Deelee Dube - Trying Times

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 47:39
Size: 109,4 MB
Art: Front

(5:15) 1. Tryin' Times
(3:49) 2. Still Trying (feat. Russell Malone)
(4:13) 3. On a Clear Day
(4:15) 4. Ugly Beauty (Still We Dream)
(5:36) 5. 500 Miles High
(3:44) 6. Thou Swell
(3:38) 7. Lazy Afternoon (Feat. Russell Malone)
(6:14) 8. Joy
(6:38) 9. Unity
(4:13) 10. Still We Try (Spoken Word Tone Poem)

Five years ago, the annual Sarah Vaughan International Vocal Competition named Deelee Dube its first British winner and (2016) Sassy Award recipient, landing Dubé a spot at the Montreal International Jazz Festival and recording contract for this Concord Records debut.

Trying Times marks a major label debut, but Deelee Dube is no artistic novice. She started violin lessons when she was four and put together her first band when she was fourteen. Her 2016 release Tenderly was produced and arranged by Italian tenor saxophonist Renato D'Aiello and performed with D'Aiello's quartet. In early 2017, they teamed to present Sarah Vaughan Reimagined: Deelee Dubé Sings Sarah Vaughan with the Renato D'Aiello Quartet at Royal Albert Hall. Dubé is also a published poet and her project artwork has been exhibited at Shakespeare's Globe Theatre.

Trying Times begins with its title track, opened by Dubé's strong and soulful unaccompanied voice, which here lands somewhere between Miss Sarah's sassy swing and Anita Baker's gospel of soul. The instrumental accompaniment builds into a classic, inventive jazz sound, with dissonant horns smudging the lyrics about trouble and pianist (arranger and producer) Benito Gonzalez slipping and sliding into a funky blue haze.

Then Dubé and company thoroughly conquer the series of powerful, challenging tunes that form the backbone of this debut. After romping through a sharp and energetic "On a Clear Day," they downshift into the version of "Ugly Beauty (Still We Dream)" which pairs Carmen McRae's lyrics with the only waltz Thelonious Monk ever wrote. Pianist Gonzalez smudges several "wrong notes" to honor Monk's unique style, just like he mines the sound of Horace Silver from the opening title track, and the singer's hushed final verse dishes a delicious blend of naivete and misterioso.

Next, Dubé's voice detonates "500 Miles High," originally written by Chick Corea to feature vocalist Flora Purim in Return to Forever, into liftoff and orbit. It leaps and bounds like quicksilver its hard-driving and twisting melody, making each note ring and shine. "500 Miles High" divebombs into a full- bore roadrunner's take on "Thou Swell," where pianist Gonzalez, bassist Corcoran Holt and drummer Mark Whitfield Jr. trade flurries of notes and chords like sparring partners, so fast and furious that your ears can barely keep up. "Thou Swell" closes with an explosion of vocalese fireworks, and then downshifts into a tender duet with Russell Malone's guitar on a languid "Lazy Afternoon."

Altogether, Trying Times presents an incredible range of material energetically performed by a singer and band with the chops to back it up. It's a most impressive debut. (Here's hoping that arranger Gonzalez tries to take on a "On a Clear Day You Can See 500 Miles High" medley for Dubé's follow-up.)By Chris M. Slawecki https://www.allaboutjazz.com/tryin-times-deelee-dube-concord-music-group

Personnel: Deelee Dube: voice / vocals; Benito Gonzalez: piano; Russell Malone: guitar, electric; Corcoran Holt: bass; Mark Whitfield Jr.: drums; Eric Wyatts: saxophone, tenor; Duane Eubanks: trumpet; Andrae Murchison: trombone.

Trying Times

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Antonio Adolfo - Jobim Forever

Styles: Piano Jazz, Bossa Nova
Year: 2021
File: MP3@320K/s
Time: 49:00
Size: 112,5 MB
Art: Front

(5:31) 1. The Girl from Ipanema
(5:09) 2. Wave
(5:20) 3. A Felicidade
(5:25) 4. How Insensitive
(5:20) 5. Favela (O Morro Não Tem Vez)
(6:11) 6. Inutil Paisagem
(4:04) 7. Agua De Beber
(7:00) 8. Amparo (Intro: Por Toda a Minha Vida)
(4:57) 9. Estrada Do Sol

Really, is there anyone who does not like Antonio Carlos Jobim (Tom)? Antonio Adolfo, the pianist, arranger, and producer behind this wonderful recording, seems to have lived in a parallel universe to many of us. He says, and it rings true, at the age of twelve, Jobim's music was "love at first sight" in Brazil. Well, it was love at first sight in New Jersey too, via Stan Getz and "A Garota de Ipanema" ("The Girl from Ipanema"). Getz may have been the vehicle, but the message was Jobim and Vinicius de Moraes. Years later, living in Latin America, Jobim seemed to be everywhere to a listener. It was hard to walk into a pretty common restaurant chain and not hear his music. "Wave" was, no less, the melodic identifier for an FM station in Mexico City in the 70s. The Brazilians had done their work and done it well.

Here is mostly Tom Jobim from the '60s, and beautifully done it is too. Hearing his oeuvre together makes a listener realize that Jobim, too, had favorite devices, harmonies, and licks. But somehow they always managed to sound fresh, fetching, and alluring. He drew you into his music by pure sensuality. The fact that sensational musicians were drawn to his work did not hurt much either. And that remains true of this recording. The playing is very impressive.

We get "Ipanema," "Wave," "Felicidade," "Insensitive," "Agua de Beber," and a few less familiar items, including "Amparo," "Inutil Paisagem" and "Estrada do Sol." The players, primarily Brazilian, one assumes, are simply first-rate, as are the arrangements, which are fresh, if familiar. Comparisons are invidious, but Jesse Sadoc on trumpet and flugelhorn is as good as you will hear. Antonio Adolfo, who both produced and arranged the session, is a compelling pianist in this idiom. Danilo Sinna and Marcelo Martins on reeds and flutes surface repeatedly, springlike, to spread beauty everywhere. "Estrada de Sol," features Martins on a gorgeous, evanescent flute solo.

When Lula Galvão joins on guitar, the magic is nearly complete, until Adolfo enters once more. Gil Evans of "Quiet Nights" comes to mind to a listener of a certain age, but with far less dissonance. This is a beautiful, spellbinding recording. If you dig Tom Jobim and Brazilian music from the '60s, how can you miss?
By Richard J Salvucci https://www.allaboutjazz.com/jobim-forever-antonio-adolfo-aam-music__28422

Personnel: Antonio Adolfo: piano; Jesse Sadoc: trumpet; Marcelo Martins: woodwinds; Danilo Sinna: saxophone, alto; Rafael Rocha: trombone; Lula Galvão: guitar; Jorge Helder: bass, acoustic; Rafael Barata: drums; Dada Costa: percussion; Paulo Braga: drums; Zé Renato: voice / vocals.

