Pat Bianchi - Back Home

Styles: Jazz, Post Bop
Year: 2010
File: MP3@320K/s
Time: 56:35
Size: 131,4 MB
Art: Front

(4:48)  1. Fifth House
(7:00)  2. Midnight Mood
(8:34)  3. Lithia
(5:47)  4. Back Home
(4:43)  5. Blues Connotation
(7:21)  6. Portrait of Jenny
(7:07)  7. Just In Time
(8:10)  8. Hammer Head
(3:00)  9. Fifth House - alternate

Organist Pat Bianchi's turn to be in the spotlight as a premier player on his instrument is long overdue, and with the release of Back Home, it's clear his time has finally come. Since the 2006 issue of his album East Coast Roots on the Jazzed Media label and his estimable work with guitarist Corey Christiansen, Bianchi's star has been steadily rising, but now he's reached his zenith. Playing with two different groups, Bianchi transcends soul-jazz by playing the C-3 (church) organ, choosing heady progressive material, and showing his acumen on his instrument similar to peer Larry Goldings (see the Goldings masterpiece Sweet Science). With his "A" group the very energetic sidemen of drummer Ralph Peterson, tenor saxophonist Wayne Escoffery, and trumpeter Terell Stafford alongside, Bianchi whips out compositions not necessarily thought of as vehicles for organ, evidence including the super-fast and tricky Ornette Coleman post-bop piece "Blues Connotation" and Chick Corea's 6/8 groove and bop track "Litha," which came directly from fusion originally with electric piano. The "B" trio with drummer Carmen Intorre and guitarist Gilad Hekselman also tackles difficult music John Coltrane's "Fifth House" (and an additional shorter alternate take) challenges rhythmic parameters in a modal sense while Bianchi goes off à la Larry Young. But where Bianchi's three pieces also explore a mellower sound during ballads and blues, it is his deeply hued style on the C-3 that identifies a new approach to playing modern jazz. What Bianchi is doing is very nearly innovative, and this should only be the tip of the iceberg. ~ Michael G.Nastos https://www.allmusic.com/album/back-home-mw0001987608

Personnel:  Pat Bianchi - Organ; Ralph Peterson Jr. - Drums ; Terell Stafford - Trumpet; Wayne Escoffery - Saxophone; Carmen Intorre Jr. - Drums; Gilad Hekselman - Guitar

Back Home

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Milt Hinton - Laughing At Life

Styles: Jazz, Swing
Year: 1994
File: MP3@320K/s
Time: 54:48
Size: 130,2 MB
Art: Front

(7:17)  1. A Child Is Born
(5:46)  2. Sweet Georgia
(4:23)  3. Brown
(4:32)  4. Laughting At Life
(4:05)  5. Prelude To A Kiss
(3:04)  6. Indiana
(5:04)  7. Mona's Feeling Lonely
(4:20)  8. Jon John
(4:33)  9. Old Man Harley
(4:52) 10. Just Friends
(6:52) 11. The Judge And The Jury

Milt Hinton's major label debut as a leader (at age 85), other than a 1955 date for Victor, finds the great bassist utilizing two separate rhythm sections on a variety of standards. In addition to fine solos from pianists Richard Wyands and Derek Smith, there are guest appearances by trumpeter Jon Faddis (who defies his stereotype by sounding closer here to Roy Eldridge than to Dizzy Gillespie) and veteran Harold Ashby whose warm tenor recalls Ben Webster. Even if Hinton's three vocals are one too many, his singing has its charm. The finale "The Judge and the Jury" adds four other bassists for a very musical tribute to one of the few veterans of the 1920s still to be heard in his prime in the mid-'90s. ~ Scott Yanow https://www.allmusic.com/album/laughing-at-life-mw0000628214

Personnel:  Bass, Vocals – Milt Hinton;  Bass – Brian Torff, Lynn Seaton, Rufus Reid, Santi Debriano;  Drums – Alan Dawson, Dave Ratajczak, Terry Clark;  Piano – Derek Smith, Richard Wyands;  Saxophone [Tenor] – Harold Ashby ;  Trumpet, Flugelhorn – Jon Faddis

Laughing At Life

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Julian Lage - Speak To Me

Styles: Guitar Jazz
Year: 2024
Time: 59:54
File: MP3 @ 320K/s
Size: 138,8 MB
Art: Front

(2:22) 1. Hymnal
(6:05) 2. Northern Shuffle
(3:26) 3. Omission
(5:20) 4. Serenade
(6:00) 5. Myself Around You
(5:14) 6. South Mountain
(4:15) 7. Speak To Me
(4:19) 8. Two And One
(4:26) 9. Vanishing Points
(4:25) 10. Tiburon
(5:07) 11. As It Were
(4:36) 12. 76
(4:14) 13. Nothing Happens Here

Julian Lage is a surprising composer and guitarist. In the opening of this album, one seamlessly transitions from intentions inspired by flamenco to a jazz-infused blues, with delightful touches of humor along the way. Invariably, over the past few years, the Blue Note label seems to be giving wings to its artists, to the extent that journalists and radio programmers, much like with albums from Mack Avenue, delight even before discovering the cover of a new album.

That was the case here, a simple black and white portrait of Julian Lage, giving no hint of the content within. Clearly, Julian Lage is devoted to telling us stories through his music; it’s a music of tales, dialogue, perhaps even of novels. The guitarist states: “Throughout my life, I’ve always been drawn to music that has a narrative quality,” explaining that he sees his recent compositions as less of a departure and more of an extension of the originals from previous albums, notably his first album, “Squint,” on Blue Note in 2021. “I believe there’s a sort of connective tissue that music has, and that’s important, and it’s fun to cultivate.”

The musical language on this album speaks so directly to the listener that one could have named it “Speak to You,” as each person will find a bit of their musical universe within it, those cultural elements that shape an individual throughout their life. “Speak To Me” showcases the guitarist and composer in various contexts, including solo acoustic, duos, with his usual trio consisting of bassist Jorge Roeder and drummer Dave King, and a larger ensemble with keyboards (by Kris Davis and Patrick Warren) and woodwinds (Levon Henry).

This is Lage’s fourth effort for Blue Note and is part of a torrent of creative activity that includes his participation in Charles Lloyd’s Trio of Trios project and recordings with Terri Lynn Carrington, John Zorn, and Cautious Clay. From start to finish, we are plunged into highly diverse musical worlds on this album, some even occasionally reminiscent of cinematic soundtracks, whether intentional or not, the effect is guaranteed, and at no moment can this album be found dull. Between amusing passages, sometimes poetic, sometimes dramatic, sometimes joyful, it’s even difficult to say if this album leans towards a particular audience, because as I mentioned, this album speaks to everyone.

