Monday, February 20, 2023

Gunhild Carling Big Band - Magic Swing!

Styles: Vocal, Swing
Year: 2007
File: MP3@320K/s
Time: 44:51
Size: 104,6 MB
Art: Front

(3:25) 1. Seventh Blues
(2:22) 2. Magic Swing
(4:11) 3. Memories
(2:54) 4. Jungle Log
(5:08) 5. Hindustan
(2:41) 6. After You've Gone
(2:45) 7. Diggeridoo
(3:15) 8. You Are My World
(3:15) 9. Some Day
(3:44) 10. Obelisk
(3:02) 11. Perdido
(1:56) 12. Chinatown
(2:54) 13. Ko Ko
(3:13) 14. Over the Rainbow

If Tommy Dorsey and Madonna had a baby, that child might very well grow up to be Gunhild Carling.

Ms. Carling, who will play the Key West Theater on Feb. 19, is known as Sweden’s Queen of Swing. She has made an international name for herself by performing jazz, swing and Big Band versions of contemporary songs such as Madonna’s “Material Girl,” Rick Astley’s “Never Gonna Give You Up” and Pharrell Williams’ “Happy,” to name a few. She attributes this sound to Postmodern Jukebox, a rotating musical collective founded by arranger and pianist Scott Bradlee. PMJ is known for reworking popular modern music into various musical genres, especially swing and jazz.

“People have been calling me the Queen of Swing for a long while,” Ms. Carling said by phone. “That and the Jazz Queen of Sweden. It started years ago and I’m happy to say it stuck.”

She’s a musical prodigy to be sure, proficient on the trombone, bagpipes, trumpet, recorder and stringed instruments such as the banjo, ukulele and harp often showcasing all of her skills in a single song while occasionally breaking into a tap dance or singing. And all with no formal training.

“I haven’t ever been to a music teacher,” Ms. Carling said. “That’s because I come from a family that plays music. I grew up outside of Malmö in the south of Sweden. Our house was always so full of variety circus, acting, dance, vaudeville and novelty. I just picked up instruments from when I was very young and played them. I started with the drums, then the recorder, trombone and trumpet. Then I started tap dancing and after that harmonica and bagpipe. Later, I began composing music.”

She said her greatest influences come from early jazz, particularly the New Orleans period, and the works of Louis Armstrong, Freddy Keppard, Jelly Roll Morton, Bix Beiderbecke and Billy Holliday. Her favorite instrument, however, is the trombone and she can play it in the style of all the jazz greats Tommy Dorsey, Jack Teagarden, Glenn Miller, Trummy Young, you name it.

“The trombone is very jazzy,” Ms. Carling said. “It’s very smooth and beautiful and lyrical, but it’s also very rough and bouncy. You can create so many really cool sounds with the trombone.”

She said her dream was always to come to America and tour the whole country, which she did, settling in San Francisco in 2019 with her husband and two children all of whom are also excellent musicians and frequently perform with her.

“I always perform with a band, depending on where I’m playing,” Ms. Carling said. “Sometimes it’s a combo, sometimes a full orchestra. When I come to Key West on Feb. 19, I’ll have my jazz band clarinet, trumpet, trombone and piano.”

Selected songs that night, she said, will include “Dream a Little Dream of Me,” “Bourbon Street Parade,” “Tiger Rag” and a mix of blues, jazz and swing from the Great American Songbook along with some original material of her own, possibly from her 2021 album, “Good Evening Cats.”

“And my family will perform with me that night,” Ms. Carling said. “My daughter plays trombone, saxophone, sings and dances. My son plays drums and my husband plays banjo and guitar.”

She added the best way to describe one of her concerts is it’s like attending a high-spirited party out of “The Great Gatsby,” with some New Orleans Mardi Gras thrown in for good measure.

“It will be something unexpected and unique, with great fun and a lot of energy,” Ms. Carling said. “You’ll hear some beautiful melodies and have a really enjoyable time. Plus, I have some of my own tricks. I play three trumpets at once, as well as bagpipes and about ten other instruments.”By Steven J.Smith
https://keywest.floridaweekly.com/articles/38967/

Magic Swing!

Mike Westbrook - After Abbey Road: Celebrating the 50th Anniversary of The Beatles' Classic (Live)

Styles: Contemporary Jazz
Year: 2019
File: MP3@320K/s
Time: 93:59
Size: 216,8 MB
Art: Front

( 5:28) 1. Come Together
( 8:05) 2. Something
( 3:34) 3. Maxwell's Silver Hammer
( 4:47) 4. Oh! Darling
( 3:55) 5. Octopus's Garden
( 9:39) 6. I Want You (She's So Heavy)
(15:41) 7. Here Comes the Sun
(13:26) 8. Because
( 6:52) 9. You Never Give Me Your Money
( 2:43) 10. Sun King
( 2:04) 11. Mean Mister Mustard
( 1:42) 12. Polythene Pam
( 2:36) 13. She Came in Through the Bathroom Window
( 3:49) 14. Golden Slumbers
( 2:37) 15. Carry That Weight
( 1:34) 16. The End
( 5:23) 17. She Loves You

This is a weird record, to say the least. Pianist Mike Westbrook and his English avant-garde octet remade the Beatles' entire Abbey Road record with unusual interpretations of each of the titles. The instrumental segments work best (Peter Whyman and Alan Wakeman are fine on reeds) but the overly pompous vocals of Phil Minton and Kate Westbrook, which lack the Beatles' humor, largely sink this strange outing. An interesting idea but the results are uncomfortable and not too appealing. by Scott Yanow
https://www.allmusic.com/album/off-abbey-road-mw0000315499

Personnel: Kate Westbrook, John Winfield (voices); Peter Whyman, Alan Wakeman (saxophones); Brian Godding (guitar) Andy Grappy (tuba) Peter Fairclough (drums); Mike Westbrook (piano)

After Abbey Road: Celebrating the 50th Anniversary of The Beatles' Classic (Live)

Ali Ryerson - Portraits in Silver

Styles: Flute Jazz
Year: 1995
File: MP3@320K/s
Time: 58:36
Size: 135,6 MB
Art: Front

(6:02) 1. Windows
(5:19) 2. Beatrice
(6:00) 3. Ausência
(4:16) 4. Shadowlight
(4:51) 5. Beautiful Love
(6:53) 6. Zingaro
(5:55) 7. Very Early
(6:53) 8. Jardin de la Paresse
(6:40) 9. Lament
(5:41) 10. The Summer Knows

