Trijntje Oosterhuis - Walk Along

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 39:38
Size: 91,1 MB
Art: Front

(4:27) 1. The Choice I've Made
(3:33) 2. I Believe In You
(3:16) 3. Weather In April
(3:44) 4. One Way Or Another
(5:10) 5. I Don't Miss You
(3:17) 6. Broken Alone
(3:03) 7. Pick It Up Slowly
(3:14) 8. What Can I Say
(2:50) 9. My Everyday Angel
(3:53) 10. Your Soul Is Gone
(3:05) 11. Walk Along

The Netherlands have really turned their Eurovision fortunes round as of late. After a dry spell of 9 years failing to qualify for the final of Eurovision, Anouk’s ‘Birds’ finished in 9th place in 2013 and then last year the Common Linnets’ ‘Calm After the Storm’ took second place. This year the Dutch entry sees veteran female pop and jazz singer and The Voice coach Trijntje Oosterhuis take centre stage with her song ‘Walk Along’. Read on to see what we made of the song. ‘Walk Along’ is co-written by Oosterhuis and one of her close friends and former Eurovision contestant Anouk. The song seems to focus on a woman of a certain age who is craving the attention of a younger man who isn’t returning her interest in him. This comes out in the song’s lyrics- ‘I can’t seem to get you to look at me one day…this is not a little crush…’ This theme is highlighted again the black and white video which accompanies the song with Oosterhuis doing her best embarrassing mum dancing while a younger tattooed man struts around in the background in a suits, in a hat and at times topless. The song itself is a zesty, uplifting, uptempo number with a decent refrain of ‘Why? Why I I I I, Won’t you walk along, walk along babaaay!’ Apart from that the song doesn’t really stand out from the crowd and I think that Trijntje will struggle to recreate the Netherlands recent track record at Eurovision. What do you think? Let us know by commenting below and voting in our poll. https://eurovisionni.wordpress.com/2015/05/01/review-netherlands-trijntje-oosterhuis-walk-along-2/

Walk Along

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Tim Laughlin, Connie Jones - If Dreams Come True

Styles: Clarinet And Cornet Jazz
Year: 2018
File: MP3@320K/s
Time: 69:57
Size: 162,2 MB
Art: Front

(4:44) 1. It's Been so Long
(5:48) 2. If You Were the Only Girl in the World
(6:46) 3. Wang Wang Blues
(5:56) 4. It's Wonderful
(6:17) 5. If Dreams Come True
(5:06) 6. Tears
(5:23) 7. New Orleans and a Rusty Old Horn
(5:09) 8. My Buddy
(5:12) 9. Tishomingo Blues
(7:04) 10. Si Tu Vois Ma Mere
(5:56) 11. It's a Wonderful World
(6:30) 12. The Best Thing for You Would Be Me

Another jazz gem from one of New Orleans' favorite clarinetists Tim Laughlin. Laughlin's soaring, velvety clarinet is complemented by Connie Jones bright cornet and mellow vocals. Playful, evocative and quite simply lovely, this release is like pouring New Orleans into a tall glass to be sipped slowly in the garden...Opiniones Editoriales https://www.amazon.com/Dreams-Come-True-Tim-Laughlin/dp/B004T3JJBU

Personnel: Tim Laughlin, clarinet; Connie Jones, cornet/vocals; John Sheridan, piano; Ed Wise, bass; Danny Coots, drums; Larry Scala, guitar

If Dreams Come True

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Dan Barrett And Rebecca Kilgore - "Being A Bear"

Styles: Vocal And Trombone Jazz
Year: 2007
File: MP3@320K/s
Time: 68:10
Size: 158,4 MB
Art: Front

(3:22) 1. Being A Bear
(5:31) 2. The Jam Song
(5:49) 3. The Music Goes Round And Round
(4:11) 4. This Old Man
(2:36) 5. Copey´s Lament
(2:50) 6. Sing, Sing, Sing
(5:58) 7. Ursa The Blues
(6:52) 8. Mama Don´t Allow
(3:50) 9. Animation
(4:48) 10. You Must Have Been A Beautiful Baby
(3:36) 11. Swingin´ In The Dell
(4:32) 12. Rhythm In My Nursery Rhymes
(4:58) 13. The Isle Of Capri
(4:13) 14. At The Jazz Bears Jamboree
(4:58) 15. Little Man, You´ve Had A Busy Day

There have been many attempts through the years to record a jazz set for children, but usually the music is either too complex or too childish, not achieving its purpose. The music on this particular CD was written to be used for a full-length animated film called The Jazz Bears. Most of the melodies (except for five originals) are pretty familiar and simple, but the solos are topnotch and colorful. The vocals (particularly those of the great Rebecca Kilgore) are swinging and charming. Although the opening, "Being a Bear," may make one think that this CD is only for children, it will be easy for adults who are fans of mainstream swing to enjoy this project. Dan Barrett (who arranged many of the pieces) is a versatile trombonist, and his vocal on "You Must Have Been a Beautiful Baby" is surprisingly effective. Trumpeter Spanky Davis (who has long been underrated) has quite a few hot solos, Scott Robinson (best on baritone and bass sax) is always impressive, and Jim Galloway's soprano is another asset. Recommended, for children and their jazz-loving parents alike.

