Thursday, February 15, 2024

Hazel Scott - Born Hazel Dorothy Scott

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 28:57
Size: 67,2 MB
Art: Front

(2:13) 1. Two Part Invention In 'A' Minor
(2:36) 2. Three Little Words
(2:28) 3. Fascinating Rhythm
(2:42) 4. You Gave Me The Go-by
(2:55) 5. Mighty Like The Blues
(2:50) 6. Blues In B Flat
(3:18) 7. Take Me In Your Arms
(2:55) 8. Country Gardens
(2:51) 9. Ritual Fire Dance
(4:05) 10. Honeysuckle Rose

Jazz pianist and singer Hazel Scott was not only the first African-American woman to host her own television show, but she also bravely stood up to the House Un-American Activities Committee and the Hollywood studio machine. The gifted and popular performer dazzled audiences in the U.S. and abroad with her jazzy renditions of classical works.

Hazel Dorothy Scott was born in Port of Spain, Trinidad on June 11, 1920. She was the only child of R. Thomas Scott, a West African scholar from England, and Alma Long Scott, a classically trained pianist and saxophonist. Scott displayed her talents for music at an early age and, by the age of three, Scott could play the piano by ear. When her mother’s music students would hit a wrong note, Scott would yelp with displeasure.

Scott’s parents separated and she moved with her mother and grandmother to New York City in 1924. Scott's mother played in several all-women bands to earn a living. Scott and her mother were extremely close, and Scott called her mother “the single biggest influence in my life.” Alma became friends with prominent African-American musicians, which gave Scott the opportunity to learn from a variety of musical greats, such as Art Tatum, Lester Young, and Fats Waller.

Her mother’s musical connections made it possible for Scott to audition for the prestigious Juilliard School of Music at the unheard-of age of eight (students were supposed to be 16). Scott’s rendition of Rachmaninoff’s “Prelude in C-Sharp Minor” convinced professor Oscar Wagner of Scott’s “genius” and he arranged a scholarship so that he could instruct her privately.

By the time she was a teenager, Scott was performing professionally throughout the city. At the age of 13, she joined her mother’s jazz band, Alma Long Scott’s American Creolians. At 15, Scott made her individual stage debut opposite Count Basie’s big band at the Roseland Ballroom in New York City. She won a local competition to host her own radio show and, in 1938, made her Broadway debut in the musical revue Sing Out the News. Despite her demanding musical career, Scott graduated high school with honors.

It was her 1939 performances at Café Society in Greenwich Village that pushed Scott’s career to the next level. Café Society was New York’s first fully integrated nightclub and the city’s hot spot for jazz. When singer Billie Holiday ended her standing engagement there three weeks early, she insisted on Scott as her replacement. When the run was up, Scott was the "Darling of Café Society” and the club’s new headliner. More.....https://www.womenshistory.org/education-resources/biographies/hazel-scott

Born Hazel Dorothy Scott

Jack Jones Feat. Joey Defrancesco - ArtWork

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 78:09
Size: 180,3 MB
Art: Front

(6:03) 1. Fever
(4:45) 2. Hello
(4:55) 3. At Last
(5:21) 4. If Love Is Overrated
(3:29) 5. Not While I'm Around
(5:08) 6. She's Funny That Way
(6:17) 7. This Masquerade
(5:55) 8. If You Go Away
(6:10) 9. Empty Chairs
(6:10) 10. Lush Life
(4:23) 11. Free Again
(5:03) 12. Is That All There Is
(5:50) 13. Here's To Life
(4:20) 14. This Is All I Ask
(4:15) 15. One Day

If a singer's reputation is so impressive that he or she is able to enlist a full orchestra (with bassist John Clayton conducting) and the late organ maestro Joey DeFrancesco as featured soloist, that is certainly enough to warrant attention. The singer in this instance is two-time Grammy winner Jack Jones, the orchestra an assemblage of some of the Los Angeles area's finest musicians, enlarged by a thirty-member string section.

On one hand, Jones remains a smooth and personable interpreter of American popular song; on the other, he was nearing his eighty- fifth birthday when ArtWork was recorded, and he is more a stylist and storyteller than a songbird here. If pressed for a description, it must be that he more or less talks in rhythm and always on-key, and can still reach the required notes when necessary, even with some difficulty. Think Rex Harrison without the British accent or Robert Preston with less power.

Those who remember Jones from his heyday in the '50s and '60s may either warm to those memories and embrace the album, or lament the loss of the phrasing, control and animation that made his early recordings so remarkable. Either response is perfectly understandable, as this is not the same Jack Jones. Period. He simply does the best he can with what he has. For some, that may be more than enough; for others, not nearly enough. Make no mistake, Jones can still sing, simply not the way he used to. While the voice is not close to what it once was, experience has taught him warmth and pacing, and he makes the most of those skills.

When all is said and done, when one is a singer that is what he or she does. And Jones has always been a singer, taking his cue from father Allan Jones who starred in a number of films, including the Marx Brothers classic, A Night at the Opera; he recorded the hit song "The Donkey Serenade," introduced in that film. The younger Jones has had a long and illustrious career, and he pours whatever is left in the tank into every note on ArtWork. Even so, he is no more than a shadow of his younger self, which must be considered and acknowledged. As for the rest, DeFrancesco is superb as always on organ, tenor sax or trumpet, the orchestra smooth and dependable. For diehard fans of Jack Jones, ArtWork could be one last treasure to embrace.By Jack Bowers
https://www.allaboutjazz.com/artwork-jack-jones-featuring-joey-defrancesco-self-produced

ArtWork

Tuesday, February 13, 2024

Wolfgang Muthspiel/Scott Colley/Brian Blade - Dance of the Elders

Styles: Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 45:32
Size: 105,4 MB
Art: Front

(10:47) 1. Invocation
( 4:15) 2. Prelude to Bach
( 5:56) 3. Dance of the Elders
( 7:40) 4. Liebeslied
( 4:57) 5. Folksong
( 4:52) 6. Cantus Bradus
( 7:02) 7. Amelia

Dance of the Elders is the third ECM trio album led by Austrian guitarist Wolfgang Muthspiel. It follows on from Angular Blues (2020), which had the same line-up of Scott Colley on double bass and Brian Blade on drums; and Driftwood (2014), on which the bassist was Larry Grenadier.

Of the first of these albums Muthspiel said, ‘I wanted to feature the liquidity and wide horizon of the guitar while also approaching the contrapuntal possibilities of a piano trio.’ Driftwood fully met this brief, Muthspiel’s classical and electric guitar ably supported by two highly sensitive and responsive conversationalists weaving an exquisite sonic filigree. And on the album Angular Blues, Muthspiel widened the horizon with techniques such as using delay to create intricate counterpoints.