Jobim Forever

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Tiny Grimes With Coleman Hawkins - Blues Groove

Styles: Guitar And Saxophone Jazz
Year: 1958
File: MP3@320K/s
Time: 44:59
Size: 103,2 MB
Art: Front

(17:40)  1. Marchin' Along
( 5:59)  2. A Smooth One
( 6:48)  3. Blues Wail
( 6:43)  4. April In Paris
( 7:47)  5. Soul Station

True to its title, the focus here is the blues, as played by a group with an encyclopedic mastery of the genre and an equally impressive depth in swing styles. Leader Tiny Grimes may be playing a four-string guitar, but his Charlie Christian-influenced sound is big, fluid, and expressive. Teamed with Coleman Hawkins' timeless tenor, Grimes performs with passion, skill, and down-home joy. The impressive lineup also includes pianist Ray Bryant, whose supple technique and easygoing virtuosity fuel the music with relentless drive and eloquent, bluesy solos. Four of the five tracks include Musa Kaleem on flute.

Kaleem, known as Gonga Musa when he worked as a tenor player with Art Blakey in the late '40s, contributes an effective counter to Hawkins' smoky tone. Bassist Earl Wormack and drummer Teagle Fleming Jr. are the well-recorded heartbeat in these blues grooves. The set opens with the leader's 17-minute-plus "Marchin' Along," a mid-tempo blues that affords Grimes, Hawkins, and Bryant each a lengthy stretch of choruses on the tune's basic riff structure. The performances are rounded out by two more good blues from Grimes, Benny Goodman's "A Smooth One" and a memorable version of "April in Paris" that is executed with a light, swinging touch. This music will appeal to fans of Grimes' vintage electric guitar and to those interested in an opportunity to hear Hawkins take an extended foray into the blues. ~ Jim Todd https://www.allmusic.com/album/blues-groove-tiny-grimes-with-coleman-hawkins-mw0000119526

Personnel :  Tiny Grimes – guitar;  Coleman Hawkins – tenor saxophone;  Musa Kaleem – flute;  Ray Bryant – piano;  Earl Womack – double bass;  Teagle Fleming Jr. – drums

Blues Groove

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Steve Turre - Generations

Styles: Trombone Jazz
File: MP3@320K/s
Time: 70:18
Size: 162,5 MB
Art: Front

(8:46) 1. Planting the Ceed
(6:58) 2. Dinner with Duke
(6:34) 3. Blue Smoke
(4:54) 4. Smoke Gets in Your Eyes
(5:01) 5. Don D.
(8:30) 6. Pharoah's Dance
(8:29) 7. Flower Power
(6:54) 8. Good People
(6:04) 9. Sweet Dreams
(8:04) 10. Resistance

Steve Turre was passed the jazz torch early in his career by some of the music’s greatest masters Art Blakey, Rahsaan Roland Kirk, Woody Shaw and Ray Charles, among others. In recent years he’s kindled the same flame in a younger crop of rising stars. On his new album, Generations, Turre brings the eras together, inviting still-vital legends to join a gifted band of rising starts to pay tribute to the elders who have helped shape his sound.

Generations features players including the trombonist’s own son, drummer Orion Turre, as well as trumpeter Wallace Roney Jr., whose late father was a close friend and collaborator of Turre’s. In addition, the youthful core band includes pianist Isaiah J. Thompson and bassist Corcoran Holt.

Over the course of the album this stellar group is joined by saxophonist James Carter, guitarists Ed Cherry and Andy Bassford, keyboardist Trevor Watkis, bassists Buster Williams and Derrick Barnett, drummers Lenny White and Karl Wright, and percussionist Pedrito Martinez.

“There's a balance between youth and age,” Turre says, “Age brings wisdom and knowledge, and youth brings enthusiasm and energy. Playing with each of them stretches me in a different way. The elders stretch me in ways of wisdom, but the youngsters fire it up. All of that is inspiring.”

That inspiration bears fruit in one of the most scintillating and eclectic recordings of Turre’s storied career. “I always like to play with musicians that challenge me,” Turre concludes. “So, coming up, I would usually play with people older than me. My challenge now comes from the youthful energy of the younger players. Jazz is not dead!”

Personnel: Steve Turre - trombone & shells (7); Wallace Roney Jr. - trumpet (1, 2, 3, 5, 6, 7, 9, 10) flugel (8); Emilio Modeste - tenor & soprano sax (1, 2, 3, 5, 6, 7, 8, 10); James Carter - tenor saxophone (9); Ed Cherry - guitar (3); Isaiah J. Thompson - piano; Corcoran Holt, bass (1, 2, 5, 6, 7, 10); Buster Williams, bass (3, 4, 8, 9); Orion Turre - drums (1, 2, 4, 6, 9, 10); Lenny White - drums (3, 7, 8); Pedrito Martinez, percussion (4, 6, 8); Andy Bassford, guitar (5); Trevor Watkis, Rhodes (5); Derek Barnett - electric bass (5); Karl Wright, drums (5)

Generations

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Shirley Horn - Close Enough For Love

Styles: Vocal And Piano Jazz
Year: 1988
File: MP3@320K/s
Time: 56:32
Size: 130,4 MB
Art: Front

(3:48)  1. Beautiful Friendship
(4:15)  2. I Got Lost In His Arms
(2:47)  3. Baby, Baby All The Time
(5:20)  4. Close Enough For Love
(2:54)  5. This Can't Be Love
(4:39)  6. I Wanna Be Loved
(4:20)  7. Come Fly With Me
(7:00)  8. Once I Loved
(4:41)  9. But Beautiful
(2:52) 10. Get Out Of Town
(7:35) 11. Memories Of You
(2:57) 12. It Could Happen To You
(3:18) 13. So I Love You

Shirley Horn's second Verve recording consolidated the success that she had had with her previous release, I Thought About You, and resulted in her gaining a large audience for her ballad vocals and solid jazz piano playing. Performing with her usual trio (which includes bassist Charles Ables and drummer Steve Williams) and guest tenor Buck Hill on five of the 13 tracks, Horn is heard in definitive form throughout these studio sessions. Highlights include "Beautiful Friendship," "Baby, Baby All the Time," "This Can't Be Love," "I Wanna Be Loved," "But Beautiful," "Get out of Town," and "It Could Happen to You." ~ Scott Yanow  http://www.allmusic.com/album/close-enough-for-love-mw0000199841

Personnel: Shirley Horn (vocals, piano); Buck Hill (tenor saxophone); Steve Williams (drums).