A pleasant recording from this fine flutist, Portraits in Silver finds Ms. Ryerson playing several pieces which have had other flute interpretations. Her classically trained tone is clear and shimmering. With a sympathetic supporting cast, she mines new gold from the material, creating warm, beautiful, relaxing music. By Jim Newsom
https://www.allmusic.com/album/release/portraits-in-silver-mr0001444483

Personnel: Ali Ryerson, flute, alto flute; Kenny Werner, piano; Dennis Irwin, bass; Danny Gottlieb, drums, percussion

Portraits in Silver

Oliver Nelson - Meet Oliver Nelson / Main Stem

Bitrate: MP3@320K/s
Time: 72:25
Size: 165.8 MB
Styles: Saxophone jazz
Year: 2012
Art: Front

[7:02] 1. Jams And Jellies
[6:51] 2. Passion Flower
[3:44] 3. Don't Stand Up
[5:30] 4. Ostinato
[6:52] 5. What's New
[6:34] 6. Booze Blues Baby
[6:50] 7. Main Stem
[5:50] 8. J & B
[4:33] 9. Ho!
[6:11] 10. Latino
[5:18] 11. Tipsy
[7:03] 12. Tangerine

Kenny Dorham, Joe Newman (tp), Oliver Nelson (ts), Ray Bryant, Hank Jones (p), Wendell Marshall, George Duvivier (b), Charlie Persip, Art Taylor (d).

”Meet Oliver Nelson” marked the leader recording debut of a considerable talent in tenor saxophonist Oliver Nelson (1932-1975). He was to win even greater acclaim later as a composer and arranger, but at 27 he was already a vastly experienced performer and a notably imaginative soloist, affectingly sensitive on ballads like Passion Flower and What’s New, with a voluminous sound, full and fiery, on more driving material.

For his debut he had simpatico company in trumpeter Kenny Dorham, so lyrical on Booze Baby Blues, and a shrewdly chosen rhythm section in pianist Ray Bryant, bassist Wendell Marshall and drummer Art Taylor. It was a noteworthy beginning.

Recorded almost two years later, “Main Stem” was much more like a typical Prestige blowing session of the time, heavily dependant on the wit and invention of the participants. Fortunately, Nelson again chose his colleagues well. Trumpeter Joe Newman is particularly good and pianist Hank Jones is his usual lucidly impeccable self in a swinging rhythm section with bassist George Duvivier and drummer Charlie Persip, while the leader, on both alto and tenor, produces an abundance of melodic, well-constructed solos over a satisfying session.

Meet Oliver Nelson/Main Stem  

Sunday, February 19, 2023

Tom Harrell - Oak Tree

Styles: Trumpet Jazz
Year: 2022
File: MP3@320K/s
Time: 56:50
Size: 130,8 MB
Art: Front

(4:59) 1. Evoorg
(5:06) 2. Fivin'
(3:34) 3. Oak Tree
(3:48) 4. Tribute
(5:21) 5. Zatoichi
(5:05) 6. Sun Up
(4:29) 7. Improv
(5:22) 8. Shadows
(5:24) 9. Archaeopteryx
(7:01) 10. Robot Etude
(6:35) 11. Love Tide

Would it be overpraising Tom Harrell to describe his long recording career as practically peerless? Album after album, sometimes year after year, the Midwest-bred trumpet and flugelhorn virtuoso leading quartets, quintets, and sometimes even chamber orchestras has continued to release surprising new music. At 76, he’s still unearthing fresh sounds while digging deep into the jazz tradition, simultaneously referencing the brass players and bandleaders who preceded him and pointing to something new.

Oak Tree is yet another keeper. Joined by longtime bandmates Ugonna Okegwo on bass and Adam Cruz on drums, plus Venezuelan-born pianist Luis Perdomo, a relatively recent addition to his lineups, Harrell again offers a set of appealing, sometimes quirky originals. For opening track “Evoorg” (spell it backwards), he provides a master lesson in solo construction: Deploying a reassuringly warm trumpet tone, he alternates between melodic passages and waterfalling sprays of long phrases. He sometimes incorporates repetition, playing a string of similar phrases, each one configured slightly differently.

Harrell subtly nods to various influences. “Fivin’” has the leader mostly hitting the same note, playing the start-stop melody as the rhythm section shifts chords around him; it hints at Monk’s “Think of One,” combined with some ’70s electric-jazz flavors courtesy of Perdomo’s work on Rhodes. Tadd Dameron-style bop helps define “Improv,” with its deeply swinging groove fueling some of the album’s most inspired solos. “Archaeopteryx,” from its title to its high-flying improvisations, points to Charlie Parker.

The album ventures into varied stylistic terrain too. The aptly titled “Sun Up,” by rights the jazz anthem of the summer, is shaded in tropical colors, particularly reggae-tinted rhythms, and Okegwo sneaks in a sly quote of “Take Five.” And “Zatoichi,” named for the blind swordsman of Japanese pop culture, touches on free-jazz terrain. Like nearly everything else here, it slays. By Philip Booth
https://jazztimes.com/reviews/albums/tom-harrell-oak-tree/

Personnel: Tom Harrell: trumpet & flugelhorn; Luis Perdomo: piano & Fender Rhodes; Ugonna Okegwo: bass; Adam Cruz: drums

Oak Tree

Oliver Nelson - The Argo, Verve And Impulse Big Band Studio Sessions (Discs 1, 2 & 3 of 6-Disc Set)

Oliver Nelson was one of the more distinctive arrangers to be active in jazz, the studios, and popular music of the '60s. While most Nelson reissues focus on his always-excellent saxophone playing (whether on tenor or alto), this six-CD set, Argo, Verve and Impulse Big Band Studio Sessions, focuses on Oliver Nelson the arranger-composer-bandleader. He does take solos on some of these dates on tenor, alto,and soprano (his only recorded solos on that instrument), but it his writing that takes center stage. Included are his albums Full Nelson, Fantabulous, Jazzhattan Suite (which finds the ensemble called the Jazz Interactions Orchestra), Sound Pieces, and his unusual and reverent tribute set Musical Tribute to JFK: The Kennedy Dream. In addition, Nelson's writing for Leonard Feather's Encyclopedia of Jazz All Stars is here, plus his contributions (usually just part of each record) for sets by organist Shirley Scott (Roll 'Em), a group co-led by Ray Brown and Milt Jackson, and clarinetist Pee Wee Russell (The Spirit of '67). Topping off this well-conceived box are all of the music for organist Jimmy Smith's Hobo Flats, Peter and the Wolf (a classic jazz version), and Smith's first collaboration with guitarist Wes Montgomery, plus a few numbers from Smith's Bashin', Who's Afraid of Virginia Woolf, and Hootchie Coochie Man. In addition to the playing of Jimmy Smith (who was really at his peak during this period), Wes Montgomery, Shirley Scott, and Pee Wee Russell, the most memorable soloists are altoist Phil Woods, cornetist Nat Adderley (on the Feather date), and flugelhornist Clark Terry plus Nelson himself. There is plenty of classic material here (such as the Smith/Montgomery blues jamming on "Down by the Riverside") which, even when the big-band writing is secondary, serves as a superior tribute to the underrated Oliver Nelson. ~Scott Yanow

