Dado Moroni Trio - What's New?

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 73:25
Size: 169,2 MB
Art: Front

(10:54) 1. What's New?
( 5:32) 2. Trawi
(16:05) 3. African Suite: the Market / The River / Ghanian Village
( 9:51) 4. Jamal
( 6:36) 5. Easy Living
( 9:18) 6. The Duck and the Duchess
( 7:58) 7. Skylark
( 7:08) 8. When Will the Blues Leave

As a pianist and composer, Dado Moroni is an elegant stylist whose post-Ahmad Jamal voicings and Gil Evans-styled arrangements even for small ensembles are singular in their subtle, suave grace and their quiet musical expertise. This trio date with a young rhythm section (Rosario Bonaccorso on bass and Gianni Cazzola on drums) is an amalgam of the familiar and ambitious for Moroni. His own compositions, which make up half the album, tend toward the inherently melodic side of his nature: There's the charming ostinato aplomb in "The Duck and the Duchess" and the multi-faceted chromatic gracefulness of "African Suite," which loops three different strains of rhythms around a complex harmonic structure that examines all the tones between B and D. And then there's the adventurous improviser who tackles the outrageously difficult melodic line in Ornette Coleman's "When Will the Blues Leave," which extrapolates a 12-bar blues and pours it into a fugue-like structure of flatted ninths. To temper the two poles, there are readings of Hoagy Carmichael's "Skylark" done as an exercise in intervallic interplay and mode-shifting melodic exchange and a solid post-bop reading of Robin & Rainger's "Easy Living." This is piano trio jazz at its lyrical, exciting best.~ Thom Jurek https://www.allmusic.com/album/whats-new-mw0000422873

Personnel: Dado Moroni(p); Rosario Bonaccorso(b); Gianni Cazzola(ds)

What's New?

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Dannie Richmond - 'In' Jazz for the Culture Set

Styles: Soul-Jazz
Year: 1965
File: MP3@320K/s
Time: 30:28
Size: 70,3 MB
Art: Front

(3:10) 1. High Camp
(2:14) 2. Sweet Little Sixteen
(3:05) 3. Freedom Ride
(3:56) 4. The Spider
(2:40) 5. Blowin' In The Wind
(4:24) 6. Pfoonick
(4:52) 7. The Berkeley Underground
(3:55) 8. Mister Nashville
(2:09) 9. John Kennedy Memory Waltz

As anyone who collects jazz records will very likely tell you, the rare ones are typically hard earned and usually accompanied by a story or two. Such is the case with the uncommon and definitely curious solo album that drummer Dannie Richmond cut for Impulse back in 1965. With shades of Any Warhol to be had via the Campbell’s soup cans on the cover, this oddity first caught my attention many years ago when shopping with one of my fellow collecting buddies. Housed in a five-car garage, a retired attorney by the name of Dan Link (that’s Mr. Jazz to those who knew him best, including drummer Kenny Washington) ran a record business that used to be a frequent stopping spot that always guaranteed pleasures and a quick fix. Foolishly I had passed by the album the first time out and even more rashly, described it to my buddy the next time out, who managed to find the proverbial needle in the haystack among thousands of boxes. Even several years later, I could not pry the album from his hands, despite the fact that my buddy claimed to not think much of it, playing it only one or two times.

Let’s now cut to the chase and lay out the details for one of the few albums the drummer ever recorded under his own name. The “in crowd” that Richmond assembles here includes pianist Jaki Byard and bassist Cecil McBee, with the guitars of Toots Thielemans and Jimmy Raney on various other cuts, not to mention some added Latin percussion on a trio of tracks. There’s definitely a quirky sound to these short cuts which owes as much to the tenor of the times as to the contributions of Byard, heard in rollicking stride fashion on of all things, Bob Dylan’s “Blowin’ in the Wind”. Jimmy Raney’s “Freedom Ride” is one of the best cuts, its propulsive groove firmly established by Richmond and also featuring one of the few drum solos to be found on the record. Also worth mentioning are two Gary McFarland gems, namely “High Camp” and “Pfoofnick.” And let’s not forget the country twang that comes with Thieleman’s “Mister Nashville,” the idea being that pretty much anything goes when it come to this “in” jazz for the culture set. In the end, nothing all that dramatic will be found between the covers, but it’s a definite treat to hear some overlooked solo work from Byard, not to mention Thielemans’ guitar picking which has largely been overshadowed by his individualistic ways with the harmonica. But then, there’s a ‘60s vibe to the entire package, Campbell’s soup cans and all, which continues to endear itself to me every once in awhile when I get the turntable spinning. ~ C.Andrew Hovan https://www.allaboutjazz.com/dannie-richmond-in-jazz-for-the-culture-set-by-c-andrew-hovan.php

Personnel: Dannie Richmond – drums; Toots Thielemans – harmonica, guitar; Jaki Byard – piano; Jimmy Raney – guitar; Cecil McBee– bass; Willie Bobo, Victor Pantoja – percussion

'In'Jazz for the Culture Set

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Chris Barber, Ottilie Patterson - Is it True 'Bout ..

Styles: Trombone Jazz
Year: 2020
File: MP3@320K/s
Time: 36:44
Size: 85,0 MB
Art: Front

(2:32) 1. Dixie Cinderella
(3:09) 2. Porgy
(4:34) 3. Magnolia's Wedding Day
(2:26) 4. Doin' the Crazy Walk
(5:02) 5. New St. Louis Blues
(3:14) 6. Here Comes My Blackbird
(2:32) 7. Can't We Get Together
(3:49) 8. I Can't Give You Anything but Love
(3:31) 9. Sweet Savannah Sue
(3:16) 10. Diga Diga Doo
(2:34) 11. Baby

17 April 1930, Welwyn Garden City, Hertfordshire, England. In the 40s Barber studied trombone and bass at the Guildhall School of Music, eventually choosing the former as his principal instrument (although he occasionally played bass in later years). In the late 40s he formed his first band, which, unusually, was formed as a co-operative. Also in the band were Monty Sunshine, Ron Bowden and Lonnie Donegan. By the early 50s the band had gained a considerable following but it was nevertheless decided to invite Ken Colyer to join. The move was musically promising but proved to be unsuccessful when the personalities involved clashed repeatedly. Eventually, Colyer left and was replaced by Pat Halcox. The vocalist Ottilie Patterson joined in 1954 when she was Barber’s girlfriend, (they married in 1959). In the mid-50s Barber also tried his hand at skiffle and his own Chris Barber Skiffle Group featured during this time Ron Bowden (drums), Dickie Bishop (vocals), and the powerful but nasal vocalist/guitarist Johnny Duncan. Barber played upright bass during this time, an instrument on which he is equally adept. Many years later, Paul McCartney’s recording of Bishop’s composition ‘No Other Baby’ was one of the highlights of his comeback rock ‘n’ roll set, Run Devil Run.Aided by remarkably consistent personnel, the Barber band was soon one of the UK’s leading traditional groups and was well placed to take advantage of the surge of interest in this form of jazz in the late 50s and early 60s. Barber experienced a ‘freak’ hit in the pop charts in 1959 when his arrangement of Sydney Bechet’s ‘Petite Fleur’ became a huge hit (No. 3 in the UK). The track was issued from a 1957 album to catch the boom that trad was experiencing. The clarinet solo was beautifully played by Monty Sunshine and remains a classic of the era. The decline in popularity of ‘trad’, which came on the heels of the beat group explosion, had a dramatic effect on many British jazz bands, but Barber’s fared much better than most.

