Joe Chambers - Landscapes

Styles: Jazz, Straight-ahead/Mainstream
Year: 2016
File: MP3@320K/s
Time: 59:56
Size: 138,1 MB
Art: Front

(5:03)  1. Epistrophy
(4:30)  2. The Outlaw
(6:02)  3. Never Let Me Go
(4:58)  4. Havana
(5:39)  5. Samba de Maracatu
(7:29)  6. Pas de trois
(4:49)  7. Airegin
(6:33)  8. Ecaroh
(4:48)  9. Underground (Railroad) System
(9:59) 10. Landscapes

As a performer, Joe Chambers plays several roles on Landscapes. He stands front and center on the vibraphone, and he brings up the rear on trap kit. On “Havana” he ups the ante even further by adding bongos, marimba and congas to the mix. On the title track he sits at the piano for a solo recital. Chambers of course is skilled on all of them, and a formidable composer. The album has the potential to be a fiery session, yet it comes up short. Part of this might be attributed to the way it was made. Chambers laid down the drum tracks together with pianist Rick Germanson and bassist Ira Coleman, leaving room for the vibes and overdubbing them later, in crisp and captivating audio. But the drums get pushed back into the mix, in both sound and interaction, and the group doesn’t seem as engaged as it should be. “Havana” is more showcase than song, and a synthesizer loop diminishes its impact. Landscapes does have some strong moments. “Epistrophy” kicks off with a bembé groove before Coleman’s bass takes the spotlight. Chambers proves himself an introspective pianist on “Landscapes.” Two Horace Silver pieces raise the energy level. But the rest simply sounds a little too polite. It’s understandable why a drummer of Chambers’ authority wouldn’t want to cede the chair to someone else, but next time, doing so might add some spark to the session. 

~ By Mike Shanley https://jazztimes.com/reviews/albums/joe-chambers-landscapes/

Personnel: Drums, Congas, Bongos, Marimba, Vibraphone, Piano, Arranged By, Synthesizer, Producer – Joe Chambers; Piano – Rick Germanson; Bass – Ira Coleman; 

Landscapes

---

Cindy Bradley - The Little Things

Styles: Trumpet Jazz, Smooth Jazz
Year: 2019
File: MP3@320K/s
Time: 50:37
Size: 116,7 MB
Art: Front

(4:45)  1. Wind Chill Factor
(4:55)  2. Stockholm Summer
(4:59)  3. I'm All Ears
(3:47)  4. Snack Grouch
(5:13)  5. Grey Area
(6:15)  6. Surrender
(5:14)  7. Exhale
(4:33)  8. The Little Things
(5:50)  9. Sonny's Home
(5:01) 10. Reminisce

It’s always a joy reviewing a new release from trumpeter Cindy Bradley. You pretty much already know that there will be some driving, pushing, solid, phat grooves coming your way. That’s just the way she rolls. Here on her latest release The Little Things, she again doesn’t disappoint as she leads with her trumpet to take us through another music wonderland and explores all the possibilities for making a track solidly a “cannot ignore” track. With writer/producer Michael Broening at her side working his writing magic, the lovely trumpeter seduces, dazzles, and beckons one to join her in a dance (slow or up-tempo, take your pick) to celebrate c-jazz the way it was meant to be celebrate from the soul. Broening also offers his invaluable services on keys, piano, bass, and drum programming on all tracks while guitarist Freddie Fox, bassist Mel Brown, Skinny Hightower (who offers his skills on bass and vibes here) and other strong musicians complement the album’s allure with color and finesse. What’s so very becoming about Cindy Bradley is not only her skill, charm, and beauty, but how she makes certain to keep that jazz element front and center in all of her music. While the soul/R&B groove get their fair share of inclusion, it’s her signature take on cool, silky c-jazz (with hints of straight-ahead heard clearly in her runs) that seems to keep it all centered for her, and Michael Broening writes with that in mind, I’m sure. It’s easy to tell that the vibe fits her like a glove. It’s Cindy’s character and personality and only Cindy’s character and personality. It shines through and presents itself with such brilliance. Just grab a listen to the lead track “Wind Chill Factor,” the title track, “Sonny’s Home,” and so many others here. There’s the class and sophistication of traditional jazz cuddling up with the swag and soul of c-jazz, and it all comes out as robust and definite jazz. She simply never loses her grip on her beginnings and early influences (John McNeil, Bob Brookmeyer, Jerry Bergonzi, George Russell, and Steve Lacy, to name s few) while ushering in her brand of Smooth. The trumpet is a soulful, calling instrument, and Cindy Bradley has mastered its irresistible charm. Witness how easily she does it here on The Little Things or on any of her earlier material. You’ll get my point ~  Ronald Jackson https://thesmoothjazzride.com/cindy-bradley-the-little-things/

The Little Things

---

Dick Hyman - Blues In The Night: Dick Hyman Plays Harold Arlen

Styles: Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 55:27
Size: 129,7 MB
Art: Front

(3:48)  1. As Long As I Live
(4:38)  2. Ill Wind
(2:43)  3. Get Happy
(3:46)  4. Right As The Rain
(4:53)  5. Over the Rainbow
(3:22)  6. I've Got the World On A String
(4:39)  7. Blues in The Night
(3:14)  8. You Said It
(4:27)  9. Stormy Weather
(4:41) 10. Between the Devil and The Deep Blue Sea
(2:26) 11. In Your Own Quiet Way
(4:48) 12. A Woman's Prerogative
(4:13) 13. A Sleepin' Bee
(3:43) 14. It's Only A Paper Moon

