Patrick Yandall - Dance in the Rain

Styles: Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 62:02
Size: 143,1 MB
Art: Front

(4:21) 1. City Boy
(4:25) 2. Find Your Purpose
(4:17) 3. Dance In The Rain
(4:21) 4. House Party
(4:20) 5. Poly Funk
(4:28) 6. Seascape
(4:37) 7. Cool That
(4:08) 8. East Of Nathans
(4:07) 9. Just Dance
(4:42) 10. Backstage
(5:06) 11. Sabishi
(4:11) 12. Sol Food
(4:21) 13. The Joy In You
(4:33) 14. Summer Sky

I used to review a lot of albums by the American guitarist Patrick Yandall. However, this is only the first time that he is discussed on my site.

Patrick grew up in a military family, but was already playing trumpet in fourth grade. In this way he wanted to escape the nomadic life. After a sports accident in Bay City, Michigan, which resulted in a broken hip, Patrick shifted his focus to the guitar.

His father's fondness for jazz led him to a lifelong fascination. When the family settled there, Patrick developed a preference for the progressive styles of Jimi Hendrix, Yes, Steely Dan and George Benson. But he was also influenced by R&B and soul artists such as Earth, Wind & Fire, Stevie Wonder and Rufus.

A revelation was a concert by Jeff Lorber with a young Kenny G on sax and Roy Ayers. Patrick started playing nightclubs when he was thirteen and learned to mix jazz with rock and R&B. In the early eighties he moved to San Diego and played in cover bands. That led to studio work in LA for Kevin Flournoy, Gene-O Cole, Under The Lake, Will Donato, Rocco Ventrella, Nathan Brown, Rod Best, The Ghost Trio, etc. He also performed with J. Michael Verta, Michael Paulo, among others , Scott Wilkie, Carl Evans, Jr. (Fattburger), Hollies Gentry III, Greg Vail (Kilauea), Tommy Emmanuel, Tom Braxton.

Now he has released a new album, containing smooth jazz, R&B and contemporary jazz. 'City Boy' opens with a nice, cheerful guitar playing, after which 'Find Your Purpose' continues in the same atmosphere. Vocalist Gene-O Cole is a guest on the title track. The party atmosphere is clearly there on 'House Party', followed by the very funky sounding 'Poly Funk'.

After that you can experience the tranquility of 'Seascape', which continues in the mid-tempo of 'Cool That'. 'East of Nathans' maintains that relaxed vibe, while 'Just Dance' encourages you to sway along. Then we pop into 'Backstage'to get acquainted. The Japanese inspired 'Sabishi' sounds a bit melancholic, followed by 'Sol Food'. Joy and cheerfulness are the themes of 'The Joy in You', after which 'Summer Sky' closes with a summer feeling.

Again a nice album interspersed with Patrick's guitar skills. It's up to you to discover this!
http://www.smooth-jazz.de/Patrick/Yandall/DanceInTheRain.htm

Dance in the Rain

---

Brother Jack McDuff - Tobacco Road

Bitrate: MP3@320K/s
Time: 33:44
Size: 77.2 MB
Styles: Soul-Jazz
Year: 1967/2005
Art: Front

[1:59] 1. Teardrops From My Eyes
[2:55] 2. Tobacco Road
[3:49] 3. The Shadow Of Your Smile
[5:08] 4. Can't Get Satisfied
[2:37] 5. Blowin' In The Wind
[4:10] 6. And The Angels Sing
[2:35] 7. This Bitter Earth
[5:54] 8. Alexander's Ragtime Band
[4:33] 9. Wade In The Water