Musicians: Dan Barrett - leader, trombone and vocals; Spanky Davis - trumpet, vocals; Jim Galloway - soprano sax, baritone sax; - clarinet, baritone sax, bass sax, bass clarinet, alto sax; John Sheridan - piano; Paul Keller - bass; Jeff Hamilton - drums; Rebecca Kilgore - vocals, guitar

Being A Bear

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Lillian Boutté - Let Them Talk

Styles: Vocal
Year: 1986
File: MP3@320K/s
Time: 49:03
Size: 113,7 MB
Art: Front

(3:48) 1. Tennessee Waltz
(7:17) 2. Let Them Talk
(4:42) 3. I Still Get Jealous
(6:02) 4. He's Funny That Way
(2:56) 5. Bugle Call Rag
(3:38) 6. Love
(4:54) 7. I Surrender Dear
(3:53) 8. Traveller's Tune
(8:38) 9. Nobody Knows the Trouble I've Seen
(3:11) 10. Who Rolled the Stone Away

When singer Lillian Boutté was named “New Orleans Musical Ambassador” in 1986, she was the second jazz legend in the city's history to be accorded this honor - the first having been none other than Louis Armstrong. “Ambassador Lillian” is a loquacious and outspoken defender of her hometown. She has been working extensively to help Katrina victims, doing benefits and organizing relief funds for musicians, many of whom have lost everything. Also very active in this cause is her brother John Boutté a highly heralded singer in his own right and possessor of one of the finest voices in America. The siblings grew up in the Seventh Ward along with eight other sisters and brothers, steeped in the neighborhood culture of the city that is now threatened by extinction in the wake of Katrina.

It has always been Lillian's driving desire to bring the musical heartbeat of her home town nearer to the ears of the world. Over a timeframe of twenty years and with the backing of her albums featuring jazz, pop, blues, soul and gospel, she has succeeded in conveying the city's unique atmosphere to an international audience. For this extended period, she has been touring almost nonstop, doing concerts, club dates and festivals all over the world. Music was Lillian's life right from the start. At the tender age of 11, she won her first singing contest. During her musical studies at New Orleans' Xavier University, she sang in the gospel choir, before being discovered by Allen Toussaint, who used her as a background singer when producing the likes of James Booker, Patti Labelle, the Neville Brothers, the Pointer Sisters and Dr. John.

Then she went on a five-year world tour as an actor, singer and dancer in the musical “One Mo' Time”. At the same time, she made her first solo recordings, and could be seen in two movies: alongside Professor Longhair, Allen Toussaint and Tuts Washington in the critically-acclaimed Stevenson-Pallifi documentary “Piano Players Barely Play Together”, and in a bit part in Alan Parker's “Angel Heart”. Together with blues legend Brownie McGee, she can also be heard on the soundtrack of that movie. Lillian also sang at the Tennessee Williams memorial service in St. Louis cathedral in her native New Orleans, and America's high and mighty were treated to her interpretation of the national anthem in the Superdome. In 1992 she spearheaded 45 of her New Orleans music friends and brought the sounds of Cajun, Soul, R & B, Gospel traditional N.O. Brassbands and as well New Orleans cuisine to 22 cities in Germany under the title SPIRIT OF LOUISIANA. In 1993 she originated the project Gospel United in co-operation with 2 Danish organizers, where she was able to show her musical and social influences.

Lillian Boutté worked with local legend Dr. John, with whom she produced the albums “The Jazz Book,” in 1993, and “But...Beautiful,” in 1995. Together with Munich pianist and singer Christian Willisohn, Lillian Boutté recorded the albums “Lipstick Traces,” (’92) “Come Together,” and album “You've Gotta Love Pops,” in 2000. She also released “Music Is My Life,” in 2000. Critics have compared Lillian Boutté with Bessie Smith, Aretha Franklin and Mahalia Jackson. In Europe, where she established a residence, she and her husband Thomas L'Etienne and her band “Music Friends” have already aquired a large following. Her newest show and record “That Don't Keep Me From Cookin In A 'Gumbo Pot '” is a tribute to New Orleans music with the sounds of Sassafras, Mardi Gras, funky creole blues, smoky bars and jumpin' jazz featuring 'new' New Orleans songs by Phil Parnell, Lillian Boutte, Ed Frank and others. An internationally acclaimed Jazz, Gospel and Blues singer,Lillian's unique charismatic personality, stunning voice and love for the music encapsulate an unforgettable experience for anyone who can appreciate a genuine artist. https://musicians.allaboutjazz.com/lillianboutt

Let Them Talk

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Enric Peidro & Jonathan Stout - Groove at First Sight

Styles: Saxophone,Guitar Jazz, Swing
File: MP3@320K/s
Time: 42:39
Size: 99,7 MB
Art: Front

(3:29) 1. Shivers
(4:14) 2. Surrender Dear
(3:38) 3. Soft Winds
(3:36) 4. Squatty Roo
(3:45) 5. Six Appeal
(3:05) 6. Sunday
(3:49) 7. El Salon de Gutbucket
(4:05) 8. On the Sunny Side of the Street
(3:07) 9. Jacquet in the Box
(4:28) 10. If I Had You
(2:51) 11. Coquette
(2:26) 12. Esquire Jump

The names of Jonathan Stout and Enric Peidro sure sound very familiar to the swing fans all over the world: Both are not only well-known musicians, highly respected players on their respective instruments, but also experienced bandleaders in their own right: Stout, based in California leads the Campus Five, one of the most in-demand bands at Lindy Hop and dance Festivals all over the world. From his headquarters in the east coast of Spain, Peidro also travels internationally very often, either as a soloist or bringing his high voltage swing combo, the "Swingtet" to all kind of audiences.

In late autumnn 2019 Stout, responding to Peidro's invitation, came to Spain in between two Campus Five European gigs and joined Peidro's band for a string of gigs on a two-week tour over Spain. From their very first gig together, and never having met before, the sparks flew in between Stout and Peidro.The rapport and understanding they developed all over the tour, both in and out of the stage was really "Groove at first sight" as they have appropriately titled this Cd The album was recorded, -"In the old-fashioned way we'd like, in Peidro's words"- over a 5-hour recording session, with all the band "cookin'" together in one room, and with no edits at all.

