Erin Bode - Don't Take Your Time

Styles: Vocal
Year: 2004
File: MP3@320K/s
Time: 55:32
Size: 127,7 MB
Art: Front

(3:46) 1. Don't Take Your Time
(4:14) 2. Here, There and Everywhere
(5:02) 3. In The Pines
(4:51) 4. Tonight I'll Be Staying Here With You
(4:55) 5. Time After Time
(4:01) 6. But Not For Me
(3:16) 7. Junior and Julie
(4:18) 8. If It's Magic
(3:50) 9. I've Never Been In Love Before
(4:15) 10. You
(4:18) 11. I Walk A Little Faster
(3:43) 12. Gee Baby Ain't I Good To You
(4:57) 13. Count Your Blessings

Erin Bode's frail, delicate vocal delivery gives her a quality that just wants to grow on you. She's got a friendly manner, and her song selection comes from what we've grown accustomed to over the years. Cyndi Lauper, the Beatles, Stevie Wonder, Bob Dylan and older heroes of the Great American Songbook provide examples of her eclectic taste. It's popular stuff that we welcome all the time. However, Bode's limited vocal range and shallow breath support, while emphasizing her fragile demeanor, serve to restrain the emotional content of her performance.

The lightweight appearance of her vocal delivery give Bode a warm quality that works well on ballads such as "Time After Time" or "You," where folk singing and pop music combine to create lovely melodies and smooth harmony that lingers and remains pleasant to the ear long after the song is over. They're memorable. A piece that contains dramatic aspects, however, such as Bill Monroe's "In the Pines," requires natural force. Heartfelt passion is sorely missed during much of this program.

"Junior and Julie," a quaint jazz selection by Matt Dennis, provides opportunities for a singer to croon and swoon. It's one of those nightclub ballads that should be worn on one's sleeve late at night or in the wee hours. Here, the interpretation fails because a harder-hitting emphasis is needed. The same expectation comes from "Gee Baby, Ain't I Good To You," where a little hip swinging and head swaggering is called for. Instead, the performance turns this one around, with a coy smile and a shy grin.

Better are songs such as Cy Coleman's "I Walk a Little Faster," where the mood swings gaily from side to side, with whispers becoming appropriate for the lyrical message under consideration. "Count Your Blessings" also wears very well, with creative accompaniment from Bruce Barth, Larry Grenadier and Steve Nelson. Under Bode's control, the Irving Berlin chestnut lies still and personal like evening prayers, and settles in for a restful evening. Bode represents a new face on the scene. Her appeal lies in the way she relates to her audience as the quiet girl next door.~Jim Santella https://www.allaboutjazz.com/dont-take-your-time-erin-bode-maxjazz-review-by-jim-santella

Personnel: Erin Bode- vocals; Adam Maness- piano; Bruce Barth- piano, electric piano; Larry Grenadier- bass; Montez Coleman- drums; Adam Rogers- acoustic guitar; Steve Nelson- vibraphone; Meg Okura- violin; Sydney Rodway- tenor saxophone on "Don't Take Your Time"; Jerry Barnes- background vocals on "Time After Time."

Don't Take Your Time

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Patricia Barber - The Cole Porter Mix

Bitrate: MP3@320K/s
Time: 56:15
Size: 128.8 MB
Styles: Jazz vocals
Year: 2008
Art: Front

[3:36] 1. Easy To Love
[5:14] 2. I Wait For Late Afternoon And You
[4:29] 3. I Get A Kick Out Of You
[3:39] 4. You're The Top
[3:47] 5. Just One Of Those Things
[4:45] 6. Snow
[3:37] 7. C'est Magnifique
[4:22] 8. Get Out Of Town
[5:02] 9. I Concentrate On You
[5:25] 10. In The Still Of The Night
[3:59] 11. What Is This Thing Called Love
[4:11] 12. Miss Otis Regrets
[4:01] 13. The New Year's Eve Song

Jazz songwriter and pianist Patricia Barber's 2006 album Mythologies, a song cycle based on Ovid's Metamorphosis, is a sprawling work of poetic and musical adventure. Upon its release, it garnered universal acclaim from critics and responsive concert audiences across the United States and Europe. After this rigorous undertaking, Barber could have been forgiven for taking a breather. And on its surface, that seems to be what the Cole Porter Mix is. But in Barber's case, this is far from true. While she claims in her bio that she's been singing his songs for years, and that he's her favorite songwriter, she does anything but a "standard" read on his tunes, though she never undermines their integrity. The album is called a "mix" because Barber has woven three of her own tunes -- written after the manner of Porter's -- into the fabric of the album. Given her austere yet highly original readings of his songs, they fit in seamlessly. She is accompanied here by her longtime backing group of Neal Alger (guitar), Michael Arnopol (bass), and Eric Montzka (drums), with drummer Nate Smith alternating on three tunes, and guest saxophonist Chris Potter appearing on five.

Commencing with the opening number "Easy to Love," with its skeletal bossa nova rhythm (Barber doesn't play in the body of the tune and only contributes a wonderfully economical piano solo), and the relative austerity of her voice, it's obvious this isn't an ordinary standards set. She is faithful to the intent of these songs both lyrically and musically, but she shifts their arrangements in such a way that they are more suited to her deliberately restrained singing voice, and her own vocation as a songwriter. It's the songwriter she is paying tribute to here -- not the tradition. "I Concentrate on You" also carries within it the kernel of bossa, but this time, with her piano fills and artfully incisive manner of accenting, to quote Porter, "how strange the change from major to minor" without invoking the blues (the standard for doing so). Barber's pianism is elegantly idiosyncratic, even enigmatic. Her "cool" singing voice peels away the weight these songs have borne over the years, and instead returns to them their subtlety and gentle sense of humorous irony. There are some wild moments here -- such as the Latin polyrhythms at the heart of "In the Still of the Night," that set up a space for some serious blowing tenor by Potter -- but the spirit of "song" is never compromised. Barber's originals are truly canny, empathic evidence of her true understanding of Porter. "Snow," with its minor-key piano intro opens with: "Do you think of me like snow/cool, slippery and white? Do you think of me like jazz/as hip, as black as night?" The mysterious, dull ache of love and lust in "New Year's Eve Song" evokes the forlorn aspect of Porter but the strange, covert voyeurism of poet Robert Lowell's "Eep Hour": "Will he/peek in the mirror while she/knowing he's watching her tease/stripping the gown with ease/bare as the New Year, she/so in love with her is he..." All the while, the sense of a taut harmonic melody is inseparable from the lyrics, unveiling the secret intent in the song for both listener and singer. The Cole Porter Mix is a very modern form of imitation, as evidenced not only by interpretation but in her evocative compositions too; they mark the greatest form of flattery. But it is also an ingenious manner of reconsidering Porter -- and Barber -- with fresh ears. ~Thom Jurek

The Cole Porter Mix

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Johnathan Blake - Homeward Bound

Styles: Jazz, Post Bop
File: MP3@320K/s
Time: 43:28
Size: 104,0 MB
Art: Front

(0:59) 1. In The Beginning Was The Drum
(9:13) 2. Homeward Bound (For Ana Grace)
(7:59) 3. Rivers & Parks
(4:51) 4. Shakin' The Biscuits
(3:24) 5. Abiyoyo
(1:03) 6. On The Break
(6:10) 7. LLL
(9:44) 8. Steppin'Out

Jonathan Blake, one of the most respected and sought-after jazz drummers on the scene, carved a path through the contemporary jazz with some powerful albums released under his name (The Eleventh Hour; Trion) as well as fruitful collaborations with Tom Harrell, Kenny Barron and Dave Holland, Dr. Lonnie Smith, Jaleel Shaw and Maria Schneider. For Homeward Bound, the fourth entry in his personal discography and his debut on the Blue Note Records, he convenes a freshly formed quintet, Pentad, which features prodigious musicians such as saxophonist Immanuel Wilkins, vibist Joel Ross, bassist Dezron Douglas and pianist David Virelles.

