Enrico Rava & Joe Lovano - Roma

Styles: Trumpet And Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 66:14
Size: 152,2 MB
Art: Front

(15:07) 1. Interiors
( 9:46) 2. Secrets
(12:32) 3. Fort Worth
( 9:57) 4. Divine Timing
(18:49) 5. Spiritual, Over The Rainbow & Drum Song

Pristinely recorded in November 2018, at Rome's Auditorium Parco della Musica, Roma rises from fertile, anticipatory mists like a great host of ECM recordings past, present, and future do and will. Quietly coalescing around the polyphonic, noir-impressionism of master Italian trumpeter Enrico Rava's vaporous "Interiors" are Rava's masterful saxophone counterpart Joe Lovano, accompanied by the avant derring-do of long-time Rava collaborator pianist Giovanni Guidi, double bassist Dezron Douglas and drummer Gerald Cleaver.

Though it is the first time Rava and Lovano have recorded together it is still par for both that all five of the expansively spirited tracks hold their own slippery atmospheres, giving these crafty improvisers plenty of leeway and free range to take the music where it wants to go and how they take it there. For these forward-thinkers, Rava's "Secrets" may be a somewhat traditional piece but, with the horns trading heads and Cleaver's decisive pinpoint accuracy, it is anything but. The same can be said for Lovano's fever-paced "Fort Worth," even with its marked swing time and blues. This is a jam's jam with Lovano wailing, Rava's levelling lines, Guidi sailing, and Douglas and Cleaver pushing the abandon

It could be argued that "Fort Worth" is Roma's highlight, but then where would that put the exquisite closing medley that gorgeously sweeps in Lovano's "Drum Song" drawn from one of his peak recordings, Folk Art (2009, Blue Note) John Coltrane's quixotic "Spiritual" and the ravishing, breath-capturing "Over The Rainbow" that Guidi pulls from the fraying sprawls of "Spiritual" and quietly, pastorally brings Roma to a glorious close.~ MIKE JURKOVIC https://www.allaboutjazz.com/roma-enrico-rava-ecm-records-review-by-mike-jurkovic

Personnel: Enrico Rava - Trumpet; Joe Lovano - Tenor Saxophone, Tarogato; Giovanni Guidi - Piano; Dezron Douglas - Double Bass; Gerald Cleaver - Drums

Roma

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Viktorija Pilatovic - Nica's Blues - EP

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 28:57
Size: 66,7 MB
Art: Front

(5:19)  1. We Could Solve That
(4:35)  2. Clowns
(4:34)  3. Boplicity
(4:27)  4. I Get a Kick Out of You
(4:41)  5. Four
(5:19)  6. Nica's Blues

Since August 2013 Viktorija Pilatovic has been a Faculty member of USFQ College of Music, Berklee College of Music International Network Member School in Quito, Ecuador, where she is a professor of Jazz Vocal Performance. She is a new artist for Greg Osby's "Inner Circle Music" label. Her debut album "Nica's blues" is available online. Viktorija was invited to take part in The First International Festival of Jazz Improvisation skills Master-Jam Fest in Odessa, Ukraine on the 5th-8th of June 2013. The Festival gathered 43 musicians from all over the world. In November 2012 Viktorija Pilatovic Quintet was an opening act for Chris Dave and Drumheadz at Vilnius Mama Jazz Festival involving artists as : Wallace Roney and Ravi Coltrane. In October 2012, jazz singer, composer and arranger Viktorija Pilatovic performed her original composition “We Could Solve That” with internationally renowned bassist Victor Wooten in Valencia, Spain’s iconic Palau de les Arts Reina Sofia performing arts complex, complete with a rhythm section and backing vocals all scored by the young artist herself. Her unique arrangement and composition skills were quickly noticed when she arrived at Berklee Valencia in September of 2012 to persue her Masters in Contemporary Studio Performance on a full ride scholarship. 

In just a few months after her arrival, Viktorija was invited to perform at the Berklee Yamaha All-Stars Concert alongside music legends bassist Abraham Laboriel, saxaphonist Perico Sambeat and vibraphonist Victor Mendoza, in addition to performing her arrangement of “So What” by Miles Davis with a vocal ensemble and backing band at Berklee Valencia’s Welcome Lecture for Berklee College of Music President Roger Brown, Valencian government officials and local media. Earlier in 2012, Viktorija found herself the only student invited to participate at the AEC Pop and Jazz Platform in Lille, France, representing the young jazz generation amongst a number of music professionals, discussing teaching methods and the future of jazz education. In March 2012, she found herself performing as a solo artist with PCC Sympho-Jazz orchestra conducted by the legendary John Clayton. In July she performed at the Montreux Jazz Festival in Montreux, Switzerland. These accomplishments were made possible by Viktorija’s dedication and perserverance to her craft, starting in the early years of childhood.

Viktorija was born on the 12th of March in 1989 in Klaipeda, Lithuania. At the age of 6 she started playing classical piano, winning many Carl Czerny Piano Competitions.  Throughout her childhood, she took part in many children ensembles performing all over country. In 2007, she began her Bachelor studies in Jazz Vocal at the Lithuanian Academy of Music and Theatre.  Since then, she has participated in a number of Jazz contests, such as the International Jazz Vocal Competition in 2008, 2009 and 2010, winning 1st prize in 'Jazz Fountain 2008'.  In 2009, Viktorija was invited to take part in “Klaipeda’s Sea Festival”, appearing at The Tall Ships’ Races where she performed with The National Big-Band, recieving live coverage from Lithuanian national TV and radio.  In 2008, the young artist performed at a festival in Naggar, Himachal Pradesh, India hosted by the International Roerich Memorial Trust. In 2010, Viktorija moved to The Netherlands to further her jazz studies at Prins Claus Conservatorium. Here her style evolved from traditional to contemporary jazz, fusing a number of styles and colors. Viktorija took lessons from J.D. Walter, Ralph Peterson, Alex Sipiagin, David Berkman, Don Braden, Jeff Cascaro, Joris Teepe, Freddie Bryant, Gene Jackson and Robin Eubanks. In 2011, Viktorija won 3rd prize at the The Nederland Jazz Vocalisten Concours for her completely original arrangement of the famous standard “My Favorite Things”, featuring a solid bass line, modal harmonies and odd time signatures.  The show was broadcasted on Radio 6 The Netherlands.  Also in 2011, Viktorija toured Athens, Greece with guitarist and vocalist  Adedeji Adetayo.  Following the tour, she returned to Greece with her female jazz Group “The Sound Of Reflection” after the request by many, where they spent playing almost every night for a month. Viktorija’s success shows no signs of stopping.