In fact, most of the takes chosen for the album were first takes, for a solid reason: there were no second takes on half of the selections!!! The recording session was also taped on video.You can check the videos by clicking in the "video" link beside the title of each tune When listening to the Cd the understanding and rapport in between the two musicians as well as with Peidro's regular -and hard -swinging'!- rhythm section is more than obvious. Not in vain Stout and Peidro share a deep love, passion and respect for the very same musical language: the swing, classic jazz of the 30's and 40s. Consecuently, a good-natured, friendly vibe of mutual respect and relaxation, all wrapped up in a extremely laid-back atmosphere spices all the Cd from beginning to end, and for sure its a welcome addition to contemporary swing collections. https://enricpeidro.bandcamp.com/album/groove-at-first-sight

Personnel: Enric Peidro Tenor sax; Jonathan Stout Guitar; Richard Busiakiewicz Piano; Andrés Lizón Bass; Simone Zaniol Drums

Groove at First Sight

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Tim Laughlin - New Orleans: Mardi Gras & Bourbon Street

Size: 138,8 MB
Time: 59:14
File: MP3 @ 320K/s
Released: 2017
Styles: New Orleans Jazz
Art: Front

01. Dumaine Street Strut (5:55)
02. My Poor Restless Heart (4:18)
03. Decatur Street Parade (5:00)
04. Clarinet Blues (5:39)
05. Ill See You Again (4:19)
06. Good Time In New Orleans (5:33)
07. Gentilly Stomp (5:08)
08. I Tried To Recall (5:52)
09. Dance Of The Magnolias (4:06)
10. New Orleans On Parade (3:50)
11. Twilight In New Orleans (5:10)
12. Roundabout (4:18)

One of the brightest of the New Orleans-based clarinetists to emerge during the 1990s, Tim Laughlin has made a strong impression on the trad jazz scene. He started playing clarinet when he was nine and, other than doubling on alto a bit in high school, he has stuck to clarinet throughout his career and considers his main influence to be Pete Fountain. Tim Laughlin had several opportunities to tour Europe (most notably Germany) in the late '90s, has been an important part of the New Orleans jazz scene (including several years with the Dukes of Dixieland) and led recording sessions for Good Time Jazz and Jazzology; two dates finds him matching wits with fellow clarinetists Jack Maheu and Tom Fischer. ~Scott Yanow

New Orleans

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Lucinda Belle - Think Big : Like Me

Styles: Vocal, Harp Jazz
Year: 2019
File: MP3@320K/s
Time: 43:11
Size: 101,0 MB
Art: Front

(3:21) 1. Baby Don't Cry
(3:03) 2. Where Have All the Good Men Gone
(3:55) 3. I Believe
(2:06) 4. New Boy
(3:18) 5. Do Me Right
(2:38) 6. Do Your Time
(4:19) 7. My Only Lament
(3:28) 8. I'll Be Loving You
(3:27) 9. Time Won't Wait for You
(2:28) 10. Nothing Left to Do but Smile
(3:27) 11. The Other Side of You
(3:50) 12. Washed up on Love
(3:47) 13. Don't Go Chasing Your Heart

Oscar nominated singer-songwriter Lucinda Belle isn't the first to do what she does, but she may be among the most eclectic; the vocalist/harpist keeps tradition alive by feeding it with myriad influences. Though her vocal style and choice of instrumentation often suggest jazz, she reaches well beyond the idiom while staying true to its roots. Her most recent offering, Think Big: Like Me pulls from jazz, pop, reggae, doo-wop, R&B and hip-hop, among other styles, to create an engaging pastiche that retains Belle's strong compositional voice throughout. The end result is consistently interesting and satisfying, something at once familiar and novel.

Belle's voice is bold, full of personality with, on occasion, an edge, recalling modern songstress Amy Winehouse, but it has a sweetness as well, bringing to mind legends like Peggy Lee and Julie London. Tunes like the single "Baby Don't Cry" have her moving between both worlds in arrangement and performance. "Do Me Right" and "I Believe" are other examples; Belle's voice is full of drive when needed and, often in the upper register of her rich alto, sonorous and masterfully controlled when the moment calls for it.

The album jumps playfully from sparse and antique instrumentation to contemporary production and style, and more often than not the change happens within one song. "New Boy" alternates between voice and harp and a driving rhythm section, almost recalling neo-soul, to create something timeless from the styles of two vastly different times. "My Only Lament" keeps the accompaniment floaty and reminiscent of a classic production from the 1960s, while "I'll Be Loving You" harkens back to the 1950s. Just a few songs later is "The Other Side of You," which sounds like something that may have played on the radio circa 2010.

Belle says emphatically of Think Big, it's "a break up album!!! 'I'll Be Loving You' was my first song on the album,... I wrote it still crying from the break up... and I put 'Don't Go Chasing Your Heart' at the end of the album to represent the transition and realization I'd been through, throughout the process. There's something here for everyone I hope!" Indeed, Belle says it best when she says there is something here for everyone. From melody and harmony to lyrics to production, the album is strong and will benefit from multiple listens.~ Paul Naser https://www.allaboutjazz.com/think-big-like-me-lucinda-belle-self-produced-review-by-paul-naser__18294.php

Personnel: Lucinda Belle: vocal/harp; Esben Tjalve: piano, organ; Sheldon Conrich: acoustic guitar; Rich Hornby: electric guitar; Jay Darwish: double bass; Phil Groysboeck: drums.

Think Big : Like Me

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Norman Simmons - Midnight Creeper

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 64:36
Size: 148,5 MB
Art: Front

(8:32) 1. Blackout
(8:53) 2. Midnight Creeper
(9:50) 3. Someday My Prince Will Come
(4:26) 4. I Fall In Love too Easily
(7:15) 5. Send In the Clowns
(6:25) 6. Emily
(7:42) 7. Turtle
(5:52) 8. Confirmation
(5:36) 9. Easy Livin'

A classic hard-bop blues riff, taken here at a medium slow tempo that rolls along. The head develops a two-measure riff that rises and quickly falls; the descending diminished arpeggio at the beginning of the tenth measure is a characteristically slick, Simmonsian touch. Norman kept the rhythmic set up of his intro the same for our three editions (lead sheets, Piano/Bass Duo and Solo Piano Arrangement); where it goes after the first measure, however, varies by the performance, as you can see by comparing our C treble clef lead sheet with the Solo Piano Arrangement and the Piano Duo part.Note that the lead sheets for the Al Grey "Fab" recording are exactly the same as the lead sheets available for this trio version. To prevent multiple purchases of the same lead sheet, the selection boxes will automatically be checked.Try it, it's easier to see it than explain it.