Album: The Argo, Verve And Impulse Big Band Studio Sessions (Disc 1)
Bitrate: MP3@320K/s
Time: 74:46
Size: 171.2 MB
Styles: Saxophone jazz
Year: 2012

[2:45] 1. Full Nelson
[1:51] 2. Skokiaan
[4:08] 3. Miss Fine
[3:04] 4. Majorca
[4:52] 5. Cool
[3:29] 6. Back Woods
[3:53] 7. Lila's Theme
[2:33] 8. Ballad For Benny
[2:48] 9. Hoe Down
[2:54] 10. Paris Blues
[3:48] 11. What Kind Of Fool Am I
[4:28] 12. You Love But Once
[4:09] 13. Teenie's Blues
[5:27] 14. Daylie's Double
[3:44] 15. A Bientot
[3:21] 16. Three Plus One
[5:25] 17. Hobo Flats
[3:57] 18. Daylie's Double
[4:04] 19. Teenie's Blues
[3:58] 20. Laz-Ie Kate


Album: The Argo, Verve And Impulse Big Band Studio Sessions (Disc 2)
Bitrate: MP3@320K/s
Time: 65:43
Size: 150.4 MB
Styles: Saxophone jazz
Year: 2012

[6:08] 1. St. Louis Blues
[6:25] 2. I Remember Bird
[2:31] 3. Ricardo's Dilemma
[3:11] 4. Patterns For Orchestra
[6:28] 5. The Sidewalks Of New York
[2:26] 6. Greensleeves
[3:20] 7. John Brown's Blues
[3:04] 8. Twelve Tone Blues
[4:42] 9. A Typical Day In New York
[4:10] 10. The East Side The West Side
[6:36] 11. 125th And Seventh Avenue
[3:07] 12. Penthouse Dawn
[5:23] 13. One For Duke
[8:06] 14. Complex City


Album: The Argo, Verve And Impulse Big Band Studio Sessions (Disc 3)
Bitrate: MP3@320K/s
Time: 53:29
Size: 122.5 MB
Styles: Saxophone jazz
Year: 2012

[4:05] 1. Roll 'em
[3:43] 2. For Dancers Only
[2:49] 3. Sophisticated Swing
[3:52] 4. Sometimes I'm Happy
[5:30] 5. Lined With A Groove
[4:49] 6. Lazy Theme
[5:12] 7. Now Hear My Meaning
[6:01] 8. In A Crowd
[9:41] 9. Sound Piece For Jazz Orchestra
[2:46] 10. Flute Salad
[4:56] 11. The Lady From Girl Talk


Sonny Stitt - Jazz At The Hi-Hat (Volume One)

Styles: Saxophone Jazz
Year: 1954
File: MP3@320K/s
Time: 59:35
Size: 141,1 MB
Art: Front

( 3:45)  1. Blue And Sentimental
( 7:20)  2. Thou Swell
( 4:30)  3. Every Tub
( 7:06)  4. Pennies From Heaven
( 3:52)  5. Sweet Georgia Brown
( 2:36)  6. I'm In The Mood For Love
(11:22)  7. Tri-Horn Blues
( 4:42)  8. If I Should Lose You
( 5:09)  9. Indiana
( 2:51) 10. Wigwam
( 3:19) 11. My Melancholy Baby
( 2:58) 12. Flyin' Home

Sonny Stitt is in excellent form on At the Hi-Hat. Recorded live at a Boston club, Stitt uses a local rhythm section (pianist Dean Earl, bassist Bernie Griggs, and drummer Marquis Foster) as he jams on a variety of standards. Stitt mostly switches between alto and tenor, but on "Tri-Horn Blues," he takes solos not only on both of those saxes, but also on his rarely heard baritone. Overall, this LP gives you a good all-around sampling of early Sonny Stitt. ~ Scott Yanow http://www.allmusic.com/album/at-the-hi-hat-mw0000093336

Personnel:  Alto Saxophone, Tenor Saxophone, Baritone Saxophone – Sonny Stitt;  Bass – Bernie Griggs;  Drums – Marquis Foster;  Piano – Dean Earl

Jazz At The Hi-Hat (Volume One)

Gene Segal - Spiral

Styles: Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 59:31
Size: 137,2 MB
Art: Front

(6:14)  1. Spiral
(5:39)  2. Creeper
(7:50)  3. Two Sides to Every Story
(5:46)  4. Us
(6:14)  5. Dharma
(6:11)  6. Hidden Place
(5:52)  7. Sunken Treasure
(4:41)  8. Into Night
(4:27)  9. Blues Out
(6:33) 10. Soulstice

Guitarist/composer Gene Segal is rapidly becoming a stalwart regular player of SteepleChase Lookout with this his 3rd album, for which Gene assembles an organ trio. With his unpredictable, open, unconventional style still intact Segal applies a mini paradigm shift to straighter jazz and reveals a new dimension.

