Tony Kofi - Future Passed

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 64:59
Size: 150,9 MB
Art: Front

(4:20)  1. The Journey
(4:55)  2. Suibokuga
(5:17)  3. Zambia
(4:22)  4. A Song For Pappa Jack
(6:34)  5. As We Speak
(7:47)  6. Blue Pavel
(5:29)  7. The Eternal Thinker
(7:04)  8. Jubilation (For Boo)
(9:45)  9. Brotherhood
(3:14) 10. April The 13th
(4:40) 11. This Dream Of Mine (For MJ)
(1:27) 12. We Out

Though its nuances may not be readily apparent online, the back and front sleeve art for Future Passed, London saxophonist and ex-Tomorrow's Warrior Tony Kofi's second album as leader, is reminiscent of the time-travelling cover of Curtis Counce's 1958 recalibration of hard bop, Exploring The Future. There are no astronauts on Kofi's sleeve, true, but the retro TV console, its 1960s design inspired by NASA space helmets, and the deep space panorama surrounding it, suggest a similar restlessness with present time and space. There are musical parallels, too: both albums grow out of, but are not constrained by, the hard bop codifications of the late 1950s. But while Exploring The Future was an attempt to fast-forward out of the era, Future Passed is concerned with recapturing its passion and hard driving swing. The album is an authentic recreation of the neon-lit soul-jazz of the period, flickering with glimpses of Jimmy Smith, Cannonball Adderley, Lee Morgan and Hank Mobley, and co-starring the full fat B3 Hammond of Anders Olinder, a young Swede who belies his professorial appearance by playing like he cut his teeth backing up Willis "Gator" Jackson in tent shows. All of the tunes are Kofi originals, distinctive but deep in the tradition.

Greasy and hard swinging, as far retro as ever can be, it's the real deal. But that's only part of the album's appeal, for the eloquence of Kofi's playing be it ecstatic, meditative, funky, pretty or sorrowful can take the music beyond genre, into the timeless verities of the jazz continuum. The band is dynamite, too. Along with Olinders, who crackles and burns from start to finish, Kofi has assembled a formidable team of young London lions, including fellow ex-Tomorrow's Warriors Robert Fordjour on drums, happy most of the time to stay out of the spotlight and drive the engine, and guest trumpeter Byron Wallen, who steps forward magnificently on the boppish "The Journey" and with elegaic tenderness on Kofi's memorial to his father, "A Song For Pappa Jack." In his own, less spectacular and more rootical way, Kofi is as important and to-be-treasured a player and composer as his contemporaries who are pushing back the boundaries via electronica, through-composition and infusions of rap, folk, world musics, minimalism, whatever. ~ Chris May https://www.allaboutjazz.com/future-passed-tony-kofi-specific-jazz-review-by-chris-may.php

Personnel: Tony Kofi: alto, soprano, baritone saxophones; Anders Olinder: B3 Hammond Organ; Robert Fordjour: drums; Byron Wallen: trumpet (1,3,4); Cameron Pierre: guitar (5,8-10); Donald Gamble: percussion (3,8).

Future Passed

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Ute Lemper - Time Traveler

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 40:50
Size: 94,3 MB
Art: Front

(4:06) 1. Time Traveler
(4:40) 2. In My Flame
(3:58) 3. Moving On
(4:36) 4. Magical Stone
(4:53) 5. At the Reservoir
(4:09) 6. Little Face - the Sequel
(3:45) 7. Man with No Face
(3:23) 8. Envie D'Amour
(3:29) 9. Cry in the Dark
(3:46) 10. The Gift

With Time Traveler Ute Lemper accomplishes the unusual feat that, for listeners, the 23 years which lie between the individual songs aren't obvious at all. The present in the past and the past in the present merge as if by osmosis. With her new album, Ute Lemper emancipates herself musically from all categories. Depending on socialization and personal preferences one can hear these songs as pop, rock, jazz, soul or chanson, all of these at once, or simply just as Ute Lemper.

She is no longer ready to live up to any expectations, but rather draws inspiration from songs that she herself enjoys listening to. This includes references to artists and bands like Hiatus Kaiyote, John Legend, Joni Mitchell, Sarah McLachlan, Annie Lennox, Erykah Badu or Robert Glasper but without attempting to copy any of them. All songs are one hundred percent Ute Lemper. In some pieces she takes risks in terms of production and sound, initially luring the listener onto a completely wrong path, such as in the title track; in others she conceals small surprising details in the production, putting the songs, herself and not least of all the auditory perception to the test over and over again.

Time Traveler is a very personal album, but its message extends far beyond Ute's own life experience. With Time Traveler, Ute Lemper has given a wonderful gift to herself. And yet, first and foremost, it is an album that functions like a signpost. In the unsparing self-honesty with which, in a most accessible way, Ute Lemper reflects on her life, it's possible for most listeners to find themselves as well. Also available is Ute Lemper's fantastic tribute to Marlene Dietrich Ute Lemper - Rendezvous With Marlene SKU. By Editorial Review https://www.amazon.com/Time-Traveler-Ute-Lemper/dp/B0BYPM51LS

Time Traveler

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Roxy Coss - Disparate Parts

Styles: Saxophone Jazz
Year: 2022
File: MP3@320K/s
Time: 61:51
Size: 238,0 MB
Art: Front

(1:09) 1. February (Take 3)
(6:35) 2. Part I: The Body
(6:02) 3. Part II: The Mind
(4:42) 4. Part III: The Heart
(6:19) 5. Part IV: The Spirit
(1:06) 6. February (Take 5)
(5:56) 7. Disparate Parts
(7:26) 8. Ely, MN
(1:17) 9. February (Take 1)
(6:34) 10. Mabes
(5:50) 11. Sunburn
(1:41) 12. February (Take 4)
(5:48) 13. Warm One
(1:21) 14. February (Take 2)

Let's just get thing one out into the open right away: Disparate Parts has plenty of balls to spare.

Saxophonist Roxy Coss' acute, teasingly biting tone and rich, no boundaries disposition to composing and jamming has placed her high in the generational echelon of new and challenging players. She willingly and unapologetically blends and blurs the lines to suit any and all missives, and the fourteen fireballs heard loud and clear on Disparate Parts broach nothing less. Commandeering the same team of trusted cohorts that broke sharply into view on 2018's impactful The Future Is Female (Posi-Tone) and 2019's fiercely defining Quintet (Outside In) guitarist Alex Wintz, pianist/keyboardist Miki Yamanaka, bassist Rick Rosato and drummer Jimmy Macbride hold no bars as they charge headlong into the ever cresting Disparate Parts.

