Silky Denims

Tuesday, December 7, 2021

Christian McBride & Inside Straight - Live at the Village Vanguard

Styles: Post-Bop, Straight-Ahead Jazz
File: MP3@320K/s
Time: 79:50
Size: 185,7 MB
Art: Front

(12:01) 1. Sweet Bread
(13:42) 2. Fair Hope Theme
(10:02) 3. Ms. Angelou
( 8:18) 4. The Shade of the Cedar Tree
(14:54) 5. Gang Gang
(10:57) 6. Uncle James
( 9:52) 7. Stick & Move

You may feel a whole lot better about things after checking out Live at the Village Vanguard. Now, without argument or scholarly discourse, that can be said for any of the time honored performances captured under that heady title, but here it's Christian McBride and Inside Straight and seriously, this one has fun written all over it. An instant Top Tenner for 2021. Bassist/educator/advocate, McBride needs no further introduction save to say he has heightened fun into an art form. His playing, even at its most pensive and persuasive, proclaims that better times are here even if just for the immediate moment. The immediate gig. This immediate assemblage of keen minded, high flying musicians. And this is their last set of the three-night stand so they'd like to play for you now.

Vibraphonist Warren Wolf's infectiously soulful "Sweet Bread" sets a very high bar straight from the gate. But it's a bar that Inside Straight hurtles high over with each successive track. Moving like Muhammed Ali, "Sweet Bread" swings for the fences and the fences swing back on McBride's own swing-crazy "Fair Hope Theme." Pianist Peter Martin ranges all over the landscape, a singular acrobat among equals. His joyful, sinewy run on saxophonist Steve Wilson's "Ms.Angelou" is worth the price of admission and the two drink minimum. Carl AllenconjuresArt Blakey and this set never stops. The energy and vibe is so tangible on "Shade of the Cedar Tree" that it's impossible not to imagine yourself in one of the 123 or so seats that make for max capacity in the Vanguard. Elbow to elbow, head bopping, feet tapping, a smile on your face everyone sees in the walk down dark. You're on your second drink when "Gang Gang" high octanes to life: Darting, sparring, powering on.

By the time "Stick and Move" steam rolls over you, and McBride and Allen take your breath away in a serious of groove statements that leave you amazed, you can envision yourself one of the jubilant patrons, standing, cheering, applauding. It's the power of music Mach Ten. It's Live at the Village Vanguard.~Mike Jurkovic https://www.allaboutjazz.com/christian-mcbride-and-inside-straight-live-at-the-village-vanguard-christian-mcbride-and-inside-straight-mack-avenue-records

Personnel: Christian McBride: bass; Steve Wilson: saxophone, alto; Warren Wolf: vibraphone; Peter Martin: bass, acoustic; Carl Allen: drums.

Live at the Village Vanguard

Sunday, December 5, 2021

Sonny Stitt Quartet With Don Patterson - Low Flame + Feelin's

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 79:43
Size: 186,9 MB
Art: Front

(4:59) 1. Low Flame
(5:25) 2. Put Your Little Foot Right Out
(6:02) 3. Cynthia Sue
(4:40) 4. Donald Duck
(3:43) 5. Close Your Eyes
(4:59) 6. Silly Billy
(2:55) 7. Baby, Do You Ever Think Of Me?
(7:52) 8. Fine And Dandy
(3:48) 9. O Sole Mio
(3:56) 10. Feelin's
(2:21) 11. Nightmare
(6:23) 12. S'posin'
(3:15) 13. Look Up
(3:52) 14. Goodnight Ladies
(5:20) 15. If I Should Lose You
(4:53) 16. Hollerin' The Blues
(5:13) 17. Stretch Pants

Digitally remastered two-fer containing a pair of complete original albums showcasing Sonny Stitt in a quartet setting with organist Don Patterson: Low Flame and Feeling's. on the two LPs, the group is completed by Paul Weeden on guitar and Billy James on drums. While Stitt and Patterson cut plenty of albums together, the sessions included here mark the entire recorded output by this exact quartet. Essential Jazz Classics. https://www.amazon.ca/Low-Flame-Feelins-Sonny-Stitt/dp/B00E22768Q

Personnel: Alto Saxophone, Tenor Saxophone – Sonny Stitt; Drums – Billy James; Guitar – Paul Weeden; Organ – Don Patterson

