Art Hodes - Pagin' Mr. Jelly

Styles: Piano Jazz
Year: 1989
File: MP3@320K/s
Time: 57:38
Size: 134,8 MB
Art: Front

(2:34)  1. Grandpa's Spells
(5:06)  2. Mamie's Blues
(3:09)  3. High Society
(4:23)  4. Mr. Jelly Lord
(5:23)  5. Buddy Bolden's Blues
(2:52)  6. Pagin' Mr. Jelly
(3:54)  7. Original Jelly Roll Blues
(6:11)  8. Winin' Boy Blues
(2:34)  9. Beale Street Blues
(3:32) 10. Wolverine Blues
(3:11) 11. Ballin' the Jack
(3:34) 12. The Pearls
(4:56) 13. Gone Jelly Blues
(3:27) 14. Doctor Jazz
(2:45) 15. Oh! Didn't He Ramble

Art Hodes was just ten days short of his 84th birthday at the time of this Candid solo piano CD. Hodes had his own style for quite a few decades by then. A masterful blues player, on the more up-tempo tunes, Art's left hand tended to state each beat in double-time, a very effective device. For this tribute to Jelly Roll Morton, Hodes performs 13 tunes recorded by Morton (eight of which Jelly Roll wrote) along with two of his own originals: a blues number and "Pagin' Mr. Jelly," which is partly based on Morton's "King Porter Stomp." The five faster performances really stomp, the three medium-tempo renditions swing, and the seven more introspective pieces are quite soulful. Recommended. ~ Scott Yanow https://www.allmusic.com/album/pagin-mr-jelly-mw0000308546

Pagin' Mr. Jelly

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Della Reese - Voice Of An Angel

Styles: Vocal
Year: 1996
File: MP3@320K/s
Time: 65:57
Size: 153,5 MB
Art: Front

(2:24)  1. I'm Beginning To See The Light
(3:08)  2. Baby Won't You Please Come Home
(2:46)  3. Guess I'll Hang My Tears Out To Dry
(2:41)  4. I'm Just A Lucky So And So
(2:32)  5. Here's That Rainy Day
(4:51)  6. Little Girl Blue
(2:39)  7. And Now
(3:44)  8. Two Sleepy People - (from the film "Thanks For The Memory")
(2:36)  9. The End Of A Love Affair
(2:35) 10. I'll Get By
(4:21) 11. How Did He Look
(4:24) 12. All By Myself
(3:57) 13. I Had The Craziest Dream
(2:26) 14. Let's Get Away From It All
(3:13) 15. Always
(5:14) 16. Someday (You'll Want Me To Want You)
(4:24) 17. These Foolish Things
(2:45) 18. Call Me
(2:39) 19. And the Angels Sing
(2:32) 20. Don't You Know

Renowned as both a television star and a top-flight interpreter of jazz, blues, R&B, gospel, and straight-ahead pop music, Della Reese's many talents ensured a long, varied, and legendary show biz career. In addition to being nominated for both an Emmy and a Grammy and receiving a star on the Hollywood Walk of Fame, Reese was also an ordained minister in the Universal Foundation for Better Living, an association of churches she helped found in the early '80s.  Born Deloreese Patricia Early on July 6, 1931, the young Reese began singing in the Baptist church choir in her hometown of Detroit at age six. In 1945, having developed quite rapidly, she caught the ear of legendary gospel queen Mahalia Jackson, who invited Reese to join her touring choir; Reese did so for the next five summers. Upon entering Wayne State University to study psychology, Reese formed a women's gospel group, the Meditation Singers, but her college career was cut short by the death of her mother and her father's serious illness. Reese worked odd jobs to help support the rest of her family; she also continued to perform with the Meditation Singers and various other gospel groups. Encouraged by her pastor, Reese began singing in nightclubs in hopes of getting a singing career off the ground; recently married to a factory worker named Vermont Adolphus Bon Taliaferro, her name was too long to fit on marquees, and she eventually arrived at her performing alias by splitting up her first name. After impressing a New York agent, who promptly signed her, Reese moved to New York and joined the Erskine Hawkins Orchestra in 1953. A year later, she had a recording contract with Jubilee, for whom she scored hits like "And That Reminds Me," a 1957 million-seller.

Switching to RCA Victor, Reese landed her biggest hit in 1959 with "Don't You Know?," a song adapted from Puccini's La Bohème; this cemented her career, leading not only to plentiful appearances on variety shows, but successful nightclub tours of the country and eventually nine years of performances in Las Vegas, as well as recording contracts with a variety of labels over the next few decades. Building on her previous variety show experience, Reese made a small bit of television history in 1969 when she became the first woman to guest-host The Tonight Show with Johnny Carson. Later that year, she became the first black woman to host her own variety show, the syndicated Della, which ran until 1970. Following its cancellation, Reese returned to her nightclub tours, often putting in guest appearances on television shows like The Mod Squad, Sanford and Son, and Chico and the Man; after three prior failed marriages, Reese also found a lasting relationship with producer Franklin Lett, whom she married in 1978. On October 3, 1980, while taping a song for The Tonight Show, Reese suffered a brain aneurysm that nearly proved fatal; however, thanks to a successful operation, she was able to make a full recovery. She kept up her singing career and appeared on television shows like Designing Women, L.A. Law, and Picket Fences, as well as the Eddie Murphy films Harlem Nights and The Distinguished Gentleman. Reese also starred in the Redd Foxx sitcom The Royal Family from 1991-1992, and garnered what was undoubtedly her highest level of recognition in the inspirational drama series Touched by an Angel, a quite popular program that ran for nine years, between 1994 and 2003, on the CBS network. After Touched by an Angel finished its run, Reese continued to act intermittently on television through to 2014. She died at her home in Encino, California in November 2017 at the age of 86. ~ Steve Huey https://www.allmusic.com/artist/della-reese-mn0000196544/biography

Voice Of An Angel

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Erroll Garner - Columbia Jazz (1950-1957)

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 53:07
Size: 124,0 MB
Art: Front

(3:10)  1. Lover
(3:16)  2. It's The Talk Of The Town
(3:43)  3. When You're Smiling (The Whole World Smiles With You)
(2:43)  4. Laura
(3:15)  5. Dancing In the Dark
(3:23)  6. How High the Moon
(2:50)  7. Easy to Love
(5:25)  8. Moonglow
(3:13)  9. Lullaby of Birdland
(3:06) 10. Poor Butterfly
(4:26) 11. If I Had You
(4:14) 12. My Heart Stood Still
(3:51) 13. Love for Sale
(3:03) 14. Dreamy
(3:22) 15. St. Louis Blues

One of the most distinctive of all pianists, Erroll Garner proved that it was possible to be a sophisticated player without knowing how to read music, that a creative jazz musician can be very popular without watering down his music, and that it is possible to remain an enthusiastic player without changing one's style once it is formed. A brilliant virtuoso who sounded unlike anyone else, on medium tempo pieces, Erroll Garner often stated the beat with his left hand like a rhythm guitar while his right played chords slightly behind the beat, creating a memorable effect. His playful free-form introductions (which forced his sidemen to really listen), his ability to play stunning runs without once glancing at the keyboard, his grunting, and the pure joy that he displayed while performing were also part of the Erroll Garner magic. 

