Angela Hagenbach - Feel the Magic

Styles: Jazz Vocals
Label:  Harvest Media Group,LLC
Year: 2001
File: MP3@320K/s
Time: 59:55
Size: 137,2 MB
Art: Front

(3:38)  1. Love for Sale
(5:19)  2. Peel Me a Grape
(3:50)  3. Obsession
(3:36)  4. Nice and Easy Does It
(5:42)  5. Feel the Magic
(3:37)  6. Retribution
(6:03)  7. So Many Stars
(4:05)  8. Don't Get Around Much Anymore
(7:00)  9. Retrato Em Branco e Preto
(4:44) 10. Easy to Love
(6:14) 11. Something Cool
(6:03) 12. Baby, Baby All the Time

Internationally known model turned jazz vocalist, Angela Hagenbach's third album for her Amazon label finds her in the company, although not exclusively, of many of the musicians with whom she has worked on previous albums. These include the important rhythm section of Joe Cartwright, Danny Embrey, Gary Helm, and James Jeffrey. What is striking about Hagenbach are the dramatic alterations to her voice she is able to make from one track to another to conform it to the way she wants to deliver a tune. And she does this with ease, without any diminishment in the quality of her singing. On "Peel Me a Grape," her voice is enticingly light, while on "Retrato em Branco e Preto," one has to take a look at the liner notes to see whether a new singer has been recruited for this tune; her voice drops to a lower register, resulting in a husky, smoky rendition of this Antonio Carlos Jobim Brazilian classic. "Don't Get Around Much Anymore" is the vehicle not only for some well-done scatting, but it allows Hagenbach to show her ability to fool around with the lyrics, adding some new ones without damaging the theme of one of Duke Ellington's greatest. "Baby, Baby, All the Time" shows Hagenbach's blues side, as she rides into the chorus on top of Cartwright's lead in piano. Unlike June Christy's renowned sorrowful version of "Something Cool," Hagenbach's borders on the defiant. On "Easy to Love," she recalls Anita O'Day. On other tunes, she shows touches of Ella Fitzgerald and Carmen McRae. With her excellent range, perfect pitch, and her unerring sense of what she's singing, there is no reason why Hagenbach shouldn't become one of jazz's foremost vocalists, and to get there in a hurry.~Dave Nathan 

http://www.allmusic.com/album/feel-the-magic-mw0000331169 .

Feel the Magic

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Youn Sun Nah - Voyage

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 55:13
Size: 126,4 MB
Art: Front

(4:44)  1. Dancing With You
(5:01)  2. The Linden
(4:06)  3. Calypso Blues
(4:25)  4. My Bye
(3:42)  5. Jockey Full Of Bourbon
(6:01)  6. Voyage
(3:46)  7. Please Don't Be Sad
(4:32)  8. Shenandoah
(3:31)  9. Come, Come
(5:18) 10. Frevo
(5:05) 11. Inner Prayer
(4:58) 12. India Song

Although her UK debut at London's Vortex was in May 2009, South Korean singer Youn Sun Nah has been a figure on the French jazz scene since the mid '90s when she moved there to study jazz and French chanson.Voyage, her sixth release sees her deftly accompanied by some of the top names in European jazz. One phrase into "Dancing With You" and it's clear that here is a remarkable voice. Sun Nah possesses the sensuousness of Melody Gardot, the quirky, theatrical air of Björk, and the blues of a Parisian chanteuse. On the opening "Dancing With You," Ulf Wakenius accompanies softly on acoustic guitar and Lars Danielsson's melodica brings a Parisian feel to a tender love song. Half the tracks are Sun Nah originals and reveal her to be a romantic at heart. Her songs are tinged with a sweet melancholy, like the lovely "My Bye," which features a plaintive solo from trumpeter Mathias Eick. The Norwegian also features on the beautiful title track, where all the nuances of Sun Nah's voice soothing yet fragile are heard. Eick's solo is sensitive and gently paced, providing perfect sympathetic background. Danilesson's "The Linden"with its melancholy air and brushes like a gentle breeze could have been written for Sun Nah. Sun Nah's cover songs are rhythmically more engaging and reveal the impressive range and operatic quality of her voice. Egberto Gismonti's classic "Frevo" sees Sun Nah scatting bebop style with tremendous facility and reaching a flamenco-like passion. Nat "King" Cole's "Calypso Blues" is a sheer delight, with Danielsson laying down a gorgeous groove over which Sun Nah's sultry voice plays with the lyrics, reaching a falsetto which might just crack glass.

Tom Waits could probably retire on the royalties received from covers of his songs, and here Sun Nah takes on "Jockey Full of Bourbon." With Wakenius sounding slightly Marc Ribot-ish, and a swinging groove courtesy of Daneilsson and percussionist Xavier Desandre-Navarre, it is a tad too faithful in spirit to the original to really stand out, but is enjoyable nevertheless. More interesting is the quirky original "Please, don't be sad," which features what sounds like facial percussion and Wakenius' darkly funky guitar punctuation. "Shenandoah" is a long way from Korea, but Sun Nah brings a haunting beauty to this classic of the American songbook. "Inner Prayer," another beautiful original, has a touch of Americana about it and Sun Nah's delivery is yearning and vulnerable, underpinned by washing cymbals and Eick's fragile, puffs-of-air trumpet solo. The final track, Carlos D'Alessio's seductive and moody "India song," sees Sun Nah caressing the lyrics in French, accompanied by bass and minimal acoustic guitar.  The French may well have been keeping Youn Sun Nah a secret all these years. A voice this special with songwriting skills to match may breed jealousy. Unfortunately for the French, Youn Sun Nah's talent is too great to confine and the rest of the world awaits a chance to hear this unique talent. ~ Ian Patterson https://www.allaboutjazz.com/voyage-youn-sun-nah-act-music-review-by-ian-patterson.php

Personnel: Youn Sun Nah: vocals; Ulf Wakenius: guitars; Lars Danielsson: acoustic bass, cello, melodica; Xavier Dessendre-Navarre: percussion; Mathias Eick: trumpet.

