Philip Dizack - Single Soul

Styles: Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 56:59
Size: 131,2 MB
Art: Front

(1:00)  1. Single Soul (Intro)
(8:14)  2. Jacob And The Angel
(2:49)  3. Benny's Tune
(7:20)  4. Take Me With You
(5:21)  5. Single Soul
(7:57)  6. Twins Of A Gazelle
(4:37)  7. Book Of Stones
(5:02)  8. Joy And Sorrow
(5:28)  9. It's Not Just In Some Of Us
(5:52) 10. Sasha Anne
(3:13) 11. I Got It Bad And That Ain't Good

Young trumpeter Philip Dizack is a new name on the Criss Cross record label but not a new name for those who closely follow the New York jazz scene. Since his arrival in New York, Dizack has been making waves and winning awards with his beautiful tone and dark intensity, both of which were on full display on his last album, End of an Era (Truth Revolution Records, 2012). For his Criss Cross debut, Dizack continues his maturation as a composer and player, contributing seven original tunes to this inspired recital. On "Single Soul," Dizack is accompanied by fellow newcomers to the Criss Cross label, Ben Wendel on tenor sax, and Eden Ladin on piano, also both young musicians who have been steadily gaining attention on the New York scene. Filling out the band are Criss Cross veterans, Joe Sanders on bass and Eric Harland on drums, giving the group a strong rhythmic foundation. After the fanfare-like intro, the group begins with the gently grooving Ladin original, "Jacob and the Angel." Sanders also contributes an original tune to the album, "Joy and Sorrow," which starts out as a gentle ballad and continues to build and crescendo right up to it's final climactic seconds. Ladin's and Sanders's original tunes prove to be good choices for inclusion on this album as they showcase both Dizack's unique tone and the group's strong chemistry and attention to dynamics. Dizack's original tunes are diverse and captivating, from the driving swing of "Take Me With You," to the lilting groove of "Single Soul." "Twins of a Gazelle" is a lively tune that leads the group into some of their best solos and interplay on the album. Dizack chose to record "Book of Stones" as a trio with just Sanders and Harland, and they masterfully lay down the groove. Harland never fails to keep the tune interesting and supports his Dizack and Sanders perfectly, but never overplaying.

The remaining two original tunes serve as a nice way to wind the album down. "It's Not Just in Some of Us" is an intense piece and gives Dizack and Ladin a good chance to show off their soloing skills. "Sasha Anne" is a delicate and soulful ballad, starting as a duet between Ladin and Dizack before the whole band joins in to bring it to it's joyous conclusion. The remaining two tunes on the album are thoughtful takes on standards and are elegant nods to the past. Dizack and Sanders give us a duet version of Lionel Loueke's "Benny's Tune," which is short, but tasteful. The duet has a lovely intimate quality and Dizack's and Sanders's warm tones on their respective instruments were perfectly recorded at Systems Two Recording Studio in Brooklyn. The album closes with an even more intimate take on Ellington's classic "I Got It Bad and That Ain't Good." Dizack chooses to play the ballad a cappella, letting his tasteful phrasing and elegant tone do the talking. "Single Soul" is a strong addition to this young trumpet player's growing portfolio, and it shows that he has versatility, talent, and taste. In 2007, Downbeat Magazine named Dizack as one of "25 Trumpet Players for the Future." On "Single Soul" Dizack proves that "the future" is here and that he is one of the strongest young trumpet players on the scene today. ~ Andrew Luhn https://www.allaboutjazz.com/philip-dizack-single-soul-by-andrew-luhn.php

Personnel: Philip Dizack: Trumpet; Ben Wendel: Tenor Sax; Eden Ladin: Piano; Joe Sanders: Bass; Eric Harland: Drums

Single Soul

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Mette Juul - Moon on My Shoulder

Styles: Vocal And Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 63:38
Size: 146,3 MB
Art: Front