This CD is very much a piano recital, as Dick Hyman (on a set of unaccompanied solos) demonstrates his love for Harold Arlen's music. Nine of the fourteen selections that Hyman chose to record are very well-known, three are somewhat obscure and two are somewhere in between. The accent is on Art Tatum's style during some of the songs, along with a few snatches of Teddy Wilson's relaxed stride. Hyman reproduces the ease with which Tatum threw out impossible-to-play virtuosic runs, and (even more impressive) he hints constantly at Art's advanced harmonies without doing strict imitations. He gives a few of the songs unusual twists ("Stormy Weather" becomes a waltz, "Over the Rainbow" has a bossa nova rhythm, the last part of "A Woman's Prerogative" is played in two keys at once, etc.) but the melodies are never far away. Hyman also takes his first real vocal on record, doing a nice job on the lyrics of "In Your Own Quiet Way" with his obviously untrained voice. A fine outing. ~ Scott Yanow https://www.allmusic.com/album/dick-hyman-plays-harold-arlen-blues-in-the-night-mw0000203992

Personnel: Dick Hyman - Piano.

Blues In The Night: Dick Hyman Plays Harold Arlen

---

Lorez Alexandria - Lorez Sings Prez: A Tribute to Lester Young

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 31:23
Size: 73,3 MB
Art: Front

(0:33)  1. Introduction
(2:24)  2. Fine And Dandy
(3:31)  3. Fooling Myself
(2:58)  4. D.B. Blues
(1:57)  5. You’re Driving Me Crazy (What Did I Do)
(3:21)  6. Easy Living
(3:00)  7. Polka Dots And Moonbeams
(3:45)  8. No Eyes Blues
(2:30)  9. This Year’s Kisses
(2:31) 10. There Will Never Be Another You
(4:47) 11. Jumpin’ With Symphony Sid

Lorez Alexandria was a superb singer in the Sarah Vaughan tradition. Alexandria recorded more than 20 albums over a 36-year period starting in 1957. Why she isn't a household name today is beyond me. Perhaps it was the smaller labels she was on or her decision to cling to Chicago, a lesser media market, for much of her career. Or maybe one Sarah Vaughan was sufficient. There are no bad Alexandria albums. All have a hip, confident charm.  One of my favorites is her second album, Lorez Sings Pres: A Tribute to Lester Young. Recorded after hours for King in front of an audience of friends at an unnamed Chicago club on November 6 and 13, Alexandria was accompanied by Paul Serrano (tp), Cy Touff (b-tp), Charles Stepney (vib), King Fleming (p), Eldee Young (b) and Vernell Fournier (d). Each of the Chicago players had a celebrated career. Drummer Fournier was a member of the Ahmad Jamal Trio and one of the great brush players. Cy Touff was an exceptional bass trumpeter who recorded many terrific albums as a leader. Paul Serrano shifted from trumpet to record engineering and worked with major jazz, rock, soul and gospel artists, including Michael Jackson and Mick Jagger. He eventually became head engineer at Delmark Records. Stepney would work as a producer for numerous soul artists in the 1960s and '70s. Fleming worked steadily in Chicago throughout the 1960s and beyond. And Eldee Young was a member of the Ramsey Lewis Trio, before leaving the group in the mid-1960s to become the Young in Young Holt Unlimited (Soulful Strut). [Photo above of Vernell Fournier on drums with the Ahmad Jamal Trio]. As the liner notes on the back cover of Lorez Sings Pres points out, all of the songs chosen were recorded by Lester "Pres" Young. Alexandria here proves she had an in-depth feel for Young without succumbing to mimicry. For her, the Young material was simply a springboard to be herself. Interestingly, this album preceds Sarah Vaughan's After Hours at the London House by four months. Makes you wonder whether Lorez's album gave Mercury the idea to record Sassy live in a Chicago club filled with friends. ~ Marc Myers https://www.jazzwax.com/2019/05/lorez-alexandria-sings-pres.html

Lorez Sings Prez: A Tribute to Lester Young

---

Joey Calderazzo - Our Standards

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 52:47
Size: 122,7 MB
Art: Front

(4:45)  1. Prenatal Air
(1:05)  2. Where Is My Duck?
(7:01)  3. Footprints
(5:28)  4. Our Standards
(9:45)  5. There Is No Greater Love
(3:03)  6. We Also Like Big Women
(9:20)  7. My Shinning Hour
(2:48)  8. Wake Up Call
(9:27)  9. Stella By Starlight

A potentially significant pianist playing in the modern mainstream, Joey Calderazzo's career got off to a strong start with a series of fine Blue Note albums. He studied classical piano from age eight, discovered jazz a few years later, and hit the big time when he joined Michael Brecker's band in 1987. He went on to record with Brecker, Bob Belden, Jerry Bergonzi, Rick Margitza, and Bob Mintzer. In addition to his own projects, Calderazzo replaced the late Kenny Kirkland in the Branford Marsalis Quartet. ~ Scott Yanow https://www.allmusic.com/artist/joey-calderazzo-mn0000218185/biography

Personnel: Piano – Joey Calderazzo; Bass – Lars Danielsson; Drums – Jacek Kochan

Our Standards

---

Walt Weiskopf - European Quartet Worldwide

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 52:03
Size: 120,6 MB
Art: Front