She now holds two bachelor’s degrees, one from the Prins Claus Conservatorium and one from the Lithuanian Academy of Music and Theater.  She is currently studying for her Master's Degree in the Contemporary Studio Performance program at the Berklee College of Music, Valencia Campus. During this time, Viktorija continues to develop arrangements and original compositions with a unique for a wide variety of ensembles at Berklee while strengthening her business skills at the university and developing her own teaching methods.  On top of all this, Viktorija is working on her debut album featuring original compositions and unique arrangement of jazz standards, fusing jazz, hip-hop and soul, with an expected release of late 2013.  While this young talent is busy working on a number of musical endeavors with a whirlwind of success, it is clear the only direction she is headed is up.  http://www.viktorijapilatovic.com/#!biography/c10fk

Nica's Blues - EP

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Janice Hagan - Music & Cuisine: Halloween Party

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 75:02
Size: 174,1 MB
Art: Front

( 4:30)  1. Evil Ways
( 5:07)  2. That Old Black Magic
( 4:08)  3. Ding, Dong the Witch Is Dead
( 4:19)  4. People Are Strange
( 4:49)  5. Witchy Woman
( 5:12)  6. I Put a Spell on You
( 4:38)  7. Spooky
( 4:06)  8. Black Magic Woman
( 4:58)  9. Witchcraft
( 4:36) 10. Monster Mash
( 3:29) 11. Bad Moon Rising
( 4:55) 12. Welcome to My Nightmare
(20:11) 13. Spooky Sound Effects

Gather your friends for a spooktacular evening featuring devilishly delicious cocktail party fare and swingin' versions of Halloween hits. The Cuisine: Cocktails: Witches Brew Black Magic Nuclear Runoff Electric Ghoul Ade Soups + Dips: Pumpkin Soup Chilled Blood Soup Slime Dip Guacamoldy Appetizers: Wonton Ghosts Spicy Bat Wings Devilish Eggs Spiced Cauliflower 'Brains' Pumpkin Seeds Three Ways Mini Cornbread Muffins Apple Bites Finger Food Desserts: Mini Pumpkin Cupcakes Poison Apples Dem Bones Mmmmummys
https://www.amazon.in/Music-Cuisine-Halloween-Kenny-Vehkavaara/dp/B003YDIE12

Music & Cuisine: Halloween Party

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Rock Candy Funk Party - We Want Grooove

Styles: Jazz Funk
Year: 2013
File: MP3@320K/s
Time: 67:06
Size: 153,9 MB
Art: Front

( 4:39)  1. Octopus-E
( 5:50)  2. Spaztastic
( 8:05)  3. Ode To Gee
( 6:10)  4. We Want Groove
(10:36)  5. The Best Ten Minutes Of Your Life
( 7:15)  6. Animal/Work
( 3:47)  7. Dope On A Rope
( 5:00)  8. Root Down (And Get It)
(15:40)  9. New York Song

This quartet repurposes the jazz-funk sounds of yesteryear into a tasteful, eclectic mix, packed with memorable compositions and aided by the crystalline recording process, enabling the music to breathe amid great detail and depth. Featuring blues-rock guitar hero Joe Bonamassa trading licks with guitarist Ron DeJesus, Rock Candy Funk Party was recorded at drummer Tal Bergman's studio, denoting the band's debut. Rock Candy Funk Party is a production that sports a festive aura, We Want Groove are prophets of good cheer. The album emanated from Bergman and DeJesus' Groove Vol. 1 (2007, Independent) followed by live performances, ultimately leading to the We Want Groove aggregation. The musicians' collective resumes comprise gigs and performances with top rock, jazz and pop acts, spanning multiple genres, and their sensibilities and approaches to various musical platforms are impeccably transposed to disc.

The jazz-funk, soul brew is often given a bluesy touch by Bonamassa who is situated on the left channel while DeJesus is heard on the right channel, tendering a well-defined soundstage. In a loose sense the guitarists are role players, alternating between the jazz, funk and blues-rock idioms. One of the more prominent examples of the retro vibe is "The Best Ten Minutes of Your Life," which could parallel a soundtrack from one of the old Blaxploitation flicks with inferences to the late, blues and funk guitarist Johnny "Guitar" Watson's oozing notes and trickling phraseology, tinted with echo and reverb. Otherwise, keyboardist Renato Neto kicks the proceedings off with spacey and dream-laden Fender Rhodes treatments, followed by bassist Mike Merritt distinct groove-building and Bergman's simple metronomic hi-hat pulse. With breezy and drifting synth overlays, the guitarists eventually spawn a counter-melody to inject a tuneful theme built on effective use of space via a multi-hued outline, piloting a blissful primary melody. 

They inject multi-colored sound-shaping mechanisms into this piece that also benefits from an insightful production, designed with a Midas touch. One of the enthralling aspects of the album, other than the solid material and stellar audio engineering, pertains to the bands manifold rhythmic flows and perceptive use of dynamics. Of course the dance-ability factors are prevalent throughout, but it's a hybrid concoction that yields significant rewards where the old synchronizes with the new, as the group artfully contemporizes and uplifts the tried and true. ~ Glenn Astarita  http://www.allaboutjazz.com/rock-candy-funk-party-joe-bonamassa-j-and-r-adventures-review-by-glenn-astarita.php
 

Personnel: Joe Bonamassa: guitars; Ron DeJesus: guitars; Mike Merritt: bass; Renato Neto: keyboards; Tal Bergman: drums, percussion.

We Want Grooove

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Ann Richards, Stan Kenton - Two Much!

Bitrate: MP3@320K/s
Time: 40:04
Size: 91.7 MB
Styles: Jazz vocals
Year: 1961/2017
Art: Front

[3:53] 1. It's A Wonderful World
[3:59] 2. The Morning After (The Night Before)
[3:52] 3. I Was The Last One To Know
[4:34] 4. My Kinda Love
[4:07] 5. I Got Rhythm
[4:34] 6. No Moon At All
[3:46] 7. Don't Be That Way
[4:07] 8. Suddenly I'm Sad
[3:13] 9. Nobody Like My Baby
[3:53] 10. All Or Nothing At All

Ann Richards never received the same acclamation as her more famous vocal predecessors with the Stan Kenton Orchestra, Anita O'Day, June Christy, and Chris Connor. While these three went on to carve out successful careers as singles, Richards, after her divorce from Kenton, slowly sank into obscurity. With a style closer in style to O'Day's, Richards could swing out a tune with the best of them and could scat with vim and verve. She demonstrates these talents on "It's a Wonderful World" and "All or Nothing at All." She could also credibly deliver on blues tunes as on "The Morning After (The Night Before)." Richards could move to a lower range and get torchy, which she does on "My Kinda Love." Then she slow-drags "I Got Rhythm," riding atop the doleful tones of the trombone section and a muted trumpet. While he didn't have the big names that peppered earlier bands, this Kenton group could swing and play as a cohesive group. Like all Kenton bands, it featured the high note blaring trumpet. Here it's Bud Brisbois that supplied the upper atmospheric notes on the horn. There are a couple of selections where Richards is backed by just a small group, as on "No Moon at All," where she doesn't have to compete with the larger aggregation, showing off her voice to its full advantage. With a slim discography, this album is an important contribution to the legacy of a good singer whose career was far too short. ~Dave Nathan

Two Much!

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Gregoire Maret, Romain Collin & Bill Frisell - Americana

Styles: Harmonica, Piano And Guitar Jazz
Year: 2020
File: MP3@320K/s
Time: 54:31
Size: 125,4 MB
Art: Front

(3:08) 1. Brothers in Arms
(3:57) 2. Small Town
(6:16) 3. Rain Rain
(4:02) 4. San Luis Obispo
(5:15) 5. Back Home
(5:27) 6. Wichita Lineman
(7:07) 7. The Sail
(8:14) 8. Re: Stacks
(6:11) 9. Still

Harmonica player and composer Gregoire Maret is not a familiar name in the U.S. but he should be. The New York-based artist has recorded with Jimmy Scott, Jacky Terrasson, Steve Coleman and Five Elements, Charlie Hunter, Terri Lyne Carrington, Pat Metheny and many others. The very bankable musician has appeared on over seventy-five releases as a sideman and has recorded as a leader on three albums. Americana unites Maret with pianist, composer and label-mate Romain Collin, along with legendary guitarist Bill Frisell, and drummer Clarence Penn on one track.

