Leo Gandelman - Sabe Você

Styles: Saxophone, Brazilian Jazz
Year: 2008
File: MP3@320K/s
Time: 64:42
Size: 149,1 MB
Art: Front

(5:37) 1. Aos Pés da Cruz (feat. Luiz Melodia)
(5:48) 2. Sensível (feat. Joel Nascimento)
(5:34) 3. Pra Machucar Meu Coração (feat. Ney Matogrosso)
(6:04) 4. Futuros Amantes (feat. Chico Buarque)
(6:24) 5. Chove Lá Fora (feat. Caetano Veloso)
(5:50) 6. Coração Vagabundo (feat. Leila Pinheiro)
(6:32) 7. Por Causa de Você (feat. Milton Nascimento)
(5:12) 8. Amargura
(5:32) 9. Sabe Você (feat. Leny Andrade)
(6:12) 10. Só por Amor (feat. Lirinha)
(5:52) 11. Chuva

Saxophonist Leo Gandelman leaves his marks in 2008 with an outstanding album that features many of Brazil’s legendary vocalists. The craftsmanship of Leo Gandelman (Rio de Janeiro, 1956) is widely recognized. During his career, that started at age 15 as soloist with the Brazilian Symphony Orchestra, he has won many prices and polls. After studying at Berklee in Boston, he returned back to Brazil in 1979 to follow the road of success. He has lent his recognizable sound to countless productions, both in popular music and in jazz.

Sabe Você is his eleventh solo album and maybe his most important. The performance is great as always, the repertoire is beautiful as always, but the special guests make this an exceptional album. The vocalists all deliver superb performances, perfectly fitting into the concept Leo had in mind. Their voices shine in the chosen repertoire. The album’s opener that features Luiz Melodia singing “Aos Pés da Cruz” is good example. After a wonderful sax intro, Luiz Melodia sings this popular 1942 samba in his unmistakable relaxed way. Gandelman trades solos with Lula Galvão on the acoustic guitar. The only non-vocal guest performance is by Joel Nascimento on the mandolin on the Pixinguinha choro “Sensível.” Ney Matogrosso’s voice sounds as a dedication to Ary Barroso on his composition “Pra Machucar Meu Coração,” and how good it is to hear Chico Buarque performing his own “Futuros Amantes.” Caetano Veloso sings “Chove Lá Fora” the way only he can, while Leila Pinheiro gives her best on Caetano’s composition “Coração Vagabundo.” The list doesn’t end: Milton Nascimento is in great shape on the Dolores Duran/Jobim classic “Por Causa de Você”; Leny Andrade justifies the honour to sing the album’s title track, “Sabe Você”; and youngster José Paes de Lira (or in short Lirinha) closes the vocal part of the repertoire with “Só por Amor.” Lirinha (1976) is mostly known because of his presence in the band Cordel do Fogo Encantado from Pernambuco.

It’s amazing to hear all these voices on one album. However, the most amazing thing maybe is that the cd doesn’t sound like a “who is who” in Brazilian vocal music. Leo Gandelman manages to make his guests all part of his project. The different voices don’t interfere with the flow of the album; the songs gently connect with one another. In a clever way the unique sound of Leo Gandelman’s saxophones (soprano, alto and tenor) glue all the songs together, making sure we don’t forget that this is Leo’s album. He’s helped with that by a bunch of fantastic musicians. David Feldman on the piano, Lula Galvão on electric and acoustic guitars, André Vasconcelos on bass, Allen Pontes on drums and Sidinho Moreira is the percussionist on duty. The band is featured in a couple of instrumentals. There’s no doubt about it: Sabe Você is one of those timeless albums that will always leave its listener with a feeling of pleasure and (thanks to the voices) nostalgia. https://musicabrasileira.org/leo-gandelman-sabe-voce/

Sabe Você

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Enric Peidro Quartet - Until the Real Thing Comes Along

Styles: Saxophone Jazz, Swing
File: MP3@320K/s
Time: 59:04
Size: 136,7 MB
Art: Front

(6:44) 1. (Was I to Blame for) Falling in Love With You
(6:49) 2. Nel Blue Di Pinto Di Blu
(4:58) 3. Until the Real Thing Comes Along
(6:47) 4. No One
(5:50) 5. Get Happy
(4:53) 6. I Guess I'll Have to Dream the Rest
(7:11) 7. The Moon Was Yellow
(4:59) 8. Again and Again
(6:17) 9. Now I Lay Me Down to Dream of You
(4:32) 10. Gator Whale

On Saturday, April 10, the Enric Peidro Quartet presents their new album 'Until the real thing comes along' at the Teatre Auditori of the Social Center.Alcoy saxophonist Enric Peidro is one of the benchmarks in the international swing and classical jazz scene with more than two decades of experience as a soloist, some twenty record records as a leader and more than double as a sideman, as well as performances at festivals. most prestigious jazz in the country, tours of several European countries and collaborations with some of the most important performers of the genre worldwide. On his return to Dénia, Peidro will be accompanied by his stable quartet with which he offers his contemporary vision of traditional jazz so deeply rooted in tradition as creative, fresh and imaginative.Translate By Google https://lamarinaplaza.com/ca/evento/jazz-enric-peidro-quartet-presenta-su-disco-until-the-real-thing-comes-along-denia/

Formation: Enric Peidro, tenor saxophone; Richard Busiakiewicz, Piano; Andrés Lizón, double bass, Carles Pérez, drums.

Until the Real Thing Comes Along

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Peggy Lee - Something Wonderful: Peggy Lee Sings the Great American Songbook

