Evan Christopher - This Side of Evan

Styles: Clarinet Jazz
Year: 2014
File: MP3@320K/s
Time: 60:20
Size: 139,1 MB
Art: Front

( 5:11) 1. I Want to Be Happy
( 6:13) 2. Get out of Town
( 4:50) 3. Paper Doll
( 5:33) 4. Smiles
( 5:56) 5. Mood Indigo
( 4:52) 6. Sonny Boy
( 3:51) 7. Nuages
( 4:31) 8. When Day Is Done
( 4:09) 9. Dark Eyes
( 4:46) 10. In the Wee, Small Hours of the Morning
(10:21) 11. Make Me One Pallet on Your Floor

Evan Christopher (born August 31, 1969) is an American jazz clarinetist and composer. His first musical training was at the Idyllwild School of Music and the Arts. After high school, he studied saxophone at the University of Southern California and graduated from California State University at Long Beach where he studied clarinet. Early mentors include clarinetists Kenny Davern, Tony Scott and soprano saxophonist George Probert.

Career: Tours with singer-songwriter A.J. Croce in the early 1990s brought Christopher to New Orleans. He moved to Crescent City in 1994 and enjoyed varied work before leaving to join the Jim Cullum Jazz Band in San Antonio, Texas in 1996. For nearly three years, he appeared nightly as their featured clarinetist and recorded episodes of the syndicated radio program Riverwalk Jazz. He returned to New Orleans but was forced to leave in 2005 when the federal levees failed because of Hurricane Katrina. He traveled continuously and lived briefly in Paris at the invitation of the city of Paris. During this residency, he formed the Jazz Traditions Project and Django à la Créole. The latter fused Gypsy jazz with New Orleans grooves. Tours with Irvin Mayfield's New Orleans Jazz Orchestra made it possible for Christopher to return to New Orleans. He is a charter member of jazz composer guild, NOLA ArtHouse Music, and the Seahawk Modern Jazz Orchestra in southern California.

Christopher published research on the New Orleans style of clarinet. In 2002 he began pursuing a degree in musicology at Tulane University. From 2008–2009, he taught part-time at the University of New Orleans and taught an ensemble that performed with Lucien Barbarin and Marcus Roberts. In July 2010, he debuted the "Treat It Gentle Suite", a concerto for clarinet and jazz band with the Minnesota Orchestra. https://en.wikipedia.org/wiki/Evan_Christopher

This Side of Evan

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Dinah Washington - Dinah Washington Sings

Styles: Vocal
Year: 1963
File: MP3@320K/s
Time: 28:08
Size: 70,7 MB
Art: Front

(3:13) 1. Out In The Cold Again
(2:45) 2. Hey, Good Looking
(3:00) 3. Tell Me Why
(2:17) 4. Wheel Of Fortune
(3:08) 5. Ain't Nobody's Business But My Own
(1:59) 6. New York, Chicago & Los Angeles
(2:44) 7. You Can Depend On Me
(3:08) 8. I Sold My Heart To The Junkman
(2:59) 9. West Side Baby
(2:49) 10. Why Can't You Behave?

The versatile vocalist Dinah Washington was born Ruth Lee Jones in Tuscaloosa Alabama on August 29th 1924. She grew up in Chicago where her family moved in 1928.

Her mother was heavily involved in church community centered around St Luke’s Baptist and Dinah was surrounded by gospel and church music since her early childhood. She exhibited musical talents at an early age and was part of the church choir playing the piano and singing gospel in her early teens. At age 15, enamored by Billie Holiday, she started playing and singing the blues in local clubs and made quite a name for herself. In 1942 Lionel Hampton heard her and hired her for to front his band. Hampton claims that it was he who gave her the name Dinah Washington but other sources disagree.

Some suggest the talent agent Joe Glaser suggested the new name and others cite the manager of the bar where she was performing at the time as the person who recommended it. This was also the year when she married her firs husband; John Young (she would marry 6 more times). She remained with Lionel Hampton from 1943-1946 and during this tenure made her recording debut, a blues session produced by Leonard Feather for Keynote records. She became quite popular both as the band singer for Hampton and as a solo artist. She used her new found financial success to buy a home for her mother and sister. She left Hampton’s orchestra early 1946 while she was living in LA and shortly afterwards recorded blues sides for the small Apollo label. Her big break came very shortly afterwards when she signed with Mercury label on January 14 1946. During her stay with Mercury she recorded a number of top ten hits in a multitude of genres including blues, R&B, pop, standards, novelties, even country. She never was strictly a jazz singer but did record number of jazz sessions with some of the most influential musicians of the day including Cannonball Adderley, Clark Terry, and Ben Webster. Her most memorable jazz recording is with Clifford Brown; the classic Dinah Jams from 1955.

After the unexpected commercial success of “What a Diff'rence a Day Makes,” in 1959, which marked Washington’s breakthrough into the mainstream pop and won her a Grammy; she stopped recording blues and jazz songs and concentrated on more easy listening tunes characterized by lush orchestrations. The critics decried this shift in her career but it did bring her music more widespread exposure and commercial success. She started having problems with her weight so she became dependant on diet pills and on Dec. 14, 1963 she died of an accidental overdose of alcohol and diet pills in a hotel room in Detroit. She was buried at Burr Oak Cemetery in Chicago. https://www.allaboutjazz.com/musicians/dinah-washington

Dinah Washington Sings

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Stephen Riley, Ernest Turner - Original Mind

Styles: Saxophone And Piano Jazz
Year: 2021
File: MP3@320K/s
Time: 47:09
Size: 108,6 MB
Art: Front

(2:12) 1. Doris
(6:23) 2. Among My Souvenirs
(4:58) 3. Beautiful Moon Ago
(7:52) 4. J
(4:35) 5. Namely You
(5:07) 6. Sophisticated Lady
(4:55) 7. Light Blue
(6:24) 8. Turnin’
(4:39) 9. Blessed Assurance

