Sunday, November 27, 2022

Louis Stewart - Louis The First

Styles: Guitar Jazz
Year: 1975
File: MP3@320K/s
Time: 37:25
Size: 86,1 MB
Art: Front

(4:42) 1. All The Things You Are
(6:18) 2. Bluesology
(4:08) 3. Body And Soul
(3:06) 4. Send In The Clowns
(5:50) 5. O Grande Amor
(3:58) 6. Here Is That Rainy Day
(5:45) 7. Alone Together
(3:35) 8. Autumn Leaves

The first time I saw Louis Stewart play was when I was 14 years old. My father, a jazz devotee, who knew many of the Irish jazz musicians, took me to a jazz party in Sandycove at the home of the saxophonist John Curran. Before I even got there my father had told me that Louis would be there and that he was the greatest jazz musician Ireland had ever produced. So before I ever saw him play, Louis’ greatness was imprinted on my mind. And at the party, even to my adolescent (and at that time non-playing) self, I could see that they were right he was something special.

There was a fluidity about his playing that marked him out, and this was especially evident when he played with John Wadham another great of the Irish jazz scene whom I saw for the first time that night who clearly sparked Louis’ playing. My memory of that night is very vivid. There were other jazz-scene notables there such as Brian Dunning and Mike Nolan, a string quartet played Haydn, there was food and banter all of which seemed incredibly glamorous to me. Not to mention staying up till 4am. The true jazz life…

Over the following years I saw him play several times, including a memorable night when my father whisked me off to see him playing in Mooney’s in Dún Laoghaire the night before my Inter Cert exams were to start, much to my mother’s horror. My father’s answer to my mother’s protests was, ‘What he doesn’t know now he won’t know in two hours time’. And he was right. What I do remember learning that night is that there was a tune called ‘Maiden Voyage’ that sounded very exotic. Again I wasn’t playing at this point, so had no idea of structure or harmonic content of the piece, but I remember Louis announcing it and being totally enthralled by it.
By Ronan Guilfoyle https://journalofmusic.com/focus/louis-first

Personnel: Louis Stewart, guitar; Martin Walshe, bass; John Wadham, drums.

Thank You JT!

Louis The First

Charles Lloyd - Trios: Sacred Thread

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 38:56
Size: 89,9 MB
Art: Front

(3:19) 1. Desolation Sound
(4:13) 2. Guman
(9:23) 3. Nachekita's Lament
(1:54) 4. Saraswati
(7:51) 5. Kuti
(8:48) 6. Tales of Rumi
(3:25) 7. The Blessing

This is the third and final album in Blue Note's Charles Lloyd-dedicated ‘Trio of Trios’ series, with the orchestrally-resourceful guitarist Julian Lage joining mindbendingly multi-tasking percussion legend Zakir Hussain in conversation with the 84 year-old US reeds maestro.

Sacred Thread represents the Trio series' most radical departure from the freeboppish or bluesily grooving soundscapes of its predecessors Chapel, and Ocean a more open global-musical trip, as well as an homage to Lloyd's decades-long devotion to the spirituality of the East. Mutual empathy is plain from the opening ‘Desolation Sound’, with its deep-hooting tenor ballad statement punctuated by the leader's characteristically fast-wriggling fills spinning off dolorous long tones.

Hussain's reverentially tender singing is shadowed by Lage's chord chimes on ‘Guman’, 'Nachekita's Lament' is a meditation for billowing flute tones, slow chanting and brooding guitar rejoinders that becomes a catchy tabla-driven canter. Lloyd plays the mournful soprano sax-like tárogató on ‘Saraswati’ (mostly with only gentle gong-sounds fitful tabla-rhythm flickers for company), Hussain's voice and Lloyd's vaporous flute share the initially ballad-like ‘Kuti’ before a groove much more suggestive of the hi-life star of the title emerges to draw a boldly skidding break from Lage. ‘Tales of Rumi’ invites an enthralling Hussain long intro of racing rhythms and whoopy voicelike accents before it becomes a tenor-led folk dance, and a quietly impassioned Lloyd-Lage dialogue on ‘The Blessing’ wraps up a real gem, even by the octogenarian California jazz guru's standards.
By John Fordham https://www.jazzwise.com/review/charles-lloyd-trios-sacred-thread

Personnel: Charles Lloyd (ts, fl); Julian Lage (g); Zakir Hussain (perc)

Trios: Sacred Thread

Octokats - Cool West Coast Jazz Comes to Toronto

Styles: Jazz
Year: 2014
File: MP3@320K/s
Time: 72:58
Size: 168,5 MB
Art: Front

(3:36) 1. El Prince
(1:23) 2. Dave Pell Intro
(5:09) 3. Nap's Dream
(5:10) 4. Java Junction
(3:11) 5. Have You Met Miss Jones
(2:50) 6. Blues My Naughty Sweetie Gives To Me
(3:35) 7. Cheerful Little Earful
(6:02) 8. Love Me Or Leave Me
(3:54) 9. Intermission Riff
(2:53) 10. Dave Pell Intro To Lester Young
(4:06) 11. You Can Depend On Me
(4:31) 12. Lester Leaps In
(5:07) 13. How High The Moon
(2:39) 14. When You're Smiling
(5:19) 15. Just You, Just Me
(3:59) 16. One O'clock Jump
(5:31) 17. Jumpin' At The Woodside
(3:56) 18. Session At Pete's Pad

West Coast jazz refers to various styles of jazz music that developed around Los Angeles and San Francisco during the 1950s. West Coast jazz is often seen as a sub-genre of cool jazz, which featured a less frenetic, calmer style than bebop or hard bop. The music tended to be more heavily arranged, and more often composition-based.

