Eric Essix - The Isley Sessions

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 70:28
Size: 162,3 MB
Art: Front

(6:19) 1. Hello It's Me
(6:02) 2. For the Love of You
(6:31) 3. (At Your Best) You Are Love
(5:33) 4. Footsteps in the Dark
(6:47) 5. Make Me Say It Again Girl
(4:24) 6. I Once Had Your Love (And I Can't Let It Go)
(5:26) 7. Let Me Down Easy
(4:56) 8. Caravan of Love
(6:58) 9. Voyage to Atlantis
(3:33) 10. It's Only Me
(4:38) 11. Caravan of Love (Radio Edit)
(4:38) 12. Hello It's Me (Radio Edit)
(4:39) 13. Footsteps in the Dark (Radio Edit)

The Isley Brothers were one of Eric Essix’s favorite bands as a teenager growing up in the seventies. The group enjoyed a lengthy string of hits throughout the decade, beginning with songs from the landmark "3+3" album, where brother’s Ernie, Marvin and cousin Chris Jasper joined the already established vocal trio.

"To say I am a fan of the Isley Brothers and their music is an understatement," Eric says. “When Ernie Isley exploded onto the scene with his brothers, it was like nothing I had ever heard before. Ernie was so much like Jimi Hendrix - who I idolized - and was featured in a soul/r&b band while playing rock guitar licks. For me at that time, it was the best of all worlds and I instantly identified with the music and the sound! It was an important time that really shaped who I would later become as an artist."

When Herbie Hancock released River: The Joni Letters (which won 2 Grammys in 2007), Eric was intrigued by the way Hancock interpreted Joni Mitchell's mostly pop songs in a traditional jazz setting. “I still listen to that album regularly because it is such an amazing tribute to Joni’s music,” Eric says. “It made me want to do a similar project one day. Then I happened to be on the Soul Train Cruise in early 2014 playing with the great Peabo Bryson and got to see Ernie and Ronald Isley perform. In one portion of the show, Ronald was pouring out his soul on some of their classic ballads, and right then I knew this was the music I wanted to explore.”

Although the album begins with Todd Rundgren's, Hello It's Me, the Isley's soulful version of that song in 1974, resonated with Eric and "I just felt like I had to include it in this collection," he says. Kaleah Wooten, daughter of the album's producer, Kelvin Wooten, lends a beautiful background vocal treatment to the songs refrain which mirrors the Isley Brothers original arrangement. Other standout moments from The Isley Sessions come courtesy of singer and jazz keyboardist, Frank McComb who puts his personal stamp on Footsteps In The Dark and Nashville's newest rising star, Jason Eskridge, who contributes a staggering vocal arrangement and performance on Caravan Of Love. The rest of The Isley Sessions features Eric ‘s well defined, signature guitar sound on hit ballads like I Once Had Your Love, Voyage To Atlantis, Let Me Down Easy and Make Me Say It Again. With the skill of a 26 year veteran recording artist who has released 21 albums over his career, Essix respectfully interprets the Isley’s familiar melodies on the guitar and, at the same time, effortlessly makes each one of these musical gems his own with thoughtful arrangements and solid performances.

Personnel: Eric Essix – Guitars (Arranger, Executive Producer); Kelvin Wooten – Piano/Bass/Percussion (Producer); Marcus Finnie – Drums

The Isley Sessions

---

Chris Oatts Group - Personalities

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 73:24
Size: 168,8 MB
Art: Front

(8:08) 1. Alley Birds
(7:16) 2. Dragon Night
(8:34) 3. Building Blocks
(8:39) 4. Shade of Jade
(5:54) 5. Jean's Scene
(8:41) 6. Bewitched
(6:00) 7. Philly Smash Tune
(5:32) 8. Not While I'm Around
(7:10) 9. Sweet Prince
(7:25) 10. Personality

Philadelphia based saxophonist, composer and educator Chris Oatts has been hailed as “a force to be reckoned with,” by All About Jazz. Chris has performed, recorded, or toured with the likes of Seal, Jazz Orchestra of Philadelphia, Chelsea Reed and the Fair Weather Five, The Philly Pops, Terell Stafford, Wycliffe Gordon, the Vanguard Jazz Orchestra and The Temptations.

Born into a musical family, Chris is the nephew of alto saxophone icon Dick Oatts with whom he studied at Temple University in Philadelphia, Pennsylvania. His father Jim played trumpet with Stan Kenton, Machito, and the jazz rock group Chase while his two triplet brothers and multiple other family members are musicians as well. Chris’ grandfather Jack Oatts is credited by the Iowa Jazz Educators Hall of Fame for starting the first high school jazz band in the state of Iowa. Chris continues to perform with his grandfather’s Selmer Mark VI alto saxophone to this day.

In 2017 Chris released his debut album as a leader entitled First Quintet, a record of original compositions featuring a band of Philadelphia’s finest musicians.

Chris is also the founder of South Philly Big Band, a group steeped in the tradition of Thad Jones and Mel Lewis that commissions new works from Philadelphia composers. SPBB has performed shows with Walt Weiskopf, Ignacio Berroa and Gary Smulyan and in December 2017 released a Christmas EP of new imaginations of Christmas classics entitled, SPBBXMAS.

His latest recording project, Personalities presents both quintet and nonet ensemble settings and features Chris’ mentor and legendary jazz trumpeter Terell Stafford on the BCM&D label. Alongside a collection of Philadelphia and New York’s most in demand musicians, Personalities offers listeners fresh arrangements of familiar standards in addition to unique and personal original compositions.

