Bucky Pizzarelli - Green Guitar Blues / Café Pierre Trio

Styles: Guitar Jazz
Year: 2001
File: MP3@320K/s
Time: 75:00
Size: 174,6 MB
Art: Front

(2:14)  1. Tangerine
(2:39)  2. What Are You Doing the Rest of Your Life?
(3:13)  3. Medley: Breakfast at Tiffany's / Dreamsville
(2:21)  4. Bizarre
(2:03)  5. The Summer Knows
(3:32)  6. Green Guitar Blues
(2:11)  7. I Don't Know How to Love Him
(3:28)  8. Satin Doll
(3:16)  9. Medley: Cry Me a River / Girl Talk
(3:55) 10. Medley: Adelita / Prelude #4
(1:56) 11. Chicken a La Swing
(2:16) 12. Goodbye
(4:52) 13. Cherokee
(5:33) 14. Invitation
(5:36) 15. Do Nothin' Till You Hear from Me
(5:51) 16. Medley: Isn't It Romantic? / Penthouse Serenade / East of the Sun / What Is There to Say?
(3:28) 17. Nola
(4:52) 18. Blues Chromatique
(4:48) 19. Indiana
(4:05) 20. Isfahan
(2:43) 21. My Ship

For more than six decades, the legendary Bucky Pizzarelli has had a stellar career. “The complete jazz musician”, he was a fixture in jazz and the studios since the early ‘50s. The list of big bands and vocalists with whom Bucky has performed and recorded reads like a veritable Who's Who of Jazz. One of the era's most solid rhythm players, Pizzarelli was in high demand, playing and touring with Benny Goodman, Zoot Sims, Bud Freeman, and Stephane Grappelli, and, later, recording with George Van Eps, Carl Kress and George Barnes. His superior mastery of the seven-string guitar is unparalleled. The beloved guitarist has developed a very personal style that sets him apart. He lives in Saddle River, New Jersey, with his wife, Ruth. https://musicians.allaboutjazz.com/buckypizzarelli

R.I.P.
Died: April 1, 2020
Born: January 9, 1926

Green Guitar Blues / Café Pierre Trio

---

Ellis Marsalis - Ruminations in New York

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 49:30
Size: 114,1 MB
Art: Front

(3:51)  1. Things That You Never Were
(4:47)  2. A Moment Alone
(4:08)  3. Haven's Paradise
(4:43)  4. Homecoming
(4:27)  5. After
(3:36)  6. Tell Me
(4:31)  7. Somehow
(4:14)  8. Orchid Blue
(3:40)  9. Happiness Is the Thing
(4:08) 10. Chapter One
(5:05) 11. When First We Met
(2:14) 12. Zee Blues

A Striking solo piano album from the renowned new orleans pianist. Ellis Marsalis began his musical career as a tenor saxophonist, switching to piano while in high school. During the late '50s, Ellis trod the lonely road of modernist jazz in new orleans (with drummer ed blackwell), recorded with cannonball and nat adderley in the '60s and between 1967 and 1970, played the piano in trumpeter Al Hirt's band. Since 1989, ellis has been the director of the jazz studies program at the university of new orleans. https://ellismarsalis.bandcamp.com/album/ruminations-in-new-york

Personnel:  Ellis Marsalis (solo piano)

R.I.P.
Born: 14-11-1934
Died: 01-04-2020

Ruminations in New York

---

Wallace Roney - Home

Styles: Trumpet Jazz
Year: 2012
File: MP3@320K/s
Time: 60:40
Size: 139,2 MB
Art: Front

( 7:20)  1. Utopia
( 7:28)  2. Home
( 6:50)  3. Pacific Express
(10:20)  4. Plaza Real
( 8:35)  5. Dawn
( 8:06)  6. Evolution of the Blues
( 9:05)  7. Ghost of Yesterday
( 2:53)  8. Revive

Old-school funk and fusion? Contemporary R&B? Straight-ahead jazz? Open-air modal music? One never quite knows what to expect from a new Wallace Roney project-that is, aside from impressive blowing and a tone that, while still sometimes evocative of Miles, is its own thing of beauty: full, resonant, deftly shaded, often moving in unpredictable and mysterious ways. Roney, joined by his regular bandmates and several guests, touches on several of the stylistic strains mentioned above on Home. It’s chockfull of the leader’s dazzling displays, including the long tones and then quick runs of his “Evolution of the Blues”; that tune also offers a showcase for engaging tenor and soprano solos by Antoine Roney, Wallace’s younger brother, buoyed by the rhythmic punches of pianist Aruán Ortiz, bassist Rashaan Carter and drummer Kush Abadey. Roney’s way with a mute, to produce gorgeously dark and smoky sounds, is on display on the floaty title track as well as the exceedingly slow chestnut “Ghost of Yesterday,” limned with Ortiz’s lush chordings.

Wayne Shorter gets a mini-salute here, with opener “Utopia,” an uptempo unplugged tune with plenty of solo space for the horn men and Ortiz, and “Plaza Real,” which benefits from a lovely melody-first voiced by Antoine’s tenor, then joined by the trumpeter-and a fusion-tinted rhythm section. The ’60s/’70s vibe also dominates the feel of John McLaughlin’s “Pacific Express.” Roney is entirely absent from the closer, “Revive,” a nearly three-minute unaccompanied piece by Bobby Ward, the revered Boston drummer who was pals with Tony Williams (and is heard on three of the album’s eight tracks). It’s a solo in which there is never a dull moment, which might also be said about all of Home. ~  By Philip Booth https://jazztimes.com/reviews/albums/wallace-roney-home/

R.I.P.
Born: 25-05-1960
Died: 31-03-2020

Home

---

Brandee Younger - Soul Awakening

Styles: Harp Jazz
Year: 2019
File: MP3@320K/s
Time: 44:38
Size: 102,9 MB
Art: Front

(4:53)  1. Soulris (feat. Ravi Coltrane)
(4:43)  2. Linda Lee
(5:22)  3. Love's Prayer (feat. Ravi Coltrane)
(7:01)  4. Respected Destroyer (feat. Sean Jones)
(5:42)  5. Games
(5:30)  6. Save the Children (feat. Niia)
(3:51)  7. Soul Awakening
(7:33)  8. Blue Nile