But on Dance of the Elders the horizon feels even wider, especially on the first and longest piece, the hypnotic and aptly named Invocation. Electric guitar swells and tinkling bells are followed by a lullaby-like tune that drifts in and out of a hypnagogic soundscape of sparse bass solo, soft mallet rumblings and splashing cymbals, before concluding with a looped riff over which Muthspiel lays a sleepy, blues-tinged solo of heavily treated guitar.

So, broad in sonic palette but also mood, as the second piece attests. Prelude to Bach is played on classical guitar with a Ralph Towner-ish feel, supported by subtle splashes and scattered dabs from Brian Blade, and sawing arco bass from Scott Colley. It becomes vaguely baroque towards the end when bass and drums melt away to leave only solo guitar, but the track’s title is more evocative than descriptive. Muthspiel also plays classical guitar on the titular track Dance of the Elders, a graceful pas de deux between guitar and bass that kicks into an equally lovely pas de trois when the drums join in but perhaps flamenco is a better analogy than ballet, judging by the stop-time interlude of clapping and drums. Folksong has the sort of catchy melody Keith Jarrett might have penned; and Cantus Bradus (classical guitar again) is full of spirited arpeggiating.
https://londonjazznews.com/2023/11/20/wolfgang-muthspiel-dance-of-the-elders/

Featured Artists: Wolfgang Muthspiel - Guitars; Scott Colley - Double Bass; Brian Blade - Drums

Dance of the Elders

Julie Byrne - The Greater Wings

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 38:27
Size: 88,9 MB
Art: Front

(3:24) 1. The Greater Wings
(3:20) 2. Portrait Of A Clear Day
(3:46) 3. Moonless
(4:19) 4. Summer Glass
(2:55) 5. Summer's End
(4:00) 6. Lightning Comes Up From The Ground
(3:47) 7. Flare
(3:38) 8. Conversation Is A Flowstate
(4:04) 9. Hope's Return
(5:08) 10. Death Is The Diamond

The US singer-songwriter Julie Byrne recorded her third album amid a seismic life event: the death of her collaborator, friend and one-time lover Eric Littmann at the age of 31, while they were making The Greater Wings. With lyrics written before but the music finished after, its drifting, drumless songs seem to wander a bardo between this life and another.

Attuned to sun, moon and sky as she moves, Byrne deeply communes with herself and others. Whether singing about Littmann or any other human connection she’s made, she vividly conjures the vestigial feeling of someone gone, either to death or mere departure a sense-memory so strong it becomes a physical encounter. “You are the family that I chose”, “Be with me now as the sun rises its flare” these and so many others are heart-stopping statements of love. Sexual desire, itself a state of need and loss, suffuses the album, too: “That night at the old hotel / I’d been learning you by heart” is erotic and romantic all at once.

Accompanied by a small ensemble (including Littmann at times) on piano, strings, harp, guitar and gorgeously subtle and organic-feeling analogue synth, Byrne’s vocal melodies have the kind of clarity that comes in the wake of a loss, an ending or a personal epiphany. Lightning Comes Up from the Ground and Summer Glass create that sense of sitting outside time through the very timelessness of their robust melodies. Best of all is Hope’s Return (a rearrangement of her song with Jefre Cantu-Ledesma, Love’s Refrain) a secular hymn and modern classic.

Sufjan Stevens’ Carrie & Lowell is perhaps the closest comparison in terms of musical and emotional tenor, but Byrne’s album is ultimately as singular as the woman singing it, and as unforgettable as a departed friend.
https://www.theguardian.com/music/2023/jul/07/julie-byrne-the-greater-wings-review-ghostly-international

The Greater Wings

Joni Mitchell - Joni Mitchell at Newport (Live)

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 61:31
Size: 142,2 MB
Art: Front

(2:41) 1. Introduction By Brandi Carlile
(2:40) 2. Big Yellow Taxi (Feat. Lucius)
(4:51) 3. A Case Of You (Feat. Marcus Mumford
(7:59) 4. Amelia (Feat. Taylor Goldsmith)
(5:40) 5. Both Sides Now
(3:31) 6. Just Like This Train
(5:52) 7. Summertime
(3:37) 8. Carey (Feat. Brandi Carlile)
(5:20) 9. Help Me (Feat. Celisse)
(7:34) 10. Come In From The Cold
(5:44) 11. Shine (Feat. Brandi Carlile)
(5:55) 12. The Circle Game

Joni Mitchell stunned the Newport Folk Festival audience last summer when she gave a surprise performance her first in 20 years delivering a heartfelt set filled with some of her greatest songs. Mitchell's triumphant return to the stage on July 24, 2022, will be featured on a new live album from Rhino, AT NEWPORT, available on July 28, 2023 on CD and 2-LP black vinyl. Produced by close collaborator Brandi Carlile, along with Mitchell, the music will also be released the same day on digital and streaming services and Dolby Atmos. https://www.amazon.ca/Joni-Mitchell-At-Newport/dp/B0C3MSW2VK

Joni Mitchell at Newport (Live)

Chie Ayado - Chain of Life

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 73:02
Size: 169,8 MB
Art: Front

(3:56)  1. Georgia On My Mind
(3:46)  2. Fever
(5:32)  3. Mr. Bojangles
(4:16)  4. Stormy Monday
(4:04)  5. Spinning Wheel
(4:35)  6. Trouble In Mind
(6:02)  7. Goodbye Pork Pie Hat
(4:16)  8. God Bless America
(3:50)  9. I Can't Stop Loving You
(2:30) 10. Blue Skies
(1:40) 11. Oleo
(4:06) 12. Caravan
(5:39) 13. With a Little Help From My Friends
(4:50) 14. Wonderful Tonight
(4:20) 15. Get Into My Life
(5:54) 16. Take Me Home, Country Roads
(3:39) 17. The Way We Were

Influenced by her parents' hobbies, Chie has been surrounded by jazz and Hollywood movies from an early age. She first studied classical piano but soon began to swing, and grew up as a kid that always preferred gospel to psalms. When she was 17 years old, she scraped together all money she had saved with part-time jobs, and left for the land of dreams: the US West Coast.

After moving her bases to NYC, Chie was invited by a record store owner to "visit a church and listen to some gospel". She agreed, and became a member of church's choir on the spot. She married a fellow choir member and gave a birth to a baby , but later she got divorced.

In 1991, the mother and the son returned to Japan, she began to sing in a jazz club in Osaka, and thanks to the quickly spreading rumors of her vocal performance she soon made a name for herself in the local jazz scene.