Voyage

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McCoy Tyner - Focal Point

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 40:45
Size: 101,6 MB
Art: Front

(7:57) 1. Mes trois fils
(6:57) 2. Parody
(5:36) 3. Indo-serenade
(9:00) 4. Mode for dulcimer
(5:59) 5. Departure
(5:14) 6. Theme for Nana

Although McCoy Tyner recorded with consistent excellence beyond his brilliant and definitive work with John Coltrane, the pianist's Milestone legacy (1972-81) cemented his individual place in the jazz pantheon. Focal Point is a 1976 Milestone date now reissued on OJC that enhances Tyner's then working trio of Charles Fambrough on bass and Eric Gravatt on drums with the commanding reeds of Gary Bartz, Joe Ford and Ron Bridgewater and Guilherme Franco's colorful, exotic percussion. Here, Tyner explores a neat half dozen of his exceptional originals and elicits some of his most powerful, energetic personal pianism. Stand outs include "Mes Trois Fils," the very Tyneresque "Mode for Dulcimer" (with Tyner on the eponymous instrument and Franco subtly working the tabla), the Tyner-Gravatt duet of "Parody" and the Tyner-Ford-Fambrough-Gravatt-Franco "Theme For Nana." A little overdubbing occurs, but the result is still a tight, simpatico septet that understands and thrives on Tyner's unique conceptions.~Douglas Payne https://www.allaboutjazz.com/focal-point-mccoy-tyner-fantasy-jazz-review-by-douglas-payne

Players: McCoy Tyner: piano, dulcimer; Gary Bartz: clarinet, sopranino, soprano sax, alto sax; Joe Ford: flutes, soprano sax, alto sax; Ron Bridgewater: soprano sax, tenor sax; Charles Fambrough: bass; Eric Kamau Gravatt: drums; Guilherme Franco: congas, percussion, tabla.

Focal Point

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Ana Velinova & Walter Martella - Softly

Size: 109,5 MB
Time: 47:21
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front

01. Say It (4:36)
02. I Get Along Without You Very Well (4:32)
03. Moon River (4:45)
04. Where Or When (5:02)
05. Blue Orchids (4:26)
06. Mood Indigo (6:37)
07. Estate (4:50)
08. What I Did For Love (4:00)
09. Didn't We (3:56)
10. For All We Know (4:34)

Jazz vocalist, conductor, composer and poet Ana Velinova has inspired audiences around the world. Vocally outstanding, stylistically elegant, innovative and emotionally raw Ana delivers her music effortlessly, leaving the audience bewildered and mesmerized.

Ana has enjoyed an international career working in diverse musical genres such as jazz, modern, classical and gospel. During her years as a fixture of New York City's avant-garde music scene, she formed the group Ensemble Gergana and released 'The Witch,' her first recording of original music. Most current recordings include:

'The Thief', which features Ana’s original compositions, as well as a creative exploration of Gypsy In My Soul and an elegantly powerful rendition of Joao Bosco’s O Bebado E A Equilibrista

'Softly' an intimate interpretation of timeless jazz ballads recorded live in a duo format with pianist Walter Martela

'InhalExale' an EP featuring one of Canada's most celebrated jazz musicians, Brad Turner on trumpet.

With a repertoire extending from Mozart and Stravinsky to Ellington, Monk and Jobim, as well as her own compositions, Ana has shared the stage with many accomplished artists including Bob Moses, Neil Swainson, Don Thompson, Brad Turner, Misha Piatigorsky, Willard Dyson, Ross Taggart and Eric Dozier.

In addition to her performance career Ana is well known for her entrepreneur work as a conductor, educator and event's producer. Ana currently holds the position of Head of Jazz Voice for the Jazz Department of the Victoria Conservatory of Music in Canada. She presides as conductor of the Victoria Conservatory of Music Vocal Jazz Ensemble, and has worked with the One Human Family Gospel Choirs in Canada and the USA as a vocal coach and director. Ana is also the Founder and first conductor of the Bulgarian Children's Choir and School "Gergana" in New York City which recognized her with the distinction of adopting her Bulgarian name. The Gergana Choir has given hundreds of concerts including performances at the Weill Recital Hall (Carnegie Hall).

Ana holds a Master's Degree in Jazz and Contemporary Classical Voice Performance from the Longy School of Music in Boston, undergraduate diploma in Vocal Jazz from the Musician’s Institute in Los Angeles and a diploma in classical guitar from the National Music School in Sofia, Bulgaria. Ana has also studied opera and classical art song in New York with world-renowned sopranos Stefka Evstatieva and Lucy Shelton.

Softly

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Amy Lowrey - Fallen For You

Size: 107,0 MB
Time: 45:56
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz/Pop Vocals
Art: Front

01. Devil May Care (3:43)
02. It's Not (5:15)
03. You'd Be So Nice To Come Home To (3:50)
04. Willow Weep For Me (4:12)
05. Lullaby Of Birdland (3:15)
06. Do Nothin' 'Till You Hear From Me (4:53)
07. Who Will Buy (3:03)
08. Fallen For You (3:46)
09. I'll Be Your Mirror (2:45)
10. Spooky (3:12)
11. Walk On By (3:06)
12. Different Drum (4:52)

A debut vocalist, plus a posse of Austin's most talented players, create an addicting collection of 40's swing, 60's jazz, and fresh arrangements of 70's pop.

Amy Lowrey is a jazz singer who also loves making new arrangements of pop tunes. For her debut album FALLEN FOR YOU, she chose songs with a strong narrative personality, including the Duke Ellington jazz standard "Do Nothing Till you Hear from Me," Sheila Nicholls' "Fallen for You" about the longing for a love that will never happen, as well as the deeply resonant "It’s Not" by Aimee Mann, about the hesitation that can hold you back just when you want to move ahead.

Produced by Mady Kaye and recorded and mixed by The Eastside Flash at Flashpoint Studios in Austin, Texas, FALLEN FOR YOU features jazz swing tunes in minor keys, as well as vintage and contemporary pop tunes with new arrangements. World-class Austin musicians, including guitarist Mitch Watkins and saxophonist John Mills among others--well, all of them are terrific--solo on the album.

Fallen For You

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Joe Farnsworth - Beautiful Friendship

Bitrate: MP3@320K/s

Time: 71:16

Size: 163.2 MB

Styles: Standards, Hard bop

Year: 1999

Art: Front

[8:29] 1. Eddie's Mood

[5:51] 2. A Beautiful Friendship

[9:15] 3. Joobie

[6:40] 4. Lament

[7:56] 5. I'm Not So Sure

[8:29] 6. Something In Common

[9:40] 7. I See You, Brother

[7:21] 8. Melancholee

[7:31] 9. Joe's Tempo

Joe Farnsworth (D); Cedar Walton (P); Eddie Henderson (Tp / Flh); Eric Alexander (Ts); Steve Davis (Tb); Nat Reeves (B).

