Joe Locke - Beauty Burning

Styles: Vibraphone Jazz
Year: 2000
File: MP3@320K/s
Time: 56:44
Size: 131,0 MB
Art: Front

(6:58)  1. Litha
(6:26)  2. Twilight
(7:31)  3. Pools Of Amber
(7:30)  4. Somewhere Waiting
(8:30)  5. Quiet As It's Kept
(5:45)  6. Where Is Love?
(6:37)  7. I - 95
(7:22)  8. Rasputainian Dance

On Beauty Burning, the fourteenth release under his own name, it's clear that vibraphonist Joe Locke was interested in making a good recording rather than merely providing a showcase for his own considerable talents. The disc is a thoughtful mixture of intimate, finely tuned ensemble playing and capable solos by the leader, pianist Frank Kimbrough, bassist Ray Drummond, drummer Jeff "Tain" Watts, and guitarist Paul Bollenback. Recording shortly after the band (minus Bollenback) played an engagement in New York, their empathy and willingness to listen to one another is evident on every cut. With the exception of Bollenback, each musician contributes at least one tune, and the material also includes compositions by Chick Corea, Darrell Grant, and Lional Bart. At his most assertive, such as on the lively "Litha," Locke's long, skittering lines are balanced by reflective, blues influenced passages. Kimbrough's solo on the same track sustains the vibraphonist's momentum, and Watts backs them both with insistent rhythms. "Twilight" is smooth jazz with substance, with Locke playing more deliberately and displaying considerable intelligence and wit. His "Somewhere Waiting" (which would make a great theme for a movie soundtrack) features a fine solo turn by Drummond. The bassist's "I-95" is mysterious-sounding stroll in which Watts fuels Locke's busy, intense solo. The empathy between Locke and Kimbrough on last year's release, Saturn's Child (OmniTone), is once again apparent in the ballad "Where Is Love." Their duet is filled with understated pleasures, such as Locke's beautiful voicing of the melody, his figures behind Kimbrough's graceful solo, and their penchant for augmenting and finishing each other's phrases. ~ David A.Orthmann https://www.allaboutjazz.com/beauty-burning-joe-locke-sirocco-music-limited-review-by-david-a-orthmann.php?width=1920

Personnel: Joe Locke: vibraphone; Frank Kimbrough: piano; Ray Drummond: bass; Jeff “Tain” Watts: drums; Paul Bollenback: guitar.

Beauty Burning

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Patti Page - The Patti Page Collection: The Mercury Years, Vol. 2

Styles: Vocal
Year: 1991
File: MP3@320K/s
Time: 53:07
Size: 123,6 MB
Art: Front

(2:27)  1. (How Much Is) That Doggie in the Window?
(2:54)  2. This Is My Song
(2:57)  3. Changing Partners
(2:33)  4. Cross over the Bridge
(2:17)  5. Steam Heat
(2:45)  6. I Cried
(2:52)  7. What a Dream
(2:42)  8. The Mama Doll Song
(2:25)  9. Let Me Go Lover
(2:55) 10. Go on With the Wedding
(2:52) 11. Allegheny Moon
(2:52) 12. Mama from the Train
(2:30) 13. A Poor Man's Roses (Or a Rich Man's Gold)
(2:36) 14. Old Cape Cod
(2:42) 15. I'll Remember Today
(2:20) 16. Left Right Out of Your Heart
(2:34) 17. One of Us (Will Weep Tonight)
(2:36) 18. Mom and Dad's Waltz
(2:05) 19. Most People Get Married
(1:57) 20. The Boys' Night Out
(1:08) 21. Patti Page Radio Spots

The best-selling female singer during the 1950s, Patti Page in many ways defined the decade of earnest, novelty-ridden adult pop with throwaway hits like "The Doggie in the Window" and "I Went to Your Wedding." By singing a wide range of popular material and her own share of novelty fluff, she proved easily susceptible to the fall of classic adult pop but remained a chart force into the mid-'60s.  Born Clara Ann Fowler in Muskogee, Oklahoma, she began singing professionally at a radio station in Tulsa and took weekend gigs on the side. (After being billed as Patti Page for a program sponsored by Page Milk, she decided to take the name even after leaving.) Page toured the country with a band led by Jimmy Joy and ended up in Chicago by 1947, where she sang in a small-group outing by Benny Goodman and gained a recording contract with Mercury. Her first hit, "Confess," came that same year and made her the first pop artist to overdub harmony vocals onto her own lead. After a few more successes, Page gained her first million-seller in 1950 for "With My Eyes Wide Open I'm Dreaming," which cashed in on the novelty effect of overdubbing (the added touch came with listing it as "the Patti Page Quartet"). Also in 1950, "All My Love" became her first number one hit and spent several weeks at the top. That same year produced the biggest hit of her career, "The Tennessee Waltz." Notched at number one for months, it eventually became one of the best-selling singles of all time and prompted no less than six Top 40 covers during the following year. During 1952-1953, Patti Page scored two more huge hits with "I Went to Your Wedding" and "The Doggie in the Window," both of which spent more than two months at number one. She gained her own television program, The Patti Page Show, in 1955 and moved into full-lengths with In the Land of Hi Fi and Manhattan Tower. Page also proved more resilient to the rise of rock & roll than most of her contemporaries, hitting big in 1956 with "Allegheny Moon" and "Old Cape Cod" the next year. Indeed, she kept reaching the charts (if only in moderate placings) throughout the '60s, paced by the Top Ten theme to the film Hush, Hush, Sweet Charlotte in 1965. Though she stopped recording for the most part in 1968, she continued performing into the '90s. Patti Page died on January 1, 2013, at a retirement community in Encinitas, California, at the age of 85. ~ John Bush https://www.allmusic.com/artist/patti-page-mn0000747506/biography