Saxophonist Stephen Riley and pianist Ernest Turner present a poignantly beautiful set of originals and standards

Hailing from North Carolina, tenor saxophonist Stephen Riley and pianist Ernest Turner come together to present a poignantly beautiful set of original compositions and standards. Recorded in a beautiful house on the West side of Vancouver, BC, Canada the sound quality is absolutely wonderful, capturing every single nuance. The interplay between the two musicians is purely magic. Features a beautiful tune selection including some original material, lesser known standards and a gospel hymn that highlights the wonderfully unique tenor saxophone sound of Stephen Riley. Released September 17, 2021

Personnel: Stephen Riley – tenor saxophone; Ernest Turner - piano

Original Mind

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The Dave Flippo Trio - Life On Mars

Styles: Piano Jazz
Year: 2021
File: MP3@320K/s
Time: 68:15
Size: 158,1 MB
Art: Front

(6:23) 1. Life on Mars
(4:38) 2. Tangled Up in Blue
(5:13) 3. Visions
(6:23) 4. Chelsea Morning
(9:02) 5. Old Country
(3:29) 6. Norwegian Wood
(5:53) 7. If Six Was Nine
(6:18) 8. It Might As Well Be Spring
(5:49) 9. Dance the Night Away
(6:41) 10. Fool on the Hill
(8:24) 11. Secret Love

Pianist Dave Flippo’s release Life on Mars is not as esoteric as the title sounds. He and his trio elegantly interpret classic rock tunes with a couple of standards thrown into the mix, and endow them with a delightful sense of swing. The overall laid-back mood the band creates bellies constantly engaging variations in their approach to the material. The Curtis Lewis/Nat Adderley-penned “Old Country” opens with lilting effervescence and hints of Latin. Flippo’s facile, charming solo filled with graceful arpeggios nods at Western classical influences. Bassist Donn De Santo embellishes the melody with lyricism before the three musicians exchange clever and inventive phrases. Haunting group performance with con-arco bass makes for a memorable conclusion. In intriguing contrast stand such tracks as the award-winning “If Six Were Nine.”

The Jimi Hendrix piece features electric instrumentation and a funky ambience. Flippo’s acerbic keyboard notes swagger with soul while De Santo lays down muscular bass lines. Another example is Bob Dylan’s “Tangled Up In Blue,” where Flippo and De Santo converse in an eloquent dialogue with plenty of deep simmer over drummer Heath Chappell’s thunderous gallop. Flippo’s arrangements do not simply “jazzify” the originals, but tastefully infuse them with new sensibilities. On Joni Mitchell’s “Chelsea Morning,” the ensemble plays the theme with suave subtly. Flippo improvises with crystalline tones, showcasing the composition’s complex beauty. Meanwhile Stevie Wonder’s “Visions” is given a crepuscular mood with darkly hued rhythms. Flippo again gracefully exposes its sublime and emotive core. Life on Mars may not be terribly innovative or groundbreaking, but thanks to the high-caliber artistry of the individual musicians and their superb camaraderie, it is pleasantly alluring. This enjoyable and captivating work puts a fresh spin on these much-loved songs without detracting from their inherent appeal.~ Hrayr Attarian https://www.chicagojazz.com/dave-flippo-life-on-mars

Personnel: Dave Flippo – Piano and keyboard; Donn De Santo – Electric and acoustic bass; Heath Chappell – Drums

Life On Mars

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Orna - The Very Thought Of You

Styles: Vocal
Year: 2003
File: MP3@320K/s
Time: 44:17
Size: 101,5 MB
Art: Front

(4:27) 1. Ntyilo, Ntyilo
(5:03) 2. Nature Boy
(4:12) 3. My Ship
(5:50) 4. The Very Thought Of You
(3:51) 5. That's All
(4:29) 6. My Favorite Things
(4:15) 7. Alice In Wonderland
(4:59) 8. My One And Only Love
(4:31) 9. Ornithology
(2:35) 10. Every Flower

The South African-born vocalist Orna, carrying a distinctive lightness in her highly accurate vocal delivery, sits down with Brian Bromberg and a stellar ensemble for a session that revels in its simplicity. Favoring a light samba lilt and surrounded, in part, by synth strings, the persuasive singer gives pause to one of those rainy days we’ve been dreaming of. Her debut stands apart as an album just made for kicking back and takin’ the afternoon off. The title track brings a smile to one’s face, as the realization sinks in that good jazz ballad singers are once again pulling in high ratings. Straight-ahead jazz and smooth jazz have another champion. When Orna’s trio takes turns soloing and trading fours with the drummer, they’re simply reminding today’s generations that great music is timeless.

After graduation from South Africa’s University of Witwatersrand in 1993, Orna studied film scoring at the Berklee College of Music in Boston. She cites Chet Baker, Shirley Horn and Sting as major vocal influences. When she scats in unison with bass on Charlie Parker’s “Ornithology,” she proves that she can handle the whole world of jazz, from early ballads to bebop, the blues, and beyond.~Jim Santella https://www.allaboutjazz.com/the-very-thought-of-you-orna-a440-music-review-by-jim-santella

Personnel: Orna- vocals; Brian Bromberg- acoustic bass, acoustic piccolo bass guitar; Tom Zink- piano, keyboards; Chris Wabich- drums, percussion; Tony Guerrero- trumpet, flugelhorn; Gannin Arnold- guitar; Gary Meek- flute.

