Mary Stallings - Songs Were Made to Sing

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 65:27
Size: 151,2 MB
Art: Front

(5:07)  1. Stolen Moments
(4:28)  2. Lover Man
(6:25)  3. Blue Monk
(7:14)  4. Ill Wind
(4:41)  5. While We're Young
(6:08)  6. Lady Bird
(3:36)  7. When I Close My Eyes
(3:59)  8. Prelude to a Kiss
(3:32)  9. Third Time is the Charm
(5:12) 10. 'Round Midnight
(5:34) 11. Soul Mates
(4:13) 12. Give Me the Simple Life
(5:14) 13. Sugar

Mary Stallings tends to inspire superlatives, and Songs Were Made to Sing is sure to coax another chorus of well-deserved, overdue praise. Released on the verge of her 80th birthday, the album captures an ageless artist at full power, a peak she’s been hitting consistently since Concord relaunched her recording career with a series of excellent albums in the 1990s. A teenage star in San Francisco who learned her craft performing with giants like Ben Webster, Teddy Edwards, and Louis Jordan, Stallings made an auspicious recording debut as a jazz singer with Cal Tjader in 1961. Though she spent the next dozen years touring with the likes of Dizzy Gillespie, Billy Eckstine, and the Count Basie Orchestra, she didn’t release another album for almost three decades. “Rediscovered” anew several times since then, Stallings just keeps doing her thing, infusing songs with a surfeit of soul. A piquant blues inflection marks every note Stallings sings, and her taste in material and collaborators never fails. She’s found another stellar accompanist/arranger here in pianist David Hazeltine, who leads a top-shelf rhythm section with bassist David Williams and drummer Joe Farnsworth. Right from the slow-burning opener “Stolen Moments,” featuring saxophonist Vincent Herring and trumpeter Eddie Henderson, the album returns again and again to themes of rue, longing, and wistful regret, Stallings’ emotional sweet spot. The album’s many high points include her preaching the blues on Abbey Lincoln’s lyrics for “Blue Monk” (with some expert alto commentary from Herring), and a devastatingly slow and urgent take on “Ill Wind” that prompts exquisite muted accompaniment from Henderson. Stallings reveals the inimitable personality in her phrasing: The way she inserts pauses between words in the “Ill Wind” line “let me rest today,” for example, reminds you it’s a plea for death. A jazz artist of the highest order, Stallings keeps adding to her legacy. ~Andrew Gilbert https://jazztimes.com/reviews/albums/mary-stallings-songs-were-made-to-sing-smoke-sessions/

Songs">Songs Were Made to Sing

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Archie Shepp Quartet - Lover Man

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 60:06
Size: 138,5 MB
Art: Front

(6:28)  1. Stars are in Your Eyes
(6:11)  2. Lover Man
(9:23)  3. Brandnew World / Breaking a new day
(5:38)  4. Margy Pargy
(5:21)  5. My Funny Valentine
(6:49)  6. Lush Life
(6:17)  7. Squeeze Me
(5:18)  8. Yesterday's
(8:37)  9. Tribute to Bessy Smith

Shepp has been criticized for his more commercial ventures such as this, but many will enjoy its accessibly light charm. Most of the numbers are standards, including "My Funny Valentine," "Lover Man," and "Lush Life," and are performed by the saxophonist backed by a solid rhythm section. Dave Burrell is wonderfully deft on piano, and he is given ample opportunity to interact with Shepp. Annette Lowman sings on several numbers, and she adds just the right touch and phrasing. Shepp is in somewhat less than perfect form, but he is clearly enjoying himself. There is a touch of a blues and R&B feel that adds to the ambiance. Unlike some of Shepp's other ventures, there are no attempted serious statements made only relaxing, good, swinging jazz that lifts the spirits or touches the soul, if only just a bit. ~ Steve Loewy https://www.allmusic.com/album/lover-man-mw0000542922

Personnel: Archie Shepp – tenor saxophone; Annette Lowman – vocals; Dave Burrell – piano; Herman Wright – bass; Stephen McCraven – drums

Lover Man

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Marsha Bartenetti - Feels Like Love

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 52:36
Size: 122,2 MB
Art: Front

(2:23)  1. Orange Colored Sky
(5:32)  2. You Go to My Head
(3:08)  3. Guess Who I Saw Today
(3:36)  4. Hallelujah
(5:13)  5. Cry Me a River
(2:50)  6. L O V E
(4:21)  7. You've Changed
(4:31)  8. Little Girl Blue
(3:56)  9. Ten Cents a Dance
(5:07) 10. Heaven Down Here
(3:51) 11. Sorry Seems to Be the Hardest Word
(5:28) 12. The Man That Got Away
(2:40) 13. All Right, Okay, You Win

“I’m sorry, that’s not a valid password. Please try your call again later.” That voice you hear just may be Marsha Bartenetti, who segued from a successful singing career (she won the 1980 Best Vocalist in the American Songwriters Association’s International) to the lucrative voiceover market. She was deemed by the press as “The Voice America Loves to Hate” and “The Voice Mail Queen.” She’s solidly back on track with the release of her latest CD …feels like LOVE, which she featured during her Feinstein’s debut. Bringing along friend and Musical Director Steve Rawlins, Bartenetti’s repertoire includes well-known chestnuts from the Great American Songbook as well as a few modern composers and lyricists. Her arrangements blend in jazz stylings and a pop sensibility that makes for easy listening with her clean, clear phrasing. Examining all facets of love, her set included the hopeful phase with a slow, longing “You Go to My Head” (J. Fred Coots/Haven Gillespie), the betrayal of Elisse Boyd and Murray Grand’s powerful “Guess  Who I Saw Today,” to Arthur Hamilton’s “Cry Me a River.” The complement of locals David Rokeach on drums, Mike Bordelon on bass, and Danny Brown sax, added to the richness of the sound. Bartenetti related emotionally on Elton John and Bernie Taupin’s “Sorry Seems to Be the Hardest Word,” and Leonard Cohen’s “Hallelujah,” and these would be her finest vocal deliveries. “Orange Colored Sky,” written by Milton DeLugg and Willie Stein and recorded by Nat King Cole, shows Bartenetti can swing, as does her rendition of Peggy Lee and Dave Cavanaugh’s (with the pen name William Schluger) “I Love Being Here with You.” Hitting all the bases from swing to light jazz, Bartenetti shines when she makes strong connections to a song. She saved the best for last, closing with the lovely Jimmy Van Heusen/Johnny Burke “But Beautiful,” offering it as a love note to her audience. A classy touch from a real pro. ~ Steve Murray https://cabaretscenes.org/2017/05/01/marsha-bartenetti-marsha-bartenetti-feels-like-love/

Feels Like Love

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Paolo Birro - Castello Nights