The Patti Page Collection: The Mercury Years, Vol. 2

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Chuck Redd - The Common Thread

Styles: Vibraphone Jazz, Post Bop
Year: 2011
File: MP3@320K/s
Time: 57:19
Size: 132,2 MB
Art: Front

(4:23)  1. I Hear Music
(5:16)  2. Moonlight in Vermont
(4:50)  3. The Common Thread
(4:26)  4. My One and Only
(5:27)  5. Purple Gazelle
(5:23)  6. Some Other Spring
(4:19)  7. Old Man Roker
(6:38)  8. Witchcraft
(4:52)  9. Beat's Up
(3:50) 10. The Shadow of Your Smile
(2:51) 11. All God's Children Got Rhythm
(4:59) 12. I Wish I Were Twins

Chuck Redd is a deft, subtle vibraphonist who surrounds himself with equally talented and experienced musicians. He’s the equivalent of a midlist author: no blockbuster but dependable and reassuring. The Common Thread is enjoyable for its skillful blend of imagination and modesty. Propelled by similarly light-fingered drummer Mickey Roker and the highly selective bassist Bob Cranshaw, Redd turns in standards spanning a luminous, watery “The Shadow of Your Smile” and a seductive “Moonlight in Vermont”; should-be standards like Ellington’s sultry “Purple Gazelle” and Tommy Flanagan’s breakneck “Beat’s Up” (cool pun), a showcase for the rhythm section, particularly the nicely florid pianist Rossano Sportiello; and revamps like “Old Man Roker,” Redd’s tribute to his drummer and “Ol’ Man River” scribe Jerome Kern. Soul saxman Houston Person lends earthiness and funk to four selections. Don’t call Redd a throwback, even though his music is accessible and largely familiar. His is the kind of group one hopes to stumble upon in a jazz club. Redd’s touch and fluid sense of harmony stand out, as does his choice of musicians; Redd can sure pick them, not surprising considering this D.C. jazzman has worked with everyone from Charlie Byrd to Dizzy Gillespie. The Common Thread is expert mainstream jazz designed to give pleasure rather than provoke-an album to visit again and again, discovering more wit and depth each time. ~ Carlo Wolff https://jazztimes.com/reviews/albums/chuck-redd-the-common-thread/

Musicians: Chuck Redd: vibes, drums (5, 9, 11); Mickey Roker: drums (1, 2, 3, 7, 8, 12); Bob Cranshaw: bass (except 4, 10, 11); Rossano Sportiello: piano; Houston Person: tenor sax (1, 2, 3, 12)

The Common Thread

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The Claude Williamson Trio - The Fabulous Claude Williamson Trio

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 28:54
Size: 67,8 MB
Art: Front

(2:46)  1. Witchcraft
(2:27)  2. A Foggy Day
(2:35)  3. Young At Heart
(1:58)  4. You Make Me Feel So Young
(3:01)  5. Nancy
(2:29)  6. The Lady Is a Tramp
(2:49)  7. Anything Goes
(3:31)  8. All the Way
(2:54)  9. They Can't Take That Away from Me
(2:23) 10. While We're Young
(1:57) 11. Let There Be Love

The Fabulous Claude Williamson Trio captures the pianist in collaboration with bassist Duke Morgan and drummer Chuck Flores on a solid if unremarkable collection of standards. While Flores' subtle but insistent rhythms are particularly well matched to Williamson's graceful, feather-light touch, the session takes too few chances to soar both the material and the arrangements are regrettably pedestrian. 

Aficionados of the postwar Los Angeles jazz scene will nevertheless appreciate the skill and dexterity of the performances it's just a shame the album is nowhere near as fabulous as advertised. ~ Jason Ankeny https://www.allmusic.com/album/the-fabulous-claude-williamson-trio-mw0000528550

Personnel: Piano – Claude Williamson; Bass – Duke Morgan; Drums – Chuck Flores

The Fabulous Claude Williamson Trio

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Seamus Blake - Guardians of the Heart Machine

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 57:06
Size: 131,2 MB
Art: Front

(8:17)  1. Guardians of the Heart Machine
(7:09)  2. Vaporbabe
(6:54)  3. Sneaky D
(7:40)  4. I'm Okay
(5:21)  5. Lanota
(7:53)  6. Wandering Aengus
(4:50)  7. Betty in Rio
(4:19)  8. Blues for the Real Human Beings
(4:37)  9. The Blasted Heath

Seamus Blake was born in 1970 in London, England but raised in Vancouver, Canada. He studied jazz at Berklee College of Music and following his graduation moved to New York Cit, where he became a fixture on the jazz scene including being a member of the Mingus Big Band. He's played or recorded with Victor Lewis, John Scofield, Chris Cheek, Bill Stewart, Ethan Iverson and Dave Douglas and appeared as a sideman on over 70 albums. In 2017 Blake assembled a new quartet, The French Connection which included Tony Tixier on piano, bassist Florent Nisse and Gautier Garrigue on drums, all three, unsurprisingly, hailing from France. They recorded their first album in Paris in November 2017 and this is Blake's debut for Whirlwind Recordings. Following in the wake of Blake's 2016 album Bridges (AMP) and 2015's Superconductor (5Passion), Guardians Of The Heart Machine opens with the title track that's distinguished by a lustrous, memorable melody. Blake's tenor saxophone dominates on "Vaporbabe," alternately limpid and coruscating. Meanwhile the Thelonious Monk-ish "Betty In Rio" is an exuberant tune with a lithe, indelible hook line.  