For his debut session, drummer Joe Farnsworth assembled a crew that mixes veterans Eddie Henderson and Cedar Walton with Farnsworth's regular running mates from the Criss Cross stables: tenor saxophonist Eric Alexander and trombonist Steve Davis, along with bassist Nat Reeves. The mood is definitely Blue Note bop, and as such fits well within the Criss Cross catalog. By soliciting tunes from his sidemen, Farnsworth put together a strong program that elicits fully engaged playing from all the participants. Alexander especially digs in on his own "Joobie," a duet with Farnsworth, and one of two tracks here dedicated to the memory of Farnsworth's late brother, James, a bebop baritone saxophonist. With the set opening and closing with compositions dedicated to participants, the recording has a warm fraternal feeling. Musically, Farnsworth keeps the session moving with steady time, showing why he's so in demand by both veterans and his peers. ~David Dupont

Beautiful Friendship

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Fiona Ross - Red Flags and High Heels

Styles: Vocal And Piano Jazz
File: MP3@128K/s
Time: 65:43
Size: 61,3 MB
Art: Front

(5:21) 1. Red Flags and High Heels
(4:01) 2. More Time
(4:32) 3. When I Get Old
(5:27) 4. Don’t Say It If You Don’t Mean It
(4:07) 5. You Can’t Feel My Groove
(2:56) 6. Good Enough
(4:02) 7. You Are Like Poison
(5:24) 8. You Used to Tell Me
(4:17) 9. I Always Saw the Red Flags
(5:20) 10. The Apple Trees Won’t Grow Anymore
(3:58) 11. You Can Smile (Live at Studio XYZ)
(5:14) 12. I Followed My Heart (Live at St Cuthbert’s Church)
(5:59) 13. Without You (Live at the Premises)
(4:59) 14. Too Many Thoughts (Live at the Premises)

Singer and pianist Fiona Ross returns with an album of fourteen new tracks on which she takes composition, production, and arrangement credits. Ross was Head of the British Academy of New Music for nine years, a role in which she was responsible for the training of Ed Sheeran, Rita Ora and Jess Glynne. Red Flags and High Heels is Ross’ fifth solo album. It’s fair to say that the singer may have flown a little under the radar, despite having previously won several awards. She is clearly a brave spirit, having, as she tells us, performed in jazz clubs and venues since she was fourteen (Ross lied to promoters about her age).

On this release, Ross is back by some notable players, including Gibbi Bettini (guitar), Derek Daley (bass), Marley Drummond (drums), Loren Hignell (saxophones), Dave Boa (trumpets), Ashaine White (saxophone/backing vocals), Simon Todd and Warren Woodcraft (percussion) and a special guest appearance by Kim Cypher (saxophone). The title track sets an impressive standard, a delightfully-swinging number with a contemporary edge. There’s a classy feel to the production, which contains as much lavish style as the classic Bond theme of your choice. Ross’ vocals are wonderful, full of emotion and free of hyperbole, providing a dazzling centre around which the music revolves.

The bombastic whirl of attention-grabbing elements makes for a thrilling listen. There are certainly some captivating solos on display, but this is very much an ensemble effort by some top class players. The slower-paced, charming When I Get Old, proves that Ross is equally capable of entertaining with just voice and piano. Her playing is lovingly understated, an impressionistic soundscape over which her vocals flow like a stream. “I’ll have all the answers, I’ll feel safe and secure…” sings Ross, echoing a forlorn hope with which we can all empathise. After a mercurial sax solo, the band kick in for a rousing finale.

You Feel My Groove, with its playful, call-and-response vocals, bounces with irrepressible energy, the band switching tempos at the drop of a hat. Indeed, throughout this record, Ross and her group display a gift for inventive arrangements and selfless playing. There’s something of a mainstream pop feel to this number, which is in no way a criticism. You Are Like Poison switches directions again, a shuffling, rolling number with blues-tinged guitar and stabbing horns. I Always Save The Red Flags is a particular highlight. Ross’ compelling voice floats over a bed of horns and double-bass. Again, Ross isn’t content to settle for the obvious. This is another song which, although on the surface might appear straight-forward, is packed full of nuance and skilful touches.

A quartet of live tracks takes us out, showing, as if there was any doubt, than Ross and company have the chops to perform more than admirably away from the studio. Red Flags and High Heels ought to find its way into the collection of many a jazz enthusiast. It must be said, though, that Ross’ appeal is bound to spread further than that. https://londonjazznews.com/2021/10/23/fiona-ross-red-flags-and-high-heels/

Personnel: Gibbi Bettini (guitar), Derek Daley (bass), Marley Drummond (drums), Loren Hignell (saxophones), Dave Boa (trumpets), Ashaine White (saxophone/backing vocals), Simon Todd and Warren Woodcraft (percussion) and a special guest appearance by Kim Cypher

Red Flags and High Heels

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Christian Scott aTunde Adjuah - Axiom

Styles: Trumpet Jazz
Year: 2020
File: MP3@320K/s
Time: 118:32
Size: 272,0 MB
Art: Front

( 9:52) 1. X. Adjuah (I Own the Night)
(16:06) 2. The Last Chieftain (for Big Chiefs Donald Harrison Sr. & Jr.)
(10:53) 3. Guinnevere
( 9:39) 4. Songs She Never Heard
( 4:47) 5. Sunrise in Beijing
( 9:17) 6. Huntress (for Cara)
( 6:45) 7. Incarnation (Chief Adjuah - Idi of the Xodokan)
(15:54) 8. West of the West
( 5:50) 9. Diaspora
( 0:38) 10. Introductions
(12:30) 11. Guinnevere [alt take]
(16:17) 12. The Last Chieftain (for Big Chiefs Donald Harrison Sr. & Jr.)[alt take]

As evidenced here, those in attendance for Christian Scott aTunde Adjuah's 2020 engagement at New York's Blue Note from March 11-15 witnessed what turned out to be some of the most powerful performances of this restricted musical year, just before everyday life changed for most people on the planet. The record is dedicated to the victims of Corona-19. This exceptional concert compilation could well be the first of "jazz's" present day, classic live albums released during the pandemic era (genre is in parentheses respecting Adjuah's stated reluctance regarding potentially disingenuous categorizations). A few brief, between song musings serve as milepost statements of the bandleader's mindset as this millennium's unusual third decade unfolded, but there is no political clutter.

Though many of the songs have previously appeared in somewhat similar forms, the sound is fresh, the musicianship fantastic, and the production basically flawless. Sporadic segments throughout evoke a later stage Miles Davis, like a yesternow Bitches Brew (Columbia Records, 1970) by Tutu (Warner Brothers, 1986) at the Fillmore. The set opens with "I Own the Night," a rousing new number with stirring percussion that continues the African-based rhythmic focus explored on Ancestral Recall (Ropeadope Records, 2019), which was released about a year before these concert pieces took place. Each band member also appeared on that album, with the exception of special guest saxophonist Alex Han; thus the cohesive interplay is always optimal. Flautist Elena Pinderhughes earns supporting MVP honors through numerous inspired solos.

"The Last Chieftain" is another percussive tour de force, with the first of some wonderful extended segments between drummer Corey Fonville and pianist Lawrence Fields. Pinderhughes smooths out the middle sections and leads the crew into another feast on the skins that wraps things up with emphasis on traditions like the djembe and bata. Since he's also credited with percussion work, one can assume that beside his mastery on horns, Adjuah's prowess with the drums grows with each release. "Sunrise in Bejing" from 2015's Stretch Music (Ropeadope Records, 2015) builds with wonderfully shadowed phrases between wind instruments that float like an early dawn over lightning flashes of percussion. Bassist Kris Funn makes the most of every fill he touches. Pinderhughes has become a more widely recognized creative force on the musical forefront while building a substantial body of work with Scott's formations,and she steps to the front again on "Diaspora,"the title tune of the 2017 Adjuah Ropeadope Records release.