We, the Octokats, have resurrected this relaxed sytle of jazz here in Southern Ontario. The very essence of COOL can be found in this style of music. One of the most famous West Coast Jazz Musicians is Dave Pell. We modeled our octet after the Dave Pell lineup.The instrumentation for his octet consisted of Tenor Sax, Baritone Sax, Trumpet, Trombone, Piano, Guitar, Bass and Drums.http://www.octokats.com/?page_id=56

Personnel: Sarang Kulkarni (Baritone/Alto Saxophones); Gary Martin (Alto/Tenor Saxophones); James Shea (Trumpet/Flugelhorn); Michael Kearns (Trombone); Stephen Landsberg (Guitar); William Bryant (Piano); Mauro Bellotto (Upright Bass); John Collin (Drums); Alan Reid (Drums)

Special Guests: Dave Pell; Pat Labarbera

Cool West Coast Jazz Comes to Toronto

Diane Marino - I Hear Music

Styles: Vocal And Piano Jazz
File: MP3@320K/s
Time: 50:41
Size: 117,1 MB
Art: Front

(3:14) 1. I Hear Music
(3:43) 2. Moonray
(4:27) 3. Ain't No Use
(3:54) 4. Let Me Off Uptown
(4:47) 5. You Showed Me The Way
(3:56) 6. Rock Me To Sleep
(5:09) 7. It Could Happen To You
(4:50) 8. Detour Ahead
(3:29) 9. The Late, Late Show
(5:18) 10. I'll Close My Eyes
(4:12) 11. When Lights Are Low
(3:37) 12. You'd Better Love Me

Jazz singer/pianist Diane Marino was born in the New York City borough of Manhattan and began piano lessons at the age of ten. She attended the High School for the Performing Arts as a classical piano major, then studied piano with Murray Perahia at the Mannes College of Music. She had already begun appearing professionally before earning her Bachelor of Music degree in piano performance from Mannes, playing and singing around the New York metropolitan area. She worked solo until she met bassist Frank Marino, whom she subsequently married, and with whom she formed the Brazilian nonet Som Brasiliero.

On August 26, 2003, the Marinos' M&M Records label released A Sleepin' Bee, an album by the Diane Marino Quartet, also featuring flute and saxophone player Rusty Jessup and drummer Chris Brown. On the Street Where You Live followed on May 4, 2004. Having relocated to Nashville, Marino released her third album, Just Groovin', a collection of her interpretations of '60s pop standards featuring such guests as Kirk Whalum, Houston Person, and Felix Cavaliere, on September 16, 2008. By William Ruhlmann https://www.allmusic.com/artist/diane-marino-mn0000255089/biography

I Hear Music

Saturday, November 26, 2022

Jeremy Pelt - November

Styles: Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 53:08
Size: 121,9 MB
Art: Front

(5:14)  1. Mata
(8:09)  2. Avatar
(5:42)  3. Clairvoyant
(5:55)  4. Dreamcatcher
(5:34)  5. Phoenix
(5:44)  6. Rosalie
(3:54)  7. Monte Cristo
(6:05)  8. Nephthys
(6:48)  9. 466-64 (Freedom Fighters)

In the same way that Roy Hargrove's Earfood (Emarcy, 2008) updated Lee Morgan's Cornbread (Blue Note, 1965), so Jeremy Pelt's November updates Miles Davis' Miles Smiles (Columbia/Legacy, 1966). If creativity and art can be evaluated on both the vertical and horizontal, Morgan's and Davis' offerings represent horizontal progressions of the art of jazz into new areas, where Hargrove's and Pelt's are vertical elaborations of those previous collections. Jeremy Pelt (with his band Wired) last offered Shock Value: Live at Smoke (MaxJazz, 2007), an exploration of the style Miles generated with Live at the Fillmore East (March 7, 1970): It's About That Time (Legacy, 2001). Pelt returns to a fully acoustic format on November, but this music is no more wooden than Miles' groundbreaking second quintet recordings were. 

November is a fully realized post-bop suite, a jazz Also Sprach Zarathustra. "Mata" is five-plus minutes of introduction, a free form recital with no resolution. Here and throughout the disc we can hear the spirit of the late Anthony Tillman Williams, who's drumming for Miles Davis, continues to touch all aspects of jazz percussion almost 50 years later. Pelt's compositions are all tightly angular and anxious, both probing and airy. His trumpet is tart and sweet, the tone very much his own. The choice of JD Allen on tenor saxophone was a deeply thoughtful one as Allen is one of the finest post bop tenor's performing. As a collection, November is a compelling listening experience from beginning to end. Do you miss Nefertiti (Columbia/Legacy, 1967)? Not any more. 
~ C.Michael Bailey http://www.allaboutjazz.com/november-jeremy-pelt-maxjazz-review-by-c-michael-bailey.php

Personnel: Jeremy Pelt: trumpet; JD Allen: tenor saxophone; Danny Grissett: piano; Dwayne Burno: bass; Gerald Cleaver: drums.