(6:18) 1. Moon on My Shoulder
(6:04) 2. Be Cool
(5:36) 3. In This Life
(4:46) 4. Henya
(5:45) 5. Ask Me Now
(2:34) 6. Hum Drum Blues
(5:17) 7. When We Leave the Riverbank
(5:44) 8. For Jan
(1:56) 9. From This Moment On
(5:29) 10. How Many Hours Must I Travel Alone
(4:40) 11. April in Paris - Bonus Track
(4:51) 12. Once Upon a Summertime - Bonus Track
(4:32) 13. Softly as in a Morning Sunrise - Bonus Track

On her 2012 release, Moon On My Shoulder, jazz vocalist Mette Juul has created a fervent and elegant sound, and turned away from the full orchestration in order to produce a personal vocal jazz album that forms a beautifully calming and homogeneous soundtrack to hectic, modern lives. Mette Juul blasted her way into the hearts of many jazz critics back in 2010 with her debut album, “Coming In From The Dark”, with the legendary rhythm champion Alex Riel and his trio. Distinguished musicians such as trumpeter, Palle Mikkelborg, and guitarist, Poul Halberg, furthermore supported the young singer on her debut. The album was released on Cowbell Music and received a lot of great reviews in Denmark, Sweden, Germany, Finland and Japan.

On this album, Juul has teamed up with the international jazz icon and hot Blue Note trumpeter, Ambrose Akinmusire, (born in 1982) from New York City. Despite Akinmusire’s young age his discography includes collaborations with jazz icons such as Wayne Shorter, Gretchen Parlato and Ron Carter so once again the young singer and winner of the International Jazz Artist Competition for vocalists (2007) has worked with a true jazz hot shot. The rhythm section consists of a strong line-up of bass player and cellist Lars Danielsson and drummer Morten Lund, and the album is additionally blessed with the Danish pianist Nikolaj Hess, who besides playing piano has also co-produced the album along with Mette Juul.

Juul’s dazzling voice, Akinmusire’s soft trumpet laying and Hess’ rich, simple piano touch characterizes “Moon on my shoulder”. The record contains no technical postulated phrasings and long pretentious solos, just simple well-organized jazz music focusing on telling a story. While the 1st album, “Coming In from The Dark”, mainly contained jazz standards and five of Juul’s own compositions the new album, “Moon on my shoulder”, shows how Mette Juul has searched the songbook of jazz for more unknown songs and made them her own. She has chosen six songs in the genre ranging from modern jazz to the singer-songwriter tradition, e.g. Thelonious Monks’ “Ask Me Now”, Joni Mitchell’s “Be Cool” and a radical reinterpretation by Cole Porter’s “From This Moment On.”

She has also composed some songs of her own: “When We Leave The River Bank” and “In This Life” and included her signature song “How Many Hours Must I Travel Alone”, a remake from her first album – this time re-arranged and stripped down to the tunes of Juul’s vocals and Akinmusire’s trumpet without the grandiose Riel Orchestra. Mette Juul has re-arranged the title track by Lyle Lowett, “Moon On My Shoulder”, and made it entirely her own and she is accompanied by Lars Danielson on cello. Akinmusire has moreover contributed with a remake of one of his songs, the almost meditative “Henya”. Altogether the album contains ten wonderful vocal jazz songs focusing on simplicity and an ambition to interpret the songs in an intimate and direct way and give life to the songs at a more metaphysical and universal level as a way to make both lyrics and music relevant and meaningful to the audience. https://www.storyvillerecords.com/products/moon-on-my-shoulder-1014333

Personnel: Vocals, Guitar – Mette Juul; Piano – Nikolaj Hess; Trumpet – Ambrose Akinmusire; Bass, Cello – Lars Danielsson; Drums – Morten Lund

Moon on My Shoulder

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Stéphane Grappelli - Swing From Paris 1935-1943 Vol.2

Styles: Violin Jazz, Swing
Year: 2004
File: MP3@320K/s
Time: 58:07
Size: 136,2 MB
Art: Front