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 46:57
Size: 109,0 MB
Art: Front

(6:41)  1. On a Misty Night
(3:44)  2. Groovin High
(3:31)  3. Coming on the Hudson
(3:08)  4. Boo Boo's Birthday
(6:00)  5. I Can't Get Started
(5:27)  6. Gnid
(3:26)  7. Good Bait
(4:36)  8. Criss Cross
(5:32)  9. 'Round About Midnight
(4:48) 10. Tin Tin Deo

Paolo Birro was born in Noventa Vicentina, Vicenza, Italy in 1962.  He completed his classical piano studies at the Vicenza Conservatory with a summa cum laude degree in 1987, afterwhich he devoted himself to the jazz language which had fascinated him from his childhood. In 1992, in trio with Sandro Gibellini e Mauro Negri, he won the first prize for the performing group section at the Barga Jazz International Contest.  In 1996, after the releasing of his first trio album “Fair Play”, he was nominated “Best New Talent” by the critics of  the  magazine “Musica Jazz."  His career has offered him the opportunity to perform with jazz legends such as Lee Konitz, Buddy De Franco, Art Farmer, Johnny Griffin and many other internationally-known artists including Scott Hamilton, Gianni Basso, Ruud Brink, Eliot Zigmund, Bobby Watson, Ronnie Cuber, Harry Allen, Tom Kirkpatrick, Charles Davis, Enrico Rava, Erwin Vann, Aldo Romano, Richard Galliano, Robert Bonisolo, Paolo Fresu, Tiziana Ghiglioni, Chuck Israels, Matt Renzi.  As a sideman he has contributed to the recording of over 50 albums by some of the most important jazzmen working in Italy; in particular the artistic relationship with saxophonists Pietro Tonolo, Emanuele Cisi, Claudio Fasoli and the american trumpet player (living in Italy) J Kyle Gregory has been more continuative, as documented in a series of works published by independent labels, including Egea, Splasc(h), Soulnote and Velut Luna. He is a regular member of the Lydian Sound Orchestra directed by Riccardo Brazzale, one of the most critically acclaimed Italian bands in the recent years. As a leader or co-leader  he has released several albums in solo, duo and trio: his last releases include “Sbàndio” (Almar Records), a solo piano performance based on the cultural traditions of his native region in Italy, and “Passion Flower” (Philology) an homage to the music of Billy Strayhorn recorded together with the saxophonist Lee Konitz and “Radiotrio” (Almar Records) with Federico Malaman (el. bass) and Mauro Beggio (drums). As an educator he has taught Jazz piano, improvisation and ensemble at the ”Civici Corsi di Jazz” (Milan), International Jazz Master Classes at Siena, Jazz Department of the Bologna Conservatory, “Il Suono Improvviso” (Venice), Perugia Classico, Summer stages at Loano, and the Jazzinty Workshop in Novomesto (Slovenia).  He is currently Head of the Jazz Department at the Conservatory of Vicenza. http://www.lydiansoundorchestra.com/birro.html

Personnel: Paolo Birro (Piano), Aldo Zunino (Bass) and Alfred Kramer (Drums).

Castello Nights

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The Chico Freeman Project - Out of Many Comes the One

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 66:06
Size: 152,8 MB
Art: Front

(4:06)  1. Guitar
(4:10)  2. Didn't Even Know You
(6:58)  3. Filaraki
(5:34)  4. India Blue
(6:20)  5. Out of Many Comes the One
(6:35)  6. Lift Me Up
(5:34)  7. Twelfth of Never
(5:06)  8. A Teardrop In the Rain
(5:12)  9. Tzivaeri
(5:14) 10. Cartegena
(4:18) 11. Miss You Like Smoking
(6:54) 12. Part of Me - Filaraki - English Version

Chico Freeman's 2004 Arabesque release Out of Many Comes the One brings a bit of chillout jazz and sophisticated funk into the mix along with pretty vocals by Jennifer Hamady, who works up fine ruminations during "Tzivaeri" and "Miss You Like Smoking." The combination of relaxed grooves and elegant vocalizing has plenty in common with the efforts of Detroiters Wendell Harrison and Donald Byrd. 

A seasoned instrumentalist whose artistry is rooted in decades of creative endeavor, Freeman sounds at his best during "Filaraki" and "Part of Me," which feel like salutations from and for Yusef Lateef. ~ arwulf arwulf https://www.allmusic.com/album/out-of-many-comes-the-one-mw0001461211

Personnel: Tenor Saxophone, Soprano Saxophone, Producer – Chico Freeman; Bass – Orlando Marin; Drums – Abe Fogle; Guitar [Guitars] – Bill White; Piano, Electric Piano [Fender Rhodes], Organ, Keyboards – Misha Tsiganov

Out of Many Comes the One

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Stan Getz Quartet - Getz At The Gate

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 139:14
Size: 321,0 MB
Art: Front

( 0:25)  1. Announcement By Chip Monck
( 7:49)  2. It's All Right With Me
( 9:20)  3. Wildwood
( 6:27)  4. When The Sun Comes Out
(12:01)  5. Impressions
( 8:35)  6. Airegin
( 9:45)  7. Like Someone In Love
( 8:29)  8. Woody 'N' You
(10:27)  9. Blues
( 5:01) 10. Where Do You Go
( 8:19) 11. Yesterday's Gardenias
( 7:25) 12. Stella By Starlight
( 8:52) 13. It's You Or No One
( 6:57) 14. Spring Can Really HangYou Up The Most
(14:18) 15. 52nd Street Theme
(14:57) 16. Jumpin' With Symphony Sid

Connoisseurs of Stan Getz continue to get lucky with newly discovered live recordings. The last was Moments In Time (Resonance, 2016), a single CD documenting parts of a week-long residency with a quartet including pianist JoAnne Brackeen in San Francisco in 1976. Getz At The Gate, recorded fifteen years earlier, is another substantial addition to Getz's catalogue. Over two CDs, or three LPs if you prefer, it includes all 139 minutes which Getz's band performed at New York's Village Gate on November 26, 1961. Recorded just a month after the completion of Getz's with-strings masterpiece Focus (Verve, 1961), the package captures him at the top of his game. After two and a half years living in Denmark, Getz returned to the US in early 1961 to encounter a jazz world in the throes of change. Ornette Coleman was carrying the torch for free jazz, Miles Davis had brought modal jazz into the mainstream and John Coltrane had put clear water between himself and Sonny Rollins to become the pre-eminent tenor saxophonist on the New York scene. Getz, who had lost none of his competitive edge while in Europe, realised he could not simply pick up where he had left off if he wanted to keep his place at the head table. He was not about to become either a modal or a free player, but he was prepared to recalibrate a little. He put together a new-guard quartet comprising pianist Steve Kuhn, who had briefly been a member of Coltrane's quartet in 1960, bassist Scott LaFaro, who had just left Coleman's band, and drummer Roy Haynes, with whom Getz had first worked in the late 1940s and who was fresh from recording with Eric Dolphy. Getz took the group into the Village Vanguard in March 1961 for his New York comeback. A review in The New York Times reported that Getz was "a much more venturesome musician" than when he last played in the city. The quartet played an acclaimed set at the Newport Jazz Festival in July. Things were looking good. Tragically, four days later, La Faro was killed in an auto accident.

