Nancy Osborne - Hot Swing, Cool Jazz

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 48:22
Size: 112,5 MB
Art: Front

(2:20)  1. I Love Being Here With You
(3:36)  2. Mister Sandman
(2:57)  3. Ding Dong the Witch Is Dead
(4:08)  4. I've Got You Under My Skin
(2:49)  5. It's De-lovely
(2:12)  6. Something's Gotta Give
(4:41)  7. Only You
(3:13)  8. And the Angels Sing
(3:26)  9. All That Jazz
(2:27) 10. He's a Tramp
(2:19) 11. Pardon My Southern Accent
(2:26) 12. Two Lost Souls
(3:08) 13. Gypsy in My Soul
(4:24) 14. Georgia On My Mind
(2:33) 15. Hallelujah I Just Love Him So
(1:36) 16. As Long As I'm Singing

I'm in a quandary to describe this album of big band jazz vocals from Nancy Osborne as anything more than "pleasant." Through no fault of the singer or the top-flight band of West Coast musicians like Pete Christlieb, Gary Herbig, Charley Loper and Tom Ranier or the arrangements of Bob Florence, Paul McDonald, Lon Norman, Jonathan Barick or Dave Wolpe this album cannot be lifted into a higher category. The best summary I can offer is that the album offers "safe" middlebrow jazz music. Several of the tunes are currently overexposed per the Great American Songbook (eg. "I've Got You Under My Skin," "It's Delovely," "Georgia On My Mind") and deserve at least temporary retirement. Osborne's voice is fine, with a bright quality that emphasizes the lyrics and hits a balance with the orchestrations, so that both are heard to their advantages.  However, this is a big band vocal album, not a jazz-oriented vocal occasion. There are a few false starts. "It's De-Lovely" begins with the opening riff of "Milestones" and "Something's Gotta Give" begins with Osborne's vocalese matching the horn lines, but this is a introductory tease for both songs. Nancy Osborne also provides effective vocalese on the instrumental break of "Gypsy In My Soul." I'd suggest that this is an excellent choice for afficianados of big band music in a contemporary setting. Let's look at a few more positives. 

Osborne opens with a saucy version of Peggy Lee's "I Love Being Here With You" and concludes with Bobby Darin's signature song, "As Long As I'm Singing," which he usually used to close sets. "Pardon My Southern Accent" is an obscure Johnny Mercer tune from 1934 and "Two Lost Souls," borrowed from the Broadway musical Damn Yankees, is a nifty duet with Ned Rifkin. Osborne's take on "He's A Tramp" (from the Disney film Lady and the Tramp) once again emulates the style of writer and performer Peggy Lee. 

~ Michael P.Gladstone https://www.allaboutjazz.com/hot-swing-cool-jazz-nancy-osborne-self-produced-review-by-michael-p-gladstone.php

Personnel: Nancy Osborne: vocals; Charlie Davis, Ron Barrows, Mike NcGuffy, Barbara Laronga: trumpet; Charlie Loper, Paul Young, Linda Small, Bryant Byers: trombone; Pete Christlieb, Gary Herbig, Darryl Winseman, Andrew Martinez, Cindy Bradley, Mike Acosta: reeds; Jim Cox, Tom Ranier: piano; Ron Hershewe: guitar; Geo Valle: bass; Sammy K: drums; Ned Rifken: guest vocalist.

Hot Swing, Cool Jazz

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Pete Zimmer Quintet - Common Man

Styles: Jazz, Post Bop
Year: 2004
File: MP3@320K/s
Time: 61:00
Size: 140,3 MB
Art: Front

(6:24)  1. Search
(6:37)  2. Road Taken
(6:55)  3. Common Man
(3:51)  4. A Whole New You
(6:45)  5. Time That Once Was
(5:39)  6. 5 A.M. Blues
(5:33)  7. Hustlin
(6:05)  8. Daytona
(6:11)  9. Darn That Dream
(6:57) 10. Common Man (Alt)

Pete Zimmer's quintet swings with a straight-ahead enthusiasm that captures the tradition inspired by a century of jazz. His trumpet/tenor saxophone front line strolls gracefully through this program of originals and standards. Zimmer drives the unit gently from the drum set, encouraging trumpeter Michael Rodriguez, saxophonist Joel Frahm, and both pianists in their search for the perfect solo improvisation."Common Man," the album's title track, exhibits the strength of a cohesive unit that speaks closely together, like peas in a pod. Not preferring to jump and shout, Zimmer stays the course with a magnetic quality. Solos around the room follow with the same mood as the quintet speaks lovingly of its tradition. Critics of modern jazz complain that it moves too fast and that its intensity gives them headaches. With his debut album, Pete Zimmer reaches out to the common man and proves to him that modern, straight-ahead jazz can capture your heart and take you away from the ordinary. The music elevates his audience. Ballads such as "Time That Once Was" and "Darn That Dream" can lift your spirits gently. John Sullivan's bowed bass statements work miracles. 

Up-tempo romps, such as Frahm's "A Whole New You" and Zimmer's "Hustlin,'" provide drama and driving energy, while maintaining a hardy rhythmic spirit. Zimmer's brief drum solos provide the spice. ~ Jim Santella https://www.allaboutjazz.com/common-man-pete-zimmer-tippin-records-review-by-jim-santella.php

Personnel: Pete Zimmer (drums), Michael Rodriguez (trumpet), Joel Frahm (tenor saxophone), Rick Germanson (piano on "Common Man," "5 A.M. Blues," "Daytona"), Toru Dodo (piano on all other tracks), John Sullivan (bass)

Common Man

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David Liebman - On the Corner Live! The Music of Miles Davis

Styles: Saxophone, Flute Jazz
Year: 2019
File: MP3@320K/s
Time: 66:38
Size: 154,0 MB
Art: Front

( 1:02)  1. Lieb Talks About Miles
( 3:50)  2. In a Silent Way
( 8:41)  3. On the Corner
( 9:08)  4. Wili (For Dave)
( 2:19)  5. Bass Interlude
(11:55)  6. Black Satin
( 7:02)  7. Selim
( 1:34)  8. Guitar Interlude
( 5:53)  9. Ife
( 1:56) 10. Drum Interlude
( 7:04) 11. Mojo
( 6:11) 12. Jean Pierre