(3:09) 1. Hot Lips
(2:58) 2. Ain't Misbehavin'
(3:01) 3. H.C.Q. Strut: H. C. Q. Strut
(2:37) 4. Swing from Paris
(3:02) 5. I've Had My Moments
(2:45) 6. Smiles: Time On My Hands
(3:15) 7. Scatter-Brain
(3:30) 8. Ting-A-Ling (The Waltz of the Bells)
(3:01) 9. Lying in the Hay
(2:29) 10. Playmates
(3:05) 11. Sweet Potato Piper
(2:58) 12. Twelfth Street Rag
(3:04) 13. Beat Me, Daddy, Eight to a Bar
(2:39) 14. I Never Knew
(3:28) 15. Body and Soul
(3:33) 16. Wide and Handsome: The Folks Who Live on the Hill
(3:10) 17. Weep No More, My Lady
(3:06) 18. That Old Black Magic
(3:07) 19. Heavenly Music

Jazz's most famous and most popular violinist, Stephane Grappelli was born in Paris on 26January 1908. His Italian father Ernesto(translated by the Parisians to Ernest) had come to the French capital as arefugee at the age of nineteen. A studious and refined individual who in hisyouth had been an aspiring dancer, he served in the Great War and althoughsubsequently a struggling business entrepreneur did his best to encourageStephane's artistic inclinations. Stephane's mother had died when he was threeyears old and he spent his early life in a Paris orphanage. Largely self-taughtat first in piano (a sample of his playing on \It Had To Be You" opens StephaneGrappelli Vol.1, Naxos 8.120570), he also trained at the Isadora Duncan schoolof dance but, inspired by classical music began to take a serious interest inthe violin at the age of twelve. His father taught him tonic sol-fa and having already mastered theharmonium at twelve he enrolled in piano and violin classes at theConservatoire, paying his way meanwhile by playing violin on cafe terraces.

In 1921, Stephane first heard Louis Mitchell's Jazz Kings atthe Coliseum and, by 1924 was himself actively playing (mainly piano) in summerseasons and in silent cinemas. Already an avid student of the latestdevelopments of American jazz, he was greatly impressed by the recordings ofLouis Armstrong, Bix Beiderbecke and, especially, by the Philadelphia-bornviolinist Joe Venuti (1903-1978) who, like Grappelli, had entered the world ofjazz via more classical channels. At first his engagements were centred aroundsmall jazz ensembles at Parisian society functions but from 1926 he performedin a piano duo within the band of Gregor et ses Gregoriens, a Jack Hylton-esqueband resident at the Casino de la Forât, and it was at this time that he firstmade the switch from piano to Venuti-style violin. In June 1930 the groupsailed to Buenos Aires and, on their return in October, toured the south ofFrance. At the end of 1930,Grappelli was back in Paris and by 1931 was regularly engaged at the Croix duSud, an avant-garde bohemian establishment frequented by, among other talents,Django Reinhardt.

By October 1932, he was playing piano once more with Gregorat the Paris Olympia. With this group he toured to Zurich, Lugano, Milan andRome and, prior to its permanent disbanding, to St. Jean-de-Luz, in 1933. Thefollowing year (with Django, Django's brother Joseph and Roger Chaput onguitars and Louis Vola on bass) he formed the Quintette du Hot Club de France,which made its first recordings in December 1934 and swiftly won renownthroughout Europe and the USA. Soon, the Club's two major protagonists werehousehold names and from 1935 Stephane and Django also recorded with ColemanHawkins' jazz ensemble before the Quintette first visited London, in 1938.

Their reputation on several recorded imports (includingtracks 1-6 here) having preceded them, the much-f?â?¬ted Hot Club made anotherappearance in London (at the Palladium) at the outbreak of World War II, inSeptember 1939. By this time Stephane was already domiciled in England and, onleaving the Quintette, remained to pursue a more solo profile, particularlywith George Shearing. Although in poor health and speaking little EnglishStephane was kept working in London throughout the blitz, assisted primarily byvocalist Beryl Davis and her father, Harry Davis, who fronted Oscar Rabin'sband. During late 1939, at the invitation of his friend the pianist ArthurYoung, he joined the resident band of Hatchett's Restaurant in Piccadillywhich, rivalled only the Cafe de Paris, ranked among London's plushest eatingand dancing establishments. Although a group known as the Swingtette was already in existence at therestaurant, Grappelli's arrival on 3 December 1939 was viewed as a major coupboth by Hatchett's and by Stephane himself. Up to that time little more than a well-intentioned societyband, the Swingtette now boasted a hot Parisian extra in the form of "TheWorld's Greatest Swing Violinist". Stephane, too, had cause for jubilation,having found a new niche as well as a new home: "I always think of England asmy second country", he later averred, "because I was welcomed during the warlike a brother, and I will never forget it"