Chris is a dedicated and active music educator in the Philadelphia area, teaching at the Shipley School in Bryn Mawr, Pennsylvania since 2013. Additionally, he has been a faculty member in the Boyer School of Music at Temple University since 2017. He teaches Music Composition, Production, Theory, Improvisation, Instruction of Saxophone, Flute and clarinet, as well as directing large and small ensembles.https://www.chrisoatts.com/bio

Personnel: Chris Oatts: alto and soprano saxophones, leader; Terell Stafford: trumpet; Tim Brey: piano; Sam Harris: bass; Anwar Marshall: drums.

Personalities

---

Chuck Loeb - Between Two Worlds

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 65:01
Size: 149,9 MB
Art: Front

(6:48)  1. Let's Go
(5:46)  2. Hiram
(6:43)  3. Mittens
(5:37)  4. Between Two Worlds
(4:22)  5. Oh No You Didn't
(5:19)  6. Let's Play
(4:21)  7. So Tinha De Ser Com Voce
(6:56)  8. The Great Hall
(7:10)  9. Mean Old Man
(5:40) 10. 360
(6:14) 11. Early Turns to Late

As its title suggests, Between 2 Worlds finds guitarist Chuck Loeb's sublimated split personality at last openly revealed. A household name in smooth jazz circles, the former Steps Ahead luminary this time throws the dice with a program heavier on the straight-ahead jazz component that composes the core of his musical upbringing. Does this project mark the dawn of a new beginning, a passage to this other world? Only time will tell. Customarily dressing the table with a set of his glossy, high-sheen wares, the second half of the program finds the agile guitarist delving into some more substantiated, post-bop-type purlieus, not without the same unbridled enthusiasm and passion that characterizes his pop-jazz work. That said, like those that preceded him in such indissoluble mixing of genres (and aesthetics) Lee Ritenour being a rather convenient comparison the final product unfortunately falls flat in the face of artistically more focused covenants. Too much of this, not enough of that, the apanage of the MOR modicum. From the funky, bluesy stroll of the Robben Ford-tinged "Oh No You Didn't" (featuring daughter Lizzy's soulful vocals) things take a radical turn as Dave Weckl's rollicking kit work introduces the supercharged, intervallic theme of "Let's Play."

A brisk minor blues with booming chordal interjections, the piece emphatically celebrates the precise, George Benson/Pat Martino/Mike Stern school of picking. Halting a brief moment for wife-vocalist Carmen Cuesta's grazing Tom Jobim's tranquil "So Tinha De Que Ser Com Voce," Loeb then launches into the open-strings voicings that open "The Great Hall," a luminous waltz recalling John Abercrombie's mid-70's to mid-80's work that most probably got its title after his former teacher, the great Jim Hall. Though the latter composition is rich enough to endure repeated listening, other tracks may, to some, defy the threshold of tolerance namely, "Hiram," a dedication to the late Hiram Bullock, the title track, and the closing sleeper, "Early Turns To Late." A deft technician with years studio experience behind him, Loeb demonstrates with Between 2 Worlds that his straight-ahead fretwork certainly needs to be reckon with, championed even. But, whether learned jazz listeners will buy into such disparate programming remains improbable. ~ Martin Gladu https://www.allaboutjazz.com/between-2-worlds-chuck-loeb-heads-up-international-review-by-martin-gladu.php

Personnel: Chuck Loeb: guitar; Carmen Cuesta: vocals (2, 4, 7); Lizzy Loeb: vocals (5); Eric Marienthal: saxophones, flute; Till Bronner: trumpet (3); Nathan Eklund: trumpet (1), trombone (1); Brian Culbertson: trombone solo (1); Pat Bergeson: harmonica (11); Will Lee: bass (1, 3, 5), fretless bass melody (2); Gerald Veasley: bass (2, 6); Dieter Ilg: bass (8-11); Dave Weckl: drums (1-3, 5-7); Wolfgang Haffner: drums (4, 8-11); Bashiri Johnson: percussion (1-3); David Charles: percussion (5, 7, 10, 11).

Between Two Worlds

---

The Jazz Brothers (Chuck Mangione, Gap Mangione, Sal Nistico) - Spring Fever

Styles: Jazz,Bebop
Year: 1961
File: MP3@320K/s
Time: 40:32
Size: 95,9 MB
Art: Front

(7:09) 1. First Waltz
(5:47) 2. What's New?
(7:01) 3. Spring Fever
(5:19) 4. Brooks' Brothers
(9:13) 5. Softly, As In A Morning Sunrise
(6:00) 6. Not Too Serious

Brothers in jazz seems to be a Riverside specialty. If this label had a coat of arms, it might well be two crossed horns on a field of cornering sports cars, and under that banner you'd find albums featuring many fraternal combinations: the Adderleys, Cannonball and Nat; the Montgomerys, Wes, Buddy and Monk; the Heaths, Jimmy, Percy and Al and the Mangiones, Chuck and Gap. But while all are brothers in jazz, only the Mangiones are The Jazz Brothers.

That name of course extends beyond the two actual relatives to include all the members of this close-knit quintet. Sal Nestico has been a "Brother" since before their 1960 recording debut; and in this, the groups third album for Riverside, two new members, on bass and drums, have joined the fraternity.

The changes in the rhythm section are not all that is "new" here. There is also, I think, a further step towards increasing musical maturity. Experience is what young players need most, and often find hardest to obtain. For the usual process of individual "scuffling" for jobs with one pick-up group or another is a decidedly erratic, hit-or-miss affair, not calculated to promote steady progress. But The Jazz Brothers, although they have (like most young musicians) discovered that it is not easy to find those elusive club bookings as often or as regularly as one would like to, have managed to stick together. The tangible results of mutual playing experience are evident on the present album in tighter ensembles and more confident soloing. The spirit of youth that distinguishes the group (all of them 24 or younger at the time of this recording) has not diminished at all; it is just framed more and more professionally as time goes by.