The music on Americana comes from the perspective of two immigrants to the U.S.; the Swiss-native Maret, and Frenchman Collin. On many tracks Frisell adds the authenticity he brought to his own Nonesuch Records projects such as Nashville (1997), Good Dog, Happy Man (1999) and Disfarmer (2009). Maret and Collin often perform as a duo and open the album with the unexpected; Scottish-born Mark Knopfler's Dire Straits song "Brothers in Arms" feels like a natural here. Frisell then joins in on two of his own compositions, "Small Town" and "Rain, Rain" given a fresh feel with Maret's contributions.

Collin's "San Luis Obispo" appeared on the pianist's Press Enter (ACT Music, 2015); a beautiful Appalachian-tinged lullaby, sparse and haunting in its original piano form, Frisell and Maret give it a down-to-earth reading. Maret's "Back Home" is the only appearance of Penn who adds some light brushwork. The trio takes on the Jimmy Webb classic "Wichita Lineman" and the Justin Vernon composition "Re: Stacks" from the Dirty Bourbon River Show debut For Emma, Forever Ago (Self-produced, 2007). In Collin, Maret and Frisell we have artists of three origins, entangled together in the early influences of U.S. music; they urge the listener to hear common threads. Americana is a journey guided by distant lights, and the musicians lead each other in an alliance that is both conversant and spiritual. Highly recommended.~KARL ACKERMANN https://www.allaboutjazz.com/americana-gregoire-maret-romain-collin-bill-frisell-act-music

Personnel: Gregoire Maret: harmonica; Romain Collin: piano; Bill Frisell: guitar, electric; Clarence Penn: drums.

Additional Instrumentation: Romain Collin: piano, Moog Taurus, pump organ, effects; Bill Frisell: electric guitar, acoustic guitar, banjo; Clarence Penn: drums.

Americana

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Lee Morgan - Here's Lee Morgan (Disc 1) And (Disc 2)

Styles: Trumpet Jazz
Year: 1960
File: MP3@320K/s
Time: 37:17 (Disc 1)
Size: 86,1 MB (Disc 1)
Time: 65:35 (Disc 2)
Size: 151,4 MB (Disc 2)
Art: Front

Disc 1

(5:17)  1. Terrible ''T''
(7:42)  2. Mogie
(5:36)  3. I'm A Fool To Want You
(6:03)  4. Running Brook
(6:13)  5. Off Spring
(6:23)  6. Bess

This CD reissue has its original six songs expanded to 11 with the inclusion of five alternate takes. The music is good solid hard bop that finds Lee Morgan (already a veteran at age 21) coming out of the Clifford Brown tradition to display his own rapidly developing style. Matched with Clifford Jordan on tenor, pianist Wynton Kelly, bassist Paul Chambers and drummer Art Blakey, Morgan's album could pass for a Jazz Messengers set. ~ Scott Yanow  http://www.allmusic.com/album/heres-lee-morgan-mw0000188579

Personnel: Lee Morgan (trumpet, flugelhorn); Clifford Jordan (tenor saxophone); Wynton Kelly (piano); Paul Chambers (bass); Art Blakey (drums).

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Disc 2

(5:42)  1. Terrible ''T'' (take 7)
(6:53)  2. Terrible ''T'' (take 6)
(7:25)  3. Mogie (take 2)
(7:31)  4. Mogie (take 1 mono)
(5:54)  5. I'm A Fool To Want You (take 1)
(5:43)  6. I'm A Fool To Want You (take 2)
(6:16)  7. Running Brook (take 9)
(6:50)  8. Running Brook (take 4)
(6:39)  9. Off Spring (take 7)
(6:38) 10. Bess (take 3)

Here's Lee Morgan (Disc 1) (disc 2)

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John Patitucci & Andy James - An Evening with John Patitucci & Andy James

Styles: Jazz, Post Bop
File: MP3@256K/s
Time: 82:48
Size: 152,2 MB
Art: Front

(4:23) 1. Autumn In New York
(7:08) 2. Besame Mucho
(3:08) 3. I Love You And Dont You Forget It
(5:07) 4. To Dream As One
(4:41) 5. Moonlight In Vermont
(5:09) 6. Day Dream
(5:46) 7. Blackbird
(3:19) 8. When I'm With You
(6:05) 9. Will You Still Love Me Tomorrow
(4:12) 10. Unchain My Heart
(6:22) 11. Fire Rain
(4:19) 12. Burn For Love
(5:30) 13. Some Other Time
(4:26) 14. Laura
(4:00) 15. More Than You Know
(5:02) 16. My Heart Belongs To Daddy
(4:03) 17. Angel Eyes

On An Evening with John Patitucci & Andy James, two gifted performers join forces to conjure an intimate evening of captivating music. At a time when jazz aficionados around the world have been starved for musical experiences, the album recreates the sultry atmosphere of a candlelight nightclub as some of the most revered musicians in modern jazz perform classic standards. Due out November 5 via Le Coq Records, An Evening with John Patitucci & Andy James features nearly 90 minutes of scintillating music featuring an incomparable ensemble. In addition to James’ mesmerizing vocals and Patitucci’s bass mastery, the album boasts arrangements by piano great Bill Cunliffe for an ensemble that includes saxophonists Chris Potter and Rick Margitza, trumpeter Terell Stafford, guitarists Chico Pinheiro and Jake Langley, keyboardists John Beasley and Jon Cowherd, percussionist Alex Acuña, drummers Vinnie Colaiuta, Marcus Gilmore and Marvin “Smitty” Smith, along with powerful horn and string sections.

“I wanted people to just sit back and enjoy a listening experience of serene pleasure,” declares James. “John and I tried to create something easy to listen to that would leave people feeling good afterwards. I recorded the album in anticipation that people wouldn’t something too complicated at this time we all find ourselves in.” Jazz singing and Flamenco dance have been parallel passions throughout Andy James’ life. Flamenco took prominence during what she now refers to as “act one” of her artistic life. She became renowned as a world-class Flamenco dancer, enjoying a successful career dancing with husband and partner Piero Pata in Madrid. For “act two,” James relocated to the U.S. and focused on her singing career, renewing collaborations with the great jazz musicians who had crossed her path while they traveled through Europe. She and Pata launched Le Coq Records, releasing a series of albums ranging in style from the elegance of the female jazz swing tradition to vintage R&B to the post-bop urgency of the classic Blue Note era.

An estimable professional family has quickly found a home at the label, with Patitucci, Acuña and Cunliffe playing key roles on a number of releases and several musicians making recurring appearances from one recording to the next. On An Evening With…, Patitucci proves an ideal partner for James, bringing his revered tone and musical vision to the project and convening the ideal musicians for each piece.“When choosing personnel for any project,” Patitucci explains, “I try to find the greatest musicians that I have longstanding relationships with, in order to have the opportunity to get more deeply into the music at hand.” Over the course of a career lasting four decades, Patitucci has forged essential collaborations with some of the most acclaimed artists in jazz and beyond, most notably long-lasting partnerships with iconic saxophonist Wayne Shorter and the late Chick Corea.