A point of difference arrives with the closer "The Blasted Heath," Blake's fragile, plaintive vocals subtly melding with piano and bass. The feeling here is not unlike the recitative populating several sections of Carla Bley's Escalator Over The Hill (JCOA, 1971), which makes Blake's unusual delivery all the more appealing. The album's mood is comprehensive, ranging from the mellow ballad "I'm Okay" to the angular "Lanota," but all sharing the unifying characteristics of sheer bravura performances and satisfyingly assured compositions. ~ Roger Farbey https://www.allaboutjazz.com/guardians-of-the-heart-machine-seamus-blake-whirlwind-recordings-review-by-roger-farbey.php

Personnel: Seamus Blake: tenor saxophone, voice; Tony Tixier: piano; Florent Nisse: double bass; Gautier Garrigue: drums.

Guardians of the Heart Machine

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Lee Konitz Quartet - Tranquility

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 34:08
Size: 79,5 MB
Art: Front

(3:56)  1. Stephanie
(3:12)  2. Memories of You
(4:57)  3. People Will Say We're In Love
(3:48)  4. When You're Smiling
(3:27)  5. Sunday
(5:26)  6. Lennie Bird
(6:10)  7. The Nearness of You
(3:09)  8. Jonquil

Lee Konitz' Verve label debut remains the purest expression of the sculpted, geometric aesthetic the altoist honed throughout the Eisenhower era crafted with startling precision and economy, Tranquility extols the virtues of mood and shape with Talmudic zeal, towering astride thought and expression. Supported by the bedrock rhythm section of bassist Henry Grimes and drummer Dave Bailey, Konitz and guitarist Billy Bauer weave melodies as intricate and ephemeral as spider webs. Rarely is music so profoundly cerebral also so deeply heartfelt. ~ Jason Ankeny https://www.allmusic.com/album/tranquility-mw0000765548

Personnel: Lee Konitz – alto saxophone; Billy Bauer – guitar; Henry Grimes – bass; Dave Bailey – drums

Tranquility

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Chuck Hedges - Chicago Live

Styles: Clarinet Jazz 
Year: 2005
File: MP3@320K/s
Time: 64:35
Size: 149,3 MB
Art: Front

(7:57)  1. Blue Skies
(6:08)  2. I Want A Little Girl
(6:17)  3. Get Happy
(7:43)  4. Scuttlebutt
(4:48)  5. In A Sentimental Mood
(5:24)  6. I Hear Music
(4:30)  7. Daydream
(5:56)  8. Avalon
(5:17)  9. Sweet And Lovely
(3:28) 10. I Surrender Dear
(7:03) 11. Undecided

Chuck Hedges explained that he wanted this CD to give full credit and exposure to each member of the band and to give the listener a personal experience of how the music sounds in a live concert, undiluted by the technical guru's best intentions. For this he assembled a group of the best veteran Chicago area musicians, all of whom know each other's playing intuitively, and then personally supervised the sound mixing for the desired result. So hitch up your chair on-stage, look out at the live audience and, listen carefully to what it really sounds like to be in the middle of the band where you can hear everything, all of the time. For the full experience, we recommend you listen with your eyes closed and your ears open. In his early 20's Chuck Hedges remembered that he once played clarinet in high school and, wouldn't it be cool if he got it out again to see if he remembered how to play it. Then, apparently he jumped on-stage with some local Chicago guys like George Brunies, Muggsy Spanier and Danny Alvin and headed out on a half-century career which has taken him all over the world and launched him into the ranks of the best jazz clarinetists on planet Earth. https://store.cdbaby.com/cd/hedges

Personnel: Clarinet: Chuck Hedges; Guitar: Dave Sullivan; Vibes: Duane Thamm; Piano: Steve Behr; Drums: Charlie Braugham; Bass: John Bany

Chicago Live

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Philip Catherine - End Of August

Styles: Guitar Jazz
Year: 1982
File: MP3@320K/s
Time: 38:02
Size: 88,3 MB
Art: Front

(5:12)  1. Petit Nicolas
(5:09)  2. Grand Nicolas
(9:26)  3. Janet
(6:17)  4. September Start
(4:57)  5. Goodbye
(2:53)  6. Birth Of August
(3:14)  7. End Of August
(0:50)  8. Presque

