Boogaloo Joe Jones - Legends Of Acid Jazz Boogaloo Joe Jones, Vol 2

Styles: Soul-Jazz, Funk
Year: 1970
File: MP3@320K/s
Time: 74:34
Size: 172,5 MB
Art: Front

(7:20) 1. No Way
(4:52) 2. If You Were Mine
(6:02) 3. Georgia On My Mind
(7:12) 4. Sunshine Alley
(4:05) 5. I'll Be There
(6:49) 6. Holdin' Back
(5:37) 7. Ain't No Sunshine
(6:15) 8. I Feel The Earth Move
(7:02) 9. Fadin'
(7:06) 10. What It Is
(5:51) 11. Let Them Talk
(6:16) 12. Inside Job

A CD reissue that combines Jones' fifth and sixth Prestige LPs, Noway! (1970) and What It Is (1971), onto one disc. Grover Washington, Jr. (tenor sax) and Bernard Purdie (drums) are the key accompanists on both sessions. Noway! is a set of pretty funky early-1970s soul-jazz, though the covers of fairly straight pop numbers ("Georgia on My Mind," the Jackson 5's "I'll Be There") are kind of undistinguished. Better are the originals "No Way" and "Holdin' Back" (by Jones) and "Sunshine Alley" (by organist Butch Cornell), which have a more convincing groove. "No Way" is the toughest, with funk guitar lines betraying some influence from James Brown; "Holdin' Back" sounds a bit like a jazzy instrumental treatment of the kind of songs Marvin Gaye used to record in his early Motown days. Using the same personnel, Jones offers more good-natured funk-soul-jazz on What It Is. After getting a couple of contemporary pop covers (of Bill Withers' "Ain't No Sunshine" and Carole King's "I Feel the Earth Move") out of the way, it's mostly Jones originals. On his slower moments, as in "Fadin'" and Sonny Thompson's "Let Them Talk," he shows the influence of straight jazz players such as Wes Montgomery; "What It Is" and "Inside Job" are more cut-to-the-chase funk riffs. Jones has his cult following, but as soul-jazz goes, this is kind of run-of-the-mill: good for background, but not captivating foreground listening.~ Richie Unterberger https://www.allmusic.com/album/legends-of-acid-jazz-vol-2-mw0000047953

Legends Of Acid Jazz: Boogaloo Joe Jones, Vol 2

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Joey DeFrancesco - More Music

Styles: Jazz, Hard Bop
File: MP3@320K/s
Time: 65:26
Size: 152,8 MB
Art: Front

(3:39) 1. Free
(5:41) 2. Lady G
(6:41) 3. Just Beyond the Horizon
(7:29) 4. In Times of Reflection
(5:44) 5. Angel Calling
(7:24) 6. Where to Go
(4:38) 7. Roll With It
(4:14) 8. And If You Please
(6:05) 9. More Music
(7:10) 10. This Time Around
(6:37) 11. Soul Dancing

The mega-faceted jazz musician Joey DeFrancesco celebrated his 50th birthday in April, and has quite a résumé to show for it. More Music is his 39th studio album as a leader. Characteristically, he has delivered an effusive mainstream hard-bop/soul-jazz effort.

DeFrancesco plays organ, piano, keyboards, trumpet and tenor saxophone often more than one on the same track. That’s not doubling, that’s quintupling. And that doesn’t count his laid-back, everyman vocals on the standard-in-waiting, “And If You Please.” For good measure, DeFrancesco wrote and arranged all the material. Two highly simpatico players are all the support he needs. Lucas Brown plays organ, keyboards, acoustic and electric guitar. His comparatively restrained organ work countervails the leader’s unbridled effervescence. Drummer Michael Ode drives the entire affair with muscular swing. His 25-second solo intro to “Just Beyond the Horizon” is straight-up wild. No bassist necessary, by the way.

DeFrancesco plays his trumpet with spark (“Free”) and his tenor sax with warmth (on the ballad “Lady G” and the near-ballad “Angel Calling”), but no surprise it’s on Hammond B-3 that he shines brightest. He showcases that instrument on “Just Beyond the Horizon,” “Roll With It,” “Soul Dancing” and the title track, his fingers dancing across the keys with boundless swagger. https://www.jazziz.com/joey-defrancesco-more-music-mack-avenue/

More Music

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Silje Nergaard - Houses

Styles: Vocal
Year: 2021
File: MP3@320K/s
Time: 53:38
Size: 125,6 MB
Art: Front

(2:59) 1. His house
(3:19) 2. Window bird
(4:51) 3. A crying shame
(1:56) 4. Rain roofs
(5:46) 5. The ballet boy
(3:19) 6. I knew that I loved you
(3:27) 7. Night street
(4:33) 8. Candle in the window
(6:14) 9. Velvet curtains
(1:18) 10. Balcony ladies
(2:35) 11. My neighbour's cat
(3:57) 12. My crowded house
(3:42) 13. A long winter
(5:34) 14. One year

Multi-award-winning Norwegian jazz singer Silje Nergaard is a well-established artist with the world as her playground. She has released 16 albums since her debut in 1990. Her musical career got off to a flying start when she, at only 16, got up on stage in an impromptu jam session with Jaco Pastorius Band at Molde International Jazz Festival. The legendary jazz music critic Randi Hultin was in the audience and the result was next-day newspaper reviews announcing Norway’s new big jazz discovery. Silje’s debut single Tell me Where You’re Going recorded with guitar legend Pat Metheny was released in 1990 and instantly became an international success. It went straight to the top of the Japanese charts (where they even named a wine after her!)

Her album At First Light (2001) is to this day the best-selling jazz album of all times in Norway, selling more than 140.000 copies and spending 17 weeks on the charts. The single Be Still My Heart became Silje’s signature hit and from then on, she has been a household name in the international jazz scene. In 2008, she recorded the album A Thousand True Stories with the Metropole Orchest in Holland, under the baton of Grammy Award-winning composer Vince Mendoza. The title track received a Grammy Nomination in the US.

Silje is a pioneering artist in the international jazz scene and has developed her own unique sound and style both as a singer and a composer. She has toured worldwide with her music, performing and collaborating with the likes of Al Jarreau, Pat Metheny, John Scofield, Kurt Elling, Toots Thielmans and Morten Harket. Manhattan Transfer is one of many acts that have covered Silje’s music. Alongside composing, Silje frequently tours both domestic and internationally, and Germany is to date her biggest market.

In 2020, Silje Nergaard will be celebrating her 30-year anniversary as an artist by releasing two new albums, which will be followed up by international touring. https://www.siljenergaard.com/bio

Houses

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Alex Mendham and His Orchestra - Whistling in the Dark

Styles: Vocal, Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 65:54
Size: 156,1 MB
Art: Front

(2:56) 1. Choo Choo
(2:29) 2. Let's Fly Away
(4:35) 3. Home
(2:40) 4. Red Lips, Kiss My Blues Away
(3:17) 5. Treat Me Like a Baby
(3:23) 6. Tain't No Sin (To Dance Around in Your Bones)
(2:41) 7. Bend Down, Sister
(4:42) 8. Lullaby of the Leaves
(2:44) 9. Roll On, Mississippi, Roll On
(2:53) 10. Keep Your Undershirt On
(2:28) 11. South American Joe
(4:03) 12. Our Big Love Scene
(1:58) 13. Going Hollywood
(2:50) 14. Little Girl
(3:19) 15. I'll Never Have to Dream Again
(2:22) 16. I Heard
(4:14) 17. Weep No More My Baby
(3:37) 18. Love Thy Neighbor
(2:35) 19. Bugle Call Rag
(5:59) 20. Whistling in the Dark

Can a recreation of an original replicate it? The short, quick answer is NO!, especially for popular and improvised music. However, the longer, more thoughtful, answer is YES!, especially this music from the twenties and thirties as performed by leader Alex Mendham and his Orchestra. Whistling In The Dark is that rare creation where everyone involved has taken extraordinary measures, from recording techniques used, to the use of original arrangements to bring to the listener something approaching the feeling of being in a dance hall in 1929 (or so). Yes, there are issues: the performers and the music in some sense cannot be separated from the time. Jazz, hot or not, was in extraordinary ferment in the years of 1920 through 1940. One can hear it change almost month to month, as players were experimenting, listening to each other and gaining experience in improvising, while at the same time entertaining the paying audience. The usual lens through which this music is discovered is CD reissues of 78 rpm, three-minute-per-side recordings, and, to tell the truth, part of the charm is to hear the music through the pops and crackle and the primitive acoustical (and early electrical) recording techniques. There was no post-processing either the performance was accepted or rejected (and to possibly try again). What you hear is what happened then and there, with any chances taken exposed for everyone to hear.