Personnel:  Gene Segal guitar;  Brian Charette Hammond B3 organ; Bruce Cox drums

Spiral

Barry Harris, Muhal Richard Abrams - Interpretations of Monk

Album: Interpretations of Monk Disc 1
Styles: Piano Jazz
Year: 1981
File: MP3@320K/s
Time: 50:22
Size: 115,6 MB
Art: Front

( 0:41) 1. Announcement by Verna Gillis
( 6:39) 2. Introduction by Nat Hentoff
( 3:39) 3. Crepuscule with Nellie
( 8:25) 4. I Mean You
( 8:02) 5. Ask Me Now
( 3:41) 6. Gallop's Gallop
( 7:32) 7. Blue Monk
(10:16) 8. Four in One
( 1:23) 9. Poetry by Amiri Baraka

Three and a half months before Thelonious Monk died, two memorable tribute concerts took place at Columbia University. The lineup of musicians was perfect: soprano saxophonist Steve Lacy (long an expert on Monk's music), Thelonious' longtime tenor saxophonist Charlie Rouse, trombonist Roswell Rudd, trumpeter Don Cherry, bassist Richard Davis, either Ben Riley or Ed Blackwell on drums, and four different pianists. This legendary event was fortunately recorded, and the afternoon concert has been released in full on this 1997 double-CD set. Pianist Muhal Richard Abrams is on the first CD, while Barry Harris takes his place on the second half. Both of the pianists have a brief solo piece as a feature; Lacy takes "Gallop's Gallop" unaccompanied, and the full group jams on 11 of Monk's more difficult pieces. The unique opportunity to hear this combination of musicians and the many inspired moments make the double CD a highly recommended acquisition for anyone interested in the music of Thelonious Monk.~Scott Yanow https://www.allmusic.com/album/interpretations-of-monk-vol-1-mw0000035894

Personnel: Piano – Barry Harris , Muhal Richard Abrams; Bass – Richard Davis ; Drums – Ben Riley, Ed Blackwell ; Soprano Saxophone – Steve Lacy; Tenor Saxophone – ; Trombone – Roswell Rudd; Trumpet – Don Cherry

Interpretations of Monk Disc.1

Album: Interpretations of Monk Disc 2

(0:17) 1. Announcement by Verna Gillis
(4:15) 2. Ruby, My Dear
(7:25) 3. Light Blue
(9:14) 4. Eronel
(8:14) 5. Bye-Ya
(5:35) 6. Pannonica
(6:46) 7. Off Minor
(10:34) 8. Epistrophy

Interpretations of Monk Disc 2

Saturday, February 18, 2023

Carol Albert - Stronger now

Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 44:56
Size: 104,4 MB
Art: Front

(3:43) 1. Stronger Now
(4:20) 2. Love Again
(4:03) 3. Perfect Sunday
(4:24) 4. For The Moment
(4:25) 5. Femme Flight
(5:31) 6. Winter Rain
(3:55) 7. Sun’s Out
(4:39) 8. I am Fine
(4:23) 9. Moon On The Water
(5:27) 10. ‘Til We Meet Again

Jazz Pianist and vocalist Carol Albert has always Georgia in her mind, when she tours numerous countries worldwide. Her albums Love In Your Eyes (1992), Tides Of Change (1993), Christmas Impressions for the Piano (1995), Night Music (2006), Morning Music (2006), Christmas Mystique (2015), Fly Away Butterfly (2017) cover a broad spectrum ranging from easy listening, New Age, world music to smooth Jazz.

With her upcoming album Stronger Now (2020) she consolidates her position in the field of smooth jazz. Carol plays on this album piano, synth, keys, programming, bass, strings and more. She has written and arranged all songs. The well known guitarist and producer Paul Brown has made a significant contribution to this album as producer, arranger and mixer. He also performs guitar and percussion.

The following prolific musicians have added their personal accents: Lew Laing (drum programming, additional synths), Ben Babylon (strings and French horn arrangements), Sam Sims, Joseph Patrick Moore, Nathaniel Kearney, Roberto Vally (bass), Lil John Roberts (drums, percussion), Lee Thornberg (horn arrangement, flugel and valve trombone), Jay Williams, Gordon Campbell (drums), Curtis McCain (percussion), Ragan Whiteside (flute), Magdalena Chovancova (sax), Dennis Johnson (drum programming), Daniel Baraszu (acoustic guitar), Raheem Amlani (electric guitar).

The album opens with Stronger Now. With powerful keystrokes Carol dispels sorrow and worries and enchants the regained joy of life with her musical sunshine. Lew Laing provides the right background with a swaying rhythm and a sky full of strings. Love Again is the tonal embodiment of an emotional climax, which Carol also underlines vocally.

Perfect Sunday includes everything you imagine by a Sunday that means pure relaxation. Lee Thornberg's horns and Paul Brown's acoustic guitar add a cozy flavor to Carol's uplifting piano play. For The Moment has that special dreamy something, most of you know by Fleetwood Mac's Albatross, floating in space and time. The Latin tinged Femme Flight has impressed audience and credits alike as early single in 2018. Flutist Ragan Whiteside and saxophonist Magdalena Chovancova form together with Carol a musical triumvirate.

Winter Rain is a sonic mirror of the season that brings gloomy days and a subdued mood with it. Sun's Out, on the other hand, sets brighter things in the double sense of the word. I Am Fine is Carol's personal statement years after the lost of her husband. Encouragement and fragility unite in Carol's voice, which is sensitively accompanied by Paul Brown on the acoustic guitar.

Moon On The Water is similarly inspired to Beethoven's Moonlight Sonata. 'Til We Meet Again reveals something of Carol's faith and spirituality. She does not understand the lost as something final but sees hope for a reunification, which is also reflected in her music. Guitar virtuoso Daniel Baraszu accompanies Carol's piano interpretation with brilliant chords.

Carol Albert's new album Stronger Now has strong biographical traits and convinces in the power of the melodies. Carol does not follow the fashionable trend that prevails in smooth jazz, but remains true to herself and her style.
http://www.smooth-jazz.de/firstview/Albert/StrongerNow.htm

Stronger now

Royce Campbell - Nighttime Daydreams

Styles: Guitar Jazz
Year: 2008
File: MP3@320K/s
Time: 50:15
Size: 115,5 MB
Art: Front

(6:25) 1. I Love You
(7:35) 2. Nighttime Daydreams
(5:47) 3. I'll Remember April
(5:43) 4. Autumn Bossa
(7:02) 5. Wes
(6:43) 6. In A Sentimental Mood
(4:30) 7. Spring Bossa
(6:25) 8. Beautiful Love

Royce Campbell's blues-influenced, hyper-relaxed jazz-guitar playing has earned him accolades as a solo performer and made him a sought-after session musician. His first experience came touring the U.S. in Marvin Gaye's band, before being tapped by Henry Mancini, in whose orchestra Campbell stayed for two decades; Campbell's gentle, flowing swing formed a subtle backdrop for the composer's ever-cinematic works.