November

Jim Snidero - MD66

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 52:39
Size: 123,3 MB
Art: Front

(7:15)  1. MD66
(9:38)  2. Recursion
(5:48)  3. Free Beauty
(6:08)  4. Unified
(6:27)  5. Who We've Known
(6:42)  6. Un4Scene
(4:35)  7. Blue in Green
(6:02)  8. Purge

Over the course of the past three decades alto saxophonist and composer Jim Snidero has been constantly pushing himself to explore new territories and expand his outlook. In 1989 (!) his extraordinary album Blue Afternoon made its way into The Penguin Jazz Guide: The History of the Music in the 1001 Best Albums. Later on he made his mark in the sax-with-strings department, not only playing at the top of his game, but also composing and arranging all of the music on the project. Most recently he's impressed more than a few listeners with a spate of fine albums on Savant. On this his latest release, Snidero tackles open modal forms and uses his unfettered imagination as a portal into free(r) territory, and takes his soloing to the next level by working an inside/outside approach that's rooted in the structure and style of each song but radical enough to move in wildly unexpected directions. This is a musical promised land where revelations, whether subtle or seismic in nature, are guided by revolution. ~ Editorial Reviews https://www.amazon.com/MD66-Jim-Snidero/dp/B01ICUPAHM

Personnel:  Jim Snidero (alto saxophone);  Alex Sipiagin (trumpet);  Andy LaVerne (piano);  Ugonna Okegwo (bass);  Rudy Royston (drums).

MD66

Dizzy Reece - Blues In Trinity (Remastered)

Styles: Trumpet Jazz
Year: 1959
File: MP3@320K/s
Time: 47:33
Size: 109,3 MB
Art: Front

( 6:47)  1. Blues In Trinity
( 3:04)  2. I Had The Craziest Dream
(10:39)  3. Close Up
( 6:37)  4. Shepherd's Serenade
( 6:02)  5. Color Blind
( 4:46)  6. 'Round About Midnight
( 4:03)  7. Eboo
( 5:31)  8. Just A Penny

One of the few American releases cut by the legendary British trumpeter Dizzy Reece and a great one! The album was strange for Blue Note, in that it was a joint US/UK session featuring American players Donald Byrd and Art Taylor, along with great Brit players Reece, Tubby Hayes, Terry Shannon, and Lloyd Thompson. Hayes is especially excellent here, and the record captures him at the peak of his young imaginative powers. With a two-trumpet frontline held down by Byrd and Reece, Hayes' tenor solos cut through hard and clean, with a deep soulful sound that makes him the most sparkling player on the session. Titles include "Close Up", "Blues In Trinity", "Color Blind", and "Round Midnight". © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/515086/Dizzy-Reece:Blues-In-Trinity

Personnel: Dizzy Reece - trumpet; Donald Byrd - trumpet; Tubby Hayes - tenor saxophone; Terry Shannon - piano; Lloyd Thompson - bass; Art Taylor - drums

Blues In Trinity

Darcy Cooke - Careless love

Styles: Vocal
File: MP3@320K/s
Time: 37:35
Size: 86,3 MB
Art: Front

(3:30) 1. Moonglow
(5:00) 2. Can’t help lovin’ dat man
(3:07) 3. My heart belongs to daddy
(3:33) 4. And so it goes
(2:36) 5. What is this thing called love
(5:54) 6. I know you oh so well
(4:13) 7. I can’t give you anything but love
(4:37) 8. Lies of handsome men
(5:00) 9. Careless love - St. Louis blues

Darcy Cooke is a classically trained jazz vocalist who has been performing nearly all her life. As a regular in DC area jazz bars, piano lounges, music venues, and private events, she has enjoyed performing with many of DMV’s great musicians such as Chris Grasso, Wayne Wilentz, David Jernigan, Harry Appelman, Keith Butler, Jr, Wade Beach, and more. Additionally, she has shared the stage with many of the area’s top vocalists. She studied music, voice, and theater while attending the Shenandoah Conservatory and has trained with multiple vocal coaches and top jazz singers in the DMV area.

With a love of jazz and a background in theater and stage performance, Darcy’s repertoire is expansive, ranging from jazz standards of the Great American Songbook to blues, to show tunes to cabaret and pop. Darcy is currently working on her first solo album to be released in 2022.
https://www.reverbnation.com/darcycooke?popup_bio=true

Careless love

Friday, November 25, 2022

Lee Konitz - Yes, Yes Nonet

Styles: Saxophone Jazz
Year: 1986
File: MP3@320K/s
Time: 40:27
Size: 93,7 MB
Art: Front

(6:07) 1. Dearth Of A Nation
(6:15) 2. Languid
(8:06) 3. Footprints
(5:15) 4. Stardust
(6:35) 5. Primrose Path
(4:35) 6. Noche Triste
(3:31) 7. My Buddy

It was a tragedy that Lee Konitz's versatile nonet was not able to succeed commercially. Just like its leader, the group was able to stretch from swing standards, bop and cool jazz to freer improvisations and challenging originals. This SteepleChase release (featuring the nonet when it was comprised of such fine players as trumpeters Tom Harrell and John Eckert, trombonists Jimmy Knepper and Sam Burtis, baritonist Ronnie Cuber, pianist Harold Danko, bassist Buster Williams and drummer Billy Hart in addition to Konitz on alto and soprano) features the group at its best on such pieces as "Footprints," "Stardust," "My Buddy" and four songs by Jimmy Knepper. It's an excellent outing from a somewhat neglected group. By Scott Yanow https://www.allmusic.com/album/yes-yes-nonet-mw0000651370