It is in this feeling that Mendham and his Orchestra (NOT a band!) shine. The use of but two microphones in a live space allow each note to come alive with a thrust and forward momentum that carries their energy directly to the soul. Every player obviously loves this music and has gotten inside of it, to the extent that anyone who didn't live through the period can. The pace of the show is wonderful, using mostly lesser-known tunes, each of which has its own charms, as do the interspersed announcements. Two achingly beautiful tunes, "Home," and "Lullaby of the Leaves" are standouts and ought to become better known. There are light-hearted tunes like "'Tain't No Sin (To Dance Around in Your Bones)" as well as hot tunes like the driving opener, "Choo Choo," and "Bugle Call Rag." The arrangements give room for improvising here and there, all of which is quite admirable. Get out from in front of your TV, put on your tuxedo, get into your ballroom gown, place Whistling In The Dark in your player, and fox trot around the floor, smiling all the while.~ Budd Kopman https://www.allaboutjazz.com/whistling-in-the-dark-alex-mendham-and-his-orchestra-rivermont-records-review-by-budd-kopman

Personnel: Alex Mendham (leader, vocals, alto saxophone); Angus Moncrieff (trumpet); Geoff Bartholomew (trumpet); Chris Lowe (trombone); Nick Charles (soprano saxophone, alto saxophone, clarinet); Simon Marsh (tenor saxophone, clarinet); Orpheus Papafilippou (violin); Matt Redman (banjo, guitar); Tevor Wensley (piano); Marc Easener (tuba, string bass); Nicholas D. Ball (percussion); Mark Phillimore (Announcer).

Whistling in the Dark

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Pierluigi Balducci - Blue From Heaven

Size: 100,5 MB
Time: 42:55
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz: Modern Jazz, Post Bop
Art: Front

01. Introduction (1:18)
02. The Light Of Seville, Pt. 1 (4:09)
03. Fin De Siecle (4:28)
04. Unrequited (5:37)
05. Life In Three Sketches (5:04)
06. Blue From Heaven (4:27)
07. The Sky Over Skye (4:59)
08. L'equilibrista - To Ernst Reijseger (3:47)
09. Our Spanish Love Song (4:44)
10. The Light Of Seville, Pt. 2 (4:17)

Traveling the world from South Africa to Svalbard, a harsh truth is revealed: despite challenges facing recorded music—and, paradoxically, the sheer volume being released—an increasing number of musicians deserving broader recognition are unable to transcend their native countries. Hiring internationally renowned players might seem a good tactic, but the result too often reflects exactly what it is: unknown musicians playing with ringers. The music may be well-played—as it better be from such musicians of caliber—but does it actually feel like a group, players actually engaged together?

With four previous recordings, and a number of film scores and live European appearances behind him, the answer for Pierluigi Balducci is a resounding yes. An electric bassist clearly informed by Steve Swallow but never sounding like the American four-stringer, Balducci's all-star cast includes Oregon's reed/woodwind multi-instrumentalist Paul McCandless, the vastly influential pianist,John Taylor, and Michele Rabbia, the Italian percussionist whose profile has, most certainly grown through his series of ECM recordings with pianist Stefano Battaglia, including their 2010 duo session Pastorale.

A recording of unrepentant lyricism suggesting, at times, how Oregon might sound, had it originated in a Mediterranean country rather than the American Northwest, seven Balducci originals—one, the breezy 6/8 "The Light of Seville," bookending the record: first, as its de facto opener following the rubato miniature, "Introduction," its gentle melody a variation drawn from "The Light"; and, again, bringing Blue from Heaven full circle with a similarly structured take possessing just a tad added strength—are complemented by two covers that could not be more different yet, in these superb hands, cohere completely with the rest of the set.

Taylor sits it out on pianist Brad Mehldau's "Unrequited"—originating on Art of the Trio, Vol. 3: Songs (Warner Bros., 1998) but reprised, with guitarist Pat Metheny, on Metheny Mehldau (Nonesuch, 2006). Balducci draws upon early days as a classical guitarist, providing chordal accompaniment for McCandless' soaring soprano solo while, during his own affecting turn, demonstrating absolute comfort navigating its changes. The Metheny link continues with bassist Charlie Haden's "Our Spanish Love Song," from the pair's Beyond the Missouri Sky (Verve, 1997), another piano-less trio track.

Despite the name-power of those tracks, it's Balducci's writing that both shines and defines Blue from Heaven. The tango-esque "Fin de Siècle" shifts feel throughout its four-and-a-half-minutes, Taylor's increasingly buoyant support and Balducci's firm quarter-notes relaxing when the group turns to half-time, but only briefly. The bassist delivers a brief but compelling solo combining melodic intent and lithe imagination, while Taylor builds on characteristically dense voicings and dexterous linearity. McCandless, on oboe, reiterates the song's theme before taking the last and longest solo, his vertical intervallic leaps as impressive as his note-perfect thematic accuracy on this most difficult of double-reed instruments.

At just under 44 minutes, Blue from Heaven seems to pass by in an instant, but if there's truth in the adage "leave them hungry for more," Balducci succeeds in spades. He may have done so with musicians possessing considerably greater cachet, but throughout Blue from Heaven, this evocative and provocative bassist/composer is never less than a full-on and absolute equal. ~by John Kelman

Personnel: Paul McCandless: oboe, soprano saxophone; John Taylor: piano; Pierluigi Balducci: electric bass; Michele Rabbia: drums, percussion.

Blue From Heaven

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Frank Sinatra - L.A. Is My Lady

Bitrate: MP3@320K/s
Time: 37:01
Size: 84.8 MB
Styles: Vocal
Year: 1984
Art: Front

[3:12] 1. L.A. Is My Lady
[2:47] 2. The Best Of Everything
[3:54] 3. How Do You Keep The Music Playing
[3:45] 4. Teach Me Tonight
[2:41] 5. It's All Right With Me
[4:51] 6. Mack The Knife
[3:04] 7. Until The Real Thing Comes Along
[3:40] 8. Stormy Weather
[2:38] 9. If I Should Lose You
[3:07] 10. A Hundred Years From Today
[3:17] 11. After You've Gone

Frank Sinatra's final studio album of the '80s -- arguably the last true original album Sinatra recorded -- was an uneven but surprisingly enjoyable set that tried to adapt the singer's style to contemporary pop standards. Under the direction of arranger/producer Quincy Jones, the album incorporated more synthesizers and slick production techniques than any previous Sinatra album, but the result usually doesn't sound forced, especially on the hit title song. When the album does fail, it is because Jones' overly ambitious and commercial production -- such as the insistent dance beat of "How Do You Keep the Music Playing" -- prevents the song from taking root. Nevertheless, everyone involved, from Sinatra and Jones to the band themselves, sounds like they're having fun, and that sense of joy effortlessly translates to the listener. ~Stephen Thomas Erlewine

L.A. Is My Lady

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J.J. Johnson - Live At The Village Vanguard: 2 Albums: Quintergy / Standards

Quintergy

Recorded: 1988

Released: 1991

Size: 157,2 MB

Time: 68:16

File: MP3 @ 320K/s

Styles: Bop,Instrumental Jazz,Trombone

Art: Front + Tray

01. When The Saints Go Marching In [4:57]

02. Blue Bossa [6:30]

03. Doc Was Here [4:29]

04. Bud's Blues [6:00]

05. Quintergy [3:29]

06. Lament [5:50]

07. Why Indianapolis-Why Not Indianapolis? [8:00]

08. It's All Right With Me [2:46]

09. Coppin' The Bop [9:22]

10. Nefertiti [5:00]

11. You've Changed [5:49]

12. Commutation [5:59]

This is Vol.1 of a 2 part series recorded at the Village Vanguard in 1988.

