Sunday, October 15, 2023

Nina Simone - Emergency Ward

Styles: Vocal Jazz
Year: 1972
File: MP3@320K/s
Time: 34:05
Size: 78,2 MB
Art: Front

(18:43) 1. My Sweet Lord/Today Is a Killer
( 4:12) 2. Poppies
(11:09) 3. Isn't It A Pity

This unusual record from 1972 is Nina Simone's statement on the Vietnam War. The cover is a collage of news clippings from the conflict, and the song selection and arrangement, though dealing with matters more spiritual than political, reflect the events of the day. The entire first side consists of a powerhouse medley of George Harrison's "My Sweet Lord" and a poem by David Nelson called "Today Is a Killer," set to music by Simone. The Harrison song is transformed into a sweaty gospel workout that takes its rhythm from the Capitols' "Cool Jerk" and its call-and-response vocal arrangement from the Reverend James Cleveland. Simone artfully alternates the celebratory romp with slow, somber passages featuring her improvised lyrics and passages from the Nelson poem. Even as it passes the 18-minute mark, the medley never loses power, and it remains one of Simone's finest moments. 

After the triumph of the first side, the flip is only a slight letdown. "Poppies" is melodically vague, but Simone's strong delivery sells it, while George Harrison's "Isn't It a Pity" gets an intense, drawn-out treatment, mostly featuring just Simone's piano and voice. The cover of Emergency Ward! claims it was recorded in concert, but only the first side appears to be live, and even that is riddled with sloppy edits. Though it is one of the stranger records in the Simone oeuvre, Emergency Ward! is consistently thrilling. 
By Mark Richardson; http://www.allmusic.com/album/emergency-ward!-mw0000371066

Emergency Ward

Friday, October 13, 2023

Bobbi Wilson - Wanderlust

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 46:05
Size: 106,5 MB
Art: Front

(2:36) 1. Angel Eyes
(4:03) 2. Let's Not Care
(2:48) 3. How Insensitive
(5:10) 4. Grown Up Girl
(2:52) 5. Salton Sea
(5:25) 6. 'Round Midnight
(7:26) 7. Again
(2:01) 8. The Fall
(5:00) 9. You Don't Know What Love Is
(4:31) 10. I Could Have Told You
(4:08) 11. The Devil I Know

"Wanderlust" is the long awaited debut album from sultry songstress, Bobbi Wilson. This collection of songs will delight with both re-imagined jazz standards and original tunes. From the tender rendition of 'How Insensitive', backed by nylon stringed guitar, to the upbeat brass backed 'Grown up Girl', this disc will appeal to anyone who loves great music, not only jazz fans. Bobbi is currently based near Atlanta, Georgia.https://www.amazon.com.au/Wanderlust-Bobbi-Wilson/dp/B009SX9B14

Wanderlust

VA - Jazz Yule Love

Styles: Hard Bop, Holiday
Year: 2002
File: MP3@128K/s
Time: 50:56
Size: 50,3 MB
Art: Front

(6:30) 1. We Three Kings
(4:00) 2. White Christmas
(5:38) 3. Winter Wonderland
(3:03) 4. Sleigh Ride
(4:22) 5. It's the Most Wonderful Time of the Year
(3:29) 6. Christmas Heart
(4:03) 7. O Tannenbaum
(2:47) 8. Silent Night
(3:33) 9. O Come All Ye Faithful
(4:14) 10. A Child Is Born
(6:58) 11. Joy to the World
(2:19) 12. Angels We Have Heard on High

While in the studio the previous year with many of the legendary artists on his roster, working on their individual projects, Crusaders legend and Mack Avenue Records president Stix Hooper had a festive idea: get the likes of Terry Gibbs, Cedar Walton, Pete Jolly, George Shearing, Les McCann, Teddy Edwards, Eugene Maslov, and Kenny Burrell to take five and stir up the Christmas spirit with a Yuletide tune.

The resulting compilation, Jazz Yule Love, is an instant classic, a swinging traditional jazz sampler that showcases these cats at the peak of their game, being highly creative and improvisational amid the comfort of tunes everyone knows (and a McCann original everyone might not). Jolly's take on "It's the Most Wonderful Time of the Year" is especially hard-driving, and Gibbs' lighthearted take on "White Christmas" reminds you of the childlike joys of the season.

Jolly tones down for a reading of "O Tannenbaum" that invokes the subtle old arrangement of Vince Guaraldi. Overall, a beautiful and festive way to become familiar with the label and with some of the greatest jazz players of all time.By Jonathan Widran https://www.allmusic.com/album/release/jazz-yule-love-mr0000305943

Jazz Yule Love

George Freeman - The Good Life

Styles: Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 50:55
Size: 116,9 MB
Art: Front

(11:05) 1. If I Had You
( 7:39) 2. Mr. D
( 6:03) 3. Up and Down
( 5:53) 4. Lowe Groovin'
( 3:56) 5. 1, 2, 3, 4
( 9:47) 6. Sister Tankersley
( 6:30) 7. The Good Life

For guitarist George Freeman, The Good Life has also been a long life. He was a nimble-fingered ninety-five-year-old plectrist when this splendid album was recorded in May and June 2022, which makes it all the more grievous to know it would be organ maestro Joey DeFrancesco's last recording date; he died of a heart attack some three months later at the relatively young age of fifty-one.

Freeman leads two trios here, the first with DeFrancesco on organ and Lewis Nash on drums (tracks 1-3), the second with Christian McBride on bass and Carl Allen on drums. Freeman plays a smooth and mellow guitar, using well-shaped single-note runs to underline his candid and always engaging point of view. DeFrancesco, meanwhile, is his usual incredibly animated and fleet-fingered self, lending ardor and intensity to what is already an admirable session. Nash is a remarkably astute and steady timekeeper, as is Allen. When McBride takes over for DeFrancesco, on the fourth track, there is a perceptible difference in modulation but none in musicianship. The beat simply goes on.

Freeman, DeFrancesco & Nash open with a soft and soulful reading of the standard "If I Had You," maintain that posture on the shuffling blues "Mr. D," and close with the album's lone flag-waver, "Up and Down," on which Nash and DeFrancesco brandish their superior chops while Freeman keeps pace in his more laid-back manner. "Lowe Groovin,'" which introduces the second trio, is relaxed and meditative, unlike the buoyant "1, 2, 3, 4," which follows. "Sister Tankersley" is another pensive anthem, as is "The Good Life," which closes the session. Allen is unassuming yet steady as a rock, while McBride's deep-toned bass is outstanding whether soloing or comping.

Although this album could have benefited from more up-tempo moments, that is a small complaint, as everything on offer is exemplary. So, four stars for all-around excellence, plus an unreserved recommendation. By Jack Bowers
https://www.allaboutjazz.com/the-good-life-george-freeman-highnote-records

Personnel: George Freeman - Guitar; Joey DeFrancesco: organ, Hammond B3; Christian McBride: bass; Lewis Nash: drums; Carl Allen: drums.

