Lee Konitz - Classic Konitz

Styles: Saxophone Jazz 
Year: 2018
File: MP3@320K/s
Time: 56:52
Size: 131,5 MB
Art: Front

( 4:10)  1. You're Clear Out of this World
( 3:57)  2. East 32nd
( 2:50)  3. My Old Flame
( 4:29)  4. I Remember You
( 5:20)  5. Round Midnight
( 3:01)  6. Skylark
( 4:04)  7. The Daffodil's Smile
( 3:06)  8. Easy Livin'
( 2:22)  9. I've Got It Bad
(11:14) 10. If I Had You
( 3:40) 11. Froggy Day
( 4:10) 12. You Are Too Beautiful
( 4:22) 13. You Don't Know What Love Is

One of the most individual of all altoists (and one of the few in the 1950s who did not sound like a cousin of Charlie Parker), the cool-toned Lee Konitz has always had a strong musical curiosity, leading him to consistently take chances and stretch himself, usually quite successfully. He was a member of Miles Davis' classic '50s nonet, and his early work alongside pianist Lennie Tristano is often cited as an influence on the "free jazz" movement of the '60s. He built upon Tristano's approach on his own albums like 1950's Subconscious-Lee, 1957's Tranquility, and 1967's The Lee Konitz Duets, all of which showcase his sculptural approach to harmony. A longtime associate of the Creative Music Studio since the '70s, Konitz has continued to record distinctive albums, exploring both standards and forward-thinking original material.  Born in 1927 in Chicago, Konitz studied clarinet early on, eventually switching to alto. Following early work with Jerry Wald, he gained some attention for his solos with Claude Thornhill & His Orchestra (1947). 

He began studying with Lennie Tristano, who had a big influence on his conception and approach to improvising. Konitz was with Miles Davis' Birth of the Cool nonet during their one gig and their Capitol recordings (1948-1950), and he recorded with Lennie Tristano's innovative sextet (1949), including the first two free improvisations ever documented. Konitz blended very well with Warne Marsh's tenor (their unisons on "Wow" are miraculous) and would have several reunions with both Tristano and Marsh through the years, but he was also interested in finding his own way; by the early '50s he started breaking away from the Tristano school. Konitz toured Scandinavia (1951), where his cool sound was influential, and he fit in surprisingly well with Stan Kenton & His Orchestra (1952-1954), being featured on many charts by Bill Holman and Bill Russo.  Konitz was primarily a leader from that point on. He almost retired from music in the early '60s but re-emerged a few years later. His recordings have ranged from cool bop to thoughtful free improvisations, and his Milestone set of Duets (1967) is a classic. In the '70s and '80s, Konitz increased his recorded output, issuing consistently stimulating sessions for such labels as SteepleChase, Philogy, Soul Note, and others.

In 1992, he won the prestigious Jazzpar Prize. He kept a busy release schedule throughout the '90s and dabbled in the world of classical music with 2000's French Impressionist Music from the Turn of the Twentieth Century. The Mark Masters Ensemble joined him for 2004's One Day with Lee, and in 2007 he recorded Portology with the Ohad Talmor Big Band. He has recorded on soprano and tenor but has mostly stuck with his distinctive alto.  In 2011, he released his own trio album, Knowinglee, and appeared on the live ECM date Live at Birdland (recorded in 2009) with pianist Brad Mehldau, bassist Charlie Haden, and drummer Paul Motian. Three years later, he joined Dan Tepfer, Michael Janisch, and Jeff Williams for First Meeting: Live in London, Vol. 1. The quartet date, Frescalalto, arrived in 2017 and featured the saxophonist alongside pianist Kenny Barron, bassist Peter Washington, and drummer Kenny Washington. In 2019, Konitz paired with longtime associate saxophonist/arranger Ohad Talmor for the album Old Songs New, a nonet recording focusing on beloved yet less-often-recorded standards. ~ Scott Yanow https://www.allmusic.com/artist/lee-konitz-mn0000227776/biography

R.I.P.
Born: October 13, 1927 Chicago, Illinois, US
Died:    April 15, 2020 (aged 92) Manhattan, New York City, US

Classic Konitz

---

Katie Melua - Live in Concert

Styles: Vocal And Guitar
Year: 2019
File: MP3@320K/s
Time: 85:33
Size: 197,8 MB
Art: Front

(2:33)  1. Tu Ase Turpa Ikavi
(3:42)  2. Plane Song
(4:32)  3. Belfast
(3:33)  4. Nine Million Bicycles
(3:59)  5. Just Like Heaven
(3:41)  6. River
(4:21)  7. Dreams on Fire
(2:07)  8. Cradle Song
(4:37)  9. All-Night Vigil - Nunc Dimittis
(4:52) 10. O Holy Night
(3:15) 11. Diamonds Are Forever
(4:50) 12. Perfect World
(2:12) 13. The Little Swallow
(4:01) 14. I Cried for You
(4:36) 15. The Flood
(4:32) 16. The Closest Thing to Crazy
(3:41) 17. Piece by Piece
(6:37) 18. Wonderful Life
(3:56) 19. Fields of Gold
(5:10) 20. Maybe I Dreamt It
(4:36) 21. What a Wonderful World

Plucked from music-school obscurity by songwriter/producer Mike Batt, Katie Melua quickly became the highest-selling female musician in the U.K., a feat that owed much of its success to her wildly popular 2003 debut. Melua was born in Soviet Georgia in 1984 and later moved to Belfast, Northern Ireland. Her family pulled up stakes several years later and relocated to London, where Melua entered the B.R.I.T. School for the Performing Arts & Technology. The record industry-funded school had a habit of graduating talented artists like Floetry, and Melua became its next success when a 2003 showcase caught the attention of Batt, who'd been looking for a vocalist capable in both jazz and blues styles. Call Off the Search, her debut album, was issued in the U.K. in November 2003 by Batt's own label, Dramatico Records. A comfortable, tasteful blend of jazz vocals, pop style, and adult contemporary sway, the album featured two cuts penned by Melua (including a tribute to one of her biggest influences, Eva Cassidy), as well as covers of material from John Mayall, Randy Newman, and the James Shelton classic "Lilac Wine." The single "Closest Thing to Crazy" hit number one in December, and by January of the following year, Call Off the Search had gone platinum (300,000 units in the U.K.). It continued selling copies for years, eventually going platinum six times.