Trombonist J.J. Johnson, 64 at the time of Quintergy, is heard in top form on this Live at the Village Vanguard set. His quintet, which includes Ralph Moore on tenor and soprano, pianist Stanley Cowell, bassist Rufus Reid and drummer Victor Lewis, is perfectly suited to interpret the spirited set of advanced bop. Highlights include Johnson's feature on "You've Changed," "Coppin' the Bop," "Lament" and his unaccompanied playing on "It's All Right with Me." Excellent music. Another Antilles CD, Standards, comes from the same sessions.(~~Scott Yanow)

"His clipped style fit the urgency of the music, and hip trombonists have been appropriating it ever since... like a kid who can't wait to play, Johnson is all over the music. Like the mature technician he is, he controls things with a sense of direction and climax." (~~Down Beat Magazine)

Quintergy: Live At The  Village Vanguard

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Standards

Recorded: 1988

Released: 1991

Size: 152,2 MB

Time: 66:21

File: MP3 @ 320K/s

Art: Full

01. See See Rider [6:17]

02. Shortcake [8:51]

03. Sweet Georgia Gillespie [3:22]

04. My Funny Valentine [6:45]

05. Just Friends [6:59]

06. Misterioso [5:53]

07. You Stepped Out Of A Dream [5:49]

08. Misty [5:21]

09. Autumn Leaves (Les Feuilles Mortes) [9:19]

10. What Is This Thing Called Love [7:41]

The second of two CDs coming from the same engagement at the Village Vanguard the first was Quintergy, this set features trombonist J.J. Johnson's quintet with Ralph Moore on tenor and soprano, pianist Stanley Cowell, bassist Rufus Reid and drummer Victor Lewis jamming on nine standards, plus the leader's "Shortcake." Johnson is in top form, particularly on "My Funny Valentine," "Just Friends," "Misterioso" and "Autumn Leaves." A good example of the ageless trombonist's talents. (~~Scott Yanow ,AMG)

This is Vol. 2 of a 2 part series recorded at the Village Vanguard in 1988. I love live performances. They often add an emotional excitement that compliments the spontaneity and extemporaneous of the art form itself. The bad news is that many time recordings of live sessions suffer appreciable loss of sound quality. The recording quality of this session is quite good. Every player in group is heard properly and in good balance. I love Rufus Reid's playing. Thad Jones once said he like a bass player who plays bass notes, not cello notes. I do too and Rufus Reid is a master. One the opener "See See Rider", his playing reminds me of Charlie Mingus. The group treatment of this tune has a sort of Mingus-like feel to it also.I like good swing. I particularly enjoyed the renditions of "Just Friends" and "What is This Thing Called Love". I listened to them over and over. "Just Friends", written by John Klenner in 1931, has become a much loved and recorded song by many fine jazz players. The harmonic changes to this tune are fun to play and good for open blowing. JJ takes full advantage.Ralph Moore has long one of my favorite tenor players. His improvisational skills and strong sense of swing are always a joy to hear and are clearly exemplified on "Friends", "What Is this Thing Called" and the other up tempo standards.The Intro of What is This Thing Called Love uses the ostinato or vamp made famous by Clifford Brown in his well know recording of this tune. Rocking good piano solo here. As always, this solo and all others are well supported by Reid on bass and Lewis on drums. This rhythm section's got a groove that don't move.From the Rogers and Hart Songbook, "Funny Valentine" is outstanding.

After food and shelter, one of my basic needs is for a good blues, "Misterioso" satisfies this need and gratifies me plum up one side and down the other. I particularly like the "feel and style" of Moore on tenor on this tune. Man, he is a fine player. His impeccable articulation and phrasing, along with his "fat sound' knock me out. The rhythm section builds up some heat and intensity behind him and it smokes. JJ Johnson was the most outstanding trombonist and the major influence on other trombonist after the mid 1940s. His early style of playing exhibited the fastest technique imaginable for a slide trombone player. In fact, many people thought he played valve trombone when they first heard him. His later style of playing is uses more "space" and a lot of musical sequences (a melodic idea repeated beginning on different note in the chord changes.) This style is displayed in this recording.He worked and recorded with Charlie Parker, Betty Carter, Dizzy Gillespie, Miles Davis, Stan Getz, Clark Terry, Sonny Stitt, Fats Navarro, Benny Carter and others "Pretty good company" says I. JJ passed away on February 4, 2001, but his wonderful music will be with us forever.

Line-Up:

J.J Johnson - Trombone

Ralph Moore - saxophones

Stanley Cowell - Piano

Rufus Reid - Bass

Victor Lewis - Drums

Standards: Live At The Village Vanguard

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Steve Tyrell - Shades Of Ray: The Songs Of Ray Charles

Styles: Vocal
File: MP3@320K/s
Time: 56:08
Size: 129,4 MB
Art: Front

(2:55) 1. Let The Good Times Roll
(3:21) 2. I Got A Woman
(3:32) 3. Georgia On My Mind
(3:18) 4. Hallelujah, I Love Her So
(4:00) 5. Ruby
(5:07) 6. I Can't Stop Loving You
(3:26) 7. You Don't Know Me
(3:29) 8. What'd I Say
(3:05) 9. Hit The Road Jack (feat. Sharlotte Gibson)
(3:31) 10. Am I Blue
(3:17) 11. Born To Lose
(3:46) 12. Big Bad Love (feat. Nita Whitaker)
(3:58) 13. Cry
(3:49) 14. Bye Bye Love
(3:27) 15. Crying Time
(2:00) 16. Curiosity (feat. Ray Charles)

Steve Tyrell is a larger-than-life 76 year old who has practically done it all in the music business. A former R&B band singer from Houston Texas, who chose his professional name while driving through the town of Tyrell, he moved to New York at 19 and became the A&R/Promo man at Scepter Records where he hustled Burt Bacharach/Hal David songs and produced Raindrops Keep Falling On My Head for BJ Thomas, wrote It’s Only Love for Elvis and How Do You Talk To An Angel, the TV theme for The Heights.

By the nineties he was established in Los Angeles producing music for movies, and his well received guide vocals on the songs he was producing for The Father of the Bride soundtrack (including The Way You Look Tonight) were subsequently used in the film and persuaded him to start singing professionally again. He had huge chart success with 1999’s A New Standard which was cleverly marketed through gift and clothes shops and other non traditional outlets, produced the Rod Stewart Songbook albums (all recorded in ‘girls keys’ for Stewart’s high vocal pitch), is a DJ for KJAZZ in Long Beach and continues to make records and tour. He’s now releasing a record celebrating Ray Charles’ 90th birthday (September 23rd), and what makes it work so well are the astute arrangements by album co-producer Bob Mann. He gives this well-known repertoire a shot in the arm, enabling Tyrell to really deliver these songs he obviously knows inside out, coming over like Dr John meets Delbert McClinton at the Café Carlyle. As Tyrell says, “Ray’s versions of these songs are so timeless that there’s no point in trying to copy him. What I tried to do is take the influence he’s had on me over the years and let that inspire performances straight from my heart.”

It’s all killer no filler: Let The Good Times Roll, Hallelujah I Love Her So, What’d I Say, I Can’t Stop Loving You and eleven more performed by a large group of A listers including saxophonists Andy Snitzer, Blue Lou Marini, Brandon Fields and Ricky Woodard, pianists Joe Sample, Chuck Leavell, Randy Kerber, Jim Cox and Andy Ezrin and guitarists Bob Mann and Grant Geissman. The string arrangements for Am I Blue and Ruby were written by Alan Broadbent (who also played piano) and the charts were recorded in Budapest. In fact, the album credits a number of different studio and home recording situations, and some of these tracks must have been on the back burner for some time as they feature long departed musicians such as trumpeter Lew Soloff who plays a wonderful solo on Georgia on my Mind and drummer John Guerin. Engineer and another co-producer John Allen has done well to mix this album so that everything fits together well.

A surprise addition is the bonus track Curiosity, a duet with Ray Charles written by Tyrell especially for Charles as the theme song to the 1989 TV series Snoops. Says Tyrell, “I played Ray the track in the studio and he just said, ‘Beautiful man, beautiful,’ which was the greatest thing I’d ever heard, especially since this was the first time he’d ever agreed to sing a title song for a TV series, and I wrote it. We had to re-write some of the lyrics to match changes that had been made to the show’s title sequence, so Ray had me sing him each re-written line one at a time so he could sing them back to me. I had a smile on my face for months after that. Can you imagine how thrilling it was to sing my words to Ray Charles and have him sing them back to me?” There are two more duets on the album, each with a superb vocalist, a funky Hit the Road Jack with Sharlotte Gibson and a version of Big Bad Love with Nita Whitaker, a song Tyrell wrote for Ray Charles and Diana Ross. There’s a dedication to participating organist Mike Finnegan, ‘a soulful friend’, in the sleeve notes. Tyrell is big on things soulful, he may not be jazz enough for some, but he’s a big hearted entertainer with a great voice who wants you to enjoy the music above all else.~ Adam Sieff https://londonjazznews.com/2021/09/20/steve-tyrell-shades-of-ray-the-songs-of-ray-charles/

Shades Of Ray: The Songs Of Ray Charles

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Anna Maria Jopek & Friends With Pat Metheny - Upojenie

Styles: Vocal And Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 80:00
Size: 191,2 MB
Art: Front

(3:32) 1. Cichy zapada zmrok
(4:50) 2. Przyp³yw, odp³yw, oddech czasu
(3:50) 3. Tam, gdzie nie siêga wzrok
(3:25) 4. Biel
(5:16) 5. Czarne s³owa
(2:46) 6. Letter From Home
(8:39) 7. Are You Going With Me?
(3:57) 8. Zupe³nie inna ja
(3:43) 9. Mania mienia
(6:58) 10. By on by³ tu
(4:49) 11. Upojenie
(3:54) 12. Piosenka dla Jasia
(3:22) 13. Me jedyne niebo
(2:26) 14. Polskie drogi
(4:31) 15. Je¿eli kochasz, to nie pamiêtaj mnie
(3:24) 16. Na d³oni
(4:30) 17. Nienasycenie
(3:14) 18. I pozostanie tajemnica
(2:44) 19. Licho