When the Miles Davis album On the Corner (Columbia, 1972) was released, Davis had already begun to engage in electronic instrumentation and jazz fusion with soon to be revered recordings: In A Silent Way (Columbia, 1969), Bitch's Brew (Columbia, 1970) and Jack Johnson (Columbia, 1971). On the Corner, however, was so experimental and funky that it incurred the wrath of many critics and sales were minimal. Still, in the ensuing decades, it has come to be regarded as a pioneering work that anticipated and influenced not only the subsequent development of jazz but also hip-hop, jungle, post-rock, and other styles that have defined public taste and topped the popular music charts. On the album, Davis played electric organ more than trumpet, used musicians like Chick Corea, Herbie Hancock, Don Alias, and John McLaughlin curiously without mentioning their names, and experimented with tape-splicing and electronic effects he picked up from avant-garde classical composer Karlheinz Stockhausen. What initially appeared to be Davis' downfall proved to possess innovative power. On a larger cultural plane, the album embodied the flowering of the hippie era with its psychedelics and radical lifestyle, and especially in Davis' own thoughts, the freeing of African American youth from entrenched traditions in music and lifestyle. Dave Liebman was the saxophonist on that controversial album. A young upstart at the time, Liebman found his two year tenure in Davis' band to be just the stimulus he needed to jump start his career and, after a stint with Elvin Jones, form his own iconic groups. Forty-plus years later, in 2015, one of Liebman's admirers, fellow saxophonist Jeff Coffin, was inspired to invite him to Nashville to revisit On the Corner with musicians especially capable of capturing the essence of that recording. Liebman had already recorded a version with an ensemble of his own, Back on the Corner (Shrapnel, 2007; Mascot, 2015). Now in a period of his career where he was increasingly interacting with musicians beyond his inner circle, he found the invitation appealing. The result, just now released four years after it was recorded, is a tantalizing combination of the ingredients of the Davis album with Liebman's own well-honed but always expanding musical approach and vocabulary. Liebman provided arrangements of two songs from the Davis album: "On the Corner" and "Black Satin," as well as Weather Report founder Joe Zawinul's "In a Silent Way" and several originals. Coffin recruited the additional musicians: Victor Wooten on electric bass, Chris Walters on keyboards, James DaSilva on guitar, and Chester Thompson on drums, all of whom demonstrate their resilience in adapting to the requirements of the electric funk genre. It was a live gig in a packed house at the sizeable Nashville 3rd and Lindsley Bar. The recording quality is especially good, with the stereo spatial separation that Davis was looking for as well. As far as we know, despite the fact that digital technology makes it easy to splice and modify sounds, there was no use of control room gadgetry to revise the original live recording. The album begins with a short talk by Liebman reflecting casually on Davis' career and providing an overview of the program. (One wishes he said more about the Davis "Corners" recording date.) Then, "In a Silent Way" finds Liebman on wood flute and soprano saxophone accompanied by Coffin's tenor sax. It's a slow paced modal melody almost empty, like silence. Throughout the album you're going to hear carefully articulated modal and chromatic melodic improvising that lends an impressionistic beauty deliberately omitted in Davis' recording. "On the Corner," however, adheres closely to the sound of Davis' "On the Corner" track. It's almost free jazz except for a discernable melody and key, with sounds characteristic of fusion. 

Liebman offers an animalistic "Rite of Spring"-like improvisation on soprano saxophone complemented by Coffin's electronic saxophone. It is sheer funk with a touch of the blues characteristic of acid rock. A repetitive grunge motif on bass guitar is reminiscent of Jaco Pastorius' tenure in Weather Report and builds up to simultaneous improvising by the whole group. Wili (co-written by Davis and Liebman)" harks back to the feeling of "In a Silent Way," with Liebman on wood flute providing sound imagery of ethereal night. There is interesting synthesizer work on keyboards and guitar and a lovely dialogue between wood flute and soprano saxophone. Walters' keyboards and DaSilva's guitar delve into the "night" idea further, giving an impressionist flavor which Liebman likes for ballads. A "Bass Interlude" affords a parody of the Nashville country and western sound, and like the tracks on Davis' album, segues directly without pause into "Black Satin," in a version nothing like Davis' track. It is far less chaotic! The melodic motif predominates and Liebman does one of his magnificent soprano saxophone solos. A subdued postlude takes the melody at a snail's pace out into the night. Davis was called "Prince of Darkness" for a variety of reasons, but his music exemplified at some depth the nightshades that make jazz so haunting, as does this tune. The album moves on to several originals. "Selim," a bluesy meditation begins with what might be the only acoustic piano segment, and the whole piece seems pre-fusion. A "Guitar Interlude" by DaSilva also provides a mainstream solo going back to Herb Ellis, et al. It ends though with a touch of fusion/synthesizer accompaniment leading up to "Ife" which provides a perfect foil for another iconic Liebman soprano saxophone solo. If rappers could be drummers, Chester Thompson's "Drum Interlude" would exemplify their pounding rhythmic rants. It is followed seamlessly by "Mojo,"; which as the name suggests creates an accelerating magic spell. As the pace picks up the effect is that of a train-like version of Ravel's "Bolero." Surprisingly, the "funk" on this album harks back to Charlie Parker, who found much inspiration in Ravel and Stravinsky. A doctoral thesis could be written about the premise, "without bebop, no funk."  The album concludes with "Jean Pierre," a Motown-ish vamp that could have provided a backdrop for Boyz 2 Men. Taken as a whole, this album provides a healthy dose of jazz, rock, fusion, and funk all put together by a group of outstanding musicians who know exactly what they are doing and having great fun "on the corner." ~ Victor L. Scherner https://www.allaboutjazz.com/on-the-corner-live-dave-liebman-ear-up-records-review-by-victor-l-schermer.php

Personnel: Dave Liebman: tenor and soprano saxophone, wood flute; Jeff Coffin: tenor, soprano, and electro saxophone, flute, clarinet; Victor Wooten: electric bass; Chester Thompson: drums; Chris Walters: keyboards; James DaSilva: guitar.

On the Corner Live! The Music of Miles Davis

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Pete Zimmer - Prime of Life

Styles: Jazz, Post Bop
Year: 2012
File: MP3@320K/s
Time: 55:13
Size: 127,5 MB
Art: Front

(7:02)  1. Prime of Life
(5:12)  2. One for G.G.
(6:23)  3. Tranquility
(6:36)  4. Carefree
(6:16)  5. Strollin' Down Bourbon Street
(5:51)  6. T.T.T.
(7:48)  7. Night Vision
(5:19)  8. Almost Home
(4:42)  9. The Three Petes

Prime of Life, drummer Pete Zimmer's fifth recording as a leader, has a clean, crisp, soulful sound. The players of the quartet all top-notch musicians meld their talents into a polished cohesion. Zimmer is a fine drummer capable of impeccable timekeeping and intricate, though usually subtle percussive flourishes. Zimmer's music, with its tight grooves, sounds like heartland jazz, like the quintessentially American sound of an organ trio without, in this case, the Hammond B3 breathing into the mix. Guitarist Peter Bernstein, who has worked extensively with organists Melvin Rhyne and Larry Goldings, is a tangy presence here, whether laying down a slow, thoughtful, single-noting solo on "Tranquility," or with his ringing, organ-like chording on "Carefree." George Garzone fronts this quartet outing. 