Coss, seven months pregnant and ready to rumble with the best of them at recording time, opens the set briskly with "February (Take 3)," only to enter a vaguer formlessness which serves as the launch pad for the explosive "The Body." Hitting hard and often, the track crunches like classic grunge only to give way to a succession of romping, bandstand hand-offs. But Coss and company quickly pull the rug out, as Wintz blasts into a feverish slicing solo. It is startling! It is exhilarating! It is the great noise of young humans breaking from the folly of their warring elders who have locked them down for two whole years.

"The Mind" swirls into consciousness as if working its own equilibrium from the monumental track before it. With her Rhodes geared to overdrive, Yamanaka carries the tune like Chick Corea, like Herbie Hancock, like Joe Zawinul in grand fusion fervor. Coss telegraphs over Yamanaka's insistence as Macbride and Rosato drive and drive and drive. "The Heart" and "The Spirit," the last two entries to Coss's conceived suite, culminate in yet another singular Wintz solo as Coss implores or her soprano and the rhythm section washes over it all.

The full-on, hard bop animated title track finds Coss's strident solo serving to blow clear the way for Wintz's fleet fingered filigree and even shimmering Rhodes work by Yamanaka, who seems particularly charged up on this set. But truth be told and with such stunning evidence as Wintz's prosaic "Ely, MN," Yamanaka's "Sunburn," where Wintz and Coss are absolutely heroic in their playing and 3/4 timed tribute to Harold Mabern, "Mabes," and Macbride's reflexive, "Warm One" that can be said for one and all, which makes Disparate Parts as complete and forceful a statement as it can humanly be. By Mike Jurkovic https://www.allaboutjazz.com/disparate-parts-roxy-coss-outside-in-music

Personnel: Roxy Coss: saxophone, tenor; Alex Wintz: guitar; Miki Yamanaka: piano; Rick Rosato: bass, acoustic; Jimmy Macbride: drums.

Disparate Parts

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Tony Kofi Quartet - Silent Truth

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 54:24
Size: 124,7 MB
Art: Front

(5:27)  1. Giants
(4:11)  2. Dante
(4:54)  3. Cicada
(5:16)  4. First Breath
(6:50)  5. If I Spoke My Mind
(6:49)  6. Oont
(5:00)  7. Unremoved
(7:30)  8. Inner Truth
(3:19)  9. Disharmony
(5:04) 10. Bishop's Move

Saxophonist Tony Kofi is that increasingly rare thing on the British jazz scene, a player who didn't spend three years "learning" the music at an academic institution, but who discovered it, and developed his gift for it, mostly on the bandstand. True, Kofi did once spend a year at Berklee College of Music on a full scholarship, but the bulk of his learning curve came earlier, in workshops and on gigs in his hometown, Nottingham, and later, in the real-world finishing schools of the London-based Jazz Warriors and Tomorrow's Warriors. As he tells it, Kofi came to the alto saxophone, his main instrument, via a near miracle. Having left school, he was working as an apprentice carpenter on a building site. One day, he fell three floors through the empty shell of the building. He should have died, but didn't and on the way down his mind flashed on a brilliantly illuminated alto. Kofi knew that, if he survived, the alto was his destiny. The Silent Truth is Kofi's third album as leader, following Plays Monk (All Is Know) (Specific Jazz, 2004), which featured the same quartet on a set of Thelonious Monk compositions, and Future Passed (Specific Jazz, 2006), a brilliant, irresistible celebration of late 1950s/early 1960s saxophone/organ groove combos. This time, Kofi's urgent, testifying alto played in a heavily vocalized style peopled by the likes of Charlie Parker, Lou Donaldson, Cannonball Adderley, Earl Bostic and Dudu Pukwana is featured on a set of band originals generally, but not exclusively, inspired by the more visceral end of the hard bop of the 1960s. The exceptions are pianist Jonathan Gee's acerbic "Disharmony" and lovely Pat Metheny-esque ballad "Cicada," and bassist Ben Hazleton's pretty "Oont," on which Kofi plays soprano. Most of the tempos are up, as established with the swinging funk of Kofi's opening "Giants," in which his riffing, multi-tracked horns trade hard-driving fours with drummer Winston Clifford. But even when the pace is more measured, as on "Cicada," "Oont" and the intimate, after-hours vibe of Kofi's "First Breath," it feels like everything could boil over at a moment's notice. Kofi solos with his trademark soulful lyricism, and gives plenty of solo time to the outstanding Gee, here most frequently in Horace Silver/Bobby Timmons/Les McCann sanctified funk mode. If the parameters, as on Kofi's previous albums, are mostly retro, the impact of the music is again wholly of today. Kofi deals not so much with the past as with the eternal truths of jazz music swing, in-the-moment lyricism, the lust for life and he continues to find compelling ways to express them. His albums are heartfelt, unpretentious explosions of joy, and precisely what the doctor ordered. ~ Chris May https://www.allaboutjazz.com/the-silent-truth-tony-kofi-specific-jazz-review-by-chris-may.php

Personnel: Tony Kofi: alto, soprano and baritone saxophones; Jonathan Gee: piano; Ben Hazleton: double-bass; Winston Clifford: drums.

Silent Truth

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Mike Clark - Mike Clark Plays Herbie Hancock

Styles: Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 46:14
Size: 106,4 MB
Art: Front

(7:18) 1. Toys
(7:10) 2. Speak Like A Child
(4:01) 3. Dual Force
(7:17) 4. Dolphin Dance
(5:24) 5. Sorcerer
(5:31) 6. Chan's Song Never Said
(5:55) 7. Empty Pockets
(3:34) 8. Actual Proof

The music of Herbie Hancock has affected the lives of generations of jazz performers. Like many of these musicians, it was the opportunity to play with the great pianist/composer that introduced the great drummer Mike Clark to the jazz world at large. To show his appreciation, Clark presents a selection of his favorite Hancock pieces performed with a trio on his new recording, Mike Clark Plays Herbie Hancock.

Mike Clark was a burgeoning professional drummer in the Bay Area during the late 1960s. He regularly played post-bop gigs with Woody Shaw and Bobby Hutcherson, but it was in organ trios and funky gigs with his friend, bassist Paul Jackson, that really cemented Clark’s standing on the scene.