(5:45)  1. Entebbe
(5:36)  2. Back in Japan
(5:21)  3. Soultrane
(4:14)  4. Russian Roulette
(4:27)  5. Marcie by Moonlight
(4:50)  6. Back in Brazil
(4:44)  7. Oceans
(5:06)  8. The Pawnbroker
(6:48)  9. Scottish Folk Song
(5:08) 10. Coat of Arms

These days a lot of jazz records seem to require a musical concept or an idea that unites the compositions on the album, but it doesn't have to be so complicated. After a tour in January 2019 with his European Quartet, tenor saxophonist Walt Weiskopf went into a studio in Copenhagen with the band, and a few hours later the music on the album Worldwide was in the can. It sounds simple, but it also says something about the level of musical communication that goes on in the quartet. The ability to deliver on the spur of the moment doesn't come after a few days of playing together. The musicians have known each other for some time. Back in 2018, they released European Quartet on Orenda Records, and since then their sound has remained tight. Although Andreas Lang has replaced Daniel Franck on the bass, drummer Anders Mogensen and pianist Carl Winther remain from the original line-up, and they support Weiskopf congenially. Winther can be both romantic and rhythmically inventive, sometimes recalling the powerful elegance of McCoy Tyner, while Mogensen drives the music forward with a light but insistent touch that brings out all the colors in the cymbals. Weiskopf delivers the bulk of the material with eight original compositions, but one of the two covers shows where he is coming from. The reading of Tadd Dameron's "Soultrane" points to John Coltrane's influence and his presence is also felt on "Back in Japan," which draws on the saxophonist's late style. The compositions on the album come across as distinctive and varied, spanning the energetic hard bop vamp of "Coat of Arms" and the soft touch of bossa nova on "Back in Brazil." On the other hand, "Entebbe" sports a repetitive rhythmic piano motif reminiscent of Steve Reich. There is also a nod to the standards with the mid-tempo ballad "Marcie by Moonlight," a rewrite of "Stella by Starlight." With worldwide in the title, and references to Japan, Scotland, Russia, Africa and Brazil, there is in fact a vague geographical concept behind the album. However, it is just an excuse to play a varied repertoire. Worldwide is simply a great modern jazz album, nothing more, nothing less. ~ Jakob Baekgaard https://www.allaboutjazz.com/worldwide-walt-weiskopf-orenda-records-review-by-jakob-baekgaard.php

Personnel: Walt Weiskopf: tenor saxophone; Andreas Lang: bass; Carl Winther: piano; Anders Mogensen: drums.

European Quartet Worldwide

---

The New York All-Stars - Burnin' in London

Styles: Jazz, Big Band
Year: 2018
File: MP3@320K/s
Time: 62:46
Size: 144,5 MB
Art: Front

( 7:08)  1. Almost Like Being in Love
(10:04)  2. I Could Have Danced All Night
(11:58)  3. Nightlife in Tokyo
( 9:44)  4. It's Magic
(12:18)  5. The Night Has a Thousand Eyes
(11:32)  6. Summertime

Who would have thought that in this day and age a contemporary hard-bop / post-bop live CD could sound so good? Recorded live at London's Pizza Express Jazz Club on 20th and 21st November 2017 this little gem qualifies as a winner for the sheer visceral excitement conjured-up by its four participants. Senior partner in the band is veteran pianist Harold Mabern, registering a sprightly 81 years at the time of recording, whose playing here is absolutely incandescent. His former pupil, tenorist Eric Alexander cooks-up smoking, full-bodied saxophone throughout. Bassist Darryl Hall (not to be confused with Daryl Hall the rock musician) and Austrian born Bernd Reiter on drums complete the line-up and provide truly excellent accompaniment. The set kicks-off with a rousing, memorable version of Frederick Loewe's "Almost Like Being In Love" and is immediately followed by Loewe's hit from My Fair Lady "I Could Have Danced All Night," taken at a satisfyingly frenetic pace. However, things take an even more exhilarating turn with Mabern's original composition "Nightlife In Tokyo," the minor chord structure providing a perfect backdrop for Alexander's biting tenor. The sixties pop tune "The Night Has A Thousand Eyes" is given a fresh re-working and remains in the listener's memory far longer than would have been thought imaginable. Another highlight is an energised and cliché-eschewing version of George Gershwin's "Summertime" in which Alexander manages to insert some quotes from "A Love Supreme." This fast-paced interpretation may well be one of the most original versions of that standard ever recorded, with the All-Stars channelling the sound of the classic Coltrane quartet, at times . The New York All-Stars confound all expectations and clearly demonstrate that this kind of jazz, which is very much alive, can really burn through any barriers. Hence the wholly accurate title. ~ Roger Farbey https://www.allaboutjazz.com/burnin-in-london-new-york-all-stars-featuring-eric-alexander-and-harold-mabern-ubuntu-music-review-by-roger-farbey.php

Personnel: Eric Alexander: tenor saxophone; Harold Mabern: piano; Darryl Hall: bass; Bernd Reiter: drums.