Low Flame + Feelin's

Motoshi Kosako, Paul McCandless - Place in the Heart

Styles: Harp, Post Bop
Year: 2010
File: MP3@128K/s
Time: 72:10
Size: 69,3 MB
Art: Front

(7:31) 1. Inner Nature
(6:11) 2. Night Follows the Day
(6:31) 3. Unopened Gift
(6:07) 4. Waltz for Terra
(4:57) 5. Crossroads
(4:55) 6. Babbling of Drunkard
(6:07) 7. Barking At the Moon
(5:22) 8. Idle talk
(6:24) 9. Spanish Stairs
(4:37) 10. No Sure Sense
(4:06) 11. Place in the Heart Part 1 & 2
(9:21) 12. Place in the Heart Part 3 & 4

Born in Matsuyama City, Motoshi Kosako started his musical career playing piano and guitar with professional jazz bands in Japan. In 1997 he moved to the United States, where he is currently the principal harpist of Stockton Symphony Orchestra, and where he received the ''Best of Sacramento''-award from Sacramento Magazine, which described that “Kosako plays with a fluid, modern style that evokes Keith Jarrett and Chick Corea.”. Mr. Kosako has released six albums: ''Celestial Harp I'', ''Celestial Harp II'', ''Living Harp'', the jazz trio-album ''Naked Wonder'' with Bill Douglass (bass, Chinese bamboo flute) and Daryl van Druff (drums), the duo-album ''Place In The Heart'' with Grammy-award winning Paul McCandless (oboe, English horn, soprano sax, bass clarinet), and the current release ''On The Way Home''. https://www.musicians-corner.net/Motoshi-Kosako-A-thought-on-musicians-role-in-society/

This album should be one of the most unique duo collaborations in history of Jazz. Grammy Award winning multi-instrumentalist Paul McCandless and innovative harpist-improviser Motoshi Kosako create very fresh sounding ensemble together. All tunes are original compositions and feature lyrical and virtuosic improvisation of McCandless and Kosako. Recorded in 2010. https://motoshikosako.bandcamp.com/album/place-in-the-heart

Personnel: Motoshi Kosako; harp; Paul McCandless; oboe, English horn,soprano sax, bass clarinet

Place in the Heart

Jack Jones - The Jack Jones Christmas Album

Styles: Christmas
Year: 1964
File: MP3@320K/s
Time: 35:15
Size: 82,3 MB
Art: Front

(2:43) 1. Sleigh Ride
(2:40) 2. White Christmas
(3:32) 3. The Village Of St. Bernadette
(2:00) 4. My Favorite Things
(2:54) 5. I'll Be Home For Christmas
(4:13) 6. Medley: Angels We Have Heard On High / Silent Night / Adeste Fideles
(2:55) 7. Do You Hear What I Hear?
(2:34) 8. Lullaby For Christmas Eve
(2:34) 9. The Christmas Song
(1:39) 10. Mistletoe And Holly
(2:06) 11. The Christmas Waltz
(5:19) 12. Medley: God Rest Ye Merry Gentlemen / It Came Upon A Midnight Clear / The First Noel

For his second seasonal collection, recorded in 1969 (following 1964's The Jack Jones Christmas Album), Jack Jones took a more eclectic, contemporary approach, including spiritual (if not specifically holiday) songs like the socially conscious "Some Children See Him" (which posited a multi-racial Christ child) and the recent Edwin Hawkins Singers hit "Oh Happy Day." "Little Altar Boy" was also given a gospel arrangement, while "O Little Town of Bethlehem" was rendered a cappella with chorus. "Christmas Day" from the recent musical Promises, Promises may have seemed like a standard-in-the-making, though it did not become one. Still, Jones sounds more comfortable on traditional fare like "Have Yourself a Merry Little Christmas" and "Silver Bells." ~ William Ruhlmann https://www.allmusic.com/album/the-jack-jones-christmas-album-mw0000121613

The Jack Jones Christmas Album

Deborah Silver - The Gold Standards

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 39:00
Size: 91,2 MB
Art: Front

