Rob Zinn - Walk the Walk

Styles: Trumpet Jazz, Smooth Jazz
Year: 2018
File: MP3@320K/s
Time: 43:08
Size: 99,8 MB
Art: Front

(4:10) 1. Walk the Walk
(4:46) 2. Wherever You Are
(4:55) 3. Journey of the Heart
(3:55) 4. Yesterday Love
(4:41) 5. Blue Night
(3:48) 6. Never Gonna Give up on You
(4:20) 7. I Can See It in Your Eyes
(4:46) 8. Summer Nights
(3:49) 9. 11th Hour
(3:54) 10. Could It Be You

Delaware based trumpeter and flugelhornist Rob Zinn focused for the first time on the smooth jazz genre with his album Yesterday Again (2016). With his sophomore album Walk The Walk (2018) he wants to do another step and take his music to the next level. All ten tunes are originals, engineered, mixed and produced by Paul Brown at his very own studio, The Funky Joint. Rob performs on his album trumpet and flugelhorn. He is accompanied by Andrew Neu, Michael Paulo (sax), Paul Brown (guitar, percussion), Marco Basci (keyboards), Roberto Vally, Bryant Siono (bass), Gorden Campbell (drums), Andre Frappier (guitar), Dax Reynosa (vocals), Lew Laing (keyboards, programming), Jeff Carruthers (keyboards, strings, synth horns, drums and percussion programming), and Ritchie Garcia (congas). The new project shows with the first tune the direction, the complete album is taking. Walk The Walk is built on a solid horn arrangement featuring Rob's immense trumpet talent and one of the most underrated sax player in smooth jazz, Andrew Neu. Wherever You Are chooses a different approach. A romantic theme performed by Rob on flugelhorn subtly merging with Andrew's tenor sax.

The flugelhorn as a jazz instrument has a softer tone compared to conventional flugelhorns in the field of folkloric or classical music. Journey Of The Heart is a good example how smooth the flugelhorn can sound in the hand of a master. Yesterday Love reminds me of Herb Alpert's Second Wind. The resounding trumpet contrasts to the crispy R&B flavored style composed by Dax Reynosa and Lew Laing. Blue Night features Rob Zinn and Paul Brown in an extraordinarily exciting dialogue between trumpet and guitar. Never Gonna Give Up On You is the second outstanding tune with guitar and trumpet in the lead. I Can See It In Your Eyes is a phrase, which dotted the history of music. Rob makes the best out of this theme, a dense atmosphere between dream world and fantasy. The term Summer Nights often combines the association of hot nights with boisterous festivities. Saxophonist Michael Paulo is as well known host of numerous Hawaiian events an expert in filling this term with life. If we often associate midnight with the magic of the night, we neglect the 11th Hour, which is upstream as a field of tension. Rob brings this fascination with his trumpet back to memory. Could It Be You incorporates Paul Brown's mellow guitar blues to Rob's incomparable phrasing and command of the trumpet. With Walk The Walk Rob Zinn has taken a new road, not an easy one but inspirational. Of course, he has gotten support of some clever minds for his new album. The result is convincing beyond measure. http://www.smooth-jazz.de/starportrait/Zinn/WalkTheWalk.htm

Walk the Walk

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Toots Thielemans - For My Lady

Styles: Jazz, Post Bop
Year: 1991
File: MP3@320K/s
Time: 58:18
Size: 134,5 MB
Art: Front

(4:31) 1. For My Lady
(5:33) 2. How Long Has This Been Going On?
(4:15) 3. Blues In The Closet
(8:08) 4. Someone To Watch Over Me
(4:42) 5. I'm Beginning To See The Light
(4:59) 6. The More I See You
(4:02) 7. The Mooche
(4:41) 8. Close Your Eyes
(3:34) 9. Blue And Sentimental
(5:38) 10. Corcovado
(4:52) 11. Willow Weep For Me
(3:18) 12. Once In A While

The emphasis is on ballads for harmonica player Toots Thielemans' outing with the Shirley Horn Trio. Horn, in addition to contributing some tastefully supportive piano and occasional solos, takes a vocal on "Someone to Watch Over Me." Toots sounds quite relaxed performing 11 standards (only "Blues in the Closet" generates much heat) plus his original "For My Lady" with such comfortable backing. ~ Scott Yanow https://www.allmusic.com/album/for-my-lady-mw0000269257

Personnel: Drums – Steve Williams (5); Electric Bass – Charles Ables; Harmonica, Guitar, Whistle – Toots Thielemans; Piano – Shirley Horn; Vocals – Shirley Horn (tracks: 4)

For My Lady

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Luba Mason - Triangle

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 45:36
Size: 104,9 MB
Art: Front

(5:03) 1. Bach, Stevie Wonder and Janelle Monae
(3:57) 2. Haled's Song About Love
(5:09) 3. Ticket to Ride
(4:27) 4. Waters of March
(3:43) 5. Ceresne
(3:50) 6. In Walked Bud
(4:02) 7. Inolvidable
(4:59) 8. Toxicity
(5:23) 9. Say It
(5:00) 10. 50 Ways to Leave Your Lover

The rather smarmy "Bach, Stevie Wonder, and Janette Monae" opens this live performance. While disconcerting, the tide shifts dramatically with The Beatles' John Lennon-Paul McCartney classic "Ticket to Ride." It is reimagined in a sultry and just short of brilliant manner. Luba Mason's vocal phrasing brings an entire new essence to this tune. Bassist James Genus plays a line throughout which is a slow groove with a lot of feeling. Vibraphonist Joe Locke solos in spectacular fashion, while percussionist Samuel Torres joins the party and adds some spice. A pleasant surprise which is perhaps the best tune on the record. Mason again sparkles with phrasing and delight in the buoyant "Waters of March." Genus and Locke capture a mood that Torres rides smoothly. Genus kept the tempo solid for the duration, wisely not taking it to fifth gear; it didn't need to go there as it was crisply paced and humming along nicely. Sung in both Slovak and English, "Cersne"(Cherries) is sexy and seductive. Perhaps, better said that Mason is sexy and seductive. If anyone else was playing on this piece it went unnoticed! Actually it's a duet with Locke. Time to swing, and that is what they did. Genus dug in to the Thelonious Monk classic "In Walked Bud" with verve and was accompanied by Locke's flavorful vibe riffs. Mason turned it on, and the joint was jumping. Mason is both romantic and vibrant in "Inolvidable"(Unforgettable).The Latin-laced piece showcases her broad and delightful skillset.

