Nara Noïan - Merci Eternal French Songs

Styles: Vocal And Piano Jazz
Year: 2022
File: MP3@320K/s
Time: 58:46
Size: 135,2 MB
Art: Front

(3:30) 1. Et Moi Dans Mon Coin
(4:44) 2. La Bohème
(4:02) 3. Emmenez-moi
(4:14) 4. La Vie En Rose
(4:27) 5. Les Moulins De Mon Cœur
(3:13) 6. Göttingen
(4:10) 7. Mourir D’aimer
(3:28) 8. Padam, Padam
(4:20) 9. Quand Tu M'aimes
(3:54) 10. Les Parapluies De Cherbourg
(5:41) 11. Comme Ils Disent
(5:05) 12. La Mamma
(3:47) 13. Je Sais
(4:06) 14. Je M’voyais Déjà

All her life, Nara has been an artist with all her soul: by her parents, her relatives and the surroundings of her childhood in Armenia, by her studies or by her numerous creations.

Born in January 1971 in Erevan, Nara took from her 14th, both piano and accompanying lessons at the High Academy of Music "Komitas" and stage interpretation at the High Academy of Dramatic Art of Erevan. An outstanding feat! Even more, she gets the same year, in 1990, a first prize in both academies!

It’s in theater that she starts her professional life, since she entered in 1986 as a comedian in the National Theater of Stanislavsk, Erevan. But music followed straight away, as she started teaching in 1988 at the Academy of Ararat, Armenia.

As if it wasn’t enough, she made quite an instant entry in the movies world in 1990. She held the supporting role in the movie "Les Maudits", directed by Keussayantz (studio Armenfilm).

But for Armenia too, France is one of the most influential cultures. She got the leading role, this time in a 1993 Franco-Armenian movie by Mourad Djanibekian (studio M.J.N.) : « Double barrière ».

Nara still had a strong foothold in music, as she was teaching in the Academy "Jardin de Musique" in Courbevoie, France, from 1991 to 1993, then became the principal and teacher at the music school "Monde musical Anna Pavlona" in 1994, in Maison-Alfort, still in France.

1998 is a significant year for Nara: she plays the leading part in the movie "Nostalgie", directed by Frounsé Dovlatian (studio Armenfilm). She receives the women’s performance first prize at the movie festival of Kouibychev, Russia. The movie Nostalgie was projected in Centre Pompidou, within the cycle of "Armenian cinema".

Later, Nara came to Belgium. At first, she was headmistress and teacher at the "Monde de la découverte", an artistic center in Brussels, between 1998 and 2000. Nevertheless, music never left her. She accompanied a certain number of tours: Maria Kern (2000 -2001), le Bernard L’hoir ensemble (2000 -2003), before setting up her own bands.

Composer, it is only natural to find her on many projects: 2 CD’s of Christian Merveille (1,2,3 piano) in 2000 and « Si c’est comme ça » in 2001, and also a CD sponsored by the Chief Representative of the Children’s Rights, Claude Lelièvre in 2002: « Félicien le magicien »

Nara then started her band in 2003, « Bradyaga » (Nomad) (Home Records), performing on stage and ending up in a first CD « Promesses » in October 2005. All her musicians are big names.

Encounters were on the increase: she composed the entire soundtrack (amongst others, verses sets to music) of Jacques Mercier’s poetic show « Passage », created at the Théâtre le Public in Brussels, in 2006. The show runs, with Nara at the piano and the Bradyaga singer Laurence Waters, in the entire French-speaking world with a huge success.

In September 2006, a tour attracted a lot of attention: « Leyla and Majnun », with the singer from Uzbekistan Sévara Nazarkhan (Realworld Records – Peter Gabriel), and the singer from Tunisia Ghalia Benali, under the leadership of Gerry De Mol (Oblomov - …)

Nara has many projects in every artistic field she’s already tackled. Like "Doucha", a repertoire of which the original compositions are inspired from Armenian, Slavic and Oriental music, a threesome on stage with Laurence Waters and Tigran Ter Stephanian.
https://www.last.fm/music/Nara+No%C3%AFan/+wiki…

Merci Eternal French Songs

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Isabelle Bodenseh & Lorenzo Petrocca - Jazz à la Flute: Essenza

Styles: Flute And Guitar Jazz
Year: 2020
File: MP3@320K/s
Time: 52:19
Size: 120,1 MB
Art: Front

(5:21) 1. Incompabilididade de Genios
(4:07) 2. Secret Love
(6:38) 3. Lonnie's Lament
(5:44) 4. Captain Marvel
(6:25) 5. Time After Time
(5:43) 6. Tico Tico No Fubá
(5:04) 7. Tu si 'na cosa grande per me
(5:12) 8. Waltz for Debby
(3:36) 9. Essenza
(4:25) 10. Birk's Works

One thing is for sure: the duo "Essenza" with Isabelle Bodenseh (flutes) and Lorenzo Petrocca (guitar) may, with its program "Jazz à la flute" full of passionate, virtuosic music played with wit and passion, be one of the most extraordinary in the current jazz scene be counted. Whether it's their own compositions, jazz standards or pieces that are regarded as world cultural heritage, the music always develops in a fascinatingly different way at every concert, because the musical communication between the two instrumentalists is audibly unique and closely interwoven. Already during the first piece, the audience experiences the intensity, devotion and great developmental wealth with which the congenial partners play together. This is how musical adventures emerge from the compositions, which carry both the musicians themselves and the audience away.

The spirited half-French Isabelle Bodenseh (teacher for jazz flute at the Frankfurt University of Music) brings with her a huge pool of sound possibilities thanks to her immense flutist experience in numerous projects, in the field of studio recordings and long study stays in Frankfurt, Los Angeles and Havana (one-year DAAD scholarship). Whether jazz greats like Richie Beirach and Michael Sagmeister or well-known classical ensembles like La Serena or Verquer, Isabelle Bodenseh convinces them all with her stylish and very personal sound.

The enormous experience of Lorenzo Petrocca is proven by worldwide tours and countless CD recordings. In 2001, during a tour of America, he was awarded honorary citizenship by the city of New Orleans. Even today, companions such as Peter Herbolzheimer, Anne Sophie Mutter or Monty Alexander are amazed at his extraordinary development from boxer (1981 Württemberg boxing champion) to top guitarist.Translate By Google https://www-esse--musicbar-ch.