Gigs in Europe followed, and in May 2004 Melua made her way to the U.S. for a round of club dates in support of the album's domestic release. She achieved even greater success with her 2005 follow-up, Piece by Piece, a heady blend of worldbeat and jazz-pop that topped both the international and British charts before setting its sights on the U.S. market in 2006. The similarly jazz-inflected Pictures followed a year later, and the concert recording Live at the O² Arena appeared in 2009. In 2010, Melua delivered the studio effort The House, which widened her sound with production from techno mastermind William Orbit. Two years later, she returned with the orchestral pop album Secret Symphony, featuring arrangements by longtime producer Batt. Melua finished out her six-album deal for Batt with 2013's similarly orchestral-leaning Ketevan. Named after her given birth name, the album featured the singles "I Will Be There" and "The Love I'm Frightened Of." Well received, it peaked at number six on the U.K. charts. In 2016, Melua returned with In Winter, her first holiday-themed effort and first album after parting ways with longtime collaborator Batt. Recorded in her native country of Georgia with the all-female Gori Women's Choir, In Winter featured original material from Melua alongside a cover of Joni Mitchell's "River" and several traditional classical holiday songs. ~ Johnny Loftus https://www.allmusic.com/artist/katie-melua-mn0000101522/biography

Live in Concert

---

Stanley Cowell - Waiting For The Moment

Styles: Piano Jazz 
Year: 1977
File: MP3@320K/s
Time: 38:33
Size: 91,0 MB
Art: Front

(3:05)  1. Ragtime
(3:00)  2. Boogie Woogie
(3:32)  3. Parisian Thoroughfare
(7:19)  4. 'Round Midnight
(2:14)  5. Spanish Dancers
(5:14)  6. Sienna: Welcome My Darling
(4:39)  7. Sienna: Waiting For The Moment
(5:16)  8. Coup De Grass
(4:09)  9. Today, What A Beautiful Day

This out-of-print LP is a solo set by Stanley Cowell. The first side has five acoustic numbers which range from the "Ragtime" and "Boogie Woogie" sections of Jimmy Heath's "Afro-American Suite Oof Evolution" to "'Round Midnight" and Bud Powell's "Parisian Thoroughfare." The flip side finds Cowell utilizing both electronics and overdubbing to perform four of his more modern originals. An interesting if not quite essential program. ~ Scott Yanow https://www.allmusic.com/album/waiting-for-the-moment-mw0000871127

Personnel:  Stanley Cowell - piano, electric grand piano, synthesizer, thumb piano

Waiting For The Moment

---

Wim Overgaauw Trio - Dedication

Styles: Guitar Jazz
Year: 1978
File: MP3@320K/s
Time: 33:56
Size: 78,6 MB
Art: Front

(4:40)  1. Quiet Nights
(2:41)  2. Barney's Blues
(3:19)  3. Dedication
(3:30)  4. Just a Sittin' and a Rockin'
(2:48)  5. Twisted Blues
(2:30)  6. Snipverkouden
(2:31)  7. Monk's Hop
(3:54)  8. Adagio from Concerto d'Aranjuez
(2:19)  9. Old Tough One: Wilde Ganzen / Ouwe Taaie / Als Op Capri / Op De Woelige Baren
(2:52) 10. Footin' It
(2:47) 11. Introduction

Wim Overgaauw ( Hilversum , November 23, 1929 - there, November 30, 1995 ) was a Dutch jazz guitarist .Overgaauw started his career as a violinist and played in a string orchestra for two years. He then switched to guitar and performed with clubs in the US military with Nick Vollebregt . In the 1950s he performed with Wessel Ilcken and later led his own groups. He was best known in the 1960s as a member of the Pim Jacobs Trio and as an accompanist to singer Rita Reys . He also made recordings with, for example, Lee Konitz and accompanied Cannonball Adderley , Sam Jones and Jimmy Raney . Overgaauw received an Edison in 1971 for his first solo album Don't Disturb .For many years he was a teacher at the Hilversum Conservatory , where he included Jesse van Ruller , Martijn van Iterson and Maarten van der Grinten among his students. By nature, he modestly avoided performing in public in his last years. In an interview in 1994 he indicated that he was influenced by his students and by young guitarists like David Gilmore from Steve Coleman 's band . He also composed music for film and television, gave guitar workshops and wrote the textbook "The European Jazz Guitar". https://nl.wikipedia.org/wiki/Wim_Overgaauw

Dedication

---

George Colligan - Constant Source

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 69:15
Size: 159,3 MB
Art: Front

( 7:57)  1. Tarantula
( 7:10)  2. Saga
( 6:43)  3. I'm Getting Sentimental Over You
( 5:13)  4. Flint Michigan
( 9:12)  5. Pitchrider
(13:27)  6. Void
( 9:25)  7. My Eyes That Cried
(10:05)  8. Constant Source

When it comes to spotting young talent worthy of wider recognition, it’s often those small independent labels who are responsible for giving the youngsters some visibility. This also makes for a good situation in terms of the artist because he/she, more often than not, has more control over the artistic integrity of the final product, something that is not as easily achieved when spending the big corporate dollars. The downside, however, is that the coffers for publicity are on the small side when you’re hooked up with the little independent guy. SteepleChase producer Nils Winther apparently liked what he heard when first checking out George Colligan because he gave the pianist a chance to cultivate his original voice as a vital SteepleChase artist. While not as visible here in the U.S. as those guys with the major label contracts, Colligan shows signs of becoming one of the best pianists and composers of his generation. The last Colligan SteepleChase from the back catalog to see a domestic release, Constant Source is arguably among his boldest statements. With a resonant front line pairing of alto and tenor sax (played by Jon Gordon and Mark Tuner respectively), Colligan and his crack rhythm section pull out all the stops via a ten selection set of originals (albeit a reworking of “I’m Getting Sentimental Over You”). The whole program is made up of beefy and well-developed charts that forgo the trite and customary.

sounds just like its name, with counterpoint between bass and the piano’s low end adding to the mysterious vibe. Perhaps the catchiest of the lot, “Saga” utilizes a captivating piano vamp that launches the head and subsequent solos, ultimately settling into a hybrid bossa groove. The third tune of the program is an atypical ballad entitled “Flint Michigan,” although both the CD label and the tune list on the back have the cut incorrectly listed as track number four. Showing just how adept he is at drastically altering standards, Colligan takes “I’m Getting Sentimental Over You” and turns it into a medium tempo romp in seven, with the bridge alternating between 4/4, 6/4, and a 5/8 tag. Two pieces hint at the impact of Colligan inspiration Gary Thomas. “Pitchrider” speaks in terms of ‘70s fusion, complete with George’s use of Fender Rhodes, while “Void” clocks in at over 13 minutes and contains dense passages of collective interplay that are punctuated by Howard Curtis’ acute drum work. The electric piano shows up again on the slow and spacey “My Eyes That Cried,” with the title track leaving a postscript in regards to Colligan’s compositional gifts, penned in the odd meter of 5/4. For the present, Colligan has proved a valuable sideman to vocalist Cassandra Wilson, saxophonist Don Braden, and trombonist Robin Eubanks. His already impressive oeuvre will be supplemented shortly by a new release on the Fresh Sound label and a forthcoming SteepleChase trio date. In the meantime, Constant Source, not to mention his other SteepleChase sides, finds Colligan speaking with an authority and maturation that belies his youth.~ C.Andrew Hovan https://www.allaboutjazz.com/constant-source-george-colligan-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: George Colligan (piano and Fender Rhodes), Jon Gordon (alto & soprano saxophones), Ed Howard (bass), Howard Curtis (drums)

Constant Source

---

La Section Rythmique, Harry Allen & Luigi Grasso - La Section Rythmique +2

Styles: Contemporary Jazz
Year: 2019
File: MP3@320K/s
Time: 50:55
Size: 117,3 MB
Art: Front

(4:04)  1. You 'N' Me
(7:25)  2. In the Still of the Night
(5:52)  3. Birth of the Blues
(4:54)  4. Day Dream
(4:30)  5. Wes' Tune
(4:42)  6. One for Duke
(6:14)  7. Blues up and Down
(3:06)  8. New Orleans
(5:00)  9. Step Right Up
(5:04) 10. I Don't Stand a Ghost of a Chance with You

This rhythm trio (guitar, bass and drums) won awards with its first album in 2015, and has now backed, on concerts and recordings, such memorable jazz artists as Scott Hamilton, Evan Christopher, Lillian Boutté  and Ken Peplowski, amongst others. On this release the trio plays host to seasoned New York tenorist Harry Allen, paired with an exciting and skilful young Italian altoist, Luigi Grasso a new name to me. Guitarist David Blenkhorn and bassist Sébastien Girardot I have heard and enjoyed previously, as key contributors on the fine Django A La Créole albums on Frémeaux. Gillaume Nouaux’s supple and attentive drumming fits in neatly in the closely integrated and tastefully swinging rhythm backing.