Another new song, "Huntress," consists of a gentler melody than most cuts over steadily mixed undertone beats. Pinderhughes' flute floats in a higher register above cascading cymbals that build speed and intensity on increasing layers of percussion until winding back to the original pace for a similarly restrained run on what sounds like reverse flugelhorn. Whatever the instrument, Adjuah puts plenty of emotion into it. Written as a tribute to his mother, it's a very touching piece, especially considering this is one of, if not the first, times it was played in public. The regal "Incarnation" is one of the set's most brass based selections and sounds like it got one of the biggest audience reactions. The song features yet further layers of percussion and another sweet, trio-type break by flute, drums and keys that further illuminates the individual powerhouses Adjuah had on stage with him. The album has been released in multiple formats. This review is based on the edition that includes alternate versions of "The Last Chieftain" and "Guinnevere," each enhanced by Han's scorching sax.

Absent from the CD is the stirring "West of the West," a quarter hour of funked-up fury based on a shithead (read racist) neighbor Adjuah encountered at his home in Los Angeles, featuring further Han fireworks and some of Fonville's supremely strongest smacks. With intense foundational interplay between the keys and percussion instruments the track rocks less but is just as explosive as the guitar-heavy original. Considering the current social state of domestic affairs at the time of recording, the piece constitutes a tumultuous time capsule for the United States circa 2020. It's a shame the song isn't on every edition. "What you're going to experience is the re-evaluation," Scott informed the audience. "We have just crossed into the second century of creative improvised music, or othersowise if you prefer belittling and pejorative terms, jazz. We're re-evaluating what we're playing and why. We want everybody to know that they are free, that they are safe if they want to express themselves; as long as they don't sneeze while doing it, then everyone will be on the same page. We're not runnin,' but wash your damn hands." Following a stated goal to de-colonize musical sectors Adjuah, a descendant Chief in the prominent New Orleans "masking" culture, succeeds magnificently at clearly defining his vision of rhythm and tone. With this album he further proves himself true royalty for the future society of sounds.~ PHILLIP WOOLEVER https://www.allaboutjazz.com/axiom-christian-scott-atunde-adjuah-ropeadope-stretch-music

Personnel: Christian Scott aTunde Adjuah: trumpet; Elena Pinderhughes: flute; Weedie Braimah: percussion; Corey Fonville: drums; Lawrence Fields: piano; Kris Funn: bass; Alex Han: saxophone, alto

Axiom

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Lesley Gore - Girl Talk

Styles: Vocal
Year: 1964
File: MP3@320K/s
Time: 29:44
Size: 70,2 MB
Art: Front

(2:15) 1. Hey Now
(2:23) 2. Live And Learn
(2:13) 3. Say Goodbye
(1:59) 4. Look Of Love
(2:15) 5. You've Come Back
(2:34) 6. Maybe I Know
(2:04) 7. Sometimes I Wish I Were A Boy
(2:43) 8. Little Girl Go Home
(2:50) 9. I Died Inside
(2:15) 10. Wonder Boy
(3:13) 11. Movin' Away
(2:59) 12. It's Just About That Time

Digitally re-mastered and expanded edition of this 1964 album, the fourth studio album from the Pop vocalist. Produced by Quincy Jones, Girl Talk hinted of an artist moving beyond her teeny-bopper years and eager to expand her musical palette. Album opener 'Hey Now' was risky far more feisty and rhythmic than her usual material. 'Maybe I Know' and 'Look of Love,' proved that teenage pop could be smart and gimmick-free, and established a relationship between Lesley and songwriter Ellie Greenwich, who penned the songs with her husband Jeff Barry. Ellie, along with singers Jean Thomas and Mikie Harris, were integral to the making of the album, providing it's lush tones and girl group feel.

In addition to the 12 titles on the original album, this CD includes 13 hand-picked bonus tracks from the same timeframe, including three recorded in Hollywood with arranger Jack Nietzsche, and four others which first surfaced from the Mercury tape vaults in 1994. The booklet features an essay by noted girl pop authority Sheila Burgel, based on a new interview with Lesley Gore conducted exclusively for this project.~Editorial Reviews https://www.amazon.com/Girl-Talk-Lesley-Gore/dp/B00HS95IK8

Girl Talk

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Francesca Leone, Guido di Leone - Coracao Vagabundo

Styles: Vocal And Guitar Jazz
File: MP3@320K/s
Time: 76:58
Size: 177,3 MB
Art: Front

(2:35) 1. Rio
(3:38) 2. Dans mon ile
(6:45) 3. O Telefone
(3:14) 4. Laura
(3:03) 5. Flor de Lis
(8:28) 6. Tu si' 'na cosa grande
(4:41) 7. Old Devil Moon
(3:02) 8. Coracao Vagabundo
(2:53) 9. Only Trust Your Heart
(3:29) 10. We' Ll Be Together Again
(3:57) 11. A Felicidade
(5:03) 12. Retrato em Branco e Preto
(3:44) 13. Anos Dourados
(3:10) 14. Desde Que o Samba
(3:24) 15. Accendi una luna nel cielo
(5:13) 16. Chega de Saudade
(3:23) 17. Sabor a Mi'
(3:35) 18. My Ideal
(3:31) 19. Natale al pentagramma

With the important contribution of the Trio Corrente, a Brazilian group that has already won two Grammys, the jazz singer Francesca Leone and the guitarist Guido Di Leone pay tribute above all to the Brazilian songwriting (from Jobim, Caetano Veloso, Djavan, Chico Buarque , Gilberto Gil, Toquinuo, Vinicius de Moraes) in an album of high artistic caliber, supported by a technical component of the highest level. A delicious, usable and enveloping work.Translate By Google~ Antonio Bacciocchi https://www-radiocoop-it.