The June 1998 release "For All We Know" marked Chie's debut as a professional jazz musician at the age of 40. Since then Chie has been touring regularly across Japan in fall and winter, and with the help of fans spreading the word via the Internet
managed to establish a reputation as an outstanding female singer. Soon her concerts were sold out as soon as they were announced. Also her third album "Life" made a big hit in 1999, this her 'standard' album has been sold over 250,000 copies.

In March 2001 Chie received the 51st Ministry of Education and Science Cultural Promotional Award. Harboring an aversion against settling for one thing, Chie has been exploring territories outside the realm of jazz. Her repertory extends 20's swing
jazz to the rock, pop standards.

Chie has released 14 albums, 2 compiled "BEST" albums and 5 DVD-Videos. The number of total sale reaches almost 2,000,000 copies. https://www.hdtracks.com/index.php?file=artistdetail&id=9283

Chain of Life

Monday, February 12, 2024

Martha Tilton - Sway & Swing - Martha Tilton's Relaxing Jazz Grooves

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 30:43
Size: 71,0 MB
Art: Front

(2:50) 1. I Should Care
(2:53) 2. That's My Desire
(2:23) 3. Don't Sit Under The Apple Tree
(2:46) 4. Blow, Gabriel, Blow
(3:13) 5. And The Angels Sing
(2:50) 6. G'bye Now
(2:17) 7. All Of Me
(2:44) 8. A Fine Romance
(2:39) 9. Coming Through The Rye
(2:47) 10. I Wonder, I Wonder, I Wonder
(3:16) 11. I'll Walk Alone

Big-band songbird "Liltin'" Martha Tilton enjoyed her greatest renown during her two-year stint with the Benny Goodman Orchestra. Featured on Goodman's smash rendition of the swing-era classic "And the Angels Sing," she was also the first non-classical vocalist to perform at Carnegie Hall. Born November 14, 1915, in Corpus Christi, TX, Tilton spent the majority of her adolescence in Los Angeles, where as a high school student she began moonlighting with bandleader Sid Lippman on the radio show Coconut Grove. A three-year stint with the Hal Grayson Band followed before Tilton joined the vocal quartet Three Hits and a Miss in 1936.

A year later, she joined the Jimmy Dorsey Band, and appeared as a lounge singer in the classic Hollywood comedy Topper. Soon after Goodman arrived in Tinseltown to film Hollywood Hotel and conduct auditions to replace his previous vocalist Helen Ward, and within days of landing the gig, Tilton joined the band on tour, not returning to L.A. for two years. Acclaimed for her clear, lovely vocals and straightforward interpretive style, Tilton's performance was a highlight of the Goodman Orchestra's landmark January 16, 1938, appearance at New York's Carnegie Hall, the first showcase of its kind awarded to a swing group. Her rendition of "Lock Lomond" earned the longest ovation of the evening, and her growing fame was further solidified via the 1939 Johnny Mercer composition "And the Angels Sing," the biggest hit of her 80-odd Goodman recordings.

When Goodman dissolved the group in April 1939, Tilton signed on with bandleader Paul Whiteman's Philco-sponsored series on NBC radio. For a brief spell during the early '40s, she hosted her own NBC show, Liltin' Martha Tilton Time, as well. During a now-infamous ASCAP strike, she made her first solo recordings for Standard Transcriptions before signing to the fledgling Capitol Records in 1942. A series of releases including "I'll Walk Alone," "A Fine Romance," and "I'll Remember April" followed, and during World War II Tilton was also a fixture of the USO tour circuit, traveling with headliner Jack Benny to military outposts in the Atlantic and Pacific theaters.

After her Capitol tenure ended in 1949, she recorded for independent labels including Coral and Crown, and with singer Curt Massey spent seven years co-hosting a 15-minute daily syndicated radio show sponsored by Alka-Seltzer. In 1955 Tilton played herself in the Hollywood biopic The Benny Goodman Story, appearing in a re-creation of the Carnegie Hall performance. That same year she gave birth to her third child, and in the years to follow gradually receded from the spotlight to focus on raising her family. Tilton resurfaced decades later in a series of swing-era revival tour packages, including a mid-'80s trek through Australia as part of a Goodman tribute showcase spearheaded by pianist/arranger Al Lerner. Tilton died of natural causes at her Brentwood, CA, home on December 8, 2006; she was 91 years old. By Jason Ankeny
https://www.amazon.com/Sway-Swing-Tiltons-Relaxing-Grooves/dp/B0CBNLBQPK

Sway & Swing - Martha Tilton's Relaxing Jazz Grooves

Carl Winther - Swingin'

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 19:49
Size: 45,7 MB
Art: Front

(3:27) 1. Bye Bye Blackbird
(3:45) 2. Black Narcissus
(4:05) 3. All of You
(4:48) 4. Darn That Dream
(3:42) 5. There Is No Great Love

Carl Winther is known as one of Denmark's best piano players. Son of the world famous composer and trumpet player, Jens Winther, he started touring at an early age. The Award Winning vituoso, has been performing with the likes of Billy Hart, Jerry Bergonzi, Bill Evans,, Daniel Humiar, Adam Nussbaum, James Genus, Till Broenner, Markus Strickland, Dick Oats, Dejan Terzic, Eliel Lazo, Moussa Diallo, Mads Vinding, Hugo Rasmussen, Mikkel Nords, Al Campos, Tomas Franck, Doug Raney, Frederik Kronkvist, and Afonso Corea, to name some. His performance is breathtaking and virtuous.

He has a fluent ability to improvise He is an educated Jazz and Classic musicians, with a true love for Latin and African rhythms. His own composition are inspired by all this, and also includes the funky styles of Herbie Hancock's 70s music and avangardistic ideas. Winther has been awarded for his precise and extravagant compositions and his amazing performance skills.
https://www.jazzmusicarchives.com/artist/carl-winther

Swingin'

Courtney Pine - Journey To The Urge Within

Styles: Saxophone Jazz
Year: 1986
File: MP3@320K/s
Time: 50:14
Size: 116,3 MB
Art: Front

(4:19) 1. Miss-Interpret
(4:42) 2. I Believe
(5:24) 3. Peace
(3:31) 4. Dolores
(3:24) 5. As We Would Say
(7:06) 6. Children Of The Ghetto
(5:25) 7. When, Where, How And Why
(3:30) 8. C.G.C.
(4:33) 9. Seen
(1:28) 10. Sunday Song
(3:45) 11. E.F.P. (Bonus Track)
(3:00) 12. Big Nick (Bonus Track)

This early Courtney Pine recording (the tenor saxophonist was 22 at the time) features some of the most promising black English jazz musicians of the time, including Pine (who also plays some bass clarinet and soprano), singer Cleveland Watkiss (who often is reminiscent of Bobby McFerrin), vibraphonist Orphy Robinson, and pianist Julian Joseph.