The somewhat underappreciated saxophonist seems to fall into the "musicians' musician" category, like Joe Henderson prior to the late saxophonist's late-career breakout recording, So Near, So Far (Musings for Miles) (Verve, 1992). Like Henderson, Garzone solos with a labyrinthine eloquence, smoking in front of bassist Peter Slavov's always solid, always subtle pulse and Zimmer's relentless simmer on "T.T.T.," one of three tunes Garzone contributes to this otherwise all-Zimmer-penned outing. Where Garzone's "T.T.T" runs hot, Zimmer's "Night Vision" rides on a cool and laidback cruise control. It's a fluid roll, like a big new American-made sedan following its headlights along a freshly-paved highway, on a straight shot through the darkness over gentle rises and falls."Almost Home," at just a notch above ballad tempo, features Garzone's most beautiful blowing, and a very piquant solo by Bernstein, leading into the controlled burn of the closer, "The Three Petes," with Garzone the group's only "non-Pete" serving up another of his engagingly circuitous saxophone soliloquies. ~ Dan McClenaghan https://www.allaboutjazz.com/prime-of-life-pete-zimmer-tippin-records-review-by-dan-mcclenaghan.php

Personnel: Pete Zimmer: drums; George Garzone: tenor saxophone; Peter Bernstein: guitar; Peter Slavov: bass.  

Prime of Life

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Irene Kral - Comes Love

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 64:20
Size: 150,1 MB
Art: Front

(3:44)  1. Detour Ahead
(2:36)  2. Comes Love
(2:46)  3. I Let a Song Go out of My Heart
(2:34)  4. It's a Wonderful World
(2:33)  5. The Night We Called It a Day
(2:20)  6. Rock Me to Sleep
(3:11)  7. The Meaning of the Blues
(2:32)  8. It Isn't so Good
(2:54)  9. Lazy Afternoon
(3:01) 10. What's Right for You
(3:35) 11. Guess I'll Hang My Tears out to Dry
(2:07) 12. This Little Love of Ours
(2:14) 13. Something to Remember You By
(3:03) 14. Spring Can Really Hang You up the Most
(2:13) 15. I'd Know You Anywhere
(3:23) 16. This Is Always
(2:21) 17. Better Than Anything
(2:22) 18. The Touch of Your Lips
(2:57) 19. Memphis in June
(1:56) 20. Nobody Else but Me
(2:40) 21. Just Friends
(3:11) 22. No More
(2:02) 23. Everybody Knew but Me
(1:54) 24. Passing By

A superb ballad singer who always put both plenty of emotion and subtlety into her often haunting interpretations, Irene Kral stood near the top of her field during her shortened life. The younger sister of singer/pianist Roy Kral (of Jackie & Roy), she debuted as a singer with the Jay Burkhardt Big Band. Freelancing in Chicago (including with a vocal group called the Tattle-Tales), Kral spent nine months singing with Maynard Ferguson's big band in 1957. Next up was an association with Herb Pomeroy's Orchestra. After getting married and settling in Los Angeles, Kral did not work for a while. However, from 1974-1977, she recorded three exquisite albums for Choice and Catalyst, including two duet sets with pianist Alan Broadbent (Where Is Love and Gentle Rain), that are considered classics; her rendition of "Spring Can Really Hang You up the Most" is definitive. 

Sadly, Irene Kral was struck down by cancer at the height of her career at age 46. Her recordings (for United Artists in 1959, a 1963 date for Ava, a Mainstream session in 1965, and the Choice and Catalyst albums) are all currently out of print, although a live set from September 1977 put out by Just Jazz in the mid-'90s is available on CD. ~ Scott Yanow https://www.allmusic.com/artist/irene-kral-mn0000080919/biography

Comes Love

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Laurent Courthaliac - All My Life, A Musical Tribute to Woody Allen

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 44:03
Size: 101,3 MB
Art: Front

(4:08)  1. He Loves and She Loves
(2:56)  2. Strike Up the Band
(4:33)  3. All My Life
(5:06)  4. Ev'ryone Says 'I Love You'
(2:24)  5. Looking at You
(5:33)  6. But Not For Me
(3:51)  7. You Brought a New Kind of Love to Me
(4:47)  8. I've Got a Crush on You
(5:23)  9. Just You, Just Me
(5:18) 10. Embraceable You

After his tribute to Baroness Pannonica, muse of be-boppers, the pianist Laurent Courthaliac celebrates Woody Allen and his love of jazz. From poetic and timeless "Manhattan" to merry and swinging "Everyone says 'I Love You'", the pianist operates at the head of a byte of choice a classy dive at the heart of Gershwin's spirit and culture New York standards. Translate by Google http://www.jazzandpeople.com/portfolio/allmylife/

Personnel:  Laurent Courthaliac , piano, arrangements; Fabien Mary , trumpet; Bastien Ballaz , trombone; Dmitry Baevsky , alto sax; David Sauzay , tenor sax; Xavier Richardeau , baritone sax; Clovis Nicolas , double bass; Pete Van Nostrand , drums; on orchestrations by Jon Boutellier .

All My Life, A Musical Tribute to Woody Allen

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Ed Palermo Big Band - A Lousy Day in Harlem

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 71:32
Size: 165,4 MB
Art: Front

(8:25)  1. Laurie Frink
(5:14)  2. Affinity
(5:36)  3. Brasilliance
(6:02)  4. Sanfona
(2:32)  5. Like Lee Morgan
(7:03)  6. The One with the Balloon
(3:38)  7. Minority
(8:07)  8. The Cowboy Song
(3:02)  9. Well You Needn't
(4:04) 10. Giant Steps
(7:33) 11. Next Year
(7:47) 12. Gargoyles
(2:24) 13. This Won't Take Long

There’s often a note of humor in the titles and artwork of arranger/saxophonist/composer Ed Palermo’s recordings (The Great Un-American Songbook featured several British Invasion-era tunes), and this one is no exception: The cover of A Lousy Day in Harlem plays off of the classic 1958 Art Kane photograph of 57 jazz musicians gathered in front of a Harlem brownstone, with Palermo in front of the same building, alone and forlorn.  But that’s where the funny stuff ends; when Palermo gets down to arranging music, he’s dead serious. Unlike previous efforts from him that focused largely on a single composer (more often than not Frank Zappa), this program roams widely. A couple of the numbers Monk’s “Well You Needn’t” and Gigi Gryce’s “Minority” come from musicians who appeared in that 1958 photo; the rest are either Palermo originals or interpretations of pieces both contemporary (Renee Rosnes) and classic (Ellington). Throughout, there’s a uniformity in the airtight arrangements and the seamlessly executed playing. Twenty-first century big-band music doesn’t get more exciting and impressive than this. Among the pieces from outside sources, the Egberto Gismonti tune “Sanfona” is a particular highlight, gliding easily between divergent tempos; Phil Chester’s sweet and sassy soprano saxophone solo is punctuated by unexpected bursts from the other horn players. The originals show that Palermo has learned well from the masters. Opener “Laurie Frink,” dedicated to the late trumpeter, gets things off to a swinging start, while “Like Lee Morgan” gives one of the band’s current trumpeters, John Bailey, an opportunity not to mimic Morgan but to honor him in his own way. Two tenor saxists, Bill Straub and Ben Kono, nod similarly to Trane in an uptempo, electrifying “Giant Steps.” Ain’t nothing lousy at all about this one. https://jazztimes.com/reviews/albums/ed-palermo-big-band-a-lousy-day-in-harlem-sky-cat/