Sure the recording for Soul Awakening was completed in 2013, but we are more than fortunate that harpist Brandee Younger and producer/bassist Dezron Douglas have chosen now to free this music from the vaults. For Soul Awakening brings a defining clarity to what we've experienced on previous releases, such as the raw, groove/fusion of 2014's The Brandee Younger 4tet: Live at the Breeding Ground (Brandee Younger), and 2016's Wax & Wane (Brandee Younger). Accompanied by her stalwart 4tet: tenor saxophonist Chelsea Baratz, soprano saxophonist Stacy Dillard, drummer E.J. Strickland and Douglas, the disc comes to stirring, ascendant life with Douglas' "Soulris" a powerful wave of spiritual vibe featuring the exultant tenor of Ravi Coltrane, who knows a thing or two about harpists and ascendant riffs. Younger stands fearless alongside Coltrane and drummer Chris Beck, whose combined energy would drown any lesser player. With a wash of celestial glissandi, Coltrane rises gloriously on Younger's own "Lover's Prayer," a soulfully emotive incantation and incarnation of Coltrane's mother, Alice Coltrane. Presented here as a gently swelling, rolling, almost 1960's pop radio instrumental, "Games," composed by another of Younger's great influences, Dorothy Ashby, spotlights Douglas and Strickland exercising great rhythmic restraint under Younger's gorgeous, delicate sweeps. 

Trumpeter Sean Jones, who held his own with Herbie Hancock and Wayne Shorter on their 2011 Tribute to Miles tour and held the lead trumpet position for Jazz at Lincoln Center from 2004-2010, leads trombonist Corey Wilcox through a range of trade-offs and colors Younger's solos on her ever shifting "Respected Destroyer." Featuring tenor saxophonist Antoine Roney and more shimmering solos from Younger, Alice Coltrane's "Blue Nile" closes Soul Awakening on the same high peak that it thrillingly began. ~ Mike Jurkovic https://www.allaboutjazz.com/soul-awakening-brandee-younger-self-produced-review-by-mike-jurkovic.php

Personnel:  Brandee Younger: harp; Ravi Coltrane: tenor saxophone (1, 3); Chelsea Baratz: tenor saxophone (2, 4, 7); Stacy Dillard: soprano saxophone (7, 8); Antoine Roney: tenor saxophone (8); Sean Jones: trumpet (4); Freddie Hendrix: trumpet (4); Corey Wilcox: trombone (4); Nicole Camacho: flute (7); Niia: vocals (6); Dezron Douglas: bass; E.J. Strickland: drums; Chris Beck: drums (1,3).

Soul Awakening

---

Dara Tucker/Charlie Hunter - The Seven Colors

Styles: Vocal And Guitar Jazz
Year: 2019
File: MP3@320K/s
Time: 40:42
Size: 94,5 MB
Art: Front

(2:34)  1. The Seven Colors
(4:18)  2. Miracle
(3:56)  3. Miss Me
(3:15)  4. Mantle
(4:21)  5. Glory
(4:26)  6. Windows
(1:56)  7. A Place Like This
(4:23)  8. Song of Freedom
(3:19)  9. Bright Red Hue
(4:45) 10. End of the River
(3:24) 11. Won't Be Long

Outstanding jazz vocalist will perform with guitarist Charlie Hunter, producer of her forthcoming album, at Nashville Jazz Workshop.  Acclaimed Nashville jazz vocalist Dara Tucker has enjoyed substantial critical and commercial success in the past couple of years. Besides appearances on NPR's Jazz Night in America and PBS' The Tavis Smiley Show, she was silver medalist in the American Traditions Vocal Competition, and winner of both 2017 Song of the Year (for “Radio") at the Nashville Indstry Music Awards and the 2018 Johnny Mercer Award. Tucker's sound equally combines traditional and contemporary references, blending influences from the classic jazz canon with blues, rock, soul and gospel elements. That mix provides the thematic foundation of her new LP The Seven Colors, which was produced by dynamic guitarist Charlie Hunter.  Though the album won't be officially released until May 31, Tucker and her band (including bassist Greg Bryant and drummer Derrek Phillips), with Hunter appearing as a special guest, will be performing songs from it tonight in an album release concert at the Nashville Jazz Workshop. "Charlie is a master sensei," Tucker tells the Scene in an email. "He brings a musical wisdom that comes primarily from the blues tradition. I’m accustomed to approaching music from the top down. I get a melody [or] lyrics, and I build down to the foundation (bass/drums/groove). Charlie works the complete opposite way  from the bottom up. He helped me to approach music-making from a perspective I never had before. There’s a minimalism there that he strove to maintain. He has always felt that my voice thrives in an environment where it’s competing with very little."

The LP contains both older tunes and newer songs, and represents the fruition of a collaboration that began when Tucker was on the road with Hunter for 40 dates last year. “He asked me to send him some material that would be good for a guitar combo," says Tucker. "I had several songs I had written over the years that I thought would work well in that context, but at the last minute, I decided to write a couple more songs with that specific instrumentation in mind (guitar/bass/drums). I was feeling really inspired after spending a year on the road with Charlie, so the songs I came up with (“Miracle” and “Glory”) really reflect his sound, and fit well with his production concept, I think."The Seven Colors also represents a change from past Tucker releases like Oklahoma Rain, where she was heavily involved in all phases of the recording. "With this album, I took a bit of a backseat after writing the tunes," says Tucker. "I wanted to allow Charlie Hunter to have full reign, and to be able to execute his vision for the songs. So, it was fully collaborative between the two of us  my material, his concept."He welcomed the band’s input when we had different ideas, but it was important to me that it reflect his vision in the end. What we got was something quite different than what we’ve achieved with previous projects. Charlie knows how to make the groove the central thing. I can get a little bogged down with storytelling at times, and the groove often takes a back seat. But he put the groove right up front and helped us craft a project that tells a story while giving that groove its proper respect." Tucker & Co. will share the fruits of their labors starting at 8 p.m. Advance tickets are sold out. Below, check out “Miracle” and “The Seven Colors” from the album, and check with your favorite record store or see Tucker’s website to preorder a copy of the album. https://www.nashvillescene.com/music/nashville-cream/article/21070286/dara-tucker-celebrates-the-seven-colors-tonight