A cult favorite amongst Pat Metheny fans, Upojenie originally released by "Anna Maria Jopek & Friends with Pat Metheny" in the singer's native country of Poland by Warner Music in 2002 has been long overdue for greater international availability. The Nonesuch edition hasn't been remastered (it doesn't need it), but will still be of interest to Metheny fans for the inclusion of three bonus tracks (one studio, two live) that flesh it out to nearly 75 minutes. In contrast to the same-day reissue of Metheny's more spontaneous trio disc with bassist Dave Holland and drummer Roy Haynes, Question and Answer (Nonesuch, 2008), Upojenie's heavy production work more closely resembles a Pat Metheny Group project, although Metheny has never had a singer with as lovely a voice as Jopek's. Reworking material from Metheny's own back catalog in addition to traditional Polish songs and originals by Jopek, co-producer Marcin Kydrynski and other Polish writers, it's a soft, accessible album that spotlights Metheny's innate lyricism and Jopek's appealing tone. While others have put words to Metheny's music, most notably Kurt Elling's version of "Minuano" on Man in the Air (Blue Note, 2003), nobody has made it the focus of an album.

Sung in Polish, the meaning of the lyrics can only be gleaned from the liner notes, but what's most important is Jopek's voice. She's a star at home who deserves to be better-known abroad, with her ability to deliver in a pure, unaffected and subtly nuanced fashion making "Przyplyw, Odplyw, Oddech Czasu," based on Metheny's tender "Tell Her You Saw Me," from Secret Story (Nonesuch, 1992), all the more poignant. Metheny's often-covered ballad "Farmer's Trust" begins as a spare duet with Metheny on classical guitar, taking on a gentle, slightly bossa groove when bassist Darek Oleskiewicz and drummer Cezary Konrad enter, setting the stage for a beautifully constructed, melodic solo from pianist Leszek Mozdzer and a more dramatic build to the song's conclusion. Another Metheny favorite, "Are You Going With Me?" and a more radical, balladic reworking of "Me Jedyne Niebo" "Another Life" from Speaking of Now (Warner Bros., 2002) feature Metheny with his signature horn-like guitar synth, while "Zupelnie inna Ja" Secret Story's "Always and Forever" adopts a folksier vibe with the baritone guitar Metheny used exclusively on One Quiet Night (Warner Bros., 2003). In addition to the bonus tracks the balladic Polish Christmas Carol "Lulajze Jezniu," the spare duet "Na Calej Poloci Snieg" and considerably brighter album closer, "Szepty I Lzy" like Metheny's reissue of his classic Song X (1985, reissued by Nonesuch, 2005), the running order has been completely changed. There will be those who prefer the original sequence, but this version is improved by a certain seamless inevitability and narrative flow. Upojenie will appeal to fans of Metheny's more lushly produced Pat Metheny Group efforts, and bring overdue attention to Jopek a singer of pristine clarity and deserving of far greater recognition.~ John Kelman https://www.allaboutjazz.com/upojenie-pat-metheny-nonesuch-records-review-by-john-kelman

Personnel: Pat Metheny: 42 string Pikasso guitar (1, 6), electric guitar (2, 8), baritone guitar (3, 9), classical guitar (3, 7, 13), soprano guitar (4, 14), Roland guitar synthesizer (5, 6, 12), keyboards (5, 10), acoustic guitars (6, 10, 15), guitar synth (17), soprano acoustic guitar (16, 17); Anna Maria Jopek: voices (1-10, 12, 13, 15-17), choirs (4), "soap opera" vocals (5), backing vocals (6, 8, 12, 15), Fender Rhodes (6); Leszek Mozdzer: piano (2, 4-8, 11, 13, 15, 17), Pawel Bzim Zarecki: keyboards (2, 4-6, 8, 12, 15, 17), percussion (4), loops (4, 5), keyboard programming (10); Bernard Maseli: vibes (2); Darek Oleszkiewicz: acoustic bass (2, 4, 7, 8, 10, 12-14); Cezary Konrad: drums (2, 4-8, 10, 12, 13, 15, 17); Piotr Nazaruk: backing vocals (2), recorder (2), flute (4-6, 15), additional shaker (4), hammered dulcimer (5), additional male voices (15); Wojeich Kowalewski: shakers (2, 4-6, 15), temple blocks (2, 6), timpani (4), crotales (4, 6, 12), bongos (4, 6), tambourine (5), bells (5), vibraslap (5,12), congas (6), claves (6); Mateusz Pospieszalski: keyboards (2), loops (2, 12), orchestral chart (2, 12), conductor (2, 12); Marek Pospieszalski: turntables (2), classical guitar (8); String Ensemble: strings (2, 12); Marcin Pospieszalski: Fender jazz bass (5, 6, 15), loops (15); Henryk Miskiewicz: soprano saxophone (8, 9); Mino Cinelu: udu drum (8), triangle (8), shakers (8, 12), crotales (8), conga (12), wavedrum (12), percussion (17); Marek Napiorkowski: classical guitar (8), strumming guitar (17); Robert Kubiszyn: double-bass (17).

Upojenie

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Stan Getz, Bob Brookmeyer - Recorded Fall '61

Styles: Saxophone And Trombone Jazz
Year: 1961
File: MP3@320K/s
Time: 42:48
Size: 98,8 MB
Art: Front

(10:37)  1. Minuet Circa '61
( 4:46)  2. Who Could Care?
( 5:58)  3. Nice Work If You Can Get It
( 6:46)  4. Thump, Thump, Thump
( 6:59)  5. A Nightingale Sang In Berkeley Square
( 7:39)  6. Love Jumped Out

Stan Getz returned to the United States in 1961 after two years of living in Denmark and playing throughout Europe. That fall, while preparing for Focus, which was to become his favorite personal album, the tenorist went into the studio to recreate some of the quintet magic he and valve trombonist Bob Brookmeyer had produced in the mid-1950s. In fact, the group had recorded earlier in the year with Scott LaFaro on bass, but unhappy with his own playing, Getz refused to release the results. Due to LaFaro’s untimely death that summer, Getz enlisted John Neves to partner with pianist Steve Kuhn and drummer Roy Haynes for this subsequent session, Recorded Fall 1961.

It’s easy to see why Getz must have been pleased with the effort this time. His lines are relatively cliche-free and his fabulous tone, masterful technique and effortless swing are on display throughout. Brookmeyer, one of the most individualistic of improvisers, once again shows himself to be an ideal mate for Getz, combining a composer’s inventiveness with a Kansas City-bred earthiness and sense of swing. The trombonist also composed three tunes-“Minuet Circa ’61,” the ballad “Who Could Care?” and “Thump, Thump, Thump”-to go with his arrangements of a pair of standards and Buck Clayton’s “Love Jumped Out.” Getz liked the rhythm section so much that he continued to use them for his live engagements. Although Recorded Fall 1961 was released soon after its completion, this remastered reissue is part of Verve’s Master Edition series.

Nearly 30 years later, and a year before his death in 1991, Getz was still playing near the top of his form. With his cancer in remission, he was touring Europe with a quartet that included pianist Kenny Barron, bassist Alex Blake and drummer Terri Lyne Carrington. Synthesizer players Eddie Del Barrio and Frank Zottoli augmented the quartet on selections from Getz’s then recently released Apasionado, which featured Del Barrio’s electronically enhanced arrangements. Although some critics accused Del Barrio’s charts of being excessively pop-oriented, they did provide Getz with a congenial setting for his free-flowing lyricism. And at the Munich concert that comprises the first part of The Final Concert Recording, Getz imbues the five selections with his trademark passion and beauty despite a slight tendency to rely too heavily on some of his favorite melodic patterns. The other nine tracks on the two discs that constitute The Final Concert Recording exemplify quintessential small-group Getz. Digging in on the pop standards “What Is This Thing Called Love?” and “On a Slow Boat to China,” as well as the jazz compositions “Seven Steps to Heaven,” “Blood Count” (a Getz favorite), Barron’s “Voyage,” Thad Jones’ “Yours and Mine,” Johnny Mandel’s “El Cajon” and Benny Carter’s “People Time,” the quartet simply sparkles. Blake and Carrington provide a sometimes powerful, sometimes quietly urgent underpinning for Getz and Barron, and both soloists play with the confidence and polish expected of such consummate professionals. Although Barron had worked frequently with Getz, this occasion seems to have been particularly inspirational for him as he’s consistently all over the piano in an especially impressive display of invention. It seems fitting that Getz’s last recording, made a few months later, would feature just the two of them.https://jazztimes.com/archives/stan-getzbob-brookmeyer-recorded-fall-1961/