“Speak To Me” was recorded quickly, over a few days. Instead of pre-production, Lage and Henry maintained a constant electronic flow of discussion on tone, temperament, and mission for months before the sessions. When Lage was frustrated that a song he had written didn’t fit with the others, he would send a demo to Joe. “I would tell him, ‘I’m about to toss this one. Does it fit into the narrative we’re trying to create with the other pieces?’ Several times, I told him I didn’t think a song was appropriate. And he would tell me it was he saved a few songs that way.”

This is probably what makes this album as rich as it is exciting, immediately becoming indispensable from the first notes, and we are certainly here on Julian Lage’s best album, one of sincerity.Julian Lage – Speak to Me (ENG review) - Paris Move (paris-move.com)

Personnel: Julian Lage guitar; Levon Henry tenor saxophone; Patrick Warren keyboards; Kris Davis piano; Jorge Roeder bass; Dave King drums

Speak To Me

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Ann Hampton Callaway - Finding Beauty, Originals, Vol. 1

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 73:58
Size: 171,5 MB
Art: Front

(4:38) 1. The Moon Is A Kite
(4:19) 2. Look For The Love
(4:54) 3. Forever And A Day
(5:00) 4. Love And Let Love
(6:12) 5. Information, Please
(4:37) 6. You Can't Rush Spring
(4:33) 7. Finding Beauty
(3:51) 8. Revelation
(4:41) 9. Hold You In This Song
(4:45) 10. Stealin' Away
(4:13) 11. New Eyes
(5:05) 12. At The Same Time
(5:06) 13. Wherever You Are
(3:44) 14. If I Were
(4:18) 15. Be The Light
(3:54) 16. Perfect

LOS ANGELES, CA (August 21, 2023) – Tony-nominated, multiplatinum-selling pop/jazz singer-songwriter Ann Hampton Callaway will release her new album, Finding Beauty, Originals Volume 1, on Sept. 29 via Shanachie Entertainment. Comprised of 16 sumptuous tracks, immaculately produced and arranged by Trey Henry and Paul Viapiano for the Chemistry Set, Finding Beauty is a milestone for Callaway recently inducted into the Women Songwriters Hall of Fame in that it’s her first album to feature all-original songs.

“This is my most personal record,” Callaway says. “Throughout my career, I’ve loved singing the great jazz classics and selections from the Great American Songbook, but I’ve always snuck my original songs on various projects. The pandemic made me think, ‘I don’t know if I’ll live through this, but if I do, what’s at the top of my bucket list?’ And I realized that I wanted to tell my story and share the deepest part of me. What better way than by sharing and singing songs I’ve written?”

Over the years, Callaway’s compositions have been recorded and performed by some of the biggest names in the business among them, Carole King, Patti Lupone, Liza Minnelli, Karrin Allyson, and Michael Feinstein, to name a few. Barbra Streisand has featured Callaway’s songs on seven albums, including 1997’s No. 1 platinum smash Higher Ground, which featured “At the Same Time.” In addition, Callaway wrote and sang the memorable theme song to the beloved TV series The Nanny.

Finding Beauty took three years to complete, during which Callaway, Henry, and Viapiano combed through the singer’s vast catalog of material, stretching from 1986 to the present. “It was a true collaboration,” Callaway says. “Some songs were ones that Trey and Paul really wanted to work on, and I trusted their instincts. Most of all, I wanted a cohesive statement that would share my stories of love, from my first to my last.”

Select tracks on Finding Beauty see Callaway singing alongside a number of notable guests – superstar Melissa Manchester, nine-time Grammy nominee Tierney Sutton, Grammy-winning jazz legend Kurt Elling, celebrated pop and R&B singer Niki Haris, Grammy-nominated singer Jarrett Johnson, and Callaway’s frequent musical partner (and real-life sister), the Tony-nominated and Emmy-winning Liz Callaway. “I’ve recorded CDs with my sister, of course, but this was my first time recording with the other artists,” Callaway says. “It was thrilling to explore these songs together.”

Before Streisand recorded “At the Same Time,” the song was featured in the 1987 world peace event The Harmonic Convergence. Callaway once performed the number herself a capella for former Russian president Mikhail Gorbachev. For Finding Beauty, she and Henry tried different iterations before arriving at a haunting and intimate arrangement, with muted military drums, on which Callaway’s passionate vocals shine. “I wanted to evoke a feeling of urgency while the war continues on,” she notes.

The gorgeous smooth pop/R&B “Love and Let Love” is another gem. Callaway and film/TV composer Michele Brourman wrote the song as a pride/human rights anthem, which Callaway has long sung as a stirring ballad. Henry reimagined it as a more upbeat and funky cut, which surprised and delighted Callaway. “It was incredible jamming on it with Kurt Elling,” she says. “We created a happening. I could envision singing it for thousands of people, with everybody embracing how we’re all different and we’re all supposed to be who we are.”

On an album brimming with standouts, there’s the fun and frisky “Stealin’ Away,” co-written with Tony-nominated composer Dan Levine. An unabashed ode to romantic love and passion, the song was penned for Al Jarreau, who sadly passed before he could record it. With her smoldering, sultry performance, Callaway transports the listener to a private place of sensuality and warmth. Callaway’s “You Can’t Rush Spring” has been covered by numerous artists over the years, including Ann herself on her 1994 album Bring Back Romance, and here she duets with Tierney Sutton on a gripping, beautifully atmospheric version on which their two voices blend magically. “I love the cinematic mood that Trey created,” Callaway enthuses. “Singing with Tierney was extraordinary. We think like flutes and cellos when we blend our voices together. It’s one of my favorite tracks on the record.”

The lush, bossa nova-tinged “Forever and a Day” gently works its way into the thicket of your senses and doesn’t let go. Written with Alan Bergman, the song fulfills a long-held dream of Callaway to collaborate with the iconic, multi-Oscar-winning composer. “That’s what I call a friendship,” she says, “where I can have the audacity to say, ‘Would you like to write a song? Here’s a melody.’”

Callaway champions the musicians who contributed to Finding Beauty – she’s worked with pianist Christian Jacob and drummer Ray Brinker since the ‘90s, but this marks her first time recording with pianist Josh Nelson. Working with producer-arrangers Henry and Viapiano was, at times, “a leap of faith” in that she relinquished her go-to “this is how the songs should go” and put her trust in their vision. “But it’s an experience that I cherish,” she says. “Their instincts were always right on the money.”

And as the full title suggests, fans can expect a sequel. “There will be another album,” Callaway says. “This isn’t ‘we should do more of this.’ We definitely will.”