Brother Jack McDuff recorded an enormous number of albums during the '60s, so it can be difficult to figure out where to start digging a little deeper into his output (which Hammond B-3 fans will definitely want to do). 1967's Tobacco Road stands out from the pack for a couple of reasons. First, unlike many of his groove-centric albums, it's heavy on standards and pop/rock tunes (seven of nine cuts), which make for excellent matches with McDuff's highly melodic, piano-influenced style. What's more, about half of the album finds McDuff leading a large ten-piece ensemble arranged and conducted by J.J. Jackson, including a soulful horn section that sounds straight out of Memphis or Muscle Shoals (though this was recorded at Chess studios in Chicago). McDuff himself handles the arrangements on the rest of the material, which is done in a guitar/sax/drums quartet. The LP's style is fairly unified, though -- no matter what format, the tunes are given fantastically funked-up treatments that sound surprisingly natural. And these aren't grooves where everyone just settles back and stays in the pocket; McDuff attacks the arrangements with wildly funky rhythms and solos, and there's a polyrhythmic sense of interplay that recalls the best Southern soul. Arguably the most distinctive track is a cool, grooving quartet version of "The Shadow of Your Smile," complete with snaky bassline and airy flute solos from Danny Turner. Unfortunately, none of the tracks are all that long, in keeping with the jukebox/radio orientation of McDuff's Atlantic period, but that won't prevent soul-jazz fans from thoroughly enjoying Tobacco Road.

Tobacco Road

---

Betty Bryant - Lotta Livin'

Styles: Vocal
Year: 2024
File: MP3@320K/s
Time: 44:52
Size: 103,5 MB
Art: Front

(5:27) 1. Between the Devil and the Deep Blue Sea
(4:18) 2. Put a Lid on It
(5:04) 3. Baby Baby All the Time
(5:40) 4. Blues to Get Started
(3:21) 5. Chicken Wings
(7:48) 6. Stormy Monday
(4:14) 7. Katydid
(4:46) 8. The Very Thought of You
(4:10) 9. A Lot of Livin’ to Do

First, double-check to make sure there aren't any misprints. No, it's an honest-to-goodness fact that Betty Bryant who sings, plays piano, wrote four of the nine numbers and arranged half a dozen on her fourteenth album really was almost ninety-four years old when Lotta Livin' was recorded in 2023.

Bryant's rough and edgy voice is remarkably strong and steady, while her piano playing simply defies any generational labels. As a vocalist, no note seems out of her reach, and she knows how to swing in any setting. Bryant is a true-blue jazz singer whose years of experience underline her every note and phrase. Besides which, she's a sharp and clever writer, as her quartet of likeable compositions proves.

Bryant's groovy "Katydid" is a linguistic delight, as are "Chicken Wings" and "Put a Lid on It." On her other theme, the breezy "Blues to Get Started," Bryant plays piano all the way and shows she's no greenhorn at the keyboard either. Tenor saxophonist Robert Kyle solos neatly there, as he does on several numbers, and moves to harmonica on "Chicken Wings." Other soloists are trumpeter Tony Guerrero, bassist Richard Simon, guitarist Kleber Jorge and drummer Kenny Elliott. Of course, Bryant has to ring down the curtain with Lee Adams and Charles Strouse's "A Lot of Livin' to Do" from the Broadway smash Bye Bye Birdie, taken at a slower and more amorous pace than usual.

Bryant opens with the standard "Between the Devil and the Deep Blue Sea" and appraises Bobby Troup's "Baby Baby All the Time," Ray Noble's "The Very Thought of You" and T-Bone Walker's "Stormy Monday," all with a style and panache that are clearly her own. She closes "A Lot of Livin' to Do" with a brief look at her bucket list and the affirmation, "ain't life grand" which, in her case, is unarguably true. While others may deem getting out of bed in the morning a triumph at her age, Bryant remains focused, feisty and ready to take on the world. Bravo! Score one for the power of savoir-faire and positive thinking.By Jack Bowers
https://www.allaboutjazz.com/lotta-livin-betty-bryant-self-produced

Lotta Livin'

---

Lisa Lynn - Call Me Baby

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 37:41
Size: 88,1 MB
Art: Front

(3:54) 1. Don't You Feel My Leg
(3:54) 2. Sweet Dreams
(4:27) 3. You Ain't Woman Enough
(3:12) 4. Sweet Georgia Brown
(5:42) 5. Do You Know What It Means To Miss New Orleans
(3:31) 6. Sure Had A Wonderful Time Last Night
(4:32) 7. At Last
(2:41) 8. Am I Blue
(2:55) 9. Wings Upon Your Horns
(2:50) 10. Oh Darling