Styles: Vocal
File: MP3@320K/s
Time: 89:07
Size: 207,5 MB
Art: Front

(0:17) 1. Peggy Lee Introduction
(1:02) 2. Johnny Mercer Introduction (1)
(2:09) 3. Ac-Cent-Tchu-Ate The Positive (feat. Johnny Mercer)
(1:33) 4. Goody Goody
(2:22) 5. Come Rain Or Come Shine
(1:44) 6. That Old Black Magic
(3:45) 7. (Ah, The Apple Trees) When The World Was Young
(0:48) 8. Johnny Mercer Introduction (2
(3:08) 9. Jeepers Creepers / Too Marvelous for Words (Plus Two)[feat Johnny Mercer]
(2:19) 10. My Funny Valentine
(2:34) 11. The Lady is a Tramp
(1:35) 12. I Could Write a Book
(1:39) 13. This Can't Be Love
(3:26) 14. Lover
(3:25) 15. Something Wonderful
(1:49) 16. Mountain Greenery
(2:00) 17. From This Moment On
(1:40) 18. I've Got You Under My Skin
(1:28) 19. What is This Thing Called Love?
(1:32) 20. Just One of Those Things
(2:40) 21. Everything Happens to Me
(3:43) 22. We Belong Together / Angel Eyes / Let's Get Away from It All (feat.Matt Dennis)
(1:58) 23. It's a Good Day
(2:22) 24. I Don't Know Enough About You
(2:23) 25. Mañana
(2:19) 26. Whee Baby
(2:02) 27. Skylark
(4:06) 28. Georgia on My Mind / I Get Along Without You Very Well / Old Rockin' Chair (Plus Three) [feat. Hoagy Carmichael]
(1:48) 29. Hoop Dee Doo
(0:29) 30. Frank Loesser Introduction
(5:34) 31. Jingle, Jangle, Jingle / If I Were a Bell / On a Slow Boat to China (Plus Two) [feat. Frank Loesser]
(0:29) 32. Introduction
(2:09) 33. Somebody Loves Me
(2:15) 34. Oh, Look at Me Now
(2:07) 35. Unforgettable
(2:19) 36. Lullaby of Broadway
(2:49) 37. Alone Together
(1:21) 38. When You're Smiling
(3:34) 39. Try a Little Tenderness
(2:05) 40. All of Me

Though eventually known for her compositional skill (nearly 300 songs, along with co-writes on Disney’s Lady and the Tramp originals), Peggy Lee was initially renowned as a sultry but distingué siren, a chilled interpreter who adopted subdued tones while walking down Tin Pan Alley. Just beyond the reach (and era) of the big bands, a decade after her time with Benny Goodman’s Orchestra, Lee hosted a radio program at the top side of the 1950s, covering then-new American classics with star songwriters such as Hoagy Carmichael, Matt Dennis, Frank Loesser, and Johnny Mercer as her occasional duet partners. Featuring scads of unreleased tracks from that show, many never recorded commercially, Something Wonderful is aptly titled, a surprisingly dear and primarily upbeat score to postwar America with Lee at her breeziest under the musical direction of Russ Case and Sonny Burke.

Spruced up for superior sound by engineer/archivist Michael Graves, these 40-plus songs on two discs allow the chanteuse to loll and play in front of a smallish-big jazz band with an ever-so-slight blue hue and a gently pixillating rhythm section. Teaming up with a rather soulful-sounding Mercer, Lee vamps around the groove of “Ac-cent-tchu-ate the Positive” in a fashion rarely heard from her. She allows a softly strung harp, a barroom piano, and a blowsy horn section to guide her, slowly, through the honeyed tones of “Come Rain or Come Shine,” and goes from talking to Mercer about his daughter’s theme song (a lovely “Mandy Is Two”) to something more louche with a brief take on “Blues in the Night.”

While Cole Porter’s “From This Moment On” and “Just One of Those Things” give Lee license for notes showy and silken, his “I’ve Got You Under My Skin” is a dashing, bongo-filled blues on which she finds all the right accents to ride. The sessions featuring Carmichael find Lee taking to the quietly zig-zagging arrangement of “Skylark” with innocent bliss before hitting the chorus; once there, her voice becomes languid, a Southern-ly breeze. And her appropriation of Dennis’ lonely brand of jazz on the medley “We Belong Together/Angel Eyes/Let’s Get Away from It All” is poetic and shimmering.

Joined by Loesser, Lee slips and slides through a too-quick five-song medley, with her soft trilling vocals acting as a counterpoint to his gruff tones, all before closing out the set with a whispered baby-doll take on “Somebody Loves Me,” a carefree run at “Oh, Look at Me Now,” and a klatch of showy classics: “When You’re Smiling,” “Try a Little Tenderness,” and “All of Me.” Something Wonderful lacks for nothing vocally or melodically, in Lee’s surprising range of character-driven studies or her diversity of rhythmic approaches. This reviewer simply wanted more.~ By A.D. Amorosi https://jazztimes.com/reviews/albums/peggy-lee-something-wonderful-peggy-lee-sings-the-great-american-songbook-omnivore/

Something Wonderful: Peggy Lee Sings the Great American Songbook

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Thimo Niesterok's Cologne Clambake - First Clambake

Styles: Dixieland, Swing, Mainstream Jazz
Year: 2017
File: MP3@320K/s
Time: 67:20
Size: 156,3 MB
Art: Front

(5:26) 1. Krahnenbäume In The Spring Sun
(7:20) 2. When The Train Goes Slow
(4:34) 3. April In Paris
(3:21) 4. Number Four
(6:20) 5. All My Tomorrows
(5:20) 6. I Love Paris
(4:03) 7. Steamboat On Lake Garda
(7:45) 8. Onion Tears
(4:40) 9. A Song
(5:56) 10. Wenn Menschen auf die Straße geh'n
(6:32) 11. OP's Ride
(5:59) 12. Kalk Nocturne

Thimo Niesterok (*1996) grew up at Lake Constance in Southern Germany and has been living in Cologne since 2015. He studied jazz trumpet at ‘Hochschule für Musik und Tanz’ in Cologne with Andy Haderer and Matthias Bergmann and now works as a freelance musician. He has been on tour and played in concerts in several towns and cities in Germany and e.g. in Sweden, India and South Korea (during the Winter Olympics in PyeongChang 2018). As winner of the Kobe Jazz Street Award he was invited as soloist to Kobe Jazz Street Festival in Japan. Niesterok’s main focus is on traditional jazz and swing music. In 2017 his first album “First Clambake” was published. In 2019 it was followed by the album “Two Talkin’ Horns”, which he recorded together with trombone legend Dan Barrett (USA). https://thimo-niesterok.de/en/bio-in-eng/

First Clambake

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Ken Peplowski - Easy to Remember (Extended)

Styles: Clarinet And Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 100:27
Size: 232,3 MB
Art: Front

(4:31) 1. It's Easy to Remember
(5:51) 2. Restless
(7:58) 3. Copi
(3:42) 4. With Every Breath I Take
(3:22) 5. Louisa
(8:02) 6. Everything I Love
(4:41) 7. I've Grown Accustomed to Her Face
(1:55) 8. Single Petal of a Rose
(3:52) 9. Love Came
(7:07) 10. Good Old Days
(2:36) 11. Junk
(5:37) 12. Smoke Rings
(7:16) 13. High on You
(3:51) 14. Love Came 1 - New York Mix
(3:50) 15. Love Came 2 - New York Mix
(4:30) 16. It's Easy to Remember 1 - New York Mix
(4:32) 17. It's Easy to Remember 2 - New York Mix
(4:42) 18. I've Grown Accustomed to Her Face - New York Mix
(5:51) 19. Restless - New York Mix
(6:31) 20. High on You - New York Mix

Clarinetist Ken Peplowski can be counted on for about one new record a year; it apparently takes him most of that year to decide on material to include on the next album. Peps has been a staple in the jazz world for quite some time, having debuted at age 10 in 1969 in his home town of Cleveland, OH, and toured with Tommy Dorsey's ghost band (led by Buddy Morrow) in the late '70s, before settling in New York. The rap on him is that he is the epitome of jazz traditionalism, but, as this CD demonstrates, that judgment fails adequately to recognize his adventurousness.