The Seven Colors

---

Joe Locke - Storytelling

Styles: Piano and Vibraphone 
Year: 2001
File: MP3@320K/s
Time: 54:28
Size: 125,4 MB
Art: Front

(6:33)  1. The Thrill Is Gone
(6:39)  2. Nature Boy
(7:55)  3. Hello Like Before
(5:09)  4. Who Killed Davey Moore?
(5:51)  5. Midnight Star
(7:30)  6. A Tale of Coincidence
(5:55)  7. Blame It On My Youth
(4:46)  8. I'll Be There
(4:06)  9. Don't Let It Bring You Down

In a disappointing shift from 2000's Beauty Burning, vibraphonist Joe Locke enlists vocalist Mark Ledford and keyboardist/co-producer Henry Hey for the pop-oriented Storytelling. Surrounding Locke and Ledford is a solid jazz ensemble: Hey, saxophonist Tim Garland, bassist Eric Revis, drummer Jeff "Tain" Watts, and guitarist Paul Bollenback. But there's a preponderance of contrived rock and Motown covers, including an eye-rolling "I'll Be There." (Is there a need for another remake after Mariah Carey's?) The standards are given fluffed-up, unexceptional treatments, although the ensemble passages toward the end of "The Thrill Is Gone" are a brief ray of light. "Midnight Star," with original words and music (and piano playing) by Locke, unfortunately doesn't rise above the morass, nor does his "A Tale of Coincidence," the only instrumental track. There's some fine playing on the record. Tim Garland's tenor break on Bob Dylan's "Who Killed Davey Moore?" is a highlight, and every solo by Locke, Hey, and Bollenback is an unfailing display of expertise. Ledford's singing voice, too, can be quite appealing  he sounded terrific on Don Byron's A Fine Line: Arias and Leider. But here he's saddled with lame material, and his presence rapidly becomes unwelcome. ~ David R. Adler https://www.allmusic.com/album/storytelling-mw0000001217

Personnel: Drums, Cymbal – Jeff "Tain" Watts ; Guitars – Paul Bollenback ; Piano – Joe Locke (tracks: 5); Piano, Hammond B3, Synthesizer – Henry Hey ; Saxophone, Bass Clarinet, Flute – Tim Garland; Trumpet, Vocals – Mark Ledford; Vibraphone – Joe Locke

Storytelling

---

The Andrews Sisters - 'The Dancing 20s' / 'Fresh and Fancy Free'

Styles: Vocal 
Year: 2002
File: MP3@320K/s
Time: 63:18
Size: 152,4 MB
Art: Front

(2:47)  1. Don't Bring Lulu
(2:34)  2. Me Too
(2:59)  3. That Naughty Waltz
(2:11)  4. A Smile Will Go a Long Long Way
(1:54)  5. Barney Google
(2:37)  6. Collegiate
(2:40)  7. Last Night On The Back Porch
(2:11)  8. When Francis Dances With Me
(3:21)  9. Back In Your Own Backyard
(2:00) 10. Keep Your Skirts Down Mary Ann
(3:11) 11. The Japanese Sandman
(2:52) 12. Show Me The Way To Go Home
(2:17) 13. The Song Is You
(2:52) 14. You Do Something To Me
(2:43) 15. Comes Love
(3:02) 16. Nevertheless
(3:00) 17. With Every Breath I Take
(2:16) 18. Of Thee I Sing
(2:11) 19. Hooray For Love
(2:42) 20. My Romance
(2:27) 21. Tea For Two
(2:14) 22. I Could Write A Book
(2:57) 23. Let There Be Love
(3:10) 24. Younger Than Springtime

After the Andrews Sisters reunited in 1956, they joined Capitol Records, which initially had them re-record their big Decca hits for the LP The Andrews Sisters in Hi-Fi, then followed with a more conventional effort, Fresh and Fancy Free, and a concept album, The Andrews Sisters Sing the Dancing 20's. Those last two Capitol collections are paired on this CD in reverse chronological order. That means, however, that the material itself is in rough chronological order by date of composition, since Dancing 20's, of course, finds the sisters covering songs from the decade before they became popular, albeit in souped-up arrangements by Billy May. All concerned have fun with songs like "That Naughty Waltz" and "Barney Google." Fresh and Fancy Free, on the other hand, is typical of the kind of albums Capitol labelmates like Frank Sinatra and Nat King Cole were making around the same time. Again, Billy May handles the charts and the baton, and the songwriting credits are full of names like Gershwin, Kern, and Porter. May has the singers take the rarely used introductory verses to "Of Thee I Sing" and "Tea for Two" to give them a different feel. He introduces a Latin rhythm into "Let There Be Love," pacing the arrangement with bongo drums, and has the strings play in a Japanese tonality for "Younger Than Springtime" to evoke the Oriental aspect of the song from South Pacific. It is notable that, unlike so many of the Andrews Sisters' Decca recordings, these performances do not feature Patty Andrews singing a solo lead, accompanied by her two harmonizing sisters, Maxene and LaVerne. Instead, almost invariably, the songs are sung in three-part harmony throughout; only in rare instances is there a brief solo line. Maybe that was a condition of the reunion, since the sisters' early-‘50s breakup was precipitated by Patty Andrews' departure for a solo career; she is not spotlighted at the expense of her siblings here. ~ William Ruhlmann https://www.allmusic.com/album/sing-the-dancing-20s-fresh-and-fancy-free-mw0000384813

'The Dancing 20s' / 'Fresh and Fancy Free'

---

Club des Belugas - Strange Things Beyond the Sunny Side

Styles: Soul, Nu Jazz
Year: 2019
File: MP3@320K/s
Time: 55:03
Size: 127,1 MB
Art: Front

(2:27)  1. Quapa, Pt. 1
(4:11)  2. Quapa, Pt. 2
(4:36)  3. Don't Look Back
(3:48)  4. Crazy Lazy Friday Afternoon
(3:31)  5. Oh My Girl - French Version
(4:36)  6. There's Nothing But You
(4:07)  7. Strange Things Beyond the Sunny Side
(3:46)  8. Running Life
(4:09)  9. Yadadey Samba
(3:48) 10. Part Time Aliens
(3:54) 11. Lithium
(3:46) 12. Secondary Importance
(4:29) 13. Hear My Call
(3:50) 14. La Taillade