A one-minute drum intro prepares the terrain for the title track, a beautiful theme that Blake composed for saxophonist Jimmy Greene's daughter, Ana Grace, whose life was taken at the age of six during the Sandy Hook elementary school shooting in 2012. Marvelously expressed with odd meter signature, the piece is illuminated by a slick harmonic progression and radiant melodic insight. It also encapsulates mesmerizing improvisation from Ross and Wilkins, who alternate bars with a focused sense of direction, and then Virelles, who scrumptiously blurs the picture with impeccable note choices. Blake also shines, becoming lyrically busy over a vamp marked by contrapuntal adorn.

Boasting a silky synth-soaked texture, “Rivers & Parks” has everyone swinging and grooving, but it’s Wilkins who leaps out, exploring outside boundaries and heating his vocabulary with fervid figures. His mesmeric improvised flights also come into view during the extroverted reworking (in six) of Joe Jackson’s 1982 electropop hit “Steppin’ Out”. Virelles, who enters the stage alone on this one, provides wonderful comping throughout while bass and drums embrace this delicious state of ecstasy.

The two other tunes that didn’t come from the pen of Blake are “Shakin’ the Biscuits”, a bouncy, funkified, bopish frolic written by Douglas that will put you in a great mood, and “Abiyoyo”, a traditional South African children’s song in sextuple meter whose lullabyish melody runs in circles. Blake’s “LLL”, a dedication to the late drummer Lawrence 'Lo' Leathers, is a stirring post-bop number that gives Ross plenty of time to showcase his progressive mallet prowess. The elegant drumming of Blake permeates the album. His accomplishment here is not just a direct result of an accumulated experience throughout the years, but also the refined taste that shows up in everything he does. https://jazztrail.net/blog/johnathan-blake-homeward-bound-album-review

Personnel: Jonathan Blake: drums; Immanuel Wilkins: alto saxophone; Joel Ross: vibraphone; David Virelles: piano; Dezron Douglas: bass.

Homeward Bound

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Lionel Loueke - Close Your Eyes

Styles: Vocal And Guitar Jazz
File: MP3@320K/s
Time: 59:58
Size: 140,2 MB
Art: Front

(6:03) 1. Footprints
(6:41) 2. It Might as Well Be Spring
(4:16) 3. Countdown
(4:15) 4. Moon River
(3:39) 5. Solar
(6:24) 6. Blue Monk
(4:38) 7. Body and Soul
(7:44) 8. Close Your Eyes
(7:12) 9. Skylark
(5:26) 10. We See
(3:35) 11. Naima

There is so much to enjoy in Close Your Eyes, guitarist Lionel Loueke’s first ever album of standards, released (*) today. The recorded was made in September 2017 on a one-day break between overlapping tours with Chick Corea and Herbie Hancock. Loueke plays electric guitar throughout. I was first captivated by his wonderful lightness, almost weightlessness of touch in It Might As Well Be Spring. But he finds all kind of expressive possibilities and directions to take. And with bassist Reuben Rogers and drummer Eric Harland he is in top-flight company. Moon River it is all about the silences, the spaces in which to daydream and take one’s time.

Skylark and Wayne Shorter’s Footprints have been the singles which were released on streaming services in advance of today’s release, and both of those are stories with an African angle. In Skylark, the tune emerges from hi-life motifs, and Loueke has a similar way to Martial Solal of of relishing and circling round some favourite contours the tune. Footprints steps into the open from African polyrhythms and a guitar sound and technique which imitate the kora. We are in a place where disguise and surprise are the norm. Coltranes’s Naima, the album closer, is even more effectively disguised.

Solar, on the other hand, is a feverish trio work-out at a ‘you-can’t-be-serious’ tempo, with Eric Harland invited to play out an ending which feels like an elegant and stately denial that any of the ferocious mischief which has gone before it ever actually happened. Blue Monk is a slow walk, where Reuben Rogers lords the time magnificently and empathetically, Loueke finds the dirtiest of blues licks and Eric Harland has something creative, individual and apposite yet out-of-the-ordinary to add at every moment.

The longest tune is the title track Close Your Eyes at nearly eight minutes, but everything flows so easily and naturally, the time passes far too quickly. (*) To be pedantic this album is actually a re-release, in the same way that Hope was. That album had previously been part of high-end vinyl specialist Newvelle’s second season (Reviewed here), with Lionel Loueke in duo with pianist Kevin Hays, and subsequently released as a separate album on Edition Records.This new Sounderscore release is Loueke’s contribution to Newvelle’s Season Three, with this CD presentation adding three tracks to the eight which were on the original release. Sounderscore is run by Swedish/Italian New York-based bassist Massimo Biolcati. https://londonjazznews.com/2021/10/22/lionel-loueke-close-your-eyes/

Personnel: Vocals, Guitar – Lionel Loueke; Acoustic Bass – Reuben Rogers; Drums – Eric Harland; Guitar – Lionel Loueke

Close Your Eyes

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Eddie Henderson - Realization / Inside Out (Anthology: Volume 2 The Capricorn Years)

Styles: Trumpet And Cornet Jazz
Year: 1973
File: MP3@320K/s
Time: 77:28
Size: 178,0 MB
Art: Front

(10:09) 1. Scorpio-Libra
( 8:53) 2. Mars In Libra
( 8:48) 3. Anua
( 2:34) 4. Spiritual Awakening
( 7:14) 5. Revelation Realization
( 9:00) 6. Moussaka
( 2:17) 7. Omnipresence
( 5:07) 8. Discoveries
( 3:34) 9. Fusion
( 7:22) 10. Dreams
( 9:27) 11. Inside Out
( 2:56) 12. Exit #1

Balancing a career in psychiatry with his love of forward-thinking post-bop and fusion, trumpeter Eddie Henderson has cut a distinctive path in modern jazz. Mentored by Miles Davis in his teens, Henderson emerged as an original member of Herbie Hancock's Mwandishi band in the 1970s, appearing on the landmark jazz-funk album Sextant. From there, he embarked on a solo career, issuing several of his own cross-pollinated funk and disco-infused albums for Capricorn, Blue Note, and Capitol Records. These albums, and especially his breakthrough U.K. hit "Prance On" from 1978's Mahal, were influential touchstones for later hip-hop, electronic, and acid jazz musicians. A licensed psychiatrist with a degree from Howard University, Henderson often split his time playing jazz and working in medicine. From the late '80s onward, he has remained a vital presence on the New York City jazz scene, releasing a bevy of well-regarded acoustic jazz albums like 2010's For All We Know and working as a member of the hard bop supergroup the Cookers.

