Friday, December 3, 2021
Roy Hargrove, Mulgrew Miller - In Harmony Disc 1, Disc 2
Styles: Trumpet And Piano Jazz
File: MP3@320K/s
Time: 51:56
Size: 119,3 MB
Art: Front + Back
(9:09) 1. What Is this Thing Called Love
(8:24) 2. This Is Always
(8:36) 3. I Remember Clifford
(8:36) 4. Triste
(8:04) 5. Invitation
(9:44) 6. Con Alma
Album: In Harmony Disc 2
Time: 50:51
Size: 116,9 MB
(8:29) 1. Never Let Me Go
(9:12) 2. Just In Time
(6:58) 3. Fungii Mama
(5:57) 4. Monk's Dream
(7:27) 5. Ruby My Dear
(7:36) 6. Blues For Mr. Hill
(5:10) 7. O.W. (Encore)
In ballet, a "pas de deux" is a dance or figure for two performers. In jazz, the concept of two musicians playing together called a duo, has been a fairly familiar concept and undertake by the likes of Stan Getz and Kenny Barron, Chick Corea and Gary Burton as well as pianist Bill Evans and Tony Bennett. Trumpeter Roy Hargrove and pianist Mulgrew Miller have now added their names to this construct with the issuance of In Harmony which captured these now deceased giants in a previously unreleased live recordings from 2006 and 2007. Co-produced by Zev Feldman and Larry Clothier with executive producer George Klabin, Resonance Records is offering a deluxe limited edition (7000 units) 180 gram hand-numbered 2-LP set, made available in co-operation with the Hargrove and Miller estates.
In this lip smacking thirteen composition recital, Hargrove and Miller take full advantage of those familiar melodies from the American Standards Songbook or jazz touchstones, both of which provide those in attendance with the comfort of acquaintanceship. From the very first notes of the opening track, Cole Porter's "What Is This Thing Called Love," it is apparent that Hargrove and Miller were musicians who appreciated and supported each other through their creative efforts. On the following track "This Is Always," Hargrove picks up the flugelhorn to deliver a melodically mellow sound that is seamlessly supported by Miller's sympathetic piano gradations and subtleties. Although Hargrove arrived on the jazz scene several generations removed from Clifford Brown, he did view him as his idol and so it was not surprising that Benny Golson's "I Remember Clifford" was included in this release. With the clarity and brightness of his tone, Hargrove offers a very sensitive ballad reading of the number, while Miller's technical skills are fully and aptly blended in offering support.
This duo effort by Hargrove and Miller was for the most part a step out of character for both musicians, as Hargrove had never recorded an album without a drummer, although Miller had done a duo effort with the Danish bassist Niels-Henning Orsted Pedersen. But duos can work, much like children playing in a schoolyard, with a give and take that does not attempt to crowd out each other. Two instances of this are Antonio Carlos Jobim's "Triste" and the standard "Invitation." On the former, Miller opens the number by laying down a bossa nova beat, which Hargrove uses to develop some sharp punchy phrasing, that leads to some musical banter between the players at a high level of inventiveness. The latter tune sparkles along in a cheerful way with Miller developing long melodic lines indicating that each note matters as part of the flow. Hargrove demonstrates his silky flair overlaying Miller's note striking.
When the needle drops on any track in this session, listeners are treated to pristine sound restoration and the understanding that the principals did not "mail in" their performances. For example, on the Blue Mitchell number "Fungii Mama" Miller establishes the underlying calypso beat over which Hargrove prances and dances through the melody as the audience provides enthusiastic encouragement. Finally, since Hargrove came from Texas and Miller from Mississippi, the blues and soul tradition moored their upbringing, Hargrove's own composition "Blues For Mr. Hill" is a solid reminder of these roots. Built on a twelve bar blues theme established by Miller, he puts a floor under Hargrove as he develops his ideas based on the structure of the piece.
When Miller loads up for his intervention, he knows the path he wants to take with scale fragments, as well as ascending and descending chords, to arrive at his destination. Complementing this stellar release is an excellent booklet containing rare photos, an essay by Ted Panken, along with interviews and statements from Sonny Rollins, Christian McBride, Ron Carter among others~Pierre Giroux https://www.allaboutjazz.com/in-harmony-roy-hargrove-mulgrew-miller-resonance-records
Personnel: Roy Hargrove: trumpet; Mulgrew Miller: piano.
In this lip smacking thirteen composition recital, Hargrove and Miller take full advantage of those familiar melodies from the American Standards Songbook or jazz touchstones, both of which provide those in attendance with the comfort of acquaintanceship. From the very first notes of the opening track, Cole Porter's "What Is This Thing Called Love," it is apparent that Hargrove and Miller were musicians who appreciated and supported each other through their creative efforts. On the following track "This Is Always," Hargrove picks up the flugelhorn to deliver a melodically mellow sound that is seamlessly supported by Miller's sympathetic piano gradations and subtleties. Although Hargrove arrived on the jazz scene several generations removed from Clifford Brown, he did view him as his idol and so it was not surprising that Benny Golson's "I Remember Clifford" was included in this release. With the clarity and brightness of his tone, Hargrove offers a very sensitive ballad reading of the number, while Miller's technical skills are fully and aptly blended in offering support.
This duo effort by Hargrove and Miller was for the most part a step out of character for both musicians, as Hargrove had never recorded an album without a drummer, although Miller had done a duo effort with the Danish bassist Niels-Henning Orsted Pedersen. But duos can work, much like children playing in a schoolyard, with a give and take that does not attempt to crowd out each other. Two instances of this are Antonio Carlos Jobim's "Triste" and the standard "Invitation." On the former, Miller opens the number by laying down a bossa nova beat, which Hargrove uses to develop some sharp punchy phrasing, that leads to some musical banter between the players at a high level of inventiveness. The latter tune sparkles along in a cheerful way with Miller developing long melodic lines indicating that each note matters as part of the flow. Hargrove demonstrates his silky flair overlaying Miller's note striking.
When the needle drops on any track in this session, listeners are treated to pristine sound restoration and the understanding that the principals did not "mail in" their performances. For example, on the Blue Mitchell number "Fungii Mama" Miller establishes the underlying calypso beat over which Hargrove prances and dances through the melody as the audience provides enthusiastic encouragement. Finally, since Hargrove came from Texas and Miller from Mississippi, the blues and soul tradition moored their upbringing, Hargrove's own composition "Blues For Mr. Hill" is a solid reminder of these roots. Built on a twelve bar blues theme established by Miller, he puts a floor under Hargrove as he develops his ideas based on the structure of the piece.
When Miller loads up for his intervention, he knows the path he wants to take with scale fragments, as well as ascending and descending chords, to arrive at his destination. Complementing this stellar release is an excellent booklet containing rare photos, an essay by Ted Panken, along with interviews and statements from Sonny Rollins, Christian McBride, Ron Carter among others~Pierre Giroux https://www.allaboutjazz.com/in-harmony-roy-hargrove-mulgrew-miller-resonance-records
Personnel: Roy Hargrove: trumpet; Mulgrew Miller: piano.
In Harmony Disc 1, Disc 2
Wednesday, December 1, 2021
Ann Hampton Callaway & Liz Callaway - Boom! Live At Birdland
Styles: Vocal
Year: 2011
File: MP3@256K/s
Time: 79:06
Size: 152,1 MB
Art: Front
(4:03) 1. Got To Get You Into My Life / Happy Together
(6:26) 2. Come Together
(3:53) 3. Always Something There To Remind Me
(5:50) 4. A Case Of You
(0:49) 5. "Do You Remember Those Long Car Trips..."
(3:59) 6. Back-Seat-Of-The-Car Medley
(3:41) 7. Yesterday
(0:49) 8. "We Would Like To Take This Time..."
(4:46) 9. You've Lost That Lovin' Feelin'
(0:38) 10. "Having A Dad Who Was A Reporter..."
(4:36) 11. Blowin' In The Wind
(0:52) 12. "I Wanted To Be The 6th Dimension..."
(5:24) 13. Didn't We / MacArthur Park
(4:27) 14. I Know A Place / Downtown
(3:49) 15. These Boots Are Made For Walkin'
(1:38) 16. "We Were Very Different..."
(5:16) 17. That's The Way I've Always Heard It Should Be
(2:58) 18. The Way We Were
(0:50) 19. "The Ed Sullivan Show..."
(8:54) 20. Stevie Wonder Medley
(0:16) 21. "One Album That Unites Us..."
(5:02) 22. You've Got A Friend
Year: 2011
File: MP3@256K/s
Time: 79:06
Size: 152,1 MB
Art: Front
(4:03) 1. Got To Get You Into My Life / Happy Together
(6:26) 2. Come Together
(3:53) 3. Always Something There To Remind Me
(5:50) 4. A Case Of You
(0:49) 5. "Do You Remember Those Long Car Trips..."
(3:59) 6. Back-Seat-Of-The-Car Medley
(3:41) 7. Yesterday
(0:49) 8. "We Would Like To Take This Time..."
(4:46) 9. You've Lost That Lovin' Feelin'
(0:38) 10. "Having A Dad Who Was A Reporter..."
(4:36) 11. Blowin' In The Wind
(0:52) 12. "I Wanted To Be The 6th Dimension..."
(5:24) 13. Didn't We / MacArthur Park
(4:27) 14. I Know A Place / Downtown
(3:49) 15. These Boots Are Made For Walkin'
(1:38) 16. "We Were Very Different..."
(5:16) 17. That's The Way I've Always Heard It Should Be
(2:58) 18. The Way We Were
(0:50) 19. "The Ed Sullivan Show..."
(8:54) 20. Stevie Wonder Medley
(0:16) 21. "One Album That Unites Us..."
(5:02) 22. You've Got A Friend
Broadway veteran Liz Callaway and cabaret/jazz vocalist Ann Hampton Callaway joined forces for an extended engagement at Birdland in 2011, exploring favorite pop songs from the 1960s and early '70s. The two sisters explain a little bit about their influences and thoughts about some of the songs between performances and connect with their attentive audiences. Whether singing together or individually, they capture the essence of each song, supported by pianist Alex Rybeck's lively arrangements. They're equally effective interpreting ballads like Carly Simon's "That's the Way I Always Heard It Should Be" and Marvin Hamlisch's "The Way We Were" as a duo, complementing one another's voices. They have a lot of fun playing off the Beatles' stoner favorite "Come Together" and offer a "Back-Seat-of-the-Car" medley that includes snippets of many favorites from the late '60s and early '70s. But the strongest songwriter represented in this collection is easily Stevie Wonder, who is honored with an extended medley of songs that mostly have been widely recorded by jazz artists. This live recording is an enjoyable look at the past that never bogs down into predictability. ~ Ken Dryden
http://www.allmusic.com/album/boom!-live-at-birdland-mw0002159883
Personnel: Liz Callaway (background vocals); Ann Hampton Callaway (background vocals); Alex Rybeck (piano, background vocals); Ron Tierno (drums); Jered Egan (background vocals).
