Saturday, May 16, 2020

Dee Dee Bridgewater - This Is New

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 61:25
Size: 140,8 MB
Art: Front

( 3:47)  1. This Is New
( 5:36)  2. Lost In The Stars
( 6:31)  3. Bilbao Song
( 4:56)  4. My Ship
( 5:38)  5. Alabama Song
( 4:54)  6. The Saga Of Jenny
( 3:54)  7. Youkali
( 5:50)  8. I'm A Stranger Here Myself
( 4:17)  9. Speak Low
( 4:40) 10. September Song
(11:15) 11. Here I'll Say

JazzSet host Dee Dee Bridgewater has a new album: This is New, a collection of songs by German composer Kurt Weill. The CD, released in Europe at the end of May 2002, is now out in the US and worldwide! Dee Dee's interest in Weill dates to her performance at a centennial tribute concert in Poland in March of 2000. https://www.npr.org/programs/jazzset/ddcd.html

Personnel: Dee Dee Bridgewater - Vocals; André Ceccarelli - drums; Ira Coleman - double bass; Thierry Eliez - Hammond organ, piano; Minino Garay - percussion; Antonio Hart - flute, alto saxophone; Daniele Scannapieco; Denis Leloup - trombone; Juan José Mosalini - bandoneon; Louis Winsberg - guitar; Bernie Arcadio - String Arrangements; Cecil Bridgewater - Arranger, conductor

This Is New

Friday, May 15, 2020

Kenny Barron - Live At Bradley's

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 65:51
Size: 151,5 MB
Art: Front

(15:29)  1. Everybody Loves My Baby But My Baby Don't Love Nobody But Me
(11:26)  2. Solar
( 9:40)  3. Blue Moon
(13:23)  4. Alter Ego
(15:51)  5. Canadian Sunset

Kenny Barron is most famous for his role as leader of the trio, which backs the majority of the 'big names' in jazz, at one time or another. He is so good at it, that he could even get along well with Stan Getz, who was notoriously critical of everyone he played with. There are not too many pianists who are both sympathetic to the featured artist in an accompanying role and outstanding soloists themselves; Oscar Peterson is one, Kenny Barron another. Kenny is also a remarkable jazz educator, he has taught many of today's younger musicians. Like Peterson he combines excellent technique with perfect taste and never fails to swing. The support role on this occasion is played by Ray Drummond who plays in just the right way for this sort of trio, always sensitive to the soloist and with a fine tone on the instrument. Drummer Ben Riley confirms something I have felt for a long time, you don't have to make a lot of noise to swing!

There are five tracks; some 65 minutes of music, each track is long enough for us to here Kenny's creative improvisations on each sequence. 'Every body loves my baby' was a favourite tune of Fats Waller, but Kenny Barron turns it into something new and exciting. 'Solar' is a Miles Davies composition and the treatment is be-bop piano at it's very best. 'Blue Moon' the Rogers and Hart standard, is an old tune we have all played many times, but once again the treatment it receives here revives it. Even the sadness of the lyric is reflected in parts of the performance, even though there is no vocal! 'Alter Ego' is the composition of another jazz pianist James Williams and the performance reflects it's romantic theme. 'Canadian Sunset' is a very well known tune, but it has not occurred on any other CD in my considerable collection. This interpretation makes me feel it should be heard in a jazz setting more often, or is it that Kenny Barron has a knack of making every tune he plays sound like a great jazz vehicle? The record was recorded at Bradley's, which once upon a time was a famous Piano Room in New York, where everyone on the New York jazz scene congregated, before and after work. If Kenny Barron was there often I'm not surprised! 
http://www.musicweb-international.com/jazz/2001/Feb01/barron.htm

Personnel: Kenny Barron - Piano,  Ray Drummond - Double Bass,  Ben Riley - Drums

Live At Bradley's

Thursday, May 14, 2020

Lisa Loeb - The Very Best Of Lisa Loeb

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 60:05
Size: 139,1 MB
Art: Front

(3:43)  1. I Do
(3:00)  2. Underdog
(4:07)  3. Falling In Love
(2:45)  4. Let's Forget About It
(3:49)  5. How
(3:38)  6. Fools Like Me
(3:27)  7. Bring Me Up
(3:13)  8. Single Me Out (Theme From #1 Single)
(3:23)  9. Furious Rose
(3:03) 10. Stay
(2:58) 11. Truthfully
(2:53) 12. Wishing Heart
(2:38) 13. Sandalwood
(3:08) 14. Waiting For Wednesday
(3:29) 15. All Day
(3:19) 16. Taffy
(3:53) 17. Do You Sleep?
(3:30) 18. What Am I Supposed To Say?

Lisa Loeb had only one big hit and it was with her first single "Stay (I Missed You)" a tune that took her from obscurity to minor celebrity when it was included on the soundtrack of Reality Bites. Although she never had another smash hit, "Stay" was hardly the end of her career: she continued to release records every few years, racking up five additional chartings singles that usually appeared in the lower reaches of Billboard's Hot 100, and a bit higher on their Adult Top 40 charts: 1995's "Do You Sleep?," 1996's "Waiting for Wednesday," 1997's "I Do," 1998's "Let's Forget About It," and 2002's "Underdog." All six of those charting singles, along with album tracks and significant soundtrack contributions (like "How," which wound up on both the Twister soundtrack, where it was originally intended, and on Jack Frost the Michael Keaton classic about a jazz musician who is reincarnated as a giant talking snowman so he can set things right with his son), on 2006's The Very Best of Lisa Loeb, which also includes the brand new "Single Me Out," the theme song from her '06 reality show #1 Single. While Loeb never strayed very far from the sweet, gentle template she laid down with "Stay (I Missed You)," she always was friendly, melodic, and rather ingratiating. These qualities are better heard on The Very Best of Lisa Loeb than on her proper albums, which can tend to be a little samey and sugary. Those tendencies aren't completely absent here, but distilled to her best songs, Loeb is an endearing folk-pop singer/songwriter, as this enjoyable collection proves. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/the-very-best-of-mw0000471655