Norman's "Midnight Creeper" trio recording has a fade out ending, so for our lead sheets we've used the ending from Norman's arrangement for the Al Grey "Fab" recording. This is essentially the same as the ending you'll find in both the Solo Piano Arrangement and the Piano/Bass Duo arrangement, but again, careful comparison will show slight differences, which is part of what jazz is all about. Whether playing this in a trio format, as in this recording, or with additional melodic instruments also playing the melody, as in the Al Grey recording, or in a duo format, as in the recording with bassist Daryl Johns, the pianist's role is always to simulate block chords while playing the melody. Norman's Solo Piano Arrangement gives you everything written out, and also works perfectly for the pianist with whatever instrumentation you're using.

All our lead sheet editions also show the connecting grace notes that Norman plays on piano. Depending on the instrument, other instrumentalists should not be concerned trying to playing all these grace notes exactly as written, but it's nice to see what the pianist is playing so you can figure out the most effective way to make your notes gliss with the pianist's line. Pianists should also check out the description in the Piano Corner tab. The C bass clef edition is designed for the trombonist or other bass clef melody instruments. We recommend that bassists get the Bass part from the Piano/Bass Duo arrangement, which shows how bassist Daryl Johns dealt with the grace notes. Check out the Bass Corner tab on the Piano/Bass Duo recording for more details. https://jazzleadsheets.com/composers/norman-simmons.html

Midnight Creeper

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Brian Bromberg - A Little Driving Music

Styles: Jazz, Post Bop
File: MP3@320K/s
Time: 72:14
Size: 166,9 MB
Art: Front

(6:24) 1. Froggy’s
(6:31) 2. Quarantine
(5:24) 3. That Cool Groovy Beatnik Jazz
(5:08) 4. Bado Boy!
(5:22) 5. Walking on Sunshine
(5:21) 6. Sag 5 (As in Sagittarius)
(5:59) 7. A Rainy Day in Paris
(5:30) 8. A Little Driving Music
(5:15) 9. Peace
(6:56) 10. Jedediah’s Gold!
(5:28) 11. The Sitting Room
(5:40) 12. Baton Rouge
(3:10) 13. Lullaby for Bado

World-renowned bassist and producer Brian Bromberg finds inspiration during the pandemic with a funk driven album that conjures the spirit of the open road. 'A Little Driving Music' features an all-star socially distanced lineup of musicians including Dave Koz, Marion Meadows, Everette Harp, Elan Trotman, Gary Meek and Nick Colionne. 'A Little Driving Music' is Bromberg's third album created in quarantine, features a dozen brand-new Bromberg compositions as well as a surprising 80s cover song, the joyful Katrina and the Waves hit "Walking on Sunshine." The freedom of the open road on 'A Little Driving Music' shrugs off the prevailing mood of COVID-era claustrophobia and political strife for fun, funky paean to cruising with the top down and leaving your troubles behind. https://www.propermusic.com/art7077-a-little-driving-music.html

A Little Driving Music

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Lillian Boutté - Having a Good Time

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 63:09
Size: 147,6 MB
Art: Front

(4:59) 1. Mama's Gone, Goodbye (feat. Humphrey Lyttelton)
(3:26) 2. Smile
(5:41) 3. Let Them Talk
(4:28) 4. I'm Having a Good Time
(4:04) 5. Nuages
(3:49) 6. Absolutely Positive
(3:13) 7. That's the Way to Treat Your Woman (feat. Humphrey Lyttelton)
(4:19) 8. Is You Is or Is You Ain't My Baby (feat. Humphrey Lyttelton)
(4:33) 9. Try a Little Tenderness
(4:45) 10. Stagger Lee
(5:03) 11. A Nightingale Sang in Berkeley Square (feat. Humphrey Lyttelton)
(4:03) 12. You Brought a New Kind of Love to Me
(3:40) 13. You Send Me
(3:37) 14. The Trouble with Me Is You
(3:22) 15. Wolverine Blues

A versatile singer based in New Orleans, Lillian Boutte is capable of singing both New Orleans Dixieland standards and New Orleans R&B, swing-era tunes, and contemporary originals. She sang as a child (winning a vocal contest when she was 11), performed with her college's gospel choir, and then in 1973, was hired by Allen Toussaint as a backup singer for the many projects recorded in his studio. Boutte appeared as an actress and singer in the musical One Mo' Time during 1979-1984, recorded a gospel album with the Olympia Brass Band in 1980, and in 1982, made her first jazz album. Boutte has spent time alternating between living and performing in Europe and New Orleans, and she has been closely associated with reed player Thomas L'Etienne who usually leads her backup groups. Through the years, Lillian Boutte has recorded for many labels (mostly in Europe) including Herman, Feel the Jazz, High Society, Turning Point, Timeless, Southland, Storyville, GHB, Calligraph (with Humphrey Lyttelton), Blues Beacon, and Dinosaur Entertainment.~ Scott Yanow https://www.allmusic.com/artist/lillian-boutt%C3%A9-mn0000291690/biography

Having a Good Time

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The International Classic Jazz All Stars - International Classic Jazz All Stars

Styles: Classic Jazz, Swing
Year: 2020
File: MP3@320K/s
Time: 56:14
Size: 129,6 MB
Art: Front

(4:39) 1. Louise
(3:54) 2. L-O-V-E
(4:12) 3. C Jam Blues
(4:47) 4. The Night is Blue
(5:34) 5. As Time Goes By
(5:32) 6. The Blues I'd Forgotten
(4:44) 7. Strictly Instrumental
(6:13) 8. The Jeep is Jumpin'
(5:46) 9. The Billie Holiday Medley:I Cover the Waterfront/You've Changed
(3:14) 10. Take The A Train
(2:21) 11. The Sid Catlett Medley Thermo-Dynamics-Mop Mop
(7:34) 12. Wabash Blues