La Faro was replaced by John Neves and the new lineup augmented by valve trombonist Bob Brookmeyer went into the studio in September to make Recorded Fall 1961 (Verve), a relatively little-known treasure in Getz's discography. Two months later, Getz took the quartet (without Brookmeyer) into the Village Gate for the gig preserved on Getz At The Gate. Despite their quality, Recorded Fall 1961, Focus and Getz At The Gate were all overtaken by events. In early 1962, the tapes of Getz's bossa nova debut, Jazz Samba (Verve, 1962), hit Verve's office. They had hit written all over them. Getz's other projects were put on hold. Recorded Fall 1961 and Focus dropped off the promo schedule and Getz At The Gate lay forgotten in the vaults. Only now, in June 2019, is the album getting its first release. The Getz At The Gate set lists are mostly drawn from the Great American Songbook with which Getz had made his name, plus four jazz standards (Gigi Gryce's "Wildwood," Dizzy Gillespie's "Woody "n You," Thelonious Monk's "52nd Street Theme" and Sonny Rollins' "Airegin"). Getz's readings range from the lush and intimate through the fierce and stomping and, as ever, he pulls improvised melodies out of the air which are as beautiful as the tunes they are grounded in. A gorgeous reading of Harold Arlen's "When The Sun Comes Out" is among the highlights. The odd-man-out among the track titles is "Impressions," the tune John Coltrane had remodelled out of Miles Davis' "So What" (from Davis' 1959 CBS album Kind Of Blue). It would be fascinating to hear Getz play Coltrane's piece but, disappointingly, he sits out the number, which is a trio feature for Kuhn, who had performed it while a member of Coltrane's band. On the rarities front, however, Getz At The Gate does include the only known Getz recordings of "52nd Street Theme," Cole Porter's "It's Alright With Me" and Dick Robertson's "Yesterday's Gardenias." Getz At The Gate has borderline longueurs, in the shape of a couple too many bass solos. But such was the small-group gigging paradigm of the time. Getz is in exalted form throughout and you can't get too much of that. ~ Chris May https://www.allaboutjazz.com/getz-at-the-gate-stan-getz-verve-review-by-chris-may.php

Personnel: Stan Getz: tenor saxophone; Steve Kuhn: piano; John Neves: bass; Roy Haynes: drums.

Getz At The Gate

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Bill Evans & Lee Konitz - Play The Arrangements Of Jimmy Giuffre

Styles: Piano And Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 74:29
Size: 172,2 MB
Art: Front

(3:08)  1. Palo Alto
(5:02)  2. When Your Lover Has Gone
(9:50)  3. Cork'n' Bib
(4:29)  4. Somp'm Outa' Nothin'
(3:36)  5. Someone To Watch Over Me
(3:55)  6. Uncharted
(3:59)  7. Moonlight In Vermont
(5:08)  8. The Song Is You
(1:58)  9. Darn That Dream
(4:48) 10. Ev'rything I've Got (Belongs To You)
(4:19) 11. You Don't Know What Love Is
(4:00) 12. I Didn't Know About You
(3:57) 13. I'm Getting Sentimental Over You
(4:11) 14. You're Driving Me Crazy
(4:08) 15. You're Clear Out Of This World
(3:39) 16. The More I See You
(4:12) 17. You Are Too Beautiful

Merged from two brilliant 1959 studio sessions, this disc is, just as the title and artist credits suggest, a showcase for three immense talents. Those expecting to hear the snap-crackle of Roy Haynes' snare or Bob Brookmeyer's punctuated counterpoints after reading the all-star lineup may be surprised to hear them relegated to the background, but any disappointment will end there. The brilliant playing of Konitz and Evans, paired with Jimmy Giuffre's sensitive arrangements, is enough to satisfy any true jazz lover. Assembled for the album Lee Konitz Meets Jimmy Giuffre, the first band, a quintet of saxophones backed by the rhythmic underpinnings of Evans, bassist Buddy Clark and drummer Ronnie Free, immediately shows its musicality on the angular, quasi-atonal "Palo Alto. After a rundown of the pointillistic Giuffre arrangement, Konitz jumps in and alternately toys with and floats over the buoyantly swinging rhythm section and airy horn backgrounds. Konitz and Evans solo at length on "Somp'm Outa' Nothin', which can only be described as a blues that has a hard time getting off the "one" chord. The arrangement is quintessential Guiffre, with its dense tone clusters and recurring rhythmic pedal; Evans takes incredible liberties with the harmonic structure and shows an early affinity for Monk. Following a chamber-jazz reworking of "Darn That Dream, in which Giuffre masterfully exploits the subtle harmonic movements using a quintet of saxophones, the album is rounded out with a number of tracks from the '59 album You And Lee. Recorded five months after the initial Konitz/Giuffre studio session, this date finds a trio of trumpets and trombones replacing the saxophone section and adding a distinct edge to the music. Konitz is clearly the leader here; his probing, inventive solos are featured throughout the lineup of reworked standards, and the comping work is split by Evans' piano and the earthy guitar of Jim Hall. The tunes, especially "You Don't Know What Love Is, show Konitz at his best. He dazzles the listener with his sensitivity and invention and revels in the shimmering, transparent beauty evoked by Giuffre's arrangements. ~ Matthew Miller https://www.allaboutjazz.com/play-the-arrangements-of-jimmy-giuffre-bill-evans-lone-hill-jazz-review-by-matthew-miller.php?width=1920

Personnel: Band 1: Lee Konitz, Hal McKusick: alto saxophone; Ted Brown, Warne Marsh: tenor saxophone; Jimmy Giuffre: baritone saxophone/arrangements; Bill Evans: piano; Buddy Clark: bass; Ronnie Free: drums.

Band 2: Marky Markowitz, Ernie Royal, Phil Sunkel: trumpet; Eddie Bert, Billy Byers; trombone; Bob Brookmeyer: valve trombone; Lee Konitz: alto saxophone; Bill Evans; piano; Sonny Dallas: bass; Roy Haynes: drums; Jimmy Giuffre: arranger, conductor.