The Good Life

The Jazz Couriers - England Greatest Combo... The Message From Britain

Styles: Jazz
Year: 2014
File: MP3@320K/s
Time: 77:41
Size: 179,2 MB
Art: Front

(5:26)  1. Mirage
(2:45)  2. Easy to Love
(3:05)  3. Whisper Not
(4:33)  4. Autumn Leaves
(5:31)  5. Too Close for Comfort
(7:18)  6. Yesterdays
(3:50)  7. Love Walked In
(2:31)  8. Last Minute Blues
(7:52)  9. After Tea
(3:47) 10. Stop the World, I Want to Get Off
(4:01) 11. In Salah
(4:09) 12. Star Eyes
(4:38) 13. The Monk
(6:19) 14. My Funny Valentine
(6:01) 15. Day in, Day Out
(5:45) 16. If This Isn't Love

In April 1957 the formidable British tenor men Tubby Hayes and Ronnie Scott teamed up to form a group which they called The Jazz Couriers. During their more than two and a half years together, the Couriers devel- oped into an extremely close-knit unit, widely acclaimed throughout Britain and the rest of Europe. Tubby Hayes (1935-1973) was born in London, the son of a violinist who started him on that instrument. Switching to tenor at 12, he began playing in jazz clubs when he was 14, and at 16 launched into four years with various name bands. 

He doubled on vibes, baritone and flute and acknowledged Sonny Rollins and Johnny Griffin as major influences. Ronnie Scott (1927-1996), one of the early leaders of the modern jazz movement in England, was also a Londoner with a big-band background. His main influences were Charlie Ventura, Charlie Parker, Stan Getz, Sonny Stitt and Sonny Rollins. Crisp, accurate, inventive and irresistibly swinging, The Jazz Couriers not only boasted of two of the top solo horn players in Europe in Scott and Hayes, it also had the advantage of having a superb rhythm section in which the contribution of master pianist, Terry Shannon, was outstanding.By Editorial Reviews http://www.amazon.com/Couriers-England-Greatest-Message-Britain/dp/B00K9NB4FS

England Greatest Combo...; The Message From Britain

Tuesday, October 10, 2023

Ann Hampton Callaway - Easy Living

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 57:28
Size: 132,2 MB
Art: Front

(3:52) 1. Easy To Love
(4:15) 2. Come Rain Or Come Shine
(5:50) 3. Skylark
(2:33) 4. Nice Work If You Can Get It
(5:32) 5. The Very Thought Of You
(5:59) 6. 'Round Midnight
(3:37) 7. Come Take My Hand
(5:42) 8. Easy Living
(3:25) 9. All Of You
(3:43) 10. Bluesette
(3:28) 11. It Had To Be You
(5:24) 12. In A Sentimental Mood
(4:03) 13. You Don't Know What Love Is

This is Ann Hampton Callaway's seventh recording, Easy Living, is one of her very best. It's a program of well-known standards and fairly stock arrangements, but in the middle is her pristine, well-defined, flexible voice. She retains a lower-end range in her style that suggests only one singer: Sarah Vaughan. She's joined by several different rhythm sections and soloists, including pianists Benny Green (six cuts), Bill Charlap (five), and Kenny Barron (two); bassists Peter Washington or Neal Miner; drummers Clarence "Tootsie" Bean and Lewis Nash; percussionist Jim Saporito; saxophonists Andy Farber, Nelson Rangell, and Gerry Niewood; and on three selections, trumpeter Wynton Marsalis.

A collection of love songs sung convincingly and with no frills, Callaway shows great depth in ballad singing. Hard evidence is presented in her takes of "Skylark" and "The Very Thought of You," with Charlap's glistening piano tones ringing bells for the singer and Farber's tenor sax replies. "'Round Midnight" is the penultimate interp with Barron's wistful piano and Marsalis' spare trumpet offering advice on ol' midnight. Callaway can swing well when she chooses; "Easy to Love" brings home her lower dulcet tones, while Farber's tenor cops a Stan Getz-Joe Henderson type plea bargain.

Green's intro to "Nice Work If You Can Get It" has a "Giant Steps" quote before the singer digs into this lyric. She scats a little during the middle of the program, on the melody line, and the coda, of "Bluesette," and more in the improvised bridge during "It Had to Be You." Bossa nova is always a sidebar for singers, and Callaway uses this Brazilian rhythm on an interesting arrangement of "You Don't Know What Love Is" spiked with high drama, Saporito's Latin percussion, Barron's deft piano, and Niewood's flavorful tenor.

The lone composition of the vocalist "Come Take My Hand" is also bossa, with Rangell's flute chirping on this definitive love anthem. Marsalis is also bolder on the stark ballad title track and a nice version of "In a Sentimental Mood," while it's the singer getting brash and daring in a lower tone than normal for perhaps the highlight "All of You," Green's piano matching the depths of Callaway's yearnings.

It's not hyperbole to understand this is the perfect singer with a perfect voice that sounds so effortless, mature, and flowing. Though the others six recordings are just fine, this one really hits the spot, especially instrumentally. Callaway proves up to the challenge with every measure, phrase, and inflection. By Michael G. Nastos
https://www.allmusic.com/album/easy-living-mw0000253203

Personnel: Vocals, Liner Notes – Ann Hampton Callaway; Alto Saxophone – Nelson Rangel; Bass – Neal Miner (tracks: 1, 4, 8, 13), Peter Washington (tracks: 2, 3, 5 to 7, 9 to 12); Drums – Clarence "Tootsie" Bean (tracks: 1, 4, 8, 13), Lewis Nash (tracks: 2, 3, 5 to 7, 9 to 12); Flute – Nelson Rangel (tracks: 3); Piano – Benny Green, Bill Charlap (tracks: 1, 4, 8, 11, 13), Kenny Barron (tracks: 2, 9); Tenor Saxophone – Andy Farber (tracks: 1, 6, 11, 13), Gerry Niewood (tracks: 6, 9); Trumpet – Wynton Marsalis (tracks: 2, 4, 8)

Easy Living

Frank Lowe Quintet - Soul Folks

Styles: Saxophone, Free Jazz
Year: 1998
File: MP3@320K/s
Time: 65:19
Size: 150,8 MB
Art: Front

(8:24) 1. Tubby's Night Out
(7:42) 2. Eddie's Dream
(5:27) 3. Nothin' But Love
(8:37) 4. Ms. Bertha's Arrival
(3:40) 5. Inappropriate Choices
(6:32) 6. Mirror Minded Rose
(6:35) 7. Soul Folks
(5:30) 8. Grand Valse
(6:36) 9. Addiction Ain't Fiction
(6:12) 10. A Bill For Evans

Warehouse find of the last copies of this long unavailable 2001 release Soul Folks is a live date from 1998, a celebration of Frank Lowe's lyrical side. The group explodes with raw beauty and emotion. There is a sweet soul that enraptures you upon listening as the music swings hard.
https://www.forcedexposure.com/Catalog/lowe-quintet-frank-soul-folks-cd/NOMORE.010CD.html

Featuring Frank Lowe (saxophone), Bertha Hope (piano), Jack Walrath (trumpet), Steve Neil (bass) and Ralph Peterson (drums).