"This album is a must-have for any maistream jazz lover as there are not many chances to hear this kind of jazz nowadays, even less performed with such aplomb, taste and elegant creativity. The "dream team" line up includes such luminaries as american trombone legend Dan Barrett (Benny Goodman,Woody Herman, Buck Clayton among many others) who shines throughout the recording with his lyrical solos joined by the more than apt partner-in-crime Spanish tenorman Enric Peidro whose breathy, gorgeous sax sound and clever yet singable lines are the perfect counterpoint to Barrett's melodic approach. Its a pure joy to listen to Barrett and Peidro and their laid-back, conversation-like, unnassuming aproach wich makes you think on two old friends sharing a drink while chatting about their favourite movie or fishing spot. Australian bass player and singer Nicki Parrott greatly contributes to the overall results with her swinging bass lines, perfect note choice and timing, and also with a few vocals delivered with her usual class. British piano player Richard Busiakiewicz proves himself to be an outstanding musician: the way he comps to solos is simply brilliant, bringing to mind greats like Red Garland or Winton Kelly and his solos are both flawless and swingin all the way through.

To round up this extraordinary team, french drummer Guillaume Nouaux shows extensively why he's one of the best jazz (classic jazz if you want) drummers in the scene today: never too busy and always swingin with great savoir-faire (not in vain he's french!!) he proves himself a great soloist too, over the many solo spots he has in the recording.The choice of material is pretty well balanced in between lesser-known tunes as well as very popular material: is really something to hear how these brilliant musicians handle the challenge of playing some over-exposed numbers like "A" Train, C Jam blues, Love and a few others.No doubt as Count Basie once said: -its not the tune what really matters, but what you can do with it- Needless to say they get away with it with brilliance and a great deal of honesty too: all the recording transpires a great sense of well-natured camaraderie and friendship (the album was recorded after a long tour over Spain) and there's no fireworks or showing-off procedures.Just the opposite: what matters here is MUSIC with capital letters and sure there's a lot of that to be found in this extraordinary album.Enjoy listening and lets hope to have a second one soon! .(J.Steyner.Album liner notes) https://enricpeidro.bandcamp.com/album/international-classic-jazz-all-stars

Personnel: Dan Barrett Trombone.Vocals (7 only); Nicki Parrott Bass. Vocals on (2,5,7,10); Enric Peidro Tenor sax; Richard Busiakiewicz Piano; Guillaume Nouaux Drums

International Classic Jazz All Stars

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Paul Bollenback - Double Gemini

Styles: Guitar Jazz
File: MP3@320K/s
Time: 60:39
Size: 139,8 MB
Art: Front

(7:35) 1. Breaking the Girl
(6:02) 2. After the Love Has Gone
(7:53) 3. Double Gemini
(5:09) 4. Reflections of Jaco
(6:41) 5. Let Her Cry
(6:51) 6. So Many Stars
(5:45) 7. Open Hand
(6:03) 8. Field of Gold
(4:57) 9. I Am Singin'
(3:41) 10. Cat's Eye

Other than Sergio Mendes' "So Many Stars," the music on this CD will probably be quite unfamiliar to most jazz listeners. In addition to four originals by the leader-guitarist, there is a song apiece by The Red Hot Chili Peppers, Earth, Wind And Fire, Hootie And The Blowfish, Sting and Stevie Wonder. But the results actually fit securely into the soul jazz organ tradition. Guitarist Paul Bollenback, who has an appealing sound and an adaptable style, reharmonized some of the simpler pieces, stripped them of their pop rhythms and alternated swinging numbers with slower grooves. Although the strongest numbers are "So Many Stars" and the guitarist's solo rendition of his own "Cat's Eye," none of the selections are throwaways, and Wonder's "I Am Singin'" really cooks. Organist Joey DeFrancesco sounds fairly restrained and happy to be a sideman for a change, still showing off the strong influence of Jimmy Smith. Drummer Jeff "Tain" Watts is solid in support. Although it is doubtful if any of these songs (other than "So Many Stars") will catch on in the jazz world (the melodies are not overly strong), the performances on this disc are excellent and should interest soul-jazz collectors.~ Scott Yanow https://www.allmusic.com/album/double-gemini-mw0000030913

Personnel: Guitar – Paul Bollenback; Organ – Joey DeFrancesco; Drums – Jeff "Tain" Watts

Double Gemini

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Ralph Peterson - Raise up off Me

Styles: Jazz, Post Bop
File: MP3@320K/s
Time: 84:32
Size: 194,8 MB
Art: Front

(8:04) 1. Raise up off Me!
(7:26) 2. The Right to Live
(4:29) 3. Four Play
(8:19) 4. I Want to Be There for You
(6:57) 5. Bouncing with Bud
(5:54) 6. Blue Hughes
(6:01) 7. Tears I Can Not Hide
(6:49) 8. Naima’s Love Song
(6:48) 9. Jodi
(6:40) 10. Fantasia Brazil
(4:13) 11. Shorties Portion
(6:33) 12. Raise up off Me Too!
(6:15) 13. Please Do Something(Bonus Track)

The recently deceased drummer/composer Ralph Peterson will be always remembered as a shrewd, confident player who was utterly expressive in the stories he intended to tell. Peterson died from cancer on March 1st, and Raise Up Off Me is an inspiring last album filled with optimism and empowering message. Most of the tracks here are explored in the trio format alongside two of his protégés, the brothers Zaccai and Luques Curtis on piano and bass, respectively. The trio, which had recorded Triangular III in 2016, is joined by special guests on specific tunes. There are two dazzling originals at the top of the track list. Whereas the title cut denotes an optimum balance between relaxation and tension, reaching both spiritual and emotional states on occasion; “The Right to Live” is a post-bop number configured with untethered drum eruptions before earning a dancing quality in the B section that is hundred percent Brazilian. This is an influence that is also mirrored on “Fantasia Brazil”.