Personnel: Bob Brookmeyer - valve trombone; Stan Getz - tenor saxophone; Steve Kuhn - piano; John Neves - double bass; Roy Haynes - drums

Recorded Fall '61

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Joe Beck - The Journey

Styles: Guitar Jazz
Year: 1991
File: MP3@320K/s
Time: 62:19
Size: 142,8 MB
Art: Front

(6:43) 1. Killer Joe
(5:23) 2. Zanzibar
(5:51) 3. Quidado
(7:19) 4. Unspoken Words
(5:35) 5. So Long
(5:56) 6. I Don't Know
(4:18) 7. Prime Meridian
(4:52) 8. Body & Soul
(6:12) 9. The Journey
(4:19) 10. A Taste Of Honey
(5:47) 11. Invitation

At 45, Joe Beck bragged that The Journey contained "the best playing I've ever recorded." One tends to greet such lofty statements with a healthy amount of skepticism, but in this case, the artist had something to back it up. Even if The Journey isn't necessarily the best album Beck has ever recorded as a leader, it's certainly among his best. The guitarist's playing is confident and inspired throughout the post-bop/fusion album, and he definitely goes that extra mile on well-known standards like Bronislaw Kaper's "Invitation" and Benny Golson's "Killer Joe" as well as such Beck originals as the emotional "Quidado," the haunting "I Don't Know," and the intriguing title track. The fact that the Philadelphia native has enthusiastic support certainly doesn't hurt vibist Dave Samuels (of Spyro Gyra fame), bassist Chip Jackson, and drummer Terry Clarke all do their part to bring out the best in Beck. If you only own a few Beck CDs, The Journey should be among them.~ Alex Henderson https://www.allmusic.com/album/the-journey-mw0000263612

Personnel: Joe Beck - guitars; Dave Samuels - vibraphone; Chip Jackson - bass; Terry Clarke - drums

The Journey

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Brian Culbertson - The Trilogy, Pt. 1: Red

Styles: Smooth Jazz, R&B, Funk
Year: 2021
File: MP3@320K/s
Time: 55:25
Size: 127,2 MB
Art: Front

(6:52) 1. Feel the Love
(5:26) 2. Just Let Go
(4:45) 3. Come on Over
(5:09) 4. Infatuation
(5:59) 5. Deep in the Night
(5:20) 6. Whispers
(5:02) 7. Eyes Closed
(4:23) 8. Lost in You
(6:34) 9. One More Kiss
(5:50) 10. Dreamstate

Hitmaker Brian Culbertson never imagined hanging with fans online would lead to something of a collaborative masterclass spawning an album trilogy, but that’s how “The Trilogy” was conceived. The first album in the series, an intimate, passion-themed set titled “The Trilogy, Part 1: Red,” dropped Friday from BCM Entertainment. Written, produced and performed by Culbertson, the multi-instrumentalist credits members of his Hang Club with helping him craft the tracks, title the songs, and even assist with the cover artwork via weekly members-only YouTube Live sessions. As viewership for Culbertson’s Friday night Facebook Live show, The Hang, took off in the spring of 2020 while he was unable to tour, he hatched the idea of creating The Hang Club, providing exclusive perks and behind-the-scenes opportunities for tier two members and above, including access to smaller Monday and Wednesday night live streams via YouTube unlisted. The Monday night sessions evolved into somewhat of a masterclass at which “Professor BC,” as Hang Club members dubbed him, wrote songs with immediate input from the Hang Club.

“What was cool about it was I truly got instant fan feedback of what they were digging and what they may not like. I got to bring them along, educating the fanbase on what an early demo sounds like, which is nothing like a finished record. I had to educate everyone’s ears to understand where it starts - the beginning, middle and end - after it’s mastered and how it really transforms over time and gets better and better and better slowly. That’s been a fun part both from my side and for them,” said Culbertson about Hang Club members. As he wrote more material, Culbertson began to notice that the songs emotionally fell into three distinctive categories: passion, melancholy and hope. Then he envisioned assigning a color scheme to each theme: red, blue and white.

“When I first started the process, I did not have ‘The Trilogy’ in mind. I was just writing new songs at that point. I started writing a bunch and it slowly came into focus that they all sounded sonically similar in terms of the production style. However, the feeling that you would get from the songs became clear in three distinct groups. For instance, on ‘Red,’ all those songs were clearly about passion and love. Some of the songs were melancholy, sad really made you think…introspection. Then, the third section of songs were more fun, happy and hopeful. ‘The Trilogy’ mirrors a relationship arc. ‘Red’ is the steamy beginning, ‘Blue’ is the rocky middle, and ‘White’ is the ‘and they lived happily ever after.’” "The Trilogy, Part 1: Red” is an alluring, atmospheric listen. The rhythmic grooves churn seductively as deep bass and captivating melodies bathe and caress body, mind and soul. Romantic and desirous, steamy and intense, sultry and sexy.

Keeping with the cozy nature of the material, Culbertson plays most of the instruments himself, including piano, keyboards, Fender Rhodes, Wurlitzer, Hammond B3 organ, bass, drums and percussion, trombone, and even some guitar. The record includes contributions by guitarists Isaiah Sharkey, Randy Bowland and Darnell “Showcase” Taylor; bassists Alex Al and Rishon Odell, and vocalist Micaela Haley. Culbertson also surprises with dreamy, layered vocalese on “Infatuation” and a full lead wordless vocal on “Lost in You.” In fact, the latter made it onto the album at the urging of the Hang Club. https://thejazzworld.com/brian-culbertson-the-trilogy-part-1-red-out-now/

The Trilogy, Pt. 1: Red

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Champian Fulton, Stephen Fulton - Live from Lockdown

Styles: Vocal, Piano, Trumpet Jazz
File: MP3@320K/s
Time: 63:03
Size: 144,9 MB
Art: Front

(5:49) 1. I Hadn't Anyone Till You
(4:58) 2. You've Changed
(5:49) 3. Satin Doll
(4:01) 4. Blow Top Blues
(5:39) 5. Moonglow
(4:33) 6. What Is This Thing Called Love
(5:00) 7. What Will I Tell My Heart
(4:34) 8. Look for the Silver Lining
(4:19) 9. I Had the Craziest Dream
(8:24) 10. Pass the Hat
(4:18) 11. I'm Forever Blowing Bubbles
(5:03) 12. Midnight Stroll
(0:31) 13. A Message from Champian and Stephen

The multifaceted pianist and vocalist Champian Fulton is pleased to announce the release of her new album Live from Lockdown, due out September 10, 2021. After her captivating Sunday-evening webcasts took audiences by storm throughout the COVID-19 lockdown, Fulton decided to offer a permanent recording of her series. To be released digitally and as a limited edition compact disc, Live from Lockdown features a representative selection of some of the most popular sessions from Fulton and her steadfast collaborator, her father Stephen Fulton on flugelhorn and trumpet. A profound display of cheerful composure during an uncertain time, Live from Lockdown showcases the musicians’ sophisticated synchronicity among a collection of re-imagined jazz classics and Fulton originals. https://www.champian.net/live-from-lockdown

Personnel: Champian Fulton (p,vo); Stephen Fulton (flh,tp)

Live from Lockdown

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The Anita Kerr Singers - The Great Days Of The Big Bands

Bitrate: MP3@320K/s
Time: 48:44
Size: 111.6 MB
Styles: Vocal group harmonies, Easy Listening
Year: 2003
Art: Front

[2:10] 1. Take The 'A' Train
[3:47] 2. Begin The Beguine
[3:08] 3. 'round Midnight
[3:32] 4. Sunny Side Of The Street
[3:35] 5. Sentimental Journey
[2:50] 6. Hot Toddy
[3:47] 7. Stompin' At The Savoy
[2:31] 8. I'll Never Smile Again
[2:41] 9. String Of Pearls
[3:53] 10. Mood Indigo
[4:15] 11. Don't Get Around Much Anymore
[2:29] 12. Happiness Is A Thing Called Joe
[3:13] 13. I'm Getting Sentimental Over You
[3:23] 14. I've Got My Love To Keep Me Warm
[3:23] 15. Early Autumn

"I was born in Memphis, Tennessee. My mother and father were born in Italy and were around 12 and 15 years old when they immigrated to Mississippi with their families. They came to the USA to work on farms, and then as the years went by they migrated to Memphis. By that time my father owned a grocery store."