Personnel:  Ed Palermo - alto sax; Cliff Lyons - alto sax, clarinet, soprano sax; Phil Chester - alto sax, soprano sax, flute, piccolo; Bill Straub - tenor sax, clarinet, flute; Ben Kono - tenor sax, flute, oboe; Barbara Cifelli - baritone sax, bass clarinet, Eb mutant clarinet; Ronnie Buttacavoli - trumpet; John Bailey - trumpet; Steve Ingman - trumpet; Charley Gordon - trombone; Mike Boschen - trombone; Matt Ingman - bass trombone; Ray Marchica - drums; Paul Adamy - electric bass;  Bob Quaranta - piano; Ted Kooshian - keyboards

A Lousy Day in Harlem

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Peter Asplund - Satch as such

Styles: Trumpet Jazz
Year: 2011
File: MP3@320K/s
Time: 73:10
Size: 168,6 MB
Art: Front

( 1:58)  1. Satch As Such
(10:20)  2. West end blues
( 7:13)  3. I'm confessin' (that I love you)
( 8:48)  4. Do you know what it means to miss New Orleans?
( 8:41)  5. I can't give you anything but love
( 4:40)  6. Ain't misbehavin
( 9:37)  7. I cover the waterfront
( 7:19)  8. When it's sleepy time down south
( 7:29)  9. Hello Dolly
( 6:58) 10. What a wonderful world

Satch as Such is a music album from 2000 with Peter Asplund and his orchestra. The album is a tribute to the 100-year-old Louis Armstrong with Armstrong's most famous songs modernly newly arranged for big band and trumpet soloist. The events are written by Mikael Råberg , Helge Albin , Bo Sylvén , Göran Strandberg , Staffan Odenhall , Magnus Lindgren and Magnus Blom. https://sv.wikipedia.org/wiki/Satch_as_Such

Personnel: Peter Asplund,Hans Dyvik,Patrik Skogh, Anders Gustafsson and Fredrik Oscarsson - trumpet;  Mikael Råberg , Dicken Hedrenius , Karin Hammar and Mattis Cederberg - trombone;  Johan Hörlen, Magnus Blom, Per "Texas" Johansson , Karl-Martin Almqvist , Magnus Lindgren and Alberto Pinton - saxophones;  Jacob Karlzon - piano;  Hans Andersson - bass;  Johan Löfcrantz Ramsay - drums;  Rigmor Gustafsson and Magnum Coltrane Price - song

Satch as such

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Clare Teal - That's The Way It Is

Styles: Vocal
Year: 2001
File: MP3@320K/s
Time: 49:20
Size: 114,4 MB
Art: Front

(2:54)  1. Messin´with Fire
(3:51)  2. Night And Day
(6:06)  3. You´re My Thrill
(3:06)  4. Love Is A State Of Mind
(4:25)  5. Heber, The Receiver
(4:15)  6. That´s The Way It Is
(4:12)  7. Ill Wind
(4:31)  8. How Little We Know
(4:59)  9. Sleep, Little Man
(3:44) 10. Our Love Is Here To Stay
(4:13) 11. Speak Low
(2:58) 12. Circle Moon

Clare Teal is an exciting singer with intense warmth and passion whose delicate phrasing and heartfelt interpretation of lyrics are the very essence of her music. The tunes Clare selected for the album indeed mirror her tastes in music ranging from her dynamic originals 'Messin' with Fire' and 'Heber' to the sophisticated ballad artistry of 'You're My Thrill' and 'Ill Wind'. ~ Editorial Reviews https://www.amazon.com/Thats-Way-Clare-Teal/dp/B00005LOJR

That's The Way It Is

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Heather Bennett - Suite Talk

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 64:18
Size: 148,8 MB
Art: Front

(6:03)  1. Cadillac Roundup
(1:12)  2. Silent Witness
(5:42)  3. Cacti
(3:59)  4. Giddy-Down
(6:31)  5. 'Nite Awl
(5:34)  6. Falling
(7:16)  7. Rattlesnake Dance
(5:46)  8. Mustangs
(5:10)  9. Sweets
(5:51) 10. Deep Fried Tumbleweed
(6:58) 11. Blue Bonnet
(4:11) 12. Taps For A.D.

To listen to the Pianist, Composer, Singer Heather Bennett is to browse through a well-assorted choice of Straight-Ahead transformed for modern times. Echos of Hard-Bop, Bebop, Post-Bop, Originals, modern interpretations of Pop Numbers... With a definite knowledge of tradition, her compositions impressively present an intelligent path from the present to the future of Jazz through her expressive, powerful, but also lyrical piano playing. Heather Bennett, daughter of a classical pianist, majored in music in Texas and North Carolina (Magna cum Laude in Jazz-Performance) and has lived in the "Big Apple" since 1997 where she stays quite active in numerous musical projects. There she initiated, among other things, a female quintet with bassist Erin Wright, worked with muscians like Ingrid Jensen, Ed Schuller, Georg Schuller, Randy Brecker, Ari Hoenig and constantly plays with her groups in the NYC Jazz Clubs. Recently her 4th and latest CD "Suite Talk" appeared with, among others, Drummer Billy Hart and Bassist Rufus Reid. Don't Forget To Check Out Heather Bennett's Other CD's "Suite Talk" and "New Light"https://store.cdbaby.com/cd/hbennett2

Personnel: Heather Bennett - Piano, Billy Heart - Drum, Dennis Irwin - Bass, Dave Pietro - Alto Sax

Suite Talk

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Bob Holz - Silverthorne

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 59:58
Size: 137,8 MB
Art: Front

(4:46)  1. Intervals
(5:52)  2. Less Is More
(7:29)  3. The Point
(6:15)  4. Riptide
(5:27)  5. Vince
(5:15)  6. Reasons
(6:22)  7. Silverthorne
(6:33)  8. Larry's Blues
(5:10)  9. Pick Myself Up
(6:46) 10. Subliminal Son