(3:29) 1. Teach Me Tonight
(4:29) 2. The Nearness Of You
(2:55) 3. The Glory Of Love (Feat. Ann Hampton Callaway)
(2:23) 4. I Could Have Danced All Night
(3:20) 5. I've Got A Crush On You (Feat. Jack Jones)
(3:05) 6. Ain't Misbehavin'
(2:26) 7. Never On Sunday
(3:14) 8. On A Slow Boat To China
(2:32) 9. I Can't Give You Anything But Love
(2:43) 10. Pennies From Heaven
(2:38) 11. My Heart Belongs To Daddy
(2:41) 12. It All Depends On You
(3:01) 13. I Could Write A Book

A gifted vocalist whose repertoire embraces jazz, pop, and the Great American Songbook, Deborah Silver offers a fresh take on classic material with her second album, 2016's The Gold Standards. Teaming with producers Steve Tyrell and Jon Allen (who've worked with Rod Stewart, Diana Ross, and Kristin Chenoweth) and arranger Alan Broadbent (best known for his work with Paul McCartney, Michael Bublé, and Barbra Streisand), here Silver interprets old standards, show tunes, and popular favorites with a warm, personable approach. The Gold Standards also includes duets with Grammy-winning singer Jack Jones and acclaimed jazz artist Ann Hampton Callaway.~Mark Deming https://www.allmusic.com/album/the-gold-standards-mw0002985553

The Gold Standards

Jack Jezzro - Cocktail Party Bossa Nova

Styles: Guitar Jazz
Year: 2019
File: MP3@320K/s
Time: 56:42
Size: 131,0 MB
Art: Front

(3:36) 1. A Foggy Day
(4:02) 2. Wave
(3:46) 3. Mack the Knife
(3:26) 4. The Girl from Ipanema
(3:01) 5. One Note Samba
(3:28) 6. Sway
(4:14) 7. On Green Dolphin Street
(4:12) 8. The Days of Wine and Roses
(3:27) 9. Samba of Brazil
(3:37) 10. What a Diff'rence a Day Made
(4:39) 11. My Little Boat
(3:49) 12. Never on Sunday
(3:43) 13. Beautiful Love
(3:36) 14. The Shadow of Your Smile
(3:56) 15. Bossa Nova Dance

Jack Jezzro is a musician and producer who has enjoyed a long and successful career as a studio musician, accompanying a wide variety of major artists on their recordings, as well as crafting his own albums in which he shows off his talent and versatility as a guitarist. Jezzro was born in Rivesville, West Virginia on December 2, 1957. He had a keen interest in music from an early age, starting to play the piano when he was just three. He taught himself to play guitar from listening to records by Chet Atkins, and in his teens, he learned to break down the individual parts from songs he loved by Simon & Garfunkel, James Taylor, and the Doobie Brothers. After high school, Jezzro studied at West Virginia University; their music school didn't have a program for the guitar, but Jezzro could also play the bass, and his skills on the instrument led to him to a membership in the Charleston Symphony Orchestra while still attending WVU. Jezzro went on to attend the Eastman School of Music in Rochester, New York, where he was mentored by noted bassist James VanDemark. Just as he did at WVU, Jezzro soon joined the local symphony, the Rochester Philharmonic Orchestra, as a bassist, while also honing his chops as a jazz guitarist. In 1981, he relocated to Nashville, Tennessee, where he became the bassist with the Nashville Symphony Orchestra, a position he held for ten years. In the mid-'80s, he made his way into the prestigious world of session work when he became part of the Nashville String Machine, a string section for hire that regularly appeared on recordings by some of the major stars of country and pop music, from Garth Brooks and Faith Hill to Bruce Springsteen and Matchbox 20. In 1988, Jezzro stepped out as a solo artist with the release of his first album as a headliner, Step on It, which was released in Japan by Pony Canyon Records. (A revised edition of the disc was released in the United States as A Day's Journey.) Over the next 30 years, Jezzro would release a steady stream of jazz, country, pop, Latin, and inspirational albums (most through the Green Hill label) that focused on his tasteful but expert guitar work and his interplay with other musicians. Jezzro also continued to work steadily as a session player and a producer, overseeing his own sessions as well as those of other Green Hill artists. His work as an artist and producer has earned him one Grammy nomination and seven Dove Award nominations to date. The prolific bassist has played on or produced over 300 albums, and in 2017 alone, he produced By Request: Most Requested Songs for jazz pianist Beegie Adair, released his own album Sinatra on Guitar, and brought out a sequel to his 2010 album Christmas Jazz titled Christmas Jazz 2. ~ Mark Deming https://www.allmusic.com/artist/jack-jezzro-mn0000779112/biography