A versatile performer, Campbell's expert guitar graced recordings of everyone from Dave Brubeck to Liza Minnelli to Sarah Vaughan. In the '90s, Campbell stepped out under his own name, starting with the dreamily melodic Nighttime Daydreams in 1990, and eventually extending to several dozen recordings. By Rovi Staff https://www.allmusic.com/artist/royce-campbell-mn0000851616/biography

Nighttime Daydreams

Gene Segal - Mental Images

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 54:20
Size: 127,1 MB
Art: Front

(7:07)  1. Healing Feeling
(7:29)  2. Allegory of the Cave
(6:12)  3. Minds Eye
(4:10)  4. Irrational Drive
(7:57)  5. The Bearded Lady
(7:01)  6. Trapeze Act
(9:50)  7. The Ringmaster
(4:31)  8. Elephants

Guitarist and composer Gene Segal has put the intervening years between Mental Images and his recording debut, Hypnotic (Innova Records, 2009), to good use. While Segal still loves the funk, as the opening "Healing Feeling" definitively shows, the remainder of the album doesn't easily fit into any one musical pigeonhole;unless there's a category at your local music store called "accomplished, original jazz-rock from out of left-field." Russian-born and Brooklyn-raised, Segal has assembled quite a band for "Mental Images." Jon Irabagon is everywhere these days, and he's definitely here playing alto in his typical virtuoso fashion. Sam Sadigursky, not to be overshadowed, plays several reeds; including some lovely bass clarinet on "Mind's Eye." Though he and Irabagon only share reed duties on "Healing Feeling," each proves to be a first-rate front-line partner for Segal. The drums / bass combination of Jaimeo Brown and Sean Conley is mercurial and adaptive enough to keep up with the young guitarist who, it turns out, can be quite a handful. A quirky and unpredictable soloist, Segal's playing style is as mutable and restless as his composing. He gets his John Scofield on for "Healing Feeling" but quickly turns to a more personal style on "Allegory of the Cave," a dreamy waltz enlivened by the rhythm section's tight-but-loose interplay. The rest of the title suite stays in a harmonically hazy, almost free-ish mode, though Segal's incendiary duet with Irabagon on "Irrational Drives" closes the song cycle out with a huge exclamation point.

The second suite, "Circus Music," starts off in a similarly reflective mode, though fine solos by Sadigursky and Segal ramp the energy up during the course of "The Bearded Lady." "Trapeze Act" is a delicate filigree, while the swaggering, bluesy "Ringmaster" is perhaps the most forthrightly jazzy piece on the album. "Elephants" is the real surprise; a heavy sort of tune with a lugubrious theme, Segal's solo is an all-out twisted, distorted noisefest that could make Brandon Seabrook green with envy. Sadly, the piece fades out in the middle, ending an otherwise fine album rather weakly. The fact that Mental Images is comprised of two conceptually- distinct four-part suites suggests that the music of guitarist Gene Segal may be rooted in something deeper than a simple desire to earn a living playing original music. Segal's brief liner note points out Olivier Messaien as a seminal influence. While it's tough to establish a clear link between Messaien's mathematically-driven avant- gardism and the turbulent jazz rhythms and complex harmonies that pervade Mental Images, Segal singles out Messaien's notion of working with (or against) self-imposed compositional limitations as something that's really fed his musical soul. Just what these limitations might be is left for the listener to decide.
By Dave Wayne https://www.allaboutjazz.com/mental-images-gene-segal-steeplechase-lookout-review-by-dave-wayne.php
 
Personnel: Gene Segal: guitar; Jon Irabagon: alto saxophone; Sam Sadigursky: tenor & soprano saxophones, clarinet, bass clarinet; Sean Conly: bass; Jaimeo Brown: drums.

Mental Images

Friday, February 17, 2023

Lola Haag - Lola's Best!

Styles: Vocal
Year: 2021
File: MP3@320K/s
Time: 71:55
Size: 165,7 MB
Art: Front

(3:58) 1. Is You Is Or Is You Ain't My Baby?
(4:08) 2. I Got Lost In His Arms
(3:28) 3. I Just Found Out About Love
(3:00) 4. Trav'lin' Light
(3:52) 5. Put Your Head On My Shoulder
(3:46) 6. Blame It On My Youth
(3:40) 7. Don't Blame Me
(4:12) 8. Lost Mind
(3:35) 9. But Not For Me
(4:39) 10. When I Fall In Love
(2:54) 11. Darn That Dream
(2:40) 12. In A Sentimental Mood
(3:57) 13. How Long Has This Been Going On?
(4:04) 14. I've Grown Accustomed To His Face
(4:20) 15. Lately
(2:45) 16. Am I Blue?
(2:29) 17. A Certain Smile
(3:20) 18. I Don't Stand A Ghost Of A Chance
(2:39) 19. Whatever Lola Wants
(4:18) 20. God Bless The Child

Lola Haag in an Incredible Jazz Singer" Terrence Love, (Owner) Steamers Jazz Club, Fullerton, CA

Lola has headlined many of the top Jazz Clubs from New York to Los Angeles. She understands the art of entertaining like the great saloon singers of the past. Her live show is a blend of contemporary and timeless classics that can be sultry, romantic, sassy or classy. Critics have called her “first-rate…her show is reminiscent of the classy days of the nightclubs of a bygone era”. (LA Times)

Lola is a musical stylist. Each song she performs is bent and molded into something unique while still maintain the core of the original melody. “Take a seat, order your martini, and dig Lola’s vibe”.(Jazz Club Magazine)

The breadth of her music and the soulful sound of her voice make this album a treasure for any jazz music collection. It's always nice to hear someone who takes her music seriously, like Lola Haag does (William Grother Jazz New http://www.cdbaby.com/cd/lolahaag16

Lola's Best!

Mike Westbrook Orchestra - London Bridge: Live in Zurich 1990

Styles: Contemporary Jazz
Year: 2022
File: MP3@128K/s
Time: 146:27
Size: 135,7 MB
Art: Front

(12:43) 1. London Bridge is Broken Down
(29:00) 2. Wenceslas Square
( 7:42) 3. Berlin Wall: Nähe des Geliebten
(17:38) 4. Berlin Wall: Traurig aber falsch
( 8:05) 5. Berlin Wall: Ein Vogel
( 5:49) 6. Vienna: Viennese Waltz
(23:09) 7. Vienna: Für Sie
( 5:09) 8. Picardie: Blighters
( 5:18) 9. Picardie: Les Morts
(15:56) 10. Picardie: Picardie
(11:33) 11. Picardie: Une Fenêtre
( 4:22) 12. Picardie: Aucassin et Nicolette

Viewed from the other side of the Atlantic, Mike Westbrook is probably Britain's best kept secret. A composer, pianist and tubaist above all, composer Westbrook's recording career began in the late 1960s. Since then he has released upwards of fifty albums, spanning jazz rock through jazz and contemporary-classical fusions such as the 2 x CD London Bridge Live In Zurich 1990. Westbrook's albums have been performed by lineups ranging in size from trios through to, in this case, an eleven-piece jazz orchestra augmented by a thirty-five piece chamber orchestra (London's Docklands Ensemble) and the vocalist Kate Westbrook, his wife.

