girl
(2:25) 14. The Sweetheart of Sigma Chi
(1:58) 15. Floatin' Down to Cotton Town
(1:45) 16. Hello! Ma Baby

The Chordettes were one of the longest-lived vocal groups with roots in the mainstream pop and vocal harmonies of the 1940s and early '50s. Although the four women's arrangements owed more to the Andrews Sisters than doo wop, they did, unlike many of their peers, prove fairly adaptable to the rock era. First establishing themselves with the huge (and non-rock) pop hit "Mr. Sandman" in 1954, they continued to chart in the last half of the '50s and the early '60s, often with covers of rock and R&B songs. The 1958 number two hit "Lollipop" was the biggest of these. Although the group's sound (at least in retrospect) fell among the Whitest and squarest of rock artists, they introduced enough rock into their repertoire and production to sound more contemporary than they had on songs such as "Mr. Sandman."  Jinny Osborn was exposed to harmony singing via her father, who was president of "The Society for the Preservation and Encouragement of Barbershop Quartet Singing in America Inc." She formed the quartet with three college friends, and they became regulars on Arthur Godfrey's television show for four years in 1949, singing a cappella in the barbershop style, and recording for Columbia. Godfrey's musical director, Archie Bleyer, married the Chordettes' bass singer, Janet Ertel, around the same time he began his record label, Cadence. On Cadence, the group began to record with musical backing, though the barbershop elements are still well to the fore on "Mr. Sandman." Originally a B-side for Vaughn Monroe, the bouncy, somewhat novelty-oriented tune (complete with a deep-voiced "Yes?" from a voice representing "Mr. Sandman" at one point) made number one for seven weeks. 

The Chordettes were among the White pop acts that covered rock and R&B songs in the mid-'50s for the pop market, as early rock & roll began its successful threat to take over the mainstream audience. In so doing, they managed to split sales with the Teen Queens on the early doo wop classic "Eddie My Love," which made the Top 20 in versions by both groups. They also covered a song by Ronald & Ruby, "Lollipop," in their characteristic full-round-like arrangement, complete with popping sounds. This was their best rock, or at least rock-ish, tune, though they had continued to record straight pop songs, too, and had substantial hits with singles like "Born to Be with You" and "Just Between You and Me." In the late '50s and early '60s, the Chordettes continued to alternate between pop songs and ones with an eye on the rock market, including covers of the Coasters' "Charlie Brown," Paul Anka's "Lonely Boy," and Dodie Stevens' "Pink Shoelaces." They even did some recordings with King Curtis on sax. After "Lollipop" there were a few more hits: "Zorro," "No Other Arms, No Other Lips," and "Never on Sunday." They disbanded shortly after "Never on Sunday" made the Top 20 in 1961, however, when Jinny Osborn left and the group couldn't find a replacement with whom they were happy. ~ Richie Unterberger https://www.allmusic.com/artist/the-chordettes-mn0000763551/biography

We Three

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The Django Manouche Festival AllStars - Attitude Manouche

Styles: Gypsy Jazz
Year: 2018
File: MP3@320K/s
Time: 54:23
Size: 126,7 MB
Art: Front

(3:10)  1. Attitude Manouche
(5:55)  2. Troublant Romeo
(3:39)  3. Late Train
(7:41)  4. Lovely Wife
(4:57)  5. Laugh With Charlie
(5:40)  6. Balkanic Dance
(6:35)  7. Around Toots
(5:32)  8. Nocturne
(4:25)  9. Main Theme From Schindler's List
(2:51) 10. Tsigane Fantasy
(3:53) 11. Bonus Track: Viens Chez Django

It is a little known fact that Django Reinhardt was not only an incredible guitarist, he was also extremely good at stealing chickens. For the manouche clan of gypsies to which he belonged, this was a noble skill. He was saved from life as a chicken thief only when given a banjo-guitar at age 12. He became obsessed with the instrument, learning by mimicking the fingerings of established musicians, such as his uncle Guiligou. By the time he was 15 he was earning a living playing it and his chicken-stealing days were over. British bandleader Jack Hylton offered Reinhardt a job but before he could start, the caravan in which he lived caught fire. Reinhardt's left hand was badly burned and doctors discussed amputating one of his legs. A horrified Reinhardt refused surgery and discharged himself from hospital. Within a year he could walk with the aid of a stick and had developed techniques for playing guitar with his crippled hand. Having regained his fluency, he teamed up with violinist Stéphane Grapelli and in 1934 the duo formed the basis of the legendary Quintet Of The Hot Club of France, creating what is now known as manouche jazz, which is played mainly on stringed instruments. 

Today manouche is played all over the world mostly by devoted fans intent on the faithful reproduction of numbers from Reinhardt's repertoire. The All-Stars of the Django Festival at Birdland, in New York City, dare to be different, not content to merely regurgitate songs such as "Minor Swing" and "Sweet Sue, Just You." All the numbers here are originals save one and that is the less-than-familiar theme from the movie "Schindler's List." The music the All Stars play is fast and mostly light-hearted, though by no means easy. Lead guitarist Samson Schmitt, plays a Maccaferri guitar, like the one favoured by Reinhardt. Violinist Pierre Blanchard takes the role played by Stéphane Grapelli. The title number, "Attitude Manouche," written by Schmitt, is reminiscent in places of "Them There Eyes," a number Reinhardt recorded in 1938. It moves along at a fair clip, with some fine fiddling by Blanchard. Blanchard's ballad "Troublant Romeo," features an excellent solo from Schmitt then gets a little lost melodically before its author brings it all back together for the finale. "Late Train," by Ludovic Beier, is the stand-out track, with excellent solos from all concerned. Schmitt's "Lovely Wife" is a dreamy, romantic ballad, which -just as you expect it to wind down -is revived with a tasteful, understated solo from its creator. By now, Django is long ago and far away and the proceedings are verging on present day schmaltz. The quirky, light-hearted "Laugh With Charlie" puts things back on track before Blanchard's rhapsodic "Balkanic Dance" again threatens derailment. The closer, "Viens Chez Django" features an unsuccessful vocal by its author, Philippe Cuillerier, that is not helped by his own infantile lyric a shame it was included. Apart from this, there is much devoted manouche fans will find appealing. Non-devotees may be put off by the strings-only formula and Blanchard's rhapsodic fiddle playing. ~ Chris Mosey https://www.allaboutjazz.com/attitude-manouche-the-django-festival-all-stars-resilience-music-alliance-review-by-chris-mosey.php

Personnel: Samson Schmitt: lead guitar; Pierre Blanchard: violin; Ludovic Beier: accordion; Philippe Cuillerier: rhythm guitar, vocal; Antonio Licusati: bass.

Attitude Manouche

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