Soul Folks

John Stein - Encounterpoint

Size: 125,7 MB
Time: 54:02
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz
Art: Front

01. Jordu (5:13)
02. Line Drive (6:59)
03. The Roundabout (5:32)
04. Dindi (5:51)
05. Close Your Eyes (4:19)
06. Trois (4:59)
07. Half-Whole Blues (8:50)
08. So Danço Samba (5:20)
09. You Don't Know What Love Is (6:55)

Guitarist John Stein has brought together an all-star ensemble for the album Encounterpoint and these world-class musicians deliver on every tune. The ensemble cast of Koichi Sate, keyboards, John Lockwood, bass, and Ze Eduardo Nazario on drums and percussion are always on top of their game. Whether it be a funk groove, hard swinger or relaxing bossa-nova tune, the energy and interaction are always solid throughout. With a band of this caliber it would hard for anyone to sound less than their best, but Stein is not one to rest on his heels as he pushes the band to new heights of creativity and emotion during his melodic interpretations and improvised solos.

Stein draws upon a wide variety of styles and influences with the tune selection on Encounterpoint. The album begins with the classic Duke Jordan tune "Jordu," which Stein has arranged to alternate swing and bossa feels during the melody sections while the solos remain in a bossa feel. There is a strong Brazilian influence throughout the album especially on the bossa-nova standards "Dindi" and "So Danco Samba," and with Nazario behind the kit there is always an element of Latin influenced groove creeping up in each song. Aside from the bossa-nova tunes there are also several hard-swinging bebop pieces such as "Close Your Eyes," a Monk influenced "Half-Whole Blues," and the funk-based "The Roundabout." The wide variety of musical styles prevents the album from becoming repetitive and allows each musician the chance to stretch in multiple musical situations.

Stein's playing is stellar throughout the album as he always seems to know when to burn, when to play melodically, and when to just lay out and let the band take over. Stein draws heavily from his bebop vocabulary throughout the record, though he never sounds repetitious and has a knack for twisting his lines and melodies into unexpected territory. Though he leaves most of the chord work to the more than capable hands of Sato, Stein does provide two simple, yet highly effective, chord melody introductions to the tunes "Line Drive" and "Dindi," with the latter being one of the albums brightest moments.

John Stein has really lifted the bar with Encounterpoint, not only for himself but for the jazz guitar quartet genre in general. The mixture of styles, world-class ensemble, and effective tune selection all combine to bring the most out of each individual musician and the group as a whole. The result is an album that is both intellectual stimulating and easily accessible at the same time. ~Matthew Warnock

Personnel: John Stein: guitar, acoustic bass; Koichi Sato: keyboards; John Lockwood: acoustic bass; Ze Eduardo Nazario: drums, percussion.

Encounterpoint

Sunday, October 8, 2023

Taylor Swift - Folklore

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 63:37
Size: 154,7 MB
Art: Front

(3:30) 1. The 1
(3:59) 2. Cardigan
(3:51) 3. The Last Great American Dynasty
(4:45) 4. Exile
(4:15) 5. My Tears Ricochet
(3:29) 6. Mirrorball
(3:28) 7. Seven
(4:21) 8. August
(3:15) 9. This Is Me Trying
(3:10) 10. Illicit Affairs
(4:12) 11. Invisible String
(3:57) 12. Mad Woman
(4:49) 13. Epiphany
(4:54) 14. Betty
(3:54) 15. Peace
(3:40) 16. Hoax

Folklore was contextualized as a lockdown project instantly upon release, and earned a reputation as the archetypal quarantine album. Los Angeles Times thought that the album was ruminative and dreamy, displaying the work of an artist "cut off from the everyday world, turned inward". The Guardian opined that Folklore was a respite from chaotic global events, converting dark emotions into something beautiful, while The Daily Telegraph called it "an exquisite, empathetic lockdown triumph".

NME wrote the album will be remembered as "the quintessential lockdown album" that acted as a soothing balm during lockdown, and while many artists created quarantine albums, it was Folklore that "felt like the perfect accompaniment for the weird loneliness" of 2020. Echoing similar sentiments, Insider stated that Folklore would be known as "lockdown's one true masterpiece", out of the works released by artists during the pandemic.

Rolling Stone predicted that the album may go down in history as "the definitive quarantine album" for providing comfort and catharsis "just when we needed it most". Billboard proclaimed that it would be cherished as one of Swift's most influential albums for transcending the unprecedented times and freeing listeners from a monotonous, socially distant life.

Uproxx noted how Folklore changed the tone of music in 2020, and added that its impact on the year's cultural landscape "can't be measured", owing to how it erased "all the pain and anguish and anxiety" in the world when music fans fled to social media to celebrate the album.

Clash credited Swift with softening the tragic start of 2020s which was shaping up to become a tumultuous decade, by using a "wintery album released smack in the middle of summer" that "forces us to slow down and take stock of where we are now in love and life".

In a list awarding the most creative works that shaped quarantine, Vulture labeled Folklore as 2020's "Best Breakdown in Musical Form": An album that speaks to loneliness, rich with "the kinds of thoughts we try to keep to ourselves". Vogue also listed the album amongst the best moments of lockdown culture.

The Week called it "the first great pandemic art" for being the first prominent body of work to emerge from popular culture that is "almost exclusively a product of the quarantine", and added that Swift set high standards for future pandemic projects.

In agreement, Financial Times named Swift one of the most influential women of 2020, calling Folklore "the first great lockdown album", while Hot Press termed it "the first great album of the lockdown era".

Judging from its acclaim and commercial success, music critic Tom Hull concluded that Swift "caught the spirit of the times" with Folklore's "long, pleasant, intricate songs". Billboard named Folklore and Evermore as the best examples of innovative albums from artists who were compelled to amend their creative process during the pandemic.

The magazine highlighted how Swift created Folklore in an unconventional approach, by forwarding song files back-and-forth with her producers while working remotely on FaceTime, achieving "massive" chart success and Grammy Award nominations with it, and adapted to the pandemic by performing the album live in an isolated recording studio.

Yahoo! wrote Swift became the voice of 2020 by touching "the core of a cultural crisis" with two albums that embody the sensation of a historic pandemic, and pondered whether "we will be able to listen to Folklore and Evermore without being reminded of 2020, and a pandemic that those who come after us will never quite understand".

According to SEMrush, 50% of 2020's top trending albums were released after the lockdowns in mid-March, and Folklore was one of the year's three most googled albums, garnering 1.2 million monthly searches after its release in July; the other two are J Balvin's Colores and Selena Gomez's Rare. Folklore was also the most popular album of 2020 on Genius, earning an average total of 1.174 million views per track the only album to achieve the feat. It was followed by The Weeknd's After Hours (749,000 average views per track). "Cardigan", "Exile" and "The 1", were among the year's top 20 popular songs on the websitethe most for any artist.