The acclaimed singer Jazzmeia Horn shines on three pieces: “Tears I Cannot Hide”, a Peterson ballad for which she wrote the lyrics; John Hicks/Betty Carter’s “Naima’s Love Song”, which gains a soft Latin touch while proceeding at a solid stride; and on her own “Please Do Something”, a lavishly and ferociously swinging ride where she’s seen at the peak of her vocal abilities. The latter tune appears as a bonus track on the LP and digital releases only “Four Play” is an uptempo blues burner fetched from pianist James Williams’ 1984 album Alter Ego, whereas Bud Powell’s “Bouncing With Bud” features a lively, lilting brushwork from Peterson, who takes his buoyancy to a much softer level on Zaccai’s ballad “I Want To Be There With You”.

Definitely a highlight, and with the Puerto Rican percussionist Eguie Castrillo on board, “Blue Hughes” is conveniently accented according to the breezy calypso waves that propel it. Being subjected to a fresh arrangement here, this tune had been recorded in 1985 by the Blue Note Records-founded group OTB (Out of the Blue) of which Peterson was a rhythmic pillar in conjunction to the bassist Robert Hurst. Peterson’s last goodbye exemplifies the empathetic force of his music and playing. https://jazztrail.net/blog/ralph-peterson-raise-up-off-me-album-review

Personnel - Ralph Peterson: drums, percussion; Luques Curtis: double bass; Zaccai Curtis: piano, keyboard; Jazzmeia Horn: vocals (#7,8,13); Eguie Castrillo: percussion (#6).

Raise up off Me

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Norman Simmons Trio - Jazz Essentials

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 39:43
Size: 92,7 MB
Art: Front

(3:08) 1. Stella by Starlight
(2:41) 2. You Do Something to Me
(4:06) 3. Love Is Eternal
(3:11) 4. Tranquility
(3:56) 5. Capacity in Blues
(3:26) 6. Jan
(3:32) 7. They Can't Take That Away from Me
(3:59) 8. My Funny Valentine
(4:15) 9. Peppe
(3:45) 10. Moonlight in Vermont
(3:38) 11. Chili Bowl

Pianist Norman Simmons is a superior arranger and good accompanist most famous for providing the hit arrangement of "Wade in the Water" for the Ramsey Lewis group. Simmons worked in the '50s and '60s for several vocalists, among them Dakota Staton, Ernestine Anderson, and Carmen McRae. He worked in 1960 with the Johnny Griffin-Eddie "Lockjaw" Davis group. In 1979 Simmons became a regular pianist for Joe Williams, performing with the acclaimed vocalist through the 1990s. Following Williams' death in 1999, Simmons led his first session in quite some time, resulting in the 2000 Savant release Art of Norman Simmons. In 2002 he issued Synthesis, his second effort for Savant. In Private, a Savant date also featuring bassist Lisle Atkinson and drummer Paul Humphrey, arrived in 2004.~ Ron Wynn https://www.allmusic.com/artist/norman-simmons-mn0000884894/biography

R.I.P.

Born: October 6, 1929, Chicago, Illinois, United States

Died: May 13, 2021

Jazz Essentials

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Richie Beirach Trio - What Is This Thing Called Love

Bitrate: MP3@320K/s
Time: 57:54
Size: 132.6 MB
Styles: Bop, Contemporary jazz
Year: 1999
Art: Front

[4:52] 1. What Is This Thing Called Love
[6:19] 2. Leaving
[5:32] 3. Night And Day
[4:07] 4. Goodbye
[6:08] 5. Autumn Leaves
[6:11] 6. All The Things You Are
[3:53] 7. Pinocchio
[5:22] 8. Oh, What A Beautiful Morning
[7:26] 9. Nardis
[8:02] 10. On Green Dolphin Street

Double Bass – George Mraz; Drums – Billy Hart; Piano – Richie Beirach. Recorded at Sear Sound Studio in New York on June 18 and 19, 1999.

What a fantastic 'jazz piano trio' - yes George Mraz is truly a bassist delight, sympathetic, emotive, with improvised soloing thrown in. Virtuosic players all three, Billy Hart is one of the greatest drummers for modern jazz, creative, inventive, and progressive! Last but not least - the leader - Richie Beirach on piano - a consistently inventive pianist whose ability to play straight ahead or avant-garde and with lyricism makes him an original. ~John Herrmann

What Is This Thing Called Love

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Kristin Korb - Why Not?

Styles: Vocal
File: MP3@320K/s
Time: 31:06
Size: 72,0 MB
Art: Front

(4:53) 1. Come Rain or Come Shine
(4:20) 2. I've Told Every Little Star
(4:42) 3. I Surrender Dear
(4:16) 4. Warm Valley
(4:31) 5. Zanzibar
(4:11) 6. Summer Wind
(4:11) 7. Sommervind (Bonus Track)

The flip side of “What If?” is “Why Not?”. It features Korb’s love of foot-tapping standards and lesser known gems with the intimate feel of an “unplugged” album. This is your personal invitation to join the party. In comparison to “What If?”, Korb’s arrangements are more straight ahead and less elaborate. They tend to lean on the tradition of feel-good swing. “It has been difficult for me to articulate my thoughts about ‘Why Not?’. One part of me feels like I didn’t do enough for this side. I didn’t make any crazy arrangements and the process in recording these tracks felt ‘easier’ in some way, almost like a sigh of relief in being able to re-connect with my bandmates again. Together, we celebrate a lifetime of great music making, being present in the moment, and being there for each other. Isn’t that enough?”

Korb’s familial connection to her bandmates Magnus Hjorth on piano and Snorre Kirk on drums is clear from the first beat. In contrast to “What If?”, this project is all about the trio and their interplay. I Surrender Dear opens with this baroque-ish chase between the instruments before exploding into an intense and high speed game of cat and mouse. “It takes a lot of energy for us to be positive and resilient in these times. We also need soft places to land, to breathe, to reconnect with ourselves, and to nurture our souls. Warm Valley does this for me.” Magnus Hjorth’s sensitive intro on the Duke Ellington classic sets the scene for this intimate duo.