Born Edward Jackson Henderson in New York City in 1940, Henderson grew up in a family steeped in the jazz tradition. His mother was a professional dancer at the Cotton Club, while his father was a member of the legendary Charioteers vocal group. Encouraged to play music, he first picked up the trumpet around age nine, and famously received an early lesson from Louis Armstrong, whom his mother knew from her days in Harlem. During his teens, Henderson moved to San Francisco with his family, where he continued to progress as a musician. A driven, highly disciplined student while in high school, he balanced his music practice, with studying, playing sports, and participating in competitive figure skating. It was during these years that he first met his longtime idol Miles Davis, who stayed at his parent's house when playing in the Bay Area. From the late '50s on, Davis was a heavy influence on the trumpeter's approach to jazz. It was also through Davis that Henderson first met future boss and bandmate Herbie Hancock.

After a stint in the Air Force, Henderson enrolled for medical school, earning his undergraduate degree at the University of California, and later finishing his medical studies at Howard University where he graduated in 1968. During his time at Howard, he would often spend the weekends driving from Washington, D.C. to New York to study with Freddie Hubbard and Lee Morgan. After earning his M.D., he then returned to the Bay Area where he served out a psychiatric residency and played jazz in his off-hours. While there, he was asked to join Herbie Hancock's innovative funk and fusion-based Mwandishi ensemble for a week-long run of shows in San Francisco. This led to a full-time appointment, and from 1970 to 1973, Henderson toured and recorded with the group, appearing on the influential 1973 album Sextant. As a leader, Henderson debuted with two well-regarded albums on the independent Capricorn Records label, 1973's Realization and Inside Out. Produced by Skip Drinkwater, whom Henderson met via his work with guitarist Norman Connors, these albums essentially featured the Mwandishi band with Hancock on electric keyboards, Bennie Maupin on reeds, Patrick Gleeson on synthesizers, Buster Williams on bass, and Billy Hart on drums. There were also contributions from drummers Lenny White and Eric Gravatt, as well as future-Headhunters percussionist Bill Summers. Both albums showcased a funky, avant-garde, electric fusion style similar to Henderson's previous work with Hancock. More Drinkwater-produced albums followed on Blue Note, including the psychedelia-dipped Sunburst with George Duke and 1976's Heritage, which featured a young Patrice Rushen on keyboards, sax, and flute.

Around this time, Henderson signed with Capitol Records and released three albums beginning with 1977's Drinkwater-produced Comin' Through. These productions built upon his previous efforts, but found him moving in even more of a cross-over direction with a less spacy, more dance-oriented approach to jazz-funk. In 1978, he scored a U.K. hit with the disco-infused "Prance On," off Mahal. His Capitol era culminated in 1979's equally disco- and soul-leaning Runnin' to Your Love. Although somewhat dismissed as "commercial" in the decades following the fusion era of jazz, Henderson's electric recordings enjoyed great popularity with hip-hop and electronic musicians, and are often cited (along with Miles Davis' and Herbie Hancock's work) as influential on the development of trip-hop and acid jazz. Moving to New York full-time in 1985, Henderson's solo recordings slowed somewhat as he worked increasingly as a physician. Nonetheless, he stayed active, appearing on albums with Billy Hart, Leon Thomas, Gary Bartz, and others. With 1989's Phantoms, he returned to regular recording with a series of albums that found him embracing an acoustic hard bop sound. He presence continued to grow throughout the '90s with harmonically nuanced, hard-swinging albums like 1994's Inspiration, 1995's Dark Shadows, and 1999's Reemergence. These albums still found Henderson indebted to Davis, but displaying his own brand aggressive, post-bop lyricism. It was an approach that only deepened as he entered his sixties, delivering such albums as 2004's Time and Spaces, 2006's Precious Moment, and 2010's For All We Know. Along with his own work in the 2000s, Henderson also played with the Mingus Big Band, Benny Golson, and others. He worked regularly with Billy Harper, eventually joining the saxophonist in the all-star ensemble the Cookers alongside longtime associates drummer Billy Hart, pianist George Cables, and bassist Cecil McBee, as well as trumpeter David Weiss and saxophonist Donald Harrison. A regular at New York's Smoke nightclub, Henderson has released several albums for their in-house label, starting with 2015's Collective Portrait. That same year, he celebrated his work with Hancock on 2016's Infinite Spirit: Revisiting Music of the Mwandishi Band. In 2018, he delivered his second Smoke Sessions date with Be Cool, featuring Cookers bandmate Harrison, pianist Kenny Barron, bassist Essiet Essiet, and drummer Mike Clark.~Matt Collar https://www.allmusic.com/artist/eddie-henderson-mn0000169948/biography

Personnel: Trumpet, Cornet, Flugelhorn – Eddie Henderson (Mganga); Alto Flute, Flute, Saxophone [Stritch], Tenor Saxophone, Bass Clarinet – Bennie Maupin (Mwile); Bass, Bass [Fender] – Buster Williams (Mchezaji); Congas – Bill Summers; Drums – Billy Hart (Jabali), Eric Gravatt (Kamau), Lenny White III); Drums, Percussion – Billy Hart (Jabali); Electric Piano [Fender Rhodes and Univox] – Herbie Hancock (Mwandishi); Electric Piano [Fender Rhodes], Clavinet, Organ – Herbie Hancock (Mwandishi); Saxophone [Stritch], Clarinet, Bass Clarinet, Flute, Alto Flute, Piccolo Flute, Tenor Saxophone – Bennie Maupin (Mwile); Synthesizer – Pat Gleeson; Synthesizer [ARP, Moog], Organ – Pat GleesonNotes

Realization / Inside Out (Anthology: Volume 2 The Capricorn Years)

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Jimmy Durante - September Song

Styles: Vocal
Year: 2001
File: MP3@224K/s
Time: 29:49
Size: 48,1 MB
Art: Front

(3:09) 1. September Song
(2:56) 2. Look Ahead Little Girl
(2:45) 3. Count Your Blessings Instead Of Sheep
(2:48) 4. When The Circus Leaves Town
(2:33) 5. I Believe
(2:47) 6. Young At Heart
(2:56) 7. Don't Lose Your Sense Of Humour
(2:22) 8. You'll Never Walk Alone
(4:22) 9. One Room Home
(3:05) 10. Blue Bird Of Happiness

After decades of novelty and comedy recordings, film roles and television work, Jimmy Durante was invited into the studio to record a "serious" album of standards and originals. Durante himself was uncertain about the project, but the resulting album was in every way a success. It was Durante's only album to enter the Top 40, and the title track made Billboard's Top Pop 100. Mixing Durante's utterly unique voice with lush strings and a vocal chorus, September Song is a left-field masterpiece full of wistful and affecting performances. Durante was by no means a technically accomplished vocalist, but he negotiated the sessions with aplomb and created a piece of work very different from, but just as charming as, the comedy that had made him a star.~Greg Adams https://www.allmusic.com/album/september-song-mw0000012171

September Song

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Bud Powell - The Return Of Bud Powell

Bitrate: MP3@320K/s
Time: 49:36
Size: 113.5 MB
Styles: Piano jazz
Year: 1964
Art: Front

[5:56] 1. I Know That You Know
[3:53] 2. Someone To Watch Over Me
[4:53] 3. The Best Thing For You
[5:43] 4. On Green Dolphin Street
[5:41] 5. Just One Of Those Things
[4:26] 6. I Remember Clifford
[4:50] 7. Hallucinations
[4:33] 8. If I Loved You
[5:34] 9. I Hear Music
[4:02] 10. Autumn In New York

On April 26, 1962, Bud Powell recorded an LP titled "Bouncing with Bud," on the Delmark label. He was full of spark and played with the ease and swiftness that had been his trademark in his earlier years. Clearly he had rallied from the dark vales into which he had descended for years, a result of mental illness and substance misuse. Four years of a European exile had apparently helped - at least the great master of the keyboard had not fallen apart. That recording is worth seeking out and enjoying, for it was probably the last hooray of the great man.