Swift was also 2020's top searched artist on Genius, with her lyrics amassing 31 million total views. Hayley Williams of Paramore revealed that she is recording her own record equivalent of Folklore. Phoebe Bridgers suggested that her next record could be inspired by the album. Critics noted influences of Folklore on Olivia Rodrigo's debut single "Drivers License"
https://taylorswift.fandom.com/wiki/Folklore

Folklore

Ella Fitzgerald - The Last Decca Years 1949-1954

Styles: Vocal
Year: 1999
File: MP3@128K/s
Time: 62:43
Size: 63,1 MB
Art: Front

(2:41) 1. In The Evening (When The Sun Goes Down)
(3:10) 2. Basin Street Blues
(3:01) 3. Solid As A Rock
(3:19) 4. I've Got The World On A String
(3:08) 5. Dream A Little Dream Of Me
(3:14) 6. Can Anyone Explain?
(3:12) 7. Because Of Rain
(3:17) 8. I Don't Want To Take A Chance
(2:51) 9. There Never Was A Baby Like My Baby
(3:22) 10. Give A Little, Get A Little
(2:54) 11. A Guy Is A Guy
(2:26) 12. Goody, Goody
(5:13) 13. You'll Have To Swing It (Mr. Paganini) (Pt. 1 & 2)
(3:16) 14. Early Autumn
(2:57) 15. Angel Eyes
(3:05) 16. Prevue
(2:53) 17. Careless
(2:50) 18. Blue Lou
(2:55) 19. Melancholy Me
(2:50) 20. Lullaby Of Birdland

Ella Fitzgerald's tenure at Decca Records has been criticized, especially in comparison to her subsequent stay at Verve, for the mediocrity of the material she recorded and her late-blooming maturity as a singer. By selecting 20 tracks from among the sessions she did late in her Decca period with arranger/conductor Sy Oliver, this album makes the best of that era, though the results still do not rank with Fitzgerald's later triumphs.

The punchy Oliver style, heard in everything from the works of Jimmie Lunceford to those of Tommy Dorsey and Frank Sinatra, has a Dixieland flavor, especially in its blaring horns, that Fitzgerald seems to find stimulating. But the quality of the material is still the key: when singer and arranger have something like "Basin Street Blues" to work with, they do fine (Fitzgerald even breaks into her first recorded Louis Armstrong imitation), and there are enough such examples "I've Got the World on a String," "Angel Eyes," "Blue Lou," and Fitzgerald's scat showcase "You'll Have to Swing It (Mr. Paganini)" to raise the album to worthwhile status, especially when you throw in a duet session with Armstrong himself on "Dream a Little Dream of Me" and "Can Anyone Explain?."

But there are also many second-rate songs that Fitzgerald dutifully sings as though they were something better, and that keeps this album from countering the usual impression of the Decca years.By William Ruhlmann.https://www.allmusic.com/album/the-last-decca-years-1949-1954-mw0000602836

The Last Decca Years 1949-1954

Sherrie Maricle - Live Concert

Styles: Swing, Bop
Year: 1993
File: MP3@320K/s
Time: 77:16
Size: 183,5 MB
Art: Front

( 7:47) 1. Cherokee
( 6:48) 2. Day Dream
( 7:53) 3. I Wanna Be Happy
( 6:40) 4. Zoom Blewz
(10:28) 5. Django
( 6:46) 6. Air Mail Special
( 7:01) 7. If I Had You
( 7:29) 8. Perdido
( 8:01) 9. Blues For Dear Bobby
( 8:20) 10. Fascinating Rhythm

From the drum set Sherrie leads The DIVA Jazz Orchestra, her quintet FIVE PLAY and co-leads the 3Divas. From Carnegie Hall, she performs with The New York Pops and from celebrated stages everywhere, she is music director and drummer for Broadway star Maurice Hines. Sherrie is also a busy freelance performer and a published composer/arranger.

With her bands Sherrie has performed at many of the world’s most acclaimed music venues and festivals; from Lincoln Center to the Kennedy Center and the Hollywood Bowl, to Jazz Festivals in Germany, Switzerland, France, Portugal, Ireland, England, Croatia, Japan, Vietnam and Israel and beyond. Additionally, DIVA was featured at the 2017 NEA Jazz Master’s Awards Ceremony, the soundtrack for the NBC-Macy’s Fireworks Spectacular; on CBS Sunday Morning with Charles Osgood, on TCM’s televised broadcast of the 25th Anniversary of the Kennedy Center and NHK Japan’s New York Jazz. The band also co-stars in the award-winning documentary film The Girls in the Band.

Sherrie has received several awards and honors which include a 2016 Audelco Award for “Best Musical” – Tappin’ Thru Life; a 2014 Ovation award for “Best Music Direction” in Tappin’ Through Life; the 2009 Mary Lou Williams-Kennedy Center Lifetime Achievement Award, a 2013 State Department grant for FIVE PLAY to tour Vietnam, a tour grant from Arts International, The Kennedy Center Alliance Award for Outstanding Achievements in the Arts, a grant from Meet the Composer, a Doctoral Fellowship from New York University, the New York City Music Educator’s Award for Outstanding Contributions to Education and was twice selected New York University “Music Teacher of the Year.”

As an educator, Sherrie runs a private drum set and percussion studio. She is also a clinician for Yamaha Drums, Sabian Cymbals, Aquarian Drum Heads and Vic Firth Drum Sticks. On a national level, she has served as guest conductor, soloist and adjudicator for many collegiate and high school jazz and All-State festivals. Sherrie also created and directs Musical Magic, a hospital outreach program for The Ronald McDonald House New York.

After earning her Bachelor of Arts degree in 1985 from Binghamton University Sherrie moved to New York City and attended New York University, where she completed a Masters of Arts in Jazz Performance in 1986 and a Doctorate of Philosophy in Jazz Performance/Composition in 2000.

The DIVA Jazz Orchestra’s 25th Anniversary Project (2018, ArtistShare) is the band’s most recent Cd, featuring original music composed by band members. In 2019 FIVE PLAY released “LIVE” at The Firehouse Stage (independent) and in 2016 the 3Divas recorded their self-titled inaugural Cd (independent) “LIVE” at WVIA Radi0.https://maestramusic.org/profile/sherrie-maricle/

Live Concert

Chihiro Yamanaka - After Hours 2

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 53:27
Size: 122,4 MB
Art: Front

(4:35) 1. Fly Me To The Moon
(4:03) 2. Wakey, Wakey
(4:09) 3. Drift Apart
(4:11) 4. Just One Of Those Things
(4:52) 5. Georgia On My Mind
(5:05) 6. I'll Close My Eyes
(4:08) 7. Moanin'
(4:09) 8. Beautiful Love
(6:14) 9. Skating In Central Park
(6:07) 10. Autumn Leaves
(5:48) 11. I Didn't Know What Time It Was

Chihiro Yamanaka, Universal Music/Blue Note recording artist, is one of the most exciting jazz pianists and composers of her generation, and the leader of the Chihiro Yamanaka Trio. The new Chihiro Yamanaka CD, Somethin' Blue, is her Blue Note Records debut.

Chihiro has been a Universal Music/Verve recording artist since 2005, the same year in which she was named Swing Journal’s “Best New Artist." On the occasion of Universal's recent acquisition of Blue Note Records in time for Blue Note’s 75th anniversary Chihiro made the move to Blue Note. As a newly minted Blue Note artist, she has been a big part of the 75th anniversary celebrations, including a concert at the Blue Note Tokyo in which she performed with all-stars including bassist Ron Carter.

Chihiro, who most often performs and records in trio format, assembled a sextet for the Somethin' Blue sessions and created a new compositional universe that places this 2014 album in the lineage of classic Blue Note recordings. Her impressive technical mastery of the piano combines with her improvisational command to make her a member of the pantheon of great pianists who have recorded for Blue Note throughout its history.