Torch singer Lisa Lynn manages to light a few fires on her latest disc, including a couple of country and western tunes penned by another Lynn who goes by the first name of Loretta (no relation except perhaps in spirit.) I’d say Miss Lisa does a pretty good job on the C&W numbers, but my own tastes go into sharp decline a few miles west of Lafayette. Loretta Lynn is no slacker when it comes to songwriting and both these tunes, “You Ain’t Woman Enough” and “Wings Upon Your Horns” are hamonious and clever. Dave Easley’s steel guitar works well in creating the proper mood for this material.

I still prefer Lisa Lynn doing the “Red Hot Mamma” style that she does best, and her opener on this CD is a grand example of the genre. “Don’t You Feel My Leg” managed to be pretty steamy as well as wonderful fun when Danny Barker wrote it and wife Blue Lu Barker recorded it back in the 1930s. Blue Lu was still doing it in the ’80s, by which time Maria Muldaur had also latched on to the number and made it into one of her super specials. You could have heard both of them doing it at Jazz Fest some 20 years ago. Lisa’s version isn’t quite strong enough for her to claim total contemporary ownership, but she does a more than creditable job here and I’d call it the most memorable piece on the disc.

Producer and pianist Leslie Martin is a great help on that one and also provides some very solid Professor Longhair style accompaniment to the next cut, “Sweet Dreams.” There’s some other very nice things here, a pleasant version of “Do You Know What It Means To Miss New Orleans”, a very strong “At Last” which seems to be getting a great deal of local attention these days, and an interesting closer, the John Lennon / Paul McCartney song “Oh Darling.” All in all it’s a solid job and I’m glad to see “Don’t You Feel My Leg” is still making it around. You know who else recorded it in 2006 under the title, “Don’t You Get Me High”? Van Morrison! Never thought much of him when it comes to legs, though.https://www.offbeat.com/music/lisa-lynn-call-me-baby-independent/

Call Me Baby

---

Allan Harris - Live at Blue LLama

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 68:23
Size: 157,2 MB
Art: Front

( 4:38) 1. Sunny
( 6:17) 2. Jeannine
( 6:16) 3. New Day
( 6:31) 4. The Very Thought Of You
( 4:45) 5. So What?
( 6:39) 6. Black Coffee Blues
( 5:22) 7. Shimmering Deep Blue Sea
( 8:40) 8. Spain
( 7:34) 9. There She Goes
(11:36) 10. Nature Boy

I have to admit the first thing that caught my attention about this album was the fact it was recorded at one of the region’s premier venues, Ann Arbor’s Blue Llama Jazz Club. That little tidbit aside, it didn’t take long to fall in love with the recording itself, which is being released this Friday.

There are a lot of great things going on with this album, the first live recording Harris known as the “Jazz Vocal King of New York” has issued in 13 years. First, Allan Harris is every bit of an outstanding vocalist as one might believe from the moniker.

On this 10-song disc, drawn from two live performances at the Blue Llama in January, he performs classics such as “Sunny,” “The Very Thought of You,” “So What?” and “Spain” to go along with several fine originals, each performed with skillful and intriguing jazz rhythm and textures.

His band is stunning throughout, with some really hot solos by keyboardist Arcoiris Sandoval, bassist Marty Kenney, drummer Norman Edwards, Jr., and saxophonist Irwin Hall. They really cut loose on the final song, “Nature Boy,” the Eden Ahbez classic that the great Nat King Cole turned into a hit way back in 1948.

Consider this unbelievable short list of superstars who have covered “Nature Boy” since then, including Frank Sinatra, Miles Davis, Bobby Darin, George Benson, Peggy Lee, Celine Dion, Grace Slick, Aaron Neville, the Tony Bennett-Lady Gaga duet, and Cole’s daughter, Natalie Cole. Amazingly, Harris and his other four band members come up with an arrangement that has a cool, spicy vibe and is distinctive from past versions.