The heavy metal tune "Toxicity" is boldly tackled by the ensemble. Genus and Locke fervently jam their way through with some powerful and melodic lines. Mason shows remarkable range, deciphering the less-than-jazz-like and tension-filled lyrics. "Say It" is sung with such heart and poetic charm that one might want Mason to say it over and over again and over and over again....Genus and Locke again are tightly locked in and play this uplifting tune with equal heart. This is a truly stunning trio performance. Mason delivers Paul Simon's "50 Ways to Leave Your Lover" as if it were her very own tune. She owned it from start to finish. She had a lot of fun with it. Again, her phrasing just has to be mentioned. Genus, Locke, and Torres build consistently and reach a powerful level which has the crowd up stomping and clapping along at the conclusion. Generally, not what you want at a jazz concert, but somehow it worked here, perhaps because it was so spontaneous and unexpected. A bass and vibraphone rhythm section is rarely employed. Based on this outing from Genus and Locke one might wonder why. They fitted like a glove, played off each other real well, and their collective sound was spot on. As for Mason, is there any song or type of song she can't sing and turn into exactly what she wants it to be? A uniquely gifted and talented woman for certain. ~ Jim Worsley https://www.allaboutjazz.com/triangle-luba-mason-luba-mason-productions

Personnel: Luba Mason: voice / vocals; James Genus: bass; Joe Locke: vibraphone; Samuel Torres: percussion.

Triangle

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Colette Wickenhagen - Just Friends Jammin'

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 54:32
Size: 126,2 MB
Art: Front

(3:13) 1. Agua De Beber
(4:55) 2. More Than You Know
(5:54) 3. Days Of Wine And Roses
(2:10) 4. Just Friends
(6:15) 5. How Long Has This Been Going On?
(3:27) 6. No Moon At All
(4:05) 7. They Can't Take That Away From Me
(5:11) 8. What A Difference A Day Made
(5:32) 9. The Nearness Of You
(2:19) 10. 'S Wonderful
(3:37) 11. Just One Of Those Things
(5:01) 12. Jetlag Jam
(2:49) 13. A Night In Tunesia

Trained as a dancer, singer, actress & entertainer in the UK and the Netherlands.Born in a family of music lovers, Colette was brought up with jazz, as her father played and loved it! That love continues into the next generation. Colette has sung many different styles of music as she worked as an entertainer for many years, but singing jazz is like “coming home” to Colette. “One of the greatest gifts my father gave me was his enthusiasm, dedication to and love for music, in particular jazz music. I inherited that love and am forever grateful. We used to listen to Benny Webster, Ella Fitzgerald & Louis Armstrong, the Bosswell Sisters, Miles Davis and many others and went through all the emotions those fabulous musicians led us through. Once I started singing jazz I found that I just love singing those old wonderful songs with their timeless lyrics.” https://musicians.allaboutjazz.com/colettewickenhagen

Personnel: Colette Wickenhagen - vocals; Hans Kwakkernaat - piano; Wiro Mahieu - double bass; Ben Schrder - drums; Clous van Mechelen - tenor saxophone; Saskia Laroo - trumpet; Rinus Groeneveld - tenor saxophone; Frits Kaatee - baritone saxophone; Michael Gustorff - violin

Just Friends Jammin'

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Corey Christiansen Quartet - Outlaw Tractor

Styles: Guitar Jazz
Year: 2010
File: MP3@320K/s
Time: 50:10
Size: 116,6 MB
Art: Front

(7:58) 1. Down Time
(9:02) 2. Carefree
(7:22) 3. When You Want
(5:09) 4. Starstepper
(7:51) 5. Outlaw Tractor
(5:58) 6. Big Kids
(6:48) 7. The Penguins Deserve Better

The reason behind Corey Christiansen's clinically precise guitar style is his experience with Mel Bay Guitar Instruction. He is fluent in all guitar styles, which fully informs his recording and performing persona. His previous recording, Roll With It (Origin, 2008), employing the same band as on the present Outlaw Tractor, was a sleek funk machine updating the soul jazz of the 1960s. Previous to that, Awakening (Mel Bay, 2004) demonstrated, with a piano quartet, the great (if a bit wordy) promise that Christiansen has brought into sharper focus with his more recent organ quartet releases.

Christiansen tightens things up on Outlaw Tractor, a true feat when considering Roll With It was tight as a drum. The disc opener sets the tone, and that tone is Les McCann, Eddie Harris, Ramsey Lewis "The In Crowd" funky. "Down Time" begins with a brief organ processional that introduces Christiansen's too-funky-to-live subject. His tone remains slightly fuzzy and round, distorted in the middle of the reverberation spectrum. This gives his chording a punchy, bright feel. The first solo out is saxophonist David Halliday, who squeezes notes out like Lee Morgan on The Jazz Messengers' "Moanin,'" redefining the meaning of "bad" in the jazz vernacular. Organist Pat Bianchi plays conservatively, never overwhelming even in his solos. Origin mainstay Matt Jorgensen deftly provides the rhythmic momentum to sent this boat forward. "When You Want" features an equally funky introductory line that evolves into the piece's angular head. Guitar and saxophone double over Bianchi's harmonic support Christiansen's solo pithy with attitude, while Halliday paints outside the lines and the organist plays from the Funky Church of Al Green. This is beautifully conceived soul jazz given a 21st Century spin. All seven selections, Christiansen originals, mine this rich loam of American music and present it in a spic and span modern fashion. The compositions are both immediate familiar and, at the same time, brand new. Outlaw Tractor is an improvement over the excellent Roll With It, and that is saying something.~ C.Michael Bailey https://www.allaboutjazz.com/outlaw-tractor-corey-christiansen-origin-records-review-by-c-michael-bailey.php

Personnel: Corey Christiansen: guitar; David Halliday: saxophone; Pat Bianchi: organ; Matt Jorgensen: drums.

Outlaw Tractor

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Brad Shepik - The Well

Styles: Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 62:44
Size: 145,1 MB
Art: Front

( 5:49) 1. The Flood
( 8:40) 2. Zephyr
( 8:09) 3. The Well
( 7:45) 4. Quiver of Veils
( 6:58) 5. Asilah
( 4:37) 6. Might Could
( 6:37) 7. Vapor Oro
(14:04) 8. The Flower and the Bee

Taking a cue from his work with the Paradox Trio, guitarist Brad Shepik continues to delve into Balkan and Middle Eastern sounds on this follow-up to 1997's The Loan (also on Songlines). Aiding Shepik are Peter Epstein on alto and soprano saxophones, Skuli Sverrisson on electric bass, Michael Sarin on drums and percussion, and fellow Paradoxer Seido Salifoski on dumbek and percussion. Tracks like "The Flood," "Zephyr," and "Vapor Oro" zip along with head-spinning odd meters and fast unison melodies ' very similar to the Paradox Trio. "The Well" is a little calmer, giving Shepik a chance to display his rich tone on the archtop acoustic. "Quiver of Veils" is calmer still, beginning with a nimble bass intro by Sverrisson. On several tracks Shepik employs the saz, a balkan stringed instrument with a ghostly timbre. But in stark contrast to the unfamiliar sound of the saz, Shepik offers up "Might Could," a multitracked acoustic guitar etude with moments that could be classed as McCartney-esque. Shepik's got the mind of a pioneer. The rhythmic complexity of his compositions has few parallels in jazz ' or any other genre, for that matter. With all his exotic influences, and all his different axes, he makes us rethink what it means to be a guitarist and a musician. There's no telling where he'll go next.~ David Adler https://www.allaboutjazz.com/the-well-brad-shepik-songlines-recordings-review-by-david-adler.php

Personnel: Brad Shepik: guitar.