Here's a solid jazz fusion album sans the megalomaniacal soloing sprees and impossibly complex time signatures brought to us by highly regarded session drummer and bandleader Bob Holz, who reaps the benefits of A-listers such as guitarist Mike Stern, trumpeter Randy Brecker and other notables. And while drummers are not frequently heralded for their compositions and arrangements, Holz excels in these areas via his several originals that are enhanced with tuneful choruses and assertive soloing ventures. Moreover, the artists translucently morph the core elements of fusion with jazzy horns, dynamic soloing episodes and a presiding sense of camaraderie that underscores the entire production. Stern imparts stinging solos as he often zooms in for the kill on several tracks atop the drummer's pumping back beats. Yet Holz is a near flawless timekeeper amid concise accents, and snappy fills as he keeps the train a rollin' throughout. Pieces such as "The Joint" merge upbeat balladry and catchy melodies contrasted by Stern's ominous phrasings and Brecker's authoritative and twirling reformation of a given theme, often seasoned with harmonious choruses. From a holistic perspective, the ensemble's sense of the dynamic often spawns contrapuntal motifs to Holz' amenable harmonic content, and in this manner, they're able to maintain a firm grip on the jazz fusion aspects, although some of these works are outlined with contemporary jazz elements. Essentially, the musicians are afforded plenty of improvisational space. They also inject an airy samba groove into "Vince," where the trumpeter aims for the upper registers with his use of vibrato, joined by Austrian guitar hero Alex Machacek for silky unison lines and tuneful melodic intervals. The band integrates jazz-flavored R&B and funk into a memorable hook during "Silverthorne," and closes out the program with a radiant straight-four groove on "Subliminal Sun," amped by Stern and Brecker's lyrical lines and gritty outbreaks. Simply stated, Holz and associates dish out a rather wholesome embodiment of jazz fusion enough to satisfy hardcore fuzoid fans and for those who like their contempo jazz incorporated with a little more meat and less sugar. ~ Glenn Astarita https://www.allaboutjazz.com/silverthorne-bob-holz-mvd-audio-review-by-glenn-astarita.php

Personnel: Bob Holz: drums & percussion (1,2,6); Alex Acuna: percussion (3,4,5,9,10); Mike Stern: guitar (3,7,8,10); Ralphe Armstrong: bass (3,7,8,10); Jamie Glaser: guitar (2); Randy Brecker: trumpet (3,7,8,1); Brandon Fields: saxophone (1,2,4,5,6,9); Billy Steinway: keyboards; Alex Machacek: guitar (1,4,5,9); Andrew Ford: bass (1,4,5,9); Ada Rovatti: saxophone (3,7,8,10).

Silverthorne

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Grady Nichols - Destinations

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 58:21
Size: 135,1 MB
Art: Front

(4:45)  1. London Baby!
(4:48)  2. Only Dreamin'
(5:39)  3. You Know Me
(4:26)  4. Beachside
(4:17)  5. Faithfully
(4:49)  6. Nothin' Better
(5:01)  7. Only You Can Love Me This Way
(4:10)  8. Superman
(5:18)  9. Tulsa
(4:30) 10. Coming Home
(5:15) 11. You With Me
(5:16) 12. Walk Thru My Dreams

It was in 2008 and the advent of the excellent CD ‘Take Me With You’ that I first latched onto the artistry of sax-man Grady Nichols. In fact the discography of Nichols stretches all the way back to 1996 when his debut recording ‘Between You And Me’ first hit the streets. Since then he has released five more albums with the latest being the superb ‘Destinations’. Co-written and produced by Chris Rodriguez, this hugely accessible body of work checks every box imaginable and not for the first time marks out Nichols as one to watch. Make no mistake the richness of Nichols full-bodied saxophone sound really is something to savor and the energy he seems to routinely generate is exemplified by the opening track (and the first to go to radio) the big, powerful and ‘in your face’ ‘London Baby!’ However Nichols can mix it up too and does so to impressive effect with the romantically inclined ‘Only You Can Love Me This Way’. It’s a song that shows off the depth of the entire collection and in this respect much the same can be said of ‘Beachside’. With a lilting reggae beat and the sound of steel drums you might be forgiven for actually feeling the sand between your toes. Nichols is on record as accepting that many listeners are not locked into only one genre and he acknowledges this and then some with the pop orientated ‘Nothin Better’ which includes an attention grabbing vocal duet from Rodriguez and Krista Branch. Later Nichols returns to that same pop vibe for ‘Superman’ where Teel Merrick does a nice job on vocals and elsewhere he deftly turns the Journey hit ‘Faithfully’ into a big impressive instrumental ballad which might best be described as stadium smooth jazz. With a banjo pulsing in the background ‘Tulsa’ is where country meets contemporary jazz in the most delightful of ways. Despite all the odds the combination really works and totally captures the mood of this Oklahoma city while another tune to evoke vast open spaces is the melodically pleasing ‘Coming Home’. This, together wth ‘Walk Through My Dreams’, provide a tender counter-point to some of the horn driven pyrotechnics that have gone before whilst in terms of personal favorites the mid tempo ‘Only Dreamin’ (with edgy production and a strong hook) delivers a choice example of textbook smooth jazz. Also worth a mention is ‘You Know Me’ which not only benefits from vocals and Hammond B3 from former Chicago band member Bill Champlin but also from more of Nichols high octane playing. However, all things considered, my Smooth Jazz Therapy top track is the easy grooving ‘You With Me’. Co-written and featuring contemporary jazz heavyweight Jeff Lorber (who also contributed to Nichols last album) this one is right up there with the best that ‘Destinations’ has to offer. https://smoothjazztherapy.typepad.com/my_weblog/2012/05/grady-nichols-destinations.html

Destinations

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Andrew Rathbun - Days Before and After

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 62:33
Size: 145,1 MB
Art: Front

(8:53)  1. Darkness Before Light
(4:49)  2. Missing the Sea
(8:12)  3. Forward Motian
(6:47)  4. Life as Crystals
(4:36)  5. The Whole Enchilada
(7:02)  6. There Will Come Soft Rains
(8:01)  7. Nomad
(6:32)  8. Hiccup
(7:38)  9. Hinge

How does a jazz musician go about adding some zest and shine, and maybe a touch of modernity, to the old tried and true saxophone-and-rhythm-section format? Sometimes they use a Fender Rhodes instead the accoustic piano, and sometimes they put an electric guitar in the keyboard's place; and sometimes they add a guitar to the piano, to give a denser weave to the harmonics. Rare is the use of two guitars in the jazz world that's more of a rock thing, it would seem. But that's the way saxophonist Andrew Rathbun and drummer Owen Howard do it on Days Before and After. And it works, and it sounds fresh and sharp-edged, and brings to mind the question of why the two guitar approach isn't heard more often in jazz. The sound that guitarists Ben Monder and Geoff Young bring to the set is mostly subtle, crisp understated single noting in front of delicate ringing chords, along with some seamless unison work with Rathbun's saxophone on the opener, "Darkness Before Light." The guitarists, in fact, sort of steal the show. Geoff Young I hadn't heard before, but Ben Monder played wonderfully on the recent Maria Schneider masterpiece, Concert in the Garden (ArtistShare, '04); the two together create an original sound, adding a very interesting harmonic glow to the mainstream effort.Chico Hamilton, the great eighty-two year old drummer who is still going strong has always favored guitarists in his units, for the "sustain" that the instument brings to the ensemble sound. Monder and Young use their instruments' sustain properties fully here, painting metallic-hued washes to fill in all the spaces beneath the weave of the textures."The Whole Enchilada," an Owen Howard tune all the songs are either Rathbun- or Howard-penned gives the guitarists a chance to stretch out and wail on over into rock territory, while Rathbun gets a bit gritty on the tenor sax, with some of his most spirited playing on the set. Rounding out the successful components of the set is drummer Howard and bassist John Hebert, an assertive rhythm team that adds a vibrant organic bounce to the sound, a sort of sonic turgor. An outstanding set that should appeal especially to fans of jazz guitar. ~ Dan McClenaghan https://www.allaboutjazz.com/days-before-and-after-andrew-rathbun-fresh-sound-new-talent-review-by-dan-mcclenaghan.php