The Very Best Of Lisa Loeb

Kenny Burrell, Art Blakey - On View At The Five Spot Cafe

Styles: Guitar Jazz
Year: 1960
File: MP3@320K/s
Time: 63:42
Size: 146,7 MB
Art: Front

( 9:48)  1. Birk's Works
(10:00)  2. Lady Be Good
( 8:23)  3. Lover Man
( 9:52)  4. Swingin'
(11:43)  5. Hallelujah
( 4:35)  6. Beef Stew Blues
( 5:29)  7. If You Could See Me Now
( 3:48)  8. 36-23-36

Kenny Burrell and Art Blakey played together infrequently during their careers, so this meeting of jazz minds is a welcome occasion. On View is a rather short set issued from club dates at the Five Spot Cafe in New York City. No matter the configuration, this is come-what-may jazz that has no pressurized content, and a relaxed atmosphere allowing the music to organically breathe and come alive naturally. This feeling comes to the fore right away on Dizzy Gillespie's "Birk's Works," a rather polite version as Burrell tosses out his discriminating versions of the melody. Incorrectly identified as "Lady Be Good," this is actually an adaptation reworked by Thelonious Monk titled "Hackensack." It's a fast jam kicked off by a signature Blakey solo, where the band flies by the seat of their pants, and good feelings are fostered through the simple and solid tenor work of Tina Brooks. Though not penned by Duke Ellington, the elegance he displayed and Burrell revered is quite evident during the ballad "Lover Man." Randy Weston's "Beef Stew Blues," Ray Brown's obscure "Swingin'," and the classic Tadd Dameron ballad "If You Could See Me Now" further illuminate how good this group could have been had they turned into a working unit. As the dawn of the '60s saw new breed jazz fomenting, Burrell, Blakey, and company proved you could still swing and remain melodic while creating new sonic vistas.~ Michael G.Nastos https://www.allmusic.com/album/on-view-at-the-five-spot-cafe-mw0000191601

Personnel: Kenny Burrell - guitar; Tina Brooks - tenor saxophone (tracks 1–2, 4); Bobby Timmons - piano (tracks 1-4); Roland Hanna - piano (tracks 5-8); Ben Tucker - bass; Art Blakey - drums

On View At The Five Spot Cafe

Wednesday, May 13, 2020

Antonio Carlos Jobim - The Story Of... Antonio Carlos

Styles: Bossa Nova, Brazilian Jazz
Year: 2018
File: MP3@320K/s
Time: 57:48
Size: 133,3 MB
Art: Front

(2:06)  1. Triste
(3:21)  2. Manhã de Carnaval
(2:07)  3. A Felicidade
(2:42)  4. The Girl From Ipanema
(3:09)  5. Antigua
(4:28)  6. Captain Bacardi
(2:46)  7. Desafinado
(2:23)  8. Jazz Samba (So Danco Samba)
(2:26)  9. Corcovado
(2:44) 10. Lamento
(2:35) 11. Dindi
(2:37) 12. Dreamer
(3:17) 13. Meditation
(4:19) 14. Chega de Saudade
(2:19) 15. Look To The Sky
(3:37) 16. O Morro
(3:23) 17. Berimbau
(2:17) 18. One Note Samba
(2:28) 19. Hurry Up And Love Me (Preciso de Voce)
(2:36) 20. Favela

It Has that Antonio Carlos Brasileiro de Almeida Jobim was the George Gershwin of Brazil, and there is a solid ring of truth in that, for both contributed large bodies of songs to the jazz repertoire, both expanded their reach into the concert hall, and both tend to symbolize their countries in the eyes of the rest of the world. With their gracefully urbane, sensuously aching melodies and harmonies, Jobim's songs gave jazz musicians in the 1960s a quiet, strikingly original alternative to their traditional Tin Pan Alley source. Jobim's roots were always planted firmly in jazz; the records of Gerry Mulligan, Chet Baker, Barney Kessel, and other West Coast jazz musicians made an enormous impact upon him in the 1950s. But he also claimed that the French impressionist composer Claude Debussy had a decisive influence upon his harmonies, and the Brazilian samba gave his music a uniquely exotic rhythmic underpinning. As a pianist, he usually kept things simple and melodically to the point with a touch that reminds some of Claude Thornhill, but some of his records show that he could also stretch out when given room. 

His guitar was limited mostly to gentle strumming of the syncopated rhythms, and he sang in a modest, slightly hoarse yet often hauntingly emotional manner. Born in the Tijuca neighborhood of Rio, Jobim originally was headed for a career as an architect. Yet by the time he turned 20, the lure of music was too powerful, and so he started playing piano in nightclubs and working in recording studios. He made his first record in 1954 backing singer Bill Farr as the leader of "Tom and His Band" (Tom was Jobim's lifelong nickname), and he first found fame in 1956 when he teamed up with poet Vinícius de Moraes to provide part of the score for a play called Orfeo do Carnaval (later made into the famous film Black Orpheus). In 1958, the then-unknown Brazilian singer João Gilberto recorded some of Jobim's songs, which had the effect of launching the phenomenon known as bossa nova. Jobim's breakthrough outside Brazil occurred in 1962 when Stan Getz and Charlie Byrd scored a surprise hit with his tune "Desafinado"and later that year, he and several other Brazilian musicians were invited to participate in a Carnegie Hall showcase. Fueled by Jobim's songs, the bossa nova became an international fad, and jazz musicians jumped on the bandwagon, recording album after album of bossa novas until the trend ran out of commercial steam in the late '60s. 