Starting August 25 in Minneapolis, the Broadway World Entertainer of the Year will hit the road for an international tour that stretches into the Spring of 2024. At select dates, Callaway will celebrate the release of her new album with a show called Finding Beauty: Inspired Classics and Originals.
https://www.annhamptoncallaway.com/news.html

Finding Beauty, Originals, Vol. 1

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Alexia Gardner - Feeling the Love, Songs of My Mother, Songs of My Father

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 35:37
Size: 82,2 MB
Art: Front

(1:38) 1. Forever Young
(6:16) 2. God Bless The Child
(2:31) 3. Great Day
(5:35) 4. Stand By Me
(1:01) 5. My Life
(3:11) 6. Alfie
(4:43) 7. Milestones
(3:45) 8. Theme From Mahogany
(2:49) 9. Miss Celie's Blues
(4:03) 10. Tell Him

I can still hear my father singing Burt Bacharach’s ‘Alfie’ and Ben E King’s ‘Stand by Me’. I can still see my mother’s beautiful face and feel her quiet strength all around me. This is a beautiful, prayerful, vocal, jazz album dedicated to my late parents and presented to you with the swinging, heartfelt, traditional jazz instruments of piano, bass, drums, horns and voice. Enjoy every moment!
https://www.allaboutjazz.com/album/feeling-the-love-songs-of-my-mother-songs-of-my-father-alexia-gardner

Personnel: Alexia Gardner (vocal); Hyuna Park (piano), Martin Pizzarelli (bass), George Gray (drums), Linus Wyrsch (sax)

Feeling the Love, Songs of My Mother, Songs of My Father

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Ed Cherry/Massimo Faraò - Smooth Guitar Jazz

Styles: Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 56:20
Size: 130,2 MB
Art: Front

(3:41) 1. Stay
(8:09) 2. Streets of Philadelphia
(1:48) 3. Layla
(7:29) 4. Wonderful tonight
(3:24) 5. A heart of gold
(3:54) 6. One more night
(4:09) 7. Road song
(4:19) 8. Georgia on my mind
(4:32) 9. Days of wine and roses
(3:00) 10. On Broadway
(3:48) 11. On the trail
(4:02) 12. Peace
(4:00) 13. Alligator

American jazz and smooth jazz artist Ed Cherry has been captivating audiences with his most recent songs and music CDs. Smooth Guitar Jazz (2023), his most recent album, demonstrates his extraordinary talent and originality. Ed Cherry offers a mesmerizing fusion of mellow melodies and sophisticated guitar playing in a wide selection of tracks that are likely to fascinate listeners.

"Jean/Pauline (2022)" and "Ding Dong (2022)" stand out among his most recent tracks as remarkable masterpieces. These songs are perfect examples of Ed Cherry's ability to add contemporary flair to soulful jazz themes. He effortlessly creates a fascinating ambiance that carries listeners to a realm of musical happiness with his distinctive guitar style and flawless skills.

In addition to his most recent albums, Ed Cherry's first one, "Peace (2022)," is noteworthy. His ability to include a range of jazz sub-genres and to convey a sense of serenity through his music is demonstrated on this CD, which also demonstrates his versatility as a musician.

Ed Cherry is a remarkable performer in the industry because of his commitment to his craft and his capacity to always push the limits of jazz and smooth jazz music. His most recent songs and music CDs are proof of his prodigious talent and dedication to writing engrossing and emotive music.

Finally, Ed Cherry's most recent album, "Smooth Guitar Jazz (2023)", and singles like "Jean/Pauline (2022)" and "Ding Dong (2022)" showcase his extraordinary talent and distinctive approach to jazz and smooth jazz music. He keeps enthralling audiences and reaffirming his status as a highly regarded musician in the industry with each new album. https://www.viberate.com/artist/ed-cherry/

Smooth Guitar Jazz

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Hadda Brooks - City Streets and Cafe Beats - Hadda Brooks' Summertime Stories

Styles: Vocal
Year: 2023
Time: 47:50
File: MP3 @ 320K/s
Size: 111,8 MB
Art: Front

(3:11) 1. That's Where I Came In
(3:03) 2. Take Me
(3:00) 3. This Will Make You Laugh
(2:57) 4. Can't We Be Friends
(2:59) 5. The Best Things In Life Are Free
(3:01) 6. I'm The Lonesomest Gal In Town
(2:59) 7. I Can't Get Started
(3:14) 8. Tomorrow Night
(3:07) 9. This Time We're Through
(3:21) 10. Always
(3:04) 11. Out Of The Blue
(3:23) 12. I Must Have That Man
(3:11) 13. You Won't Let Me Go
(3:51) 14. That's My Desire
(3:23) 15. After You've Gone

Hadda Hapgood was born in Los Angeles in 1916, into a middle-class family: her father was a Deputy Sheriff and her mother was a doctor. Hadda’s musical education began when she attended the opera, and she studied classical piano for twenty years. After college in Chicago, where she picked up a rather different style of music, Hadda began playing piano professionally in LA, pounding out boogies in the style of Pete Johnson, Albert Ammons and Meade Lux Lewis. She was spotted by Saul Bihari and was one of the first artists signed to his Modern label in 1945, scoring a regional hit with her debut record.

The instrumental ‘Swingin’ the Boogie’ was billed under the name Hadda Brooks, a name given by the company. Her keyboard skills got her a lot of session work for the Bihari’s labels: for example she featured on most of ‘Smokey’ Hogg‘s records. After a few more instrumental releases of her own, Hadda was chosen to appear in the movie ‘Out of the Blue’, playing a lounge-singer: the record of the same name was Hadda’s vocal debut and it became her biggest hit. Further movie rôles and hit records like ‘That’s My Desire’ made Hadda something of a celebrity in the late 40s. https://www.allaboutbluesmusic.com/hadda-brooks/https://www.allaboutbluesmusic.com/hadda-brooks/

City Streets and Cafe Beats - Hadda Brooks' Summertime Stories

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Milt Hinton - Old Man Time (2-Disc Set)

Recording Period: March 28, 1989 - March 27, 1990, Englewood, New Jersey. Milt Hinton (bass, vocals), Ralph Sutton, Derek Smith, Red Richards, John Bunch, Norman Simmons (piano), Danny Barker (guitar, vocals), Al Casey (guitar), Bob Rosengarden, Gus Johnson, Gerryck King, Jackie Williams, Jimmy Ford (drums). Additional guest artists: Eddie Barefield (alto & tenor saxophones), Doc Cheatham (trumpet), Al Grey (trombone), Flip Phillips (clarinet).