Play The Arrangements Of Jimmy Giuffre

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Robyn Bennett & Bang Bang - The Wait

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 52:18
Size: 121,8 MB
Art: Front

(2:49)  1. Too Much
(5:24)  2. Stop
(5:09)  3. For You and Me
(5:14)  4. The Wait
(4:00)  5. Ok, All Right
(4:07)  6. Stay
(3:55)  7. Take Me Back
(4:06)  8. I Won't Back Down
(3:06)  9. Something Tells Me
(6:53) 10. Caravan
(2:53) 11. Live and Learn
(4:36) 12. Goodnight

The red-headed beauty, daughter of university professors grew up in Pennsylvania (USA). Music and dance have always been a big part of her life. She started jazz and ballet lessons at only 3 years old, piano lessons at 6, trumpet at 10 and she sang regularly in different choirs. Her early influences were eclectic, including Frank Sinatra, Michael Jackson, Ray Charles, Fleetwood Mac, Harry Connick Jr., Ella Fitzgerald, Willie Nelson, Billy Holiday and Billy Joel. Robyn’s love of music, dance and the stage led her to musicals, performing in productions of «West Side Story», «Carousel» and «South Pacific». After high school, she left her small, rural town and headed for New York University where she studied in the musical theater program for two years. Having a hard time finding balance in the big city, seeking out calm and open spaces, she then continued her studies at the prestigious Vassar College where she graduated in 2001 with a Bachelor of Arts. Having always been attracted to France and French culture, Robyn packed her bags and went to Paris to get a Masters degree in French literature at the Sorbonne. In 2006, she settled definitively in Paris and a new adventure began. She joined the cast of the musical « Cabaret » (Dir. Sam Mendes) which played for 2 years at the famous Folies Bergères theater. Dance captain of the cast, she also played the role of Texas and understudied the lead role of Sally Bowles. It was during this production that Robyn met the jazz trombone player, Ben Van Hille. The chemistry they had together was instantaneous. The energy and emotion they shared on stage was infectious, and they decided that they had to make music together. Robyn Bennett and Bang Bang is born ! After two self-produced albums comprised mostly of cover material (Bang Bang in 2009 and Live Until You Die in 2011), they put their songwriting skills together to create their first album of original songs. « The Wait « is released in 2013 and is a real success ! A true melting pot of the music of New Orleans today: blues, funk, country, soul and rock, with jazz as the thread tying it all together. This year, on April 8th, the band unveils « The Song is You » a second album, more polished and open to an even wider audience. Jazz influences are still present, but the « pop » aspect becomes more important. Rock and swing, soul and funk come together for a powerful shot of musical energy ! Irresistible rhythms, melodies that stay in your head and explosive horns are all in there. Surely Robyn is the best person to speak about it : « This album is about empowerment, about knowing who you are, about being confident in the choices you make, and not succumbing to the pressures of society or caring about what other people think. It's about being positive, open, and knowing that the answers lie within you. We are affirming a style, affirming a sound, and there is so much positive energy in knowing that you're doing the right thing. That you're living life to the fullest, the way you want to live it, and not by anyone else's rules. » Translate by Google http://www.carre-magique.com/wp-content/uploads/2015/08/BIO-MEDIA-Robyn-Bennett-janv2016.pdf

The Wait

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Stéphane Grappelli - Satin Doll

Styles: Violin Jazz
Year: 2006
File: MP3@320K/s
Time: 70:12
Size: 163,0 MB
Art: Front

(6:55)  1. Satin Doll
(3:22)  2. On The Sunny Side Of The Street
(4:54)  3. Ain't Misbehavin'
(4:38)  4. Mack The Knife
(7:52)  5. Body And Soul
(7:01)  6. Pennies From Heaven
(5:12)  7. The Girl From Ipanema
(4:07)  8. My Funny Valentine
(4:23)  9. Blue Moon
(4:48) 10. The Lady Is A Tramp
(3:16) 11. Exactly Like You
(3:18) 12. Ebb Tide
(3:30) 13. You Took Advantage Of Me
(3:36) 14. Lover Man
(3:12) 15. I Didn't Know What Time

On this double LP, violinist Stéphane Grappelli gets away from his usual tribute to the late Django Reinhardt and plays 15 standards, including "Mack the Knife," "The Girl from Ipanema," "You Took Advantage of Me," and "Body and Soul." Accompanied by organist Eddy Louiss, pianist Marc Hemmeler, guitarist Jimmy Gourley, bassist Guy Pedersen, and drummer Kenny Clarke, Grappelli is in typically flawless form for these enjoyable swing sessions. ~ Scott Yanow https://www.allmusic.com/album/satin-doll-mw0000188216

Personnel: Violin – Stéphane Grappelli; Bass – Guy Pedersen; Guitar – Jimmy Gourley; Organ – Eddy Louiss; Percussion – Kenny Clarke; Piano – Marc Hemmeler 

Satin Doll

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John Hollenbeck - John Hollenbeck: The Claudia Quintet

Styles: Jazz, Post Bop
Year: 2001
File: MP3@320K/s
Time: 67:27
Size: 155,8 MB
Art: Front

( 6:41)  1. Meinetwegen
( 6:53)  2. A-B-S-T-I-n-E-n-C-E
( 5:44)  3. Love Song for Kate
( 5:57)  4. Thursday 7: 30 PM (Holy)
(10:42)  5. Thursday 11.14 Am (Grey)
( 3:47)  6. Thursday 3: 44 PM (Playground)
( 6:17)  7. Burt and Ken
( 5:03)  8. ...After a Dance or Two, We Sit Down for a Pint with Gil and Tim...
( 9:17)  9. No D
( 7:01) 10. Visions of Claudia