Jobim himself preferred the recording studios to touring, making several lovely albums of his music as a pianist, guitarist, and singer for Verve, Warner Bros., Discovery, A&M, CTI, and MCA in the '60s and '70s, and Verve again in the last decade of his life. Early on, he started collaborating with arranger/conductor Claus Ogerman, whose subtle, caressing, occasionally moody charts gave his records a haunting ambience. When Brazilian music was in its American eclipse after the '60s, a victim of overexposure and the burgeoning rock revolution, Jobim retreated more into the background, concentrating much energy upon film and TV scores in Brazil. But by 1985, as the idea of world music and a second Brazilian wave gathered steam, Jobim started touring again with a group containing his second wife Ana Lontra, his son Paulo, daughter Elizabeth, and various musician friends. At the time of his final concerts in Brazil in September 1993 and at Carnegie Hall in April 1994 (both available on Verve), Jobim at last was receiving the universal recognition he deserved, and a plethora of tribute albums and concerts followed in the wake of his sudden death in New York City of heart failure. Jobim's reputation as one of the great songwriters of the century is now secure, nowhere more so than on the jazz scene, where every other set seems to contain at least one bossa nova. ~ Richard S.Ginell  https://www.allmusic.com/artist/ant%C3%B4nio-carlos-jobim-mn0000781837/biography

The Story Of... Antonio Carlos Jobim

Lisa Loeb - Firecracker

Styles: Vocal
Year: 1997
File: MP3@320K/s
Time: 42:12
Size: 98,2 MB
Art: Front

(3:43)  1. I Do
(4:07)  2. Falling In Love
(2:58)  3. Truthfully
(2:45)  4. Let's Forget About It
(3:49)  5. How
(3:23)  6. Furious Rose
(2:53)  7. Wishing Heart
(3:38)  8. Dance With The Angels
(3:01)  9. Jake
(3:30) 10. This
(2:37) 11. Split Second
(5:43) 12. Firecracker

Lisa Loeb's debut, Tails, failed to deliver on the promise of her first single, "Stay," drifting into generic alt-pop territory when it should have played up her lilting, melodic soft side. Firecracker, her second record, suffers from similar flaws, although in many ways it's a better album. For starters, it's considerably more eclectic, with a varied, textured production ranging from jangly folk-pop and pounding rockers to lush pop. However, variety isn't always the spice of life instead of sounding accomplished, Loeb simply sounds unfocused. Still, there are a number of strong moments on the record that confirm Loeb is a talented melodicist when pushed but if she wants to make a great record, she simply needs a little more direction. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/firecracker-mw0000596112

Firecracker

Tuesday, May 12, 2020

Lisa Ono - Cheek To Cheek

Styles: Vocal And Guitar Jazz 
Year: 2009
File: MP3@320K/s
Time: 45:21
Size: 104,4 MB
Art: Front

(3:11)  1. Take The A Train
(3:06)  2. Baubles Bangles And Beads
(4:00)  3. Cheek To Cheek
(3:02)  4. Satin Doll
(3:46)  5. Fly Me To The Moon
(3:29)  6. I Got Rhythm
(5:51)  7. Caravan
(3:35)  8. All Of Me
(3:44)  9. Hello Dolly
(4:01) 10. The More I See You
(3:06) 11. It Don't Mean A Thing
(4:23) 12. Caravan (Instrumental)

Lisa Ono is one of the best Japanese interpreters of contemporary bossa nova. A singer, violonista (acoustic guitar player), and songwriter, she has had her albums released internationally. To date, she has recorded 12 albums (Catupiry, 1989; Nanã, 1990; Menina, 1991; Serenata Carioca, 1992; Namorada, 1993; Esperança, 1994; Minha Saudade, 1995; Rio Bossa, 1996; Essência, 1997; Bossa Carioca, 1998; Dream, 1999; and Pretty World, 2000) with special appearances by top artists like Tom Jobim, Sivuca, Paulo Moura, Danilo Caymmi, and Toots Thielemans. Having lived in Brazil until she was ten, she took advantage of her father's connections he was a nightclub owner in the city of São Paulo and was Baden Powell's manager. Moving back to Japan, he opened the Saci Pererê nightclub, where Lisa Ono began to perform the Brazilian repertory, especially samba and bossa nova. She also founded the label Nanã, which promotes Brazilian music in Japan. ~ Alvaro Neder https://www.allmusic.com/artist/lisa-ono-mn0000413875/biography

Personnel: Lisa Ono - vocals, guitar

Cheek To Cheek

Paul Asaro, Neville Dickie - Just You, Just Me

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 77:03
Size: 178,5 MB
Art: Front

(3:57)  1. Just You, Just Me
(5:11)  2. Wolverine Blues
(3:35)  3. Alligator Crawl
(4:29)  4. Smashing Thirds
(3:20)  5. Anitra's Dance
(5:18)  6. Tishomingo Blues
(4:12)  7. High Society
(4:39)  8. Finger Buster
(3:46)  9. All by Myself
(5:05) 10. Blueberry Rhyme
(3:51) 11. Kansas City Stomp
(4:40) 12. After You've Gone
(4:12) 13. If I Could Be with You (One Hour To-Night)
(5:02) 14. Wrap Your Troubles in Dreams (And Dream Your Troubles Away)
(2:45) 15. I Wish I Were Twins (So I Could Love You Twice as Much)
(4:00) 16. Doin' the New Low-Down
(3:44) 17. Squeeze Me
(5:08) 18. Tiger Rag

Paul Asaro is known as one of the finest of a select group of pianists who have mastered the demanding two-handed jazz and ragtime piano styles from the first half of the 20th century. The Stride piano of James P. Johnson, Willie “The Lion” Smith and Fats Waller, the New Orleans styles of Jelly Roll Morton, the ragtime of Scott Joplin and Eubie Blake, stomps, boogie woogie and swing, Asaro plays them all with a fine ear for detail, blending the elements into his own personal style. Indeed, most of Paul’s earliest influences were more recent pianists such as Dick Wellstood, Ralph Sutton and Butch Thompson, musicians who worked within these traditions while at the same time developing their own unique approach..

In a career now spanning two decades, Paul has performed at theaters and clubs worldwide and has appeared at such major venues as the Chicago Jazz Festival, Ravinia, the Toronto Jazz Festival, the Festival International de Jazz de Montreal and the Ascona Jazz Festival in Switzerland. He has performed onstage with such musical legends and luminaries as Leon Redbone, Steve Allen, Marian McPartland, Butch Thompson, Jeff Healy and Vince Giordano. He was the featured pianist in the Obie award winning Broadway production of “Jelly Roll! The Music and the Man”, performing solo and accompanying the show’s creator and star Vernel Bagneris. Asaro also played for the national tour and numerous regional theater productions of “Jelly Roll!” including a run in Philadelphia resulting in a Barrymore Award nomination for best supporting actor. Asaro has had long runs as house pianist aboard the legendary New Orleans steamboat “Delta Queen” and in Chicago with Jim Beebe’s band featuring former Louis Armstrong All-Star Barrett Deems and the legendary tenor man Franz Jackson.