This is a great album recorded only about an hour from most of Toledo. Harris said in his liner notes there was minimal editing beyond some of the distracting audience sounds being filtered out and is “the way we performed it live with all the grit and glory.”https://www.toledoblade.com/a-e/music-theater-dance/2023/07/26/

Live at Blue LLama

---

Béla Fleck - Rhapsody in Blue

Styles: Classical Crossover
Year: 2024
File: MP3@320K/s
Time: 43:35
Size: 100,4 MB
Art: Front

(12:09) 1. Rhapsody in Blue(grass)
( 3:19) 2. Unidentified Piece for Banjo
(18:50) 3. Rhapsody in Blue (feat. Eric Jacobsen & Virginia Symphony Orchestra)
( 5:07) 4. Rhapsody in Blue(s)
( 4:08) 5. Rialto Ripples

It's a long way from India to Broadway, but Bela Fleck makes the journey in high style for Rhapsody in Blue. It follows the altogether exotic As We Speak (Thirty Tigers, 2023), the combination of which further a case for the banjoist/composer/bandleader as an eclectic musical explorer comparable to Pat Metheny.

Beginning in the slow-but-sure, occasionally fitful way this album's concept came together, "Rhapsody in Blue (grass)" features seemingly conventional banjo voicings alternated with George Gershwin's inimitable progressions. Those interludes with Fleck tourmates My Bluegrass Heart are segments capturing how that ensemble bonds with the banjoist in moments of alternating wit and empathy.

The slightly-modified title of "Rhapsody in Blue(s)" is only the most overt distinction of the piece from its bluegrass oriented predecessor. As with so much of Bela Fleck's work, while it is rigorously arranged, there is room for spontaneity with which the principal interacts, via effortless fluidity, with mandolinist Sam Bush. dobroist Jerry Douglas and bassist Victor Wooten (from the Flecktones band).

There's a very palpable earthy quality to distinguish this number from all its surroundings. Mixing of the instruments all across the stereo spectrum accentuates the distinctive flavor of the interplay there, so that, in a very practical way, Fleck makes Gershwin's piece his own in a variety of forms, large scale and otherwise. In extensive autobiographical liner notes filling most of the four-page insert, the artist himself describes in some detail the conception and execution of this project .

Audio clarity is also paramount on an unheralded artifact of Gershwin's genius, "Unidentified Piece for Banjo." Long-time Fleck sound guru Richard Battaglia captures the good-natured reverence the New York City native radiates in his solo turn here: the album was assigned a release a street date coinciding with the hundredth anniversary of the original piece's premiere.

As much as it's borderline uncanny to hear the mesh of musicians within the smaller combos or the uncanny action of Bela Fleck on his own, the extended centerpiece of Rhapsody In Blue, evokes a reaction hardly less startling. In a near-nineteen minute live recording of the title piece with the Nashville Symphony, the drama of the orchestration underscores the nuance of the core ensemble, while simultaneously exhibiting a subtlety all its own.

It's proof positive chemistry can ignite within units both large and small (and sometimes both at once). As a result, the truncated likes of the closing "Rialto Ripples" is virtually as absorbing as the four tracks that precede it. Piquing the curiosity about how the classic compositon sounded to begin with, it's also a reminder of how this slightly more than forty-three minutes passes with near-dizzying speed.

The relative simplicity of the aforementioned cut generates incremental momentum for the track sequencing. The end result is a singular opportunity to experience the assembly of the building blocks of an idea that struck the banjoist extraordinaire seemingly out of nowhere.

Kudos to Bela Fleck for summoning the creative wherewithal and resources to bring his epiphany to fruition: ultimately, he incorporates his lifelong affinity for the iconic composer's work with his usual unassuming flair for maximizing the spirit of the moment with others.By Doug Collette https://www.allaboutjazz.com/rhapsody-in-blue-bela-fleck

Personnel: Bela Fleck. banjo; Sierra Hull. mandolin; Sam Bush. mandolin; Jerry Douglas. multi-instrumentalist; Mark Schatz. bass; Victor Wooten. bass; Bryan Sutton. guitar; Virginia Symphony Orchestra. band / ensemble / orchestra.