Here, supported by a superlative rhythm section, Peplowski has compiled a collection that ranges from Bobby Short's Caf' Carlyle rendition of the title tune to pianist Rosenthal's original "Good Old Days"; "Restless" (from Benny Goodman's book) on tenor sax to Paul McCartney's "Junk"; a revisitation of "Copi" and "Everything I Love" to Joe Cohn's father Al's "High on You"; and Cy Coleman's beautiful "With Every Breath I Take" to the serendipitous "Smoke Rings," with standards from Jobim, Lerner and Loewe, Strayhorn and Ellington to round out the program. Throughout its more than 66 minutes, the threads that hold it all together are Peplowski's innate musicality and impeccable good taste.

To my ear, the album's trajectory soars after Short's contribution; the old cabaret singer's spirit is willing, but his raspy voice is weak. Peps' tenor is breathy and Cohn's and Leonhart's solos, laid-back on a gently swinging "Restless." "Copi" is a lovely, slow jazz waltz for tenor, while Peps' introspective clarinet drips clover honey on "Every Breath." Jobim's "Louisa," suggested by Peps' frequent duo partner Howard Alden, is as delicate as a blossom, featuring delicious interplay between Peplowski's clarinet and Rosenthal's piano. A long, elegant, out-of-rhythm clarinet cadenza opens Cole Porter's "Everything I Love," clearly one of the high points of the album; the eventual addition of other instruments interrupts the reverie with almost abrupt suddenness, although the comfortable swing of the rendition, the beauty of the tune, and, in eight minutes, its thoroughness of exploration make the intrusion easy to forgive.

Peps' brief, unaccompanied solo on Ellington's "Single Petal of a Rose" seems to capture perfectly the Duke's intent; this to me is the album's emotional center. Nothing could follow it more appropriately than a Strayhorn ballad. Rosenthal's brisk original, remotely reminiscent of "Savoy," injects a nice change of pace, while Paul McCartney's pleasantly simple "Junk," wistfully sung by Kim Liggett, with Cohn's accompaniment and Peplowski's clarinet obbligato, provides some unexpected variety.

The album concludes with a solidly swinging "Smoke Rings" and an up-tempo "High on You," taken with a samba beat; Peps switches to tenor for both of these.~ J.Robert Bragonier https://www.allaboutjazz.com/easy-to-remember-ken-peplowski-nagel-heyer-records-review-by-j-robert-bragonier.php?width=1920

Personnel: Ken Peplowski - clarinet, tenor sax; Joe Cohn- guitar; Ted Rosenthal - pianist; Joe Fitzgerald - bassist; Jeff Brillinger - drummer; Bobby Short - vocals (track 1); Kim Liggett- vocals(track 11)

Easy to Remember (Extended)

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Connie Jones, Dick Sudhalter - Get out and Get Under the Moon (Live at the Vineyard)

Styles: Ragtime, Dixieland, Swing
File: MP3@320K/s
Time: 55:28
Size: 128,6 MB
Art: Front

(3:05) 1. Changes
(4:27) 2. I'd Climb the Highest Mountain
(4:18) 3. If a Had a Million Dollars
(3:47) 4. Ol' Pigeon-Toed Joad
(2:55) 5. Futuristic Rhythm
(4:52) 6. Singin' the Blues
(4:03) 7. Rosalie
(3:48) 8. Persian Rug
(2:57) 9. Get out and Get Under the Moon
(5:18) 10. Davenport Blues
(2:43) 11. Why Couldn't It Be Poor Little Me?
(3:18) 12. I Must Have That Man
(4:58) 13. Jeannine, I Dream of Lilac Time
(4:51) 14. I'm a Dreamer-Aren't We All?

These bright Dixie-to-swing sessions were initially issued on the Stomp Off label, with two additional, previously unissued sessions tacked on. Jones and Sudhalter are staunch interpreters of these songs of the 1920s and '30s, evoking clear echoes of Bix Beiderbecke, Bobby Hackett, Louis Armstrong, and others. Performers include Jones on cornet and Sudhalter on trumpet, with pianist Keith Ingham, bassist Greg Cohen, guitarists Marty Grosz and James Chirillo, drummer Arnie Kinsella, and frontline help from alto saxophonist and clarinetist Joe Muranyi and trombonist Bobby Pring. The most familiar numbers are Beiderbecke's sweet "Davenport Blues," Cole Porter's upbeat, Jones-led "Rosalie," and Pring and Muranyi on the Frankie Trumbauer hit "Singin' the Blues." Another standout is the wonderful show tune "Futuristic Rhythm," with its myriad rhythmic changes and Latin, click clack, hard swinging beats. Some smaller combinations arise as Sudhalter and Ingham gently stride through "I'd Climb the Highest Mountain" and the stark and bluesy "Persian Rug," and perform spirited jamming on "Why Couldn't It Be Poor Little Me?" Jones alone states the theme on the easy paced "Ol' Pigeon Toed Joad" and gives the rougher-hewn ballad "Jeannine" a neat contrast. The two brassmen are at their best when dueling away on "If I Had a Million Dollars," "Changes," and the title cut, where their sound meshes and brings the sunny side out. Though the subtitle of this session is "Live at the Vineyard" (the Vineyard Theater in New York City) there is no crowd noise, so it's not an in-concert performance. It is a date that early period jazz mavens will want to own.~ Michael G.Nastos https://www.allmusic.com/album/get-out-get-under-moon-live-at-the-vineyard-mw0000601886

Get out and Get Under the Moon (Live at the Vineyard)

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Dominique Magloire, Michel Pastre Big Band - Travelin' Light with Billie

Styles: Vocal And Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 65:17
Size: 151,1 MB
Art: Front

(1:36) 1. One O'Clock Jump, Pt. 1
(3:53) 2. Swing Brother Swing
(3:39) 3. They Can't Take That Away from Me
(4:31) 4. Travelin' Light
(5:38) 5. God Bless the Child
(4:00) 6. Solitude
(5:17) 7. All of Me
(4:48) 8. My Man
(3:29) 9. I Cried for You
(3:23) 10. Don't Explain
(5:02) 11. The Man I Love
(3:07) 12. Why Was I Born?
(3:33) 13. Strange Fruit
(3:01) 14. I Can't Get Started
(8:32) 15. Fine and Mellow
(1:41) 16. One O'Clock Jump, Pt.2

