Saturday, June 5, 2021

Francesco Buzzurro, Richard Smith - Heart of the Emigrants

Styles: Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 44:16
Size: 102,4 MB
Art: Front

(4:24) 1. Mambo Italiano
(4:28) 2. Amor
(7:07) 3. Film Suite (Live)
(4:21) 4. Pacifico Serenade
(4:43) 5. Heart of the Emigrants
(4:24) 6. Amazing Grace
(2:11) 7. Intimato
(3:55) 8. Taranta Funk
(5:43) 9. Tango, Fire and Sea
(2:56) 10. Day Tripper

Richard Smith was born in Detroit and raised in Eugene, Oregon. It was a Chick Corea concert at the age of 14 that initially fueled his passion for music. "I was so blown away by that concert that I rode my bike home, picked up the phone to promptly break up with my girlfriend, and tried to stay up all night practicing. Come to think of it, I have been working pretty hard at music ever since." At age 23, Smith received a teaching fellowship to U.S.C., in Los Angeles. This event changed his life and his music forever. Luminaries such as Lee Ritenour, Paul Jackson Junior, Larry Koonse, Christopher Parkening and the entire L.A. Guitar Quartet had attended USC, and Richard considered it an honor to have received such an award. Richard's first break came when guitar legend and U.S.C. instructor, Joe Diorio recommended him for a gig with contemporary jazz pianist Billy Mitchell. Mitchell introduced Smith to R&B/Jazz, a style that has become an indelible part of Richard’s sound. “I fell in love with all of the beats that were kicking around and when compared to the music in Eugene, it was such an amazing tapestry of sounds that I wanted to jump into everything head-first”. After leaving Mitchell's band, Smith began playing with the many L.A. based groups of the day – Siegel, Richard Elliot, Rick Braun, Guitars and Saxes, and Max Bennett among others. Smith joined Richard Elliot’s group and remained for 10 years, recording 6 number one albums for the Blue Note label. At the same time, Richard was rising in the ranks of the professorate at U.S.C., achieving the level of professor and department chair in the Studio/Jazz Guitar department all before the age of 30. "I spent the '90s running the program at U.S.C., touring the world 100 days a year, playing sessions and making records on my own. I loved it all and couldn’t say 'no' to any of it." Richard's first disc "Inglewood" was made with money from a U.S.C. student award and featured friends Kenny G and Dan Siegel. Ultimately "Ingelwood" was nominated for "album of the year" in Japan. Since then, every one of his 10 solo discs has reached the top of the music charts and have garnered awards such as 'Best New Artist' (Radio and Records Magazine) and best album of the year (Tune Up Magazine).

Richard Smith's Thirteen solo recordings have established him as a veteran of the contemporary music world - with critical success on every one of his releases. His albums have received accolations such as “Best Contemporary Jazz Guitar Album” (Tune Up Magazine), nomination for “Record of the Year” (Ad Lib Magazine), and “Best New Artist” (Radio & Records Magazine). His album 'SOuLIDIFIED' spent 17 weeks in the top 10 for radio airplay of American contemporary jazz radio (Radio and Records Magazine) and 3 weeks at number 1 in the World for satellite and cable airplay (Music Choice). His recent recording, “Tangos” - 2014, made the top 10 indie and contemporary jazz charts for over 5 months. “One World, Two Guitars” is an exciting duo project with the virtuoso Sicilian guitarist, Francesco Buzzurro. The duo tours regularly in America and Europe. His 2010 release ‘L.A. CHILLHARMONIC’ features Alex Acuna, Brian Bromberg, Vinnie Colaiuta, Jeff Lorber, Eric Marienthal, Michael Paulo, Greg Adams, and the Tower of Power horn section. The touring ensemble won a nomination for Best International Group of the year from the Canadian Smooth Jazz Awards. In 2012 touring and teaching took him to England, Norway, Denmark, Sweden, Holland, Italy, Australia and Tahiti. Richard is also full professor and former Chair of the Studio/Jazz Guitar department at the renowned Thornton School of Music at the University of Southern California in Los Angeles. He holds a dual appointment, and is also a member of the new Popular Music Performance Studies department - the first of its kind at the conservatory level. Richard developed a groundbreaking course entitled “Contemporary Music, a Global Perspective’, where USC students travel to London and collaborate with an international student roster at The Institute of Popular Music Performance (ICMP). Richard also developed the first DMA (Doctor of Musical Arts), Contemporary Guitar, program in the World at USC. Graduates of this program hold distinguished positions as professors, deans and department chairs, all over the World.

Richard's students are working professionally from Broadway and the Los Angeles Philharmonic, recording and touring with such luminaries as Chick Corea, Herbie Hancock, Dan Siegel, Marc Anthony, Josh Groban, Michael Buble, Elton John, Madonna, Michael Bolton, Bono, Maroon 5, Jenifer Lopez, John Mayer and performing on current hit television programs such as American Idol and Glee. In EUROPE Richard has performed master classes at the Institute of Contemporary Music Performance, London, The Academy of Contemporary Music, Guildford, The Leeds College of Music, The London College of Contemporary Music, the Academy of Popular Culture, Leeuwarden, Holland, The Rotterdam Conservatorium, The Utrecht Conservatorium, The Royal Academy of Music, Denmark, Music Academy 2000, Bologna, The Universtate d'Rome, Ionian University, Greece, The ESC Guitar Seminar, Siracusa and many more. In 2012 he spent a semester as visiting professor at Agder University, Norway. Richard also has on-going relationships with schools in Australia, Malaysia, Norway, England, Greece, Italy and Argentina. https://www.richardsmithguitar.com/about

Heart of the Emigrants

Friday, June 4, 2021

John Boutté - Jambalaya

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 62:23
Size: 145,0 MB
Art: Front

(2:44) 1. Two Bands Rolling
(3:21) 2. It Don't Cost Very Much
(4:23) 3. A Change Is Gonna Come
(3:48) 4. Shake My Gate
(3:28) 5. Sisters
(3:31) 6. All These Things
(4:23) 7. Treme Song
(5:08) 8. Battle Hymn of the Republic
(3:31) 9. Thats My Desire
(3:59) 10. Hey That's No Way to Say Goodbye
(4:49) 11. At the Foot of Canal St
(3:12) 12. Didn't It Rain
(4:22) 13. Why
(2:22) 14. Hot Time in the Old Town Tonight
(4:18) 15. If I Had My Life to Live Over
(4:59) 16. I Washed My Hands in Muddy Water