Anita Kerr was the vocal embodiment of the "Nashville Sound" which dominated country music throughout the mid-'50s and '60s. Along with the Jordanaires, her group, the Anita Kerr Singers, were the seminal backing vocal unit of the era, and it is estimated that at their early-'60s peak, they graced fully one-quarter of all of the records coming out of Nashville's studios. After touring Europe in 1964, she moved to California the next year to focus her energies on freelance production and songwriting, even as two of the Singers' LPs, We Dig Mancini and Southland Favorites, were winning Grammy awards (in the Vocal Group and Gospel categories, respectively). In the later years of the decade, Kerr teamed with poet Rod McKuen for a series of mood-music records, titled The Sea, The Earth, and The Sky, for which the Singers were renamed the San Sebastian Strings and Singers. At the same time, the group were featured weekly on the Smothers Brothers' sketch comedy program. By the 1970s, Kerr produced a number of easy listening records before moving to her second husband Alex Grob's native Switzerland to compose music for films. Eventually, she returned to Memphis. ~ Jason Ankeny

The Great Days Of The Big Bands

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Jim Snidero - Strings

Styles: Saxophone And Flute Jazz
Year: 2003
File: MP3@320K/s
Time: 55:49
Size: 127,8 MB
Art: Front

(4:59)  1. Slipping Away
(7:04)  2. Dawn
(7:39)  3. On The Bank
(5:12)  4. Torrent
(7:15)  5. Theme For Ernie
(9:33)  6. Forever Gone
(7:01)  7. Ventura
(7:04)  8. It's The Talk Of The Town

By staying in touch with his roots as a hard blowing alto saxophonist and leader of razor-sharp small bands, Jim Snidero has successfully married a ten-piece string section and a conventional jazz quartet. His arrangements of six original compositions (including the three-part “River Suite”) and two standards entail a constant shifting between the relative freedom of improvisation, and the tighter organization made necessary by the larger ensemble. The recording’s primary soloist, Snidero consistently radiates excitement and a beboper’s willingness to take risks on ballads (“Theme For Ernie,” “Forever Gone”) and upbeat material (“Slipping Away,” “Ventura”). These liberties are enhanced by the fact that he never allows the strings to become too dense or overly prominent yet, his writing for the section is often full, lush, and beautiful. During “It’s The Talk Of The Town,” for example, they lay out for an entire chorus, then return and serve as a muted foil for the leader’s flight. Another important factor in the recording’s success is an excellent, responsive rhythm section. Pianist Renee Rosnes (who contributes several fine solos), bassist Paul Gill, and drummer Billy Drummond are just right for Snidero’s elastic group conception, mixing a flowing, unforced sense of motion with more concentrated swing. Drummond, in particular, is brilliant. At times his brushes on the snare or a stick to the ride cymbal are barely audible; in other instances, like on “Torrent,” his persistent accents to the drums take charge and confront the ensemble and soloists. ~ David A.Orthmann https://www.allaboutjazz.com/strings-jim-snidero-fantasy-jazz-review-by-david-a-orthmann.php

Personnel: Jim Snidero (arranger, alto saxophone, flute); Mark Feldman, Joyce Hammann, Cenovia Cummings, Paul Woodiel, Sue Lorensten (violin); Ralph Farris, Kenji Bunch (viola); Thomas Ulrich, Mary Wooten (cello); Renee Rosnes (piano); Paul Gill (bass); Billy Drummond (drums).

Strings

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Joan Chamorro, Joan Martí - Joan Chamorro Presenta Joan Martí

Styles: Mainstream Jazz
File: MP3@320K/s
Time: 69:27
Size: 161,5 MB
Art: Front

(5:10) 1. The Night Has a Thousand Eyes
(3:32) 2. Stardust
(3:10) 3. Cedar’s Blues
(3:52) 4. Like Someone In Love
(7:44) 5. Jeannine
(3:27) 6. Água de Beber
(5:21) 7. On a Misty Night
(4:48) 8. Like Sonny
(3:26) 9. Jackie
(3:58) 10. Cloudy
(4:28) 11. Nature Boy
(4:42) 12. Marshmallow
(6:55) 13. Stars Fell On Alabama
(5:37) 14. The Last Train From Overbrook
(3:09) 15. Indian Summer

I remember when I met Joan Martí. He was 7 years old and he was already a serious, responsible and very orderly person, with a special sense of humor. We laughed a lot in class. I was being serious, like him. He had a great ability to concentrate. He was constant. Demanding with what was asked of him and demanding with himself. All these characteristics he continues to maintain now, 15 years later, when this CD is released. He was part of Sant Andreu between 2010 and 2020 and I continue to count on him for other projects. We always laugh when we remember that he spent a year playing Bill Bailey's first alto. Those were other times and we all learned our homework. They to play the sax, falling in love little by little with jazz, and I to try to teach better. His evolution was so great that he soon became a fundamental musician in the orchestra. He has led the string of saxophones, with a very fine, powerful sound, with the right vibrato at every moment, expressive as well as sober. He has alternated the alto sax with the tenor, the soprano, the clarinet, the flute, which has become important in his panoply of instruments, as well as the voice, with which he has a long way to go to develop.

As a soloist, he has recorded his evolution and know-how in several of the jazzings in recent years, and also in some of the performances of his fellow orchestras, such as the one who sees the light parallel to his, Marçal's. Perramon. I am really very happy that our paths crossed and that I was able to witness the personal and musical growth of a great person and a great musician that, I am sure, we will hear about. The CD that we present is a marvel, a balance between arrangements for various instruments (mostly by Joan Monné) and quartet or quintet themes, also paying tribute to the great tenors in jazz history. I would highlight the participation of Joe Magnarelli, Perico Sambeat and Carlos Martín as guest soloists and also the rhythmic base with Joan Monné, David Xirgu and, in some songs, Josep Traver.

The vocal part is also important in some songs, by Andrea Motis, Joana Casanova and Joan Martí himself. As well as the original arrangement for the entire Sant Andreu Jazz Band, by Joan Martí himself, of the beautiful Indian Summer song. If they ask me for an alto sax that leads, that does good solos, that reads at sight, that doubles with other instruments and that is serious with the work, I do not doubt it, automatically without thinking, I say: “Call Joan Martí, you will not regret"~Joan Chamorro Translate By Google https://santandreujazzband.bandcamp.com/album/joan-chamorro-presenta-joan-mart

Joan Chamorro Presenta Joan Martí

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Roseanna Vitro - Sing a Song of Bird

Styles: Vocal
File: MP3@320K/s
Time: 60:35
Size: 139,7 MB
Art: Front

(4:55) 1. People Chase
(5:14) 2. The Scatter
(3:21) 3. Bird’s Song
(4:42) 4. Parker’s Mood
(5:22) 5. Grapple With The Apple
(4:49) 6. Audubon’s New Bluebird
(4:43) 7. Sheila, Jazz Child
(6:43) 8. Quasimodo
(4:31) 9. Now’s The Time
(6:17) 10. Yardbird Suite
(4:27) 11. Ko Ko / Cherokee
(5:26) 12. These Foolish Things

Vocalist Roseanna Vitro is a favorite among jazz aficionados and musicians alike. That’s why Cedar Walton has said, “Roseanna Vitro, one of my favorite vocalists, sings with a great feeling for jazz. Her readings on major compositions are monumental.” Her outsized talents and passion for the music are matched only by the generosity of her spirit, which shines beautifully on her newest recording Sing a Song of Bird, a celebration of the great and inimitable Charlie Parker. Vitro conceived this project driven by a desire to develop new lyrics to Parker tunes. She chose to share the microphone with three of her mentors, bebop jazz legends Sheila Jordan, Bob Dorough, and Marion Cowings, each of whom take solo turns with their soulful interpretations of several compositions by Bird. Sing a Song of Bird has taken a long time to come to fruition. It was recorded in two sessions, the first in 2017 and the second in 2021.

Vitro had seen Jordan many times on the New York City jazz scene. She has held Jordan in the highest regard, not only for her singing, but also who she is as a person. Vitro says, “I love everything about Sheila. She is a shining example for young or older jazz singers all over the world. She treats everyone with love and dignity, plus she proudly carries the soul and spirit of Charlie Parker's music.” Vitro and Dorough are both natives of Arkansas. They first met in 1998, when they were inducted into the Arkansas Jazz Hall of Fame. They soon became friends, and Vitro recorded his song “Nothing Like You” on her 1994 release, Softly. But she had never worked with Dorough, nor had she worked with Jordan. So Vitro conceived of the Bird album as a way to share the stage with two of her favorite artists.

Jordan and Dorough were thrilled with the opportunity to appear on the same bill with each other and Vitro, and the chemistry was apparent right from their first gig at the Deerhead Inn in the Poconos. Vitro relates the story of one of their last gigs, “Bob was such a beautiful soul. We were scheduled to do a show at Kitano in New York, but Bob pulled out. He was very ill with cancer and was going into hospice. It was terrible news. The show was booked and I had already hired a replacement, when I got call from Bob asking me if I still wanted him to do the show because he didn’t die and they kicked him out of hospice. He showed up and was amazing.”