Personnel: Isabelle Bodenseh (Flute), Lorenzo Petrocca (Guitar)

Essenza

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Pat Healy - Sings Just Before Dawn · Her Complete Recordings

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 58:45
Size: 136,3 MB
Art: Front

(0:28) 1. Bobby Troup Introduces Pat Healy
(1:33) 2. I Wish I Were In Love Again
(2:38) 3. Bobby Troup Interviews Pat Healy
(1:42) 4. The Siren Song
(3:47) 5. Don't Ever Leave Me
(3:54) 6. The Siren Song
(3:38) 7. I'm A Dreamer, Aren't We All?
(1:39) 8. Boys And Girls
(2:47) 9. Naughty But Nice
(3:35) 10. Isn't It A Pity
(4:09) 11. When I Fall In Love
(4:07) 12. Nobody Else But Me
(2:21) 13. Easy Come 
(3:13) 14. Every Time
(3:26) 15. You Never Knew About Me 
(0:22) 16. Bobby Troup Introduces Pat Healy
(2:24) 17. Blue Moon
(3:51) 18. I've Got It Again
(0:55) 19. Bobby Troup Introduces Pat Healy
(1:38) 20. They All Laughed
(0:17) 21. Bobby Troup Introduces The Next Song
(1:40) 22. The Siren Song
(2:00) 23. Ever Since You Went Away (Bonus Track)
(2:30) 24. Bill Bailey Won't You Please Come Home (Bonus Track)

Miss Pat Healy (1927-2020) was born in Cleveland but at age 22 she settled in Los Angeles. She spent years filling various jobs before having the courage to make impromptu appearances at some local nightclubs. Finally in 1957 spirited by pianist Joe Marino, she quit her job and soon emerged as a praised and applauded singer by the audiences, winning soon her first professional contract as a guest vocalist on the television show Stars of Jazz, backed by the Paul Bley trio. As a consequence of her performance, she was offered to record for World Pacific Records.

On Just Before Dawn, her debut album, Pat sang eleven standard songs, some of them quite unusual, backed by cellist Fred Katz’s intimate approach to arranging and conducting, and by Joe Marino’s quartet. In both settings, she revealed herself as a vocalist with clarity of sound, style, sensitivity, and the ability to sing difficult songs, with the right accompaniment, resulting in this distinctive album, the first and only she recorded.The remaining recordings come from two later appearances of Pat in Stars of Jazz, where she can be heard with the backing of the Keith Williams orchestra, and finally, alone with her favorite accompanist, Joe Marino.By Jordi Pujol
https://www.amazon.com/Sings-Just-Before-Dawn-Recordings/dp/B0BXFSTGF4

Personnel: Pat Healy (vcl), Fred Katz (arr, dir), Paul Horn (as, bcl, fl), Paul Bley, Gerald Wiggins, Joe Marino (p), John Pisano, Howard Roberts (g), Charlie Haden, Hal Gaylor, Richard Von Holberg (b), Lenny McBrowne, Chico Hamilton, Shelly Manne (d)

Sings Just Before Dawn · Her Complete Recordings

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Stan Kenton - Journey Into Capricorn

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 39:56
Size: 93,1 MB
Art: Front

( 5:10) 1. Too Shy To Say
( 4:58) 2. Pegasus
( 4:36) 3. Granada Smoothie
( 6:11) 4. 90° Celcius
( 6:54) 5. Journey Into Capricorn
(12:05) 6. Celebration Suite

Journey Into Capricorn is the last studio album by American jazz musician Stan Kenton and his orchestra, released in late 1976, by Creative World Records. Recording sessions for the album took place in Hollywood, California on August 16–18, 1976. The initial release of the album titled both the album and the individual tune Journey To Capricorn. The later release reworked the cover art and corrected both titles to Journey Into Capricorn

Though written by Mark Taylor, Granada Smoothie is very reminiscent of Hank Levy's compositions. Taylor's well thought out arrangement of Too Shy To Say is a clever transformation of Stevie Wonder's pop music hit, the chart represents a continued push to keep Kenton's musical direction moving forward.

During the sessions two compositions were recorded but never got issued on the release: Ken Hanna's "Sensitivo" and Alan Yankee's arrangement of "Lush Life". Producer Bob Curnow, "I have an uneasy feeling that the takes were not really the best on any of their unreleased material, but still it would be nice to have them out after all these years." Curnow is unclear who now possesses the unissued Creative World masters; whether the masters were part of the deal with Gene Norman or if they are in possession of the Kenton estate.
https://en.wikipedia.org/wiki/Journey_Into_Capricorn

Musicians: piano and leader: Stan Kenton; saxophones and flutes: Alan Yankee, Bill Fritz (track: 6), Dave Sova, Greg Metcalf, Roy Reynolds, Terry Layne; trumpets: Dave Kennedy, Jay Sollenberger, Joe Casano, Steve Campos, Tim Hagans; trombones: Allan Morrissey, Dick Shearer, Jeff Uusitalo, Mike Egan, Doug Purviance (bass trombone); tuba: Mike Wallace; acoustic and electric bass: John Worster; drum set: Gary Hobbs; percussion: Ramon Lopez

Journey Into Capricorn

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Betty Roché - Singin' & Swingin'

Styles: Vocal
Year: 1960
File: MP3@320K/s
Time: 30:35
Size: 71,5 MB
Art: Front

(3:52)  1. Come Rain or Come Shine
(3:40)  2. A Foggy Day
(3:57)  3. Day by Day
(3:21)  4. When I Fall in Love
(3:04)  5. Blue Moon
(2:59)  6. Where or When
(2:12)  7. September Song
(4:14)  8. Until the Real Thing Comes Along
(3:13)  9. Billie's Bounce

Betty Roché should have been much more famous. She had two barely documented periods with Duke Ellington's orchestra and recorded three excellent albums as a leader from 1956-1961 (all of which are available on Cd), but then faded away into complete obscurity. This reissue (which is mistakenly given the incorrect date of January 24, 1961, which was actually Roché's following release) matches the singer with tenor saxophonist Jimmy Forrest, organist Jack McDuff (near the beginning of his career), guitarist Bill Jennings, bassist Wendell Marshall, and drummer Roy Haynes. Roché performs nine famous standards, coming up with fresh variations in her phrasing to such numbers as "Come Rain or Come Shine," "When I Fall in Love," "Blue Moon," and "Billie's Bounce." Recommended, as are all of the other recordings in her slim discography.

~Scott Yanow http://www.allmusic.com/album/singin-swingin-mw0000615285

Personnel: Betty Roché (vocals); Bill Jennings (guitar); Jimmy Forrest (tenor saxophone); Jack McDuff (organ); Roy Haynes (drums).