The Well

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Jane McDonald - You Belong to Me

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 50:09
Size: 116,5 MB
Art: Front

(3:16) 1. Give Me Time
(3:07) 2. Where the Boys Are
(3:28) 3. Little Things Mean a Lot
(2:24) 4. Kiss Me, Honey, Honey, Kiss Me
(3:24) 5. (There's) Always Something There to Remind Me
(3:55) 6. It Must Be Him
(3:29) 7. This is My Song
(3:02) 8. Blame It on the Bossa Nova
(2:40) 9. You're Breaking My Heart
(4:06) 10. You Belong to Me
(4:23) 11. I See It in Your Eyes
(4:51) 12. When I Look at You
(4:41) 13. Kiss Me One More Time
(3:17) 14. Behind Closed Doors

Jane rocketed to stardom in 1998 when she first appeared on our screens in the BBC 1 docusoap The Cruise. The series attracted 13 million viewers and Jane McDonald emerged as a star and household name Jane’s first album outsold her nearest rivals by four to one and gained Jane a place in the Guinness Book Of Records. It remained at Number One for three weeks and achieved platinum status staying in the Top 10 for 8 weeks. Each of Jane’s subsequent 4 major albums have all reached gold and silver status. 2009 saw the first album release under her own label. Simply titled ‘Jane’ it entered the Official UK Album Chart at Number 7 and achieved silver status within 6 weeks. Jane has built up a phenomenal theatre audience, performing incredible live concerts across the United Kingdom and Southern Ireland, selling out the Royal Albert Hall and the London Palladium twice. Jane has also played to a sold out audience at the MGM Grand, Las Vegas. The concert was filmed for DVD and went on to become an instant hit in the charts and the Mayor of Las Vegas presented Jane with the ‘Key To the City’. Jane was a regular panelist on the hit daytime show Loose Women and a regular guest on The Alan Titchmarch Show. Other TV highlights include, Never Mind The Buzzcocks, This Morning, GMTV and The Jonathan Ross Show. In 2015 she performed the coveted role of Grizabella in Andrew Lloyd Webber’s CATS at Blackpool Opera House for which she received rave reviews. Jane puts her heart and soul into her sell out performances, produces her own albums on her own label, was executive producer on her CD/DVD, Live at the London Palladium and works along side her Musical Director on arrangements and recordings. In 2016 she embarked on her ‘Making Memories’ tour which sold out at venues all over the UK. It was so popular she continued touring the show throughout 2017.More.. https://jane-mcdonald.com/bio

You Belong to Me

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Joe Gilman Trio - View So Tender: Wonder Revisited Vol. 2

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 63:20
Size: 145,9 MB
Art: Front

(6:19) 1. Cryin' Through the Night
(6:52) 2. Whereabouts
(5:50) 3. Knocks Me Off My Feet
(6:05) 4. You and I
(6:49) 5. Contusion
(6:05) 6. Bird of Beauty
(6:02) 7. Easy Goin' Evenin'
(5:18) 8. Another Star
(7:10) 9. Don't Know Why I Love You
(6:45) 10. As If You Read My Mind

Joe Gilman is a young and experienced jazz pianist whose brilliance is unquestioned, and whose taste level is refined within the modern mainstream progressive aesthetic. While never a chart topper of critic's darling, he in fact should be, based on his sheer talent and ability to craft new shapes and sounds out of established pop or jazz material. This second volume of modifications on the music of Stevie Wonder continues Gilman's path of self-discovery and intrigue, turning 14K tunes into solid gold. What distinguishes these alterations is their utter departure from the original melodies, as Gilman makes them his own in no uncertain terms. The two most famous tunes are "You & I" and "Another Star," the former a relatively recognizable deeply romantic ballad, and the latter an unexpected fleet and dynamic hard bop version à la McCoy Tyner. Gilman loves to employ tricky meter switch-ups, in tiptoe time from 7/8 to 5/4 on "Whereabouts," shifting complex and modern 5/4 to simplified and breezy 6/8 during "Knocks Me Off My Feet," and doling out large portions of free time, quirky and playful chunks of light and heavy rhythm changes on the hard bop based "Contusion." Gilman uses bouncy, quaint, and swinging chords opposite the response of bassist Joe Sanders on "Cryin' Through the Night," employs a similar reverberation in reverent, restrained, and heavier chord definitions or contours during "Easy Goin' Evening," and straightens the course during a samba infused "Bird of Beauty." Drummer Justin Brown is up to the task on all of these adaptations, steadily navigating the cleverest rhythms during the long spirit song "Don't Know Why I Love You," and establishing a contemporary loping bluesy pace à la Vernell Fournier of Ahmad Jamal's bands for "As If You Read My Mind." This is a solid effort that proudly stands alongside the first volume of Gilman's previous tribute to Motown's pop icon, as well as the pianist's 2003 tribute to Dave Brubeck. It is also one of the better jazz recordings of 2008, well worth your while whether you are a piano fan, neo-bop lover, or enjoy your pop music with an energized, direct, straight-ahead infusion. ~ Michael G.Nastos https://www.allmusic.com/album/view-so-tender-wonder-revisited-vol-2-mw0000581268

Personnel: Piano – Joe Gilman; Bass – Joe Sanders; Drums – Justin Brown

View So Tender: Wonder Revisited Vol. 2

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Diane Schuur - The Best of Diane Schuur

Styles: Vocal
Year: 1997
File: MP3@320K/s
Time: 55:36
Size: 128,7 MB
Art: Front

(3:08) 1. All Right, OK, You Win (I'm In Love With You)
(4:29) 2. Try A Little Tenderness
(3:47) 3. Them There Eyes
(4:00) 4. Sunday Kind Of Love
(5:12) 5. Speak Low
(2:19) 6. Deed I Do
(5:14) 7. At Last
(5:43) 8. A Time For Love
(3:05) 9. Blue Gardenia
(5:22) 10. New York State Of Mind
(6:36) 11. 'Round Midnight
(3:04) 12. Stormy Monday Blues
(3:31) 13. Deedles' Blues - Live

Big band, big sound, big brass, big voice-"All Right, OK, You Win, (I'm in Love with You)." Smaller band, but voice still big and way up front: "Try a Little Tenderness." The Best of Diane Schuur shows off the singer's large charms as first displayed on nine GRP discs. She sings beautifully up and down in her range she can pierce your heart with that huge wail (as on "Try a Little Tenderness") and then meet the Diana Krall types on their own turf in numbers like "Them There Eyes" (although she takes it much farther up and out than Diana tends to go). If you're looking for a great contemporary jazz singer, and haven't heard Schuur, pick this up. Otherwise the source albums are a better buy, for she never drops off much in quality: There's B.B. King, in duet on "Try a Little Tenderness," and the whole album Diane Schuur and B.B. King Heart to Heart. Schuur is a fine match for the legend, but I would quibble with the way the duet is organized: the title's admonition, originally advice to a third party, becomes Schuur's admonition to B.B. It sounds whiny, and whiny Schuur ain't. The other turn with King on this record, "At Last," works somewhat better. In any case, the objection seems extra-musical it sounds wonderful.