At the time, Hancock’s ground-breaking, electric Mwandishi ensemble broke up due to financial constraints. Hancock began to regroup a smaller, funkier ensemble and hired Jackson. Hancock initially had Harvey Mason for the drum chair, but his work constraints wouldn’t allow him to join. Jackson recommended Clark for the group and the Headhunters were born.

Clark’s tenure with Hancock and the Headhunters broke the drummer into the jazz consciousness and allowed him to do some revolutionary things on his instrument. Eventually, the pull of acoustic jazz playing was too much for Clark to deny and he settled in New York City and joined its incredible jazz scene. Clark remains indebted to Hancock for opening the door to a wider audience. Hancock also introduced Clark to the study of Buddhism.

Though he was known for his association with some of Hancock’s funkiest music, it was the sophisticated contemporary sounds of Hancock’s 1960s Blue Note recordings that Clark appreciated most. Clark knew that if he recorded any of his former boss’s music, it would be these pieces that he would love to take on.

Once Clark decided he wanted to go for the project, he knew just the musicians he would incorporate in a trio. Bassist Leon Lee Dorsey and pianist Jon Davis have been longtime collaborators, open to any stylistic challenge and, mostly importantly, they always swing. It just so happened that Dorsey had studio time available at Manhattan Sky Studio in New York City at the beginning of June 2022, where the trio convened and recorded a program of Hancock tunes in one or two takes, apiece.

The pieces the trio selected for the recording were pared down from a longer list of pieces they considered. Interestingly, the majority of the pieces come from Hancock’s mid to late 1960s releases on Blue Note, the outliers being “Empty Pockets” from 1962 and Buster Williams’s “Dual Force (Firewater)” from Hancock’s The Prisoner.

The recording begins with a stately version of “Toys,” Davis taking a sweeping approach on the classic from Hancock’s 1968 album, Speak Like a Child, that Clark has been playing since he was a teenager. From the same album, “Speak Like a Child,” is a gorgeously insistent piece that seems to play itself. Buster Williams’s grooving “Dual Force” provides a fantastic harmonic bed for the trio to explore. Davis’s brave suggestion to perform the highly played chestnut “Dolphin Dance” as a ballad stimulated the trio into a unique and wonderful performance.

Hancock’s “The Sorcerer” was another piece that Clark just had to play on the recording because of its sophisticated, harmonic approach. Composed for the 1980 movie Round Midnight, Stevie Wonder and Hancock’s “Chan Song” is reborn with a shuffle arrangement at the suggestion of Davis, harking back to Clark’s days of playing with blues legends during a period in Texas. The original Takin’ Off version of “Empty Pockets” remains a Clark favorite and he finds himself swinging like his hero, Billy Higgins, on the trio’s updated take. The recording concludes with “Actual Proof,” a piece that Clark provided the original drum beat on for Thrust. Here the trio takes another approach, stripping the piece down, making it more conceptual and angular.

The singular experience that Mike Clark received playing with Herbie Hancock does not outweigh the influence of the legendary pianist’s compositional gifts to Clark’s musical world. The great drummer chose to honor Hancock by playing pieces that continue to inspire him on his new Mike Clark Plays Herbie Hancock.

Personnel: Mike Clark - drums; Jon Davis - piano; Leon Lee Dorsey - bass

Mike Clark Plays Herbie Hancock

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Jack Jezzro - Guitar By Candlelight

Styles: Guitar Jazz
Year: 2007
File: MP3@320K/s
Time: 44:27
Size: 102,9 MB
Art: Front

(4:03) 1. I Got It Bad And That Ain't Good
(3:26) 2. Make Someone Happy
(3:48) 3. Solitude
(3:24) 4. Autumn Leaves
(4:19) 5. Cheek To Cheek
(3:21) 6. I've Grown Acustomed To Her Face
(3:07) 7. Lady Be Good
(3:54) 8. Darn That Dream
(2:51) 9. Moonglow
(4:16) 10. Body And Soul
(4:06) 11. Sweet Lorraine
(3:46) 12. The Nearness Of You

Grammy nominated guitarist, bassist and producer Jack Jezzro has been one of Nashville's most versatile performers and studio musicians for over 30 years. He has appeared on many award-winning recordings and has numerous albums as an artist to his credit. His vast guitar discography as a recording artist includes the critically acclaimed Jazz Elegance and Brazilian Nights recordings along with the Grammy nominated A Day's Journey album. By Editorial Reviews
https://www.amazon.com/Guitar-Candlelight-Jack-Jezzro/dp/B00SJ9UG3U

Guitar By Candlelight

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Count Basie - Basie Meets Bond

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 40:35
Size: 94,5 MB
Art: Front

(3:01)  1. 007
(3:45)  2. The Golden Horn
(3:37)  3. Girl Trouble
(2:26)  4. Kingston Calypso
(4:06)  5. Goldfinger
(4:02)  6. Thunderball
(4:15)  7. From Russia With Love
(3:58)  8. Dr. No's Fantasy
(3:38)  9. Underneath The Mango Tree
(3:49) 10. The James Bond Theme
(3:54) 11. Dr. No's Fantasy - First Version

Leave it to one of the most swinging big bands of its time to make a silk purse out of a cow’s ear. Visiting themes from James Bond movies, arrangers Chico O’Farrill and George Williams craft hip and bristling versions of what might appear to be less than complimentary pieces for jazz exploration. But then O’Farrill was a master writer and he proved that this Bond thing wasn’t just a fluke when a year later in 1966 he helped to develop the catchy Basie's Beatles Bag. With its low sputtering bones and lively cowbell taps, “Kingston Calypso” is typical of the transformation with strains of “Three Blind Mice” worked in just for fun. “Dr. No’s Fantasy” gets things blaring from the git-go as drummer Sonny Payne’s swaggering backbeat pushes further and further, Basie injecting those sparse few notes here and there with characteristic élan.