Personnel: Liz Callaway (background vocals); Ann Hampton Callaway (background vocals); Alex Rybeck (piano, background vocals); Ron Tierno (drums); Jered Egan (background vocals).
Frank Foster And The Loud Minority - Shiny Stockings
Styles: Saxophone Jazz
Year: 1978
File: MP3@320K/s
Time: 65:22
Size: 151,7 MB
Art: Front
( 9:15) 1. Shiny Stockings
(10:33) 2. Thruway Traffic
( 8:28) 3. Dayspring
( 9:41) 4. Four Five Six
(11:10) 5. Hills Of The North Rejoice
( 9:02) 6. Manhattan Fever
( 7:10) 7. Tomorrow's Blues Today
Frank Foster's Loud Minority big band was formed in the early 1970s, and made a raucous, politically oriented funk-fusion type recording for the Mainstream label. As the Black Nationalist movement was pronounced in those days, the Loud Minority fit in quite well, and spoke to a generation of listeners who were prone to accept their protestations against racism, oppression, and the immoral Vietnam War. This version, recorded a handful of years later, was a more refined and hard swinging musical effort, leaving the vocal outspokenness to the side, concentrating on the highly composed and arranged instrumental charts of Foster's making. Two recording sessions done a full year apart with slightly different 21 piece lineups feature Foster's still fearless approach to modern and progressive big-band music, accented by a multi-layered precept that in some ways reflects his time with Count Basie, but speaks more to the advanced Tadd Dameron/Oliver Nelson/Thad Jones-Mel Lewis sound distinctly rooted in Duke Ellington.
Foster is ever mindful of how the individual voices of his bandmembers shape the music, but solos are reserved only for the leader's tenor or soprano saxophone, as well as trumpeter Sinclair Acey and trombonist Kiane Zawadi. The famous "Shiny Stockings" is treated here in a joyous holiday flair with all the trimmings, whether in bright flute flashes, arpeggiated piano riffs from Mickey Tucker, or rich brass burnishings, and that's all in just the melody. A paraphrase of "I'm Beginning to See the Light" is added by Foster's tenor. The New York City strut 6/8 time signature of "Manhattan Fever," initially done when Foster was leading small group sessions for the Blue Note label, is done here and expanded to big-band fare, with brilliant call and response variations that bear repeat listenings. "Thruway Traffic" is also distinctly urban and hip, evocative of the multi-dimensional-sounding rat race life in the big city. The most startling piece, "Dayspring," is only loosely based on Clifford Brown's "Joyspring." It churns with dazzling layers of counterpointed modality, flavored by the Afro-Cuban congas of Roger Blank, and has Tucker driving the juggernaut express with three simple piano chords as the horns have a field day on this most sumptuous chart one of Foster's all-time best.
The subtle side is represented by his arrangement of the traditional piece "Hills of the North Rejoice," theme music for a rural vista, with tambourine, Foster's slightly sharp tenor, and Tucker's repeat, rolling hills chorus. Never forgetting the blues via his roots in his native Cincinnati or his home for an important time in Detroit, "Four, Five, Six" has that Basie or Oliver Nelson abstract truth feel while mixing in the simple melodic style of "Bags Groove," while "Tomorrow's Blues Today" is a steady and cool late-night clubbin' cruiser. There's absolutely no filler, no wasted motion or excess, and nothing but solid musicianship on this guaranteed gold recording that ranks with the very best that modern big-band jazz has to offer. It belongs in every collection period!
The subtle side is represented by his arrangement of the traditional piece "Hills of the North Rejoice," theme music for a rural vista, with tambourine, Foster's slightly sharp tenor, and Tucker's repeat, rolling hills chorus. Never forgetting the blues via his roots in his native Cincinnati or his home for an important time in Detroit, "Four, Five, Six" has that Basie or Oliver Nelson abstract truth feel while mixing in the simple melodic style of "Bags Groove," while "Tomorrow's Blues Today" is a steady and cool late-night clubbin' cruiser. There's absolutely no filler, no wasted motion or excess, and nothing but solid musicianship on this guaranteed gold recording that ranks with the very best that modern big-band jazz has to offer. It belongs in every collection period!
~ Michael G. Nastos http://www.cduniverse.com/productinfo.asp?pid=4740519&style=music&fulldesc=T
Personnel: Frank Foster (soprano saxophone, tenor saxophone); Ted Dumper, Ted Dunbar (guitar); William Saxton, Charles Williams (alto saxophone, tenor saxophone); Leroy Barton (alto saxophone); William Cody, Doug Harris, Bill Cody, Bill Saxton (tenor saxophone); Kenny Rogers (baritone saxophone); Joe Gardner, Robert Rutledge, Robert Ruthledge, Chris Albert, Don McIntosh, Sinclair Acey, Virgil Jones (trumpet); Janice Robinson, Emmet McDonald, Kiane Zawadi, Charles Stephens (trombone); Bill Lowe (bass trombone); Bill Davis , Willie J. Davis (tuba); Mike Tucker (piano); Mary Earl (electric bass); Charlie Persip (drums); Babafume Akunyun, Roger Blank (percussion).
Personnel: Frank Foster (soprano saxophone, tenor saxophone); Ted Dumper, Ted Dunbar (guitar); William Saxton, Charles Williams (alto saxophone, tenor saxophone); Leroy Barton (alto saxophone); William Cody, Doug Harris, Bill Cody, Bill Saxton (tenor saxophone); Kenny Rogers (baritone saxophone); Joe Gardner, Robert Rutledge, Robert Ruthledge, Chris Albert, Don McIntosh, Sinclair Acey, Virgil Jones (trumpet); Janice Robinson, Emmet McDonald, Kiane Zawadi, Charles Stephens (trombone); Bill Lowe (bass trombone); Bill Davis , Willie J. Davis (tuba); Mike Tucker (piano); Mary Earl (electric bass); Charlie Persip (drums); Babafume Akunyun, Roger Blank (percussion).
Shiny Stockings
Nicholas Payton - Smoke Sessions
File: MP3@320K/s
Time: 67:23
Size: 154,7 MB
Art: Front
(7:43) 1. Hangin' and a Jivin'
(7:03) 2. Big George
(6:48) 3. Levin's Lope
(6:51) 4. No Lonely Nights
(6:30) 5. Lullaby for a Lamppost (for Danny Barker), Pt. 1
(6:23) 6. Lullaby for a Lamppost (for Danny Barker), Pt. 2
(4:35) 7. Q for Quincy Jones
(5:29) 8. Gold Dust Black Magic
(6:39) 9. Turn-a-Ron
(9:19) 10. Toys
Nicholas Payton has a new project called Smoke Sessions. The album has its roots in Payton’s love of Miles Davis’ 1966 album Four & More. Payton has convened two legendary musicians who played with Davis on that album, bassist Ron Carter and special guest saxophonist George Coleman. He asked Coleman to contribute a pair of tunes. (A third contributor to Four & More, pianist Herbie Hancock, is represented by the composition “Toys).” Rounding out the quartet is drummer Karriem Riggins with Payton filling the keyboard chair and playing the trumpet. Payton explains, “Miles Davis’ ‘Four’ & More was the album that really inspired me to take up music seriously,” Payton explains. “Ever since then, Ron Carter has been an idol and a favorite musician of mine. As long as I’ve been leading bands, I’ve patterned my choice of bassists by the metric of how much Ron they have in their playing. When I’ve looked for pianists in my band over the years, it’s often predicated on how much Herbie they have in their sound. So, this album is really a dream come true for me.”
“Hangin’ and a Jinvin’” is our first taste of the project and instantly establishes that Payton will not preset a straight-ahead album. Instead, he keeps the feels contemporary with a blend of swing, funk, soul, and hip-hop influences. With Riggins’ drum fluidity and Carter’s rock-solid time feel on the bass, this is brought to life. Payton starts on the Fender Rhodes. Playing with tiny motifs and shifting chords, one can hear Carter’s basslines following wherever Payton may lead. Payton eventually switches to the trumpet, and that is when things really heat up. Payton and Carter have strong communication with each other, and it is a delight to hear. Carter explains, “Listen to him play trumpet. He’s listening to my response to what he does if the trumpet players of today want to try to put him in a place, he should be up there because he listens to what the bass player contributes to his solo.”
“Big George” is the first track on which saxophonist George Colman appears, “Turn-a-Ron” is Coleman’s second guest spot; both are excellent. Speaking of “Big George,” Payton says, “I feel like George didn’t get as much credit as he deserved for being a part of Miles’s experimentations in alternate changes and chord progressions,” Payton says. “That’s why the songs on the album with George tend to be basically four-bar vamps – those four-bar turnarounds and what they would do with them were so influential in changing the landscape of how musicians play chord changes. It was important to me to get into that stuff that they did back in the 60s. George being there was like the cherry on top.” “Big George” is a medium groove that does just that, explores the harmonic possibilities of a simple set of changes between the big ears of this jaunty ensemble. Payton stays on the Rhodes for this one and lets Carter and Colman take the lead.
Smoke Sessions allows Payton to engage with two icons of jazz, Ron Carter and George Colman. The result is the multi-instrumentalist brings his trademark approach of contemporary styles to the elegance and time-honored tradition that these two giants represent. The elastic groove of Payton’s Fender Rhodes and trumpet playing is in full force here. Payton concludes, was “like a pinch-myself moment… I used to pretend I was playing with [these musicians] when I was a child, and now it’s happening. I literally felt like I was walking on air. To have someone I’ve listened to on record and admired from afar actually be a part of something that I created was just beyond my wildest imagination. I remained in a dream state for a couple of months afterward".~Icrom Bigrad https://jazzsensibilities.com/reviews/nicholas-payton/
Personnel: Nicholas Payton, trumpet, Fender Rhodes; Ron Carter, bass; Karriem Riggin, drums; Guest: George Coleman, tenor saxophone
“Hangin’ and a Jinvin’” is our first taste of the project and instantly establishes that Payton will not preset a straight-ahead album. Instead, he keeps the feels contemporary with a blend of swing, funk, soul, and hip-hop influences. With Riggins’ drum fluidity and Carter’s rock-solid time feel on the bass, this is brought to life. Payton starts on the Fender Rhodes. Playing with tiny motifs and shifting chords, one can hear Carter’s basslines following wherever Payton may lead. Payton eventually switches to the trumpet, and that is when things really heat up. Payton and Carter have strong communication with each other, and it is a delight to hear. Carter explains, “Listen to him play trumpet. He’s listening to my response to what he does if the trumpet players of today want to try to put him in a place, he should be up there because he listens to what the bass player contributes to his solo.”