Two years later, upon his return to New York City, he recorded this album - whose title "the return of Bud Powell" can only be interpreted in terms of his physical return to the United States. His piano playing was gone. What one hears in this recording is a very hesitant, tentative piano player whom one identifies as Bud because of his characteristic moans and groans.

There are some bright moments, such as his rendition of the "I Remember Clifford", though even here he sounds like someone pushing himself to do what would have been second nature in his earlier days.

One who has not heard his earlier versions of "Hallucinations" might find no problem with his rendition of it here. It is quite a challenge to listen to it. Yet all said, I give him great credit for trying. That he refused to give up was testament to his determination. ~Munlini Mulera

The Return Of Bud Powell

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Lyn Stanley - London Calling: A Toast to Julie London

Styles: Vocal Jazz
Year: 2018
File: MP3@320K/s
Time: 66:04
Size: 154,0 MB
Art: Front

(2:45)  1. Goody Goody
(3:35)  2. Call Me Irresponsible
(2:48)  3. Bye Bye Blackbird
(5:29)  4. I Heard It Through the Grapevine
(2:54)  5. How About Me?
(4:01)  6. Cry Me a River
(5:17)  7. As Time Goes By
(5:03)  8. Summertime
(3:51)  9. It's Impossible
(3:14) 10. Blue Moon
(2:46) 11. I've Got a Crush on You
(3:33) 12. Light My Fire
(5:09) 13. Sway
(2:52) 14. Go Slow / Nice Girls Don't Stay for Breakfast
(2:21) 15. You the Night and the Music
(4:03) 16. Ev'ry Time We Say Goodbye
(6:16) 17. Summertime (Piano / Vocal)

In London Calling, Lyn Stanley is at her best. Let her beautiful sultry voice take you through Julie London covers. Her top tier jazz band created 17 live arrangements that offer a new perspective on the American Songbook. The sound is spectacular. Fans and critics are saying: "Outstanding Sound" "Incredible!" "This will become one of you favorite albums."

Lyn Stanley's London Calling…A Toast To Julie London as she reimagines 17 classic songs Award-winning, internationally acclaimed jazz vocalist Lyn Stanley follows her top-selling Moonlight Sessions albums with an ultimate tribute to Julie London in music and sound! In this stunning new collection listeners will discover a side of singer Lyn Stanley that they haven’t heard before. The 17 tunes on this recording explore phases of romance from first glance, in “Blue Moon,” to a missed chance, in “Cry Me a River.” Most of the wide-ranging material presented here was originally recorded by singer/actress Julie London, along with a couple of offerings that Stanley feels would have been perfect for the sultry songstress, such as “It’s Impossible,” and “I Heard It Through the Grapevine.” With her distinctive sound and approach, Lyn Stanley brings to mind a method actor, mining the stories and feelings in each tune and getting to the heart of the lyrics. Striving for sensitivity, Stanley stays true to these stories and portrays the experiences of people engaged in the dance of romance. Besides being a well-conceived appreciation of the popular singer/actor Julie London, in both music and album graphic presentation, London Calling marks a big step forward in Lyn Stanley’s evolution as a recording artist. She recalls that for her debut album, 2013’s Lost in Romance, her mentor Paul Smith, renowned as Ella Fitzgerald’s long-time musical director and frequent collaborator, offered a lengthy tune list and urged the fledgling vocalist to pick some she could relate to. “It was as if you had a bunch of ingredients on the table and had to decide on the spot if you are going to make ramen or spaghetti,” she muses.  Just five years later, Stanley provided a recipe of her own to bring her unique vision of the Julie London project to fruition. Not only did she have a self-curated set list, she also had a clear idea of how each tune should sound, aiming to hold true to the composers’ ideas while stirring in some of her own. Lyn Stanley always makes a practice of working with top-flight musicians, and once she communicated her ideas to them, she welcomed their input. Without any written arrangements, the brilliant results of their collaboration bring cutting-edge ideas to vintage songs. “It’s a thrill to hear something you’ve brought into life,” Stanley says. “It came to me so easily once I got my bearings.” The singer opted for an intimate sound from a stellar lineup that brings together some of the very best players on the California jazz scene:guitarist featured artist John Chiodini; pianists Mike Garson and Christian Jacob; bassists Chuck Berghofer and Michael Valerio; percussionists Luis Conte, Brad Dutz, and Aaron Serfaty (also heard on drums); and drummer Paul Kreibich. With London Calling's artful packaging, Stanley finds another way to pay tribute to her inspiration, Julie London, who said photo shoots for her albums took longer than the recording process. That's not the case with Stanley, whose audiophile bona fides and perfectionism in the studio and throughout production are well established. But the gorgeously photographed images of the elegantly clad chanteuse are an homage to London's sensuous approach that reflects Lyn's own 21st century sensibilities. Completing the package are liner notes by Scott Yanow, offering a historian’s perspective on the music, providing background on each song, and insights to how Lyn and Julie! approached the tunes.

London Calling highlights include: “Cry Me a River” This heartfelt but cool take on the quintessential London hit has an after-hours feel, touching on former feelings without longing or regret. With this strong and simple statement, Stanley knows when to dig in and when to hold back.

Joyful and tender, “As Time Goes By” is handled with delicacy and feeling, evoking the past while looking to the future. Stanley’s swinging interpretation of “Goody Goody” has a bit of a bite and a bad-girl attitude; it’s a breakup story told by someone who’s landed on her feet. “Call Me Irresponsible” gives us a peek at the vulnerable side of a sophisticate in this persuasive rendition of a classic. The crisp swing culminates in a seductive purr.  On “It’s Impossible,” Stanley portrays the sense of wonder felt at the first flush of romance with divine understatement and a slight ache in her voice. Check out the delightful collaboration with percussionists Luis Conte and Aaron Serfaty. Stanley smolders on the slow, slinky, shimmering “Sway,” making every note every pause matter. The flamenco-flavored “Light My Fire” is full of sensuous invitation. Romantic and intriguing, it’s a refreshing new look at the Doors’ hit from the late 1960s. “Summertime” is a tune so nice Stanley had to record it twice on London Calling. The ensemble rendition is spare, supple, and sultry, with her voice shining like a jewel in the lean arrangement. On a duo version, Stanley and pianist Mike Garson play at a hot-August-night tempo that’s full of haunting, hypnotic allure. You’ve never heard “I Heard It Through the Grapevine” done quite like this! The relentless rhythm of this great ensemble piece conveys an ominous undercurrent, as Stanley’s treatment of the lyric reveals an iron will in a velvet voice. A favorite among audiophiles, Stanley plans to release multiple versions of London Calling, including 17 tracks on a choice of super-audio CD or two-disc vinyl LP set. A dozen tunes will also be offered on a direct-to-disc vinyl recording. Stanley’s tradition of surrounding herself with the best comes through bright and clear in the magnificent sound of this recording, thanks to engineering by Steve Genewick, Rouble Kalpoor, and Spencer Garcia; mixing by Allen Sides, and mastering by Bernie Grundman.

