Gary Smulyan - Hidden Treasures

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 59:48
Size: 137,4 MB
Art: Front

(4:30)  1. Stretch In F
(7:08)  2. Wail Bait
(5:30)  3. Bud's Idea
(3:09)  4. A Woman Always Understands
(5:48)  5. House Of Chan
(6:24)  6. Omicron
(6:19)  7. A Rose For Wray
(6:46)  8. Off The Cuff
(5:43)  9. Jahbero
(8:27) 10. Fifth House

Hidden Treasures smokes from the very first cut. Joined here by bassist Christian McBride and drummer Billy Drummond, Gary Smulyan makes a major statement with every new release. He eschewed smaltz for hard swing on Gary Smulyan with Strings. On Blues Suite he played fiery baritone sax with a brass section. He led a straight-ahead, take-no-prisoners quintet on The Real Deal.  On Hidden Treasures his pared-down ensemble produces such a plethora of rhythmic and harmonic colors that a piano isn't missed. The gritty might of Smulyan's blowing is like a blast of coffee chased by McBride's brown sugar arco and pizzicato flights and Drummond's smooth chocolate milk accompaniment, stirring a fine blend on sticks and brushes throughout.  Their groove on Quincy Jones' "Wail Bait" strolls the tempo a notch lower than the high-velocity opener. McBride shares the melody line with Smulyan on "Bud's Idea" with striking ease. "A Woman Always Understands" is a brief romantic reverie; Phil Woods' "House of Chan" is a showcase yet again for McBride's mastery, finding Smulyan spurred by breaks and Drummond's bebop bombs.

On Donald Byrd's "Omicron," the three players trade inspired eights, fours and twos. The bossa "A Rose for Wray" by Harold Vick has Smulyan in the mood with a sly embedded quote of "I Love You." Judicious use of space is the place on Jim McNeely's unorthodox "Off the Cuff." Tadd Dameron's "Jahbero," based on the "All the Things You Are" changes, takes the trio right back into the pocket. John Coltrane's "Fifth House" rounds out a select set of tunes that are hidden treasures by virtue of their relative obscurity. But they've found a home on this top-flight recording by Smulyan. You may find that each song has an air of familiarity, since each is actually based on a better-known composition. ~ Greg Thomas  http://www.allaboutjazz.com/hidden-treasures-gary-smulyan-reservoir-music-review-by-greg-thomas.php
 

Personnel: Gary Smulyan: baritone saxophone; Christian McBride: bass; Billy Drummond: drums.

Hidden Treasures

---

Ellyn Rucker - This Heart Of Mine

Styles: Vocal And Piano Jazz
Year: 1988
File: MP3@320K/s
Time: 58:03
Size: 135,0 MB
Art: Front

(6:29) 1. I Never Get Enough Of You
(4:40) 2. Sweet Lorraine (Ball & Chain)
(5:06) 3. At Long Last Love
(6:32) 4. Waltz For Debby
(3:48) 5. Get Out Of Town
(8:48) 6. Born To Be Blue
(4:14) 7. Stompin' At The Savoy
(5:35) 8. All This & Heaven Too
(5:50) 9. Gee Baby Ain't I Good To You
(6:56) 10. Solo Medley (Turn Out The Stars - This Heart Of Mine)

Pianist/vocalist Ellyn Rucker's second Capri release (a trio outing with bassist Red Mitchell and drummer Marvin "Smitty" Smith) is even better than her first. A particularly strong pianist soloist who is also the perfect accompanist for her soft-toned vocals, Rucker has long fallen into the "underrated" category due to her decision to live in Denver. However, as she shows throughout this CD, she is a world-class performer who deserves to be much better-known.~Scott Yanow https://www.allmusic.com/album/this-heart-of-mine-mw0000269973

Personnel: Ellyn Rucker - Piano, Vocals; Red Mitchell - Bass; Marvin "Smitty" Smith - Drums

This Heart Of Mine

---

Curtis Stigers - This life

Styles: Vocal
File: MP3@320K/s
Time: 58:08
Size: 135,9 MB
Art: Front

(4:43) 1. (What's so funny 'bout) Peace, Love, and Understanding
(5:58) 2. You're all that matters to me
(5:58) 3. I don't wanna talk about it now
(4:59) 4. I wonder why
(3:35) 5. This life
(4:43) 6. Keep me from the cold
(4:24) 7. Summertime
(4:26) 8. Don't go far
(7:11) 9. Tonight will be fine
(7:41) 10. Swingin' down at 10th & main
(4:23) 11. Never saw a miracle

Curtis Stigers is kicking off 2022 by revisiting some of his biggest hits for new album ‘This Life’, released on 25th February. For ‘This Life’ Stigers has revisited his early successes (and a couple of later ones) and put a jazz spin on them including ‘I Wonder Why’ and ‘You’re All That Matters To Me’. The repertoire includes a new version of Nick Lowe’s ‘(What’s So Funny ‘Bout) Peace, Love, And Understanding), which Stigers originally recorded in 1992 for the smash hit film soundtrack of ‘The Bodyguard’ starring Whitney Houston and Kevin Costner.