Club des Belugas is coming of age! This is their 18th year and their 11th Studio Album called "Strange Things Beyond The Sunny Side". Almost 2 years in the making, this much anticipated release does not disappoint. Club des Belugas has used firm favorite vocals from Maya Fadeeva, Anna-Luca, Antoine Villoutreix, Ashley Slater, and Iain Mackenzie. They combine their talents to make an amazing and sophisticated modern classic Nujazz masterpiece. Perfect for the bars and cool clubs of the world or for just chilling at home. For sure you will hear this album on your favorite radio stations this coming autumn, if not get requesting, it's a must listen to. Club des Belugas is the leading Nujazz band in Europe, setting standards that the competition envy. They have combined contemporary European Lounge & Nujazz Styles with Brazilian Beats, Swing and American Black Soul of the fifties, sixties and seventies using their unique creativity and intensity. Their music has appeared on illustrious TV adverts from Samsung, LG, Victoria's Secret, McDonalds USA, Nivea, Whiskas, Issey Miyake, Woolworth, KIA, Honda, TESCO and even The German National Soccer Team. They also have appeared on over 2000 compilations (almost 10 million CDs), in hundreds of TV shows and series like Homeland, CSI Miami, CSI New York, Revenge, SYTYCD USA, Oprah Winfrey Show, Dancing with the Stars and in many international movies. Their live band has performed more than 350 times with concerts all over the world. Get playing and make it THE Jazz Album of 2019 and on!!!! With special thanks to Johnny Popkess for his amazing painting used for the cover. https://www.beatport.com/release/strange-things-beyond-the-sunny-side/2697749

Strange Things Beyond the Sunny Side

---

Maggie Herron - Renditions

Styles: Vocal And Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 50:48
Size: 118,6 MB
Art: Front

(5:34)  1. Centerpiece
(4:05)  2. Ain't Misbehavin'
(4:53)  3. All of Me
(2:42)  4. Perhaps, Perhaps, Perhaps
(3:58)  5. I'm Beginning to See the Light
(4:19)  6. I Will
(4:16)  7. Just One of Those Things
(2:58)  8. Come Away with Me
(3:56)  9. I'll Be Seeing You
(4:24) 10. Don't Wait Too Long
(5:35) 11. I Thought About You
(4:03) 12. Gee Baby, Ain't I Good to You

Jazz vocalist and pianist Maggie Herron takes a bit of a departure on her latest platter titled Renditions. Her previous four albums featured original compositions but with her latest she has chosen to go the standard route, reinterpreting some classics of the genre with a few surprises along the way. She is the core of her Pacific Rim band which also includes Darek Oles on bass and Ray Brinker on drums. Featured guests include Larry Koonse (guitar), Rocky Holmes (alto sax), Dean Taba (bass), Bob Sheppard (flute) and Noel Okimoto (drums).

The album opens with “Centerpiece” featuring the core trio at its expressive best. Herron’s piano and vocals are a nice match, both endearing with her husky jazz voice, excellent scatting and melodic piano tones. The song locks into an understated groove before piano, bass and drum solos are revealed. With the classic “Ain’t Misbehavin” it’s just Herron and Oles reinterpreting the familiar melody and soaking it in some fabulous piano and bass interaction. One of the prettiest tracks has to be “All Of Me” featuring Koonse’s crystalline leads and infectious rhythmic strums and Holmes’ tuneful alto sax. Just an all-around great track. 

Another heartwarming rendition is of The Beatles’ “I Will” which sounds great in the trio format. Herron’s vocals and piano are particularly convincing and the bass solo fits in like a glove. This is another one of those jazz albums that exudes warmth and thoughtfulness with great care taken, treating these classics with the respect they deserve. A four star release to these ears. https://www.seaoftranquility.org/reviews.php?op=showcontent&id=22053

Renditions

---

Tape Five - The Roaring 2020s

Styles: Swing
Year: 2019
File: MP3@320K/s
Time: 47:53
Size: 111,1 MB
Art: Front

(3:12)  1. Party Like Its 1929
(3:33)  2. Ballroom Troopers
(3:40)  3. The Cats Pyjamas
(3:17)  4. Boheme Supreme
(3:14)  5. Saint Pauls Infirmary
(3:30)  6. Happy
(3:18)  7. Lady Moustache
(3:33)  8. I Shot the Sheriff
(3:27)  9. Duesenberg
(3:38) 10. Once Upon a Summernight
(3:17) 11. Why Don't You Just Call
(3:30) 12. Saturday Night Down on the Corner
(3:12) 13. Watch out We're Coming Boys
(3:27) 14. The Diary of Don Geroonibop

The Roaring 2020s“  is TAPE FIVE ́s seventh album. Sepia colored retro-modern screens- hots in music: a vintage car cruise with the instrumental „Duesenberg“, a driving dixie clarinet in „The Cats Pyjamas“. Who ́s that „Boheme Supreme“? A retro uptempo version of R&B hit „Happy“, the beat is waltzing through the hall with „Ballroom Troopers“… The gypsy swing ballad „Once upon a summernight“, and the old black corded phone: „Why don ́t you just call?“ A hommage to Brooklyns good old days „Saturday Night down on the corner“, or a rendezvous with the myste- rious beardy dame in „Lady Moustache“. This is the soundtrack of the roaring 2020s it all starts up with the song:  Party like it ́s 1929! https://electroswingthing.com/tape-five-the-roaring-2020s/

The Roaring 2020s

---

Ralph Sutton - Little Light

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 77:30
Size: 179,1 MB
Art: Front

(4:52)  1. My Monday Date
(6:01)  2. I've Found a New Baby
(4:00)  3. Indiana
(6:38)  4. West End Blues
(5:47)  5. Panama Rag
(8:28)  6. I Thought I Heard Buddy Bolden Say
(5:11)  7. Muscat Ramble
(2:37)  8. Clarinet Marmalade
(6:36)  9. After You've Gone
(5:28) 10. Basin Street Blues
(6:07) 11. On the Sunny Side of the Street
(4:56) 12. Down in Jungle Town
(5:09) 13. St. James Infirmary
(5:33) 14. Chinatown, My Chinatown