Singin' & Swingin' 

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Buddy & Monk Montgomery - The Mastersounds

Styles: Jazz, Cool
Year: 1960
File: MP3@128K/s
Time: 77:17
Size: 72,6 MB
Art: Front

(9:46) 1. Golden Earrings
(6:09) 2. People Will Say We´re in Love
(5:35) 3. (There Is) No Greater Love
(5:25) 4. West Coast Blues
(8:32) 5. I´ve Never Been in Love Before/Don´t Blame Me
(5:16) 6. I Could Write a Book
(6:43) 7. Whisper Not
(4:32) 8. Fink, Fank, Funk
(4:06) 9. It Could Happen To You
(5:48) 10. Try It
(4:48) 11. Alone Together
(5:06) 12. For now
(5:23) 13. Surrey With the Fringe on Top

This compilation combines the final two studio recordings by the Mastersounds (Swinging With the Mastersounds and A Date With the Mastersounds), minus one track, as all of the music wouldn't fit on a single CD. Vibraphonist Buddy Montgomery and his brother Monk Montgomery (on acoustic bass, rather than electric bass as shown on the cover photo) are joined by pianist Richie Crabtree and drummer Benny Barth for music that ranges from the laid-back take of "Golden Earrings" to a driving "People Will Say We're in Love" to an understated arrangement of "Whisper Not." This quartet primarily falls into bop, though it can be considered cool on several of the tracks due to its often reserved but melodic nature. The music is enjoyable, though not especially innovative. Since few of their recordings have been reissued in the CD era, the re-emergence of these two nearly complete sessions should be welcomed.~Ken Drydenhttps://www.allmusic.com/album/the-mastersounds-mw0000219122

Personnel: Vibraphone, Arranged By – Buddy Montgomery; Bass – Monk Montgomery; Drums – Benny Barth; Piano – Richie Crabtree

The Mastersounds

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Hailey Brinnel - Beautiful Tomorrow

Styles: Trombone And Vocal Jazz
Year: 2023
File: MP3@320K/s
Time: 39:25
Size: 90,7 MB
Art: Front

(3:41) 1. There's A Great Big Beautiful Tomorrow
(5:11) 2. I Might Be Evil
(4:12) 3. The Sound
(3:18) 4. Walk Between Raindrops
(2:54) 5. Tea For Two (Feat. Terell Stafford)
(4:20) 6. Wayfaring Stranger
(4:54) 7. A Cottage For Sale
(3:12) 8. There Will Never Be
(4:48) 9. I Want To Be Happy
(2:49) 10. Candy

Trombonist, vocalist, and educator is based in Philadelphia, PA. At the age of 12 she began performing throughout New England with her father Dave Brinnel. Brinnel was a finalist in the 2021 Sarah Vaughan International Jazz Vocal Competition, and featured on Spotify's 'Best Vocal Jazz of 2022' editorial playlist. She has performed at venues around the world, having played with artists such as The Smithsonian Jazz Masterworks Orchestra, The Philly Pops, Sherrie Maricle and the DIVA Jazz Orchestra, Ingrid Jensen, Anat Cohen, Tony Glausi, Haley Reinhart, Camille Thurman, and Pell.

As part of the Temple University Jazz Band led by Terell Stafford, she has played and recorded alongside many of today's top jazz artists, including Sean Jones, Ken Peplowski, Jimmy Heath, Ann Hampton Callaway, Jon Faddis, Luis Bonilla, Wycliffe Gordon, René Marie and Dick Oatts. In addition, she shared the stage with Maurice Hines and The DIVA Jazz Orchestra as part of the national tour of the Hines' off-Broadway production "Tappin' Thru Life".

Hailey Brinnel's performance highlights include prestigious venues such as Dizzy’s Club, The Kennedy Center, The North Sea Jazz Festival, The Kimmel Center, Alice Tully Hall at Lincoln Center, Birdland, The XPoNential Music Festival, The Lake George Jazz Festival, World Cafe Live, The Springfield Jazz and Roots Festival, and The Washington Women in Jazz Festival.

Her debut album, I'm Forever Blowing Bubbles peaked at #13 on Amazon's 'Jazz New Release' chart, and #44 on the website's Jazz Best-Seller chart. Brinnel's music is rooted firmly in the original intentions of 1920s-1940s jazz, arranged such that the energy is preserved but new life is undoubtedly breathed into them. Acclaimed trumpeter Terell Stafford praises Brinnel for “honoring the history of this music” and sounding “so pure and soulful” that “I can’t stop listening!” Her critically acclaimed sophomore album Beautiful Tomorrow was released in March of 2023, and features trumpeter Terell Stafford.

As an educator, Brinnel has worked in a variety of settings spanning early childhood, elementary general, secondary instrumental and vocal, private lessons, master classes, as well as collegiate-level education courses. She is currently on faculty at The University of the Arts, The Kimmel Center, and works as a guest clinician to bring jazz education to classrooms throughout the city. She was also a featured clinician in the 2020 National Jazz Conference with her workshop A Melodic Approach to Scat Singing.

Hailey Brinnel is a B.A.C. Musical Instruments Performing Artist and a signed artist on the New York based Outside in Music record label.
https://www.haileybrinnel.com/bio

Beautiful Tomorrow

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Harold Vick - The Caribbean Suite

Styles: Hard Bop, Soul Jazz
Year: 1967
File: MP3@320K/s
Time: 43:17
Size: 103,6 MB
Art: Front

(4:31) 1. Mango Walk
(1:57) 2. Saga Boy
(5:04) 3. Bongo Chant
(4:36) 4. Dance of the Zombies
(5:33) 5. Wha' Hupp'n?
(3:32) 6. Tiempo Medio Lento
(3:21) 7. Beguine
(3:06) 8. Haitian Ritual
(2:55) 9. Barbados
(3:10) 10. Jamaica Farewell
(5:26) 11. Leticia

Harold Vick led relatively few record dates of his own, but this little-known session is one of his better efforts. Known primarily for his work as a tenor saxophonist, Vick also plays soprano sax and flute on this mid-'60s RCA Victor album. Most of the disc is devoted to British tenor saxophonist Kenny Graham's eight-part "Caribbean Suite," which consists of musical impressions of various islands in the West Indies.

