Silky Denims

Wednesday, May 12, 2021

The Ray Gelato, Enric Peidro Quintet - With All Due Respect

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 64:06
Size: 148,1 MB
Art: Front

( 6:23) 1. Water Jug
( 5:58) 2. Lockjaw
( 5:43) 3. Hot Saxes
( 5:43) 4. Illinois Goes to Chicago
( 5:15) 5. Slammin' around
(10:09) 6. Medley Smoke Gets in Your Eyes- Easy Living
( 6:21) 7. Woke up Clipped
( 5:20) 8. High on an Open Mike
( 5:14) 9. A Sound Investment
( 7:55) 10. Bean and the Boys

Throughout 10 Jazz songs without additives and brimming with swing, interaction and complicity, we attend a "saxophonistic" party where the two tenors of Peidro and Gelato, with their full and exuberant sounds, although perfectly easy to distinguish, engage in fluids and exciting musical dialogues - always exquisitely backed by an impeccable rhythmic section - celebrating at all times, but with "due respect" the legacy of their idols of which both saxophonists are more than worthy disciples: not a single one is perceived on the album. iota of nostalgia or pale imitation. On the contrary, the creativity and immediacy of the discourse of both tenors and the general enjoyment that is perceived throughout the entire CD by the quintet, makes it clear that we are dealing with musicians versed in a classic Jazz language that they use naturally to express yourself within an expressive and dynamic palette that is more than enviable. https://lamarinaplaza.com/ca/evento/jazz-concierto-presentacion-del-disco-with-all-due-respect-por-ray-gelato-enric-peidro-quintet-denia/

Since they performed their first concert together in 2016, these two saxophonists, who in their own right are instrumentalists of reference for all lovers of the saxophone in its most classical or “mainstream” aspect, have not stopped laughing as often as their agendas have allowed it, since they are not only united by a great friendship but also an enormous musical and stylistic connection. In this first album together, recorded in 2019, Gelato and Peidro wanted to pay tribute "with due respect" to their teachers in the tenor sax, who are none other than the great tenors of the 30s and 40s of the last century and their first disciples. Thus, throughout this peculiar and passionate album, which the critics describe as "high voltage swing not suitable for the faint of heart", both tenor saxophones "dialogue" with forceful and passion accompanied by a luxurious rhythmic section on an extraordinary and unusual selection of topics all written, wi thout exception, by some of his teachers. Thus, in the album there are compositions by Hawkins, Webster, by as, lockjaw and many others in an album so in U su al as interesting and essential for those who enjoy the sounds of the classical tenor sax in jazz. https://www.amazon.es/all-respect-Gelato-Enric-Peidro-Quintet/dp/B07YNKWR4N

Personnel: Ray Gelato & Enric Peidro Tenor sax; Richard Busiakiewicz Piano; Andrés Lizón Bass; Simone Zaniol Drums

With All Due Respect

Rachel Sutton - A Million Conversations

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 31:08
Size: 71,9 MB
Art: Front

(4:37) 1. When Love Was New
(3:05) 2. Pick Myself Up
(5:25) 3. A Million Conversations
(5:03) 4. Kiss My Baby Goodbye
(5:22) 5. Brother Can You Spare a Dime
(2:59) 6. Evil Gal Blues
(4:33) 7. The Space

“I REMEMBER TIMES… when love was new.” This opening line, delivered with romantic phrasing reminiscent of the late, great Karen Carpenter, was all it took all it took to encourage further exploration of A Million Conversations, the debut release from vocalist Rachel Sutton with pianist Roland Perrin, bassist Michael Curtis Ruiz and drummer Paul Robinson.

To fall under the spell of the human voice is by no means automatic but, rather, a distinctly personal experience. In the case of Rachel Sutton, her background as a dramatic actress clearly feeds into the expressive detailing that illuminates the seven songs on this album, the majority of which are, musically and lyrically, self-penned. And it’s no surprise to read that Cole Porter, George Gershwin, Billy Joel and Judy Collins are amongst her long-time inspirations. But it takes more than a copyist to tug at the emotions as effectively (and, personally speaking, as involuntarily) as this.

Balladic When Love Was New possesses a timeless, yearning aura which encompasses both jazz and musical theatre and, immediately, it’s apparent that this is a vocalist who instinctively paces the progression of a song, with mellow, lower resonances as attractive as her controlled vibrato. A Million Conversations has the classic feel and timbre of 1970s Carly Simon or Don Henley/Glenn Frey (“So won’t you join me as we go back through the years… to a halcyon time?”), with restrained country-rock piano to accompany sung melodies which fix in the mind as well as heart.

There’s also showmanship aplenty, as sassy, Broadway-style Pick Myself Up proves, brimming with chromatic joie de vivre and deliciously mobile fretless bass. The smouldering bossa/swing rhythms and hiatuses of Kiss My Baby Goodbye reveal a swagger to Sutton’s resigned delivery (“Now it’s gone, I have to forget you”); and a dark, theatrical mood akin to Lionel Bart is present in The Space, her emotion playing out well in its forlorn, aching storytelling. Alongside these original songs are two classy interpretations. Brother Can You Spare a Dime (Al Jolson, Bing Crosby) can easily be oversung, but Rachel’s discipline is well suited to this 1930s blues of the Great Depression, accentuated here by the trumpet break of guest Stuart Brooks; and Evil Gal Blues (Dinah Washington, Aretha Franklin) has a sprightly, impetuous step the final laugh confirming the joy of the performers!

Rachel Sutton’s voice sparkles, as do her own, memorable compositions. So it’s easy to imagine collaborations with larger ensembles and big bands, as well as maybe venturing into larger-scale compositional projects. Catch those opening words for yourself… and you may well hear why I delight in this discovery.

Personnel: Rachel Sutton voice; Roland Perrin piano; Michael Curtis Ruiz bass; Paul Robinson drums with Stuart Brooks trumpet

A Million Conversations

Tuesday, May 11, 2021

Curtis Fuller - Down Home

Styles: Trombone Jazz
Year: 2012
File: MP3@320K/s
Time: 65:31
Size: 151,1 MB
Art: Front

(6:35) 1. Down Home
(7:00) 2. Ladies Night
(6:22) 3. C Hip's Blues
(4:23) 4. Sadness and Soul
(9:15) 5. Nu Groove
(8:58) 6. Then I'll Be Tired of You
(5:43) 7. Mr. L
(8:04) 8. Sweetness
(4:54) 9. Jonli Bercosta
(4:11) 10. The High Priest

Legendary trombonist Curtis Fuller was 22 years old when he played on John Coltrane's landmark Blue Train (Blue Note, 1957), and the saxophonist remained best friends with Fuller during the 1950s and '60s. In 2005, the trombonist met saxophonist Keith Oxman, and has since developed a friendship leading to Fuller's favorable comparison of his new friend to Coltrane. For the past seven years, Fuller has been performing and recording with a sextet of players he now calls his "band of choice" which, he has assembled, once again, for Down Home.