Close Enought For Love

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Gary Smulyan - High Noon - The Jazz Soul Of Frankie Laine

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 70:50
Size: 165,1 MB
Art: Front

(6:17)  1. I'd Give My Life
(8:32)  2. High Noon
(7:21)  3. Torchin'
(6:51)  4. It Only Happens Once
(7:54)  5. Baby, Baby All The Time
(8:21)  6. When You're In Love
(6:28)  7. Put Yourself IN My Place, Baby
(6:38)  8. A Man Ain't Supposed To Cry
(6:31)  9. That Lucky Old Son
(5:52) 10. We'll Be Together Again

This tribute album by baritone saxophonist Gary Smulyan features his bebop-based nonet pulling inspiration from a 1956 album by pop singer Frankie Laine (1913-2007) and trumpeter Buck Clayton. As Laine's foray into jazz's '50s mainstream, Jazz Spectacular (Columbia) represented a piece of the singer's repertoire not as well-known as his pop music. It allowed him to interact with instrumentalists of the era who represented jazz authority and had little to do with themes such as "High Noon," "Mule Train," "Cool Water," "Rawhide," "Gunfight at the O.K. Corral" and the more recent "Blazing Saddles" and "3:10 to Yuma." Laine did not sing on the soundtrack for High Noon, but did record it as another of his Western-based hits.

On Smulyan's album, "High Noon" is hardly recognizable. While the ten songs come from a broad spectrum of Laine's career, each has been rearranged by Mark Masters to fit a nonet akin to that found on Miles Davis' The Birth of the Cool (Capitol, 1949), with similar instrumentation, a pervading blues quality and soulful soloing. Here, "High Noon"'s theme dances in and out of dense harmony and "gunfight" choruses traded between French horn and trombone, and alto sax and trumpet. On bass clarinet, Scott Robinson's lengthy intro clears the main street of town while Smulyan closes the piece with one big booming chorus after another. Laine wrote the lyrics for "A Man Ain't Supposed to Cry," "Torchin'" and "We'll Be Together Again," all which come with heavy blues overtones. Smulyan's horn sings like the original, his nonet providing plenty of jazz atmosphere, affixing a balance to the eclectic quality of Laine's emotional Italian-American crooning melded with whiplash cowboy stories. ~ Jim Santella  http://www.allaboutjazz.com/high-noon-the-jazz-soul-of-frankie-laine-gary-smulyan-reservoir-music-review-by-jim-santella.php
 

Personnel: Gary Smulyan: baritone saxophone; Mark Masters: arranger; Joe Magnarelli: trumpet; John Clark: French horn; Dick Oatts: alto saxophone; Scott Robinson: tenor saxophone, soprano saxophone, bass clarinet; John Fedchock: trombone; Pete Malinverni: piano; Andy McKee: bass; Steve Johns: drums.

High Noon: The Jazz Soul Of Frankie Laine

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Lukasz Pawlik - Long Distance Connections

Styles: Jazz Fusion
Year: 2019
File: MP3@320K/s
Time: 64:09
Size: 147,4 MB
Art: Front

(8:36) 1. Indian Garden
(8:04) 2. A Master Of Urgency
(8:00) 3. Jellyfish
(9:23) 4. Accidential Oddity
(6:34) 5. Planet X
(8:41) 6. Reflection
(8:47) 7. Greg's Walk
(6:00) 8. Suspensions

This is fusion of the highest order, the type of project that is easy to get excited about. The complexities of Polish composer, pianist, cellist and arranger Lukasz Pawlik's compositions soar to new heights on his second album as a leader. Enlisting gold-star talent from both home and abroad, this amounts to about a fifty-fifty configuration of prominent musicians from the United States and Poland. Fusion legends trumpeter Randy Brecker and electric guitarist Mike Stern unite with Polish heavyweights tenor saxophonist Szymom Kamykowski and alto and soprano saxophonist Dawid Glowczewski, along with Pawlik, to create vivid exchanges through unforeseen passages.

Pawlik strived for freshness in sound and communication in his rhythm sections as well. The first two songs were astutely captained by electric bassist Tom Kennedy and drummer Dave Weckl. Kennedy's low end mastery and Weckl's distinctly reactionary and inventive narrative are as erudite as the famed duo's thick pocket. After that, an array of combinations, featuring Polish electric bassist Michal Kapczuk, Polish drummer Cezary Konrad , and American drummer Gary Novak as well as Kennedy and Weckl, bring their own unique skill sets and energy to the mix. The entire ensemble was able to communicate and express themselves clearly and freely, as they are all quite fluent in the same language jazz.

Eight original compositions by Pawlik (the son of Grammy winning jazz pianist Wlodek Pawlik) are the heart and soul of this record. Each song is its own separate masterpiece which ascends into another world, where fusion is explored and examined with new perspectives. It is certainly not uncommon for a composer to write to the strengths of the musicians involved in a project. Here, if it were an Olympic event, Pawlik would take home the gold medal Vintage Stern, with guitar riffs flying and stretching unbridled into a multitude of directions. The seminal Brecker, nurturing and caressing each note the complete illustration of the importance of every note. Beautifully, there are moments for every player to go inside themselves.

Long Distance Connections begins with the never withering momentum inside the "Indian Garden." Layers, big horns, Pawlik adding flute-like sounds from synth and samples, Stern frying up a one-minute egg, a true jazz piano trio section of Pawlik, Kennedy, and Weckl, a fueled bass solo, and Glowczewski's alto bliss all stirred into eight and a half minutes of constant and heavenly motion. The energy continues with the aptly named "A Matter of Urgency." Glowczewski powers through space creating a sumptuous void for Pawlik to frolic. With Pawlik on his acoustic piano, the trio kept the energy level high without ever sounding rushed. Pawlik's playing is of equal wit to his composition. Weckl's powerful and improvisational soloing kept the space open and creatively led Glowczewski to pepper through the closing frame.

Not just any change of direction leads to the "Jellyfish." Immediately we are under the sea. An entirely different universe is engagingly and melodically manipulated by the sophisticated guitar of Stern. It is then bookended by the strength of Kamykowski's soothing lines. Pawlik and Novak submerge and bring a wealth of sound aesthetically from the ocean's floor. "For Odd's Sake" puts a bounce into the fusion step of Brecker and Kamykowski. While Pawlik delicately creates and maintains the groove, he also solos with grace, riding the undertones of Konrad and Kapczuk's infectious and spirited rhythm section gait. It is though the sparkling Brecker and Kamykowski conversation that boldly ignites the piece. Brecker intelligently counters the bounce with a pulse of warmth and integrity.

Pawlik then takes a tandem adventure with Novak to "Planet X." The duo travel to and through a new environment steeped with sharp angles and diverse changes. Pawlik packed his overnight gear, utilizing his acoustic piano, keyboards, synthesizers, samples, and bass programming to navigate Novak's pocket of invention with space age improvisation. The piece flows instinctively into a time for "Reflection." Pawlik and Novak are joined by bassist Kapczuk in this stunningly beautiful and heartfelt ballad. The "Reflection" is felt knowingly by the pure elegance of Pawlik's cello. With symphonic edges Pawlik demonstrates his enormous skillset merging jazz with a touch of classical. Clearly in his element, Pawlik's emotional cellist renderings are showcased honestly, if not reverently.