“Big George” is the first track on which saxophonist George Colman appears, “Turn-a-Ron” is Coleman’s second guest spot; both are excellent. Speaking of “Big George,” Payton says, “I feel like George didn’t get as much credit as he deserved for being a part of Miles’s experimentations in alternate changes and chord progressions,” Payton says. “That’s why the songs on the album with George tend to be basically four-bar vamps – those four-bar turnarounds and what they would do with them were so influential in changing the landscape of how musicians play chord changes. It was important to me to get into that stuff that they did back in the 60s. George being there was like the cherry on top.” “Big George” is a medium groove that does just that, explores the harmonic possibilities of a simple set of changes between the big ears of this jaunty ensemble. Payton stays on the Rhodes for this one and lets Carter and Colman take the lead.
Smoke Sessions allows Payton to engage with two icons of jazz, Ron Carter and George Colman. The result is the multi-instrumentalist brings his trademark approach of contemporary styles to the elegance and time-honored tradition that these two giants represent. The elastic groove of Payton’s Fender Rhodes and trumpet playing is in full force here. Payton concludes, was “like a pinch-myself moment… I used to pretend I was playing with [these musicians] when I was a child, and now it’s happening. I literally felt like I was walking on air. To have someone I’ve listened to on record and admired from afar actually be a part of something that I created was just beyond my wildest imagination. I remained in a dream state for a couple of months afterward".~Icrom Bigrad https://jazzsensibilities.com/reviews/nicholas-payton/
Personnel: Nicholas Payton, trumpet, Fender Rhodes; Ron Carter, bass; Karriem Riggin, drums; Guest: George Coleman, tenor saxophone
Smoke Sessions
Tuesday, November 30, 2021
Andrea Celeste - My Reflection
Year: 2007
File: MP3@320K/s
Time: 59:11
Size: 143,7 MB
Art: Front
( 4:23) 1. Real
( 3:56) 2. My Reflection
( 3:28) 3. I Don't Wanna Play This Game
( 3:29) 4. It Ain't Necessarily So
( 4:23) 5. The Power Of Our Love
( 5:09) 6. I'm Glad There Is You
( 4:27) 7. A Thought Away
( 4:55) 8. Seven Days
( 3:49) 9. Blue Is The Colour Of Love
( 3:26) 10. There's No Other Place
( 3:02) 11. Take My Hand
( 2:31) 12. Stand By Me In The Night
(12:06) 13. You Say Goodbye
It's surprising to hear the debut of a mature vocalist, gifted with a deep and expressive voice, only to find that she is but 21 years old and wrote most of the songs on My Reflection. Italian vocalist Andrea Celeste began studying piano and classical singing at the age of eleven, and was later trained in gospel choirs and seminars by American singer Cheryl Porter. My Reflection was recorded in 2007 with some of Italy's finest jazz musicians.
The songs, in English, deal with some of the most banal aspects of love and relationships, more with the peaks than the valleys. Celeste sings with wise and elegant phrasing and a warm and expressive voice, portraying an innocent belief in the power of the romantic word. Her ability to entrust herself fully in the hands of her accompanying musicians, wins attention time after time. Robero "Robbo" Vigo's wise production spices each song with new color, mainly by adding new musicians to the core trio of pianist Gianluca Tagliazucchi, bassist Dino Cerruti and drummer Rodolfo Cervetto heard on "I Don't Wanna Play This Game," where Massimo Currò's guitar adds a relaxed and breezy touch, not far from the sound of Pat Metheny.
Celeste's readings of the Gershwin brothers' standard "It Ain't Necessarily So" and Jimmy Dorsey's "I'm Glad There Is You" are masterful. Accompanied by pianist Dado Moroni and bassist Pietro Leveratto on the former and pianist Andrea Pozza on the latter, Celeste opts for a straightforward approach to singing the words, knowing that her strong voice is enough to carry the lyrics and nothing more is needed beyond a minimalist sketching of the melody. She resurrects Sting's "Seven Days" with beautiful and playful phrasing, recalling Sting's ability to write intelligent lyrics.
Celeste manages to sound far too optimistic for someone her age on her original tracks the lovely opener, "Real," that resurfaces in a slightly different version as a hidden bonus track; the more meditative "A Thought Away" and "There's No Other Place," both aided by Robero Izzo's folksy violin; and the believable sadness conveyed in "You Say Goodbye." Throughout, Celeste's voice is captivating, conveying a wide spectrum of colors and shades, with an assured vocal command and elegant presentation.~ EYAL HAREUVENI https://www.allaboutjazz.com/my-reflection-andrea-celeste-philology-jazz-records-review-by-eyal-hareuveni
Personnel: Andrea Celeste: vocals; Gianluca Tagliazucchi: piano; Dino Cerruti: double-bass; Rodolfo Cervetto: drums; Dado Moroni: piano; Andrea Pozza: piano; Enzo Zirelli: drums; Ricardo Fioravant: double-bass; Pietro Leveratto; double-bass; Stefano Cabrera: cello: Roberto Izzo: violin; GNU Quartet: Marco Moro: bass flute; Massimo Curr
The songs, in English, deal with some of the most banal aspects of love and relationships, more with the peaks than the valleys. Celeste sings with wise and elegant phrasing and a warm and expressive voice, portraying an innocent belief in the power of the romantic word. Her ability to entrust herself fully in the hands of her accompanying musicians, wins attention time after time. Robero "Robbo" Vigo's wise production spices each song with new color, mainly by adding new musicians to the core trio of pianist Gianluca Tagliazucchi, bassist Dino Cerruti and drummer Rodolfo Cervetto heard on "I Don't Wanna Play This Game," where Massimo Currò's guitar adds a relaxed and breezy touch, not far from the sound of Pat Metheny.
Celeste's readings of the Gershwin brothers' standard "It Ain't Necessarily So" and Jimmy Dorsey's "I'm Glad There Is You" are masterful. Accompanied by pianist Dado Moroni and bassist Pietro Leveratto on the former and pianist Andrea Pozza on the latter, Celeste opts for a straightforward approach to singing the words, knowing that her strong voice is enough to carry the lyrics and nothing more is needed beyond a minimalist sketching of the melody. She resurrects Sting's "Seven Days" with beautiful and playful phrasing, recalling Sting's ability to write intelligent lyrics.
Celeste manages to sound far too optimistic for someone her age on her original tracks the lovely opener, "Real," that resurfaces in a slightly different version as a hidden bonus track; the more meditative "A Thought Away" and "There's No Other Place," both aided by Robero Izzo's folksy violin; and the believable sadness conveyed in "You Say Goodbye." Throughout, Celeste's voice is captivating, conveying a wide spectrum of colors and shades, with an assured vocal command and elegant presentation.~ EYAL HAREUVENI https://www.allaboutjazz.com/my-reflection-andrea-celeste-philology-jazz-records-review-by-eyal-hareuveni
Personnel: Andrea Celeste: vocals; Gianluca Tagliazucchi: piano; Dino Cerruti: double-bass; Rodolfo Cervetto: drums; Dado Moroni: piano; Andrea Pozza: piano; Enzo Zirelli: drums; Ricardo Fioravant: double-bass; Pietro Leveratto; double-bass; Stefano Cabrera: cello: Roberto Izzo: violin; GNU Quartet: Marco Moro: bass flute; Massimo Curr
My Reflection
Michel Petrucciani - Solo Live
Year: 1997
File: MP3@320K/s
Time: 55:51
Size: 128,3 MB
Art: Front
( 4:25) 1. Looking Up
( 4:02) 2. Besame Mucho
( 2:22) 3. Rachid
( 4:07) 4. Chloe Meets Gershwin
( 3:40) 5. Home
( 3:07) 6. Brazilian Like
( 4:11) 7. Little Piece In C For U
( 3:21) 8. Romantic But Not Blue
(11:29) 9. Trilogy In Blois (Morning Sun, Noon Sun And Night Sun In Blois)
(10:08) 10. Caravan
( 4:54) 11. She Did It Again - Take The A Train - She Did It Again
Solo Live, released shortly after his death, marks pianist Michel Petrucciani's lasting solo gift to the jazz world. Though clearly a virtuoso on his instrument, his playing always seemed to reflect as much respect for the audience as it did for his own talent. At its essence, Petrucciani's music is remarkably buoyant, decidedly joyful, improvisationally aggressive, and, above all, intended to evoke an emotional response on the part of the listener. His amazing reading of Ellington's "Caravan" is characteristic of this unique style. However, the pianist may best be remembered for his original compositions and three of his most memorable are included here.