And those are just two highlights among many, not to mention the boisterous and characteristic statements of tenor man Eddie “Lockjaw” Davis. Originally issued on the United Artists label, Basie Meets Bond can be recommended without reservation despite what might seem like the misguided intentions of some marketing exec. ~ C.Andrew Hovan https://www.allaboutjazz.com/basie-meets-bond-count-basie-capitol-records-review-by-c-andrew-hovan.php?width=1920

Personnel: Count Basie (piano); Al Aarons, Sonny Cohn, Wallace Davenport, Phil Guilbeau (trumpets); Henderson Chambers, Al Grey, Grover Mitchell (trombones); Bill Hughes (bass trombone); Marshall Royal (alto saxophone); Bobby Plater (alto saxophone & flute); Eric Dixon (tenor saxophone & flute); Eddie "Lockjaw" Davis (tenor saxophone);Charlie Fowlkes (baritone saxophone & bass clarinet); Freddie Green (guitar); Norman Keenen(bass); Sonny Page (drums) 

Basie Meets Bond

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Sharp Little Bones Feat. Tony Kofi - Volumes I & II

Styles: Contemporary Jazz
Year: 2023
File: MP3@320K/s
Time: 80:54
Size: 186,6 MB
Art: Front

(7:05) 1. Ury Bop
(5:14) 2. Layli's Lullaby
(4:41) 3. Stranger Danger
(3:23) 4. Brie en Croute
(4:45) 5. Chromatose
(7:39) 6. Hiddenness
(7:58) 7. Downfall
(5:49) 8. Roo's Blues
(5:42) 9. Mackerel Sky
(8:22) 10. Troll Stroll
(6:58) 11. Sorceress
(6:07) 12. Trailblazing
(7:05) 13. Blue Finger

A blockbuster double album of entirely new, exciting music recorded during the hottest two days of summer 2022 and following their recent sell-out shows, Sharp Little Bones (Volumes I & II) captures the energy, virtuosity, and soul of the house trio of Peggy's Skylight (a multi-award-winning jazz venue). Joined by MOBO-nominated, multi-BBC Jazz and Parliamentary Jazz Awards winner Tony Kofi, they are a quartet of virtuosos playing brand-new compositions that reach deep within but far beyond the jazz canon.

Their sound has a fresh, contemporary appeal: live acoustic forces rooted in bebop and blues, embellished with tasteful electronics and warm, analogue synth textures: an eclectic audio melting pot of jazz, funk, blues, and bop; beautiful bass-led melodies, spacious ballads, spiritual and expansive atmospheres, hard swingers, and groove-led pieces packed full of vibe, with room for expressive solos and group-led improvisation within well-crafted, melodic writing and tight, rhythmical arrangements.

Personnel: Tony Kofi Tenor Sax; Simon Paterson Upright and Electric Bass; Paul Deats Piano, Rhodes and Synthesiser; Andrew Wood Drums

Volumes I & II

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Chris Standring - The Lovers Remix Collection

Styles: Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 51:55
Size: 119,4 MB
Art: Front

(4:05) 1. Sensual Overload
(6:12) 2. Liquid Soul
(4:33) 3. Kaleidoscope
(4:19) 4. Albatross
(4:29) 5. Moon Child
(4:40) 6. Contemplation
(4:15) 7. Yesterday's Heaven
(4:44) 8. Another Train
(5:21) 9. Heart of the Matter
(5:49) 10. Gentle Persuasion
(3:23) 11. Reflection

Ultimate Vibe Recordings presents an eleven track set of Chris Standring's most popular chilled out songs with The Lovers Remix Collection, all reworked for 2023 and bristling with his unique and soulful R&B/jazz stylings. Featuring such fan faves as Kaleidoscope and Liquid Soul, this sensual collection of songs sets the mood for any romantic occasion.

Eleven-time Billboard chart topping guitarist Chris Standring wanted to do something special to commemorate his 25th anniversary as a solo recording artist. While his contemporary jazz-based catalogue is comprised of a variety of tones, tempos and textures from instrumental pop and improvisational jazz to soul powered funk and romantic ballads - the requests that he receives most from fans conveys their ardent affection for his chill grooves, seeding the concept for “The Lovers Remix Collection.” On the set arriving June 9 from Ultimate Vibe Recordings, Standring revisits ten songs from his original songbook along with one new track, a bluesy, country twang meets electronic jazz version of Peter Green’s “Albatross,” a personal favorite from when he was growing up in England.

Standring plays electric or nylon string guitar on the collection, exhibiting alacritous dexterity, impassioned precision and virtuoso technique while reimagining some of his most popular tunes, putting a completely different spin on lesser-known numbers, and applying fresh varnish to the mix on a few selections that, with time and distance from when they were originally recorded, “deserved a different take.” Known for imbuing a retro 1970s nuance to his recordings, “The Lovers Remix Collection” sounds futuristic and state of the art, has a mesmerizing vibey feel and a chill jazz ambiance. And yes, the project definitely has a visceral sensual allure.

“When I conceived this project, I wanted it to be the ultimate make out music for a romantic occasion. But don't let me put ideas in your head. I just make the music,” laughed the Los Angeles-based Standring who remixed the album entirely on his own. https://www.chrisstandring.com/lovers-remix-collection-album.html

The Lovers Remix Collection

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Lee Konitz meets Antonio Zambrini Trio - Standardslee, Chapter 2

Styles: Saxophone And Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 76:42
Size: 176,1 MB
Art: Front

(4:59) 1. Diane
(6:04) 2. Get out of Town
(8:35) 3. For All We Know
(9:57) 4. Don't Explain
(6:54) 5. Just in Time
(5:42) 6. For Heaven's Sake
(7:06) 7. A Ghost of a Chace
(7:43) 8. Sil-Lee
(5:37) 9. Check Lee
(6:43) 10. Diane (Alternate)
(7:16) 11. Darn that Dream (Take 1)

Jazz pianist and composer from Milan, Zambrini, has drawn the attention of critics and musicians, especially with his “songs,” published his several trios and quartet recordings, as well as reprised and played by various musicians in the jazz area.

Trumpeter and composer Ron Horton had Zambrini guest in his Cd “It’s a gadget world,” recorded in New York in 2006, including some of Zambrini’s songs. Pianist Stefano Bollani opens with a tune by Zambrini, his solo album produced by ECM, the famous label in Germany, issued in 2006.

Mr. Lee Konitz recorded a series of Zambrini’s tunes in a sequence of three CDs they realized together for the label “Philology” in 2008. English pianist John Law dedicated to Zambrini’s music his cd “The moment” in 2002. Zambrini was a guest in several broadcastings by National Radio and he was for 7 years partner of Cineteca Italiana, Milan, improvising live piano soundtracks of silent movies.

More recent projects are regarding young guitarist Filippo Cosentino, with an out coming cd along with Jesper Bodilsen and Andrea Marcelli, a new trio with bass player Paolino Dalla Porta and French drummer Manhu Roche, a cd entitled "Dois Lugares," with the great Samba composer and performer Moacyr Luz. Several concerts in the last two years with this "Dois Lugares " project, led by Italian vocalist Francesca Ajmar and with Moacyr Luz himself, who wrote most of the music for this project.