Burnin'in London

---

Kristen Lee Sergeant - Inside Out

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 33:38
Size: 77,9 MB
Art: Front

(3:32)  1. Never Will I Marry
(4:06)  2. Everybody Wants to Rule the World
(4:27)  3. Old Devil Moon
(3:37)  4. Lullaby of the Leaves
(5:43)  5. I Melt with You
(4:01)  6. So Many Stars
(3:16)  7. Every Breath You Take
(2:06)  8. I Wish I Were in Love Again
(2:45)  9. It Never Entered My Mind

With Inside/Out (Whaling City Sound), Kristen Lee Sergeant emerges onto the crowded scene of jazz vocalists with a fresh, distinctive voice full of soul, authenticity and the gift of great storytelling. The title reflects the duality of each songs lyrics and placement, creating a cycle of emotions ranging from rapture to introspection to reality, bringing what is inside, out. Fun and fearlessness pervade this debut release as Kristen also turns 80's pop classics into adventurous jazz romps with the promise of even more exciting things to come. The restless, creative spirit that inspires her is evident on this recording, and deeply impacts the music and her listeners. Radio host, Jay Edwards of WCLK-FM's ""Jazz Tones,"" calls her an effervescent spirit whose superb vocals and phrasing inject the lyrics with new life, illustrating how influences from early onstage work palpably serve this recording. Inspired by Carmen McRae, Shirley Horne and Rosemary Clooney, Sergeant finds the swing and intimacy of each tune in every context. This release is a portrait of an artist coalescing all her influences, and those of her musicians, to a nuanced reinvention of standards & pop classics under the jazz canopy of swing and contemporary music. ~ Editorial Reviews https://www.amazon.com/Inside-Out-Kristen-Lee-Sergeant/dp/B01J6011OS

Inside Out

---

Ernie Wilkins - The Everest Years

Styles: Jazz, Swing
Year: 2006
File: MP3@320K/s
Time: 67:45
Size: 157,7 MB
Art: Front

(2:35)  1. Broadway
(2:49)  2. Surrey With The Fringe On Top
(3:13)  3. Falling In Love With Love
(2:26)  4. The Continental
(2:35)  5. Makin' Whoopee!
(3:09)  6. Stompin' At The Savoy
(3:14)  7. You're Driving Me Crazy
(2:17)  8. Baubles, Bangles And Beads
(2:34)  9. Somebody Loves Me
(2:25) 10. All Of You
(2:38) 11. Gone With The Wind
(1:55) 12. It Don't Mean A Thing
(3:33) 13. Ernie's Blues
(3:28) 14. Satin Doll
(1:56) 15. Fascinating Rhythm
(2:28) 16. Canadian Sunset
(2:29) 17. Very Much In Love
(2:45) 18. Undecided
(3:30) 19. Fresh Flute
(3:07) 20. I'll Get By
(3:50) 21. A Swinging Serenade
(3:31) 22. Lover Man
(1:58) 23. Everything's Coming Up Roses
(3:10) 24. Speak Low

Arranger Ernie Wilkins' two Everest LPs, Here Comes the Swingin' Mr. Wilkins and The Big New Band of the '60s, are reissued in full on this single CD. Recording during 1959-1960, Wilkins used an overlapping personnel of Count Basie members (both past and of the time), some of the top jazz-oriented studio players, and various miscellaneous jazz musicians. There is no way that this could have been a full-time big band, not with such soloists as Duke Ellington's tenor saxophonist Paul Gonsalves, trumpeters Clark Terry and Thad Jones, and the Basie players, but Wilkins' swinging arrangements gave his short-lived orchestra its own sound. The weak point to the program is that all of the selections clock in around three minutes apiece, which was unnecessary by the late '50s, resulting in all of the solos being very brief. However, the music is easily enjoyable, making this set recommended to fans of swinging big bands. 

~ Scott Yanow https://www.allmusic.com/album/the-everest-years-mw0000704087

The Everest Years: Ernie Wilkins

---

Ernesto Aurignac - Anunnakis

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 51:48
Size: 119,6 MB
Art: Front

( 8:37)  1. Ufos Are Here!
(12:09)  2. Anunnakis
(10:36)  3. La Órbita De Venus
( 7:23)  4. El Giro Del Cíngulo
( 4:51)  5. Bienvenidos Al Inframundo
( 8:10)  6. Todos Somos Monguis

Aurignac is an assertive alto sax player, somewhat after the fashion of Frank Morgan and on this live set his quintet came to play. There are washes of synthesized strings on El Giro Del Cingulo and the sound is sometimes sweet rather than surprising, but all five musicians are evidently highly accomplished. ~ Nic Jones, Jazz Journal (February 2016) https://www.freshsoundrecords.com/ernesto-aurignac-albums/6349-anunnakis-digipack-edition.html

Personnel: Ernesto Aurignac (as), Jaume Llombart (g), Roger Mas (p, keyb), Deejay Foster (b), João Lopes Pereira (d)

Anunnakis

---

Bill O'Connell, The Afro Caribbean Ensemble - Wind Off the Hudson

Styles: Piano Jazz 
Year: 2019
File: MP3@320K/s
Time: 61:09
Size: 141,1 MB
Art:

(5:12)  1. Wind Off the Hudson
(7:57)  2. Gospel 6
(6:54)  3. Jerry's Blues
(5:38)  4. I Don't Have the Answer
(5:45)  5. Oye Como Va
(5:40)  6. Perdido
(5:34)  7. Got Cha
(5:40)  8. Transition
(5:47)  9. C Jam Blues
(6:58) 10. Discombobulation