Because Dorough’s health was failing, Vitro quickly organized a session to document his vocalese to Parker’s “Bluebird” and lyrics to “Red Cross.” Vitro is known as one of the premier interpreters of lyrics, and her concept for the album was to sing several Bird tunes with fresh lyrics. She and her husband Paul Wickliffe, who is also a master recording engineer and producer of this album, wrote new lyrics to some tunes, as did Dorough and Jordan. Vitro relates, “I flipped when I first heard Bob’s masterpiece, ‘Audubon's New Bluebird.’ Bob had started writing the lyrics years ago, but never got around to finishing. Although he had wanted to finalize them for years, making the album was the impetus he needed to finally complete them. He was 94 years young when he finished the lyrics and recorded with us. It was worth the wait.”

Vitro assembled some of the top East Coast musicians for the first session, including Mark Gross on alto saxophone, who is featured on two Grammy- winning albums of Dave Holland, pianist Jason Teborek, prolific bassist Dean Johnson, and veteran jazz drummer Bill Goodwin, well-known for 30 years with Phil Woods. Unfortunately, the album was put on hold after Bob Dorough’s passing, in addition to many life changes, including Covid-19. When it looked like the worst of the pandemic was behind us, Vitro arranged for a second session with a new band. She brought on board an old friend, jazz singer Marion Cowings, a master of scat and vocal technique. Vitro says, “Jon Hendricks loved Marion. He possesses an extraordinary voice, interpreting bebop music with clear diction and heart.”

She also added famed saxophonist Gary Bartz to the mix. Bartz’s history with McCoy Tyner plus his compositions and recordings are well- known in the jazz world. Also in the band are two-time Grammy winner, pianist Alan Broadbent, and swingin’ drummer Alvester Garnett. Bassist Dean Johnson, who appears on the first session, completes the band. Vitro opens the album with “People Chase,” based on “Steeplechase,” with a tale of how the “human race is like a horse race” written by Paul Wickliffe. Vitro and Dorough trade scats on “The Scatter,” with new lyrics by Dorough sung to Bird’s “Red Cross.” “Bird’s Song” (“Relaxin’ at Camarillo”) by Sheila Jordan, is a history of Bird and the musicians who were on the scene. Jordan sang with Bird and her singing on the tune is a master class in bebop phrasing. Cowing’s rich, baritone voice breathes new life into “Parker’s Mood,” with the original lyrics by King Pleasure.

“Audubon's New Bluebird,” based on “Bluebird,” is a prime example of the wit, personality, and immense songwriting talents of Dorough. Vitro finally gets her chance to perform with Jordan on “Sheila, Jazz Child,” based on “Cheryl” with the original first verse lyrics by Gary Brocks, followed by Wickliffe’s ending two verses. On “Quasimodo,” Jordan adds her own original lyrics that describe how important Bird’s music has been to her. Vitro takes a solo turn on “Grapple with the Apple,” based on “Scrapple From the Apple,” re-imagined as a bossa nova with Wickliffe’s lyrics about a New Yorker flying to the beach to escape the madness. Cowings really swings on “Now’s the Time,” singing Jon Hendricks’ well-known lyrics with one verse by Eddie Jefferson.

Vitro sings Bird lyrics to “Yardbird Suite.” “Koko/Cherokee” is an instrumental tune featuring the magnificent Gary Bartz. Vitro saved “These Foolish Things” for the closer. Although it’s not a Charlie Parker tune, she wanted to sing these beautiful lyrics with Bob and Sheila. This song speaks to the joy and love they shared together in this special moment. It is a unique and memorable recording with three legends singing together.

Sing a Song of Bird is a special recording that goes beyond being a mere tribute album – it’s legacy. Dorough was 94 and Jordan was 89 when they recorded the heartfelt stories from their lives. Their status as jazz legends is uncontested. Dorough is no longer with us, but Jordan is still going strong, with a busy schedule and performances around the world. Marion Cowings may be heard for the first time here, but we’re sure it won’t be the last. And, of course, we are very lucky to have Roseanna Vitro still making music and dedicated to exploring new avenues of creativity, as she will for years to come. https://www.allaboutjazz.com/news/famed-vocalist-roseanna-vitro-releases-sing-a-song-of-bird-feat-sheila-jordan-bob-dorough-marion-cowings

Featuring Sheila Jordan, Bob Dorough, Marion Cowings, Gary Bartz, Mark Gross

Sing a Song of Bird

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Pat Metheny - Trio 99->00

Styles: Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 65:22
Size: 150,6 MB
Art: Front

(5:37) 1. (Go) Get It
(7:54) 2. Giant Steps
(4:43) 3. Just Like The Day
(8:28) 4. Soul Cowboy
(4:35) 5. The Sun In Montreal
(6:19) 6. Capricorn
(5:30) 7. We Had A Sister
(5:24) 8. What Do You Want?
(5:29) 9. A Lot Of Livin' To Do
(5:30) 10. Lone Jack
(5:48) 11. Travels

There's really no surefire way to avoid all the hyperbole when discussing the exploits of the multi-faceted Pat Metheny. He is a genuine musician in all sense of the word, capable of distinguishing himself in everything he does, from soundtracks to avant-garde jazz. That he also happens to hit on a judicious mix that finds him popular with those who probably couldn't tell the difference between John Coltrane and Sonny Stitt is not an accident. For all his technical proficiency and ingeniousness, Metheny is at once a very emotionally-based player, able to bring a tear to the eye or a rousing shout to the voice. Over the course of some 20 years of recording, Metheny has utilized the trio format on only three other occasions prior to Trio 99-00 - on 1975's Bright Size Life, Rejoicing from the mid-'80s, and the more recent Question and Answer. And as distinguished as each one of these releases is in Metheny's catalog, arguably this latest trip into "trio land" is his finest hour.Taking nothing away from his venerable sidemen on the previous albums, it occurs to this reviewer that the talents of Larry Grenadier and Bill Stewart, both a bit younger than Metheny, inspire him in a fresh and distinct manner. Obviously the connection was there, because all the tracks were first takes that were committed to tape without so much as a listen to the playback.

As with all of Metheny's work, much thought was given to the selection of tunes. The majority of the cuts are originals, some new and others making a repeat performance, such as "Travels", "Lone Jack", and "We Had a Sister". In addition, there's the Metheny take on such standards as "Giant Steps" (with shifting accents over a light bossa groove), Wayne Shorter's "Capricorn", and the showtune "A Lot of Livin' To Do". On three of the disc's ten tracks, Metheny utilizes the acoustic guitar in an almost folkloric manner. Bringing to mind similar efforts from the Travels album (the title track of which is reprised here), one can't help but be moved by the shear beauty and heartfelt timbre the guitarist achieves. Completing the triumvirate, "We Had a Sister" was written for Joshua Redman's second record, Wish, while the dark and brooding "Just Like the Day" was inspired by the trio's tour of Italy. Throughout the proceedings, Grenadier and Stewart are fully-participating partners and each gets the lion's share of solo space as well. Stewart's forays, in particular, seem so well suited to Metheny's modus operandi- quirky and pointed and far from the customary (check out his spots on "What Do You Want?" and "Lone Jack"). As refined as Trio 99-00 is, it wouldn't be a surprise if this one made it on a lot of people's lists as a highpoint of the jazz year 2000.~C.Andrew Hovan https://www.allaboutjazz.com/trio-99-00-pat-metheny-warner-bros-review-by-c-andrew-hovan

Personnel: Pat Metheny: guitar; Larry Grenadier: bass; Bill Stewart: drums.

Trio 99->00

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Jan Garbarek - Legend of the Seven Dreams

Styles: Saxophone, Flute Jazz 
Year: 1988
File: MP3@320K/s
Time: 54:49
Size: 125,6 MB
Art: Front

(13:37)  1. He Comes from the North
( 5:03)  2. Aichuri, The Song Man
( 8:12)  3. Tongue of Secrets
( 8:07)  4. Brother Wind
( 1:49)  5. It's Name Is Secret Road
( 7:19)  6. Send Word
( 6:55)  7. Voy Cantando
( 1:15)  8. Mirror Stone I
( 2:29)  9. Mirror Stone II

Though in step with its time, this release suffers from excessive reliance on ambient synthesizers, which litter much of the recording, rendering it only slightly more interesting than many of the Windham Hill new age recordings of the same era. Unfortunate, because the disc opens with strength and gradually peters out by the end. The disc opens with "He Came From the North," which features a melody based on a traditional Lapp joik from the artist's native Norway and progresses into a longer section with an interplay that is both sparse and rhythmic. The sax line here is astonishingly beautiful. The second piece, "Alchuri, the Song Man," a sax and percussion piece, is energetic and lively as well. And from here the energy gradually diminishes. Much can be attributed to popular styles of the time, but this release simply does not stand up to other music of its genre that came later. ~ Mark Allender https://www.allmusic.com/album/legend-of-the-seven-dreams-mw0000202347