This was owed in part to his astute business sense and also his keen awareness of musical trends and a willingness to accommodate other forms without compromising his high musical standards.In the 60s Barber changed the name of the band to the Chris Barber Blues and Jazz Band. Into the traditional elements of the band’s book he incorporated ragtime but also worked with such modern musicians as Joe Harriott. Among his most important activities at this time was his active promotion of R&B and the blues, which he underlined by bringing major American artists to the UK, often at his own expense. Through such philanthropy he brought to the attention of British audiences the likes of Sister Rosetta Tharpe, Brownie McGhee, Louis Jordan and Muddy Waters. Not content with performing the older blues styles, Barber also acknowledged the contemporary interest in blues evinced by rock musicians and audiences and hired such players as John Slaughter and Pete York (ex-Spencer Davis Group), who worked happily beside long-serving sidemen Halcox, Ian Wheeler, Vic Pitt and others. In the 70s, Barber focused more on mainstream music, showing a special affinity for small Duke Ellington -styled bands, and toured with visitors such as Russell Procope, Wild Bill Davis, Trummy Young and John Lewis. He also maintained his contact with his jazz roots and, simultaneously, the contemporary blues scene by touring widely with his Take Me Back To New Orleans show, which featured Dr. John. He happily entered his fifth decade as a band leader with no discernible flagging of interest, enthusiasm, skill or, indeed, of his audience. In 1991 he was awarded the OBE, the same year as Panama! was released, featuring the excellent trumpet playing of Wendell Brunious. As a trombone player, Barber’s work is enhanced by his rich sound and flowing solo style. It is, however, as band leader and trendspotter that he has made his greatest contribution to the jazz scene, both internationally and, especially, in the UK. https://www.oldies.com/artist-biography/Chris-Barber.html

R.I.P.

March 2, 2021

Born: April 17, 1930, Welwyn Garden City, United Kingdom

Is it True 'Bout Chris Barber & Ottilie Patterson?

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Nnenna Freelon - Blueprint Of A Lady

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 62:58
Size: 145,5 MB
Art: Front

(4:18) 1. I Didn't Know What Time It Was
(5:13) 2. What A Little Moonlight Can Do
(4:05) 3. Don't Explain
(5:21) 4. God Bless The Child
(2:21) 5. Strange Fruit
(2:52) 6. Willow Weep For Me
(4:48) 7. Balm In Gilead
(5:11) 8. Them There Eyes
(3:41) 9. Only You Will Know
(5:25) 10. You've Changed
(2:55) 11. Now Or Never
(4:14) 12. Lover Man
(5:02) 13. Left Alone
(1:32) 14. Interlude-Little Brown Bird
(5:54) 15. All Of Me

Nnenna Freelon's latest project pays tribute to singer Billie Holiday in the best possible way without imitation and putting her own interpretations on material written by or associated with Lady Day. Her band, adjusted to fit the mood of each song, skillfully complements her at every turn. Freelon's phrasing and vocal clarity contribute to an overall feeling that is more positive than Holiday's often dark and plaintive renditions of the same material. Interspersed within this tribute are three natural fits that don't come directly from the Holiday Songbook. "Only You Will Know and "Interlude-Little Brown Bird are original collaborations by Freelon and Brandon McCune that pay homage to Lady Day. The former, an intimate vocal-guitar duet with Andre Bush, enables Freelon to question aloud whether she should imitate Holiday's style or approach the project's material in a different manner. Holiday's answer in this imagined vocal dialogue was: "Sing until you know who you are and why you came... You may sing a Lady song, sweet drawl soft and low/but only if the song is you and only you will know.

The third is "Balm in Gilead a traditional African-American affirmation of faith, hope and optimism that enriches all of the other material. This duo version on which Freelon is accompanied by pianist McCune, leads into an uplifting and vibrant version of "Them There Eyes. Doug Lawrence's tenor sax offers a sublime conversational response to Freelon's vocals on "You've Changed and takes a different role on "Now Or Never by reinforcing and at times echoing her voice. Dave Ellis takes a more out-in-front complementary tenor role on the bluesy and soulful version of "Lover Man that follows. Julian Lage's guitar artistry sparkles throughout "Don't Explain and on several other tracks. "Left Alone presents a Holiday work she never recorded. Lady Day wrote it with the late Mal Waldron. Abbey Lincoln was the first vocalist to record the tune in 1961.

Freelon's vocals plus quartet version unearths the positives buried beneath Holiday's words about loneliness. "All of Me concludes this fine session with another twist a sultry reggae arrangement of the classic ballad.
~ Ken Franckling https://www.allaboutjazz.com/blueprint-of-a-lady-sketches-of-billie-holiday-nnenna-freelon-concord-music-group-review-by-ken-franckling.php

Personnel: Nnenna Freelon: vocals; Brandon McCune: piano: Fender Rhodes: Hammond B-3: trumpet; Wayne Batchelor: acoustic bass; Kinah Boto: drums; Beverly Botsford: percussion; Christian Scott: trumpet (1,2,8); Mary Fettig: alto and baritone saxes: alto flute (1,2); Dave Ellis (1,2,12) and Doug Lawrence (10,11): tenor sax; Julian Lage (3,8,11,15) and Andre Bush (9, duet with Nnenna): guitar; Jessica Ivry: cello (3,8).

Blueprint Of A Lady

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Michael Dease - Give It All You Got

Styles: Trombone Jazz
File: MP3@320K/s
Time: 57:43
Size: 133,4 MB
Art: Front

(5:47) 1. A Sliver Of Silver
(5:18) 2. The Next Level
(4:58) 3. Parker's Fancy
(5:23) 4. Word To The Wise
(5:58) 5. Dave's Boogie-Down
(6:08) 6. Ritmo De Brevard
(4:56) 7. Lake Toxaway Getaway
(5:58) 8. Zanderfied
(7:05) 9. Climb The Mountain
(6:08) 10. Transylvania County Funk Parade

Recalling many of those great Blue Note albums with trombonist Curtis Fuller and Art Blakey, Give It All You Got, the eighth Posi-Tone release by one of today’s leading voices on the trombone, Michael Dease, carries that infectious soul-jazz vibe and percolates with similar energy. Dease has appeared over 200 recordings wirh groups as diverse as Grammy winning artists David Sanborn, Christian McBride, Michel Camilo, and Alicia Keys. This one garners inspiration from his life in jazz education.. It focuses on North Carolina’s The Jazz Institute at Brevard Music Center, which is a two-week summer intensive workshop for 80 dedicated students that follow Dease’s custom-designed curriculum for traditional and progressive jazz study. Most of the musicians on the album are Brevard faculty members as well. The renowned trombonist and two-time Grammy award winner currently serves as Associate Professor of Jazz Trombone at the renowned Michigan State University jazz program and has also been on faculty at Queens College CUNY, The New School and Northeastern University. Many of Dease’s current and former students are enjoying successful careers in the music world. Always an informed, but forward-thinking musician, Dease learned the craft from trombone legends Wycliffe Gordon and Joseph Alessi and his extensive resume is far too reaching to cover in this space. Dease’s opener “Sliver of Silver” was inspired by a 2018 visit to Brevard by famed trumpeter Randy Brecker, who played with the piano icon when first coming up.

Throughout Alfredson’s sizzling B3 gives the proceedings a different color than those Blue Note recordings referenced earlier but this straight-ahead hard bop is terrific whether listening to Tardy’s tenor on “The Next Level” or the leader making his own poignant statements. “Parker’s Fancy,” written by drummer Luther S. Allison is not about Bird, but instead for Dr. Andrew Parker of the Institute. It’s familiar sounding groove fits as easily here as it could have in that glorious soul-jazz era of the early ‘60s with sparkling turns from trumpeter Stanco, Tardy, and the leader. Dease’s “Word to the Wise” is a mid-tempo piece with the leader in conversation with Alfredson until Tardy enters midway and the entire sextet brings it home. “Dave’s Boogie-Down,” as title suggests, is a white-hot burner, written by Alfredson but named for David Sanborn, with whom Dease toured extensively. This one features a blistering solo from altoist Sharel Cassity, one of Dease’s most inspired spots, with Tardy and Alfredson on fire as well, bringing it all to an explosive boil before the abrupt end. We then find the soothing Brazilian tones of “Ritmo De Brevard,” a nod to both Brazilian music and especially Dease’s mentor, the late Claudio Roditi as heard in the reverent tones near the end. “Lake Toxaway Getaway” is another Alfredson composition named for LakeToxaway Country Club where the jazz students from Brevard perform a 90-minute show as part of the curriculum. This is joyous tune, capturing the excitement of the students riding the “big ol’ white school bus” making the mountain climb to the site.