Bill O'Connell has had plenty to say with his piano in recent times, basically knocking out a session a year for the Savant imprint. And with an exploration within the solo format, a trip with an augmented trio, and ventures promoting a medium-sized conglomerate of heavy-hitters, he's certainly traversed quite an expanse there. But, as Wind Off The Hudson clearly shows, he's still got room grow. The Afro Caribbean Ensemble his largest on-record gathering of late, and a group indicative of a broadened view point and reflective of his work as the director of a similar outfit at Rutgers University is something like his Latin Jazz All-Stars. It's just bigger and badder. A dectet with a massive sound, it can swell to the sonic proportions of a big band, as demonstrated on the lead-off title track; or it can slim down to the size of a combo, as heard periodically on the soulful follow-up, "Gospel 6."  These ranks contain enough firepower to overtake small countries the presence of saxophonists Craig Handy, Ralph Bowen and Gary Smulyan, plus trumpeter Alex Sipiagin and trombonist Conrad Herwig, should paint a clear enough picture of strength and each member of the band is put to good use. Need proof? Check out the hot-and-heavy rhythm section of O'Connell, bassist Lincoln Goines, drummer Robby Ameen and percussionist Roman Diaz backing a smoking Sipiagin (and other soloists) on "Jerry's Blues," a paean to the late Jerry Gonzalez. 

Or take note of the way Andrea Brachfeld's alto flute adds different weight and textural dimensions to the poignant "I Don't Have The Answers." It's one thing to have all of this serious talent in one place, but it's entirely something else to know how to deploy it all, as O'Connell most certainly does. Those first four numbers all originals point toward a fertile mind constructing ideas from a relatively clean slate. But O'Connell is just as likely to recontextualize or personalize classics as he is to build from scratch. Adding an artful rendering of "Oye Como Va," a "Perdido" with a vibrant new coat of paint, a "Transition" that underscores Eastern melodic allure with Latin jazz grounding, and a choppy, contrapuntal "C Jam Blues" operating far away from Ellington's vision, O'Connell stakes his claim as an arranger of note. On Wind Off The Hudson, it's hard to know whether to be most impressed with O'Connell's imaginative pen, fast-thinking fingers or smart contracting skills. 

But the album doesn't require a choice. Part of the beauty is being able to, at once, bask in the beauty of the writing, the heat provided by the man and the burn delivered by his esteemed band mates. ~ Dan Bilaswsky https://www.allaboutjazz.com/wind-off-the-hudson-bill-oconnell-savant-records-review-by-dan-bilawsky.php

Personnel: Bill O'Connell: piano; Andrea Brachfeld: flute (1, 3, 5, 7-10), alto flute (4); Craig Handy: alto saxophone (1-3, 6, 7, 9, 10), soprano saxophone (8); Ralph Bowen: tenor saxophone; Gary Smulyan: baritone saxophone; Alex Sipiagin: trumpet, flugelhorn (4); Conrad Herwig: trombone; Lincoln Goines: electric bass; Robby Ameen: drums; Romaz Diaz: congas (1-3, 5-10).

Wind Off the Hudson

---

Barbara Brussell - Patterns

Styles: Vocal
Year: 1998
Time: 54:56
Size: 76,5 MB
Art: Front

(3:39)  1. Patterns / Try to Remember
(2:07)  2. Everybody Says Don't
(3:04)  3. Mira
(3:25)  4. Nothing Really Happens
(4:12)  5. This Nearly Was Mine / Once Upon a Time
(3:11)  6. I Wish
(3:18)  7. First of May
(3:56)  8. This Dream / If I Ruled the World
(0:38)  9. Narration - Narration 1
(3:35) 10. Patterns
(3:35) 11. Mister Snow
(3:30) 12. Marry Me a Little
(3:47) 13. Buddy's Blues
(3:13) 14. Alfie
(4:41) 15. Move On
(1:42) 16. Narration - Narration 2
(3:14) 17. If I Could

West Coast cabaret singer Barbara Brussell could have played safe for her first album by selecting a play list from the Great American Song Book and from well-known shows from the Great White Way. Instead, she displays a bit of the daring by including a good number of lesser-known material. But their lack of familiarity does not make them any less intriguing or entertaining, at least the way this fine singer presents them. Among the songs that some may have a hard time recognizing is the wistful "Mira" from Carnival along with the intense yearning and regrets of the title tune, "Patterns," from Baby. Even some songs from hit Broadway shows are not the ones usually remembered from those productions. "Mister Snow" is not generally the first piece of music that comes to mind from the big hit Carousel. But with the rousing attention Brussell gives it, this tune may be seen in a different light. A certain indicator that the lesser-performed material deserves the vocal exposure given it by Brussell is that it in no way suffers by comparison with more heady stuff on the program. The poignant "This Nearly Was Mine," one of the biggies from South Pacific, is coupled in a medley with a charming "Once Upon a Time," resulting in one of the premier performances on the CD. Brussell has just the right vocal equipment for this material. She has a strong voice but keeps full command over it. But more important, it is filled with an expressive ability that catches the hard-to-find nuances of the melodies she takes on. She goes from sad to happy, from lost to sophisticated, from reserved to daring, and from sassy to coy with an effort that's barely noticeable. Patterns is an excellent first outing. Recommended. ~ Dave Nathan https://www.allmusic.com/album/patterns-mw0000602218

Patterns

---

The Modern Jazz Quartet - Blues At Carnegie Hall

Styles: Jazz, Bop, Cool 
Year: 2005
File: MP3@320K/s
Time: 41:23
Size: 95,6 MB
Art: Front

(7:47)  1. Pyramid [Blues For Junior]
(4:56)  2. The Cylinder
(4:28)  3. Really True Blues
(5:39)  4. Ralph's New Blues
(4:09)  5. Monterey Mist
(3:56)  6. Home
(6:12)  7. Blues Milanese l
(4:13)  8. Bag's Groove