(With the scarcity of big bands, once the natural "school" in which young players gained their earliest experience, the small band has become the nursery as well as the college. For example, young as they are, the Jazz Brothers boast at least one graduate the smooth Roy McCurdy, considered by some to be the best drummer for the Jazztet that Art Farmer and Benny Golson have had, is an alumnus of the group.)

As for the personnel, pipe-smoking pianist Gap is the oldest, although not scheduled to be 24 until the Summer of 1962. His solos have thought and order, but that doesn't at all mean that he forgets to swing. Brother Chuck is now 21. Until recently he played an upswept Dizzy Gillespie-model horn a gift from Diz himself, who does not make such gestures lightly. His switch to conventional horn has apparently done nothing to alter the passion and vigor with which he delivers an assortment of modern trumpet sounds. In his playing there is much conviction for one so young.

Tenorman Nestico, although only one year older that Chuck, has more playing experience under his belt than the others. A native of Syracuse NY, he started at an early age and was on the road with rhythm and blues outfits before The Jazz Brothers got together. He plays hot and hard, with a soaring attack that shows links to todays tenor titans but also speaks with a voice of its own.

Of the two new members of the group, Frank Pullara is the older. A 24-year-old and (like the Mangiones) a native of Rochester NY, he taught himself to play bass at the age of 17. Frank also plays several other instruments, has studied at the Eastman School of Music in Rochester, and has worked with Kai Winding, Carl Fontana and Frank Strazzeri. Since joining The Jazz Brothers Pullara has done much of the composing and arranging for the group; two examples of his writing are included here. Drummer Vinnie Ruggieri, whose taste and poise beile his years, was born in Brooklyn in 1941. Originally self-taught, he began playing at 15, has worked with Kenny Drew and J.R. Monterose, is currently dividing his time between the Brothers and Slide Hamptons band, and particularly digs the playing of Philly Joe Jones.

The mode of expression for The Jazz Brothers is a modern, hard-swinging one, tempered by softer (but no less swinging) performances. The former vein is exemplified by Chuck Mangiones Brooks Brothers (a punning reference to an up-state New York disc jockey) and Spring Fever, and by Frank Pullaras Not Too Serious. The quietest moments are found on the celebrated standard ballad, What's New?, which contains a long, expressive Nestico solo, sandwiched by some sensitive muted work by Chuck.

Not as quiet, but gaining much of the impact by the quiet way in which it does its cooking, is an extended Softly, as in a Morning Sunrise, again showing off a muted Chuck and featuring a building solo by Gap as well as a convincing Nestico stint and an impressive plucked bit by Pullara. Somewhere in between is Pullaras First Waltz, in which I find some echoes of the mood of Randy Westons Little Niles, but which definitely has its own haunting personality.

Two things you can be sure of from these Jazz Brothers are enthusiasm and sincerity. If their playing reflects those older musicians who have influenced them, this is no more than a natural, healthy sign that they are genuinely involved with what they really feel is the best in modern jazz. This is one case of "Spring Fever" that needs no sulphur and molasses.~ Ira Gitlerhttps://www.mangionemagic.com/spring-fever.html

Personnel: Chuck Mangione - Trumpet; Sal Nistico - Tenor Saxophone; Gap Mangione - Piano; Frank Pullara - Bass; Vinnie Ruggieri - Drums

Spring Fever

---

Enrico Pieranunzi, Valentina Ranalli - Cantare Pieranunzi

Styles: Piano And Vocal
File: MP3@320K/s
Time: 50:54
Size: 119,8 MB
Art: Front

(5:38) 1. When I Think of You
(4:11) 2. You Know
(5:23) 3. Dreams and the Morning
(4:28) 4. Blue Waltz
(3:37) 5. Afterglow
(4:54) 6. Suspension Points
(4:41) 7. Persona
(4:32) 8. The Real You
(5:30) 9. Winter Moon
(4:06) 10. As Never Before
(3:51) 11. Horizontes Finales

Enrico Pieranunzi was born in Rome in 1949 and has for many years been among the most significant and well-known protagonists of the international jazz scene. A pianist, composer, and arranger, he has recorded more than 70 albums under his own name, ranging from piano solo to trio, from duo to quintet. He has collaborated, either live or in the studio, with Chet Baker, Lee Konitz, Paul Motian, Charlie Haden, Chris Potter, Marc Johnson, and Joey Baron. Pieranunzi has been named Artist of the Year three times by the Musica Jazz magazine critics’ poll (in 1989, 2003, 2008). He also won the French Django d’Or prize as “Best European Musician” in 1997 and the German Echo Jazz Award in 2014 as “Best International Keyboard Artist”.
Pieranunzi has performed his music all over the world in the most prestigious international festivals, from Montréal to Copenhagen and Buenos Aires, from Berlin and Madrid to Tokyo, Rio de Janeiro and Beijing.https://www.enricopieranunzi.it/biography

Personnel: Bass – Giuseppe Romagnoli; Drums – Cesare Mangiocavallo; Piano, Keyboards, Composed By, Liner Notes – Enrico Pieranunzi; Trumpet – Giacomo Serino; Voice, Lyrics By – Valentina Ranalli

Cantare Pieranunzi

---

Wynton Marsalis - Standard Time, Vol. 2: Intimacy Calling

Styles: Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 70:09
Size: 161,5 MB
Art: Front