Garner, whose older brother Linton was also a fine pianist, appeared on the radio with the Kan-D-Kids at the age of ten. After working locally in Pittsburgh, he moved to New York in 1944 and worked with Slam Stewart's trio during 1944-1945 before going out on his own. By 1946, Garner had his sound together, and when he backed Charlie Parker on his famous Cool Blues session of 1947, the pianist was already an obvious giant. His unclassifiable style had an orchestral approach straight from the swing era but was open to the innovations of bop. From the early '50s on, Garner's accessible style became very popular and he never seemed to have an off day up until his forced retirement (due to illness) in early 1975. His composition "Misty" became a standard. Garner, who had the ability to sit at the piano without prior planning and record three albums in one day (all colorful first takes), made many records throughout his career for such companies as Savoy, Mercury, RCA, Dial, Columbia, EmArcy, ABC-Paramount, MGM, Reprise, and his own Octave label. ~ Scott Yanow https://www.allmusic.com/artist/erroll-garner-mn0000206967/biography

Columbia Jazz (1950-1057)

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Susan Marshall - Susan Marshall Is Honey Mouth

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 48:23
Size: 112,9 MB
Art: Front

(5:28)  1. Eyes Of Love
(5:16)  2. Act That Way
(3:03)  3. These Things
(3:55)  4. Arkabutla
(4:29)  5. Love Me Again
(4:37)  6. Black Sea Blues
(4:47)  7. Let You In
(5:55)  8. I Don't Have To Crawl
(3:52)  9. Giving It Up
(4:00) 10. Nightime
(2:56) 11. October Song

An ancient author writes, Words sweet as honey from her lips distil'd. And lord, we are such helpless drunkards One mouth dripping many voices Eleven songs as humble testament indeed Susan Marshall is Honeymouth. In some ways, vocalist Susan Marshall is a ubiquitous presence on the local music scene fronting her own band for regular gigs, serving as a prime backup vocalist for the local recording industry (where she's worked with the Afghan Whigs and Lynyrd Skynyrd, among others), and lending her considerable talents to the work of other local artists (anyone who's seen Marshall and Jackie Johnston backing up Alvin Youngblood Hart on stage has gotten a real treat). But she's never put out a record of her own until now. Susan Marshall Is Honey Mouth (self-released; Grade: B+ ) marks Marshall's debut, and she'll celebrate the release Saturday, December 14th, at the Blue Monkey. As one might expect from a solo record by a primarily backup singer, Honey Mouth is driven by collaboration, but there's nothing wrong with that and all the collaborations serve to enhance Marshall's centerpiece vocals. 

But Marshall also has a piece of the songwriting on eight of 11 tracks. The record opens with a bang on the John Kilzer-penned soul tune Eyes of Love, which has Alvin Youngblood Hart on guitar and builds to a gospel-style vocal explosion that has Marshall belting alongside Jackie Johnson and Reba Russell. Similarly, Love Me Again shows off Marshall's chops in blues form, this time playing off both Ross Rice's Hammond B3 organ and Jimmy Davis' vocal accompaniment. But elsewhere Marshall is more subtle. Act That Way, co-written with Afghan Whigs lead singer and local drummer Harry Peel, is just the kind of dark, romantic slow burn that the Whigs crafted at their best. Arkabutla, a sole Marshall credit, is lovingly understated folk-rock that evokes Lucinda Williams. Marshall beautifully negotiates Richard Ford's pedal-steel playing on that track, much as she does a pas de deux with his banjo on These Things. Other collaborators include bandmate Steve Selvidge, who contributes to several tracks, Jim Dickinson, who lends piano and Wurlitzer organ to the moody Let You In, and, of course, Marshall's husband Jeff Powell, who serves as producer and engineer for the bulk of the record. ~ Chris Herrington/ The Memphis Flyer

Susan Marshall Is Honey Mouth HUMONGOUS With a voice thick, soothing and soulful, Susan Marshall's solo debut is a stunning showcase of some truly standout Tennessee pipes. In the quieter moments, Marshall's voice is gentle and breathy, easy without lacking passion. But when she shifts into second gear, her delivery carries a dollop of Memphis chunk. She made a name for herself in music circles singing backup for the Afghan Whigs and Lenny Kravitz, the former of whom routinely gave her featured solos in concert. Honey Mouth returns the favor, as Greg Dulli and the rest of the Whigs make multiple appearances throughout the album. (Dulli even shares songwriting credits on the ethereal October Song and the enjoyably bitter Act That Way.) With Susan Marshall's powerful, unforgiving vocals, Honey Mouth is the kind of record that makes heartbreak and sorrow feel so damn good. ~ Jeffrey Barg/ Philadelphia https://www.amazon.in/Susan-Marshall-Honey-Mouth/dp/B00007K7J0

Susan Marshall Is Honey Mouth

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Emil Richards - Emil Richards With The Jazz Knights

Styles: Vibraphone Jazz
Year: 2000
File: MP3@320K/s
Time: 35:58
Size: 83,5 MB
Art: Front

(3:46)  1. Well I Didn't
(5:04)  2. Yo Go Jo Po
(3:22)  3. Marduk the 12th Planet
(3:22)  4. The Real Camille
(3:05)  5. Himalaya 5-0
(4:56)  6. Celesta III
(4:12)  7. Turn Up the Audio for Claudio
(5:30)  8. Celesta IV
(2:38)  9. Meet the Flintstones/ Merrily We Roll Along

Vibraphonist and longtime first-call Los Angeles studio musician Emil Richards whose playing graced countless movie and TV soundtracks, albums, and jingles died on December 14, 2019. Born in Hartford, Connecticut in 1932, Emilio Joseph Radocchia began studying xylophone at age six. He was soon attracted to the vibraphone after hearing Lionel Hampton. “My roots are from Hamp," Richards said in a 1994 Percussive Notesarticle. “I got all my early training from copying and playing along with Hamp's records, because he was the only one around at the time.” By the time Richards was in tenth grade, he was playing with the Hartford Symphony. He attended the Hartt School of Music from 1949–52, where he studied with Al Lepak, and after being drafted he played in an Army band in Japan, where he worked with pianist Toshiko Akiyoshi. After getting out of the Army Richards settled in New York and soon became a member of George Shearing's group, with which he stayed for three years. In 1959 he moved to Los Angeles where he worked with Paul Horn and Don Ellis, eventually leading his own group, the Microtonal Blues Band. He also worked with instrument innovator Harry Partch, toured and recorded with former Beatle George Harrison, and recorded with artists including Frank Sinatra, Louie Bellson,  Quincy Jones, Stan Kenton, Peggy Lee, Shadowfax, Nancy Wilson, Sam Cooke, Tom Scott, Marvin Gaye, Carly Simon, Phil Spector, Bette Midler, the Beach Boys, Frank Zappa, and many others.

Meanwhile, Richards became active in the L.A. studio scene, playing on everything from the original Flintstones cartoons to TV series such as Mission Impossible(he played the bongos on the theme song), Falcon Crest, Cagney and Lacey, and Dynasty, to movie soundtracks for such films as Cool Hand Luke, Jaws, Taxi Driver, Close Encounters of the Third Kind, Batman Returns, Jurassic Park, Men in Black, Pirates of the Caribbean: the Curse of the Black Pearl, Star Trek, Indiana Jones and the Temple of Doom, Ghostbusters, Spider-Man 2, and the various Planet of the Apesfilms. "My ideal situation for a session would be playing the hardest mallet parts conceivable," he once said. "I like to go home exhausted from playing good, hard music. By hard I mean difficult, because it's a challenge. I love a challenge." Richards also prided himself on being able to come up with the proper sound for any situation, and he amassed a collection of over 350 instruments from around the world. Composers came to depend on his knowledge of world percussion when scoring films set in exotic locations. Richards, in turn, especially enjoyed working with composers who used instruments in creative ways. "On the movie soundtrack for The River Wild, Jerry Goldsmith wrote melodic figures for timpani and three RotoTom players," Richards recalled. "Having the timpani and RotoToms playing melodic lines together in octaves was really a good noise."