An immensely gifted Belgian guitarist, Philip Catherine is a highly regarded performer known for his harmonically nuanced, deeply lyrical playing and crisply rounded fretboard touch. Born in London in 1942 to an English mother and Belgian father, Catherine moved to Brussels with his family at a young age. As a teenager, he became interested in the guitar, influenced at the time by French singer/songwriter and poet George Brassens. By age 14 he was taking lessons, and learning the basic elements of jazz improvisation when he discovered Django Reinhardt. He quickly absorbed the jazz legend's distinctive style, and eventually picked up other influences, including Belgian guitarist René Thomas. He also immersed himself in albums by such luminaries as Art Blakey, Clifford Brown, Max Roach, and others. Catherine began playing gigs while in his teens, working in a trio with American Hammond B-3 specialist Lou Bennett and drummer Oliver Jackson. There were also stints with Belgian saxophonist Jack Sels and Philadelphia-born/Brussels-based drummer Edgar Bateman. In 1970, violinist Jean-Luc Ponty asked him to join his band and, inspired by contemporaries like John McLaughlin and Larry Coryell, Catherine stayed with Ponty for a year, dedicating himself to the progressive fusion sound. Also during this period, he attended formal music classes at Berklee College of Music in Boston. 

After returning to Belgium, Catherine found himself in high demand and developed a bevy of connections, including playing with Klaus Weiss, Les McCann, Karin Krog, Dexter Gordon, and others. As a solo artist, he made his debut with 1971's Stream, a funky, inventive mix of acoustic and electric jazz. He followed up in 1975 with Guitars and September Man, both also highly inventive, fusion-influenced albums. Sessions with Herb Geller, Niels-Henning Ørsted Pedersen, and Charles Mingus followed, as did a duo tour with guitarist Coryell. Also during the '70s, he paired with close associate saxophonist Charlie Mariano for a handful of sessions, and rounded out the decade with his own Nairam, which also featured Mariano, along with trumpeter Palle Mikkelborg and others. During the '80s, Catherine's profile continued to rise as he released several more well-regarded efforts, including Babel, End of August, and Trio with guitarist Christian Escoude and violinist Didier Lockwood. There also were dates with Aldo Romano, Stéphane Grappelli, and Kenny Drew. Also in the '80s, he gained attention for his work with legendary West Coast trumpeter/vocalist Chet Baker, touring and appearing on such albums as 1983's Mr. B and 1985's Strollin'. Although his 1986 album, Transparence, layered keyboards into his atmospheric sound, his work with Baker pointed toward a more acoustic-leaning aesthetic. It was a sound he further embraced on 1990's I Remember You. 

Dedicated to Baker (who died in 1989), the album also featured trumpeter/flügelhornist Tom Harrell. Throughout the '90s, Catherine released a steady stream of albums for smaller jazz labels like Enja, Criss Cross, and Dreyfus, including albums like Moods, Vol. 1, Spanish Nights, and 1999's Guitar Groove. In 2001, he returned with Blue Prince, which found him balancing his love of acoustic jazz and electric fusion. Joining him were trumpeter Bert Joris, bassist Hein van de Geyn, and drummer Hans Van Oosterhout. Joris was also on board for 2002's Summer Night. The orchestral album Meeting Colours followed three years later. The more intimate Guitars Two appeared in 2008. He then joined bassist van de Geyn, pianist Enrico Pieranunzi, and drummer Joe La Barbera for the 2010 live album Concert in Capbreton. A year later, he delivered the trio date Plays Cole Porter, followed by 2013's warmly sophisticated Côté Jardin. The duo album New Folks with bassist Martin Wind followed a year later. He then joined the Orchestre Royal de Chambre de Wallonie for 2015's The String Project: Live in Brussels. ~ Matt Collar https://www.allmusic.com/artist/philip-catherine-mn0000287463/biography

Featuring: Philip Catherine (guitar), Trilok Gurtu (percussions), Charlie Mariano (saxophone), Toots Thielemans (harmonica), Nicolas Fiszman (bass) & electric

End Of August

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Bill Frisell - Gone, Just Like a Train

Styles: Guitar Jazz 
Year: 1998
File: MP3@320K/s
Time: 69:56
Size: 161,9 MB
Art: Front

( 5:18)  1. Blues for Los Angeles
( 3:10)  2. Verona
( 4:38)  3. Godson Song
( 3:38)  4. Girl Asks Boy - Pt. 1
( 4:12)  5. Pleased to Meet You
(10:20)  6. Lookout for Hope
( 4:58)  7. Nature's Symphony
( 5:07)  8. Egg Radio
( 3:23)  9. Ballroom
( 2:19) 10. Girl Asks Boy - Pt. 2
( 2:51) 11. Sherlock Jr.
( 5:31) 12. Gone, Just Like a Train
( 5:50) 13. The Wife and Kid
( 3:24) 14. Raccoon Cat
( 4:18) 15. Lonesome
( 0:51) 16. Blues for Los Angeles "reprise"

Drawing from all over the musical spectrum, Frisell selects drummer Jim Keltner (best known for his records with George Harrison, Eric Clapton and other rock stars) and bassist Viktor Krauss (a fixture in Lyle Lovett's country band), and comes up with an immensely likable, easy-grooving CD that defies one to put a label on it. If anything, Frisell leans toward a drawling country twang heavily indebted to Chet Atkins in his guitar work here, but there is a freewheeling jazz sensibility at work on every track. Keltner contributes the heavy rock element with his emphatic strokes, occasionally pushing Frisell in that direction on the title track and the lengthy "Lookout for Hope." Yet Keltner is also capable of surprising subtlety, and Krauss provides firm, unflashy underpinning. Above all, this is thoughtful, free-thinking, ear-friendly jamming that was recorded in bustling Burbank, CA. but sounds as if it was laid down in a relaxed cabin in the hills. ~ Richard S.Ginell https://www.allmusic.com/album/gone-just-like-a-train-mw0000031842