This double-CD set gave bassist Milt Hinton an opportunity to engage in reunions with many of his old friends from the 1930s. The seven sessions were compiled during a 12-month period and the results are often delightful. The opening "Old Man Time" is sung by Hinton himself, and it is both insightful and humorous. The other highlights include Joe Williams singing "Four or Five Times" (which features some very rare Flip Phillips clarinet), three bass guitar duets with Danny Barker, appearances by Dizzy Gillespie, Lionel Hampton, Clark Terry, Al Grey, Ralph Sutton, and the formation of a group called "The Survivors" that has guitarist Al Casey at age 75 being the youngest member; the latter band also includes 85-year-old trumpeter Doc Cheatham, Eddie Barefield, Buddy Tate and even Cab Calloway. A lot of storytelling takes place during the songs and, in addition to the 92½ minutes of music, there are two "Jazzspeaks." The 13-minute one features Hinton, Calloway, Cheatham and Barefield reminiscing about their experiences in the early days, while a marvelous 45-minute monologue by the bassist covers most of his long and productive life and is consistently fascinating. Highly recommended. ~Scott Yanow

Album: Old Man Time (Disc 1)

Bitrate: MP3@320K/s

Time: 75:37

Size: 173.1 MB

Styles: Contemporary jazz

Year: 1990

[ 4:41] 1. Old Man Time

[ 3:26] 2. Time After Time

[ 4:34] 3. Sometimes I'm Happy

[ 1:55] 4. A Hot Time In The Old Town Tonight

[ 5:09] 5. Four Or Five Times

[ 4:21] 6. Now's The Time

[ 6:20] 7. Time On My Hands

[ 5:18] 8. Heart Of My Heart

[ 2:55] 9. I Ain't Gonna Give Nobody None O' This Jelly Roll

[ 2:40] 10. Mama Don't Allow

[ 7:25] 11. Girl Of My Dreams

[ 9:47] 12. This Time It's Us

[ 3:52] 13. Good Time Charlie

[13:09] 14. Jazzspeak, No. 1

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Album: Old Man Time (Disc 2)

Bitrate: MP3@320K/s

Time: 73:12

Size: 167.6 MB

Styles: Contemporary jazz

Year: 1990

Art: Front

[ 4:23] 1. It Don't Mean A Thing (If It Ain't Got That Swing)

[ 5:06] 2. Blue Skies

[ 3:42] 3. Slap Happy

[ 9:13] 4. The Yellow Front

[ 5:48] 5. Bloody Mary

[ 1:57] 6. Milt's Rap

[43:01] 7. Jazzspeak #2

Old Man Time (Disc 1) (Disc 2)

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Martina Gebhardt - Clear, out of the Blue

Styles: Smooth Jazz
Year: 2023
Time: 69:52
File: MP3 @ 320K/s
Size: 161,0 MB
Art: Front

(3:14) 1. Funken Mut (Radio Cut)
(3:52) 2. Lead Me Into Love
(5:17) 3. Clear, Out Of The Blue
(6:49) 4. Wounded Heart
(6:32) 5. Heile Dein Herz
(2:36) 6. Hypnosis
(3:18) 7. Mein Seelenplan
(4:41) 8. Immer Ans Licht
(5:07) 9. Liebe
(6:04) 10. Wer Weiss, Wie Lang
(5:39) 11. The Road To Love
(3:14) 12. Samba Ohne Noth
(3:15) 13. Whatever Comes To My Heart
(3:38) 14. Will Lead Me Back
(6:29) 15. Funken Mut (Extended Directors Cut)

German-born German jazz artist Martina Gebhardt has established herself as a prominent figure in smooth jazz. She has enthralled listeners all over the world with her beautiful songs and flawless technique. Martina, who is well-known for her love and commitment to her work, infuses her songs with a special fusion of classic jazz elements and modern flare.

Martina is a notable figure in the jazz world because of her proficiency in smooth jazz, a subgenre distinguished by its easygoing atmosphere. Her songs provide listeners a calming and melodic experience by deftly fusing pop, funk, and R&B components. Rich harmonies, seductive saxophone solos, and funky rhythms that envelop listeners in a state of calm and relaxation define Martina's smooth jazz songs.

Martina's talent as a musician goes beyond her technical proficiency. She can evoke a wide range of feelings in her audience by using her expressive and emotive playing style to connect with them on a deeper level. Martina's music exudes passion and emotion, whether she's singing a sad ballad or a bright, cheerful song.

Martina Gebhardt's commitment to the jazz genre and her own style of smooth jazz have left a lasting influence on the music industry. Her ability to bring heart to her tunes and her compelling onstage persona truly set her apart in the jazz world. We can only expect more amazing music from this gifted German musician as she develops as an artist.
https://www.viberate.com/artist/martina-gebhardt/

Clear, out of the Blue

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Andy LaVerne - Plays The Music Of Chick Corea

Styles: Piano Jazz, Post Bop
Year: 1988
Time: 59:35
File: MP3 @ 320K/s
Size: 136,9 MB
Art: Front

(4:50) 1. Chick Corea
(3:18) 2. Bill Evans
(4:59) 3. Cornucopia
(5:50) 4. Turnaround
(6:51) 5. Folk Song
(3:44) 6. Psalm
(4:49) 7. Ghost Of Triengen
(3:27) 8. Softly As You Go
(4:17) 9. Like This
(3:01) 10. Romance
(5:55) 11. Heart To Heart
(4:59) 12. You´re Everything
(3:30) 13. Blues For Liebestraum

Jazz pianist, composer, and arranger Andy LaVerne studied at Juilliard, Berklee, and the New England Conservatory, and took private lessons from legendary jazz pianist Bill Evans. The list of musicians with whom LaVerne has worked reads like a Who's Who in jazz: Frank Sinatra, Stan Getz, Woody Herman, Dizzy Gillespie, Chick Corea, Lionel Hampton, Michael Brecker, Elvin Jones, and numerous others.

A prolific recording artist, his projects as a leader number over 50, the most recent are: Intuition, a duo with saxophonist Jerry Bergonzi (SteepleChase), and Epiphany, a collection of Andy’s newest compositions (ClaveBop).

LaVerne is also a prominent jazz educator, having released a series of instructional videos, Guide to Modern Jazz Piano, Vols. 1 &, 2, and Jazz Piano Standards (Homespun Tapes), featuring the Yamaha Disklavier, as well as the video, In Concert (Homespun Tapes), with guitarist John Abercrombie. He is the author of Handbook of Chord Substitutions, Tons of Runs (Ekay), Bill Evans Compositions 19 Solo Piano Arrangements, and is the pianist on The Chick Corea Play-Along Collection (Hal Leonard). The Music Of Andy LaVerne (SteepleChase Publications) has recently been published. Forthcoming are Keyboard’s Jazz Piano Compendium (BackBeat Books), and Jazz Bach, and Jazz Chopin (Mel Bay). Countdown To Giant Steps (Aebersold Jazz) is a two CD play-a-long with companion book, of which LaVerne served as player/producer/writer, and Tunes You Thought You Knew (Aebersold Jazz) is a LaVerne play-a-long CD/book set. Secret of the Andes, a collection of LaVerne originals, is Andy’s newest offering from Aebersold Jazz.