Richards said that one of the most important things he learned was to be selective about the instruments he used. "When I first started, I was very proud of all of these instruments I had collected," he told writer Robyn Flans in a 1985 Modern Percussionistinterview. "I had a tendency to pull everything out of the bag. I've noticed this happens to a lot of percussionists when they play live: They don't let eight bars of music go by before playing on a different instrument. They don't give one instrument a chance to do something. Naturally, if five instruments do work and they provide the colors and help the music, fine, but in most cases you can't really get going playing in a rhythmical context if you're trying to play congas and then jump to a shaker or hit a cowbell.” A longtime supporter of the Percussive Arts Society, Richards donated 65 of his instruments to the PAS museum in Lawton, Oklahoma when it was built in 1992, including his entire collection of Thai gamelan instruments and a Leedy "octarimba," which is similar in concept to a 12-string guitar in that it has bars mounted in pairs and pitched an octave apart that are played with a double-headed mallet. Richards also helped the PAS museum acquire other instruments, such as one of Shelly Manne's drum sets. (Those instruments are now housed in the Percussive Arts Society’s Rhythm! Discovery Center in Indianapolis.) In 1994, Richards was elected to the PAS Hall of Fame. Even while he was busy in the studios, Richards continued to do gigs on vibes. For many years, he and drummer Joe Porcaro co-led a group that was known both as Calamari and Contraband. Richards also did some composing, and his vibes playing and composing were heard to advantage on his solo album, The Wonderful World of Percussion, on the Interworld Music label. "I overdubbed all the parts, and I have as many as 25 overdubs on some tunes," he explained. "I did a piece I wrote in seven called 'Underdog Rag,' and besides playing the four marimba parts I embellished it with all kinds of kooky sounds. The album has some bebop, some straight-ahead vibes and marimba things, and some real fun stuff. I also used some of my real oddball instruments.” Other albums Richards recorded as a leader included Luntana (1996), Calamari: Live at Rocco’s (2000), Emil Richards with the Jazz Knights (2003), and Maui Jazz Quartet (2006). He authored several books, including Mallet Chord Studies – Chord Voicings and Arpeggio Patterns for Vibraphone and Marimba, Sight Reading for Mallets,Melody & Rhythm Permutations,Exercises for Mallet Instruments (all published by Hal Leonard), andWonderful World of Percussion: My Life Behind Bars,published by BearManor Media. https://www.pas.org/About/pas-news/2019/12/16/remembering-emil-richards

Emil Richards With The Jazz Knights

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Joe Lovano - Tenor Legacy

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 66:34
Size: 154,1 MB
Art: Front

(6:33)  1. Miss Etna
(6:45)  2. Love Is A Many Splendored Thing
(5:36)  3. Blackwell's Message
(4:34)  4. Laura
(9:07)  5. Introspection
(7:01)  6. In The Land Of Ephesus
(9:05)  7. To Her Ladyship
(5:54)  8. Web Of Fire
(8:21)  9. Rounder's Mood
(3:33) 10. Bread And Wine

Joe Lovano welcomes Joshua Redman to his sextet set (which also features pianist Mulgrew Miller, bassist Christian McBride, drummer Lewis Nash and percussionist Don Alias) and, rather than jam on standards, Joe Lovano composed five new originals, revived three obscurities and only chose to perform two familiar pieces. By varying the styles and instrumentation (for example "Bread and Wine" does not have piano or bass), Lovano has created a set with a great deal of variety and some surprising moments. The two tenors (who have distinctive sounds) work together fine and some chances are taken. This matchup works well.~ Scott Yanow https://www.allmusic.com/album/tenor-legacy-mw0000109784

Personnel: Tenor Saxophone, Liner Notes – Joe Lovano;  Tenor Saxophone – Joshua Redman;  Bass – Christian McBride ; Drums – Lewis Nash;  Piano – Mulgrew Miller

Tenor Legacy

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Eric Boeren - Coconut

Styles: Cornet Jazz
Year: 2012
File: MP3@320K/s
Time: 58:56
Size: 136,4 MB
Art: Front

( 5:29)  1. Coconut
(10:26)  2. What Happened At Conway Hall, 1938?
( 4:39)  3. Shake Your Wattle
( 4:42)  4. The Fish In The Pond
( 5:34)  5. Little Symphony
( 1:19)  6. Crunchy Croci
( 4:03)  7. Crunchy Croci (Continued)
( 5:09)  8. Padàm
( 5:29)  9. Joy Of A Toy
( 6:11) 10. Journal
( 5:51) 11. BeeTee's Minor Plea

There are parallels between Ornette Coleman's approach to collective improvisation and that of Dutch avant jazzers from the 1960s onward, so the emergence of a Dutch quartet that pays homage to Coleman's groundbreaking circa-1960 foursome isn't a big surprise. Cornetist Eric Boeren's quartet, whose 2012's recording Coconut is the most recent of several discs finding common ground between Coleman and the Dutch jazz mindset, is not merely a repertory band; indeed, only two tracks out of 11 on Coconut are Coleman compositions. Rather, Boeren who takes on cornetist Don Cherry's instrumental role composed the lion's share of material performed on this intimate live date, finding the meeting point between Coleman's groundbreaking developments in melody, harmony, and group interaction and his own Dutch-schooled, anything-goes improvisational sensibility. Veteran Han Bennink plays only a snare drum here, and he's astounding from the opening moments of the leadoff title track, well named given its ebullient island flair, as he conjures up sounds that suggest timbales, congas yes, maybe even a coconut  while Boeren and saxophonist Michael Moore build riffs into melodies into improvised singing dialogues. As Wilbert de Joode transitions into a walking bassline, Bennink moves effortlessly into hyperswing mode beneath Moore's saxophone, whose beautiful tone is all his own even as he dips into Coleman-esque bluesy phrasing.

At over 15 minutes in length, "What Happened at Conway Hall, 1938?" is epic in scope, with thematic material cropping up here and there across a lengthy, suite-like structure. Boeren and Moore engage in telepathic conversations and Bennink shouts his enthusiasm; after a calypso-flavored passage slides into relaxed swing and Moore steps out on alto, the band moves into exploration of pure sound and space, including extended techniques with mouthpieces maybe nobody in this group actually needs a complete musical instrument. The piece closes with a Boeren-Bennink duet until de Joode kicks in with a vamp seguing into "Shake Your Wattle," with Boeren muted yet jaunty and the band uniting in spirited fashion. "The Fish in the Pond" moves into a freer rhythmic space, the horns' long and bluesy lines over de Joode's twisting arco refracting a bit of Coleman's well-known "Lonely Woman" side. With "Little Symphony" and "Joy of a Toy," the quartet treats listeners to a pair of Coleman "leftovers" recorded in July 1960 but not released on LP until over a decade later on Twins. These relatively concise and accessible tunes are delivered with themes intact and expertly played, characteristically swinging through the improvs and featuring group collective interplay that can only come from four musicians with years of experience collaborating in a place like Amsterdam. And a curve ball greets listeners at the disc's conclusion, as the band delivers a sparse but unique and credible read of Booker Little's "Bee Tee's Minor Plea," also from 1960. Boeren and friends know that 1960 was a hell of a jazz year, and with Coconut they've helped achieve the same for 2012. 