At the ripe youthful age of 77, Fuller shows no signs of slowing down as he continues to produce one album after another. This terrific recording is a follow-up to Story of Cathy & Me (Challenge, 2011) and I Will Tell Her (Capri Records, 2010); while these albums served as tributes to his late wife Cathy, Down Home has no real theme, as Fuller's band focuses its attention on laying down some phenomenal post-bop swing. One sampling of the hot opening title track is enough to convince anyone that truly swinging affair is about to be unveiled. "Ladies Night" follows, an affirmation of that feeling after Oxman, Fuller and trumpeter Alan Hood contribute their solo magic.

Pianist Chip Stephens contributes a couple of charts with the bluesy "C Hip's Blues" and "Sadness and Soul," a more relaxing, down-tempo tune that may not swing but is pleasantly buoyed by a deliciously sweet melody. Bassist Ken Walker and drummer Todd Reid help Stephens pronounce the rhythm section on the expansive "Nu Groove," though Fuller and Oxman do get in their licks. The rhythm section once again joins forces on "Then I'll Be Tired of You," turning in the album's highlight with a gorgeous rendition of this warm-toned, 1934 standard from Yip Harburg and Arthur Schwartz.

Fuller and crew return to the recording's lively upbeat texture, offering the propulsive "Mr. L.," the engaging "Sweetness," and Oxman's bumpy, hard-driving "Jonli Bercosta," where the saxophonist delivers some of his best solo lines. Fuller and his "band of choice" close it out as they began, swinging mightily on the trombonist's last original "The High Priest." No wonder Fuller is a living legend; this great artist prefers to dwell in the present, offering new music as often as he can and, with Down Home, demonstrating that his talents as a performer and writer have not diminished with time. A truly superb outing from one of today's jazz greats, this should be commonplace by now, as it's a certainty that Fuller is already working on his next disc.~ Edward Blanco https://www.allaboutjazz.com/down-home-curtis-fuller-capri-records-review-by-edward-blanco.php

Personnel: Curtis Fuller: trombone; Keith Oxman: tenor sax; Al Hood: trumpet, flugelhorn; Chip Stephens: piano; Ken Walker: bass; Todd Reid: drums.

R.I.P.

Born: December 15, 1934

Died: May 8, 2021

Down Home

Bob Mintzer & WDR Big Band Cologne - Soundscapes

Styles: Saxophone Jazz, Big Band
File: MP3@320K/s
Time: 68:10
Size: 161,6 MB
Art: Front

(5:53) 1. A Reprieve
(5:50) 2. The Conversation
(6:13) 3. Stay Up
(5:04) 4. Montuno
(7:18) 5. Whack
(7:11) 6. Canyon Winds
(6:43) 7. Herky Jerky
(9:29) 8. New Look
(7:51) 9. One Music
(6:33) 10. VM

Bob Mintzer just got the hang of it. Whether as a result of his collaborations with the Thad Jones-mel Lewis Orchestra, the Buddy Rich Big Band or the Word Of Mouth Big Band by Jaco Pastorius is unclear. What is certain, however, is that over the years he has continued to perfect his instinct for orchestration and counterpoint. With “Soundscapes” the maestro is back as head of the WDR Big Band with ten newly arranged pieces. Following the tradition of the WDR chief conductors, Mintzer created his work with the big band from newly written and specially selected compositions.

"Soundscapes",an amalgam of moods, grooves and complex structures, not only shows Mintzer's work for this generally recognized ensemble, he even does double work, as main soloist on tenor saxophone and the Electronic Wind Instrument (EWI), while he inserts other outstanding soloists The spotlight is on for example long-time WDR members Paul Heller (tenor saxophone), Karolina Strassmayer and Johan Hörlén (alto saxophone), Ruud Breuls and Andy Haderer (trumpet) and Andy Hunter (trombone). The album, recorded in December 2019, is certainly one of the very best in Mintzer's long career...Translate By Google https://www.jpc.de/jpcng/jazz/detail/-/art/bob-mintzer-wdr-big-band-soundscapes/hnum/10441597

Soundscapes

Monday, May 10, 2021

Lady Linn & Her Magnificent Bigband - Black Swan

Styles: Vocal, Big Band
Year: 2018
File: MP3@320K/s
Time: 42:48
Size: 99,3 MB
Art: Front

(4:31) 1. Nobody But You
(3:15) 2. Miss The Boat
(3:09) 3. Laundry Day
(2:41) 4. You + Me
(4:27) 5. Black Swan
(2:39) 6. Direction
(4:12) 7. Sneaking Around
(2:38) 8. Afraid To Lose You
(4:00) 9. Everlasting
(3:12) 10. Walking In The Rain
(4:54) 11. You + Me - Reprise
(3:05) 12. Loneliness

Those who are tired of the uniformity that dominates the charts and radio waves these days, better brace yourself and read on quietly. Because who really doesn't give a damn about how songs seem to sound these days, is Lien De Greef. As Lady Linn, she's been doing her quirky thing for fifteen years. Usually supported by her Magnificent Seven, but to add some luster to her anniversary, they are even given even reinforcement this time. So Lady Linn and her Magnificent Bigband. She occupies a unique place in the Flemish music industry and she adds some strength to that on her new album 'Black Swan'.

Lady Linn's music is a bit like a time machine: you are sent back in time decades. We do not count ourselves among the cultural pessimists who think that everything used to be better, but it is nice to taste the tones of the first half of the last century: real big band music and you get that more than ever with Lady Linn . Her seven musicians have now turned sixteen. Four card tables, yes. That has to produce a pleasant atmosphere and you can hear that immediately in opener Nobody But You , in which all musical registers are immediately pulled open. An enormous sound that almost blows your mind and the song that lies beneath it is also quite enjoyable. But anyone who expects it to be such a bombastic sound all the time will be disappointed; and luckily. Trop is of course too much and we are convinced that no one knows that better than producer Jonathan Jeremiah. Because at the end of the second song, Miss The Boat , we already started to worry whether we could do this for a long ride. And just then there will already be a nice break with Laundry Day . That proves to us what a great singer and songwriter Lady Linn has become. A song about writer's block and how to deal with it: why not about the daily life of a singer / mom? The album is really at cruising speed, because a little later follows the excellent first single You + Me. We suspect that this is a real hit in swing circles, when even we start to feel light dancing jitters. Direction would also be excellent single material for us: it is catchy, danceable and easily digestible.