Cocktail Party Bossa Nova

Anastasia Gilliam - Slip Beneath The Covers Vol 1

Styles: Jazz, Vocal
Year: 2007
File: MP3@320K/s
Time: 33:32
Size: 77,0 MB
Art: Front

(5:13) 1. Georgia On My Mind
(4:31) 2. Going to California
(3:37) 3. The Voice
(3:22) 4. What a Wonderful World
(4:37) 5. Cry Me a River
(3:23) 6. At Last
(1:56) 7. Mercy Mercy Me (The Ecology)
(3:57) 8. What's Going On
(2:53) 9. Crazy

For over 15 years fans have been begging Anastasia for a cd of cover tunes. People Love the way she can take a song, breathe some of her magic into it & create something unique to make it her own in a way that most have never witnessed before. “Slip Beneath the Covers” Volume 1 is the first in a series of cover CDs due to be released by the artist from 2007-2009. “I wanted to begin the series on a slightly romantic note, so I compiled a list of some of my favorite songs & the rest seemed to come naturally.”

People from all over the world travel to the lush, tropical island of Maui to frolic in this South Pacific paradise, not knowing what to expect when they stop off for some live music & one of those “blue foo-foo drinks with the umbrella” at one of the local night clubs. Much to their amazement, they come to find that they too have just discovered one of the best kept secrets of the Hawaiian islands!

Anastasia performed with her band, The VooDoo Suns for over 7 years & also juggled 3 duet projects, each with their own special attributes. Three guys, three different instruments, three different genres of music to explore with each of them. R&R, R&B, Jazz, Country, Originals & beyond. Her voice is so versatile that it’s hard to put her into just one category. “I wanted to perform all kinds of music & I wanted to take everything back to the essential basics. There is something pure & authentic in music performed with just a voice, guitar & percussion or a piano or keyboard to accompany it. That thought was the inspiration behind my duet projects. It’s been so well received & so many people wanted to take home a part of what they’d experienced that making a series of cover CDs was the logical next step.” http://www.cdbaby.com/cd/anastasiagilliam

Slip Beneath The Covers Vol 1

Andrée Pagès - Swings Both Ways

Bitrate: MP3@320K/s
Time: 59:00
Size: 135.1 MB
Styles: Jazz vocals
Year: 2003
Art: Front

[4:09] 1. Nature Boy
[2:43] 2. It's Crazy
[5:01] 3. Lover Man
[3:31] 4. Get Out Of Town
[3:44] 5. St. Louis Blues
[4:40] 6. Sophisticated Lady
[6:23] 7. Born To Be Blue
[3:03] 8. Moonglow
[5:43] 9. My Man's Gone Now
[3:20] 10. He's Funny That Way
[9:28] 11. 'round Midnight
[3:02] 12. Yesterdays
[4:06] 13. What's Her Name

For 25 years, from New York to Macau, Andree Pages and Jay Elfenbein have played together in “Swings Both Ways” ensembles, from duo to quintet, playing a repertoire of American jazz standards, French chansons, bossa novas and old blues—songs by Duke Ellington, the Gershwins, Coltrane, Jacques Brel, Charles Trenet, Jobim, Nina Simone and Ray Charles, and originals.

The two recently returned to the U.S. after 4 years in France, where they played the Petit Journal de Montparnasse, Le Cave du Jazz, and La Tête des Trains, and performed widely in public and private venues in the Fontainebleau area.

Swings Both Ways

Friday, December 3, 2021

Antonella Vitale Quartet & Friends - Raindrops

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 70:41
Size: 163,7 MB
Art: Front

(5:31) 1. What The World Needs Now Is Love
(6:12) 2. Walk On By
(5:12) 3. The Look Of Love
(6:01) 4. I'll Never Fall In Love Again
(6:04) 5. I Say A Little Prayer
(6:14) 6. Alfie
(3:30) 7. Raindrops Keep Falling On My Head
(5:26) 8. (They Long To Be) Close To You
(5:36) 9. Do You Know The Way To San Jose
(7:03) 10. This Guy In Love With You
(4:56) 11. Tra La Sabbia E Il Mare Aperto
(3:31) 12. La Mia Ombra
(5:20) 13. Gabi