“Zanderfied,” named for the founders of the Institute, features an especially soulful Stanley Turrentine-like take from Tardy and the only guitar spot, a bluesy one, for Randy Alexander. “Climb the Mountain,” by Stanco, is Dease’s favorite track, as true to its name, it just keeps building, beginning rather calmly with turns from all three horns before Alfredson sets the stage for the crescendo, the last notes reflecting a deep exhale, as they have reached the summit. “Transylvania County Funk Parade,” the closer, written on the spot by Dease, is an ode to the collective band members roots in blues and soul. Tardy is on fire pushed by Owens Jr. Dease and Alfredson keep the cauldron boiling before the ensemble takes it out. In his notes Dease has this – “Dig these origins: Tardy/NOLA, Stanco/Detroit, Ulysess/JAX, Alfredson & Brooklyn/Lansing, Luther/Charlotte, Gwen/STL, Sharel/OKC, Napoleon/Ann Arbor (we’ll let that one slide) & Dease/Augusta, GA. These are places that like their Blues and Brevard’s Transylvania County is right in there.” This is one smoking session! Highly recommended.~ Jim Hynes https://www.makingascene.org/michael-dease-give-it-all-you-got/

Personel: Michael Dease – trombone; Anthony Stanco – trumpet/flugelhorn; Gregory Tardy – tenor saxophone; Jim Alfredson – organ; Ulysses Owens, Jr. – drums; Gwendolyn Dease – congas/triangle; Brooklyn Dease – percussion; Luther Allison – drums; Sharrel Cassity – alto saxophone; Randy Napoleon – guitar

Give It All You Got

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Ralph Peterson and The Messenger Legacy - Legacy Alive, Vol. 6 at the Side Door

Styles: Jazz, Post Bop, Hard Bop
Year: 2019
File: MP3@320K/s
Time: 105:10
Size: 241,7 MB
Art: Front

(11:01) 1. A La Mode
(10:11) 2. Wheel Within a Wheel
( 7:45) 3. The Core
( 9:07) 4. My One and Only Love
( 8:38) 5. 3 Blind Mice
(11:49) 6. Blues March
(10:07) 7. In Case You Missed It
( 7:54) 8. Along Came Betty
( 6:53) 9. Children of the Night
( 8:51) 10. That Old Feeling
(12:49) 11. Caravan

Recorded loud and live at the Side Door Jazz Club in Old Lyme, CT, Ralph Peterson the last drummer to play side-by-side with the incomparable Art Blakey delivers an unstoppable two-disc hyperdrive swing-fest celebration of his mentor with Legacy Alive, Volume 6 at the Side Door. It's no deep state secret that Blakey, with his effortless and effusive glee, seamlessly bridged all of jazz's thrilling variants: '40's swing and blues; the nascent bop and hard bop of the '50s to the soaring, exploratory avant-garde of the '60's. Fletcher Henderson, Chick Webb and Mary Lou Williams to Thelonious Monk and McCoy Tyner, Blakey drove them all with his relentless spirit and snapping snare. So, to mark Blakey's centennial year and his own 57th, Peterson, his rhythmic intuitions and understandings of Blakey fully engaged, presents his frothy sextet: saxophonists Bill Pierce on tenor and Bobby Watson on alto, trumpeter Brian Lynch, bassist Essiet Essiet, and pianist Geoffrey Keezer and a raucous, eleven-song set of smoking tunes long associated with Blakey and any version of his Jazz Messengers. Peterson, Keezer, and Essiet blow the Side Door open with "A La Mode," and the momentum fiery, free, frenetic never lets up. Watson, himself a Blakey alum, contributes "Wheel Within A Wheel," a rolling hard-bop blazer that sets the stage for Freddie Hubbard's "The Core," a real showcase for the horns. And the hits keep coming! Rollicking takes of "3 Blind Mice," Benny Golson's signature "Blues March" and "Along Came Betty," Wayne Shorter's fervent "Children of the Night" and a set-closing jump-romp of Duke Ellington's "Caravan" serve to prove the fact that, on any given night, in any given club with the right combo, greatness can be heard.~ Mike Jurkovic https://www.allaboutjazz.com/legacy-alive-volume-6-at-the-side-door-ralph-peterson-onyx-music-label-review-by-mike-jurkovic.php

Personnel: Ralph Peterson: drums; Bobby Watson: saxophone; Bill Pierce: saxophone, Brian Lynch: trumpet; Geoffrey Keezer: piano; Essiet Essiet: bass.

R.I.P.
Born: May 20, 1962, Pleasantville, New Jersey, United States
Died: March 1, 2021

Legacy Alive, Vol. 6 at the Side Door

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Dave Blenkhorn, Harry Allen - Under a Blanket of Blue

Styles: Saxophone And Guitar Jazz
Year: 2020
File: MP3@320K/s
Time: 47:08
Size: 108,8 MB
Art: Front

(5:05) 1. There's a Small Hotel
(5:17) 2. We'll Be Together Again
(4:23) 3. Dindi
(4:53) 4. Bewitched, Bothered and Bewildered
(4:01) 5. Under a Blanket of Blue
(6:31) 6. Street of Dreams
(4:22) 7. La Mer
(4:13) 8. Imagination
(3:49) 9. The Bloody Happy Song
(4:29) 10. Solitude

Conceived from the same stressors catalyzing The Bloody Happy Song, Under A Blanket Of Blue added an additional level of complexity and challenge to the new COVID conception-production paradigm. In this case, Allen had been touring Europe with France-based, Australian guitarist Dave Blenkhorn in March 2020, when Allen received a telephone call from his wife, summoning him home due to the COVID travel ban to be instituted two days hence. Allen went home with a conversation he had with the guitarist in mind regarding recording at home ringing in his ears. So, with both musicians secure in their respective homes in New York City and Bordeaux, France, they recorded a collection of nine standards and one original (Allen's "The Bloody Happy Song" from the previous review) over a two-month period, working on one or two songs per week.

The two artists took a queue from classical music period performance specialists, deciding to go old school instrument and recording-wise. Allen recorded performing on a 1938 Selmer Balanced Action tenor saxophone captured through a Royer R10 ribbon microphone, while Blenkhorn used a 1958 Gibson 175 model guitar. A Django Reinhardt enthusiast, Blenkhorn brought a 1920 "Hot Club" vintage sound to the performances while maintaining Joe Pass-inspired walking-bass figures interspersed among his tasteful chording. That guitar environment proved to be money for Allen, who played at the top of his form.. Novel conception and recording method apart, the musical duet is the most intimate performance setting. It requires that two individuals cooperate and coalesce artistically, creating something not heard before. Sure, all of the songs in this recital have been performed and recorded every which way, some many times, before. But these songs as presented by Harry Allen and Dave Blenkhorn re freshly minted That alone makes them special, unique. Casual and close, the two musicians bring music together from across an open.