(5:10) 1. When It's Sleepytime Down South
(6:23) 2. You Don't Know What Love Is
(4:11) 3. Indelible And Nocturnal
(8:34) 4. I'll Remember April
(7:16) 5. Embraceable You
(3:04) 6. Crepuscle With Nellie
(6:29) 7. What Is This Thing Called Love?
(3:12) 8. The End Of A Love Affair
(5:16) 9. East Of The Sun (West Of The Moon)
(5:06) 10. Lover
(9:36) 11. Yesterdays
(5:47) 12. Bourbon Street Parade

Wynton Marsalis's second of three standard albums was actually released after the third volume. On most of the selections, the brilliant trumpeter is heard in excellent form with his quartet (comprised of pianist Marcus Roberts, bassist Reginald Veal or Robert Hurst and either Herlin Riley or Jeff Watts on drums); tenorman Todd Williams helps out on "I'll Remember April" and altoist Wes Anderson is also added to "Crepuscule with Nellie." Marsalis's tone really makes the ballads worth hearing, and his unusual choice and placement of notes keeps the music stimulating. This mostly bop-oriented set is rounded off by a jaunty version of "Bourbon Street Parade."
~ Scott Yanow https://www.allmusic.com/album/standard-time-vol-2-intimacy-calling-mw0000691696

Standard Time, Vol.2: Intimacy Calling

---

Lauren Meccia - Inside your eyes

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 49:36
Size: 115,1 MB
Art: Front

(3:48) 1. Butterfly
(4:35) 2. Inside your eyes
(3:21) 3. How high the moon
(2:35) 4. One note samba
(6:14) 5. If you can fly
(3:36) 6. Cheek to cheek
(4:07) 7. The look of love
(2:33) 8. What the world needs now
(4:13) 9. You don't know what love is
(4:51) 10. I can't make you love me
(4:57) 11. Atlantis
(4:40) 12. Over the rainbow

Lauren Meccia is an instructor of Jazz Studies at the University of South Carolina. She was formerly the director of jazz ensembles at UofSC and UofSC Aiken. She is the founder of the CSRA (Central Savannah River Area) New Horizons Band for senior adults in Aiken, SC. Lauren is co-director of the Congaree New Horizons Band in Columbia, SC.

Lauren earned a Bachelor of Music in Education with a Certificate in Saxophone Performance and a Master of Music in saxophone performance from the University of South Carolina. She has performed jazz and music festivals throughout the Southeast and across the US.

Lauren Meccia is a member of the South Carolina Jazz Masterworks Ensemble as well as the Charleston Jazz Orchestra. Lauren was twice a featured performer at the NAMM (National Association of Music Merchants) Show in Anaheim, CA. She has been featured as a soloist with several symphony orchestras and concert bands throughout the US. Lauren has appeared in concert with Kenny Barron, Chris Potter, Jeff Coffin, Wycliffe Gordon, Tommy Igoe, Veronica Swift, the Glenn Miller Orchestra, the Temptations, Maurice Williams and the Zodiacs, and Jesse Colin Young.

Lauren released her debut vocal album, Inside Your Eyes, in 2015, receiving positive reviews in jazz publications throughout the United States, Russia, and Japan.

Inside your eyes

---

Alba Esteban - Joan Chamorro presenta Alba Esteban

Styles: Vocal, Saxophone Jazz
File: MP3@320K/s
Time: 79:21
Size: 183,1 MB
Art: Front

(4:54) 1. These Foolish Things
(4:49) 2. Day Dream
(2:40) 3. A Sleepin' Bee
(4:56) 4. Festive Minor
(5:09) 5. A Handful of Stars
(4:36) 6. Along Came Betty
(4:03) 7. Chessman's Delight
(3:48) 8. Lullaby of Birdland
(2:50) 9. September Song
(4:42) 10. Upper Manhattan Medical Group
(4:13) 11. A Flower is a Lovesome Thing
(2:46) 12. I Never Had a Chance
(5:53) 13. For Sentimental Reasons
(7:38) 14. Alone Together
(6:03) 15. Tenderly
(2:58) 16. This Time the Dream's on Me
(7:13) 17. Darn That Dream

Alba Esteban presented her first album as a singer on June 21 at Jamboree, accompanied by maestro Joan Chamorro and his quartet with Joan Monné (piano), Giuseppe Campisi (double bass) and Arnau Julià (drums).

This is the eighteenth album in the collection that the founder and director of the Sant Andreu Jazz Band (SAJB) has produced since he began this recording project to promote the musical careers of young performers such as Andrea Motis (2010), Magalí Datzira (2014), Èlia Bastida (2017) or Marçal Perramon (2020), among others.

Alba Esteban is a saxophone lover – she plays them all: soprano, alto, tenor and baritone –, clarinettist and vocalist. On May 11, she offered her end-of-grade recital at the Liceu Superior Conservatory, with a repertoire inspired by Gerry Mulligan and her quartet. After being part of the SAJB for twelve years, performing at the main festivals at home and abroad, as well as recording more than thirty CDs as a sidewoman –including "La Magia de la Voz & Jazz Ensemble" (2016)–, Alba Esteban signs a work in which she shines for her lyricism, her creative capacity and her musical taste.

It's been a while since the singer decided that her voice would be baritone. In fact, her style is influenced by the great baritone saxophones she admires: the aforementioned Mulligan, Harrie Carney, Pepper Adams and Serge Chaloff. As a singer, Alba Esteban makes her instrument sound melodic, both from a timbre point of view and when she does solos.