"Looking Up," as the title would suggest, is overtly optimistic and inherently hopeful. "Home" is a clearly enunciated statement of warmth and comfort. "Brazilian Like" is orchestral and melodic to the point at which the tune remains in one's head long after its conclusion. Petrucciani closes the album with the medley of "She Did It Again/Take the A Train/She Did It Again" his original sandwiched around Strayhorn's classic.A befitting set-closer for this extraordinary musician.~Brian Bartolini https://www.allmusic.com/album/solo-live-mw0000048924
Personnel: Piano [Steinway Piano, Model D] – Michel Petrucciani
"Looking Up," as the title would suggest, is overtly optimistic and inherently hopeful. "Home" is a clearly enunciated statement of warmth and comfort. "Brazilian Like" is orchestral and melodic to the point at which the tune remains in one's head long after its conclusion. Petrucciani closes the album with the medley of "She Did It Again/Take the A Train/She Did It Again" his original sandwiched around Strayhorn's classic.A befitting set-closer for this extraordinary musician.~Brian Bartolini https://www.allmusic.com/album/solo-live-mw0000048924
Personnel: Piano [Steinway Piano, Model D] – Michel Petrucciani
Solo Live
Frank Foster & The Loud Minority Band - Well Water
Year: 1977
File: MP3@320K/s
Time: 58:10
Size: 133,5 MB
Art: Front
( 7:19) 1. Joy Spring
( 9:51) 2. Cecilia Is Love
( 9:10) 3. Simone
( 6:11) 4. There'll Be A Time
(10:17) 5. Someone's Rocking My Jazz Boat
( 7:33) 6. Well Water
( 7:46) 7. Three Card Molly
The music on Well Water sat unreleased for 30 years but was worth the wait. Frank Foster's Loud Minority Orchestra only made a few records during its decade or so of existence and Well Water is one of its best. Listeners expecting the music to be similar to that of Foster's former boss Count Basie should realize that Foster's playing by 1977 was more strongly influenced by John Coltrane than by Lester Young, and that his writing is much more modern than that usually heard in the Basie band or even in the Thad Jones/Mel Lewis Orchestra. The performances do swing in their own way and include dynamic solos by the altoist C.I. Williams, both Foster and Bill Saxton on tenors, trumpeter Charles Sullivan and pianist Mickey Tucker. With Elvin Jones (making one of his few appearances with a big band) driving the ensembles and inspiring the soloists, this is an exciting effort. The closing number, "Three Card Molly," is a Foster quintet feature in which the leader switched to soprano. Highly recommended.~Scott Yanow https://www.allmusic.com/album/well-water-mw0000572228
Personnel: Tenor Saxophone, Soprano Saxophone – Frank Foster; Acoustic Bass, Electric Bass – Earl May; Alto Saxophone, Flute – C.I. Williams, Leroy Barton; Baritone Saxophone – Kenneth Rogers; Drums – Elvin Jones; Piano – Mickey Tucker; Tenor Saxophone, Flute – Doug Harris; Tenor Saxophone, Flute, Piccolo Flute – Bill Cody ; Tenor Saxophone, Flute, Soprano Saxophone – Bill Saxton; Trombone – Bill Lowe, Charles Stephens, Janice Robinson , Kiane Zawadi; Trumpet – Cecil Bridgewater, Don McIntosh, Joe Gardner, Kamau Adilifu, Sinclair Acey
Personnel: Tenor Saxophone, Soprano Saxophone – Frank Foster; Acoustic Bass, Electric Bass – Earl May; Alto Saxophone, Flute – C.I. Williams, Leroy Barton; Baritone Saxophone – Kenneth Rogers; Drums – Elvin Jones; Piano – Mickey Tucker; Tenor Saxophone, Flute – Doug Harris; Tenor Saxophone, Flute, Piccolo Flute – Bill Cody ; Tenor Saxophone, Flute, Soprano Saxophone – Bill Saxton; Trombone – Bill Lowe, Charles Stephens, Janice Robinson , Kiane Zawadi; Trumpet – Cecil Bridgewater, Don McIntosh, Joe Gardner, Kamau Adilifu, Sinclair Acey
Well Water
The Michel Petrucciani Trio - One Night in Karlsruhe (Live)
Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 77:35
Size: 179,4 MB
Art: Front
(6:38) 1. 13th
(8:22) 2. There Will Never Be Another You (From "Iceland")
(8:48) 3. In a Sentimental Mood
(6:48) 4. One for Us
(9:26) 5. Mr. K.J.
(6:20) 6. Embraceable You (From "Girl Crazy")
(8:35) 7. She Did It Again
(7:01) 8. La champagne
(6:23) 9. Giant Steps
(9:09) 10. My Funny Valentine (From "Babes in Arms")
Year: 2019
File: MP3@320K/s
Time: 77:35
Size: 179,4 MB
Art: Front
(6:38) 1. 13th
(8:22) 2. There Will Never Be Another You (From "Iceland")
(8:48) 3. In a Sentimental Mood
(6:48) 4. One for Us
(9:26) 5. Mr. K.J.
(6:20) 6. Embraceable You (From "Girl Crazy")
(8:35) 7. She Did It Again
(7:01) 8. La champagne
(6:23) 9. Giant Steps
(9:09) 10. My Funny Valentine (From "Babes in Arms")
The SWR Jazzhaus label is sitting on a huge stash of unreleased live jazz recordings made for radio and television broadcast in Germany, going back to the early 1950s. Over 40 titles have appeared to date. One Night in Karlsruhe is especially good news. Only a few previously unknown Michel Petrucciani recordings have come to light since his death at 36 in 1999. Great jazz players are respected but few have been loved like Petrucciani. To see him on his piano bench, his 50-pound body severely stunted and crippled by osteogenesis imperfecta, grinning with joy, his hands unleashing torrential piano romanticism, was to believe in the invincibility of the creative human spirit. In this 1988 concert he plays with the best rhythm section of his life, Gary Peacock and Roy Haynes. They had made Michel Plays Petrucciani for Blue Note 10 months earlier. Petrucciani has been compared to Peacock’s regular employer, Keith Jarrett. His chops were close, even if he lacked Jarrett’s harmonic inventiveness. He also reversed Jarrett’s priorities: Petrucciani put passion first, intellect second. “There Will Never Be Another You” is an eight-minute ascent in piano variations that find ecstasy and catharsis. No one made the piano a medium of ecstasy like Petrucciani. Even “Giant Steps,” John Coltrane’s notoriously difficult set of chord progressions, is cause for jubilant celebration (and confirms Petrucciani’s virtuosity).
When he played a ballad, his natural fire was barely contained within his gift for lyricism. On this night the ballads are swept up and overwhelmed by energy. “My Funny Valentine” may be the fastest on record. “Embraceable You” is begun slowly by Peacock but Petrucciani smokes it. Only “In a Sentimental Mood” stays rapt. Petrucciani holds it back, hinting at it, touching its edges. It is a dawning revelation when Ellington’s melody gradually coalesces. ~ Thomas Conrad https://jazztimes.com/reviews/albums/michel-petrucciani-trio-one-night-in-karlsruhe-swr-jazzhaus/
Personnel: Piano – Michel Petrucciani; Bass – Gary Peacock; Drums – Roy Haynes
Personnel: Piano – Michel Petrucciani; Bass – Gary Peacock; Drums – Roy Haynes
One Night in Karlsruhe
Dawn Lambeth - Midnight Blue
Size: 177,9 MB
Time: 76:45
File: MP3 @ 320K/s
Released: 2004
Styles: Jazz Vocals
Art: Front
01. If I Were You (4:29)
02. Too Marvelous For Words (5:22)
03. I Didn't Know About You (7:02)
04. I Saw Stars (3:59)
05. Midnight Blue (7:21)
06. More Than You Know (5:51)
07. Nice Work If You Can Get It (4:04)
08. 100 Years From Today (7:25)
09. You Leave Me Breathless (5:25)
10. Sugar (5:47)
11. Don't Worry About Me (5:04)
12. The Song Is Ended (But The Melody Lingers On) (6:09)
13. There's A Small Hotel (5:28)
14. Goodnight My Love (3:14)
As Confucius says, isn't it a pleasure to have an old friend visit from afar? Dawn Lambeth's singing on this recording not only brings to mind the great singers of the classic jazz era, it establishes her as a worthy heir to their legacy. In relation to her contemporaries, Dawn is an aberration, she remains true to the disciplines of melody, intonation and musical craftsmanship that were the standards of the era of Bing Crosby, Maxine Sullivan, Lee Wiley and so many others. To lovers of the music of the Swing Era, her singing is like a visit from an old friend, a happy reminder of a bygone era.
Dawn's focus is on the music of the 1930s and '40s, a period of refined songwriting and the first flowering of the soloist's art in jazz. For this recording she has assembled a collection of songs and musicians that represent the best qualities of that era. The composers represented here, Duke Ellington, Johnny Mercer, Rodgers & Hart, the Gershwins and others of lesser fame, define the phrase "Great American Songbook." She is accompanied by two musical aggregations, one a conventional swing septet, the other a smaller group reminiscent of the "gypsy swing" collaborations between guitarist Django Reinhardt and American musicians in the late '30s. Featured soloists in the septet include pianist Ray Skjelbred and saxophonist John Smith, while the small group features guitarist Paul Mehling (of the Hot Club of San Francisco). The result is a perfect blend between singer and accompaniment.
Personnel:
Dawn Lambeth, vocals
Clint Baker, guitar
Mike Baird, clarinet and tenor saxophone
Marc Caparone, cornet
Jeff Hamilton, drums
Paul Mehling, guitar
Ray Skjelbred, piano
John Smith, soprano & alto saxophone
Tom Wilson, string bass
Dawn's focus is on the music of the 1930s and '40s, a period of refined songwriting and the first flowering of the soloist's art in jazz. For this recording she has assembled a collection of songs and musicians that represent the best qualities of that era. The composers represented here, Duke Ellington, Johnny Mercer, Rodgers & Hart, the Gershwins and others of lesser fame, define the phrase "Great American Songbook." She is accompanied by two musical aggregations, one a conventional swing septet, the other a smaller group reminiscent of the "gypsy swing" collaborations between guitarist Django Reinhardt and American musicians in the late '30s. Featured soloists in the septet include pianist Ray Skjelbred and saxophonist John Smith, while the small group features guitarist Paul Mehling (of the Hot Club of San Francisco). The result is a perfect blend between singer and accompaniment.
Personnel:
Dawn Lambeth, vocals
Clint Baker, guitar
Mike Baird, clarinet and tenor saxophone
Marc Caparone, cornet
Jeff Hamilton, drums
Paul Mehling, guitar
Ray Skjelbred, piano
John Smith, soprano & alto saxophone
Tom Wilson, string bass
Midnight Blue
Monday, November 29, 2021
Erin O'brien - Songs From The Heart Of Erin O'brien
Year: 1957
File: MP3@320K/s
Time: 38:57
Size: 89,9 MB
Art: Front
(3:20) 1. My Foolish Heart
(3:10) 2. Let Me Love You
(2:50) 3. Forbidden Love
(3:27) 4. Love Letters
(3:12) 5. This Love Of Mine
(3:20) 6. I'm Glad There Is You
(3:28) 7. When I Fall In Love
(3:41) 8. These Foolish Things
(2:56) 9. Maybe It's Because
(2:59) 10. My Romance
(3:09) 11. Ev'ry Time
(3:18) 12. Where's The Happy Ending
Erin O'Brien (January 17, 1934 – May 20, 2021) was an American actress and singer, active during the mid-twentieth century and best known as the leading lady of arguably the first made-for-TV movie,[citation needed] Girl on the Run, which also served as the pilot for the television series 77 Sunset Strip written by Roy Huggins and starring Efrem Zimbalist Jr., which played briefly in theaters before airing on television on October 10, 1958. The daughter of a milk delivery man, Vincent O'Brien, and his wife, Betty, she was the oldest of 14 siblings, with seven sisters and six brothers. She was born in Hollywood, grew up in Long Beach, California, and was a graduate of St. Anthony High School.