Personnel: Bill Frisell – guitar; Viktor Krauss – bass; Jim Keltner – drums

Gone, Just Like a Train

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The Tierney Sutton Band - ScreenPlay

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 67:51
Size: 157,7 MB
Art: Front

(5:31)  1. The Windmills of Your Mind
(4:40)  2. Moon River / Calling You
(4:05)  3. On a Clear Day (You Can See Forever)
(5:48)  4. What Are You Doing the Rest of Your Life?
(4:29)  5. I've Got No Strings
(5:59)  6. If I Only Had a Brain
(5:31)  7. The Sound of Silence
(2:27)  8. Goodbye for Now
(3:23)  9. Diamonds Are a Girl's Best Friend
(4:11) 10. Hopelessly Devoted to You
(5:01) 11. You're the One That I Want
(4:20) 12. How Do You Keep the Music Playing?
(2:59) 13. Ev'ry Now and Then
(6:24) 14. It Might Be You
(2:55) 15. Arrow

Cinema-related "standards" have been fertile territory for musicians to harvest ever since Al Jolson walked miles for smiles. With Screenplay, 8-time Grammy-nominated vocalist Tierney Sutton here as the Tierney Sutton Band takes a fascinating retrospective, delivering fifteen tunes we have often heard  but never this creatively. The result is a showcase that is unique, engaging, and in terms of how Sutton, pianist Christian Jacob, bassists Trey Henry and Kevin Axt and drummer Ray Brinker collectively speak brilliant. "The Windmills of Your Mind" spins slowly with a Brinker cymbal "drone," Jacob's keys sparkling, and Sutton poetic. "Moon River" is paired with the lesser-known "Calling You" in which Sutton's lyric and dynamic delivery is Siren-seductive, drawing us in to both rainbow's end and desert zephyrs. "On a Clear Day" is a swinger with Sutton and Henry whipping up a tempest before a torrid Jacob trip and Brinker burning. Sutton inquires "What Are You Doing the Rest of Your Life" fairly straightforwardly in a stunningly beautiful duo with Jacob. The rarely heard "I've Got No Strings," here a ballad, adds those of guitarist Serge Merlaud to Sutton's truth-telling. With "If I Only Had a Brain" Sutton cooks soulful with funkster Kevin Axt's electric bass and Henry's arco working a savvy complement. Simon and Garfunkel's "Sound of Silence" plays like a Medieval chanson with Sutton the trobairitz. 

Stephen Sondheim's "Goodbye for Now" is a dark, deep farewell. "Diamonds Are a Girl's Best Friend" dazzles with Sutton scat singing over Brinker's Fred Astaire like brushes. "Hopelessly Devoted to You," taken slower than usual, and the rhythmically driving "You're the One That I Want" are interesting no-ham cuts. Alan Bergman makes a cameo appearance with Sutton on "How Do You Keep the Music Playing?" and it is a touching entendre. Sutton and Jacob haunt on "Ev'ry Now and Then" and "It Might Be You." Both those tracks are gems. "Arrow," which Sutton and Jacob wrote for Clint Eastwood's Sully (Warner Bros. 2016) soundtrack closes the session dream like. Sutton's vocal chops and her phrasing are impeccable. Not only is she dead-on pitch, but, her instrument and the way she handles it across the dynamic spectrum enables her to derive new imagery from the vintage material. The effect is so stunningly beautiful and emotionally profound that it seems as if we are hearing these classics come prima. As expected, the support work of Jacob, Henry, Axt and Brinker is superb. 

Additionally, the arrangements are so creative, so colorfully savvy, that the ensemble takes on the dimension of a "vocalized orchestra."  The Tierney Sutton Band does much more than revive memories. Through the creative efforts of these masterful musicians, glorious melodies and their poetic lyrics are elevated and brilliantly honored. It is an aural Oscar. With Screenplay the play is indeed the thing. ~ Nicholas F. Mondello https://www.allaboutjazz.com/screenplay-tierney-sutton-bfm-jazz-review-by-nicholas-f-mondello.php

Personnel: Tierney Sutton: vocals; Christian Jacob: piano; Kevin Axt: bass; Trey Henry: bass; Ray Brinker: drums/percussion; Serge Merlaud: guitar (5, 12, 14); Alan Bergman: vocals (12).