Coracao Vagabundo

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Joe Farnsworth Quartet - My Heroes: Tribute To The Legends

Styles: Jazz, Post Bop
Year: 2014
File: MP3@320K/s
Time: 50:44
Size: 116,3 MB
Art: Front

(5:46) 1. George's Dilenma
(7:35) 2. Moanin'
(5:27) 3. No Fills
(4:44) 4. Syeeda's Song Flute
(1:43) 5. Here We Go, Here We Go
(6:23) 6. Cute
(3:38) 7. Two Bass Hit
(7:50) 8. Greensleaves
(3:02) 9. Musashi
(4:33) 10. Reflection

Joe Farnsworth is already regarded as one of the top jazz drummers in the world, but as far as he is concerned, he is just getting started. He is dedicated to the great tradition of jazz drumming as conceived by men like Max Roach, Roy Haynes, Elvin Jones, Billy Higgins and Arthur Taylor and it keeps him in the practice room trying to continue and extend it. Joe was born on February 21, 1968 in South Hadley, Massachusetts into an unusually musical family. His father was a renowned music teacher who immersed his five sons, and it became clear early on that, Joe as the youngest would choose a career in music and would ultimately be a great success. His eldest brother, John, a renowned trombone and saxophone player, exposed him at the age of 12, to the music of Count Basie, John Coltrain, Charlie Parker and the drumming of Tony Williams which led Joe to seek lessons with Alan Dawson out of Boston.

Ultimately enrolling in William Patterson College in New Jersey, he met and befriended Harold Mabern who introduced him to tenor saxophonist George Coleman. Both Harold and George became major influences on Farnsworth's playing. During this time, Joe also sought out and studied with Art Taylor and became friends with saxophonist Eric Alexander. After moving to New York City with brother James, a saxophonist for Ray Charles (1992-1999) when he unexpectedly passed away, Joe became the leader on Friday and Saturday nights as the infamous jazz club Augie's (now Smoke) where he would meet and play with Junior Cook, Cecil Payne, John Ore, Big John Patton, Harold Mabern, Eddie Henderson and John Jenkins. Joe's undeniable talent and hard work ethic started to pay off. He began working with Jon Hendriks in 1992 and then with Diana Krall off and on until he became a full member for a year and half from 1999-2000.

Joe Farnsworth is now known as one of the most recorded drummers on the scene, with over 70 cd's behind him, for musicians such as Wynton Marsalis, Cedar Walton, Pharoah Sanders, Eric Alexander and Benny Golson. His first recording as a leader, “Beautiful Friendship” (Crisscross Records) featured pianist Cedar Walton and trumpeteer Eddie Henderson while his second, “It's Prime Time” (88 Records) included special guest artists Ron Carter, Curtis Fuller, Benny Golson and Harold Mabern, Jr. At 38, Joe has already performed on most of the greatest American and international stages. He appears regularly at New York City clubs like The Village Vanguard (Wynton Marsalis, Cedar Walton), Blue Note (Johnny Griffin, Horace Silver), Birdland (Lou Donaldson), Iridium (George Coleman, Pharoah Sanders) and Jazz at Lincoln Center (Wynton Marsalis). In any given year he is likely to be found backing major artists at the leading jazz clubs and festivals all over the world.

Farnsworth, also a regular on the Jazz Festival scene, has played with Benny Green, Diana Krall (Montreal Jazz Festival), Curtis Fuller and Barry Harris (Northsea Jazz Festival), Pori Jazz Festival, Red Sea Festival and Umbria just to name a few. As a straight-ahead jazz musician, Joe has been compared to his idol “...not unlike Max Roach in his ability to combine furious playing with structural cogency, Farnsworth audaciously travels around the set, establishing unifying ideas without interrupting the barrage of strokes...”

Orthman goes on to describe Joe's career including “...venerable leaders ranging from George Coleman to Benny Golson to Cedar Walton, who frequently call on him to light a fire under their bands. The ability to set all kinds of material in motion, minus fuss and clutter, has also placed him in a coterie of younger, tradition-minded musicians like Eric Alexander (a college classmate during the late 80's), Steve Davis, David Hazeltine and Jim Rotundi, a group of young players that are regulars at Smoke a jazz club in NYC.

In 2006, Japanese label, Commodore Records, will release Farnsworth's third cd, “Drumspeak”. which is sure to change the flavor of drums in jazz today. “Drumspeak” is touted as a festival of musical language incorporating traditional jazz with percussions, drums and various instruments from Japan, Latin-America, Africa and the U.S. Commodore Records will release “Drumspeak” later this year. https://www.allaboutjazz.com/musicians/joe-farnsworth

Personnel: Drums – Joe Farnsworth; Piano – Harold Mabern; Tenor Saxophone – Eric Alexander; Bass – Nat Reeves

My Heroes Tribute To The Legends

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Dizzy Gillespie & His Orchestra - A Portrait Of Duke Ellington

Styles: Trumpet Jazz, Big Band
Year: 1984
File: MP3@320K/s
Time: 41:18
Size: 99,5 MB
Art: Front

(3:45) 1. In A Mellow Tone
(4:52) 2. Things Ain't What They Used To Be
(4:21) 3. Serenade To Sweden
(2:34) 4. Chelsea Bridge
(3:04) 5. Upper Manhattan Medical Group
(2:37) 6. Do Nothin Till You Hear From Me
(5:20) 7. Caravan
(3:17) 8. Sophisticated Lady
(3:36) 9. Johnny Come Lately
(4:49) 10. Perdido
(2:58) 11. Come Sunday

A Portrait of Duke Ellington is an album featuring trumpeter Dizzy Gillespie and orchestra performing compositions associated with Duke Ellington, recorded in 1960 and released on the Verve label. All of the orchestral arrangements were provided by then Hi-Lo's accompanist and sometimes arranger Clare Fischer, hired on the basis of a previously recorded but unreleased album with strings, arranged by Fischer for erstwhile University of Michigan classmate Donald Byrd. Byrd played the tape for Gillespie; Gillespie liked what he heard.

Unfortunately for Fischer, especially in light of the critical accolades given the eventual fruit of his, and Gillespie's, labor, Fischer's name was nowhere to be found on the finished LP; widespread awareness of his participation would have to await the CD reissue almost 2½ decades later.

The AllMusic review awarded the album 4.5 stars. The album's original LP release received 5 stars from Billboard, though, owing to Verve's aforementioned oversight, Fischer's contribution went unnoticed. In fact, it was only through the efforts of The Washington Post's Tony Gieske that this, as well as two of Fischer's other groundbreaking efforts in this period, were acknowledged and documented. Regarding the Gillespie LP, Gieske noted:

And on A Portrait of Duke Ellington (Verve MG V 8386), that depth and skill, stimulated by a change in the stale Gillespie repertoire and compemented by rich, radically imaginative arrangements by, I am told, Clare Fischer, result in a really classic album. Fischer, a young conservatory graduate, is a new name to be reckoned with. https://en.wikipedia.org/wiki/A_Portrait_of_Duke_Ellington

Personnel: Dizzy Gillespie - trumpet; Bennie Green - trombone; Ray Alonge, Richard Berg, Joe Singer - French horn; Jay McAllister - tuba; Robert DiDomenica - flute; Ernest Bright, John Murtaugh, Paul Richie, Stan Webb - woodwinds; George Devens - vibraphone; Hank Jones - piano, celesta; George Duvivier - bass; Charlie Persip - drums; Clare Fischer - arranger, director

A Portrait Of Duke Ellington

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David Basse - Uptown

Bitrate: MP3@320K/s

Time: 52:03

Size: 119.2 MB

Styles: Vocal jazz

Year: 2009

Art: Front

[5:10] 1. Uptown

[2:34] 2. Something Fried

[3:32] 3. 52nd & Broadway

[6:04] 4. Like Jazz

[3:29] 5. You Won't Hear Me Say Goodbye

[3:26] 6. Living Without You

[4:04] 7. Slow Boat To China

[4:17] 8. Parker's Mood

[4:35] 9. Bidin' My Time

[4:09] 10. Traffic Jam

[6:16] 11. But Anyhow The Blues Don't Care

[4:20] 12. I've Got The World On A String

David Basse: vocals; Phil Woods: alto saxophone; Mike Melvoin: piano; Steve Gilmore: bass; Bill Goodwin: drums.