At 15, O'Brien had a notable encounter singing to Helen Keller, who was staying at a nunnery in Pasadena: "The sister surrounding Keller's bed encouraged a frightened O'Brien to continue [singing]. Finally Keller reached up and held her hand to O'Brien's throat to feel the vibrato. Keller began crying. 'Afterward she kept kissing my hand again and again and again.'" Shortly after finishing high school, O'Brien sang with a choir directed by Walter Schumann. For three years, O'Brien appeared on a five-day-a-week television show hosted by Al Jarvis which also featured Betty White. After that, she toured as a singer and eventually became a winner on Arthur Godfrey's Talent Scouts on television, which led to a one-year contract on The Tonight Show.
O'Brien was the leading lady in episodes of such television shows as Bat Masterson with Gene Barry, Sugarfoot, Cheyenne with Clint Walker. Maverick with James Garner, episode: "Stage West", Colt .45, The Asphalt Jungle, Laramie, Tombstone Territory, Death Valley Days, and Perry Mason, and onscreen In Like Flint. She was deemed too short to star opposite Gene Kelly in Marjorie Morningstar; Natalie Wood was hired instead. O'Brien was a singer on The Frank Sinatra Show[? on CBS-TV (1950-1952), The Eddie Fisher Show on NBC-TV (1957-1959), and the syndicated The Liberace Show (1958-1959).? She entertained troops with Bob Hope, Jayne Mansfield, and Frances Langford in 1957 and was the face of advertising campaigns for Schlitz and later, Smirnoff.
According to the Internet Movie Database, O'Brien was a featured solo singer on The Steve Allen Show from 1956 to 1958. Her films include Onionhead with Andy Griffith (1958) and John Paul Jones with Robert Stack (1959). In 1958, O'Brien released an album, Songs From the Heart of Erin O'Brien on Coral Records. On June 16, 1951, O'Brien married public relations practitioner James Fitzgerald. They had three sons and divorced on January 17, 1963. She had two children by her second husband, Kanan Awni, whom she married twice. She died on May 20, 2021. https://en.wikipedia.org/wiki/Erin_O%27Brien_(actress)
At 15, O'Brien had a notable encounter singing to Helen Keller, who was staying at a nunnery in Pasadena: "The sister surrounding Keller's bed encouraged a frightened O'Brien to continue [singing]. Finally Keller reached up and held her hand to O'Brien's throat to feel the vibrato. Keller began crying. 'Afterward she kept kissing my hand again and again and again.'" Shortly after finishing high school, O'Brien sang with a choir directed by Walter Schumann. For three years, O'Brien appeared on a five-day-a-week television show hosted by Al Jarvis which also featured Betty White. After that, she toured as a singer and eventually became a winner on Arthur Godfrey's Talent Scouts on television, which led to a one-year contract on The Tonight Show.
O'Brien was the leading lady in episodes of such television shows as Bat Masterson with Gene Barry, Sugarfoot, Cheyenne with Clint Walker. Maverick with James Garner, episode: "Stage West", Colt .45, The Asphalt Jungle, Laramie, Tombstone Territory, Death Valley Days, and Perry Mason, and onscreen In Like Flint. She was deemed too short to star opposite Gene Kelly in Marjorie Morningstar; Natalie Wood was hired instead. O'Brien was a singer on The Frank Sinatra Show[? on CBS-TV (1950-1952), The Eddie Fisher Show on NBC-TV (1957-1959), and the syndicated The Liberace Show (1958-1959).? She entertained troops with Bob Hope, Jayne Mansfield, and Frances Langford in 1957 and was the face of advertising campaigns for Schlitz and later, Smirnoff.
According to the Internet Movie Database, O'Brien was a featured solo singer on The Steve Allen Show from 1956 to 1958. Her films include Onionhead with Andy Griffith (1958) and John Paul Jones with Robert Stack (1959). In 1958, O'Brien released an album, Songs From the Heart of Erin O'Brien on Coral Records. On June 16, 1951, O'Brien married public relations practitioner James Fitzgerald. They had three sons and divorced on January 17, 1963. She had two children by her second husband, Kanan Awni, whom she married twice. She died on May 20, 2021. https://en.wikipedia.org/wiki/Erin_O%27Brien_(actress)
Thank you Flyingfinger!
Songs From The Heart Of Erin O'brien MP3
Songs From The Heart Of Erin O'brien Flac
Simona Bencini & L.M.G. 4tet - Spreading Love
Year: 2010
File: MP3@320K/s
Time: 52:08
Size: 119,8 MB
Art: Front
(5:12) 1. Spreading Love
(5:16) 2. The Man I Love
(4:51) 3. When You Told Me Goodbye
(6:10) 4. Solitude
(6:27) 5. Geraldine
(5:01) 6. Capoeira
(6:02) 7. You Don't Know What Love Is
(4:40) 8. I'm Just Lucky So-And-So
(5:23) 9. I'm Beginning To See The Light
(3:02) 10. Stay
Simona Bencini cannot be defined as a jazz singer tout court, but a flexible singer who has made contamination and transversality her stylistic code: from the soul-funk of Dirotta su Cuba to the songwriting of Pacifico and Elisa, from the jazz of Stefano Bollani and Lmg 4tet at the swing of the Parco della Musica Jazz Orchestra. Accompanied by Lmg 4tet, the Apulian quartet with which she recorded her first jazz record "Spreading love", Simona Bencini returns with "UNFINISHED", an album of unreleased jazz songs completed during the 2020 lockdown with a vintage and refined style. The album features several featuring by important Italian jazz players who have collaborated with Simona over the last few years: from Fabrizio Bosso to Antonio Faraò, from Julien Oliver Mazzariello to Mario Rosini. There will therefore be surprises and guests during the evening!Translate By Googlehttps://www.bluenotemilano.com/evento/concerto-simona-bencini-7-ottobre-2021-milano/
Personnel: Simona Bencini voce; Mimmo Campanale batteria; Giorgio Vendola contrabbasso; Mario Rosini piano; Gaetano Partipilo sax
Personnel: Simona Bencini voce; Mimmo Campanale batteria; Giorgio Vendola contrabbasso; Mario Rosini piano; Gaetano Partipilo sax
Spreading Love
Patrick Cornelius - Acadia: Way of the Cairns
Year: 2020
File: MP3@320K/s
Time: 49:14
Size: 113,5 MB
Art: Front
(6:23) 1. Way of the Cairns
(6:56) 2. Star Party
(3:38) 3. Blueberry Mountain
(6:44) 4. Seawall Sunrise
(6:25) 5. Darkest Night
(5:04) 6. Valse Hesitante
(4:43) 7. Personal Beehives
(4:54) 8. On the Precipice
(4:23) 9. Ten Years Later
No, this is not an ECM album, though, looking at the sleeve art, you would be excused from thinking it was trying to pass itself off as one. Half of the Acadia quartet is indeed European: Estonian-born, German-based pianist Kristjan Randalu and Luxembourg-born, US-based drummer Paul Wiltgen. The other half is American: alto saxophonist Patrick Cornelius and US-born, London-based double bassist Michael Janisch. The music itself is a genuinely transatlantic affair, though the US is the dominant partner: Cornelius' vigorous straight-ahead playing and composing are the key sculpting elements, supported by Janisch's forceful presence. The band began life in the late 2000s as The Transatlantic Collective. Ten years after its last performance it reformed as Acadia, recording this album in the spring of 2019.
Acadia calls itself a collective, too. But this, like the sleeve design, is a bit confusing. The album is billed as by Cornelius, not Acadia; Cornelius wrote six of the eight tunes; and Cornelius is the producer (the other three musicians are given as co-producers). Just saying. No caveats about the music though. Its future facing trajectory is a kind of fast-forwarded update of alto saxophonist Jackie McLean's direction in the mid 1960s: firmly in the straight-ahead tradition but stretching the envelope venturesomely and mostly muscularly. Two non-Cornelius tunes provide a shift in dynamics: Randalu's "Valse Hésitante" and Wiltgen's closer, "Ten Years Later," are each somewhere between wistful and reflective.
It all makes for a satisfying mix, equal parts cerebral and visceral. Cornelius says that, while writing the material for the album, he had in mind America's National Parks, to which the album is dedicated. These, together with wider ecological concerns, have been the motivator of several late 2010s albums, kicking off with the trumpeter Wadada Leo Smith's America's National Parks (Cuneiform, 2016). Acadia: Way Of The Cairns is a fine addition to the oeuvre.~Chris May https://www.allaboutjazz.com/acadia-way-of-the-cairns-patrick-cornelius-whirlwind-recordings
Personnel: Patrick Cornelius: saxophone, alto; Kristjan Randalu: piano; Michael Janisch: bass; Paul Wiltgen: drums.
Acadia calls itself a collective, too. But this, like the sleeve design, is a bit confusing. The album is billed as by Cornelius, not Acadia; Cornelius wrote six of the eight tunes; and Cornelius is the producer (the other three musicians are given as co-producers). Just saying. No caveats about the music though. Its future facing trajectory is a kind of fast-forwarded update of alto saxophonist Jackie McLean's direction in the mid 1960s: firmly in the straight-ahead tradition but stretching the envelope venturesomely and mostly muscularly. Two non-Cornelius tunes provide a shift in dynamics: Randalu's "Valse Hésitante" and Wiltgen's closer, "Ten Years Later," are each somewhere between wistful and reflective.
It all makes for a satisfying mix, equal parts cerebral and visceral. Cornelius says that, while writing the material for the album, he had in mind America's National Parks, to which the album is dedicated. These, together with wider ecological concerns, have been the motivator of several late 2010s albums, kicking off with the trumpeter Wadada Leo Smith's America's National Parks (Cuneiform, 2016). Acadia: Way Of The Cairns is a fine addition to the oeuvre.~Chris May https://www.allaboutjazz.com/acadia-way-of-the-cairns-patrick-cornelius-whirlwind-recordings
Personnel: Patrick Cornelius: saxophone, alto; Kristjan Randalu: piano; Michael Janisch: bass; Paul Wiltgen: drums.