Personnel: Lee Konitz – alto saxophone, soprano saxophone; John Eckert, Tom Harrell – trumpet, flugelhorn; Jimmy Knepper – trombone; Sam Burtis – bass trombone; Ronnie Cuber – baritone saxophone, soprano saxophone; Harold Danko – piano; Buster Williams – bass; Billy Hart – drums

Yes,Yes Nonet

Duke Ellington, Count Basie - First Time! The Count Meets The Duke

Bitrate: MP3@320K/s
Time: 73:13
Size: 167.6 MB
Styles: Swing, Big band
Year: 1961/2013
Art: Front

[5:33] 1. Battle Royal
[3:52] 2. To You
[3:45] 3. Take The "A" Train
[4:52] 4. Corner Pocket (Aka Until I Met You)
[6:20] 5. Wild Man
[8:21] 6. Segue In C
[4:43] 7. B D B
[3:07] 8. Jumpin' At The Woodside
[3:24] 9. One More Once
[5:49] 10. Take The "A" Train (The Count Departs) [rehearsal & Alternate Takes]
[3:13] 11. Jumpin' At The Woodside (Alternate Take)
[4:29] 12. B D B (Alternate Take)
[3:12] 13. Blues In Hoss' Flat (Blues In Frankie's Flat)
[5:54] 14. Wild Man (Aka Wild Man Moore) [alternate Take]
[6:31] 15. Battle Royal (Rehersal & Alternate Takes)

A battle of the bands? Not quite -- more like a mutual admiration society, with the orchestras of both jazz titans playing together. (The Duke is heard on the right side of your stereo/headphones, the Count on the left.) Ellington's elegance and unique voicings meet Basie's rollicking, blues-based Kansas City swing, and it works gloriously. There's no clutter, each band is focused, and they sound great together. This is not the thoughtful, reflective composer side of Ellington (listeners should check out Far East Suite or Black, Brown & Beige for that). The Duke and his band accentuate their swinging dance band side, while Basie and company have never sounded as suave and exotic as when playing Billy Strayhorn arrangements. Everyone has a good time, and that joy infuses this album from start to finish. ~John Bush

First Time! The Count Meets The Duke

Billy Bang - Commandment

Styles: Violin
Year: 1997
File: MP3@320K/s
Time: 71:24
Size: 164,5 MB
Art: Front

( 1:04) 1. Intro
( 7:57) 2. Pieta
( 7:14) 3. Bama Swing
( 7:15) 4. Commandment
(12:39) 5. Daydreams
( 8:59) 6. Swing Low Sweet Chariot
( 7:31) 7. Bama Swing Again
(11:32) 8. They Plan To Leave
( 7:09) 9. Music For The Love Of It

Bang is an intense, creative improviser; the fact that he plays an instrument that's little-used in jazz is almost irrelevant, except for the fact that the violin is one of the most wonderfully expressive instruments ever conceived (just ask Beethoven or Mendelssohn). In the hands of a talented musician like Bang, the violin becomes a consummate jazz instrument. Bang has a strong and agile technique, which he displays to profound end on this solo recital inspired by the art of sculptor Alain Kirilli.

Performing a solo set is a difficult task for the improviser. The musician must rely upon his own inspiration; there are no collaborators to feed from or suggest musical ideas. Bang does a remarkable job building his performance. Ideas flow and are elaborated upon and transformed. Every track has an individual character; each can stand on its own, yet works as part of the whole. His dexterity is extraordinary, yet as fluent as Bang is, it's his passion that carries the day.

His ability to exploit the instrument's tonal characteristics in service of emotional expression is practically unparalleled among the very few jazz violinists of note. An added highlight of this very fine album is its informal nature; the live atmosphere is nicely conjured, enhancing the listening experience. By Chris Kelsey https://www.allmusic.com/album/commandment-for-the-sculpture-of-alain-kirili-mw0000032157

Commandment

Frida Touray - Mending

Styles: Vocal
File: MP3@320K/s
Time: 21:00
Size: 48,3 MB
Art: Front

(2:43) 1. Out the Sun
(4:45) 2. Never Mine
(5:04) 3. Man on Wings
(4:31) 4. Wild
(3:55) 5. Mending

Frida Touray is an undiscovered gem an artist who, with the release of her debut EP ‘Mending’, will capture the hearts and minds of audiences who love music that melts in your mind, provokes emotions you weren’t even aware of, and creatively captivates in every nerve on your body. She is without doubt an artist of the future that will command your attention.

Right from the first click of the retro-sounding tape machine on the Out the Sun, you know the direction Frida wants to take you in. It’s authentic and honest and she wants to make her story immediately clear right from the beginning: “I think it’s about a girl who breaks her own heart”. ‘Mending’ is deeply personal release that shows herself at her most vulnerable, capturing the essence of who she is and how she sees the world.

For Frida, this new music represents a new start with a new focus on her music, determined to show who she is. And it doesn’t take much convincing: the music’s emotive brilliance is immediately engaging and absorbing. It’s an EP about honouring relationships that didn’t turn out the way they had intended, about breaking free and being your own person. Each song acts as a snippet of life as she aims to create timeless music, not influenced by what’s cool or trending. These are heartfelt, emotional songs of love and life that come straight from her own lived experiences.