Five gets you ten, however, that a straw poll of audience members in the Village Vanguard any night of the week would result in minimal if not zero recognition of Westbrook's name. This is not to belittle New York audiences, for Westbrook has never made an attempt to break his music in America. Moreover, in Britain and Europe, where he has a following, he remains niche. The simple fact is that much of his music is serious, art not entertainment, though entertaining art, and is uncompromised by ambitions for commercial success. At age 86, Westbrook remains, as the French expression goes, a succès d'estime, revered by cognoscenti, unknown to the wider audience.

The cognoscenti know London Bridge well: a studio version, recorded in Paris, was released in 1988 (check the extract on the YouTube below). The album to hand was recorded at the Zurich International Jazz Festival two years later. It is hard to imagine anyone but the Swiss, bless them, reaching into their pockets to fly close on fifty musicians, their freight and support team out from London for a one-night stand, pay them a decent fee and accomodate them in comfortable hotels, which Westbrook confirms they did do.

The two-and-a-half hour suite, which is among Westbrook's finest, grew out of tours the Westbrooks made in Europe in 1986-87. It was a tumultuous time on the continent. After the upheavals in Western Europe of the 1960s and 1970s, pressure for change was building in the East. Places the pair visited, such as Prague's Wenceslas Square and the Berlin Wall, would soon take on new historical resonances. In October 1989, demonstrations in Wenceslas Square led to democratic elections in Czechoslovakia. On November 9, 1989, the demolition of the Berlin Wall began. A year and a day later, London Bridge Live In Zurich 1990 was recorded.

Mike Westbrook wrote the suite in five parts: "London Bridge," "Wenceslas Square," "Berlin Wall," "Vienna" and "Picardie." The music is monumental, in the best sense, its vibe spanning gentle intimacy on to the cruelty of autocracy and (in "Picardie") the horror of war. It never descends into cheap sentimentality. The standard of musicianship, like that of the material, is of the highest calibre. Among the soloists, saxophonists Chris Biscoe and Alan Wakeman, trombonist Paul Nieman and guitarist Brian Godding are particularly delightful. Kate Westbrook's sung/spoken word vocals are integral to the piece and are featured on eight of the twelve tracks. She recites texts by writers and poets including Goethe and the British war poet Siegfried Sassoon, who served in and survived the trenches in the First World War.

London Bridge Live In Zurich 1990 is spread over two CDs and is a digital reconstruction and remaster of the original stereo recording made by Swiss radio. The package comes with a booklet which includes original language and English translations of the texts Kate Westbrook delivers.

Postscript: Look out for the exquisitely lovely Music Is: Chris Biscoe Plays Mike Westbrook, coming out on Trio Records towards the end of November 2022. Biscoe, who has played with the Westbrooks every year since 1979 (pandemic excepted), has taken seven Westbrook pieces out of their original, mostly big band, settings and arranged them for an A-list quintet completed by bassist Dave Whitford, drummer Jon Scott, guitarist Mike Outram and pianist Kate Williams.By Chris May
https://www.allaboutjazz.com/london-bridge-live-in-zurich-1990-mike-westbrook-westbrook-records

Personnel: Mike Westbrook: composer/conductor; Kate Westbrook: voice / vocals; Graham Russell: trumpet; Paul Nieman: trombone; Alan Wakeman: saxophone; Peter Whyman: clarinet; Chris Biscoe: saxophone, soprano; Andy Grappy; Brian Godding: guitar, electric; Tim Harries: bass; Peter Fairclough: drums.

Additional Instrumentation: Graham Russell: trumpet, piccolo trumpet; Paul Nieman: trombone, electronics; Pete Whyman: clarinet, alto and soprano saxophones; Alan Wakeman: tenor and soprano saxophones; Chris Biscoe: baritone, alto and soprano saxophones, alto clarinet; Docklands Sinfonietta: strings, woodwinds; Rupert Bond: conductor.

London Bridge Live in Zurich 1990

Tom Cabrera - What I've Found

Styles: Post Bop
Year: 2022
File: MP3@320K/s
Time: 53:27
Size: 122,6 MB
Art: Front

( 8:16) 1. What I've Found
( 9:00) 2. Jopariol
( 6:38) 3. Noticeable Most When The Moon Is Hidden
(11:23) 4. Rivers of Light
( 8:31) 5. All Hallows
( 9:37) 6. Padma

New York based drummer Tom Cabrera graces the recordings and bandstands of so many creative ensembles, from the 12 Houses Orchestra to the Julie Lyon Quartet, that when it came to making his own record he decided on an intimate affair. Cabrera's trio features virtuoso pianist Bob Rodriguez and double-bass master Mark Hagan in dynamic, moving performances of the music of composer Jack DeSalvo.
https://tomcabrera.bandcamp.com/album/what-ive-found

Personnel: Tom Cabrera - drums; Bob Rodriguez - piano; Mark Hagan - double-bass

What I've Found

Mike Richmond - Turn out the Stars

Styles: Contemporary, Jazz
Year: 2023
File: MP3@320K/s
Time: 61:57
Size: 142,2 MB
Art: Front

(9:10) 1. Mean To Me
(8:24) 2. Waltz For Debbie
(8:46) 3. Bill's Hit Tune
(8:38) 4. B Minor Waltz
(6:16) 5. Peri's Scope
(7:34) 6. Turn Out The Stars
(6:59) 7. Orbit (Unless It's You)
(6:07) 8. You Must Believe In Spring

Mike Richmond's fourth cello album focuses on Bill Evans' music. Award winning bassist Richmond has a long exceptional career performing with Miles Davis, Stan Getz, Dizzy Gillespie, Horace Silver, Gil Evans and others. Richmond has recently been drawn more to playing cello which allows him a greater freedom in refined expressions.