Acadia: Way of the Cairns
Buddy Collette - The Polyhedric
Year: 1961
File: MP3@320K/s
Time: 34:17
Size: 78,6 MB
Art: Front
(2:34) 1. Orfeo Negro
(4:14) 2. Blues For Nicola
(5:15) 3. Mounya Labeli Matatoo
(4:12) 4. Paddy
(4:07) 5. A Taste Of Fresh Air
(4:23) 6. Pickford Street
(3:31) 7. Skater For Mater
(5:59) 8. Blues
A rare European date from reedman Buddy Collette and arguably one of his hippest albums ever! The set was recorded in Milan in 1961, and features a great lineup not only of Italian players, but which also includes the legendary Dusko Goykovich on trumpet bringing in a nicely harder sound next to Buddy's work on flute and alto sax! Tracks have a well-arranged feel the tighter structures of the Italian jazz scene of the time, but with sharper edges than Buddy's 50s work in LA and given that Collette wrote nearly every number on the set, the album's a great discovery of his deep talents as a writer. In addition to Goykovich on trumpet, other musicians include Renato Sellani on piano, Dino Piana on trombone, Jimmy Pratt on drums, Gianni Basso on tenor, and Franco Cerri on guitar and Armshed Shobey plays a bit of bongos on a few tracks, adding in a nicely exotic feel. Titles include "Skater For Mater", "Blues", "A Taste Of Fresh Air", "Pickford Street", "Paddy", and "Blues For Nicola".© 1996-2021, Dusty Groove, Inc. https://www.dustygroove.com/item/749893/Buddy-Collette:Polyhedric
The Polyhedric
Sunday, November 28, 2021
Dawn Lambeth - Let's Get Lost
Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 74:40
Size: 171,5 MB
Art: Front
(4:29) 1. Let's Get Lost
(5:07) 2. (I've Got) Beginner's Luck
(4:12) 3. My Blue Heaven
(4:04) 4. If You Were Mine
(3:25) 5. They All Laughed
(4:12) 6. C'est Si Bon
(4:33) 7. Isn't This A Lovely Day (To Be Caught In The Rain)
(4:28) 8. Give Me The Simple Life
(4:07) 9. With A Song In My Heart
(4:00) 10. Dream Man
(4:07) 11. They Can't Take That Away From Me
(3:39) 12. It Could Happen To You
(4:00) 13. I Wish I Were Twins
(4:52) 14. I May Be Wrong (But, I Think You're Wonderful)
(5:00) 15. I Gotta Right To Sing The Blues
(2:31) 16. Let's Misbehave
(4:37) 17. On The Sunny Side Of The Street
(3:08) 18. Blue Room
Year: 2007
File: MP3@320K/s
Time: 74:40
Size: 171,5 MB
Art: Front
(4:29) 1. Let's Get Lost
(5:07) 2. (I've Got) Beginner's Luck
(4:12) 3. My Blue Heaven
(4:04) 4. If You Were Mine
(3:25) 5. They All Laughed
(4:12) 6. C'est Si Bon
(4:33) 7. Isn't This A Lovely Day (To Be Caught In The Rain)
(4:28) 8. Give Me The Simple Life
(4:07) 9. With A Song In My Heart
(4:00) 10. Dream Man
(4:07) 11. They Can't Take That Away From Me
(3:39) 12. It Could Happen To You
(4:00) 13. I Wish I Were Twins
(4:52) 14. I May Be Wrong (But, I Think You're Wonderful)
(5:00) 15. I Gotta Right To Sing The Blues
(2:31) 16. Let's Misbehave
(4:37) 17. On The Sunny Side Of The Street
(3:08) 18. Blue Room
Dawn brings her lilting effervescent style to this new collection of standards and oft-overlooked gems. She is joined by an exceptional ensemble of West Coast musicians, with their collective good humor and love of 30’s style small group swing. With her CD, "Let's Get Lost", the young vocalist Dawn Lambeth showcases her love for and dedication to the wonderful popular songs of the 1930&'s and 40's. Dawn and her band play elegant, classic-styled swing music with creativity and vitality. Backed by an all-star group featuring the Teddy Wilson-inspired piano of Chris Dawson and master guitarist John Reynolds, Dawn’s silky, pure voice brings to mind chanteuses of the past such as Connie Boswell, Mildred Bailey and Jo Stafford.
Dawn specializes in early jazz and swing, the joyous and romantic melodies of the twenties and thirties. She's a classic jazz vocalist in every sense of the word, bringing out the beauty of timeless melodies and the wit of great lyrics. Dawn is fortunate to have some of the best on the West Coast accompanying her. In addition to Dawson’s piano and Reynolds’ guitar, Dawn’s recording features the sophisticated clarinet of Bob Reitmeier, the swinging Kansas City saxophone of John “Butch” Smith, and the searing swing trumpet of Marc Caparone. They’re all supported by the solid bass and guitar of Clint Baker and Jeff Hamilton, one of the finest swing drummers working today. http://www.cdbaby.com/cd/lambeth2
Personnel: Bob Reitmeier:clarinet, Marc Caparone:cornet and bass, John Smith:soprano and alto saxophone, Chris Dawson:piano, Dave Caparone:trombone, Clint Baker:bass and guitar John Reynolds:guitar, banjo, and whistling, Jeff Hamilton:drums and piano
Personnel: Bob Reitmeier:clarinet, Marc Caparone:cornet and bass, John Smith:soprano and alto saxophone, Chris Dawson:piano, Dave Caparone:trombone, Clint Baker:bass and guitar John Reynolds:guitar, banjo, and whistling, Jeff Hamilton:drums and piano
Janice Hagan - Hey Big Spender
Styles: Jazz, Cabaret
Year: 2013
File: MP3@320K/s
Time: 54:44
Size: 126,9 MB
Art: Front
(4:01) 1. Danke Schoen
(4:16) 2. Hey, Big Spender
(4:02) 3. Mambo Italiano
(3:18) 4. Diamonds Are a Girl's Best Friend
(3:33) 5. One Mint Julep
(3:54) 6. These Boots Are Made for Walkin'
(3:59) 7. Route 66
(4:10) 8. Why Don't You Do Right (Get Me Some Money Too)
(3:30) 9. I Got a Crush on You
(3:54) 10. Is You Is or Is You Ain't My Baby
(4:04) 11. Let's Do It, Let's Fall in Love
(4:23) 12. That Old Black Magic
(3:33) 13. The Song Is You
(3:59) 14. I Get a Kick out of You
Year: 2013
File: MP3@320K/s
Time: 54:44
Size: 126,9 MB
Art: Front
(4:01) 1. Danke Schoen
(4:16) 2. Hey, Big Spender
(4:02) 3. Mambo Italiano
(3:18) 4. Diamonds Are a Girl's Best Friend
(3:33) 5. One Mint Julep
(3:54) 6. These Boots Are Made for Walkin'
(3:59) 7. Route 66
(4:10) 8. Why Don't You Do Right (Get Me Some Money Too)
(3:30) 9. I Got a Crush on You
(3:54) 10. Is You Is or Is You Ain't My Baby
(4:04) 11. Let's Do It, Let's Fall in Love
(4:23) 12. That Old Black Magic
(3:33) 13. The Song Is You
(3:59) 14. I Get a Kick out of You
Suave, nostalgic cocktail bar favorites are delivered with a twist by songstress Janice Hagan. Includes such memorable songs as Danke Shöen, Route 66 and One Mint Julep. Instrumentation includes guitars, drums, bass, piano, trumpet, trombone, saxophone & clarinet. ~ Editorial Reviews http://www.amazon.com/Hey-Big-Spender-Smooth-Tunes/dp/B0000E332D
Personnel: Janice Hagan (vocals); Tony Paglia (vocals); Ross Woolridge, Ross Woolridge (clarinet); Pat Kilbride (bass instrument); Kenny Vehkavaara (guitar); Steve Wingfield (tenor saxophone); Chase Sanborn (trumpet); William Carn (trombone); Attila Fias (piano); Randy Cooke (drums).
Personnel: Janice Hagan (vocals); Tony Paglia (vocals); Ross Woolridge, Ross Woolridge (clarinet); Pat Kilbride (bass instrument); Kenny Vehkavaara (guitar); Steve Wingfield (tenor saxophone); Chase Sanborn (trumpet); William Carn (trombone); Attila Fias (piano); Randy Cooke (drums).
Jacob Young - Forever Young
Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 73:55
Size: 170,7 MB
Art: Front
(8:31) 1. I Lost My Heart To You
(6:47) 2. Therese's Gate
(7:49) 3. Bounce
(5:55) 4. We Were Dancing
(7:35) 5. Sofia's Dance
(7:04) 6. Comeback Girl
(6:37) 7. 1970
(6:15) 8. Beauty
(9:34) 9. Time Changes
(7:43) 10. My Brother
Year: 2014
File: MP3@320K/s
Time: 73:55
Size: 170,7 MB
Art: Front
(8:31) 1. I Lost My Heart To You
(6:47) 2. Therese's Gate
(7:49) 3. Bounce
(5:55) 4. We Were Dancing
(7:35) 5. Sofia's Dance
(7:04) 6. Comeback Girl
(6:37) 7. 1970
(6:15) 8. Beauty
(9:34) 9. Time Changes
(7:43) 10. My Brother
While all groups aim for the kind of collective chemistry that can make, for example, five people speak with a single voice, how they get there can vary significantly. In some cases there's instantaneous chemistry; in other cases, it comes from pre-existing relationships amongst various permutations and combinations of its members; in still other instances it is something that simply develops over time. On Forever Young, guitarist Jacob Young leverages both the relationships that have come before amongst the members of his quintet and a clear and immediate connection shared by its five members. A fine addition to an ECM discography that began with Evening Falls (2004) and continued with Sideways (2008) two recordings that featured a completely different lineup Forever Young leverages the strengths of what came before while simultaneously asserting its own independence. If anything, Forever Young provides Young with even greater freedom than on his previous ECM outings, where he was the sole chordal instrument. Here, Young recruits pianist Marcin Wasilewski's trio a group that, despite being on the shy side of forty, has been together for two decades and has, consequently, evolved both a chemistry and a language all its own, both in collaboration with trumpeter Tomasz Stanko on recordings including Suspended Night (ECM, 2004) and Lontano (ECM, 2006), as well as with its own triptych of superlative standalone releases (also on ECM), the most recent being Faithful (2011).