Also, about Brasil, a long collaboration with the choir director from Sao Paulo, Martinho L. Galati De Olivera, Kept Zambrini through several concerts, finally in Sao Paulo in 2014, playing with some great names of that scene's music like Teco Cardoso, Lea Frerie, and Fabiana Cozza.

Among others, Zambrini performed with Lee Konitz, Mark Murphy, William Parker, Tiziana Ghiglioni, Enrico Rava, Ron Horton, Nenna Frenlone, Hamid Drake, Claudio Fasoli, Tiziano Tononi, Ben Allison, Gabriele Mirabassi, Kyle Gregory, Rita Marcotulli, Javier Girotto, Eliot Zigmund, Jesper Bodilsen, Maria Pia De Vito, Pietro Tonolo, Manhu Roche, Paolino Dalla Porta, Andrea Marcelli, Fabrizio Bosso.
https://www.antoniozambrini.com/album

Personnel: Alto Saxophone – Lee Konitz; Piano, Liner Notes – Antonio Zambrini; Double Bass – Ares Tavolazzi; Drums – Massimo Manz

Standardslee, Chapter 2

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Aretha Franklin - Unforgettable: A Tribute To Dinah Washington

Styles: Vocal
Year: 1964
File: MP3@320K/s
Time: 39:15
Size: 90,4 MB
Art: Front

(3:40) 1. Unforgettable
(4:34) 2. Cold, Cold Heart
(3:29) 3. What A Difference A Day Made
(3:27) 4. Drinking Again
(5:09) 5. Nobody Knows The Way I Feel This Morning
(2:39) 6. Evil Gal Blues
(2:44) 7. Don't Say You're Sorry Again
(4:32) 8. This Bitter Earth
(3:35) 9. If I Should Lose You
(2:18) 10. Soulville
(3:02) 11. Lee Cross

Since her youth Franklin had admired Dinah Washington, and it's a safe bet that the level of emotional commitment Washington brought to her work was a major influence on the blossoming style of Aretha, not to mention Washington's effortless sense of swing. Shortly before she died, Washington took appreciate notice of her acolyte as well. So Aretha's tribute to Washington is as logical as it is satisfying.

Recorded when Aretha was just 21, UNFORGETTABLE is somewhat of a departure from her more R&B-oriented early work. However, the string arrangements of Johnny Mersey adn the jazzy bass work of George Duvivier mesh perfectly with Franklin's high-flying vocal fireworks. From the slow, subtle caress of "What a Difference a Day Made" to the organ-led blues of "Nobody Knows the Way I Feel This Morning," the young Aretha is in total command of the material here, simultaneously paying homage to and progressing from the influence of Washington. By AllMusic
https://www.allmusic.com/album/unforgettable-a-tribute-to-dinah-washington-mw0000123999

Unforgettable: A Tribute To Dinah Washington

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Astrud Gilberto - The Collection

Bitrate: MP3@320K/s
Time: 41:30
Size: 95.0 MB
Styles: Bossa Nova, Latin jazz vocals
Year: 2014
Art: Front

[2:51] 1. Corcovado (Quiet Nights Of Quiet Stars)
[2:11] 2. Once I Loved
[6:31] 3. The Girl From Ipanema
[1:49] 4. Bim Bom
[2:45] 5. How Insensitive
[2:44] 6. Felicidade
[1:55] 7. Manha De Carnaval
[2:22] 8. Fly Me To The Moon
[1:59] 9. Dreamer
[2:53] 10. Light My Fire
[2:55] 11. O Morro
[2:39] 12. Meditation (Meditação)
[2:39] 13. Dindi
[2:49] 14. Beach Samba
[2:21] 15. Berimbau

The honey-toned chanteuse on the surprise Brazilian crossover hit "The Girl From Ipanema," Astrud Gilberto parlayed her previously unscheduled appearance (and professional singing debut) on the song into a lengthy career that resulted in nearly a dozen albums for Verve and a successful performing career that lasted into the '90s. Though her appearance at the studio to record "The Girl From Ipanema" was due only to her husband João, one of the most famed Brazilian artists of the century, Gilberto's singular, quavery tone and undisguised naïveté propelled the song into the charts and influenced a variety of sources in worldwide pop music.

Born in Bahia, Gilberto moved to Rio de Janeiro at an early age. She'd had no professional musical experience of any kind until 1963, the year of her visit to New York with her husband, João Gilberto, in a recording session headed by Stan Getz. Getz had already recorded several albums influenced by Brazilian rhythms, and Verve teamed him with the cream of Brazilian music, Antonio Carlos Jobim and João Gilberto, for his next album. Producer Creed Taylor wanted a few English vocals for maximum crossover potential, and as it turned out, Astrud was the only Brazilian present with any grasp of the language. After her husband laid down his Portuguese vocals for the first verse of his and Jobim's composition, "The Girl From Ipanema," Astrud provided a hesitant, heavily accented second verse in English.

Not even credited on the resulting LP, Getz/Gilberto, Astrud finally gained fame over a year later, when "The Girl From Ipanema" became a number five hit in mid-1964. The album became the best-selling jazz album up to that point, and made Gilberto a star across America. Before the end of the year, Verve capitalized on the smash with the release of Getz Au Go Go, featuring a Getz live date with Gilberto's vocals added later. Her first actual solo album, The Astrud Gilberto Album, was released in May 1965. Though it barely missed the Top 40, the LP's blend of Brazilian classics and ballad standards proving quite infectious with easy listening audiences.

Though she never returned to the pop charts in America, Verve proved to be quite understanding for Astrud Gilberto's career, pairing her with ace arranger Gil Evans for 1966's Look to the Rainbow and Brazilian organist/arranger Walter Wanderley for the dreamy A Certain Smile, a Certain Sadness, released later that year. She remained a huge pop star in Brazil for the rest of the 1960s and '70s, but gradually disappeared in America after her final album for Verve in 1969. In 1971, she released a lone album for CTI (with Stanley Turrentine) but was mostly forgotten in the U.S. until 1984, when "Girl From Ipanema" recharted in Britain on the tails of a neo-bossa craze. Gilberto gained worldwide distribution for 1987's Astrud Gilberto Plus the James Last Orchestra and 2002's Jungle. ~bio by John Bush

The Collection

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Buster Williams & Kenny Barron - The Complete Two as One

Styles: Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 95:04
Size: 218,0 MB
Art: Front