Keeping the big band feeling exciting for an entire album just didn't work out for us, but we still want to give Lady Linn all the praise for daring to choose a different sound so resolutely. Because we have the feeling that she could make it easier for herself and instead of jazz music opt for more poppy songs. What her passage in the vtm program 'Liefde Voor Muziek' made clear to us is how good she sounds when she opts for a sparse accompaniment. What Was To Come by Bart Peeters was the breathtakingly beautiful Raindrops On A Leaf . That is of course not on 'Black Swan', but there is another minimalist song that stands out for us: Afraid To Lose You. Wonderfully simple on the piano and therefore really stunning. Although we certainly do not want to drive Lady Linn out of that unique jazz corner that she gives us a unique interpretation. Maybe Walking In The Rain is the perfect symbiosis. It starts clean, but gets a grand finale with the big band and therefore it could be the best of both worlds...Translate By Google https://damusic.be/cd/lady-linn-and-her-magnificent-bigband-black-swan-6881.html

Black Swan

Jerry Bergonzi - Nearly Blue

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 70:47
Size: 162,8 MB
Art: Front

(7:37) 1. It Might as Well Be Spring
(6:07) 2. Countdown
(5:36) 3. How About You?
(5:22) 4. Tectonic Plates
(8:17) 5. Nearly Blue
(4:51) 6. On Green Dolphin Street
(4:48) 7. We'll Be Together Again
(6:03) 8. While You Were Out
(8:19) 9. Nice Work If You Can Get It
(7:26) 10. Laura
(6:17) 11. Higgsboson - Bonus Track

Even though Jerry Bergonzi has nothing left to prove, after almost half a century near the top of almost every list of the jazz world's leading tenor saxophonists, he is hardly ready to sit back and rest on those laurels. On his latest album, Nearly Blue (a sequel to the well-received Spotlight on Standards), Bergonzi is supported, as before, only by organist Renato Chicco and drummer Andrea Michelutti, meaning his supple tenor is in action much of the time, which is fine with him, as taking the lead and running with it is what Bergonzi does best.

The ardent and invigorating session consists of seven standards and three of Bergonzi's perceptive original compositions ("Tectonic Plates," "While You Were Out," "Nearly Blue"). The album's well-chosen name, it should be noted, is both informative and accurate, as Bergonzi may flirt with "blue," as in sadness, but almost never gives way to that impulse, and the title track serves as the only "blues" on an otherwise upbeat menu; even when taken into account, it is, for the most part, as the title denotes, only "nearly" so. The only true "ballad" on offer is Carl Fischer / Frankie Laine's idealistic "We'll Be Together Again," wherein Bergonzi shows he is a master in that realm as well.

He is, on the other hand, even sharper and more persuasive when the pace quickens, as it does on "Nice Work If You Can Get It," "How About You?" and "On Green Dolphin Street." Or when he takes a familiar melody and turns it inside out, as he does on David Raksin's classic, "Laura." That is one of two numbers on which Chicco takes the first solo; the other is the animated opener, Rodgers and Hammerstein's "It Might as Well Be Spring." Chicco acquits himself well, as he does when supporting Bergonzi. "Spring" is taken at an agreeable mid-tempo clip that suits Bergonzi's spiraling tenor quite well.

John Coltrane's "Countdown," which follows, is another example of Bergonzi's distinctive way with a tune, as he renovates both melody and tempo without lessening its innate charm. "How About You?" is a more straightforward romp, "Tectonic Plates" more nebulous and shape-shifting but never less than enticing. Bergonzi's third original, "While You Were Out," an even-tempered bossa written when one of his students was a no-show, proves that someone who is astute and focused can often make excellent use of spare time. The Gershwin brothers' "Nice Work" is the only number on which Michelutti is able to flex his solo muscles, which he does with gusto.

Aside from offering a splendid showcase for Bergonzi and his Italian colleagues, Nearly Blue shows that the tenor master, now in his seventies, remains at the top of his invariably impressive game. Those who love the sound and swing of a superlative tenor saxophone won't find many who fly those flags higher than Jerry Bergonzi.~ Jack Bowers https://www.allaboutjazz.com/nearly-blue-jerry-bergonzi-savant-records

Personnel: Jerry Bergonzi: saxophone, tenor; Renato Chicco: organ, Hammond B3; Andrea Michelutti: drums.

Nearly Blue

Gretchen Lieberum - This May Only Be a Dream

Styles: Vocal
File: MP3@320K/s
Time: 41:08
Size: 95,5 MB
Art: Front

(5:26) 1. Come Rain or Come Shine
(4:17) 2. Don't Explain
(3:27) 3. Lonely Sea
(5:49) 4. Who Knows Where the Time Goes
(4:41) 5. Blue Skies
(3:25) 6. Wild Is the Wind
(3:31) 7. Angel Eyes
(4:26) 8. For All We Know
(2:56) 9. My Darling, My Darling
(3:07) 10. While We're Young

Los Angeles based singer-songwriter Gretchen Lieberum had a vision for her latest album, This May Only Be A Dream, over ten years ago, when she first met and worked with BAFTA award winning producer and musician Keefus Ciancia. Gretchen, who also fronts the Prince tribute band Princess with actress Maya Rudolph, wanted to create an album of jazz and pop standards, songs she’d loved and performed since childhood, but deconstructed and reimagined in a modern context, with Keefus in particular producing and arranging: “There was really no one else I wanted to do this project with besides Keefus. His impeccable taste and astounding creativity were exactly what I wanted for this album.” Keefus’s schedule has been quite busy over the last several years, creating the score for seasons one and three of True Detective with T-Bone Burnett, as well as scoring Killing Eve with David Holmes, for which they won a BAFTA for best original score. Gretchen in the meantime was playing sold-out shows across the country with Maya Rudolph as Princess, including a slot at the 2019 Bonnaroo Music and Arts Festival. But Gretchen and Keefus managed to work on the project in bits and pieces when they could, finally completing the album in early 2021.

To create the album, Gretchen recorded vocal takes of over twenty of her favorite standards, accompanied only by piano, before sending them to Keefus, who is based in France: “I chose songs that speak to me lyrically, and have melodies that I’ve always loved and been haunted by. When recording them, I kept the accompanying instrumentation very minimal, in order to allow Keefus to have room to let his creativity and imagination run wild.” While recording, Gretchen found inspiration from the music of her idols, such as Nina Simone, Peggy Lee, and Nancy Sinatra. Of the songs Gretchen sent, Keefus chose his favorites, removed the piano and began to reimagine them, taking a rule-breaking approach to harmony, arrangement and genre around Gretchen’s a cappella vocals: “Sometimes Keefus would send a track back to me and I’d be absolutely blown away by what he’d crafted around the vocal; a stark ballad would come back accompanied by a dense, swooping orchestra, tempos might be slowed down or sped up, all in the same song. Then I’d continue to build on what he’d worked on, like adding layers to a painting.” The finished tracks, inspired by Gretchen’s emotional and intimate delivery, are at once lush, dynamic, visual, and cinematic.