With a second chordal instrument in the mix, Young is relieved of the responsibility of constantly supporting his fellow band mates, though it's not as if he's abandoned the role entirely; in fact, one of Forever Young's biggest strengths is how Young and Wasilewski manage to continually complement each other without ever running into one another, a rare quality also shared by guitarist John Abercrombie and pianist Marc Copland on 39 Steps (ECM, 2013). On the deceptive "Sofia's Dance" deceptive because, although it's largely based on a simple, two-chord Phrygian vamp with a theme that begins as a similarly straightforward melody, its conclusion adds an unexpected Mid-Eastern-tinged twist Young's nylon-string guitar meshes empathically with Wasilewski's accompaniment during saxophonist Trygve Seim's characteristically taciturn solo, and gently underscores the pianist's own feature. But the chemistry doesn't stop there. Seim an ECM leader in his own right, with a slowly growing discography that includes the masterful large ensemble music of Sangam (2005) and more intimate duo date with pianist Andreas Utnem, Purcor: Songs for Saxophone and Piano (2010) has a shared history with Young on the guitarist's pre-ECM recordings Pieces of Time (Curling Legs, 1997) and Glow (Curling Legs, 2001), as well as with Wasilewski and his trio's bassist, Slawomir Kurkiewicz, as members of drummer Manu Katche's quintet heard on Playground (ECM, 2007).
The intervening years since Sideways have seen Young demonstrate a much broader, more electrified purview, in particular in his collective trio with expat British keyboardist Roy Powell and Norwegian drummer Jarle Vespestad (Tord Gustavsen Quartet, Farmers Market), first with Anthem (PVY, 2011) and, more recently, with the trio renamed as InterStatic and releasing even more extreme music on the upstart British label RareNoiseRecords. But here, on Forever Young, while the guitarist does mix some electric guitar work with the acoustic instruments that have helped to define his previous two ECM recordings, like Evening Falls and Sideways, it's a warmer, hollow body tone that continues to assert the importance of the late Jim Hall on Young's formative years. While there are hints of the darkness and melancholy that made his previous ECM outings so appealing, with Wasilewski's trio in tow Forever Young also demonstrates a more outgoing nature on tracks like "Bounce," where Young's muted electric guitar chords drive a change-heavy song with a brighter disposition. "We Were Dancing" follows, with Young employing a similar supporting approach before opening up into one of his most impressive solos of the set, a slightly tart-toned electric feature that allows the guitarist's virtuosic abilities freer rein.
If Forever Young proves anything, it's that the tendency to whitewash anything coming out of Norway as "Nordic Cool" is just that: whitewashing. Young may adhere to a generally sparer approach with his ECM recordings, but if there's a single word to describe his music it's warm, whether it's his own tone, the refined elegance of Wasilewski's trio or the patiently unfolding energy of Seim's playing throughout the set. It's also a recording whose language speaks clearly to at least some adherence to the American tradition, especially on pieces like the brighter "1970" and "Time Changes." For those unfamiliar with Young's extracurricular activities, Forever Young demonstrates an ability to simmer in a way that his previous ECM recordings did not. It also represents a first outing by a quintet with plenty of potential; hopefully six years won't have to pass before this intimate yet delicately expressionistic quintet can once again reconvene.~John Kelman https://www.allaboutjazz.com/jacob-young-forever-young-by-john-kelman.php
With a second chordal instrument in the mix, Young is relieved of the responsibility of constantly supporting his fellow band mates, though it's not as if he's abandoned the role entirely; in fact, one of Forever Young's biggest strengths is how Young and Wasilewski manage to continually complement each other without ever running into one another, a rare quality also shared by guitarist John Abercrombie and pianist Marc Copland on 39 Steps (ECM, 2013). On the deceptive "Sofia's Dance" deceptive because, although it's largely based on a simple, two-chord Phrygian vamp with a theme that begins as a similarly straightforward melody, its conclusion adds an unexpected Mid-Eastern-tinged twist Young's nylon-string guitar meshes empathically with Wasilewski's accompaniment during saxophonist Trygve Seim's characteristically taciturn solo, and gently underscores the pianist's own feature. But the chemistry doesn't stop there. Seim an ECM leader in his own right, with a slowly growing discography that includes the masterful large ensemble music of Sangam (2005) and more intimate duo date with pianist Andreas Utnem, Purcor: Songs for Saxophone and Piano (2010) has a shared history with Young on the guitarist's pre-ECM recordings Pieces of Time (Curling Legs, 1997) and Glow (Curling Legs, 2001), as well as with Wasilewski and his trio's bassist, Slawomir Kurkiewicz, as members of drummer Manu Katche's quintet heard on Playground (ECM, 2007).
The intervening years since Sideways have seen Young demonstrate a much broader, more electrified purview, in particular in his collective trio with expat British keyboardist Roy Powell and Norwegian drummer Jarle Vespestad (Tord Gustavsen Quartet, Farmers Market), first with Anthem (PVY, 2011) and, more recently, with the trio renamed as InterStatic and releasing even more extreme music on the upstart British label RareNoiseRecords. But here, on Forever Young, while the guitarist does mix some electric guitar work with the acoustic instruments that have helped to define his previous two ECM recordings, like Evening Falls and Sideways, it's a warmer, hollow body tone that continues to assert the importance of the late Jim Hall on Young's formative years. While there are hints of the darkness and melancholy that made his previous ECM outings so appealing, with Wasilewski's trio in tow Forever Young also demonstrates a more outgoing nature on tracks like "Bounce," where Young's muted electric guitar chords drive a change-heavy song with a brighter disposition. "We Were Dancing" follows, with Young employing a similar supporting approach before opening up into one of his most impressive solos of the set, a slightly tart-toned electric feature that allows the guitarist's virtuosic abilities freer rein.
If Forever Young proves anything, it's that the tendency to whitewash anything coming out of Norway as "Nordic Cool" is just that: whitewashing. Young may adhere to a generally sparer approach with his ECM recordings, but if there's a single word to describe his music it's warm, whether it's his own tone, the refined elegance of Wasilewski's trio or the patiently unfolding energy of Seim's playing throughout the set. It's also a recording whose language speaks clearly to at least some adherence to the American tradition, especially on pieces like the brighter "1970" and "Time Changes." For those unfamiliar with Young's extracurricular activities, Forever Young demonstrates an ability to simmer in a way that his previous ECM recordings did not. It also represents a first outing by a quintet with plenty of potential; hopefully six years won't have to pass before this intimate yet delicately expressionistic quintet can once again reconvene.~John Kelman https://www.allaboutjazz.com/jacob-young-forever-young-by-john-kelman.php
Personnel: Jacob Young: guitars; Trygve Seim: tenor and soprano saxophones; Marcin Wasilewski: piano; Slawomir Kurkiewicz: double bass; Michal Miskiewicz: drums.
Forever Young
Friday, November 26, 2021
Charles Kynard - Your Mama Don't Dance
Year: 1973
File: MP3@320K/s
Time: 32:15
Size: 74,5 MB
Art: Front
(4:47) 1. Superstition
(3:12) 2. The World Is a Ghetto
(3:29) 3. Momma Jive
(5:10) 4. I Got So Much Trouble
(2:41) 5. Your Mama Don't Dance
(5:35) 6. Zambezi
(3:29) 7. Summer Breeze
(3:50) 8. You've Got It Bad Girl
Charles Kynard is an organist whose jazz-funk leanings rival his predecessors and peers, though not eclipsing them. Solid, though never flashy. He also plays electric bass. Kynard's album Reelin' With the Feelin' has been sampled and appears on several acid jazz releases. Hammond virtuoso and electric-bass player, Kynard didn't become too famous for two reasons: he just played in his local L.A. instead of touring, and he recorded very few sessions. Nevertheless, his artistry was enormous and his recordings are true gems.
He was too busy to devote himself to a successful career as a jazz musician. During the day he worked with mentally retarded children, at night he played at local clubs and on sunday he played organ at his church. Even so, he had time for his wife and children. Kynard was a master at different styles. Playing funk he could have rivalled Richard 'Groove' Holmes in speed and accuracy; his blues were delightful and when it came to slow down he knew how to add an airy touch letting the others play. His recordings were scarce but he shared studio with top notch artists like Les McCann, Houston Person, Grant Green and Idris Muhammad. https://www.allaboutjazz.com/musicians/charles-kynard
Personnel: Charles Kynard - organ; James Kartchner, Jerry Rusch - trumpet; George Bohanon, David Roberts - trombone; Arthur Adams - guitar; Chuck Rainey - electric bass; Paul Humphrey, Raymond Pounds - drums; Richard Fritz - arranger, conductor
He was too busy to devote himself to a successful career as a jazz musician. During the day he worked with mentally retarded children, at night he played at local clubs and on sunday he played organ at his church. Even so, he had time for his wife and children. Kynard was a master at different styles. Playing funk he could have rivalled Richard 'Groove' Holmes in speed and accuracy; his blues were delightful and when it came to slow down he knew how to add an airy touch letting the others play. His recordings were scarce but he shared studio with top notch artists like Les McCann, Houston Person, Grant Green and Idris Muhammad. https://www.allaboutjazz.com/musicians/charles-kynard
Personnel: Charles Kynard - organ; James Kartchner, Jerry Rusch - trumpet; George Bohanon, David Roberts - trombone; Arthur Adams - guitar; Chuck Rainey - electric bass; Paul Humphrey, Raymond Pounds - drums; Richard Fritz - arranger, conductor
Your Mama Don't Dance
Ehud Asherie - Swing Set
Year: 2007
File: MP3@320K/s
Time: 49:48
Size: 114,8 MB
Art: Front
(3:51) 1. You Any Me
(4:43) 2. Lonesome Road
(4:30) 3. Samba De Gringo
(5:58) 4. Slip 'N Stride
(5:00) 5. Since I Fell For You
(6:06) 6. Lush Life
(4:24) 7. A Quick One
(6:43) 8. Everything I Got
(4:18) 9. Pie-Eyed Blues
(4:11) 10. Porter's Love Song
Ehud Asherie returns to the scene with "Swing Set" a groovy piano trio date with bassist Neal Miner and drummer Phil Stewart. With this disc, his second effort for Posi-Tone, Ehud builds upon the momentum from his last release "Lockout" and cooks up a nice blended program of originals (like "Samba de Gringo" and "Slip 'n Stride" ) along with timeless classics (such as "Lush Life" and "Lonesome Road"). https://www.posi-tone.com/Swing_Set/Ehud_Asherie1.html
Personnel: Ehud Asherie - piano; Neal Miner - Bass; Phil Stewart - drums
Personnel: Ehud Asherie - piano; Neal Miner - Bass; Phil Stewart - drums
Swing Set
Billy Larkin & The Delegates - Blue Lights
Styles: Jazz, Swing
Year: 1965
File: MP3@320K/s
Time: 40:00
Size: 92,9 MB
Art: Front
(2:39) 1. Little Jr. Detroit
(5:06) 2. Charade
(3:11) 3. Quintessence
(4:18) 4. Sticky Wicket
(3:47) 5. Transfusion
(2:41) 6. The Cooker
(2:50) 7. Dallas Blues
(5:50) 8. Blues For Dinner
(3:37) 9. Killer Joe
(5:57) 10. Blue Lights
Year: 1965
File: MP3@320K/s
Time: 40:00
Size: 92,9 MB
Art: Front
(2:39) 1. Little Jr. Detroit
(5:06) 2. Charade
(3:11) 3. Quintessence
(4:18) 4. Sticky Wicket
(3:47) 5. Transfusion
(2:41) 6. The Cooker
(2:50) 7. Dallas Blues
(5:50) 8. Blues For Dinner
(3:37) 9. Killer Joe
(5:57) 10. Blue Lights
An excellent early album by organ player Billy Larkin, and his first version of the Delegates, which included drummer Mel Brown. As an added bonus, the great tenor player Clifford Scott joins them on most of the tracks here, and the recording is one of his best sessions away from Bill Dogget.