Ralph Sutton was the greatest stride pianist to emerge since World War II, with his only close competitors being the late Dick Wellstood and the very versatile Dick Hyman. Nearly alone in his generation, Sutton kept alive the piano styles of Fats Waller and James P. Johnson, not as mere museum pieces but as devices for exciting improvisations. Although sticking within the boundaries of his predecessors, Sutton infused the music with his own personality; few could match his powerful left hand. Ralph Sutton played with Jack Teagarden's big band briefly in 1942 before serving in the Army. After World War II he appeared regularly on Rudi Blesh's This Is Jazz radio show and spent eight years as the intermission pianist at Eddie Condon's club, recording frequently. He spent time playing in San Francisco, worked for Bob Scobey, moved to Aspen in the mid-'60s, and became an original member of the World's Greatest Jazz Band with Yank Lawson, Bob Haggart, and Bud Freeman. In the 1970s, he recorded many exciting albums for the Chaz label and then cut albums for quite a few labels. Despite suffering a stroke in the early '90s, Sutton kept a busy schedule through the mid-'90s, playing at jazz parties and festivals. He died suddenly on December 29, 2001, in his car outside a restaurant in Evergreen, CO. Although he would have received much greater fame if he had been born 20 years earlier and come to maturity during the 1930s rather than the 1950s, at the time of his death it was obvious that Ralph Sutton had earned his place among the top classic jazz pianists of all time. ~ Scott Yanow https://www.allmusic.com/artist/ralph-sutton-mn0000389980/biography

Little Light

---

Sarah Menescal - My World

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 32:52
Size: 75,9 MB
Art: Front

(3:19)  1. Cryin'
(2:49)  2. Hunting High and Low
(3:32)  3. What's up?
(3:20)  4. I Don't Want Your Love
(3:12)  5. Where is My Mind?
(3:02)  6. Used to Love Her
(3:37)  7. High and Dry
(3:04)  8. Oh L'amour
(3:27)  9. 19th Nervous Breakdown
(3:26) 10. Out of Touch

Sarah Menescal is the singer who has brought the bossa nova till an absolutely new place. Owner of a gorgeous voice and surrounded of an incredible crew of producers and musician she has arrived to the record studios with a solid career on her back. (Vintage Café, Jazz and 80s series, etc) On our artistic profit they have recorded this, her second album: "Consequence of Love" giving extremely sensitive versions of pop hits like Adventure of a Lifetime, Shout, Free Fallin´, Mercy, Mercy Me and Lanterna dos Afogados, among many others.

My World

---

Burak Bedikyan - Istanbul Junction

Styles: Piano Jazz 
Year: 2019
File: MP3@320K/s
Time: 63:09
Size: 145,5 MB
Art: Front

(6:54)  1. Particles
(6:33)  2. Moods
(6:59)  3. Toprak
(9:49)  4. Aquarian
(8:27)  5. Valentine
(6:44)  6. Reminiscence
(5:06)  7. Innerview (for Ayse)
(7:15)  8. L'ombre Lumineuse (Dedicated to Olivier Messiaen)
(5:19)  9. Postlude

Istanbul-born and New York-based pianist Burak Bedikyan is an inventive composer and intelligent improviser with a subtle touch. His fifth release, the intimate and cinematic Istanbul Junction, showcases his talents fully as he leads a new band through nine of his captivating originals.  The album's overall ambience is dramatic and darkly-hued, and the various tracks expand within it with vibrant poetry. The main theme of "Moods," for example, consists of expectant and simmering refrains. These progress into an intriguing and serpentine melody out of which emerge Bedikyan's dense chords, forming an elegant and crystalline improvisation. Hungarian saxophonist Gabor Bolla contributes a warm, sinewy solo which is yearning and emotive, and fades seamlessly into the closing head. Middle Eastern influences delightfully color some of the music, like the tender and wistful "Toprak"; it starts with Bedikyan's resonant and sparse notes which the band's undulating refrains follow. Over Turkish drummer Can Kozlu's rustling lithe beats and American bassist Matthew Hall's reverberating thumps Bedikyan's extemporization expands with simmering lines. Bolla's eloquent and bittersweet tenor mirrors Bedkyan in spontaneity and lyricism.

Equally engrossing is the charmingly angular "Innerview (For Ayse)" which finds Bedikyan, unaccompanied, flirting with dissonance. The tune itself is deeply introspective and passionate with overlapping chords and breathtaking cascades which demonstrate Bedikyan's virtuosity on the keys. Bedikyan pays homage to one of his idols, the ingenious 20th century composer Olivier Messiaen, on the moving and mellifluous "L'ombre Lumineuse." The piece eschews overtly Western Classical phraseology and is more akin to a jazz ballad. Kozlu's sparkling percussion and Hall's agile lines form a restless and supportive rhythmic framework. Bedikyan infuses his pianism with a bittersweet melancholy while Bolla builds an intricate extemporization with graceful facility and raw emotion. The ensemble concludes with a sublimely synergistic performance. Istanbul Junction is a cohesive work, and a high point of Bedikyan's superb career. As Kozlu points out in the liner notes, Bedikyan has singularly fused various traditions into a personal artistic statement. The record is, perhaps, his most mature and unique to date. ~ Hrayr Attarian https://www.allaboutjazz.com/istanbul-junction-burak-bedikyan-steeplechase-lookout

Personnel: Burak Bedikyan: piano; Matthew Hall: bass; Can Kozlu: drums; Gabor Bolla: tenor sax

Istanbul Junction

---

Hannah Svensson - Places and Dreams

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 51:25
Size: 118,8 MB
Art: Front

(5:22)  1. Places and Dreams
(5:12)  2. Beautiful Day
(4:22)  3. Woodstock
(4:45)  4. Friday Afternoon
(3:57)  5. Honeysuckle Rose
(5:28)  6. Something in Return
(3:58)  7. Catch the Stars
(4:10)  8. Not Meant to Be
(4:56)  9. Let Go
(3:58) 10. Malibu Song
(5:12) 11. När natten blir dag