Personnel: Andrew Rathbun - reeds; Owen Howard - drums; John Hebert - bass; Ben Monder - guitar; Geoff Young - guitar

Days Before and After

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Jelly Roll Morton - Classic Piano Solos

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 35:28
Size: 83,0 MB
Art: Front

(2:42)  1. Grandpa's Spells
(3:03)  2. Kansas City Stomps
(2:39)  3. King Porter
(2:47)  4. New Orleans Joys
(3:24)  5. Wolverine Blues
(3:10)  6. Jelly Rolls Blues
(2:54)  7. Shreveport Stomp
(2:52)  8. Stratford Hunch
(3:01)  9. Bucktown Blues
(2:59) 10. Big Foot Ham
(2:44) 11. Perfect Rag
(3:08) 12. Tom Cat Blues

One of the very first giants of jazz, Jelly Roll Morton did himself a lot of harm posthumously by exaggerating his worth, claiming to have invented jazz in 1902. Morton's accomplishments as an early innovator are so vast that he did not really need to stretch the truth.  Morton was jazz's first great composer, writing such songs as "King Porter Stomp," "Grandpa's Spells," "Wolverine Blues," "The Pearls," "Mr. Jelly Roll," "Shreveport Stomp," "Milenburg Joys," "Black Bottom Stomp," "The Chant," "Original Jelly Roll Blues," "Doctor Jazz," "Wild Man Blues," "Winin' Boy Blues," "I Thought I Heard Buddy Bolden Say," "Don't You Leave Me Here," and "Sweet Substitute." He was a talented arranger (1926's "Black Bottom Stomp" is remarkable), getting the most out of the three-minute limitations of the 78 record by emphasizing changing instrumentation, concise solos and dynamics. He was a greatly underrated pianist who had his own individual style. Although he only took one vocal on records in the 1920s ("Doctor Jazz"), Morton in his late-'30s recordings proved to be an effective vocalist. And he was a true character.  Jelly Roll Morton's pre-1923 activities are shrouded in legend. He started playing piano when he was ten, worked in the bordellos of Storyville while a teenager (for which some of his relatives disowned him) and by 1904 was traveling throughout the South. He spent time in other professions (as a gambler, pool player, vaudeville comedian and even a pimp) but always returned to music. The chances are good that in 1915 Morton had few competitors among pianists and he was an important transition figure between ragtime and early jazz. He played in Los Angeles from 1917-1922 and then moved to Chicago where, for the next six years, he was at his peak. Morton's 1923-24 recordings of piano solos introduced his style, repertoire and brilliance. Although his earliest band sides were quite primitive, his 1926-27 recordings for Victor with his Red Hot Peppers are among the most exciting of his career. With such sidemen as cornetist George Mitchell, Kid Ory or Gerald Reeves on trombone, clarinetists Omer Simeon, Barney Bigard, Darnell Howard or Johnny Dodds, occasionally Stomp Evans on C-melody, Johnny St. Cyr or Bud Scott on banjo, bassist John Lindsay and either Andrew Hilaire or Baby Dodds on drums, Morton had the perfect ensembles for his ideas. He also recorded some exciting trios with Johnny and Baby Dodds. With the center of jazz shifting to New York by 1928, Morton relocated. His bragging ways unfortunately hurt his career and he was not able to always get the sidemen he wanted. His Victor recordings continued through 1930 and, although some of the performances are sloppy or erratic, there were also a few more classics. Among the musicians Morton was able to use on his New York records were trumpeters Ward Pinkett, Red Allen and Bubber Miley, trombonists Geechie Fields, Charles Irvis and J.C. Higginbotham, clarinetists Omer Simeon, Albert Nicholas and Barney Bigard, banjoist Lee Blair, guitarist Bernard Addison, Bill Benford on tuba, bassist Pops Foster and drummers Tommy Benford, Paul Barbarin and Zutty Singleton. 

But with the rise of the Depression, Jelly Roll Morton drifted into obscurity. He had made few friends in New York, his music was considered old-fashioned and he did not have the temperament to work as a sideman. During 1931-37 his only appearance on records was on a little-known Wingy Manone date. He ended up playing in a Washington D.C. dive for patrons who had little idea of his contributions. Ironically Morton's "King Porter Stomp" became one of the most popular songs of the swing era, but few knew that he wrote it. However in 1938 Alan Lomax recorded him in an extensive and fascinating series of musical interviews for the Library of Congress. Morton's storytelling was colorful and his piano playing in generally fine form as he reminisced about old New Orleans and demonstrated the other piano styles of the era. A decade later the results would finally be released on albums. Morton arrived in New York in 1939 determined to make a comeback. He did lead a few band sessions with such sidemen as Sidney Bechet, Red Allen and Albert Nicholas and recorded some wonderful solo sides but none of those were big sellers. In late 1940, an ailing Morton decided to head out to Los Angeles but, when he died at the age of 50, he seemed like an old man. Ironically his music soon became popular again as the New Orleans jazz revivalist movement caught fire and, if he had lived just a few more years, the chances are good that he would have been restored to his former prominence (as was Kid Ory). Jelly Roll Morton's early piano solos and classic Victor recordings (along with nearly every record he made) have been reissued on CD. https://www.allmusic.com/artist/jelly-roll-morton-mn0000317290/biography

Personnel: Jelly Roll Morton - Piano.