For fans of Lianne la Havas, Frida Touray’s name and voice will be familiar having worked with her since 2015. For others, her name may be unknown but she’s not new to this game, having toured and recorded with some of the music industry’s most recognisable artists including Liam Gallagher, Ed Sheeran, Ellie Goulding , NAO, Cinematic Orchestra and Laura Marling. Recently she appeared on Goldie’s recent track ‘Lost’ along with Tom Misch, and she has also written and performed with Jordan Rakei on the single ‘Signs’, which was later re-released with a feature from Common. Frida Touray has put in the hard work now it’s her time to step into the limelight ! It’s this new EP, produced by Chris Hyson with co-production from Yves Fernandez, that marks a significant shift in her focus as an artist in own right, ready to build an audience of her own.

Released on E2 Music, Edition Records’ new boundary-busting imprint, the emotional brilliance and production of ‘Mending’ stands testament to a creative artist who’s worked with the best, knows what she wants and ready to tell the world. She is an artist with a personal story and voice to die for, who wants to make her mark as a distinct and creative singer songwriter.
https://editionrecords.com/releases/frida-touray-mending/

Personnel: Frida Touray Vocals; Chris Hyson Synths, Piano; Joe Webb Piano; Daniel See Drums; Alex Haines Guitar; Yves Fernandez Bass; Tatjana Iljasova Piano; Samuel Crowe Wurlitzer; Russell Smith Lap Steel Guitar

Mending

Thursday, November 24, 2022

Dizzy Reece - Nirvana: The Zen of the Jazz Trumpet

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 44:26
Size: 102,0 MB
Art: Front

( 1:06) 1. Introduction
( 6:41) 2. Ananda's Heart
(11:49) 3. Samadhi Junction
(10:23) 4. Maya's Dance
( 1:23) 5. Text
(13:01) 6. Nirvana

Alphonso Son "Dizzy" Reece is a hard bop jazz trumpeter with a distinctive sound and compositional style.

Reece was born January 5, 1931 in Kingston, Jamaica, the son of a silent film pianist. He attended the Alpha Boys School (famed in Jamaica for its musical alumni), switching from baritone to trumpet at 14. A full-time musician from age 16, he moved to London in 1948 and spent the 1950s working in Europe, much of that time in Paris.

He played with Don Byas, Kenny Clarke, Frank Foster and Thad Jones, among others. Winning praise from the likes of Miles Davis and Sonny Rollins, he emigrated to New York City in 1959, but found New York in the 1960s a struggle. Too little heard-from in the intervening years, he had a reissue on Mosaic in 2004 that gave fans hope of a comeback.https://www.allaboutjazz.com/musicians/dizzy-reece

Personnel: Trumpet – Dizzy Reece; Piano – Mike Longo; Bass – Lee Hudson; Drums – James Worth

Nirvana: The Zen of the Jazz Trumpet

David Hazeltine - A World For Her

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 63:14
Size: 145,2 MB
Art: Front

(10:45) 1. My Foolish Heart
( 5:02) 2. This One's For Bud
( 9:52) 3. A World For Her
( 6:00) 4. Moment's Notice
( 8:58) 5. Soul Eyes
( 7:28) 6. Old Devil Moon
( 7:21) 7. What'll I Do
( 7:44) 8. Bitter Sweet

Pianist David Hazeltine is the leader of this straight-ahead quartet date, contributes two originals, and is in superior form, but tenor saxophonist Javon Jackson often steals the show. Jackson, who in other settings sometimes hints strongly at Joe Henderson, on this occasion looks more toward late-'50s John Coltrane, particularly on a beautifully interpreted version of "Soul Eyes" and Trane's "Moment's Notice."

Other highlights include an extended "My Foolish Heart," Hazeltine's rightfully boppish "This One's for Bud," and "What'll I Do." Hazeltine and Jackson are joined by bassist Peter Washington and either Louis Hayes or Joe Farnsworth on drums, with vibraphonist Steve Nelson making a guest appearance on "Old Devil Moon." The music is quite enjoyable and very well played, one of Javon Jackson's finest recordings and a superior outing for David Hazeltine. ~Scott Yanow https://www.allmusic.com/album/a-world-for-her-mw0000250980

Personnel: Piano – David Hazeltine; Bass – Peter Washington; Drums – Joe Farnsworth; Louis Hayes; Tenor Saxophone – Javon Jackson; Vibraphone – Steve Nelson

A World For Her

Dr. John - Things Happen That Way

Styles: Vocal,Piano
File: MP3@320K/s
Time: 39:04
Size: 91,6 MB
Art: Front

(4:37) 1. Funny How Time Slips Away
(3:52) 2. Ramblin' Man
(3:24) 3. Gimme That Old Time Religion (Feat. Willie Nelson)
(4:54) 4. I Walk On Guilded Splinters (Feat. Lukas Nelson & Promise Of The Real)
(2:59) 5. I’m So Lonesome I Could Cry
(4:12) 6. End Of The Line (Feat. Aaron Neville)
(3:24) 7. Holy Water
(3:59) 8. Sleeping Dogs Best Left Alone
(3:54) 9. Give Myself A Good Talkin' To
(3:44) 10. Guess Things Happen That Way

Interviewing the late Dr John aka The Night Tripper aka Dr John Creaux aka Mac Rebennack was a pleasure. Witty, erudite and b.s. free, he was reliably good copy. On one occasion he was an hour late and obviously, totally and spectacularly off his face. "If I nod out," he said, "kick me on the shin." The doctor was in... and out.