Critically acclaimed singer and songwriter Hannah Svensson releases a new album: ""Places and dreams"" which consists of newly composed material by Hannah as well as interpretations by Joni Mitchell and Dave Castle. The music is characterized by strong melodies and the material on the new album is a meeting between jazz and pop harmonies with plenty of room for improvisation. The group's musical influences range from jazz, pop and blues where their own sound goes like a theme through each song. The album as well as live concerts feature four distinguished jazz musicians: Jan Lundgren (Piano) Ewan Svensson (guitar) Matz Nilsson (bass) and Zoltan Czörsz (drums) who together with Hannah form a fantastic group. Hannah Svensson paves her own way and with five albums established herself as one of our most appreciated jazz singers. She is heard in many different combinations and contexts both in Sweden and internationally. I see music as a lifelong journey and with this album I have landed in something new that has always been within me. Some of the songs are written almost ten years ago, they have been lying there, waiting to be picked up at the right time and context. ""Places and dreams"" is a summary of things that have inspired my life. A dream can take me to new places, but a place can also create dreams, whether it is far away on the beach in Malibu, a beautiful day in the Gothenburg archipelago or a Friday afternoon in Copenhagen. (Hannah Svensson) ~ Editorial Reviews https://www.amazon.com/Places-Dreams-Hannah-Svensson/dp/B07WV6DCTH

Places and Dreams

---

Diana Panton - A Cheerful Little Earful

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 53:29
Size: 123,7 MB
Art: Front

(3:58)  1. Happy Talk
(3:11)  2. It's A Most Unusual Day
(2:32)  3. A You're Adorable
(3:52)  4. Red Red Robin
(2:55)  5. I Don't Want to Live On the Moon
(3:28)  6. Cheerful Little Earful
(3:16)  7. If You Feel Like Singing Sing
(3:15)  8. Music and Me
(3:46)  9. Pocketful of Miracles
(5:28) 10. Look to the Rainbow
(3:43) 11. All In the Golden Afternoon
(2:43) 12. Experiment
(3:55) 13. Aren't You Glad You're You
(3:11) 14. Sing A Rainbow
(4:10) 15. Hush-A-Bye Island

The graphics on A Cheerful Little Earful by Diana Panton and, to a certain extent, this title as well may cue a “children’s record”, but make no mistake Miss Panton’s gorgeous winter 2019 release will have a much broader appeal. The “cheerful little earful” evokes the joy of music really. It also brings together repertoire that celebrates the creativity of timeless song from an era that is all but lost to us in an age when every recording musician seems compelled to pen his or her own songs. While that’s not necessarily a bad thing, there is nothing like the eternal magic of song that lives and breathes and is aglow in the Great American Songbook; songs from timeless films and Broadway hits written by masters such as Oscar Hammerstein II and Richard Rodgers, Sammy Cahn and Jimmy van Heusen, “Yip” Harburg and Burton Lane, and Cole Porter among others. More to the point, there’s nothing like the eternal magic of this repertoire sung by Diana Panton, with the great musicianship of Don Thompson and Reg Schwager accompanying her along the way. As ever on A Cheerful Little Earful Miss Panton is on top of her game. She gives notice throughout that she is an artist of the first order.

Her instrument is gorgeous; lustrous, precise and feather-light. Her musicianship is also fierce as she digs into the meaning of each word, brings ceaseless variety to soft dynamics and gives every phase grace. As ever, in everything she sings on yet another magnificent disc, Miss Panton brings narratives vividly to life and creates rhapsodic atmosphere. Songs such as “Pocketful of Miracles” and “Look To The Rainbow” are exquisite examples of everything that is timeless and great about Miss Panton’s musicianship. Miss Panton has the unique privilege of enjoying the extraordinary musicianship of Don Thompson, the veritable doyen of Canadian music; as well she has been fortunate to have the masterful guitarist Reg Schwager on each of her albums. Mr Thompson – whether as the arranger of note or whether on piano, bass or vibraphone – and Mr Schwager both bring deeply interiorised readings of this music. This complements the vision and artistry of Miss Panton in a matchless way. This music, as with that of her other albums, is light on melancholy, and saturated with the imaginative and luminous colour of joy. These, and other reasons mentioned in the course of this review make A Cheerful Little Earful an irresistible record, one that is likely to also garner many accolades as it gets its rightful due on radio and other media.~ Raul Gama https://torontomusicreport.com/reviews/cd-reviews/diana-panton-a-cheerful-little-earful/

Personnel: Diana Panton: vocals; Reg Schwager: guitar; Don Thompson: bass, piano and vibraphone

A Cheerful Little Earful

---

Chicago - Night & Day: Big Band

Styles: Jazz, Big Band 
Year: 1995
File: MP3@320K/s
Time: 51:20
Size: 119,3 MB
Art: Front

(3:06)  1. Chicago
(3:22)  2. Caravan
(3:12)  3. Dream a Little Dream of Me
(4:04)  4. Goody Goody
(4:26)  5. Moonlight Serenade
(5:35)  6. Night & Day
(6:04)  7. Blues in the Night
(3:20)  8. Sing, Sing, Sing
(5:10)  9. Sophisticated Lady
(3:42) 10. In the Mood
(3:37) 11. Don't Get Around Much Anymore
(5:36) 12. Take the "A" Train

Generally, when contemporary performers have taken on retro projects like this one, they have tended to emphasize their fidelity to the sources consider Linda Ronstadt hiring arranger/conductor Nelson Riddle to recreate his string backgrounds for albums like What's New. Chicago takes a different approach to the swing band classics it tackles here  it Chicago-izes them. The arrangements are by trombonist James Pankow, who manages to make everything from Duke Ellington's "Caravan" to Glenn Miller's theme "Moonlight Serenade" sound like a lost Chicago track. Those familiar with the originals, many of which were instrumental hits, may be surprised to hear the lyrics to songs like "Sing, Sing, Sing." Clearly, the group is aiming more at pleasing contemporary fans than evoking nostalgia, and it succeeds in reinventing some well-established standards, even if older fans may find some of these versions radically altered. ~ William Ruhlmann https://www.allmusic.com/album/night-day-big-band-mw0000175235