Chihiro’s music pivots between her strikingly original compositions and her unique arrangements in which she accomplishes the impressive feat of introducing the element of surprise into some of the most famous songs in the jazz repertoire, contemporary popular music, and even the works of classical composers.

On Chihiro's 2013 CD, Molto Cantabile, she lovingly fractures classical gems, including one that has become a staple of her live shows, Beethoven's "Für Elise," which is exposed to an improbable series of kaleidoscopic variations which could withstand the involvement of knuckles and which let loose a torrent of effects that could lead the listener to wonder whether it's the music of Beethoven or of Thelonious Monk. As this unusual music unfolds, one could easily imagine both Beethoven and Monk looking on with astonishment and, ultimately, complete approval.

Chihiro took this concept in a different direction with her Beatles tribute, the 2012 CD Because, a groundbreaking disc that features some of the most creative reworkings of Beatles classics ever recorded. Along with the title track, “Because” (from Abbey Road), Chihiro transforms such great songs as “Yesterday” and “Michelle” into glittering vistas of her musical imagination.

Chihiro does all of her studio recording in New York City, working with some of the greatest talent in jazz. Her recordings have featured prominent artists such as Jaleel Shaw, Ben Williams, Jeff "Tain" Watts, Larry Grenadier, Jeff Ballard, Kendrick Scott, Gene Jackson, Vicente Archer, Robert Hurst, Yasushi Nakamura, Yoshi Waki, John Davis and Bernard “Pretty” Purdie.

Chihiro performs regularly on three continents. In New York City, Chihiro’s home base, her latest appearance was a spectacular March, 2015 concert with her trio at Dizzy's Club Coca-Cola at Jazz at Lincoln Center, where she played to a sellout crowd. Her New York appearances in recent years have also included Iridium Jazz Club, the Blue Note and Carnegie Hall.

Chihiro is active on the west coast (with repeat appearances at Yoshi’s San Francisco, Kuumbwa Jazz Center in Santa Cruz, and Dizzy's in San Diego), in Boston (Café 939, Regattabar), where her popularity is influenced by her status as a Berklee graduate, and in the Washington/Baltimore area (Blues Alley, Kennedy Center, An die Musik, Warner Theater). Among the highlights was her concert that opened the Mary Lou Williams Women In Jazz Festival at the John F. Kennedy Center in Washington, DC, a set that was selected for broadcast on National Public Radio's "JazzSet with Dee Dee Bridgewater."

In Japan, Chihiro performs to sellout audiences at large venues across the country, and all of her Universal CDs have topped the Japanese jazz charts. As a classical pianist, she has performed Gershwin’s Rhapsody In Blue with major symphony orchestras. She has become a multimedia celebrity in Japan, hosting her own radio show, making TV appearances, and authoring a book, The Landscape With Jazz.

Europe is fertile ground for Chihiro’s tours, which have included the Umbria Jazz Festival, Bologna Jazz Festival, Sunset-Sunside in Paris, Blue Note Milan, A-Trane in Berlin, the major venues and festivals in Rome including Auditorium Parco Della Musica, Roma Jazz Festival and Alexanderplatz, and a recent weeklong engagement at Marians Jazzroom in Bern, Switzerland.

Keeping pace with Chihiro’s whirlwind touring schedule is her prolific international recording career with Universal Music and Blue Note Records. In the past three years she has had six CD releases. Besides Somethin' Blue, Molto Cantabile and Because, they include After Hours 2, the U.S. release of Reminiscence, and a compilation, My Favorite Blue Note, on which Chihiro served as producer and contributed original music. In the same period Chihiro and Universal also have released an EP, Still Working, and two DVDs, Live In New York, videotaped at Iridium Jazz Club, and Live at Blue Note Tokyo. A Chihiro Yamanaka DVD gives her fans the opportunity to experience on video the spectacular visual presentation that has been seen by anyone who has witnessed the fireball of energy and virtuosity on display at a live Chihiro concert appearance.

Chihiro has received numerous awards, including Jazz Japan’s “Album of the Year” and the Japan Gold Disc Award for best-selling jazz record of the year, along with acknowledgments from critics, fans and musicians for her recordings and live performances. Jazz Life Magazine called Chihiro “one of the greatest jazz talents in decades,” and the late George Russell hailed her as “a very gifted and imaginative musician.”

In JazzTimes Magazine, Giovanni Russonello wrote an enthusiastic review of Chihiro's set at the 2011 Umbria Jazz Festival, opening for Herbie Hancock, Wayne Shorter and Marcus Miller. “Opening for the Tribute to Miles band with her trio, the Japanese pianist tore into two originals at the top of her set…When she announced ‘Take Five,’ the crowd let out a gleeful 'ahh' but they weren’t ready for the voracious reharmonization, full of upward-creeping bass lines and chromatic descents, or her mid-song interpolation of 'In Your Own Sweet Way,' retrofitted in 5/4 time. Right and left, jaws were dropping."Chihiro Yamanaka, Universal Music/Blue Note recording artist, is one of the most exciting jazz pianists and composers of her generation, and the leader of the Chihiro Yamanaka Trio. The new Chihiro Yamanaka CD, Somethin' Blue, is her Blue Note Records debut.
https://www.allaboutjazz.com/musicians/chihiro-yamanaka/

Personnel: Chihiro Yamanaka - piano; Avi Rothbard - guitar; Yasushi Nakamura - bass; Yoshi Waki - bass

After Hours 2

JoosTVD - Just Say kNOw

Styles: Jazz Funk
Year: 2018
File: MP3@320K/s
Time: 34:35
Size: 81,1 MB
Art: Front

(3:04) 1. Not Now
(3:48) 2. The Vanished Romeo
(2:48) 3. Indie
(1:48) 4. My Cat Is Stoned
(2:56) 5. Loaded
(4:38) 6. Gameface
(3:09) 7. Rottendance
(3:28) 8. Crest Of A Wave
(3:51) 9. There's No Sense In Making Sense
(1:35) 10. All The Way
(3:20) 11. Not Ever

When you are a really competent musician who just wants to have fun, the result is JoosTVD. Just Say Know is 11 songs worth of expertly played, groovy, smooth progressive funk. The project’s style is very interesting and out there, not conforming to traditional songwriting and instrumentation.

There’s a playful mood to the record there’s a song about one’s cat partaking in weed, for goodness’ sake! But what strikes us most is how much fun JoosTVD is having performing such tricky, jazzy, funky parts. It’s a lovely thing to observe and hear, yet JoosTVD is never comical or goofy.

Just Say Know is clearly a labor of love and that shows through the masterful songwriting, tight performance, and challenging, compelling song structures. This is a progressive project, after all, and the person behind it did one hell of a job!