Rhapsody in Blue

---

Brother Jack McDuff - Do It Now!

Styles: Jazz, Post Bop
Year: 1967
File: MP3@320K/s
Time: 39:45
Size: 92,0 MB
Art: Front

(4:52)  1. Snap Back Jack
(4:45)  2. Mush Melon
(5:12)  3. Summer Samba
(5:30)  4. Do It Now
(8:17)  5. Strolling Blues
(6:30)  6. Pleasant Moments
(4:36)  7. Mutt & Jeff

A marvelous bandleader and organist as well as capable arranger, "Brother" Jack McDuff has one of the funkiest, most soulful styles of all time on the Hammond B-3. His rock-solid basslines and blues-drenched solos are balanced by clever, almost pianistic melodies and interesting progressions and phrases. McDuff began as a bassist playing with Denny Zeitlin and Joe Farrell. He studied privately in Cincinnati and worked with Johnny Griffin in Chicago. He taught himself organ and piano in the mid-'50s, and began gaining attention working with Willis Jackson in the late '50s and early '60s, cutting high caliber soul-jazz dates for Prestige. McDuff made his recording debut as a leader for Prestige in 1960, playing in a studio pickup band with Jimmy Forrest. They made a pair of outstanding albums: Tough Duff and The Honeydripper. McDuff organized his own band the next year, featuring Harold Vick and drummer Joe Dukes. Things took off when McDuff hired a young guitarist named George Benson. They were among the most popular combos of the mid-'60s and made several excellent albums. McDuff's later groups at Atlantic and Cadet didn't equal the level of the Benson band, while later dates for Verve and Cadet were uneven, though generally good. McDuff experimented with electronic keyboards and fusion during the '70s, then in the '80s got back in the groove with the Muse session Cap'n Jack. While his health fluctuated throughout the '90s, McDuff released several discs on the Concord Jazz label before succumbing to heart failure on January 23, 2001, at the age of 74. ~ Ron Wynn https://www.allmusic.com/artist/jack-mcduff-mn0000118853/biography

Personnel: Brother Jack McDuff - organ, arrangements; Melvin Sparks - guitar;  Danny Turner; tenor saxophone, alto saxophone, flute; Leo Johnson - tenor saxophone, flute

Do It Now!

---

Kayla Waters - Apogee

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 42:00
Size: 96,2 MB
Art: Front

(2:15) 1. Earth Arrival
(4:33) 2. I Am
(3:23) 3. Sunkissed
(4:27) 4. Heaven Is Here
(3:21) 5. Freedom March
(4:45) 6. The Dream
(4:42) 7. Elevation Bop
(3:50) 8. Spirit Awakening
(4:41) 9. Look to Love
(1:58) 10. Pluto Departure
(4:01) 11. Apogee

Contemporary jazz pianist, composer and writer Kayla Waters, the daughter of famous saxophonist Kim Waters, debuts with her first work Apogee (2017) on Trippin N’ Rhythm Records.

Along side of Kayla, Kim was also executive producer for her album. Apogee is another word for the highest point in the development of something, a climax or culmination. For Kayla this album is the first highlight of her musical career. She has written all songs of the CD.

The album was recorded in six days straight. The album has biographical references. So for example Earth Arrival tells the story how Kayla arrives on earth, the point when everything started. The song grows with a constant flow, a springy rhythm and vibrant keyboard works.

I Am implies Kayla's personality and her love for music. The arrangement is from shiny appearance and polished blank. You can feel the wings of Kim Waters. Sunkissed describes a person whose appearance is attractive because they have recently been in the sun. Figuratively it means pampered by life. Kayla chooses this adjective for her state of life. For being in a happy position to make those things, what she loves most. This piece is astoundingly positioned in contemporary jazz.