Cello is wonderful in jazz. It's soulful, melodic, and is best in small combos. That's what you have in Mike Richmond: La Vie en Rose. ~ Cadence Magazine https://www.propermusic.com/sccd31941-turn-out-the-stars.html

Personnel: Mike Richmond: cello; Andy Laverne: piano; Jay Anderson: bass; Anthony Pimciotti: drums

Turn out the Stars

Thursday, February 16, 2023

Rossano Sportiello - Piano On My Mind

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 71:20
Size: 166,1 MB
Art: Front

(2:40) 1. Down Stream
(3:35) 2. You Took Advantage Of Me
(4:03) 3. Blowin' Up
(4:30) 4. I Cover The Waterfront
(4:31) 5. Cheek To Cheek
(3:35) 6. Sweet Lorraine
(3:57) 7. The Best Thing For You
(3:24) 8. That's All
(4:40) 9. Tenderly
(7:46) 10. Detroit Medley
(2:22) 11. Echoes Of Spring
(5:06) 12. Oh, Lady, Be Good
(4:59) 13. Bluesale
(4:20) 14. Tangerine
(2:39) 15. Sunny Morning
(3:41) 16. Body And Soul
(2:26) 17. All God's Chillun Got Rhythm
(2:57) 18. Flashes

Beiderbecke admired; his "Down Stream" opens this solo second CD by the young Italian pianist Rossano Sportiello as a peaceful atmospheric etude. "Blowin' Up" is the pianist's own, featuring a boppish theme with a running left hand. It slips into a string of ballads, "You Took Advantage of Me" to "The Best Thing for You," causing a sparkle without ruffling the mood. After the ballads comes a piece in medium tempo: "That's All" in a swing to bop style, with walking, ambling, and trotting basses, long left hand runs, and a manual gear-change for just a breath of classic stride. A miraculous touch keeps everything moving and coloured. Sportiello manages alternations of pace with exceptional fluency.

"Detroit Medley" is a sequence of three themes by Tommy Flanagan ("Dalarna"), Hank Jones with Coleman Hawkins ("Angel Face"), and Barry Harris ("Nascimento"), one of Rossano Sportiello's mentors. The demonstration of intimate affinities is followed by Willie the Lion Smith's "Echoes of Spring," which achieves amazing stillness. Even "Lady Be Good" is taken for a fair stretch at ballad tempo before the pace picks up. There's even some Monkish stride before a passage of straight medium-fast stride in a performance which also demonstrates puissant stride left hand.

"Bluesale" is the pianist's own twelve-bar theme as if he reincarnates some undeservedly forgotten pianist around from the 1940s, a species always neglected on record with a rare command of tone and an ability to phrase across or suspend the beat. The theme of Teddy Wilson's "Sunny Morning" sounds a tad boppish here. The composition is Wilson's encapsulation of his own style, whose rhythmic underpinnings were very different from the stride basis of the Sportiello style. The pianist maintains his own rhythmic distinctiveness here, which on the Wilson number makes for intriguing complexity.

Restrained master stride makes its appearance in "All God's Chillun Got Rhythm" in, well, amazing flashes. To make a graceless transition of a sort not on this CD, Eastwood Lane was, it seems, somewhere in the background when Beiderbecke composed "Flashes." He never himself record it, but he might have played it as strictly in tempo as he did "In a Mist." By the time of the 1935 premiere recording by Bix's friend Jess Stacy, jazz rhythm had loosened up, and Stacy's take is still well worth hearing.

This rendition has the singular Sportiello flexibility and flow, maintaining the same pulse which is audible through this relaxed set. Sportiello is among the least showy of pianists of such huge technical accomplishment. When a lot of notes come along, he phrases them with the dynamic command of an old master hornman or, among the pianists who are heroes to Rossano Sportiello, John Bunch.By Robert R. Calder
https://www.allaboutjazz.com/piano-on-my-mind-rossano-sportiello-jazz-connaisseur-review-by-robert-r-calder

Personnel: Rossano Sportiello: piano.

Piano On My Mind

The Tierney Sutton Band - The Sting Variations

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 66:55
Size: 155,2 MB
Art: Front

(5:46)  1. Driven to Tears
(5:53)  2. If You Love Somebody Set Them Free
(6:16)  3. Seven Days
(4:37)  4. Shadows in the Rain
(3:49)  5. Walking in Your Footsteps
(4:36)  6. Fragile/The Gentle Rain
(4:25)  7. Message in a Bottle
(4:45)  8. Fields of Gold
(4:03)  9. Fortress Around Your Heart
(5:07) 10. Language of Birds
(3:01) 11. Every Little Thing He Does Is Magic
(4:46) 12. Every Breath You Take (Lullabye)
(4:11) 13. Synchronicity I
(5:35) 14. Consider Me Gone

The Sting Variations is a logical follow up to seven-time Grammy nominee Tierney Sutton's solo album After Blue, in which Tierney Sutton re-imagined Joni Mitchell's iconic album Blue. This time, the full ensemble "The Tierney Sutton Band" returns with their unique interpretation of the best of Sting's diverse repertoire. "The Sting Variations" continues the band's history of their remarkably creative exploration of well-known songs. Embracing both massive hits and more obscure, deep album tracks from Sting’s catalog, The Sting Variations is the latest studio triumph from a group that has toured the world, and in recent years has headlined at the Hollywood Bowl, Carnegie Hall, the Kennedy Center and Jazz at Lincoln Center. Tierney and the band can also be heard on movie and television soundtracks, including the Academy Award-nominated film The Cooler, as well as on television commercials for prestigious brands such as BMW, Green Giant, Yoplait yogurt and Coca-Cola. Most recently, the band scored Clint Eastwood’s new film Sully. Imbued with immense talent and a genuine love for music and people, Tierney Sutton’s voice is one that transcends stylistic boundaries, touching the hearts of all who hear it. http://www.bfmjazz.com/index.php/artists/tierney-sutton-band/sting-variations/sting-variations-one-sheet
 
Musicians:  Tierney Sutton – Vocals;  Christian Jacob – Piano;  Kevin Axt – Bass;  Ray Brinker - Drums, Percussion

The Sting Variations

Mike Richmond Cello Quartet - The Pendulum

Styles: Jazz, Post Bop
Year: 2016
File: MP3@320K/s
Time: 65:57
Size: 152,3 MB
Art: Front

(6:43)  1. The Pendulum At Falcon's Lair
(6:21)  2. Cello Again
(8:59)  3. Two Litle Pearls
(6:18)  4. Laverne Walk
(7:28)  5. Why Not? That's What!
(7:00)  6. Tricotism
(7:32)  7. Tamalpais Love Song To The Winds
(6:39)  8. My Little Cello
(8:53)  9. Oscalypso

Not a record with four cellos in the lead but a set that features bassist Mike Richmond picking up the instrument in a glittering tribute to the genius of Oscar Pettiford! The set features all Pettiford compositions, played by a swinging group that features Peter Zak on piano, Jay Anderson on bass, and Billy Drummond on drums players who provide a warm core while Richmond mostly plucks the cello, and uses the instrument in wonderfully melodic ways that mixture of deep groove and lyrical swing that Pettiford brought to his most unique recordings of the 50s. Zak's piano has a harder bite, which makes for a nice contrast in tones and titles include "Why Not That's What", "Laverne Walk", "Cello Again", "The Pendulum At Falcon's Lair", "My Little Cello", "Tamalpais Love Song To The Winds", and "Oscalypso".  
© 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/837788/Mike-Richmond-Cello-Quartet:Pendulum

Personnel:  Mike Richmond (cello); Peter Zak (piano); Jay Anderson (bass); Billy Drummond (drums).