Blues at Carnegie Hall is a live Atlantic set from 1966, with the Modern Jazz Quartet performing eight blues-based compositions. In addition to such familiar pieces as the inevitable "Bags' Groove," "Ralph's New Blues" (dedicated to jazz critic Ralph Gleason), and "The Cylinder," there are a few newer pieces (including "Home," which is similar to Lee Morgan's hit "The Sidewinder") included for variety. This predictable but consistently swinging set is particularly recommended to fans of vibraphonist Milt Jackson. ~ Scott Yanow https://www.allmusic.com/album/blues-at-carnegie-hall-mw0000318716

Personnel: Milt Jackson - vibraphone; John Lewis - piano; Percy Heath - bass; Connie Kay - drums

Blues At Carnegie Hall

---

Grant Green - Ain't It Funky Now! The Original Jam Master (Vol. 1)

Styles: Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 51:48
Size: 119,3 MB
Art: Front

(9:56)  1. Ain't It Funky Now
(5:46)  2. Ease Back
(9:18)  3. It's Your Thing
(4:45)  4. Love On A Two Way Street
(8:25)  5. Let The Music Take Your Mind
(5:55)  6. I Don't Want Nobody To Give Me Nothing (Open Up The Door I'll Get It Myself)/Cold Sweat - Medley
(7:39)  7. Betcha By Golly Wow

Ain't It Funky Now! is the third of three thematically organized Grant Green compilations in the Blue Note Original Jam Master Series all of which focus on his final period recording for the label, between 1969 and 1972. Green was deeply interested in popular Black music in his late period and that is reflected in these seven cuts taken from six different albums. The title track, of course, is the a read of the James Brown classic and also features Blue Mitchell on trumpet and Idris Muhammad on drums, among others. At nearly ten minutes, it's a deep-stretch groove piece with Green's guitar playing gritty and dirty center-stage. Other highlights include "Ease Back," a Meters cover from Green's Carryin' On outing, and a nasty version of the Isley Brothers' "It's Your Thing," with Chuck Rainey and Muhammad in the rhythm section. The set closes with a decidedly non-funky yet very soulful cover of the Stylistics' "Betcha by Golly Wow" with Wilton Felder on bass, Hall Bobby Porter on congas, and fine soprano and tenor work from Claude Bartee, Jr.. Most Green-o-philes will have all this stuff, but these comps are cheap and sequenced wonderfully. ~ Thom Jurek https://www.allmusic.com/album/the-original-jam-master-vol-1-aint-it-funky-now%21-mw0000205590

Ain't It Funky Now! The Original Jam Master (Vol. 1)

---

Bob Wilber - Where Are You Now

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 90:07
Size: 208,4 MB
Art: Front

(3:44)  1. Petite Fleur
(6:25)  2. Promenade Aux Champs-Élysées
(4:01)  3. Egyptian Fantasy
(3:54)  4. Billie's Bounce
(3:36)  5. Oh Daddy Blues
(4:35)  6. Down in Honky Tonk Town
(4:37)  7. Smiles
(4:31)  8. Georgia Cabin
(6:02)  9. Dans Les Rues D'Antibes
(3:30) 10. This Is New
(3:44) 11. Chloé
(5:49) 12. Si Tu Vois Ma Mère
(6:09) 13. Someday You'll Be Sorry
(2:30) 14. Miss Jennie's Ball
(4:06) 15. Reverie
(7:30) 16. Premier Bal
(3:58) 17. Love Comes Along Once in a Lifetime
(3:11) 18. I Had It but It's All Gone Now
(3:11) 19. Feeling I'm Falling
(4:54) 20. Maryland, My Maryland

Throughout his long career, saxophonist Bob Wilber has done a lot to keep classic jazz alive. A bit misplaced (most jazz players of his generation were much more interested in bop and hard bop), Wilber (along with Kenny Davern, Ralph Sutton, and Dick Wellstood) was one of the few in his age group to stick to pre-bop music. Influenced on soprano, clarinet, and alto by Sidney Bechet, Benny Goodman, and Johnny Hodges, respectively, Wilber has long had his own sound on each of his instruments. In high school he formed a band that included Wellstood, and as a teenager he sat in at Jimmy Ryan's club in New York. Early on he became Sidney Bechet's protégé and led his own young group, the Wildcats, with whom he released several early albums, including 1949's Bob Wilbur and His Jazz Band and 1951's Young Men with Horns. The close association with the dominant Bechet led to a bit of a personality crisis in the 1950s as Wilber sought to find his own voice. He studied with Lennie Tristano and formed the Six, a group that tried to modernize early jazz, a sound heard on 1955's The Six. When that ended, he played Dixieland with Eddie Condon, and in 1957 joined Bobby Hackett's band for a year. Wilber freelanced throughout the 1960s, working with Ralph Sutton and releasing such albums as Blowin' the Blues Away (with trumpeter Clark Terry) and New Clarinet in Town. In 1968 he became a founding member of the World's Greatest Jazz Band alongside Bob Haggart and Yank Lawson. A year later he paid tribute to one of his idols with The Music of Hoagy Carmichael. Along with his continued work with the World's Greatest Jazz Band, in 1973 he formed Soprano Summit with clarinetist Kenny Davern. 