Allen’s light-toned, mature and fluent phrasing is complemented effectively by Grasso’s rounded, exuberant and expressive alto. There’s close rapport throughout in ensemble, and some sizzling exchanges in the upbeat Blues Up And Down.Steeped in jazz heritage, the repertoire alternates throughout between upbeat and laid-back. The laudably open-book approach to style salutes classic jazz with a refreshingly re-worked blend ranging from mainstream to bop.The enthusiastic Grasso reins in for the Hodges classic Day Dream, almost rivalling the master himself with an exquisitely nuanced performance. Allen follows on with breathy hints of Ben Webster, and they both reprise Hodges and Webster on the beautifully arranged One For Duke. In The Still Of The Night is another lovely arrangement and performance, but every track appeals. Highly recommended. https://jazzjournal.co.uk/2019/07/08/la-section-rythmique-2-harry-allen-luigi-grasso/

Personnel: David Blenkhorn (g); Sébastien Girardot (b); Guillaume Nouaux (d); Harry Allen (ts); Luigi Grasso (as).

La Section Rythmique +2

---

Wallace Roney - Blue Dawn - Blue Nights

Styles: Trumpet Jazz
Year: 2019
File: MP3@320K/s
Time: 53:28
Size: 123,2 MB
Art: Front

(6:13)  1. Bookendz
(5:28)  2. Why Should There Be Stars
(7:54)  3. Wolfbane
(8:13)  4. New Breed
(7:05)  5. Don't Stop Me Now
(9:00)  6. In a Dark Room
(5:15)  7. Venus Rising
(4:15)  8. Elliptical

Wallace Roney's eighth album for the HighNote label, 2019's Blue Dawn-Blue Nights, finds the trumpeter collaborating with a cadre of young lions and balancing dusky after-hours warmth and propulsive post-bop modalism. The album comes three years after the similarly expansive A Place in Time, which featured veterans Gary Bartz, Lenny White, and Patrice Rushen. From that album, only White returns here, playing on half of Blue Dawn-Blue Nights. He and Roney are also joined by an invigorating ensemble including Roney's nephew drummer Kojo Odu Roney, tenor saxophonist Emilio Modeste, pianist Oscar Williams II, and bassist Paul Cuffari. Somewhat of a departure from Roney's past work, Blue Dawn-Blue Nights features songs written by his bandmates, along with a handful of deftly curated covers. The result is a surprisingly cohesive album that benefits from each player's unique yet clearly like-minded point-of-view. Roney opens the album with keyboardist Wayne Linsey's roiling, R&B-inflected "Bookendz." A longtime friend of Roney's, Linsey wrote songs for Miles Davis, and "Bookendz" certainly brings to mind Davis' fusion period with both White and Odu Roney supplying the song's kinetic rhythm. Shifting gears, the band eases into the yearning ballad "Why Should There Be Stars," which works as a showcase for Roney's plaintive lyricism. Contrasting that is White's funky "Wolfbane," a circular groover in which Roney smears and glides against the drummer's dynamic percussion waves. Also compelling is the group's reading of David Liebman's dissonant mid-tempo swinger "New Breed." Originally recorded by Elvin Jones for his 1973 date Mr. Jones, here the melody is played with Harmon-muted intensity by Roney and Modeste. Elsewhere, they sink into "Don't Stop Me Now," a slow-burning R&B slow jam culled from Miles Davis' '80s period, and again evoke Davis' late-'60s quintet on Williams' impressionistic modal piece "In a Dark Room." Closing the album are two of Modeste's compositions, beginning with the driving "Venus Rising" and finishing with the far-eyed "Elliptical," both of which benefit from Roney and his band's burnished harmonic textures. ~ Matt Collar https://www.allmusic.com/album/blue-dawn-blue-nights-mw0003308946

Blue Dawn - Blue Nights

---

Yelena Eckemoff, Manu Katché - Colors

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 79:53
Size: 186,3 MB
Art: Front

(8:15)  1. White
(4:56)  2. Pink
(3:59)  3. Orange
(6:09)  4. Green
(6:20)  5. Violet
(3:04)  6. Indigo
(8:24)  7. Blue
(7:20)  8. Red
(4:01)  9. Brown
(6:37) 10. Bordeaux
(6:07) 11. Yellow
(4:00) 12. Aquamarine
(3:02) 13. Grey
(7:33) 14. Black

Pianist Yelena Eckemoff brings the top drummers into her recording sessions, whether it's Billy Harton Lions (2014), or Peter Erskine on Glass Song (2012) and Desert (2015), or Jon Christensen for Everblue (2014) all of these on her own L & H Production label. The year 2019 finds the prolific Eckemoff presenting her first duo album, Colors, a piano and drums affair with another topline partner sitting at the kit: Manu Katche, a distinctive drumming stylist and a leader in his own right, with eight releases to his name, five of them on ECM Records.  Colors could just as well been called Life, a panoramic set of Eckemoff originals that affixes different colors to life's stages, from "White," an examination of birth's blank slate, to "Orange," a celebration of youthful energy, through "Violet," a nod to the thrill of first love, to "Black," a facing, with equanimity, of death's mysterious void. Eckemoff's music is often complex and cerebral, drawing on her classical studies in her native Russia, and it frequently leans toward the reflective and inward. This is especially true of her early recordings, like Cold Sun (L & H, 2010) and the previously mentioned Glass Song. But with the release of Lions her sound seemed to draw as much from the heart and gut as it did from the head; the energy of life seemed to swim in tandem beside the reveries of the mind. 

Colors presents that mix to perfection. Eckemoff's piano sound is, as always, crisp and clean of touch, intricate and nuanced and complex. It can sound a bit playful, full of wordless wonder ("White"); and it can portray an expanding consciousness with an inward tilt ("Pink"), and it can ROCK OUT, big time, with Eckemoff and Katche digging-deep into a relentless groove on "Orange." Is it Eckemoff prodding and exhorting Katche, or is it Katche elbowing Eckemoff; or is it a balanced pairing, a two way call and response bubbling with the electricity of life? Probably the last choice, given a listen to "Indigo," another animated, jazz-rock, groove-centric sound. Not that moments of reflections aren't present. "Violet," concerning "the thrill of first love" is a reflective interlude of subtle beauty; and "Blue" begins as a lyrical, inward rumination that shifts, two minutes in, into a playful prance that swells to a tempest that then tapers down to tranquility, rolling then to a re-start of the cycle. And "Red" seems to dance with the vibrancy and sassiness and confidence of an attractive woman in her prime (imagery taken from Eckemoff's accompanying poem in the cover booklet). Colors covers a wide range of moods and styles, a mode of operation that can reveal weaknesses in a thematic cohesion. That Eckemoff and Kache avoid this potential hazard over a fourteen song, near-eighty minute set is remarkable.  One of Yelena Eckemoff's finest recordings. ~ Dan MacClenaghan https://www.allaboutjazz.com/colors-yelena-eckemoff-l-and-h-production-review-by-dan-mcclenaghan.php

Personnel: Yelena Eckemoff: piano and compositions; Manu Katché, drums.