London Calling…A Toast To Julie London is a culmination of Lyn Stanley’s lifetime of rich experience, both personal and professional, from her long-time enjoyment of London through her own her early perceptions of romance. For the project she tapped into communications techniques developed as a successful corporate manager along with a jazz-inspired approach to rolling with obstacles in creative and innovative ways. Besides being a state-of-the-art tribute (following both the musical ideas and marketing platforms of Julie London), it is also a revelation of Lyn Stanley's formidable chops. With a late 2018 audiophile release and Valentine's Day weekend February 15, 2019 wide release street date, London Calling…A Toast To Julie London is a gift for lovers and lovers of great music, created the way it was in the 1960s  by the musicians themselves as a band. Keep an eye out for multiple versions of the album, including standard and super-audio CDs, along with a two-disc vinyl LP set. Produced by Lyn Stanley, with Associate Producer John Chiodini. Executive Producer: A.T. Music LLC. Engineered for high fidelity using analog mixing and mastering. Engineers: Steve Genewick (tracking), Allen Sides (mixing, and Bernie Grundman (mastering). Recorded and Mixed at United Recording, Studio A in Hollywood, using the Focusrite analog console, one of only ten ever made. https://store.cdbaby.com/cd/lynstanley20

London Calling: A Toast to Julie London

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Ingrid Jensen - Vernal Fields

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 64:48
Size: 148,7 MB
Art: Front

(7:06)  1. Marsh Blues
(5:49)  2. Spookum Spook
(7:20)  3. Vernal Fields
(8:25)  4. Ev'ry Time We Say Goodbye
(6:12)  5. I Love You
(6:13)  6. The Mingus That I Knew
(7:25)  7. Stuck in the Dark
(7:13)  8. Christiane
(9:01)  9. By Myself

Although trumpeter Ingrid Jensen has a wide range and a potentially fiery style, she holds a great deal in reserve on her debut recording, letting one peek at her emotional intensity now and then but mostly making lyrical statements. Her supporting cast (altoist Steve Wilson, George Garzone on tenor, pianist Bruce Barth, bassist Larry Grenadier, and drummer Lenny White) is quite impressive and adds a great deal to the CD without taking the spotlight away from the leader. Ingrid Jensen sounds particularly strong on "Marsh Blues" and the standards "Ev'rytime We Say Goodbye," "I Love You," and an ironic "By Myself," but all nine selections have their moments. The music is basically advanced hard bop, with Jensen (when she is playing open) sounding like a logical successor to Freddie Hubbard and Woody Shaw while resembling her teacher, Art Farmer, a bit when utilizing a mute. This is an impressive beginning to what should be an important career. ~ Scott Yanow  http://www.allmusic.com/album/vernal-fields-mw0000173581

Personnel: Ingrid Jensen (trumpet, flugelhorn); Steve Wilson (soprano & alto saxophones); George Garzone (tenor saxophone); Bruce Barth (piano); Larry Grenadier (bass); Lenny White (drums).

Vernal Fields

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Guido Di Leone Quartet - Blue Night

Styles: Guitar Jazz
Year: 2007
File: MP3@320K/s
Time: 54:15
Size: 124,4 MB
Art: Front

(6:09) 1. Bahia
(7:36) 2. Blue Night
(7:10) 3. Double Deal
(6:06) 4. Fascinating Rhythm
(7:33) 5. Moonlight In Vermont
(4:21) 6. Mad Blues
(7:14) 7. What A Difference A Day Made
(3:22) 8. L'Ultimo Valzer
(4:43) 9. Another's Wonderful

Jazz musician, guitarist, teacher, was born in Bari in 1964, where he currently lives.

Very prolific as composer, bandleader and arranger, he has recorded a hundred CDs, of which about half as leader, works published mainly for the labels "YVPMusic", "Philology", "Abeat Records" and Fo (u) r, of which he is also founder of. His renowned comping and good knowledge of jazz standards lead him to play and record frequently with well-known international artists. ( Mark Murphy , Jerry Bergonzi , Peter Bernstein , Paolo Fresu , Fabrizio Bosso , Jim Rotondi , Renato Chicco , Jim Snidero , Michele Hendricks, Tiziana Ghiglioni, Andy Watson , Claudio Fasoli, Gianluigi Trovesi,Franco Cerri , Gianni Basso , Ira Coleman , Gary Smulyan , Marco Tamburini , Dado Moroni , Mal Waldron, Trio Corrente, Gilson Silveira ...)

To these collaborations are added those with his countrymen, Larry Franco, "Con Alma Trio" ( Vito Di Modugno and Mimmo Campanale ), "Pocket Orchestra", Paola Arnesano and is often jazz soloist of the Symphony Orchestra of the Metropolitan City of Bari . In Duo with Francesca Leone, he recorded "Tudo em Bossanova" and "Coracao Vagabundo".

Despite the intense concert activity in Italy and abroad (Australia, China, USA, Cuba, Ethiopia, Sweden, Spain, Germany, United Arab Emirates, England, Syria, Belgium, Holland France, Croatia, Austria, Albania, Slovenia, Bulgaria , Romania, Poland ...), Guido Di Leone is often involved in the organization of Jazz reviews, in the conduct of musical shows and, at times, also in television musical programs. Stylistically identified in the air of Modern Mainstream, he has always shown a particular interest in the sounds and compositions of guitarist Jim Hall, so much so that he dedicated his first album in 1991, "All for Hall", well received by the great Jim.

After 25 years of record history, he re-proposes in Trio, a tribute to Jim Hall's compositions with "A lonely flower for you"; and again in 2019, the result of a national tour alongside guitarist Peter Bernstein, Dario Deidda on bass and Andy Watson on drums, the live CD, "Tribute To Jim Hall", is released on Abeat Records. 2018 is "Standards on Guitar" vol.3 "Two Sleepy People", featuring Renato Chicco, in memory of his missing parents, Bruna and the pianist Nino Di Leone . This last work follows on "Standards on Guitar" vol.1 and vol.2. July 2019 is "Parents" in drumless trio, featuring New York trumpeter Jim Rotondi.

He is director and teacher of guitar and harmony of the musical school "Il Pentagramma di Bari", which he himself founded in 1985. He also directs the " Duke Jazz Club Bari ", annexed to the school. From 2004 to 2014 he taught jazz guitar in the first and second level academic courses of the Niccolò Piccinni Conservatory of Bari. The 2002 text "Easy and complete method of Jazz Theory" published by the "Sinfonica Jazz Carish" publishing house, reprinted several times and also translated into the system for the blind "Braille". In 2012 it is the "Guido Di Leone Real Book" published by "Fo (u) r".