While most of these players have not yet lived up to their potential (Pine remains an expert Coltrane imitator), this disc has its share of strong music. The emphasis is on Courtney Pine's originals which cover a wide span of emotions and grooves.By Scott Yanow https://www.allmusic.com/album/journey-to-the-urge-within-mw0000652798

Journey To The Urge Within

Chie Ayado & Junior Mance - Chie Ayado Meets Junior Mance Trio Live

Size: 102,9 MB
Time: 44:26
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz/Pop/Blues Vocals, Standards
Art: Front

01. Stormy Monday (Live) (6:54)
02. I'm Walkin' (Live) (3:53)
03. Gee Baby, Ain't I Good To You (Live) (4:48)
04. Sunny (Live) (3:58)
05. Summertime (Live) (5:04)
06. Autumn Leaves (Live) (4:06)
07. Route 66 (Live) (5:28)
08. It Don't Mean A Thing (Live) (3:22)
09. Georgia On My Mind (Live) (5:51)
10. Happy Birthday (Live) (0:57)

Influenced by her parents' hobbies, Chie has been surrounded by jazz and Hollywood movies from an early age. She first studied classical piano but soon began to swing, and grew up as a kid that always preferred gospel to psalms. When she was 17 years old, she scraped together all money she had saved with part-time jobs, and left for the land of dreams: the US West Coast.

After moving her bases to NYC, Chie was invited by a record store owner to "visit a church and listen to some gospel". She agreed, and became a member of church's choir on the spot. She married a fellow choir member and gave a birth to a baby , but later she got divorced.

In 1991, the mother and the son returned to Japan, she began to sing in a jazz club in Osaka, and thanks to the quickly spreading rumors of her vocal performance she soon made a name for herself in the local jazz scene.

The June 1998 release "For All We Know" marked Chie's debut as a professional jazz musician at the age of 40. Since then Chie has been touring regularly across Japan in fall and winter, and with the help of fans spreading the word via the Internet
managed to establish a reputation as an outstanding female singer. Soon her concerts were sold out as soon as they were announced. Also her third album "Life" made a big hit in 1999, this her 'standard' album has been sold over 250,000 copies.

In March 2001 Chie received the 51st Ministry of Education and Science Cultural Promotional Award. Harboring an aversion against settling for one thing, Chie has been exploring territories outside the realm of jazz. Her repertory extends 20's swing
jazz to the rock, pop standards.

Chie has released 14 albums, 2 compiled "BEST" albums and 5 DVD-Videos. The number of total sale reaches almost 2,000,000 copies.

Chie Ayado Meets Junior Mance Trio Live    

Sunday, February 11, 2024

Sophie Alour - Le Temps Virtuose

Styles: Avant-garde Jazz
Year: 2023
File: MP3@320K/s
Time: 44:01
Size: 103,0 MB
Art: Front

(4:31) 1. Des lendemains qui chantent
(5:04) 2. Musique pour Messieurs
(5:06) 3. Sous tous les toits du monde
(3:56) 4. Musique pour Dames
(2:55) 5. Roulotte
(3:11) 6. Haunted
(4:26) 7. Tout nu
(4:05) 8. Vent debout
(3:19) 9. Ici et maintenant
(5:05) 10. Petite anatomie d'un présent qui passe
(2:17) 11. Le temps cannibale

For years, we have been trying to obtain Sophie Alour’s albums without success, due to distribution quirks. This time, however, this album was offered to us, allowing us to introduce you to this excellent saxophonist and composer. In addition to her successful solo career, she is also a part of the outstanding team of musicians surrounding the elegant Rhoda Scott and her Lady All Starr, who impress just about everyone.

“Le Temps virtuose” is a delightful and poetic blend that transports you through folk, jazz, and a rich tapestry of classical music influences. There’s an evident aesthetic pursuit here, where the beauty of art and intelligence interweave. The gentle sounds, sumptuous arrangements, and the opportunity for attentive listening make this album shine, without any artifice. It’s as if a storyteller is whispering the most beautiful adventures into your ear.

This is a delicate, sensitive, and touching musical universe that will surely appeal to our American readers. Each piece on this album is like a postcard from a city or a place, much like the way magazines depict the landscapes of France. It’s quite different from our friend, the composer and saxophonist Céline Bonacina, as it possesses a distinct culture. Here, you’ll be treated to beautiful moments with the flute, cello, guitar, and many other captivating elements, much like a museum to explore.

Yes, one can’t help but be charmed by an album like this, which carries the clear intentions of its creator. It plays with balance, offering its sensitivities, a touch of Africanness, and hints of Celtic influences that reinforce the melodic mysteries. You’ll have fun trying to decipher the origins of these images, and you’ll willingly lose yourself in them, much like exploring a city in an unknown country. If Sophie keeps winning awards, it’s no accident. She belongs to the small circle of remarkable artists in Europe, genuine and inspiring, with an impressive discography, and this album is particularly endearing.

If you’re in search of an authentic album, the editors of Bayou Blue and Paris-Move were immediately captivated by this work, bestowing upon it the “Indispensables” label. So, why not you? If your sensibilities lean toward romanticism, poetry, and travel, “Le Temps virtuose” will be your destiny…By Thierry De Clemensat https://www.paris-move.com/reviews/sophie-alour-le-temps-virtuose-eng-review/

Personnel: Sophie Alour. saxophone, Pierre Perchaud. guitar, Guillaume Latil. cello, Fabrice Moreau. drums.

Le temps virtuose

Art Themen - Hanky Panky

Styles: Jazz Contemporary
Year: 2022
File: MP3@320K/s
Time: 52:17
Size: 120,1 MB
Art: Front

(6:20) 1. The Night Has a Thousand Eyes
(7:19) 2. Hanky Panky
(4:38) 3. Black Narcissus
(6:55) 4. Prelude to a Kiss
(6:24) 5. I Mean You
(6:26) 6. Without a Song
(8:19) 7. Invitation
(5:54) 8. Solid

Barry says a session was cancelled so instead he corralled Themen, Williams and Green, all of whom were available at short notice. And thank heaven, for this is a very classy affair indeed. ‘The Night Has A Thousand Eyes’ opens as a free-flowing tenor exposé, Themen shuffling his ideas as only he can, Barry laying down a tidal wave of drum effects. Williams, as ever, is not to be outdone, his improvisations like a cascade of unexpected twists and turns, Themen back in to finish.