Things Happen That Way has turned out to be Dr John's last recorded studio album, and it rises to the occasion. It is the Night Tripper at his gumbo best, a joyous, uplifting mix of New Orleans funk, jazz, blues and country rock, a healing Americana which laughs at ethnic and regional boundaries. Listen to the impossibly funky arrangement of Hank Williams Sr.'s country classic "Ramblin' Man" and try not to gasp with delight. Another Williams song, "I'm So Lonesome I Could Cry," is the only one of the ten tracks which is delivered mono-stylistically, in relatively straight country fashion.

Dr John is accompanied by a deeply empathetic band and chorus, plus a handful of guest artists. The Neville Brothers' Aaron Neville duets on vocals on the Traveling Wilbury's "End Of The Line," Willie Nelson duets on the traditional "Gimme That Old Time Religion" (on which he also adds a guitar solo), and his son Lukas Nelson and Promise Of The Real are the back-up band on a remake of "I Walk On Guilded Splinters," from the Night Tripper's voodoo-drenched debut, Gris-Gris, released on Atco in 1968 (check the YouTube below). Other Mac Rebennack originals are "Holy Water," "Sleeping Dogs Best Left Alone" and "Give Myself A Good Talkin' To." Solid gold, each of them. The album ends with an affecting reading of Jack Henderson Clement's "Guess Things Happen That Way."

Remarkably, Dr John lived a decently lengthy life, passing in 2019 aged 77 years, a span aided no doubt by his finally freeing himself from heroin thirty years earlier. Things Happen That Way is a fine epitath. By Chris May
https://www.allaboutjazz.com/things-happen-that-way-dr-john-rounder-records

Personnel: Dr. John: piano; Shane Theriot: guitar; Tony Hall: bass, electric; Carlo Nuccio: drums; David Torkanowsky: keyboards; Mark Mullins: trombone; Alonzo Bowens: saxophone, tenor; Leonard Brown: trumpet; Jon Cleary: voice / vocals; Herlin Riley: drums; Yolanda Robinson: voice / vocals; Jolynda Chapman: voice / vocals

Additional Instrumentation: Dr John: vocals, piano, keyboards, co-production; Shane Theriot: electric, acoustic, lap steel and baritone guitars, cardboard box drum, co-production; Jon Cleary: additional keyboards, Hammond B3 organ.

Things Happen That Way

Lauren Meehan - Nature Boy

Styles: Vocal
File: MP3@320K/s
Time: 46:57
Size: 108,7 MB
Art: Front

(3:33) 1. Blue Skies
(4:04) 2. A Nightingale Sang in Berkeley Square
(3:40) 3. Nature Boy
(6:09) 4. Come Rain Come Shine
(4:08) 5. On the Sunny Side of the Street
(6:17) 6. Caravan (feat. Dave Albert)
(5:04) 7. When the Sun Comes Out
(3:01) 8. A Foggy Day
(5:56) 9. Over the Rainbow
(4:59) 10. I Wish You Love

Lauren's musical career ignited at an early age and became professional at the age of 16. Her musical influence began from the classic early Jazz and Swing era of Ella Fitzgerald, Sarah Vaughn, and Billie Holiday and the Big Band sounds of Duke Ellington, The Dorsey Brother's Orchestras and Glen Miller. Modern inspiration which influenced her career came from the iconic Diana Krall and Broadway artist Linda Eder.

Lauren has appeared in the iconic Jazz clubs throughout New England, down the Eastern coast and Internationally in the U.K. She has had the privilege to perform with the Boston Pops, the Broadway touring cast of Phantom Swings, opening for comedian Don Rickles, and appeared at the famous Ryles Jazz Club with guest trumpeter extraordinaire Wayne Bergeron, among many more esteemed accolades. Lauren is a featured recording artist on two Big Band Albums, Bandwidth and Time After Time, and in 2022 released Nature Boy, a Jazz quartet combo album.https://www.laurenjmeehan.com/the-band

Nature Boy

Wednesday, November 23, 2022

Pablo Milanés - Standards De Jazz

Styles: Latin Jazz
Year: 2019
File: MP3@320K/s
Time: 36:32
Size: 84,4 MB
Art: Front

(4:44) 1. In Other Words (Fly Me To The Moon)
(4:27) 2. For Sentimental Reasons
(3:38) 3. All The Things You Are
(4:04) 4. As Time Goes By
(4:52) 5. Wild Is The Wind
(1:44) 6. Lullaby Of Birdland
(2:38) 7. Autumn Leaves
(3:06) 8. I’ve Got You Under My Skin
(3:15) 9. Stardust
(4:00) 10. Stella By Starlight

Pablo Milanés Arias (24 February 1943 – 22 November 2022) was a Cuban singer-songwriter and guitar player. He was one of the founders of the Cuban nueva trova, along with Silvio Rodríguez and Noel Nicola. His music, originating in the Trova, Son and other traditional styles of early 20th Century Cuban music, set him apart from the style of Silvio Rodríguez.

Pablo Milanés, widely known as Pablito, moved with his family from Bayamo to Havana in 1950. He studied in the Conservatorio Municipal de La Habana, at the time the most prestigious musical school in the country. His first public performance was in 1956. By age 15, he was active in "bohemian" musical circles in Havana, associated with the so-called "filin" musicians.

Although he supported the Cuban Revolution, in 1965 he was sent to the UMAP agricultural forced-labor camp in Camagüey. In 1967, he escaped and fled to Havana to denounce the injustice of the labor camp. This resulted in his imprisonment, first for two months in La Cabaña, an 18th-century fortress in Havana, and then for a time in a prison camp. He was released when the prison camp was closed due to international pressure.