Speaking of James, Patitucci says, “Andy is a very generous and flexible collaborator. She has a great love for the Great American Songbook. When she sings, her phrasing is reminiscent of so many of the great singers that I grew up listening to. The style that she sings in provides the opportunity to write arrangements for larger orchestrations.”James returns the compliment. “John is very important to my whole performance. Without John’s playing I would have been restricted in the way I could sing and approach every song in the album. John Patitucci brings a deep sound that allows me the freedom to sing with a lot of mood or feeling in my voice. He gives me a lot of space to create a meaningful performance.”

From the intoxicatingly lush opener “Autumn in New York,” with Patitucci’s robust bass matched by a fervent tenor solo by Potter, to the last-call balladry of “Angel Eyes” that closes the set, An Evening with John Patitucci & Andy James features countless classic songs along with a few surprises, including the smoldering James and Pata-penned love song “Burn for Love.”As she did on her previous release, Tu Amor, James reaches into her Latin influences on “Besame Mucho.” In addition to a number of well-known jazz standards James stretches the American Songbook to encompass great pop and rock classics like The Beatles’ “Blackbird” and James Taylor’s “Fire and Rain.”

The choices certainly inspire passionate playing from James and Patitucci’s guests, with standouts including Rick Margitza’s soaring solo on “Fire and Rain,” Terell Stafford’s heart-wrenching take on “Moonlight in Vermont,” and the soulful playing of Potter and John Beasley on the Gerry Goffin/Carole King favorite “Will You Still Love Me Tomorrow.” “The songs came naturally,” James explains. “I just wanted to sing some beautiful songs. The mood I had in mind when choosing these songs was one of love I just wanted people to find love with each other again after the era of Covid!” https://bassmagazine.com/artists/john-patitucci-announces-new-album-an-evening-with-john-patitucci-andy-james

An Evening with Andy James & John Patitucci

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Francesca Leone - Querida (Francesca Leone Sings Bossa Nova)

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 50:29
Size: 116,1 MB
Art: Front

(4:34) 1. Samba em Paz
(5:17) 2. Olha pro Ceu
(5:33) 3. Favela
(5:27) 4. Desafinado
(4:28) 5. Samba do Aviao
(6:11) 6. Querida For Laura
(4:27) 7. Samba de Mulher
(4:15) 8. Batida Diferente
(5:01) 9. O Pato
(3:33) 10. Samba de Orly
(1:38) 11. Samba Triste

Francesca Leone was born in Rome from a family of artists. After her participation at the group exhibition Arte Contemporanea per i Rifugiati (Musei Capitolini, Rome, 2007), she had her first solo exhibition at Loggiato di San Bartolomeo, Palermo (Riflessi e riflessioni), and Palazzo Venezia, Rome (Primo Piano, then Castel dell’Ovo, Naples, 2009). In 2009 she exhibited at the MMOMA-Museum of Modern and Contemporary Art in Moscow with the project Beyond their gaze and she was appointed Honorary Member of the Russian Academy of Fine Arts. In 2011 she has been invited to exhibit at the LIV International Art Exhibition of the Venice Biennale within the Italian Pavilion and in 2013 she participated in the LV International Art Exhibition of the Venice Biennale with the Cuba Pavilion. The exhibition, entitled “La Perversión de lo Clásico: anarquía de los relatos”, is a dialogue between 7 Cuban and 7 international artists.

In 2014, she had three solo-exhibition: at MAC-Museum of Contemporary Art in Santiago de Chile; at MACBA-Museum of Contemporary Art in Buenos Aires; at Museum of the Academy of Fine Arts in St. Petersburg. In 2015, “Our Trash” a solo exhibition hosted at La Triennale in Milan, followed, in 2017, by “Giardino” at MACRO-Museum of Contemporary Art in Rome. In June 2018 as a project of Palermo Capitale della Cultura 2018 and the collateral events of Manifesta 12, she exhibited in Palermo the installation “Monaci”, curated by Danilo Eccher at the Real Albergo dei Poveri, followed by the solo exhibition “Domus” at the Palacio de Gaviria in Madrid. In 2020, Magazzino Gallery in Rome hosted the artist’s first solo exhibition in a gallery, “Si può illuminare un cielo melmoso e nero?”. In 2021, in Milan, at Sala delle Colonne in Gallerie d’Italia, the solo-exhibition “Ulteriori gradi di libertà, nella città che resiste”, curated by Andrea Viliani. https://www.francescaleone.it/biography/?lang=en

Querida (Francesca Leone Sings Bossa Nova)

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Joe Locke, David Hazeltine Quartet - Mutual Admiration Society 2

Styles: Vibes Jazz
Year: 2009
File: MP3@320K/s
Time: 54:30
Size: 125,8 MB
Art: Front

(6:42)  1. Pharoah Joy
(8:28)  2. The Peacocks
(5:56)  3. One for Reedy Ree
(8:39)  4. Twelve
(6:02)  5. What's Not To Love?
(6:51)  6. Convocation
(5:35)  7. If It's Magic
(6:14)  8. Blues for Buddy

In the last year of the twentieth century, Sharp Nine Records released Mutual Admiration Society, a quartet date co-led by vibraphonist Joe Locke and pianist David Hazeltine, which also included bassist Essiet Essiet and drummer Billy Drummond. A brainchild of Sharp Nine honcho Marc Edelman, the collaboration between these two longtime friends was based on a desire to explore each other's strengths. Hazeltine was keen on interacting with the blues-oriented, earthy side of Locke's playing, as well as experiencing the vibraphonist's harmonically adventurous compositions. Locke welcomed the opportunity to interpret Hazeltine's arrangements and play off of the pianist's swinging, individualistic style. A few of the record's highlights included a deliberately paced, dreamlike version of the 1960s pop hit, "I Say a Little Prayer," Hazeltine's "Can We Talk?," which moved between funk and straightforward swing, and Locke's intriguing reharmonization of the standard "Spring Will Be a Little Late This Year." Locke and Hazeltine played a six night engagement at New York City's Sweet Basil in support of the record and then went their separate ways. Early this year, Edelman brought the quartet back into the studio and once again the co-leaders contribute the bulk of the material. The ringing chords which underlie the melody of Locke's "Pharoah Joy" resemble a revved up version of the foundation of Pharoah Sanders' "The Creator Has A Master Plan." 

Dedicated to the late drummer Tony Reedus, Hazeltine's "One For Reedy Ree" entails a throbbing, repetitive introduction followed by an angular melody with a few twists and turns. Based on Cole Porter's "Everything I Love," Locke's "What's Not To Love?" begins with a haunting figure, voiced at the low end of vibes and piano, that reappears in the midst of this bright, optimistic tune. Employing a Latin rhythm and pockets of straight-ahead swing, Hazeltine's "Blues For Buddy" is an up-tempo romp that breathlessly jams a handful of melodies into twenty-four bars. It's hard to imagine a bassist and drummer better suited to complement Locke and Hazeltine. Essiet and Drummond have so much to contribute, and the bulk of what they play doesn't sound overly assertive or particularly busy. They demonstrate many ways to swing, often subtly tightening or loosening the pressure behind the soloist during the course of a single chorus. Locke and Hazeltine are expansive, stimulating improvisers who stay in touch with everything going on around them. In the final analysis, however, it's the group's sound that makes the record special. Even on up-tempo tracks like "Convocation" and "Blues For Buddy," there's warmth and a centered vibe to the music. It's a pleasure to hear how they support one another (Hazeltine's comping behind Locke, for example, is marvelous), and always find common ground regardless of the feel or tempo of the material. Mutual Admiration Society 2 is a significant contribution to the jazz mainstream. Here's hoping another ten years don't have to go by for the next installment. ~ David A.Orthmann https://www.allaboutjazz.com/mutual-admiration-society-2-joe-locke-sharp-nine-records-review-by-david-a-orthmann.php

Personnel: Joe Locke: vibes; David Hazeltine: piano; Essiet Essiet: bass; Billy Drummond: drums.