Releasing three quite noteworthy CDs in as many months, drummer/composer John Hollenbeck certainly made what one might describe as an "auspicious debut" as a leader. Just consider the range of styles covered in this burst of activity. No Images, Hollenbeck's initial recording from October 2001, is the most avant-garde of the three, with drums and saxophones squaring off in free jazz territory and trombones and drums accompanying the taped voice of Dr. Martin Luther King, Jr.; Quartet Lucy, hitting the street in January 2002, reflects Hollenbeck's attraction to the austere and spacious music of the ECM label. And The Claudia Quintet (released on the very same day as Quartet Lucy), a recording of subtlety, beauty, and a fair measure of fire smoldering beneath its surface. Hollenbeck may have an avant streak as wide as the pond between Tonic and Bimhuis, but he's surely not one to avoid a groove. In the Claudia Quintet's drum chair, he often locks into a rhythm and gradually builds the intensity of his attack, taking his own sweet time to reach the dynamic peak in a piece of music. Hollenbeck also propels the music forward with a crisp and clean style that doesn't overwhelm his bandmates, including Chris Speed, the noted N.Y.C. reedman who tends to prefer subtle expressiveness over displays of high-volume bluster. On this debut CD by the band, Claudia pursues a cool after-hours chillout vibe much of the time, and the instrumentation should suggest what Hollenbeck is after: aside from Speed (contributing a bit of tenor sax in addition to clarinet), the quintet features vibraphonist Matt Moran, accordionist Ted Reichman, and ubiquitous upright bassist Drew Gress. This lineup doesn't require listeners to stuff cotton in their ears to prevent hearing damage. The inclination is rather to pull out the cotton in order to best appreciate the clarity and nuance of this ensemble the round tones of the clarinet, shimmer of the vibes, earthiness of the accordion, and deep resonance of the bass. All the instruments are afforded room to breath, as unembellished melodic lines and shifting harmonics are drawn out across the sure and steady pulse and gathering rhythmic energy of "Meinetwegen" and the first and third of the album's "Thursday" compositions. Modalism and momentum are traded for spacy atmospherics on the second "Thursday" piece, with its ringing and sustained tones courtesy of Moran's bowed and struck vibes. But don't think The Claudia Quintet is entirely a space cruise, as the album includes the lovely downtempo ballad "Love Song for Kate," the swinging tenor-driven "Burt and Ken," the nearly cacophonous riot of voices during the improvised middle section of "a-b-s-t-i-n-e-n-c-e," and the angular stop-and-start "No D," in which Reichman fires off a solo on accordion that sounds about as wild as one could get without breaking the thing. Auspicious debut, indeed. One senses that a new and important voice has emerged on the New York creative music scene. John Hollenbeck's future output is cause for much anticipation, whether he chooses to release subsequent albums single-file or two and three at a time. [The Claudia Quintet and Hollenbeck's other CRI Blueshift recordings may be purchased directly from his website.] ~ Dave Lynch https://www.allmusic.com/album/the-claudia-quintet-mw0001273441

Personnel: Drums, Percussion, Composed By, Producer – John Hollenbeck; Accordion – Ted Reichman;  Acoustic Bass – Drew Gress; Clarinet, Tenor Saxophone – Chris Speed; Vibraphone, Percussion – Matt Moran

John Hollenbeck: The Claudia Quintet

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Scott Henderson - People Mover

Styles: Guitar Jazz
Year: 2019
File: MP3@320K/s
Time: 61:55
Size: 142,6 MB
Art: Front

(8:08)  1. Transatlantic
(6:56)  2. Primary Location
(0:32)  3. All Aboard
(4:38)  4. People Mover
(5:33)  5. Satellite
(5:48)  6. Blood Moon
(8:07)  7. Blue Heron Boulevard
(6:16)  8. Syringe
(8:16)  9. Happy Fun-Sing
(7:36) 10. Fawn

Guitarist Scott Henderson’s innate talents overwhelmed both the music scene and music schools of his native South Florida before he moved to Los Angeles 40 years ago. Yet he didn’t relocate for stardom, eschewing sideman roles with Chick Corea, Jean-Luc Ponty, and Joe Zawinul to form his own band Tribal Tech, active from 1984-2013. Henderson’s solo recording career started in 1994, and his new People Mover release is one of the high-water marks among the half-dozen efforts under his own name. Another was its predecessor, the similarly self-released Vibe Station from 2015, with bassist Travis Carlton and drummer Alan Hertz. This time, Henderson features an even younger rhythm section in French musicians Romain Labaye (bass) and Archibald Ligonnière (drums), with equally explosive results. Henderson has always mixed his jazz/fusion guitar influences (like Allan Holdsworth) with those based in rock (Deep Purple’s Ritchie Blackmore) and blues (Stevie Ray Vaughan), and does so from his opening chimes of “Transatlantic,” which segues between tranquil and high-octane sections, the latter featuring his signature soloing accents. “Primary Location” veers funkier, showcasing the rhythmic emphasis in both Henderson’s playing and composition and highlighting Labaye’s fretless tones and harmonics. People Mover features more effects, overdubs, and general production than its predecessors, courtesy of both the bandleader and Hertz, who recorded and helped mix the 10 tracks. “All Aboard” features piped-in crowd noise and touches of electronics within its inside-out cadence, and former Tribal Tech keyboardist Scott Kinsey contributes electronic percussion to the closing ballad “Fawn.” In between, Henderson shows his clean-tone soloing prowess on the swinging title track, also featuring a banner solo by Labaye and furious Ligonnière drumming; “Satellite” offers a Middle Eastern influence and background spoken overdubs; and “Syringe” features the trio’s ample improvisation within another of Henderson’s inimitable, acidic compositional mixes of jazz, rock, and blues. ~ Bill Meredith https://jazztimes.com/reviews/albums/scott-henderson-people-mover-scott-henderson/

Personnel: Guitar, Composed By – Scott Henderson; Bass – Romain Labaye; Drums – Archibald Ligonniere

People Mover

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Pepper Adams - Urban Dreams

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 39:21
Size: 91,0 MB
Art: Front

(6:27)  1. Dexter Rides Again
(4:44)  2. Urban Dreams
(7:18)  3. Three Little Words
(6:55)  4. Time on My Hands
(7:04)  5. Pent Up House
(6:51)  6. Trentino

Musicians frequently become associated with the attributes of their instruments. Charles Mingus was hulking and imposing, just like his bass. Art Blakey had the propulsive, authoritative personality of his drums. Paul Desmond was urbane and laidback, just like the sound of his sweet-toned alto. There are, of course, exceptions to these sorts of correlations. Take Pepper Adams for instance. Slight of frame, particularly in his later years, Adams physical presence was the apotheosis of his chosen axe. Hefting his baritone horn with rail-thin arms, he coaxed out growling guttural lines seemingly at odds with his stature and appearance. Like a lion tamer subjugating a savage beast, he made the weighty sax a complete instrument of his bidding. His tone and phrasing, muscular and blues-based, were far removed from his generation's other skinny guy with a big horn, Gerry Mulligan. Sadly, for whatever reason, Adams' opportunities to record as a leader were far less frequent than those afforded Mulligan. The situation likely has a lot to do his willingness to lend his talents to the causes of other colleagues. Even the quintet he co-led with Donald Byrd at the dawn of the '60s found him taking a second slot on the marquee. The '70s and '80s weren't much better, but Adams did find the occasional resources to record. This reissued Palo Alto date comes from relatively late in his career, but his abilities are hardly diminished. A blue chip rhythm section fronted by pianist Jimmy Rowles, an Adams associate since the '50s, does more than simply supply support, and each member of the quartet has room to solo. The six chosen tunes are all fine blowing vehicles and Adams makes certain that there's space for amicable improvisation. "Dexter Rides Again" finds the band at rollicking gallop with clocking a brisk pace through the changes beside Rowles' light comping and the steady bobbing bass line of George Mraz. Billy Hart stokes the aggressive beat further with steady snare accents. "Urban Dreams," the brief original ballad of the set, rolls out the leader's romantic side. His throaty tone braids through the melody as Hart's brushes further embellish on the amorous implications. Two standards arrive next "Three Little Words" voiced velociously and "Time is on My Hands" taken at another slow drawl tempo each one showing off the band's consummate skill with repertory material. Adams can't resist packing an ample amount of blues punch into both. Rollins' racetrack worthy "Pent Up House" proves even better terrain for the band's high-speed inclinations. Adams once again burns through the changes leaving a smoldering melodic trail in his wake. His lush Latin burner "Trentino" takes the session out. No alternate takes or unreleased tunes, just the original album served up with warm 24 bit mastering. Pepper Adams' memory lives on in this immensely enjoyable and easily recommendable album. ~ Derek Taylor https://www.allaboutjazz.com/urban-dreams-pepper-adams-palo-alto-review-by-derek-taylor.php

Personnel: Pepper Adams: baritone saxophone; Jimmy Rowles: piano; George Mraz: bass; Billy Hart: drums.