Currently Asaro tours the country as accompanist to Leon Redbone, playing concerts as a duo as well as appearing on NPR’s “A Prairie Home Companion” and “Mountain Stage” and recording for Leon’s latest studio album. Paul’s piano can be heard on two recent albums by singer and guitarist Loudon Wainwright III including the 2010 Grammy Award winning “Charlie Poole Project”. Recent appearances include solo and two-piano duets with Butch Thompson and Jon Weber for the Twin Cities Jazz Festival’s “Stride Piano Night”, an extended solo tour for Allied Concert Services, and onscreen with Vince Giordano’s band in the HBO series “Boardwalk Empire”. When not on the road Paul holds down the piano chair in the seven piece jazz band “The Fat Babies”, performing weekly at the long established Chicago jazz club The Green Mill and at the Honky Tonk BBQ. The group plays a wide variety of jazz from the 1920s through the 1940s and has released two albums to critical acclaim with their Delmark Records release “Chicago Hot” being named one of the best jazz album releases of 2012 by the Chicago Tribune. https://www.jazzmusicarchives.com/artist/paul-asaro



Neville Dickie is one England's foremost stride and boogie-woogie pianists. A regular performer on BBC Radio, Dickie has made hundreds of appearances as a soloist or with his trio. One of the few British jazz pianists to score with a hit single "The Robins Return" in 1969  Dickie has continued to be embraced by British jazz enthusiasts. His 1975 album, Back to Boogie, sold more than 100,000 copies. A native of England's County Durham, Dickie spent years playing piano in working men's clubs. After serving a stint in the Royal Air Force, he relocated to London, where he continued to plow his field in the city's pubs. Auditioned by the BBC, Dickie attracted the attention of Doreen Davies, the head of BBC radio 2. With Davies' support, he became one of BBC Radio's leading artists. Dickie remains active, performing in the London area with his trio and with a band, the Rhythmakers, that he formed in 1985. ~ Craig Harris https://www.allmusic.com/artist/neville-dickie-mn0000329656/biography


Monday, May 11, 2020

Benny Carter - Skyline Drive and Towards

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 72:53
Size: 170,2 MB
Art: Front

(5:04)  1. Doozy
(4:35)  2. I'm The Caring Kind
(7:03)  3. Easy Money
(4:21)  4. Gorgeous! Georg!
(4:34)  5. Stompin' At The Savoy
(6:05)  6. I Want To Be Happy
(6:00)  7. Love For Sale
(8:10)  8. When Lights Are Low
(3:29)  9. I'd Love It
(3:10) 10. I Never Knew
(3:07) 11. Symphony In Riffs
(2:47) 12. Some Of These Days
(2:48) 13. Gloaming
(2:50) 14. My Buddy
(3:04) 15. I'm Coming Virginia
(2:50) 16. I'm In The Mood For Swing
(2:47) 17. Sugar

The bulk of this CD reissues a brilliant 1982 session featuring altoist Benny Carter with the tenors of Plas Johnson and Jerome Richardson, plus a variety of top European mainstream players including altoist Arne Domnerus, clarinetist Putte Wickman, trumpeter Jan Allen, and pianist Bengt Hallberg. Some of the music is reminiscent of Carter's famous European four-saxophone session of 1937, and these renditions of "Doozy" and "Easy Money" are quite definitive and exciting. In addition to the eight original selections on the LP, eight other numbers from the 1929-1939 period have been added to the set to double its length. 

These include examples of Carter's work on both alto and trumpet with McKinney's Cotton Pickers, the Chocolate Dandies, and Lionel Hampton in Europe in the 1930s, and with Teddy Wilson/Billie Holiday ("Sugar"). All in all, this CD acts both as a reminder of how strong Carter's 1982 date was, when he was a mere 75, and as a retrospective of his musical legacy. ~ Scott Yanow https://www.allmusic.com/album/skyline-drive-and-towards-mw0001011137

Skyline Drive and Towards

Paul Asaro, The Fat Babies - What A Heavenly Dream: The Fats Waller Rhythm Project

Styles:  Jazz
Year: 2012
File: MP3@320K/s
Time: 54:27
Size: 125,4 MB
Art: Front

(4:27)  1. Truckin
(3:56)  2. You're My Dish
(3:29)  3. Abdullah
(3:16)  4. Got No Time
(3:55)  5. Baby Brown
(3:29)  6. Your Feet's Too Big
(5:01)  7. Lonesome Me
(3:40)  8. I Wish I Were Twins
(4:11)  9. Sweet and Slow
(3:12) 10. I'll Dance at Your Wedding
(4:14) 11. Blue, Turning Grey Over You
(3:24) 12. Don't Let It Bother You
(2:59) 13. Winter Weather
(5:08) 14. Ain'tcha Got Music

In this highly-anticipated release, Paul Asaro and The Fat Babies pay homage to the recordings of "Fats" Waller and His Rhythm. Asaro, already well known to jazz aficionados for his long association with Leon Redbone, takes center stage here with piano and vocals that recall the humor, wit, and sublime pianistic talents of Waller without ever resorting to slavish imitation. With him are The Fat Babies, favorites on the Chicago jazz scene, who fully capture the spontaneous excitement of the original Waller recordings with a fresh twist. In addition to Asaro at the piano, the band includes Andy Schumm, cornet; John Otto, clarinet; Jake Sanders, guitar; Beau Sample, bass; and Alex Hall, drums. CD includes a 12-page illustrated booklet with liner notes by Paul Asaro. https://rivermontrecords.com/products/2222?variant=39571024335

What A Heavenly Dream: The Fats Waller Rhythm Project

Saturday, May 9, 2020

Alan Broadbent - Me Time

Styles: Piano Jazz 
Year: 2019
File: MP3@320K/s
Time: 72:25
Size: 166,6 MB
Art: Front

(6:33)  1. Reflections
(3:16)  2. Waterfalls
(4:47)  3. Oneness
(5:41)  4. New Horizons
(3:34)  5. Inner Harmony
(6:46)  6. Open Spaces
(5:16)  7. Find Your Space
(6:19)  8. Circles
(5:58)  9. My Time
(6:26) 10. Harmony
(3:58) 11. Be Centered
(6:45) 12. Empathy
(7:01) 13. Simple Things

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 Award for “best orchestral arrangement accompanying a vocal”.