The Very Thought Of You

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Charlie Byrd - Hollywood Byrd

Styles: Guitar Jazz
Year: 1967
File: MP3@320K/s
Time: 25:06
Size: 58,9 MB
Art: Front

(2:30) 1. A Time for Love
(1:47) 2. Georgy Girl
(2:52) 3. Alfie
(3:14) 4. The Wishing Doll
(2:00) 5. Wish Me a Rainbow
(2:17) 6. Born Free
(2:11) 7. In the Arms of Love
(2:14) 8. Any Wednesday
(3:12) 9. Moment to Moment
(2:43) 10. I'll Be Back

Charlie Byrd jammed with Django Reinhardt, recorded with Woody Herman, studied with the great Segovia, and with Stan Getz introduced the Brazilian bossa nova to international audiences. He then proceeded to form a super guitar trio with Barney Kessel and Herb Ellis. His musical interests took in virtually every form in which the guitar found a prominent voice

Charlie Byrd began playing the guitar at an early age under the guidance of his father. In his teens he was playing plectrum guitar with local groups in Virginia and Washington. At the Polytechnic Institute in Virginia, he played guitar with the school band. During World War II he played with an Army band in Europe. After the war he settled in New York where he played with local jazz groups such as Joe Marsala and Freddie Slack. In 1950 Charlie Byrd returned to the Washington DC area where he began studying the classical guitar. He had always had an interest in classical guitar and decided at this time to begin a serious study of the instrument. He studied guitar with Sophocles Papas and music theory with Thomas Simmons. In 1954 he went to Italy to study with Andres Segovia.

It was shortly after that trip that he formed a jazz trio for the first time and began performing in local clubs. His instrument of choice for his trio was the concert guitar. In the trio format Byrd’s found the perfect form for mixing his love of jazz and blues with classical music. The orientation of the music for the trio was jazz, but jazz infused with classical technique and sound. Between 1957 and 1960 his trio performed in and around Washington. During that time Charlie Byrd made some of his best recorded work: “Jazz Recital,” ‘(57) “Blues For Night People,” (’57) “Jazz at The Showboat,” (’58) “Guitar in the Wind,” (’59) “The Artistry of Charlie Byrd, was in 1960 and in 1961 he released “Charlie Byrd at The Village Vanguard.” It was this recording that introduced Charlie to a broader audience than he had had in Washington DC.

In 1962 Charlie Byrd and his trio traveled to South America under the sponsorship of the State Department. When he returned to the US he made the landmark recording with Stan Getz “Jazz Samba,” this record caught on with the listening public and made Charlie Byrd a household name.

Charlie Byrd continued to evolve, and did some exceptional recordings with Barney Kessel and Herb Ellis as “The Great Guitars,” often employing a rhythm section which featured his brother, Joe Byrd, on bass, and drummer Chuck Redd. He continued to record for Concord, and produced a prodigious amount of work for that label. His last recording was “For Louis,” his tribute to Louis Armstrong, done in 1999 right before his death. He brought to the concert guitar both a high degree of sophistication due to his classical training and a kind of down home quality that came through when he played blues and straight ahead jazz. https://www.allaboutjazz.com/musicians/charlie-byrd

Personnel: Charlie Byrd. guitar

Hollywood Byrd

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Lothar Kosse - One For All

Styles: Guitar
Year: 1993
File: MP3@320K/s
Time: 51:12
Size: 118,2 MB
Art: Front

(3:26) 1. Cruising
(2:59) 2. Ya Ya's Blues
(3:51) 3. Smile
(4:39) 4. Let It Rain
(3:54) 5. In The Groove
(3:44) 6. My Life With You
(4:59) 7. The Race
(5:40) 8. The King's Dance
(4:01) 9. Streetshuffle
(4:17) 10. Swedish Summer
(4:29) 11. Now And Forever
(5:12) 12. One For All

Lothar Kosse (born September 3, 1959 ) is a German Christian music guitarist, singer, songwriter, arranger and producer. Lothar Kosse studied popular music at the University of Music and Theater in Hamburg and then completed another degree in architecture at the University of Hanover, which he graduated with a diploma in 1987. Kosse has been involved in many musical projects throughout his career as a musician and has released numerous solo albums. He is well known, especially in Christian circles, and his songs are part of contemporary Christian culture in Germany. As a guitarist, arranger, composer and producer he has worked on over three hundred CDs. In Cologne, Lothar Kosse founded the "Cologne Worship Night" in 1996, a music event that takes place regularly in the Cologne scene club "E-Werk" or at various open-air locations (e.g. in front of the Cologne Cathedral ).

Kosse's music is characterized by his guitar playing and singing. Stylistically he moves between rock, pop and blues.

Lothar Kosse's band includes: Daniel Jakobi: drums; Manuel Halter: keyboards; Sebastian Roth: electric bass

In the new hymn book Where we praise you, new songs are growing - plus from 2018 the song You are a wonderful shepherd by Lothar Kosse is represented under number 124. Lothar Kosse is married to Margarete Kosse. Their first joint CD Hausmusik was released in May 2020. The two sons Simon and Jonathan Kosse are also represented with backing vocals and cello. https://de-m-wikipedia-org.translate.goog/wiki/Lothar_Kosse

One For All

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Rob Van Bavel Trio - Dutch Jazz

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 50:57
Size: 117,0 MB
Art: Front

(4:33)  1. Just Vampin'
(6:09)  2. Another Seventeen
(5:16)  3. Three Bees
(4:27)  4. Bandal
(5:00)  5. Donde Esta?
(5:46)  6. Remember the Time
(4:53)  7. B&r
(5:07)  8. In April
(4:11)  9. R.B.
(5:28) 10. Giant Steps

With the first Rob van Bavel Trio (1985-2000) we recorded 'Just for You' , 'The Rob van Bavel Trio' (which cd was rewarded an 'Edison' - dutch Grammy) & 'The Other Side'; after several years a new Rob van Bavel Trio was born, with exciting players such as bassplayer Clemens van der Feen (at that time still very young) and masterdrummer Chris Strik. This trio released 2 official cd's: 'Piano Grand Slam' and 'Generations' (Munichrecords)....we made a 3rd recording which was never released: 'Dutch Jazz' - 9 original compositions by Rob van Bavel plus 'Giant Steps' (solopiano live) as a bonustrack! Enjoy!! http://www.cdbaby.com/cd/thenewrobvanbaveltrio