The repertoire is tried and true, with the closing songs defining the collection: Victor Young's 1932 "Street of Dreams" receives a breezy introduction from Blenkhorn before assimilating a first timid Allen into its confines. The song gathers swing density ending on a well conceived coda. Charles Trenet's "La Mer" (Columbia, 1946) bounces with tuneful glee, with Allen gently coaxing the melody through the harmonic underpinning provided by Blenkhorn's guitar. Jimmy Van Heusen's "Imagination" rubs its baladic backside against Allen's original "The Bloody Happy Song" reprised here from the same-titled recording above. The two end with an introverted performance of Duke Ellington "Solitude," proving again that the Great American Songbook continue tp provide an endless source of inspiration.~ C.Michael Bailey https://www.allaboutjazz.com/harry-allen-tenor-saxophone-in-the-time-of-covid-harry-allen

Personnel: Harry Allen (ts), Dave Blenkhorn (g)

Under a Blanket of Blue

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Dado Moroni - The Way I Am

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 67:26
Size: 155,7 MB
Art: Front

(4:11) 1. The Cup Bearers
(4:28) 2. Not Without You
(2:34) 3. Wrap Your Troubles in Dreams
(6:20) 4. I Can't Get Started
(4:59) 5. Improvistion in G Minor
(3:10) 6. Time Will Tell - Medley
(5:27) 7. The Man from Potter's Crossing - Medley
(5:00) 8. Yesterdays
(7:42) 9. Blue Dado
(8:47) 10. Ruby My Dear / Pannonica / Round Midnight - Thelonious Monk Medley
(2:43) 11. What Am I Here For
(5:00) 12. Lotus Blossom
(7:04) 13. S.K.J.

The renowned jazz musician Edgardo ‘Dado’ Moroni was born on this day in 1962 in Genoa. Moroni, who learned at the feet of some of the greats of American jazz music in Italian clubs in the 1980s and 90s, has recorded more than 25 albums, having released his first when he was only 17. He has appeared as a guest on many more albums and built such a reputation as a pianist and composer that he was able to become part of the American jazz scene himself in the 1990s, when he lived in New York. Moroni attributes his love of jazz music to his father’s passion for the genre, which meant that he grew up listening to the likes of Earl Hines, Fats Waller and Count Basie.Using a piano his parents had bought for his sister, Monica, he taught himself to play many of the songs he heard on the record player, receiving his first informal tuition from his mother, who played the accordion.

Formal piano lessons were arranged for him with the Genoa jazz pianist Flavio Crivelli, who introduced him to the music of Charlie Parker, Bud Powell and Dizzy Gillespie and contemporary pianists like Bill Evans, Ahmad Jamal and Oscar Peterson. Moroni progressed so rapidly he was able to play professionally in clubs from the age of 14. The Italian jazz scene while he was growing up was popular but not wealthy. Club owners were keen to hire famous artists but could not always afford to pay for support musicians. This worked to the advantage of up-and-coming Italian musicians such as Moroni, who were more than happy to make up the numbers. Moroni found himself accompanying such internationally renowned names as Harry “Sweets” Edison, Freddie Hubbard, and even greats such as Peterson and Gillespie when they were on tour in Europe. It was Gillespie, Moroni said, who persuaded him to back his own talent and pursue a career in music after doubts about his ability to make a living had led him to embark on studies for a law degree.

Moroni began a collaboration with two other Italian jazz musicians, Tullio de Piscopo and Franco Ambrosetti. At just 17 years old, he recorded an album with De Piscopo and the American bassist Julius Farmer and another with Ambrosetti and the Danish bass player Niels-Henning Ørsted Pedersen. Through the 80s, he played at festivals and clubs across Europe, often with a trio led by Duke Ellington’s former bassist, Jimmy Woode. In 1987, at the age of just 25, he was invited as the only European musician to be part of the jury of the Thelonious Monk international piano award held in Washington in 1987. Moroni moved to the United States in 1991 and became part of the New York jazz scene, performing with several bands and contributing to the rich heritage of Italian musicians in America. He appeared at the most prestigious jazz clubs in the city, such as the Blue Note, Birdland, Bradley’s and the Village Vanguard. In 1995 he returned to Italy to join the classical pianist Antonio Ballista in a project called “Two Pianos, One Soul”, which played some of Italy’s major theatres, among them the Teatro Comunale in Ferrara, the Teatro Regio in Turin, the Teatro Verdi in Florence and the Teatro Carlo Felice in his native Genoa. Moroni won the prestigious Umbria Jazz Award in the same year. In 2007 he won the "Best Jazz Act" at the Italian Jazz Awards. He is now based permanently in Italy and continues to record and tour, while at the same time teaching jazz piano at the Como Conservatory of Music. https://www.italyonthisday.com/2018/10/dado-moroni-jazz-musician-dizzy-gillespie.html

The Way I Am

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Pat Coil - Music for Humans...and Other Species

Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 62:30
Size: 145,2 MB
Art: Front

(8:01) 1. Lost & Found
(4:28) 2. Ellie's Bell
(6:33) 3. One to One
(7:54) 4. 3 'Til Midnight
(4:42) 5. Papa's New Groove
(5:46) 6. Tears for Parkland
(7:20) 7. November Song
(6:46) 8. Here & Back Again
(7:58) 9. Now & Then
(2:58) 10. For Travis

Pat is an accomplished pianist, composer, producer, arranger, teacher, and highly respected studio musician. His credits span the musical spectrum of jazz, R&B, pop, country and gospel. Touring Europe, Japan, South America, Canada and the United States with exceptional artists; Pat is privileged to tour with Michael McDonald, and has previously toured with Carmen McCrae, Vince Gill, Amy Grant, Woody Herman, Larry Carlton and Olivia Newton John. Partial recording credits include: Natalie Cole, Nancy Wilson, Carmen McRae, Trisha Yearwood, Ernie Watts, Michael McDonald, George Strait, Peter Cetera, Scott Henderson & Tribal Tech, Barry Manilow, Michael Feinstein, Kenny Rogers, Travis Tritt. https://www.jazziz.com/new-releases/music-for-humans-other-species/

Personel: Pat Coil - piano/keys; Danny Gottlieb - drums; Jim White - drums; Marcus Finnie - drums; Jeff Coffin - sax; Mark Douthit - sax; Brian Allen - bass; Todd Parks - bass; John Estes - bass; Steve Kovalcheck- guitar; Pat Bergeson - guitar; James Westfall - vibes; Eric Darken - percussion; Brendan harkin - recording engineer; Scott Gerow - recording & mix engineer

Music for Humans...and Other Species

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George Benson - Giblet Gravy

Styles: Guitar Jazz
Year: 1968
File: MP3@320K/s
Time: 56:31
Size: 133,2 MB
Art: Front

(3:02) 1. Along Comes Mary
(2:56) 2. Sunny
(5:32) 3. What's New?
(4:50) 4. Giblet Gravy
(3:26) 5. Walk On By
(4:42) 6. Thunder Walk
(3:08) 7. Sack Of Woe
(2:46) 8. Groovin'
(8:40) 9. Low Down and Dirty
(6:14) 10. Billie's Bounce
(5:41) 11. What's New? - alternative take 1
(5:28) 12. What's New? - alternative take 2

Simply one of the greatest guitarists in jazz history, George Benson is an amazingly versatile musician whose adept skills find him crossing easily between straight-ahead jazz, smooth jazz, and contemporary R&B. Blessed with supreme taste, a beautiful, rounded guitar tone, terrific speed, a marvelous sense of logic in building solos, and, as always, an unquenchable urge to swing, Benson's inspirations may have been Charlie Christian and Wes Montgomery, but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format; skills he first garnered attention for as a member of Brother Jack McDuff's band in the early '60s. Benson can also sing in a lush, soulful tenor with mannerisms similar to those of Stevie Wonder and Donny Hathaway. In a sense, he is the guitar-playing equivalent of Nat King Cole, a fantastic instrumentalist whose smooth way with a pop vocal helped solidify his prowess in the marketplace. It is this combination of singing and guitar playing that has garnered him numerous accolades and chart success, including most notably his 1976 breakthrough Breezin', which topped the pop, R&B, and jazz charts and took home Grammy Awards for Best Pop Instrumental Performance and Record of the Year. Benson has remained a chart and awards season favorite, releasing more Top Ten jazz albums, including 1980's Grammy-winning Give Me the Night, 1993's Love Remembers, and 2006's Grammy-winning Givin' It Up with Al Jarreau. Along with his original studio albums, Benson has paid tribute to his idols, releasing 2013's Inspiration: A Tribute to Nat King Cole and 2019's Fats Domino- and Chuck Berry-inspired Walking to New Orleans.