To complete the album, the two met in Los Angeles at the historic Electro Vox Studios, bringing in a variety of seasoned and like-minded session musicians such as Jay Bellerose, David Ralicke, Gabe Noel, Woody Jackson, Peter Smith, string player Gabe Witcher, and Wendy Melvoin of Prince’s The Revolution on background vocals. “It was amazing to be able to flesh out our songs with these incredibly talented musicians, while working in such a beautiful and historic space. And best of all, Keefus and I were finally able to work together in person after two years of collaborating from different continents. It was a really special experience.”

The lyrical stories within these classic songs are both hallowed and revered, written by some of the world’s greatest songwriters, from Johnny Mercer to Billie Holiday to Brian Wilson. In recording This May Only Be A Dream, Gretchen and Keefus endeavored to honor these past greats, but also to reinvent them without any strict adherence to previous arrangements or “standard” rules. The result is an album that is at once timely and timeless, appealing to longtime listeners while simultaneously opening a door for a whole new generation to discover great music anew. http://www.gretchenlieberum.com/

This May Only Be a Dream

Sunday, May 9, 2021

Dorothy Ashby - The Jazz Harpist

Styles: Harp Jazz
Year: 2019
File: MP3@320K/s
Time: 29:32
Size: 68,5 MB
Art: Front

(4:02) 1. Thou Swell
(3:09) 2. Stella by Starlight
(7:31) 3. Dancing on the Ceiling
(4:16) 4. Aeolian Groove
(2:52) 5. Quietude
(3:41) 6. Spicy
(3:59) 7. Lamentation

"Years ago the All Star polls in jazz were primarily concerned with trumpets, trombones, saxophones and the usual rhythm instruments, but of late the situation has changed in order to welcome new instruments and players into the ever-broadening aspect of jazz performance. Now, such widely varied instruments as the cello, accordion, and flute are accepted as contributing members of the jazz group or orchestra. And here Regent is presenting still another voice for jazz expression: The harp. No, this isn't the first time a harp has been used on a jazz date. But, I can't recall when a harp was featured as a solo instrument within a jazz context as it is here. The harpist of reference is Dorothy Ashby, and in her recording debut she is featured as the leader of a thoroughly refreshing group as well as soloist, composer and arranger of great merit".~ Opiniones Editoriales https://www.amazon.com/Jazz-Harpist-DOROTHY-ASHBY/dp/B00I1KDR2Y

Personnel: Dorothy Ashby - harp; Frank Wess - flute; Eddie Jones (tracks 3, 6 & 7), Wendell Marshall (tracks 1, 2, 4 & 5) - bass; Ed Thigpen - drums

The Jazz Harpist

Lina Nyberg - Smile

Styles: Jazz, Vocal
Year: 2000
File: MP3@320K/s
Time: 48:45
Size: 112,0 MB
Art: Front

(3:15) 1. Smile
(4:22) 2. Young And Foolish
(3:49) 3. Body And Soul
(4:28) 4. Bewitched, Bothered and Bewildered
(3:01) 5. 'S Wonderful
(5:19) 6. Wild Is the Wind
(3:57) 7. If I Were a Bell
(4:40) 8. How Long Has This Been Going On?
(2:57) 9. Spring Will Be A Little Late This Year
(4:26) 10. Good Morning Heartache
(4:24) 11. All The Way
(4:02) 12. Golden Slumbers

As a general proposition, Sweden produces more good jazz artists per capita than any other European country, or so it seems. And vocalists are no exception. Song stylist (and she is a stylist) Lina Nyberg follows in the footsteps and joins such notable vocalists as Monica Zetterlund, Jeanette Lindstrom, and Nannie Porres. Nyberg cites Zetterlund and Porres as inspirations along with American singers Bessie Smith, Ray Charles, Jimmy Rushing, and Nancy Wilson, whose influence is evident in Nyberg's delivery and phrasing. The Swedish singer has an affinity for using one-word titles for her albums.

Previous CDs were Temper, Close, and Open. Her quintet album won the 1995 Swedish Grammy Award for jazz. Now comes Smile with a program of 11 standards and one Beatles' song. But the standards are delivered in a manner that is at the same time atypical and entertaining. Nyberg has her way with melody as she modifies the accents and phrasing for each tune. This stylistic approach is not just a mere affectation, but a legitimate and effective interpretation device that shows a close camaraderie for lyrics, and it works well. Her pronunciation of certain words is exaggerated, again for effect. She can be ardent and little girl sounding.

The usually mournful "Good Morning Heartache" is done in a detached, straightforward way without any indication of regret. This tune also demonstrates the novel arrangements, another compelling feature of the album. Nyberg comes in with just Göran Klinghagen's guitar behind her, then Anders Persson's piano enters, followed again by guitar with Nyberg's voice playing the horn part. Unique arrangements and sounds are possible given the unusual instrumental configuration: piano, guitar, bass, and a cello with two violins. The dark, cloudy sound of the cello contrasts with the clarity of Nyberg's voice on "Wild Is the Wind." She also takes the time to sing the verse of several of the tunes. But it is the feeling of storytelling Nyberg conveys as she delivers the words. They're not treated as a bunch of letters and syllables, but as image creators that are to be transported to the listener. This album is like hearing a picture book and is recommended. ~ Dave Nathan http://www.allmusic.com/album/smile-mw0000969663

Personnel: Lina Nyberg: vocals, Anders Persson: piano, Palle Danielsson: bass, Göran Klinghagen: guitar, Henrik Frendin: viola, Daniel Möller: violin, Mats Olofsson: cello

Smile

Hasaan Ibn Ali - Metaphysics: The Lost Atlantic Album

Styles: Piano Jazz
File: MP3@320K/s
Time: 63:47
Size: 146,8 MB
Art: Front

( 5:25) 1. Atlantic Ones
( 7:59) 2. Viceroy
( 5:15) 3. El Hasaan
( 7:13) 4. Richard May Love Give Powell
( 6:31) 5. Metaphysics
( 4:03) 6. Epitome
(11:01) 7. True Train
( 6:03) 8. True Train (Short Version)
( 5:28) 9. Viceroy (Short Version)
( 4:44) 10. Atlantic Ones (Short Version)

The pianist Hasaan Ibn Ali worked in an ensemble led by Max Roach and was credited as “the Legendary Hasaan” on one of the groundbreaking drummer’s mid-60s releases. But the pianist didn’t release an album as a bandleader during his lifetime and in fact, only ever appeared on that one studio album making him more of a jazz-world footnote than a household name. Now his legacy could undergo a reassessment. Ibn Ali did helm an ensemble in the studio in 1965, and the resulting album, long presumed destroyed in a fire, will be released as “Metaphysics: The Lost Atlantic Album.” The saxophonist Odean Pope, who played on the record, said Ibn Ali’s talents have long been overlooked.