(11:05) 1. All of You
(11:27) 2. This Time the Dream's on Me
( 3:49) 3. Some Day My Prince Will Come
(15:51) 4. I Love You
( 8:28) 5. My Funny Valentine
(11:03) 6. Will You Still Be Mine?
( 9:57) 7. Some Day My Prince Will Come (Take 2)
(12:43) 8. On a Green Dolphin Street
(10:36) 9. There Is No Greater Love

A wonderful little date from pianist Kenny Barron one that has him working in drumless duo mode, with only the bass of Buster Williams for accompaniment! The tunes are often quite long, and it's beautiful to hear the way Kenny stretches out on the keys buoyed up warmly by Williams' trademark tone basslines that are soft on bite, and round on sound drenched with soul throughout, and creating a subtle pulse that the presence of a drum would only ruin! Barron has a wonderful way of being pensive at points, while still moving things forward strongly and titles include "All Of You", "This Time The Dream's On Me", "I Love You", and "My Funny Valentine". © 1996-2023, Dusty Groove, Inc.
https://www.dustygroove.com/item/148032/Kenny-Barron-Buster-Williams:Complete-Two-As-One-180-gram-pressing

Personnel: Kenny Barron - (piano); Buster Williams - (bass)

The Complete Two as One

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Dutch Swing College Band - 60 Years Disc 1, Disc 2

Album: 60 Years Disc 1
Styles: Swing, Big Band
Year: 2010
File: MP3@320K/s
Time: 73:44
Size: 170,0 MB
Art: Front

(5:29) 1. You made me love you
(3:43) 2. On the banks of the wabash
(3:51) 3. Hindustan
(4:46) 4. Just a closer walk with thee
(3:33) 5. Dixieland boogie
(2:32) 6. Walzing mathilda
(2:37) 7. When the saints come marching in
(3:57) 8. Coal black shilne
(2:47) 9. Heebiejeebies
(4:42) 10. Back home again in indiana
(4:51) 11. Canal street blues
(8:48) 12. Moten swing
(3:52) 13. Prelude to a kiss
(5:09) 14. Do nothing till you hear from me
(3:52) 15. Take the a train
(4:43) 16. East st louis toodle oo
(4:24) 17. Cotton tail

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Album: 60 Years Disc 2
Time: 71:04
Size: 163,7 MB

(7:53) 1. Basin street blues
(5:58) 2. Stealing apples
(4:44) 3. Just squeeze me
(5:25) 4. Someday you'll be sorry
(9:25) 5. Mood indigo
(6:06) 6. Swing that music
(3:37) 7. The sheik of araby
(4:02) 8. Copenhagen
(3:01) 9. Up a lazy river
(3:56) 10. Strike up the band
(4:55) 11. On the sunny side of the street
(5:02) 12. Sweet georgia brown
(2:20) 13. St'louis blues boogie
(4:35) 14. Bel ami so do i

The Dutch Swing College Band has endured numerous personnel changes in its more than fifty-year history as one of the Netherlands' top jazz ensembles. Although no members remain from the original group, the latest lineup continues to honor the tradition-rooted approach of the founders.

Bob Kaper (1939- ) replaced clarinet player Peter Schilperoort during an illness in 1966, and remained with the band; he has led the Dutch Swing College Band since Schilperoort's death in 1990. The fourth leader in the group's history, Kaper succeeds Frans Vink, Jr. (1945-46), Joop Schrier (1955-60), and Schilperoort (1946-55; 1960-1990). Kaper previously led the Beale Street Seven, a group he founded in 1957.

An amateur group from 1945 until turning professional in 1960, the Dutch Swing College Band reached their early peak in the late '40s, when they were tapped to accompany such jazz musicians as Sidney Bechet, Joe Venuti, and Teddy Wilson.

The New Melbourne Jazz Band recorded an album, A Tribute to the Dutch Swing College Band, featuring music associated with the Holland-based group.by Craig Harris
https://www.allmusic.com/artist/dutch-swing-college-band-mn0000130996/biography

Personnel: Bass – Adrie Braat; Clarinet – Bob Kaper; Clarinet, Soprano Saxophone, Baritone Saxophone – Frits Kaatee; Cornet – Bert de Kort; Drums – Bob Dekker; Guitar – Ton Van Bergeijk; Piano – Marcel Hendricks; Trombone – George Kaatee

60 Years Disc 1,Disc 2

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Katie Noonan - Late Night Tunes With Noons

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 31:17
Size: 72,9 MB
Art: Front

(3:09) 1. I Found You
(3:47) 2. Choirgirl
(4:39) 3. Wish you Well
(3:59) 4. Do you Remember
(4:27) 5. Nerve
(3:11) 6. The Day You Come
(4:15) 7. Throw Your Arms Around Me
(3:47) 8. Dance Monkey

Katie Noonan’s new mini-album ‘Late Night Tunes with Noons’, showcasing her interpretation of iconic Australian songs as well as featuring a new original song ‘I Found You’. The idea started when Katie posted a short video on Instagram of her learning a Hunters and Collectors classic for an upcoming event.

After garnering such a strong response from fans, Katie created a late-night video series where she interprets some of her favourite Aussie songs from across multiple decades in her intimate and dynamic style.

The eight track mini-album really showcases Katie’s magical interpretation of classic’s new and old taking on Tones and I, Emma Louise, Jarryd James, Jordan Rakei, Hunters & Collectors, Cold Chisel and Powderfinger.
https://www.katienoonan.com.au/shop/late-night-tunes-with-noons

Late Night Tunes With Noons

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The Verve Jazz Ensemble - All In

Styles: Jazz, Big Band
Year: 2023
File: MP3@320K/s
Time: 51:45
Size: 120,6 MB
Art: Front

(5:39) 1. All In
(3:28) 2. Midnight In The Air
(7:34) 3. The Odd Couple Theme
(3:40) 4. Pensive Miss
(5:16) 5. Ain't That A Kick In The Head
(3:56) 6. Once I Loved
(5:56) 7. Studio J
(5:23) 8. What I Meant To Say Was
(4:39) 9. Bluesette
(6:11) 10. Dolphin Dance

It takes a bold, knowledgeable, and inventive group to call itself The Verve Jazz Ensemble. The moniker Verve conjures the legendary jazz label Verve Records: once home to the greatest pioneering names in the artform from Duke Ellington, Stan Getz and Ella Fitzgerald to Bill Evans, Count Basie, and Buddy Rich. It is in the spirit of the Verve label’s 1950s - ‘60s hard bop heyday that The Verve Jazz Ensemble composes, arranges, and performs jazz of a timeless quality. Across eight albums and counting the latest entitled All In the “VJE” has been satisfying the cravings of critics and audiences alike, consistently placing near or at the very top of the JazzWeek radio chart for the past decade. No less than Ellis Marsalis, the late, revered patriarch of the highly distinguished Marsalis Family that gave us Wynton, Branford, Jason and Delfeayo Marsalis, observed, “The VJE is the new MJQ,” referring to the fabled Modern Jazz Quartet.