Andy is a frequent contributor (since 1986) to Keyboard Magazine, and Piano Today Magazine. His articles have also appeared in Down Beat, Jazz Improv, Piano Quarterly, Jazz and Keyboard Workshop, and JazzOne.

Andy is the recipient of five Jazz Fellowships from the National Endowment for the Arts, and winner of the 2000 John Lennon Songwriting contest for his tune Shania. He has appeared at concerts, festivals, and clubs throughout the world, and has also given clinics and Master classes at universities, colleges, and conservatories worldwide. Recently he has toured and recorded with legendary singer/songwriter Neil Sedaka. LaVerne is Professor of Jazz Piano at The Hartt School (University of Hartford), and on the faculty of the Aebersold Summer Jazz Workshops.https://www.allaboutjazz.com/musicians/andy-laverne/

Personnel: Andy LaVerne - Organ, Piano; John Abercrombie - Guitar; Mark Egan - Bass; Marc Johnson - Bass; Danny Gottlieb - Percussion, Drums

Plays The Music Of Chick Corea

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Tad Shull - Deep Passion

Styles: Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 70:32
Size: 161,6 MB
Art: Front

( 8:18)  1. Tadpole
(11:11)  2. Big Ears
(10:50)  3. June Night
( 8:37)  4. Why
( 9:30)  5. Soul Stirrin'
( 8:02)  6. The Breeze And I
( 5:34)  7. Deep Passion
( 8:25)  8. The Eldorado Shuffle

Tad Shull is a tenor saxophonist, composer and bandleader with a number of records on Criss-Cross Jazz. His style combines the lush tone quality of the classic tenor saxophonists with the risk-taking harmonic approach of hard bop and beyond.After studying with David Liebman and Joseph Allard, Shull worked with the Widespread Depression Jazz Orchestra and the Smithsonian Jazz Repertory Ensemble. More recently he has fronted his own quartets. He has performed with Cab Calloway, Roy Eldridge, Dizzy Gillespie, Woody Herman, Eddie Higgins, Milt Hinton, Dave McKenna, Melvin Rhyne, and many others. Recordings under Tad Shull’s name on the Criss Cross label include “Deep Passion” and “In the Land of the Tenor.” He has two discs with the Tenor Triangle, featuring Ralph Lalama, Eric Alexander, and Tad Shull with the Melvin Rhyne Trio: “Tell It Like It Is ” and “Aztec Blues,” for which Shull composed the title cut. He also teamed with tenor saxophonist Mark Turner for “Two Tenor Ballads” and appeared as a special guest on Mel Rhyne’s Tomorrow Yesterday Today.

Tad Shull is Associate Director of the Center for Jazz Studies at Columbia University. The organization is a leader in generating and sharing knowledge on jazz and improvisation. Shull specializes in providing access to and organizing the enormous and growing storehouse of information on jazz on the Internet. He is Editor of Jazz Studies Online, which presents resources for educators, students, and researchers. He is also creator and manager of J-DISC, an online resource for information about jazz recordings, the people who made them, and the culture they arise from. New J-DISC initiatives include linking information on artists in J-DISC to other useful resources; exploring ways to identify and distinguish jazz audio using machine learning and other engineering and mathematical tools; and creating a forum for jazz experts to discuss jazz recordings and the legacy of jazz history they contain. http://www.tadshull.com/?page_id=2

Personnel: Tad Shull (tenor saxophone), Irvin Stokes (trumpet), Mike LeDonne (piano), Dennis Irwin (bass), Kenny Washington (drums).

Deep Passion

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Ella Fitzgerald And Louis Armstrong - Porgy And Bess

Styles: Vocal And Trumpet Jazz
Year: 1958
File: MP3@320K/s
Time: 66:14
Size: 156,5 MB
Art: Front

(10:52)  1. Overture
( 4:58)  2. Summertime
( 4:38)  3. I Want To Stay Here
( 4:02)  4. My Man Is Gone Now
( 3:52)  5. I Got Plenty Of Nothing
( 2:58)  6. Buzzard Song
( 5:28)  7. Bess You Is My Woman Now
( 6:34)  8. It Ain`t Necessarily So
( 1:59)  9. What You Want With Bess
( 4:47) 10. A Woman Is A Sometime Thing
( 2:01) 11. Oh Doctor Jesus
( 3:28) 12. Medley- Honey Man   Strawberry Woman
( 4:54) 13. There Is A Boat That Is Leaving
( 2:36) 14. Bess Oh Where
( 2:58) 15. Oh Lord Im On My Way

Producer Norman Granz oversaw two Porgy & Bess projects. The first involved Ella Fitzgerald and Louis Armstrong, and came together during the autumn of 1957 with brassy big band and lush orchestral arrangements by Russ Garcia. This is the classic Verve Porgy & Bess, and it's been reissued many, many times. The second, recorded during the spring and summer of 1976 and issued by RCA, brought Ray Charles together with versatile British vocalist Cleo Laine, backed by an orchestra under the direction of Frank DeVol. A comparison of these two realizations bears fascinating fruit, particularly when the medleys of street vendors are played back to back. Those peasant songs, used in real life to purvey honey, strawberries, and crabs, were gathered and notated by George Gershwin and novelist Du Bose Heyward in 1934 during a visit to Folly Island, a small barrier island ten miles south of Charleston, SC, known today as Folly Beach. As Charleston Harbor had been one of the major ports during the importation of slaves from Africa, the waterfront was mostly populated by Gullahs, a reconstituted community that retained and preserved its ancestral cultures and languages to unusual degrees. Gershwin, who even learned to chant with the Gullah, absorbed the tonalities of the street cries he heard and wove them along with all of the other impressions stored within his sensitive mind into the fabric of his opera. What's really great about the Ella and Louis version is Ella, who handles each aria with disarming delicacy, clarion intensity, or usually a blend of both. Her take on "Buzzard Song" (sung 19 years later by Ray Charles) is a thrilling example of this woman's intrinsic theatrical genius. Pops sounds like he really savored each duet, and his trumpet work not a whole lot of it, because this is not a trumpeter's opera is characteristically good as gold. This marvelous album stands quite well on its own, but will sound best when matched with the Ray Charles/Cleo Laine version, especially the songs of the Crab Man, of Peter the Honey Man, and his wife, Lily the Strawberry Woman. ~ arwulf arwulf https://www.allmusic.com/album/porgy-bess-mw0000191821

Personnel: Louis Armstrong - vocais, trompete; Ella Fitzgerald - vocais;  Paul Smith - de piano; Alvin Stoller - bateria

Porgy And Bess

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Milt Hinton - Bassically With Blue