Turning Points:
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.

The Now:
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://www.alanbroadbent.com/

Me Time

Donald Byrd - At The Half Note Café Vol 1 And Vol 2

Album: At The Half Note Café Vol 1

Styles: Trumpet Jazz
Year: 1960/1997
File: MP3@320K/s
Time: 63:34
Size: 146,9 MB
Art: Front

( 1:20)  1. Introduction By Ruth Mason Lion
(10:34)  2. My Girl Shirl
( 9:57)  3. Soulful Kiddy
( 8:46)  4. Child's Play
(11:18)  5. Chant
( 6:49)  6. A Portrait Of Jennie
(14:47)  7. Cecile


Album: At The Half Note Café Vol 2

Time: 58:12
Size: 134,4 MB

(12:52)  1. Jeannine
( 6:11)  2. Pure D. Funk
( 9:55)  3. Between The Devil And The Deep Blue Sea
(10:53)  4. Theme From Mr. Lucky
(12:01)  5. Kimyas
( 6:18)  6. When Sunny Gets Blue

This 2004 remastered Rudy Van Gelder edition of Donald Byrd's At the Half Note Cafe (the original double-disc version was only issued for the first time in 2000) appears to add one extra track  "Theme (Pure D. Funk)," which clocks in at 1:51 and is also on the second volume in its full form, and a slightly shorter version of "Cecille." Here it clocks it at 12:52; on the 2000 issue it was 14:46. The sequence has also been altered slightly. The real deal is that, while this is the live date showcasing the Byrd quintet with Pepper Adams (and with Duke Pearson, Lex Humphries, and Laymon Jackson in the rhythm section), there is little here to make this worth purchasing yet again if you have the previous set. The sound is only marginally better and is likely only to be noticed by audiophiles. However, if you don't have the originals, this is one of the most essential hard bop purchases in the canon. 

The performances of Pearson of his own four tunes, five by Byrd, and the standards showcase his improvisational acumen at its height. His soloing on studio records pales in comparison. This was a hot quintet, one that not only swung hard, but possessed a deep lyricism and an astonishing sense of timing, and one need only this set by them to feel the full measure of their worth. Forget the Riverside date that caught them live early on; this is the one. ~ Thom Zurek https://www.allmusic.com/album/donald-byrd-at-the-half-note-cafe-vols-1-2-mw0000594775

Personnel: Trumpet – Donald Byrd;  Baritone Saxophone – Pepper Adams; Bass – Laymon Jackson; Drums – Lex Humphries; Piano – Duke Pearson


Friday, May 8, 2020

Tianna Hall, The Mexico City Jazz Trio - Lost In The Stars

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 64:46
Size: 149,2 MB
Art: Front

(5:21)  1. You Don't Know Me
(3:36)  2. Fever
(6:31)  3. Lost In The Stars
(4:35)  4. The Way You Look Tonight
(4:19)  5. In The Wee Small Hours Of The Morning
(4:07)  6. Pure Imagination
(5:06)  7. In The Still Of The Night
(3:27)  8. It's Alright With Me
(4:45)  9. As Long As He Needs Me
(4:22) 10. If I Were A Bell
(4:25) 11. What A Difference A Day Makes
(4:03) 12. Cool
(5:50) 13. At Last
(4:13) 14. Old Friend

Rising star in the world of vocal jazz, Tianna Hall delivers with an exceptionally creative album featuring the musicianship and improvisational skill of her band, the Mexico City Jazz Trio: Agustin Bernal-Bass, Miguel Villicana-Piano & Gabriel Puentes-Drums. Then, of course there is her buttery phrasing and lush tone... purrrrrrfect...

Tianna Hall is a 27 year-old Vocalist from Houston, Texas and a former titleholder of the Miss America Organization. She began honing her craft at the age of 4 and only found her musical path and rightful destination three years ago in jazz. She was working professionally in regional musical theater houses & performing as a 'legit' operatic vocalist for 10 years before Houston pianist/composer/arranger Paul English encouraged her to pursue jazz. Her natural ability and instincts would allow her to blossom into an exceptional jazz vocalist and she soon became the most sought after working singer in the city. 

Tianna has been blessed to work with some of the finest musicians in the world and is thrilled about this release with her band from Mexico. She was encouraged by bandleader, bassist and mentor Agustin Bernal to come down to Mexico City to record with his trio and this spectacular musical endevour is the end result. Some of Miss Hall's musical mentors and influences include pianists Dave Catney, Fred Hersch, Paul English, Hal Lanier, Vocalist Dana Rogers, and Duke Ellington Orchestra alumnus Marsha Frazier. Tianna's vocals are influenced by varied artists such as Otis Redding, Al Green, Marvin Gaye, Gladys Knight, Patti Labelle, Cecilia Bartoli, Renee Fleming, Maria Callas, Tony Bennett, Sarah Vaughan, Ella Fitzgerald, Diana Krall, Harry Connick, jr., Kurt Elling, Michael Buble & Jane Monheit. 