Born in 1943 in Pittsburgh, Benson actually started out professionally as a singer, performing in nightclubs at the age of eight, recording four sides for RCA's X label in 1954, and forming a rock band at 17 while using a guitar that his stepfather made for him. Exposure to records by Christian, Montgomery, and Charlie Parker got him interested in jazz, and by 1962, the teenage Benson was playing in Brother Jack McDuff's band. After forming his own group in 1965, Benson became another of talent scout John Hammond's major discoveries, recording two highly regarded albums of soul-jazz and hard bop for Columbia and turning up on several records by others, including Miles Davis' Miles in the Sky. He switched to Verve in 1967, and, shortly after the death of Montgomery in June 1968, producer Creed Taylor began recording him with larger ensembles on A&M (between 1968 and 1969) and big groups and all-star combos on CTI (from 1971 to 1976).

While the A&M and CTI albums certainly earned their keep and made Benson a guitar star in the jazz world, he gained yet more commercial acclaim after signing with Warner Bros. in 1976. His first album for Warner Bros., Breezin', became a Top Ten hit on the strength of its sole vocal track, "This Masquerade," and this led to a string of hit albums in an R&B-flavored pop mode, culminating with the Quincy Jones-produced Give Me the Night. However, jazz remained at the core of his sound, as showcased on 1989's standards album Tenderly, as well as 1990's Big Boss Band with the Basie band, the latter of which featured his guitar more prominently. In 1993, he scored another number one contemporary jazz album with Love Remembers, and followed with several more chart-topping albums, including 1996's That's Right and 1998's Standing Together. The Latin-infused Absolute Benson arrived in 2000 debuting at number one on the Billboard Jazz chart, and was followed by 2004's number five-charting Irreplaceable. He then paired with vocalist Al Jarreau for 2006's Givin' It Up, which topped the contemporary jazz chart and took home Grammy Awards for Best Pop Instrumental Performance and Best Traditional R&B Vocal Performance. In 2009, Benson signed to Concord and released Songs and Stories for the label; he followed it with his first primarily instrumental album in 35 years, Guitar Man, in 2011. Two years later, Benson released Inspiration: A Tribute to Nat King Cole, featuring arrangements by Nelson Riddle and Randy Waldman. In 2019, he returned with a second tribute album, Walking to New Orleans: Remembering Chuck Berry and Fats Domino. A concert album, Weekend in London, arrived in 2020.~ Richard S.Ginell https://www.allmusic.com/artist/george-benson-mn0000201760/biography

Personnel: Guitar – Carl Lynch (tracks: 1), Eric Gale (tracks: 2, 4, 5, 7), George Benson; Baritone Saxophone – Pepper Adams (tracks: 1, 2, 4, 5, 7, 8); Bass – Bob Cranshaw (tracks: 2, 4, 5), Ron Carter (tracks: 1, 3, 6 to 12); Bass Trombone – Alan Ralph (tracks: 1, 2, 4, 5, 7, 8; Congas, Tambourine – Johnny Pacheco; Drums – Billy Cobham; Piano – Herbie Hancock (tracks: 3, 6, 9 to 12); Trumpet – Ernie Royal (tracks: 1, 2, 4, 5, 7, 8), Snooky Young* (tracks: 1, 2, 4, 5, 7, 8); Trumpet, Flugelhorn – Jimmy Owens (tracks: 1, 2, 4, 5, 7, 8)

Giblet Gravy

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Dado Moroni - With Duke in Mind (Piano Solo)

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 64:09
Size: 148,8 MB
Art: Front

(1:19) 1. What Am I Here For - Entrance
(3:22) 2. There Was Nobody Looking
(6:08) 3. Main Stem
(6:39) 4. All Too Soon
(4:47) 5. Pleadin' for Love
(5:02) 6. So
(3:46) 7. Black Beauty
(5:00) 8. Day Dream
(3:11) 9. Cottontail
(5:50) 10. Isfahan
(6:02) 11. Caravan
(4:59) 12. Warm Valley
(5:19) 13. Don't Get Around Much Anymore
(2:44) 14. What Am I Here For - Exit

Born Edgardo Moroni, 20 October 1962, Genoa, Italy. Moroni began playing piano as a tiny child, encouraged by a very musical family background. Although his father was a dance band singer and his grandfather an opera singer, he turned to jazz and in his early teenage years also took up the bass. Some of his early influences came through his father’s record collection, which included artists such as Erroll Garner, Earl ‘Fatha’ Hines, Art Tatum and Fats Waller. During the 70s and early 80s his experience and his reputation grew and he worked not only with noted Italian musicians, such as Franco Ambrosetti and Gianni Basso, but also with visiting American artists. Over the years, these included Freddie Hubbard, James Moody and Clark Terry.

He was a member of a trio led by Jimmy Woode, played with Mingus Dynasty, and toured extensively with a wide range of mainstream, hard bop and contemporary jazz artists. His reputation solidified in the USA owing to numerous visits and high profile concerts and well-received albums, on which he appeared as a sideman, with Ray Brown, Jesse Davis, Tom Harrell, and Lee Konitz. Although his stylish and vigorous playing is heavily bop influenced, Moroni’s performances often reveal touches of those early piano influences, Waller and Tatum for example, which help bring to his playing a satisfyingly broad texture. https://www.allmusic.com/artist/dado-moroni-mn0000665243/biography

With Duke in Mind (Piano Solo)

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Mike LeDonne - The Groover

Styles: Jazz, POst Bop
Year: 2009
File: MP3@320K/s
Time: 61:56
Size: 143,4 MB
Art: Front

(6:59) 1. Rock With You
(6:36) 2. Blues For McCoy
(6:39) 3. Little Mary
(8:24) 4. I'm Goona Make You Love Me
(7:17) 5. Deep Blue
(5:43) 6. Sunday in New York
(6:03) 7. Bopsolete
(7:58) 8. The Groover
(6:14) 9. On the Street Where You Live

What kind of music "grooves" exactly? Look no further. Hammond B3 organist Mike LeDonne teams with a group of accomplished musicians to put together an album that simply grooves hard all the way to the final chord. Reminiscent of Jimmy Smith and Charles Earland, LeDonne plays with conviction and soulfulness on an album that sounds more like a jam session than a studio release. From the first few bars, it is clear that the casting of this album is impeccable. Guitarist Peter Bernstein's warm, robust sound blends so well with LeDonne's that at times it is difficult to pick out his playing. Drummer Joe Farnsworth complements all the other musicians well, making this group sound even better than it is. Tenor saxophonist Eric Alexander's focused tone is darkened up a bit for this recording, resulting in a well-balanced palette of tonal colors. The catchy opening track, "Rock With You," is almost too arranged and could stand to have a bit more of LeDonne's blowing and less of Alexander's backgrounds in the closing minute. Immediately after, the listener is thrust into a tune better characterized as a burner than a groover, "Blues for McCoy," which lets Alexander do what he does best rip through an up-tempo tune with poise.

The real gem of this album is a simple, child-like melody written by Benny Golson for LeDonne's daughter, entitled "Little Mary." Golson even included an introduction that sounds like music at a carnival, offering a mindset of innocence of joy. As if catching their breath from the last track, all members stay true to the tune and don't get excessively harmonically sophisticated or feel the need to prove themselves. It is very refreshing to hear modern jazz musicians take a simple tune and play some truly beautiful, melodic lines without getting caught up in taking their improvisation outside the changes. "I'm Gonna Make You Love Me" leaves something to be desired from LeDonne but Bernstein weaves in and out of the straight-forward progression utilizing a tasty variety of articulation and phrasing. Things get slowed down with LeDonne's original "Deep Blue," where Bernstein again shines. His guitar seems to have the ability to connect with the unique characteristics of every tune he plays. This one is the type of mournful outpouring of the soul that comes at three o'clock in the morning, laid back and reflective.