From 29 December 1939 the group (on average a ten-partensemble, plus vocalist) recorded on a regular basis for Decca (the firstsession included Ting-A-Ling, a seemingly unlikely revival of a British popnumber of 1926 vintage and a characteristically swung version of FrankieMasters' imported American novelty Scatter-Brain). The "corny element" of theNovachord offset by Grappelli's swinging fiddle set the trend for an extendedfurther series of popular recordings, which ranged from various jazz'revivals', including Euday L. Bowman's Twelfth Street Rag (1916) and JohnnyGreen's Body And Soul (1930) to Lying In The Hay (an Anglicised version ofFrench cabaret-star Mireille's 1933 tune 'Couches dans le foin') and the latestAmerican dance and film material (by Don Raye, Jerome Kern, Harold Arlen andthe like). In the summer of 1940,soon after the outset of the Battle of Britain, Arthur Young was injured in anair raid and had to resign from Hatchett's. His place was taken in the Swingtette by the blind,twenty-year-old American George Shearing, heard here in the sessions of28February and 9April 1941 and 7July and 6October 1943. https://naxosdirect.co.uk/items/grappelli-stephane-swing-from-paris-143842

Swing From Paris (1935-1943)

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Helle Henning - As Long as We Both Know

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 37:10
Size: 86,3 MB
Art: Front

(4:11) 1. If Your Life Was a Movie
(3:46) 2. The Way You Make Me Feel
(5:08) 3. As Long as We Both Know
(4:28) 4. I Am No Shining Star
(4:38) 5. When Love Was You
(3:43) 6. Love is Right Here
(2:31) 7. Knock on Wood
(3:41) 8. I Never Will Forget
(2:05) 9. The Sweetest Moment
(2:54) 10. Little Bird

Helle Henning and Nikolaj Hess have once again been in New York to record an album, this time joined in the studio by the bassist and drummer from Norah Jones’ legendary "Come Away with Me" album - Tony Scherr and Kenny Wollesen. The recordings are now to be released on a new album with ten original songs. The album presents Helle Henning’s deliciously sultry, dark vocals and reveals her capacity for composing beautiful themes and writing clear lyrics using intimate and personal prose. Helle and Nikolaj have been drawn to the challenge of fusing American jazz with Nordic folkmusic for the past ten years. They love Tony and Kenny’s unmistakable sound and unique musical connection, which with Nikolaj Hess' intricate piano playing and Helle’s Hennings intimate vocal ties it all together. A translucent atmosphere is created throughout the album, settling in the landscape between jazz, folk and pop.

Helle Henning has been called the first Jazz Singer/Songwriter in Denmark. Her music is both present and timeless, and she writes lyrics that, while being poetic and beautiful, comes across as earthed and easy to relate to. On As Long As We Both Know the lyrical content is backed by musicians who in their own way are equally poetic in their expression. As Long As We Both Know is an album that you can chose to listen to carefully and immersed, or you can chose to have it running as the back drop to a beautiful and evocative evening. However you chose to listen, rest assured that you are in great hands. https://storyvillerecords.bandcamp.com/album/as-long-as-we-both-know

”Here is a voice that does not have to exaggerate in any way, but immediately fascinates us with its personality.” (Boris Rabinowitsch/ Politiken)

"The expression is timeless, yet very contemporary. It’s Nordic, melancholic and extremely jazzy. An empathetic calling card from an intense voice that is rich in facets” (Jazznews DK)

Helle Henning: Vocals; Nikolaj Hess: Piano & Rhodes; Tony Scherr: Bass; Kenny Wollesen: Drums; Matthias Heise: Harmonica (track 2, 5); Kirstine Elise Pedersen: Cello (track 3, 6, 9); August Wanngren: Accordion (track 10); Julie Boda & August Wanngren: BG-vocals (track 7)

As Long as We Both Know

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John Boutté - John Boutte With Conspirare