Dexter Gordon's title track with its parade ground strut is immediately engaging, Green's purposeful walk allowing Williams to fly, occasional funky figures punctuating the flow, before Themen casts his spell, sinuous and mystical, with Rollins like an unseen guest, Green and Barry playing games.

‘Black Narcissus’ is a soprano feature, the tone a tad peevish, Williams thoughtful and pertinent, a mood that continues with ‘Prelude To A Kiss’, Themen back on tenor, almost reverential as he explores its time-honoured outline, Williams markedly un-Duke-like, as Green takes over. Themen's final solo is of the highest quality; Paul Gonsalves would have approved, I'm sure. Monk's ‘I Mean You’ is a stompier affair and all the more welcome for it.

‘Without A Song’ has Williams in imperious form, Themen tip-toeing around the melody, Green powerful in solo and support, Williams taking the chordal route home. Rollins’ ‘Solid’ is the toe-tapping closer to an impromptu four-star collaboration but its five-stars to label boss Andy Cleyndert for his production, design and photography. A shiny digipack to savour: good to look at and great to play. https://www.jazzwise.com/review/art-themen-dave-barry-quartet-hanky-panky

Hanky Panky

Gerry Beaudoin Trio - Minor Swing

Bitrate: MP3@320K/s
Time: 46:14
Size: 105.9 MB
Styles: Guitar jazz
Year: 1992/2013
Art: Front

[5:17] 1. Swing With Dr Jake
[5:29] 2. Annouman
[3:50] 3. Baby Boy Blues
[3:36] 4. Ain't No Sunshine
[5:54] 5. Django's Castle
[3:24] 6. Minor Swing
[4:08] 7. In A Mellow Tone
[3:54] 8. So Long Ebony
[3:46] 9. Airola
[6:51] 10. Jackie's Serenade

“… Gerry Beaudoin is a fine guitarist, composer and arranger. I am looking forward to more musical adventures with Gerry and his trio in the future.” - David Grisman

The all acoustic, no amps allowed, recordings by the Gerry Beaudoin Trio were a watershed mark in Gerry’s’ career. His special guest, mandolinist David Grisman, had a huge impact on on the way Gerry looked at music and the setting he presented it in. ” When I first heard the David Grisman Quintet I was very aware after a few songs that David was not just a jazz player but had allowed all of his experiences in music and all the genres he played or listened to to come out in his music. I also noticed, like all great jazz musicians, he used the Quintet as an instrument. One other thing that wasn’t lost on me was that instead of playing jazz standards he was presenting his original compositions and crossing genres and grooves effortlessly. This had a huge impact on me. I started writing more of my own material that wasn’t solely based on the jazz lexicon and listening to a broader spectrum of music.” One other important fact wasn’t lost on Gerry,” I learned from seeing The David Grisman Quintet that all acoustic instruments performing with out amplification is such a great, pure musical sound. Each instrument has it’s own unique voice acoustically that has to be brought out by the player. His technique and control of the instrument helps create the sound not amplification which can change the sound drastically. ” After jamming in the dressing room with David one night at Cambridge Massachusetts now defunct club, Night Stage, Gerry knew what he wanted to do for his next recording. He invited David in as his guest with his new band that included two or three acoustic guitars, Gerry, Larry Baione and Duke Robillard, his regular rhythm section of Bob Nieske on acoustic bass, Chuck Laire on drums and Matt Glaser on fiddle. The result was his fourth recording as a leader, the all acoustic Minor Swing. The rapport between David and Gerry was instant as well as the rest of the band. The ten song CD, running the gamut from Django Rheinhart, Bill Withers, Duke Ellington and five Beaudoin originals has been hailed as one of Gerry’s finest recordings. David’s appearance on seven songs is stunning in it’s virtuosity. ”Through out the session David was into it like it was his own project and his wealth of experience in the recording studio as well as in performing totally acoustic music contributed immensely to the success of the recording. ”Gerry knew when he walked out of the studio he had recorded a winner. ” It was one of the best times I ever had in the studio. Everyone contributed to make the music the best we could. Stand out memories are Bob’s solo on Jackie’s Serenade and Dukes solo break on Swing with Dr. Jake and of course playing with David. Everyone was hot and playing in the pocket.” says Gerry almost twenty years later.

Minor Swing

Friday, February 9, 2024

The Cedar Walton Sextet - Bambino: Plays the Music of Art Blakey

Styles: Hard Bop
Year: 1993
File: MP3@320K/s
Time: 49:47
Size: 114,4 MB
Art: Front

(10:09) 1. Arabia
( 8:12) 2. Wee Dot
( 7:20) 3. If I Had You
(16:06) 4. Blues March
( 7:58) 5. Along Came Betty

Cedar Walton's sextet recorded this session before an appreciative audience at Sweet Basil in New York in 1993. Joining the pianist for this date were trumpeter Philip Harper, tenor saxophonist Javon Jackson, trombonist Steve Turre, bassist David Williams and drummer Billy Higgins. The recording was taped during two August nights at the club; alto saxophonist Lou Donaldson appears on "Wee Dot" and "If I Had You."

Four of the sextet are alumni of Art Blakey's Jazz Messengers; moreover, Lou Donaldson's work experience with Blakey predates the founding of his Jazz Messengers. Horace Silver was with the ensemble at that time (the early 1950s) and likes to refer to The Jazz Messengers as "the Art Blakey College of Musical Education." Blakey's working unit remained at the vanguard of hard bop for 36 years, and included well-known jazz artists such as Benny Golson, Jackie McLean, Curtis Fuller, Lee Morgan, Cedar Walton, Freddie Hubbard, Keith Jarrett, Wayne Shorter, Chick Corea, and Wynton Marsalis (Blakey, who passed away in October 1990, used to introduce himself to audiences as "Mrs. Blakey's bambino, Arturo").