Colors

---

Isabella Lundgren - Out of the Bell Jar

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 45:21
Size: 104,4 MB


( 5:25)  1. You're Gonna Make Me Lonesome When You Go
( 6:35)  2. The Times Are a Changing
( 8:05)  3. It Ain't Me Babe
( 3:52)  4. Lay Down Your Weary Tune
(10:44)  5. Trouble
( 4:06)  6. Out of the Bell Jar
( 6:31)  7. Forever Young

This release is the newest from Swedish vocalist Isabella Lundgren. It features arrangements of classic Bob Dylan songs, sung with Isabellas exceptional artistry. Isabella Lundgren has a seriousness and a gravity that is unique. It's like she makes time stand still just by being, I guess that's what they call charisma and presence. And then she sings absolutely fantastically, with a natural, flowing time and a low-key but expressive phrasing. The fact the she has something to say with her lyrics, also adds to the magic. She is one of the greatest things that has ever happened to the Swedish Jazz scene. (Swedish Daily News) Lundgrens incisive and agile voice, often reminiscent of Anita ODay and Billie Holiday, came from a formally attired, deceptively slight frame and it thus was less of a surprise than it might have been to discover later that having studied music at New Yorks New School she is now in Stockholm studying to be a priest. She had the congregation in her hand right from the lightly accompanied rubato intro to That Old Black Magic that opened the set. There was also Its Magic and a couple of blues, all delivered with compelling authority and a mischievous sense of swing. (Mark Gilbert, JazzJournal) ~ Editorial Reviews https://www.amazon.com/Out-Bell-Jar-Isabella-Lundgren/dp/B07ZLK56KX

Out of the Bell Jar

---

Archie Shepp, Jasper Van't Hof - The Fifth of May

Styles: Saxophone And Piano Jazz
Year: 1987
File: MP3@320K/s
Time: 48:10
Size: 110,4 MB
Art: Front

( 7:50)  1. Down Home New York
( 7:38)  2. The Hunter
( 6:37)  3. Naima
( 5:16)  4. Pulse of the Roots
(15:16)  5. 5th of May
( 5:30)  6. In a Decent Way

This is an unusual CD with Archie Shepp, mostly playing tenor but also contributing a couple of vocals and a bit of soprano, performing duets with the keyboards and synthesizer of Jasper Van't Hof. The music (originals by Shepp or Van't Hof, along with John Coltrane's "Naima") ranges from danceable tracks and mood pieces to explorative works, and generally holds one's interest. A good couple of days for Archie Shepp, who could be quite erratic in the 1980s. ~Scott Yanow https://www.allmusic.com/album/the-fifth-of-may-mw0000652903

The Fifth of May

---

Vincent Gardner - The Good Book, Chapter Three

Styles: Trombone Jazz
Year: 2012
File: MP3@320K/s
Time: 67:53
Size: 167,0 MB
Art: Front

(6:07)  1. Double Talk
(7:34)  2. Another Hair-Do
(6:27)  3. I Waited for You
(6:40)  4. Compulsion
(6:38)  5. One Bass Hit
(6:57)  6. Darn That Dream
(5:57)  7. Dizzy Atmosphere
(5:48)  8. Charlie's Wig
(7:12)  9. There'll Never Be Another You
(8:29) 10. Sid's Delight

This album is like the cotton of the advertisement, it does not deceive. It is the third volume that trombonist Vincent Gardner edits from his series 'The Good Book' and is dedicated to bebop. So white and bottled ...

Vincent R. Gardner was born in Chicago in 1972 and grew up in Hampton, Virginia. He comes from a family with strong musical roots, it was Mercer Ellington who hired him for his first professional job and from there he went to work with Wynton Marsalis and entered the famous Jazz at Lincoln Center Orchestra to which he still belongs.

'The Good Book' is a series of CDs that Gardner has dedicated to musicians or styles. The first was dedicated to the music of Frank Foster and Horace Silver, the second entitled 'Now' , was dedicated to the closest composers in time with songs by Marcus Roberts, Kenny Barron, Jeremy Pelt or Anthony Wonsley . Also added some composition of old acquaintances like Kurt Weil, Jimmy Heath or Victor Young . Now it is the turn of the bebop and seeing the wishes of Vincent Gardner we can imagine that he will not do anything wrong.

In this third chapter of the 'Good Book' we find perfect performances of songs like 'Double Talk' by Fast Navarro, 'Another Hair-Do' and 'Charlie´s Wig' by Charlie Parker, 'Compulsion' by Miles Davis or 'Dizzy Atmosfere 'by Gillespie among others. Ten portions of bebop cleanly played by Marsalis string musicians such as Ryan Kisor on trumpet, Peter Washington on double bass or Ali Jackson on drums, Gardner's companions on 'Lincoln', plus the addition of musicians such as Dick Oatts on sax or pianist Peter Zak .If you like bebop do not hesitate, this album will be your favorite of the year, if not, you will enjoy a nice portion of tall bebop. http://www.distritojazz.com/discos-jazz/vincent-gardner-the-book-of-bebop-the-good-book-chapter-three

Musicians: Vincent Gardner (trombone), Ryan Kisor (trumpet), Dick Oatts (alto sax), Peter Zak (piano), Peter Washington (double bass), Ali Jackson (drums).

The Good Book, Chapter Three

---

Archie Shepp, Jasper Van't Hof - Mama Rose

Styles: Saxophone and Piano Jazz
Year: 1985
File: MP3@320K/s
Time: 42:08
Size: 96,5 MB
Art: Front

( 9:17)  1. Contracts
(12:04)  2. Mama Rose
(11:47)  3. People
( 3:39)  4. Kalimba
( 5:19)  5. Recovered Residence

From the moment Jasper Van't Hof lays a finger on the synthesizer, unrolling a plush carpet of electronic music, it's clear that "Mama Rose" is not going to be your typical Archie Shepp album. The brash interplay often found on Shepp's small-group recordings has been replaced by a cozier relationship between keyboard and saxophone on this series of duets, recorded in concert in West Germany in 1982. The most moving performance is the title track, the only one of the album's five selections written by Shepp. A stirring recitation with an autobiographical slant, it's dedicated to Shepp's grandmother and "the struggle that transpired in the Sixties," and concludes with an impassioned soprano saxophone solo. Unfortunately, Van't Hof, a veteran of many European ensembles, isn't always up to Shepp's standards. He seems inordinately fond of minimalistic rhythmic effects and simulating rock-guitar runs. Still, the sheer variety of instruments at his disposal, both electronic and acoustic, allows him to anticipate and respond to Shepp's solos in infinitely colorful ways. The result is the exotic contours of "Kalimba" and the sweeping chromaticism of "Recovered Residence." Once Van't Hof establishes the mood, Shepp has no trouble making it meaningful and memorable. ARCHIE SHEPP & JASPER VAN'T HOF - "Mama Rose" (Steeplechase SCS1169). https://www.washingtonpost.com/archive/lifestyle/1984/02/17/a-mellow-archie-shepp/a5a6b40e-523f-4c9a-a245-4c01e19017ac/