Styles: Jazz
Year: 2002
File: MP3@320K/s
Time: 42:52
Size: 98,2 MB
Art: Front

(2:23)  1. Look Out Jack
(3:15)  2. Joshua Fit The Battle Of Jericho
(4:57)  3. Mean To Me
(2:01)  4. Me And You
(3:46)  5. Prelude To A Kiss
(3:36)  6. Undecided
(4:37)  7. How High The Moon
(3:42)  8. Laughing At Life
(4:45)  9. Mona Is Feeling Lonely
(3:30) 10. Back Home Again In Indiana
(3:22) 11. Toneing Dond
(2:52) 12. Walking Through The Woodyard

Milt Hinton was one of the busiest bassists in the history of recorded music and not just in the world of jazz. But Hinton led relatively few dates of his own during his long career; when he got the opportunity, he made the most of it. This 1976 session features him leading a trio with pianist Cliff Smalls and drummer Sam Woodyard (who sticks to brushes for most of the date), mixing originals and standards in equally swinging fashion. The brisk opener features a fine solo by the leader and playful exchanges between the three men. Hinton's take of the old spiritual "Joshua Fit the Battle of Jericho" is a real swinger, not nearly as dramatic as the unaccompanied versions he became famous for later in his career. Hinton's warm arco bass introduces a lush treatment of Duke Ellington's "Prelude to a Kiss" before he returns to playing pizzicato. 

Smalls and Hinton share the limelight in the delightful take of "How High the Moon." Since the bassist spent so much time on the road, it isn't surprising that he composed a bluesy tribute to his devoted wife Mona, "Mona's Feeling Lonely," though he doesn't sing his lyrics on this version. The leader showcase his formidable bass-slapping technique in the superb rendition of "(Back Home Again In) Indiana." This Black & Blue CD reissue of the earlier LP adds a bonus track, a brisk blues called "Walking Through the Woodyard" that features the drummer to good effect. It is odd that the label thoughtlessly omitted composer credits to the songs. Fans of one of the greatest bassists in jazz history should pick up this release immediately. ~ Ken Dryden  

http://www.allmusic.com/album/basically-with-blue-mw0000084331

Bassically With Blue

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Nikos Chatzitsakos - Tiny Big Band 2

Styles: Contemporary Jazz
Year: 2024
Time: 45:08
File: MP3 @ 320K/s
Size: 104,1 MB
Art: Front

(5:42) 1. All or Nothing at All
(4:48) 2. Get Out Of Town
(5:53) 3. Fly Little Bird Fly
(5:26) 4. Where or When
(5:19) 5. I Didn't Know What Time It Was
(5:55) 6. You Know I Care
(6:10) 7. The Windmills of Your Mind
(5:52) 8. Fotografia

Cleaving to the premise that one Tiny Big Band deserves another, bassist Nikos Chatzitsakos is back with Tiny Big Band 2, the second album by his feisty nonet and a follow-up to the well-received Tiny Big Band! (self-produced), recorded in 2022.

This time, Chatzitsakos uses two vocalists instead of one, rotating them on half of the album's eight tracks, and brings back only three of the earlier album's instrumentalists, plus himself. The returnees are cornetist Robert Mac Vega-Dowda, tenor saxophonist Art Baden and baritone Gabriel Nekrutman. As before, Chatzitsakos' choice of material is strong, as are his colorful arrangements.

Alexandria DeWalt sings on Cole Porter's "Get Out of Town" and Rodgers and Hart's "I Didn't Know What Time It Was," Eleni Ermina Sofou on a second Rodgers and Hart gem, "Where Or When," and Michel Legrand's "The Windmills of Your Mind." While there's not much to choose between them, the word that seems most appropriate to summarize the four vocals is "passable."

Among the instrumentals, best in show is Donald Byrd's light-hearted "Fly Little Bird Fly," on which the ensemble spreads its collective wings behind trim solos by pianist Wilfie Williams, alto Salim Charvet, trumpeter Joey Curreri and drummer Samuel Bolduc. The nonet opens with the standard "All or Nothing At All," closes with Antonio Carlos Jobim's sultry "Fotografia" and warmly embraces Duke Pearson's even-tempered ballad, "You Know I Care." Chatzitsakos solos on that number, as he does on "Fotografia."

Trombonist Armando Vergara solos twice, Nekrutman only once, but they make the most of their chances, Vergara on "Where or When" and "You Know I Care," Nekrutman on "I Didn't Know What Time It Was." While the other soloists are by and large respectable but seldom more than that Williams is impressive on "All or Nothing," "Fotografia" and especially "Fly Little Bird."

Another better-than-average session by Chatzitsako's Tiny Big Band, even though a step or two behind its debut, owing for the most part to a surplus of vocals (two per album is more than enough) and some solos that don't quite gel. Still and all, more than enough bright moments for a favorable assessment. By Jack Bowers
https://www.allaboutjazz.com/bernstein-in-vienna-peter-erskine-origin-records

Tiny Big Band 2

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Marsha Bartenetti - I Believe in Love

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 47:36
Size: 110,1 MB
Art: Front

(3:37)  1. Fragile
(5:52)  2. Spring Can Really Hang You up the Most
(3:33)  3. I've Got It Bad (and That Ain't Good)
(4:03)  4. Will You Still Love Me Tomorrow
(4:31)  5. Our Day Will Come
(3:14)  6. Alfie
(4:56)  7. Nature Boy
(3:31)  8. I Know You by Heart
(5:38)  9. God Bless the Child
(3:48) 10. The Very Thought of You
(4:49) 11. Throw It Away

Marsha is a smooth, rich, expressive singer with the ability to bring authenticity to each song with heartfelt vocals that transport a lyric straight to your heart. She has been known to “cross any genre for a good lyric” and does so with heart and truth. Her performances throughout the southland at venues like Catalina’s, and SRO shows at Upstairs at Vitello’s have won her audiences over. Marsha started her career in the San Francisco Bay Area in the late 60’s The music scene was alive with incredible talent and opportunities. Her band opened for such acts at The Youngbloods, and played at venues like the Troubadour in Los Angeles.In 1980 Marsha won Best Vocalist in the American Songwriter’s Association’s International contest. The ‘American Idol” of it’s time, it brought access to opportunities that would take Marsha to Motown Records where she recorded with writers Ken Hirsch and Ron Miller who together and on their own…wrote “I’ve Never Been To Me”, “Touch Me In The Morning” for Diana Ross, “For Once In My Life” for Stevie Wonder, “If I Could” for Celine Dion, “No One In The World” for Anita Baker, among other top hits. Marsha studied with the legendary vocal coach Judy Davis, in Oakland CA. who she says..”Changed my life.” Judy was a Diva herself whose students include Frank Sinatra, Barbara Streisand, and Judy Garland among others famous and not-so-famous.