“He can play the most complex piece, like a ‘Cherokee,’ or the most beautiful composition like, ‘Embraceable You,’ and play those tunes extremely good,” Pope said of his mentor, who died in 1981. “Sometimes, he would play a ballad and tears would be coming down my cheeks.” Ibn Ali, who was born William Henry Lankford Jr. in 1931, evolved from a tradition-minded performer in the late ’40s after assimilating the bop advancements of the pianist Elmo Hope, who along with Bud Powell and Thelonious Monk is credited with helping reimagine the keyboard. And through living-room sessions at his North Philadelphia home, as well as at sporadic club gigs, Ibn Ali helped guide performers amid early, exploratory periods of their careers, like the saxophonist John Coltrane and the bassist Reggie Workman.

A regular on the rich Philadelphia jazz scene, Ibn Ali was known for his adventurous playing as much as his sometimes-difficult demeanor. While Pope recalled the pianist as an empathetic and thoughtful teacher, Ibn Ali was said to have booted lesser players off the bandstand mid-performance. He also was renowned for a particular fashion idiosyncrasy: If he had to wear a tie at some gigs, it would hang only about halfway down his torso. Ibn Ali cut “Metaphysics” the same year Roach released “The Max Roach Trio Featuring the Legendary Hasaan,” which featured seven compositions by the pianist. Atlantic, which released the Roach album, was impressed enough to sponsor a quartet session for Ibn Ali.

For the sessions, the pianist enlisted Pope, the bassist Art Davis and the drummer Kalil Madi, and the ensemble holed up in a New York hotel, working to grasp the bandleader’s new compositions. Sessions for the album started Aug. 23 and concluded on Sept. 7. But according to Alan Sukoenig’s liner notes for “Metaphysics,” following Ibn Ali’s incarceration on drug charges, Atlantic executives shelved the album, believing they wouldn’t be able to rely on the pianist to promote his work. Master tapes from the sessions were thought destroyed in a 1978 fire at an Atlantic warehouse in New Jersey. But a previously made recording from the reference acetates survived and was located in the Warner Tape Library late in 2017 through connections of the archival release’s associate producer, the jazz pianist and retired educator Lewis Porter.

Until this point, Ibn Ali has been seen as an idiomatic performer and composer, though perhaps not a consequential or definitive figure of the genre. But artists as diverse as the pianist Brian Marsella and the vibraphonist Jason Adasiewicz have covered his compositions, and the avant-garde pianist Matthew Shipp included him among a cohort of individualistic performers in a recently published essay titled “Black Mystery School Pianists.” “It’s an attitude, a code, a stance, a way of holding yourself against the jazz tradition,” Shipp said in an interview, explaining the qualities that defined such players. During the 1950s and ’60s, Ibn Ali was stretching for something new, Shipp said, adding that he was a precursor to ideas and sounds that today would be associated with the avant-garde. The release of “Metaphysics” serves to fill in an unknown bit of history. It also ramps up the total number of available tunes recorded by Ibn Ali from seven to 14; three cuts on the upcoming disc were captured in alternate takes and tacked on to the end of the album.

The ballad “Richard May Love Give Powell” is a tribute to the bop pianist Bud Powell that features Pope playing fairly conventionally. But on pieces like “Atlantic Ones,” “Viceroy” (Ibn Ali’s cigarette of choice) and “Epitome,” the band pushes itself into more experimental territory, toying with melodic, harmonic and rhythmic ideas that coincided with the ascendance of the experimental wing of the genre.

“After I had a chance to really start absorbing it, I was like, ‘OK, I hear it. I hear him searching and finding his voice,” said J. Michael Harrison, an educator and host of “The Bridge,” a long-running jazz program on Philadelphia’s WRTI, about the 26-year-old Pope’s playing on “Metaphysics.” “He had a lot of territory to travel through. But what I know today as Odean, I heard it start to seep through.”

Following his experiences with the “Metaphysics” sessions, Ibn Ali remained in Philadelphia and largely eschewed public performances. After a 1972 fire destroyed his parents’ Philadelphia house, where he spent his adult life, the pianist lived out his final years at a convalescent home. Pope, who helped arrange his funeral, said poetry had supplanted the piano as Ibn Ali’s main mode of expression there. Even if the pianist’s myth rests on just a handful of published songs and memories of other performances and impromptu sessions from the early ’60s, his whispered artistic largess continues to pervade Philadelphia’s jazz scene. “Hasaan was like the whole town’s university.

He’d explored and done so many things,” Pope said. “There should be a plaque,like at [Coltrane’s]house. I think he should be remembered as one of the great forerunners of our times.”https://www.nytimes.com/2021/04/22/arts/music/hasaan-ibn-ali-metaphysics.html

Personnel: Hasaan Ibn Ali – piano; Odean Pope – tenor saxophone; Art Davis – bass; Kalil Madi – drums

Metaphysics: The Lost Atlantic Album

Saturday, May 8, 2021

Ulla Haesen - Rio

Styles: Vocal And Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 41:47
Size: 97,4 MB
Art: Front

(3:37) 1. Ela È Minha Cara
(4:21) 2. Disfarça e Vem
(3:39) 3. Rio – Só Vim Matar a Saudade
(4:42) 4. Valeu
(4:32) 5. Aquelas Coisas Todas
(4:25) 6. Lembra de Mim
(3:46) 7. Os Grilos
(3:57) 8. Rio de Janeiro
(4:05) 9. O Ronco da Cuíca
(4:38) 10. Estrela Guia

Singer and guitarist Ulla Haesen's recording, 'Rio - S Vim Matar a Saudade', fuses the talents of three renowned Brazilian musicians Kiko Freitas, Lula Galvo, Nelson Faria with some of Europe's finest Decebal Badila, Alfonso Garrido, Jesse Milliner, Francesco Petrocca, Gabriel Prez, Jrgen Schuld and Hendrik Meurkens. The Portuguese word saudade means to "long for something", the melancholic feeling of missing a place or person. Ulla, consumed by a decade-long ardor for Brazilian music, travelled to Rio to meet, study, and work with some of her heroes. "I wanted to breathe the air where the music is composed and meet legendary artists like Lula Galvo. It was magical to hear this music in its home territory." There's a sparkling line-up of gorgeous compositions including contributions from Ivan Lins, Marcos Valle, Joyce Moreno, Joo Bosco, Ronaldo Bastos, Nelson Faria (who penned the title track) and Toninho Horta and it was masterfully recorded by Klaus Genuit.~ Opiniones editoriales https://www.amazon.com/Rio-So-Vim-Matar-Saudade/dp/B076LLP54J

Rio

Mike Levine - Star Gazing

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 54:28
Size: 126,8 MB
Art: Front

(4:05) 1. Oh Yeah
(4:32) 2. Star Gazing
(3:54) 3. Rio Funk
(4:21) 4. Twilight
(3:55) 5. Road Song
(3:34) 6. Sundays Touch
(4:04) 7. Willy's Gumbo
(4:24) 8. Really Wish I Could Love You
(3:33) 9. Getting to It
(3:57) 10. City of Hope
(4:46) 11. Jaco
(4:19) 12. The Herb
(4:58) 13. Soaring

Pianist and keyboardist Mike Levine unveils his third solo project Star Gazing providing another laid back, Smooth- styled gem of a recording containing a little of everything, from the obvious relaxing mellow melodies, to some swinging sizzling funky material. An artist who has performed with some of the finest musicians on the planet, during his long-distinguished career, Levine is a mainstay, a fixture in Miami's vibrant Latin music and exploding jazz scene. A man of many talents who has delved into various music genres, he seems to gravitate to the Smooth landscape where he feels more comfortable whether on piano or the keyboards.