Curtis Fuller's "Arabia" features Turre's expressive trombone. J.J. Johnson's "Wee Dot" includes Walton's exciting hard bop piano work and fours from the ever-tasteful Billy Higgins. "If I Had You" is a gentle ballad that features Donaldson. Benny Golson's "Blues March" and "Along Came Betty" provide the most excitement, as each soloist pushes the envelope. Harper and Jackson are particularly creative in their solo spots, weaving quiet mouse-like lines together and building them into uproarious shouts. Art Blakey taught them well.By Jim Santella
https://www.allaboutjazz.com/bambino-cedar-walton-evidence-music-review-by-jim-santella

Personnel: Piano – Cedar Walton; Alto Saxophone, Guest – Lou Donaldson (tracks: 2, 3); Bass – David Williams (2); Drums – Billy Higgins; Tenor Saxophone – Javon Jackson; Trombone – Steve Turre; Trumpet – Philip Harper

Bambino: Plays the Music of Art Blakey

Kayla Waters - Coevolve

Styles: Smooth Jazz
Year: 2018
File: MP3@320K/s
Time: 54:39
Size: 125,1 MB
Art: Front

(4:53) 1. Zephyr
(4:21) 2. Black Cove
(5:01) 3. Lil' Mustard Seed
(4:07) 4. Obsidian Rain
(5:06) 5. Heaven Said So
(4:46) 6. Eden's Gold
(4:29) 7. Cocoa Earth
(6:02) 8. Sweet Agape
(3:14) 9. Signs and Wonders
(4:55) 10. Kiss Away
(4:09) 11. Full Bloom
(3:30) 12. Coevolve

With Apogee pianist and composer Kayla Waters, introduced by her famous dad saxophonist Kim Waters, had her first surprise success. This year we can admire her following album Coevolve.

As on the previous album Kayla was supported by her father. Further artists on the new album are guitarists Freddie Fox and Nick Colionne, bassist Mel Brown, and vocalist Shacara Rogers

Kayla's perfectly developed sense for fine harmonies finds its expression in the starting tune Zephyr. It's the name of the Greek god of the west winds. The lightness of the wind can be discovered in Kayla's emotional keystrokes.

Those who have associated Black Cove with rum or pirates will achieve with this tune an attractive and elegant alternative. Lil' Mustard Seed has in the small sharpness and taste. This is a true musical equivalent.

With Obsidian Rain we approaches the lovely shores of New Age. Heaven Said So reflects a multitude of Kayla's qualities like outstanding mastery of the instruments, compositional skill and perfect arrangement, but also an enchanting voice, which she uses superiorly.

Eden's Gold allures with a compelling peaceful piano melody embedded in rich keyboard harmonies. Cocoa Earth brings the flute into the forefront with timeless grace accompanied by Kayla's radiant keyboard chords.

Agape is considered to be the love originating from God or Christ for mankind. With Sweet Agape Kayla is hollering this divine relationship. Further treasures of this exquisite album are Signs and Wonders, Kiss Away, Full Bloom and Coevolve.

Kayla Waters arrives with a rich and expensive collection of catchy melodies and harmonies and makes it clear that the future of smooth jazz belongs to the young generation. http://www.smooth-jazz.de/starportrait/Waters/Coevolve.htm

Coevolve

Kenny Burrell - 12-15-78: Live At The Village Vanguard/In New York (Double CD)

Live At The Village Vanguard
Styles: Mainstream Jazz
Year: 1999
Time: 49:01
File: MP3 @ 320K/s
Size: 112,7 MB
Art: Front

( 6:10) 1. Second Balcony Jump
( 6:44) 2. Willow Weep For Me
( 4:27) 3. Work Song
( 7:03) 4. Woodyn' You
( 0:55) 5. The Introduction
(10:11) 6. In The Still Of The Night
( 6:49) 7. Medley: Don't You Know I Care/Love You Madly
( 6:38) 8. It's Getting Dark


Kenny Burrell In New York
Styles: Mainstream Jazz
Year: 1999
Time: 36:48
File: MP3 @ 320K/s
Size: 84,6 MB
Art: Front

(9:02) 1. Pent Up House
(5:20) 2. But Beautiful
(3:50) 3. Bags' Groove
(7:20) 4. Makin' Whoopee
(3:30) 5. Come Rain Or Come Shine
(7:44) 6. Love, Your Magic Spell Is Everywhere

12/15/78 Live At The Village Vanguard/In New York CD 1 & CD 2

The Kenny Burrell Trio recorded Live At The Village Vanguard and Kenny Burrell In New York on December 15, 1978; hence, the title for this two-disc reissue. It doesn’t get much better for those who appreciate a guitar trio performing mainstream jazz. Burrell combines a great respect for the lyrical with harmonic chorded lines and a sweet tone in his work. It was in 1978 that the guitarist began teaching a course at UCLA on the life and music of Duke Ellington. Quite popular with students, the course still has a long waiting line for admission, after all these years. Burrell includes a few Ellington numbers on this program and works in a quote from "It Don’t Mean a Thing" on his upbeat arrangement of "Love, Your Magic Spell is Everywhere."

Bass and drums solo infrequently on this session. Drummer Sherman Ferguson takes a few extended solos and fours that express his penchant for space and a variety of textures. Ferguson’s drums are tuned loosely at different pitches; this, in support of a lyrical outing. Although he stays way in the background for most of the club date, Larry Gales’ big fat round tones jump out on "Makin’ Whoopee," as he has a lot to say and all of it tied to the melody. Ballads "Willow Weep for Me," "Come Rain or Come Shine," "Don’t You Know I Care?" and "But Beautiful" drive home the message that Burrell’s unmistakable singing guitar style comes naturally and falls on ears that appreciate the reissue of this long out of print material.
https://www.allaboutjazz.com/12-15-78-kenny-burrell-32-records-review-by-jim-santella

Personnelfor both sessions:

Kenny Burrell- guitar; Larry Gales- acoustic bass; Sherman Ferguson- drums.

Scott Henderson - Karnevel!

Styles: Guitar Jazz
Year: 2024
File: MP3@320K/s
Time: 66:42
Size: 153,9 MB
Art: Front

( 0:47) 1. Step Right Up
( 8:40) 2. Karnevel!
( 6:58) 3. Haunted Ballroom
( 5:37) 4. Covid Vaccination
( 6:57) 5. Puerto Madero
( 6:28) 6. Sea Around Us
(10:00) 7. Sky Coaster
( 4:42) 8. Greene Mansion
( 8:03) 9. Bilge Rat
( 4:59) 10. Acacia
( 3:25) 11. Carnies’ Time

Scott Henderson will be releasing his highly anticipated new album Karnevel! on February 2, 2024! Scott’s previous album People Mover was voted best fusion album of 2019 by Jazz Times magazine, and he won both Best Guitarist and Best Electric/Jazz-Rock/Contemporary Group in JazzTimes Readers Poll.

Karnevel! features a diverse set of beautiful compositions, and demonstrates Scott's striking ability to combine elements of jazz, rock, funk and blues in an authentic, seamless and musical way. After 35 years as a bandleader, Scott is a musician who's playing and composing continues to grow.