"Sunday Kind of Love" is enlivened by a terrific trumpet solo by-whom? The disc says, "Jack Sheldon, Wayne Bergeron-trumpets." Great; one of them is first-rate. To "Speak Low," Tom Scott brings his tenor, which is just fine, and his strings, which are perhaps just a trifle much. The tune's "Ipanema-ville" guitar would do nicely on its own, thank you. And thank a certain Dori Caymmi. Joe Williams brings his somewhat bigger name to "Deed I Do" (What can be said about Joe Williams?). It is high praise for Schuur that she is by no means outgunned in this duet. And who's that with the tenor saxophone break that harks back to classic pulse-stoppers like John Coltrane's entrance on "Freddie Freeloader"? Well, it could be Fred Jackson, Ernie Fields, Joel C. Peskin, or Jack Nimitz. At least there's no mistaking Mr. Stan Getz on the gossamer "A Time for Love," where Jeremy Lubbock's orchestral arrangement is not earth-shattering, but meshes nicely with Getz's buttery-smooth tone. This is Getz in 1986, from the disc Timeless. Has there ever been a plusher sound? I just wish they'd thought of a better ending than the ghastly falsetto chant here. Then there a big band "Round Midnight." Here her touch is more delicate than usual, and she comes up with a real new contribution to this well-covered item. "Stormy Monday" storms along in Schuur's more accustomed fashion, and "Deedles' Blues" shows off the Count Basie Orchestra. They can still kick, and Schuur sounds right out of 1958. Atomic Basie, Atomic Schuur. It's a Best of, sure, so it's understandable that there would be no weak cuts. Still, with Diane Schuur's voice, weak cuts would be hard to find. ~ Robert Spencer https://www.allaboutjazz.com/the-best-of-diane-schuur-diane-schuur-grp-records-review-by-robert-spencer.php

The Best of Diane Schuur

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Geoffrey Keezer Trio - On My Way to You

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 63:55
Size: 146,9 MB
Art: Front

(7:04) 1. These Three Words
(5:27) 2. You Stay with Me
(7:27) 3. All the Things You Are / Serpentine Fire
(6:04) 4. Red Leaf
(4:47) 5. Brilliant Corners
(5:46) 6. On My Way to You
(8:14) 7. May This Be Love
(7:19) 8. Guanajuato
(4:58) 9. The First Time Ever I Saw Your Face
(6:46) 10. Across the Universe / Give Peace a Chance

There are a number of pianists blessed with such technique that they could play pretty much anything. Where Geoffrey Keezer has them beat is that he can also think of pretty much anything and on this album, he does.Granted, he’s had time to gather his thoughts, having gone five years since his last album, the understatedly virtuosic Heart of the Piano. But the wait was worth it. Take the way he and his trio bassist Mike Pope and drummer Lee Pearson approach “All the Things You Are.” Instead of making it into the usual circle-of-fifths juggernaut, Keezer and company halve the tempo and reduce the bass line to a skeletal thump, lending the tune an almost modal feel. This harmonic deconstruction goes on for almost five minutes, whereupon a sequence of gospel chords introduces an actual funk groove, and suddenly saints be praised!we’re listening to Earth, Wind & Fire’s “Serpentine Fire.” Betcha didn’t see that coming. There’s also a take on Thelonious Monk’s “Brilliant Corners” that, two choruses in, finds Pope unexpectedly switching to electric and pumping out a bassline borrowed from Miles’ “On the Corner.” And if that weren’t enough, after funking around a few times through the form, Keezer throws a change-up of his own, pounding the melody home as if trying to imagine what it would sound like if Slayer were a piano trio. Not that Keezer is above playing things straight. There’s a gorgeous rendering of John Lennon’s “Across the Universe” that slowly morphs into “Give Peace a Chance,” and a duo performance of “The First Time Ever I Saw Your Face” with singer Gillian Margot that will leave you thinking, “Roberta who?” Clearly, this is a man who should record more frequently than every half-decade. https://jazztimes.com/reviews/albums/geoffrey-keezer-trio-on-my-way-to-you/

Personnel: Piano – Geoffrey Keezer; Bass – Mike Pope; Drums – Lee Pearson ; Vocals – Gillian Margot

On My Way to You

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Janis Mann, Kenny Werner - Dreams of Flying

Styles: Vocal And Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 62:43
Size: 144,5 MB
Art: Front

(3:35) 1. The Moon Is a Harsh Mistress
(6:18) 2. Edith and the Kingpin
(6:31) 3. Wichita Lineman (Live)
(3:56) 4. Overjoyed
(6:30) 5. Where Do You Start
(3:54) 6. I Do It for Your Love
(5:19) 7. American Tune
(6:17) 8. When October Goes
(5:50) 9. Inside a Silent Tear (Live)
(6:28) 10. I Remember (Live)
(8:00) 11. Who Knows Where the Time Goes (Live)

Renowned jazz vocalist Janis Mann teams up once again with world-class pianist Kenny Werner for “Dreams of Flying”, a mesmerizing collection of modern standards from the New American Songbook.

Songs by Joni Mitchell, Paul Simon, Stevie Wonder, Jimmy Webb, Stephen Sondheim, Johnny Mandel, Blossom Dearie and others get the rich interpretations they deserve in this unforgettable recording. https://janismann.hearnow.com/

Dreams of Flying

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Nancy Walker - New Hieroglyphics

Styles: Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 60:02
Size: 139,0 MB
Art: Front

(6:05) 1. Mehndi
(2:46) 2. Late Bloom
(5:53) 3. Federico
(7:43) 4. New Hieroglyphics
(3:52) 5. The Great Hall
(4:27) 6. Imprint
(5:11) 7. Beacons
(4:27) 8. Companion Moon
(5:52) 9. Take You There
(6:49) 10. Intentional Blues
(6:53) 11. Brave Heart

Amidst an overcrowded community, even the cream of the crop has difficulty getting heard beyond their own locales. A regular visitor to relatively nearby Ottawa, Toronto-based Nancy Walker is an Ottawa Jazz Festival regular as part of John Geggie's trio at the late night jam sessions also participating on the bassist's recent Across the Sky (Plunge, 2010), an at times lyrical, other times incendiary modern mainstream date featuring better-known saxophonist Donny McCaslin. The pianist has been delivering albums under her own name roughly every three years since 1997, with the exception of the compelling When She Dreams (Justin Time, 2004), released a mere year after 2003's Levitation (Self Produced, 2003). New Hieroglyphics brings the trio back from Walker's Need Another (Self Produced, 2007), but it's not just guitarist Ted Quinlan, fleshing this date out to a quartet, that lights a serious fire. Walker's always possessed greater diversity than her generally centrist music has suggested, occasionally entering more angular territory on Across the Sky and soaring, at times, with the energy of John Coltrane's classic mid-'60s quartet. Here, the pianist demonstrates even broader stylistic interests, bolstered with unfailing aplomb by bassist Kieran Overs and drummer Ethan Ardelli, even as she dives into a burning pool of lava on the opening "Mehndi," where her approach is anything but reminiscent of Coltrane's pianist, McCoy Tyner. Instead, her touch is lighter and her Phrygian lines more sparsely populated, even as she moves towards greater density beneath Quinlan's gritty solo, after peaking her own with a series of ascending chords and a brief, unexpected gospel tint.