Also included is a fresh rendition of ‘This Life’, the Emmy-nominated theme song Curtis co-wrote and recorded in 2008 for the popular TV show ‘Sons Of Anarchy’. “I don’t tend to look back much, musically speaking”, Curtis Stigers states in the liner notes to his new album ‘This Life’. “However, this time I set out with a plan to record songs from my previous twelve studio albums that I now play live in concert in a distinctly different way than I recorded them originally. Songs and arrangements grow and evolve from their recorded versions over time, as we play them again and again for audiences.” Pip Ellwood-Hugheshttps://entertainment-focus.com/2021/12/14/curtis-stigers-revisits-his-hits-on-new-album-this-life/

This life

---

Danny Grissett - Form

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 60:01
Size: 137,8 MB
Art: Front

( 9:22)  1. King Cobra
( 8:09)  2. Heard's Word
( 9:43)  3. Without You
( 7:44)  4. Let's Face the Music and Dance
( 7:40)  5. Distant
( 7:16)  6. Ugly Beauty
(10:03)  7. Are We There Yet?

A sparkling pianist as well as a fine budding composer, Danny Grissett's star has been on the rise lately and he's a favorite accompanist to a growing body of leaders including trumpeters Jim Rotondi, Jeremy Pelt, and Tom Harrell. He returns for his third Criss Cross release and moves past the trio format to feature tenor saxophonist Seamus Blake, trombonist Steve Davis and newcomer Ambrose Akinmusire on trumpet. Grissett puts his stamp on all the material including updates on Herbie Hancock's King Cobra, and Monk's Ugly Beauty. His originals are also cut from a regal cloth of originality, with bassist Vicente Archer and drummer Kendrick Scott responsive to the pianist's every move.https://www.cduniverse.com/productinfo.asp?pid=7908835&style=music

Personnel: Danny Grissett (piano); Seamus Blake (tenor saxophone); Ambrose Akinmusire (trumpet); Steve Davis (trombone); Vicente Archer (bass instrument); Kendrick Scott (drums).

Form

---

Ellyn Rucker - Thoughts of you

Styles: Vocal And Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 55:34
Size: 127,5 MB
Art: Front

(5:46)  1. Velas
(4:45)  2. Very early
(5:21)  3. In your own sweet way
(5:42)  4. Spring is here
(6:14)  5. Times lie - High wire
(5:29)  6. Something funny
(3:28)  7. Kisses
(4:29)  8. Summer night
(3:55)  9. Thoughts of you
(5:07) 10. Creepin'
(5:12) 11. Gnuble ooze

She's billed as "Ellyn Rucker, vocals and piano," but why not reverse the order? Her solos and comping reveal excellent piano chops and swing. Nice moments throughout, but you'll have to work hard to understand her words-Gene Lees' poetry on "Velas" and Alan and Marilyn Bergman's lyric on "Kisses," for example-obscured in a haze of breathy vocalese and busy arrangements. The Denver-based group includes keyboardist Eric Gunnison, who contributes synth colors and a funky B-3 solo; Laura Newman, singing soprano sax; and John Gunther, fine tenor sax and flute; Mark Simon, acoustic and electric bass; Jill Fredericksen, drums; Randy Chavez, guitar; and Mike Marlier, percussion, lay down a groove on Corea's "Times Lie/High Wire (The Aerialist)" and Tom Garvin's "Something Funny." Other tunes are Stevie Wonder's jazz-funk, "Creepin'," Rucker's lyric to Brubeck's "In Your Own Sweet Way," Bill Evans" "Very Early" and her original, the title track. Singer Mark Murphy's liner notes make clear he's really! enthusiastic! about Ellyn Rucker.~Dave Burns http://jazztimes.com/articles/10122-thoughts-of-you-ellyn-rucker

Personnel: Ellyn Rucker (vocals, piano); Randy Chavez (guitar); John Gunther (flute, tenor saxophone); Laura Newman (soprano saxophone); Eric Gunnison (keyboards); Mark Simon (acoustic bass, electric bass); Jill Fredericksen (drums); Mike Marlier (percussion).

Thoughts of you

---

Polly Gibbons - What's the Real Reason?

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 40:53
Size: 93,9 MB
Art: Front

(4:11) 1. Toy Shop
(4:34) 2. Are You Okay?
(4:20) 3. Pray
(3:39) 4. Your Faith
(3:52) 5. Colourfield
(4:03) 6. Give & Take
(3:40) 7. So Unreasonable
(4:40) 8. Thought It Was About You
(3:50) 9. The Game
(3:59) 10. I'll Be Here

Polly Gibbons is a growing presence in the UK Jazz scene. She has already been nominated twice as “Best Jazz Vocalist” by JAZZ FM and the BBC. Fully embracing the inspiring expansiveness of American Jazz, Blues, Soul and R&B, her career as a vocalist, composer and live performer is influenced by these genres. But Polly is hesitant to define her music as strictly Jazz; her eclectic repertoire and the ease and style with which she performs it, have led her to appear at a variety of music festivals and venues: from the prestigious Royal Albert Hall in London opening for George Benson and Gladys Knight, or for Bozz Scaggs at the famous Montreal Jazz Festival. Equally, her fans might find her performing a weekly residency with her band at the legendary Birdland Jazz Club in NYC, Ronnie Scott’s in London or at the funky new venue Rudy's down in Nashville. Her music and her voice have a broad appeal to music lovers - and her ongoing touring over the last few years in the USA has garnered her many new fans.

One might ask how a farmer's daughter (one of seven siblings), who grew up in a small market town in Suffolk, England, came to sing in some of the greatest venues in the world? Polly grew up in a family that loved various types of music and although acting was her first love, she first began to experiment with vocals at 13; and the well-known British vocalist, Ian Shaw, helped her secure her first gig in London at 17. Then she was off! She released her first album, My Own Company in 2014, and soon afterward she was contacted by the American producer, George Klabin, President of the established USA label, Resonance Records, a division of the non-profit RISING JAZZ STARS, INC.