If you ever wondered how Faith No More may sound if they dialed back the edginess, give Just Say Know a spin.https://blog.drooble.com/joostvd-want-you-to-just-say-know-to-progressive-funk/

Just Say kNOw

Simon Spillett Big Band - Dear Tubby H

Styles: Jazz, Big Band
Year: 2023
File: MP3@128K/s
Time: 68:13
Size: 63,2 MB
Art: Front

(6:28) 1. Dear Johnny B
(5:44) 2. As Close As You Are
(5:46) 3. Take Your Partners For The Blues
(6:21) 4. Fish Soup
(4:04) 5. Star Eyes
(4:56) 6. Soft And Supple
(6:44) 7. Rumpus
(5:15) 8. Peace
(5:22) 9. Seven Steps To Heaven
(3:35) 10. Solweig
(6:33) 11. Blues For Pipkins
(7:19) 12. She Insulted Me In Marrakech

Superlatives along the lines of ‘tour de force’ do little justice to this new recording by the Simon Spillett Big Band; an album of rarely heard, newly rediscovered arrangements from the library of the Little Giant himself ~ Tubby Hayes.

Simon Spillett has long been recognised as the keeper of the Tubby Hayes flame. His life, his work and his legacy may well be residing only in the distant memories of those that were there were it not for Spillett’s tireless efforts to remind the jazz public of his immense contribution to British jazz.

The story of how a pile of dog-eared, yellowing manuscript was ultimately rescued and restored after 50 years is fascinating in itself. The mere fact that these wonderful charts weren’t, at some point along the line, thrown in the bin is a minor miracle! Let’s not think about that. Instead let’s concentrate on this heroic feat of musical archeology.

Spillett’s enthusiasm for Tubby’s work led to him being sent, over the years, all manner of Hayes-related artefacts, information, lost recordings and, eventually, lost big band charts. Enough, as it turned out, to record a full albums-worth of material separate to that found on Tubby’s two recorded large ensemble outings Tubbs Tours and 100% Proof.

Enter Mark Nightingale who not only takes his place in the trombone section but also assumed the Dr Frankenstein role of bringing the scores to life. There were missing parts to consider, various copyist errors and the small matter of the poor quality of the original paper after having languished in a dark corner for so many years. One can only imagine the “it’s alive” moment as the band played the opening bars of the first chart at the first rehearsal.

Enter Pete Cater, ace drummer and bandleader in his own right. Also a permanent member of Simon Spillett’s quartet, Cater’s passion for the project has found him wearing several hats at once – producer, executive producer, record company boss as well as percussionist!

Sixteen of Britain’s finest section players, soloists, bandleaders and arrangers make up the Simon Spillett Big Band. It’s as it should be. Tubby’s band was an equally all-star outfit.

This is not an album that features a solitary star soloist (Spillett) endlessly blowing over a series of brass and reed backing figures. Solo’s are distributed equally and skilfully among the band personnel with Spillett featuring himself on just two of the twelve tracks choosing, instead, to fill the role of conductor and catalyst.

From start to finish the whole album crackles with an infectious energy. The reed passages, at times intricate and snakelike, are delivered flawlessly. The brass offer knockout punches with expert precision one minute and beautifully gentle melodic lines the next. The rhythm section swings relentlessly accenting the brass, at times, for even more impact. Each soloist positively shines. This band sounds like a happy band! The feeling of camaraderie and mutual respect is plainly evident on each and every track.

The music itself manages to sound contemporary and yet ‘of its time’, and in equal measure. Post Swing-era the big band was presented with a challenge and an opportunity. The challenge was to stay as a relevant and vibrant art form outside of the dancehalls that had created it in the first place. The opportunity was to see, free of the shackles of commercialism, how the recent developments in small group jazz could be incorporated into the large ensemble. Many established bandleaders that had enjoyed enormous success during the 1940’s fell into obscurity; left behind by a new generation that grabbed the big band from the brink and reinvented it. Twenty years later the original Tubby Hayes big band began performing these arrangements. Over fifty years later, Spillett and his crew resurrect them; breathing new life into them. There’s something in this story that connects all the dots, completes a chapter in British jazz history and, hopefully, opens up a new one.

Dear Tubby H reminds us of how so many great jazz musicians revelled in a big band setting. None less so than Tubby Hayes himself. Simon Spillett and his orchestra have created something way beyond a tribute or homage to Tubby. It serves more as a love letter to the continuing vibrancy of great big band jazz as much as it honours Hayes himself. It’s an album that is beautifully played and beautifully recorded by all involved; one which deserves to sit proudly on the record shelves of any discerning jazz lover.By Denny Ilett
https://londonjazznews.com/2023/10/07/simon-spillett-big-band-dear-tubby-h/

Personnel: Simon Spillett – musical director and tenor saxophone; Sammy Mayne – alto saxophone/flute; Pete Long – alto saxophone/flute; Alex Garnett – tenor saxophone/clarinet; Simon Allen – tenor saxophone/clarinet; Alan Barnes – baritone saxophone/bass clarinet; Nathan Bray – trumpet/flugelhorn; George Hogg – trumpet/flugelhorn; Freddie Gavita – trumpet/flugelhorn; Steve Fishwick – trumpet/flugelhorn; Jon Stokes – trombone; Mark Nightingale – trombone; Ian Bateman – trombone; Pete North – trombone; Rob Barron – piano; Alec Dankworth – bass; Pete Cater – drums

Dear Tubby H

Linda Woodson - Come A Little Closer

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 37:30
Size: 88,5 MB
Art: Front

(5:05) 1. Stolen Moments
(4:34) 2. FHJ
(4:38) 3. Feeling Coy
(2:34) 4. I'm In
(4:35) 5. All Roads Lead To Nashville
(5:23) 6. You Are Something Special
(6:03) 7. La Costa
(4:35) 8. Come A Little Closer

Linda Woodson is a US singer songwriter with a penchant for soulful, lounge jazz. She’s been making music since 2006 and she’s just released her fourth album, ‘Come A Little Closer’. The paucity of her releases is probably down to the fact that Ms Woodson also has another ”career”; she’s a fully qualified dermatologist!

The new 8 tracker is named for Linda’s version of the Broadway show tune and easy to hear why its name’s out there. It’s a big production (gorgeous strings) and showcases the purity of the singer’s voice. The album’s other covers are the Latino ‘La Costa’ (an Aziza Miller song best known in its Natalie Cole version) and ‘Stolen Moments’ (a jazz standard written by Oliver Nelson, to which Linda has added lyrics).

The remaining five songs are Woodson originals which she says: “reflect the diversity in my music and through this journey I was able to weave the many facets of my life.” Amongst the highlights are ‘FJH’(Faith, Hope, Joy’) a sweet and precise item; the busy, bustling ‘I’m In’ and ‘All Roads Lead To Nashville’ which, you won’t be surprised to learn, has a country flavour. By Bill Buckley
https://www.soulandjazzandfunk.com/news/come-a-little-closer/

Come A Little Closer

Wednesday, October 4, 2023

Bill Gati - Piano Expressions

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 50:36
Size: 117,8 MB
Art: Front

(4:12) 1. All of Me
(4:51) 2. April in New York
(2:23) 3. Bye Bye Blues
(4:17) 4. Building Blocks
(2:07) 5. Good Times
(4:08) 6. Hit It
(1:41) 7. Joy
(4:11) 8. Love Song
(4:29) 9. Love
(3:32) 10. May in New York
(9:13) 11. Peace in the Valley
(5:25) 12. Something Else

William Gati Bom April 1O, 1959, in Rio Di Janeiro, Brazil Initially trained as a classical pianist (he studied at Juilliard from the age of 8), William Gati has been drawn to Jazz while studying with the great John Lewis (Modern Jazz Quartet). After graduating from City College (1981), he has played in various church venues and has been influenced by gospel music. He has also been involved in directing and performing in musicals and has been influences by the Broadway Show style. His greatest strength, however, is in improvising and performing jazz standards and original compositions.