Classic Piano Solos

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Oswego Jazz Project - And the Time is Now

Styles: Jazz, Post Bop
Year: 2008
File: MP3@320K/s
Time: 57:35
Size: 132,8 MB
Art: Front

(4:58)  1. Four on Six
(8:16)  2. Watching and Waiting
(4:44)  3. Killing Time
(7:29)  4. Wave
(7:18)  5. Tug
(5:27)  6. Oswego Alma Mater
(8:52)  7. And the Time is Now
(4:37)  8. What Should I Say?
(5:50)  9. So Noted

For the Focus on Faculty Series concert, OJP welcomes renowned guest trumpeter Tom Manuel, with whom they previously collaborated at Stony Brook’s acclaimed Jazz Loft. Founded by music faculty members Robert Auler on piano, Eric Schmitz on drums and Trevor Jorgensen on saxophone, the group with newer faculty member Kyle Vock now on bass serves as musical ambassadors for SUNY Oswego by educating as well as entertaining. In addition to their musical mastery, the group is known for a commitment to spontaneity and innovative improvisation. "In jazz combos, many different groupings of musicians are possible," Auler explained. "While there is almost always a drummer and a bass player, other instrumentation can vary to play chords, a pianist is the most common, but a guitar player may be possible. Then, the melodic material (called the 'head') and a lot of the improvisation is done by lead instruments the saxophone and the trumpet are the most common." While Jorgensen is traditionally the Oswego Jazz Project lead player, "it's very appropriate, exciting and honestly a lot of fun to bring in a second lead instrument," Auler said. "It expands the creative possibilities of what we can do; it allows us to vary what instrument plays which head, bringing freshness to the sound during the concert; on some tunes, both will solo; on some tunes we'll choose one. Audiences also can expect OJP members to provide context and commentary about the tunes in concert while demonstrating an informal, immediate approach to the music, Auler noted. The group has released two albums: the self-titled "Oswego Jazz Project" in 2007, followed by "And the Time is Now" the following year.

Musical partnership
Manuel is the president and founder of the Jazz Loft, an extensive museum, performance venue and education space. "Last March, OJP performed there, and Tom joined us for a couple tunes," Auler recalled. "We had such a blast, we'll be teaming up with him in Oswego on April 8, then we'll follow him downstate to repeat the same program at the Jazz Loft April 10." OJP's trip to Long Island also will include meeting with high school students at Maspeth High School in Queens, Celia Cruz High School in the Bronx, the famed School of Rock in Port Jefferson and Harborfields High School on Long Island. Manuel is a faculty member at Stony Brook University, where he runs the pre-college Young Artist Program in jazz, and has taught at multiple Long Island colleges. Manuel's desire to give back has led to establishing music programs for underprivileged children in Haiti and Liberia. He has recorded several albums and been featured with his big band ensemble on radio and television. Manuel's accomplishments have been cited by The New York Times, Downbeat Magazine, Newsday, Jazz Inside Magazine and Jazz Ed Magazine. "If we play a tune written and made famous by, say, Miles Davis (trumpet), it would be historically appropriate to feature Tom Manuel's trumpet there rather than Trevor's saxophone," Auler noted. https://www.iheartoswego.com/oswego-jazz-project-to-host-sunday-afternoon-concert-april-8.html

And the Time is Now

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Emanuele Cisi, Francesca Tandoi - Sometimes We're Happy

Styles: Saxophone, Vocal And Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 41:08
Size: 95,8 MB
Art: Front

(5:46)  1. You've Changed
(4:58)  2. Foolin' Myself
(4:26)  3. Prezeology
(5:10)  4. I Get Along Without You Very Well
(2:55)  5. I Can't Believe That You're in Love with Me
(4:26)  6. Do You Remember Me?
(4:46)  7. The End of a Love Affair
(3:59)  8. Sometimes I'm Happy
(4:37)  9. Rain Drain

“Leading musicians of the Italian jazz scene, each with their own handwriting and their own unique style of performance” Viktor Radzievsky. For the first time on the Russian jazz scene one of the most successful Italian singers and pianists of the last decade Francesca Tandoi (Rome), and the best saxophonist in Italy, according to JazzIt Emanuele Cisi (Turin), will perform ! Moscow will host the presentation of their new album “Sometimes We're Happy”, which was released on the new Russian music label VR Jazz Records! When Francesca Tandoi's gentle expressive voice, supported by the transparent iridescent sounds of the piano and the rich, rich timbre of the tenor saxophone by Emanuele Chizi, is joined together, the real magic of sound is created. The duet of two famous jazz masters was formed only in 2016 and today is actively touring in Europe and the United States, collecting rave reviews from music critics and journalists. They celebrate not only the brilliant mastery of performance, but also an excellent selection of repertoire, warm and romantic in spring. Francesca Tandoi graduated from the Hague Royal Conservatory with special honors in the directions of jazz piano and vocals, as well as the Codarts Rotterdam Conservatory, where she also attended seminars conducted by Barry Harris, Mulgrew Miller, Brad Mehldau. The singer collaborated and gave concerts with such musicians as Joe Cohn, Scott Hamilton, Madeline Bell, Leah Kline and others, performed in the USA, Japan, Malaysia, Indonesia, India, as well as throughout Europe - Holland, Italy, Switzerland, Germany, France , Belgium, Greece, Czech Republic. Permanent resident of the international festivals are the North Sea Jazz festival, the Mastricht jazz festival, the Breda jazz festival, the Bosendorfer and many others. With her own trio (Frits Landesbergen on drums and Frans van Geest on double bass) she recorded three CDs for Japanese label Atelier Sawano and sold more than 10,000 copies. Magazine JazzIt named Francesca Tandoi, the best young jazz musicians of Italy 2016

Emanuele Cisi - an outstanding Italian saxophonist with a world name, has repeatedly been recognized as the best saxophonist in Italy according to one of the oldest jazz publications in the world of JazzIt magazine, in 2013, 2014, 2016 and 2017. He is also an honorary professor at the Conservatory of Turin and several other universities, including Juliard in New York. There are twelve solo albums behind Senor Chizi, the last of which was released on Maxjazz New York label, as well as more than fifty records as a sideman. Over thirty years of musical career, Emmanuel Chizi collaborated and recorded with such outstanding musicians as Ron Carter, Clark Terry, Jack McDuff, Jimmy Cobb, Nat Adderley, Joe Chambers, George Cables, AlbertTootieHeat, Walter Booker, Kenny Wheleer, Sting and many others; He played in the most prestigious concert halls and at the biggest festivals of Europe, the USA, China, Oceania and South America. In the spring of 2016 and in the winter of 2018, maestro Emanule Chizi already visited Russia and gave more than 30 concerts in more than 20 cities of Russia, and also received the most enthusiastic reviews of journalists and jazz lovers. Musicians will be represented by jazz producer, director of VR Jazz Records Victor Radzievsky. Translate By Google https://www.jazzmap.ru/afisha/2019-03-06-klub-alekseya-kozlova-francesca-tandoi-emanuele-cisi-italy-prezentaciya-alboma-sometimes-were-happy.php

Sometimes We're Happy

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Red Rodney - Then and Now

Styles: Flugelhorn Jazz
Year: 1992
File: MP3@320K/s
Time: 74:38
Size: 171,7 MB
Art: Front

(6:08)  1. Woody 'n You
(5:41)  2. Marmaduke
(6:32)  3. Little Suede Shoes
(6:24)  4. Un Poco Loco
(6:53)  5. The Scene Is Clean
(5:26)  6. Early Autumn
(6:18)  7. Confirmation
(4:13)  8. Congo Blues
(5:49)  9. If You Could See Me Now
(6:08) 10. Yard's Pad
(5:11) 11. Crazeology
(9:51) 12. The Interview

Red Rodney's final recording (cut two years before his death) finds the 64-year-old sticking exclusively to flugelhorn and still displaying strong chops. Performing with his working quintet (Chris Potter on tenor and alto, pianist Garry Dial, bassist Jay Anderson and drummer Jimmy Madison) Rodney returns to his roots, performing 11 bop-era standards with a twist. Producer Bob Belden helped reharmonize many of the songs, and even though the original melodies are stated, the results sound more modern than one would expect. Potter (showing a great deal of potential that he has since realized) and Dial have many fine solos, while Rodney sounds pretty strong, pushing himself. The CD concludes with Rodney talking for 9½ minutes about his experiences in the bebop days and about this project, a perfect conclusion to a successful and important career. 