~ Dave Lynch https://www.allmusic.com/album/coconut-mw0002438005

Personnel: Cornet, Leader – Eric Boeren; Bass – Wilbert de Joode; Reeds – Michael Moore ; Snare [Snare Drum] – Han Bennink

Coconut

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Jimmy Scott - Holding Back the Years

Styles: Vocal
Year: 1999
File: MP3@320K/s
Time: 49:14
Size: 113,4 MB
Art: Front

(5:16)  1. What I Wouldn't Give
(5:06)  2. The Crying Game
(5:23)  3. Jealous Guy
(5:28)  4. Holding Back the Years
(5:13)  5. How Can I Go On Without You
(3:49)  6. Almost Blue
(4:27)  7. Slave to Love
(6:18)  8. Nothing compares 2 U
(4:54)  9. Sorry Seems to Be the Hardest Word
(3:15) 10. Don't Cry Baby

After venturing into the rock and soul catalog with renditions of Bob Dylan, Curtis Mayfield, and the Talking Heads songs, Little Jimmy Scott really digs here with a program made up almost entirely by pop hits from the last three decades. Due in part to the insight of producers Gerry McCarthy and Dale Ashley, Scott tackles contemporary material that, in its elegance, jazz overtones, and passion, is perfectly suited to his special brand of vocal savvy and knack for the great standards. Of course, he could probably cover almost any song and transform it into something unique, which is what he often does here. 

With his gentle pacing, vulnerable-sounding yet powerful soprano, and unerring sense of dynamics, Scott entirely refashions classics like Bryan Ferry's "Slave to Love," Elton John and Bernie Taupin's "Sorry Seems to be the Hardest Word," and the movie theme "The Crying Game." And while maybe not wrought anew, his versions of John Lennon's "Jealous Guy," Elvis Costello's "Almost Blue," and Prince's "Nothing Compares 2 U" are still stunning. He even gives Simply Red's Mick Hucknell a few needed lessons in vocal phrasing with an in-the-pocket rendition of the title track. Better to showcase Scott's singular voice, the arrangers wisely supply him with an unobtrusive and classy backdrop punctuated with subtle, yet keen solo breaks. An amazing set by one of the best singers around. ~ Stephen Cook https://www.allmusic.com/album/holding-back-the-years-mw0000047014

Personnel: Vocals – Jimmy Scott;  Bass – Hilliard Greene; Drums – Victor Jones;  Guitar – Matt Muniseri;  Harmonica – Gregorie Maret ; Piano   Saxophone – Bruce Kirby; Strings – David Gotay, Hye Kyung Seo, Susan Aquila, Wayne Graham;  Trumpet – Pamela Fleming

Holding Back the Years

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Dave Douglas - Keystone

Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 53:00
Size: 122,2 MB
Art: Front

(6:55)  1. A Noise from the Deep
(4:51)  2. Just Another Murder
(4:55)  3. Sapphire Sky Blue
(6:14)  4. Butterfly Effect
(2:31)  5. Fatty's Day Off
(4:47)  6. Mabel Normand
(4:31)  7. The Real Roscoe
(6:52)  8. Famous Players
(1:42)  9. Barnyard Flirtations
(4:19) 10. Hollywood
(5:18) 11. Tragicomique

Paradoxically consistent yet somehow unpredictable, trumpeter Dave Douglas is an artistic rarity. Even when he records a followup to an existing project, you know it's going to be an evolution which throws in some surprises. Last year's Strange Liberation may have been a sequel to 2002's The Infinite, but the addition of Bill Frisell inspired new tactics, both compositionally and in performance. Douglas' new disc, Keystone, has some precedence in his electronica-informed 2003 release, Freak In. Like that record, however, it avoids many of the trappings of pure electronica. Despite all manner of electronic treatments at work, the core is a real playing band. But what distinguishes Keystone most is that it's Douglas' most groove-oriented album to date and his most funky. You can also be sure that when Douglas does a groove record, it's not going to pander or water down his music to reach a larger audience. Keystone will appeal to a broader group of listeners than, say, more avant-garde records like 2001's Witness, but it's no less credible or artistically driven. 

Inspired by the life and work of Roscoe "Fatty Arbuckle a comic performer who inspired better-known comedians from the early 20th Century like Charlie Chaplin and Buster Keaton Keystone makes terrific use of the relatively nascent DualDisc technology. One side of the disc contains the CD release with the full tracks, the other a DVD side with Arbuckle's film Fatty and Mable Adrift accompanied by Douglas' score, as well as a video compilation from the film Fatty's Tin-Type Tangle, for Douglas' "Just Another Murder. The new group features Jamie Saft on Wurlitzer piano, Gene Lake on drums, Marcus Strickland on saxophones, Brad Jones on bass, and DJ Olive on turntables. With these players, Douglas manages to create a contemporary sound that's as appealing as it is adventurous. All eleven tracks may revolve around booty-shaking rhythms, but that doesn't mean the players are restricted in any way. There may be considerable structure, but it's filtered through Douglas' sensibilities, and the playing is also loose and elastic. That means that like Bill Frisell's music for Buster Keaton films in the mid-1990s, the multimedia tour starting in October will straddle the line between video cues and a more open-ended approach to interpretation. 

Co-producer David Torn is the hidden seventh member of Douglas' group. In the same way he has worked with saxophonist Tim Berne to fashion an imaginative aural landscape from the musicians' work, he also sculpts Keystone.  Many artists are paying direct homage to Miles Davis today, and Keystone may tip its hat to the Dark Prince at times. But Douglas' writing is far more detailed than any of Miles' late-'60s to early-'70s work. In fact, if anything, Keystone owes more to Wayne Shorter, with a vibe that suggests how Miles' mid-1960s quintet might have sounded had it access to today's technology.~ John Kelman https://www.allaboutjazz.com/keystone-dave-douglas-greenleaf-music-review-by-john-kelman.php

Personnel: Dave Douglas: trumpet; Jamie Saft: Wurlitzer; Gene Lake: drums; Marcus Strickland: saxophones; Brad Jones: bass; DJ Olive: turntables; David Torn: co-producer.