The most progressive and riveting of all the pieces is the LeDonne powerhouse "Bopsolete," which he fearlessly tears through, without the support of Bernstein or Farnsworth, for a sublime minute long adventure. Farnsworth treats the listener to a melodic and well-structured solo before LeDonne and Alexander join together on the finger-busting head to close out the tune. The title track is a shuffle-style LeDonne original that grooves like no other on this album. The patience shown by Alexander and Bernstein shows their maturity when it comes to tasteful improvisation. LeDonne employs a nice mixture of traditional bluesy lines with a modern intervallic approach. Farnsworth and LeDonne find their strongest chemistry on this track. Closing with a more modern take on "On the Street Where You Live" is somewhat anti-climactic: the track swings hard but doesn't exactly "groove." Regardless, it is a joy to listen to all soloists weave with invention through a more difficult harmonic structure. This album often comes across like a modern parnership between Jimmy Smith and tenor saxophonist Stanley Turrentine, but with a modern twist. To make it even better, LeDonne got his hands on an outstanding guitarist and drummer to boot. These four musicians recorded previously on LeDonne's "Smokin' Out Loud" (High Note, 2004) and "On Fire" (Savant, 2006). Of the three discs, this is without question the most mature. LeDonne sounds more like a B3 player, and less like a pianist attempting to play B3, every time he records with this group.~ Sean Coughlin https://www.allaboutjazz.com/mike-ledonne-the-groover-by-sean-coughlin.php

Personnel: Mike LeDonne: Hammond B3 organ; Eric Alexander: tenor saxophone; Peter Bernstein: electric guitar; Joe Farnsworth: drums.

The Groover

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Shawnn Monteiro - Visit Me

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 48:40
Size: 112,4 MB
Art: Front

(4:29) 1. Visit Me
(5:40) 2. After Glow
(4:11) 3. Apartment 101
(5:15) 4. Music That Makes Me Dance
(3:18) 5. The Grass Is Greener
(5:33) 6. My One And Only Love
(4:38) 7. Seven Days 'Til Spring
(6:05) 8. Where Do You Go
(3:58) 9. I'm Ready To Fall In Love
(5:28) 10. The Last Day Of Summer

Exciting, captivating and completely distinctive” is how most jazz cognoscenti describe Shawnn's pulsating lyric style. Whether in the intimacy of a club date or the glitter of a Las Vegas showroom, Shawnn has delighted audiences from USA to Europe with her highly popular jazz repertoire laced with blues-oriented improvisations. Evident in Shawnn's liveliness of lyrical phrasing and intermittent scat variations is the influences of Carmen McRae and Sarah Vaughan, from whom she draws that inner core of creative energy. But good genes help, too. Shawnn's father was the late renowned bassist Jimmy Woode, veteran of the Duke Ellington band. Throw into the mix, a lot of musical inspiration and guidance from her Godfather, Clark Terry, and you come up with a combination that can't miss. Percussion great and latin/jazz impressario Mongo Santamaria discovered Shawnn working in a club in San Jose, California and signed her on the spot to tour with his band. Shawnn electrified audiences as his only vocalist and female percussionist during that two-year circuit where she shared the stage with such greats as Stan Kenton, Celia Cruz, the Fania All-Stars, and Weather Report.

Since then, Shawnn has shared the state with a prestigious list of notables jazz names: Clark Terry, Red Holloway, Ray Brown, Lionel Hampton, Frank Foster and the Basie Band, Nat Adderly, Kenny Barron, Hank Jones, Bobby Durham, James Williams, Jimmy Cobb, Keter Betts, Stanley Jordan, Ed Thigpen, Johnny Griffin, and Benny Golson....to name a few. Ms. Monteiro has delighted audiences from the USA to Europe with her highly popular jazz repertoire laced with blues-oriented improvisations and the American Songbook. The true quality of Shawnn's voice is best experienced in the ultimate setting of the club dates where her warm charisma can be personally felt by those fortunate enough to spend an evening with her, She continues to teach Master Classes all over the world, including one ongoing every summer in Italy since 1995. She is an adjunct Professor at the Hartt School/Jackie McLean Institute of Jazz , University of Hartford, Hartford, Connecticut and also Rhode Island College in Providence Rhode Island.

Her popularity continues to grow as clubgoers from Los Angeles to Rome extol the special feelings they share as she lulls them into a mellow mood as only a sensitive jazz vocalist can do. The true magical quality of Shawnn's exciting voice is best experienced in the ultimate setting of the club dates where her warm charisma can be personally felt by those fortunate enough to spend and evening with her. Shawnn teaches a Master Vocal Class in Rome and Genova, Italy every summer. (Ongoing since 1995. Artist in Residence – 2 Years at Rhode Island College (Jazz Vocals) She is also an adjunct Professor (in Jazz Vocals) at both Rhode Island College, Providence, RI and Harrt School of Music, Univ. of Hartford, Hartford, CT. http://www.shawnnmonteiro.com/biography/

Visit Me

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Andy Snitzer - Alfie's Theme

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 52:03
Size: 120,7 MB
Art: Front

(6:06) 1. Alfie's Theme
(6:07) 2. Mercy, Mercy, Mercy
(5:17) 3. Easy Street
(4:53) 4. Tenor Madness
(5:52) 5. The Dream
(4:35) 6. Stan's Shuffle
(6:15) 7. Too Young To Go Steady
(5:12) 8. Softly As In A Morning Sunrise
(7:41) 9. Superstar

Contemporary jazz saxophonist/composer Andy Snitzer was born and raised in Philadelphia; although his first instrument was the clarinet, he turned to the sax at age 15, going on to study music at the University of Miami. There he was discovered by Bob James, touring behind the keyboardist and appearing on a series of albums beginning with 1987's Obsession; Snitzer concurrently earned his MBA at New York University, landing a position at the J.P. Morgan Investment firm while also emerging as a sought-after session musician.

He made his headlining debut with Ties That Bind, scoring the NAC chart-topper "You've Changed"; he also branched out from jazz to pop, touring behind the Rolling Stones and recording with artists from Bette Midler to Aretha Franklin. Snitzer returned in 1996 with In the Eye of the Storm; Some Quiet Place followed three years later.~Jason Ankeny https://www.allmusic.com/artist/andy-snitzer-mn0000047716/biography

Personnel: Andy Snitzer - tenor saxophone; Alain Mallet - piano, organ; Clarence Penn - drums.

Alfie's Theme

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Allegra Levy - Lose My Number

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 51:48
Size: 119,2 MB
Art: Front

(4:14) 1. Samba De Beach
(5:55) 2. Livin' Small
(8:06) 3. Tiffany
(6:04) 4. Strictly Ballroom
(7:22) 5. C. J.
(7:05) 6. Dover Beach
(4:02) 7. Ukulele Tune
(4:36) 8. Zephyr
(4:21) 9. Lose My Number

Allegra Levy is a young singer who has made a reputation for herself through her witty songwriting and performing. She has sung a lot of her own songs on previous releases but on this one, she changes things slightly by writing her own lyrics to the music of trumpet player John McNeil. McNeil was Levy's mentor at the New England Conservatory and she complements his slightly off-balance tunes with lyrics that range from the dark and sardonic to the emotional and poetic. Levy's voice flows over the twists and turns of McNeil's melodies with the flexible ease of an Annie Ross or Nancy King. She delivers her acid putdowns of a dance partner on "Strictly Ballroom" and some unidentified scoundrel on "C.J." with a carefree breeziness that belies the sting in her words. In contrast to that, she is very good at conjuring quieter moods on other songs. She conveys innocent wistfulness on "Dover Beach" and "Ukulele Tune" and quiet sensuality of "Zephyr" and "Livin' Small." The music becomes especially dreamy on the last song when Levy's singing mixes with the trumpet of John McNeil himself in one of his three guest appearances on the CD.