It was at Resonance Records Beverly Hills studio where Polly recorded Many Faces of Love, released in 2015. Touring the country from Oklahoma City to Minneapolis to New York City in support of that CD began a new career phase for Polly. She soon returned to the States in the Autumn of 2016 to begin work on her second album for Resonance: Is It Me…? The album was released in April of 2017 and several new touring periods (in the USA, EUROPE and ASIA) began, attracting critical acclaim from many music critics and periodicals; for example, the American music magazine, DOWNBEAT, compared Polly to a female version of the highly acclaimed vocalist, Gregory Porter.

In the Summer of 2018 the dynamic young vocalist spent three months in NYC exploring both the eclectic music scene in the city and some of its best musicians, as well as taking on the challenge of her first live recording - her third for Resonance. It took place over two days in June at the famed Powerstation/Berklee NYC, and was staged in front of a live audience. It was an exciting event, made even more special by the presence of several All-Star Band members who have worked with Polly on both the East Coast and West Coast, as well as in London: the keyboards were represented by the remarkable musicians Tamir Hendelman and James Pearson on the acoustic piano, and Shedrick Mitchell held court on the Hammond B3. The rhythm section featured Polly’s long time guitarist, Paul Bollenback, along with the versatile drummer Mark McClean and Richie Goods who performed on both electric and acoustic basses. The repertoire chosen for the new 12-track CD represents the vocalist as both a singer and a songwriter, and features her original title track, “All I Can Do”, as well as another track co-written with the pianist and Polly’s long-time collaborator, James Pearson, entitled “If You Had The Chance”. The remainder of the album features tunes as diverse as Prince’s “Nothing Compares to You”; a very unusual and delightful version of the great Cole Porter standard, ”Anything Goes”; and the Duke Ellington classic, “I’m Just a Lucky So and So”.

All I Can Do will be released in February of 2019, and will be supported initially by a tour of the West Coast, followed in the early Spring by performances in both the Midwest, the East Coast and the UK. As Polly reflects on her career so far, she says, “it's a fascinating journey that's constantly in flux, there are always exciting new goals to work towards.” The vocalist and songwriter is definitely on that road, and with All I Can Do out soon, she is on the way to new and extraordinary musical destinations. Stay tuned!! https://www.allaboutjazz.com/musicians/polly-gibbons

What's the Real Reason?

---

Kenny G - New Standards

Styles: Saxophone Jazz
Year: 2021
File: MP3@320K/s
Time: 56:30
Size: 129,8 MB
Art: Front

(3:40) 1. Emeline
(5:50) 2. Only You
(5:30) 3. Paris By Night
(6:19) 4. Rendezvous
(3:56) 5. Legacy (feat. The Sound)
(4:32) 6. Anthem
(4:48) 7. Blue Skies
(4:42) 8. Milestones
(5:49) 9. Two Of A Kind
(6:00) 10. Moonlight
(5:18) 11. Waltz In Blue

With 2021's elegant New Standards, saxophonist Kenny G wryly inserts himself into the pantheon of American Popular Songbook composers performing and writing songs that feel as if they were written during the heyday of traditional pop in the '50s and '60s. The album is G's first studio production since 2015's Brazilian Nights and while it certainly hews to his distinctive crossover style it's steeped in a lush orchestral atmosphere that evokes the classic traditional pop of artists like Frank Sinatra, Johnny Mathis, and Ella Fitzgerald. Of course, these aren't swinging big-band numbers, but hushed and intimate ballads with just enough R&B keyboard, bass, and guitar textures to keep things contemporary.

What's particularly notable about New Standards is just how effectively G has managed to capture the sound of traditional pop. While solely instrumentals, tracks like "Emeline," "Blue Skies," and "Paris by Night" are nonetheless harmonically sophisticated songs that have the cozy, martini-soaked vibe of Tin Pan Alley and Brill Building standards. One could easily imagine a companion album with lyrics and guest vocalists added to the mix. That they are all G's own newly penned original compositions makes them all the more impressive. Even the one guest appearance here, a somewhat dubious, digitally crafted duet between G and his late idol, saxophonist Stan Getz (or more specifically "the sound" of Stan Getz), does little to distract from the overriding aura of relaxed,old-school romanticism. ~ Matt Collar https://www.allmusic.com/album/new-standards-mw0003604846

New Standards

---

Eight To The Bar - Hey, Sailor!

Styles: Swing, Big Band
Year: 2001
File: MP3@320K/s
Time: 45:39
Size: 106,1 MB
Art: Front

(2:05)  1. She's The Most
(3:34)  2. Hey, Sailor!
(2:51)  3. The Existential Boogie
(4:37)  4. I'm Here To Tell You
(2:30)  5. Why Can't You Dance (With Me Like That)?
(3:52)  6. Mean Old Frisco
(2:54)  7. So Rare
(3:17)  8. Well All Right
(4:14)  9. All Of These Things
(4:23) 10. He Ain't Got Rhythm
(3:20) 11. Mean Streets
(3:27) 12. I'm Obsessed
(4:31) 13. Beat Me Daddy, Eight To The Bar

New England's premiere 6-piece swing and jump blues band of 27 years. Their longevity, huge fan base and jam-packed performance schedule are a testament to their ability to keep it swinging at no less than eight beats to the bar. Listening to Eight to the Bar is a lot like driving along a time-warped highway precisely halfway between Count Basie's Kansas City and Fat's Waller's Harlem, where the car radio picks up everything from "Take the A Train" to "Boogie Woogie Boy of Company B". Their material, like their outlandish wardrobes and onstage choreo, is a colorful mix of forties jive and swing, fifties jump blues, and their own swing influenced tunes. With their 4 part female and male vocals, saxophone, guitar, bass, keyboards and drums, this unique sextet pack a musical and visual wallop not seen in New England since the group's inception in 1975. Since that time they have released 7 records, have appeared national on HBO and VH-1 and have excited audiences from London to L.A. At this time the band has just released its seventh album, "Hey, Sailor!" and is going on its second European tour in April, 2002. http://www.cdbaby.com/cd/ettb

Personnel: Cynthia Lyon (vocals, piano, organ); Michael Corsini (vocals, upright bass); Tommy Whalen (guitar); Collin Tilton (flute, tenor saxophone); David Keith (drums, percussion).