Joining Vick are trumpeter Blue Mitchell, vibraphonist Bobby Hutcherson, pianist Albert Dailey, guitarist Everett Barksdale, bassist Walter Booker, and drummer Mickey Roker, along with Latin percussion by Montego Joe and Manuel Ramos. Like other boppers who delved into Afro-Cuban music, Vick's arrangements of this obscure suite work very well. He also adds a fine take of Charlie Parker's "Barbados" and his own "Letitia," both of which fit in rather nicely with the album concept. Long out of print, this LP may be difficult to acquire. By Ken Dryden
https://www.allmusic.com/album/the-caribbean-suite-mw0000670014

The Caribbean Suite

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Buddy Cole - Hot And Cole

Styles: Easy Listening
Year: 2009
File: MP3@320K/s
Time: 31:57
Size: 74,7 MB
Art: Front

(2:01) 1. Christopher Columbus
(2:24) 2. The Dipsy Doodle
(2:26) 3. Judy
(2:58) 4. I've Got My Love To Keep Me Warm
(3:43) 5. Lullaby Of The Leaves
(2:36) 6. Idaho
(2:35) 7. Tuxedo Junction
(2:01) 8. Amor
(2:22) 9. As Long As I Live
(3:04) 10. Opus 1
(3:13) 11. I'll Remember April
(2:29) 12. Jersey Bounce

CD-R, Buddy first became famous for playing piano on stage with Judy Garland in A Star Is Born, but most of the work this great keyboardist did was behind the scenes, tickling the ivories for such vocal legends as Nat Cole and Bing Crosby. By the time he recorded this 1959 LP, though, Buddy had for the most part switched to organ, recording under his own name a number of jazzy, lounge music albums, of which this one is reckoned among the best, from its great, period artwork to the mellow, swingin' sounds Buddy coaxes from the keys. By Editorial Reviews
https://www.amazon.com/Hot-Cole-COLE-BUDDY/dp/B0045NXMJY

Personnel: Electric Organ [Hammond] – Buddy Cole

Hot And Cole

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Buddy Montgomery - Ties Of Love

Styles: Piano Jazz

Year: 1986

File: MP3@320K/s

Time: 44:07

Size: 101,2 MB

Art: Front

(6:57)  1. Muchissimo

(7:01)  2. Expressions In Blue

(5:24)  3. Darrah

(3:35)  4. All The Things You Are (A)

(5:43)  5. Ties (A/B)

(4:55)  6. Stablemates (B)

(4:33)  7. Rose Marie

(5:55)  8. Soft Earth

By 1986, Buddy Montgomery had not recorded as a leader for many years, and because he is so well-respected, his first Landmark outing became quite an all-star affair. Heard mostly on piano but also switching to vibes for two songs, Montgomery is joined on various tracks by trumpeter Claudio Roditi, David "Fathead" Newman on tenor and flute, guitarist Ted Dunbar, bassists Ron Carter and John Heard, drummers Marvin "Smitty" Smith and Billy Higgins, and a couple of percussionists. In addition, tenor saxophonist Eddie Harris jams on "Stablemates" and "Ties," and Marlena Shaw takes vocals on "Ties" and "All the Things You Are." Despite all of the guests, the leader (who contributed five of the eight songs) does not get buried in the proceedings and holds his own with his friends. ~ Scott Yanow http://www.allmusic.com/album/ties-of-love-mw0000193414

Personnel:  Buddy Montgomery - piano, vibes,  Marlena Shaw - vocal,  Eddie Harris - tenor sax,  Ron Carter - bass,  Ted Dunbar - guitar,  John Heard - bass,  Billy Higgins - drums, Steve Kroon - congas,  David "Fathead" Newman - tenor sax, flute, Claudio Roditi - trumpet, Marvin "Smitty" Smith - drums, Warren Smith - percussion

Ties Of Love

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Isabelle Bodenseh - Flowing Mind

Styles: Flute Jazz
Year: 2023
File: MP3@320K/s
Time: 49:52
Size: 114,9 MB
Art: Front

(6:44) 1. Confluting
(4:25) 2. Asap
(6:46) 3. Flowing Mind
(5:47) 4. Molecular Cooking
(4:29) 5. Dog Rose
(6:27) 6. Mediterranean Bossa
(5:41) 7. Sans Moi
(6:05) 8. Chilli Challi
(3:25) 9. Flowing Mind (With Strings)

Organ combos were very popular in the fifties and sixties. They seemed to fall out of favor in the seventies and, especially the eighties, when fusion took over the jazz landscape.

Isabelle Bodenseh just released an organ combo album that’s as good as any of the classics from the past. It’s a little bit different because Isabelle is a flute player. Most of the organ combos had a tenor sax player. I’m thinking of Eddie “Lockjaw” Davis with Shirley Scott or Red Holloway with JackMcDuff. This group isn’t as rambunctious as the older organ combos. That’s in preference to the quieter flute, but, they still swing just fine.

Isabelle Bodenseh is different than some of the flutists you heard in the seventies. She doesn’t just play pretty. Her breath control is amazing. She trills her notes. She bends them. She’ll overblow. Sometimes she’ll make rhythmic noises on her keys. Yeah, she plays pretty as well. She usually sticks to the bass flute, which sounds one octave lower than a regular C flute.

Isabelle formed her quartet in 2018 with Lorenzo Petrocca on guitar, Thomas Bauser on Hammond organ, and Lars Binder on drums. Isabelle Bodenseh wrote most of the tunes on the album. The other three members each wrote one. Lorenzo Petrocca reminds me of one of my favorite guitar players; Pat Martino. He gets such a beautiful tone out of his hollow body guitar and I love the way his notes hang in the air.

Petrocca wrote ‘Mediterranean Bossa’ and he really shows off his guitar skills on this. He solos more on this than the other tunes. Drums, organ, and flute are right beside him making him sound even better.

‘Flowing Mind, ’the title track comes on like a warm summer breeze with a bit of a bossa nova feel. The interplay between band members is seamless. Lars Binder on drums can sound like a melody instrument when he plays in duo with Isabelle. A Hammond organ can be pretty loud. Thomas Bauser has a light touch. He never overplays.

‘Chilli Challi ’has a cool funk groove going on thanks in part to the drummer’s steady beat. Binder doesn’t use his cymbals all that much but you notice them when he does. Bauser’s Hammond organ turn this tune into a cooker! I’ll be listening to Flowing Mind for some time to come. I wouldn’t be surprised if it helps usher in a renaissance of organ combos.By Tim Larsen https://jazzviews.net/isabelle-bodenseh-flowing-mind/

Personnel: Isabelle Bodenseh – flutes; Thomas Bauser – Hammond Organ; Lorenzo Petrocca – guitar; Lars Binder – drums; Hilde Singer-Biedermann – Violin (Track 9); Ruth Sarrazin – Cello (Track 9)

Flowing Mind

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Suil (Sue Matthews & Lynn Saoirse) - L'annmoor

Styles: Vocal
Year: 2001
File: MP3@320K/s
Time: 46:05
Size: 107,1 MB
Art: Front

(4:22) 1. The Sea
(3:16) 2. Helpless Heart
(3:05) 3. If I Gave My Heart
(4:33) 4. Haven For My Heart
(3:12) 5. Moondance
(4:15) 6. Between Midnight And Blue
(2:33) 7. Lift The Wings
(2:41) 8. The Helen's Kitchen Waltz
(3:33) 9. Winter, Fire And Snow
(4:07) 10. The Sky Road
(3:08) 11. On The Edge
(3:35) 12. The Oldeset Dream In The World
(3:39) 13. When My Love And I Parted