Mutual Admiration Society 2

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Brian Lynch - Brian Lynch Meets Bill Charlap

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 62:28
Size: 143,2 MB
Art: Front

(7:58)  1. On Green Dolphin Street
(7:34)  2. Autumn Nocturne
(6:38)  3. My Heart Stood Still
(5:46)  4. Cheryl
(8:23)  5. Before the First Cup
(6:44)  6. Atras da Porta
(4:54)  7. On the Dot
(6:34)  8. Come Rain or Come Shine
(7:53)  9. Blues for Gilad

While he adroitly blows his way through a couple of medium-to-up tempo tracks with the edgy assurance of a veteran bebopper, the largest part of trumpeter/flugelhornist Brian Lynch’s latest disc on Sharp Nine Records displays a temperate approach to the music. A welcome relief from the clamor that characterizes a lot of today’s jazz, Lynch’s moderation as a player and bandleader is evident in a number of ways. He knows that melodies are to be relished instead of glossed over; tempos other than rapid ones make a positive impression; and music that breathes easily can be as effective as rough-hewn, densely textured sound.Lynch possesses ample technique and a full, warm tone on the horn, but it’s his ability to imbue every note with an emotional weight (minus any mawkishness) that makes this record special. For example, the splendor of his rendition of the ballad “Autumn Nocturne” makes time stand still; and the way he subtly invokes a feeling of yearning during the bossa “Atras da Porta.” Accordingly, Lynch’s solo lines favor measured, linear development over fireworks and showy gestures. Moreover, his bandmates, pianist Bill Charlap, bassist Dwayne Burno, and drummer Joe Farnsworth are all on the same wavelength, ably balancing the roles of support and self-expression, following or inducing subtle shifts in emphasis, and nudging the music forward in ways more fluid than forceful.

The record opens with Lynch’s treatment of “On Green Dolphin Street.” He revitalizes this warhorse by recasting it in 7/4 time. The arrangement centers around a nice, easy rolling vamp played by the piano, bass, and drums, and the bridge has a conventional jazz feel. In particular, the contrast between the broad click of Farnsworth’s rim knocks and portions of triplets to the tom-toms gives the music an irresistible, dancing movement. Beginning the round of solos, Charlap initially takes his time playing around Farnsworth’s and Burno’s variations of the vamp and then becomes more expansive over their straight-ahead groove. Utilizing a mute throughout, Lynch’s turn starts by lazily building melodic lines that float over the rhythm section. A shooting double-time phrase toward the end of his first chorus signals change as he digs in and becomes more dynamic, all the while prodded by Farnsworth’s brusque snare drum fills. The drummer’s decidedly non-linear solo is structured but not hemmed in by the vamp. He offers a loose yet calculated configuration of rhythmic fragments, such as a stick to the bell of the cymbal, long, rigid rolls to the snare and toms, and poking, three and four stroke shots to all the drums, some of which are mindful of Burno and Charlap’s persistent accompaniment, and others that chafe against it. Combining a strongly accented ostinato and a pensive melody, Lynch’s waltz “Before the First Cup” may not be a lyric writer’s dream; nonetheless the tune holds up well in comparison to the record’s selections from the American Popular Songbook (including “Autumn Nocturne,” “On Green Dolphin Street,” “My Heart Stood Still,” and “Come Rain or Come Shine”). Farnsworth keeps things from getting too settled by creating a choppy undercurrent with the boot of his bass drum, martial snare drum triplets, and irregularly timed cymbal crashes. Never straying from a romantic vein, the composer’s solo gradually moves from a dreamlike state to something grittier, as he increases the length and velocity of his lines.

The set’s closer “Blues For Gilad” is significant for the ways in which the rhythm section supports the soloists. During Lynch’s first two choruses, Farnsworth’s relaxed rim knock and tom-tom combinations provide an undemanding cushion. Conversely, there’s nothing rote about Charlap’s comping, as he moves from carefully chosen chords that mirror the drummer’s relaxed feel to those that shoot up and abruptly break off all without disturbing the trumpeter’s flow. At the beginning of Lynch’s third chorus, Burno starts walking for the first time and Farnsworth begins to keep straight time on the ride cymbal and the hi-hat. The music immediately begins to jump and the trumpeter swings harder and plays with more raw emotion. Burno and Farnsworth adopt a similar strategy for Charlap’s penetrating turn. Farnsworth serves up a slightly different rhythmic quality toward the end of Burno’s solo when he plays the lightest of shuffle beats, and carries it over into Lynch’s single chorus, right before the band takes the tune out.~David A.Orthmann https://www.allaboutjazz.com/brian-lynch-meets-bill-charlap-by-david-a-orthmann.php

Personnel:  Brian Lynch—trumpet/flugelhorn; Bill Charlap—piano; Dwayne Burno—bass; Joe Farnsworth—drums.

Brian Lynch Meets Bill Charlap

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Samara Joy - Samara Joy

Styles: Vocal
File: MP3@320K/s
Time: 42:01
Size: 97,1 MB
Art: Front

(3:53) 1. Stardust
(3:47) 2. Everything happens to me
(2:33) 3. If you never fall in love with me
(2:46) 4. Let's dream in the moonlight
(4:21) 5. It only happens once
(3:58) 6. Jim
(2:36) 7. The trouble with me is you
(1:57) 8. If you'd stay the way I dream
(3:46) 9. Lover man (oh where can you be)
(3:54) 10. Only a moment ago
(3:23) 11. Moonglow
(5:00) 12. But beautiful

With a voice as smooth as velvet, SAMARA JOY’s star seems to rise with each performance. Following her winning the 2019 Sarah Vaughan International Jazz Vocal Competition, she is currently recording her debut recording, which will feature Samara backed by the Pasquale Grasso Trio. Growing up in New York, music was a pervasive presence, due to the inspiration of her paternal grandparents, Elder Goldwire and Ruth McLendon, who led the well-known Philadelphia-based gospel group, The Savettes. Her father toured with the renowned Gospel artist Andrae Crouch, and her home was filled with the sounds of not only her father’s songs and songwriting process, but the inspiration of many Gospel and R&B artists, including Stevie Wonder, Lalah Hathaway, George Duke, Musiq Soulchild, Kim Burrell, Commissioned, and many others.

“Although I didn’t grow up singing in church,” explains Samara, “I constantly heard my family singing inspirational music together, which instilled in me an appreciation for my musical lineage. Through musicals in middle school, I loved exploring the range of my voice and applying the different colors to fit the characters I played. Finally, during high school, I joined the choir at my church, eventually becoming a worship leader, singing three services a week for nearly two years. That was my training.” Samara’s first exposure to jazz was while attending Fordham High School for the Arts, where she performed regularly with the jazz band, eventually winning Best Vocalist at JALC’s Essentially Ellington competition. However, jazz wasn’t really her focus until the time came to choose a college. Wanting to attend a state school close to home, she picked SUNY Purchase, gaining acceptance into their acclaimed jazz program, with a faculty that includes many jazz masters (including Pasquale Grasso and drummer Kenny Washington, who both appear on her debut recording.)