In 1969, he became part of the Grupo de Experimentación Sonora, a seminal group of young musicians, many of whom became founding members of the nueva trova, which started as a movement with a concert given by Pablo, Silvio Rodriguez, and Noel Nicola on 18 February 1968. Until the late 1980s, nueva trova was the unofficial musical style of the Cuban Revolution.

Since his first recording ("Versos sencillos de José Martí" in 1973), he issued more than 40 solo records, and many more in collaboration with other artists from Cuba, elsewhere in Latin America, and Spain. His first record with original songs (the eponymous "Pablo Milanés") was not issued until 1976. The heyday of his creativity occurred probably in the early 1980s, with his records "El guerrero", "Yo me quedo", and "Comienzo y final de una verde mañana".

Within the context of the nueva trova, Pablo is widely considered one of the closest to the traditional roots of Cuban music, while being open to diverse musical influences from other contemporary traditions, such as Brazilian music and Blues. The range of his compositions extends from starkly political anthems to inspired love songs. He set the poems of Cuban writers such as José Martí and Nicolás Guillén to music. Some of his most important musical influences were María Teresa Vera, Lorenzo Hierrezuelo, Barbarito Diez, Benny Moré, Lucho Gatica, and Johann Sebastian Bach.

He lived in Vigo, Spain, with his Spanish wife and two sons since 2004. In 2014, he received a kidney transplant, receiving an organ donated by his wife.

Since relocating to Spain, Milanés was publicly critical of some aspects of the Cuban government, though he remained dedicated to the Cuban Revolution. His willingness to speak openly about the failures of the revolution strained his relations with Silvio Rodriguez. Lately, he did not participate in pro-government campaigns. https://en.wikipedia.org/wiki/Pablo_Milan%C3%A9s

R.I.P

Born: 24 February 1943

Died: 22 November 2022

Standards De Jazz

Alvin 'Red' Tyler - Heritage

Bitrate: MP3@320K/s
Time: 41:07
Size: 94.2 MB
Styles: R&B, New Orleans jazz
Year: 1986/2004
Art: Front

[4:22] 1. Confusement
[4:03] 2. Under The Rainbow
[6:23] 3. I'll Only Miss Her When I Think Of Her
[7:10] 4. New Day
[4:10] 5. New Orleans Cakewalk
[5:12] 6. Heritage
[6:07] 7. Lush Life
[3:37] 8. No Relation

Saxophonist Alvin 'Red' Tyler is known to R&B historians as a member of the legendary New Orleans rhythm section that played on hit records by Little Richard and countless others. It was a surprise to the jazz world, then, to hear another side of Red on this album of exquisite modern jazz compositions (almost all written by Red for this recording), supported by a band of many of the best players in New Orleans. Johnny Adams' vocal on 'I'll Only Miss Her When I Think of Her' is a perennial radio favorite.

Heritage

Glenn Close & Ted Nash - Transformation

Styles: Vocal And Saxophone Jazz
Year: 2021
File: MP3@320K/s
Time: 77:23
Size: 178,8 MB
Art: Front

( 8:07) 1. Creation, Pt. I
( 5:13) 2. Creation, Pt. II
( 7:03) 3. Dear Dad/Letter
( 3:32) 4. Dear Dad/Response
( 5:37) 5. Preludes for Memnon
(11:18) 6. One Among Many
( 8:39) 7. Rising Out of Hatred
( 8:05) 8. A Piece by the Angriest Black Man in America
( 8:37) 9. Forgiveness
( 3:13) 10. Wisdom of the Humanities
( 7:54) 11. Reaching the Tropopause

Transformation is a multi-disciplinary work from saxophonist/composer Ted Nash, and iconic actress Glenn Close, exploring the multi-faceted and abstract theme of transformation. The works included examine the theme from both universal and individual conceptions. Music and literature at its best is clearly transformative for anyone experiencing it. Transformation is by essence, the highest and most illuminating expression of change. Nash embraced the project by creating a colorful and illustrative collection of pieces, embracing Close's curated literary selections recited by the fiercely talented cast of Wayne Brady, Amy Irving, Mathew Stevenson and Nash's son, Eli Nash. In doing so, he has brilliantly utilized the full range of sounds and full spectrum of colors of his collection of voices from the Jazz at Lincoln Center Orchestra.

Close's attraction and motivation to delve into the idea of transformation grew from her observation of the collective human psyche of current times. She explains, "I am acutely aware of the amount of violence, cynicism, stress and anxiety being pumped into our collective nervous systems. We are so fractured and in need of healing. I want to create an experience from which people are comforted, but also inspired, to discover their shared humanity."

The opening two connected pieces, "Creation Parts 1 and 2," take on transformation at the very beginning of the creation of matter and our world. Close chose "Tales From Ovid," by Ted Hughes to illuminate the conception, recited by both Close and Brady. Nash's musical framework for the piece is accented beautifully by alto saxophonist Sherman Irby, and trumpeter Wynton Marsalis. "One Among Many" shifts the focus from the primordial, to the individual, telling the story of Judith Clark's transformation from prison life to freedom in New York City. Amy Irving's recitation brings this stirring tale to an emotive clarity. Wayne Brady recites his own text on "A Piece By the Angriest Black Man in America (or How I Learned to Forgive Myself for Being a Black Man in America." Beginning with a finger snapping rhythm, Brady tells his very personal experience as a black man in modern America, with his well known humorous and whimsical wit and intelligence.