Nor is it just Quinlan's thick, gritty tone on tracks like the blues-tinged "Take You There" that gives New Hieroglyphics its edge; for the first time, Walker adds Fender Rhodes to the mix, and its chiming tone encourages her to traverse more ethereal planes on the brooding "Companion Moon," doubling her grand piano for its gently expansive vibe. Meanwhile, Quinlan turns to steely acoustic guitar on a tune where intrinsic structure doesn't confine the quartet's interpretive stance, its consummate taste and astute, spacious interplay a touchstone for the entire set. Walker sticks with Rhodes on the upbeat "Take You There," her motivic solo driven as much by time as melody, with Overs and Ardelli busily pushing its visceral groove. A powerful mid-tempo pulse drives the harmonically altered "Intentional Blues," while on the sweeter "Late Bloom," Walker goes it alone, lyrically twisting and turning; The more oblique title track moves effortless along a sketch of a concept, a taste of Keith Jarrett's American Quartet imbuing a relentlessly building piano solo, its flurries of ideas driven by Ardelli's most flamboyant playing of the set, an energized ostinato driving a rare drum solo, as Walker again layers piano and Rhodes and the tune finally draws to a close, recapitulating its recondite opening conceit. Demonstrating considerable growth since When She Dreams, the eclectic, esoteric and unfailingly accessible New Hieroglyphics finds the ever-intrepid Walker pushing through borders into dynamic new territory, even as she retains all the markers that have drawn people to her in the first place.

Personnel: Nancy Walker: piano, Fender Rhodes; Ted Quinlan: electric and acoustic guitars (1, 3-6, 8-11); Kieran Overs: bass (1, 3-11); Ethan Ardelli: drums (1, 3-11).

New Hieroglyphics

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Brandi Disterheft, George Coleman - Surfboard

Styles: Post Bop, Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 64:17
Size: 148,6 MB
Art: Front

(4:03) 1. Surfboard
(2:57) 2. Prelude to Coup de Foudre
(3:51) 3. Coup de Foudre
(6:50) 4. My Foolish Heart
(4:31) 5. Nanã
(3:51) 6. Manhattan Moon
(3:36) 7. The Pendulum at Falcon's Lair
(4:42) 8. On Broadway
(5:20) 9. Speak Low
(5:24) 10. One Dream
(5:05) 11. Portrait of Porto
(3:42) 12. Where or When
(5:43) 13. Del Sasser
(4:37) 14. Reveries

Award-winning Canadian jazz contrabassist, singer, and composer Brandi Disterheft and her Trio have unveiled their new single, “Surfboard” along with a video for the release.

Featuring the legendary saxophonist George Coleman (Miles Davis, Herbie Hancock), “Surfboard” is a Brazilian Jazz album showcasing Juno Award winning Brandi Brandi Disterheft’s inventive writing, power-socket bass playing, and sweet ethereal vocals alongside Portinho the “James Brown of Brazilian Funk Samba” on drums (Harry Belafonte, Paquito De Rivera) this trio shines with slick vignette arrangements paying homage to composers from Carlos Jobim to bassist Sam Jones. The title track from her forthcoming album, Surfboard set for release October 2020 via Justin Time Records the single and its surrounding body of work are touted among Disterheft’s most accomplished yet. Joined by two octogenarian masters virtuoso tenor saxophonist George Coleman and the definitive Brazilian drummer Portinho and world-class pianist Klaus Mueller, Disterheft authoritatively and organically guides the flow on a varied program that reflects her capacious interests. On “Surfboard,” most notably, the artists nothing short of shine with their slick vignette arrangements and fitting homages to composer and co-creator of bossa nova Carlos Jobim, and bassist Sam Jones throughout. Inspired by documentary tandem surfing footage for the video, Portinho shines his signature groove on this pull from the Brazilian Songbook Standards with unrivaled finesse. http://jazzbluesnews.com/2020/11/01/cd-review-brandi-disterheft-with-george-coleman-surfboard-2020-video-cd-cover/

Personnel: Brandi Disterheft, double bass; George Coleman, saxophone; Klaus Mueller, piano; Portinho, drums

Surfboard

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Johnathan Blake - The Eleventh Hour

Styles: Jazz, Post Bop
Year: 2012
File: MP3@320K/s
Time: 68:05
Size: 156,8 MB
Art: Front

( 6:18) 1. The Eleventh Hour
( 7:02) 2. Rio's Dream
( 5:32) 3. Blue News
( 4:19) 4. Dexter's Tune
( 8:04) 5. Time to Kill
( 5:00) 6. Of Things to Come
(10:14) 7. Freefall
( 8:38) 8. No Left Turn
( 5:09) 9. Clues
( 7:45) 10. Canvas

Some debut recordings encapsulate all of an aspiring artist's diverse interests; others are less ambitious, and merely document a particular ensemble or performance. The Eleventh Hour, an expansive tour de force by rising drummer Jonathan Blake, is a prime example of the former. Blake's successful merger of styles should come as no surprise; in addition to sideman gigs for Kenny Barron, Tom Harrell and the Mingus Big Band, he is the son of violinist John Blake his roots run deep. Part of the success of The Eleventh Hour can be attributed to Blake's considered balance between the stalwart contributions of his working group and a handful of all-star guest appearances. Blake's quintet features tight-knit personnel; tenor saxophonist Mark Turner and altoist Jaleel Shaw make an intrepid frontline, while pianist Kevin Hays and bassist Ben Street round out the energetic rhythm section. Their high profile company includes Harrell, Robert Glasper, Gregoire Maret and Tim Warfield, whose distinctive contributions enhance, rather than overshadow, the band's capable efforts. The retro title track demonstrates the validity of Blake's collaborative ideas, drawing from a liberal jazz tradition that offers insight into his all-inclusive aesthetic. Reminiscent of Herbie Hancock's mid-1960s experiments, the groovy opener pits Maret's sinuous harmonica against Glasper's shimmering Rhodes, generating a kaleidoscopic array of tone colors that evoke a soulful hybrid of Toots Thielemans and Stevie Wonder.