West Coast singer Mark Winkler (Sweet Spot [Cafe Pacific Records, 2011]) heard David Basse and immediately signed him to his Cafe Pacific Records. Uptown is the first product of this partnership and, for the sake of the male jazz singer, does not come a moment too soon. There exists a huge disparity between female and male singers singing "serious" jazz. For the sake of context, the serious male jazz singers include Mark Murphy and Jon Hendricks (both in the autumn of their spectacular careers) as well as Kurt Elling and Andy Bey (still vital). The vast majority of what passes for as male jazz singers are more cabaret singers, the finest ones including Jim Caruso (The Swing Set [Yellow Sound Music, 2011]) and the aforementioned Winkler.

Basse has one of those confident yet moody voices that totally lacks self-consciousness, something necessary for jazz vocals. His recital on Uptown is a compelling collection of standards and originals tending toward a more conservative (read that: mainstream) vein of vocal performance. However, Basse is not afraid to take on King Pleasure and his brilliant adaptation of Charlie Parker's "Parker's Mood." In doing so, Basse pays special homage to those artists and the art of vocalese, a dying art in competency. Add the presence of Parker scholar Phil Woods and a sublime performance emerges. A perfect union of the blues in jazz, Woods introduces the piece with a chorus of the real thing. Pianist Mike Melvoin and Woods get grand solo space and proceed to show why this "old music" is so important. Basse plays things pretty straight without harnessing the ebullient personality of Pleasure, Parker, the blues, or jazz. ~C. Michael Bailey

Uptown

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Klaus Mayer Big Band - Swing Nights

Size: 103,6 MB
Time: 39:03
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Big Band, Vocals
Art: Front

01. Fly Me To The Moon (2:40)
02. Deed I Do (3:08)
03. Night And Day (3:33)
04. At Last (4:19)
05. Comes Love (3:57)
06. It Don't Mean A Thing (2:00)
07. I´ve Got The World On A String (3:01)
08. Cheek To Cheek (3:39)
09. Teach Me Tonight (3:48)
10. Time After Time (2:48)
11. Bei Mir Bist Du Schoen (4:23)
12. When You're Smiling/The Sheik Of Araby (1:39)

Exciting collection of big band song and swing from Mexico´s premier big band. Interpreted by young and talented musicians from Guadalajara, Mexico (the youngest one being 16 years old) under the direction of the Austrian saxophonist and bandleader Klaus Mayer. Features a young vocalist whose exceptional talent has led her to develop a unique and intriguing style that exudes youth yet reminds one of the maturity, brilliance and freshness of the great ladies of song Billy Holiday, Ella Fitzgerald and Etta James. Klaus Mayer, Austrian citizen, who left his country to play jazz in the US and then moved to Mexico where he found fertile grounds and acceptance for his music, formed the band in 2009 inviting young instrumentalists of Guadalajara, Mexico hungry to learn the craft of playing jazz and big band. Initially the band had five horns (term musicians use for wind instruments), a rhythm section of three (piano, bass and drums) and a singer. Over the next six years the instrumentation expanded and now there are five saxophones, three trumpets, three trombones, piano, guitar, drums, bass and vocals. The band has performed with some of Mexico´s famous rock singers like Jose Fors (Cuca), Ugo Rodriguez (Azul Violeta), Sara Valenzuela (La Dosis) and other singers and songwriters like Ricardo Caballero (La Academia), Paola Vergara, Jaramar, Henry Reneau (Afro Brothers) among others. The band is a steady at Mexico´s jazz festivals. It also has done concerts with some important jazz players and big band directors who live in the US like Alex Sipiagin (Mingus Big Band, Dave Holland Sextet), Boris Kozlov (Mingus Big Band), Pete Rodriguez (Celia Cruz, Johnny Pacheco, Tito Puente), Dave Douglas (SF Jazz Collective, John Zorn). The band has steadily expanded its repertoires starting out studying the styles of the orchestras of Frank Sinatra, Ella Fitzgerald, Buddy Rich, Glenn Miller, Duke Ellington, Count Basie.

Trombones:
Armando González (Gerzz) 1st tenor and bass trombone
Hugo Ayanegui 2nd tenor trombone (Trombone solo on Comes Love)
Adrián Nava 3rd tenor trombone
Samuel Flores Bass and additional tenor trombones
Rodrigo Sandoval additional tenor trombone

Trumpets:
José Luis Alemán 1st and additional trumpet
Oliver García 2nd trumpet
Cesar López 3rd trumpet
Omar Rosales 4th trumpet
Chai Flores additional trumpets

Saxofones:
Sara Ventura Sax 1st Alto Sax
Fernando García 2nd Alto Sax
Klaus Mayer Sax 1st Tenor and Baritone Sax
Juan Daniel Morfín Sax 2nd Tenor Sax

Rhythm section:
Alejandro Castro Bass
Jorge González Piano
Andrés Gallegos Drums
Erik Kasten Guitar

Vocals:
Ana Sandoval

Swing Nights

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Andrea Superstein - Worlds Apart

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 49:31
Size: 115,4 MB
Art: Front

(4:02)  1. Nouveau
(3:22)  2. I Tried
(4:20)  3. De Temps en Temps
(0:41)  4. Be Your Woman
(4:28)  5. You Spend
(3:17)  6. Angel Eyes
(4:26)  7. Never Let It Go
(4:32)  8. Star Blues (Part 1)
(3:06)  9. My Favourite Things (Mes Joies Quotidiennes)
(6:10) 10. Hakol
(4:10) 11. Don't Think Twice It's Alright
(4:04) 12. Garden of Love
(2:47) 13. Star Blues (Part 2)