"Dear Dad/Letter," and "Dear Dad/Response" is a narration of the coming out letter for Nash's transgender son, Eli, and a father's loving response of love and support. Recited with poise and humor by Eli himself, the two pieces are beautifully honest and demonstrative of the very best of the human spirit. Nash delivers a father's loving response with his composition, but more importantly, with playing a response instrumentally on soprano saxophone that is as graphic and understandable a narrative as any spoken word performance could ever be. His son's personal transformation in a very powerful way illuminates the stated inspiration for all of the works skillfully created and performed in this collection. Nash's very colorful and visual compositions are reason enough to take on Transformation as a listener. His well crafted orchestral jazz is highlighted by the fine individual work of JALC members Tatum Greenblatt, Obed Calvaire, Victor Goines, Carlos Henriquez and the aforementioned Nimmer, Irby and Marsalis. Like so many recordings arising out of this period of history surrounding the worldwide Covid-19 pandemic, the recording is offered as an expression of transforming forms of hardship and despair into hope and light.By Paul Rauch
https://www.allaboutjazz.com/transformation-ted-nash-tiger-turn

Personnel: Ted Nash: saxophone; Glenn Close: voice / vocals; Wayne Brady: voice / vocals; Amy Irving: voice / vocals; Matthew Stevenson: voice / vocals; Wynton Marsalis: trumpet; Obed Calvaire: drums; Sherman Irby: saxophone; Marc Phaneuf: saxophone, baritone; Victor Goines: woodwinds; Mark Lopeman: saxophone, tenor; Paul Nedzela: saxophone; Ryan Kisor: trumpet; Tatum Greenblatt: trumpet; Marcus Printup: trumpet; Vincent Gardner: trombone; Elliot Mason: trombone; Christopher Crenshaw: trombone; Dan Nimmer: piano; Carlos Henriquez: bass.

Additional Instrumentation: Eli Nash - spoken word

Transformation

Judy Whitmore - Isn't It Romantic

Styles: Vocal
File: MP3@320K/s
Time: 53:33
Size: 148,7 MB
Art: Front

(3:32) 1. It Could Happen To You
(4:05) 2. I Remember You
(3:39) 3. Sunday In New York
(5:20) 4. You Go To My Head
(5:33) 5. The Nearness Of You
(4:15) 6. The Birth Of The Blues
(5:41) 7. Speak Low
(4:57) 8. Isn't It Romantic
(3:53) 9. In The Wee Small Hours Of The Morning
(4:20) 10. But Beautiful
(4:15) 11. Just a Little Loving'
(3:55) 12. Hallelujah I Love Him So

Sometimes it is a pleasure to listen to an album simply because the quality of the music is so consistently gratifying. And if the music is sung as well as Judy Whitmore sings it on Isn't It Romantic, well, that is icing on the cake, as are the superb performances by her supporting cast, especially pianist Tamir Hendelman and saxophonist Rickey Woodard.

The music is taken for the most part from the Great American Songbook, and much of it is performed at a medium to slow tempo, which suits Whitmore's sultry delivery to a T. Her grasp of emotional substance is superior, her timing impeccable, her warm mid-range voice steady and clear as a bell. To affirm that Whitmore brings out the best in every one of these songs would be a completely accurate summation. As to the songs, they include such enduring gems as "It Could Happen to You," "I Remember You," "You Go to My Head," "The Nearness of You," "Speak Low," "In the Wee Small Hours of the Morning," "But Beautiful" and of course, "Isn't It Romantic" (including the seldom-heard verse and an ardent solo by Woodard on alto).

Whitmore also sings Peter Nero's "Sunday in New York," Barry Mann/Cynthia Weill's "Just a Little Lovin,'" Ray Charles' "Hallelujah I Love Him So" and (with guest vocalist Peisha McPhee) Buddy DeSylva/Lew Brown/Ray Henderson's "The Birth of the Blues." For comparison's sake, Whitmore edges close to Frank Sinatra's definitive reading of "The Wee Small Hours," which is the highest praise a listener can bestow. Elsewhere, she holds her own against better-known versions of every tune, mostly by being unpretentious and letting the music speak for itself.

While Hendelman and Woodard are the most prominent soloists, there are engaging statements along the way by flutist Lori Bell, trumpeter Mike Rocha, bassist Alex Frank, and guitarists Mitchell Long and Larry Koonse. The rhythm section (Hendelman, Frank, drummer Dean Koba) is bright and attentive. And even though it is Whitmore's voice that carries the day, there is far more to her than mere vocal chords. Aside from a solid career as a jazz and cabaret performer and recording artist, Whitmore who is named for Judy Garland, a friend of her grandfather's at MGM Studios is a best-selling novelist, a theatre producer, a therapist with a master's degree in clinical psychology, and a licensed commercial jet pilot who also rides horses and cans peaches.

Where does she find the time? That must remain Whitmore's secret. Listeners should be grateful that she found time to record Isn't It Romantic, as it is easily endorsed as one of the year's most impressive vocal albums.By Jack Bowers
https://www.allaboutjazz.com/isnt-it-romantic-judy-whitmore-arden-house-music__24624

Personnel: Judy Whitmore: voice / vocals; Tamir Hendelman: piano; Lori Bell: flute; Ricky Woodard: saxophone; Mike Rocha: trumpet; Mitchell Long: guitar; Larry Koonse: guitar, electric; Alex Frank: bass; Dean Koba: drums; Brian Kilgore : percussion.

Isn't It Romantic