Like Eden Atwood and the late Susannah McCorkle, Sue Matthews is a very accessible jazz singer who incorporates cabaret and traditional pop elements. Matthews, who lives in the Maryland suburbs of Washington, DC, has a clean, crystal-clear, pretty sort of voice; she isn't a rugged, hard-edged singer à la Ernestine Anderson or Carmen McRae. Nonetheless, Matthews swings, and she brings a lot of blues feeling to her work. She has a big, full voice and an impressive range; for all the vulnerability that she displays, Matthews will never be accused of sounding like a waif. In fact, one can hear how she has been affected by some aspects of Ella Fitzgerald's singing, specifically, the softer, more caressing side that Fitzgerald often displayed on ballads (although Matthews isn't as forceful or as gritty as Fitzgerald could be on uptempo material). Some listeners have compared Matthews to Diane Schuur, but while Schuur's focus is traditional pop (of the pre-rock variety), Matthews' is essentially an improvising jazz singer (which isn't to say that she is a purist). And even though she is cabaret-influenced, Matthews does not get into the type of stereotypically campy lyrics that some modern cabaret artists are known for. To put it bluntly, Matthews (like Atwood and McCorkle) has the good taste to steer clear of cornball lyrics.

Matthews'first solo album, Love Dances, was released on the small SIR Records in 1991, and her second SIR release, When You're Around (which the East Coast singer co-produced with acoustic pianist Stefan Scaggiari), came out in 1993. After that, Matthews remained active in the Washington, DC area and toured Europe, but didn't record any more solo albums until the early 2000s. One at a Time, her third solo album, was released by Renata Music in July 2002. In addition to having a solo career, Matthews sings with a Maryland-based group called Guys & Doll, whose other members have included Tom McHugh (vocals, banjo, trumpet, kazoo), Bill Matthews (vocals, guitar), Tom Anthony (acoustic bass), and Ethan Hannigan (fiddle). Formed in 1996, Guys & Doll have toured Europe extensively, and those overseas performances are the focus of their CD Live in Ireland. By Alex Henderson
https://www.allmusic.com/artist/sue-matthews-mn0000586385/biography

L'annmoor

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Pat Healy - Pat Healy Sings Just Before Dawn

Styles: Vocal
Year: 2021
File: MP3@320K/s
Time: 37:20
Size: 86,2 MB
Art: Front

(3:48) 1. Don't Ever Leave Me (Feat. Fred Katz)
(2:23) 2. Easy Come, Easy Go
(3:58) 3. Siren Song
(3:15) 4. Every Time
(3:42) 5. I'm A Dreamer Ain't We All?
(1:42) 6. Boys And Girls
(2:49) 7. Naughty, But Nice!
(3:39) 8. Isn't It A Pity
(3:30) 9. You Never Knew About Me
(4:15) 10. When I Fall In Love
(4:12) 11. Nobody Else But Me

Miss Pat Healy (1927-2020) was born in Cleveland but at age 22 she settled in Los Angeles. She spent years filling various jobs before having the courage to make impromptu appearances at some local nightclubs. Finally in 1957 spirited by pianist Joe Marino, she quit her job and soon emerged as a praised and applauded singer by the audiences, winning soon her first professional contract as a guest vocalist on the television show Stars of Jazz, backed by the Paul Bley trio. As a consequence of her performance, she was offered to record forWorld Pacific Records.

On Just Before Dawn, her debut album, Pat sang eleven standard songs, some of them quite unusual, backed by cellist Fred Katz’s intimate approach to arranging and conducting, and by Joe Marino’s quartet. In both settings, she revealed herself as a vocalist with clarity of sound, style, sensitivity, and the ability to sing difficult songs, with the right accompaniment, resulting in this distinctive album, the first and only she recorded.More...By Editorial Reviews https://www.amazon.com/Sings-Just-Before-Dawn-Recordings/dp/B0BXFSTGF4

Pat Healy Sings Just Before Dawn

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Buddy Cole - Swing Fever

Styles: Jazz, Swing
Year: 2013
File: MP3@320K/s
Time: 29:54
Size: 69,3 MB
Art: Front

(2:07)  1. Heat Wave
(2:52)  2. La Rosita
(2:18)  3. Frenesi
(3:07)  4. The Moon Was Yellow
(3:24)  5. Poinciana
(1:49)  6. Crazy Rhythm
(1:35)  7. Pagan Love Song
(2:08)  8. Brazil
(2:13)  9. The Hour of Parting
(2:12) 10. The Peanut Vendor
(3:12) 11. Softly, As In a Morning Sunrise
(2:50) 12. Old Devil Moon

It seems like the last thing needed at a Nat King Cole recording session would be another pianist named Cole; there's a "carrying coals to Newcastle" groaner in there somewhere to be sure. But that is just what happened in Cole's late career when the smooth balladeer began concentrating on his vocals and session men were brought in to ripple the keyboards. One of these latter players was none other than Buddy Cole. The two men were not actually related, but that didn't stop many writers from assuming that they were brothers. Even worse, the big man Nat often got the credit for what were actually Buddy's piano solos, not robbing Peter to pay Paul but robbing Cole to play Cole. Buddy Cole's actual grand moment of clear public visibility was playing piano onscreen in A Star is Born, as in the original version with Judy Garland. Born Edwin LeMar Cole, he was basically more of a behind the scenes artist, attaining an excellent reputation in recording studios as both a player and conductor, providing innovative touches in his use of instruments such as celeste, harpsichord and organ on sessions.

Eventually he acquired the deluxe pipe organ originally used in the Hollywood United Artists theatre and built it into his home studio and created albums of instrumental music which have become cherished items in the weird collections of space age pop fanatics. Cole was raised right in the heart of show business in Hollywood and began working as a theatre organist in the early '30s. In the latter part of that decade he gigged with the dance bands of Frankie Trumbauer and Alvino Rey, among others.

He then worked his way into the studios and had a particularly busy schedule creating settings for popular vocal music and jazz singers of the day, including Louis Armstrong, Rosemary Clooney and Tex Ritter. His keyboard stool was a perch from which he was able to contribute to many aspects of popular culture in the '50s. Cole composed the theme for the game show Truth or Consequences and was thus heard noodling during the show for more than a decade. Examples of Cole's playing and band leadership on recordings include a pair of Bing Crosby's greatest singles, "In a Little Spanish Town" and "Old Man River". Film composer Henry Mancini was one of the first to dig Cole's work on organ, making use of him on the theme for the hit television show Mr. Lucky.