Dutch Jazz

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Richie Cole - Latin Lover

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 61:19
Size: 142,4 MB
Art: Front

(4:41) 1. If I Only Had a Brain
(5:35) 2. Cieto Lindo
(3:48) 3. Leclipse Della Luna
(3:33) 4. Lonely Bull
(7:15) 5. Serenata
(4:53) 6. Laughter in the Rain
(6:40) 7. Girl from Carnegie
(4:29) 8. Harlem Nocturne
(5:28) 9. Island Breeze
(4:23) 10. Indicted for Love
(5:33) 11. Malibu Breeze
(4:55) 12. Almost Like Being in Love

Last year alto saxophonist/arranger Richie Cole released an album called the Many Minds of Richie Cole. Latin Lover could easily have carried the same title. There are indeed many minds in Cole's head often seemingly incompatible with each other. Several of them are in this CD. Cole was grabbed out of Berklee School of Music by Buddy Rich, who needed a replacement for Art Pepper in his big band in 1969 and after being featured with Rich and shortly after with Lionel Hampton he set out on his own. He toured frequently with vocalist Eddie Jefferson until the latter's untimely death and has built his reputation on being an unpredictable jokester who plays serious jazz with a smile.
Latin Lover continues Cole's brand of humor, starting off with the unlikely tune, "If I Only Had A Brain from the Wizard of Oz." On top of that, he defies the somewhat melancholy theme, kicking it into up tempo with a Latin rhythm. Oz fans may be offended, but Cole pulls it off well, with a sharp and adventurous solo. Who knew this song could be considered for a jazz album! He keeps the heat up with "Celito Lindo" and then slows it down with a pensive "L'Eclipse."

Cole reverts once again to his sense of humor by digging into "The Lonely Bull," made famous by the Tiajuana Brass and the vocal group and guitar behind him reinforces the corny essence of the tune. "Serenata" begins with a bull fight anthem with all the usual Latin flair only to magically transform into a quiet and slow tango. "Laughter in the Rain" allows Cole to duff his cap to his unaccountable appreciation for 1950's pop music. The song, written by Neil Sedaka, has all the earmarks of the era, but with more of a Latin tinge than the original. "Girl From Carnegie" is essentially "The Girl From Ipanema" with some melodic revisions. It begins with a Jobim like guitar intro and continues with a light Latin tempo.

There are two outliers, and they are the gems on this album. The first is "Harlem Nocturne." Cole shows his most sensitive and emotive side on this. He wraps himself deep within the very poignant sadness of the tune. It is shear beauty. The other is the album's final song, "Amost Like Being In Love." Cole owns this song. He plays it frequently on gigs and while he has probably performed it thousands of times, he just screams this song out. It is the most up-tempo tune of the set. It begins with a subtle Latin background, and then switches to straight ahead jazz, while Cole launches into his best solo of the recording. He plumbs the entire range of the alto, sometimes veering away from the changes before snapping back in. Guitarist Eric Susoeff and pianist Kevin Moore maintain the intensity before Cole bursts back on the scene with a couple bebop quotes and then back to the melody, with a few showy runs thrown in, and finally a very abrupt ending.

Cole has moved from New Jersey to Pittsburgh a few years ago and has become immersed in the jazz scene there, no doubt raising the level a bit. He has surrounded himself with talented locals and those are the people he chooses to record with. Cole's band of Susoeff and Moore, as well as bassist Mark Perna and drummer Vince Taglieri, may not be the big names that were on Cole's early Muse recordings, but it is a very compatible group. Their familiarity allows Cole to spruce up the songs with some simple, but effective arrangements, which raises the level beyond that of a good jam session. You can hear from the interplay that these musicians know the leader and can respond to his every whimsy. Overall, this is a fine jazz album, well written, well recorded and performed with solid soloists, with Cole playing with his usual inspired consistency. My only criticism is that there are too many back to back medium slow tempo songs.~ Rob Rosenblum https://www.allaboutjazz.com/latin-lover-richie-cole-richie-cole-presents-review-by-rob-rosenblum

Personnel: Richie Cole: alto sax; Eric Susoeff: acoustic & electric guitar; Kevin Moore: piano & Fender Rhodes; Mark Perna: bass; Vince Taglieri: drums; Rick Matt: baritone(4); Nancy Kepner: vocal (4).

Latin Lover

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Bebop & Beyond - Plays Thelonious Monk

Styles: Jazz, Hard Bop
Year: 1990
File: MP3@320K/s
Time: 58:06
Size: 133,3 MB
Art: Front

( 7:12) 1. San Francisco Holiday
( 7:01) 2. Brilliant Corners
( 7:29) 3. Think of One
( 4:38) 4. Crepescule with Nellie
(10:43) 5. Misterioso
( 5:02) 6. Criss Cross
( 6:35) 7. Gallop's Gallop
( 4:02) 8. Ugly Beauty
( 5:20) 9. Who Knows

This CD contains one of the best Thelonious Monk tributes that have come out since the pianist/composer's death in 1982. Mel Martin (heard here in top form on tenor, soprano and flute) leads Bebop & Beyond through nine of Monk's most difficult originals, and his arrangements (which use the versatile guitarist Randy Vincent in Monk's place) are consistently inventive. Pianist George Cables, tenor saxophonist Joe Henderson, and Howard Johnson (on baritone and tuba) make important guest appearances, while trumpeter Warren Gale contributes many fine solos.~ Scott Yanow https://www.allmusic.com/album/plays-thelonious-monk-mw0000690320

Personnel: Baritone Saxophone, Tuba – Howard Johnson (3) (tracks: 2 to 5,8); Bass – Jeff Chambers (3); Drums – Donald Bailey (tracks: 1 to 3,7), Eddie Marshall (2) (tracks: 4 to 6,8,9); Guitar – Randy Vincent; Piano – George Cables (tracks: 2,7); Tenor Saxophone – Joe Henderson (tracks: 2,7); Tenor Saxophone, Soprano Saxophone, Flute – Mel Martin; Trumpet, Flugelhorn – Warren Gale