~ Scott Yanow https://www.allmusic.com/album/then-and-now-mw0000093082

Personnel:  Red Rodney - flugelhorn; Chris Potter - tenor saxophone; Garry Dial - piano; Jay Anderson - bass; Jimmy Madison - drums

Then and Now

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Peggy King, Pam Garner - Lazy Afternoon + Sings Ballads For Broken Hearts

Styles: Vocal
Year: 1959
File: MP3@320K/s
Time: 70:46
Size: 165,1 MB
Art: Front

(2:41)  1. Rain (Peggy King)
(3:11)  2. You'll Never Know (Peggy King)
(2:36)  3. Lazy Afternoon (Peggy King)
(2:21)  4. 'till There Was You (Peggy King)
(3:00)  5. Sure Thing (Peggy King)
(3:06)  6. I Remember You (Peggy King)
(2:11)  7. Love And The Weather (Peggy King)
(3:33)  8. Imagination (Peggy King)
(3:12)  9. Love Walked In (Peggy King)
(3:00) 10. Hi-Lili, Hi-Lo (Peggy King)
(2:59) 11. Nobody Else But Me (Peggy King)
(2:49) 12. Littleboy Heart (Peggy King)
(2:36) 13. Can't Get Out Of This Mood (Pam Garner)
(3:02) 14. Angel Eyes (Pam Garner)
(2:52) 15. It's The Talk Of The Town (Pam Garner)
(2:51) 16. The Thirteenth Month (Pam Garner)
(2:46) 17. Once In A While (Pam Garner)
(3:12) 18. Willow Weep For Me (Pam Garner)
(3:08) 19. Solitude (Pam Garner)
(2:35) 20. Blame It On My Youth (Pam Garner)
(3:16) 21. Lilac Wine (Pam Garner)
(2:55) 22. Lost In A Fog (Pam Garner)
(2:43) 23. (I Don't Stand) A Ghost Of A Chance (With You) (Pam Garner)
(4:00) 24. Lush Life (Pam Garner)

Lazy Afternoon:  Peggy’s singing is warmly intimate and sophisticated. All her charms are sheathed in highly imaginative and brilliant orchestral settings, by such gifted arrangers as Henri René, Jack Marshall, and Pete King.

Sings Ballads For Broken hearts:  Pam’s creamy voice is as expressive and surprising as a jazz solo. The accompaniment Johnny Williams devised for Pam expresses her style exactly. Interwoven with strings is the excitement of a first-class rhythm section, and along with the freewheeling improvisation provided by Jack Sheldon’s trumpet, the beat and the lightness of jazz are always present. https://www.freshsoundrecords.com/peggy-king-pam-garner-albums/46592-lazy-afternoon-sings-ballads-for-broken-hearts-2-lp-on-1-cd.html

Personnel:  Peggy King, Pam Garner (vcl), Henri René, Pete King, Jack Marshall, Johnny Williams (arr, cond), Jack Sheldon (tp), Jimmy Rowles (p, celeste), Red Mitchell (b), Larry Bunker (d)
 

Thank you Flyingfinger!

Lazy Afternoon

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David Sanborn - Straight To The Heart

Styles: Saxophone Jazz
Year: 1984
File: MP3@320K/s
Time: 52:11
Size: 120,2 MB
Art: Front

( 6:45)  1. Hideaway
( 5:09)  2. Straight to the Heart
( 6:27)  3. Run for Cover
(10:39)  4. Smile
( 5:07)  5. Lisa
( 6:51)  6. Love & Happiness
( 7:04)  7. Lotus Blossom
( 4:06)  8. One Hundred Ways

With bassist Marcus Miller acting as producer and some memorable tunes being performed (most notably "Hideaway" and "Straight to the Heart"), this is one of altoist David Sanborn's better R&B-ish recordings. Joined by keyboardist Don Grolnick, guitarist Hiram Bullock, bassist Miller, drummer Buddy Williams and various guest musicians, Sanborn sounds fairly inspired and is in top form. ~ Scott Yanow https://www.allmusic.com/album/straight-to-the-heart-mw0000649716

Personnel: David Sanborn – alto saxophone; Don Grolnick – keyboards; Hiram Bullock – guitar, background vocals; Buddy Williams – drums; Marcus Miller – bass guitar, synthesizer, background vocals; Ralph MacDonald – percussion (3, 5, 8); Errol Bennett – percussion (2); Michael White – percussion (6); Michael Brecker – tenor saxophone (8); Randy Brecker – trumpet (8); Jon Faddis – trumpet (8); Hamish Stuart – lead vocals (6); Lani Groves – background vocals (8); Frank Floyd – background vocals (8); Vivian Cherry – background vocals (8)

Straight To The Heart

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Victor Gould - Earthlings

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 56:39
Size: 131,1 MB
Art: Front

(5:31)  1. Farewell to Dogma
(4:58)  2. Love Vibrations
(4:14)  3. Earthlings
(5:57)  4. Spider
(5:27)  5. Rise
(5:52)  6. Roses Poses
(5:06)  7. Blues on Top
(5:06)  8. Lover
(5:34)  9. Con Alma
(8:51) 10. Resilience

Darkly beautiful sounds from pianist Victor Gould an up-and-coming player who's also turning into a hell of a leader too! Vic works here with a fantastic core trio Dezron Douglas on bass and Eric McPherson on drums both players who are perfectly suited to set up the right sort of arcing, angling elements that fit the mode of Gould's piano which seems to run up and down in these blocky flights of deeper tones that are completely wonderful! The album also features guest horns on about half the set the soprano sax of Tim Warfield on three tracks, and the alto of Godwin Louis on three more plus some light percussion from Khalil Kwame Bell. 

Titles include the originals "Rise", "Resilience", "Spider", and "Blues On Top" plus versions of "Love Vibrations", "Farewell To Dogma", "Earthlings", and "Con Alma".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/870271/Victor-Gould:Earthlings

Personnel: Victor Gould - piano,composer; Dezron Douglas - bass,composer; Eric McPherson - drums

Earthlings

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