For more information please visit TiannaHall.com * jazzhouston.com. https://www.fye.com/tianna-hall---lost-in-the-stars-pid.2572340946.html

Lost In The Stars

Wednesday, May 6, 2020

Chick Corea Elektric Band - Eye of the Beholder

Styles: Piano Jazz 
Year: 1988
File: MP3@320K/s
Time: 53:28
Size: 122,9 MB
Art: Front

(2:43)  1. Home Universe
(4:51)  2. Eternal Child
(2:58)  3. Forgotten Past
(4:55)  4. Passage
(7:55)  5. Beauty
(1:53)  6. Cascade - Part I
(5:18)  7. Cascade - Part II
(5:50)  8. Trance Dance
(6:38)  9. Eye of the Beholder
(6:54) 10. Ezinda
(3:26) 11. Amnesia

During an era when the word "fusion" was applied to any mixture of jazz with pop or funk, Chick Corea's Elektric Band reinforced the word's original meaning: a combination of jazz improvisations with the power, rhythms and sound of rock. Eye of the Beholder, which found guitarist Frank Gambale, saxophonist Eric Marienthal and bassist John Patitucci displaying increasingly original solo voices, is one of this group's finest recordings and ranks with the best fusion of the latter half of the 1980s. ~ Scott Yanow  https://www.allmusic.com/album/eye-of-the-beholder-mw0000652324

Personnel: Chick Corea – synthesizer, piano, arranger, keyboards, producer, engineer, liner notes, mixing; Frank Gambale – guitar; Eric Marienthal – saxophone; John Novello – synthesizer (track 2 only); John Patitucci – bass;  Dave Weckl – drums

Eye of the Beholder

Will Bernard - Freelance Subversives

Styles: Guitar Jazz
Year: 2020
File: MP3@320K/s
Time: 65:10
Size: 150,6 MB
Art: Front

(5:56)  1. Pusher Danish
(5:22)  2. Back Channel
(5:07)  3. Raffle
(5:10)  4. Blue Chenille
(5:01)  5. Grunk
(4:43)  6. Clafunj
(6:20)  7. Freelance Subversive
(7:13)  8. Lifer
(7:23)  9. Garage A
(6:08) 10. Skill Set
(6:41) 11. We The People

A long time San Francisco Bay Area musician, guitarist/composer Will Bernard first began playing and recording on an international level as a member of Peter Apfelbaum's Hieroglyphics Ensemble, whose first recording was on Don Cherry's “MultiKulti” (A&M 1989). Since then he has been involved with a host of boundary stretching groups, ranging from jazz, hip hop and world music to experimental music, with many stops in between. He has performed and recorded with Jai Uttal and the Pagan Love Orchestra, Peter Apfelbaum's various band incarnations, Beth Custer, The Coup, and Midnight Voices to name a few. The most successful of these projects was the group T.J. Kirk (with Charlie Hunter) whose 2nd record for Warner Bros. “If Four Was One” was nominated for a Grammy in 1997. Will released his debut CD as a leader, “Medicine Hat;” in 1998. Since then Will has self produced two albums “Will Bernard and Motherbug” 2001 and Will Bernard Trio “Directions to my House” 2005 both on his own label Dreck to Disk Records.The Will Bernard band has performed at The Monterey, North Sea, SF Jazz, Bumbershoot, Be-Bop and Brew, Montreal, Vancouver and The High Sierra festivals, as well as clubs across the country and through Canada. They have opened for Herbie Hancock and the Head Hunters, Jimmy McGriff, The Funky Meters, John Scofield, Medeski, Martin and Wood, Ziggy Modeliste and the Charlie Hunter Quartet. More recently Will has been developing his musical associations and has been working with a range of musicians that include Robert Walter, Stanton Moore, Dr. Lonnie Smith, Idris Muhammad, Adam Deitch, Zigaboo Modeliste, and John Medeski. Between 2002 and 2005 he toured extensively in the US with Robert Walter's 20th congress.

As MG5 (formerly Frequinox) bandmate Stanton Moore said of Will (in the San Francisco Chronicle): “He's one of the greatest musicians I've come into contact with.” And Robert Walter says: “He's probably the most versatile guitar player I've ever worked with. Anywhere we try to go, he can cover that area better than anyone.” In the last few years Will Bernard's visibility on the “jam” scene has been increasing dramatically. Aside from continuously traversing the U.S. with his band Motherbug or as a member of Robert Walter's 20th Congress, he has been seen frequently on stage as a guest in all kinds of situations. Along with his appearance with the Trey Anastasio Band at Mountain Air in California for which he was awarded a spot on the annual “Jambase Sit-in Top Ten”, he has been seen with Karl Denson, Garage a Trois, Galactic, Charlie Hunter band, Garaj Mahal, Mike Clark's Prescription Renewal, Living Daylights, Jacob Fred, Sex Mob, and Papa Grows Funk. Will has also appeared with the allstar band “ Frequinox”, along with Robert Walter, Stanton Moore, Donald Harrison and Robert Mercurio. Ever hungry for contrast, Will performed in the Bay Area with the popular French acoustic band, “The Baguette Quartette” and the reggae phenomenom Groundation. In 2004, Will was again nominated for best guitarist in the California Music Awards, and his debut recording for Palmetto Records, PARTY HATS, was made available in stores on February 20, 2007. Matt Balitsaris, President of Palmetto Records, welcomes Will: “We're psyched to have Will Bernard in the Palmetto family. 

He's a soulful player who writes groovy tunes with a distinctive point of view. PARTY HATS wants to live in your car.” Will comments: “I like being on a small label that cares about music for its aesthetic value and I think it's a perfect fit for me in this stage of the game.” Funky from start to finish and recorded over three years, PARTY HATS features more or less two rhythm sections including: Will Bernard, guitar; Will Blades, organ; Ryan Newman, bass; Keith McArthur, bass; Jan Jackson, drums; Paul Spina, drums; Josh Jones, percussion; Michael Bluestein, organ and electric piano; and a number of horn players including: Cochemea Gastelum, alto sax; Joe Cohen, sax; Peter Apfelbaum, tenor sax, qarcabas, melodica; Dave Ellis, sax; Mike Olmos, trumpet; and Adam Theis, trombone. PARTY HATS was nominated for a Grammy Award for best contemporary jazz album. Will's next recording for Palmetto, due for release in the summer of 2008, will include performances by Stanton Moore and John Medeski. Will is also featured on Stanton Moore's last Telarc recording and on his forthcoming release and has toured extensively in Stanton's trio. https://musicians.allaboutjazz.com/willbernard