Plays Thelonious Monk

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Trio Jazz - Second Song

Styles: Jazz
Year: 2017
File: MP3@320K/s
Time: 33:28
Size: 77,5 MB
Art: Front

(3:34) 1. Fly Me to the Moon
(4:06) 2. Once I Loved
(2:27) 3. Second Song
(2:31) 4. Turn Around
(4:41) 5. When I Fall In Love
(3:19) 6. Come Rain Come Shine
(2:09) 7. Going West
(2:59) 8. Skylarc
(3:55) 9. Sometime Ago
(3:41) 10. I've Grown Accustomed
(1:26) 11. Efterårsvise

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Second Song

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Ada Montellanico - WeTuba

Styles: Vocal
File: MP3@320K/s
Time: 45:33
Size: 104,9 MB
Art: Front

(4:24) 1. The Time Will Come
(4:42) 2. Words
(4:04) 3. Heroes
(5:59) 4. A Trace of Grace
(5:17) 5. I'm a Migrant
(5:40) 6. Unsleepers
(7:07) 7. Go Deep
(5:20) 8. Sorriso
(2:57) 9. BallAda

On the various dates of the 2021 autumn season of A Jazz Supreme, the review that the Musicus Concentus has been organizing for years at the Sala Vanni in Florence, there were among others the concerts of WeTuba, the latest formation by Ada Montellanico with which the singer has recently released a record, and of the Monumental Duo, composed by Roberto Ottaviano and Alexander Hawkins.

Montellanico appeared on stage on October 29, at the head of (but, as we will see, it is more correct to say "together with") a quintet of first choice musicians: Simone Graziano on piano, Francesco Ponticelli on double bass, Bernardo Guerra on drums and special guest Michel Godard at tuba and serpentone. Although the singer plays a central role, the formation is in fact fundamentally equal, thanks also to the way in which she worked on the preparation of the repertoire which was then finished on the album of the same name: all unpublished material developed for this ensemble, with written songs. from each of the protagonists, plus a couple of compositions signed by Paolo Fresu, who is also present on the CD to interpret them as a guest. Such a partnership was felt both in the complex variety of the program and in the way in which the musicians moved in its realization.

On the first floor, in fact, the compositions that followed explored a multiplicity of musical universes, ranging from the simple song"Sorriso," by Fresu to the singer's lyrics - to duets between voice and tuba / serpetone with a baroque taste in "A Trace of Grace," by Godard, or more rhythmic in "Ballada," by Ponticelli and to singular moments recalling rock - "Heroes," by Graziano up to surprising moments with a Lacyan flavor - in "The Time Will Come, "by Grazieno and Ponticelli, always based on texts by Montellanico. On the second, however, the space given to the expressiveness of each one proved to be an added value, with Godard free to join the voice of the singer, Graziano who alternated the accompaniment with more abstract and rarefied interventions, Ponticelli ready to enter the plots not only as a rhythmic column and Guerra who intervened with measure, but also with decision where this could mark changes of pace or scenario.

All this, in addition to building a sound stage on which the singer could show all her flexibility, gave the music a considerable breadth and freshness, contributing together with the value of the performers and the social and political contents of most of the lyrics to the excellent success of the evening. The concert held two weeks later, on November 12, by Roberto Ottaviano and Alexander Hawkins, called themselves Monumental Duo in homage to the jazz greats with whom they had the opportunity to play and / or are authors of the compositions that are part of the repertoire, was very different. training. Frequent collaborators since, a few years ago, they released together one of the CDs of the double album that the saxophonist dedicated to Maestro Steve Lacy, Forgotten Matches, the two have in fact presented themselves with a program largely composed of songs from the sixties and seventies, many of them by South African authors like the first, by Harry Miller but also by Ornette Coleman or Mal Waldron among the Hawkins masters and with whom Octavian recorded the splendid duo album Black Spirits Are Here Again many years ago.

The understanding between the two, the common love for the music staged, the beauty of the latter itself, but above all the way - at the same time respectful and personal in which the two artists re-proposed it made the evening one of the best concerts that the writer has attended during the year. Ottaviano alternated soprano, sopranino and alto saxophone, interpreting the lyrical parts with great poetry, producing extremely touching solos; Hawkins, for his part, has expressed himself in an amazing way, putting his well-known technical skills - decidedly extraordinary, but which sometimes runs the risk of using a little too much ends in themselves - at the service of the musical content, enhancing aspects or giving it nuances unprecedented, thanks to a multiple and often unexpected work on the keyboard: counterpoints between the two hands, thunderous accompaniments with the left while the right described the theme or duet with the sax, and much more. Show of the highest level, which deserves a recorded documentation, which the two artists are thinking about and which we take the opportunity to solicit.~ Neri Pollastri https://www.allaboutjazz.com/ada-montellanico-wetuba-e-monumental-duo

Personnel: Ada Montellanico, voce; Michel Godard, tuba, serpentone; Simone Graziano, pianoforte; Francesco Ponticelli, contrabbasso; Bernardo Guerra, batteria

WeTuba

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Frank Sinatra & Antonio Jobim - Francis Albert Sinatra & Antonio Carlos Jobim

Styles: Vocal, Piano and Guitar
Year: 1967
File: MP3@320K/s
Time: 28:34
Size: 79,1 MB
Art: Front

(3:16)  1. The Girl From Ipanema (Garota De Ipanema)
(3:30)  2. Dindi
(2:43)  3. Change Partners
(2:46)  4. Quiet Nights of Quiet Stars (Corcovado)
(2:56)  5. Meditation (Meditacao)
(2:12)  6. If You Never Come To Me
(3:18)  7. How Insensitive (Insensatez)
(2:40)  8. I Concentrate on You
(2:35)  9. Baubles, Bangles and Beads
(2:36) 10. Once I Loved (O Amor En Paz)

"I haven't sung so softly since I had laryngitis." That January 30, 1967, he did it. For the first time in his career, The Voice had to put its foot on the brake. And also for the first (and only) time in 52 years of life, Frank Sinatra signed his Christian name on a phonographic record. Francis Albert Sinatra was in the studio with the Brazilian Antonio Carlos Jobim. The meeting of the greatest American singer with the father of bossa nova - the title of the album brings together the full names of the two authors - has now won a new edition, commemorating 50 years.