Hey, Sailor!

---

Lee Ritenour - The Captain's Journey

Styles: Guitar Jazz
Year: 1978
File: MP3@320K/s
Time: 38:37
Size: 89,3 MB
Art: Front

(8:02)  1. The Captain's Journey
(5:53)  2. Morning Glory
(5:05)  3. Sugarloaf Express
(4:53)  4. Matchmakers
(5:27)  5. What Do You Want
(5:24)  6. That's Enough For Me
(3:49)  7. Etude

Guitarist Lee Ritenour had just switched from Epic to Elektra when he cut Captain's Journey in 1978. It was a followup to the successful crossover work Captain Fingers and used a similar strategy: tight, hook-laden arrangements, polished production, and minimal solo space. What individual things it has are dominated by Ritenour, a supremely talented guitarist who doesn't display that much of it with these arrangements. ~ Ron Wynn https://www.allmusic.com/album/the-captains-journey-mw0000120708

Personnel: Lee Ritenour – guitar, guitar synthesizer, rhythm arrangement; Dave Grusin – synthesizer , Minimoog, Rhodes piano , electric grand piano, piano; Ernie Watts – tenor and soprano saxophone; Ray Beckstein – flute, Eddie Daniels – flute Dave Valentin – flute David Foster – Rhodes piano, piano; Don Grusin – piano; Patrice Rushen – Rhodes piano , electric grand piano; Ian Underwood – synthesizer; Jay Graydon – guitar; Mitch Holder – guitar; Anthony Jackson – bass guitar Abraham Laboriel – bass guitar; Steve Gadd – drums; Alex Acuña – drums, percussion; Paulinho da Costa – percussion; Sue Evans – percussion; Steve Forman – percussion; Larry Rosen – percussion; Steve Thornton – percussion Patti Austin – vocals; Bill Champlin – vocals, vocal arrangement; Venette Gloud – backing vocal; Carmen Twillie – backing vocals; David Nadien – strings; Ed Walsh – programming

The Captain's Journey

---

Cheryl Bentyne - Rearrangements of Shadows

Styles: Vocal Jazz
Year: 2017
File: MP3@320K/s
Time: 44:27
Size: 102,6 MB
Art: Front

(4:46)  1. I Remember
(4:47)  2. Sand
(5:13)  3. The Ladies Who Lunch
(2:55)  4. Everybody Says Don't
(3:15)  5. Comedy Tonight
(3:00)  6. Wish I Could Forget You
(5:40)  7. Not a Day Goes By
(4:56)  8. Move On
(4:37)  9. Send in the Clowns
(5:13) 10. The Ladies Who Lunch (solo CB) [Bonus Track]

Though such early career collaborations as West Side Story and Gypsy yielded significant fodder for jazz artists, the show tunes that Stephen Sondheim later shaped by himself remain seldom covered (save the ubiquitous “Send in the Clowns”). Many of his intricately crafted songs just don’t lend themselves easily to reinterpretation. Yet, with support from several gifted arrangers, the Manhattan Transfer’s Cheryl Bentyne proves effective at the art of reimagining Sondheim’s densely shadowed work. “Clowns” is here, saved ’til last; it’s a dreamy, Transfer-worthy treatment propelled by cajón and shaker and shaped by Take 6’s Mark Kibble, who unites with Naturally 7’s Armand Hutton on backing vocals. Among other familiar selections: a bubbly “The Ladies Who Lunch,” featuring special guests Tierney Sutton and the Transfer’s Janis Siegel, with a curiously effective nod to “Killer Joe” from arranger Jamieson Trotter; a lithe, tender “Not a Day Goes By”; a spirited, asymmetric “Everybody Says Don’t,” on which arranger and bassist Kevin Axt is paired with drummer Dave Tull; and a kaleidoscopic, edge-of-sanity “Comedy Tonight” that, courtesy of arranger Bevan Manson, blends Baroque courtliness with Big Top buffoonery. 

Digging deeper into the Sondheim songbook, Bentyne adds the obscure “Sand,” featuring a cleverly shifting arrangement by Eli Brueggemann; a strings-drenched “Move On” (from Sunday in the Park With George); and, alone with pianist Tom Zink, Passions’ haunting “I Wish I Could Forget You.” ~Christopher Loudon https://jazztimes.com/reviews/vox/cheryl-bentyne-rearrangements-sondheim/