He has been influenced by Sir Roland Hanna (a good friend and Professor at Queens College), John Lewis (another friend), Herbie Hancock, Dr. Billy Taylor and Duke Ellington. He has performed with various local Jazz artist such as John Dooley (bass),Hank Holzer (drums), Premik Tubbs (wind), and John Smith (drums). He has played in Lincoln Center, Queens College, Forest Park Band Shell, local halls and various other venues.

He has three CD's independently produced called "Piece of Pie," "Box 0' Chocolates," and "Intricate". All three recordings are collections of original jazz compositions written, performed and recorded by Mr. Gati. He explores various musical concepts in a truly jazz style.

William Gati is also a talented saxophonist, vocalist, writer, architect (he is registered) and painter. He believes that we must all let the music out from within us. His work has been featured in many books and articles for example "Who's Who in the East," "Who's Who in the World," "Newsday," "Creations in Space," and "Personality Types".

His jazz style is soulful, smooth and technical all in various proportions. He loves to play straight-ahead jazz but particularly enjoys playing original compositions. His performances are lively and interesting because they are spontaneous and inspired by the moment. He will play the piano, play the saxophone and sing (but not all at the same time) as well as tell stories and inspiring anecdotes. He can put on a very entertaining, creative and memorable performance
.https://www.allaboutjazz.com/musicians/bill-gati/

Piano Expressions

Adi Braun - Live At The Metropolitan Room

Bitrate: 320K/s
Time: 64:22
Size: 147.4 MB
Styles: Jazz vocals
Year: 2008
Art: Front

[5:40] 1. That Old Black Magic
[4:45] 2. Witchcraft
[5:59] 3. That Old Devil Moon
[7:23] 4. That Ole Devil Called Love
[3:17] 5. Love Me Or Love Me
[4:36] 6. Easy To Breathe
[4:40] 7. You Do Something To Me
[6:09] 8. Besame Mucho
[4:54] 9. Honeysuckle Rose
[5:43] 10. Miss Celie's Blues
[3:36] 11. Night And Day
[3:10] 12. Some Other Time
[4:24] 13. Ocean Eyes

"You really should record a live album" is what I have heard now for a few years from friends and colleagues. "But how and when and what if it's not perfect?" has been my question. "Perfect!" has been their answer.

New York has become a second home for me over the past few years and I am filled with excitement every time I sing in that crazy and wonderful city. New Yorkers are unparalleled in their support and enthusiasm for good music and I have been very fortunate to have sung at several great venues there, including the fabulous Metropolitan Room, which is where this CD was recorded.

I loved making my two previous albums, The Rules of the Game and Delishious, and learned much about the process of putting together a studio recording. But since the very essence of jazz is one of freedom, spontaneity and "being in the moment", it made sense to me, at this point in my career, to embark on my first live recording. Though we didn't plan to turn the evening of October 26th into a live recording, which would have meant using a multi-track recording technique (instead of the one-track recording technique that was used, which doesn't allow for any "fixes" later on), all the stars shone in our favour that night.

From the piano that had just been tuned the day before, to the great skills of recording engineer Jean-Pierre Perreaux, to all the special people in the audience, and to the fact that all the musicians - myself, pianist Tedd Firth and bassist Steve Watson - were very much in synch and having tremendous fun that night everything seemed like a blessing for this project. One song that was not a part of this show was my own composition, "Ocean Eyes"; by popular demand, I have included it here as a bonus studio recording.

I had called my show "Heart to Heart" and my intention was to musically engage in an open and heart-felt dialogue between singer, song and audience. So sit back and relax as you are about to listen to as "naked" and truthful a delivery of music as I could have hoped for - joyful and honest. ~Adi Braun.

Live At The Metropolitan Room

Chihiro Yamanaka - Lach Doch Mal

Styles: Piano Jazz 
Year: 2006
File: MP3@320K/s
Time: 53:18
Size: 124,3 MB
Art: Front

(4:01)  1. Quand Biron Voulut Danser
(3:58)  2. Sabot
(5:41)  3. Serenade To A Cuckoo
(3:54)  4. RTG
(4:25)  5. The Dolphin
(2:51)  6. Night Loop
(4:14)  7. One Step Up
(0:45)  8. Lach Doch Mal
(5:35)  9. Liebesleid
(4:54) 10. Mode To John
(7:06) 11. What A Diff'rence A Day Made
(5:49) 12. That's All

Chihiro Yamanaka is an internationally renowned, hard-swinging jazz pianist, composer, and bandleader, whose fluid, athletic technique has drawn rave reviews and very favorable comparisons to legends such as Oscar Peterson and Art Tatum. She is based in New York. Yamanaka was born in Kiryu, in Japan's Gunma Prefecture, in 1976. At age four she began formal piano studies. While she began with classical music and still practices it, she shifted her focus to jazz studies in high school. After graduation she attended the Berklee College of Music in Boston as part of the Betty Carter Jazz Ahead residency program. She played with a wide range of musicians in Boston and in New York before heading back home to Japan after she graduated from Berklee in 2000 with honors and took first place in Down Beat's Outstanding Performance Award competition.Temporarily returning to Japan, she began her recording career there in 2001 with Living Without Friday, the first of four annually released titles issued by the Japanese label Atelier Sawano. Nonetheless, Yamanaka's long-player gained notice immediately from critics and radio stations. Her 2002 follow-up, When October Goes, hit the top rungs of the Japanese jazz charts, and word began to spread among fans and critics across the Pacific back to America. Yamanaka had reached the level where she could tour not only in her home country but also Europe and select U.S. dates. During this time she was also a member of DIVA, the all-female big band led by drummer Sherrie Maricle. Yamanaka also performed with the DIVA spin-off quintet Five Play, who backed Marlene VerPlanck on her 2003 album It's How You Play the Game, all while continuing to tour and release her own recordings.

In 2005 she signed a worldwide deal with Universal's Classics and Jazz division and issued her North American debut with the trio effort Outside by the Swing, recorded in New York City with drummer Jeff "Tain" Watts and bassist Robert Hurst. Yamanaka immigrated to the States and issued the audio-video package Lach Doch Mal in 2006 with Larry Grenadier and Jeff Ballard. While neither record made the jazz charts in the States, they reached the Top Five in Japan and upped the pianist's reputation to the degree that she became a global nomad, touring in the U.S., Europe, and Japan. Arriving in 2007, Abyss was her first recording to feature drummer Kendrick Scott and bassist Vicente Archer, who became her working trio. She broke the trio mold with 2009's Runnin' Wild, where her piano fronted a sextet. On 2010's Forever Begins, bassist Ben Williams replaced Archer in her trio. The following year saw the release of Reminiscence, which placed a live performance at the Iridium in New York with a studio album that featured Yamanaka in three different trio settings. In 2012 Yamanaka released the first of two tribute albums, Because, a loving nod to the Beatles on which she backed by a quartet played not only piano but synthesizer, organ, guitar, ukulele, and harmonica. 