“My friends were all into jazz and started sharing their favorite recordings with me to check out. The turning point was when I heard both Sarah Vaughan’s version of ‘Lover Man’ and Tadd Dameron’s recordings featuring trumpeter Fats Navarro. I was hooked.” From this point, she began to pursue her jazz studies with an intense passion, eventually being named the Ella Fitzgerald Scholar and entering and winning the Sarah Vaughan International Jazz Vocal Competition. Although having only recently celebrated her 21st birthday, Samara has already performed in many of the great jazz venues in NYC, including Dizzy’s Club Coca Cola, The Blue Note, and Mezzrow, in addition to working with jazz greats such as Christian McBride, Pasquale Grasso, Kirk Lightsey Cyrus Chestnut, and NEA Jazz Master Dr. Barry Harris.

Samara's self-titled debut recording is slated for release on July 9 through Whirlwind Recordings. It presents her backed by the trio of guitarist Pasquale Grasso, bassist Ari Roland, and drummer Kenny Washington. Within the album's liner notes, veteran writer Will Friedwald comments that Samara Joy is “a fantastic collection of highly original new arrangements, beautifully sung by a rising talent, and a very impressive first album. People are forever using the word 'timeless' as if it were the greatest praise ever, but in a way, Samara’s voice and her music seem to belong to all time, like she’s connected to the entire history of jazz all at once - as if she were existing in every era simultaneously, she sounds both classic and contemporary.”

Winning the Vaughan award was transformational for Joy. “I was suddenly on the jazz radar. It’s still bizarre to think of how fast things have progressed.” Since then, Joy has dug deep to discover her jazz roots, without losing sight of the innate simplicity that makes her sound shine. Her first album announces the arrival of a young artist destined for greatness. https://samarajoy.com/about

Samara Joy

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Jim Hall - Textures

Styles: Guitar Jazz
Year: 1996
File: MP3@320K/s
Time: 51:33
Size: 118,3 MB
Art: Front

( 6:58) 1. Fanfare
( 9:46) 2. Ragman
( 6:44) 3. Reflections
( 4:46) 4. Quadrologue
(12:54) 5. Passacaglia
( 5:59) 6. Sazanami
( 4:23) 7. Circus Dance

Now this is really different. Without dropping his electric and acoustic guitars for a minute, Jim Hall reaches back to his early classical studies and joins the Third Stream. The result is an absorbing set of seven Hall compositions that reveal a hitherto unseen, serious, sometimes whimsical side of a musician we all thought we had pegged. A lot of this is rooted in 1950s classical/jazz fusions from Stan Kenton to Gunther Schuller, yet Hall thankfully makes even the most cerebral passages sound attractive, thanks in part to the delicate, still-soft timbres of his electric guitar. Each piece is quite different from that of its neighbor; two ("Fanfare," "Reflections") have surprisingly dense and dissonant writing for a brass septet, another ("Quadrologue") uses pizzicato strings plunking acerbically over a repeated ostinato, still another is an informal "Passacaglia" with isolated interludes for solo classical guitar. The splendidly nostalgic "Sazanami," with steel drum tappings over a Caribbean shaker rhythm, is the closest thing to a strictly jazz-oriented groove on the CD, and a mock "Circus Dance" for oompah-ing brass adds a touch of droll and morose humor at the end of the program.

The most original piece is probably "Ragman," with its contemporary string writing, Middle Eastern flavor, and Joe Lovano rattling around the percussive rhythms on soprano sax. Signing with Telarc allegedly a safe refuge for aging jazz stars seems to have brought out the daring explorer in Hall in this and his previous release, Dialogues. More power to him.~ Richard S. Ginell https://www.allmusic.com/album/textures-mw0000023650

Personnel: Guitar, Composed By, Arranged By – Jim Hall; Bass – Scott Colley; Drums – Terry Clarke; Flugelhorn – Claudio Roditi; Soprano Saxophone – Joe Lovano; Steel Drums – Derek DiCenzo; Trombone – Jim Pugh; Trumpet – Ryan Kisor

Textures

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Cecil L. Recchia - Songs of the Tree (A Tribute to Ahmad Jamal)

Styles: Vocal Jazz
Year: 2015
File: MP3@320K/s
Time: 41:11
Size: 94,7 MB
Art: Front

(3:22)  1. Volga Boatmen
(5:08)  2. Naked City
(3:42)  3. Minor Moods
(2:50)  4. You're Blase
(2:43)  5. The Breeze and I
(3:53)  6. Time on My Hands
(4:27)  7. Autumn Leaves
(4:32)  8. Ahmad's Blues
(4:58)  9. The Party's Over
(5:32) 10. Poinciana

Following years of classical piano training and American literature studies at the Sorbonne, Cecil L. Recchia entered the world of jazz at the Paris CIM, institute for contemporary music and jazz. She then continued to develop her jazz acumen in master classes conducted by such jazz legends as Michelle Hendricks, Bob Stoloff, Barry Harris and Norma Winstone. Cecil created the Cid Azilis Project in 2007, a quartet in which she interprets an original repertory of personal compositions along with English and American poems by Shakespeare, Poe and Dickinson set to her own music. After making a splash with her quartet at the 2008 Sunset/Sunside Awards, Cecil L. Recchia has since become a regular on the Paris jazz scene. That same year, she performed live in “Jazz à la Récré” (EMI) for the release of the eponymous record also featuring Didier Lockwood and Hal Singer. 

This project was warmly received, particularly at the first edition of “Jazz for Kids” at the 2009 Villette Jazz Festival. It was followed by a second opus, “Noël en Jazz” in which Cecil is both lead vocalist and arranger. With « Songs of the Tree : a tribute to Ahmad Jamal » recorded with Vincent Bourgeyx, Manuel Marches and David Grebil, it offers a first successful opus, which quickly received a warm welcome from the public. Cecil continues to pursue a singing career in a variety of jazz and Brazilian music ensembles, alongside her ongoing activities as a vocal jazz coach. https://cecilrecchia.com/en/bio/

Songs of the Tree (A Tribute to Ahmad Jamal)

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Lovisa Lindkvist - Candy Bossa

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 55:30
Size: 129,1 MB
Art: Front

(3:41) 1. Desafinado
(3:59) 2. So Many Stars
(3:23) 3. Triste
(5:46) 4. Someone To Watch Over Me
(4:39) 5. Two Kites
(3:06) 6. Blue In Green
(3:07) 7. Dreamer
(3:01) 8. The Girl From Ipanema
(3:42) 9. Estate
(3:52) 10. Call Me
(3:10) 11. Meditation
(3:36) 12. Waters Of March
(2:57) 13. How Intensive
(3:53) 14. Once I Loved
(3:31) 15. Like A Lover

Lovisa Lindkvist. There is no doubt that music has always played a vital role in Lovisa's life, already from early years. Even as a little baby, Lovisa mimicked her mother as she practiced her singing. And so, it became natural from early on to express herself through her voice. With a voice far more mature than her 27 years of age, she belongs to the group of Swedish jazz vocalists that bridge the gap of the famous Swedish singer, Monica Zetterlund. At 10 years of age, she was accepted at the music education of Adolf Fredrik Elementary School, where choir singing is mostly taught. However, she soon realized that she wanted to pursue a career as a solo singer. In 2006, she released her debut album, "That Girl", which was mainly recorded live with only first-take recordings.