One of the top swing-oriented groups of the decade, Soprano Summit released a handful of well-regarded efforts, including 1974's Soprano Summit I, and played numerous live concerts. Also during the '70s, Wilber teamed up with his wife, singer Pug Horton, in Bechet Legacy (which also featured either Glenn Zottola or Randy Sandke on trumpet). The '80s were a fruitful decade for Wilber, who performed often with a bevy of traditional and repertory ensembles, releasing such albums as 1981's Music of King Oliver, 1982's Ode to Bechet, and 1983's Reflections. He also suppled the soundtrack to Francis Ford Coppola's 1920s Harlem-based drama The Cotton Club, and in 1987 authored his frank memoirs, Music Was Not Enough. The following year, he led a band at Carnegie Hall to celebrate the 50th anniversary of Benny Goodman's famous concert. In 1990, Wilber paired again with Davern for Summit Reunion, and subsequently followed up with several of his own efforts, including 1994's Dancing on a Rainbow, 1995's Bean: Bob Wilber's Tribute to Coleman Hawkins, and 1996's Nostalgia on the Arbors label. He then honored legendary arranger Fletcher Henderson with 2000's Fletcher Henderson's Unrecorded Arrangements for Benny Goodman, and joined vibraphonist Dany Doritz for 2002's Memories of You: Lionel and Benny. He continued to tour and record over the next several years, appearing with Soprano Summit and releasing 2010's Bob Wilber Is Here! with Bucky Pizzarelli, Antti Sarpila, Nikki Parrott, and others. He then joined fellow reed players Sarpila and Pieter Meijers for 2012's The Three Amigos, and the following year joined pianist Bill Charlap's trio and clarinetist Anat Cohen at the Newport Jazz Festival. ~ Scott Yanow https://www.allmusic.com/artist/bob-wilber-mn0000074476/biography

R.I.P.
Born: March 15, 1928, New York, New York, United States
Died: August 4, 2019, Chipping Campden, England

Where Are You Now

---

Peter Anderson & Will Anderson - Clarinet Summit

Styles: Clarinet Jazz
Year: 2017
File: MP3@320K/s
Time: 60:38
Size: 140,4 MB
Art: Front

(6:37)  1. How About You?
(6:08)  2. When You Wish Upon a Star
(6:43)  3. Very Saxy
(2:14)  4. Prelude to a Kiss
(2:06)  5. I'll Never Be the Same
(2:42)  6. Cry Me a River
(5:33)  7. Make Someone Happy
(4:23)  8. How Insensitive
(6:12)  9. Groovin' High
(8:41) 10. Creole Love Call
(9:14) 11. A Night in Tunisia

Young Anderson Brothers (Peter and Will are identical twins) both on clarinet here band together with two veteran clarinetists Ken Peplowski with rich background in big band jazz and multiple Grammy Award winner Paquito D’Rivera to perform live to a jubilant audience. “They are sparkling virtuosos and their clever, tidy arrangements for various combinations of clarinet, alto and tenor saxophone are smart and refreshing…. everything they play sounds fresh, creative and in the moment.” (Paul de Barros – Soundposts)

Personnel: Will Anderson clarinet; Peter Anderson clarinet; Paquito D'Rivera clarinet; Ken Peplowski clarinet; Tardo Hammer piano; David Wong bass; Kenny Washington drums

Clarinet Summit

---

Billy Strayhorn & Johnny Hodges - The Stanley Dance Sessions

Styles: Piano And Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 77:42
Size: 180,3 MB
Art: Front

(10:03)  1. Cue's Blue Now
( 4:19)  2. Gone With The Wind
( 5:54)  3. Cherry
( 3:11)  4. Watch Your Cue
( 7:23)  5. You Brought A New Kind Of Love To Me
( 3:33)  6. When I Dream Of You
( 6:09)  7. Rose Room
( 3:00)  8. Don't Get Around Much Anymore
( 3:39)  9. I Got It Bad
( 2:30) 10. Gal From Joe's
( 3:02) 11. Your Love Has Faded
( 3:23) 12. I'm Just A Lucky So And So
( 3:22) 13. Jeep's Blues
( 4:00) 14. Day Dream
( 3:22) 15. Juice-A-Plenty
( 2:36) 16. Azure
( 3:38) 17. Tailor Made
( 4:30) 18. Star Dust

For yet more Strayhorn pleasures and with himself on piano, there are the eight 1959 sides of The Stanley Dance Sessions (originally released on Felsted, London and Verve). Johnny Hodges' growling alto sax on the opener "Cue's Blue Now is the something for which the repeat button must have been invented. On "Rose Room clarinetist Russell Procope juicily works the melody while Hodges & Co. get behind him and even offer some impromptu vocal appreciation. A second session from 1961 includes much of the then-Ellington band with Strayhorn arranging and conducting. Hodges shines again on Ellington's jaunty "Gal From Joe's and for a sampling of big band blazing brass ensemble in peak form there's "Tailor Made . Totally in the groove and devilishly insouciant, this is all perfect, just perfect. ~ Andrew Velez https://www.allaboutjazz.com/billy-strayhorn-lush-life-and-the-stanley-dance-sessions-by-andrew-velez.php

Personnel: Billy Strayhorn: piano; Johnny Hodges: alto saxophone; 1-7 Harold "Shorty" Baker: trumpet; Quentin Jackson: trombone; Johnny Hodges: alto saxophone; Russell Procope: clarinet; Al Hall: bass; Oliver Jackson: drums 8-18 Cat Anderson, Harold "Shorty" Baker, Bill Berry, Howard McGhee, Ed Mullens: trumpet; Lawrence Brown, Quentin Jackson: trombone; Chuck Connors: bass, trombone; Russell Procope: clarinet, alto saxophone; Jimmy Hamilton: clarinet, tenor saxophone; Paul Gonsalves: tenor saxophone; Harry Carney: baritone, bass clarinet; Jimmy Jones: piano; Aaron Bell: bass; Sam Woodward: drums.