A special highlight is guitarist Bruce Forman’s arrangement of Jerome Kern’s I’ve Told Every Little Star. Forman’s arrangement brings a vulnerability to the story that doesn’t exist in the original version. Korb’s bass solo takes that feeling even deeper. “This year, I celebrate 25 years since “Introducing Kristin Korb” was released with my mentor, Ray Brown. Ray opened the world to me through that CD. He inspired me in so many ways and challenged me to always bring my ‘A game’. I will be forever grateful. While I feel like I’ve made my own path musically, Ray is still a big part of it.” Ray’s influence is heard in the foot stomping opening track Come Rain or Come Shine. His spirit returns again in the final track Summer Wind. Korb closes the project with a tip of the hat to her life now in Denmark. Summer Wind was originally recorded in German and Danish before Johnny Mercer set his text to the music. The bonus track Sommervind has her singing in Danish, but it swings just the same. “What If?” and “Why Not?” were released as independent digital releases. In conjunction with the digital release of “Why Not?”, Korb and company are releasing the hard copy as a double disc compilation: “What If / Why Not”.

Personnel: Kristin Korb: All Vocals, Bass; Magnus Hjorth: Piano; Snorre Kirk: Drums; Tira Skamby: Percussion (Zanzibar)

Why Not?

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The Kristin Korb-Todd Johnson Trio - Get Happy

Bitrate: MP3@320K/s
Time: 59:44
Size: 136.8 MB
Styles: Vocal jazz
Year: 2004
Art: Front

[3:53] 1. I'm Old Fashioned
[4:59] 2. Top Of The World
[4:45] 3. Just A Closer Walk With Thee
[4:19] 4. If You Never Fall In Love With Me
[4:10] 5. Moon River
[4:42] 6. Sunshine & Slim
[4:30] 7. Cheek To Cheek
[2:08] 8. Wonder Why
[3:28] 9. Get Happy
[4:04] 10. You Don't Know What Love Is
[4:42] 11. Goin' Home
[2:58] 12. You'd Be So Nice To Come Home To
[3:09] 13. Everything Happens To Me
[4:32] 14. Blues For Hellen
[3:19] 15. When You're Smilin'

Kristin Korb, vocals & upright bass; Todd Johnson-6-string bass; Kendall Kay, drums.

My vision for a "bass duo" began sometime in 2003. I'd been working successfully as a solo bass act, but missed the interplay of another musician. I knew if I could find the right bass player it just might work. Shortly thereafter, I discovered Kristin Korb. I contacted her and spoke with her about my idea. She said, "Let's give it a try." So I booked us at a duo series I was hosting. She came and had dinner with my family and me, we talked over a few tunes and we were off to the gig. Well, the rest is history. My vision was rapidly becoming a reality. Just one thing was missing. I found it quickly in Kendall Kay. He's one of the finest drummers and people you'll ever hope to work with. He ALWAYS plays the RIGHT thing at the RIGHT time. My vision is now complete.

I hope you find this CD musical, entertaining, and a little bit innovative. Not bad for 2 bass players and a drummer! ~ Todd Johnson

Get Happy

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Richie Beirach - Manhattan Reverie

Bitrate: MP3@320K/s
Time: 69:41
Size: 159.5 MB
Styles: Piano jazz
Year: 2006
Art: Front

[5:14] 1. You Don't Know What Love Is
[6:09] 2. On Green Dolphin Street
[6:40] 3. If I Were A Bell
[5:07] 4. Manhattan Reverie
[8:49] 5. Etude (No. 6 In E-Flat Minor, Op. 10)
[9:07] 6. Transition
[8:34] 7. Stella By Starlight
[5:37] 8. Veils
[6:30] 9. Blood Count
[7:52] 10. Footprints

Richie Beirach: piano; George Mraz: bass; Billy Hart: drums.

It was all in the eyes. They say peek into someone's eyes if you really want to see what they're about and how they're feeling. From the looks of things at a performance to celebrate his sixtieth birthday at Birdland at the end of August 2007, it seemed that Richie Beirach was feeling good. Sounded tops, too. This classically-trained veteran pianist was marking his sixth decade on earth with a little help from his friends—trio band mates, bassist George Mraz and drummer Billy Hart, expert rhythm makers also featured on this highly effective 2007 Japanese import from Venus Records, Manhattan Reverie. They all appeared to have a certain twinkle in their eyes, suggesting that they are very comfortable playing with each other, wise to each other's ways and that they were having a good time. It was kind of a nice message: Age has nothing to do with vitality or musical ability, except maybe, in this case, it adds to both of those things.

Two terrific guests shared in the belated (his birthday was in May) festivities at Birdland —trumpeter Randy Brecker and the violinist Gregor Huebner. Whether live or on recording, Hart and Mraz supplied excellent support to Beirach's intricate, introspective and lively playing. Surprises of the show included explorations of Bartók and Bach, each offering gorgeously rendered improvisations. A tribute to the late Michael Brecker, in the form of a rearranged "old Russian folk song as Beirach described it, was moving and beautiful, if at moments almost painful to witness, a feeling heightened by the intensity of brother Randy's participation. These stunning, seemingly effortless endeavors were punctuated by exquisite soloing by Huebner.