Jazz musician Andrea Superstein is known for her powerful voice and indie jazz sound. Her third album, Worlds Apart, is a meticulously arranged blend of reimagined classics, and electro-infused original songs. "The added layer of having composed and written a lot of the music and lyrics definitely gives me confidence," Superstein told Hot Air host Margaret Gallagher. The album's title comes from Superstein's relationship with her hometown, Montreal, and her current home, Vancouver. "Montreal still holds a strong place in my heart. Those two cities could not be any more different from each other … [it's] kind of reconciling my love for both places." All the original music on Worlds Apart was written in Vancouver, and every track was recorded in Montreal. Elizabeth Shepherd, an acclaimed jazz musician in her own right, produced the record. When Superstein was a little girl, she would rifle through her parents' basement looking for records. What she found were eight-track tapes of Simon & Garfunkel and Bob Dylan. Now on her new album, the jazz vocalist gives Dylan's Don't Think Twice, It's Alright the Superstein treatment. The tempo is restructured, with some magic jazz dust sprinkled on top. "What I like to do with other people's music is try to look at it from a totally different perspective. I think that's the way I can try to make somebody else's song new." Superstein says she has always been drawn to the doo-wop harmonies of 1950s and '60s music, jazz standards, and the harmonies and social messages of folk music of the '60s and '70s. All that influence pops up in Worlds Apart. ~ Laura Sciarpelletti https://www.cbc.ca/news/canada/british-columbia/andrea-superstein-s-new-album-is-a-jazzy-blend-of-originals-and-reimagined-classics-1.4835022

Worlds Apart

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David Basse - Old Friends, New Point

Styles: Straight-ahead/Mainstream, Vocal
Year: 2002
File: MP3@320K/s
Time: 67:41
Size: 154,9 MB
Art: Front

(5:03)  1. Moanin'
(2:51)  2. Them There Eyes
(4:10)  3. Strangers on a Train
(5:39)  4. Centerpiece
(6:53)  5. Cubicle
(5:43)  6. Sunny Side of the Street
(5:38)  7. Confirmation
(9:37)  8. Wichita Lineman
(4:02)  9. Satin Doll
(5:12) 10. In a Sentimental Mood
(4:55) 11. Take the A-Train
(7:52) 12. Baby All the Time and Juke Joint Blues

David Basse's voice texture has a nodding acquaintance with Johnny Mercer, but his delivery is strictly his own. An ability to scat is his strong suit and it is displayed at it's best on this Disc. Angela Hagenbach will simply steal your heart away. Her low sultry voice combined with a clever vocalese style is the perfect counterpoint to Basse. Bobby Watson, on Alto, provides a nice backdrop to the vocals and adds some soulful solos to the mix. Greg Richter has a style not unlike the great Milcho Leviev, with a bit of Stu Goldberg peeking through now and then. Hip solos with a cascade of notes make for interesting listening. Sam Johnson, Jr. is a Drummer who is a steady timekeeper and a heady exchange man who holds his own on the fours. Matt Pittman on Bass complements the ensemble as the heartbeat of it all and adds some tasty solos in his turns to blow. 'Them There Eyes' features the seductive voice of Hagenbach swinging happily, adding a great treatment to a fine song. 'Strangers On A Train' is an original tune with a brooding, haunting quality to Basse's vocal. 

Bobby Watson echoes these sentiments on his Alto. 'Cubicle' This is Watson's best effort. His idea filled solo which alludes to 'Laura and 'Green Dolphin Street' is a gutsy, strong soliloquy. A hot piano with a torrent of notes by Greg Richter gives it just the right touch. 'Sunny Side Of The Street' marches right along with Basse leading the way. This tune is hipness personified. David Basse is at his best. The Louis Armstrong impression by Richter (?) only detracted from an otherwise swinging track. 'Confirmation' When you are talking about Charlie Parker, you are going to get this writer's immediate attention . The Piano took a journey to Chopsville and some nice 4's between Basse, Johnson and Watson capped it off in fine fashion. David Basse swung to the max on this tribute to Bird. 'Satin Doll' and 'In A Sentimental Mood' ....on the former Hagenbach simply stole the show, and the latter is an excursion into Torch City . Nice Bird quote by Richter on 'Satin' and Watson's solo on 'Sentimental' reflected the mood set by Angela Hagenbach. 'Baby, Baby All The Time / 'Juke Joint Blues' ..The musical conversation between Basse and Hagenbach was a joy to listen to. The humor, soul and hip delivery was magnificent, it was the perfect closer to a super recording. ~ John Gilbert  

http://www.allaboutjazz.com/php/article.php?id=9588#.UlihMRCjKSo

Personnel: David Basse and Angela Hagenbach..Vocals, Greg Richter, Piano, Vibes, vocals Bobby Watson,Sax Matt Pittman, .Bass Sam Johnson, Jr., Drums

Old Friends, New Point

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Joe Farnsworth - Time to Swing

Styles: Jazz, Post Bop
Year: 2020
File: MP3@320K/s
Time: 61:45
Size: 142,6 MB
Art: Front

(7:38) 1. The Good Shepherd
(5:09) 2. Hesitation
(7:30) 3. Darn That Dream
(5:29) 4. Down by the Riverside
(6:09) 5. One for Jimmy Cobb
(4:38) 6. Lemuria
(7:11) 7. Prelude to a Kiss
(7:39) 8. Monk's Dream
(5:31) 9. The Star-Crossed Lovers
(4:48) 10. Time Was

Joe Farnsworth is a well-respected jazz drummer on the scene today that is known for his blazing speed, precision, musical, and melodic playing. Born in South Hadley, Massachusetts, Farnsworth grew up in a musical family; his father was a music educator, and he has four older brothers, two of whom became professional musicians. He graduated from William Patterson College in New Jersey in 1994, where he began playing with saxophonist Eric Alexander and guitarist Peter Bernstein. Farnsworth’s career includes recording over 100 CD’s as a leader and side-man, jazz festivals and world tours with Pharaoh Sanders, Horace Silver, Harold Mabern, McCoy Tyner, Cedar Walton, Diana Krall, Benny Golson, George Coleman, Johnny Griffin, Lou Donaldson, Benny Green, Barry Harris, Curtis Fuller to name a few. He is currently the drummer for McCoy Tyner and a member of the Pharaoh Sanders Quartet, Harold Mabern Trio, and is a founding member of the renowned One for All Quintet. Time to Swing is his latest album featuring Kenny Barron, piano, and Peter Washington, double bass. Wynton Marsalis guest on four tracks.