Personnel: Guitar – Guido Di Leone; Double Bass – Paolo Benedettini; Drums – Alessandro Minetto; Tenor Saxophone – Barend Middelhoff

Blue Night

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Peter Bernstein - Somethin's Burnin'

Styles: Guitar Jazz
Year: 1992
File: MP3@320K/s
Time: 60:03
Size: 137,7 MB
Art: Front

( 9:08)  1. This Could Be The Start Of Something Big
( 5:08)  2. Afterglow
(10:01)  3. Booker's Little Blues
( 7:18)  4. Mr. Kenyatta
( 7:02)  5. On A Misty Night
( 6:38)  6. Isn't This A Lovely Day
( 6:31)  7. Love For Sale
( 8:13)  8. Sideburns

Guitarist Peter Bernstein, who was 25 at the time, made his recording debut as a leader on this CD. He plays quite well, as does his friend, the up-and-coming pianist Brad Mehldau. Teamed with bassist John Webber and drummer Jimmy Cobb, Bernstein and Mehldau (who was almost recognizable at this early point) play three of the guitarist's originals, four jazz standards, and Lee Morgan's "Mr. Kenyatta," all in the modern hard bop style. Although Bernstein (who often sounds a bit like Wes Montgomery) and Mehldau would grow quite a bit from where they were in 1992, this was a fine start for their careers. ~ Scott Yanow https://www.allmusic.com/album/somethins-burnin-mw0000110257

Peter Bernstein Quartet: Peter Bernstein (guitar); Brad Mehldau (piano); John Webber (bass); Jimmy Cobb (drums).               

Somethin's Burnin'

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Houston Person & Joey DeFrancesco - The Party

Styles: Saxophone Jazz
Year: 1994
File: MP3@256K/s
Time: 53:09
Size: 97,4 MB
Art: Front

(9:59)  1. Love Me Tender
(6:06)  2. Blue Velvet
(7:17)  3. Blues for H.P.
(5:22)  4. Ceora
(5:59)  5. Impossible
(8:26)  6. Party's Over
(9:58)  7. True Blues

Good soul jazz and blues session, with young lion organist Joey DeFrancesco providing the funky undercurrent to tenor saxophonist Houston Person's thick, authoritative solos and Randy Johnston and Bertell Knox filling the spaces on bass and drums, plus Sammy Figueroa adding some Afro-Latin fiber for additional support.~Ron Wynn http://www.allmusic.com/album/the-party-mw0000278195

Personnel: Houston Person (tenor saxophone); Joey DeFrancesco (organ); Randy Johnston (guitar); Bertell Knox (drums); Sammy Figueroa (percussion, congas).

The Party

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Holly Cole - Girl Talk

Styles: Vocal Jazz
Year: 1990
File: MP3@320K/s
Time: 46:48
Size: 107,9 MB
Art: Front

(4:36)  1. My Foolish Heart
(4:33)  2. Girl Talk
(4:33)  3. Talk To Me Baby
(4:39)  4. Cruisin'
(4:44)  5. Spring Can Really Hang You Up The Most
(4:19)  6. My Baby Just Cares For Me
(5:59)  7. How Long Has This Been Going On
(4:24)  8. I'm So Lonesome I Could Cry
(5:02)  9. Melancholy Baby
(3:54) 10. Downtown

Girl Talk was recorded live to two-track using a single microphone. The liner notes state that Holly Cole's intention in doing so was to preserve the "quintessence of her live performancs," and the result is dazzlingly successful. The air of intimacy between artist and listener is so great that, if anything, the feeling of being present in the moment is greater here than on the 1996 live album It Happened One Night. On an album recorded "live in concert," the ambient noises that occur when a large number of people are gathered in one place can seem discordant or inappropriate when you're listening to the CD in your car or your living room; the atmosphere can exclude rather than include you. Put on this disc, however, and you can imagine that Holly Cole is singing for you alone. It's easy to focus on Cole's emotionally compelling delivery, and at first you can be so mesmerized that you forget that the vocalist is one part of a trio. 

Listen more carefully, and it becomes apparent that the piano and bass accompaniments are deceptively simple that they are, in fact, providing a counterpoint to the sung lyrics that is almost conversational. Suddenly, these simple arrangements feel quite complex. The most entertaining song on the album may well be Cole's interpretation of the traditionally sunny and euphoric "Downtown." In her expert hands it moves from near cynicism to a guarded openness that makes this standard seem to have a range of meaning you may never have considered. ~ Maya Geryk  http://www.allmusic.com/album/girl-talk-mw0000207577

Personnel: Holly Cole (vocals); John Johnson (saxophone); John MacLeod (trumpet); Aaron Davis (piano)

Girl Talk

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Peter Bernstein & Guido Di Leone Quartet - Tribute to Jim Hall

Styles: Guitar Jazz
Year: 2020
File: MP3@320K/s
Time: 62:46
Size: 144,0 MB
Art: Front

(11:52) 1. I'm Getting Sentimental over You
( 6:21) 2. Bon ami
( 6:25) 3. Two's Blues
( 6:22) 4. All Across the City
( 8:14) 5. I Hear a Rhapsody
( 6:01) 6. Waltz New
( 9:19) 7. How Deep Is the Ocean
( 8:10) 8. St Thomas

Jazz guitarist Peter Bernstein was born September 3, 1967, in New York City. He got his first break while attending the New School when he met Jim Hall, who recruited him for a concert of guitarists as part of the 1990 JVC Jazz Festival in New York. The show was recorded by MusicMasters and issued as Live at Town Hall, Vol. 2. Bernstein quickly began playing with other jazz musicians, notably appearing on albums by Lou Donaldson, Michael Hashim, Larry Goldings, Mel Rhyne, Jesse Davis, and Geoff Keezer. He recorded his first album as a leader, Somethin's Burnin', for Criss Cross in December, 1992, as part of quartet with pianist Brad Mehldau, bassist John Webber, and drummer Jimmy Cobb. After working with such artists as Patti Page, Walt Weiskopf, Brian Lynch, Laverne Butler, Eric Alexander, and Hendrik Meurkens in 1993-1994, Bernstein returned to his solo work with Signs of Life. Issued in May of 1995, the album once again found the guitarist backed by pianist Mehldau, along with bassist Christian McBride, and drummer Gregory Hutchinson. Further work as a sideman with Ghetto Philharmonic, Trudy Desmond, Teodross Avery, Joshua Redman, Kevin Mahogany, Grant Stewart, and Mike LeDonne preceded the release of his third album, Brain Dance, in June 1997. This time, he led a quintet also containing organist Goldings, tenor saxophonist Eric Alexander, trombonist Steve Davis, and drummer Billy Drummond. Prior to his fourth album, Earth Tones, Bernstein recorded with Ralph Lalama and Eric Comstock, among others. Earth Tones, issued in August, 1998, found him fronting a trio with Goldings and drummer Bill Stewart.

Five years elapsed before the release of Heart's Content, Bernstein's fifth album as a leader, and he occupied the time working with a wide variety of musicians including Tom Aalfs, Group 15, Jimmy Cobb's Mob, David Bubba Brooks, Doug Lawrence, Sam Yahel, David Morgan, Jon Gordon, Michael Karn, Spike Wilner, Anna Lauvergnac, Harry Allen, Paula West, Nicholas Payton, Etta Jones, Béla Szakcsi Lakatos, Lee Konitz, Klaus Doldinger, and Ralph Bowen. Heart's Content, which was released in May 2003, was credited to "Peter Bernstein + 3," and the three were Mehldau, Bill Stewart, and bassist Larry Grenadier. The same year the album appeared, Bernstein could be heard on albums by Ryan Kisor, Wycliffe Gordon, Janis Siegel, and Martin Sasse, among others. Stranger in Paradise, Bernstein's sixth album, was released in June 2004 by the Japanese Tokuma label, and employed the same lineup as that on Heart's Content. In addition to musicians with whom he had recorded before, Bernstein appeared on albums by Jim Rotondi and Dr. Lonnie Smith in 2004 and Kathy Kosins in 2005. On August 23, 2005, Mel Bay released the DVD Peter Bernstein Trio Live at Smoke, taped at a jazz club on the Upper West Side of Manhattan.