Framed by memorable melodies, tuneful swingers like the stately "Rio's Dream" and lyrical "Time To Kill" are indicative of the record's scope, their elastic rhythmic and harmonic foundations providing ample freedom for probing individual statements. The tortuous intervals and shifting time signatures of the blistering piano-less quartet number "Of Things To Come" raises the energy level, while the evocative "Freefall" ventures into more abstract territory. Blake revamps convention on the labyrinthine "No Left Turn" and funky "Clues." The former composition features a riveting tenor relay between Turner and Warfield, who navigate the same serial 12 tone row as John Coltrane's "Mile's Mode." The later piece inverts Thelonious Monk's "Evidence," yielding a quixotic theme both familiar and alien. Though the majority of the date is comprised of originals, a handful of tastefully rendered covers illuminate the leader's expressive range. In addition to a sensitive interpretation of Randy Newman's ballad "Dexter's Tune" and a buoyant version of Harrell's "Blue News," a lush reworking of Glasper's pop-savvy "Canvas" concludes the session much as it began highlighting the spirited rapport between Maret and Glasper. Beyond his abilities as a composer and bandleader, Blake is an authoritative and incisive drummer whose infectious energy galvanizes his sidemen, without overpowering the proceedings. His exhilarating contributions reinforce the clarity and cohesiveness of The Eleventh Hour, a most compelling debut. ~ Troy Collins https://www.allaboutjazz.com/the-eleventh-hour-jonathan-blake-sunnyside-records-review-by-troy-collins.php
'
Personnel: Johnathan Blake: drums; Jaleel Shaw: alto saxophone (1, 2, 5-7, 9); Mark Turner: tenor saxophone (1-4, 6-10); Kevin Hays: piano, Fender Rhodes (2-4, 7-9); Ben Street: bass; Tom Harrell: trumpet, flugelhorn (3, 5); Gregoire Maret: harmonica (1, 10); Robert Glasper: piano, Fender Rhodes (1, 5, 10); Tim Warfield: tenor saxophone (8).

The Eleventh Hour

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David & Danino Weiss Quartett - The New Gipsy Sound

Styles: Gipsy Jazz
Year: 2020
File: MP3@320K/s
Time: 56:42
Size: 130,8 MB
Art: Front

(5:48) 1. Für mich soll's rote Rosen regnen
(3:29) 2. Gipsy Keys
(6:47) 3. Clair de lune
(6:30) 4. J'aime Paris au mois de mai
(5:12) 5. Miro Tata Mimer
(7:52) 6. My Thought at Midnight
(3:33) 7. Douce ambiance
(3:41) 8. Sourire
(5:10) 9. Watch What Happens
(8:37) 10. Wonderful You

The gipsy swing, also called jazz manouche or hot jazz, is still a family affair to a certain extent which is also indicated by another commonly used term: Sinti Swing. As a mobile ethnic group, the Sinti have always cultivated their own culture. Django Reinhardt became her musical progenitor, who created the only original European style of early jazz with the guitar swing of his “Hot Club de France”. Many Sinti emulate and follow his example; The gipsy swing has been handed down from generation to generation in the families without any notes most Sinti Swingers are self-taught and intuitive musicians. One of the largest and most productive families is the Weiss family. Numerous outstanding hot jazz musicians are descended from them, perhaps the most famous being guitarist Traubeli Weiss, who died in 2012. David and his cousin Danino Weiss also learned from him, their uncle, and yet, like many Sinti musicians of their generation, i.e. the now 20 to 30-year-olds, they broke new ground. If only because they did not choose guitar or violin, the classical lead instruments of Gipsy Swing, but David chose the accordion and Danino the piano. On these instruments they grew up with a wider range of jazz right from the start. So, it is no coincidence that their new, second album is called “The New Gipsy Sound”.

Also, because the instrumentation of their quartet is untypical. Their companions are no Sinti, but Peter Cudek, one of the most versed and variable bassists of the Southern German scene, and Guido May, an internationally renowned drummer, who is particularly at home in the heavy groove and who has been involved in the legacy of James Brown as drummer of Pee Wee Ellis for many years. On their debut album “Violets For Your Furs”, released two years ago, David and Danino Weiss turned their attention mainly to classical American jazz, as the title song popularized by Frank Sinatra already indicated. The album featured pieces by the Count Basie saxophonist Frank Foster, John Green and Erroll Garner, with Austrian jazz drummer Bernd Reiter, percussionist Biboul Darouiche known for the Afro-Jazz of his band Bantu Soleil – and distant Hamburg relative Giovanni Jeffrey Weiss, who with his extremely successful band Django Deluxe, twice decorated with the Echo Jazz award, are themselves breaking new ground in hot jazz. Now, on “The New Gipsy Sound” it’s mainly back to France. Joseph Cosma’s “Clair De Lune” is swirled around with melancholic accordion and piano lines just as idiosyncratically as Charles Aznavour’s “J’aime Paris au mois de Mai”, here accelerated in a hard-hot swing. Michel Legrand’s “Watch What Happens” breathes the flair of great Parisian jazz galas of the fifties, and once there is also a side trip to the old Hot Club, with Django Reinhardt’s “Douce Ambience” although the classic comes along in a dewy fresh, modern swing version. In addition, there are exquisite trouvailles such as Hildegard Knef’s anthem “Für mich solls rote Rosen regnen” right at the beginning and the languishing “Wonderful You” by the now unfortunately almost forgotten Easy Listening King Peter Nero. And of course, there are also compositions of the two band leaders, such as the dynamic “Gipsy Keys”, whose harmonies almost remind of Coltrane’s “Giant Steps”, or “Sourire”, which is enriched with Latin rhythms.

Not a revolution, but an evolution is what the two of them present here with their quartet, but one that takes the family genre to completely new shores. “Of course, in the end we always come back to the music that Django and our uncle played,” David and Danino say. But influences from chanson and Latin or elements of classical jazz catapult them into the present. “The New Gipsy Sound” is a fusion of the Gipsy tradition with new melodies and grooves. This is also reflected in the exquisite selection of guests, who make the album not only a summit meeting of the most innovative Gipsy Swing interpreters, but also an all-star meeting of jazz. At the beginning as well as at the end, the casual solos of the vibraphonist Wolfgang Lackerschmid can be heard, one of the world’s best representatives of his profession, who played with Chet Baker for six years and afterwards with many German, Eastern European and American greats and is equally at home in North American jazz as in South American and Afro-Caribbean soundscapes. Alexander Haas, the bassist of their debut album, who has also made a name for himself with salon jazz of all kinds, is featured on two tracks; drummer Xaver Hellmeier, a young savage from the South German jazz scene, is also represented twice. But above all, three musicians are on board who will make every Gipsy Swing fan click his tongue. Hono Winterstein is a legend as a rhythm guitarist, not only in Jazz Manouche, but also as an accompanist of Patricia Kaas. And then there are the two guitarists who are regarded as the actual heirs to the throne of Django Reinhardt: rather traditionally the Dutch Sinto Stochelo Rosenberg, who with his Rosenberg Trio is the epitome of a classic gypsy swing formation and who already doubled Django in the film. Finally, a modern successor is Biréli Lagrène, who may have mastered Reinhardt’s technique more virtuosically than anyone else, but who has also risen to become an acclaimed guitarist in other styles – starting in 1986 when he joined bassist Jaco Pastorius and later other fusion greats such as Stanley Clarke and Mike Stern. The recordings made in various sessions put a smile on the lips of Gipsy Swing fans as well as classic jazz lovers or the friends of jazzy chansons. A bow to the Sinti tradition with all means of jazz in instrumental perfection – that is “The New Gipsy Sound”. https://www.glm.de/en/product/david-danino-weiss-quartett-the-new-gipsy-sound/