Short album (does not reach 30 minutes) with ten songs, brings together seven of Jobim himself ( The girl from Ipanema , Dindi , Meditation , How insensitive , among others) and three North American standards ( Change partners , I concentrate on you and Baubles , bangles and beads ). The reissue brings two bonus tracks: the medley Quiet night of quiet stars / Change partners / I concentrate on you / The girl from Ipanema taken from the TV show A man and his music + Ella Jobim (also from 1967) and an unprecedented recording of The girl from Ipanema , made during the registration of Francis Albert Sinatra & Antonio Carlos Jobim. The sound is bossa nova with a more sophisticated outfit, since the arrangements were under the responsibility of the German Claus Ogerman. The album was a public and critical success, remaining 28 weeks on the Billboard charts.

Grammy-nominated, he justly lost the gold gramophone album of the year to Sgt. Pepper's Lonely Hearts Club Band, by the Beatles. Sinatra was a little late in the hump. It was five years ago, since the historic concert at Carnegie Hall, that the Brazilian beat had become a fever in the United States. Although a little late, the album can be considered fundamental.

The main reason is for bringing Sinatra at a special time. His interpretation is very subtle, of a vocal technique that until then seemed unprecedented in his long trajectory. In complete harmony with Jobim and his soft guitar, the drummer Dom Um Romão stands out. "A Brazilian who seemed, at the same time, to be alert and drugged," wrote Stan Cornyn in the album insert. Warner executive, he worked several times on Sinatra albums. Sinatra and Jobim (“Tone”, as The Voice called the conductor) recorded another work together. In 1969, they got together for a new album. The irregular result came out in the compilation Sinatra and company, which went public only in 1971. Three other tracks from this same studio encounter remained unpublished until 2010, when the double album Sinatra / Jobim: The complete Reprise recordings was released, which brought together the recordings made in 1967 and 1969. In this way, it is the work of 50 years ago that must remain the meeting of the two giants of music. Francis Albert Sinatra & Antonio Carlos Jobim is a very silent album, to be tasted little by little. Without haste, and for many, many times. https://www.diariodepernambuco.com.br/noticia/viver/2017/08/album-historico-de-frank-sinatra-e-tom-jobim-ganha-edicao-comemorativa.html

Personnel: Frank Sinatra – vocal; Antônio Carlos Jobim – piano, acoustic guitar, backing vocals; Claus Ogerman – arranger, conductor; Dom Um Romão – drums; Colin Bailey - drums I Concentrate On You, Baubles Bangles And Beads, Change Partners, Dindi;  Al Viola – electric guitar;  Jose Marino – doublebass

Francis Albert Sinatra & Antonio Carlos Jobim

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Dick Hyman - Autumn In New York

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 32:14
Size: 75,0 MB
Art: Front

(2:48)  1. Cabin In The Sky
(2:32)  2. What Is There To Say
(2:09)  3. Now
(2:33)  4. April In Paris
(3:32)  5. London In July
(1:47)  6. Autumn In New York
(1:53)  7. Suddenly
(1:22)  8. I Am Only Human After All
(2:27)  9. Rio Cristal
(2:09) 10. Taking A Chance On Love
(2:07) 11. When You Live On An Island
(2:35) 12. I Can't Get Started
(2:14) 13. The Love I Long For
(2:00) 14. I'm Gonna Ring The Bell Tonight

Dick Hyman, famous pianist, organist, arranger, and general jazz notable, is here presented in one of his earliest recordings. Hyman went on to play with Benny Goodman, Ruby Braff, Ralph Sutton, Marian McPartland, Doc Severinsen, Roy Eldridge, and many others. This album provides a very personal, warm look at Hyman's playing, showcasing the artist and the wonderful music of Vernon Duke. Listen to the creative and intelligent approach he takes to these songs, and enjoy a wonderful album from jazz giant's early days. https://store.cdbaby.com/cd/dickhyman2

Autumn In New York

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Jim Snidero - Close Up

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 54:33
Size: 125,1 MB
Art: Front

(6:13)  1. Close Up
(6:42)  2. I Should Care
(8:41)  3. Nippon Blue
(5:30)  4. Windswept
(6:02)  5. Blues for the Moment
(7:34)  6. Reality
(7:22)  7. Prisoner of Love
(6:26)  8. Smash

Prose laureate Whitney Balliett coined the phrase "the sound of surprise" as an encomium for jazz. Like most of his peers, saxophonist Jim Snidero shoots regularly for this ideal. His new Milestone effort flirts with the target but doesn't quite hit the bull's-eye. An accessible program of original tunes shored up by two standards, each cogently arranged to accentuate his talents and those of his rhythm section, makes for a winsome template. The guest tenor of former label mate Eric Alexander further stacks the deck in Snidero's favor. Despite these valuable trappings, the session still registers simply as a praiseworthy post bop outing rather than one for the ages. The album's title track establishes a promising opening mood, building from a theme that's funky in the old school Horace Silverish sense of the word. Both horns solo, with Alexander's robust Trane-styled inflections garnering the slight edge. Hazeltine's jaunty ivories round out the pecking order, ending with a rhapsodic flourish atop a syncopated support of Drummond's tight traps play. Snidero handles both balladic standards without Alexander's aid, starting with a frisky up-tempo reading of "I Should Care" that highlights his lustrous tone and mercurial phrasing. "Prisoner of Love" rolls out with a similar attention to nuance and mood, bolstered by the sensitive touch of Drummond's gossamer brushes. Alexander earns first crack at "Nippon Soul" after a slippery unison head, spooling out another note-packed Coltrane-indebted solo that also carries rich tonal pigments of Shorter. Snidero answers with an equally piquant urgency, sketching sweeping pirouettes above the ripe bass throb of Gill, who then turns in a striking solo of his own.  