A powerfully rhythmic, delightfully hypnotic representation of the resiliency of the Crescent City, John Boutte's Treme (perhaps the creative centerpiece of this diverse gumbo of a collection) is the perfect theme song for the popular HBO series about N'awlins people living in the aftermath of Hurricane Katrina. But the classic stomping vibe of that piece and a handful of others (including the opening romp "Two Bands Rolling") is just part of the diverse magical vibe created by a true native son who sounds a tad like Rod Stewart and whose two-decade career is infused with everything from jazz and gospel to R&B, blues, and Latin music. He uses his raspy soul voice to channel Sam Cooke on a restrained but emotionally searing version of "A Change Is Gonna Come," and finds a clever way to merge gospel with danceable upright bass-driven jazz swing on "Battle Hymn of the Republic." Other tunes, like the midtempo ballad "Shake My Gate," are pure blues-soul-pop that could have come from any region. A good example of how he blends his N'awlins soul and his gospel musical roots is "At the Foot of Canal Street," which paints its hometown imagery with a lighthearted, skipping gospel groove. The overall effect is like church-hopping through the gritty neighborhoods of New Orleans (he hails from the 7th Ward), looking beyond any sorrow and devastation to the call of a higher power that tells Boutte, yes, you and your fellow natives can overcome. ~Jonathan Widran https://www.allmusic.com/album/jambalaya-mw0002293629

Jambalaya

The Terry Myers Orchestra - A Tribute to Benny Goodman

Styles: Clarinet Jazz
Year: 2020
File: MP3@320K/s
Time: 53:28
Size: 125,5 MB
Art: Front

(2:09) 1. Let's Dance
(4:03) 2. Bugle Call Rag
(3:05) 3. Don't Be That Way
(4:12) 4. The Very Thought of You
(2:25) 5. Stealin' Apples
(4:10) 6. Moonglow
(2:55) 7. And the Angels Sing
(1:59) 8. Swingtime in the Rockies
(3:42) 9. One O'clock Jump
(2:53) 10. Big John's Special
(3:08) 11. Poor Butterfly
(2:07) 12. Almost Like Being in Love
(2:56) 13. King Porter Stomp
(4:38) 14. Sing Sing Sing - Part 1
(5:18) 15. Sing Sing Sing - Part 2
(3:40) 16. Goodbye

In this earnest salute to the King of Swing, clarinetist Terry Myers and his splendid Florida based orchestra frame impressive likenesses of songs that helped make Benny Goodman a household name when big bands ruled the musical world. While there’s nothing here that one hasn’t heard before, there’s also nothing that’s not worth hearing again (that’s what made the Swing Era so special), and Myers and Co. stroll resolutely and unapologetically down “the sunny side of the street.” It’s clear they had a lot of fun recording the album, as a result of which the listener does too. Myers isn’t Goodman, and that’s fine, as he’s an accomplished clarinetist in his own right who makes his point without impersonating Benny. As for the sidemen, Myers deserves another gold star for recruiting, as they are first class in every way. The orchestra packs a formidable punch, glides through the Goodman style charts without breaking a sweat, and does so with warmth and a buoyant demeanor that’s contagious. Solos are for the most part brief but rewarding, and the rhythm section never stumbles or loses sight of its mandate, which is to keep the orchestra swinging from downbeat to coda.

Drummer Eddie Metz is a marvelous Gene Krupa surrogate on “Sing, Sing, Sing,” parts 1 and 2, with Myers, trumpeter Charlie Bertini and tenor Don Mitiken also heard on Part 2. Trombonist John Allred, one of the orchestra’s better known sidemen, is showcased on the lovely finale, Gordon Jenkins’ “Goodbye,” which Goodman used as his closing theme, and solos as well on “Bugle Call Rag” (with Mitiken and trumpeter Steve Walters), Ray Noble’s “The Very Thought of You” (with trombonist Dave Edwards) and “Poor Butterfly.” Edwards is spotlighted on the fast moving “Swingtime in the Rockies.” Connie Brink, a competent but otherwise unremarkable vocalist, is featured on “Moonglow,” “And the Angels Sing” and “Almost Like Being in Love.” In a brief liner note, Myers writes that the album is not only a testimonial to the music of Benny Goodman, but also “a tribute to the wonderful generation [that] made the music popular in the first place. The sacrifices they made for all of us in defeating the Depression and the axis powers in World War II made it possible for us to thrive in the last half of the twentieth century. To all of them, we say thanks." Wonderful sentiments indeed, and our hat is off to Myers and his orchestra for honoring those whose selfless endeavors helped pave the way for the peace and prosperity we savor and too often take for granted today.~ Jack Bowers https://www.allaboutjazz.com/a-tribute-to-benny-goodman-terry-myers-tmo-review-by-jack-bowers.php

Personnel: Terry Myers, leader, clarinet; Charlie Bertini, Steve Walters, Shawn Gratz, Don Johnson, trumpet; John Allred, Steve Smith, Jerry Edwards, Joe Barati, trombone; Dave Edwards, Bob Davis, Don Mikiten, Rex Wertz, Dave Weaver, reeds; Dave Wolpe, piano; Bob Leary, guitar; Charlie Silva, bass; Eddie Metz, drums; Connie Brink, vocals.

A Tribute to Benny Goodman

Francesco Buzzurro, Richard Smith - One Word, Two Guitars

Styles: Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 47:56
Size: 110,5 MB
Art: Front

(7:08) 1. Paisaje
(4:39) 2. Spain
(3:59) 3. Isn't She Lovely
(5:55) 4. Beyond the Mountains
(4:17) 5. Phase Dance
(4:49) 6. Cantaloupe Island
(6:04) 7. The Great North
(3:20) 8. L'ottavo Nano
(4:17) 9. Mercy, Mercy, Mercy
(3:22) 10. Pinball Wizard

Richard Smith's Thirteen solo recordings have established him as a veteran of the contemporary music world - with critical success on every one of his releases. His albums have garnished praise such as "Best Contemporary Jazz Guitar Album" (Tune Up Magazine), a nomination for "Record of the Year" (Ad Lib Magazine), and "Best New Artist" (Radio & Records Magazine). His album 'SOuLIDIFIED' spent 17 weeks in the top 10 for radio airplay of American contemporary jazz radio (Radio and Records Magazine) and 3 weeks at number 1 in the World for satellite and cable airplay (Music Choice). His most recent recording, "One World, Two Guitars" is an exciting duo project with Italian virtuoso Francesco Buzzurro - the duo tours regularly in America and Europe. 'L.A. CHILLHARMONIC' features Alex Acuna, Brian Bromberg, Vinnie Colaiuta, Jeff Lorber, Eric Marienthal, Michael Paulo, Greg Adams, and the Tower of Power horn section. The touring ensemble won a nomination for Best International Group of the year from the Canadian Smooth Jazz Awards. In 2012 his touring and teaching took him to England, Norway, Denmark, Sweden, Holland, Italy, Australia and Tahiti.