The pianist delivers twelve originals and one cover tune featuring eighteen musicians performing on selected tracks throughout the recording. Calling on several special guests like saxophonists Ed Calle and Andy Snitzer along with Will Lee on bass, the rhythm section just happens to be, as the pianist states, "The Nucleus of the project..." featuring the leader and bassist accompanied by drummer Lee Levin performing on all tracks except two where son Sam Levine brings the power of "L" to the third degree. Opening up with the high-spirited "Oh Yeah" and the leader on a hot piano, the tune showcases guitarist Dan Warner, and a blistering horn section of Ed Maina, Tom McCormick and Mike Brignola on the saxophones along with trumpeter Jeff Kievit and trombonist Dante Luciani all of whom appear again on the upbeat "Getting to It." The music keeps gyrating on "Willy's Gumbo" featuring the torrid saxophone of master Ed Calle around Levine's key strokes.

The title track and the warm "Twilight," display the kind of feel-good and cozy texture that defines the Smooth style of jazz. Levine and Snitzer let it all hang out on the lively and deliciously funky "Rio Funky" before moving on to the only cover track, Wes Montgomery's 1968 R&B hit "Road Song." Baritone singer LeNard Rutledge lends his marvelous vocals on "Really Wish I could Love you" in one of two vocal tracks where the leader and guitarist Warner are featured prominently. Other noteworthy tunes here are "City of Hope," "The Herb" and the beautiful finale "Soaring," capping off another delightful session of light jazz that will appeal to everyone from the casual listener to the discerning aficionado. Piano and keyboard specialist Mike Levine builds upon what he has previously documented designing another successful and highly- entertaining musical statement on Star Gazing proving the axiom, "the third time is a charm."~ Edward Blanco https://www.allaboutjazz.com/star-gazing-mike-levine-self-produced-review-by-edward-blanco.php

Personnel: Mike Levine: piano. keyboards; Will Lee: bass; Lee Levin: drums; Sam Levine: drums (3, 12); Richard Bravo: percussion; Dan Warner: guitar (1-4, 7-10, 13); Lindsey Blair: guitar (5, 6, 11, 12); Ed Calle: saxophone (2, 4); Andy Snitzer: saxophone (3); Ed Maina: saxophone (1, 7, 10); Billy Ross: saxophone (12); Tom McCormick: saxophone (1, 9); Lenard Rutledge: vocals (8); Jeff Kievit: trumpet (1, 9); Dante Luciani: trombone (1, 9); Mike Brignola: baritone saxophone (1, 9); Dana Teboe: trombone (12); Jackson King: vocals (11).

Star Gazing

Alex Sipiagin - Upstream

Styles: Trumpet Jazz
File: MP3@320K/s
Time: 54:54
Size: 126,9 MB
Art: Front

(5:23) 1. Call
(5:30) 2. Echo Canyon
(5:21) 3. Sight
(6:20) 4. SipaTham
(5:44) 5. Magic Square
(7:10) 6. Rain
(6:46) 7. Shura
(5:00) 8. Miyako
(7:37) 9. Upstream

Trumpeter Alex Sipiagin has grown tremendously in recent years and a record like this is a fantastic demonstration of his talents as both an instrumentals and as a composer and also as a leader of a very well-matched group! The combo is a quartet, but soar out with a spirit that makes you feel like you're hearing the energy of a much larger ensemble a quality that maybe comes in part from the work of pianist Art Hirihara, who always seems to have this grand sense of flow driven on strongly here by the bass of Boris Kozlov and drums of Rudy Royston! Sipiagin is majestic throughout able to fly to the heavens at some points, but then be very down to earth and personal at others on titles that include "Sight", "Call", "Rain", "Shura", "Echo Canyon", "Upstream", and "Magic Square". © 1996-2021, Dusty Groove, Inc. https://www.dustygroove.com/item/982443

Personnel: Alex Sipiagin - trumpet, flugelhorn; Art Hirahara - piano; Boris Kozlov - bass; Rudy Royston - drums

Upstream

Dee Daniels - The Promise (Deluxe Edition)

Styles: Vocal
File: MP3@320K/s
Time: 75:07
Size: 173,0 MB
Art: Front

(4:23) 1. Choose Me
(5:12) 2. One Moment in Time
(5:40) 3. The Promise
(5:05) 4. My Prayer
(6:18) 5. Healed
(4:49) 6. Grateful
(5:00) 7. Love Inside
(8:36) 8. I Am Forgiven
(5:33) 9. Never Alone
(5:12) 10. Dance with Me
(4:28) 11. Love is the Answer
(5:12) 12. One Moment in Time - Guitar Version
(4:28) 13. I Want Jesus
(5:04) 14. Let Freedom Ring (The Ballad of John Lewis)

A self-released set from singer Dee Daniels an artist who's been through a great personal journey in recent years, which really shows in her music! All tracks are originals, and Dee hangs effortlessly between jazz and soul with a sophisticated vibe that's maybe like Randy Crawford back in the day especially given the way that Dee can really bring a special sort of magic to her own lyrics in a jazzy setting! Most numbers have a small combo with guitar, piano, bass, and drums plus some occasional backing vocals, which underscore the spiritual currents in the music and titles include "Love Is The Answer", "Never Alone", "Choose Me", "Love Inside", "I Am Forgiven", "The Promise", "One Moment In Time", "Grateful", and "Healed". © 1996-2021, Dusty Groove, Inc. https://www.dustygroove.com/item/983001

Personnel: Dee Daniels - voice, Miles Black - keyboards, Bill Coon - guitar, Miles Hill - bass, Joel Fountain - drums

The Promise

Friday, May 7, 2021

Meredith d'Ambrosio - Lost In His Arms

Styles: Vocal
Year: 1989
File: MP3@320K/s
Time: 34:32
Size: 80,2 MB
Art: Front

(1:35) 1. Lost In His Arms
(2:54) 2. Baltimore Oriole
(2:17) 3. Land Where The Good Songs Go
(1:35) 4. In Love In Vain
(3:04) 5. Alone Together
(3:11) 6. It Never Entered My Mind
(1:53) 7. Once In A Blue Moon
(2:29) 8. Blame It On My Youth
(1:22) 9. Rip Van Winkle
(1:49) 10. Everytime We Say Goodbye
(2:34) 11. Never Never Land
(2:46) 12. I Get Alone Without You Very Well
(1:55) 13. Up Jumped Spring
(3:11) 14. Spring Is Here
(1:49) 15. Funny Girl