Joan Chamorro presenta Alba Esteban

---

Buddy DeFranco - I Hear Benny Goodman & Artie Shaw Disc 1 And Disc 2

Album: I Hear Benny Goodman & Artie Shaw  Disc 1

Styles: Clarinet Jazz
Year: 2007
File: MP3@320K/s
Time: 53:39
Size: 126,9 MB
Art: Front

(3:16)  1. Don't Be That Way
(3:31)  2. After You've Gone
(4:51)  3. The Sheik Of Araby
(7:51)  4. Flying Home
(5:40)  5. Soft Winds
(5:59)  6. Medley: Sweet Lorraine / Body And Soul / Memories Of You
(4:53)  7. Limehouse Blues
(5:53)  8. Medley: Poor Butterfly / Where Or When / These Foolish Things
(3:58)  9. Rose Room
(7:44) 10. Oh, Lady Be Good

---

Album: I Hear Benny Goodman & Artie Shaw  Disc 2

Time: 52:38

Size: 125,4 MB

(4:05)  1. 'S Wonderful

(4:09)  2. My Heart Stood Still

(2:32)  3. Temptation

(3:43)  4. Night And Day

(2:44)  5. Keepin' Myself For You

(5:38)  6. Medley: It Could Happen to You / I Cover the Waterfront / Someone to Watch Over Me

(7:00)  7. Concerto For Clarinet

(3:45)  8. All The Things You Are

(5:01)  9. Softly as in a Morning Sunrise

(3:24) 10. Smoke Gets In Your Eyes

(3:27) 11. I Surrender Dear

(7:04) 12. Tin Reed Blues

Two CD set. Subtitled: The Complete 'Plays Benny Goodman And Artie Shaw' Sessions, Vol. Two. Second of two volumes from the Jazz clarinet player paying tribute to two influential Jazz greats. 

Both volumes combined feature five complete albums originally released by DeFranco: I Hear Benny Goodman & Artie Shaw, Buddy DeFranco Plays Benny Goodman, Buddy DeFranco Plays Artie Shaw, Wholly Cats and Closed Session. This double disc volume features 22 tracks including ''S Wonderful, 'Flying Home', 'After You've Gone' and more. Lonehill Jazz. 2007. ~ Editorial Reviews https://www.amazon.com/Hear-Benny-Goodman-Artie-Shaw/dp/B000OLHFDK

Personnel:  Buddy DeFranco (cl), Don Fagerquist (tp), Georgie Auld (ts), Victor Feldman (vib), Carl Perkins (p), Barney Kessel (g), Leroy Vinnegar (b), Stan Levey (d), Larry Bunker (vb), Bob Neal (d),Ray Linn (tp), Jimmy Rowles (p), Barney Kessel (g), Joe Mondragon (d)

I Hear Benny Goodman & Artie Shaw Disc 1, Disc 2

---

Dear Friends,

Thank you for cheering me on through my illness. Your get-well messages meant the world while I was in the hospital. Thank you for taking the time to make sure I was okay and for extending your friendship just when I needed it the most. Your words and support have been a tremendous encouragement to me. Thank you for being there for me! You have my gratitude. Love, Giullia

Dear friends,

Giullia was discharged from hospital this weekend with significant evidence of clinical improvement compared to the previous condition,  yet requiring ongoing treatment at home.

I don't know exactly when she will be coming back but we can't wait to see her posting again after this moment of concern.

Thank you all for your comments, prayers and support.

God bless you all.

When Health can be Challenging

Giullia is going through some health problems, again - apparently alergic ones this time, and has been away for a while.

She is at the hospital and we don't know when she will be back to her blogging activities.

Let's send her good healthy vibes and pray for a speedy recovery.

Hugs and love to everyone out there.

 

Ella Fitzgerald - Ella At The Hollywood Bowl: The Irving Berlin Songbook

Styles: Vocal Jazz
Year: 2022
Time: 42:45
File: MP3 @ 320K/s
Size: 99,2 MB
Art: Front

(2:14) 1. The Song Is Ended (Live)
(3:26) 2. You’re Laughing At Me (Live)
(3:06) 3. How Deep Is The Ocean (Live)
(2:00) 4. Heat Wave (Live)
(3:12) 5. Suppertime (Live)
(3:26) 6. Cheek To Cheek (Live)
(1:51) 7. Russian Lullaby (Live)
(2:46) 8. Top Hat, White Tie and Tails (Live)
(3:06) 9. I’ve Got My Love To Keep Me Warm (Live)
(4:00) 10. Get Thee Behind Me Satan (Live)
(2:50) 11. Let’s Face The Music And Dance (Live)
(3:15) 12. Always (Live)
(2:01) 13. Puttin’ On The Ritz (Live)
(2:21) 14. Let Yourself Go (Live)
(3:02) 15. Alexander’s Ragtime Band (Live)

For most of her career, the incomparable Ella Fitzgerald was managed by the incomparable impresario Norman Granz, founder of 'Jazz At the Philharmonic' and the prolific Norgran and Clef jazz record labels. Granz always felt that Decca, Ms F's label in the early 50s, was failing her talent and, after years of frustration, wrested her away from her Decca contract and promptly launched Verve, a new independent label, with Ms F at the centre.

By the time, Ella Fitzgerald was a mature artist at the height of her abilities, far from her 'Tisket A'Tasket' beginnings. But Granz had plans and envisaged a more sophisticated future. Together, under his inspired guidance, they embarked on possibly the most ambitious projects ever launched by an independent jazz label: an extensive collection of albums dedicated to the most notable composers of American popular song. First, Cole Porter, then Rodgers and Hart, then Duke Ellington. By project number four, they arrived at Irving Berlin.

George Gershwin, himself no slouch at creating indelible melodies, described Berlin as "the greatest songwriter who ever lived". Jerome Kern, who'd been known to compose some good tunes, declared "Irving Berlin is American music". During Berlin's extensive (he reached 101) and distinguished career, he wrote an improbable number of classic ditties: the Easter anthem, 'Easter Parade'; the unofficial national anthem: 'God Bless America'; the quintessential showbiz anthem: 'There's No Business like Show Business'; and, never forget, the ultimate Yuletide anthem: 'White Christmas'.