Francesco Buzzurro's lifelong privileged connection with guitar started at the tender age of six when his father gave him his first guitar, which will then lead him to study classical guitar. After earning his Diploma at "Conservatorio Bellini" in Palermo, he continues education with courses held by Aldo Minella and Oscar Ghiglia. He perfected himself at the "Arts Academy" in Rome under the guidance of Stefano Palamidessi and some big concert performers like David Russell, Alberto Ponce, Hopkinson Smith and John Duarte. After taking his Degree in Foreign Languages and Literatures, he started an intense concert activity that brought him to travel all over the world: from America, to Greece, to Germany, to Spain and Turkey. As a classical guitarist he won three national concerts: the "Citta di Alassio", the "Benedetto Albanese" in Caccamo, Sicily, and the "Savona in Musica". On top of his studies of classical music and of his passion for folk music, he soon develops an interest in jazz music, which bring him to graduate in Jazz Music with Honorable Mention. https://www.cduniverse.com/productinfo.asp?pid=11040067&style=music

One Word, Two Guitars

Mike LeDonne, The Groover Quartet + Big Band - It's All Your Fault

Styles: Jazz, Post Bop
File: MP3@320K/s
Time: 51:27
Size: 118,6 MB
Art: Front

(6:34) 1. It's All Your Fault
(6:44) 2. Matador
(6:09) 3. Rock with You
(6:54) 4. Still
(5:33) 5. Party Time
(5:17) 6. Bags and Brown
(6:20) 7. Biggest Part of Me
(7:53) 8. Blues for Jed

One of the coolest, grooviest settings for the Hammond of Mike LeDonne that we've heard in years a set that mostly features him working with a larger ensemble, at a level that brings back some of the great 60s sessions from Jimmy Smith and Oliver Nelson! Yet given Mike's touch on the keys, and the more contemporary mode of the groove, there's a nicely different vibe here not just retro jazz organ with big band, but a new chapter in the book balanced here with work from LeDonne's Groover Quartet which features work from Eric Alexander on tenor, Peter Bernstein on guitar, and Joe Farnsworth on drums. All three of those players are also in the larger group and if you're keeping track, the set features five big band numbers, and three quartet tunes. Titles include "Matador", "It's All Your Fault", "Bags & Brown", "Blues For Jed", "Rock With You", and "Party Time". © 1996-2021, Dusty Groove, Inc. https://www.dustygroove.com/item/983958/Mike-LeDonne:It%27s-All-Your-Fault

It's All Your Fault

Thursday, June 3, 2021

George Coleman Quintet - The George Coleman Quintet in Baltimore

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 46:54
Size: 107,8 MB
Art: Front

(11:49) 1. Afternoon in Paris
(10:26) 2. Sandu
( 5:13) 3. I Got Rhythm
( 9:55) 4. Body & Soul
( 9:29) 5. Joy Spring

Recorded live at Baltimore’s Famous Ballroom in May of 1971, this set captures the redoubtable tenor man with a well-oiled ensemble trumpeter Danny Moore, pianist Albert Dailey, bassist Larry Ridley, and drummer Harold White playing with such unerring synchronicity that a listener might be excused for assuming that most of the arrangements had been laid out beforehand. Not so, according to Coleman’s testimonial in the liner notes: “[W]e didn’t do much written stuff … it was going to sound like an arrangement, which it was, but it wasn’t written … we just went in and played.”

Coleman and Moore set the tone from the start with their intro to John Lewis’ “Afternoon in Paris,” interweaving in dual improvisation before melding into a unison statement of the theme, which then segues into Coleman’s solo: bright with good humor, dancing gaily through the tune’s harmonic architecture, probing with quick-minded precision yet never sounding academic or dry. Moore expands on the freewheeling mood, interspersing a few smears to add a tinge of hipster irony. Dailey then invokes a more pastoral feel before breaking into a jubilantly swinging main passage, as Ridley and White lay down a tight rhythmic framework.

The ensemble brings similar freshness to such standards as Clifford Brown’s “Joy Spring” (featuring a duo workout between Coleman and White) and “Sandu” (on which Moore, rather than attempt to emulate Brown’s technical legerdemain, structures his solo in a circular fashion, returning to a stated theme and exploring fresh harmonic implications with each iteration). Especially notable is “I Got Rhythm,” reimagined as a high-octane, boppified workout. Coleman plunges through the changes with daunting dexterity, nodding only obliquely to the original theme; Dailey leaps into the fun, skittering with joyful abandon; and White contributes a wide-spectrum solo, as melodic as it is percussive. Overall, it’s the set’s most jaw-dropping technical display yet, as throughout, relaxed, unforced, and devoid of pretension or self-indulgence.~ By David Whiteis https://jazztimes.com/reviews/albums/the-george-coleman-quintet-in-baltimore-reel-to-real/

Featuring: GEORGE COLEMAN tenor saxophone, DANNY MOORE trumpet, ALBERT DAILEY piano, LARRY RIDLEY bass, HAROLD WHITE drums

The George Coleman Quintet in Baltimore

Buck Clayton - Buck Clayton Swings The Village

Bitrate: MP3@320K/s
Time: 72:18
Size: 165.5 MB
Styles: Big band, Swing
Year: 2002
Art: Front

[7:22] 1. Scorpio
[4:48] 2. Swingin' On The State Line
[5:57] 3. Horn O' Plenty
[5:15] 4. Rise And Shine
[5:33] 5. The One For Me
[7:50] 6. B.C. Special
[7:37] 7. Black Sheep Blues
[3:34] 8. Sparky
[5:46] 9. Cadillac Taxi
[4:58] 10. What A Beautiful Yesteryear
[5:59] 11. The Bowery Bunch
[7:33] 12. Song For Sarah

Trumpeter and bandleader Buck Clayton was a mainstay of the '30s and '40s big band. Following that, Clayton led every stripe of band for the next 40 years. In the late 1980s, when age prevented Clayton to play his trumpet, he turned his attention to composition and arrangement for a big band. In 1990, Clayton brought his big band to the Village Vanguard for a recital of his compositions, some written only recently before the show. This music was originally released in 1997 on Nagel Heyer as Buck Clayton Live From Greenwich Village, NYC (Nagel Heyer 030).

As part of their new re-issue program, Nagel Heyer has re-released this recording as Buck Clayton Swings the Village: The Buck Clayton Swing Band in Greenwich Village, NYC. It is 24-bit digitally remastered, providing an already bright recording that much more clarity. The music is fresh and refreshing. It is '30s—'40s Swing, to be sure, but it is composed, arranged and played with very much a 1990s precision. The appeal of this record is that it is not one more recording reprising Ellington, Basie, Goodman, Miller, or any number of bandleaders whose music has been diluted by time and reiteration. Swing presented the contemporary Buck Clayton Songbook. Contemporary talents like Byron Stripling and James Chirillo and veterans like Frank Wess, Warren Vaché and Joe Temperley present Clayton's vision succinctly. As a group, these songs contain easily all of Swing history. Traditionally white bands and blacks bands meld easily here into a crystal-clear solution of swinging, smiling music. It is no wonder that this recording was considered one of the year's best when released. This disc is a must for all big banders. ~C. Michael Bailey

Buck Clayton, John Eckert, Jordan Sandke, Byron Stripling, Warren Vache 

Buck Clayton Swings The Village

Enric Peidro Swingtet - Live at Jazzazza

Styles: Saxophone Jazz, Swing
File: MP3@320K/s
Time: 51:16
Size: 117,9 MB
Art: Front

(3:14) 1. Globe Trotter
(4:00) 2. Sinbad the Sailor
(4:24) 3. 1944 Stomp
(3:45) 4. Moving with Lester
(4:40) 5. Yacht Club Swing
(8:36) 6. The King
(5:33) 7. Outer Drive
(5:02) 8. Swingin´ the Blues
(3:58) 9. Victory Stride
(4:01) 10. Krazy Kapers
(3:57) 11. Early Session Hop

Fourth CD by the Swingtet led by Spanish tenor player Enric Peidro. This new album was recorded live over two nights ( February 7 & 8/ 2019) in Jazzazza Jazz Club, a well-known Jazz venue in Murcia (Spain) and captures the Swingtet in a live setting showing all the energy this band is capable to deliver in his performances, together with his usual elegant, classy approach: Two qualities that have made this band very popular among swing and mainstream fans as well as lindy hop and balboa dancers all over Europe. Usually a sextet, the Swingtet was enhanced into an eight piece band for this recording, with the addition of New York- based guitar player and big band leader Glenn Crytzer (who was touring Spain with Peidro's band at the time of the recording) as well as alto player Simon Taylor.