Styles: Vocal
Year: 2007
File: MP3@128K/s
Time: 29:19
Size: 27,1 MB
Art: Front

(1:39) 1. Wayfarin' Stranger
(6:48) 2. A Change Is Gonna Come
(2:55) 3. Please Send Me Someone To Love
(3:27) 4. A Thousand Beautiful Things
(4:20) 5. How I Got Over
(2:40) 6. Go Tell It On The Mountain
(3:36) 7. Home
(3:49) 8. I Could Have Danced All Night

John Boutté sings for all those in New Orleans and everywhere, that don't have a voice, were forgotten, denied, neglected...you get the idea. His singing exalts feelings and emotions few can express much less convey. He is that soul singer that only comes around once in a generation, this is his time!! John Boutté was born by the river, on November 3, 1958, the eighth of 10 children; and grew up in the Seventh Ward of New Orleans. It was a rich musical environment in those days. During his school days John played coronet and trumpet, those clarions of life in New Orleans, in his junior high and high school marching bands; he was a section leader, no less, in a town where marching bands duel like decked-out demons in the street. School also gave John the chance to sing, first at talent shows and then with street acapella groups, with names as, “Spirit,” and then “Remnant.” Street bands singing on the bricks of a town where “street singer” is still a respectable job title. Stir in the spices of the music of his older brothers and sisters, the music that ruled the street and raised the spirits. During these years traditional jazzmen like Paul Babarin, Louis “Big Eye” Nelson and Danny Barker became both John's friends and mentors. John's sister, Lillian Boutte, introduces the young singer to local legends like Dr. John, Allen Toussaint and James Booker.

After high school, John studied at Xavier University, a black Catholic institution. Upon graduating John was commissioned as officer in the U. S. Army, and provided with the opportunity to direct and sing in the Army gospel choirs in Virginia, Texas and, eventually, Korea. It was in Korea, ironically, when singing gospel and deep, deep blues after hours in restaurants he'd only accidentally entered, that he began to know himself as an American, an artist and a person. Not long after his return to the States, John was invited to tour Europe with his sister Lillian. Europe was a set of lessons in languages and cultures and customs, which gave John a chance to meditate on the very idea of a life led as a jazz singer. When John eventually got back home to New Orleans he continued singing. But now there was a new generation, a new breed of musicians available; musicians like Herlin Riley, Shannon Powell, Nicholas Payton and Bryan Blade. He began to open shows for the likes of Mel Torme, Lou Rawls, Rosemary Clooney and, Herbie Hancock. He struck out on his own and quickly acquired a reputation as a premier singer, and an unabashed front man. Through many gigs, and on many bandstands, he has built up a repertoire of quality material. Boutté can carry a song like it’s the end of the world. His voice is the perfect blend of gospel, soul and jazz with just enough blues to make it real.

Boutté has recorded some true gems. “Through the Eyes of A Child,” (1993) “ Scotch and Soda,” (1997) “Mardi Gras Mambo,” Cubanisimo in New Orleans (2000) is a critically acclaimed and award-winning Cubanismo album; a collaboration between Cuba and New Orleans; featuring the classic “Mother In Law” as a cha-cha cha and John's duet with Topsy Chapman “It Do Me Good.” “At the Foot of Canal Street,” (2001) “Carry Me Home,” (2003) and in 2003 again, the remarkable “Jambalaya,” offering sixteen helpings of John Boutte's mix of bayou- blended soul, backed by a band of seasoned New Orleans musicians. This record is John Boutté at his best.Yet another CD entitled “Gospel United,” a concert recording arranged in Denmark, contains his remarkable solo arrangement of “The Battle Hymn of the Republic”, which has achieved Gold Record status in several European markets

He is the recipient of the Best Male Vocalist Award, in the Offbeat Best of the Beat balloting. This is a big deal in New Orleans, and John is the perennial winner in this category. His performances are a crowd favorite at the yearly Jazz Fest, and he has traveled to Europe and South America with assorted bands of New Orleans musicians. He appeared on several Katrina Benefit shows and on recordings for the cause, as the New Orleans Social Club, “Sing Me Back Home,” featuring Ivan Neville, George Porter, Leo Nocentelli, Henry Butler, and Raymond Weber. In the aftermath of Katrina, John Boutté stepped up and became a strong voice in the reconstruction and rebuilding of New Orleans. This was his city and damn if he was going to let it be washed away. This writer was in New Orleans for Disaster Relief, and I met John in a record shop. He invited me down to Frenchman’s Street to check out his show.