The tracks are short, hard, and very in-the-pocket – like the tracks on the group's Pigmy album, which is also from the same time. This is the kind of stuff that was played to death over and over on south side jukeboxes in the 60's. Check out cuts like "Sticky Wicket", "Transfusion", and "The Cooker", and it's easy to see why! (Black label pressing. Cover has a split top seam.) © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/8872/Billy-Larkin-The-Delegates:Blue-Lights
Personnel: Billy Larkin - organ; Clifford Scott - saxophone, flute; Hank Swarn - guitar; Mel Brown - drums.
Personnel: Billy Larkin - organ; Clifford Scott - saxophone, flute; Hank Swarn - guitar; Mel Brown - drums.
Blue Lights
Simona Bencini - Unfinished
File: MP3@320K/s
Time: 40:30
Size: 105,6 MB
Art: Front
(4:22) 1. Moonlight on my mind
(4:48) 2. While my time is running through
(4:58) 3. Wondrous child
(4:56) 4. A flash of light
(3:50) 5. You are the music
(5:53) 6. Angel's lullabye
(0:44) 7. Intro bruno
(6:11) 8. Non so se tu
(4:43) 9. It don't mean a thing
Simona Bencini is a famous Italian singer. In the 90s his voice climbed the most important Italian record charts with numerous successful singles and important collaborations. He is the historical voice of Fiorentina live on Cuba, jazz band. Here on the simonabencini website it is possible to read the story of this legendary singer: starting from the biography at the beginning, passing through private life to unpublished curiosities. Simona was born on August 31, 1969. She was born in Florence, the capital of Tuscany. He lived there with his mother, his father and Alberto, his brother. His love of music begins at an early age with the influence of his family, who are all musicians. His grandfather and also his mother are both singers. His musical career starts early; he is only seventeen when he joins a choir. Simona starts singing in the musical The Rocky Horror Picture Show, staged by a company of friends at her own expense.
Graduated with honors from the Technical Institute for Tourism, she continues her studies in Political Science at the University. However, he cannot help but cultivate this innate and growing love of music and singing and continue to practice it in an interpretive and vocal style that is close to that of soul music.A few years ago it joined the Club World Casino, where the most popular online casino games are available. She enjoys playing various online casino games, but slots are her all-time favorite because they often offer her attractive free spins without a deposit. To find out more about the types of bonuses, go togamesonlinenews.info and find the best one for your needs. In the summer of 1993, Simona Bencini participated in the formation of Matte in Transferta, a group made up of four great acoustic singers, including her friend Irene Grandi, Rossella Ruini and Emy Berti. He met them in a famous Italian casino, they have since become close friends. Now this site https://playtech-casinos.ca is a Canadian online casino that has taken enormous inspiration from Italian establishments and their culture in the way of gambling. It has amazing games and even bigger offers.
Starting as a backing vocalist, she joined the Diretta Su Cuba (Hijack on Cuba) Group in 1990 and later became the lead solo vocalist. He made his debut as a singer for the group in 1992. The Diretta Su Cuba group, formed by Rossano Gentili and Stefano De Donato, is a funky-soul group, a genre that was practiced very little at the time, but which immediately achieved considerable success in Tuscan musical competitions. Her dark and powerful voice, her captivating stage presence added to the fresh and original Italian groove and funk. The partnership with producer Pierpaolo d'Emilio created an explosive mix: they signed their first record deal in 1994 with L'abel Urlo (CGD). In the same year in June, they released their first single "Jealousy", which became an instant hit on All Radios. The debut album “Diretta Su Cuba” went platinum. In the same year, they released five singles from the same album, in addition to the song Jealousy, the other songs were solo Baci (only Kisses), Liberi di - Liberi da (Free Of - Free From), Dove Sei (Where are You) and Legami (Tie me up). The song Baci solo sees the collaboration with the speaker of Radio Montecarlo, Nick The Nightfly.
In 1996 their second work Nonostane Tutto was released, a natural continuation of the first album, enriched by a string orchestra and the horn section of Demo Morselli. After having released their album, The following year Dirotta Su Cuba took part in the Sanremo Festival with “it went like this”, alongside a legend of the oral organ, Toots Thielemans. For the occasion, their first collection comes out (that's how it went), with a funky reinterpretation of a famous Delirium song, Jesahel. In these three years, Dirotta Su Cuba regularly played live in many places, with a 12-piece band. During these long tours, Simona has definitively begun to highlight her skills as a front-woman, transforming the concerts into real parties of contagious euphoria and painting her image as a famous Italian singer.Learn more about Hijacking Cuba in our special article about them at simonabencini.com.
Simona decided to leave the group in 2000 to try her luck as a solo singer, inaugurating the new phase of her life with the album “Sorgente”. In 2006 she returned to the Sanremo Festival with the song "Storm", and later made a very successful collaboration with another famous Italian singer Elisa. In 2010 she was chosen by the director Massimo Romeo Piparo to interpret Maria Maddalena in the musical 'Jesus Christ Superstar' staged in the most famous Italian theaters from October 2010 to February 2011. Her fame was immense that even online casinos have shared the interest in involving his music in games. Visit this site and discover the best French online casinos for real money fun and seek out this Italian beauty. In 2016 the band released a new album containing a revised version of their cornerstone debut album Diretta Su Cuba with the addition of six previously unreleased songs. After various television programs in 2019, he is now in the cast of Now Or never 2019, the second edition, directed by Amadeus. https://simonabencini-com.translate.goog/?_x_tr_sl=it&_x_tr_tl=en&_x_tr_hl=en-US&_x_tr_pto=nui,sc
Graduated with honors from the Technical Institute for Tourism, she continues her studies in Political Science at the University. However, he cannot help but cultivate this innate and growing love of music and singing and continue to practice it in an interpretive and vocal style that is close to that of soul music.A few years ago it joined the Club World Casino, where the most popular online casino games are available. She enjoys playing various online casino games, but slots are her all-time favorite because they often offer her attractive free spins without a deposit. To find out more about the types of bonuses, go togamesonlinenews.info and find the best one for your needs. In the summer of 1993, Simona Bencini participated in the formation of Matte in Transferta, a group made up of four great acoustic singers, including her friend Irene Grandi, Rossella Ruini and Emy Berti. He met them in a famous Italian casino, they have since become close friends. Now this site https://playtech-casinos.ca is a Canadian online casino that has taken enormous inspiration from Italian establishments and their culture in the way of gambling. It has amazing games and even bigger offers.
Starting as a backing vocalist, she joined the Diretta Su Cuba (Hijack on Cuba) Group in 1990 and later became the lead solo vocalist. He made his debut as a singer for the group in 1992. The Diretta Su Cuba group, formed by Rossano Gentili and Stefano De Donato, is a funky-soul group, a genre that was practiced very little at the time, but which immediately achieved considerable success in Tuscan musical competitions. Her dark and powerful voice, her captivating stage presence added to the fresh and original Italian groove and funk. The partnership with producer Pierpaolo d'Emilio created an explosive mix: they signed their first record deal in 1994 with L'abel Urlo (CGD). In the same year in June, they released their first single "Jealousy", which became an instant hit on All Radios. The debut album “Diretta Su Cuba” went platinum. In the same year, they released five singles from the same album, in addition to the song Jealousy, the other songs were solo Baci (only Kisses), Liberi di - Liberi da (Free Of - Free From), Dove Sei (Where are You) and Legami (Tie me up). The song Baci solo sees the collaboration with the speaker of Radio Montecarlo, Nick The Nightfly.
In 1996 their second work Nonostane Tutto was released, a natural continuation of the first album, enriched by a string orchestra and the horn section of Demo Morselli. After having released their album, The following year Dirotta Su Cuba took part in the Sanremo Festival with “it went like this”, alongside a legend of the oral organ, Toots Thielemans. For the occasion, their first collection comes out (that's how it went), with a funky reinterpretation of a famous Delirium song, Jesahel. In these three years, Dirotta Su Cuba regularly played live in many places, with a 12-piece band. During these long tours, Simona has definitively begun to highlight her skills as a front-woman, transforming the concerts into real parties of contagious euphoria and painting her image as a famous Italian singer.Learn more about Hijacking Cuba in our special article about them at simonabencini.com.
Simona decided to leave the group in 2000 to try her luck as a solo singer, inaugurating the new phase of her life with the album “Sorgente”. In 2006 she returned to the Sanremo Festival with the song "Storm", and later made a very successful collaboration with another famous Italian singer Elisa. In 2010 she was chosen by the director Massimo Romeo Piparo to interpret Maria Maddalena in the musical 'Jesus Christ Superstar' staged in the most famous Italian theaters from October 2010 to February 2011. Her fame was immense that even online casinos have shared the interest in involving his music in games. Visit this site and discover the best French online casinos for real money fun and seek out this Italian beauty. In 2016 the band released a new album containing a revised version of their cornerstone debut album Diretta Su Cuba with the addition of six previously unreleased songs. After various television programs in 2019, he is now in the cast of Now Or never 2019, the second edition, directed by Amadeus. https://simonabencini-com.translate.goog/?_x_tr_sl=it&_x_tr_tl=en&_x_tr_hl=en-US&_x_tr_pto=nui,sc
Unfinished
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