The Pendulum

Nicki Parrott - Misty

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 60:46
Size: 140,0 MB
Art: Front

(3:37) 1. Whatever Lola Wants
(5:07) 2. Misty
(5:03) 3. Bewitched, Botheered ad Bewildered
(4:25) 4. Old Devil Moon
(5:17) 5. The Nearness Of You
(3:33) 6. Ddestination Moon
(4:55) 7. Good Morning Heartache
(3:28) 8. Girl Talk
(3:31) 9. Big Spender
(3:14) 10. Never Let Me Go
(4:07) 11. It's Love
(5:34) 12. Everything Must Change
(4:59) 13. Here's To Life
(3:50) 14. At Last

Nicki Parrott, an internationally acclaimed bassist, arrived in New York in May of 1994, the recipient of a grant from the Australia Council for the Arts allowing her travel to the US and study with her mentor, one of the world’s premiere double bassists, Rufus Reid. In the same year she was also nominated for the “Australian Young Achievers Award”.

Today, Nicki Parrott is a world-class double bassist and an emerging singer/songwriter. In her work with artists from around the globe she has brought a signature sound to every bass part she has played. She performs regularly at the world’s best Jazz Festivals and can be seen Monday’s at the Iridium Jazz Club in New York City with the legendary guitarist and inventor, Les Paul. Since June of 2000, this union has been an ideal showcase for her musical abilities, flair for improv, and gift for entertaining a crowd.

Born in Newcastle, Australia, Nicki Parrott began her musical training on the piano at the age of four. She also took up the flute and continued to play both instruments throughout her school years. At the age of 15, Nicki switched her focus to the double bass, formed a band with her older sister Lisa (alto sax) and began composing instrumental pieces that they would eventually record for their premier CD release, The Awabakal Suite (2001).

After completing high school, Nicki moved to Sydney and attended the New South Wales Conservatorium of Music, where she graduated with an Associates degree in Jazz Studies. When bassists such as the legendary Ray Brown (Dizzy Gillespie, Ella Fitzgerald, Duke Ellington, Oscar Peterson) and John Clayton (Diana Krall, Whitney Houston) were playing in town, Nicki would find them, contact them and arrange lessons from them. She was awarded a scholarship to the prestigious Pan Pacific Music Camp, and soon after, took first place in the 1992 Jazz Action Society's Annual Song Competition for her composition, Come and Get It.

In 1990, Nicki began touring Australia with Russian musicians Daniel Kramer and Alexander Fischer playing sold out shows across the country. This was followed by successful tours with American trumpeters Bobby Shew and Chuck Findley. When she was off the road, Nicki was consistently playing bass with other world-renowned jazz musicians like New Zealand’s Mike Nock (piano), Australia's Dale Barlow (tenor sax), Paul Grabowsky (piano), Bernie McGann (alto sax) and the explosive Ten Part Invention.

In May of 2002, The Nicki and Lisa Parrott Quartet headlined the prestigious Mary Lou Williams Jazz Festival held at the Kennedy Center in Washington D.C. The show was broadcast on NPR and was well received by the press. She was also the resident bassist with the Kitchen House Blend, a house band that premiered and performed new music from local New York composers. They would blend jazz, hip-hop, classical and rock in one evening...“It was a very creative experience”.

Nicki expanded her musical repertoire and appeared on the Broadway stage in such shows as: Imaginary Friends, You're a Good Man Charlie Brown, Summer of '42, and Jekyll and Hyde. She is still active on Broadway today and regularly performs in the comedic musical, Avenue Q.

Since coming to the United States Nicki Parrott has performed and/or recorded with such notable musicians as Randy Brecker, Skitch Henderson, Jose Feliciano, Rebecca Paris, Bucky Pizzarelli, John Pizzarelli, Warren Vache Jr., Clark Terry, Michel Legrand, Billy Taylor, Dick Hyman, Patti Labelle & the New York Pops Orchestra, Annie Ross, the Florida Pops Orchestra, Terri Thornton, Holly Hoffman, DIVA, Marlena Shaw, Monica Mancini, Patrice Rushen, Harry Allen, Red Holloway, Kenny Davern, Mike Stern, Bernard Purdie, John Tropea, David Krakauer, Howard Alden, Randy Sandke, Greg Osby, Jack Wilkins, Ken Peplowski, Johnny Frigo, Joe Wilder, Houston Person, Wycliffe Gordon, Rachel Z and Johnny Varro.

Nicki has also performed at most of the world’s major jazz festivals. In the United States she’s appeared at the Newport Jazz Festival (2005), the Litchfield Jazz festival (2005), the Jazz in July concert series at the 92nd street Y (2003, 2004), the Detroit Jazz Festival (2005) and the Lionel Ha mpton Jazz Festival (2001).

Outside the USA Nicki has appeared at the Cully Lavaux Festival (Switzerland - 1995), the Grimsby Jazz Festival (UK - 1996), Berlin Jazz Festival (Germany - 1998), the Ottawa Jazz Festival (2004), the Krakow Music Festival (Poland), JazzAscona (2005, 2006), Bern Jazz Festivals (Switzerland - 2005, 2006), Edinburgh Jazz & Blues Festival (UK - 2006) and of course, she has played at numerous music festivals across Australia.

Nicki Parrott is committed to the continuing musical education women receive in order to further their careers and ultimately remain active as musicians past their teen years. In keeping with her sense of community, Nicki’s desire is to teach underprivileged kids to play instruments and learn to enjoy music. It is her belief t hat teaching music to children helps keep them interested in school and out of trouble.
https://www.allaboutjazz.com/musicians/nicki-parrott

Misty