Because was followed by the standards releases After Hours and After Hours 2. In 2013, she offered her tribute to classical music with Molto Cantabile. In 2014, Yamanaka moved from Verve to the Universal-owned Blue Note label just in time for its 75th anniversary. Her debut, Somethin' Blue, was a sextet offering, and in addition to originals offered striking renditions of Bud Powell's "Un Poco Loco" and Herbie Hancock's "I Have a Dream." It reached into the Top Five on the jazz charts. She followed it the same year with Syncopation Hazard, her tribute to Scott Joplin. Yamanaka returned to the trio format for 2016's Blue Note-issued Guilty, which placed her original compositions alongside select pieces by Hoagy Carmichael. Near the end of 2017, Yamanaka produced and arranged Monk Studies. She played acoustic and electric piano, synth, and Hammond B-3 organ in an almost exclusively Monk program backed by drummer Deantoni Parks and bassist Mark Kelly. ~ Thom Jurek https://www.allmusic.com/artist/chihiro-yamanaka-mn0000283696/biography

Personnel: Chihiro Yamanaka(piano).

Lach Doch Mal

Céline Rudolph - Soniqs

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 48:21
Size: 111,9 MB
Art: Front

(3:30) 1. Good News
(4:49) 2. Seven Butterflies
(6:30) 3. Sundance
(2:01) 4. Birds In The Sky
(5:43) 5. Inner Room I
(5:35) 6. The Sun In Me
(5:51) 7. Footprints
(4:26) 8. 69 Année Érotique
(7:16) 9. Inner Room Ii
(2:36) 10. The Muse

Vocalist and composer Céline Rudolph glides between Berlin, São Paulo, Paris and New York, between tongues and genres, always landing in the very heart of music. „Music is like breathing, it was there ever since I could remember“ Céline Rudolph says and recollects how her father always played a break when jamming on the guitar, so that there was a space for his children to create improvised lines or percussive fills. Born in Berlin and raised with her parents’ rich record collection, the daughter of a Frenchwoman from Bordeaux and a cosmopolitan musical enthusiast from Berlin, started singing along with an LP from João Gilberto performing the Brazilian classic “Rosa Morena” to an LP at the age of five. Her mother was singing French chansons to her at home, while Céline learned to play Nat Adderley’s “WorkSong” on her recorder.

She picked up the piano and started composing as an autodidact, then started writing French songs on the guitar, which became her main tool of expression. In short: multi-path orientation was on the cards from the very beginning. After university studies of rhetorics and philosophy, she realized that music exerted a much stronger pull, so she switched to a degree in vocal jazz and composition at Hochschule der Künste Berlin with mentors David Friedman, Jerry Granelli, Kirk Nurock and Catherine Gayer. Soon, she plunged into African music and studied with the percussionist Famoudou Konaté in West Africa. Her love of Brazilian music led her to São Paulo where she met Rodolfo Stroeter who produced three of her albums and four tours across Europe and Brazil so far: The albums are BRAZAVENTURE, METAMORFLORES (enja records) and SALVADOR (Verve,Universal).

Since 2015 she is collaborating with New York based Beninese guitarist Lionel Loueke, having recorded the duo album OBSESSION and then playing together at 12th Jarasum Int. Jazz Festival in South Korea. “This is a very unique project because there are no boundaries. I knew from the start that we are kind of from the same tribe,” says Lionel Loueke. Since then, the duo toured Europe, Asia and Africa (including a tour to West Africa on behalf of the Goethe Institute). The album OBSESSION reached the annual list of the German Critics Award „Preis der Deutschen Schallplattenkritik“, and won Céline Rudolph the prestigious German Jazz Award ECHO JAZZ 2018 for best jazz vocalist. Now, praised as „a jewel of European jazz vocals“ by the French radio station, TSF, having recorded numerous albums with many wonderful musicians including Gary Peacock, Bob Moses, Naná Vasconcelos, Diego Figueiredo and Marcos Suzano, and esteemed by colleagues like Bobby McFerrin, Lee Konitz or Jay Clayton, the adventurous pearl fisher sailed from Berlin to Brooklyn for her new album PEARLS (out 21st of June 2019).

Co-producer Jamire Williams: „I’ve never heard anything like Céline’s music, she writes in such a unique way, and her vocal sound is second to none. Her vibes and flow in connection with what our band has created make this production so special.“ Besides performing with Lionel Loueke and PEARLS, Céline Rudolph started a solo programme combining loops, effects, percussion and guitar.
https://www.allaboutjazz.com/musicians/celine-rudolph

Soniqs

Fay Victor - Blackity Black Black Is Beautiful

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 40:09
Size: 92,9 MB
Art: Front

(2:38) 1. Black Woman's Music
(2:48) 2. Breezy Point Ain't Breezy
(3:53) 3. Vocal Layer of Pandemic Doom (Dedicated to All the Loved Ones We've Lost)
(5:22) 4. Scared To Be Happy
(3:46) 5. Governorship/Senate (For Stacey Abrams)
(5:10) 6. How Can You Do It?
(5:55) 7. I Will Be Erased
(6:21) 8. Signs (A Question For Sages Everywhere)
(4:14) 9. Trust The Universe

“Blackity Black Black Is Beautiful is the very first solo record by Fay Victor, whose 30-year-long music career has covered everything from House, New Music, Jazz (Blues) and Free Improvisation. Her deep history with dance music, her genreless output, and her lived experience as a Black woman in the world shaped the brand new process she used to create this prismatic album which touches on all the decades of her life like diary snapshots. It’s a mesmerizing collection of composed work that could only be made by an extraordinary improviser.

From hearing the raw, almost gospel vocal style over a heavy beat of Donna Summer and Sylvester, to obsessing over shows like Soul Train, Solid Gold, and Dance Fever on TV, to experiencing the sweat and groove, the freedom of bodies moving at NYC clubs like Danceteria, The Loft, and the Paradise Garage – her life changed forever. As she was developing as a jazz singer in Amsterdam in the 90s, she danced to trance music in clubs like Mazzo and The Soul Kitchen. She landed on the Billboard charts with a club hit “You Make Me Happy” in ’91. Stoned on the sacred dance floor, Fay found ecstasy in the moving body, the groove, the beat.

As she entered deeper into the world of jazz, she was attracted to the rhythmic qualities of Thelonious Monk, Eddie Harris, Eric Dolphy, Art Ensemble of Chicago, Betty Carter, Sister Rosetta Tharpe, Nicole Mitchell, Milford Graves, Julius Hemphill, Charles Mingus, Herbie Nichols. Their confrontational rhythm sends her soul leaping, connecting her back to her clubheadheart.

With Mavin Gaye’s “Got To Give It Up” as a template, Fay started thinking about how her solo album might unfold. She sang, played keyboards, added textures and further dimensions with no other humans, without electronics. That was her process. Thoroughly creative, composed with music and words straight from her spirit.”
https://www.fayvictor.com/2023/08/25/new-fv-album-blackity-black-black-is-beautiful-released-today/

Blackity Black Black Is Beautiful