Among his many sideman sessions in the mid-2000s, Bernstein added dates with Joe Magnarelli, Alvin Queen, Planet Jazz, Anton Schwartz, John Pisano, David "Fathead" Newman, Don Friedman, Cory Weeds, and Andrew Suvalsky to the list of his credits, along with repeat appearances with others. In January 2009, the newly reactivated Xanadu label released Bernstein's seventh album, Monk, a tribute to Thelonious Monk featuring bassist Doug Weiss and drummer Bill Stewart. In 2013, he paired with guitarist Joachim Schoenecker for the duo album Dialogues. A year later, he joined longtime associates Larry Goldings and Bill Stewart on Ramshackle Serenade. He then made his Smoke Sessions debut with 2016's Let Loose, a lively quartet date featuring pianist Gerald Clayton. Also that year, he collaborated with fellow guitarists Rale Micic, John Abercrombie, and Lage Lund on Inspired. For the guitarist's second Smoke Sessions date, Signs Live!, he reunited the band that had recorded his 1995 album Signs of Life, including pianist Brad Mehldau, bassist Christian McBride, and drummer Gregory Hutchinson. Released in 2017, Signs Live! was the first time Bernstein and the members of the quartet had all played together in over 20 years.~ William Ruhlmann https://www.allmusic.com/artist/peter-bernstein-mn0000317924/biography

Personnel: Peter Bernstein (guitar); Guido Di Leone (guitar); Dario Deidda (bass); Andy Watson (drums)

Tribute to Jim Hall

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Dizzy Gillespie - Dizzy In Greece

Styles: Trumpet Jazz
Year: 1957
File: MP3@320K/s
Time: 41:54
Size: 97,1 MB
Art: Front

(5:40) 1. Hey Pete
(3:47) 2. Yesterdays
(4:18) 3. Tin Tin Deo
(3:22) 4. Groovin' for Nat
(4:06) 5. Annie's Dance
(4:56) 6. Cool Breeze
(4:22) 7. School Days
(3:14) 8. That's All
(4:14) 9. Stable Mates
(3:52) 10. Groovin' High

Dizzy's in Greece, looking very cool in a fez on the cover and really wailing hard with a larger group that includes Billy Mitchell, Charlie Persip, Lee Morgan, Wynton Kelly, and Phil Woods! The mode here is still quite boppish, despite the larger size of the ensemble but Dizzy also manages to bring in some of those wonderfully rich colors that were coming into his later work a tonal depth that's completely amazing, and which pushed Gillespie way past his simple roots of the 40s, into a space that made him one of the most expressive jazz leaders of the 50s. The horn charts alone are totally great and Dizzy's got a wonderful talent for letting the key soloists step out with a really strong voice in the set and although short, the tunes have an incredible reach overall. Titles include "Tin Tin Deo", "Yesterdays", "Groovin' High", "Hey Pete", "Arnnie's Dance", and "Groovin' for Nat". © 1996-2021, Dusty Groove, Inc. https://www.dustygroove.com/item/1776/Dizzy-Gillespie:Dizzy-In-Greece

Personnel: Dizzy Gillespie, trumpet and leader; Joe Gordon, trumpet; Quincy Jones, trumpet; E.V. Perry, trumpet; Carl Warwick, trumpet; Melba Liston, trombone; Frank Rehak, trombone; Rod Levitt, bass trombone; Jimmy Powell, alto saxophone; Phil Woods, alto saxophone; Billy Mitchell, tenor saxophone; Ernie Wilkins, tenor saxophone; Marty Flax, baritone saxophone; Walter Davis, Jr., piano; Nelson Boyd, bass; Charli Persip, drums

Dizzy In Greece

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Ingrid Jensen - Now As Then

Styles: Straight-ahead/Mainstream, Trumpet Jazz
Year: 2002
File: MP3@320K/s
Time: 66:50
Size: 153,3 MB
Art: Front

(10:59)  1. The Night Has a Thousand Eyes
( 8:29)  2. R Hour
( 6:39)  3. Now As Then
( 7:30)  4. Periwinkle
( 8:42)  5. Gloria
( 6:47)  6. Silver Twiligh
( 8:50)  7. Tony's Town
( 8:51)  8. Dilemma

The familiar groove of the organ trio returns with Ingrid Jensen's newest release. Her resounding trumpet and mellow flugelhorn carry a message that jazz will grow from its tradition of syncopated swing and creative improvisation toward a fresh formula that keeps the best elements on board, while adding virtuosic individual displays and a cohesive ensemble interplay. Trumpet and saxophone give Project O a classic front line flavor that has been espoused by many memorable straight-ahead quintets throughout jazz's history. Gary Versace's Hammond B-3 organ, on the other hand, lends a different mainstream timbre that points in several different directions. It's a great combination. Seamus Blake puts in a solid performance on his guest appearances and complements Jensen's trumpet quite well. Steve Wilson and Christine Jensen, who both add lively alto and soprano saxophone voices to the program, bring out a lighter side of the music. (Christine is Ingrid's sister.) The session includes both serious drama and laid-back swing.

While it's not clear on every track whether we're listening to Christine or Steve, each has sufficient leading roles to verify their individual spirits. Leader Ingrid Jensen is at ease with both. On Christine's "Dilemma," Wilson trades fours with the composer. Both have chosen the alto for this one; Wilson is on the left audio channel and Jensen is on the right. Their natural conversation leads to an open trumpet soliloquy and an eventual coming together of the band's distinctive voices. As with most of the album, an emphasis on rich harmony drives the piece forward with multi-hued layers. Now As Then draws together trumpeter Ingrid Jensen's original thoughts on the creative path that modern jazz needs to follow if it is to achieve continued growth. ~ Jim Santella  http://www.allaboutjazz.com/now-as-then-ingrid-jensen-review-by-jim-santella.php

Personnel: Ingrid Jensen- trumpet, flugelhorn; Gary Versace- B-3 organ; Jon Wikan- drums; Steve Wilson- alto saxophone, alto flute; Christine Jensen- alto saxophone, soprano saxophone; Seamus Blake- tenor saxophone

Now As Then

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Rosana Eckert - Sailing Home

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 48:14
Size: 111,4 MB
Art: Front

(3:31)  1. Sailing Home
(3:57)  2. Garby the Great
(4:35)  3. Someone Else's Life
(4:52)  4. Waiting
(4:36)  5. Miles of Blue
(4:06)  6. Blue Flower
(4:49)  7. Coriander Stomp
(3:54)  8. Empty Room
(4:55)  9. Lovely Ever After
(5:37) 10. For Good
(3:19) 11. Meant for Me

Rosana Eckert has made a name for herself as a jazz vocals composer and arranger with her previous recordings, At The End Of The Day (GEM Records, 2003) and Small Hotel (GEM Records, 2010). Bright and imaginative, Eckert draws from a lifetime of music beginning with her childhood in El Paso, Texas, where the musical melting pot was richly seasoned with American, Hispanic, and European influences. Educated at the notable music school, the University of North Texas, she went on to become a faculty member in addition to leading her own band, performing as a wedding singer and recording commercial jingles. This wide-openness to anything musical is Eckert's charm. She has a giving and generous musical personality that manifests in her broad format and genre palette. On Sailing Home, Eckert composes or co-composes eleven disparate jazz songs, each with its own character and texture. Eckert's music is as much tactile as tuneful. This tactile musical nature reveals itself in the intersection of a chosen rhythm and the song arrangements. On the title song, Eckert and pianist Peter Eldridge craft a sonic walk on an uneven path.