Urban Dreams

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Trisha Yearwood - Let's Be Frank

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 47:10
Size: 110,0 MB
Art: Front

(4:14)  1. Witchcraft
(2:55)  2. Drinking Again
(4:36)  3. All the Way
(3:10)  4. Come Fly with Me
(4:32)  5. Over the Rainbow
(4:29)  6. One for My Baby (and One More for the Road)
(3:13)  7. They All Laughed
(4:07)  8. If I Loved You
(4:15)  9. The Man That Got Away
(3:35) 10. The Lady is a Tramp
(3:51) 11. For the Last Time
(4:06) 12. I'll Be Seeing You

Let's Be Frank isn't precisely the kind of comeback most observers would've expected from Trisha Yearwood. After a 12-year hiatus  a break interrupted only by the 2016 release of Christmas Together, a duet album with her husband, Garth Brooks Yearwood returned with a tribute to Frank Sinatra. Assembling a well-balanced songbook drawing equally from saloon songs, ring-a-ding-ding swingers, and standards, Yearwood doesn't pick many obscure tunes, nor does she radically reinterpret the original arrangements, but she doesn't mimic Frank. Supported by a lush orchestra, she belts out the standards with aplomb, achieving a balance between crooner and diva, which is enough to give this familiar-sounding album a sense of personal identity. ~ Stephen Tomas Erlewine https://www.allmusic.com/album/lets-be-frank-mw0003246916

Let's Be Frank

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Earl Hines - Tour de Force

Styles: Piano Jazz 
Year: 1972
File: MP3@320K/s
Time: 53:52
Size: 123,7 MB
Art: Front

(7:34)  1. Mack the Knife (take 2)
(5:34)  2. Indian Summer
(6:46)  3. I Gotta Right to Sing the Blues
(4:50)  4. I Never Knew (I Could Love Anybody Like I'm Loving You) (take 1)
(6:50)  5. When Your Lover Has Gone
(2:50)  6. Pretty Baby
(7:15)  7. Say It Isn't So
(4:59)  8. Blue Sands (take 1)
(7:12)  9. Lonesome Road

Pianist Earl Hines is in top form on this brilliant set of solo piano. This CD (which has three previously unreleased performances along with five of the six numbers from its counterpart LP) and Tour de Force Encore greatly expand upon the original set. Whether it be "Mack the Knife," "Indian Summer," or "I Never Knew," Hines is near the peak of his creativity on this CD, taking wild chances with time and coming up with fresh new variations on these veteran standards. ~ Scott Yanow https://www.allmusic.com/album/tour-de-force-mw0000318067

Tour de Force

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Grant Green - Carryin' On

Styles: Guitar Jazz 
Year: 1970
File: MP3@320K/s
Time: 37:30
Size: 86,6 MB
Art: Front

( 5:47)  1. Ease Back
( 6:34)  2. Hurt So Bad
( 6:12) 3. I Don't Want Nobody To Give Me Nothing (Open Up The Door I'll Get It Myself)

(10:04)  4. Upshot
( 8:51)  5. Cease The Bombing

Having firmly established himself as the '60s jazz guitarist second only to the great Wes Montgomery, Grant Green was willing and able to move into something new and give himself up to the emerging funk wave that would seep across the '70s. Attacked by purists as Grant's grand selling-out, these recordings have been rediscovered and widely sampled by legions of acid-jazz aficionados. Hypnotically rhythmic and quintessentially grooving, the five tracks on this straight reissue are all exceptionally tasty bursts of authentic funk. Carryin' On contains two solid covers, the Meters' "Ease Back" and James Brown's "I Don't Want Nobody To Give Me Nothing (Open Up The Door I'll Get It Myself," which alone make it well worth the money. These are about the funkiest tracks ever laid down by any jazz artist, completely danceable and sample ready. In fact, they are so infectious that they have the tendency to evoke uncontrollable movement in ass and limb. Neal Creaque's "Cease the Bombing," (later covered by Pucho & His Latin Soul Brothers) floats like a smooth sailing trip across the ether with Green majestically at the helm. A consistent pleasure to listen to, this should be one of the first jazz purchases for those who need a beat in the soundtrack of their lives. ~John Ballon https://www.allaboutjazz.com/grant-green-carryin-on-grant-green-by-john-ballon.php

Personnel: Grant Green: Guitar; Claude Bartee: Tenor Sax; Willie Bivens: Vibes; Clarence Palmer: Electric Piano; Earl Neal Creaque: Electric Piano (on "Cease the Bombing" only); Jimmy Lewis: Fender Bass; Idris Muhammad: Drums

Carryin' On

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Randy Brecker & NDR Bigband - Rocks

Styles: Trumpet Jazz, Big Band
Year: 2019
File: MP3@320K/s
Time: 63:17
Size: 147,8 MB
Art: Front

(8:09)  1. First Tune Of The Set
(6:18)  2. Adina
(6:38)  3. Squids
(7:22)  4. Pastoral
(6:22)  5. The Dipshit
(7:32)  6. Above and Below
(7:26)  7. Sozinho
(6:54)  8. Rocks
(6:33)  9. Threesome