Personnel: David Weiss accordion; Danino Weiss piano; Peter Cudek bass; Guido May drums.Special Guests: Stochelo Rosenberg guitar; Biréli Lagrène guitar; Wolfgang Lackerschmid vibraphone

The New Gipsy Sound

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Steve LaSpina - When I'm Alone

Styles: Jazz, Post Bop
Year: 1995
File: MP3@320K/s
Time: 64:49
Size: 149,4 MB
Art: Front

(8:29) 1. Soaring
(7:23) 2. Young hearts
(5:03) 3. Last time out
(9:15) 4. When I'm alone
(9:32) 5. Explorations
(4:09) 6. My romance
(7:07) 7. Mirage
(7:38) 8. Anesthesia
(6:07) 9. Only trust your heart

Bassist Steve LaSpina had an opportunity to record seven of his originals (plus two standards) on the post-bop quintet date When I'm Alone. The music ranges greatly in emotions and is highlighted by the intense "Soaring," the waltz "Young Hearts" (with Billy Drewes sounding quite fluent on soprano), a solo bass feature on "My Romance," and a spooky "Anesthesia." Although guitarist Vic Juris and pianist Marc Copland have plenty of fine spots, the solo honors are usually taken by Drewes (particularly on soprano) and LaSpina. The individual melodies are not particularly memorable, but the moods are often haunting and the playing by the quintet is superlative. Overall When I'm Alone is a high-quality example of modern jazz.~ Scott Yanow https://www.allmusic.com/album/when-im-alone-mw0000509244

Personnel: Bass – Steve LaSpina; Drums – Jeff Hirshfield; Guitar – Vic Juris; Piano – Marc Copland; Saxophone [Saxophones] – Billy Drewes

When I'm Alone

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Judith O'higgins, Dave O'Higgins - His'n'Hers

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 45:26
Size: 104,4 MB
Art: Front

(6:10) 1. Fourth Dimension
(5:20) 2. We'll Forget March
(6:02) 3. Spring Can Really Hang You Up the Most
(6:55) 4. Los Bandidos Bogarolles
(5:46) 5. Save Your Love For Me
(6:34) 6. Soy Califa
(8:36) 7. Hanky Panky

Here is a great idea for a tough tenors face-off in the tradition of the Johnny Griffin / Eddie "Lockjaw" Davis group... Get hold of a tenor duo comprising a husband and wife who are on the verge of divorce and can barely stand being in the same room together and record them as they try to cut each other to ribbons. Nice. Better still, perhaps, get hold of a happily married tenor-wielding couple such as London-based Dave O’Higgins and Judith O'Higgins, set them up in their self-dubbed Judy Van Gelder home studio, and let them loose in the style of the Griffin and Davis group on set of originals, Great American Songbook tunes and jazz standards. Dave O'Higgins is well known in this parish, most recently for the Darius Brubeck Quartet's Live In Poland and his co-led album with guitar wunderkind Rob Luft, O'Higgins & Luft Play Monk And Trane (both Ubuntu, 2019). Judith O'Higgins is a forensic pathologist whose CV also includes the Matthew Herbert Big Band, Two Minds Big Band and the Abstract Truth Big Band. His 'n' Hers includes Tommy Wolf and Fran Landesman's "Spring Can Really Hang You Up The Most," Buddy Johnson's "Save Your Love For Me" and Dexter Gordon's "Soy Califa" and "Hanky Panky," and three originals. The rhythm section is pianist Graham Harvey, double bassist Jeremy Brown and drummer Josh Morrison. The album may not break any new ground but it delivers forty-five minutes of easy-going fun.~ Chris May https://www.allaboutjazz.com/his-n-hers-judith-and-dave-ohiggins-ubuntu-music

Personnal: Dave O'Higgins: saxophone, tenor; Judith O'Higgins: saxophone, tenor; Graham Harvey: piano; Jeremy Brown: bass; Josh Morrison: drums.

His'n'Hers

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Donald Byrd - Blue Byrd. Disc 1 And Disc 2

Album: Blue Byrd. Disc1
Styles: Trumpet Jazz
Year: 2011
File: MP3@320K/s
Time: 40:19
Size: 99,7 MB
Art: Front

(8:30) 1. Witchcraft
(8:27) 2. Here Am I
(4:43) 3. Devil Whip
(6:43) 4. Bronze Dance
(5:42) 5. Clarion Calls
(6:11) 6. The Injuns

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Album: Blue Byrd. Disc2
Time: 40:13
Size: 99,4 MB

(7:22) 1. Ghana
(7:30) 2. Little Boy Blue
(5:06) 3. Gate City
(7:40) 4. Lex
(6:36) 5. Bo
(5:56) 6. My Girl Shirl

Trumpeter Donald Byrd was born in Detroit in 1932, his studies at Wayne State University (1954) were interrupted by military service, during which he played in an Air Force band. He then attended the Manhattan School of Music (MA in music education). At the same time he was the favorite studio trumpeter of the bop label Presitge (1956-58), though he also recorded frequently for Riverside and Blue Note. He gave performances with George Wallington (1955), Art Blakey (1956), and along with Gigi Gryce was a member of the Jazz Lab Quintet (1957). He also performed with Max Roach, Sonny Rollins, John Coltrane, and others, before settling into a partnership with Pepper Adams (1958-61). After studying composition in Europe (1963-63) Byrd began a career in black music education, teaching at Rutgers, the Hampton Institute, Howard University, and (after receiving a law degree, 1976) North Carolina Central University; in 1982 he was awarded a doctorate by Columbia Teachers College. Following the death of Clifford Brown in 1956, Byrd was for a few years arguably the finest hard-bop trumpeter. He had not only a masterful technique, displayed on all his albums from this period, but also a beautiful tone. He resumed playing in the 1970s and made several pleasant recordings in a jazz-rock style. His best-selling album Black Byrd led to the formation of his students into the Blackbyrds, a hit group of the mid-1970s. https://musicians.allaboutjazz.com/donaldbyrd

Blue Byrd.Disc 1,Disc2

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Toni Tennille - All Of Me

Styles: Vocal
Year: 1986
File: MP3@320K/s
Time: 38:58
Size: 89,6 MB
Art: Front

(2:26) 1. How High The Moon
(3:35) 2. Easy Street
(4:03) 3. Moon Glow
(3:53) 4. The Very Thought of You
(3:21) 5. They All Laughed
(3:53) 6. Happiness Is Just A Thing Called Joe
(3:29) 7. All Of Me
(3:06) 8. Honeysuckle Rose
(2:44) 9. Nature Boy
(4:18) 10. Then I'll Be Tired Of You
(4:06) 11. Dream