Over the circuitous figure, guitarist Corey Christiansen lays an infectious muted electric counterfigure. Ben Whittman's prepared steel drums are just gravy. Eckert's singing is bright, positive and inviting, setting a warm tone to the entire project. "Garby The Great" is a slinky, blues-inflected ballad with Eckert singing with authority and awareness, almost as a spontaneous vocalese. Her scat counterpoint to Young Heo's walking bass leads to Christiansen's octaves, and Heo's muscular solo, tartly accented by Christiansen. If a voice can mimic a fingersnap, Eckert's does so.  "Someone Else's Life" shimmers with dubbed vocals, Eckert studying harmony and sound structure in a forward and progressive manner. Eldridge and Christiansen provide a delicate filigree hung on Heo's spare bass playing. Juxtaposed against this shiny surface is the humid and inviting "Waiting," featuring Ginny Mac's whispering accordion weaving with a lazy Reggae beat. The attention grabber is "Coriander Stomp" initiated by a dirty funk line by Christiansen that gives way to drummer Steve Barnes channelling Little Feat's Richie Hayward in a jaunty street march. Christiansen's solo is boss with fuzz and swing. Eckert sings wordlessly, scatting in and out of the musical celebration, which is a good way to describe the entire recording.. ~ C.Michael Bailey https://www.allaboutjazz.com/sailing-home-rosana-eckert-oa2-records-review-by-c-michael-bailey.php

Personnel: Rosana Eckert, vocals; Peter Eldridge, piano, organ, keyboards; Corey Christiansen, electric/acoustic guitars; Young Heo, acoustic bass; Steve Barnes, drums; Ben Wittman, percussion (1, 4, 9); Gary Eckert, percussion (5, 7, 10); Daniel Pardo, alto flute (8, 9); Brian Piper, piano (7); Ginny Mac, accordion (4).

Sailing Home

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Bruce Forman Quartet - Pardon Me!

Styles: Guitar Jazz
Year: 1988
File: MP3@320K/s
Time: 48:18
Size: 110,8 MB
Art: Front

(3:35) 1. Count Down
(5:09) 2. Skylight
(6:07) 3. Pardon Me
(5:45) 4. I Thought About You
(4:15) 5. Blues For Wes
(6:07) 6. Picture Window
(5:58) 7. Autumn Leaves
(4:17) 8. Once Again
(7:00) 9. I Hear a Rhapsody

This strong effort finds guitarist Bruce Forman exploring music that is sometimes adventurous (particularly John Coltrane's "Countdown" and Dave Liebman's "Once Again"), along with some more basic tunes (the ballad "I Thought About You" and his "Blues for Wes"). An added plus to the date is that the quartet (which also includes bassist Jeff Carney and drummer Eddie Marshall) co-stars the superb pianist Bill Childs.~Scott Yanow https://www.allmusic.com/album/pardon-me%21-mw0000199135

Personnel: Guitar – Bruce Forman; Bass – Jeff Carney ; Drums – Eddie Marshall ; Piano – Billy Childs

Pardon Me!

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Frank Foster & Frank Wess - Frankly Speaking

Styles: Saxophone Jazz
Year: 1985
File: MP3@320K/s
Time: 49:38
Size: 114,5 MB
Art: Front

( 6:32) 1. An' All Such Stuff As'Dat
( 6:47) 2. The Summer Knows
( 7:12) 3. When Did You Leave Heaven?
( 4:44) 4. Up And Coming
( 5:01) 5. One Morning In May
( 3:09) 6. Two Franks
(10:22) 7. This Is All I Ask
( 5:47) 8. Blues Backstage

Using the same personnel as the previous year's Two for the Blues (Frank Foster on tenor and soprano, Frank Wess on tenor and flute, pianist Kenny Barron, bassist Rufus Reid, and drummer Marvin "Smitty" Smith), this set gets the slight edge and is an excellent introduction to the playing of the two Count Basie saxophonists. Foster contributes two originals (including the classic "Blues Backstage"), Wess brings in "Up and Coming," and the quintet also performs five jazz standards including "When Did You Leave Heaven," Hoagy Carmichael's "One Morning in May," and Neal Hefti's "Two Franks." Recommended.~Scott Yanow https://www.allmusic.com/album/frankly-speaking-mw0000649518

Personnel: Tenor Saxophone, Soprano Saxophone – Frank Foster; Bass – Rufus Reid; Drums – Marvin "Smitty" Smith; Flute, Tenor Saxophone – Frank Wess; Piano – Kenny Barron

Frankly Speaking

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Jimmy Smith - Got My Mojo Workin'/Hoochie Coochie Man

Bitrate: MP3@320K/s

Time: 79:08

Size: 181.2 MB

Styles: Soul-jazz

Year: 1997

Art: Front

[5:12] 1. High Heel Sneakers

[4:23] 2. Satisfaction

[4:06] 3. 1-2-3

[5:37] 4. Mustard Greens

[7:59] 5. Got My Mojo Workin'

[3:57] 6. Johnny Come Lately

[3:48] 7. C Jam Blues

[4:28] 8. Hobson's Hop

[5:57] 9. Hoochie Coochie Man

[5:28] 10. One Mint Julep

[5:41] 11. Ain't That Just Like A Woman

[6:13] 12. Boom Boom

[5:25] 13. Blues And The Abstract Truth

[6:08] 14. Tnt

[4:40] 15. (I Can't Get No) Satisfaction (Alternative Take)

After leading a series of notable jam sessions for Blue Note, organist Jimmy Smith signed a lucrative contract with Verve in 1962. Throughout the remainder of the decade, he recorded songs that ranged from treasures to trash, turning most of the music into bluesy vamps. On this CD, a reissue of the LPs Got My Mojo Workin' and Hoochie Cooche Man, Smith's repertoire ranges from Billy Strayhorn's "Johnny Come Lately" and Oliver Nelson's "Blues and the Abstract Truth" to "I'm Your Hoochie Coochie Man" and "I Can't Get No Satisfaction." In most cases, Smith's versions bear little resemblance to the original recordings. The earlier set has Smith featured with both a quartet and an octet arranged by Oliver Nelson. The remainder of the CD is a big band with Nelson's charts making the orchestra as exuberant as Smith's solos. Overall, the CD is not as essential as Jimmy Smith's better Blue Note dates, but is a worthwhile acquisition for fans of the jazz organ due to his enthusiasm and his ability to uplift the material. ~Scott Yanow

Got My Mojo Workin'/Hoochie Coochieman  

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