Rearrangements of Shadows

---

The Manhattan Transfer - The Very Best Of The Manhattan Transfer

Styles: Vocal
Year: 1994
File: MP3@320K/s
Time: 61:40
Size: 145,6 MB
Art: Front

(3:42) 1. Boy From New York City
(2:22) 2. Trickle Trickle
(3:01) 3. Gloria
(3:13) 4. Operator
(3:06) 5. Tuxedo Junction
(3:50) 6. Four Brothers
(5:10) 7. Ray's Rockhouse
(5:15) 8. Soul Food To Go (Sina)
(3:43) 9. Spice Of Life
(2:56) 10. Baby Come Back To Me (The Morse Code Of Love)
(3:29) 11. Candy
(3:51) 12. A Nightingale Sang In Berkeley Square
(6:02) 13. Birdland
(2:48) 14. Java Jive
(2:58) 15. Route 66
(6:06) 16. Twilight Zone/Twilight Tone

This eclectic collection of songs encompasses jazz, bebop, swing, doo wop, rock & roll, and gospel; all are trimmed in an attractive pop texture. These 16 compositions are taken from the vocal quartet's albums, which span 12 years (1975-1987). Each selection is inviting, as all four song stylists display their individual vocal skills and admirable harmonies. Laurel Masse appears on recordings up until 1979, when Cheryl Bentyne replaced her. Other members include Tim Hauser, Janis Siegel, and Alan Paul. ~Craig Lytlehttps://www.allmusic.com/album/the-very-best-of-the-manhattan-transfer-mw0000107854

The Very Best Of The Manhattan Transfer

---

Joe Lovano Quartet feat. Hank Jones - JazzBaltica 2005

Styles: Saxophone And Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 93:47
Size: 216,7 MB
Art: Front

(10:50) 1. Bird's Eye View
(12:37) 2. Don't Ever Leave Me
(10:10) 3. I Waited For You
( 9:59) 4. Consummation
(14:10) 5. Kids Are Pretty People
(11:15) 6. Stella by Starlight
( 8:25) 7. I'm All for You
( 9:04) 8. Six and Four
( 7:14) 9. Crescent

Joseph Salvatore Lovano was born in Cleveland, Ohio on December 29, 1952 and grew up in a very musical household. His dad, Tony, aka Big T, was a barber by day and a big-toned tenor player at night. “Big T,” along with his brothers Nick and Joe, other tenor players, and Carl, a bebop trumpeter, made sure Joe’s exposure to Jazz and the saxophone were early and constant. Joe’s mom, Josephine, and her sister Rose were serious listeners, as well, His Mom remembers hearing Big T play opposite Stan Getz and Flip Phillips when they were engaged. And Aunt Rose went to hear Jazz at the Philharmonic with Ella Fitzgerald when they came through Cleveland.

Not surprisingly, Joe began playing the alto at five, switching to the tenor a few years later. By the time he got his driver’s license at sixteen, Joe Lovano was a member of the Musician’s Union, Local 4, and working professionally. He started playing club dates (sometimes subbing for his dad), and Motown cover bands, eventually saving enough money from these gigs to put himself through college. “My dad was a fantastic saxophone player with a really deep passion for the music. I grew up with his record collection and when I was a teenager, he’d bring me around to rehearsals and jam sessions” http://www.joelovano.com/biography/

Personnel: Joe Lovano – tenor saxophone; Hank Jones – piano; George Mraz – bass; Lewis Nash – drums

JazzBaltica 2005

---

Cécile McLorin Salvant - Ghost Song

Styles: Vocal
File: MP3@320K/s
Time: 46:07
Size: 106,6 MB
Art: Front

(2:44) 1. Wuthering Heights
(7:23) 2. Optimistic Voices / No Love Dying
(3:22) 3. Ghost Song
(1:32) 4. Obligation
(6:31) 5. Until
(3:40) 6. I Lost My Mind
(3:04) 7. Moon Song
(2:23) 8. Trail Mix
(4:48) 9. The World Is Mean
(2:36) 10. Dead Poplar
(3:36) 11. Thunderclouds
(4:21) 12. Unquiet Grave

In the 12 years since Cécile McLorin Salvant arrived on the jazz scene by winning the 2010 Thelonious Monk International Jazz Competition, she has diligently redefined the popular concept of a jazz singer. In addition to being a vehicle toward a romantic vision of emotional bliss as told in the words of the classic American songbook, Salvant has added numerous other identity tropes. She’s the cultural-studies professor examining, even interrogating the lyrics of classics. She’s the crate digger, finding nuggets from forgotten musicals and films, and obscure songs by great songwriters and singers. And she’s a storyteller, bringing an actress’ arsenal of nuanced theatricality, wit, and intelligence to her stage persona. Her accomplishments extend beyond her five albums as a leader or co-leader, several noteworthy collaborations, and three Grammy Awards. In 2020, she won a MacArthur “genius grant.”

On Ghost Song, her debut recording for Nonesuch Records, she expands her ambitions. The recording opens with a stunning cover of the Kate Bush classic “Wuthering Heights.” Salvant begins singing a cappella, bringing full operatic splendor to the verses about longing and yearning, so that when the band kicks in and she sings straightforwardly, “Heathcliff, it’s me, I’m Cathy/I’ve come home, I’m so cold,” the vulnerability and ache strike like a power chord. The other 11 tracks contain similar juxtapositions of elegance and force. The title track, for instance, starts with Salvant referencing the might of field hollers and finishes with the gentle croons of the Brooklyn Youth Choir. “Trail Mix” is a solo piece that features Salvant on piano, and on “Dead Poplar,” she sings a letter written from the great photographer Alfred Stieglitz to his wife, the legendary artist Georgia O’Keeffe. The album closes with “Unquiet Grave,” on which she sings a cappella again, bringing a symmetrical finish to a powerful recording about pain and loss.~ Martin Johnson https://jazztimes.com/author/martin-johnson/