Keystone

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Emil Richards - New Time Element (Night Side) And (Day Side)

Album: New Time Element (Night Side)

Styles: Vibraphone Jazz
Year: 1967
File: MP3@320K/s
Time: 16:15
Size: 37,6 MB
Art: Front

(2:41)  1. Georgy Girl
(3:10)  2. Girl Talk
(2:51)  3. Call Me
(2:39)  4. Here
(2:13)  5. Theme From "The Sand Pebbles" (And We Were Lovers)
(2:39)  6. Happy Together

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Album: New Time Element (Day Side)

Time: 13:01

Size: 30,2 MB

(2:17)  1. Sunny

(2:32)  2. Hot Fudge Sundae

(1:46)  3. Jimmy

(2:25)  4. Havah Nagilah

(1:49)  5. Take Five

(2:09)  6. Blues For Hari

A well-respected studio musician long based in Los Angeles, Emil Richards has been on a countless number of sessions, contributing his vibes mostly anonymously to recordings in all genres of music. He started playing xylophone when he was six and, while still in tenth grade, Richards played with the Hartford Symphony Orchestra. After graduating from the Hartt School of Music and Hilliard College (1949-52), he played in an Army band in Japan (working with Toshiko Akiyoshi). Richards later worked with Charles Mingus, Willie Ruff, Ed Shaughnessy, Ed Thigpen, George Shearing's Quintet (1956-58), Paul Horn (1960-64), Jimmy Witherspoon, Shorty Rogers and many others. In the early-to-mid 1960's, Richards co-led the Hindustani Jazz Sextet with Don Ellis, mixing together Indian music with jazz. He was also a member of Stan Kenton's Neophonic Orchestra, the Roger Kellaway Cello Quartet and toured with both Frank Sinatra and Frank Zappa in the 1970's. Emil Richards, who recorded as a leader for Impulse (1965-66) and Interworld (two CDs in 1994-95), owns over 350 percussion instruments and has long been interested in ethnic folk music although he considers his main influence to be Lionel Hampton. ~ Scott Yanow https://www.allmusic.com/artist/emil-richards-mn0000819595/biography

Personnel: Emil Richards - vibraphone, percussion; Dave Mackay - piano, organ;  Joe Porcaro - drums;  John Morell - guitar; Chuck Domanico - bass;  Chino Valdes - congas, bongos

New Time Element (Night Side),(Day Side)

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Lambert, Hendricks & Ross - The Hottest New Group In Jazz Disc 1 And Disc 2

Album: The Hottest New Group In Jazz Disc 1

Styles: Vocal 

Year: 1996

File: MP3@320K/s

Time: 60:22

Size: 140,8 MB

Art: Front

(3:18)  1. Charleston Alley

(2:33)  2. Moanin'

(2:17)  3. Twisted

(3:15)  4. Bijou

(2:15)  5. Cloudburst

(2:26)  6. Centerpiece

(2:57)  7. Gimme That Wine

(3:48)  8. Sermonette

(1:43)  9. Summertime

(4:10) 10. Everybody's Boppin'

(2:55) 11. Cottontail

(3:27) 12. All Too Soon

(1:18) 13. Happy Anatomy

(3:09) 14. Rocks In My Bed

(2:53) 15. Main Stem

(3:29) 16. I Don't Know What Kind Of Blues I've Got

(2:48) 17. Things Ain't What They Used To Be

(2:32) 18. Midnight Indigo

(2:59) 19. What Am I Here For?

(3:28) 20. In A Mellow Tone - Vocal Version

(2:33) 21. Caravan

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Album: The Hottest New Group In Jazz Disc 2

Time: 61:18

Size: 142,6 MB

(5:26)  1. Come On Home

(3:05)  2. The New A B C

(2:32)  3. Farmer's Market

(3:07)  4. Cookin' At The Continental

(2:48)  5. With Malice Toward None

(3:44)  6. Hi-Fly

(4:26)  7. Home Cookin'

(2:18)  8. Halloween Spooks

(4:48)  9. Popity Pop

(3:50) 10. Blue

(3:17) 11. Mr. P. C.

(2:14) 12. Walkin'

(4:06) 13. This Here (Dis Hyunh)

(5:19) 14. Swingin' Till The Girls Come Home

(2:22) 15. Twist City

(2:22) 16. Just A little Bit of Twist

(2:43) 17. A Night In Tunisia

(2:43) 18. A Night In Tunisia - Alternate Version

The immortal vocal jazz group Lambert, Hendricks & Ross recorded five albums during its career: one apiece for Impulse! and World Pacific and three for Columbia. This two-CD set has all of the music from LH&R's Columbia dates (The Hottest Group in Jazz, Sing Ellington, and High Flying), plus four previously unissued and three very obscure selections. Dave Lambert, Jon Hendricks, and Annie Ross were all very talented jazz singers as individuals, and were masters of vocalese. Virtually every one of their performances was special and, in the long run, influential. With assistance from the Gildo Mahones Trio, trumpeter Harry "Sweets" Edison (on the earliest album), and altoist Pony Poindexter (during the seven bonus tracks), the vocal group is heard in memorable form throughout the two-fer. Among the many highlights are "Twisted," "Cloudburst," Hendricks' hilarious "Gimme That Wine," "Everybody's Boppin'," "Cotton Tail," "All Too Soon," "Main Stem," "Farmer's Market," "Cookin' at the Continental," "Halloween Spooks," and "Popity Pop." Essential music for all serious jazz collections. ~ Scott Yanow https://www.allmusic.com/album/the-hottest-new-group-in-jazz-compilation-mw0000079757

The Hottest New Group In Jazz Disc 1, Disc 2

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Alicia Crowe - Alicia Crowe Sings Tribute To Alberta Hunter Live!

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 53:14
Size: 122,8 MB
Art: Front

(4:43)  1. My Castle's Rockin
(5:57)  2. Crazy He Calls Me
(3:59)  3. Handyman
(5:12)  4. Down Hearted Blues
(8:16)  5. If I Were A Bell
(4:30)  6. You Can't Tell The Difference After Dark
(5:04)  7. Look for the Silver Lining
(5:08)  8. I'm Having a Good Time
(3:41)  9. Old Fashioned Love
(3:55) 10. When You're Smiling
(2:45) 11. My Castle's Rockin (Encore)

Join Alicia Crowe as she takes you on a historic journey through the music of legendary vocalist Alberta Hunter and the sounds of the Bright Light District that she made famous. Recorded live at The Triad Theater in New York City on November 14th, 2018, Alicia and her top notch trio of musicians capture the spirit and the vibe of these classic American songs. ~ Editorial Reviews https://www.amazon.com/Alicia-Crowe-Tribute-Alberta-Hunter/dp/B07YTDFHZR

Alicia Crowe Sings Tribute To Alberta Hunter Live!

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Roy Haynes & Kenny Clarke - Transatlantic Meetings

Styles: Jazz, Post Bop
Year: 1954
File: MP3@320K/s
Time: 60:55
Size: 208,5 MB
Art: Front

(3:50)  1. Red Rose
(4:34)  2. A Mountain Sunset
(2:40)  3. Laffin' and Crying
(5:08)  4. Minor Encamp
(3:02)  5. Subscription
(3:34)  6. Dillon
(4:04)  7. Trianon
(5:20)  8. Kenny's Special
(3:17)  9. Illusion
(7:27) 10. Love Me or Leave Me
(4:20) 11. Cinerama
(6:41) 12. Vogue
(6:51) 13. Buyer's Blues

Roy Owen Haynes (born March 13, 1925) is an American jazz drummer. He is among the most recorded drummers in jazz. In a career lasting over 70 years he has played swing, bebop, jazz fusion, avant-garde jazz and is considered the father of modern jazz drumming. "Snap Crackle" was a nickname given to him in the 1950s. He has led bands such as the Hip Ensemble. His albums Fountain of Youth and Whereas were nominated for a Grammy Award. He was inducted into the Modern Drummer Hall of Fame in 1999. His son Graham Haynes is a cornetist; his son Craig Holiday Haynes and grandson Marcus Gilmore are both drummers. https://en.wikipedia.org/wiki/Roy_Haynes