She sang in various trio and quartet formations with Andrea Beneventano, Massimo D'Agostino, Andrea Avena, Pietro Ciancaglini, Lorenzo Tucci, Francesco Puglisi, Stefano Sabatini, Nicola Stilo, Claudio Colasazza, Gianni Savelli, Mauro Verrone, Mauro Battisti, Carlo Battisti. She now teaches singing at the New Mississippi Jazz School in Rome. Previously, she studied singing and piano at the Scuola Popolare di Musica Testaccio in Rome, where she followed Nicola Stilo's workshops and where she joined Danilo Terenzi's big band as the solo singer.

In 2003, her first solo album is released by Alphamusic; in support she has Andrea Beneventano, Francesco Puglisi, Lorenzo Tucci and Aldo Bassi. In 2001 and 2002, she realised a CD-Test for the magazine Audio Car Stereo, with songs written, composed and sang by herself. In 1999, she participated at the Ciampino Jazz Festival in duet with the guitarist Andrea Memeo under the name JAZZ TANDEM. Luigi Onori from the pages of the Il Manifesto: ...the duet Jazz in Tandem composed by Antonella Vitale and Andrea Memeo warmed up the spectators with the enthusiasm and warmth of their approach.

Vitale has an excellent voice and a charisma that flows from a ductile and personal voice in any language she sings in. Italian, English or Brazilian...". In 1998, she came first in the modern singing section of the contest Concorso Nazionale Musicisti Citta` di Latina and won an award in the Ciampino Jazz Festival contest (guitar and voice duet). In June, 1997 she took part to the prize contest Citta` di Colleferro, where she came third in the jazz section. In 1996, she took part in the realisation of a soundtrack CD for Primrose Music, recording choirs and solo vocals. https://www.womex.com/virtual/alfamusic_label/antonella_vitale

Raindrops

Roy Hargrove - Public Eye

Styles: Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 67:32
Size: 155,5 MB
Art: Front

(6:52) 1. Public Eye
(6:21) 2. Spiritual Companion
(7:33) 3. September In The Rain
(4:47) 4. Lada
(5:38) 5. Once In A While
(5:08) 6. Hartbreaker
(8:01) 7. End Of A Love Affair
(6:14) 8. Night Watch
(6:24) 9. You Don't Know What Love Is
(5:16) 10. Little Bennie (Crazeology)
(5:15) 11. What's New

Roy Hargrove's second recording as a leader features the 21-year-old trumpeter in late 1990 essentially playing bebop. Joined by altoist Antonio Hart, pianist Stephen Scott, bassist Christian McBride, and drummer Billy Higgins, Hargrove shows why he was so highly rated from the start of his career. On such numbers as "September in the Rain," "End of a Love Affair," "Crazeology," and four of his straight-ahead originals, Hargrove plays in a style not that different from Lee Morgan but with his own soulful sound, revitalizing the jazz tradition with his enthusiastic ideas. A fun set.~Scott Yanow https://www.allmusic.com/album/public-eye-mw0000674417

Personnel: Trumpet – Roy Hargrove; Alto Saxophone – Antonio Hart; Double Bass – Christian McBride; Drums – Billy Higgins; Piano – Stephen Scott

Public Eye

Roy Hargrove, Mulgrew Miller - In Harmony Disc 1, Disc 2

Album: In Harmony Disc 1

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 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

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).

Boom! Live At Birdland

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!

~ 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).

Shiny Stockings

Nicholas Payton - Smoke Sessions

Styles: Trumpet Jazz
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

Smoke Sessions

Tuesday, November 30, 2021

Andrea Celeste - My Reflection

Styles: Vocal
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

My Reflection

Michel Petrucciani - Solo Live

Styles: Piano Jazz
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

Solo Live

Frank Foster & The Loud Minority Band - Well Water

Styles: Saxophone Jazz, Big Band
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

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")

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

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

Midnight Blue

Monday, November 29, 2021

Erin O'brien - Songs From The Heart Of Erin O'brien

Styles: Vocal
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)

Thank you Flyingfinger!

Songs From The Heart Of Erin O'brien MP3

Songs From The Heart Of Erin O'brien Flac