ScreenPlay

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Courtney Pine - Modern Day Jazz Stories

Styles: Saxophone And Flute Jazz
Year: 1995
File: MP3@320K/s
Time: 59:00
Size: 136,1 MB
Art: Front

( 1:24)  1. Prelude - The Water Of Life
( 4:21)  2. The 37th Chamber
( 4:56)  3. Don't 'Xplain
( 8:48)  4. Dah Blessing
( 5:58)  5. In The Garden Of Eden - Thinking Inside Of You
(10:36)  6. Creation Stepper
( 7:33)  7. Absolution
( 3:50)  8. Each One - Must) Teach One
( 6:39)  9. The Unknown Warrior - Song For My Forefathers
( 3:41) 10. I've Known Rivers
( 1:09) 11. Outro - Guiding Light

On his return to Antilles and his debut with the Verve Group, Courtney Pine reaches out to unchartered musical zones, reflecting the sound of the street in a modern mix of pop, hip hop and jazz music. Described as Courtney's most focused album to date, Modern Day Jazz Stories combines the worlds of jazz and hip hop, utilizing the traditional sounds of jazz instruments simultaneously with turntables, but without overdubs. Full album to ship to jazz and college radio. ~ Editorial Reviews https://www.amazon.com/Modern-Jazz-Stories-Courtney-Pine/dp/B000004703

Personnel: Saxophone [Tenor], Saxophone [Soprano], Flute – Courtney Pine; Double Bass – Charnett Moffett; Drums, Percussion – Ronnie Burrage; Guitar – Mark Whitfield; Piano [Acoustic], Organ [Hammond B3] – Geri Allen; Trumpet – Eddie Henderson; Voice – Cassandra Wilson

Modern Day Jazz Stories

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Kellylee Evans - Come On

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 34:45
Size: 79,9 MB
Art: Front

(3:05)  1. Come On
(3:17)  2. Tell Me What You Like
(3:47)  3. Right To Love
(3:29)  4. Hands Up
(3:52)  5. These Arms
(2:59)  6. Know His Worth
(3:22)  7. Alright Maybe
(3:31)  8. Find Your Heart
(3:41)  9. I Do
(3:36) 10. Unbreakable

Six albums deep and Juno Award winner Kellylee Evans is still shaking it up on Come On, her latest Decca album. The stylistic connoisseur has tackled everything from jazz to R&B and pop in such previous tasty classics fight or flight?, Nina, her Juno-winning tribute to the legendary Nina Simone and I Remember When. Praised by the Latin Jazz Network for a "gorgeous voice (that) rises to the heavens in rapturous wonder as if in consanguinity with a chorus of angels" and by the Yukon Arts Centre for "a stunning crystalline voice, both powerful and emotive," Evans now pushes her muse firmly into the soulful pop territory with Come On: a wonderfully refreshing album about love and life that comes on the heels of two nearly career-ending accidents: a freak lightning strike in her Ottawa kitchen and further effects of a concussion suffered during a fall at her home. However, Evans is nothing if not resilient: the runner-up of the 2004 Thelonious Monk Competition offers views on love and loss in an alluringly rhythmic approach that has touches of psychedelic pop, resonating soul groove and that je ne sais quoi that is strictly Kellylee and forged by her jazz discipline. From the stirring soul-stomper "Come On" which combines an effervescent Motown feel with traces of psychedelia and the funky groove-a-liciousness of "Hands Up" to the string-and-horn-spiced magnetism of "Know His Worth," the 10 songs of Come On find Kellylee at her most magically potent. Produced and co-written by Eric Legnini (Stefano Di Battista), this is post-romantic soul at its finest; a project of strong vision and great execution that signals the return of Kellylee Evans as a bold explorer and interpreter. It only gets better when you experience her live, in her element. Kellylee Evans' time is nigh, and Come On is just the catalyst to get her there. http://www.kellyleeevans.com/bio/

Come On

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Wolfgang Haffner - Zooming

Styles: Jazz, Post Bop
Year: 2004
File: MP3@320K/s
Time: 55:41
Size: 128,4 MB
Art: Front

(6:20)  1. Zooming
(5:24)  2. The Day Before Yesterday
(5:54)  3. Trip
(3:57)  4. Somewhere Else
(4:54)  5. Facing West
(6:47)  6. Metropolis
(5:19)  7. Shape of Peace
(4:59)  8. Momo's Dance
(5:43)  9. Seventy Five
(6:19) 10. Corazon

"Besides his virtuosity as an instrumentalist, Wolfgang Haffner is an excellent songwriter, arranger and producer.His current release literally "takes the cake" .He successfully manages to create a convincing blend of innovative sounds, catchy melodies and brilliant group tightness, for the first time, bears purely European traits. Much like the proverbial chef de cuisine, he has taken the creme de la creme of European jazz musicians and formed a dish that has all the makings of a classic recipe: shimmering guitar riffs from Martin Koller, electronic effects by the ultra-manipulated sounds of saxofonist / bass clarinetist as a reminiscent of the best up-to-date Scandinavian productions, a taste of uncompromising rock here and there and naturally well-laced jazz solos at their finest. Till Brönner, Rebekka Bakken and Nils Landgren are among the colourful gang of characters." 

Personnel: Wolfgang Haffner (drums), Johannes Enders (tenor saxophone), Rebekka Bakken (vocals), Till Bronner (trumpet), Nils Landgren (trombone), Vladyslav Sendetzki (keyboards)

Zooming

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Kevin Hays - 7th Sense

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 63:55
Size: 147,2 MB
Art: Front

(5:50)  1. Take The D Flat Train
(6:57)  2. Seventh Sense
(7:13)  3. Three Pillars
(8:24)  4. My Man's Gone Now
(5:47)  5. Interlude
(7:08)  6. Space Acres
(5:06)  7. Little B's Poem
(7:57)  8. East Of The Sun
(4:33)  9. Makyo
(4:57) 10. Black Narcissus

Pianist Kevin Hays' style mixes together the influences of Bill Evans and McCoy Tyner and he helps define the modern mainstream on this Blue Note disc. The quintet set also features plenty of solo space from vibraphonist Steve Nelson and the excellent tenorman Seamus Blake. 