In the liner notes of the Cd, one of the most renowned jazz critics in Spain (Mario Benso) points out the sax player's compromise on making real, authentic mainstream/swing music always trying to be creative and imaginative, avoiding a mere imitation of the great musicians of the past he admires: "Live At Jazzazza collects the exceptional work of a handful of musicians, with great talent wich are capable of insufflating truthfulness to everything they play. And, until someone proves otherwise, that's what jazz is about, more than any stylistic discussion or debate: about determining your own truth in what you play. Nothing more and nothing less" (Mario Benso/Live at Jazzazza Liner notes) https://enricpeidro.bandcamp.com/album/live-at-jazzazza

Personnel: Enric Peidro Tenor sax; Paul Evans Trumpet; Simon Taylor Alto sax; Pedro Ortuño Trombone; Glenn Crtyzer Guitar; Richard Busiakiewicz Piano; Andrés Lizón Bass; Simone Zaniol Drums

Live at Jazzazza

Wednesday, June 2, 2021

Tim Laughlin's New Orleans All-stars - New Orleans Classics

Styles: Clarinet Jazz
Year: 2009
File: MP3@320K/s
Time: 77:11
Size: 179,0 MB
Art: Front

(5:15) 1. Wolverine
(9:25) 2. Fidgety Feet
(6:27) 3. Tin Roof Blues
(7:06) 4. Dr. Jazz
(4:39) 5. Royal Garden Blues
(5:36) 6. Blue Orleans
(5:42) 7. Buddy Bolden's Blues
(6:38) 8. Dumaine Street Breakdown
(5:58) 9. March of the Uncle Bubbys
(5:03) 10. Do You Know What It Means to Miss New Orleans
(5:25) 11. Milneburg Joys
(4:22) 12. Someday, You'll Be Sorry
(5:31) 13. Quincy Street Stomp

A native of New Orleans, Tim Laughlin fell in love with the sound of the clarinet before he ever held one after hearing a childhood friend practicing his clarinet. He was nine when he received his first horn and shortly after became hooked on jazz after hearing it on the radio.His first job was on a Mardi Gras float when he was only fifteen. After finishing high school he began working around town and eventually joined the musicians union where he would meet and perform with some of his most influential mentors.He has recorded a dozen solo CDs among which “The Isle of Orleans” (2003) is an award-winning collection of Laughlin originals. With this, he was the first and only New Orleans clarinetist to ever write and record an entire album of originals. The success of this CD caught the attention of "Music Minus One" and prompted Laughlin to license the master for the 2004 issue, along with “New Orleans Classics.” The CDs in the two publications include hand-picked musicians with whom students of all ages can play along.As Hurricane Katrina brought her devastation on the Gulf Coast, Laughlin and his band drove overnight to catch their flight and perform at a festival in South America.

From there, they watched the aftermath of what was to become the worst natural disaster in US history. Just a week after, the US State Department asked Tim to perform a one month goodwill “thank you” tour in Peru, Mexico and Canada. All had given aid to Katrina evacuees. The October 2005 tour included public concerts, benefits and master classes to elementary, middle and high school student as well as college students. With the students, the band performed and discussed the relevance and importance of their instruments and New Orleans Jazz, Benefits included one in Merida, Mexico, raising over $30,000 to help replace instrument and equipment for the New Orleans Center For the Creative Arts. Recently in 2009, Laughlin along with his good friend Pete Fountain opened the legendary Blue Room at the newly renovated Roosevelt Hotel in New Orleans, quickly selling out both nights. Today, you can catch Tim at some of his favorite clubs in New Orleans such as The Bombay Club, The Palm Court, Snug Harbor and The Windsor Court Hotel, where he performs every Saturday. Tim and his wife Juliet live on Royal Street in the French Quarter. They enjoy hosting small parties and jam sessions or salons for friends and visitors, keeping the old New Orleans tradition of “open house.” http://www.jazzmusicarchives.com/artist/tim-laughlin

New Orleans Classics

Plas Johnson, Red Holloway - Keep That Groove Going!

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 55:11
Size: 127,7 MB
Art: Front

(6:05) 1. Keep That Groove Going!
(4:11) 2. Stuffy
(6:47) 3. Serenade In Blue
(4:12) 4. Go Red Go
(7:22) 5. Bretheren!
(8:40) 6. Pass The Gravy
(6:33) 7. Jammin' For Mr. Lee
(5:02) 8. Cry Me A River
(6:15) 9. Dream A Little Dream Of Me

A number of shopworn lines might be used to characterize Keep That Groove Going!, a session co-led by Plas Johnson and Red Holloway. Bromides such as “A battle between two veteran tenor saxophonists,” and “A heady combination of blues and bebop” contain more than a grain of truth, yet ultimately obscure the larger picture. Beneath the emotionally charged surface of both Johnson and Holloway’s playing lies a wellspring of intelligence and good taste. Guided by an exceptionally tight rhythm section consisting of Hammond B-3 organist Gene Ludwig, guitarist Melvin Sparks, and drummer Kenny Washington, the septuagenarians tackle a diverse program that refutes the notion that there are artistic limitations in sustaining a groove.

It only takes a few bars of Johnson and Holloway’s jubilant unison statement on Coleman Hawkins’ “Stuffy” to realize something special is happening. Holloway starts the solos by digging right into the medium tempo and builds an edifice consisting of short phrases that wallow in his rich tone, leaving plenty of space for the rhythm section to fill. All the while Washington nips at his heels with prickly accents on the snare drum. Inspired by Ludwig’s comping, Johnson fashions a droll statement out of long bent notes and brief passages that flash on and off like an irregular neon sign. Using the metallic click of Washington’s hi-hat as a rhythmic guidepost, Ludwig’s all-too-brief turn swings intensely without ever breaking into a sweat.

Some of Holloway and Johnson’s most memorable playing occurs during their respective ballad features. Holloway doesn’t so much play the melody of “Serenade in Blue” as he caresses it, resembling something out of a heavenly dream. With a pointed note here and jagged phrase there, his solo moves in a virile swagger; eventually culminating in a succession of blues based declarations. Breaking out from his usual pensive manner, Ludwig follows, sounding uncharacteristically frisky by playing brisk lines that threaten to lose control before coming back into the fold. His ominous chords provide a fitting introduction to Johnson’s stunning performance of “Cry Me a River.” The first time around, the tenor saxophonist poignantly plays the initial part of the melody, hitting the first note hard and bending it before continuing as if exhausted from the effort. Johnson’s repeat of the same section is startling in its use of the bebop lexicon, sounding like a brief outpouring of anguish.~ AAJ Staff https://www.allaboutjazz.com/keep-that-groove-going-plas-johnson-fantasy-jazz-review-by-aaj-staff.php

Personnel: Red Holloway--tenor saxophone; Plas Johnson--tenor saxophone; Gene Ludwig--organ; Melvin Sparks--guitar; Kenny Washington--drums.