Clearly, Berlin would be fondly remembered had he only composed the tunes. But he also wrote all his own lyrics as well. Often they contained elaborate rhyme schemes which, considering he was born in Russia, are jewels of language, attaining astonishing levels of wit, compressed imagery and drama ('Let's Face The Music And Dance', 'How Deep Is The Ocean?' and 'Supper Time').

While the arrangements and backing on the first two Songbooks were underwhelming (although No.3, the Ellington edition featuring the Duke's orchestra was of a different order), Ms Fitzgerald's artistry triumphed over any adversity and the entire series is now recognised as a significant cultural achievement. And fortunately, during the planning of the Berlin albums, Granz enlisted respected Hollywood arranger Paul Weston, at last supporting Ms Fitzgerald with the level or orchestral accompaniment she deserved.

Soon after completing the studio sessions, she stormed the Hollywood Bowl, Los Angeles' prime open-air music venue, performing fifteen of the songs live, backed by the full Hollywood Bowl orchestra (individuals sadly unidentified, but all probably first call Hollywood studio musos) playing Weston's arrangements under his direction.

Norman Granz tapped the performance, apparently more for reference than release because the audio quality of the tape reel, found stashed away after his death, is sub-studio quality. While, of all unlikely instruments, the harp is clear, the trumpet solo on 'Cheek To Cheek' sounds as though the unidentified musician might have been trapped in the loo.

Minor blemishes on a major document. Overlook any audio shortfalls because the energy is tangible: all the electricity and looseness of a live performance. Ella engaging with Irving Berlin is a meeting of titans encouraged by the applause of an enthusiastic audience. The orchestra swings vigorously and Ms F (if not the trapped trumpet player) are received strong and clear. The effervescent singing (plus a few apposite off-mike comments like "well, I changed that melody" after ripping through a super high-octane version of 'Puttin' On The Ritz') beg superlatives. Her range is extraordinary. Her rhythmic pulse is faultless. Her enunciation is remarkable: listen how effortlessly she elongates vowel sounds on ‘How Deep Is the Ocean?’. Listen to her delicate handling of waltz-time on ‘Always’. Listen how she dips into her contralto tones to craft a priceless gem out of ‘Russian Lullaby’, a memorial to Berlin’s roots. And how beautifully she navigates the rarely-encountered, subtly chromatic ‘Get Thee Behind Me, Satan’. But most of all, witness how she demonstrates her supremacy over all big band singers with unrestrained versions of ‘I’ve Got My Love To Keep Me Warm’, ‘Cheek to Cheek’, ‘Top Hat, White Tie And Tails’ ‘Puttin On The Ritz’ and ‘Alexander’s Ragtime Band’.

And that’s why, with sleeve notes by jazz vocal rabbi Will Friedwald plus atmospheric snaps from ace jazz photographers Burt Goldblatt and William Claxton, this album is a rare treat. Bing Crosby once commented: “man, woman or child, Ella is the greatest”. Spot on, Bing. https://londonjazznews.com/2022/06/23/ella-fitzgerald-at-the-hollywood-bowl-the-irving-berlin-songbook/

Ella At The Hollywood Bowl: The Irving Berlin Songbook

---

Alan Broadbent - Hot Club

Styles: Piano Jazz
Year: 2021
File: MP3@320K/s
Time: 58:17
Size: 135,2 MB
Art: Front

(4:08) 1. Aurevoir
(3:04) 2. Bon Chance
(3:08) 3. Red Roses
(3:34) 4. Good Days
(4:59) 5. Le Duc
(2:33) 6. Sunlight
(3:06) 7. Evening Light
(5:04) 8. Enchante
(5:12) 9. St Jacques
(4:26) 10. Cherie
(3:11) 11. Good Times
(3:10) 12. Midnight
(3:15) 13. Hot Sauce
(3:14) 14. Hop Hoppin
(2:37) 15. Champs Elysee
(3:28) 16. Black Pearl

The Alan Broadbent Trio’s previous Savant release, New York Notes, received rave reviews in the international press. The Guardian (UK) wrote, “The bubbling stream of notes is both unpredictable and inevitable, and following it’s twists and turns is a joy.” 

Couleurs Jazz (France) proclaimed, “Behold! A precious gem of a jazz recording.” “Trio in Motion” finds Broadbent, Billy Mintz and Harvie S reunited in the pianist’s New York apartment-studio recording music that is spontaneous, surprising, possessing a sly humor and emotionally involving. Broadbent received two Grammy awards and has collaborated with Natalie Cole (Unforgettable), Herbie Hancock, Sonny Rollins, Diana Krall and Paul McCartney. Each tune on the setlist is imbued with a warm intimacy and the refreshing, slightly piquant glow of intensity which warms both the listener’s heart and mind.

When listening to this, you may imagine that your ears have become just a little sharper. That’s how hearing Alan Broadbent’s piano playing often strikes me anyway. It’s because of the briskness and clarity of his technique, of course, but also the rhythmic suppleness. It’s hard to describe this without seeming hideously pretentious, but it’s real nonetheless. The bubbling stream of notes is both unpredictable and inevitable, and following its twists and turns is a joy.

If this album sounds especially ear-sharpening, that may be because Broadbent is playing his own piano, in his home studio, with two of his closest musical friends: bassist Harvie S and drummer Billy Mintz. The style is mainly classic bebop, which hasn’t changed in its essentials since Charlie Parker and his pianist contemporary, Bud Powell. There’s a gorgeous ballad too (I Fall in Love Too Easily), packed with so much fine detail I can’t stop playing it.