 “Will Bernard's Directions to My House comes as nothing less than a revelation”~  Eric Snyder, Tampa Weekly Planet

…a player who clearly deserves a wider audience for his imaginative genre-busting aesthetic”.~  John Kelman, All about Jazz

“…one of the most potent, if underrecognized, guitarists on the post-Frisell/post-Scofield scene.”~  Bill Milkowski, Jazz Times

“Will Bernard is one of the best-kept jazz-guitar secrets on the planet.”~ Dan Ouellette, Billboard

“Hanging out with some of Bernard's [songs] is like stepping into a Coen Brothers movie, an Elmore Leonard novel, or any other alternate reality peopled by unforgettable freaks.”~  Joe Gore, Guitar Player

Freelance Subversives

Tuesday, May 5, 2020

Sonji Kimmons - Fine and Mellow

Styles: Vocal
Year: 2000
File: MP3@320K/s
Time: 41:41
Size: 96,2 MB
Art: Front

(2:49)  1. Fine and Mellow
(2:52)  2. Teach Me Tonight
(3:51)  3. I'll Be Around
(3:19)  4. Fly Me To the Moon
(3:45)  5. Don't Go To Strangers
(4:38)  6. April In Paris
(5:02)  7. You Don't Know What Love Is
(3:58)  8. Guess Who I Saw Today
(3:44)  9. Cry Me A River
(4:09) 10. All the Way
(3:30) 11. Thats All There is To That

Sonji Kimmons became an international musical and TV star while based in Switzerland, appeared with prominent orchestras, and is now gracing the stages of some of the best venues around, including Los Angeles, Palm Springs and Las Vegas. She is a master entertainer, a talented, skilled pianist and an inspiring jazz/blues vocalist. http://www.j-notes.com/2005/02/shades_of_nina_a_tribute_to_th/

Fine and Mellow

Monday, May 4, 2020

Richie Cole - Pittsburgh

Styles: Saxophone Jazz 
Year: 2015
File: MP3@320K/s
Time: 60:12
Size: 138,8 MB
Art: Front

( 9:39)  1. I Have a Home in Pittsburgh
(10:23)  2. I'll Be Seeing You
( 5:00)  3. Flying Down to Rio
(10:26)  4. The Gypsy
( 7:28)  5. Who's the Man Corrupting Richie Cole
( 7:06)  6. Key Largo
( 5:37)  7. Happy Valentine's Day, Candace
( 4:29)  8. Tomorrow

After a lifetime of movin' on that has taken him from Trenton, NJ, to cities, towns and hamlets across the country and around the world, it seems that alto saxophonist Richie Cole, now fifty-eight, is at last ready to settle down and plant some roots. As he declares in his latest album's opening number, "I Have a Home in Pittsburgh"and there's a palpable sense that this time he means it. If Cole's wandering days are indeed behind him, what remains constant is the warm and happy sound of his alto, the centerpiece of what is essentially a quintet session whose sidemen are presumably from the Pittsburgh area.  As always, Cole seems to be having a ton of fun, and as always, his choice of music is eclectic and predictably off-center, meandering from such disparate standards as "I'll Be Seeing You," "Flying Down to Rio," "The Gypsy" and "Tomorrow" (from the Broadway smash Annie) to Benny Carter's sumptuous samba, "Key Largo," and a trio of his own sunny compositions, "I Have a Home in Pittsburgh," "Who's the Man Corrupting Richie Cole" (co-written with drummer Reid Hoyson) and "Happy Valentine's Day, Candace."

"Home" opens as a ballad before upshifting into a buoyant foxtrot on which Cole shows that time has beclouded neither his admirable technique nor his deep storehouse of engaging ideas. Guitarist Mark Lucas and pianist Jeff Lashway add spirited solos, setting the stage for the true ballad, "I'll Be Seeing You," the rhythmic Astaire / Rogers staple, "Flying Down to Rio," and British songwriter Billy Reid's mega-hit from 1946, "The Gypsy" ("In a quaint caravan . . ."), on which Lashway briefly channels another Pittsburgh legend, the late Erroll Garner. "Who's the Man" is a delightful romp with free and easy solos by Cole (who is last in line), Lucas, Lashway, Hoyson and bassist Jeff Grubbs, "Key Largo" a breath of Latin fresh air on which Cole is at his easygoing best. After offering his heartfelt valentine to "Candace," Cole wraps things up with the earnest and uplifting anthem, "Tomorrow." Here as elsewhere, Cole's bandmates are vigilant and supportive. Welcome home, Richie. Pittsburgh seems to be a good fit for your talents and your heart. And once you've settled in, fans can look forward to a rebirth of the Alto Madness Orchestra, Pittsburgh-style. ~ Jack Bowers https://www.allaboutjazz.com/pittsburgh-richie-cole-alto-madness-orchestra-richie-cole-presents-review-by-jack-bowers.php

Personnel: Richie Cole: alto sax; Jeff Lashway: piano (1-5, 7); Patrick Whitehead: piano (6, 8); Mark Lucas: guitar; Jeff Grubbs: bass (1-5, 7); Mark Perna: bass (6, 8); Reid Hoyson: drums, percussion; George Jones: congas.