Meredith d'Ambrosio accompanies herself for the most part on this solo CD. She's got the perfect piano chops to back her soft but always swinging vocals, resulting in an album that often seems like the listener is eavesdropping on an artist performing alone for her own enjoyment. Part of the informal nature of these sessions is that only one of the 15 tracks exceeds three minutes in length, while several end after only a single chorus. The singer is especially effective interpreting wistful ballads like "Blame It On My Youth" and "In Love in Vain." She taps her foot a bit to "Baltimore Oriole" and the gliding treatment of "Up Jumped Spring," and delightfully restores the often omitted verse to "It Never Entered My Mind." She sings a bit more brazenly when Ray Santisi takes her place at the piano (adding bassist Chris Rathburn and an unidentified drummer playing brushes) on the brisk "Alone Together" and a waltz-time "Never Never Land." First released on LP by Spring, these memorable sessions were reissued on CD by Sunnyside in 1994.~ Ken Dryden https://www.allmusic.com/album/lost-in-his-arms-mw0000443061

Personnel: Vocals – Meredith d'Ambrosio; Bass – Chris Rathbun; Coordinator [Reissue] – François Zalacain; Guitar – Norman Coles; Piano – 1 to 4, 6 to 10, 12 to 16 (Meredith d'Ambrosio)

Lost In His Arms

Nancy Sinatra - Nancy In London

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 40:39
Size: 95,0 MB
Art: Front

(2:47) 1. On Broadway
(2:25) 2. The End
(2:36) 3. Step Aside
(2:41) 4. I Can't Grow Peaches On A Cherry Tree
(3:43) 5. Summer Wine
(2:52) 6. Wishin' And Hopin'
(2:10) 7. This Little Bird
(2:18) 8. Shades
(2:31) 9. The More I See You
(2:51) 10. Hutchinson Jail
(3:03) 11. Friday's Child
(2:31) 12. 100 Years
(2:58) 13. You Only Live Twice
(2:26) 14. Tony Rome
(2:41) 15. Life's A Trippy Thing

Although the photo on Nancy Sinatra's third studio solo album shows the sultry singer dolled up in swinging-London mod gear, sitting on a double-decker bus, 1966's Nancy in London doesn't feature Frank's daughter covering any of the fab British Invasion hits hinted at by the album's title and cover art. But that's not to say these recordings suffer the same incongruence as the concept. Her opening rendition of Weil and Mann's "On Broadway" could very well be the best version next to The Drifters' 1963 hit. And her silky voice gives Estelle Levitt's "I Can't Grow Peaches on a Cherry Tree" a texture that's as rich as any of the flawlessly arranged strings here. But it's the uncanny chemistry between Sinatra's ethereal inflections and Lee Hazlewood's cryptic approach to songwriting that makes for the best songs on these records. Add to that the contrast of Hazlewood's gravelly singing, and songs like his "Summer Wine" and "Friday's Child" stand out like flowers growing on a cactus. This version boasts four bonus tracks, including a bookending duet with Frank. https://music.apple.com/us/album/nancy-in-london/148037474

Nancy In London

Vincent Herring - Preaching to the Choir

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 65:55
Size: 152,0 MB
Art: Front

(6:00) 1. Dudli's Dilemma
(7:47) 2. Old Devil Moon
(6:53) 3. Ojos de Rojo
(5:56) 4. Hello
(7:37) 5. Fried Pies
(6:03) 6. Minor Swing
(6:26) 7. In a Sentimental Mood
(5:02) 8. Preaching to the Choir
(6:36) 9. Granted
(7:32) 10. You Are the Sunshine of My Life

Vincent Herring can certainly preach with his horn a deeply soulful version of alto sax that gets plenty of room to open up and speak its message here working through a set of long, lovely tracks with really great support! The group's a quartet with Cyrus Chestnut on piano, Yasushi Nakamura on bass, and Johnathan Blake on drums instantly hitting that kind of a groove that really makes Herring sound his best a level of accompaniment he doesn't always get on record but when he does, on a set like this, it reminds us all over again how much we can love his music when it finds the right sound! There's a solidity here that makes the record one of Herring's best in years – and titles include "Dudli's Dilemma", "Ojos De Rojo", "Granted", "Preaching To The Choir", "Minor Swing", "Fried Pies", and "You Are The Sunshine Of My Life". © 1996-2021, Dusty Groove, Inc. https://www.dustygroove.com/item/979454

Personnel: Vincent Herring (alto saxophone); Cyrus Chestnut (piano); Yasushi Nakamura (bass); Johnathan Blake (drums)

Preaching to the Choir

Thursday, May 6, 2021

Earl Bostic - Dance To The Best Of Bostic

Styles: Cool Jazz, Swing
Year: 2005
File: MP3@320K/s
Time: 34:58
Size: 81,9 MB
Art: Front

(2:39) 1. Flamingo
(3:20) 2. Always
(2:26) 3. Deep Purple
(2:57) 4. Smoke Rings
(2:43) 5. What, No Pearls
(2:50) 6. Jungle Drums
(2:53) 7. Serenade
(3:18) 8. I Can't Give You Anything But Love
(2:42) 9. Seven Steps
(3:01) 10. I'm Getting Sentimental Over You
(3:02) 11. Don't You Do It
(3:01) 12. Steam Whistle Jump

Earl Bostic was the king of the King record label prior to the arrival of James Brown. As a disciple of Louis Jordan, Bostic's approach to the alto saxophone was a departure, straddling the line between bar walking honking and an out-and-out instrumental crooning style. This collection is a very good one in that it expresses the many types of jazz, blues and R&B Bostic embraced. And one has to remember when these tunes were recorded 1951 to 1956 years of transitions from swing and bop to race records where more sophisticated tastes were at odds with the putatively square music being presented on a new thing called television. Bostic's music, as the title suggests, was also danceable. His easy swinging big hit from 1951 "Flamingo" kicks off the set, defining smooth well before illegitimate "smooth jazz" was coined. A few jazz standards are included, with an interesting take of "Always" as Bostic comes in late, a rocking shuffle swing ideal for the normally rendered ballad "Deep Purple," a vibrato laden Bostic with shimmering vibraphone behind him during "I Cant Give You Anything but Love," and an outstanding, slow, heart melting rendition of "I'm Getting Sentimental Over You." "Steam Whistle Jump" is clearly a knock-off of "Take the 'A' Train." Where Bostic expertly excels in a manner as potent as Gene Ammons is on the soul-jazz side of things. His energetic "What, No Pearls?" is a rocking time capsule for the era, and "Seven Steps" grooves with a Latin twist. Bostic's saxophone trades quick melody snippets with guitar on the most intriguing cut of the date, the jam "Don't You Do It." Not a definitive collection, but a fine cross-section of the meatier and substantive side of Earl Bostic, with no filler or the string dominated pop style music he eventually presented.~ Michael G.Nastos https://www.allmusic.com/album/dance-to-the-best-of-earl-bostic-mw0000200856