Randy Brecker has been at the forefront of jazz since the late 1960s. His debut album as leader way back in 1969 was Score (Solid State). In addition to numerous albums under his own name he's also recorded with George Benson, Duke Pearson, Dreams and Larry Coryell's Eleventh House, to name just a few. But perhaps he is best known for the albums he produced with his younger brother, the late Michael Brecker as The Brecker Brothers. Lest people forget what a significant force of nature the BBs were, Stuart Nicholson in his book Jazz-Rock: A History, described the Breckers' horn lines as becoming "the model for countless fusion bands in the 1980s and 1990s." So this recording, made with the NDR Big Band in January 2017 and May 2018, revives fond memories of the Breckers' illustrious outfit by including within the nine track selection no fewer than five tracks originally recorded by the brothers. Another three tracks are taken from Randy Brecker's The Brecker Brothers Band Reunion (Piloo, 2013) namely "First Tune Of The Set," "Adina" and "The Dipshit." The exception to this is "Pastoral" which Brecker originally wrote as a elegiac tribute to the late Jaco Pastorius (with whom he recorded two albums) and which was first released on his 2001 record Hangin' In The City (ESC Records). This is a sumptuous outing with Brecker's flugelhorn playing at its most lyrical. The brash opener, "First Tune Of The Set," the brass embellished by chirruping synth, is followed by the relatively stately pace of "Adina" with Brecker delivering a majestic flugelhorn solo and Ada Rovatti following with a lissom soprano solo. The BB funk of "Squids" from Don't Stop The Music (Arista, 1977) still has those unmistakable hooks, revivified by the orchestra and a meaty tenor solo by Frank Delle. "The Dipshit," a Latin-esque romp, features a soaring alto solo by BB alumnus David Sanborn. Reassuringly, over the course of half a century, Brecker has lost none of his superlative virtuosity as evidenced by his rivetingly ebullient trumpet solos on, for example, "Above And Below" and the title track taken from the brothers' eponymous debut album (Arista, 1975) replete with its trademark funky clavinet. With auspicious augmentation courtesy of the magnificent NDR Big Band, this album is, in effect, a Brecker Brothers redux, with bells on. ~ Roger Farbey https://www.allaboutjazz.com/rocks-randy-brecker-jazzline-records-review-by-roger-farbey.php

Personnel: Randy Brecker: trumpet, flugelhorn; Dave Sanborn: alto saxophone; Ada Rovatti: tenor saxophone, soprano saxophone; Wolfgang Haffner: drums. NDR Bigband: Jörg Achim Keller:conductor; Thorsten Benkenstein, Ingolf Burkhardt, Claus Stötter, Reiner Winterschladen: trumpet; Fiete Felsch, Peter Bolte: alto saxophone, reeds; Frank Delle, Björn Berger: tenor saxophone, reeds; Edgar Herzog: baritone saxophone, reeds; Dan Gottshall, Sebastian Stanko, Klaus Heidenreich: trombones; Stefan Lottermann, Ingo Lahme: bass trombone, tuba; Christian Diener: electric bass, acoustic bass; Vladyslav Sendecki: keyboards; Bruno Müller: guitar; Marcio Doctor: percussion.

Rocks

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Miles Davis - Seven Steps To Heaven

Styles: Trumpet Jazz
Year: 1963
File: MP3@320K/s
Time: 57:09
Size: 131,6 MB
Art: Front

(10:27)  1. Basin Street Blues
( 6:23)  2. Seven Steps to Heaven
( 6:43)  3. I Fall In Love Too Easily
( 6:58)  4. So Near, So Far
( 8:25)  5. Baby Won't You Please Come Home
( 6:58)  6. Joshua
( 5:09)  7. So Near, So Far
( 6:02)  8. Summer Night

Seven Steps to Heaven finds Miles Davis standing yet again on the fault line between stylistic epochs. In early 1963, pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb left to form their own trio, and Davis was forced to form a new band, which included Memphis tenor player George Coleman and bassist Ron Carter. When Davis next entered the studio in Hollywood, he added local drummer Frank Butler and British studio ace Victor Feldman, who ultimately decided not to go on the road with Davis. It's easy to see why Davis liked Feldman, who contributed the dancing title tune and "Joshua" to the session. On three mellifluous standards  particularly a cerebral "Basin Street Blues" and a broken-hearted "I Fall in Love Too Easily" the pianist plays with an elegant, refined touch, and the kind of rarefied voicings that suggest Ahmad Jamal. Davis responds with some of his most introspective, romantic ballad playing. When Davis returned to New York he finally succeeded in spiriting away a brilliantly gifted 17-year-old drummer from Jackie McLean: Tony Williams. On the title tune you can already hear the difference, as his crisp, driving cymbal beat and jittery, aggressive syncopations propel Davis into the upper reaches of his horn. On "So Near, So Far" the drummer combines with Carter and new pianist Herbie Hancock to expand on a light Afro-Cuban beat with a series of telepathic changes in tempo, texture, and dynamics. Meanwhile, Feldman's "Joshua" (with its overtones of "So What" and "All Blues") portends the kind of expressive variations on the basic 4/4 pulse that would become the band's trademark, as Davis and Coleman ascend into bebop heaven. ~ Rovi Staff https://www.allmusic.com/album/seven-steps-to-heaven-mw0000188023

Personnel: Miles Davis – trumpet; George Coleman – tenor saxophone; Victor Feldman – piano; Ron Carter – bass; Frank Butler – drums; Herbie Hancock – piano;  Tony Williams – drums

Seven Steps To Heaven

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Marsha Bartenetti - It's Time

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 39:43
Size: 92,1 MB
Art: Front

(4:16)  1. Good Morning Heartache
(3:32)  2. Someone to Watch over Me
(3:26)  3. When I Fall in Love
(4:22)  4. Somewhere over the Rainbow
(5:17)  5. I Can't Make You Love Me
(2:53)  6. Gone Too Soon
(4:42)  7. As Time Goes By
(4:22)  8. Lover Man
(2:45)  9. Here, There & Everywhere
(4:04) 10. Baby, It's Cold Outside

Marsha is a smooth, rich, expressive singer with the ability to bring authenticity to each song with heartfelt vocals that transport a lyric straight to your heart. She has been known to “cross any genre for a good lyric” and does so with heart and truth. Her performances throughout the southland at venues like Catalina’s, and SRO shows at Upstairs at Vitello’s have won her audiences over. Marsha started her career in the San Francisco Bay Area in the late 60’s The music scene was alive with incredible talent and opportunities. Her band opened for such acts at The Youngbloods, and played at venues like the Troubadour in Los Angeles.In 1980 Marsha won Best Vocalist in the American Songwriter’s Association’s International contest. The ‘American Idol” of it’s time, it brought access to opportunities that would take Marsha to Motown Records where she recorded with writers Ken Hirsch and Ron Miller who together and on their own…wrote “I’ve Never Been To Me”, “Touch Me In The Morning” for Diana Ross, “For Once In My Life” for Stevie Wonder, “If I Could” for Celine Dion, “No One In The World” for Anita Baker, among other top hits. Marsha studied with the legendary vocal coach Judy Davis, in Oakland CA. who she says..”Changed my life.” Judy was a Diva herself whose students include Frank Sinatra, Barbara Streisand, and Judy Garland among others famous and not-so-famous.