Opening with three Hays originals and also including Hindermith's "Interlude" (which finds the group sounding a little like the Modern Jazz Quartet) and such standards as "My Man's Gone Now" and "East of the Sun," the music pays tribute to the past without becoming predictable or overly derivative. It's a fine release. ~ Scott Yanow https://www.allmusic.com/album/seventh-sense-mw0000114092

Personnel: Kevin Hays - piano;  Seamus Blake - tenor saxophone; Steve Nelson - vibraphone; Doug Weiss - bass; Brian Blade -drums

7th Sense

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Bill Evans - Smile With Your Heart: The Best of Bill Evans on Resonance

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 69:27
Size: 159,8 MB
Art: Front

(5:13)  1. Someday My Prince Will Come
(5:07)  2. Yesterdays
(4:21)  3. Mother of Earl
(3:32)  4. You're Gonna Hear from Me
(4:51)  5. Baubles, Bangles and Beads
(6:58)  6. My Funny Valentine
(8:34)  7. Nardis
(5:14)  8. Very Early
(4:53)  9. Turn out the Stars
(3:53) 10. Polka Dots and Moonbeams
(8:49) 11. RE: Person I Know
(7:57) 12. Waltz for Debby

In celebration of its 10-year anniversary, Resonance is launching a series of compilations culled from its vast catalog highlighting both living artists as well as jazz greats of the past. The artwork for the first 4 titles in the series is by the acclaimed Japanese artist, Takao Fujioka, who is also the chief editor of Way Out West magazine in Japan. His artwork has graced countless album covers, and he has had exhibitions all over the world. Smile With Your Heart focuses on the jazz icon Bill Evans and includes material from his four album releases on Resonance Records. ~ Editorial Reviews https://www.amazon.com/Smile-Your-Heart-Evans-Resonance/dp/B07QXTFT7Q

Personnel: Bill Evans: piano; Eddie Gomez: bass; Marty Morell: drums (1-3, 10-12); Jack DeJohnette: drums (4-9).

Smile With Your Heart: The Best of Bill Evans on Resonance

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Fapy Lafertin, Tim Kliphouse - Fine & Dandy

Styles: Guitar And Violin Jazz 
Year: 2006
File: MP3@320K/s
Time: 50:11
Size: 116,3 MB
Art: Front

(3:00)  1. Eveline
(3:16)  2. Blue Lou
(3:59)  3. Tango For Django
(4:29)  4. Lover Man
(3:02)  5. Coquette
(2:41)  6. Fine & Dandy
(4:06)  7. Aurore
(4:26)  8. I Love You
(2:32)  9. Caravane Rabouine
(3:26) 10. Exactly Like You
(3:08) 11. Charleston
(5:29) 12. I Can't Get Started
(2:49) 13. How High The Moon
(3:42) 14. Fleur De Lavande

Fapy Lafertin may not be as well known Stochelo Rosenberg or Bireli Lagrene, but aficionados of Gypsy jazz guitar have regarded him as one the true masters of the style since he first arrived on the scene in the late 1960s. On Fine & Dandy he showcases his relaxed, melodic manner of playing on a well-chosen selection of tunes including David Grisman's composition "Tango for Django," the charming waltz "Caravene Rabouine," and Lafertin's own homage to Django Reinhardt, "Aurore." Lafertin is joined by Tim Kliphouse, an excellent fiddler who plays with considerable panache. The flurry of impeccably executed notes on lively tunes like "How High the Moon" and "Charleston" show that Lafertin and Kliphouse have technique to burn, but they reveal their true command of the music on the slower selections such as "I Can't Get Started." Fine & Dandy is state-of-the-art Gypsy jazz from one of the finest musicians to ever pick up a Selmer guitar. ~ Michael Simmons - Editorial Reviews https://www.amazon.com/Fine-Dandy-Lafertin-Quintet-Kliphouse/dp/B00008US1H

Personnel: Fapy Lafertin - guitar; Tim Kliphouse - violin; Simon Planting - double bass; Jan Brouwer - rhythm guitar; Reinier Voet - rhythm guitar

Fine & Dandy

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Heather Masse - Many Moons

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 23:57
Size: 55,4 MB
Art: Front

(5:25)  1. Moon River
(5:12)  2. Moon Medley
(3:51)  3. Our World
(4:57)  4. Secret Love
(4:31)  5. Stars

New York-based singer song-maker Heather Masse grew up in rural Maine and began singing at an early age. Having taken a degree in Jazz Voice from the New England Conservatory of Music, Heather is steeped in the jazz tradition, which informs her distinct approach to singing music of all sorts. She is a member of the acclaimed Juno-award winning Canadian band “The Wailin' Jennys”, and has performed at 100s of venues across the country including appearances on Garrison Keillor’s A Prairie Home Companion. She has performed with the renowned contemporary bluegrass band "The Wayfaring Strangers," and has appeared at venues including NPR's World Cafe, and Boston's Symphony Hall, sharing the stage with the Boston Pops Orchestra. In 2006, she recorded an eponymous album with the Boston-based group "Joy Kills Sorrow" a modern string band that finds it home in the cracks between bluegrass, jazz, old-time, and pop styles as well as a self-released EP Tell Me Tonight, a collection of original songs performed with her own Brooklyn-based outfit “Heather and the Barbarians.” Heather’s rich, soulful, voice elegantly moves through numerous styles organically and with sincerity- A quality learned from some of her early influences disparate as Ray Charles, Bonnie Raitt, Joni Mitchell, and Chet Baker. Heather’s newest project, The Heather Anne Band plans to record a full-length album of Heather’s original songs and music this coming winter. https://store.cdbaby.com/cd/heathermasse

Many Moons

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Matt Dennis - Dennis, Anyone?