A trifecta of Snidero originals comes next, with the crisp Latin-flavored bounce of "Windswept" leading the pack. "Blues for the Moment" trades on the immediacy reflected in its title with another tightly scripted theme that leads into ebullient extemporizations for each of the horns. The succinctly-titled "Smash" closes the date on an appropriately energetic note as the five men pay homage to the questing hard bop sound of the Sixties. In less symbolic terms it's also a reminder of a painful injury Snidero sustained while remodeling his home. A briskly twisting tandem head bleeds directly into another string of galloping solo statements. Hazeltine and the rest of the rhythm section tail the horns closely the entire way and sustain a streamline momentum. Snidero makes mention in the notes of a desire to explore more abstract musical directions in the future. Considering the level of acumen he brings to so-called mainstream fare, it's a potential course that would certainly suit him. ~ Derek Taylor https://www.allaboutjazz.com/close-up-jim-snidero-review-by-derek-taylor.php

Personnel:  Jim Snidero- alto saxophone;  David Hazeltine- piano;  Paul Gill- bass;Billy Drummond- drums;  Eric Alexander- tenor saxophone.

Close Up

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Buddy DeFranco - Garden of Dreams

Styles: Clarinet Jazz
Year: 1988
File: MP3@320K/s
Time: 55:08
Size: 126,8 MB
Art: Front

(6:34)  1. 73 Berkley Street
(5:19)  2. Sunshine State
(5:23)  3. I Remember Clifford
(4:42)  4. Mysteria
(5:15)  5. Blues for Breakfast
(5:28)  6. Holiday for Two
(6:13)  7. Garden of Dreams
(5:36)  8. Brazilian Dorian Dreams
(4:53)  9. Jena
(5:41) 10. Given Time

Buddy DeFranco is one of the great clarinetists of all time and, until the rise of Eddie Daniels, he was indisputably the top clarinetist to emerge since 1940. It was DeFranco's misfortune to be the best on an instrument that after the swing era dropped drastically in popularity and, unlike Benny Goodman and Artie Shaw, he has never been a household name for the general public. When he was 14, DeFranco won an amateur swing contest sponsored by Tommy Dorsey. After working with the big bands of Gene Krupa (1941-1942) and Charlie Barnet (1943-1944), he was with TD on and off during 1944-1948. DeFranco, other than spending part of 1950 with Count Basie's septet, was mostly a bandleader from then on. Among the few clarinetists to transfer the language of Charlie Parker onto his instrument, DeFranco has won a countless number of polls and appeared with the Metronome All-Stars in the late '40s. He recorded frequently in the '50s (among his sidemen were Art Blakey, Kenny Drew, and Sonny Clark) and participated in some of Norman Granz's Verve jam session. During 1960-1963 DeFranco led a quartet that also featured the accordion of Tommy Gumina and he recorded an album with Art Blakey's Jazz Messengers on which he played bass clarinet. Work, however, was difficult to find in the '60s, leading DeFranco to accept the assignment of leading the Glenn Miller ghost band (1966-1974). He has found more artistic success co-leading a quintet with Terry Gibbs off and on since the early'80s and has recorded throughout the decades for many labels.~Scott Yanow https://www.allmusic.com/artist/buddy-defranco-mn0000638918/biography

Personnel:  Clarinet – Buddy DeFranco;  Bass – Alec Dankworth;  Drums – Clark Tracy;  Guitar – Martin Taylor;  Piano, Synthesizer – David Newton

Garden of Dreams

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Tierney Sutton - Something Cool

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 64:57
Size: 149,4 MB
Art: Front

(5:41) 1. (Get Your Kicks On) Route 66!
(4:29) 2. Something Cool
(3:35) 3. Wouldn't It Be Loverly?
(6:26) 4. I've Grown Accustomed To His Face
(3:07) 5. Show Me
(5:51) 6. Comes Love
(5:37) 7. Reflections
(4:13) 8. Alone Together
(6:06) 9. Out Of This World
(5:30) 10. All Or Nothing At All
(3:03) 11. Ding-Dong! The Witch Is Dead
(3:00) 12. Walkin' After Midnight
(3:40) 13. Crazy
(4:34) 14. The Best Is Yet To Come

Tierney Sutton warms the soul with Something Cool. This offering, her third as a leader for the Telarc label, finds the vocalist using an array of vocal techniques, jazz styles, and formats on 14 great songs by several Great American Songbook composers, Bobby Troup, and the masterful Duke Ellington. Sutton is accompanied by her longtime trio of Christian Jacob on piano, Trey Henry on bass, and Ray Brinker on drums. The lovely vocalist/educator charms her listeners with elongated phrasings, a strong rhythmic sense, and amazing improvisational abilities on three Lerner & Loewe themes from the Broadway musical My Fair Lady. In addition to the outstanding vocal treatments she offers her listeners on these classic songs, Sutton scats and swings through an amazing "Ding, Dong! The Witch Is Dead."