Drummer Josh Feldstein founded The Verve Jazz Ensemble in 2006 as a band that paid homage to the past while vehemently establishing newer, younger audiences for the now vintage sound. “Part of the band’s mission,” said Feldstein, “is to expand the audience of classic instrumental jazz, to identify melodies that pop audiences can easily relate and groove to but not need a degree in music to dig.”

The Verve Jazz Ensemble is a band that “chooses to move in a musical direction that’s appealing to radio as well as our broad base of US and international listeners,” Josh added. “Our mission is to bring forward the acoustic jazz artform in a way that both veteran listeners and newcomers to Jazz easily appreciate.”

Feldstein’s passion for acoustic jazz stems back to when he was 11 years old and living with his family in Queens, New York. He was taking drum lessons at the time from a teacher who turned him onto the volcanic Gene Krupa. “One day my teacher told me I sounded like Krupa,” Josh recalled. “Well, I don’t think that was remotely true, but I dug Gene’s drumming intensely and couldn’t stop listening.” The LP he pointed Josh to was “Verve’s Choice: The Best of Gene Krupa.” Josh was hooked

. “I spent the next 10 years grabbing up all of the jazz albums recorded for Verve Records that I could,” he states. “I hung out listening to Papa Jo Jones and the Countsmen at the West End Café on Broadway and 113th street in Manhattan. I’d catch the incredible Buddy Rich and his big band, and legends like Max Roach, Art Blakey, and Count Basie. Any given month would bring into town the best of the best like (saxophonist) Stan Getz, (pianist) Monty Alexander, and on and on.

“I put music on the backburner once I entered college, however, because I didn’t think I could make money as a jazz musician,” Josh said. “While I kept practicing and did play from time to time I even toured for a while with a big band in the mid-Atlantic area it was part-time stuff by and large.

“Some years later, when I was living in Connecticut, I came across the playing of a young saxophonist / keyboardist named Jon Blanck. He really impressed me as a young cat who could really play in the authentic hardbop idiom, which is my foundation. I approached him to play locally just for fun. We ended up booking restaurants and country clubs and becoming close friends. The band developed a strong reputation and a faithful following. Once the VJE started playing clubs throughout Connecticut and eventually in New York proper, things started happening.”

The VJE was a quintet when it first ventured into the studio to record its debut album, It’s About Time (2012), followed by East End Sojourn (2014) which featured guest Peter Bernstein on guitar. Both charted Top 10 on the JazzWeek radio charts. Those albums were followed by top 25 Perimeter (2016) and yet another top 10 album, Swing-A-Nova (2017), recorded by the rhythm section as a trio album.

For 2018, Feldstein expanded the tenor sax, trumpet, piano, bass and drums quintet into a septet with alto / flute and trombone for the VJE’s fifth album, Connect The Dots, a change that shot the band to the #1 position atop the JazzWeek chart for two weeks. Next came Night Mode (2019) another top 10-charter followed during the Covid lockdown by The VJE: Very Live! (2021) recorded at a pre-pandemic benefit concert in Hadley, MA which kept the VJE brand alive and well.

For VJE’s eighth and latest album, All In, the septet joyfully explores the theme of “Mid-20th century Americana” via two original compositions and eight arrangements of some classic and other little-heard material. The band consists of Tatum Greenblatt on trumpet, Willie Applewhite on trombone, Alexa Tarantino on alto sax / flute, Jon Blanck on tenor sax, Matt Oestreicher on piano and guitar, Elias Bailey on bass, and VJE leader Josh Feldstein on drums.

Highlights of the album include the Tatum Greenblatt original title track, “All In;” an Afro Cuban approach to Neal Hefti’s beloved “The Odd Couple Theme;” another Greenblatt original entitled “What I Meant to Say Was,” set up as a musical conversation between trumpet and alto sax; and a piano trio whirl through Jean “Toots” Thielemans “Bluesette.”

All this music, along with the rest of “All In,” is in passionate keeping of The Verve Jazz Ensemble’s sworn mission to expand the audience of instrumental jazz in the United States and worldwide. “This is very important to all of us,” Feldstein shares. “My daughter is in high school, and she and her friends like our music. There are listeners everywhere of all ages who don’t know any jazz history. But when they hear our approach to jazz, they soak it in. Identifying and performing jazz melodies that pop audiences can relate to catchy yet legitimate music, with a pulse that’s our target.”
https://www.allaboutjazz.com/musicians/the-verve-jazz-ensemble

All In

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Massimo Faraò - Beauty And Funky

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 65:49
Size: 152,2 MB
Art: Front

(7:45) 1. When A Man Loves Woman
(5:31) 2. Naima Love Song
(5:10) 3. The Shout
(5:53) 4. Good Groove
(5:00) 5. This Here
(6:26) 6. Dat There
(5:08) 7. Just A Gigolo
(7:12) 8. Hymn To Freedom
(5:47) 9. Them That ’s Got
(8:07) 10. Poinciana
(3:45) 11. Ancora

"The blackest of Italian pianists" was born May 16th, 1965, in Genoa. He studied piano with Maestro Flavio Crivelli and began his career collaborating with musicians from the Genoa Area, especially with the bassist Piero Leveratto. In 1993 he was invited for the first time in the USA. He plays with Red Holloway and Albert "Tootie" Heath on a tour on the West Coast.

In the same year he founded "We love Jazz" Workshop, now become one of the biggest events in Europe for jazz teaching. In 1994 he was hired by "Monad Records" in New York and back in the United States as pianoplayer and music director of Shawnn Monteiro's band, with Keter Betts and Bobby Durham. He has played in several european tours with the Nat Adderley Quintet, composed by Antonio Hart, Walter Booker and Jimmy Cobb.

In 2001 he joined the Archie Shepp's "Just in Time" Quartet with Wayne Dockery and Bobby Durham. Since 2001 he is the artistic director for the jazz division of AZZURRA MUSIC label. In 2003 he played at "Jazz Piano Festival" in Lucerne. In November 2004 he played in Japan, where his albums have become bestsellers.