Pawlik creates a full landscape of movement for all to move freely and with intensity on "Greg's Walk." With the rhythm section now Kennedy and Novak, Brecker stretches out with vigor on his flugelhorn, and is joined in conversation by Glowczewski's simmering alto. Kennedy's pulsating low end combined with Novak's thunderous movement around his kit, brings this Pawlik gem to a peak of sensation. An arrangement of perfection now has Stern enter stage left with fiery lines spawned from his own peerless set up. As he is wont to do, Stern gets a volcano of air under his strings, as the piece explodes into musical euphoria.

The epic outing concludes with a luscious piece, that if it were a piece of candy, would melt in your mouth. Yet another richly honed composition from Pawlik organically opened into a structure gleefully filled by a sonic soprano sax outing from Glowczewski. So empowered with joy, his sax, at times, mimicked the sound of laughter. Kennedy, now with his third rhythm section partner, asserted the foundational glue that lifted the piece into the air, and also allowed Konrad the freedom to add bursts of soulful flavor without straying from his meticulous pocket. Pawlik's own keyboards brought the flourish to "Suspensions."

Compositionally and musically, this is a project of epic proportions. Boasting melodicism within structural complexities, Long Distance Connections is an exceptional work of art. By Jim Worsley https://www.allaboutjazz.com/long-distance-connections-lukasz-pawlik-summit-records

Personnel: Lukasz Pawlik: keyboards; Mike Stern: guitar; Randy Brecker: trumpet; Dave Weckl: drums; Tom Kennedy: bass, electric; Gary Novak: drums.

Additional Instrumentation: Dawid Glowczewski: alto saxophone; Szymon Kamykowski: tenor saxophone; Cezary Konrad: drums; Michal Kapczuk: electric bass; Phil South: percussion;

Long Distance Connections

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The Nigel Patterson Quartet - Hitsi Hu

Styles: Piano Jazz
File: MP3@128K/s
Time: 37:15
Size: 34,8 MB
Art: Front

(4:12) 1. Hitsi Hu
(5:21) 2. Single Malt
(5:24) 3. Wanaka
(5:19) 4. Overtude
(3:51) 5. Birds of Paradise
(6:11) 6. Pukerua
(6:54) 7. Speedball

The Nigel Patterson Quartet was formed in 2007 out of a love for jazz and a vision for composing and performing original jazz inspired compositions.

The NPQ combines expert musicianship with passion and creativity. Led by Nigel Patterson, one of New Zealand’s finest keyboardists/composers (The Black Seeds, Fly My Pretties) with support from Blair Latham (The Little Blast Orchestra, Jazz Robots) on tenor saxophone, Tom Callwood (Little Bushman, Phoenix Foundation) on bass and Peter Elliot on drums

Inspired by such greats as Thelonious Monk, Duke Ellington, Mal Waldron, McCoy Tyner and many others the NPQ creates a contemporary, sophisticated and digestable take on the jazz idiom.

From alternative metres through mood ballads and up-tempo swings, the NPQ seeks to bring through the edgier side of jazz while retaining the melodic and emotional character of the music.
https://jazzinmartinborough.co.nz/nigel-patterson-quartet/

The Nigel Patterson Quartet consists of: Nigel Patterson – Piano; Blair Latham – Saxophone; Tom Callwood – Double Bass; Peter Elliott – Drums

Hitsi Hu

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Frank Morelli/Keith Oxman - The Ox-Mo Incident

Styles: Bop, Saxophone Jazz
Year: 2021
File: MP3@320K/s
Time: 68:09
Size: 156,4 MB
Art: Front

(7:01) 1. Happy Talk
(5:18) 2. Full Moon and Empty Arms
(5:18) 3. The Surrey With the Fringe on Top
(6:12) 4. Baubles Bangles and Beads
(5:42) 5. The Ox-Mo Incident
(6:34) 6. Three For Five
(7:50) 7. Stranger In Paradise
(6:14) 8. Poor Butterfly
(5:58) 9. A Wasp In Search Of A Hart and Lung
(6:05) 10. Pavanne
(5:52) 11. I Could Have Danced All Night

Do you recall the last time you heard a tenor saxophone and bassoon jazz/classical album? Never, you say. So with the release of The Ox-Mo Incident you are about to enter uncharted territory, but with a happy ending. Bassoonist Frank Morelli and tenor saxophonist Keith Oxman have combined their considerable talents to offer their unique interpretations of compositions that would bridge the gap betweenthe jazz and classical worlds.

The bassoon is not an easy instrument for which arrangements can work as it has a low pitch, few keys and a limited range. However, beginning with the opening track "Happy Talk," Oxman and Morelli have found a way to take advantage of the bassoon's soft and evocative timbre in addition to having a snappy version of the number. Like several other tracks on this session, "Full Moon And Empty Arms," has its origin in the classical world as a theme from Sergei Rachmaninoff's "Second Piano Concerto." In 1945 Frank Sinatra gave it a reading which gained popular acclaim. Now Oxman and Morelli make full use of this antecedent, before pianist Jeff Jenkins, gives a tip of his fedora to pianist Red Garland prior to running out the balance of his thoughtful solo.

The title track is an original composition by Keith Oxman. It takes liberty with the title of a 1940 novel by Walter Van Tilburg Clark called The Ox-Bow Incident. Created as a thirteen bar up-tempo blues theme, Morelli shows his virtuosity by delving into the upper register of his instrument, followed by Oxman whose improvisation develops organically from what the structure of the piece has to say. Jenkins' solo has some smart hooks, before bassist Ken Walker says his piece. "Stranger In Paradise" comes from the 1953 Broadway musical |Kismet , with the original construct stemming from Alexander Borodin's opera Prince Igor. Rather than giving the number the expected ballad rendition, the band swings the arrangement with Morelli covering the melody with appeal and agility.

The final track is "I Could Have Danced All Night" from the Lerner and Loewe Broadway musical My Fair Lady. If the listeners are paying attention (according to the liner notes), they will pick up that Oxman's introduction used the same sequence of notes from the main theme of the third movement from the rondo from the "Bassoon Concerto" by Wolfgang Amadeus Mozart. After this somewhat oblique musical reference, the number plays out in accordance to the Lerner and Loewe melody with Morelli in an exploratory mode, with other band members such as Oxman, Jenkins and Walker giving strong solo closing statements.By Pierre Giroux https://www.allaboutjazz.com/the-ox-mo-incident-frank-morelli-keith-oxman-capri-records

Personnel: Keith Oxman: saxophone, tenor; Frank Morelli: bassoon; Jeff Jenkins: piano; Ken Walker: bass; Todd Reid: drums.