Dominique Magloire is a singer who became known to the general public by participating in the TF1 program "The Voice" in 2012. But connoisseurs have already been able to appreciate the voice of the one who began in gospel during her participation in the musical "Cleopatra", "Gone with the Wind", alongside Sofia Essaïdi. Dominique Magloire also sings classic: Mozart, Verdi ... Dominque Magloire amazed the jury by performing "Ma Gueule" by Johnny Hallyday. His coach on the show is Florent Pagny. Note that she also did theater in her youth. Will she be able to seduce France and become The Voice? https://www.cosmopolitan.fr/dominique-magloire,1998588.asp

Michel Pastre, 53 years old famous Jazz Musician born on April 7. Michel Pastre is a successful Jazz Musician from France. He born under the Aries. Michel Pastre's positive traits are Full of thoughts and plans, who is creative but also crucial and includes terrific projects. That is precisely how these sharp tempered novices are. Aries people are generally very smart and reliable when someone manages to grab and keep their focus, even though it is quite tough to keep up with those excessively active achievers. Those born under this sign appear to be efficient and resourceful in any type of situation. & negative traits are This means that they frequently wind up in contrasting discussions that occasionally impact the connections they have with those around them. Additionally, they can easily be harmed and they appear to take any word that’s thrown at them really relevant. This will in turn make them susceptible to depression and a lot of anguish as they want to bottle things up rather than reveal how they feel. https://networthfolk.com/michel-pastre/

Travelin'Light with Billie

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Leo Gandelman - Pérolas Negras

Styles: Saxophone, Brazilian Jazz
Year: 1997
File: MP3@320K/s
Time: 52:57
Size: 122,2 MB
Art: Front

(4:04) 1. Mas Que Nada
(4:19) 2. Me Deixa em Paz
(3:53) 3. As Rosas Não Falam
(4:31) 4. Nanã
(4:57) 5. Overjoyed
(4:39) 6. Mr. Funk Samba
(4:21) 7. Faltando um Pedaço
(3:26) 8. Lamentos
(5:29) 9. Clube da Esquina Nº 2
(4:58) 10. Toda Menina Baiana
(4:55) 11. Choro Negro
(3:19) 12. Pérola Negra

Leo Gandelman has been singled out for his successful instrumental pop performances on top of brass arrangements and Brazilian percussion, both within Brazil and abroad (he presently lives in the U.S.). Along with his own work as an instrumentalist, he has produced albums such as Gal Costa's Plural and Marina's Virgem. As a composer he also has written soundtracks for major TV soap operas and series and films. He has performed in such festivals as the Free Jazz Festival and the Hollywood Rock (both in Brazil), and the Montreux Festival (Switzerland). Gandelman also was the winner of the newspaper Jornal do Brasil (Rio de Janeiro) poll as the most popular instrumental artist for 15 years in a row. Born in Rio de Janeiro, Gandelman, initiated by his mother, the concert pianist Salomea Gandelman, and by his father, the conductor Henrique Gandelman, was influenced by European classical music. At 15, he performed as a flute soloist ahead of the Orquestra Sinfônica Brasileira.

He also studied viola da gamba, having being a member of the Pró Arte Antiqua group. At 16, he abandoned music, tired of the tyrannical routine of classical studies, and decided to become a photographer. He only returned to music three years later, already as a saxophonist. Attending Boston's Berklee College, Gandelman furthered studies on saxophone, composition, and arrangements. Returning to Brazil upon graduation, in 1979, he quickly became a busy session man (having participated in the recording of 600 albums during ten years), and formed his first group, Avenida Brasil, with Serginho Trombone, Bidinho, and Zé (trumpets). In 1984, he wrote the soundtrack to the film Rádio Pirata (Lael Rodrigues). His first solo album, Leo Gandelman (1987), had a smash hit with "A Ilha" (with William Magalhães). Solar (1990), the third one, sold 70,000 copies not bad for an instrumental title in Brazil. Western World (American reissue of his second album, Ocidente [1988]) was considered the best progressive music album in the U.S.~ Alvaro Neder https://www.allmusic.com/artist/leo-gandelman-mn0000248380/biography

Pérolas Negras

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Curtis Fuller - Fuller's Trombone 61!

Styles: Trombone Jazz
File: MP3@320K/s
Time: 41:42
Size: 96,7 MB
Art: Front

(4:03) 1. The Breeze and I
(6:19) 2. The Clan
(4:08) 3. Chantized
(4:57) 4. In the Wee Small Hours of the Morning
(5:33) 5. But Beautiful
(6:30) 6. Ladies' Night
(5:02) 7. Mr. L
(5:06) 8. The Court

Curtis Fuller belonged in the select circle with J.J. Johnson, Kai Winding, and a few others who make the trombone sound fluid and inviting rather than awkward. His ability to make wide-octave leaps and play whiplash phrases in a relaxed, casual manner was a testament to his skill. Fuller's solos and phrases were often ambitious and creative, and he worked in several fine bands and participated in numerous great sessions. Fuller studied music in high school, then began developing his skills in an Army band, where he played with Cannonball Adderley. He worked in Detroit with Kenny Burrell and Yusef Lateef, then moved to New York. Fuller made his recording debut as a leader on Transition in 1955, and recorded in the late '50s for Blue Note, Prestige, United Artists, and Savoy. He was a charter member of the Jazztet with Benny Golson and Art Farmer in 1959, then played in Art Blakey's Jazz Messengers from 1961 to 1965.

There were additional recording dates for Warwick, Smash/Trip, Epic, and Impulse! in the '60s. Fuller toured Europe with Dizzy Gillespie's big band in 1968, then did several sessions in New York. During the '70s, he experimented for a time playing hard bop arrangements in a band featuring electronic instruments, heading a group with guitarist Bill Washer and Stanley Clarke. He concluded that phase with the 1973 album Crankin'. Fuller toured with the Count Basie band from 1975 to 1977, and did dates for Mainstream, Timeless, and Bee Hive. He co-led the quintet Giant Bones with Winding in 1979 and 1980, and played with Art Blakey, Cedar Walton, and Benny Golson in the late '70s and early '80s. During the '80s, Fuller toured Europe regularly with the Timeless All-Stars, and performed and recorded with the revamped Jazztet in addition to leading a fine session for Savoy in 1993. Fuller continued playing dates and working in the decades that followed, recording albums for labels like Delmark, Capri, and Savant. He retired from playing in the early 2010s; his final studio album was 2012's Down Home. The legendary trombonist died on May 8, 2021, at the age of 88.~ Ron Wynn https://www.allmusic.com/artist/curtis-fuller-mn0000139566/biography

R.I.P.
Born : December 15, 1932

Died: May 8, 2021

Fuller's Trombone 61!