In a sparse stage setting accompanied by an upright bass, a jazz box guitar and then Trombone Shorty on his ‘bone, he began to testify. His command of the stage and room spilled out onto the street where a crowd had gathered. For that one night, he owned that whole block down there, rolled it up and tucked it into his back pocket, then went into Sam Cooke’s “A Change is Gonna Come” and brought us all back home. Amen! It was a performance I will never forget! Singing his heart out amidst the Katrina experience and the overwhelming sorrow of a whole city, this guy shone a light on us. Even if it was for those few hours we all forgot that there was still darkness just around the corner, sadness up the street, and despair on the other side of town. There really is magical healing possible through the power of music. If the performer turns shaman and channels his energy, a transformation happens. On the banks of the river, the whisper of a spiritual with original intentions of possible redemption, brought laughter in a room where tears fell yesterday. “I’ve always performed with drama,” he says, “but since the levees failed, I’ve had to dig a little deeper. It takes a little more meditation and preparation than it did before. I have to connect with people’s suffering and find a way to bring them up. You don’t do that by putting on an act. You do it by being yourself, by being honest about your own suffering and finding some hope in the middle of all that. You do it by being as human as you can.”

John still lives in New Orleans, down in the French Quarter, a mile or so from the home in which he was raised. When he's in town he can be seen on his overgrown tropical balcony overlooking Rampart Street and Congo Square. Sometimes you can hear him singing, sometimes whistling, or sometimes you can hear him faintly from the street as he sits at his piano singing a Korean lullaby. John's job is to sing - to sing jazz, to sing it with such style and grace that no one ever mistakes him for anything other than a master. John is one of those remarkable cases where the art arises from the true heart. To know John is to hold onto the coattails of a butterfly. To hear him sing is to feel a brief touch of the wing. Though a lot of progress has been made since Katrina, there is still a lot of reconstruction and rebuilding which needs to be done. There are still a lot of relocated musicians. John Boutté is still very active in the Renewal of New Orleans and is spreading his message of hope wherever possible. He is a genuine talent, and a voice for his people back home, where he is loved, respected and admired and that is all that matters to him.

In December of 2007 John released “The Winter Solstice.” An extraordinary collection of 8 songs taken from the December 2006 performance of John Boutte with Conspirare for “Christmas at the Carillon” in Austin TX. Conspirare is a Grammy nominated professional chorale group from Austin directed by Craig Hella Johnson. The performance is an innovative and daring blending of sacred and secular, art music and popular music. The shared musical experiences are intended to bring us together in a spirit of unity, peace and hope, and to reflect upon the sacredness of all things. John in March of 2008 released his self produced recording entitled “Good Neighbor.” It received alot of airplay in the Big Easy, where he won the Best Male Vocalist award again from Best of the Beat. Not one to rest on his laurels John has just released in collaboration with guitarist Paul Sanchez,”Stew Called New Orleans.” On this record the two friends continue to roll along on a good time groove and take us with them for a musical journey through New Orleans.

Awards: John was selected as the "Best Male Vocalist" of the year at 2003 The Best of the Beat Awards, and also at the 2006 OffBeat Awards. On April 16, 2001 John Boutte was presented with the Big Easy Award for Best Male Vocalist. In addition John Boutte' & Cubanismo were selected for best Latin album for Mardi Gras Mambo.~ James Nadal https://musicians.allaboutjazz.com/johnboutte

John Boutte With Conspirare

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Francesco Buzzurro - NAXOS

Styles: Guitar Jazz
Year: 2006
File: MP3@320K/s
Time: 64:22
Size: 149,9 MB
Art: Front