The Ox-Mo Incident

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John Gordon - Step By Step

Styles: Trombone Jazz
Year: 1975
File: MP3@256K/s
Time: 40:48
Size: 75,1 MB
Art: Front

(10:50) 1. Step By Step
( 4:58) 2. P+g Incorporated
( 5:15) 3. Dance Of The Ymas
( 5:35) 4. No Tricks No Gimmicks
( 8:11) 5. Making Memories
( 5:58) 6. Activity

A deep jazz classic on the legendary Strata-East label as well as one of the most obscure sessions featuring two of the founders of the label, Charles Tolliver on trumpet and Stanley Cowell on piano. The trombone is a difficult instrument but in the hands of an artist like John Gordon it can create vivid images and conjure up beautiful music. The sound on Step By Step is easily the equal of that from Music Inc.. The instruments have a full-bodied yet delicate sound that one hears more from a live performance than a recorded one. As an example of how realistic this album sounds, listen to Cowell’s piano on "P & G Incorporated." The resolution is high enough to convey what both Cowell’s right and left hands are doing, even when playing at the same time..https://www.jazzmessengers.com/en/79048/john-gordon/step-by-step

Personnel: John Gordon - trombone; Charles Tolliver - trumpet; Roland Alexander - tenor, soprano sax, flute; Lisle Atkinson - bass; Andrew Cyrille - drums; Stanley Cowell - piano

Step By Step

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Maria Anadon - A Jazzy Way

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 55:36
Size: 128,2 MB
Art: Front

(3:46)  1. Old Devil Moon
(4:40)  2. I Didn't Know What Time It Was
(3:33)  3. Confirmation
(4:12)  4. Comes Love
(6:15)  5. My One And Only Love
(4:21)  6. Stolen Moments
(3:35)  7. Black Coffee
(2:50)  8. Devil May Care
(3:50)  9. Wouldn't It Be Loverly?
(4:53) 10. You Don't Know What Love Is
(2:56) 11. I'm Old Fashioned
(5:09) 12. Tenderly
(4:03) 13. The Best Is Yet to Come
(1:28) 14. One Note Samba

Portuguese singer Maria Anadon's refreshing take on the Great American Songbook gives each of these standards new life after decades of countless recorded versions in more traditional settings. Her percussive scatting and rich alto voice highlight "Old Devil Moon," while Anat Cohen's playful clarinet decorates Anadon's dramatic "Comes Love." The brisk setting of Oliver Nelson's "Stolen Moments" recasts this timeless early-'60s blues into a new light, also featuring a potent Cohen tenor sax solo. If Anadon has one handicap, it is her occasional difficulty clearly enunciating English lyrics in up-tempo numbers like "Confirmation" and the awkward handling of "Wouldn't It Be Loverly?" where she seems to be trying to correct its title. 

The rhythm section is outstanding, anchored by veteran drummer and jazz educator Sherrie Maricle (longtime leader of Diva), bassist Noriko Ueda, and pianist Tomoko Ohno. Maria Anadon has made a major statement with her debut recording for the North American jazz audience. 

~ Ken Dryden  http://www.allmusic.com/album/a-jazzy-way-mw0000461975

Personnel: Maria Anadon (vocals); Anat Cohen (clarinet, saxophone, tenor saxophone); Noriko Ueda (bass instrument); Tomoko Ohno (piano); Sherrie Maricle (drums).

A Jazzy Way

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Halie Loren - Live At Cotton Club

Styles: Vocal

Year: 2022  
File: MP3@320K/s
Time: 71:16
Size: 164,1 MB
Art: Front

(3:14) 1. It Don't Mean A Thing (If You Ain't Got That Swing)
(6:21) 2. A Whiter Shade Of Pale
(4:08) 3. Fly Me To The Moon
(2:59) 4. Hit That Jive, Jack
(3:48) 5. Our Love Is Here To Stay
(4:58) 6. For Sentimental Reasons
(3:26) 7. L-O-V-E
(3:46) 8. Blue Skies
(4:58) 9. Butterfly
(4:29) 10. I've Got To See You Again
(3:45) 11. Too Darn Hot
(3:58) 12. Is Your Is You Ain't My Baby
(5:02) 13. Feelin' Good
(2:36) 14. Perhaps, Perhaps,Perhaps
(5:21) 15. What A Wonderful World
(4:00) 16. Everything Is Beautiful
(4:18) 17. Ellie My Love

Recorded during Loren’s 2015 Japan tour, “Live at Cotton Club” was recorded from the stage of Tokyo’s famed Cotton Club, and features her long-time musical collaborators Matt Treder on piano, Mark Schneider on bass, and Brian West on drums. It includes live renditions of some of her most well-loved takes on American Songbook, pop/rock, world music, and original pieces. Streaming singles from “Live at Cotton Club” (including Is You Is or Is You Ain’t My Baby, It Don’t Mean a Thing, Too Darn Hot, and Fly Me to the Moon) were released to streaming throughout summer 2022.

Originally recorded in hi-resolution, the sonic experience of the album simultaneously captures the electricity and spontaneity of the live concert experience while also exhibiting studio-quality clarity. It was initially released exclusively by JVCKenwood in Japan, Korea, and across parts of eastern Asia in 2016. On September 30th, “Live at Cotton Club” will be released globally on all streaming platforms through Justin Time Records
https://halieloren.com/live-at-cotton-club-global-release-on-september-30./

Personnel: Halie Loren – Vocals, Percussion; Matt Treder – Piano, Keyboards, Background Vocals; Mark Schneider – Bass; Brian West – Drums

Live At Cotton Club

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Shirley Horn - Shirley Horn With Friends

Size: 174,3+173,2 MB
Time: 75:03+74:34
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

CD 1:
01. Come Dance With Me (2:48)
02. You Won't Forget Me (7:09)
03. You Go To My Head (9:07)
04. Summertime (4:57)
05. Don't Let The Sun Catch You Cryin' (6:01)
06. Bye Bye Love (5:25)
07. Maybe September (7:09)
08. Baby, Won't You Please Come Home (7:22)
09. Hard Hearted Hannah (The Vamp Of Savannah) (3:37)
10. Take Love Easy (5:10)
11. Why Don't You Do Right (2:44)
12. A Time For Love (6:43)
13. Just A Little Lovin' (4:05)
14. The Boy From Ipanema (Live At The Free Jazz Festival, Sao Paulo 1993) (2:39)