New Zealand-born Broadbent is also a composer, arranger, conductor and the double Grammy-winning creator of orchestral accompaniments for singers, from Natalie Cole to Paul McCartney. Why he isn’t among the world’s most famous musicians beats me. http://jazzbluesnews.com/2021/01/24/cd-review-alan-broadbent-trio-hot-club-2021-video-cd-cover/

Alan Broadbent – piano

Harvie S – bass

Billy Mintz – drums

Hot Club

---

Lex Jasper Trio - Lexposure

Styles: Jazz
Year: 2021
Time: 60:57
File: MP3 @ 320K/s
Size: 140,3 MB
Art: Front

(4:05) 1. Belle Époque
(6:39) 2. As the Decade Passed
(3:48) 3. Mysterious Lady Walks in the Night
(3:02) 4. Vince & Frans
(4:41) 5. I Remeber Eric Timmermans
(3:46) 6. I Will Be Like It Used to Be
(2:12) 7. Pedelex
(4:52) 8. Eccentric and Reclusive
(5:07) 9. The Coming Years
(3:53) 10. Prosperous and Pleasant
(3:42) 11. Parisian Streetcapes
(4:57) 12. Happier Moments
(2:51) 13. Mellow Treatment
(4:28) 14. I Wish I Had Known You Sanny
(2:47) 15. Thanks Marinus

It is not often that one is lucky enough to directly observe the creation of unique beauty, perfect craftsmanship, absolute passion and profound dedication. I recently had the wonderful opportunity to experience these with the creation of “Lexposure”, in Cologne at the end of August 2020. This took place in the legendary, state-of-the-art “Riverside Studios”, under the auspices of the producer Ralf Kemper, who actively and artistically directed the entire technical recording at the mixing desk.

Thus it came about that the best technology and the best musical skills came together here at one of the most high profile studio locations in the world. With ingenious talents on all of these different levels, it was inevitable that something uniquely beautiful was created. This production was led by the well known Dutch bandleader, pianist, arranger & composer Lex Jasper, and his trio features Vincent Koning on guitar and Frans van Geest on bass . All are masterful veteran musicians in their own right, and complement.

So well captured here in this recording, we find a very successful, high-end production of harmonically and melodically beautiful arrangements... Ballads, Bossa Nova and groovy, swinging arrangements of 15 original compositions, which all come together here to form a beautiful “high work of art“. Jasper’s compositions and arrangements all have their own musical horizon, their own claim to timeless beauty and the guarantee and claim to taste and brilliance. You hear it in every note. Its unique sound belongs entirely to him. It runs like a red thread through all of the compositions and arrangements. The entire flow of the recordings synthesizes into a magical sound journey and the real “Lexposure”. https://www.challengerecords.com/products/16051035084045

Lexposure

---

Vince Jones & Paul Grabowsky - Provenance

Size: 113,2 MB
Time: 48:46
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals
Art: Front

01. Rainbow Cake (4:38)
02. Oh My Love (4:55)
03. We've Only Just Begun (4:42)
04. Stella By Starlight (4:32)
05. If You Never Come To Me (4:37)
06. Each Other's Child (3:31)
07. May I Come In (4:15)
08. Between Your Eyes (4:01)
09. So (4:15)
10. This Is Always (4:18)
11. The Parting Glass (4:55)

Provenance is the new album from two legends of Australian music – a survey of intimate ballads that showcases the superlative craftsmanship of platinum-selling legendary singer Vince Jones and multi-ARIA-winning pianist Paul Grabowsky.

The title refers to the returning-to-roots that this album represents. Vince and Paul first worked together in the 1980s, when Grabowsky was music director to Jones; Provenance marks a renewed collaboration between the pair after several decades apart. But the word also describes the music which the duo chose to record: ballads that showcase the essential elements of their craft, elements that have been the foundations of their astonishing careers, pared down to the intimate combination of piano and voice (and occasionally piano and flumpet – a hybrid of trumpet and flugelhorn).

Provenance is “a collection of timeless songs with beautiful melodies”, as Vince puts it. The album begins with ‘Rainbow Cake’, composed by the pair in the 1980s. ‘Oh My Love’, written by John Lennon and Yoko Ono, takes on touching poignancy in this new rendition; and from there the album presents classic songs from a variety of genres as well as a number of Vince’s own compositions.

Provenance

---

Wynton Marsalis - Marsalis Plays Monk (Standard Time, Vol. 4)

Styles: Jazz
Year: 1999
Time: 65:41
File: MP3 @ 320K/s
Size: 151,4 MB
Art: Front

(4:55) 1. Thelonious
(4:30) 2. Evidence
(3:24) 3. We See
(3:05) 4. Monk's Mood
(6:19) 5. Worry Later
(5:53) 6. Four In One
(6:19) 7. Reflections
(4:26) 8. In Walked Monk
(3:08) 9. Hackensack
(4:15) 10. Let's Cool One
(4:54) 11. Brilliant Corners
(7:02) 12. Brake's Sake
(2:42) 13. Ugly Beauty
(4:42) 14. Green Chimneys