Kenny Clarke (born Kenneth Clarke Spearman, later aka, Liaqat Ali Salaam, on January 9, 1914 in Pittsburgh, Pennsylvania-died January 26, 1985 in Paris, France) was a jazz drummer and an early innovator of the bebop style of drumming. As the house drummer at Minton's Playhouse in the early 1940's, he participated in the after hours jams that led to the birth of Be-Bop, which in turn lead to modern jazz. He is credited with creating the modern role of the ride cymbal as the primary timekeeper. Before, drummers kept time on the high-hat and snare drum (”digging coal”, Clarke called it) with heavy support from the bass drum. With Clarke time was played on the cymbal and the bass and snare were used more for punctuation. This led to a much more relaxed style of drumming. From this point more and more rhythms and poly-rhythms are made possible. For this, “every drummer” Ed Thigpen said, “owes him a debt of gratitude.” Clarke was nicknamed “Klook” or “Klook-mop” for the style he innovated. Clarke was a founder member of the Modern Jazz Quartet (as the Milt Jackson Quartet) in 1951 and also participated in many recording sessions as house drummer for Savoy Records. Connie Kay took his place in the MJQ in 1955 and from 1956 Clarke was resident in France where he regularly worked with visiting American musicians in Paris, in particular forming a working trio, known as “The Bosses”, with Bud Powell and Pierre Michelot. Kenny Clarke died in Paris in 1985. https://musicians.allaboutjazz.com/kennyclarke

Featuring: Kenny Clarke (drums), Roy Haynes (drums), Henri Renaud (piano), Martial Solal (piano), Barney Wilen (saxophone), Joe Benjamin (bass), Billy Byers (trombon), Jay Cameron (saxophone), Jimmy Deuchar (trumpet), Allen Eager (saxophone), Jimmy Gourley (guitar), Benoît Quersin (bass)

Transatlantic Meetings

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Jaimee Paul - Jaimee Paul: The Collection

Styles: Vocal 
Year: 2020
File: MP3@320K/s
Time: 205:16
Size: 473,2 MB
Art: Front

(5:08)  1. At Last
(2:39)  2. Too Marvelous For Words
(4:11)  3. Don't Cry Baby
(4:13)  4. Skyfall
(3:25)  5. Days Of Wine And Roses
(5:32)  6. Cry Me A River
(4:26)  7. Ain't No Sunshine
(3:42)  8. Nobody Does It Better
(4:42)  9. Fever
(4:35) 10. Come Rain Or Come Shine
(4:20) 11. Moon River
(3:55) 12. Diamonds Are Forever
(4:46) 13. Crazy
(3:04) 14. I Want A Little Sugar In My Bowl
(3:45) 15. That Old Black Magic
(3:42) 16. Goldeneye
(5:04) 17. Summertime
(4:48) 18. You've Changed
(3:56) 19. Skylark
(4:41) 20. From Russia With Love
(3:19) 21. What A Difference A Day Makes
(3:48) 22. I Still Haven't Found What I'm Looking For
(3:51) 23. Ac-Cent-Tchu-Ate The Positive
(5:02) 24. For Your Eyes Only
(5:14) 25. Lover Man
(4:35) 26. Sunday Kind Of Love
(3:27) 27. Autumn Leaves
(4:17) 28. A View To A Kill
(3:53) 29. Sentimental Journey
(3:24) 30. Big Spender
(3:19) 31. Fools Rush In
(3:50) 32. Goldfinger
(5:07) 33. Stormy Weather
(4:47) 34. Don't Explain
(3:38) 35. I Remember You
(3:23) 36. Moonraker
(4:10) 37. Whatever Lola Wants
(3:54) 38. What'll I Do
(3:45) 39. Something's Gotta Give
(4:30) 40. Live And Let Die
(3:29) 41. Love, You Didn't Do Right By Me
(3:39) 42. People Get Ready
(3:30) 43. Laura
(4:26) 44. Tomorrow Never Dies
(4:15) 45. You Belong To Me
(4:34) 46. Smile
(4:08) 47. P.S. I Love You
(3:03) 48. You Only Live Twice
(2:56) 49. Somewhere Over The Rainbow
(5:02) 50. My Melancholy Baby

In a world desperate for peace and sanity, Jaimee and Leif discover their mission...delivering tranquility and hope through  the gift of music.Raised in SouthernIllinois, steeped in the church choir, Ms. Paul was influenced by Gospel and Blues, cultivating a special place in her heart for jazz. She left her home town for Nashville, TN to study music business at highly acclaimed Belmont University. After graduation Jaimee quickly found work at various record labels handling marketing and radio promotion, and simultaneously she began working part time as a studio session singer. Jaimee’s talent was quickly recognized, and soon she began touring as background vocalist with country superstar Wynonna, The Judd’s and most recently, pop sensation, Kelly Clarkson.

In 2008 Green Hill Music signed Jaimee as their first female vocalist, and her debut record, “At Last”, reached #1 on the iTunes Jazz charts. Several albums have followed, placing in the Top 10, including “Bonded”: a tribute record to the 50 years of the James Bond film series, produced by multi-Grammy award winning producer, Michael Omartian .Her devotional hymns record, “Hear My Prayer” garnered a Dove award nomination for Best Inspirational Album in 2013. Leif Shires, a trumpet player from California’s San Joaquin Valley, moved to Nashville in 2004 and his first discovery was a sultry jazz singer who was looking for a trumpet player. From that discovery began a romance that blossomed into marriage. Leif’s career has continued to flourish as he has worked with many different artists spanning a variety of genres, including Kelly Clarkson, Jack White, Eliza and the Bear, Jaci Velasquez, Wanda Jackson, Barry Gibb, TG Sheppard, Kelly Lang and bands such as the Memphis Horns, My Morning Jacket, and Latin jam band Salvador. Green Hill, recognizing the powerful potential of this couple, also signed Leif as their first solo trumpet player in 2008. As a duo, Leif and Jaimee have had the privilege of performing for audiences throughout the US, Canada, Europe, and Japan. Some attendees have included a United States President, Prime Ministers, Congressmen, Military leaders, and Ambassadors. They recently have independently released their first Jaimee Paul Band album, “My Favorite Things”, with new twists and turns on both jazz and pop classics. Music enthusiasts have been touched and inspired by their incredible talent, love for each other, and the music they are honored to create. https://www.jaimeepaul.com/

Jaimee Paul: The Collection

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Annie Ross - Handful Of Songs

Styles: Vocal
Year: 1963/ 2018
File: MP3@320K/s
Time: 36:07
Size: 85,2 MB
Art: Front

(2:24)  1. A Handful Of Songs
(2:36)  2. All Of You
(3:04)  3. Fly Me To The Moon
(2:35)  4. Nature Boy
(4:04)  5. What's New
(4:18)  6. Love For Sale
(1:57)  7. A Lot Of Livin' To Do
(2:50)  8. Let Me Love You
(2:57)  9. All The Things You Are
(3:06) 10. I'm Gonna Go Fishin'
(3:26) 11. Like Someone In Love
(2:45) 12. Limehouse Blues