CD 2:
01. Come Back To Me (3:45)
02. Ill Wind (7:09)
03. It Had To Be You (6:51)
04. Solitary Moon (5:06)
05. If You Were Mine (3:22)
06. This Is All I Ask (6:41)
07. Meaning Of The Blues (7:53)
08. All Or Nothing At All (7:09)
09. Quietly There (6:07)
10. Beautiful Love (3:38)
11. Basin Street Blues (5:27)
12. Makin' Whoopie (3:54)
13. You'd Better Love Me (1:58)
14. Once I Loved (Live At The Free Jazz Festival, Sao Paulo 1993) (5:26)

Shirley Horn may be working here with friends, but the lady herself is always strongly in the lead a hell of a singer that never loses her cool even in the company of musicians who include Wynton Marsalis, Miles Davis, Gary Bartz, Joe Henderson, Ahmad Jamal, and Roy Hargrove! The set brings together Shirley's work with these musicians and others all taken from her fantastic comeback albums in the 90s for Verve tunes that really resonate wonderfully here together, and remind us of the warm spirit that always made Horn's collaborations so great. 2CD set features 28 tracks in all with titles that include "You Won't Forget Me", "The Boy From Ipanema", "Come Back To Me", "Ill Wind", "It Had To Be You", "Solitary Moon", "Summertime", "Bye Bye Love", "Maybe September", "Take Love Easy", "Once I Loved", "If You Were Mind", "Quietly There", "Beautiful Love", and "You'd Better Love Me While You May".

Shirley Horn With Friends Disc1,Disc2

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Pamela Hart - Happy Talk

Styles: Vocal
Year: 2021
File: MP3@320K/s
Time: 42:40
Size: 100,6 MB
Art: Front

(4:39) 1. Wonder Why
(5:22) 2. Tenderly
(3:23) 3. Happy Talk (From “South Pacific”)
(5:35) 4. Don’t Go to Strangers
(4:11) 5. Go Away Little Boy
(6:13) 6. Wild Is the Wind
(4:17) 7. So Many Stars
(3:47) 8. The Grass Is Greener
(5:11) 9. We’ll Be Together Again

Pamela Hart is highly regarded as one of Austin, Texas’ finest vocalist She is noted by Austin Women’s Magazine as “Austin’s First Lady of Jazz ” Pamela and her husband Kevin Hart produced (and she has performed in) the semi-annual Women in Jazz Concert Series 1994 through 2021. Pamela was inducted in the Austin Jazz Society Hall of Fame in 2018. She has recorded Sunday House Concerts on YouTube since March 2020. A native of Los Angeles, Pamela released her first CD “May I Come in?” in 1998. She is proud to release “Happy Talk” in May 2021.https://www.jazziz.com/new-releases/happy-talk/

Personnel: Pamela Hart – Vocals; Ryan D. Howard – Piano; John Fremgen – Bass; Tommy Howard - Guitar; Brannen Temple – Drums; Michael Malone – Soprano and Tenor Saxophones; Andre Hayward – Trombone; Althea Rene - Flute & Alto Flute

Happy Talk

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Bill Evans - Behind The Dikes: The 1969 Netherlands Recordings Disc 1, Disc 2

Album: Behind The Dikes: The 1969 Netherlands Recordings Disc 1
Styles: Piano Jazz
Year: 2021
File: MP3@320K/s
Time: 59:41
Size: 137,4 MB
Art: Front

(2:15) 1. Announcement By Michiel Ruyter
(3:25) 2. You're Gonna Hear From Me
(4:51) 3. Emily
(5:38) 4. Stella By Starlight
(5:03) 5. Turn Out the Stars
(6:11) 6. Waltz For Debby
(6:31) 7. 'Round Midnight
(3:32) 8. I Let A Song Go Out Of My Heart
(4:57) 9. Alfie
(6:10) 10. Beautiful Love
(6:27) 11. My Funny Valentine
(4:36) 12. Love Theme From Spartacus

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Album: Behind The Dikes: The 1969 Netherlands Recordings Disc 2
Time: 57:48
Size: 133,1 MB

(4:41) 1. One For Helen
(5:35) 2. Quiet Now
(6:04) 3. Someday My Prince Will Come
(0:46) 4. Announcement By Aad Bos
(5:12) 5. Very Early
(4:57) 6. A Sleepin' Bee
(5:06) 7. Turn Out the Stars
(4:21) 8. Autumn Leaves
(5:34) 9. Quiet Now
(6:04) 10. Nardis
(4:39) 11. Granadas
(4:43) 12. Pavane

Zev Feldman, co-president of Resonance Records, seems to have made it his life's mission to present every unreleased note that pianist Bill Evans ever recorded. Live At Art D'Lugoff's Top Of The Gate (2012), Some Other Time (2016), Another Time: The Hilversum Concert (2017), Evans In England (2019) and Live At Ronnie Scott's (2020) represent the Bill Evans discography on the Resonance Records label, all produced by Feldman. And now 2021 finds Feldman teaming with the Elemental Music label, to release yet another long lost live recording by an Evans trio, Behind the Dikes The 1969 Netherlands Recordings.

This is music that has long been available, in an underground sort of way, on bootleg recordings of sub-standard sound quality something that is problematic in most music, unforgivable in regards to Bill Evans. That has changed with this official release. The sound is crisp and clean, showcasing the pristine and distinctive Evans touch, and the always remarkable interplay with this particular trio, with Evans joined by bassist Eddie Gomez and drummer Marty Morell.

Evans' best trio, with bassist Scott LaFaro and drummer Paul Motian that produced the groundbreaking Sunday At the Village Vanguard (1961) and Waltz For Debby (1962), both on Riverside Records was short-lived, due to La Faro's death in a car accident. The pianist's second best trio though some would certainly argue this (and they'd be wrong) is the Evans/Gomez/Morell group, the pianist's longest running trio, together seven years.

The two disc's worth of music come from a pair of performances in 1969 in the Netherlands. The group was in top form, trotting out a triple handful of tunes that were familiar mainstays in the the Evans repertoire "Emily," "Stella By Starlight," "Waltz For Debby," "Autumn Leaves" and more. These are presented by three musicians deep in a comfort zone, navigating bright up-tempo tunes and slipping into introspective reveries and breathtakingly beautiful balladry. The two takes on pianist Denny Zeitlin's "Quiet Now" are as lovely as anything this trio ever recorded, and their rendition of "Someday My Prince Will Come" is as bright and propulsive as can be in a celebratory up-tempo groove, with Morell's joyous shuffling and Gomez' assertive headlong heartbeat.

Listing a top ten of recordings from the trios of Bill Evans is near impossible. There is much superior trio work, and ten is too few slots. So start with the early, previously-mentioned Sunday At the Village Vanguard and Waltz For Debby, and then it is wide open. But Behind the Dikes would certainly be a contender.