“Her mentoring is still with me today and I still, after all these years, do her vocal eases every day. She is a woman who came into my life like an Angel and I love her for sharing her knowledge with me.” She opened my eyes and ears to a wealth of information about the voice  She loved the music business  and her students and I am forever grateful to her.” Although Marsha’s love for singing remained, musical politics and personal changes left her disheartened by the business and after a divorce, Marsha decided to leave the music business and shift gears to what she thought would be a better career to help with financially supporting her daughter. She may have left the stage for a time, but she continued working in the studio recording national jingles for such companies as Bank Of America, Chevron, among others. She transitioned into Voice-Overs and On-Camera acting. Here credits in this area included many national accounts, including being the voice of Safeway, Vons for all of their Television and Radio advertising.

She was deemed by the press as “The Voice America Loves To Hate” and “The Voice Mail Queen.” Marsha was the American English voice for the largest International voice messaging company, serving the majority of voice mail systems in this country Including most of the Fortune 500 companies She is still heard on major voice-mails systems throughout the country where you may hear her say…”I’m sorry, that’s not a valid password. Please try your call again later.” She was invited as guest on the Today Show among other national guest spots as the “person behind the telephone voice.” Being a Digital “star” was not what she had envisioned; and although it paid the bills, her heart kept longing to get back out and do what she really loved Sing. 

Fast forward to social media and the wonders of Facebook where Marsha re-connected with a former band mate Donny Marrow Disk Eyes Productions. She recorded her first solo album, “It’s Time” in Nashville with Diskeyes Productions; with Donny Marrow producing and his esteemed team of studio musicians from all over the country adding their talents to the project. Marsha’s songs cross genres; from Billie Holiday to Bonnie Raitt; always with the lyric as her first consideration. It was time to return to the stage and the studio  And her album “It’s Time” marked the beginning of her “next act”. More... http://www.marshabartenetti.com/bio/

I Believe in Love

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Chie Ayado - Forever Young

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 57:52
Size: 133,8 MB
Art: Front

(4:28)  1. Forever Young
(3:30)  2. Minnie the Moocher
(2:30)  3. Big Spender
(3:37)  4. Delta Lady
(2:51)  5. A Foggy Day
(4:40)  6. That Lucky Old Sun
(2:27)  7. Sway
(3:27)  8. Shenandoah
(2:21)  9. Cotton Fields
(3:50) 10. That's Amore
(3:09) 11. Cycles
(4:49) 12. For the First Time
(3:36) 13. Yesterday I Heard the Rain
(4:03) 14. My Way
(4:17) 15. Forever Young
(4:09) 16. One For My Baby

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

Forever Young

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Dave Stryker - Eight Track I

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 60:27
Size: 144,5 MB
Art: Front

(4:54)  1. I'll Be Around
(7:16)  2. Pusherman Superfly
(6:03)  3. Wichita Lineman
(7:17)  4. Aquarius
(6:10)  5. Never My Love
(6:06)  6. Superwoman
(5:49)  7. Never Can Say Goodbye
(5:07)  8. Make It With You
(6:49)  9. Money
(4:51) 10. Thats The Way Of The World

Ah, the eight-track. Is there any music format that's more dated? Vinyl is on its way back, albeit with a select crowd, and the CD is still holding on for dear life, but it's not likely that eight-track tapes will be making a big comeback any time soon. Those audio-delivering relics have been left behind, yet the memories surrounding their existence and the music they helped to usher in remains fixed in the mind for those who came of age in the '70s. Guitarist Dave Stryker is a proud part of that pack. Stryker has been known to throw a '70s pop tune into his sets every now and then, but he goes the whole nine yards on this album; all ten tunes are taken from that glorious-to-some-and-not-so-glorious-to-others musical epoch. Jimmy Webb, Pink Floyd, Curtis Mayfield and many more get the Stryker treatment on Eight Track.

Since this is a different kind of project for Stryker, a slightly different instrumental combination was in order. He turned to his working trio, with underrated organist Jared Gold and up-and-coming drummer McClenty Hunter, and then added celebrated vibraphonist Stefon Harris to the mix to shake things up. Together, these four men manage to remove the layers of schmaltz that rest atop some of these pieces, giving this music a new shine while remaining largely faithful to the originals. Things get underway with a shuffling "I'll Be Around," a "Pusherman/Superfly" that's pleasing but a bit toothless, and a "Wichita Lineman" that's wonderfully buoyant, balancing propulsion with sensitivity along the way. As the program continues, the quartet goes full steam ahead through "Aquarius," takes a reflective look at "Never My Love," simmers on "Money," and has its way with a few other well-known nuggets. No pretense or posturing on this one. Stryker's Eight Track is just straight up fun. ~ Dan Bilawsky   http://www.allaboutjazz.com/eight-track-dave-stryker-self-produced-review-by-dan-bilawsky.php#.U5uDBiioqdk  

Personnel: Dave Stryker: guitar; Stefon Harris: vibraphone; Jared Gold: organ; McClenty Hunter: drums.

Eight Track

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Barry Elmes Quintet - Night Flight

Styles: Mainstream Jazz
Year: 2024
Time: 70:04
File: MP3 @ 320K/s
Size: 160,9 MB
Art: Front

(5:54) 1. Night Flight
(9:50) 2. Morning Star
(7:04) 3. Opus 3
(9:30) 4. Sandino
(8:16) 5. Hindsight
(7:44) 6. Azure Te
(6:20) 7. Spiral Dance
(7:30) 8. Turn Out the Stars
(7:53) 9. Funk in Deep Freeze

Barry Elmes is a drummer and composer who, over the years, has made notable contributions to the Canadian jazz scene. On the release Night Flight, he pays tribute to several iconic composers such as Charles Mingus, Cedar Walton, Keith Jarrett, Bill Evans and Hank Mobley.

Joining Elmes for this pianoless release are several first-rate players, namely, Brian O'Kane on trumpet, Chris Gale on tenor saxophone, Lorne Lofsky on guitar and Pat Collins on bass. The group leads with Elmes' original and title track, "Night Flight." Reverberating with echoes of collaboration, the front line of O'Kane and Gale is grounded in a textured exploration of the theme brimming with ideas and energy. The Mingus chart "Opus 3" is from his 1973 release Mingus Moves; it swings along with tireless precision. Filled with shifting instrumental textures, Lofsky, O'Kane, and Gale show a devotion to gregarious grooves which are swift and purposeful.

"Hindsight" by Cedar Walton has been covered by many bands since its first release in 1981. With Elmes' dynamic and expressive drumming setting the pace, the band captures the composition's defining essence, including a nuanced solo from guitarist Lorne Lofsky, whose technical proficiency and melodic sensibility are often under-appreciated. However, it is worth noting that these capabilities were duly recognized early by Oscar Peterson who, in the late '70s, brought Lofsky into his band.