Keep That Groove Going!

Mike Mainieri Quartet - Insight

Styles: Vibraphone Jazz
Year: 1968
File: MP3@320K/s
Time: 43:15
Size: 100,2 MB
Art: Front

(7:49)  1. Autumn Leaves
(7:53)  2. Skating In Central Park
(6:01)  3. Rain Child
(6:51)  4. On The Trail
(6:39)  5. Instant Garlic
(2:51)  6. Minnesota Thins
(5:08)  7. La Plus Que Lente

Mike Mainieri, a talented and distinctive vibraphonist, has had a productive and diverse career. He first played vibes professionally when he was 14, touring with Paul Whiteman in a jazz trio called Two Kings & a Queen. He played with Buddy Rich's bands for a long period (1956-1963) and then became a busy studio musician, appearing on many pop records. Mainieri had opportunities to work with Benny Goodman, Coleman Hawkins, and Wes Montgomery (1967-1968), among many others, and played in the early fusion band Jeremy & the Satyrs. During 1969-1972, he led a 20-piece rehearsal group called White Elephant that included the Brecker Brothers and other studio players. In 1979, he formed Steps (which later became Steps Ahead), an all-star jazz-oriented R&B/fusion band that included such players as Mike Brecker, Don Grolnick, Eddie Gomez, and Steve Gadd in its original lineup. Mainieri has revived the group several times since, with such musicians as saxophonist Bendik, Warren Bernhardt, Eliane Elias, Rachel Z, Mike Stern, Tony Levin, Victor Bailey, Peter Erskine, and Steve Smith making strong contributions. In 1992, Mainieri founded the NYC label and recorded the adventurous An American Diary. Prior to NYC, Mike Mainieri had recorded as a leader for such labels as Argo (1962), Solid State, Arista, Artists House, Warner Bros., and Elektra. ~ Scott Yanow https://www.allmusic.com/artist/mike-mainieri-mn0000490562/biography                

Personnel:  Mike Mainieri - vibraphone, arranger;  Joe Beck - guitar;  Lyn Christie - bass;  Donald McDonald - drums;  Sonny Lester - producer.

Insight

Della Reese - Deep in a Dream

Styles: Vocal
File: MP3@320K/s
Time: 44:39
Size: 102,9 MB
Art: Front

(2:56) 1. Moon Love
(2:40) 2. Softly My Love
(3:00) 3. Stranger in Paradise
(3:37) 4. My Reverie
(3:16) 5. The Touch of Your Lips
(3:33) 6. These Are the Things I Love
(2:33) 7. Don't You Know
(3:23) 8. I Wish I Knew
(3:43) 9. Two Sleepy People
(3:29) 10. That Old Feeling
(3:41) 11. Deep in a Dream
(4:20) 12. How Did He Look?
(4:22) 13. These Foolish Things

Renowned as both a television star and a top-flight interpreter of jazz, blues, R&B, gospel, and straight-ahead pop music, Della Reese's many talents ensured a long, varied, and legendary show biz career. In addition to being nominated for both an Emmy and a Grammy and receiving a star on the Hollywood Walk of Fame, Reese was also an ordained minister in the Universal Foundation for Better Living, an association of churches she helped found in the early '80s.

Born Deloreese Patricia Early on July 6, 1931, the young Reese began singing in the Baptist church choir in her hometown of Detroit at age six. In 1945, having developed quite rapidly, she caught the ear of legendary gospel queen Mahalia Jackson, who invited Reese to join her touring choir; Reese did so for the next five summers. Upon entering Wayne State University to study psychology, Reese formed a women's gospel group, the Meditation Singers, but her college career was cut short by the death of her mother and her father's serious illness. Reese worked odd jobs to help support the rest of her family; she also continued to perform with the Meditation Singers and various other gospel groups. Encouraged by her pastor, Reese began singing in nightclubs in hopes of getting a singing career off the ground; recently married to a factory worker named Vermont Adolphus Bon Taliaferro, her name was too long to fit on marquees, and she eventually arrived at her performing alias by splitting up her first name. After impressing a New York agent, who promptly signed her, Reese moved to New York and joined the Erskine Hawkins Orchestra in 1953. A year later, she had a recording contract with Jubilee, for whom she scored hits like "And That Reminds Me," a 1957 million-seller.

Switching to RCA Victor, Reese landed her biggest hit in 1959 with "Don't You Know?," a song adapted from Puccini's La Bohème; this cemented her career, leading not only to plentiful appearances on variety shows, but successful nightclub tours of the country and eventually nine years of performances in Las Vegas, as well as recording contracts with a variety of labels over the next few decades.

Building on her previous variety show experience, Reese made a small bit of television history in 1969 when she became the first woman to guest-host The Tonight Show with Johnny Carson. Later that year, she became the first Black woman to host her own variety show, the syndicated Della, which ran until 1970. Following its cancellation, Reese returned to her nightclub tours, often putting in guest appearances on television shows like The Mod Squad, Sanford and Son, and Chico and the Man; after three prior failed marriages, Reese also found a lasting relationship with producer Franklin Lett, whom she married in 1978.

On October 3, 1980, while taping a song for The Tonight Show, Reese suffered a brain aneurysm that nearly proved fatal; however, thanks to a successful operation, she was able to make a full recovery. She kept up her singing career and appeared on television shows like Designing Women, L.A. Law, and Picket Fences, as well as the Eddie Murphy films Harlem Nights and The Distinguished Gentleman. Reese also starred in the Redd Foxx sitcom The Royal Family from 1991-1992, and garnered what was undoubtedly her highest level of recognition in the inspirational drama series Touched by an Angel, a quite popular program that ran for nine years, between 1994 and 2003, on the CBS network. After Touched by an Angel finished its run, Reese continued to act intermittently on television through to 2014. She died at her home in Encino, California in November 2017 at the age of 86.~ Steve Huey https://www.allmusic.com/artist/della-reese-mn0000196544/biography

Deep in a Dream

George Cables - Too Close for Comfort

Styles: Piano Jazz
File: MP3@320K/s
Time: 55:50
Size: 129,2 MB
Art: Front

(5:15) 1. Too Close for Comfort
(6:01) 2. Circle of Love
(5:56) 3. This Is My Song
(5:51) 4. Klimo
(8:30) 5. For All We Know
(5:34) 6. Crazy Love
(7:13) 7. Roses Poses
(5:38) 8. I've Never Been in Love Before
(4:05) 9. Teddy
(1:43) 10. A Valentine for You

The great George Cables is in wonderful form here balancing things perfectly between the boldness of his left hand on the rhythms, and the more lyrical modes that he opens up with the right serving up these effortless and beautiful tunes that make us fall in love with his music all over again! The trio's every bit as well-balanced and fluid as Cables on the keys Essiet Essiet on bass and Victor Lewis on drums although both of those artists step out for one solo track, and each handle a duo on their own with George.