And before we wrap up, two "bonus tracks" should be mentioned: Disc 2 ends with a "Granadas" and "Pavane," adaptations originally arranged by Claus Ogerman for Bill Evans Trio With Symphony Orchestra (Verve, 1966). Here, Evans is backed by the 50 piece Metropole Orkest on these majestically cerebral performances of music from the classical world.
By Dan McClenaghan https://www.allaboutjazz.com/behind-the-dikes-the-1969-netherlands-recordings-bill-evans-elemental-music

Personnel: Bill Evans: piano; Eddie Gomez: bass; Marty Morell: drums.

Behind The Dikes: The 1969 Netherlands Recordings Disc 1, Disc 2

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Kathrine Windfeld - Latency

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 45:25
Size: 104,7 MB
Art: Front

(6:35) 1. Rude Machine
(5:12) 2. Elak
(6:39) 3. Latency
(5:11) 4. Leaving Portland
(5:40) 5. Roadmovie
(5:51) 6. Wasp
(5:58) 7. December Elegy
(4:15) 8. Double Fleisch

Kathrine Windfeld is a Danish pianist and composer who leads a largely Scandinavian big band featuring musicians from various countries with shores on the Baltic Sea.

Born in 1984 Windfeld studied at the Department of Musicology in Copenhagen and at the Swedish jazz school Fridhems Folkhogskola. She was part of the progressive jazz quintet Gespenst before establishing her own ongoing sextet in 2011.

Windfeld subsequently studied at the Malmo Music Academy in Sweden where she established a quartet plus her first big band. In 2014 she moved back to Copenhagen where she set up the current KWBB and in 2015 she recorded her début big band album “Aircraft”.

The famous Danish pianist Niels Lan Doky offered the KWBB a residency at his Copenhagen jazz club and the band continued to hone their sound while playing with illustrious visiting guest musicians such as guitarists Mike Stern and Gilad Hekselman, saxophonist Seamus Blake and the UK’s own Gerard Presencer (trumpet).

The KWBB’s second album “Latency” was recorded in Copenhagen in 2017 and features a programme of eight Windfeld original compositions, two of them co-writes with one Mads Sandberg. On line information about Sandberg is hard to find, so Windfeld’s collaborator remains something of a figure of mystery.

Nevertheless, the new album has been critically acclaimed and has enjoyed greater international exposure than its predecessor. In 2018 the band toured successfully in Germany and the UK, including a successful performance at the Pizza Express Jazz Club in Soho, London. By Ian Mann
https://www.thejazzmann.com/reviews/review/kathrine-windfeld-big-band-latency

Personnel: Kathrine Windfeld – Piano, Director, Composer, Arranger (DK); Andre Bak (DK), Rolf Thofte Sorensen (DK), Magnus Oseth (NO) - Trumpets & Flugels; Goran Abelli (SE), Mikkel Aargard (DK), Anders Larson (SE) – Trombones; Jakob Lundbak (DK) – Alto & Soprano Sax; Jakub Wiecek (PL) – Alto Sax; Roald Elm Larsen (DK), Ida Karlsson (SE) – Tenor Saxes; Toke Reines (DK) - Baritone Sax; Viktor Sandstrom (SE) - Guitar; Johannes Vaht (SE) – Bass; Henrik Holst (DK) – Drums

Latency

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Emilia Zamuner, Massimo Moriconi Duet - Doppia Vita

Styles: Vocal, Bop
Year: 2019
File: MP3@320K/s
Time: 47:25
Size: 109,2 MB
Art: Front

(4:35) 1. Summertime
(3:04) 2. Caravan
(2:33) 3. Cosi
(2:43) 4. Donna
(2:02) 5. La gatta
(5:26) 6. My Funny Valentine
(5:25) 7. Senza fine
(3:03) 8. Nuvole
(4:11) 9. Bésame Mucho
(5:15) 10. The Nearness of You
(5:22) 11. Tintarella di luna
(3:40) 12. Vengo anch'io

The album opens with a superb performance of Summertime ; the song, thanks to the sparkling combination, acquires a peculiarly exciting connotation and makes you “gently shipwreck” in the sea of jazz. The pleasant sensation continues with Caravan , the famous piece by Duke Ellington, which in its performance, in which there is a funny final surprise, seduces with bewitching oriental sounds embroidered with beautiful voices.

The interpretation of So , a wonderful song by Moriconi , in which the harmony of the two, also linked by deep friendship and esteem, in the intertwining of voice and strings gives rise to moments of pure beauty, is evocative.

The atmosphere changes with Donna by Gorni Kramer that opens with a lively scat that imprints the captivating style of the performance. The voice and the strings flirt in a sparkling jazz version of the famous La g atta by Gino Paoli.

And then Zamuner 's voice goes beyond the scat and turns into more than an instrument to introduce My funny Valentine performed in the best North American jazz tradition. Another particular intro with virtuous voice games for Senza fine, where improvisations allow the two to freely express their art.

In a meeting of poetry and melody Nuvole is presented , the song by Moriconi with fresh and well-mixed colors. Classical and elegant is Besame mucho 's interpretation with phrasing of the double bass which in their embroidery on the strings at times pleasantly transform some notes of Owner of a lonely heart into jazzof Yes.

Not to mention Nearness of you , the wonderful song that allowed Zamuner to win the aforementioned prize, which with delicacy and mastery opens the doors of the heart of those who listen to it. Witty and lively and in a blues style is Tintarella di luna the famous success made famous by Mina; sublime is the improvisation of the double bass that flows into a relay of sounds with a wonderful scat and then rejoins the familiarly known melody. The harmony of the duo is revealed with irony in the very particular interpretation of I come too, the song that concludes the wonderful musical sequence: the two "play" almost hide and seek in a chase and exchange beats in which even the double bass seems to speak.

“ Duet Double Life ” is, therefore, undoubtedly a work of great value for those who love good music and want to let themselves go into the flow of the musical current that the two artists, with their personality and beauty, release.By Daniela Vellani https://www-ciranopost-com.translate.goog/2019/12/14/duet-doppia-vita-lalbum-testimonianza-di-uno-straordinario-connubio-di-talento-e-amicizia-tra-emilia-zamuner-e-massimo-moriconi/?_x_tr_sl=it&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc

Personnel: Electric Bass, Double Bass, Arranged By [Arrangements] – Massimo Moriconi; Voice – Emilia Zamuner

Doppia Vita

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The Ronnie Scott Trio - Trio: On A Clear Day: 'Live' 1974

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 53:03
Size: 122,2 MB
Art: Front

( 8:16)  1. A Blues
(10:38)  2. What's New'
( 9:28)  3. Stella By Starlight
(11:24)  4. Angel Eyes
( 9:02)  5. On A Clear Day
( 4:13)  6. Lou's Piece