The Stanley Dance Sessions

---

Zoot Sims - I Wish I Were Twins

Styles: Saxophone Jazz
Year: 1981
File: MP3@320K/s
Time: 43:02
Size: 101,0 MB
Art: Front

(5:13)  1. I Wish I Were Twins
(5:41)  2. Georgia On My Mind
(5:16)  3. Changes
(5:33)  4. The Touch Of Your Lips
(7:58)  5. The Fish Horn
(5:39)  6. Come Closer To Me
(7:39)  7. You Go Your Way

Zoot Sims (doubling on tenor and soprano) teams up once again with pianist Jimmy Rowles; this time bassist Frank Tate and drummer Akira Tana are the supporting cast. Rowles is a master not only at accompanying soloists (he always seems to come up with the perfect chord) but in picking up superior obscurities to perform. In addition to "Georgia on My Mind" and "The Touch of Your Lips," this album contains such tunes as "I Wish I Were Twins," "Changes" and Johnny Mercer's "You Go Your Way"; Sims contributed "The Fish Horn" to feature his soprano. A fine swinging date filled with thoughtful improvisations. ~ Scott Yanow https://www.allmusic.com/album/i-wish-i-were-twins-mw0000674755

Personnel: Tenor Saxophone, Sopranino Saxophone – Zoot Sims; Bass – Frank Tate; Drums – Akira Tana; Piano – Jimmy Rowles

I Wish I Were Twins

---

Club des Belugas - Chameleon

Styles: Soul, Nu Jazz
Year: 2018
File: MP3@0K/s
Time: 58:46
Size: 136,0 MB
Art: Front

(3:55)  1. Fire.mp3
(3:29)  2. Let Me Go.mp3
(3:36)  3. I Shouldn't I Wouldn't.mp3
(3:34)  4. My Coconutnut Song.mp3
(3:44)  5. Save a Little Love for Me.mp3
(3:27)  6. Love Is Like a Legend.mp3
(2:45)  7. Finger Snap.mp3
(4:33)  8. Hello Friend.mp3
(3:24)  9. That Cookie.mp3
(3:47) 10. You Are Here.mp3
(3:31) 11. Lithium.mp3
(2:40) 12. Song for Everyone.mp3
(2:52) 13. Keep Your Smile.mp3
(3:16) 14. The Frim Fram Sauce.mp3
(3:44) 15. Let Me Go - Pat Dizzy Anthony Reggae Mix.mp3
(3:46) 16. Let Me Go - Club Des Belugas Remix.mp3
(2:47) 17. Finger Snap - Baumeister & Kuip Remix.mp3

Club des Belugas is one of the leading Nujazz bands in Europe, perhaps in the world. They combine contemporary European Electro, Lounge & Nujazz Styles with Brazilian Beats, Swing and American Black Soul of the fifties, sixties and seventies using their unique creativity and intensity. Since 2002 they released 11 studio albums, a 2CD live album, a live DVD, 12 singles and 1 EP. https://www.club-des-belugas.com/
NOMINATIONS:
- Spanish Jazz Awards 2010 in 2 categories: “best live act” and “Zoo Zizaro” as “best jazz album”
- JPF Awards 2017 (the world's largest independent music awards) in 5 categories:
"Fishing For Zebras" as "Best Vocal Jazz Album" and 4 nominations for single tracks in the categories
"Best Vocal Jazz Song", "Best Instrumental track", "Best Cabaret Song" & "Best Modern Pop Song"

Chameleon

---

Viktorija Pilatovic - The Only Light

Styles: Vocal 
Year: 2019
File: MP3@320K/s
Time: 49:05
Size: 113,2 MB
Art: Front

(4:22)  1. We Were Not Born Yesterday
(3:40)  2. Movie
(6:41)  3. The Only Light (Album Version)
(4:23)  4. Time
(5:05)  5. One
(5:03)  6. Hungry Eyes
(3:08)  7. Frozen in Silence
(5:14)  8. Patience
(3:59)  9. My Blues
(7:25) 10. Confusion (Album Version)

A copious spring of jazz melodies conceived from various sonorous influences that this contemporary jazz lover applied to her music. Tremendously poetic lyrics. Viktorija's voice: firm, sure, expressive, giving the exact measure  no more, no less  of passions concentrated in her way of singing and in her way of composing, so wise and distinguished. A voice that slides like a seasoned surfer through the melodic waves of the theme. Groovy, innovative and virtuosic album of this young artist. “Confusion” arranged for big band by Perico Sambeat, adapted for 6 horns by Alberto Palau featuring Fede Crespo - trumpet, Pepe Zaragoza - trumpet, Toni Belenguer - trombone, Perico Sambeat - alto saxophone/flute, Javier Vercher - tenor saxophone, Latino Blanco - baritone saxophone, Ivan Cebrian - guitar. https://viktorijapilatovic.bandcamp.com/album/the-only-light

Personnel: Viktorija Pilatovic - voice, backing vocals; Alberto Palau - piano/keyboard; Ales Cesarini - double bass/el.bass; Mariano Steimberg - drums/percussion; Perico Sambeat - alto saxophone/flute; Ivan Cebrian - guitar 

The Only Light

---