Night & Day: Big Band

---

Jimmy Giuffre Quartet - Skylines

Styles: Cool Jazz
Year: 2013
File: MP3@320K/s
Time: 77:56
Size: 179,2 MB
Art: Front

(6:59)  1. Two For Timbuctu
(7:56)  2. The Boy Next Door
(7:56)  3. My Funny Valentine
(6:30)  4. What's New
(9:29)  5. The Quiet Time
(8:27)  6. The Crab
(9:22)  7. Wee See
(6:33)  8. My Funny Valentine - Short Version
(5:27)  9. Two For Timbuctu - Short Version
(9:14) 10. Mack The Knife

Reedman and composer Jimmy Giuffre was born in Dallas, TX. He started his musical education at age 9 learning the clarinet and within few years he was proficient enough to give solo clarinet recitals at local functions. After high school he attended North Texas State University receiving a B. A. in music. During his college years he played in local bands. Soon after graduation he enlisted in the Army and was a member of the official Army band. After discharge he became a professional arranger for several big bands including Boyd Raeburn's, Buddy Rich's, Jimmy Dorsey’s and most famously in Woody Herman’s where he also played tenor sax. During his tenure with Woody Herman’s big band he composed the classic “Four Brothers” in 1947. In the early 1950s Jimmy Giuffre moved to LA and studied for a while at UCLA and played with the bands of Shorty Rogers and Howard Rumsey. He also added baritone sax to his repertoire. He was introduced by one of his colleagues to music teacher, poet and composer Dr. Wesley La Violette. From the later he learned the concept of classical counterpoint; a linear style of composing that freed one of chord structures. From 1954-1958, Jimmy Giuffre recorded several classic albums for Capital and Atlantic including the 1956 landmark record Clarinet. His, unusual for the time, groups were drummerless/pianoless trios initially with Jim Hall on guitar, and Ralph Pena on bass and then with Jim Hall and valve trombonist Bob Brookmeyer, creating an unusual lineup for its time. The first incarnation of the trio appeared participated on KABC “Stars of Jazz” tv show where he met his future wife. In the late 50s his trio changed format and he replaced the guitar with Paul Bley's piano and the valve trombone with Steve Swallow’s bass. From this trio comes the 1962 classic Free Fall. This album also marked a transition in his musical style from what he had called “blues-based folk jazz” to a new free jazz. His trio changed personnel again in the mid 1960s with Don Friedman at the piano and Barry Phillips on bass.

Late 60s brought another innovation to Jimmy Giuffre's music: the introduction of drums with the percussionist Randy Kay. His clarinet, bass drum trio recorded a few albums of the introspective and free jazz music he had started composing. In the 1970s he moved to the east coast and taught at New York University, Rutgers, the New School of Social Research and the New England Conservatory. In order to supplement his income he also composed music for theatre, dance companies, films and TV commercials and also acted as a hand model in some of the commercials. In the 1980s Giuffre started exploring a more electric sound by adding to his clarinet and Kay’s drums electric bass and electronics. The quartet recorded a few albums for Soul Note that have gone out of print. In 1988 he recorded a series of reed duets with his student Andre Jaume called Momentum. This CD is currently available on Hat Hut. In the 1990s there was a resurgence of interest in the Free Form music that led to a reunion of the Paul Bley, Steve Swallow and Jimmy Giuffre trio and a European tour. Parkinson Disease started taking a toll on his health so in the early 2000's he retired from teaching and touring and settled in rural Massachusetts. He passed awa on April 24, 2008. https://musicians.allaboutjazz.com/jimmygiuffre

Skylines

---

Jimmy Cobb - Remembering U

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 64:15
Size: 148,7 MB
Art: Front

(6:06)  1. Eleanor
(3:36)  2. Pistachio
(6:18)  3. Man in the Mirror
(4:56)  4. Remembering U
(4:42)  5. JC's AC
(4:39)  6. Composition 101
(6:48)  7. I Just Can't Stop Loving You
(4:10)  8. Willow Weep for Me
(4:48)  9. W.K.
(6:23) 10. Cedar's Rainbow
(5:51) 11. I Don't Wanna Be Kissed (By Anyone but You)
(5:53) 12. Cobb's Belle

Legendary Drummer Jimmy Cobb Still Swinging After All These Years! Remembering U features a guest appearance by the late trumpeter Roy Hargrove and is the final session by legendary engineer Rudy Van Gelder. A consummate accompanist, unerring timekeeper, outstanding soloist and dynamic leader in his own right, revered drummer Jimmy Cobb showcases his inimitable touch on ballads and his irrepressibly swinging ride cymbal pulse on Remembering U. Accompanied by his working trio of Japanese pianist Tadataka Unno and Italian bassist Paolo Benedettini, Cobb's latest stands as a tribute to those people who have been a part of his long journey in jazz and are no longer with us. Special guests include tenor saxophonist Javon Jackson and the late trumpeter Roy Hargrove in one of his last studio sessions. The recording also marks the final session of legendary engineer Rudy Van Gelder, who presided over classic sessions for the Blue Note, Prestige and Impulse! labels. (Cobb remembers playing on a Van Gelder session in the mid 1950s when the fledgling engineer was operating out of his parents home in Hackensack, New Jersey.)

On Remembering U, 2009 NEA Jazz Masters Award winner Cobb proves beyond a shadow of a doubt that, at age 90, he is indeed still swinging after all these years. Cobb's expansive list of recording credits over seven decades reads like a Who's Who in Jazz. Among the countless sessions he participated in since the mid '50s are such landmark recordings as Miles Davis' Kind of Blue, Sketches of Spain, Porgy & Bess and Sorcerer, John Coltrane's Giant Steps and Coltrane Jazz, Wes Montgomery's Full House, Boss Guitar and Smokin' at the Half Note as well as potent sessions with Freddie Hubbard, Stan Getz, Bobby Timmons, Cannonball Adderley, Sarah Vaughan, Sonny Stitt and a string of acclaimed trio recordings with pianist Wynton Kelly and bassist Paul Chambers. On Remembering U, his 12th as a leader and first for his own Jimmy Cobb World label, Cobb and his versatile crew display remarkable chemistry on 12 tracks. https://news.allaboutjazz.com/jimmy-cobb-historic-release-featuring-roy-hargrove-remembering-u-final-session-by-rudy-van-gelder