Amid fractious personal relationships and an ongoing battle with depression, and surrounded by a jazz scene whose very fabric had changed unrecognisably in a few short years, Ronnie Scott nevertheless remained one of the UK's great jazz catalysts  a central figure around whom much of what was considered newsworthy within the idiom still concentrated. At forty-seven, the saxophonist was no longer chasing the music's cutting edge; instead he had forged a style very much his own, one which tipped its hat to many of the good and the great who'd graced his own Soho club, but which now boasted even greater authority, maturity and individuality than ever before. And, despite his off-stage tribulations, he was happy with his band, a hitherto rare instance of a Scott-led line-up lasting more than a few years. Supported by organist Mike Carr and drummer Bobby Gein, he tore the roof off the White Hart, whose 'Jazz at The Icebox' presentations were a magnet for West Country jazz fans, probably unaware that what was undoubtedly just another night's work for him and his hard-grafting colleagues was being caught on tape. Issued here for the first time, this recording captures Scott doing what he did best: playing no holds-barred jazz, minus the pressures that came from being a frontman for his own club, or acting as 'support act' to his many American guests. As such, it reveals a Ronnie Scott rarely heard on record, an instrumentalist in full-flow, sounding relaxed yet forthright, and making a mockery of the notion that art must mirror life. Scott may have been sailing stormy waters elsewhere but On A Clear Day finds him at the eye of a creative hurricane. Ronnie is one of our finest jazz musicians and saxophonists - period, wrote one Melody Maker reviewer that same year, a declaration fully borne out on this album. ~ Editorial Reviews https://www.amazon.com/Trio-Clear-Day-Live-1974/dp/B07HSLSQF4

Trio: On A Clear Day: 'Live' 1974

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George Wettling - Jazz Trios

Styles: Jazz, Post Bop
Year: 1956/2000
File: MP3@128K/s
Time: 38:15
Size: 37,6 MB
Art: Front

(2:59) 1. Rose Room
(2:27) 2. Louise
(3:41) 3. Soon
(2:18) 4. Save It Pretty Mama
(3:51) 5. Old Folks
(3:17) 6. Pennies From Heaven
(3:24) 7. Please Be Kind
(2:53) 8. I Would Do Anything For You
(2:50) 9. The Lady's In Love With Me
(2:43) 10. Shine
(3:55) 11. I'm In The Market For You
(3:51) 12. Bye And Bye

George Wettling (November 28, 1907 - June 6, 1968) was an American jazz drummer.

He was one of the young white Chicagoans who fell in love with jazz as a result of hearing King Oliver's band (with Louis Armstrong on second cornet) at the Lincoln Gardens in Chicago in the early 1920s. Oliver's drummer, Baby Dodds, made a particular and lasting impression upon Wettling.

Wettling went on to work with the big bands of Artie Shaw, Bunny Berigan, Red Norvo, Paul Whiteman, and even Harpo Marx: but he was at his best (and will be best remembered) for his work in small 'hot' bands led by Eddie Condon, Muggsy Spanier, and himself. In these small bands, Wettling was able to demonstrate the arts of dynamics and responding to a particular soloist that he had learned from Baby Dodds.

Towards the end of his life, Wettling (like his friend the clarinetist Pee Wee Russell) took up painting, and was much influenced by the American cubist Stuart Davis. He has been quoted as remarking that "jazz drumming and abstract painting seemed different from him only from the point of view of craftsmanship: in both fields he felt rhythm to be decisive".

However, good as Wettling's painting was he will be best remembered for his rattling, cavernous sound at the drums -especially with Eddie Condon's bands. User-contributed text is available under the Creative Commons By-SA License and may also be available under the GNU FDL.
http://www.jazzmusicarchives.com/artist/george-wettling

Personnel: Drums – George Wettling; Clarinet – Pee Wee Russell; Cornet – "Wild Bill" Funaro; Piano – Gene Schroeder; Trombone – Lou McGarity; trumpet - Wild Bill Davison

Jazz Trios

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Sheila Jordan - Live at Mezzrow

Styles: Vocal
File: MP3@320K/s
Time: 65:33
Size: 150,5 MB
Art: Front

(3:10) 1. Bird Alone (Live)
(8:25) 2. Touch of Your Lips (Live)
(6:53) 3. What is This Thing Called Love (Live)
(7:53) 4. The Bird and Confirmation (Live)
(4:38) 5. Silver Lining (Live)
(5:52) 6. Falling in Love with Love (Live)
(9:58) 7. Baltimore Oriole (Live)
(3:50) 8. Blue and Green (Live)
(7:52) 9. Autumn in NY (Live)
(6:56) 10. Lucky to Be Me (Live)

Sheila Jordan is a living jazz legend. Since coming to New York City in 1950 at the encouragement of Charlie Parker, she is one of, if not the last, living link to a time and a place in the jazz world that is the subject of hagiography, myth and occasionally reality. With a voice that is uniquely her own, it is possible that in the course of a single song interpretation, Jordan's voice can sound morose and honeyed, supple and compelling, along with her usual spontaneity. Over the course of her long career, there is very little she has not seen, and probably more than she cares to remember.

The session Live At Mezzrow was recorded on October 25, 2021 at the New York jazz club, with Jordan accompanied by the always imaginative pianist Alan Broadbent and her bassist of choice, Harvie S. The live session covers standards from the Great American Songbook as well as a couple of bop oriented songs. Additionally the duo of Broadbent and Harvie S are given space to do their thing on Cole Porter's " What Is This Thing Called Love " and Miles Davis's "Blue In Green."

Jordan begins this recital with the Abbey Lincoln number "Bird Alone." That tune along with "The Bird & Confirmation" are gifts that just keep on giving as she delivers on that cross section of vocal skills from ballad intensity to scat that is swinging and sturdy. The songbook standards cover readily recognizable numbers starting with the Ray Noble composition "The Touch Of Your Lips." This begins with the little heard opening verse, Jordan then swings into a run through of the melody, before scatting effortlessly.

The Hoagy Carmichael composition "Baltimore Oriole," although perhaps not an American standard, has some interesting quirky lyrics such as: "Baltimore Oriole/ Took a look at the mercury, forty below/ No life for a lady/ To be draggin' her feathers around in the snow." These are a perfect fit for Jordan as she can imbue them with her unique vocal style and interpretation. Although uncredited on the liner notes, this number segues to Cole Porter's "I Concentrate On You" on which she delivers a wonderfully fresh reading.

The closing track "Lucky To Be Me" is a composition by Green/Comden/Bernstein written for the 1944 Broadway musical . After a regular run through of the lyrics, Jordan closes out the session with musical acknowledgement of the fine work of Broadbent and Harvie S, which is a fitting ending to a special evening.By Pierre Giroux https://www.allaboutjazz.com/live-at-mezzrow-sheila-jordan-sheila-jordan-cellar-records

Personnel: Sheila Jordan: voice / vocals; Alan Broadbent: piano; Harvie S: bass, acoustic.

Live at Mezzrow

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