Personnel: Jan Garbarek (soprano & tenor saxophones, flute, percussion); Nana Vasconcelos (vocals, percussion); Rainer Bruninghaus (keyboards); Eberhard Weber (bass)

Legend of the Seven Dreams

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Pee Wee Ellis - Sepia Tonality

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 47:31
Size: 111,5 MB
Art: Front

(4:14)  1. What Are You Doing The Rest Of Your Life
(5:57)  2. I Should Care
(4:26)  3. Stardust
(4:15)  4. Sepia Tonality
(3:41)  5. Cleaning Windows
(3:36)  6. Cherry Red
(6:37)  7. Body And Soul
(4:20)  8. Prayer Of Love
(4:48)  9. Why Not
(5:34) 10. Come Rain Or Come Shine

A versatile composer, arranger, saxophonist and keyboard player, a musician whose repertoire encompasses all manner of music from jazz through soul and funk to stadium rock, Alfred Pee Wee Ellis stands distinctive in any company. Born in Bradenton, Florida in 1941, Pee Wee was raised in Lubbock, Texas where he played his first public show in 1954 while still in Junior High School. His family moved to Rochester, NY, the following year, where he continued to play professionally throughout High School. He also met Sonny Rollins at this time, and spent the summer of 1957 under his masterful tutelage - a pivotal experience. “A great sax player, he taught me a lot and I still listen to him”. Returning to Florida after graduation he formed his own ensemble, Dynamics Incorporated. He also worked on the carny circuit at this time, laying the foundation of his career as a bandleader and musical director, writer and arranger, and by now multi-instrumentalist, with tenor saxophone as his principal musical voice. It was during this period that he first came to the notice of James Brown. Back in New York, Pee Wee was working with The Sonny Payne Trio in 1965 when he got ‘the call’ from his close friend Wayman Reed to join the James Brown Revue, then the hottest, most sensational and successful head-buster on the R&B circuit, and fast becoming an international phenomenon. “I stood there in the wings and I thought, I should have bought a ticket. 

It was that much of a privilege to be so close to James Brown and that band” says Pee Wee now of his first exposure to the revue. Playing alto sax and organ Pee Wee quickly became an integral element in James’ expanding vision, writing arrangements and horn charts, and he was instantly promoted to bandleader when Nat Jones quit in January 1967. That very same day Pee Wee arranged Brown’s R&B Top 5 Hit, “Let Yourself Go” (from which, 'There Was A Time' was born), and then turned the soul world on its head with Brown’s follow-up, “Cold Sweat.” This was a million selling Number 1 Hit in the autumn of 1967 and it redefined the parameters of popular music. Brown had been out on a musical limb since 1964, with unconventional hits such as “I Got You (I feel Good)” and “Papa’s Got a Brand New Bag,” but Nat Jones’ arrangements had not taken him over the edge. Pee Wee’s “Cold Sweat” propelled James Brown into a new dimension musically, and founded a funk revolution that is still being copied and sampled the world over 30 years on. Pee Wee continued to be a mainspring in James Brown’s musical direction for the next two and a half years, co-writing and arranging the majority of the ‘Godfather’s’ single hits and album tracks during that period and also interjecting commercial success into the instrumental releases of the James Brown Band ('In the Middle', 'Popcorn', 'Soul Pride' and 'The Chicken'.) Pee Wee left the Revue in September of 1969, basing himself in New York and cutting a quick single for the Nashville label, Sound Stage 7, called “Moonwalk” backed with “That Thing”- this is now a sought after ‘rare groove.’ 

He moved to CTI’s Kudu label as musical director and arranger and worked with many of their roster including George Benson and Hank Crawford, and in particular, the exceptional Esther Philips, for whom he was musical director through a five year period. During the 70s Pee Wee continued as arranger and conductor for musicians like Sonny Stitt, and began to concentrate on his own projects such as an album called “Pass The Butter,” for Motown’s Natural Resources label. This led in 1976, to Pee Wee’s first album, “Home in the Country” recorded for Savoy/Arista just before he located to California’s Bay Area. Here he formed a band with David Liebman in 1977. Mark Isham had played with Pee Wee on the road with Esther, and had been in the band with David, so when Van Morrison needed some horns on a song he was working on, called 'Troubadours', Mark recommended Pee Wee. And so began a long-term relationship that was to produce much significant music - 'Into the Music', 'Live in Belfast', 'Beautiful Vision', 'Inarticulate Speech of the Heart', and 'Common One'. “Van gave me the freedom to put the horn charts together. I liked that”, says a modest Pee Wee of his contribution to some of the finest music from the 80s. During this decade, via Bobby Byrd and the JB Allstars, Pee Wee regrouped with Fred Wesley and Maceo Parker from the James Brown days to form the JB Horns. This line-up worked from 1988 and into the 90s, recording “Pee Wee, Fred and Maceo,” “The JB Horns,” and “I Like It Like That” in 1991, “Funky Good Time Live In Tokyo,” in 1992, and the hit albums, “Life on Planet Groove,” “Roots Revisited,” and “Mo Roots,” with the Roots Revisited Ensemble. Pee Wee resumed his solo recording career in 1992, with yet another formidable line-up of New York musicians on “Blues Mission,” which teamed him again with Clyde Stubblefield - the original ‘Funky Drummer’. Pee Wee’s next solo album was released the following year and was another departure - a jazz trio album recorded live in Koln, Germany with bassist Dwayne Dolphin and Bruce Cox on drums. Entitled “Twelve and More Blues,” this CD backtracks to Pee Wee’s musical roots and then moves straight ahead in a be-bop direction, tackling both jazz standards and his own original compositions with virtuosity and vitality. 

The album was chosen as one of the ten Best Jazz Albums of 1993 by the New York Times. Sampling of his songs by Salt 'n' Pepa, KMC KRU and Dodge City Productions, and a sell-out week at Ronnie Scott's in London in the summer of '93, with an astonishing group of young British musicians, sketched out the footprint for Pee Wee's movement from funk into jazz and beyond - 'a modern version of jazz, a little north of funk and well south of fusion' - as Musician Magazine put it. This movement was soon consolidated with a quartet album “Sepia Tonality,” recorded in New York in early 1994 and featuring Pee Wee on tenor, with Rodney Jones on Guitar, Will Boulware on organ and Grady Tate on Drums. A second trio album from Koln was recorded live during a Pee Wee Ellis Assembly Trio tour of Europe in the spring of '94. Called “Yellin' Blue,” it attracted much critical acclaim in Europe. Pee Wee's path had crossed Van Morrison's many times since the 1980s, particularly when Van called on the JB Horns to play with his band, so it was only natural that when Pee Wee relocated to the West Country in England he should rejoin Van on stage and in the studio. Pee Wee arranged the horns and played on Van's 1995 return to critical and commercial success, “Days Like This.” He followed this up working with Van on his subsequent albums, the jazz-orientated, “How Long Has This Been Going On,” and the Mose Allison tribute, “Tell Me Something.” Pee Wee, however, did not ignore his own career and in 1996 a new solo album on Minor Music hit the streets. Entitled, “A New Shift,” the CD was recorded in Germany . 

More studio work with Van Morrison followed later that year, and the resultant CD, “The Healing Game,” was released in 1997. Pee Wee's arrangements and solos turned the album into an instant classic and gave Van some of his strongest material ever for his stage performances. 1997 also saw the release of Pee Wee's “What You Like.” Recorded with the Assembly and the NDR Bigband, it also features Van Morrison and Fred Wesley. In the autumn Pee Wee became Van's Musical Director, arranging and developing Van's stage and studio sound, and also promoting “What You Like,” by touring in France and Germany with the Assembly. Since the turn of the new century Pee Wee had released “Ridin’ Mighty High,” (2001) “Live and Funky,” (2002) and “Different Rooms,” in 2005. Most recently he has performed with, and arranged for, the Miami based Spam All Stars with whom he will be performing live in 2007. He also played several successful dates with Fred Wesley in the UK in 2006 and they played together again in London and Europe in 2007. Pee Wee Ellis’ distinguished career has embraced some of the most important musical movements of recent decades, from jazz to funk, via the blues and a touch of rock. After almost forty years in the music business he is one of the most acclaimed saxophonists of his generation and one of the most sought-after arrangers and MD’s in the industry. His musical range and pursuit of excellence has gained him renown among his peers and the enduring respect of ensuing generations of musicians and fans. http://musicians.allaboutjazz.com/peeweeellis

Personnel: Pee Wee Ellis (tenor saxophone); Rodney Jones (guitar); Howard Johnson (tuba); Will Boulware (organ); Grady Tate (drums).

R.I.P

Born: April 21, 1941, Bradenton, Florida, United States

Died: September 24, 2021

Sepia Tonality

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