(4:03) 1. Bahia do sol
(3:25) 2. Distancia
(5:00) 3. September 2001
(2:55) 4. Choro pra Teresa
(5:10) 5. Caravan
(3:37) 6. Song for Django
(4:13) 7. E adesso?
(6:35) 8. Libertango
(4:15) 9. Tango del sur
(2:16) 10. Una donna di nome chitarra
(6:02) 11. Blue cha cha
(6:10) 12. Terra
(4:58) 13. Onde
(5:37) 14. Naxos

Buzzurro began studying classical guitar at the age of six. He earned a diploma from the Bellini Conservatory in Palermo, and later obtained a Master of Advanced Music from the International Arts Academy in Rome. There he was taught by musicians such as Stefano Palamidessi, David Russell, Alberto Ponce, Hopkinson Smith, and John Duarte. https://peoplepill.com/people/francesco-buzzurro

NAXOS

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Ruby Braff - Just for Fun

Styles: Cornet Jazz
File: MP3@320K/s
Time: 78:19
Size: 180,5 MB
Art: Front

(4:52) 1. Out of Nowhere
(4:24) 2. Don't Blame Me
(5:05) 3. I Used to Love You
(4:19) 4. That Old Feeling
(6:30) 5. Mean to Me
(4:10) 6. I'll Do Most Anything for You
(4:02) 7. It All Depends on You
(3:58) 8. St. Louis Blues
(4:27) 9. I've Got the World on a String
(4:30) 10. Coquette
(8:05) 11. Sentimental Journey
(4:52) 12. Oh, No
(5:59) 13. Love Is Just Around the Corner
(4:17) 14. Squeeze Me
(4:12) 15. Struttin' with Some Barbecue
(4:33) 16. St. James Infirmary

Ruby Braff began his jazz career as an out-of-time traditionalist playing with veteran jazzmen of an earlier age, and rose to establish his own standing as one of the handful of leading artists playing in traditional and mainstream idioms. He did so on the back of one of the most beautiful instrumental sounds in jazz, a prodigious gift for phrasing melody, and an acute harmonic sense which revealed his awareness of more modernist developments in jazz. Louis Armstrong remained his touchstone and only avowed master, but his playing also reflected the influence of musicians like Bix Beiderbecke and Bobby Hackett. His musical voice, though, was always very much his own.

He was born Reuben Braff in Boston, and was self-taught on his instrument. He said that he wanted to play saxophone, but his father bought him a cornet instead. His trumpet style, which largely eschewed high-note pyrotechnics in favour of a softer exploration of the middle and bottom registers of the instrument, reflected that original love of reed rather than brass sonorities. He began working in local clubs in the Forties, and was recruited for the band led by the veteran clarinettist Edmond Hall at the Savoy Cafe in Boston in 1949. He made the move to New York in 1953, and was soon in demand for gigs and recording sessions in a traditional and mainstream vein.

His loyalty to traditional jazz at a time when the focus had shifted to more modern styles starved him of work for a time in the Fifties, but he returned to prominence with an All-Star touring band created by pianist and jazz impresario George Wein. Wein remained a loyal backer of the cornetist, and featured him regularly on his international tour and festival circuit. He worked with major band leaders like Buck Clayton, Benny Goodman and Bud Freeman as a young man, and in turn became something of a musical mentor to a new generation of young mainstream musicians in the Seventies, including saxophonist Scott Hamilton and guitarist Howard Alden. In the Eighties and Nineties he made a series of recordings for the major mainstream jazz labels Concord Jazz and Arbors, and formed highly-regarded duo partnerships with pianists like Mel Powell, Ralph Sutton, Dick Hyman, Ellis Larkins and Roger Kellaway.