The album was recorded live in the studio with Romain Labaye on bass and Archibald Ligonnière on drums, the same musicians on People Mover. After the live session, Scott spent quite a bit of time layering additional guitar tracks. “I’m happy I was able to come up with quite a few sounds I’ve never used before” said Scott in a recent interview. “The variety and pacing are very important aspects of a record to me, and this one covers a lot of territory, from heavy rock moments to very harmonic jazz, and there’s a solo guitar piece which is something I haven’t done on an album before”.

Scott replied about the album concept, “It comes from being a fan of the LA Fair and carnivals in general, not so much as a kid, but from being a dad. Disneyland is fun, but the fair is way more quirky, ridiculous, and always hilarious. It’s a crazy atmosphere filled with variety, like my music.”

Born in 1954, Scott Henderson emerged in the 1980s with his legendary band Tribal Tech and has since become one of the top guitar players/composers in jazz fusion. Scott has toured and recorded with Chick Corea, Weather Report’s Joe Zawinul, Jean-Luc Ponty, and many others. As a bandleader, Scott has toured in over 70 countries and released over 20 albums. Throughout his career, he’s won numerous Best Guitarist awards in Guitar Player and Guitar World magazines, and been on the cover of many international guitar magazines.

“Few players have joined the spirit of jazz and rock as successfully as Scott Henderson, who consistently cranks out masterpieces of harmonic sophistication, overdriven energy, and tonal beauty. He is fully steeped in both jazz and rock tradition, and he’s woven them together to create one of the most powerful voices in fusion guitar.” By Guitar Player Magazine WILLIAM JAMES https://www.allaboutjazz.com/news/guitar-legend-scott-henderson-to-release-new-album-karnevel-announces-forthcoming-european-tour/

Karnevel!

Thursday, February 8, 2024

Dick Patterson Trio - The Lost Chicago Tapes

The Lost Chicago Tapes Set 1
Styles: Jazz Instrumental
Year: 2023
Time: 54:05
File: MP3 @ 320K/s
Size: 125,3 MB
Art: Front

(5:44) 1. Like Someone in Love (Live)
(6:20) 2. If I Had You (Live)
(5:01) 3. A Night in Tunisia (Live)
(6:55) 4. Lover Man (Live)
(6:04) 5. On Green Dolphin Street (Take 1) [Live]
(4:01) 6. Billie's Bounce (Live)
(3:41) 7. Twisted (Live)
(2:17) 8. Perdido (Live)
(7:04) 9. Everything Happens to Me (Take 1) [Live]
(3:31) 10. The Lonesome Road (Live)
(1:36) 11. I've Grown Accustomed to Her Face (Live)
(1:45) 12. Get Me to the Church on Time (Live)

The Lost Chicago Tapes Set 1

The Lost Chicago Tapes Set 2
Styles: Jazz Instrumental
Year: 2023
Time: 90:44
File: MP3 @ 320K/s
Size: 209,9 MB
Art: Front

(9:56) 1. I Got Rhythm (Live)
(7:45) 2. Blues in G (Live)
(4:49) 3. Dancing on the Ceiling (Live)
(6:10) 4. Everything Happens to Me (Take 2) [Live]
(6:16) 5. I'm Beginning to See the Light (Live)
(4:58) 6. Pennies from Heaven (Live)
(4:48) 7. The Nearness of You (Live)
(5:30) 8. I'm Getting Sentimental over You (Live)
(6:30) 9. Satin Doll (Take 1) [Live]
(5:01) 10. Doodlin' (Live)
(4:37) 11. The Transition (Live)
(0:55) 12. Sweet Georgia Brown (Live)
(0:50) 13. Slow Boat to China (Live)
(1:43) 14. Exactly Like You (Live)
(1:09) 15. The Whiffenpoof Song (Live)
(5:11) 16. A Foggy Day (Live)
(4:45) 17. Bewitched (Live)
(5:28) 18. Jordu (Live)
(4:13) 19. Witchcraft (Live)

The Lost Chicago Tapes Set 2

The Lost Chicago Tapes Set 3
Styles: Jazz Instrumental
Year: 2023
Time: 47:15
File: MP3 @ 320K/s
Size: 109,2 MB
Art: Front

(11:16) 1. Blues in Bb, G, C, and F (Live)
( 6:39) 2. Blue Moon (Live)
( 5:12) 3. Battle Hymn of the Republic (Live)
( 6:28) 4. Night and Day (Live)
( 6:34) 5. On Green Dolphin Street (Take 2) [Live]
( 6:48) 6. I'll Remember April (Live)
( 2:35) 7. Amor Amor Amor (Live)
( 1:41) 8. Aquellos Ojos Verdes (Live)

The Lost Chicago Tapes Set 3

The Lost Chicago Tapes Set 4
Styles: Jazz Instrumental
Year: 2023
Time: 48:43
File: MP3 @ 320K/s
Size: 112,8 MB
Art: Front

(7:21) 1. Robbin's Nest (Live)
(7:34) 2. My Romance (Live)
(2:57) 3. Don't Blame Me (Live)
(2:55) 4. The Nearness of You (Live)
(2:56) 5. When I Fall in Love (Live)
(5:46) 6. East of the Sun (West of the Moon) [Live]
(1:14) 7. Old MacDonald Swang a Farm (Live)
(6:09) 8. Satin Doll (Take 2) [Live]
(5:03) 9. Round Midnight (Live)
(6:44) 10. The Theme (Live)

The Lost Chicago Tapes Set 4

In late 2022, a collection of previously undiscovered live jazz recordings was found by Mark and Craig Patterson. These recordings all have a common thread – they feature Dick Patterson, the father of Mark and Craig, playing bass alongside various artists. Until now, these recordings had never been made public, remaining unheard since their original performances.

The initial release in this series is The Lost Chicago Tapes, a compilation of recordings from four nights of performances by the Dick Patterson Trio. These recordings provide a unique window into the musical talents of the three musicians, as they perform classic songs by artists like Monk, Davis, Parker, Ellington, Strayhorn, Carmichael, Lerner & Loewe, Gershwin, Rodgers & Hart and many others.

Containing a total of 48 tunes, including multiple takes from different nights, The Lost Chicago Tapes offers a glimpse into the vibrant Chicago jazz scene of the 1960s. Produced by Mark Patterson, a well-respected figure in the jazz world, and mastered by Craig Patterson, owner of PME Records, this project is a family endeavour. One aspect the Patterson brothers regret is the lack of information about the pianist and drummer who played alongside Dick Patterson during these recordings. The tape labels simply read “Trio – Chicago,” with one tape featuring the notation “November 24, 1962 – Highwood.” Highwood is a suburb on the north side of Chicago, but he venue is unknown.