And although the standard status of the title tune might make you think you're in for something pretty basic, the first note of the record argues strongly against that and keeps on making the case through tunes that include "Teddy", "Crazy Love", "Klimo", "This Is My Song", and "Circle Of Love". © 1996-2021, Dusty Groove, Inc. https://www.dustygroove.com/item/983957/George-Cables:Too-Close-For-Comfort

Personnel: George Cables (piano), Essiet Essiet (bass), Victor Lewis (drums)

Too Close for Comfort

Tuesday, June 1, 2021

The Lucinda Belle Orchestra - My Voice & 45 Strings

Styles: Vocal And Harp Jazz
Year: 2010
File: MP3@320K/s
Time: 44:56
Size: 104,7 MB
Art: Front

(4:05) 1. My Voice & 45 Strings
(3:10) 2. Valentine
(4:35) 3. Keep on Looking
(4:02) 4. Northern Lights
(4:08) 5. Dodo Blues
(3:19) 6. I'll Get By
(3:48) 7. Jimmy Choo's
(3:45) 8. Rose Marie and Bobby Mcgee
(3:38) 9. These Broken Things
(3:17) 10. Unlucky in Love
(3:50) 11. Let the Tide Roll In
(3:13) 12. Right Here

The Lucinda Belle Orchestra is the sum of one harp, a harmonium, the melodica, some strings, horns, an upright bass, drums, the ukulele, a clarinet, guitar...and one quite extraordinary songwriter and front-woman. She is Lucinda Belle, and My Voice & 45 Strings is her debut album.

Lucinda Belle’s musical life began aged six, when she was dragged kicking and screaming by her mother to classical recitals at the Royal Festival Hall. Before the album was released she had already appeared on tour and record with the likes of Pet Shop Boys, Rufus Wainwright, Annie Lennox and Missy Elliot, as well as a slot as support to Robbie Williams at the Electric Proms 2009. Yet by day, Belle still owned and occasionally ran the family heirloom: a launderette in Balham, South London. The album was recorded in various locations including Nashville where Lucinda once studied jazz Los Angeles, London, Stockholm and Paris; and includes co-writes from the likes of Graham Lyle ("What’s Love Got To Do With It?") and Ed Harcourt. https://www.amazon.co.uk/Voice-Strings-Lucinda-Belle-Orchestra/dp/B0030BYWW8

Personnel: Backing Vocals – The Pilgrim Jubilees (tracks: 11); Bass – Dave Monsey (tracks: 1, 4, 6, 9, 11-12), Karl Odlum (tracks: 2), Robert Rickenberg (tracks: 7), Simon Johnson (tracks: 3, 5, 10); Cello – Amy Langley (tracks: 2, 6, 12), Matthew Sharp (tracks: 7, 10); Cello [Cello Bass] – Adrianne Wininsky (tracks: 2); Clarinet – Dave Shulman (tracks: 8), Oleg Lapidus (tracks: 3, 5, 10); Double Bass – Duncan Thompson (tracks: 8); Drums – Derrick McKenzie (tracks: 3, 5, 10), Duncan Thompson (tracks: 7), Earl Harvin (tracks: 1-2, 4, 6, 9, 11-12); Flute – Oleg Lapidus (tracks: 7); Guitar – David Odlum (tracks: 12), Duncan Thompson (tracks: 8), Simon Johnson (tracks: 1-3, 5-7, 9-12); Harp – Lucinda Belle (tracks: 1-10, 12); Lead Vocals – Lucinda Belle; Melodica – Dave Palmer (tracks: 1); Organ – Dave Palmer (tracks: 1-2, 4); Percussion – David Odlum (tracks: 2, 6,1 1-12); Piano – Ben Robbins (tracks: 3, 5, 7-8, 10), Dave Palmer (tracks: 1-2, 4, 6, 9,1 1-12), Ed Harcourt (tracks: 4); Strings – Dirty Pretty Strings (tracks: 1, 4, 9); Trombone – Harry Brown (tracks: 3, 5, 8, 10); Trumpet – Andy Greenwood (tracks: 3); Ukulele – Duncan Thompson (tracks: 8); Violin – Giles Broadbent (tracks: 8), Helen Greenham (tracks: 7); Vocals – Ed Harcourt (tracks: 2)

My Voice & 45 Strings

John Boutté - A 'Well Tempered' Boutté

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 56:03
Size: 130,6 MB
Art: Front

(4:07) 1. Nevertheless I'm in Love with You
(3:00) 2. Welcome Table
(5:22) 3. Do You Know What It Means to Miss New Orleans
(3:34) 4. My Indian Red
(3:36) 5. All the Things You Are
(3:45) 6. La Vie En Rose
(4:34) 7. Little Red Rooster
(5:57) 8. Let Them Talk
(5:06) 9. Must Be Right, Can't Be Wrong
(3:33) 10. Nature Boy
(4:54) 11. I Need Your Love so Bad
(3:49) 12. Fly Me to the Moon
(4:42) 13. The Very Thought of You

Let’s face it: if an album of John Boutté singing (mostly) standards with a jazz trio had turned out to be anything less than magnificent, anyone who knows the man’s music would have been surprised. His way with a standard is a calling card by now; most of these songs have been in his live repertoire for years, and they’re a large part of the reason people float out of his best shows instead of just walking.

So we’re glad to report that this is exactly the album you’d expect and hope for. Which is not to say there wasn’t some art involved in capturing these particular performances: The trick of making a standards album is to make the songs sound like they were written last week, and Boutté manages that here: it’s no small feat to put a thrill of discovery into songs this familiar. It’s the delight in his voice that makes “Fly Me to The Moon” fresh again, as he playfully stretches syllables and holds off on the “I love you” until the song’s very end. The Mardi Gras Indian anthem “My Indian Red” gets one of the subtler treatments it’s had; he finds the hymn within the marching song. On “The Very Thought of You” it’s the sound of his voice that delights; he becomes a muted trumped on the “my love” before the instrumental break. And on “Do You Know What It Means to Miss New Orleans”perhaps the most oft-recorded of all the songs here his high-register glide on the line “Wish that I were there” says it all about yearning. (Notably he also pluralizes the last line“I miss the ones I care for”maintaining the post-Katrina content he gave it on the Treme soundtrack).

The gamble of recording the whole album with only three players pays off, as accompanists Christopher Todd Duke (guitar), Nobumasa Ozaki (bass) and Oscar Rossignoli (piano) know when to add subtle shadings and when to step forward and swing. Guitarist Duke, who passed away soon after the sessions, carried a lot of the percussive role with his strumming, and added in some standout solos. There’s some especially nice guitar/voice interplay on “Little Red Rooster” one of the few times here when Boutté calls on his funkier R&B side.