As the fourth volume of Wynton Marsalis' ongoing Standard Time project, as well as the first volume of his planned eight-disc series Swinging into the 2, Marsalis Plays Monk arrives with some baggage but it isn't as great as the baggage that comes with tackling the compositions of Thelonious Monk, one of the greatest and most idiosyncratic composers in jazz history. Marsalis takes two different tactics to distinguish himself. He avoids the obvious choices, the songs that have long been part of every jazz musician's repertoire no "'Round Midnight" or "Well, You Needn't" will be heard here and focuses on a selection of 14 tunes that illustrate the complexity and diversity of Monk's music. Secondly, Marsalis decided to give all these songs clean, direct arrangements, which makes this music more accessible. To some listeners, it may be a little disconcerting to hear the rough edges sanded away, but these precise arrangements are quite engaging in their own right, demonstrating the versatility of Monk's compositions. Marsalis might not offer anything new, but with his stellar supporting band including tenor saxophonists Walter Blanding and Victor Goines, alto saxophonist Wessell Anderson, trombonist Wycliffe Gordon, pianist Eric Reed, bassists Ben Wolfe and Reginald Veal, and drummer Herlin Riley he's made an enjoyable classicist jazz LP that happens to be an affectionate tribute to a true master.~Stephen Thomas Erlewine https://www.allmusic.com/album/standard-time-vol-4-marsalis-plays-monk-mw0000048564

Marsalis Plays Monk (Standard Time, Vol. 4)

---

Carmen Lundy - Jazz Deluxe

Styles: Vocal And Piano Jazz
Year: 2020
Time: 19:00
File: MP3 @ 320K/s
Size: 44,0 MB
Art: Front

(1:26) 1. Showtime
(1:25) 2. It Will Be All Right
(1:36) 3. White Russian
(1:42) 4. Prairie Calm
(1:56) 5. Brahms' Lullaby
(1:25) 6. Mandela - Man of Peace
(1:50) 7. It's a New Day
(2:17) 8. Carmen's Blues
(2:57) 9. Pamela
(2:22) 10. Hush Little Baby

Carmen Lundy began her professional career as a jazz vocalist and composer when there were very few young, gifted and aspiring jazz vocalists on the horizon.

Three decades later, Ms. Lundy is celebrated throughout the world for her vocal artistry and is highly regarded for her jazz innovation. Her contribution of over 60 self-penned compositions now comprises the New Jazz Songbook.

Carmen Lundy’s work as a vocalist and composer has been critically acclaimed by The New York Times, The Village Voice, The Los Angeles Times, The Washington Post, as well as numerous foreign publications. As a composer, Ms. Lundy’s catalogue numbers over sixty published songs, one of the few jazz vocalists in history to accomplish such a distinction, and has led to the first publication of the Carmen Lundy Songbook (2007). Her songs have been recorded by such artists as Kenny Barron (“Quiet Times”), Ernie Watts (“At The End Of My Rope”), and Straight Ahead (“Never Gonna Let You Go”).

“Musicians as diversely gifted as Carmen Lundy, who has excelled as a vocalist, composer, lyricist, arranger, guitarist and keyboardist for more than three decades, remain few and far between.” http://jazzbluesnews.com/2021/01/07/cd-review-carmen-lundy-jazz-deluxe-2021-live-full-concert-video-cd-cover/

Personnel: Carmen Lundy, vocals, piano; Darryl Hall, bass; Marvin “Smitty” Smith, drums; Andrew Renfroe, guitar

Jazz Deluxe

---

Eric Reed - Soldier's Hymn

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 49:27
Size: 113,5 MB
Art: Front

(6:33)  1. Soldier's Hymn
(2:24)  2. The Greatest Thing in All My Life
(3:56)  3. Soft Winds
(6:47)  4. Things Hoped For
(5:10)  5. Coup De Cone
(1:54)  6. Walk with Me
(4:28)  7. Bee's Knees
(5:53)  8. Miss Inferno
(3:43)  9. I Didn't Know What Time It Was/Sweet Lorraine/Mood Indigo
(8:34) 10. Soldier's Hymn (2nd Version)

Youthful pianist Eric Reed, who at the time of this recording was debuting as Marcus Roberts' replacement in the Wynton Marsalis band, plays carefully and sometimes tentatively on his first release as a leader. It's a trio affair, and although Reed doesn't throw many challenges toward bassist Dwayne Burno or drummer Gregory Hutchinson, he's certainly a solid player with the potential to become a great one.~Ron Wynn http://www.allmusic.com/album/soldiers-hymn-mw0000081006

Personnel: Eric Reed (piano); Dwayne Burno (bass guitar); Gregory Hutchinson (drums).

Soldier's Hymn

---

Horace Parlan - Happy Frame of Mind

Styles: Piano Jazz
Year: 1963
File: MP3@320K/s
Time: 38:56
Size: 89,4 MB
Art: Front

(8:49)  1. Home Is Africa
(6:11)  2. A Tune for Richard
(5:58)  3. Back from the Gig
(5:59)  4. Dexi
(5:44)  5. Kucheza Blues
(6:13)  6. Happy Frame of Mind

Happy Frame of Mind finds Horace Parlan breaking away from the soul-inflected hard bop that had become his trademark, moving his music into more adventurous, post-bop territory. Aided by a first-rate quintet trumpeter Johnny Coles, tenor saxophonist Booker Ervin, guitarist Grant Green, bassist Butch Warren, drummer Billy Higgins Parlan produces a provocative set that is grounded in soul and blues but stretches out into challenging improvisations. None of the musicians completely embrace the avant-garde, but there are shifting tonal textures and unpredictable turns in the solos which have been previously unheard in Parlan's music. 

Perhaps that's the reason why Happy Frame of Mind sat unissued in Blue Note's vaults until 1976, when it was released as part of a double-record Booker Ervin set, but the fact of the matter is, it's one of Parlan's most successful efforts, finding the perfect middle ground between accessible, entertaining jazz and more adventurous music. ~Stephen Thomas Erlewine  http://www.allmusic.com/album/happy-frame-of-mind-mw0000207456

Personnel:  Horace Parlan – piano;  Johnny Coles – trumpet;  Booker Ervin - tenor saxophone;  Grant Green - guitar;  Butch Warren – bass;  Billy Higgins – drums.

Happy Frame of Mind

---