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John Lewis - The Wonderful World Of Jazz

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 55:12
Size: 126,6 MB
Art: Front

(15:24)  1. Body And Soul
( 4:48)  2. I Should Care
( 5:34)  3. Two Degrees East, Three Degrees West
( 9:54)  4. Afternoon In Paris
( 3:27)  5. I Remember Clifford
( 5:39)  6. The Stranger
(10:22)  7. If You Could See Me Now

This is one of pianist John Lewis' most rewarding albums outside of his work with the Modern Jazz Quartet. Three numbers (including a remake of "Two Degrees East, Three Degrees West") showcase his piano in a quartet with guitarist Jim Hall, bassist George Duvivier, and drummer Connie Kay. A 15-and-a-half-minute rendition of "Body and Soul" has one of tenor saxophonist Paul Gonsalves' finest solos, while "Afternoon in Paris" features a diverse cast with trumpeter Herb Pomeroy, Gunther Schuller on French horn, tenor man Benny Golson, baritonist Jimmy Giuffre, and guitarist Jim Hall; altoist Eric Dolphy cuts everyone. This set was reissued in 1988 as part of Atlantic's Jazzlore series. ~ Scott Yanow  

http://www.allmusic.com/album/the-wonderful-world-of-jazz-mw0000653899

The Wonderful World Of Jazz

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Horace Parlan - Glad I Found You

Styles: Piano Jazz
Year: 1986
File: MP3@320K/s
Time: 42:29
Size: 98,0 MB
Art: Front

( 4:54)  1. Monday Morning Blues
(10:08)  2. Hip Walk
( 6:03)  3. Oblivion
( 7:50)  4. Something for Silver
( 7:00)  5. Glad I Found You
( 6:31)  6. Afternoon in Paris

Expatriate pianist Horace Parlan and a couple of fine Scandinavians (bassist Jesper Lundgaard and drummer Aage Tanggaard) welcome Thad Jones (heard exclusively here on flugelhorn) and the great tenor Eddie Harris to this spirited set. Jones was making a successful, if short-lived comeback, and at two years before his death, this was one of his final high-quality small-group recordings. Harris is heard throughout in top form. The quintet performs two Parlan originals (including "Something for Silver"), a couple of obscurities, John Lewis' "Afternoon In Paris" and Bud Powell's "Oblivion." Parlan sounds inspired by the other musicians on this spirited hard bop set. ~ Scott Yanow https://www.allmusic.com/album/glad-i-found-you-mw0000196134

Personnel:  Horace Parlan - piano; Thad Jones - flugelhorn; Eddie Harris - tenor saxophone; Jesper Lundgaard - bass; Aage Tanggaard - drums

Glad I Found You

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Ralph Peterson's GenNext Big Band - I Remember Bu

Styles: Jazz, Post Bop
Year: 2018
File: MP3@224K/s
Time: 71:49
Size: 119,1 MB
Art: Front

(10:26)  1. Uranus
( 5:42)  2. Pensativa
( 7:50)  3. Free For Al
( 6:12)  4. I Remember Bu
( 7:57)  5. New York
(10:53)  6. Egyptian Dune Dance
(10:00)  7. Little Man
( 7:54)  8. For Paul
( 4:50)  9. Ms BC

In 1983, Art Blakey invited fellow timekeeper Ralph Peterson to perform with Blakey's two-drummer big band at the Boston Globe Jazz Festival. It was a life-changing experience for Peterson, whose debut album with his Boston-based GenNext Big Band, I Remember Bu, honors Blakey's memory (the late drummer's Muslim name was Abdullah ibn Buhaina, and he was usually called "Bu"). Sharing a name like GenNext, the members of Peterson's ensemble are presumably young and more than likely energetic. The first part of that assumption is borne out by photos on the front and back of the album's outer jacket, the second by the ardor with which they come to grips with the session's nine galvanic numbers. To add a dash of experience, Peterson has called upon alto saxophonist and Blakey alum Donald Harrison to display his artistry on five selections, one of which, the fiery "New York," he also wrote. Harrison doesn't disappoint; his solos on "New York," Walter Davis Jr.'s "Uranus," Clare Fischer's "Pensativa," Wayne Shorter's "Free for All" and Todd Bashore's "For Paul" are bold and resourceful. Harrison sits out on the other four tunes: JoAnne Brackeen's undulating "Egyptian Dune Dance," Charles Fambrough's buoyant "Little Man," Bobby Watson's fast-moving, bop-centered "Ms. BC" and Peterson's ardent hymn to Blakey, "I Remember Bu." As should be the norm on any tribute to Blakey, there's a lot of vigorous drumming along the way but it may or may not involve Peterson, as no less than four drummers are listed in the credits and there is no way to ascertain what role any of them plays. And as this is a "next generation" band, a mandatory albeit gratuitous rapper (Ryan Easter) disrupts the flow on "Egyptian Dune Dance," spouting some nondescript gibberish before the band gets back to the business at hand. But that is an aberration; for the most part, the GenNext ensemble bends its collective shoulder to the wheel and breathes life into the music set before it. The band includes several admirable soloists of its own but none is listed in the credits. There is an audience (the album was recorded live at Scullers Jazz Club in Boston) but it remains silent until the end of each number. Even though he was best known as leader of the Jazz Messengers, Blakey loved big bands and surely would have appreciated this heartfelt tribute by a self-assured and talented group of young musicians. ~ Jack Bowers https://www.allaboutjazz.com/i-remember-bu-ralph-peterson-self-produced-review-by-jack-bowers.php

Personnel: Ralph Peterson: drums, cornet, conductor; Jon Weidley: trumpet; Robert Vega Dowda: trumpet; Milena Casado Fauquet: trumpet; Will Mallard: trumpet; Eric Nakanishi: alto sax; Devin Daniels: alto sax; Tim Murphy: tenor sax; Jake Hirsch: tenor sax; Tomoki Sanders: tenor sax solo (8); Gabe Nekrutman: baritone sax; Elliot Alexander Brown: trombone; Brandon Lin: trombone; Alan Hsiao: trombone; Ethan Santos: bass trombone; Antonio Vaquer: piano; Dabin Ryu: piano; Youngchae Jeong: bass; Julian Pardo: drums; Karol Zabka: drums; Jas Kayser: drums; Ryan Easter: rapper. Guest artist - Donald Harrison: alto sax.