Dance To The Best Of Bostic

Ida Sand with Stockholm Underground - My Soul Kitchen

Styles: Vocal, Piano, Soul
Year: 2018
File: MP3@320K/s
Time: 44:16
Size: 101,7 MB
Art: Front

(3:26) 1. Take Me to the River
(3:32) 2. Where the Hell Are You
(3:02) 3. Crash & Burn
(3:42) 4. Please, Don't Hurt My Baby
(3:54) 5. I Believe to My Soul
(3:39) 6. Born on the Bayou
(4:34) 7. I Have Nothing Left for You
(3:55) 8. Just Kissed My Baby
(3:36) 9. Empty Bed Blues
(4:37) 10. If You Don't Love Me
(2:45) 11. It's Your Voodoo Working
(3:30) 12. Spooky

Soul music is such a broad genre. There’s funky soul, blue-eyed soul, neo soul, RnB, New Orleans soul, Motown-soul, etc. This album is a blend of those different types of soul music. And putting them together with my own songs, what we have made is a tasty musical stew. There is one composer/artist in particular who has had a huge impact on me and that is Ray Charles, so of course he is represented on this album. I heard Ray Charles as a kid, I think it was “Let the Good Times Roll” and I was dazzled right away. The way he treated the lyric, his rawness and that rhythmic piano really captured me. He has a way of singing from his heart, and that has been and still is my goal as a singer too. Always from the heart. In my opinion, soul music stands out as the genre that has the best voices on Earth: Stevie Wonder, Aretha Franklin, Donny Hathaway, Al Green... These voices, and others, have kept millions of people spellbound for many decades including me. When I was 17 I really wanted to go to Fasching jazz club in Stockholm to listen to Nils Landgren and his Funk Unit Henrik Janson, Lars DK Danielsson and Per Lindvall were in the band at the time (Jesper Nordenström also became part of the Funk Unit a few years later). I was excited because these were the very best musicians I knew about. But to my disappointment it turned out I was too young, and the door-man said he couldn’t let me in. I started crying, and he felt so bad for me that he did let me in, on the condition that I promised not to drink. During the show, I remember saying to myself; “Imagine if I could play with these guys some day”... And now I do! There are no words to describe the joy and privilege that it is for me to have these fellas on my CD. They have an outstanding sound, and they are such great craftsmen at what they do that it sounds fantastic on the first take every time! We spent 3 days together at the legendary Atlantis Studio and let me just say it was a smooth ride. Not only did the band deliver some great live tracks, Magnus Lindgren also showed up with some fantastic horn arrangements. To see this genius at work is such a treat. He is by far one of the most inspiring musicians I know. His mind and his playfulness with music are one-of-a-kind. Together we “cooked” an album for you: “My Soul Kitchen”. Just put a casserole on, invite some friends over, and let soul music be the soundtrack for your evening. You will have a great time I’ll guarantee ya! ~ Ida Sand, May 2018

Personnel:
Ida Sand: vocals, piano
Stockholm Underground:
Jesper Nordenström: Hammond organ, keys
Henrik Janson: electric guitar
Lars DK Danielsson: electric bass
Per Lindvall: drums, percussion
Magnus Lindgren: saxophone, flutes

Guests:
Ola Gustafsson: electric, acoustic guitar
Paris Renita: background vocals
André de Lang: background vocals
André Dahlbäck: background vocals (11)
Nils Landgren: trombone, vocals (10)

My Soul Kitchen

Stephan Thelen - World Dialogue

Styles: Guitar Jazz
Year: 2020
File: MP3@320K/s
Time: 45:03
Size: 103,8 MB
Art: Front

(10:09) 1. Circular Lines
( 4:32) 2. Chaconne
(15:20) 3. World Dialogue
(15:01) 4. Silesia

Stephan Thelen's compositions for his band Sonar have a minimalist groove that clearly relates to other groups in the experimental sphere like Swiss pianist and composer Nik Bärtsch's band Ronin. These works for string quartet are not stylistically far removed from Thelen's Sonar music, but the classical chamber music context establishes them in the world occupied by composers like Steve Reich. Thelen's desire to compose for the Kronos Quartet was the driver for this album. He composed the title piece with them in mind, but they decided to commission a new piece for their Fifty for the Future: The Kronos Learning Repertoire project. Thus the piece Circular Lines was born. Composed in 2016, it was recorded in 2017, and opens the album with relentless rhythmic propulsion that does recall Sonar's music. With its 3-against-4-against-5 polyrhythms It is also the most rhythmically challenging piece Kronos has played (which is saying something).

The composition is also full of melody, usually riding on top of the rhythmic continuum. So it is both propulsive and lyrical. After a dramatic opening gesture the music moves gracefully through a series of events. The sound is far from monolithic: there is even a bit of a breakdown at about the eight minute mark. An insistent repeated figure brings it to an exciting conclusion. Kronos violinist David Harrington encouraged the Polish, all-women Al Pari Quartet to play Circular Lines to strengthen their internal rhythmic cohesion. Impressed by their performance of it, Thelen began working with them. They went on to record World Dialogue for this album (in place of Kronos). The piece was written in 2006 when Thelen was experimenting with additive rhythms. It is indeed fascinating rhythmically, but it has a rich harmonic structure which may be even more interesting. It is unusual for a minimalist composition to have such a large amount of harmonic movement: it moves backwards through the cycle of fifths all the way from the key of G back to G—12 key changes in all.

Thelen wrote a new piece for the Al Pari Quartet called Silesia named for the region of Central Europe (located mainly in Poland) where the group lives. They asked him to base the composition on traditional Silesian music, which gives it the most traditional sound on the album. It shares his characteristic rhythmic drive, but the Eastern European material is a bit reminiscent of Béla Bartók's string quartets. The ending is especially striking: a gradual decrescendo promises the sound of an electronic fadeout, but a final dramatic gesture provides a satisfying finale. Thelen makes a stunning debut as a New Music composer here. Hopefully the Kronos Quartet's marquee appeal will help it gain the attention it deserves.~ Mark Sullivan https://www.allaboutjazz.com/world-dialogue-stephan-thelen-rarenoiserecords

Personnel: Stephan Thelen: guitar, electric; Kronos Quartet: band/orchestra; Al Pari Quartet: band/orchestra.

Additional Instrumentation: Stephan Thelen: composer; Kronos Quartet: David Harrington: violin; John Sherba: violin; Hank Dutt viola; Sunny Yang: cello. Al Pari Quartet: Marta Lucjan: violin; Alicja Miruk-Mirska: violin; Magdalena Maier: viola; Elzbieta Rychwalska: cello.

World Dialogue