R.I.P.
Born : February 29 , 1948
Dead:  May 2 , 2020

Pittsburgh

Nat King Cole - Penthouse Serenade (Remastered)

Styles: Vocal And Piano Jazz
Year: 1952
File: MP3@320K/s
Time: 51:08
Size: 120,3 MB
Art: Front

(3:08)  1. Penthouse Serenade (When We're Alone)
(3:05)  2. Somebody Loves Me
(2:46)  3. Laura
(2:57)  4. Once In A Blue Moond
(3:05)  5. Polka Dots And Moonbeams
(2:21)  6. Down By The Old Mill Stream
(3:13)  7. If I Should Lose You
(2:48)  8. Rose Room
(3:00)  9. I Surrender, Dear
(2:48) 10. It Could Happen To You
(3:05) 11. Don't Blame Me
(1:51) 12. Little Girl
(3:03) 13. I Surrender, Dear
(2:13) 14. Walkin' My Baby Back Home
(1:56) 15. Too Marvelous For Words
(2:35) 16. Too Young
(1:48) 17. That's My Girl
(2:11) 18. It's Only A Paper Moon
(3:06) 19. Unforgettable

The year after he had formally disbanded his trio to turn his attention to vocal pop music, Nat King Cole reversed himself and went into the studio with guitarist John Collins, bassist Charlie Harris, and drummer Bunny Shawker and recorded the eight-song 10" LP Penthouse Serenade, a quiet, reflective set of standards like "Somebody Loves Me" and "Laura" that he performed instrumentally at the piano. The album confirmed that, whatever success he might be having as a singer, he hadn't lost his touch. ~ William Ruhlmann https://www.allmusic.com/album/penthouse-serenade-mw0000042446

Personnel: Nat King Cole - piano, vocals; John Collins - guitar; Jack Costanzo - bongos, congas; Charlie Harris Bass; Norris "Bunny" Shawker - drums; Lee Young - drums

Penthouse Serenade

Saturday, May 2, 2020

Champian Fulton - Speechless

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 51:01
Size: 117,4 MB
Art: Front

(4:59)  1. Day's End
(4:20)  2. Lullaby For Art
(5:31)  3. Somebody Stole My Gal
(5:32)  4. Dark Blue
(4:52)  5. Tea And Tangerines
(4:45)  6. Later Gator
(5:27)  7. Pergola
(5:09)  8. Happy Camper
(6:15)  9. That's Not Your Donut
(4:06) 10. Carondeleto's

Speechless is a date that may be best classified as a centrist statement, but it's far from the norm for Champian Fulton. While many have come to know and admire Fulton for her arresting vocals and piano work, both usually given in service to Great American Songbook classics, she's not conforming to those expectations here. For her eighth album in total, and her debut on the Posi-Tone imprint, Fulton is staying completely mum for the first time, putting her piano playing in the spotlight on a program of originals. Fulton's songs tend to speak with an old-world charm that makes them irresistible. An after-hours vibe is immediately apparent on the opening "Day's End," a low-key swinger with behind the beat ruminations, rippling asides, and stylish plinks. From there it's off to "Lullaby For Art," an ode to Blakey that, while hardly qualifying as a lullaby, could've certainly been a lost Bobby Timmons tune. Then the lone cover comes into view a hyper take on "Somebody Stole My Gal" that has Fulton setting the scene before drummer Ben Zweig steals it with his brush work and things turn "Dark Blue" with a burnished synesthesia ballad contrafact on "Woody 'n' You." Through it all, Fulton impresses by not trying to impress. 

In an age when a lot of albums try to sell you a bill of goods or present false deities, Champian Fulton makes her mark by just being herself. It's a novel concept that shouldn't have to be.  Attractive informality continues to carry the day as Fulton moves forward with a waltzing "Tea And Tangerines," merges a Lou Donaldson blues aesthetic and Herbie Hancock-esque swagger à la "Alligator Boogaloo" melding with "Cantaloupe Island"on "Later Gator," and cedes some well-earned space to bassist Adi Myerson on the mellow "Pergola." Then she heads toward the finish line with "Happy Camper," an animated Latin-swing hybrid built in the image of Horace Silver; a bluesy "That's Not Your Donut," highlighting clear-headed single note piano lines and cheery chording; and a happily hurtling "Carondeleto's," a song that captures the spirit of the late Clark Terry the trumpet titan who called Carondelet, Missouri his home. Not a word is uttered on Speechless, but the music says volumes. Champian Fulton continues to dazzle and delight on this album, demonstrating that her truest voice may very well be found in her piano playing. ~ Dan Bilaswsky https://www.allaboutjazz.com/speechless-champian-fulton-posi-tone-records-review-by-dan-bilawsky.php

Personnel: Champian Fulton-piano; Adi Meyerson-bass; Ben Zweig-drums

Speechless

The Puppini Sisters - Betcha bottom dollar

Styles: Vocal, Swing
Year: 2006
File: MP3@320K/s
Time: 41:36
Size: 115,0 MB
Art: Front

(3:06)  1. Sisters
(2:37)  2. Mr. Sandman
(2:29)  3. Boogie woogie bugle boy
(3:36)  4. Java jive
(2:19)  5. Bei mir bist du schön
(3:37)  6. Wuthering heights
(2:35)  7. Jeepers creepers
(4:04)  8. I will survive
(2:37)  9. Tu vuo fa l'americano
(2:56) 10. Heart of glass
(3:09) 11. Sway
(2:16) 12. Panic
(2:57) 13. Heebie jeebies
(3:11) 14. In the mood

From the first strains of the opening track, "Sisters," it's clear that Betcha Bottom Dollar is not a typical debut album. But then the Puppini Sisters are not a typical pop act, at least not in the 21st century. Their close, three-part harmonies are reminiscent of the vocal groups of the 1930s and 1940s, and particularly the Andrews Sisters. But rather than sounding like an anachronism, the Puppini Sisters merely demonstrate the timelessness of some of these songs. Betcha Bottom Dollar is fresh, fun and vibrant, blowing the dust off of cobwebby classics like "Boogie Woogie Bugle Boy" and "Mr. Sandman". Elsewhere, they also put their own unique stamp on more recent hits, with varying results. 

While Kate Bush's "Wuthering Heights" and Gloria Gaynor's "I Will Survive" fail to get things swinging, Blondie's "Heart of Glass" and the Smiths' "Panic" are both injected with a fresh new (old?) sound. Much credit must also be given to producer Benoit Charest, who manages to employ a whole host of instrumentation and orchestration, whilst never forgetting to put the voices of the Puppini Sisters front and centre. It might be easy to dismiss the Puppini Sisters' debut as another novelty album, but their intentions and love for the style like their voices themselves are crystal clear. ~ Robert Burrow https://www.amazon.com/Betcha-Bottom-Dollar-Puppini-Sisters/dp/B000O1715

Betcha bottom dollar