This song not only shows her versatility with tempo changes and range, but also displays her unique talent for selecting songs commonly associated with another musical style and improvising them in a jazz context. She garnered international critical acclaim for this technique on her 1999 release titled Unsung Heroes. Additional highlights include Howard Dietz's "Alone Together," on which she duets with bassist Trey Henry, and her exceptional rendition of "The Best Is Yet to Come," which features her cool jazz vocal skills. Tierney Sutton is at her finest on this program and offers an impeccable selection of songs that showcase her distinct musical personality and quality sound.~ Paula Edelstein https://www.allmusic.com/album/something-cool-mw0000229587

Something Cool

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Tsuyoshi Yamamoto Trio - Misty for Direct Cutting

Styles: Piano Jazz
Year: 2021
File: MP3@320K/s
Time: 33:19
Size: 77,4 MB
Art: Front

(5:51) 1. Misty
(6:31) 2. Midnight Sugar
(7:48) 3. The In Crowd
(5:21) 4. Girl Talk
(5:27) 5. The Folks Who Live on The Hill
(2:19) 6. Yesterday

“MISTY for Direct Cutting” was recorded in May 2021 to commemorate the 100th anniversary of Errol Garner’s birth. For this album of Tsuyoshi Yamamoto Trio, direct cutting was used for both analog and digital. For Direct Cutting in analogic, the recorded sound is engraved on a lacquer board in real time. For the digital, the recorded sound is recorded in DSD 11.2 MHz. The both records are realised without the editing, mixing and mastering steps. The goal is to go directly from the music to the recording without any intermediate processing.

We will review 5 editions (Vinyl analog Direct cutting, Vinyl from DSD , MQA-CD in PCM mode, MQA-CD with MQA decoded, Streaming Amazon UltraHD) of this album. https://magicvinyldigital.net/2022/01/30/tsuyoshi-yamamoto-trio-misty-for-direct-cutting-review-lp-mqa-cd/

Personnel: Piano – Tsuyoshi Yamamoto; Bass – Hiroshi Kagawa; Drums – Toshio Osumi

Misty for Direct Cutting

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Ada Bird Wolfe - Birdie

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 50:45
Size: 117,3 MB
Art: Front

(4:38) 1. Lover Man
(2:45) 2. Doralice
(4:29) 3. All Blues
(5:37) 4. How I Wish (Ask Me Now)
(4:53) 5. Mon Fantôme
(2:42) 6. Monk's Dream
(6:34) 7. Round Midnight
(4:59) 8. Four
(4:56) 9. Valerie
(5:46) 10. Goodbye Pork Pie Hat
(3:22) 11. Every Time I Sing the Blues

Unique soulful jazz vocals Ada Bird Wolfe – BIRDIE: What a splendid set of unique & soulful jazz vocals to wake up to on a rainy Great Northwest morning… this is my first listen to Ada’s fine jazz vocal work, but as you listen to tunes like the 4:40 opener, “Lover Man“, you’ll know right away why my ears are strongly attracted to her style.

There’s an excellent introductory trailer that will give you some very intimate insights into Ada’s mighty mellow personality… …as you’ll see & hear, she’s simply delightful, and her co-players (Jamieson Trotter (piano/musical director), Dan Lutz (bass), Mike Shapiro (drums), Scott Mayo (tenor saxophone), Jamelle Adisa (trumpet), Nathaniel LaPointe (guitar), Hideaki Tokunaga (guitar), Kleber Jorge (guitar) really help her spice it up. Of course, since you’re there already, be sure you SUBSCRIBE to her YouTube channel (I did), where you’ll find many highly spirited live videos to watch.

Ada’s vocal rendition of Mile’s “All Blues” will have those “jazz chills” runnin’ up & down your spine, I’ve no doubt… I do believe this is the most unique version of this jazz classic I’ve ever listened to!

Ada is a fan of Monk, and you’ll hear her talent just shining through on her 5:38 rendition of his “Ask Me Now“… laid-back, & the ultimate in cool… you’ll be hitting “replay” on this one often, and I can easily see it hitting the charts in a very big way.

It’s another Monk tune that got my vote for personal favorite… “‘Round Midnight” gives you a totally new perspective on this fine song… lush and mighty mellow, and I totally loved Jamieson’s keyboard on this one!

I give Ada and her players a MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.98 for this superb jazz vocal adventure… get more information about this fascinating artist at Ada’s website. https://contemporaryfusionreviews.com/unique-soulful-jazz-vocals-ada-bird-wolfe-birdie/

Birdie

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Angela Verbrugge - Love for Connoisseurs

Styles: Vocal
File: MP3@320K/s
Time: 49:25
Size: 113,9 MB
Art: Front

(4:24) 1. Love for Connoisseurs
(3:37) 2. Enough's Enough
(3:44) 3. This is Manhattan
(4:13) 4. Je Ne Veux Pas Te Dire Bonsoir
(4:08) 5. Cold and Hot Blues
(4:16) 6. Corn on the Cob
(3:47) 7. Mr Right
(5:26) 8. Jive Turkey
(3:43) 9. Not Here, Not Now
(3:40) 10. Twentieth Century Fox
(4:33) 11. Quarantine
(3:48) 12. Maybe Now's the Time

Based in British Columbia’s picturesque capital of Victoria, jazz vocalist and songwriter Angela Verbrugge introduced herself with 2019’s captivating debut The Night We Couldn’t Say Goodnight. That project covered a lot of ground, leading off with two originals that, in hindsight, offered a telling glimpse of her prowess and ambition. Focusing entirely on original material, written mostly in collaboration with veteran musicians, her second album Love for Connoisseurs establishes Verbrugge as a jazz artist mining everyday life for lyrical nuggets.

Well integrated into her capable band with pianist Miles Black, bassist Jodi Proznick, drummer Joel Fountain, and saxophonist Dave Say, she applies her considerable wit and winsome sound to songs that tend to focus on the vicissitudes of romance. She turns pianist Ray Gallon’s intricate tune “Enough’s Enough” into an exasperated list of offenses by a slobby housemate. One hopes that their collaboration detailing the exploits of a boorish cad, “Jive Turkey,” refers to someone else. On the all-too-topical “Quarantine” they take a left turn from an “All Blues”-like intro into a forbidding portrait of life in the pre-vaccination phase of the pandemic.~ Andrew Gilbert https://jazztimes.com/reviews/albums/angela-verbrugge-love-for-connoisseurs-gut-strings/

Love for Connoisseurs

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