Heaven Is Here underlines this with another musical expression. The song gets an unexpected twist when Kayla presents a vocal impact transferring the tune from an even and smooth keel to excitingly troubled water. Freedom March is conceived as a protest song. However, in the absence of a strong text, the meaning is lost in an admittedly successful instrumental showpiece.

The Dream is a tribute to Martin Luther King's socio-political appeal in August 1963. A surprisingly political reference that is seldom in the smooth jazz genre. When Sister Peace and Mr. Freedom are in search of their dream than you know in which direction. Elevation Bop is the anthem for the world to raise and move forward. Kayla and Kim create a unique theme by uniting smooth and contemporary jazz in transcending genre and expectations.

Kayla refers Spirit Awakening on herself as young woman with her talent, her possibility of sustainable development and potential. She feels the song like a blossoming of a flower. In this sense the melody unfolds in its multiplicity. With the ballad Look to Love Kayla defines her very own emotional and vocal approach on this subject.

A frozen region north of Pluto’s icy mountains, is informally named “Tombaugh Regio” (Tombaugh Region) after Clyde Tombaugh, who discovered Pluto in 1930. Pluto Departure is Kayla's idea, if even this planet is so far away, love is possible over there. The unreality of this region is reflected in her song.

The final Apogee embraces all elements, which are popular in today's smooth jazz. A catchy piano theme, strings, synth bass, horns and a stomping beat. Kayla Waters is a hot ticket in smooth jazz. She shows individual character in her compositions leaving a lasting impression. Avoiding sonorous platitudes with intelligent arrangements and dazzling themes is a promising concept. http://www.smooth-jazz.de/starportrait/Waters/Apogee.htm

Line-up/Musicians: Kayla Waters keyboards, vocals; Kim Waters saxophone; Shacara West vocals; Kelly Gainer flute

Apogee

---

Eddie Henderson - Witness to History

Styles: Trumpet Jazz
Year: 2023
File: MP3@320K/s
Time: 56:00
Size: 128,7 MB
Art: Front

(7:02) 1. Scorpio Rising
(8:35) 2. Why Not?
(7:40) 3. Sweet and Lovely
(8:45) 4. It Never Entered My Mind
(5:21) 5. Freedom Jazz Dance
(5:02) 6. I'm Gonna Miss You, My Darling
(7:04) 7. Totem Pole
(6:27) 8. Born to Be Blue

Make no mistake: it is the hot buttered soul, "Shaft"-like theme of "Scorpio Rising" that first snags one's attention. But once snagged, the old cool sets in and Witness To History, trumpeter Eddie Henderson's self curated soundtrack, unwinds with a wicked fervor. A deep, wicked joy.

Henderson who has pretty much seen it all from the impulsive, jazz rock Realization (Capricorn, 1973) through The Cookers to the still palpable Shuffle and Deal (Smoke Avenue, 2020) looks back for a PBS documentary due for release in early 2024 and knows for sure he has had a good run. He then intuitively and soulfully gathers a few wily and confident cohorts and it is away to the races.

But it is not that frantic metro influencer gallop for this crew. Not by any means. These cats are all pure blue, after-hours shuffle. Because not only is Henderson, now in his eighty-third orbit, at a zenith in said orbit, ditto that of Donald Harrison's blue venue sax and George Cables' pianistic touch. Splice all that in with the interstitial elasticity of bassist Gerald Cannon and drummers Lenny White andMike Clark and "Scorpio Rising" becomes an infectious roll through the back alleys of late 1970s urban noir. The liquid gold of "I Am Going to Miss You, My Darling," written by the trumpeter's wife, beautifully occurs.

It is very hard to learn that everyone should lay back on the groove, but to this group it is a banner taken into battle. A badge of honor. Witness To History is full of badges and banners. First heard on Lee Morgan's eventful The Sidewinder (Blue Note, 1964), "Totem Pole" holds all the flash and slink of the original but with its own immediate vibe. Cables' jumpy "Why Not" is a slow steamer highlighted by trumpet and saxophone punching the air. As it should be, "Sweet and Lovely" is all trad jazz with Cannon in the lead.