The Pattersons are eager to acknowledge the other two musicians and are seeking the assistance of aficionados with knowledge of early 1960s Chicago jazz musicians. They have created a video on YouTube to explain their situation, and the four-album set is now available on various streaming platforms, including Bandcamp.

By the late 1950s, Dick Patterson had become a prominent figure on the Chicago club scene. In 1963, he relocated to Colorado with his young family, embarking on a new phase of his career. This time around, he played with renowned artists like Clark Terry, The Pointer Sisters, Johnny Smith, Peanuts Hucko, Jerry Lewis, Spike Robinson, Neil Bridge, Stew Jackson, Dean Bushnell, Bob Montgomery, Claude Thornhill, George Gobel, and Dave and Don Grusin, among many others. The 1960s marked a golden era for jazz in Denver, and Dick Patterson played a important role, performing up to six nights a week for several decades while supporting fellow musicians on their journeys to success.

However, his own artistry was often overshadowed by his dedication to others. More tapes from his career are set to be released soon, inviting audiences to join in this exploration of musical history.
https://jazzjournal.co.uk/2023/10/29/the-dick-patterson-trio-a-real-life-jazz-mystery/

Kenny Burrell - Live at the Village Vanguard

Styles: Guitar Jazz
Year: 1980
File: MP3@320K/s
Time: 49:03
Size: 113,0 MB
Art: Front

( 6:10) 1. Second Balcony Jump
( 6:44) 2. Willow Weep For Me
( 4:27) 3. Work Song
( 7:03) 4. Woodyn' You
( 0:55) 5. The Introduction by Kenny Burrell of Max Gordon, Village Vanguard
(10:11) 6. In The Still Of The Night
( 6:49) 7. Don't You Know I Care - Love You Madly
( 6:41) 8. It's Getting Dark

Kenny Burrell's storied career as perhaps the premier modern jazz guitarist has been documented by many efforts in the studio, but here's a nightclub date that may well be highly ranked as one of his very best efforts. The spontaneity and freshness of Burrell's lyric lines and deft chords is further enhanced by perhaps the most advanced musicians he has ever played with bassist Richard Davis and drummer Roy Haynes.

For music done in 1959, this is heady, seat-of-the-pants, brilliantly executed jazz that is mostly based in standards, but stretched to exacting tolerances that bend, but are not close to breaking. Davis provides strong support without going as outward as he did later in life, while Haynes might sound subdued to his fans, yet has an elastic presence that allows the other two a lot of freedom to fully articulate this modern mainstream language as a prelude heading into the turbulent '60s.

On this straight reissue that originally sported the title "Man at Work," the trio plays all standards save the lively blues groove, more pronounced than the studio version of Burrell's "All Night Long," and the Erroll Garner tune "Trio," where Burrell's proves expert at combining singles lines and chords in balance. Most of the material is very upbeat and energetic as on the fast and quick "Will You Still Be Mine," and the bop swing of "Broadway" mixed up a little melodically by Burrell.

The love of Duke Ellington's music is always with the guitarist as rendered during "Just A-Sittin' and A-Rockin'," where the genius of Burrell is extant in his ability to provide his own counterpoint. Burrell's other precious component is his ability to relax and consistently swing as on Thelonious Monk's "Well, You Needn't," Benny Goodman's poignant and simple "Soft Winds," and dipping deep into the tenderness quotient on the ballad "I'm a Fool to Want You" aside the tango-flavored bass of Davis. A solid effort top to bottom, and a recording most highly recommended, this is Burrell and his extraordinary trio very close to, if not truly in their prime, and their element. By Michael G. Nastos https://www.allmusic.com/album/a-night-at-the-vanguard-mw0000203946#review

Live at the Village Vanguard

David Hazeltine - Ballads and Blues Volume I

Styles: Piano Jazz
Year: 2024
Time: 23:33
File: MP3 @ 320K/s
Size: 54,3 MB
Art: Front

(5:25) 1. Felicia’s Blues
(5:32) 2. Just Things
(6:16) 3. When I Fall In Love
(6:19) 4. Blues De Troye

David Hazeltine is one of a handful of contemporary pianists who has mastered all of the major musical skills, from improvisation and technique, to accompaniment, arranging, and composition. Even more impressive, David is the rare artist able to innovate in each category. Thus it’s no surprise that he’s the most recorded contemporary jazz pianist of our time, having recorded thirty five cd’s as a leader and hundreds more as a sideman, on various major labels globally. A Milwaukee native, David was playing the clubs as a preteen, and before he’d even come of age he was already grabbing the attention and respect of jazz legends like Sonny Stitt, and Chet Baker. They urged him to make the move to New York City, which he did in 1992.

Beautifully complex and memorable:

The mark of a true artist, David’s style appeals to a wide range of musical tastes and levels of sophistication. His melodies and harmonies are beautifully complex and memorable. As a composer and instrumentalist, he has developed a signature style that is readily recognizable. His cooperative group “One For All” featuring tenor great Eric Alexander, has attained critical acclaim with their impressive 16 cd discography, and live concerts worldwide including appearances at the North Sea Jazz Festival and the Newport Jazz Festival.

Hazeltine is one of the most sought after pianists today. He has worked with some of the world’s most respected jazz legends including James Moody, Eddie Harris, Jon Faddis, Joe Henderson, Pepper Adams, Jon Hendricks, and Marlena Shaw. David is known for taking a familiar or unexpected song and making it new, making it his own. He effortlessly transfers this skill from song to stage. Whether he’s composing or interpreting, accompanying or leading, you are certain to end the set remembering the sounds of David Hazeltine.

Carrying the art forward:

A brilliant teacher, David is also determined to carry the art forward to the next generation. Formerly an Associate Professor at Berklee, he currently teaches at SUNY-Purchase in New York. David is also a highly skilled clinician, and has served on the Jamey Aebersold Summer Jazz Camp faculty for the past 15 years. His teaching has had a major impact on many of today’s young professional pianists including Ben Markley, who published his doctorate “The David Hazeltine Method” based on his lessons with Mr. Hazeltine. Hal Leonard has published the new “Real Book - Enhanced Edition”, featuring David’s own re-harmonizations of 200 well known standards. Lessons from David are also available on his online workshops; check out his sessions on harmony at www.jazzpianomastery.com, and on the essentials of bebop at www.mymusicmasterclass.com.
https://www.davidhazeltine.com/biography

Personnel: David Hazeltine - piano; Neal Miner - bass; Pete Van Nostrand - drums

Ballads and Blues Volume I