It contains famous songs from "The American Songbook", but also some originals, and was highly praised by critics all over Sweden, described as a "fantastic debut", and Lovisa was named as Sweden's next great jazz vocalist. At the same time, the album was released in Japan, and in the same year, she became the first-time receiver of the Monica Zetterlund scholarship. In 2007, she contributed with two songs on an album with the best ballads of Bo Nilsson, which also featured songs by Tommy Korberg, Monica Zetterlund, and Sylvia Wrethammar. Lovisa has performed at TV 4 Nyhetsmorgon, at various jazz clubs all over Sweden, as well as on national radio. She has been the opening act for Dionne Warwick, and performed at the Eliasson Award Dinner in Los Angeles. http://www.mymusicbase.ru/PPB/ppb33/Bio_3388.htm

Candy Bossa

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Cecil L. Recchia - The Gumbo

Size: 89,4 MB
Time: 37:56
File: MP3 @ 320K/s
Released: 2018
Styles: New Orleans Jazz/Blues Vocals
Art: Front

01. Jungle Blues (3:18)
02. Second Line (3:56)
03. Limehouse Blues (2:35)
04. Jambalaya (On The Bayou) (3:59)
05. Big Butter And Egg Man (3:33)
06. Go To Mardi Gras (0:24)
07. Egyptian Fantasy (3:40)
08. New Orleans Blues (3:00)
09. Young New Orleans Blues (1:19)
10. Saint James Infirmary (2:52)
11. Lil' Liza Jane (0:34)
12. Sleepy Time Down South (2:46)
13. Bourbon Street Parade (When It's) (3:16)
14. Tootie Ma Is A Big Fine Thing (2:37)

Following years of classical piano training and American literature studies at the Sorbonne, Cecil L. Recchia entered the world of jazz at the Paris CIM, institute for contemporary music and jazz.

She then continued to develop her jazz acumen in master classes conducted by such jazz legends as Michelle Hendricks, Bob Stoloff, Barry Harris and Norma Winstone. Cecil created the Cid Azilis Project in 2007, a quartet in which she interprets an original repertory of personal compositions along with English and American poems by Shakespeare, Poe and Dickinson set to her own music.

After making a splash with her quartet at the 2008 Sunset/Sunside Awards, Cecil L. Recchia has since become a regular on the Paris jazz scene.

That same year, she performed live in “Jazz à la Récré” (EMI) for the release of the eponymous record also featuring Didier Lockwood and Hal Singer.

This project was warmly received, particularly at the first edition of “Jazz for Kids” at the 2009 Villette Jazz Festival. It was followed by a second opus, “Noël en Jazz” in which Cecil is both lead vocalist and arranger.

With « Songs of the Tree : a tribute to Ahmad Jamal » recorded with Vincent Bourgeyx, Manuel Marches and David Grebil, it offers a first successful opus, which quickly received a warm welcome from the public.

Cecil continues to pursue a singing career in a variety of jazz and Brazilian music ensembles, alongside her ongoing activities as a vocal jazz coach.

The Gumbo

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René Marie - Voice Of My Beautiful Country

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 75:26
Size: 173,6 MB
Art: Front

(6:06)  1. Strange Meadowlark
(9:06)  2. O Shenandoah
(3:33)  3. Imagination
(7:18)  4. Just My Imagination
(7:51)  5. White Rabbit
(7:16)  6. Drift Away
(6:36)  7. John Henry
(7:10)  8. Angelitos Negros
(4:41)  9. America The Beautiful
(3:11) 10. Drum Battle
(1:20) 11. Piano Blues
(6:24) 12. My Country 'Tis Of Thee
(2:38) 13. Lift Ev'ry Voice and SingStar-Spangled Banner
(2:13) 14. America The Beautiful-Reprise

The track list on René Marie's latest release reads like an iPod in random shuffle mode gone haywire: a Temptations classic is followed by a Jefferson Airplane classic, which is followed by Dobie Gray's hit "Drift Away." There's Dave Brubeck's "Strange Meadow Lark" and the American folk standards "John Henry" and "O Shenandoah," and a sensuous Latin ballad, "Angelitos Negros." The rest of the program makes for no less incongruous a list, but René Marie's gift is that she wraps each song around her dynamic, smoky, malleable, experienced voice until it feels as if she's written it. (Her next album will consist solely of her own compositions.) Marie is a latecomer to performing; now in her fifties, she's only been recording for about 15 years. Perhaps because she took so long to get started, she's had time to develop a personalized style without falling prey to outside influences. Fronting a tight, supple jazz combo, Marie is down to earth, full of surprises, and clever in her approach to a song. The Airplane's "White Rabbit" is rendered in a simultaneously dreamy and intense fashion: Marie, after building up to her first crescendo, lays back, turns things over to the pianist, waits it out till it's become frenzied, and only then returns to drive it home. A medley of Jimmy Van Heusen's "Imagination" and the Temps' "Just My Imagination" makes more sense in Marie's hands than on paper: the first is a whispery, breathy voice and sullen piano; a seamless segue and then the second song, which is soulful, free, tough, and fun. The eclecticism isn't for its own sake, though, Marie gives no impression that she's jumping all over the place to be hip. So when she closes it out with what she dubs "Voice of My Beautiful Country Suite," a six-part medley that runs the gamut from "America the Beautiful" and "My Country 'Tis of Thee" to "Lift Ev'ry Voice and Sing" and the "Star Spangled Banner"  with drum and bluesy piano solos tossed in it all still makes perfect sense. ~ Jeff Tamarkin https://www.allmusic.com/album/voice-of-my-beautiful-country-mw0002099459

Personnel: René Marie (vocals); Kevin Bales (piano); Quentin Baxter (drums).

Voice Of My Beautiful Country

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Clifford Scott, Les Mccann & Joe Pass - Out Front

Styles: Saxophone Jazz, Post Bop
Year: 1963
File: MP3@320K/s
Time: 38:33
Size: 89,5 MB
Art: Front

(4:55) 1. Samba de Bamba
(7:12) 2. Over And Over
(5:39) 3. As Rosie And Ellen Dance
(2:07) 4. Cross Talk
(5:03) 5. Why Don't You Do Right
(7:51) 6. Just Tomorrow
(5:43) 7. Out Front

As rhythm and blues developed into the most popular black music in the late forties and early fifties, a lot of jazz-oriented musicians jumped the bandwagon in order to make a decent living. Perhaps decent isn’t the appropriate term. Regularly, players switched from swing bands to r&b outfits, which usually meant a change from one grueling touring schedule to another. One bows in awe to them in hindsight, the way guys like Eddie “Lockjaw” Davis, Eddie “Cleanhead” Vinson, Red Holloway, Don Wilkerson or Sam “The Man” Taylor, survived. Tenor saxophonist Clifford Scott, born in San Antonio, Texas in 1928, deceased in 1993, traveled a similar route.

Scott worked with Amos Milburn, Jay McShann, Lionel Hampton, Roy Brown and Roy Milton in the early fifties. Scott provided the groundbreaking honking tenor solo on organist Bill Doggett’s jukebox hit in 1955, Honky Tonk. He stayed with Doggett for a number of years. Subsequently, Scott acted as a leader, trying to capitalize on the honking hype with singles bearing gimmicky titles like Bushy Tail and The Kangaroo, and recorded as a prominent session musician in the r&b and pop field. His last big stint, before settling down as a local hero in San Antonio, was with the Ray Charles band, intermittently, from 1966 to 1970.