Outside of McNeil's cameos and an appearance by Pierre Dorge playing ukulele on "Ukulele Tune," the instrumental work is all done by three female musicians. Carmen Staaf plays piano, Carmen Rothwell is on bass and Colleen Clark plays drums. Their work subtly complements the understated emotions and cunning humor in Levy's singing. The three come off strongest on "Lose My Number" itself. They go through abrupt tempo changes, as Levy tells off another man who can't take a hint, her voice suddenly moving between fast and slow. When Levy breaks into giddy scatting, the band flies excitedly alongside her, disintegrating into abstraction beside her flippant coos, before coming back together for a last chorus. This CD is a sly little romp that sways between dark sarcasm and intimate romance, bringing the writing of John McNeil and the singing of Allegra Levy together into an enjoyable package. Jerome Wilson https://www.allaboutjazz.com/lose-my-number-allegra-levy-steeplechase-records.

Personnel: Allegra Levy: voice / vocals; Carmen Staaf: piano; Carmen Rothwell: bass, acoustic; Colleen Clark: drums.

Lose My Number

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Ruby Braff - The Things I Love

Styles: Cornet Jazz
Year: 2018
File: MP3@320K/s
Time: 121:30
Size: 279,3 MB
Art: Front

(4:25) 1. On the Sunny Side of the Street
(6:54) 2. Romance in the Dark
(5:06) 3. Sugar
(5:58) 4. When You Wish Upon a Star
(9:18) 5. Sweet Sue, Just You
(6:04) 6. I'm Coming Virginia
(4:08) 7. When It's Sleepy Time Down South
(5:11) 8. Monday Date
(6:58) 9. Squeeze Me
(3:44) 10. Dippermouth Blues
(4:48) 11. It's Wonderful
(5:30) 12. Keep Smiling at Trouble
(7:33) 13. I Can't Get Started
(3:17) 14. Wishing
(7:22) 15. It's Been so Long
(5:10) 16. Struttin' with Some Barbecue
(7:59) 17. Kandee
(6:29) 18. Downhearted Blues
(4:45) 19. Marie
(7:24) 20. (I Don't Stand A) Ghost of a Chance
(3:17) 21. Cornet Shop Suey

One of the great swing/Dixieland cornetists, Ruby Braff went through long periods of his career unable to find work because his music was considered out-of-fashion, but his fortunes improved by the 1970s. A very expressive player who in later years liked to build his solos up to a low note, Braff's playing was instantly recognizable within seconds.

Braff mostly worked around Boston in the late '40s. He teamed up with Pee Wee Russell when the clarinetist was making a comeback (they recorded live for Savoy), and after moving to New York in 1953, he fit easily into a variety of Dixieland and mainstream settings. Braff recorded for Vanguard as a leader, and with Vic Dickenson, Buck Clayton, and Urbie Green. He was one of the stars of Buck Clayton's Columbia jam sessions, and in the mid-'50s worked with Benny Goodman. But, despite good reviews and occasional recordings, work was hard for Braff to come by at times. In the 1960s, he was able to get jobs by being with George Wein's Newport All-Stars and at jazz festivals, but it was not until the cornetist formed a quartet with guitarist George Barnes, in 1973, that he became more secure. Afterward, Braff was heard in many small-group settings, including duets with Dick Hyman and Ellis Larkins (he had first met up with the latter in the 1950s), quintets with Scott Hamilton, and matching wits with Howard Alden. He remained one of the greats of mainstream jazz until his death in 2003.~ Scott Yanow https://www.allmusic.com/artist/ruby-braff-mn0000357057/biography

The Things I Love

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Joan Chamorro - Tribute to Lars Gullin

Styles: Mainstream Jazz
File: MP3@320K/s
Time: 75:16
Size: 174,3 MB
Art: Front

(3:38) 1. Happy Again
(6:11) 2. Danny's Dream
(4:54) 3. Hershey Bar
(4:02) 4. Fine Together
(3:49) 5. Primavera
(4:57) 6. Merlin
(5:19) 7. Lars Meets Jeff
(5:03) 8. I Hope It's Spring for You
(6:07) 9. To Lars
(2:23) 10. Those Days With You
(6:34) 11. Hershey Bar - Live
(5:17) 12. Danny's Dream - Live
(3:37) 13. So What - Live
(5:06) 14. Merlin - Live
(3:50) 15. Igloo - Live
(4:24) 16. Lovely Dreams - Live

This work is the third volume of a collection dedicated to the figure of the Arranger, in this case to the Swedish saxophonist and clarinetist Fredrik Carlquist, resident in Catalonia for several years and with whom I have had the pleasure of recording on several of his CDs. This album is also a tribute to the Swedish musician Lars Gullin, one of my favorite baritone saxophonists and who has influenced my playing, as have Serge Chaloff, Scott Robinson, Pepper Adams, Gerry Mulligan, Cecil Payne and a long list of great jazz musicians who dedicated their lives to this beautiful instrument. Thanks to all the musicians who have participated, especially to Fredrik Carlquist for his music, his arrangements and his friendship and to Lars Gullin for being the inspiration for this CD.

Tribute to Lars Gullin

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Valery Ponomarev Big Band - Our Father Who Art Blakey: The Centennial

Styles: Trumpet Jazz
File: MP3@320K/s
Time: 52:54
Size: 121,9 MB
Art: Front

(0:41) 1. Overture
(7:21) 2. Tell It Like It Is
(6:16) 3. Are you real?
(7:16) 4. One By One
(8:28) 5. Caravan
(6:22) 6. Webb City
(7:54) 7. Hammer Head
(6:20) 8. Quick Silver
(2:12) 9. Kalypso to Theme Song

Who is Russian-born trumpeter Valery Ponomarev's favorite musician? A clue may be found in the title of Ponomarev's first CD as leader of his New York City-based big band: Our Father Who Art Blakey. The first jazz recording he heard while still in Russia, Ponomarev recalls, was Blakey's Jazz Messengers with trumpeter Lee Morgan playing pianist Bobby Timmons' jazz touchstone, "Moanin.'" Later on, Ponomarev was able to play that song (and many others) as a member of the Messengers in the late '70s, wherein the irrepressible Blakey served as his friend, mentor and "jazz father."

Ponomarev continues to repay that debt, this time transposing tunes associated with the Messengers to a big-band format while adding a pair of his own emphatic charts (the brief curtain-raising "Overture" and spicy "Gina's Cooking") to the mix. The band is reinforced on two numbers ("Moanin,'" "Blues March") by another former Messenger, the illustrious tenor saxophonist Benny Golson (still swinging at age eighty-five), who composed "Blues March" for Blakey himself (drummer Victor Jones sits in admirably for the maestro on this new version). Completing the in-concert program are Freddie Hubbard's "Crisis" and a couple of winners by Duke Jordan, "Jordu" (publicized by the renowned Max Roach / Clifford Brown Quintet) and "No Hay Problemas."

Listening to Ponomarev's arrangements, it's clear that his roots are in bop. Not that anything sounds the least dated, but the harmonic designs and rhythmic patterns would have been right at home on a Blue Note album from the '50s or '60s. Ponomarev has taken those components and redesigned them for a twenty-first century audience. It's a strategy that works well throughout. Ponomarev's lively "Overture," which runs for less than a minute, leads seamlessly to "Moanin'" and the first of Golson's masterful solos. "Crisis," from the 1961 album Mosiac, is a mid-tempo groover that showcases trumpeter Josh Evans, tenor Steven Carrington and trombonist Stafford Hunter. "Jordu" is next (hermetic ensemble work underscoring bright solos by trumpeter Chris Rogers and tenor Peter Brainin), followed by the prancing "No Hay Problemas," featuring Evans, Carrington and drummer Jones.