The live event had been touted in some circles as an occasion also to mark the release of Manhattan Reverie so the repertoire sampled on the Friday before Labor Day was somewhat unexpected, as no pieces from the album were played in that particular set. But the recording merits repeated listening. It features several standards, including "You Don't Know What Love Is, "On Green Dolphin Street and "If I Were a Bell, all performed at breakneck pace. Somehow that works. In fact, for those of us out here who are a little love-weary (or even love-leery?) it was a welcome change of pace to hear a heart-crushing tune like "You Don't Know What Love Is zip by at such a clip. Would that the pain of lost love could breeze by like that. The Germany-based pianist's own title track is delicious and more gently realized, though a pretty violin accompaniment goes by uncredited. ~Laurel Gross

Manhattan Reverie

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Alexa Tarantino - Firefly

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 57:35
Size: 133,7 MB
Art: Front

(5:39) 1. Spider's Dance
(4:44) 2. Mindful Moments
(4:08) 3. Move Of The Spirit
(4:43) 4. Iris
(4:19) 5. Daybreak
(1:37) 6. Surge Fughetta
(4:11) 7. Surge Capacity
(4:34) 8. La Donna Nel Giardino
(6:43) 9. Rootless Ruthlessness
(6:33) 10. Lady Day
(4:24) 11. Violet Sky
(5:56) 12. The Firefly Code

The twenty-first century sees many of us talking to a cloud-based artificial intelligence: "Alexa, play my music." And so she does. The time frame also sees the emergence of a talented human Alexa Alexa Tarantino, who plays her music, on Firefly, the woodwindist's third album release on Posi- Tone Records, an evolutionary leap forward conceptually and compositionally from her debut, Winds of Change (2019), and her second outing, Clarity (2020), both on Posi-Tone Records. Fronting a quintet which includes vibraphonist and label mate Behn Gillece and keyboardist Art Hirahara, Tarantino, plays alto and soprano saxophones, flute and clarinet, making a music which has a feeling of a release of positivity, of pent-up feelings and ideas being given voice with the easing of a post-pandemic isolation.

The disc opens with Hirahara's "Spider's Dance," a luminescent reverie, with the leader sounding particularly inspired, The arrangement the back and forth of piano, vibes and saxophone solos is as close to perfection as can be. Vibraphonist Gillece's "Mindful Moments" finds Tarantino switching to flute, floating over the rhythm section's fluid shuffle, leading into a composition from the group's drummer, Rudy Royston, "Move The Spirit," a high octane, get-up-and-dance type of tune.. With "Iris," a tune written by saxophonist Wayne Shorter which appeared on Miles Davis' ESP (Columbia Records, 1965) the ensemble explores Shorter's classic sound, edgy and luxuriant at the same time in this quintet's rendition.

All great music, but it is with her own "Daybreak" that Tarantino's evolutionary progression begins to show. The tune serves as Part 1 of her original "A Moment In Time" suite. It has a "clean slate, go out and make the day" sound, brimming with energy and optimism," moving into the minute-and-a-half "Surge Fughetta" from bassist Boris Kozlov's pen. The tune has a dreamy, chamber music vibe (flute, vibes and bass), which segues into Tarantino's "Surge Capacity," a scintillating barnburner, with Tarantino's blowing bringing alto saxophonist Jackie McLean to mind. Tarantino and the group re-visit Wayne Shorter with "Lady Day," a lovely, introspective, time-stands-still six and half minutes. This excellent set closes with the highlight, Tarantino's "The Firefly Code," which, on an Alexa mix (the artificial intelligence Alexa, not the saxophonist Alexa) could be mistaken for a Hubert Laws composition intricately and ethereally beautiful, exuding "hope, faith, rest and rejuvenation," as only the best music can.~ Dan McClenaghan https://www.allaboutjazz.com/firefly-alexa-tarantino-posi-tone-records

Personnel: Alexa Tarantino: saxophone, alto; Behn Gillece: vibraphone; Art Hirahara: piano; Boris Koslov: bass; Rudy Royston: drums.

Firefly

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Nnenna Freelon - Time Traveler

Styles: Vocal
File: MP3@320K/s
Time: 57:11
Size: 132,2 MB
Art: Front

(5:07) 1. I Say a Little Prayer
(6:05) 2. Marvin Medley: If This World Were Mine / Ain't Nothing Like the Real Thing/ Ain't No Mountain High Enough
(5:31) 3. Just You
(4:53) 4. Betcha by Golly Wow
(6:59) 5. Time in a Bottle
(5:05) 6. You Make Me Feel Brand New
(5:56) 7. Moon River
(4:58) 8. Time After Time
(4:49) 9. Come Rain or Come Shine
(4:29) 10. Time Traveler
(3:17) 11. Time Traveler (Reprise)

Multi-GRAMMY nominated vocal artist Nnenna Freelon is back, delivering her eleventh album after a decade-long hiatus from the studio. With 'Time Traveler,' she offers a celebration of love and a prayer of hope for those living with loss. The sessions for the album stretched over two years, between 2018 and 2020, coinciding with the loss of Freelon’s soulmate and husband of forty years, Phil Freelon, to ALS. Freelon draws from her & Phil's shared love of jazz and rhythm and blues, to step through an imagined doorway where past, present and future collide. From the album's centerpiece, a medley of Marvin Gaye classics, to standards such as “Come Rain or Come Shine” and “Moon River,” or her self-penned title song, Freelon reminds us of the grace and elegance that naturally accompanies her approach to interpreting melody. Inspired by her emotive glances to the past, and soulful presence in the here and now, she paints a portrait of reverence and gratitude for the gift of love that permeates every aspect of the human condition. https://media.allaboutjazz.com/track-time-traveler-by-nnenna-freelon

Personnel: Nnenna Freelon - Vocals; Miki Hayama - Piano (1,3,5,7,8), Fender Rhodes (2,4,9), Synthesizer (2,8) ; Chuckey Robinson - Keyboards (10,11); Brandon McCune - Hammond Organ (1,3); Keith Ganz - Guitar (2-6,8-11); Noah Jackson - Acoustic Bass (1,3-5,7,9); Gerald Veasley - Electric Bass (2,8); Lance Scott - Electric Bass (10,11); E.J. Strickland - Drums (1,3-5,7,9); Adonis Rose - Drums (2,8); Jon Curry - Drums (10,11); Beverly Botsford - Percussion (2,4,8); Trineice Robinson-Martin - Background Vocal (1); Kirk Whalum - Tenor Saxophone, Flute (4); Shana Tucker - Cello (5)

Time Traveler

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