Personnel: Archie Shepp - tenor saxophone, soprano saxophone, recitation;  Jasper van't Hof - piano, electric piano, organ, synthesizer, computer, kalimba

Mama Rose

---

George Benson - Walking To New Orleans

Styles: Guitar and Vocal
Year: 2019
File: MP3@320K/s
Time: 37:31
Size: 87,3 MB
Art: Front

(3:54)  1. Nadine (Is It You)
(3:49)  2. Ain't That A Shame
(3:39)  3. Rockin' Chair
(3:35)  4. You Can't Catch Me
(4:54)  5. Havana Moon
(3:45)  6. I Hear You Knocking
(3:19)  7. Memphis, Tennessee
(4:08)  8. Walking To New Orleans
(3:03)  9. Blue Monday
(3:22) 10. How You've Changed

Following up 2013's urbane Inspiration: A Tribute to Nat King Cole, George Benson returns with another tribute production, 2019's ebullient Walking to New Orleans: Remembering Chuck Berry and Fats Domino. Interestingly, while Benson is best known for his funky instrumental jazz of the '70s and '80s, and smooth R&B crooning of the '80s and '90s, both of these latter-career tributes find him tackling material from even older traditions. Where Inspiration was a lushly swinging standards album, Walking to New Orleans is all blues grit and old-school R&B swagger. Though primarily influenced by jazz artists like Wes Montgomery and Charlie Christian, Benson certainly owes at least a modicum of his soulful style to early rock legends Berry and Domino, both of whom helped shape the sound of modern rock and pop music. As Benson grew up in Pittsburgh, the album's title evokes a conceptual travelogue as he moves from the Midwest through Berry's home state of Missouri, all the way down South to Domino's hometown of New Orleans. To help achieve this rootsy trek, Benson worked with producer Kevin Shirley (John Hiatt, Aerosmith, Joe Bonamassa) at Nashville's Ocean Way Studios, where he also conscripted the assistance of pros like drummer/music director Greg Morrow, guitarist Rob McNelley, pianist Kevin McKendree, and bassist Alison Prestwood. The results are loose and straightforward as Benson (primarily showcased here as a singer) takes on Berry favorites like "Walking," "Nadine (Is It You?)," and "Memphis, Tennessee," as well as Domino hits like "Ain't That a Shame," "I Heart You Knocking," and "Blue Monday." While there are tasty Benson guitar licks peppered throughout, fans of his instrumental work may wish there was more of an emphasis on his improvisation. Nonetheless, these are earthy and robust productions that never stray too far afield of their rock & roll source. ~ Matt Collar https://www.allmusic.com/album/walking-to-new-orleans-remembering-chuck-berry-and-fats-domino-mw0003250486

Walking To New Orleans

---

Scott Bradlee's Postmodern Jukebox - Top Hat On Fleek

Styles: Vocal, Contemporary Jazz  
Year: 2015
File: MP3@320K/s
Time: 52:44
Size: 122,9 MB
Art: Front

(4:08)  1. Halo
(3:31)  2. Hey There Delilah
(3:23)  3. Hey Ya!
(3:11)  4. Give It Away
(3:53)  5. Thong Song
(4:24)  6. Viva La Vida
(4:03)  7. Sugar, We're Going Down
(3:33)  8. Welcome To The Jungle
(2:59)  9. Umbrella
(3:31) 10. Single Ladies (Put A Ring On It)
(4:33) 11. Someday
(4:41) 12. Say My Name
(3:30) 13. Where Are Ü Now
(3:18) 14. Mad World

Released just prior to the group's 2015 North American tour, "Top Hat On Fleek" eschews current chart toppers for songs that will be especially nostalgic to Millenials.  "Thong Song" and Fall Out Boy's "Sugar, We're Going Down" receive the brassy, '40s swing treatment, while "Halo," "Hey Ya!," and "Say My Name" connect '90s R&B to its Motown ancestry.  Joey Cook, fresh from her appearance on American Idol that name checked Postmodern Jukebox live on prime time television,contributes her unique style and multi-instrumental abilities to the mix, and Sara Niemietz establishes herself as one of PMJ's most exciting new vocalists with her vocal on "Hey Ya!" Must-Have Tracks: LaVance Colley's vocal on "Halo" is a masterpiece; the psychedelic '60s Austin Powers take on "Give It Away" shows more brilliance from Aubrey Logan; the classic folk song remake of "Hey There Delilah" evokes Bradlee's work on Bioshock Infinite. https://www.postmodernjukeboxshop.com/product/5QDDMJ014/top-hat-on-fleek-download

Top Hat On Fleek

---

Jan Daley - Broadway Memories

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 33:04
Size: 76,5 MB
Art: Front

(5:15)  1. The Impossible Dream
(3:51)  2. I've Grown Accustomed to His Face
(3:30)  3. Somewhere over the Rainbow
(4:22)  4. Losing My Mind
(3:08)  5. The Sound of Music
(4:15)  6. Will You Still Love Me Tomorrow
(4:24)  7. Send in the Clowns
(4:15)  8. You Raise Me Up

Adored for her singular magic for making what’s classic, contemporary again, Jan Daley is the most multi-talented and beautiful, “Best Kept Secret” in entertainment today. The triple-threat singer/songwriter, actress and playwright, connects to audiences worldwide with her authentic, personal presentations couched with just the right amount of razzle dazzle to remind you why she’s at center stage. 2017/2018 was breakout years for Miss Daley! Working with legendary Motown producer and writer, Michael B. Sutton, she released her first EP “When Sunny Gets Blue” that landed No.#1 on AOL Smooth Jazz Chart. Then followed it up with her “Way of a Woman” CD, penned by Jan herself, among 5 other songs. It rode the Billboard Jazz Charts for 22 weeks in the Top 5, and then rose to No.#1 & #2 on the Traditional Jazz and Jazz charts! She followed that up with her “Home For Christmas” CD, which was still riding the Billboards Top 10 Jazz Chart in January after hitting No.#4 in December, receiving rave reviews on Radio stations World Wide. Jan broke into television at an early age and has appeared on The Tonight Show, The Merv Griffin Show, The Dean Martin Show, The David Frost Show, UK’s B.B.C’s Morcumb and Wise Show, and ATV’s “Roy Castle Show.” As a regular on “Here Come The Stars” she worked with Legends of Show Business: Anthony Quinn, Jimmy Stewart, Mickey Rooney, George Burns, Jack Benny, Bob Hope, Louis Armstrong, & Glen Campbell to name a few. She has toured the world and opened for comedians such as Don Rickles, David Brenner and Rodney Dangerfield, but her most treasured highlight in her career was singing to 40,000 GIs in Vietnam and around the world, as the singing star of The Bob Hope Christmas Tour.