I Remember Bu

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John Boutté - All About Everything

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 48:26
Size: 114,3 MB
Art: Front

(4:09) 1. These Blue Days
(4:15) 2. Take Me To The River
(2:18) 3. No, No (The River)
(4:21) 4. The Grass Is Greener
(3:36) 5. War Is All Over
(3:01) 6. All Around The World
(2:56) 7. A Thousandfold
(3:09) 8. Heaven's Door
(3:23) 9. All About Everything
(5:53) 10. Lush Life
(7:07) 11. Hallelujah
(4:12) 12. See You On The Other SIde

Though a new season is on the horizon, we might consider ourselves residents of a post-Treme culture. Our central narratives, historic touchstones, and musical traditions are now common knowledge to millions of viewers. The world’s flame for New Orleans burns everlasting, but Mardi Gras Indians were on cable and the shadows of mystery recede accordingly. Documentation of the city perseveres, but the congealing effect of an HBO show places the onus on other voices to tell new stories about this old place.

As the man behind the show’s theme song, John Boutté is uniquely suited to speak at this crossroads. On All About Everything, produced by Treme musical supervisor Blake Leyh, the singer holds fast to his identity: a medium for the spirit, his voice shaped by pride and perspective. Hard to know if many revelations remain unturned in Leonard Cohen’s “Hallelujah” or Billy Strayhorn’s “Lush Life.” Certainly we have traveled to the river quite often in 6-plus years of homegrown recordings. While Boutté masters all of the above, his treatments of original compositions by local artists are the heart of the album.

The Alex McMurray-penned “Heaven’s Door” boasts Jon Cleary on keys, Matt Perrine on sousaphone, and Dr. Michael White on clarinet. If anyone is worried about this city’s ability to foster new music with both traditional depth and mass appeal, send them McMurray. “War is All Over” is vintage but previously unreleased Allen Toussaint (“and everyone and nobody won”), while Paul Sanchez’s “A Thousandfold” is a solid reggae train ride. (Someone ought to launch a Kickstarter campaign to fund an album of Boutté performing Desmond Dekker songs.)

Sooner or later, the last episode of the last season of Treme will air and fade to DVD sales. There will be a musical montage and “See You on the Other Side” should be the backing track. Co-writers Boutté, Leyh, Tom McDermott and Sanchez wave goodbye masterfully. We live on the other side of the narrative’s wall, a good three to four years ahead of the story as told on television. Our tale was told; our tale still unfolds. Carried by a battalion of the city’s finest artists and confident in his role as clarion, John Boutté does a fine job of moving forward.~ Brian Boyles https://www.offbeat.com/music/john-boutte-all-about-everything-independent/

Personnel: John Boutte – Vocals; Jon Cleary – Piano, B3 Organ; Todd Duke – Guitar; Raymond Weber – Drums; Kirk Joseph – Sousaphone; Tony Jarvis – Sax; Nick Balaban – Sax; Roderick Paulin – Sax

All About Everything

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Floyd Domino - Hightower Boogie Woogie

Styles: Piano Jazz, Swing
Year: 2008
File: MP3@320K/s
Time: 40:18
Size: 95,4 MB
Art: Front

(3:17) 1. Riff City
(1:57) 2. Pork Ribs
(3:00) 3. Red's Garland Lounge
(1:42) 4. Hightower Theme (Rip 'n Read)
(2:11) 5. Home on the Electric Range
(3:47) 6. Some Blues
(1:30) 7. Pecos Bill Big Band
(1:50) 8. Teddy & Eddie Wilson's Bounce
(2:22) 9. Kick-Back Friday
(2:41) 10. Boogie Woogie Swanee River
(1:37) 11. Austin Mode
(3:02) 12. Floyd's Eyes of Texas Boogie
(1:38) 13. Two-Party Confusion
(2:39) 14. Count Basie's Red Bank Cafe
(2:46) 15. Turnaround Blues
(2:47) 16. Mumbo Gumbo
(1:24) 17. Giant Steps

Floyd Domino is an American musician known for his work in the genre of Western swing.

Born a native of California, Domino was introduced to Western swing by way of the musicians who had migrated from Texas and Oklahoma in the 1930s and 1940s. Floyd’s close association with Western swing coincided with joining Asleep at the Wheel at the age of 19. After 7 years with Asleep at the Wheel, he is now an “AATW Alumnus” who still joins them for featured performances. While Floyd is widely recognized for his years with Asleep at the Wheel and the revival of Western swing, Floyd began his career with a broad grounding in jazz, boogie-woogie, swing and blues piano. He regularly performs as Floyd Domino Jazz Trio showcasing a unique blend of jazz and blues. Other performances include work with Willie Nelson, Merle Haggard, George Strait, The Texas Playboys, Waylon Jennings, jazz guitarist.

In addition to a career encompassing live performances, recording (both solo and with a host of legendary performers), Floyd has contributed to promoting American roots music through his appearances at schools, camps and other learning organizations. Between his touring, recording and major performances, Floyd plays clubs, private events and contributes his talents to further roots music appreciation. https://peoplepill.com/people/floyd-domino

Personnel: Piano – Floyd Domino; Bass – Dan Hall (12), Evan Arredondo; Drums – Ernie Durawa; Horns – Jay Rozen, John Mills (3), Keith Winking, Mark Kazanoff, Randy Zimmerman

Hightower Boogie Woogie

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Glen Gray & The Casa Loma Orchestra - Live in Cedar Grove, NJ

Styles: Sweet Bands, Swing
Year: 2000
File: MP3@320K/s
Time: 58:57
Size: 135,8 MB
Art: Front

(0:52) 1. Theme: Smoke Rrings
(2:33) 2. By the River
(3:21) 3. Indian Summer
(3:01) 4. You`re a Lucky Guy
(4:52) 5. Honeysuckle Rose
(2:43) 6. Prelude in C Sharp Minor
(3:06) 7. On the Isle of May
(3:06) 8. Save Your Sorrows for Tomorrow
(3:20) 9. Tumbling Tumbleweeds
(2:25) 10. Git Away Day
(0:55) 11. Theme: Smoke Rings
(3:47) 12. Tuxedo Junction
(2:45) 13. How High the Moon
(2:43) 14. Wham!
(2:29) 15. It's a Blue World
(3:20) 16. What Is This Thing Called Love?
(4:20) 17. Yours Is My Heart Alone
(2:54) 18. Stop! It's Wonderful
(6:16) 19. No Name Jive