Remembering U

---

The Dutch Swing College Band - Singles Collection Volume III (1953-1955)

Styles: Swing, Dixieland
Year: 1990
File: MP3@320K/s
Time: 49:12
Size: 113,1 MB
Art: Front

(2:58)  1. Frog-I-More Rag
(2:26)  2. Doctor Jazz
(2:53)  3. Careless Love Blues
(2:48)  4. Way Down Yonder In New Orleans
(2:54)  5. I've Found A New Baby
(2:59)  6. Room Rent Blues
(3:00)  7. Muskrat Ramble
(2:54)  8. Tears
(3:25)  9. Alexander's Ragtime Band
(3:15) 10. Black And Blue
(2:43) 11. Dippermouth Blues
(2:52) 12. When The Saints Go Marching In
(2:50) 13. When The Saints Go Marching In
(2:48) 14. Bill Bailey Won't You Please Come Home
(2:42) 15. Trouble In Mind
(2:42) 16. La Java
(3:02) 17. Mon Homme

The Dutch Swing College Band has endured numerous personnel changes in its more than fifty-year history as one of the Netherlands' top jazz ensembles. Although no members remain from the original group, the latest lineup continues to honor the tradition-rooted approach of the founders. Bob Kaper (1939- ) replaced clarinet player Peter Schilperoort during an illness in 1966, and remained with the band; he has led the Dutch Swing College Band since Schilperoort's death in 1990. The fourth leader in the group's history, Kaper succeeds Frans Vink, Jr. (1945-46), Joop Schrier (1955-60), and Schilperoort (1946-55; 1960-1990). Kaper previously led the Beale Street Seven, a group he founded in 1957. An amateur group from 1945 until turning professional in 1960, the Dutch Swing College Band reached their early peak in the late '40s, when they were tapped to accompany such jazz musicians as Sidney Bechet, Joe Venuti, and Teddy Wilson. The New Melbourne Jazz Band recorded an album, A Tribute to the Dutch Swing College Band, featuring music associated with the Holland-based group. https://www.allmusic.com/artist/dutch-swing-college-band-mn0000130996/biography

Singles Collection Volume III  (1953-1955)

---

Jeff Goldblum & The Mildred Snitzer Orchestra - I Shouldn’t Be Telling You This

Styles: Vocal, Cabaret
Year: 2019
File: MP3@320K/s
Time: 41:40
Size: 97,2 MB
Art: Front

(4:06)  1. Let's Face The Music And Dance (with Sharon Van Etten)
(4:31)  2. The Sidewinder / The Beat Goes On (with Inara George)
(4:42)  3. Driftin'
(3:55)  4. The Thrill Is Gone / Django (with Miley Cyrus)
(3:46)  5. The Kicker
(3:23)  6. Don’t Worry ‘Bout Me (with Fiona Apple)
(2:51)  7. The Cat
(4:09)  8. Four On Six / Broken English (with Anna Calvi)
(1:44)  9. If I Knew Then (with Gina Saputo)
(4:42) 10. Make Someone Happy (with Gregory Porter)
(3:45) 11. Little Man You've Had A Busy Day

A year after issuing his debut album, The Capitol Studios Sessions, Jeff Goldblum returns to the piano and his band the Mildred Snitzer Orchestra with 2019's I Shouldn't Be Telling You This. The acclaimed actor brings a level of street cred to his musical endeavors that many celebrity-turned-musicians lack. A longtime jazz pianist, Goldblum actually started out playing gigs years before he embarked on his Hollywood career and has continued to moonlight as a pianist, regularly playing shows around Los Angeles and New York. While he displays a knack for straight-ahead jazz sophistication, it doesn't hurt that he surrounds himself with a bevy of top-notch pros, including Hammond B-3 specialist Joe Bagg who carries a lion's share of the Mildred Snitzer Orchestra's sound throughout the album. Also contributing are bassist Alex Frank, guitarist John Stone, drummer Kenny Elliott, and saxophonists James King and Scott Gilman. Together, they play a brightly attenuated brand of '60s-influenced jazz that brings to mind the groovy hard bop of Horace Silver crossed with the urbane soulfulness of Ramsey Lewis. As on The Capitol Studios Sessions, here Goldblum also features a handful of guest performers, including indie singer/songwriter Sharon Van Etten, who acquits herself nicely on a dusky version of "Let's Face the Music and Dance." Similarly, Fiona Apple evokes Shirley Bassey's feline swagger on "Don't Worry 'Bout Me." 

One of Goldblum's more interesting choices on the album is to create unexpected mash-ups, as with his wryly swinging combination of Lee Morgan's "The Sidewinder" and Sonny Bono's "The Beat Goes On" featuring singer Inara George. Also surprisingly effective is his arrangement of Wes Montgomery's "Four on Six" weaved together with Marianne Faithfull's "Broken English" and helmed with Weimar cabaret swagger by singer Anna Calvi. Somewhat less effective is Miley Cyrus' rendition of Ray Henderson and Lew Brown's standard "The Thrill Is Gone" paired with John Lewis' "Django," which while proving Cyrus has more vocal chops than she's often given credit for, trades the song's yearning subtlety for a Broadway-level theatricality that feels forced. Nonetheless, Goldblum's skill at showcasing other performers is clearly a part of his charm, and here it extends beyond pop artists as he brings on San Diego trumpeter Gilbert Castellanos for several tasty solos, spotlights L.A. jazz chanteuse Gina Saputo on an impressive vocalese version of "If I Knew Then," and communes with Grammy-winning vocalist Gregory Porter over a warm reading of "Make Someone Happy." While Goldblum's smiling charisma is the main selling point to I Shouldn't Be Telling You This, he often takes a backseat, even waiting until the very last song to spotlight his own lyrical vocal skills on the intimately rendered "Little Man, You've Had a Busy Day." It's an admirable choice given the high level of talent displayed by his guests and the Mildred Snitzer Orchestra. That said, Goldblum sounds good, and his fans probably wouldn't mind hearing more of him and less of his friends. ~ Matt Collar https://www.allmusic.com/album/i-shouldnt-be-telling-you-this-mw0003301480

I Shouldn’t Be Telling You This

---