Jan has recorded six albums. Her Tribute to Bob Hope CD, “Where There’s Hope,” caught fire on 122 Stations across the country. Her recording of “Till Love Touches Your Life,” the Title song for the movie Madron, was nominated for an Academy Award! She also wrote & recorded Dance songs for a “House Music” project, called “Lady J,” that her longtime friend, Jimmy Webb, produced. Miss Daley’s acting career has kept her busy co-starring with such popular actors as Bruce Willis, Alec Baldwin, Cybil Shepherd, Stephanie Zimbalist, Peter Fonda, George Kennedy, Hugh O’Brian, and Tom Hanks in Forrest Gump, besides doing more than 150 “on camera” commercials.  2019 She shot a movie called “The Revenge of The Bride” and appeared on To Tell The Truth. Over the past years she has become a prolific and versatile composer with songs ranging from Country, Pop to Rhythm & Blues. You can hear her song, "Eat Your Heart Out," in a new movie entitled “THE RIDE” and you can exercise to some of Jan’s songs on the Kathy Smiths walking tapes. starred in a new Musical “Showgirl on 52nd Street” at the Thousand Oaks Performing Arts Center and in the West Coast Premiere of ‘Funny, You Don’t Look Like a Grandmother,” at the Santa Monica Playhouse. She also starred in the “The Branson Follies” and appeared with Peter Marshall & Mimi Hines in the show “And Then She Wrote.”Ms. Daley became a popular regular soloist on Dr. Robert Schuller’s internationally known TV program “Hour of Power,” and has a large Christian following with two inspirational albums, “His Light” and “Live.” wonderfully talented Ms. Daley has inspired reviewers to rave, “Her voice matches her looks, in every sense a Knock-out!”-Billboard, “Jan Daley is one of the most entertaining, best-balanced talent blends on the boards. The town’s buyers should start biding for her exclusive services… Beauty, sex appeal, and top talent make for powerful impact, a good bet for toplining all mediums”-Variety. “Jan is a truly talented musician, singer and lyricist. Her marvelous voice is selectively controlled, and her intonation is immaculate”- Jack Segal, “A rare combination. She is not a carbon copy of anyone!”~Hollywood Reporter  https://www.jandaley.com/biography-2

Broadway Memories

---

Roxy Coss - Quintet

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 45:13
Size: 104,9 MB
Art: Front

(5:20)  1. Don’t Cross the Coss
(5:59)  2. All or Nothing At All
(6:53)  3. Mr. President
(4:52)  4. Free to Be
(6:34)  5. You’re There
(5:39)  6. Enlightenment
(5:06)  7. Breaking Point
(4:45)  8. Females Are Strong As Hell

At times, saxophonist Roxy Coss can appear to be a whirlwind. Over the past decade, Coss has firmly established herself as a saxophonist, bandleader, composer, and activist. She has toured extensively, most notably with trumpeter Jeremy Pelt. She founded Women In Jazz Organization (WIJO) to combat misogyny in jazz culture, and create gender equity in terms of opportunity and community. With the release of her new album, Quintet (Outside In Music, 2019), she has now authored five recordings under her name. While Coss gained some international buzz from her albums Restless Idealism (Origin, 2016) and Chasing the Unicorn (Posi-Tone, 2017), her brilliant 2018 release The Future Is Female (Posi-Tone, 2018) highlighted her ability to express a social narrative through jazz music. Her finely-crafted compositions, rooted deeply in her experiences as a female jazz musician, were interpreted admirably by her long-term working quintet. Quintet is an attempt to re-record her compositions from those previous recordings and concurrent time performing them live with her quintet. Anyone sceptical about that concept will be convinced otherwise by one listen to this album's eight tracks.

While Coss places the emphasis on her fine quintet, and the intuitive vibe they have established among themselves, it is she herself who stands out as the reason to revisit these tunes in a live-in-the-studio setting. While so much of her time, in the past few years, has been spent composing, and forming the impressive work of WIJO, this record is more representative of her upward spiral as a saxophonist. While her articulation and deep resonant tone on tenor have always been of note, there is a noticeable improvement in her playing on both tenor and soprano. That liberation in itself has added depth and substance to the restatement of the tunes she has written over the past 10 years. The familiarity she has gained with fellow front-line band mate guitarist Alex Wintz now approaches the kind of chemistry normally thought of between two horn players. Drummer Jimmy Macbride, pianist Miki Yamanaka, and bassist Rick Rosato complete a quintet that has achieved a rare conversational impulse.

The opener "Don't Cross the Coss" is performed at a faster tempo, turning this rollicking, meandering melody line into modern bop classic. The tune exemplifies the stated purpose of the recording, to unleash the hounds, as one might say. Coss' tenor statement is angular, fast-paced and melodically rich all at once. Yamanaka's well placed, resonant comps on Rhodes act as departure points for a fine solo from Wintz before she launches into her own reharmonization. "Mr. President," Coss' march-like romp from The Future is Female, is given new light and energy, immersing the listener in a narrative heartbeat that throbs in every American's chest each day. Macbride explores the rhythmic variations of the composition masterfully, while Coss takes off on the record's most memorable solo. There is a notable vibrancy to the tune, compared to the original recording, a feeling that can only be gained through familiarity over time. This tune pays the most dividends on the album in terms of a reinterpretation of a tune being a positive progression forward creatively.  "Free to Be," one of the highlights of Chasing the Unicorn, features Coss on soprano. This interpretation does not stray much from the former in terms of energy or interpretation.

It does offer Coss playing at a higher level. In any case, the playing is spontaneous and free, as the instrumentalist shakes off the constraints of the composer.  "Enlightenment," an earlier entry in Coss' compositional timeline, presents a tender side of her playing, sounding much like a country ballad in Charlie Haden-like fashion. Rosato's deep underpinning holds up Coss' big-sounding tenor throughout this lovely piece. In the end, the reason to spend time with this album is the bandleader herself. It is her inventive shifts, melodic platitudes and marvelous technique that rise above the fray of this very capable quintet. While the pieces of Coss' collective characterization as an artist have become more coherent and familiar, it is the saxophonist that we need to take notice of. Yes, she is an impressive composer, and her social activism is an inspiration to anyone who seeks justice in America's most important art form. Quintet tells us simply that she is a fine saxophonist in the midst of a meteoric rise.~ Paul Rauch https://www.allaboutjazz.com/quintet-roxy-coss-outside-in-music-review-by-paul-rauch.php

Personnel: Roxy Coss- tenor & soprano saxophones; Miki Yamanaka- piano; Alex Wintz- guitar; Rick Rosato- bass; Jimmy Macbride- drums

Quintet

---

Yoko Miwa Trio - Keep Talkin'

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 73:58
Size: 170,7 MB
Art: Front

( 4:16)  1. Keep Talkin'
( 6:32)  2. In Walked Bud
( 6:25)  3. Secret Rendezvous
( 6:09)  4. Sunset Lane
( 6:25)  5. Boogie Stop Shuffle
( 7:52)  6. Golden Slumbers / You Never Give Me Your Money
( 6:06)  7. Tone Portrait
( 5:52)  8. Casa Pre-Fabricada
( 7:32)  9. Conversation
( 6:38) 10. If You're Blue
(10:08) 11. Sunshine Follows the Rain

Pianist Yoko Miwa was born in Japan, but she has set up shop in Boston, where she teaches at Berklee College of Music. She has also beginning in 2003 with Fadeless Flower (Polystar Records) previously released seven CDs. The superb Keep Talkin' brings that number of recorded offerings from Miwa to eight. The music of Keep Talkin' says that Miwa has fully embraced an American state of mind, beginning with the title tune, a Miwa original that sounds like something out of the hard-grooving Horace Silver songbook. Or add some horns and Art Blakey and the Jazz Messengers could come to mind. And apparent right out of the gate: Miwa and her trio play with joy. An especially spritely take on Thelonious Monk's "In Walked Bud" is up next, with a fierce momentum and an assured improvisational gusto from Miwa, aided and abetted by muscular and spicy rhythm from bassist Will Slater and drummer Scott Goulding.