By 1963, Annie Ross had permanently moved back to England and had started working more as an actress than as a singer. This interesting set (reissued by DCC as an audiophile CD) features Ross backed by an orchestra arranged and conducted by Johnnie Spence. The obvious high point is one of the darkest and scariest versions of "Love For Sale" ever recorded; Ross' desperate-sounding rendition is haunting.Otherwise, she performs a variety of standards in lightly swinging fashion, not scatting or using vocalese but instead working on interpreting the lyrics. Other highlights include "All of You," "Nature Boy," "Like Someone in Love" and "Limehouse Blues." This worthy set was also put out on CD by the Fresh Sound label. ~ Scott Yanow https://www.allmusic.com/album/sings-a-handful-of-songs-mw0000020817

R.I.P.
Born: 25 July 1930
Died: 21 July 2020

Handful Of Songs

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Simone Kopmajer - My Wonderland

Styles: Vocal 
Year: 2020
File: MP3@320K/s
Time: 55:12
Size: 128,9 MB
Art: Front

(4:23)  1. My Wonderland
(3:43)  2. Voce E Eu (You and I)
(3:43)  3. Something New
(4:15)  4. A Man and a Woman
(3:30)  5. Why Don't You Do Right
(5:22)  6. Caravan
(4:28)  7. A Tinge of Yellow
(4:07)  8. In a Mellow Tone
(4:31)  9. Europa (Manana)
(3:14) 10. So Danco Samba
(3:25) 11. Raindrops Keep Falling on My Head
(4:38) 12. Batida Diferente
(5:50) 13. A Trembling Moon (Clair De Lune)

"My Wonderland" is Simone Kopmajer´s new solo album containing a 12-song set that presents 4 new originals alongside some of the most beautiful Latin Classics (Voce E Eu, So Danco Samba,...) and covers of songs written by Santana and Burt Bacharach. Simone´s sensual voice accompanied by the leader of the Tommy Dorsey Orchestra jazz saxophonist Terry Myers, pianist Paul Urbanek, guitarist Martin Spitzer, bassist Karl Sayer and drummer Reinhardt Winkler makes this album a “must-have“ for all Latin/Bossa Nova fans. http://www.simonekopmajer.com/concerts

My Wonderland

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Jeff Cosgrove & Scott Robinson - Hunters and Scavengers

Styles: Jazz, Post Bop 
Year: 2018
File: MP3@320K/s
Time: 44:25
Size: 103,3 MB
Art: Front

(2:26)  1. Eyes of the Hunter
(3:01)  2. Don't Look (Just Run)
(5:30)  3. Patterned Behavior
(5:43)  4. High, Low
(0:38)  5. Instinct
(2:54)  6. Field Test
(5:10)  7. Rays of Dawn
(6:39)  8. Simple Justification
(6:32)  9. Song of the Cuddle Fish
(5:47) 10. Lonely Woman

In the 1980s, artist Jenny Holzer created short, pithy statements projected by LED lights in museums and onto Times Square. Her now famous "Abuse of Power Comes As No Surprise" text sums up not only the #MeToo movement and the #BlackLivesMatter cry, but also to some extent, the music industry. The vertical construction of many jazz ensembles, like in corporations, gave us a leader with an often interchangeable rhythm section. This trend toward verticality began to be reversed in improvised music, creating a more democratic effort with leadership roles spread across the group. This horizontal approach is at the forefront of Hunters & Scavengers, a trio recording by Jeff Cosgrove, Scott Robinson, and Ken Filiano. It is the embodiment of a cooperative improvisation outfit. Drummer Jeff Cosgrove has turned heads of late with his work with Matthew Shipp, William Parker, Ivo Perelman, and Mat Maneri. His approach is to act more as a colorist, than a pulse generator. That approach suits bassist Filiano just fine. A veteran of nearly 200 recordings with musicians like Tony Malaby, Connie Crothers, and Anthony Braxton, his proficiency equals that of Barry Guy, Drew Gress, and Mark Dresser. Then there's saxophonist Scott Robinson, who might be the most underrated multi-instrumentalist in jazz today. His command of a menagerie of horns is on par with that of Anthony Braxton and Vinny Golia.

What this trio accomplishes in ten tracks, nine improvised and one by Ornette Coleman, is the concept of a republic. This equality amongst its members might have begun in Bill Evans' trios where Scott LaFaro and Paul Motian where freed from keeping time, but it has reached a second zenith here in these pieces. A piece like "Simple Justification" roils with a wintery covering of bowed then plucked bass, cymbals like tiny birds, and the plaintive calls of Robinson's tenor saxophone. Together, as one, the music flows, streams, and fills space with an almost unconcerned naturalness. The same is true of "Song Of The Cuddle Fish." Working to make a soundscape, the trio creates eerie textures and "Field Test," in which the emphasis appears (if this is possible) to be more of feel than sound. If you were to listen to this recording, it might be best to start with Ornette's classic "Lonely Woman" as the key to unlock the remainder of the music. Sans a leader, the melody is played by each musician as if they were charged with holding up all the tent poles of the composition. The music is a common cause here, and the three are in continuous service of the sound.~ Mark Corroto https://www.allaboutjazz.com/hunters-and-scavengers-jeff-cosgrove-scott-robinson-ken-filiano-grizzley-music-review-by-mark-corroto.php

Personnel: Jeff Cosgrove: drums; Scott Robinson: saxophone; Ken Filiano: bass.

Hunters and Scavengers

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Johanna Summer - Schumann Kaleidoskop

Styles: Piano Jazz 
Year: 2020
File: MP3@320K/s
Time: 37:50
Size: 87,1 MB
Art: Front

( 9:57)  1. Glückes genug - Erster Verlust
(11:57)  2. Mai lieber Mai - Ritter vom Steckenpferd
(12:32)  3. Knecht Ruprecht - Träumerei
( 3:22)  4. Von fremden Ländern und Menschen

Whether with classical pieces, original compositions or jazz standards she always manages to develop a wide, dynamic narrative, sometimes delicate and fragile, sometimes, tension-filled and rhythmically gripping or irresistibly melodious. At the same time, the listener never gets the impression that she is interested in showcasing as many ideas as possible, or presenting herself as a virtuoso. Everything happens in the spirit of musical storytelling, with an extremely mature, far-sighted view of dramaturgy, dynamics, tension and atmosphere.  Süddeutsche Zeitung simply calls the result "a little sensation", Downbeat magazine „a unique debut, praiseworthy in its pursuit of merging genres“ and Jazz thing magazine describes Summer as "a pianist of a very special character, virtuoso, subtle and filigreed". Jazz, classical music and free playing - Johanna Summer creates her very own music out of the moment, and it is a true experience to listen to it.