Cathryn Antoinette "Toni" Tennille (born May 8, 1940) is an American singer-songwriter and keyboardist, best known as one-half of the 1970s duo Captain & Tennille with her former husband Daryl Dragon; their signature song being "Love Will Keep Us Together". Tennille has also done musical work independently of her husband, including solo albums and session work. Tennille has a contralto vocal range, spanning over 2 and a half octaves. Tennille was born and raised in Montgomery, Alabama and has three younger sisters.:2 Her father Frank owned a furniture store and also served in the Alabama Legislature from 1951 to 1954.:2 He had been a singer with Bob Crosby's Bob-Cats. Her mother Cathryn hosted a local television show.Tennille graduated from Sidney Lanier High School then attended Auburn University in Alabama for two years where she studied classical piano and sang with the university's big band, the Auburn Knights.

In 1959, Tennille's family moved from Montgomery to Balboa, California where she worked first as a file clerk and then as a statistical analyst for North American Rockwell Corporation.:2 While living in Corona del Mar in Newport Beach, California during the late 1960s, Tennille was a member of the South Coast Repertory. Ron Thronsen, one of the directors of the reporatory, asked Tennille in 1969 to write the music for a new rock musical he was working on called Mother Earth. The musical was a success locally, went on the road to San Francisco and Los Angeles in 1971 and eventually made it to Broadway for a few dates at the Belasco Theatre in October 1972. Although Tennille was no longer associated with the musical by the time it reached Broadway, she was credited as the composer under her married name Shearer. In 1971 Tennille met her future husband Dragon during auditions in San Francisco for band members for the musical. Dragon had previously toured with The Beach Boys and had appeared on a couple of their albums as a back up musician. After Mother Earth ended, Dragon returned to The Beach Boys and introduced Tennille to the band. Tennille played electric piano with the band during their 1972 tour. In 1973, Tennille and Dragon left to form Captain & Tennille and began performing at local clubs. The two released their self-financed debut single "The Way I Want to Touch You" in September 1973, which was a success locally and helped them to get a record contract from A&M records. The duo recorded a cover version of the Neil Sedaka song "Love Will Keep Us Together" in 1975 that became a huge success and eventually went on to win the 1975 Grammy Award for Record of the Year.

In 1974, Tennile sang background vocals on Elton John's Caribou album. She also sang background vocals on Pink Floyd's The Wall in 1979. On July 8, 1980, Tennille sang the national anthem at the Major League Baseball All-Star game at Dodger Stadium in Los Angeles. From September 1998 to June 1999, Tennille performed as "Victoria Grant/Count Victor Grazinski" in the national tour of the play Victor Victoria. In April 2016, Tennille released her memoir and went on a book tour to promote it later that summer. An 'audiobook' of the memoir was also released on the audiobook service Audible. Tennille married her first husband Kenneth Shearer in June 1962 at the age of 22. They divorced in late 1972. She then married Daryl Dragon on November 11, 1975. The couple moved from Reno, Nevada to Prescott, Arizona in 2007. Tennille filed for divorce after 39 years of marriage on January 16, 2014. Dragon said he was unaware of any discontent until being served with the divorce papers. The divorce was finalized in July, 2014. In 2015, Tennille moved to Florida at the suggestion of her sister, Jane. During the promotion of her autobiography, on The Today Show in the spring of 2016, Tennille said the reason for their divorce was Dragon's "inability to be affectionate". However, she later implied that Daryl reacted positively to her memoir and the reveal; he said "I saw you on The Today Show. I was proud of you".https://peoplepill.com/people/toni-tennille/

All Of Me

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Jackie Cain & Roy Kral - Double Take

Styles: Vocal And Piano Jazz
Year: 1961
File: MP3@320K/s
Time: 34:59
Size: 80,7 MB
Art: Front

(2:02) 1. Cheerful Little Earful
(2:54) 2. You Smell So Good
(3:05) 3. Let's Get Away from It All
(2:44) 4. Season in the Sun
(2:43) 5. Glasses and Ashes and Bottles and Cans
(3:45) 6. Could You Use Me
(3:40) 7. The Continental
(2:50) 8. Let's Take a Walk Around the Clock
(3:18) 9. Side by Side
(2:44) 10. I Wish I Were in Love Again
(2:26) 11. Daahud
(2:43) 12. Together Wherever We Go

Jackie Cain & Roy Kral • Double Take This stereo LP record was released as Columbia Records CS 8504 in 1961...the record has the red, black and white Columbia 6-eye label. Jackie Cain (vocals) and Roy Kral (vocals/piano) are featured with Ted Snyder (bass) and Stan Harris (drums). The track listing is as follows: Cheerful Little Earful • You Smell So Good • Let's Get Away From It All • Season In The Sun • Glasses and Ashes and Bottles and Cans • Could You Use Me • The COntinental • Let's Take A Walk Around The Block • Side By Side • I Wish I Were In Love Again • Daahud • Together Wver We Go The album cover shows wear with a partial splits in the top and bottom seam and spine and is graded "VG" • the vinyl has it's original sheen with with scuffs and light scratches some of which may be audible when played and is graded "VG+". [42731] All Grading is visual - Grading is as follows: •N EW : Still factory sealed…brand new product •M-: Mint minus…used product in near new condition •EX: Excellent…used product with minor flaws not affecting play •VG: Very Good…used product with some damage possibly audible •G: Good…used product that will play, but not with passable quality Check out the extensive listing of records, CDs and other items in our eBay store. Pay ment: You may pay using PayPal Orders not paid within 10 days of purchase will be listed as "Unpaid Orders" Shipping & Handling: All items are shipped via The United States Post Office. Charges to you are computed as postage costs plus a $2 service charge per order. All items in our eBay store and auctions should now be set up to automatically figure postage on single items. If you are ordering multiple items, place your order with us and wait for us to send you an invoice with a combined shipping and handling cost. All domestic orders are shipped with delivery confirmation at no extra charge to enable you to track your shipment. International orders up to four pounds in weight can be shipped USPS First Class International...these packages can be sent registered for an additional $10.15, but cannot be insured. Packages over four pounds must be shipped either USPS Priority International or USPS Express International...these rates will include insurance. We have no control over mail shipments once they are processed at the post office and cannot assume any responsibility for uninsured items that are lost or broken in transit...please be aware of delays in the delivery of International shipments in customs and postal departments The free listing tool. List your items fast and easy and manage your active items. https://www.worthpoint.com/worthopedia/jackie-cain-roy-kral-jackie-roy-75357656

Pessoal: Jackie Cain - vocals; Roy Kral - piano, vocals; Ted Snyder - bass, tuba (#12); Stan Harris - drums

Double Take

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