Ghost Song

---

Chris Byars - On the Shoulders of Giants

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 64:53
Size: 149,4 MB
Art: Front

( 6:10) 1. Big Red
( 4:34) 2. Keeper
( 7:18) 3. Closer
(10:19) 4. Nashville
( 6:15) 5. Arizona
( 5:54) 6. Philadelphia
(10:09) 7. Ste. Phanourios
( 8:46) 8. Third Culture Kid
( 5:25) 9. Moscow

Saxophonist Chris Byars always has a great way of putting together a set of horn players and here, his tenor is matched with alto from Zaid Nasser, bass clarinet from Stefano Doglioni, and trombone from John Mosca all given piano-less accompaniment from the duo of Ari Roland on bass and Phil Stewart on drums! At some level, the music maybe echoes specific 50s modern modes some west coast, some Gerry Mulligan styles but there's also a much more contemporary vibe to the recording, one that comes partly from the mostly original material by the leader. The tunes bristle with a nice assortment of colors, and never overstate their inventiveness and titles include "Nashville", "Arizona", "Keeper", "Moscow", "Third Culture Kid", and "Philadelphia". © 1996-2022, Dusty Groove, Inc. https://www.dustygroove.com/item/947779/Chris-Byars:On-The-Shoulders-Of-Giants

Personnel: Tenor Saxophone – Chris Byars; Alto Saxophone – Zaid Nasser; Bass – Ari Roland; Bass Clarinet – Stefano Doglioni; Drums – Phil Stewart; Trombone – John Mosca

On the Shoulders of Giants

---

Cory Weeds Quartet - Just Coolin'

Styles: Saxophone Jazz
Year: 2021
File: MP3@320K/s
Time: 54:32
Size: 125,2 MB
Art: Front

( 6:48) 1. Just Coolin'
( 6:20) 2. Beep Durple
( 6:08) 3. Chicken N' Dumplins
( 6:10) 4. Bitter Sweet
(11:01) 5. We Three
( 6:03) 6. Street Scenes
( 5:41) 7. Vendetta
( 6:16) 8. Night Walk

In the summer of 2021 Cory Weeds put together the quartet on this recording for a gig at Frankie’s Jazz Club in Vancouver, BC. It was one of those nights where everything came together in every aspect. Club was packed with an appreciative and enthusiastic audience, the band was fired up and ready to go and Cory's dear friend and supporter of jazz Yvonne DeTroye was at her usual perch taking in the festivities. When the band was packing up, she approached Cory to tell him how wonderful the band sounded AND that should he ever decide to record she would be more than happy to lend financial support. Around this time, Weeds had just taken the Presidents role at The Fraser MacPherson Jazz Fund and started thinking about how he could use this recording as a fundraiser. After 18 months of a pandemic the fund was basically depleted and needed to increase its fundraising efforts and create some awareness. Yvonne donated to the FMJF to produce this 8 track set and 100% of the proceeds from the sales (in all formats) benefit The Fraser MacPherson Jazz Fund.

Thank you to Will and Norah Johnston for opening up their beautiful home to record in, the FMJF Board of Directors for their patience and for understanding the vision and Sheldon Zaharko for capturing the sound of the band so brilliantly. Special thanks to Tilden, John and Jesse for the incredible musicianship that they always display. It’s such an incredible pleasure to make music with this group. Extra special thanks to Yvonne DeTroye as she continues to make jazz dreams come true for so many of us and there are not enough words to express appreciation for all that you do for the jazz community. In existence since 1993 The Fraser MacPherson Jazz Fund has been dedicated to offering financial assistance and educational opportunities for jazz students in British Columbia. In addition to providing several yearly scholarships to BC’s most promising young jazz instrumentalists, the FMJF hosts public, free admission workshops by some of the world’s most renown jazz artists. https://coryweeds.bandcamp.com/

Personnel: Cory Weeds – tenor saxophone; Tilden Webb – piano; John Lee – bass; Jesse Cahill - drums

Just Coolin'

---

George Cables Trio - Cables Fables

Bitrate: MP3@320K/s
Time: 66:00
Size: 151.1 MB
Styles: Piano jazz, Post bop
Year: 1995
Art: Front

[ 6:23] 1. In Walked Bud
[ 5:47] 2. Lullaby
[ 8:34] 3. Waltz For Debbie
[ 6:30] 4. Helen's Song
[12:00] 5. Over The Rainbow
[ 5:44] 6. Just Friends
[ 8:13] 7. Con Alma
[ 6:28] 8. Sweet Rita Suite
[ 6:18] 9. All The Things You Are

Known for his outstanding work as a sideman with Joe Henderson, Dexter Gordon, and Frank Morgan, George Cables is also a first-rate leader who has primarily recorded for European and Japanese jazz labels. This 1991 session for Steeplechase with two in-demand musicians, bassist Peter Washington and drummer Kenny Washington, finds the pianist at the top of his game, with an aggressive approach to "In Walked Bud," a playful treatment of Bill Evans' "Waltz for Debby," and an intense setting of Dizzy Gillespie's "Con Alma" that is beautifully set up by his drummer. The pianist is also a strong composer, offering his delicate ballad "Lullaby" (a favorite of Frank Morgan, especially on duo dates with Cables), the buoyant Latin-tinged "Helen's Song," and the gently swaying "Sweet Rita Suite." Cables is no slouch playing standards, including a spacious, extended take of "Over the Rainbow" and a driving "All the Things You Are," which detours into Afro-Cuban licks with regularity. ~Ken Dryden