True, it would have been nice to hear an original song here, since Boutté’s written a local standard or two himself. But this is above all a singer’s album, and you’re unlikely to hear a better vocal disc this year. https://www.offbeat.com/music/john-boutte-a-well-tempered-boutte-independent/

Personnel: John Boutté – vocals; Christopher Todd Duke – electric guitar; Nobumasa Ozaki – bass; Oscar Rossignoli – piano

A Well Tempered Boutté

Lawrence Sieberth - An Evening in Paris

Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 51:21
Size: 118,4 MB
Art: Front

(7:28) 1. August
(8:17) 2. The Phantom
(7:31) 3. La Valse Parisienne
(4:15) 4. A Melody's Tale
(5:48) 5. Kinetic #8
(4:38) 6. Pastoral
(6:24) 7. The Singing Bowl Song
(6:58) 8. Lessons in the Fast Lane

New Orleans-based pianist Lawrence Sieberth is a versatile music man a bandleader, keyboard accompanist, composer, producer. A trip to Paris and a teaming with Parisian players resulted in An Evening In Paris, an atmospherically cohesive set that covers a wide range of styles. The set of eight Sieberth originals opens with "August," a tune that exudes the loveliest of straight ahead moods deceptively, perhaps. There is a gentleness and delicacy to the sound initially, saxophonist Stephane Guillaume blowing cool, in a Stan Getz-ian mode. Sieberth's piano is as lush and pretty as can be. Then the sax solo goes out there, in a nuanced way, to the edge. Then the theme resurfaces, and the intensity level cracks up, turning the tune into an anthem.

If the opener could be tagged mainstream, "The Phantom" moves over to a modern funk sound, dark and relentless, riding the rhythmic angularity of bassist Michel Benita and drummer Jeff Boudreaux. Out of this Sieberth lays down an eerie, crinkly solo that smooths out in an ominous groove, the quartet locked into each other's musical mind sets. "La Valse Parisienne" has a melancholy, late night feel, featuring Guillaume's smooth as silk soprano sax, while "A Melody's Tale" brings a brighter, more hopeful feeling.

The compelling cover art a man in a fashionable chapeau atop one of those early twentieth century bicycles with the impossibly big front wheels, about to eclipse the Eiffel Tower under a breakup of dark clouds could fool you into thinking that an old timey music is at hand. But Sieberth's artistry is anything but old timey, the prickly, driving "Kinetic #8" having twenty-first century written all over it, while "Lessons In The Fast Lane," the set's closer, opens with saxophonist Guillaume and pianist Siebert engaged in a wild chase down the freeway, before they go off road, picking their ways carefully over open fields of free jazz, skirting the boulder outcroppings and the gullies, as clouds gather and drummer Boudreaux rumbles out some thunder, until the freeway is achieved again, full speed ahead.~ Dan McClenaghanhttps://www.allaboutjazz.com/an-evening-in-paris-lawrence-sieberth-quartet-musik-blocu

Personnel: Lawrence Sieberth: piano; Jeff Boudreaux: drums; Michel Benita: bass; Stephane Gullaume: saxophone.

An Evening in Paris

Gene Ammons - Young Jug

Bitrate: MP3@320K/s
Time: 58:42
Size: 134.4 MB
Styles: Bop, Saxophone jazz
Year: 1994/2009
Art: Front

[2:08] 1. Swingin' For Christmas
[2:50] 2. It's The Talk Of The Town
[3:04] 3. Stuffy
[3:23] 4. Once In A While
[3:07] 5. Pennies From Heaven
[2:44] 6. More Moon
[2:53] 7. Tenor Eleven
[3:39] 8. Goodbye
[2:58] 9. You Go To My Head
[2:47] 10. My Foolish Heart
[3:10] 11. Jug Head Ramble
[2:50] 12. Don't Do Me Wrong
[2:58] 13. Prelude To A Kiss
[2:47] 14. Baby, Won't You Please Say Yes
[2:46] 15. Happiness Is A Thing Called Joe
[2:52] 16. You're Not The Kind
[2:44] 17. I'll Walk Alone
[3:15] 18. Old Folks
[2:41] 19. Breezy
[2:56] 20. Somewhere Along The Way

A young Gene Ammons asserted his formidable ability to play the tenor saxophone in Chicago from 1948 to 1952. These sessions from the Chess label (reissued when the GRP label bought the masters) represent this coming of age in jazz contexts ranging from bop and blues to many ballads and hints of the big-band sound. While his sound is typically robust and gutsy, there's also quite a bit of evidence that Ammons was capable of playing tender and sweet, but at the base of all this music is the blues. A variety of bands are heard, but certain groups with certain sidemen are most notable, as they showcase the tenor man in distinctly different ways and means. Guitarist Leo Blevins and pianist Junior Mance are the finest contributors on the first two-thirds of this collection. Blevins uses a restrained tone mostly on chords during the classic swinger written by Coleman Hawkins, "Stuffy," and is marvelous in his restraint during the ballads "Once in a While" and "Pennies from Heaven," the latter with a featured second line from muted trumpeter Bill Massey. Mance is the best in a jazz-blues vein, whether on the slower, fully flowered tunes "Goodbye," "You Go to My Head," and "My Foolish Heart," the best small group swingers "Baby, Won't You Please Say Yes" and "You're Not The Kind," or in a larger combo aside the wailin' and boppin' of Ammons, Massey, and trombonist Matthew Gee during the quintessential Shorty Rogers number "More Moon" based on "How High the Moon" or titled "Full Moon." Energized and animated, Ammons goes to town on the hucklebuck style of "Jug Head Ramble," honking and sprawling in a call-and-response with Mance and Blevins, baritone saxophonist Sonny Stitt, and unsung drummer Wes Landers. The last four tracks again have Stitt on baritone, not tenor as he and Ammons would adopt in later life as a most famous tandem, with Massey and trombonist J.J. Johnson forming a mighty horn line. Massey's "Beezy" is the hottest and heaviest tune, "I'll Walk Alone" uses the most teamwork, and the other two, "Old Folks" and "Somewhere Along the Way" are more the sultry vehicles for Ammons with the others taking a back seat. This CD is an interesting window into the early germination period of a true jazz giant, and despite a somewhat thin production sound indicative of the era, is well worth finding and owning. ~Michael G. Nastos

Young Jug

Monday, May 31, 2021

Claire Martin - A Modern Art

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 52:47
Size: 121,4 MB
Art: Front

(3:35) 1. Everything I` ve Got Belongs To You
(3:19) 2. So Twentieth Century
(3:39) 3. Love Is Real
(4:33) 4. Lowercase
(3:11) 5. A Modern Art
(3:35) 6. Edge Ways
(3:08) 7. Love Of Another
(4:57) 8. Totally
(3:30) 9. Everybody Today Is Turning On
(4:15) 10. Sunday Morning Here With You
(3:25) 11. Promises
(4:28) 12. Things I Miss The Most
(3:33) 13. As We Live And Breathe
(3:32) 14. Nirvana

Is jazz still a modern art? It's a hundred years old, after all, and some performers and fans seem to ignore everything written after 1940. But as far as the work of Claire Martin is concerned the question has only one answer. Apart from being one of the finest singers on the current scene, Martin is constantly searching for new writers and new ways to interpret them, ensuring that her own approach to music stays resolutely in the present. A Modern Art, her thrteenth album, is an eclectic recording that showcases her talents and those of a superb collection of backing musicians it's possibly the best album of her career to date, which is saying something.