Unfortunately, Mancini and Cole then got into a feud about just who had invented the organ sound heard, resulting in Cole refusing to play on the soundtrack album for the show. Around this time Cole began recording a series of sides that are perceived as his masterworks, presenting the organ in various settings including solo and big band. These albums came out on Columbia,, Warner Brothers and finally the more specialized Alshire and Doric labels. Cole was married to Yvonne King, member of the King Sisters pop vocal quartet. His former boss Rey married sister Louise King. The pianist should not be confused with the gay comic of the same name.
By Eugene Chadbourne https://itunes.apple.com/gb/artist/buddy-cole/id120833#fullText

Personnel:  Bass – Red Callender;  Bongos – Jack Costanzo;  Guitar – Vince Terry;  Organ [Hammond] – Buddy Cole;  Percussion – Al Stoller, Lou Singer, Milt Holland

Swing Fever

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Tim Collins - For Good People

Styles: Vibraphone Jazz
Year: 2023
File: MP3@320K/s
Time: 67:28
Size: 155,1 MB
Art: Front

(5:30) 1. Mainline Rush
(6:00) 2. Trapped
(7:42) 3. For Good People
(7:02) 4. Don't Get Caught
(7:00) 5. Jak's Joint
(6:05) 6. Sweet And Lovely
(7:09) 7. Biboul Youssef
(7:50) 8. Situli Shuffle
(5:44) 9. Down The Old Road
(7:22) 10. Schorfheide

It is a stroke of luck for the German jazz scene that New Yorker Tim Collins came to Munich twelve years ago. The 45-year-old belongs to the small group of the world’s best vibraphone players. American critics already attested to this when he was still playing in his home country with musicians like Ingrid Jensen or Aaron Parks: Collins “is nothing less than exemplary,” wrote Downbeat Magazine, for example. Across the pond, he has proven it in collaborations with a wide variety of greats from John Hollenbeck to Danny Grissett to Henning Sieverts or Shinya Fukumori to the world musicians Quadro Nuevo or the young whiz kid Shuteen Erdenebataar. Now he underlines it with his fifth album “For Good People”..

Collins composed the title track in the fall of 2021 after learning about the death of an old friend. “In the past few years, I’ve lost more than a few good people in my life,” he says. “I wanted to pay tribute to them, but also to the good people who are still here.” The piece therefore became the album’s eponymous motto – but without any gloom at all. “After the darkness of 2020 and 2021, I wanted to look to the future with a more positive approach,” Collins says. As a result, the music is upbeat and joyful throughout. “The goal was to write music for my friends while having as much fun as possible. If we’re having fun, we know the audience is, too.”

One of his friends, who has been playing with him for many years but for the first time in this trio lineup, is 48-year-old Austrian drummer Christian Lettner, who learned his instrument from the age of eleven and studied at the music academies in Graz and Linz. Since the late nineties he has been one of the most sought-after European drummers, playing with Karl Ratzer, Nils Landgren, Jocelyn B. Smith, Adrian Mears, Joo Kraus, Johannes Enders or the WDR Big Band, among others, and has been a permanent member of Klaus Doldinger’s “Passport” since 2000. He is also a professor at the Salzburg Mozarteum and, more recently, at the Hochschule für Musik und Theater in Munich.

Then there is the Munich keyboard man Matthias Bublath, probably Collins’ most important and oldest companion. After studying in Linz, at the Berklee College of Music and the Manhattan School of Music, Bublath lived and worked in New York for nine years, and the two have known each other since then. Part of Bublath’s enormous productivity and versatility – he has, for example, recently released albums with a piano trio, solo piano and his “Eight Cylinder Bigband” – is that he is an outstanding specialist for the Hammond organ. This is what he plays on “For Good People”, while also contributing four compositions to the record.

Thus “For Good People” presents itself in the rare instrumentation of vibraphone, organ and drums, and accordingly contains the rousing mixture of heavy groove, catchy melodicism and technically outstanding solos. Starting with traditional jazz contexts, it moves through funk and African rhythms to neo-Romantic Mehldau-esque textures. The wild ride begins immediately with “Mainline Rush”, the opening track. After all, Collins’ piece is inspired by his nephews’ love of trains and races down the tracks like a locomotive accordingly. “Trapped” the first of four Bublath compositions is an odd meter piece with ethereal qualities. “Don’t Get Caught,” on the other hand, demonstrates with a driving 3:2 clave rhythm the deep connection all three musicians have to Afro-Cuban music with Collins having the great vibraphonist Cal Tjader in mind.

It continues with “Jak’s Joint,” a fun and relaxed backbeat number that makes you think of late-night diners with a band that plays all night. Next comes a complete mood change with the nostalgic, dark, and restless “Down The Old Road“. “I was thinking about the dark road in Lake George, NY, that led to a small lakeside house where my grandparents lived. It was always creepy at night, but you knew there were good people waiting for you in the house at the end,” Collins says. “Situli Shuffle” administers a hefty pinch of New Orleans after all, Collins and Bublath spent a lot of time together in the birthplace of jazz, soaking up its rich musical history.

Perhaps the most adventurous piece on the album is Bublath’s “Biboul Youssef.” Its unison melody, based on African rhythms, is reminiscent of seventies prog-rock bands like Yes or Genesis but still remains jazz. Finally, the only cover song is the standard “Sweet and Lovely” in a light-hearted arrangement by Collins. “I love good melodies,” he emphasizes. “I don’t think of playing standards any differently as I do originals it’s all about playing great melodies. ‘Sweet and Lovely’ is one.” So are all of them on this consistently enchanting album. A little masterpiece by and for “Good People.”
https://www.glm.de/en/product/tim-collins-for-good-people/

Personnel: Tim Collins (Vibraphone), Matthias Bublath (Organ), Christian Lettner (Drums)

For Good People

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Dianne Reeves - The Nearness of You

Styles: Vocal
Year: 1988
File: MP3@320K/s
Time: 50:12
Size: 115,3 MB
Art: Front

(4:55) 1. Softly As In A Morning Sunrise
(5:41) 2. Like A Lover
(4:08) 3. How High The Moon
(8:05) 4. For All We Know
(3:19) 5. The Nearness of You/Misty
(6:18) 6. You Taught My Heart To Sing
(5:39) 7. Ancient Source
(9:02) 8. Spring Can Really Hang You Up The Most
(3:01) 9. Oh What A Freedom

Five-time Grammy winner DIANNE REEVES is the pre-eminent jazz vocalist in the world. As a result of her breathtaking virtuosity, improvisational prowess, and unique jazz and R&B stylings, Reeves received the Grammy for Best Jazz Vocal Performance for three consecutive recordings a Grammy first in any vocal category.

Featured in George Clooney’s six-time Academy Award nominated Good Night, and Good Luck, Reeves won the Best Jazz Vocal Grammy for the film's soundtrack.