Based on the West Coast in the sixties, Scott was featured on a number of Pacific Jazz albums by the organ combo Billy Larkin & The Delegates. Scott recorded Plays The Big Ones on Pacific Jazz in 1963, a gritty soul jazz date featuring Hammond organ. It’s a nice enough date but incomparable with Scott’s subsequent album, Out Front!. During that session, Scott expanded his scope, holding on to the fried-bacon notes and the occasional crowd-pleasing climaxes, while displaying distinct suppleness and double-time fluency. Coming with the slightest vibrato, Scott’s style is sensual as hell, and hot as hell as well.

Sensual also applies to the Les McCann Trio, which consists of McCann, bassist Herbie Lewis, drummer Paul Humphrey, plus Joe Pass, as in: attractive, uplifting, rousing. McCann had cooperated with Joe Pass on Richard “Groove” Holmes’ Something Special, Les McCann’s Featuring Joe Pass, On Time and Soul Hits. The gospel-drenched vigor and probing accompaniment of McCann, the group’s abundant swing and the subtle and peppery phrases of Pass provide a stimulating canvas for the lurid, lean strokes of Scott, whom one imagines must’ve been elated with the possibility of working with such an immaculate quartet.

And as is usual with the presence of McCann on a recording date, the pianist contributes a couple of catchy tunes, like the driving Out Front and the crisp stop-time cooker Over And Over, which is marked by the typical McCann device of a shift in key. McCann also wrote Crosstalk, killer greasy tune that is pure Bo Diddley’s Not Fade Away, thriving on the rousing beat and statements of McCann and Pass and the rubato wail of Scott that takes one by surprise like a tornado in New Mexico: a soul jazz gem stopping at a mere 2.45 minutes.

Samba De Bamba is a different ball game, an equally swinging, Latin hard bop tune. Developing his story from sophisticated, fluent phrasing to the kind of terse blowing of Ben Webster, Scott reveals himself as a singular stylist. This, perhaps, comes as no surprise considering his past in the swing era. It is surprising, though, that the saxophonist wasn’t granted the opportunity to record more extensively throughout his career, except for a couple of albums in the early 90’s. More than that, it is a shame. http://flophousemagazine.com/2020/08/31/clifford-scott-out-front-pacific-jazz-1963/

Personnel: Clifford Scott (tenor and alto saxophone), Joe Pass (guitar), Les McCann (piano), Herbie Lewis (bass), Paul Humphrey (drums)

Out Front

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Corinne Bailey Rae - Live In New York (Ao Vivo)

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 59:44
Size: 138,1 MB
Art: Front

(5:45)  1. Call Me When You Get This
(3:37)  2. Trouble Sleeping
(5:32)  3. Breathless
(4:05)  4. Enchantment
(5:17)  5. Till It Happens To You
(5:47)  6. Since I've Been Loving You
(5:26)  7. Like A Star
(3:53)  8. Put Your Records On
(4:02)  9. Butterfly
(4:55) 10. I'd Like To
(4:47) 11. Choux Pastry Heart
(6:31) 12. Seasons Change

Corinne Bailey Rae is a soul-rooted contemporary R&B singer and songwriter with multiple Top Ten U.K. and U.S. albums. Displaying an interest in music from an early age, Bailey Rae studied classical violin until she acquired an electric guitar in her early teens. Inspired by such '90s alt-rock icons as L7, Veruca Salt, and Belly, Bailey Rae formed her first band, Helen. Despite developing a strong local following, the band ultimately folded and she enrolled at Leeds University to study English literature. While at school, a job at a jazz club inspired her more soul-oriented leanings and she began writing songs. Eventually, she scored a record deal with EMI and released her self-titled debut solo album in February 2006. It topped the U.K. album chart, pushed by the number two single "Put Your Records On," and reached number four on the U.S. Billboard 200. Bailey Rae earned three Grammy nominations and was nominated for as many MOBOs, two of which Best U.K. Female, Best U.K. Newcomer she won. A year later, both an expanded edition of the album and the CD/DVD set Live in London & NY appeared, and she was featured on Herbie Hancock's Grammy-winning River: The Joni Letters. Corinne Bailey Rae's second proper album, The Sea, was heavily affected by the death of her husband, saxophonist Jason Rae.

Despite the traumatic events surrounding its recording, it translated into commercial success as another instant Top Ten hit in the U.K. and U.S. after its January 2010 release. She followed the Mercury Prize-nominated album early the next year with the considerably lighter The Love EP, a five-song set containing covers of songs originally recorded by the likes of Prince, Bob Marley, and Paul McCartney & Wings. Her version of Marley's "Is This Love" won a Grammy in the category of Best R&B Performance. As she worked on her third proper album, she temporarily retreated from the spotlight and remarried in 2013. In February 2016, "Been to the Moon," a collaboration with King's Paris and Amber Strother, heralded The Heart Speaks in Whispers, which arrived three months later. The album peaked at number two on the R&B charts. One year later, Bailey Rae recorded a cover of Coldplay's "The Scientist" for the Fifty Shades Darker soundtrack. ~ Matt Collar https://www.allmusic.com/artist/corinne-bailey-rae-mn0000733717/biography

Live In New York

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Francesca Leone & Guido Di Leone - Tudo Em Bossa Nova

Styles: Vocal And Guitar
Year: 2019
File: MP3@320K/s
Time: 79:39
Size: 183,1 MB
Art: Front

(3:22) 1. Samba e Amor
(3:10) 2. Io so che ti amerò
(1:46) 3. Sambou Sambou
(3:19) 4. Kisses Through the Fingers
(1:57) 5. Só Tinha de Ser Com Você
(3:37) 6. Que reste-t-il de nos amours ?
(2:46) 7. Falsa Baiana
(3:28) 8. 'na voce 'na chitarra (e 'o poco 'e luna)
(3:35) 9. Just in Time
(1:39) 10. Deixa
(2:59) 11. Time After Time
(4:23) 12. Sem Você
(2:21) 13. Watch What Happens
(2:19) 14. Malaga
(2:24) 15. Só Danço Samba
(2:37) 16. Samba em Prelúdio
(2:22) 17. Ho-Ba-La-La
(3:52) 18. Tristeza / Samba de Duas Notas
(4:30) 19. You're My Everything
(3:05) 20. Quizás, Quizás, Quizás
(2:27) 21. Doralice
(3:02) 22. Anema e core
(3:40) 23. Triste
(3:00) 24. Bolsa Nova
(4:07) 25. But Not For Me
(3:39) 26. Fotografia

Two of the greatest national performers of the bossanova genre. A duet fruit of years of collaborations, concerts and festivals held around the world. A repertoire, the Brazilian one, chosen from pieces that in some cases carry excellent signatures such as those of Tom Jobim, Joao Gilberto, Vinicius de Moraes, Baden Powell. The "Brazilian saudade" soon became part of the musical culture of the whole world, giving a new life to its melodies. Guido Di Leone, one of the most famous Italian guitarists and Francesca Di Leone, a persuasive voice and very fine performer, give us a record of high artistic profile and at the same time of great pleasure, elegance and simplicity of listening. http://www.jazzandmore.it/product_info.php?products_id=753&language=en

Personnel: Di Leone Guido - classic guitar; Leone Francesca - voices

Tudo Em Bossa Nova

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