The musicians are some of the best around and all play with skill and empathy. Mark Nightingale's trombone adds a funky edge to the album, guitarist Phil Robson once again displays his ability as an accompanist his duet with Martin on David Cantor's "Nirvana" is exquisite and long-term collaborator, arranger and producer Laurence Cottle, who also plays bass, is recognizably crucial to the overall feel of these songs.

Martin's singing is exceptional distinctive, expressive and stylish. She can be smoky and sensual on Michael Franks' "Sunday Morning Here With You," for example or playful and funny. On "Edge Ways," written by Martin and Cottle, the singer is sensual and playful satirizing an egotistical and overly-talkative old friend or rival over a suitably upbeat and cheery backing. Donald Fagen and Walter Becker's "Things I Miss the Most" is given a Latin groove which, added to Martin's light-hearted vocal, gives the song a warmer, more positive feel than the original. Martin is not averse to making a small lyrical adjustment here she goes to bed with a copy of a celebrity gossip magazine, rather than the more dubious literature favored by the protagonist in the Steely Dan version.

The album highlight is undoubtedly "Love is Real." This is a gorgeous ballad, co-written by pianist Esbjorn Svensson, bassist Dan Berglund and drummer Magnus Öström (collectively known as e.s.t.), with lyrics by bassist Charlie Haden's son, Josh. Svensson died in a diving accident in 2008 and Martin sings this as a tribute to the pianist. Her vocal performance is heartbreaking, adding even more emotional intensity to an already powerful song. This is a song that stays in the memory. Given the quality of the album as a whole this is high praise indeed A Modern Art is a gem. ~ Bruce Lindsay https://www.allaboutjazz.com/a-modern-art-claire-martin-linn-records-review-by-bruce-lindsay.php

Personnel: Claire Martin: vocals; Gareth Williams: piano; Laurence Cottle: bass; Nigel Hitchcock: alto sax; Mark Nightingale: trombone; Phil Robson: guitar; James Maddren: drums; Chris Dagley: drums; Sola Akingbola: percussion.

A Modern Art

George Cables - Cables' Vision

Styles: Piano Jazz
Year: 1979
File: MP3@320K/s
Time: 40:30
Size: 93,6 MB
Art: Front

(6:48) 1. Morning Song
(8:55) 2. I Told You So
(8:49) 3. Byrdlike
(6:02) 4. Voodoo Lady
(4:24) 5. The Stroll
(5:28) 6. Inner Glow

One of the most satisfying recordings to be released in 1980 (and since reissued on CD in the OJC series), this date by pianist George Cables (who contributed four of the six group originals) features trumpeter Freddie Hubbard (who brought in "Byrdlike") and tenor saxophonist Ernie Watts in fiery form; the two horn players took time off from their much more commercial efforts for other labels. Vibraphonist Bobby Hutcherson is also in the sextet/septet with bassist Tony Dumas, drummer Peter Erskine, and sometimes percussionist Vince Charles; the one departure is "The Stroll," which is an adventurous piano-vibes duet by Cables and Hutcherson. The solos overall are concise and make expert use of each note. Cables' tunes (including "Morning Song," "I Told You So," and "Inner Glow") are generally catchy and memorable while "Byrdlike" gives the virtuosos an up-tempo blues to romp through. This logically conceived and well-paced set is a gem that is highly recommended.~ Scott Yanow https://www.allmusic.com/album/cables-vision-mw0000085929

Personnel: George Cables - piano, electric piano; Freddie Hubbard - flugelhorn; Bobby Hutcherson - vibraphone; Ernie Watts - tenor saxophone (2, 3, 6), flute (4); Tony Dumas - bass, electric bass (1); Peter Erskine - drums; Vince Charles - percussion (2, 4, 6)

Cables' Vision

Stan Kenton - Stan Kenton Presents

Styles: Piano Jazz
Year: 1950
File: MP3@320K/s
Time: 35:52
Size: 83,0 MB
Art: Front

(5:19) 1. Art Pepper
(4:17) 2. Maynard Ferguson
(5:01) 3. Halls Of Brass
(3:44) 4. Evening In Pakistan
(4:07) 5. June Christy
(4:18) 6. House Of Strings
(4:28) 7. Shelly Manne
(4:36) 8. Soliloquy

Stan Kenton's most ambitious orchestra was his huge 1950 band. This LP has self-titled showcases for "Art Pepper," "Maynard Ferguson," "June Christy" and "Shelly Manne" in addition to such pieces as "Halls of Brass," "House of Strings" and "Soliloquy." The soloists (which also include trombonist Milt Bernhart) are very impressive but it is the writing (by Shorty Rogers, Bill Russo, Frank Marks, Johnny Richards and Kenton himself) that is most startling, combining together aspects of modern classical music with the most advanced forms of jazz. Although Kenton's Innovations Orchestra was a short-lived project and did not influence the future of jazz, its recordings still sound very adventurous over four decades later. The album was reissued on CD with the contents of the same year's Innovations in Modern Music (plus much additional material) as the two-disc set The Innovations Orchestra.~ Scott Yanow https://www.allmusic.com/album/stan-kenton-presents-mw0000899398

Personnel: Stan Kenton – piano, arranger; Alfred "Chico" Alvarez, Buddy Childers, Maynard Ferguson, Don Paladino, Shorty Rogers – trumpet (tracks 1–4, 7 & 8); Milt Bernhart, Harry Betts, Bob Fitzpatrick, Bill Russo – trombone (tracks 1–4, 7 & 8); Clyde Brown (tracks 1–3 & 7), Bart Varsalona (tracks 4 & 8) – bass trombone; John Graas, Lloyd Otto – French horn (tracks 1–4, 7 & 8); Gene Englund – tuba (tracks 1–4, 7 & 8); Art Pepper – alto saxophone, clarinet (tracks 1–4, 7 & 8); Bud Shank – alto saxophone, flute (tracks 1–4, 7 & 8); Bob Cooper – tenor saxophone, oboe, English horn (tracks 1–4, 7 & 8); Bart Caldarell – tenor saxophone, bassoon (tracks 1–4, 7 & 8); Bob Gioga – baritone saxophone, bass clarinet (tracks 1–4 & 6–8); Jim Cathcart, Earl Cornwell, Anthony Doria, Lew Elias, Jim Holmes, George Kast, Alex Law, Herbert Offner, Carl Ottobrino, Dave Schackne – violin (tracks 1–4 & 6–8); Stan Harris, Leonard Sclic, Sam Singer – viola (tracks 1–4 & 6–8); Gregory Bemko, Zachary Bock, Jack Wulfe – cello (tracks 1–4 & 6–8); Laurindo Almeida – guitar (tracks 1–5, 7 & 8); Don Bagley – bass (tracks 1–5, 7 & 8); Shelly Manne – drums, tympani (tracks 1–5, 7 & 8); Carlos Vida – congas (tracks 1–4, 7 & 8); Jack Costanzo – percussion (track 5); June Christy – vocals (track 5)

Stan Kenton Presents