Reeves has recorded and performed with Wynton Marsalis and the Lincoln Center Jazz Orchestra. She has also recorded with the Chicago Symphony Orchestra conducted by Daniel Barenboim and was a featured soloist with Sir Simon Rattle and the Berlin Philharmonic. Reeves was the first Creative Chair for Jazz for the Los Angeles Philharmonic and the first vocalist to ever perform at the famed Walt Disney Concert Hall.

Reeves worked with legendary producer Arif Mardin (Norah Jones, Aretha Franklin) on the Grammy winning A Little Moonlight, an intimate collection of standards featuring her touring trio. When Reeves’ holiday collection Christmas Time is Here was released, Ben Ratliff of The New York Times raved, “Ms. Reeves, a jazz singer of frequently astonishing skill, takes the assignment seriously; this is one of the best jazz Christmas CD's I've heard.”

In recent years Reeves has toured the world in a variety of contexts including “Sing the Truth,” a musical celebration of Nina Simone which also featured Lizz Wright and Angelique Kidjo. She performed at the White House on multiple occasions including President Obama's State Dinner for the President of China as well as the Governors’ Ball.

Reeves’ most recent release Beautiful Life, features Gregory Porter, Robert Glasper, Lalah Hathaway and Esperanza Spalding. Produced by Terri Lyne Carrington, Beautiful Life won the 2015 Grammy for Best Jazz Vocal Performance. Reeves is the recipient of honorary doctorates from the Berklee College of Music and the Juilliard School. In 2018 the National Endowment for the Arts designated Reeves a Jazz Master the highest honor the United States bestows on jazz artists.
https://diannereeves.com/media/
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Personnel: Lead Vocals [Vocals] – Dianne Reeves; Acoustic Guitar – Kevin Eubanks (tracks: 2); Alto Saxophone – Greg Osby (tracks: 1, 4); Bass – Charnett Moffett (tracks: 1, 3 to 7), Tony Dumas (tracks: 9); Drums – Marvin Smitty Smith* (tracks: 1, 4, 6, 7), Michael Baker (2) (tracks: 9), Terri Lyne Carrington (tracks: 3, 5); Keyboards – David Torkanowsky (tracks: 9); Piano – Donald Brown (tracks: 1, 7), Mulgrew Miller (tracks: 3 to 6, 8); Tenor Saxophone – Gerald Albright (tracks: 9); Vibraphone – Bobby Hutcherson (tracks: 1, 7); Wind Chimes – Ron Powell (tracks: 2).

The Nearness of You

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Anne Ducros - Something

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 52:33
Size: 121,5 MB
Art: Front

(4:53) 1. The very thought of you
(4:53) 2. Something
(5:55) 3. Estate
(2:48) 4. Honeysuckle rose
(3:48) 5. I didn't know what time it was
(5:28) 6. Nuages
(3:59) 7. Samba saravah
(4:03) 8. I thought about you
(4:24) 9. April in Paris
(4:30) 10. Your song
(3:18) 11. Tea for two
(4:30) 12. The good life

Whatever the way in which we approach the subject, it is indeed a question here of a matter of strings... Vocal cords, first of all, those of Anne Ducros who, in the company of the 6 strings of the guitar of Adrien Moignard and the 4 strings of Diego Imbert's double bass, revisits 12 memory pieces that have inhabited his past as a listener.

She dedicates this record to the brilliant jazz violinist Didier Lockwood, friend and source of inspiration, who died much too soon. Anne Ducros is surrounded for this tribute by Diego Imbert, the one who was the double bass player in the Trio Didier Lockwood and whose musical creations and artists with whom he collaborated, including Archie Shepp, Aldo Romano, Richard Galliano, Eric Legnini, Tigran Hamasayan, Philip Catherine or the Gypsy Project by Bireli Lagrene, and many others that I won't mention otherwise there would be lines and lines…

The guitarist, Adrien Moignard, has released 2 albums, “All The Way” in 2010 and “Entre Actes with Rocky Gresset” in 2012, and he already belongs to the restricted circle of the great and highly appreciated specialists of Gypsy Jazz. Anne Ducros, this great lady and great voice, is a multi-award-winning French Jazz singer (notably: the Billie Holiday Prize from the Jazz Academy, the Golden Django, the Vocal Artist of the Year, Victoire de La Musique or Victoire du Jazz) and today she publishes her 9th album.

An opus of great beauty which offers you 12 varied and diverse titles which marked her and which she remembers particularly well. This goes through the “Something” of the Beatles, the “Clouds” of Django Reinhardt, “April In Paris” or “Tea For Two”, to show that all music can appear on the same opus, when the heart and soul of the artists interpret them with sincerity and sensitivity. With this superb album you are entitled to twelve standards that the marvelous voice of Anne Ducros updates for our greatest happiness!Translate By Google https://www-paris--move-com

Personnel: Anne Ducros - Vocal; Adrien Moignard - Guitar; Diego Imbert - Double Bass

Something

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Dr. Lonnie Smith - The Art Of Organizing

Styles: Hammond b-3 organ
Year: 2009
File: MP3@320K/s
Time: 64:31
Size: 148,0 MB
Art: Front

( 8:42)  1. When We Kissed At Night
( 7:20)  2. My Little Suede Shoes
( 9:20)  3. This Ain't Right
( 5:14)  4. Polka Dots And Moonbeams
( 7:44)  5. Softly As In A Morning Sunrise
( 8:21)  6. Turning Point
(11:11)  7. Night Song
( 6:36)  8. Too Damn Hot

Brace yourselves for The Art of Organizing, the very first appearance on Criss Cross by organ master Dr. Lonnie Smith. Guitarist Peter Bernstein and Billy Drummond, one of the more prolific and sensitive drummers of our time, completes the lineup. From his early days with George Benson and Lou Donaldson to the present day, Dr. Lonnie Smith has always been a driving force in jazz. The Art of Organizing, featuring Smith and trio on standards and a batch of strong new originals, is another contribution that will remain timeless. ~ Editorial Reviews  http://www.amazon.com/The-Organizing-Lonnie-Smith-Trio/dp/B002G5FLSS

Personnel: Dr. Lonnie Smith (Hammond b-3 organ); Peter Bernstein (guitar); Billy Drummond (drums).

The Art Of Organizing

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Sara Caswell - The Way to You

Styles: Violin
Year: 2023
File: MP3@320K/s
Time: 50:57
Size: 117,9 MB
Art: Front

(6:28) 1. South Shore
(6:18) 2. Stillness
(4:49) 3. 7 Anéis
(7:25) 4. On My Way to You
(4:31) 5. Voyage
(5:41) 6. Warren's Way
(4:51) 7. Last Call
(5:38) 8. Spinning
(5:12) 9. O Que Tinha de Ser

Although The Way to You is heralded as Grammy-nominated violinist Sara Caswell's first album as a leader in more than seventeen years, it was actually recorded in 2019, roughly four years before its release date. Still, it is Caswell's first new album in quite a long time, and those who relish her tasteful and melodic violin should be grateful for that.