Maybe when and if it all becomes accountable, Witness To History does not stand the test of time. Maybe it does. The same can be said for all and any of us. But that does not make Witness To History any less of great record. In fact it just being makes it all that much better.By Mike Jurkovic https://www.allaboutjazz.com/witness-to-history-eddie-henderson-smoke-sessions-records__22447

Personnel: Eddie Henderson - trumpet; Donald Harrison - saxophone, alto; George Cables - piano; Lenny White - drums ; Gerald Cannon - bass

Witness to History

---

Darden Purcell - Love's Got Me in a Lazy Mood

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 67:28
Size: 155,2 MB
Art: Front

(6:37) 1. Willow Weep for Me
(6:24) 2. Love's Got Me in a Lazy Mood
(5:41) 3. Come Back to Me
(5:48) 4. It's a Most Unusual Day
(4:57) 5. I Concentrate on You
(5:35) 6. A Cottage for Sale
(5:55) 7. Estrada Branca (This Happy Madness)
(7:24) 8. Chatterbox
(7:09) 9. Estate
(6:32) 10. Taking a Chance on Love
(5:21) 11. You've Changed

Darden Purcell's album Love's Got Me In A Lazy Mood (OA2 Records, 2023) shows her keen ear for the subtleties and nuances which define the West Coast cool jazz vocal sound. Purcell's album comprises eleven tracks which blend the laid-back, sophisticated rhythms and melodic inventiveness that characterize the style with beautiful singing and nimble playing.

Purcell is joined by an ensemble of musicians whose contributions are pivotal to the album's charm and success. On six tracks the ensemble features Joe Locke on vibraphone, whose nuanced textures and rhythmic sophistication add depth to each track. Shawn Purcell, who arranged all the songs, weaves intricate harmonies and melodies which complement and converse with Darden Purcell's vocals. Todd Simon's piano provides a supportive undercurrent, binding the ensemble's sound. The rhythmic foundation laid down by Jeff Reed on acoustic bass and Todd Harrison on drums is compelling, creating a rhythmic flow which allows each musician to flourish in the various feels and styles. The ensemble creates a cohesive, explorative, and resonant sound with an overall essence of West Coast cool jazz.

Purcell's vocal delivery is a journey through the emotional landscapes of each track. Her rendition of "A Cottage for Sale" is a highlight as she confidently conveys the song in a heartfelt narrative. "You've Changed" is another song in which she displays those qualities, matching the lyrics with the coloring of her tone and inflections. In the title track, "Love's Got Me in a Lazy Mood," Purcell uses the lyrics to explore love's complex, layered emotions through her vocal inflections. Her vocal delicacies hint at an undercurrent of both contentment and longing, a duality often explored in the introspective nature of West Coast cool jazz, where the focus is often on expression and mood.

In "Estrada Branca (This Happy Madness)," Purcell's switch between Portuguese and English adds a unique storytelling dimension. Her nuanced and deliberate phrasing engages in both linguistic settings, creating a creative and universal performance. "Estate" has a moody and dark arrangement. The laid-back phrasing of Purcell's vocals makes the song's story come alive. This ability to tell a story through subtle vocal inflections is reminiscent of the West Coast jazz ethos, where less is often more.

Shawn Purcell's original, "Chatterbox," is one of the album's many highlights. The song has an exciting approach to the vocal, guitar, piano, and vibes possibilities to create varying orchestrative dialogues. Purcell's voice engages with the ensemble as an instrument which happens to be singing lyrics. This interplay is done with a command of jazz rhythms and articulations. Purcell's personal touch comes through in her lyric choices and vocal expression. By choosing both aspects, Purcell can give a performance that distinctly displays her jazz articulation and rhythm with excellent lyric writing.