The pianist is in fine form as a composer, offering up six of her own tunes, along with inspired covers of music from the previously mentioned Monk; from Charles Mingus ("Boogie Stop Shuffle"); Joni Mitchell ("Conversations"); and the Brazilian singer/composer guitarist Marcelo Camelo ("Casa Pre-Fabricada"). The album hits its highlight with the eight minute "Golden Slumbers/You Never Give Me Your Money" medley, from the Beatles songbook. The pairing of two of Paul McCartney's loveliest melodies works to perfection in this trio's hands, beginning with a stately and straight up reading on "Slumbers" that transitions into the dreamier "Money," leading into Miwa's searching and assertive improvisation, with the bass and drums cooking on high heat, pushing hard back into "Slumbers." 

The set closes with Miwa's "Sunshine Follows The Rain," with Brad Barrett sitting in on bass, for a pensive and melancholy, yet hopeful and gorgeous close out to a marvelous piano trio outing. ~ Dan McClenaghan https://www.allaboutjazz.com/keep-talkin-yoko-miwa-ocean-blue-tear-music-review-by-dan-mcclenaghan.php

Personnel: Yoko Miwa: piano; Will slater: acoustic bass; Scott Goulding: drums; Brad Barrett: acoustic bass (11).

Keep Talkin'

Zippyshare                  

---

Paolo Alderighi, Stephanie Trick - A Jazz Story: volume 2

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 89:25
Size: 206,5 MB
Art: Front

(5:09)  1. Penny Lane
(4:05)  2. Kid From Red Bank
(8:11)  3. Ellington Medley (Sophisticated Lady / Prelude to a Kiss / Just Squeeze Me)
(3:05)  4. The Trolley Song
(2:42)  5. Pilgrim's Score (Tannhäuser's Pilgrim's Chorus)
(6:25)  6. After You've Gone
(5:25)  7. Stradivarius
(4:08)  8. St. Louis Blues
(5:33)  9. Love Me Tender / Blue Suede Shoes
(4:56) 10. Runnin' Wild
(3:21) 11. Temptation Rag / Handful of Keys
(4:05) 12. Ya Gotta Try
(6:00) 13. The World Is Waiting for the Sunrise
(3:51) 14. I Wish I Were Twins
(4:12) 15. Boogie Woogie Valzer
(7:31) 16. Medley Leonard Bernstein
(4:51) 17. I Got Rhythm
(3:08) 18. Little Rock Getaway
(2:39) 19. Warm Worm Boogie

Stephanie Trick “has come to practically dominate the stride piano field,” notes reviewer Jack Rummel. Harlem stride piano, which developed in the 1920s and ’30s, is an orchestral style of two-handed piano playing that not only swings, but is also technically demanding and exciting to watch. Louis Mazetier, a respected interpreter of this genre, writes in the Bulletin of the Hot Club of France that she has “won the esteem of specialists in the genre with wonderful interpretations of stride classics, James P. Johnson, Fats Waller, and Don Lambert (which she learned by ear). She plays these pieces with a punch that is matched by her precise interpretation.”A classically trained pianist, Stephanie began playing piano at the age of five. During the time between her beginning years and high school, her piano teacher exposed her to early jazz, and the syncopation and swinging rhythm piqued her interest. While in college, it became clear to Stephanie that she wanted to pursue stride and classic jazz styles professionally.

With a swinging approach inspired by second-generation stride pianists such as Dick Hyman, Ralph Sutton, and Dick Wellstood (as well as the original Harlem ticklers, James P. Johnson, Willie “The Lion” Smith, and Fats Waller), and one that includes boogie woogie and blues from the late ‘20s, Stephanie was the 2012 recipient of the prestigious Kobe-Breda Jazz Friendship Award, and has performed in many parts of the United States and Europe in a variety of venues, including the Teatro Dal Verme in Milan, Italy, the KIG Dixieland Festival in Dresden, Germany, the Arbors Records Invitational Jazz Party, the Rochester International Jazz Festival, the Gilmore Keyboard Festival, and the Sacramento Music Festival. In 2008, 2010, and 2014, she was invited to perform at the international Stride & Swing Piano Summit in Boswil, Switzerland. A serious student, dedicated to classic jazz and the stride piano tradition, she has played with a number of celebrated musicians, including Dick Hyman, Phil Flanigan, Rossano Sportiello, Allan Vaché, Louis Mazetier, Nicki Parrott, and Danny Coots. 

Graduating from college with a Bachelor of Arts in Music, she was inducted into the Phi Beta Kappa academic honor society at the University of Chicago.Stephanie frequently performs with her husband, acclaimed pianist Paolo Alderighi, making fresh arrangements of songs from the Swing Era in a four-hands piano duo, and they currently have four albums together (see www.paoloandstephanie.com). In 2014, they played for the Prince of Wales and the Duchess of Cornwall at the Edinburgh Jazz & Blues Festival. Stephanie also enjoys accompanying Grammy-nominated lyricist and vocalist Lorraine Feather in a show that features the music of James P. Johnson and other stride piano composers, set to original lyrics by Feather (see www.nouveaustride.com). Stephanie has recorded eleven albums and one DVD. Her solo “Live” CD was awarded the “New Talent Prize 2011” by the Hot Club of France. (CD track listings, video clips, ordering information, and more may be found on her website at www.stephanietrick.com.) http://stephanietrick.com/biography.htm

“One of the nicest gifts to arrive on the jazz piano scene in recent times, and we couldn’t be more delighted to welcome her.”~ Dick Hyman

A Jazz Story: volume 2

---

Alan Broadbent - To the Evening Star

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 57:04
Size: 132,0 MB
Art: Front

( 7:21)  1. As Morning Breaks (The Prize Song)
(11:50) 2. Amfortas 'Lament (Song of the Flower Maidens)
( 6:13)  3. Song to the Evening Star
( 2:40)  4. Bud Meets Carl
( 5:03)  5. Opus Blue
( 3:48)  6. Full Moon and Empty Arms
( 3:24)  7. Strangers in Paradise
( 4:10)  8. Baubles, Bangles and Beads
( 4:32)  9. Since That Time
( 3:03) 10. Candide (Indeed)
( 4:56) 11. Brother Ralf

Alan Broadbent was born in Auckland, New Zealand and in 1966, at the age of 19, received a Downbeat Magazine scholarship to attend Berklee College of Music in Boston. In 1969 he was asked to join Woody Herman's band as his pianist and arranger for 3 years. In 1972 he settled in Los Angeles, beginning a musical relationship with the legendary singer Irene Kral (no relation to Diana Krall). Soon he was also invited into the studio scene as a pianist for the great Nelson Riddle, David Rose and Johnny Mandel. In the early 90s he was asked to be a part of Natalie Cole's famous “Unforgettable” cd, at which time he toured as her pianist and, a little while later, as her conductor. At this time he wrote an orchestral arrangement for her second video with her dad, “When I Fall In Love”, which won him his first Grammy for “best orchestral arrangement accompanying a vocal”.