Rarely a debut album by a young instrumentalist has evoked such enthusiastic reactions as quickly as “Schumann Kaleidoskop” by the Berlin-based, award-winning pianist Johanna Summer. On the album she uses music from Robert Schumann's "Kinderszenen" and "Album für die Jugend" as starting points for completely free improvisations, thus creating completely new music with every run. The fact that Johanna Summer takes on the supreme discipline, solo piano, for her debut shows that she is an artist who never goes the easy way.  "Johanna Summers music is full of imagination and without categories. Coming from European classical music, with a wonderful touch, she has created something perfect and unique. Beautiful music from A - Z. A new star in piano heaven,” writes piano icon Joachim Kühn about his young colleague Johanna Summer. And piano poet Malakoff Kowalski raves: “Scandalously good. I am thrilled and amazed by Johanna Summer. An artist who seems to fearlessly pursue her own music.” http://www.tambourmanagement.com/artists/109

Schumann Kaleidoskop

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Tricycle - Zoom

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 64:00
Size: 148,6 MB
Art: Front

(5:16)  1. But Bout bought a boat
(5:47)  2. Cherbourg
(5:20)  3. Craft
(4:35)  4. Oakland
(2:43)  5. Wekka
(3:22)  6. Ugo
(7:07)  7. Zoom
(8:14)  8. Symphony for E.L. (in memory of Eva Leirman)
(3:37)  9. Glüpsül
(3:27) 10. Happy Sam
(4:54) 11. Still
(5:50) 12. Photographer
(3:42) 13. Welgezind

Tuur Florizoone chromatic accordion; Philippe Laloy soprano and alto saxophone, bass flute; Vincent Noiret double bass recorded: June 2019, Studio des Rameurs released: November 11, 2019 label: Aventura Music number of pieces: 13 duration: 64'00 website: aventuramusica.be/tricycle by: Georges Tonla Briquet Tricycle exists twenty years. No remixes, special edition with outtakes or a 'best of' to celebrate this anniversary, but simply thirteen new songs. Accordionist Tuur Florizoone, saxophonist Philippe Laloy and double bassist Vincent Noiret continue to make music in their early twenties and tour extensively through Flanders and the Netherlands with this program. Tricycle has released three CDs so far. The last in line, 'Queskia?', Dates from 2011.

Since then it has been an eventful period for Florizoone. He continued his musical globetrotter life on various fronts, such as in Eric Vloeimans' Oliver's Cinema, Didier Laloy & Tuur Florizoone, and with Claron McFadden, but also became a father twice. All this yielded material for thirteen new compositions. Musically there are no noticeable changes. The combination of chromatic accordion with double bass and alternating bass flute, soprano and alto saxophone still makes for very beautiful listening material. It is no surprise that Florizoone wrote music in the past for the films 'Aanvaart in Moscou' and 'Brasserie Romantiek'. Yet the three continue to surprise by the way in which they harmonize. Each title has a story. During the performances, Florizoone tells about the background with a quip but also with the necessary seriousness. You can also enjoy 'Zoom' unrestrained by using your own imagination and making up your own cursive with titles such as 'Welgezind', 'Happy Sam', 'Cherbourg' or 'Photographer'. We can already say that the latter is a reference to the Belgian Magnum photographer Harry Gruyaert, whose extremely bright street scene decorates the cover. Due to the visual language, 'Zoom' closely matches the work of (film) composers such as Nino Rota, Yann Tiersen and Eleni Karaindrou. Also a special view on the unbearable lightness of the musician's existence. A more than pleasant rebirth with this top Belgian trio, consisting of a Flemish, a Walloon and a Brussels resident. http://www.jazzenzo.nl/?e=4362

Zoom

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Callum Au, Claire Martin - Songs and Stories

Styles: Vocal 
Year: 2020
File: MP3@320K/s
Time: 46:36
Size: 107,9 MB
Art: Front

(5:41)  1. Pure Imagination
(4:14)  2. Let's Get Lost
(4:24)  3. I Get Along Without You Very Well
(3:39)  4. The Folk Who Live on the Hill
(2:34)  5. Hello, Young Lovers!
(6:57)  6. I Concentrate on You
(3:55)  7. I Never Went Away
(4:33)  8. The Night We Called It a Day
(3:37)  9. Stars Fell on Alabama
(3:58) 10. Don't Like Goodbyes
(2:56) 11. You and the Night and the Music

Two leading lights of the British jazz scene: composer, arranger and trombonist, Callum Au, and internationally admired singer, Claire Martin, join forces for a new album, “Songs and Stories” on the Copenhagen-based Stunt label. The album, featuring a total of 82 exceptional musicians, from the UK, Europe and the USA, is a stunningly arranged selection of jazz standards and American Songbook classics, given compelling, sensitive, modern orchestral and big band treatments, whilst drawing extensive style and influence from the definitive peaks of this genre in past eras.This is Claire Martin’s first big band or large orchestral recording and she is thrilled to be working with Callum Au, who she regards as a “major talent”, with many great successes ahead of him. The album features a superb line-up of soloists and lead musicians including Ryan Quigley, Andy Wood, Freddie Gavita, Nadim Teimoori, Sam Mayne, Louis Dowdeswell, Andy Martin, Matt Skelton and John Mills plus conductor Mark Nightingale.The Bricusse-Newley standard “Pure Imagination” opens the album with a warm, stately, brass-led fanfare, blending gently into a lilting rhythm, at perfect tempo, ushering in Claire Martin’s sublime, mellow tones, reflecting all the wonder of the song’s lyrics. Strings help expand the flawless sound, as Claire sensitively builds the song, halting for an immaculate trumpet solo by Freddie Gavita.

The album continues with a punchy, swinging take on the Loesser-McHugh classic “Let’s Get Lost”; then a fabulously romantic reading of Hoagy Carmichael’s happy-sad “I Get Along Without You Very Well” with its flowing, shimmering strings and sumptuous arrangement. Claire Martin has the ability to breathe fresh life and meaning into songs that have perhaps become taken for granted, and her vocal on “The Folks Who Live on the Hill” does just that with the faultless emphasis and control for which she is renowned. “Hello, Young Lovers!” is snappy, pacey and exhilarating spotlighting, as indeed the whole album does, Callum Au’s inspired approach to the arrangement in this case, with a respectful bow to the golden age of jazz big Track six sees Cole Porter’s “I Concentrate on You” receive a remarkable transformation with a delightfully insidious melodic riff, introduced initially on piano before the full band and strings gradually infuse the piece with colour and touch, including a fine tenor sax solo by Nadim Teimoori. This track is a high point on an album of undeniable peaks. Claire’s vocal is, once again, outstanding  revealing her consummate ability to interpret lyrics, apply the ideal emphasis, and judge just when to employ a soft, restrained voice and when to let the controlled power of her singing have free rein.

The thoughtfully-chosen material continues with “I Never Went Away” (Richard Rodney Bennett), “The Night We Called It a Day” (Matt Denis-Tom Adair), “Stars Fell on Alabama” (Parish-Perkins), “Don’t Like Goodbyes” (Harold Arlen & Truman Capote) and “You and the Night and the Music” (Schwartz-Dietz). The whole album is sheer joy – full of invention, talent, virtuosity, passion and an overwhelming feeling that a large collective of musicians were all in absolute unison and enjoying every minute of it… as indeed every listener should, as well. Callum Au has composed and arranged music in numerous genres, but especially for big band and large jazz ensembles. He has worked with some of the world’s leading artists, including Quincy Jones, Jamie Cullum and the Royal Philharmonic Orchestra – and on London stage shows including ‘The Rat Pack’, and ‘The Songbook of Judy Garland’; as well as BBC Radio 2’s Friday Night is Music Night and The Proms.  Claire Martin, OBE, needs no introduction to followers of music. One of the very finest jazz singers in UK history, and indeed high on any world list. She has won British Jazz Awards eight times; received an OBE and a BASCA Gold Badge Award for her contributions to jazz; recorded over 20 albums, including 18 for her customary label, Linn Records; and has collaborated with a host of musical celebrities including Kenny Barron, Stephane Grappelli, Richard Rodney Bennett, Martin Taylor, John Martyn and Jim Mullen. https://clairemartinjazz.co.uk/discography/songs-and-stories/

Songs and Stories

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