Baritone saxophonist Anthony Nelson is eloquent on "Gina's Cooking," as are Rogers, alto Todd Bashore and pianist Mamiko Watanabe. Golson takes his second solo, and Ponomarev his first, on the iconic "Blues March," which ends the concert on a buoyant note punctuated by robust statements from Bashore, Watanabe, Jones and trombonist Corey Wallace. In sum, a splendid performance, one that embraces Ponomarev's tradition-bound stance while pointing inflexibly toward the future. Somewhere, Art Blakey must have been smiling broadly.~ Jack Bowers https://www.allaboutjazz.com/our-father-who-art-blakey-valery-ponomarev-zoho-music-review-by-jack-bowers.php

Personnel: Valery Ponomarev: composer, arranger, conductor, trumpet. Tracks 1, 3-6 —Rick Henly: trumpet; Eddie Allen: trumpet; Josh Evans: trumpet; Chris Rogers: trumpet; Todd Bashore: alto sax; Chris Hemingway: alto sax; Peter Brainin: tenor sax; Steven Carrington: tenor sax; Anthony Nelson: baritone sax; Stafford Hunter: trombone; Alvin Walker: trombone; David White: trombone; Jack Jeffers: trombone; Mamiko Watanabe: piano; Ruslan Khain: bass; Victor Jones: drums. Tracks 2, 7 – Waldron Ricks: trumpet (for Eddie Allen); Andrew Gould: tenor sax (for Peter Brainin); Corey Wallace: trombone (for David White); Danny Hall: trombone (for Alvin Walker). Special guest – Benny Golson: tenor saxophone (2, 7).

Our Father Who Art Blakey: the Centennial

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Christof Sänger Trio, Ken Peplowski - I Follow My Secret Heart

Styles: Piano, Saxophone And Clarinet Jazz
Year: 2020
File: MP3@320K/s
Time: 58:44
Size: 135,2 MB
Art: Front

(6:13) 1. Lakonia
(5:24) 2. Carioca
(6:44) 3. Gone with the Wind
(6:05) 4. Lagoa Azul
(5:37) 5. I Follow My Secret Heart
(4:07) 6. Get Happy
(6:59) 7. Recado Bossa Nova
(4:56) 8. Vals de las Islas
(7:43) 9. Just One of Those Things
(4:53) 10. Love Locked Out

Christof Sänger (born July 28, 1962 in Wiesbaden ) is a German jazz musician (pianist, composer, lecturer). Singer studied music from 1984 to 1989 at the University of Mainz . He played early in jazz combos and in the State Youth Jazz Orchestra of Hesse , but also in chamber music formations. In 1989 he attracted attention as a finalist of the Concours International de Piano Jazz Martial Solal . From 1990 he worked with musicians as diverse as Dusko Goykovich , Sunny Murray , Daniel Guggenheim and Hermeto Pascoal . With his regular trio (with bassist Christian von Kaphengst and drummer Heinrich Köbberling ) he played among others. that with theAward of the German Record Critics' award for the album "Chorinho" (1992). He also performed with Richie Cole , Bill Saxton and Allan Praskin . Since 1996, he has an international edition of his trio with George Mraz and Al Foster , with whom he also in the jazz clubs of the Big Apple a guest.

In 1996 he was the German contributor to the concert of the European Broadcasting Union . A solo album was recorded at the Montreal International Jazz Festival . He also worked with Keith Copeland , Tom Nicholas , Peter Less and Peter Fessler , introduced his group Cuban Fantasy with Sandro and Giovanni Gulino in 1998 and joined Ernie Watts’s group in 1999 , with whom he released records in 2001 and 2003. He also played with Paquito D'Rivera and the hr jazz ensemble. After giving solo concerts in Japan in 2003, he put on a Japanese edition of his trio for another tour in 2004. Since 2010 he has also been active as a pianist in the Barrelhouse Jazz Band . He also plays in the trio Classic Affairs with Lindy Huppertsberg and Tobias Schirmer .Singer is a lecturer for jazz piano at the Frankfurt University of Music and Performing Arts . https://de.wikipedia.org/wiki/Christof_Sänger

Personnel: Christof Sänger - piano; Ken Peplowski - clarinet, tenor saxophone; Rudi Engel - bass; Tobias Schirmer - drums

I Follow My Secret Heart

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Gabriel Vicéns - The Way We are Created

Styles: Guitar
File: MP3@320K/s
Time: 54:15
Size: 125,4 MB
Art: Front

(9:05) 1. The Way We Are Created
(6:45) 2. It Doesn't Matter
(1:51) 3. Caribeño Pensador
(6:13) 4. The Upcoming
(6:40) 5. A City of Many Mysteries
(1:38) 6. Fuera de Mi Cuerpo
(5:28) 7. Define Purpose
(7:24) 8. To the Unknown
(1:47) 9. Retorno
(7:21) 10. The Mystery of S.T.

Gabriel Vicéns is a Puerto Rican guitarist now resident in New York, and The Way We Are Created is his third album as leader (he’s also a painter it’s his artwork gracing the album cover). His debut Point in Time (2012) showed a similar precociousness to Pat Metheny’s Bright Size Life (1976), Vicéns being only twenty-three at its release but already displaying a striking individuality in his compositions and playing style, and enough musical heft to bring on board the great Eddie Gómez on bass and David Sánchez on saxophone (both of whom, incidentally, are Puerto Rican as well). That individuality also shines on his second album Days (2015) and even more so here on The Way We Are Created, where complex melodies and intricate rhythms inspired by the Puerto Rican music and dance styles bomba and plena showcase his heritage to dazzling effect.

In his sextet he’s found musicians who perfectly match his sensibilities and each other. Alto saxophonist Roman Filiú is Cuban and has played with many big names, including Henry Threadgill, Billy Hart, David Murray and perhaps most revealingly Steve Coleman, as there’s something of Coleman’s restless tonal shifting in Filiú’s soloing. Pianist Glenn Zaleski cites Bill Evans as an influence and has been compared with Brad Mehldau, and has played with bassist Rick Rosato in the trio Stranahan/Zaleski/Rosato, and Rosato in turn has played with drummer E.J. Strickland in the trio of the Cuban pianist Manuel Valera. Completing the line-up is Puerto Rican percussionist Victor Pablo, who plays the barril de bomba (a barrel-shaped drum) and panderos de plena (a hand-held frame drum similar in size and shape to a tambourine).

The eponymous opening track The Way We Are Created builds from quiet guitar riffing to a complex melody with large intervallic leaps, setting up an expectation of musical complexity that’s fulfilled throughout the album. Vicéns favours a clean tone unadorned by pedals and effects, ideal for the intricacy of his soloing and Filiú on alto delivers a fine solo as well. But what’s perhaps most impressive across the whole album are the intricate polyrhythms built up between all six players. Listen, for example, to the complex vamps using yubá, sicá and rulé rhythms from the bomba tradition on It Doesn’t Matter, The Upcoming and A City of Many Mysteries, the latter two tracks also featuring fine piano solos; or to the infectious plena rhythms on To The Unknown.

In dramatic contrast to the ensemble pieces are three interludes of under two minutes each: Caribeño Pensador [Caribbean Thinker] and Retorno [Return] are guitar and percussion duets, and Fuera de mi Cuerpo [Out of my Body] is an eerie guitar solo drenched in clanging reverb. It’s intriguing that these interludes all have Spanish titles while the ensemble pieces all have English titles. Considering how much Puerto Rico and Cuba have brought to this impressive music, Spanish deserves its place at the table just as much as the English of New York and jazz. https://londonjazznews.com/2020/12/21/gabriel-vicens-the-way-we-are-created-release-date-15-january-2021/

The Way We are Created

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