Caswell leads her longtime working quartet here, with vibraphonist Chris Dingman sitting in on four of the session's nine numbers. The other members of the group are guitarist Jesse Lewis, bassist Ike Sturm and drummer Jared Schonig, each of whom enhances the album in his own way. Even so, it is Caswell's voice that is most emphatic and leads the way, and so the enterprise's success or lack thereof rests for the most part in her gifted hands.

Caswell composed three of the album's eight originals, which are presented back-to-back-to-back before the handsome finale, Antonio Carlos Jobim's "O Que Tinha de Ser," on which Caswell sets aside the violin and instead plays the slightly more mellow hardanger d'amore. As for Caswell's themes, perhaps the best of the three is the last one, the shapely "Spinning," a pensive, spare piece of beauty, wherein Caswell delivers her most enticing solo.

The opening number, "South Shore," was written by Australian trumpeter/composer Nadje Noordhuis It has its moments, as does bassist Sturm's even-tempered "Stillness" (on both of which Dingman's vibraphone lends color), but they are outshone by Brazilian composer Egberto Gismonti's light-hearted "7 Aneis," which leads to the pensive title song, a variation of Michel Legrand's "On My Way to You." Caswell is a superb soloist who excels on more animated numbers such as "Voyage" and "7 Aneis." That's not to imply that she is less than admirable in cooler climes, only that her more inspiring solos on The Way to You are delivered at faster tempos.

In sum, a stylish and well-played session that might have benefited from a more astute choice of material. As it is, Caswell and her colleagues make the most of what they decided to perform.By Jack Bowers
https://www.allaboutjazz.com/the-way-to-you-sara-caswell-anzic-records

Personnel: Sara Caswell: violin; Jesse Lewis: guitar; Ike Sturm: bass; Jared Schonig: drums; Chris Dingman: vibraphone.

The Way to You

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Teddy Wilson - What a Night... - The Definitive Swing Pianist

Styles: Piano Jazz, Swing
Year: 2023
File: MP3@320K/s
Time: 33:54
Size: 78,3 MB
Art: Front

(3:03) 1. Somebody Loves Me
(2:56) 2. What A Night, What A Moon, What A Girl
(3:04) 3. Sweet Lorraine
(2:51) 4. On Trasure Island
(3:03) 5. Life Begins When You're In Love
(2:58) 6. My Melancholy Baby
(3:19) 7. Sweet And Simple
(3:15) 8. Every Now And Then
(3:06) 9. I Found A Dream
(3:13) 10. I Feel Like A Feather In The Breeze
(3:06) 11. Breaking In A Pair Of Shoes

His airy, effortless style, with its emphasis on lightly accompanied right-hand melody, was a key element in the transition from swing to bebop, and many modern jazz pianists took Wilson's approach as their starting point. His early recordings were percussive and forceful, but as he matured his technique became graceful, almost elegant. He was a gifted artist who used the full range of his instrument to his advantage. His recordings with Billie Holiday and Benny Goodman’s trio and quartet during the 1930s are considered classics.

Wilson was born in Austin, TX in 1912, his parents were both schoolteachers. They left Texas in 1918 for positions at the prestigious Tuskegee College in Talladega, AL, one of the pioneer black universities. Wilson studied music at both the Tuskegee Institute and Alabama's Talladega College.

Moving on to Detroit and Toledo, Ohio, he started by joining up with Speed Webb and Milton Senior before heading to Chicago, where he played with the likes of Erskine Tate, Eddie Mallory, Clarence Moore, Jimmy Noone and Louis Armstrong. He traveled to New York in 1933 to join Benny Carter's orchestra, the Chocolate Dandies. After Carter disbanded the following year to take a position as arranger with Goodman's band Wilson worked with an all-star group led by Red Norvo in 1934 and with Willie Bryant's band during 1934 and 1935. He met Goodman in 1935 and in 1936 was asked to join the bandleader's trio, which also included drummer Gene Krupa. Lionel Hampton joined soon after, making it a quartet. Wilson became the first African-American publicly featured in Goodman's line-up.

During his time with Goodman, Wilson put together several small groups for recording sessions, and began a long career as a freelance recording artist that culminated in his marvelous series of discs with Billie Holiday. Other sessions featured such artists as Lester Young, Roy Eldridge, Lena Horne, Ella Fitzgerald, Helen Ward, and Harry James. Wilson left Goodman in 1939 to form his own big band, which included such top musicians as Doc Cheatham, Ben Webster, Rudy Powell, and Hal Baker. Thelma Carpenter was vocalist. Wilson's subtle style failed to win over audiences, however, who often complained that his orchestra sounded ''too white.'' He disbanded the group after only a year and formed a sextet that played regularly at the Cafe Society in New York from 1940 to 1946.

After 1946 Wilson worked mostly as a soloist or in a trio. In 1946 he became a staff musician for CBS radio and operated his own music school, and produced a series of recordings, the “Teddy Wilson School for Pianists,” (reissued on Mosaic) to demonstrate various elements of jazz piano.

He taught at Julliard through the early 1950s, becoming one of the first jazz musicians to do so, and stayed on the staff for seven years. His recording partnerships of the 1950s included significant albums with Lester Young and Benny Carter (both for Verve) in which Wilson's economical style was a perfect setting for each saxophonist. He made a series of recordings for Columbia in the mid-50s, and by the ‘60s had expanded his scope to world wide appearances.. He was part of the mother of all jazz tours, Benny Goodman’s 1962 State Department tour of Russia. He performed with international musicians, developing a close relationship with the Dutch Swing College Band, with whom he made four tours. Wilsons discography for the 1970s includes recording sessions in Copenhagen, Tokyo, Munich, Nice, and London. He was truly an international jazz star. He continued to work right up to the end, making appearances with Goodman, Hampton, Krupa, Benny Carter, Red Norvo and other all-star survivors of the Swing Era, and he also worked extensively with a trio including his sons-Theodore on bass and Steven on drums.

Teddy Wilson passed away in 1986.

Teddy Wilson maintained a phenomenally consistent standard until the end of his life, because of his influence and longevity; he is regarded by many critics as a significant pianist of the swing era. His extensive catalog of recordings as a sideman and leader, and his distinguished reputation amongst jazz aficionados and musicians alike, are his enduring testament.
https://www.allaboutjazz.com/musicians/teddy-wilson

What a Night... - The Definitive Swing Pianist

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