Two of jazz's most revered pianists Keith Jarrett and Bill Evans each composed a piece on this session, respectively "Spiral Dance" and "Turn Out The Stars." The former number is engaged by a unique selection of timbre and texture from Elmes' drumming as the melody is established. In this fertile ground for improvisation, bassist Collins delivers his distinctive approach to the bass with a solo marked by a deep, resonant tone and impeccable technique. Evans' composition was consistently included in his live performances and offered in a reflective and pensive mood. The band adheres to this construct and provides lots of interior room in the chart for the players' improvisations.

The final track, "Funk In Deep Freeze," is by hard bop tenor saxophonist Hank Mobley. It opens with unison playing between O'Kane and Gale as they state the theme in bop attack mode, setting the frame for the following solos; O'Kane, Gale, Lofsky and Collins all deliver lucid solos with a structural perspective which keeps the material at a distance but eventually returns to the frame.By Pierre Giroux https://www.allaboutjazz.com/night-flight-barry-elmes-quintet-cornerstone-records-inc

Night Flight

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Ella Fitzgerald - Ella In Japan:'S Wonderful Disc1 And Disc 2

Album: Ella In Japan: 'S Wonderful  Disc 1

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 64:37
Size: 148,9 MB
Art: Front + Back

( 3:47)  1. Cheek To Cheek
( 3:59)  2. Deep Purple
( 2:20)  3. Too Close For Comfort
( 3:21)  4. I Love Being Here With You
( 3:00)  5. Fly Me To The Moon
( 2:34)  6. 'S Wonderful
( 2:59)  7. I've Got You Under My Skin
( 2:39)  8. Hallelujah I Love Him So
( 3:09)  9. Misty
( 2:48) 10. Whatever Lola Wants
( 3:43) 11. Bill Bailey
( 4:38) 12. The Blues (Ella's Blues)
( 3:20) 13. 'Round Midnight
( 4:39) 14. I Can't Get Started
( 6:43) 15. Undecided
(10:53) 16. Jam Session

Ella Fitzgerald had recorded live albums in venues ranging from Newport to Berlin to Hollywood when she and a quartet led by Roy Eldridge traveled to Japan in early 1964 for a series of concerts. Norman Granz, the former Verve head and current Fitzgerald manager who accompanied the musicians on their trip, recorded the concerts for release, but the tapes sat unissued in the Verve vaults a victim of the surplus of Ella material already recorded but not released for nearly 50 years, until the 2011 two-disc reissue Ella in Japan: 'S Wonderful. In the early '60s, Japan was thick with jazz fans, and crowds swarmed the Hibiya Kokaido Public Hall in Tokyo for the January 19 show that is included on the first disc. (The second disc includes a far more exclusive affair, recorded at a hotel a few days later.) Although another live album was recorded and released just a few short months after these shows (Ella at Juan-Les-Pins), the material has few overlaps. Ella is in fine form as usual, she turned up the candlepower in front of an audience  personalizing Peggy Lee's "I Love Being Here with You" early in the program, and even singing in Japanese, to the delight of the crowd, during a stirring "'S Wonderful." The quartet, including Eldrige on trumpet plus pianist Tommy Flanagan, bassist Bill Yancey, and drummer Gus Johnson, are quite adept at sounding bigger than a four-piece, especially on Ella's saucy "Whatever Lola Wants." (Also, an instrumental mini-set of four tracks concludes the first disc.) Raiding the vaults can be a risky proposition, but here, as with the massive four-disc Twelve Nights in Hollywood compilation, fans of Fitzgerald specifically, or great jazz singing in general, will find a wealth of great material. ~ John Bush https://www.allmusic.com/album/ella-in-japan-s-wonderful-mw0002125314

Personnel:  Ella Fitzgerald - Vocals;  Roy Eldridge - trumpet;  Tommy Flanagan - piano;  Bill Yancy - bass;  Gus Johnson - drums

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Album: Ella In Japan: 'S Wonderful  Disc 2

Year: 2011

File: MP3@320K/s

Time: 36:27

Size: 84,0 MB

(3:32)  1. Cheek To Cheek

(3:29)  2. Shiny Stockings

(4:31)  3. Can't Help Lovin' Dat Man

(3:45)  4. Bill Bailey

(5:02)  5. Take The 'A' Train

(0:38)  6. Closing / A-Tisket, A-Tasket

(3:42)  7. Ain't Misbehavin

(3:56)  8. My Last Affair

(6:59)  9. Perdido

(0:49) 10. Closing / A-Tisket, A-Tasket

Ella In Japan: 'S Wonderful; Disc 1, Disc 2

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Jim Rotondi Quintet - Over Here

Styles: Trumpet Jazz
Year: 2023
File: MP3@320K/s
Time: 52:23
Size: 120,5 MB
Art: Front

(5:35) 1. I'll Be Seeing You
(5:00) 2. Pete's 32
(7:43) 3. I Concentrate on You
(5:20) 4. Jim's Blues
(5:25) 5. Moclieda
(3:35) 6. Voice
(6:58) 7. Leemo
(7:09) 8. Father John
(5:34) 9. Happy Feet

By titling his eighth Criss Cross album Over Here!, trumpeter Jim Rotondi picks up on the sentiments he signified with The Move, his seventh for the label. “It doesn’t necessarily mean moving somewhere else, but rather returning home, playing tunes with a lot of straight-ahead swing and interesting chord sequences with guys I’m comfortable with,” Rotondi stated in the liner notes I wrote for that kinetic 2009 recital.

That’s an effective description of what transpires on Rotondi’s latest swinging affair. But although he wasn’t misdirecting, he wasn’t telling the whole story. As it turned out, The Move indeed foreshadowed Rotondi’s decision in 2010 to leave New York for Austria for a position as Professor of Trumpet at the University of Graz. As indicated by the current title (which references George M. Cohan’s 1917 flagwaver “Over There” and Rotondi’s father’s service in Europe during World War 2), Rotondi is ensconced on the Continent thirteen years later, augmenting pedagogical responsibilities with several trips a year to New York and other U.S. waystations, and also touring the jazz clubs of central Europe, Italy, France, Spain and the U.K.

In fact, Over Here stems from a ten-day sojourn by a band of four New York-trained masters that opened with a jazz cellar gig in the Viennese suburb Bruck an der Leitha, proceeded to Neuberg, Germany, doubled back to Vienna’s prestigious Porgy and Bess club, continued with a drive to tenor saxophone maestro Piero Odorici’s club in Bologna, and then transitioned to Udine for the recording session.https://www.challengerecords.com/products/16914145778748/Over%20Here

Personnel:Jim Rotondi - trumpet / fluegelhorn; Danny Grissett - piano; Rick Margitza - tenor saxophone; Joshua Ginsburg - bass; Vladimir Kostadinovic - drums

Over Here

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