“Her mentoring is still with me today and I still, after all these years, do her vocal eases every day. She is a woman who came into my life like an Angel and I love her for sharing her knowledge with me.” She opened my eyes and ears to a wealth of information about the voice She loved the music business and her students and I am forever grateful to her.” Although Marsha’s love for singing remained, musical politics and personal changes left her disheartened by the business and after a divorce, Marsha decided to leave the music business and shift gears to what she thought would be a better career to help with financially supporting her daughter. She may have left the stage for a time, but she continued working in the studio recording national jingles for such companies as Bank Of America, Chevron, among others. She transitioned into Voice-Overs and On-Camera acting. Here credits in this area included many national accounts, including being the voice of Safeway, Vons for all of their Television and Radio advertising. She was deemed by the press as “The Voice America Loves To Hate” and “The Voice Mail Queen.” Marsha was the American English voice for the largest International voice messaging company, serving the majority of voice mail systems in this country Including most of the Fortune 500 companies She is still heard on major voice-mails systems throughout the country where you may hear her say…”I’m sorry, that’s not a valid password. Please try your call again later.” She was invited as guest on the Today Show among other national guest spots as the “person behind the telephone voice.” Being a Digital “star” was not what she had envisioned; and although it paid the bills, her heart kept longing to get back out and do what she really loved Sing. Fast forward to social media and the wonders of Facebook where Marsha re-connected with a former band mate Donny Marrow Disk Eyes Productions. She recorded her first solo album, “It’s Time” in Nashville with Diskeyes Productions; with Donny Marrow producing and his esteemed team of studio musicians from all over the country adding their talents to the project. Marsha’s songs cross genres; from Billie Holiday to Bonnie Raitt; always with the lyric as her first consideration. It was time to return to the stage and the studio  And her album “It’s Time” marked the beginning of her “next act”. https://www.marshabartenetti.com/bio/

It's Time

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Tim Kliphuis - Acoustic Voyage

Styles: Violin Jazz
Year: 2010
File: MP3@320K/s
Time: 54:19
Size: 125,7 MB
Art: Front

(6:17)  1. Assanhado
(2:48)  2. Lucy's Waltz
(6:07)  3. Clair de Lune
(3:50)  4. Couscous and Butter
(3:27)  5. Águas de Março
(3:20)  6. Havana Highway
(2:40)  7. Don't Sleep in the Subway
(4:03)  8. Bebe
(4:02)  9. Cuckoo's Nest
(4:35) 10. La Chanson de Rue
(3:46) 11. Astor's Dream
(4:53) 12. Flèche d'Or
(4:24) 13. Samba for Paula

Imagine what would happen if Stephane Grappelli met the Chieftains, if Tom Jobim played a Parisian musette, if Scottish poet Robert Burns was in love with Miriam Makeba and James Brown jammed with Jasha Heifetz. This album unites all the music styles I love, not in an i-Pod 'pastiche' way but in the way that whiskies are blended together  subtly yet with distinction. Pianist David Newton, guitarist Nigel Clark and bassist Roy Percy are all top musicians from Scotland whom I am lucky to work with, and Maltese percussion wiz Sandro Ciancio gives the cd a 'world' flavour. We had a great time in the studio in the Scottish hills and I am sure this comes through on the cd. If I had to choose one tune it would be “Couscous and Butter”, a cross of a Scottish Slip Jig with a West-African Soukous feel. We stuffed bits of paper between our strings to give it that Kalimba (thumb piano) sound and added an Udu (jug drum). Assanhado is a choro tune: Brazilian folk music made popular by mandolinist Jacob do Bandolim. Lucy’s Waltz I wrote as a Musette waltz with a South-American twist. Clair de Lune is just a wonderful Debussy piano piece. Águas de Março is special because of the recurring bass line. Havana Highway is my version of Bud Powell meets Cuba, with some influence of my hero Jean-Luc Ponty. Don’t Sleep in the Subway is a Petula Clarke hit based on Pachelbel’s Canon in D. Bebe well, Hermeto Pascoal is just a wizard, a fusion genius. The Irish traditional Cuckoo’s nest I first heard on a 1970s recording by Fairport Convention, where my friend Ric Sanders currently plays the violin. Back to my roots with Grappelli’s beautiful Chanson de Rue (recorded with George Shearing in 1960s), and Django tune Flèche d’Or, which I think works very well in a funk version. My tune Samba for Paula is just a Brazilian samba. It’s the last number on the album but really was the start off this whole ‘non-swing’ project. https://store.cdbaby.com/cd/TimKliphuis1

Acoustic Voyage

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Buddy Rich - Swingin' New Big Band

Styles: Jazz, Post Bop
Year: 1966
File: MP3@320K/s
Time: 63:25
Size: 148,7 MB
Art: Front

( 3:22)  1. Readymix
( 5:40)  2. Basically Blues
( 3:31)  3. Critic's Choice
( 3:05)  4. My Man's Gone Now
( 2:49)  5. Up Tight (Everything's Alright)
( 3:15)  6. Sister Sadie
( 4:20)  7. More Soul
(10:48)  8. West Side Story Medley: a) Overture • b) Cool • c) Something's Coming • d) Somewhere
( 2:50)  9. What'd I Say
( 2:41) 10. Hoe Down
( 3:17) 11. Step Right Up
( 2:33) 12. Apples (aka Gino)
( 2:26) 13. Chicago
( 3:45) 14. In A Mellotone
( 2:42) 15. Never Will I Marry
( 2:45) 16. Lament For Lester
( 3:29) 17. Naptown Blues

1966 was a most illogical time for anyone to try forming a new big band but Buddy Rich beat the odds. This CD reissues the first album by the Buddy Rich Orchestra, augmenting the original Lp program with nine previously unissued performances from the same sessions. The arrangements (eight by Oliver Nelson along with charts by Bill Holman, Phil Wilson, Jay Corre, Don Rader and others) swing, put the emphasis on the ensembles and primarily feature Corre's tenor although trumpeter Bobby Shew, altoist Pete Yellin, pianist John Bunch and guitarist Barry Zweig are also heard from. Most of the songs did not stay in the drummer's repertoire long (other than Bill Reddie's adaptation of "West Side Story" and "Sister Sadie") and in fact only three members of the 17-piece orchestra would still be working for Rich a year later. An enjoyable and somewhat historic set. ~ Scott Yanow https://www.allmusic.com/album/swingin-new-big-band-mw0000179253

Personnel: Buddy Rich – drums; Gene Quill – alto saxophone, clarinet; Peter Yellin – alto saxophone, flute; Jay Corre, Martin Flax – tenor saxophone, clarinet, flute; Stephen Perlow – baritone saxophone, bass clarinet; Robert Shew, John Sottile, Yoshito Murakami, Walter Battegello – trumpet; Jim Trimble, John Boice – trombone; Dennis Good, Mike Waverley – bass trombone; John Bunch – piano; Barry Zweig – guitar; Carson Smith – bass

Swingin' New Big Band

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