Cables Fables

---

Sylvia Vrethammar - Chateau Sylvia

Styles: Vocal
Year: 1979
File: MP3@320K/s
Time: 43:47
Size: 101,6 MB
Art: Front

(2:53) 1. Shoo Shoo Baby
(2:55) 2. In A Mellow Tone
(5:16) 3. Thank You Man For Playing That Song Tonight
(2:31) 4. On The Sunny Side Of The Street
(3:02) 5. The Way We Were
(2:10) 6. Blackbird
(2:58) 7. Exclusively For Me
(2:18) 8. Chattanooga Choo-Choo
(3:52) 9. (I Stayed) Too Long At The Fair
(3:34) 10. Higher And Higher
(3:36) 11. A Song For You
(3:54) 12. Basin Street Blues
(4:41) 13. The Sun And The Water

Eva Sylvia Vrethammar (born 22 August 1945, Uddevalla, Sweden), is a Swedish traditional pop and jazz singer. She is the daughter of Harald Vrethammar, an education official, and Britta Vrethammar, a musical education teacher, specializing in the piano. In 1969, she released a Swedish-language cover version of Dusty Springfield's "Son of a Preacher Man", entitled "En lärling på våran gård". Vrethammar is also fluent in English. In the 1970s, she occasionally appeared as guest singer with the Bert Kaempfert orchestra, singing in English. After a series of tribute concerts in Germany in 2006 and 2008, where she returned to the bandleader's music with ex-Kaempfert trombonist Jiggs Whigham and other former orchestra members (playing as the HR Big Band), in 2012 she recorded numbers from the tours.

She is perhaps best known for the 1974 song, "Y Viva España," an English adaptation of the Dutch language "Eviva España," first recorded by the Belgian singer Samantha (Christiane Bervoets). It reached #4 in the UK Singles Chart in September 1974, spending over six months in the charts. The song also peaked at number #67 in Australia in 1975. She was known in the UK and Australia simply as Sylvia Globally her version alone sold over one million copies, and was awarded a gold disc. She took part in Melodifestivalen 2002, singing "Hon är en annan nu". She participated again in Melodifestivalen 2013 in the hope of representing Sweden in the Eurovision Song Contest 2013 which was held in Malmö. She sang her song "Trivialitet" in the fourth semifinal, which was also held in Malmö. She came seventh and was therefore eliminated from the contest. https://en.wikipedia.org/wiki/Sylvia_Vrethammar

Chateau Sylvia

---

Cheryl Bentyne & The Harmony - Moonlight Serenade

Styles: Vocal Jazz
Year: 2003
File: MP3@256K/s
Time: 37:50
Size: 70,0 MB
Art: Front

(2:56)  1. Moonlight Serenade
(3:53)  2. Blue Prelude
(3:15)  3. Alice in Wonderland
(3:51)  4. Caravan
(2:48)  5. How High The Moon
(4:33)  6. Land of Make Believe
(3:55)  7. Soft Strum Blues
(2:22)  8. My One And Only Love
(4:32)  9. For Claudio
(2:47) 10. Tull Tales
(2:53) 11. Since First I Saw Your Face

A member of the Manhattan Transfer beginning in 1979, Cheryl Bentyne's beautiful voice, wide range, versatility, and impressive stage presence made her into a major asset for the popular vocal group from the start. Her father was a clarinetist who led a Dixieland band, and Bentyne sang swing music with his group while in high school. She was the lead singer with the New Deal Rhythm Band (a swing-oriented band) for four years and then in 1979 replaced Laurel Masse with the Manhattan Transfer. In 1992 she released her first solo album, Something Cool. Produced by trumpeter/arranger Mark Isham, it found Bentyne delving into pop standards in a jazz style. Although she continued to perform and record with the Manhattan Transfer, it took over ten years for Bentyne to release her next solo album. Released in 2003, Among Friends featured Bentyne performing in a straight-ahead jazz style on various Great American Songbook standards. Since then, Bentyne has stuck to the acoustic jazz aesthetic, releasing a steady stream of albums including Lights Still Burn and Sings Waltz for Debby in 2004, Let Me Off Uptown in 2005, and Book of Love in 2006.  Bentyne then delivered two composer tribute albums with 2011's Gershwin Songbook and 2012's Let's Misbehave: The Cole Porter Songbook. She next paired with vocalist Mark Winkler for 2013's West Coast Cool. The compilation album Lost Love Songs, featuring tracks from several of Bentyne's Japan-only albums, appeared in 2016.~Scott Yanow http://www.allmusic.com/artist/cheryl-bentyne-mn0000108223/biography

Moonlight Serenade

---

Nicki & Lisa Parrott - The Awabakal Suite

Size: 155,2 MB
Time: 66:57
File: MP3 @ 320K/s
Released: 2003
Styles: Contemporary Jazz
Art: Front

01. Come And Get It ( 6:02)
02. Amblin' ( 7:02)
03. The Awabakal Suite - Part 1-Sawari, Part 2-Qrf, Part 3-Bound For (14:26)
04. Just You And Me As Evidence ( 3:53)
05. Cello Concerto ( 7:01)
06. One For Eric ( 6:12)
07. Jitterbug Waltz ( 5:41)
08. Second Chances ( 5:55)
09. Six Nettes ( 4:42)
10. Bound For South Australia ( 5:58)

The Parrott sisters have pooled their individual talents to release a CD that presents a 360 degree look-see at two of New York City's most exciting jazz musicians. Under the watchful eye of producer Rufus Reid, Nicki and Lisa take the listener on an eclectic jazz journey influenced by Australian folk as well as classical Western and Indian music. Although the creative re-working of standards like Monk's "Evidence" are intriguing, it is the self-penned compositions that make this CD a must-have.