Braff worked with singer Tony Bennett for two years from 1971-73, then formed a very popular and artistically successful band with guitarist George Barnes. The relationship ground to a halt in 1975 in characteristic fashion when Braff fell out with his collaborator. That pattern of alienating those around him was repeated on many occasions. Braff may have made some of the most beautiful music in jazz, but his own character was precisely the opposite. He was notorious for his abrasive and insulting behaviour to other musicians, promoters and even fans, a tendency made all the worse by his failing health over many years (he suffered from emphysema, glaucoma and heart problems). He was the headline artist at the first Nairn Jazz Festival in northern Scotland in 1990, and his appearance at the 2002 event was to be the last performance of his life. He cancelled a subsequent scheduled concert at the Brecon Jazz Festival in Wales and returned home. He was never fit enough to perform in public again. https://musicians.allaboutjazz.com/rubybraff

Just for Fun

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Geri Allen - Some Aspect of Water (Remastered)

Styles: Geri Allen
File: MP3@320K/s
Time: 68:00
Size: 156,1 MB
Art: Front

(11:03) 1. Feed The Fire
( 9:52) 2. A Beautiful Friendship
( 9:51) 3. Old Folks
( 8:15) 4. Smooth Attitudes
(19:07) 5. Some Aspects Of Water
( 9:49) 6. Skin

Pianist, composer, Guggenheim Fellow, and educator Geri Allen died on Tuesday, June 27, 2017 from complications of cancer in Philadelphia, Pennsylvania. She had recently celebrated her 60th birthday. Hailed as one of the most accomplished pianists and educators of her time, Allen’s most recent position was as Director of Jazz Studies at the University of Pittsburgh. She was especially proud of performing with renowned pianist McCoy Tyner for the last two years, and was also part of two recent groundbreaking trios: ACS (Geri Allen, Terri Lyne Carrington, and Esperanza Spalding) and the MAC Power Trio with David Murray and Carrington their debut recording Perfection was released on Motéma Music in 2016 to critical acclaim. “The jazz community will never be the same with the loss of one of our geniuses, Geri Allen. Her virtuosity and musicality are unparalleled,” expressed Carrington upon learning of her passing. “I will miss my sister and friend, but I am thankful for all of the music she made and all of the incredible experiences we had together for over 35 years. She is a true original a one of kind never to be forgotten. My heart mourns, but my spirit is filled with the gift of having known and learned from Geri Allen.“

She was the first woman and youngest person to receive the Danish Jazzpar Prize, and was the first recipient of the Soul Train Lady of Soul Award for Jazz. In 2011, she was nominated for an NAACP Award for Timeline, her Tap Quartet project. Over the last few years, Allen served as the program director of NJPAC’s All-Female Jazz Residency, which offered a weeklong one-of-a-kind opportunity for young women, ages 14-25, to study jazz. Allen was also recently honored to be one of the producers of the expanded and re-mastered recording of Erroll Garner’s The Complete Concert by the Sea, which garnered her an Essence Image Award nomination as well as a GRAMMY® Award-nomination in 2016. She felt strongly that students should have access to this material, and went on to organize a 60th anniversary performance of the material at the 2015 Monterey Jazz Festival with Jason Moran and Christian Sands.

Having grown up in Detroit, a region known for its rich musical history, Allen’s affinity for jazz stemmed from her father’s passion for the music. She began taking lessons at 7-years-old, and started her early music education under the mentorship of trumpeter Marcus Belgrave at the Cass Technical High School. In 1979, she was one of the first to graduate from Howard University with a Bachelor of Arts degree in jazz studies. It was there that she began to embrace music from all cultures that would ultimately influence her work. During that time, she studied with the great Kenny Barron in New York City. “I first met Geri when she was a student at Howard. She would take the train up to my house in Brooklyn for lessons. Even then it was apparent that Geri heard some things musically that others did not,” Barron reflects. “In 1994 we performed a duo piano concert at the Caramoor Festival in New York and I realized how fearless she was and at the same time how focused she was. It was a lesson that I took to heart. Geri is not only a great musician, composer and pianist, she is a giant and will be sorely missed.”More... https://geriallen.com/biography/

Personnel: Geri Allen - piano; Palle Danielsson - bass; Lenny White - drums; Johnny Coles - flugelhorn (tracks 3-5); Henrik Bolberg Pedersen - trumpet, flugelhorn (tracks 4 & 5); Kjeld Ipsen - trombone (tracks 4 & 5); Axel Windfeld - tuba (tracks 4 & 5); Michael Hove - alto saxophone, flute, clarinet (tracks 4 & 5); Uffe Markussen - tenor saxophone, soprano saxophone, bass clarinet, flute (tracks 4 & 5)

Some Aspect of Water (Remaster)

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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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