Here's two better than average quality home recordings of the Casa Loma Band taken from the Meadowbrook Ballroom in Cedar Grove, NJ, from two weekend shows in March of 1940. Glenn never had any big-name players in his outfit (unless you count guys like Pee Wee Hunt and Murray McEachern in the trombone section), but the band played with a precision and swing that was mesmerizing. It was also a self-contained band, in the sense that there were no add-on boy or girl singers, the vocalizing being handled by reedman Kenny Sargent or trombonist Hunt. The reed section of the Casa Loma Orchestra was its true secret weapon, with the players doubling, tripling, and quadrupling on clarinet, flute, oboe, bassoon, alto, tenor, soprano, baritone, and bass saxophones. Chart wise, the band moves effortlessly on these broadcasts, from its theme of "Smoke Rings" to swingers like "Tuxedo Junction," "Honeysuckle Rose," and "How High the Moon" to novelties like "Wham!" to heavyweight material like "Prelude in C Sharp Minor." A well-rounded band that was one of the true innovators of the big-band era, the Casa Loma Orchestra is one of the hidden treasures from this era just waiting to be discovered. Well worth investigating.~ Cub Koda https://www.allmusic.com/album/live-from-the-meadowbank-ballroom-cedar-grove-nj-1940-mw0000608651

Live in Cedar Grove, NJ

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Rosa Passos - Dunas - Live in Copenhagen

Styles: Bossa Nova, World Music
File: MP3@320K/s
Time: 36:49
Size: 85,3 MB
Art: Front

(3:43) 1. Cigano
(6:06) 2. Marina
(3:51) 3. Rosa Morena
(5:31) 4. Sábado Em Copacabana
(4:04) 5. O Que É Que a Baiana Tem?
(3:10) 6. Chuva de Verão
(2:48) 7. Águas de Março
(3:41) 8. Dunas
(3:50) 9. Juras

"We've all experienced it: that special atmosphere before a concert begins. At Copenhagen Jazzhouse, many come early. They reserve the best seats with a piece of clothing and retreat to the bar to buy a beer and exchange a few words with musicians and friends, then return to their seat, anticipation growing. Some look around and notice that all the jazz critics are in attendance. In fact, it seems everyone is here this evening. In the final minutes, lights are dimmed and the intermission music turned off. Lars Thorborg, who runs Jazzhouse, takes the stage and introduces Rosa and the band. It's about to happen!

The group comes on stage to enthusiatic applause and there she is - with us, right before us. With no further ado, the tempo is counted off and the concert begins. The band line-up couldn't have been better: Fabio Torres on piano, Paulu Paulelli on bass, and Celso de Almeida on drums and of course Rosa Passos on vocals and guitar. "Imagine you are rocking a baby to sleep. For me, that's Bossa Nova". Rosa Passos"https://www.propermusic.com/1018490-dunas-live-in-copenhagen.html

Dunas - Live in Copenhagen

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Enric Peidro & Richard Busiakiewicz - Make Someone Happy

Styles: Saxophone And Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 40:12
Size: 92,6 MB
Art: Front

(7:23) 1. Make Someone Happy
(6:35) 2. Robbin's Nest
(5:43) 3. Body and Soul
(4:56) 4. I Never Knew
(4:31) 5. That's All
(7:27) 6. Disorder at the Border
(3:34) 7. Blue and Sentimental

Spanish sax player Enric Peidro is one of the most active musicians in the European Classic Jazz/Swing Scene. He leads his own bands and often teams up with some of the best international musicians in this style.

Influenced by tenor sax masters of the Swing-Era (Hawkins, Young,Webster) His work has received great praise by the media, regarding Peidro as an inventive player with a beautiful sound. https://enricpeidro.bandcamp.com/album/make-someone-happy

The name may be hard to pronounce (try Busha-kevitch) but Richard’s playing is certainly easy on the ear! He started playing the piano at the age of six, and by his late teens was performing frequently in top London hotels and restaurants, and starting to become known on the jazz scene. Richard is now recognized as one of the country’s top jazz pianists, performing not only with other leading British players but with many visiting American musicians including some of the biggest names in jazz: Scott Hamilton, Warren Vache, Bob Wilber, Art Farmer, Harry Allen and Ken Peplowski. Richard was also a member of the Ray Gelato Giants for ten years, touring extensively both in this country and abroad. With this band, Richard played at Paul McCartney’s wedding, at Bryan Adams’ private at-home party, and for Prince Charles’ birthday at The Ritz in front of the Queen and other members of the royal family.

As well as being a fantastic jazz pianist, Richard is also a sensitive cocktail pianist, the difference being that whereas a jazz player will build his own improvisations on a song, a cocktail pianist will merely embellish the tune, keeping it recognizable and familiar. Between 2002 and 2009 Richard's cocktail piano skills were heard regularly at London's exclusive Lanesborough Hotel on Hyde Park Corner. Currently, Richard performs regularly at the Boisdale Group of restaurants in London, and since November 2011 performs weekly at restaurateur Richard Caring's new flagship steakhouse '34 Grosvenor Square' in London's Mayfair.

Richard’s repertoire covers what is known as the Great American Songbook numbers penned by writers such as George Gershwin, Jerome Kern, Irving Berlin, Cole Porter, Rogers and Hart, Lerner and Loewe, etc which started life in Broadway shows and Hollywood musicals but then went on to become the core repertoire of artists like Frank Sinatra, Ella Fitzgerald, Stan Getz and Miles Davis. Where necessary, Richard can provide his own professional quality stage piano and our quote covers playing for up to two hours over a three-hour stay. Although the demo tracks and our quote are for Richard playing solo, he can also add bass and drums if a jazzier set is required. https://www.functionjunction.co.uk/act/richard-busiakiewicz

Personnel: Enric Peidro - Tenor sax; Richard Busiakiewicz - Piano

Make Someone Happy

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Lillian Boutté - I Sing Because I'm Happy

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 39:24
Size: 91,4 MB
Art: Front

(3:50) 1. What a Friend
(3:49) 2. Precious Lord
(3:31) 3. Where He Leads Me
(2:10) 4. Old Time Religion
(5:55) 5. His Eyes Is on the Sparrow
(4:04) 6. In the Sweet Bye and Bye
(2:34) 7. Lead Me
(3:41) 8. Soon I Will Be Done
(4:44) 9. Where You There
(5:05) 10. Bye and Bye