Awabakal Suite is titled after an extinct Australian Aboriginal tribe from Lake Macquari, New South Wales. Nicki and Lisa, who were raised near this lake, elected to record the CD on January 26th, Australia Day. Commemorating the initial English landing, many Australians, including Nicki and Lisa, prefer to refer to this date as "Invasion Day". It has become a day of mourning for the subjugation of Aboriginal peoples. The suite blends Eastern and Western influenced changes in a manner reminiscent of Pharaoh Sanders' Upper and Lower Egypt. Didgeridoo sounds evoke images of native Australians and a marching snare signals British occupation as Lisa plays mournful sax. It is a piece that also weaves childhood themes with historical and political images ending with the catchy "Bound for South Australia", an Australian sea shanty often sung by Australian children.

Prior to this release, the sisters had gone in different directions. Lisa, known for her playing with big band "Diva", the PLK trio and for a smoky Ben Websteresque sax on two Derek Bronston Quartet releases has become a versatile contemporary player with a recognizable light touch who can also "honk" with the best. Nicki appears weekly with Les Paul and is one of New York City's most sought after bassists. She combines Skitch Henderson, Johnny Frigo and Johnny Varro session work with permanent spots in "David Krakauer's Klezmer Madness", "Mikveh", and the "Ron Jackson Duo". For their first collaboration, these two diverse musicians have put together a tight band prominently featuring Kevin Hays (piano) and Dion Parson (drums) that is able to adeptly switch styles while maintaining a solid rhythm.

Nicki's "Come and Get It" and Lisa's "Amblin" showcase Lisa's sax playing in a tight jazz combo setting, with some fine solo trading. Nicki never sacrifices this underlying rhythm for ego tripping solos. Of special mention is the arrangement of Schuman's Concerto in A Minor opus 129 for Cello and Orchestra. Kevin Hays treads that dangerous line of classical/jazz piano without sacrificing the inherent feel of the piece as Nicki plays the cello line exquisitely on bass. The listener's mind floats through heartrending images in the elegant Nicki Parrott composition "Second Chances" only to be jolted to the ceiling by "Six Nettes" that features some of Lisa's best manic playing and honks. Nicki keeps up and anticipates every move as bass and sax drive each other to the point of no return only to be brought back by Nicki's solid line to close out the album.

Up to this point, Nicki and Lisa Parrott were two musicians who happened to be sisters. With The Awabakal Suite they have hearkened back to common roots from their diverse individual perspectives to produce a collective self-portrait. ~by Elliott Simon

Personnel: Nicki Parott (double bass), Lisa Parrott (alto and baritone saxophone), Kevin Hays (piano), Dion Parson (drums), Cafe De Silva (percussion)

The Awabakal Suite  

---

Teri Roiger - Ghost of Yesterday: Shades of Lady Day

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 57:41
Size: 133,2 MB
Art: Front

(4:23)  1. Lady Day and John Coltrane
(3:41)  2. (I Don't Stand A) Ghost of a Chance
(3:50)  3. What a Little Moonlight Can Do
(7:49)  4. You Don't Know What Love Is
(5:46)  5. Fine and Mellow
(3:26)  6. Them There Eyes
(5:15)  7. It's Easy to Remember
(5:10)  8. Do You Know What It Means to Miss New Orleans
(4:48)  9. Lady Day
(5:22) 10. Ghost of Yesterday
(5:18) 11. These Foolish Things
(2:48) 12. Lady Sings the Blues

Since Billie Holiday was a major influence on Abbey Lincoln, it’s entirely apt that vocalist Teri Roiger, who owes a considerable debt to both, follows her 2012 tribute to Lincoln a fine, thoughtful appreciation with an equally imaginative salute to Holiday. Roiger opens with a less funky but no less stirring take on Gil Scott-Heron’s “Lady Day and John Coltrane.” Later, she offers up her own paean, “Lady Day,” based on music contributed to Roiger by the late David “Fathead” Newman, dotted with Holiday touchstones, including references to Lester Young and “Don’t Explain.” Both Young and Holiday recorded “(I Don’t Stand) A Ghost of a Chance With You,” though not together. Roiger introduces her version by adding sage lyrics to Young’s solo, with Jay Collins accompanying on tenor saxophone. Young’s solo on “Fine and Mellow,” recorded with Holiday, is lyrically retraced with equal aplomb, here with support from trombonist Roswell Rudd. And she adds an interesting twist to “Them There Eyes,” inserting Ella Fitzgerald’s scat solo, again fitted with new lyrics. Roiger bypasses Holiday’s sturdiest signatures “Strange Fruit,” “God Bless the Child,” “Good Morning, Heartache,” “Lover Man” filling the balance of the album with selections from across her sizeable songbook. Traveling from a wistfully tender “It’s Easy to Remember” to a laidback “Do You Know What It Means to Miss New Orleans,” she closes with a dusky reading of Holiday’s late-career masterpiece, “Lady Sings the Blues.” https://jazztimes.com/reviews/vox/teri-roiger-lady-day/

The Band: The new recording features Wayne Hawkins (piano), John Menegon (bass), Steve Williams (drums) + The Visitors: Roswell Rudd (trombone), Jay Collins (baritone and tenor sax), Steve Gorn (clarinet & bansuri flute), Rebecca Coupe-Franks (trumpet), Mark Dziuba (guitar) & Abdou Mboup (percussion).

Ghost of Yesterday: Shades of Lady Day

---