Throughout Love's Got Me In A Lazy Mood, Purcell comprehends jazz's expressive potential. Her vocal delivery is built upon solid technical skills, but her artistry is about weaving a melody with stories and emotions.By Geannine Reid
https://www.allaboutjazz.com/loves-got-me-in-a-lazy-mood-darden-purcell-oa2-records

Love's Got Me in a Lazy Mood

---

Angelina Jordan - Old Enough

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 17:08
Size: 39,6 MB
Art: Front

(2:57) 1. Love Don't Let Me Go
(3:07) 2. Now I'm The Fool
(2:36) 3. Fire And Rain
(2:24) 4. All My Fault
(3:27) 5. Good In Goodbyes
(2:35) 6. Diamond

Acclaimed songstress and vocal dynamo, Angelina Jordan has unveiled her brand-new EP, Old Enough today via Republic Records. To celebrate the project’s release, she also dropped the music video for the single “Now I’m The Fool.” Watch it now below.

On the track, her smoky vocals practically hover above jazz-y guitar and a simmering beat as she confesses in a smooth cadence, “I just called to let you know, you hurt my soul.” The simple, yet striking black-and-white visual channels a classic vibe as she rocks a retro hairdo and sings her heart out into a vintage microphone alone.

After years of wowing audiences with her phenomenal voice, Old Enough places Angelina Jordan’s songwriting in the spotlight, displaying her maturity as both an artist and woman.

Angelina first teased the project with “Love Don’t Let Me Go” earlier this year. Thus far, it has gathered north of 1.4 million Spotify streams and 2 million-plus views on accompanying visualizer. The last time we heard from Angelina was in 2021 with “7th Heaven.” The latter has amassed over 2.8 million Spotify streams in addition to 2.2 million YouTube views on the music video.https://preludepress.com/news/2023/07/21/angelina-jordan-old-enough/

Old Enough

---

Dave Pietro - Standard Wonder: The Music of Stevie Wonder

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 69:17
Size: 158,6 MB
Art: Front

(5:27) 1. Too High
(6:41) 2. All in Love Is Fair
(6:05) 3. Smile Please
(6:30) 4. Go Home
(4:34) 5. You and I (Interlude)
(7:47) 6. The Secret Life of Plants
(6:09) 7. Contusion
(5:22) 8. Happier Than the Morning Sun
(7:10) 9. Visions
(6:26) 10. Another Star
(3:34) 11. Overjoyed
(3:27) 12. Come Back as a Flower

A few of Stevie Wonder's songs have been performed by jazz musicians, but this CD by saxophonist Dave Pietro is one of the first extensive explorations of his work outside of pop. Pietro shifts between soprano, alto, and C-melody saxophones (the latter instrument hasn't been used very much in jazz since the '30s). Pietro's playing is very strong throughout the date, and his arrangements are first-rate, often contrasting sharply with the composer's original approaches.

"Another Star" features Pietro's superb C-melody sax in a modal setting that seems to occasionally hint at Miles Davis' "Nardis." His tasty soprano sax is a highlight of "The Secret Life of Plants," a song that could be overlooked by jazz fans who haven't heard Wonder's original record, because such a title might easily be mistaken for a typical new age release. The lively, Latin-flavored "Smile Please" and the lovely ballad "You and I-Interlude" are also highlights, but the dull electric piano keeps "All in Love Is Fair" (a favorite of pianist Marian McPartland, who has performed it many times) from reaching its full potential.

The strong supporting cast includes keyboardist David Berkman, trumpeter and flugelhornist Scott Wendholt, trombonist Pete McGuinness, guitarist Pete McCann, bassist Scott Colley, and drummer Brian Blade. One can easily imagine many more jazz musicians following Dave Pietro's lead in putting together a Stevie Wonder songbook of their own.By Ken Dryden
https://www.allmusic.com/album/standard-wonder-the-music-of-stevie-wonder-mw0000591513

Personnel: Dave Pietro - Soprano/Alto & C-melody Sax; Scott Wendholt - Trumpet/Flugelhorn; Pete McGuinness - Trombone; Pete McCann - Guitar; David Berkman - Piano/ Organ/ Fender Rhodes; Scott Colley - Bass; Brian Blade - Drums

Standard Wonder: The Music of Stevie Wonder

---

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

---

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

---

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'

---