He played in Italy, France, Germany, Corsica, Switzerland, Hungary, Austria, USA, Sweden, Denmark, Norway, Finland, Dubai, Luxembourg, Spain, Japan, Yugoslavia,Canada. From 2014 he recorded 12 cd for Venus Records the famous japanese jazz label. He has recorded more than 2 hundred Cds with many Italian and foreign musicians. from www.massimofarao.com
https://www.jazzmusicarchives.com/artist/massimo-farao

Beauty And Funky

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John Coltrane - Live in Comblain-la-Tour 1965

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 37:44
Size: 86,8 MB
Art: Front

( 9:11) 1. Vigil
( 7:29) 2. Naima
(21:04) 3. My Favorite Things

John William Coltrane (September 23, 1926 – July 17, 1967) was an American jazz saxophonist, bandleader and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music.

Born and raised in North Carolina, Coltrane moved to Philadelphia after graduating high school, where he studied music. Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes and was one of the players at the forefront of free jazz. He led at least fifty recording sessions and appeared on many albums by other musicians, including trumpeter Miles Davis and pianist Thelonious Monk.

Over the course of his career, Coltrane's music took on an increasingly spiritual dimension, as exemplified on his most acclaimed album A Love Supreme (1965) and others. Decades after his death, Coltrane remains influential, and he has received numerous posthumous awards, including a special Pulitzer Prize, and was canonized by the African Orthodox Church.

His second wife was pianist and harpist Alice Coltrane. The couple had three children: John Jr. (1964–1982), a bassist; Ravi (born 1965), a saxophonist; and Oran (born 1967), a saxophonist, guitarist, drummer and singer. https://en.wikipedia.org/wiki/John_Coltrane

Live in Comblain-la-Tour 1965

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Katie Noonan & Karin Schaupp - Songs of the Latin Skies

Styles: Vocal And Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 52:39
Size: 121,3 MB
Art: Front

(4:00) 1. Segurança
(4:34) 2. Desafinado
(5:53) 3. Oblivion
(3:38) 4. Wave
(2:39) 5. Boiou
(4:05) 6. Retrato Brasileiro
(3:47) 7. No more blues
(4:39) 8. Canta mais
(4:03) 9. La muerte del ángel
(4:54) 10. Manhã de carnaval
(4:10) 11. Sentimental melody from forest of the Amazon
(1:22) 12. El marabino
(4:48) 13. Tikata tarpuinikichu

Acclaimed German-born classical guitarist Karin Schaupp joins vocalist Katie Noonan to create a unique sound, putting a fresh spin on Latin jazz and classical pieces from the musical masters of South America. Their latest co-creation, Songs of the Latin Skies, promises to enchant audiences with their technical mastery. As some of Australia’s most versatile and beloved vocalists these ladies will bring you delicate warm sounds with their captivating voices.
https://www.musicsa.com.au/katie-noonan-and-karin-schaupp-songs-of-the-latin-skies/

Songs of the Latin Skies

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Enrico Pieranunzi - Chet Remembered

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 62:17
Size: 143,0 MB
Art: Front

(7:25) 1. From E. To C.
(5:55) 2. Lost and Found
(8:14) 3. Chet
(6:45) 4. Soft Journey
(8:35) 5. Fairy Flowers
(6:50) 6. Night Bird
(7:20) 7. Echoes
(6:09) 8. Brown Cat Dance
(5:01) 9. The Real You

Born in Rome in 1949, Enrico Pieranunzi has long been one of the best-known and appreciated personalities on the European jazz scene. Pianist, composer, arranger, he has recorded more than seventy CDs under his own name, ranging from solo piano to trio, and from duet to quintet. He has played in concert and in the studio with Chet Baker, Lee Konitz, Marc Johnson, Joey Baron, Paul Motian, Chris Potter and Charlie Haden, performing at all the most important international festivals, from Montreal to Copenhagen, from Berlin to Madrid.

Pieranunzi’s formative years embraced both classical and jazz piano, and the influence of Debussy is readily apparent in the lush romanticism at the heart of his music. Emerging in the early ‘70s, Pieranunzi’s lyrical approach quickly brought him to the forefront of the European scene, and in 1984 he formed a trio with Marc Johnson and Joey Baron, the first of several outstanding groups with American musicians. In 1989, 2003 and 2008 he was voted Musician of the Year in the Musica Jazz critic’s poll and he was 1997 recipient of the Django d’Or Award for best European Jazz Musician.

In 2004 he toured Japan performing with his American trio, including bassist Marc Johnson and drummer Joey Baron. In the last four, five years Pieranunzi performed more and more in the States (New York, Birdland; San Francisco, Spoleto USA Festival). On July 2010 he played the Village Vanguard and recorded live there, with Marc Johnson and Paul Motian. He is the only Italian musician ever and one of the very few European to have performed and recorded in such a historical venue.

In addition to recording many albums, he has written more than 300 compositions including “Night Bird” (recorded several times by Chet baker and performed by many others), “Hindsight” (recorded by Phil Woods) etc. Many of his compositions have become veritable international standards, three of which " two in 1991 and one in 2001 " have been included in the prestigious “New Real Books” published in the United States by “Sher Music”.

Famous writer/journalist Nat Hentoff writes: “(Pieranunzi) is a luminously lyrical pianist, with a constant flow of ideas. He builds the kind of quality of designs that have a powerful inner logic. (...) Pieranunzi can swing " crisply and surely. But in those tempos he remains his lyrical self. His music sings.”

Ray Spencer of “Jazz Journal” has written that “Enrico Pieranunzi breathes new life into contemporary jazz”https://www.allaboutjazz.com/musicians/enrico-pieranunzi

Personnel: Enrico Pieranunzi : piano; Bert Joris: trumpet; Heinz-Dieter Sauerborn: alto saxophone, flute; Katharina Brien: alto saxophone, clarinet; Denis Gabel: tenor saxophone, clarinet; Steffen Weber: tenor saxophone, clarinet; Reiner Heute: baritone saxophone; Frank Wellert: trumpet, flugelhorn; Thomas Vogel: trumpet, flugelhorn; Martin Auer: trumpet, flugelhorn; Axel Schlosser: trumpet, flugelhorn; Gunter Bollman: trombone; Felix Fromm: trombone; Christian Jaksjo: trombone, valve trombone; Robert Hedemann: bass trombone; Hans Glawischnig: bass; Jean Paul Hochstadter: drums.

Chet Remembered

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