Vocalist Lillian Boutte chose a line from one of gospel music's best-loved songs for the title of her CD, I Sing Because I'm Happy. It comes from "His Eye Is on the Sparrow," which is among the selections that Boutte sings on the recording. The New Orleans-born singer went back to her roots in the gospel tradition to make this record. Boutte grew up in a Creole neighborhood in which an integral part of the cultural fabric was the church. She was raised singing in a choir. In fact, her friend Dr. Martin Luther King, Jr. once likened her voice to the great Mahalia Jackson. Boutte speaks of having a recommitment of faith after a life-threatening illness. She often performs gospel when she returns to the city of her birth from her home in Germany. It is with her German musician husband, Thomas L'Etiene, that she made this record of gospel favorites. The singer is renowned in Europe; the decision to make the record reflects the great interest that Europeans have in the jazz and gospel traditions of New Orleans. The jazz singer lifts her voice in praise on a number of gospel favorites, such as "Precious Lord," "In the Sweet by and By," and "What a Friend We Have in Jesus." She is exudes joy on "That Old Time Religion" and shows reverence on "Were You There When They Crucified My Lord?." The CD shows that while Lillian Boutte may be an international star of jazz, she is still a daughter of the church.~ Rose Of Sharon Witmer https://www.allmusic.com/album/i-sing-because-im-happy-mw0000196190

I Sing Because I'm Happy

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Lawrence Sieberth - Arkipelago

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 65:15
Size: 150,2 MB
Art: Front

(14:28) 1. Arkipelago
( 6:49) 2. Sacred Space Sacred Dance
( 4:41) 3. Tiktaalik
( 8:00) 4. Samsara Rosa
( 5:17) 5. Ajuro
( 5:35) 6. Aliento
(10:07) 7. Le Serpente Volant
( 5:39) 8. Toma Uva
( 4:37) 9. Thrasher

Pianist, composer, and producer Lawrence Sieberth is at home in virtually any musical setting. While based in jazz, Lawrence’s musical vision is not limited by genre barriers he prefers to integrate the many facets of music and performance into an engaging, inclusive experience. His own neobop improvisations and experimental inclinations combine with his classical and world music infuences providing an extensive musical vocabulary for both performances and compositions for television, film, and stage.

Lawrence Sieberth’s album ‘New New Orleans’ ?nds him literally center stage, a solo piano set wherein traditional New Orleans jazz pieces get a brilliant surveying with some judicious modern overtones sprinkled throughout them. That same year saw the far side of the spectrum via ‘Arkipelago’, an album exploring the area(s) where the ethereal overlaps with the earthy, where fevered fantasy coalesces with funk, the Second Line strolls Alpha Centauri. In the most recent album ‘It’s Magic’ in collaboration with singer Germaine Bazzle, Sieberth’s exemplary skills as accompanist come to the fore songs such as “Bye Bye Blackbird” and “Sophisticated Lady” are not merely covered but made anew, the notes dangling from his ?ngertips as if they were dipped in honey. ‘Silhouettes’, featuring his quartet, explores the acoustic side of contemporary jazz and his recent explorations into ?ery afrocuban and funk rhythms are exempli?ed on his recording ‘Estrella Banda’, both albums featuring his own compositions and pianistic technical prowess. His recently release ‘An Evening in Paris’ was recorded in Paris and is garnering very favorable reviews on the international scene.

His local ensembles vary from New Orleans traditional to questing improvisations, from the avantgarde to mainstream jazz and R&B. He has performed at virtually every venue in New Orleans, from small clubs to the annual New Orleans Jazz & Heritage Festival where he has been a regular featured artist and musical director of over 30 years. His collaborations with notable local performers include: Johnny Adams, Charles Neville, Allen Toussaint, Irma Thomas, Tony Dagradi, John Vidacovich, Luther Kent, Brian ‘Breeze’ Cayolle, Victor Goines, and Jason Marsalis. He presently performs and tours with Gerald French & the Original Tuxedo Jazzband and vocalist Germaine Bazzle.

As solo pianist, Lawrence was a mainstay at Mr. B’s restaurant for 12 years as well as playing for diners at the Windsor Court Hotel, ‘The Sazerac Lounge’ at the ‘Fairmont Hotel’ and ’Ralph’s On the Park’. The local venues where he performed regularly with groups included ‘The Palace Cafe’, ‘The Monteleone Hotel’ and the ‘Royal Sonesta Hotel’ to name a few. Beginning as the solo pianist for Gino’s Restaurant, the music evolved into the most successful jazz venue in Baton Rouge history, bringing in major New Orleans’ talent where jazz quartets performed several times a week. Performers included Luther Kent, Eliane Elias, Gene Bertoncini and Red Tyler just to name a very few. The 1991 CD release of ‘I Migliori: Live at Gino’s’ was a major success of this tenure which lasted for over 18 years.

Lawrence Sieberth has been a commissioner on the Louisiana Music Commission and was honored by New Orleans Magazine (1998) as outstanding contemporary jazz pianist. His CD Heartstrings was chosen by Jazziz (1995) in their ‘Keyboards on Fire’ special issue. Lawrence has received numerous grants including the Louisiana Artist Fellowship Award and the 2009 Asante Award and is a recent recipient of the Community Partnership Grant sponsored by the New Orleans Jazz & Heritage Festival. http://lawrencesieberth.com/about/

Arkipelago

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Oscar Rossignoli - Inertia

Styles: Piano
File: MP3@320K/s
Time: 67:10
Size: 154,4 MB
Art: Front

(6:30) 1. Pendulum
(8:09) 2. Vamonos
(5:46) 3. Endless Fall
(5:24) 4. Preludio for Chick
(4:55) 5. Siempre (To Jose A. Velasquez)
(6:57) 6. Heartbeat
(5:39) 7. Recuerdos de Mi Infancia
(6:30) 8. Nocturno
(4:36) 9. Long Story Short
(5:33) 10. Tableau
(7:05) 11. Perpetual Motion

Oscar Rossignoli folds many traditions into his music. The Honduran-born pianist began training in classical music when he was 6. In high school at a conservatory in Tegucigalpa, Honduras, he discovered Latin jazz through Dominican pianist Michel Camilo. On a music scholarship at Louisiana State University, he continued his classical studies but began playing with some of New Orleans' best jazz musicians. Rossignoli's improvisation incorporates his classical training, the Latin stylings of his youth and the North American jazz he's come to know as a musician in New Orleans. Rather than playing traditional chords with his left hand and improvising melodies with his right, he uses the full instrument and creates rich textures. Among Rossignoli's regular local shows are Sunday gigs with Pat Casey's band at The Spotted Cat. His quartet, including trumpeter Steve Lands, drummer Peter Varnado and bassist Alex Warshawsky, performs regularly at Snug Harbor Jazz Bistro.

Oscar Rossignoli announces the release of; INERTIA, a collection of original compositions and improvisations from the Honduran born, New Orleans based pianist. This is Rossignoli's first recording as leader, and is also his first solo piano project, showcasing his long relationship with the instrument, as well as his process of discovery through improvisation. INERTIA will be available on May 25th, but you can pre-order the album and listen to "Vámonos", and "Nocturno" here. You can also watch a live performance of "Vámonos!" here. http://www.crossovermedia.net/artists/oscar-rossignoli/projects/inertia/

Inertia

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