Shortly after, he became a member of Charlie Haden's Quartet West, touring the festivals of Europe, UK and the USA. It was while with this group that he won his second Grammy, an orchestral accompaniment written for Shirley Horn of Leonard Bernstein's “Lonely Town”. As a soloist and with his jazz trio, Broadbent has been nominated for Grammys twice for best instrumental performance, in the company of such artists as Herbie Hancock, Sonny Rollins and Keith Jarrett. In 2007 he was awarded the New Zealand Order of Merit, an honor he holds in high regard. Broadbent is Diana Krall's conductor for her occasional orchestra concerts and is the conductor on her “Live in Paris” DVD. Recently he has been the arranger on Glenn Frey's cd with strings, “After Hours”, and wrote six string arrangements for Sir Paul McCartney's “Kisses On The Bottom” with the London Symphony. He has just returned from solo piano concerts in the UK, Poland and France. It has been his lifelong goal, through his orchestral arrangements and jazz improvisations, to discover, in popular music and standard songs, deeper feelings of communication and love. https://musicians.allaboutjazz.com/alanbroadbent

To the Evening Star

---

Steve Khan - Patchwork

Styles: Guitar Jazz
Year: 2019
File: MP3@320K/s
Time: 80:37
Size: 186,4 MB
Art: Front

( 8:08)  1. Epistrophy
( 7:45)  2. C. & D.
( 7:27)  3. Bouquet
( 7:42)  4. Naan Issue
(10:20)  5. A Shade of Jade
( 7:48)  6. Too Late Now
( 6:14)  7. T. & T.
(15:36)  8. The Journey Home
( 6:53)  9. Huracan Clare
( 2:40) 10. Nature Boy - Bonus Track

Amongst the many myths out there about music-making especially in jazz, where the improvisation quotient is often so high is that composing may, indeed, be work, but doesn't require the kind of relentless attention to detail that far more truthfully defines how many artists write and arrange their music. These days, one need only look to music by artists including Pat Metheny, Antonio Sanchez and Christian Scott aTunde Adjuah to find music conceived with intimate and painstaking detail while, at the same time, possessed of plenty of interpretive and improvisational freedom. But for a real window into just how much consideration, time and sweat goes into conceiving a single tune (let alone an entire album), just take a look at the news section of Steve Khan's website where, in addition to other regular (and enlightening) bits and bobs, the guitarist regularly posts detailed notes about the conception and execution of his recordings. Case in point: Khan's notes about Patchwork, the guitarist's fourth installment in a most decided and inimitable exploration of the nexus point where jazz guitar and Latin/Afro Cuban rhythms meet. His website notes reveal, with extraordinary honesty, everything from crises of confidence and moments of grand inspiration to the cornerstones of his ever-imaginative arrangements and much, much more.  Those who've followed Khan's career over the decades know that he's been moving towards this truly unique intersection point for a long time. The Latin influences are crystal clear on earlier Tone Center albums of the new millennium, like 2007's Borrowed Time and 2005's The Green Field.

Still, the guitarist's love affair with all things Latin actually dates further back still, to albums like Public Access (GRP, 1989) (recently collected, almost in its entirety, on BGO Records' 2018 double-disc set Public Access / Headline / Crossings). And while a little less overtly so, there are still plenty of hints of what's to come across Khan's three early '80s Eyewitness band albums, recently reissued, again by BGO, on its 2016 two- CD set, The Eyewitness Trilogy, which collects Eyewitness (Antilles, 1981), Modern Time's (Trio Records, 1982) and Casa Loco (Antilles, 1984). But beyond Khan's gradual, relatively late in life emergence as the preeminent guitarist in Latin jazz, there's another thread that connects every entry in what has, with Patchwork, now expanded to a quadrilogy. Literally every album, from 2011's Parting Shot through 2014's Subtext to 2017's Backlog seemed, at the time, like it would be Khan's last. And yet, from fearing loss of inspiration to physical issues that might have brought his days as a guitarist to an end (but, thankfully, have not), with each album since Parting Shot Khan has not only continued to hone his distinctive marriage of the many facets and touchstones of his musical career into a Latin-informed musical context; he's also managed to raise his game significantly with each successive release.  After a slight personnel detour with Backlog, where Khan's longtime first-call drummer Dennis Chambers was replaced by the equally talented but alternately focused Mark Walker (Oregon, Caribbean Jazz Project, Lyle Mays), the veteran Brecker Brothers, John Scofield, Steely Dan and John McLaughlin stick man is back, once again teaming seamlessly with percussionists Marc Quinones and Bobby Allende, along with Ruben Rodriguez, who has been Khan's recent bassist of choice.

As irrefutably fine as the lineup on Backlog was, it's great to have Chambers back in the fold, giving Patchwork the same kind of effortless energy and percussion simpatico as Parting Shot and, in particular, Subtext, where longtime Khan contrabassist Anthony Jackson was replaced, permanently it would seem, by Rodriguez, who first appeared with Khan as a guest on three of Borrowed Time's nine tracks. Perhaps the biggest shift, personnel-wise, with Patchwork is the far greater participation of keyboardist, composer and arranger Rob Mounsey. A longtime Khan collaborator with a résumé that includes, amongst many others, Steely Dan, James Taylor and Paul Simon, not to mention his 1987 Denon/Passport duo recording with Khan, Local Color, Mounsey has contributed, increasingly, to all of the guitarist's albums beginning with Borrowed Time. But this time, rather than receiving a "guest musician" credit, Mounsey receives, for the first time, a full band member listing. Between his astute keyboard parts, compelling orchestrations and, on two tracks, full orchestral arrangements, Mounsey's contributions to Patchwork's warm sonics and harmonic sophistications simply cannot be understated. Since Parting Shot, Khan has gradually moved away from his own writing, with that album's seven original compositions/co- compositions reducing to Subtext's three and Backlog's none. Khan's focus may, indeed, have leaned further away from original composition, moving more decidedly towards imaginative and innovative Latin-inflected rearrangements (both harmonically and, perhaps most importantly, rhythmically) of music written by artists including, most prominently, Thelonious Monk, Ornette Coleman and Bobby Hutcherson. But the guitarist's interpretive skills are so strong, so vivid and so inimitable, that even an evergreen tune like Monk's "Epistrophy" feels as much Khan's as it does the original (and similarly unparalleled) composer's. Khan's connection to Monk dates back to his extraordinary Evidence (Arista Novus, 1980), a solo album that, with multiple layers of overdubbed guitar parts (and, on one track, percussion) and creative arrangements of music by artists including Shorter, Lee Morgan, Horace Silver, Joe Zawinul and Randy Brecker, was the first signal that Khan's fusion leanings were on the wane, and that the guitarist's approach to both his instrument and harmony were in the midst of a major paradigm shift that would become clearer still with the release of the quartet-driven Eyewitness the following year. The second side of Evidence is devoted to a medley that, clocking in at over eighteen minutes and seamlessly moving through nine Monk tunes, is the highlight of an album that represents, truly, a series of watershed moments for the guitarist. More... https://www.allaboutjazz.com/patchwork-steve-khan-tone-center-review-by-john-kelman.php

Personnel: Steve Khan: guitar, voice (8, 9); Rubén Rodríguez: baby bass, electric bass; Dennis Chambers: drums; Marc Quiñones: timbal, bongó, percussion; Bobby Allende: conga; Rob Mounsey: keyboards, orchestrations, orchestral arrangements (3, 6): Randy Brecker: flügelhorn (5); Bob Mintzer: tenor saxophone (2); Tatiana Parra: voice (8, 10); Jorge Estrada: keyboards and arranger (9).

Patchwork

---