Styles: Vocal And Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 41:29
Size: 96,0 MB
Art: Front

(3:41)  1. Where Do We Go From Here?
(2:56)  2. The Land Of Danger
(3:18)  3. Old Uncle Fud
(2:55)  4. Relax
(3:32)  5. I'm The Boy Who Takes Her Home
(3:27)  6. Devil Talk
(3:22)  7. That's How Close I Want To Be To You
(3:32)  8. Too Late For Love
(3:08)  9. Enchanted Memory
(3:15) 10. A Thousand Years Ago
(3:02) 11. Bless You, Little Sleepyhead
(5:15) 12. Show Me The Way To Get Out Of This World (Cause That's Where Everything Is)

Matt Dennis' first live LP, recorded in Hollywood in 1955 and also including a dozen Dennis compositions, doesn't have quite the songwriting firepower of Sings and Plays Matt Dennis. Instead of "Violets for Your Furs" and "Angel Eyes," listeners get "Old Uncle Fud" and "Bless You, Little Sleepyhead." Still, Dennis is just as suave and sentimental (though not as humorous), singing clever ballads like "I'm the Boy Who Takes Her Home" and the unexpectedly optimistic "Where Do We Go From Here?." A few do fall flat, including one ("That's How Close I Want to Be to You") whose references to then-current events and obscure personalities barely made it out of the '50s. Also, it's difficult to escape the fact that many of Dennis' performances are nearly identical. Undoubtedly an entertaining performance for a night out during the mid-'50s, Dennis, Anyone? exists for digital-age listeners as an interesting curio of lounge-act finesse. ~ John Bush https://www.allmusic.com/album/dennis-anyone-mw0000215634

Personnel:  Piano, Vocals – Matt Dennis; Bass – Ray Leatherwood; Drums – Alvin Stoller; Guitar – Bill Pitman

Dennis, Anyone?

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Billy Eckstine - Broadway Bongos and Mr. B

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 32:26
Size: 75,8 MB
Art: Front

(2:22)  1. From This Moment On
(2:06)  2. I Could Write a Book
(2:49)  3. If Ever I Would Leave You
(2:57)  4. I've Got You Under My Skin
(3:06)  5. Oh, What a Beautiful Mornin'
(2:45)  6. Tonight
(2:24)  7. Stranger in Paradise
(2:17)  8. Get Out of Town
(2:56)  9. Old Devil Moon
(2:45) 10. On the Street Where You Live
(2:44) 11. There's a Small Hotel
(3:09) 12. Something I Dreamed Last Night

Broadway, Bongos and Mr. B is a 1961 studio album by the American singer Billy Eckstine. It was arranged by Hal Mooney, and marked Eckstine's return to Roulette Records. The album features Latin tinged arrangements of popular Broadway show tunes, with a percussion section of xylophones, marimbas and bongos. In their July 1961 review of Broadway, Bongos and Mr. B, Billboard magazine wrote that "This is one of the best albums made by Billy Eckstine in many years", and that he was "singing with confidence again in his own style". The review concluded that it was "A strong new album that could help win back many of Mr. B's fans". This was the third of Eckstine's Mercury Records albums to use the same photograph of him. It had previously graced the covers of Billy's Best! (1958) and Billy Eckstine's Imagination (1958). https://en.wikipedia.org/wiki/Broadway,_Bongos_and_Mr._B

Personnel:  Billy Eckstine - vocals; Hal Mooney - arranger, conductor

Broadway Bongos and Mr. B

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Mike LeDonne - Partners in Time

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 53:31
Size: 123,3 MB
Art: Front

(6:04)  1. Lined with a Groove
(6:34)  2. My Funny Valentine
(8:33)  3. Saud
(6:46)  4. Lament
(7:30)  5. Recovery Blues
(4:36)  6. Here's That Rainy Day
(7:39)  7. N.P.S.
(5:46)  8. Bopsolete

Mike LeDonne is on piano this time around not his more-familiar Hammond organ and he's working in a really fantastic trio with Christian McBride on bass and Lewis Nash on drums! Both players have made lots of wonderful records over the years, but there's something really special about this one as if LeDonne's bold approach to the piano seems to unlock even more energy in their rhythms maybe in part because Mike's always partially tuned to the needs of a bassist, which he sometimes handles with his feet on the pedals of the Hammond. Obviously, that's not the case this time around but he does often play in these bold, blocky ways that are perfect for Nash and McBride to augment on titles that include "Saud", "Lined With A Groove", "Recovery Blues", "Here's That Rainy Day", "NPS", and "Bopsolete".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/921006/Mike-LeDonne:Partners-In-Time

Personnel: Piano – Mike LeDonne;  Acoustic Bass – Christian McBride; Drums – Lewis Nash

Partners in Time

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