“Hesitation” by Wynton Marsalis was first heard on Marsalis’ self-titled album in 1982. On this date, the tempo is faster, and Marsalis plays a muted trumpet; both are complimentary upgrades. The Swing by Washington and Farnsworth is excellent. Farnsworth’s brushwork is smooth and balanced. The energy is heightened when Barron enters, and Farnsworth switches to sticks. Barron picks-up where Marsalis leaves off. Barron’s time feel and sophisticated approach to the rhythm changes are outstanding. He is a true master.“Lemuria” is one of the highlights of the project. The trio playing on the date is excellent. The chemistry between Barron and Farnsworth is exciting and interactive. Barron has a vast vocabulary that he spins to build his solo in imaginative ways and textures. Farnsworth’s trading with Barron shows his melodic drum skills. Few drummers can make their kit sing melodically as Farnsworth. Time to Swing is ten songs that showcase Farnsworth’s wonderful musical sense and time mastery. The highlights are the trio selections, tracks five through ten. The chemistry of the trio is something special. Based on the jazz language of the ’50s and ’60s, Time to Swing is a jazz fan pleaser. ~ Sylvannia Garuch https://thejazzword.com/2020/09/1232/

Personnel: Joe Farnsworth - Drums; Kenny Barron - Piano; Peter Washington - Bass; Wynton Marsalis - Trumpet.

Time to Swing

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Angela Hagenbach & Musa Nova - Hot Latin Jazz

Styles: Vocal
Year: 2003
File: MP3@320K/s
Time: 68:43
Size: 158,2 MB
Art: Front

(4:34)  1. Night And Day
(6:40)  2. Amazonas
(7:20)  3. Papa Gato
(5:57)  4. Spring Is Here
(5:31)  5. And Sammy Walked In
(7:44)  6. Estate
(7:34)  7. Samba 88
(8:06)  8. Close Your Eyes
(7:35)  9. Faltando Um Pedaco
(7:01) 10. Pe De Moleque
(0:36) 11. Wee

Angela Hagenbach & Musa Nova is a six-piece jazz ensemble that evolved from a shared love and passion for Latin music. From Brazilian to Afro-Cuban influences, they present an eclectic mix of Latin jazz with passion and intensity. Covers of compositons by composers such as Jobim, Dori Caymmi, and Ivan Lins are included in the bands' repertoire, as well as original compositons by band members and jazz standards that have been adapted to the Latin idiom. Representative concert and clinic venues include Jazz in Marciac France, U. of OK, U. of NE, U. of MO, and Hot Springs Jazz Festival. https://store.cdbaby.com/cd/hagenbach4

Musa Nova

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Tamara Kuldin - Secret Love

Bitrate: MP3@320K/s
Time: 44:23
Size: 101.6 MB
Styles: Jazz vocals
Year: 2015
Art: Front

[3:07] 1. Coax Me A Little Bit
[5:20] 2. Love Is The Only Thing
[2:19] 3. Kiss Of Fire
[4:31] 4. I Wish You Love
[3:18] 5. Secret Love
[4:26] 6. Golden Earrings
[3:57] 7. I Touch Myself
[3:33] 8. Say It Isn't So
[2:27] 9. Under Paris Skies
[3:49] 10. Romance In The Dark
[4:18] 11. I Walk A Little Faster
[3:12] 12. Oche Chornye

Enamoured by the romance and sophistication of the golden era of song, sassy vocalist Tamara Kuldin has been captivating audiences from Melbourne, New York to Paris with her renowned playful, yet sultry and heartfelt interpretation of songs from The Great American Songbook, European classics to lesser known vintage jazz & blues gems.

A lover of storytelling through song and inspired by the likes of Doris Day, Peggy Lee, Sarah Vaughan to Nat King Cole, Tamara’s vivacity and vocal prowess has seen her perform alongside some of the finest Australian and international jazz musicians including The B Sharp Big Band, Daryl McKenzie Jazz Orchestra, Wycliffe Gordon, JMQ Quintet…to name a few. Having performed at various jazz festivals and venues including the Melbourne International Jazz Festival, Stonnington Jazz Festival, Eltham Jazz Festival, Phillip Island Jazz Festival, The Famous Spiegeltent, The Arts Centre, Paris Cat Jazz Club, Uptown Jazz Club, Lido Jazz Club, Birdland Jazz Club (NYC), Café Universal (Paris), Tamara knows how to entertain and make an audience feel like they’re part of something special. Singing in all shades of jazz, blues and multilingual affairs of song, Tamara has also recently collaborated with Australian gypsy jazz guitarist Jon Delaney, Italian accordianist Salvatore Greco and highly esteemed double bass player Jonathan Zion to create 'Nostalgique'. A music box of European song from bolero, swing, tango, waltz to bossa.

Tamara released her debut jazz album ‘Secret Love’ in 2015, celebrating her favourite tunes, sentimental and sassy, in a gorgeous bouquet of song. This album features the crème de la crème of Australian and European jazz musicians. Miss her… and you’re missing out.

Secret Love

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Alexis Cole - Sky Blossom: Songs from My Tour of Duty

Styles: Vocal
File: MP3@320K/s
Time: 68:21
Size: 156,8 MB
Art: Front

(5:18) 1. Joy Spring
(6:27) 2. Pure Imagination
(5:09) 3. How Long Has This Been Going On
(7:56) 4. All Blues
(7:19) 5. Estate
(5:24) 6. Across the Universe
(6:33) 7. Triste
(6:50) 8. How I Wish
(3:25) 9. Social Call
(4:07) 10. New York State of Mind
(4:55) 11. Our Love Is Here to Stay
(4:52) 12. American Anthem

This big-band bolstered set from ace vocalist Alexis Cole leans on the literal with its subtitle: Songs from My Tour of Duty. In 2009, following a lengthy peripatetic stretch that placed pins on the map in New Jersey, India, Ecuador, Japan and various points across Europe, Cole enlisted in the U.S. Army where, until 2015 she served and sang with the West Point Band’s Jazz Knights. There, she had the opportunity to shine within and above some exceptional Scott Arcangel arrangements tailored to her voice. Yet there was never a focus on formally documenting the majority of that music…until Cole returned to civilian life and made it a priority. Working with collaborator/conductor Jeff Jarvis over the course of several years, she completed the mission and packaged it in this form.

Revisiting her days in uniform, Cole is in peak shape from the start a dynamic vocals take on Clifford Brown’s “Joy Spring” where she swings, scats, and wordlessly joins in on an intricate soli, all within the first three minutes of play. Soaring across a varicolored backdrop on “Pure Imagination,” exploring a sly-to-sensational range on “All Blues,” wrapping her voice around the quiet splendors of Bossa beauty “Estate,” and traveling gracefully to the stars on “Across the Universe,” Cole continues to make her mark(s).

Named after a military term for an opening parachute, Sky Blossom, perfectly reflects the leap into the unknown that led this singer into service and positively shaped her art. Eleven performances (the aforementioned material, two Gershwin goodies, plus single dips into the respective songbooks of Antonio Carlos Jobim, Thelonious Monk, Gigi Gryce , and Billy Joel) highlight Cole’s poise and passion when in grand company. And the twelfth a deeply felt “American Anthem,” with nothing but Jaehun Kang’s piano sharing space puts her patriotic heart in full view.~Dan Bilawskyhttps://alexiscole.com/music

Sky Blossom: Songs from My Tour of Duty

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