Friday, March 8, 2024

Omar Puente - Play Violin the Cuban Way

Styles: Violin
Year: 2023
Time: 74:12
File: MP3 @ 320K/s
Size: 170,7 MB
Art: Front

(3:36) 1. Para Omar (Cha Cha Cha)
(3:42) 2. Para Omar (Practice Track)
(6:41) 3. Danzo´n Gloria (Danzo´n)
(6:47) 4. Danzo´n Gloria (Practice Track)
(5:20) 5. Guajira Maniguera (Guajira)
(5:28) 6. Guajira Maniguera (Practice Track)
(4:07) 7. Jorocoso (Guaracha-son)
(4:14) 8. Jorocoso (Practice Track)
(7:28) 9. Inside The Danzo´n
(5:25) 10. Inside The Cha Cha Cha
(1:18) 11. Inside A Timbales Solo
(6:05) 12. Cha Cha Cha Soloing
(5:36) 13. Guajira Soloing
(6:07) 14. Guaracha-son Soloing
(2:11) 15. D7 Latin Jazz (Practice Track)

I have performed in both classical and jazz genres to positive audiences worldwide. On leaving Cuba, I was first violin with the Cuban National Symphony Orchestra, and toured with Buena Vista’s Ruben Gonzales. Since arriving in England in 1997, I have maintained an international profile when possible, playing all over Europe, Middle and Far East, the USA and Africa. In England I have supported Tito Puente, Ibraham Ferrer and Omara Portundo, I have played with John Williams, Kirsty MacColl, Jools Holland and Eddie Palmieri as well as being invited to jam with many visiting Latin artists such as Ruben Gonzales and the Afro Cuban Allstars.

I have maintained close links with both traditional Cuban Music and Classical genres as well as Jazz. This has included a number of high profile projects such as appearing with Winston Marsalis’ Jazz at Lincoln Centre Orchestra at the Barbican Centre, with the Simon Bolivar Philharmonic Orchestra at the Royal Festival Hall, with Nigel Kennedy at 606 Jazz Club, with Eddie Palmieri at Queen Elizabeth Hall, and with several members of the Buena Vista Social Club.

I was part of Denys Baptiste’s international tour ‘Let Freedom Ring’, based on a brilliant composition commissioned to celebrate the 40th anniversary of Dr Martin Luther Kings inspirational ‘I Have A Dream’ speech.

I have also played with Courtney Pine, and in 2006 released the CD ‘Bridges’ with Robert Mitchell and completed an Arts Council supported tour focussed on performing in rural areas across the UK. Robert and I were also involved In developing a fusion project ‘Nuance’ with members of the Royal Philharmonic Orchestra. I worked with Dennis Rollins on a commissioned work for Ensemble 360 culminating in a well-received performance at Doncaster Minster in February 2006.

The opportunity to play and work and record with the artists mentioned above as well as others such as Rod Youngs, Jason Yarde, Cameron Pierre and Byron Wallen, the Jazz at Lincoln Center Orchestra, (the list goes on and on) has allowed me to develop my own sound, drawing together elements of jazz, classical and cuban music, and this fusion of multi – national roots forms the basis of an exciting new approach to Jazz in my forthcoming album, ‘Best Foot Forward’

I have also appeared on the BBC and several ITV channels, various radio shows as well as venues the length and breadth of Britain. From Aberdeen to the Isle of Wight, Newcastle to the Eden Project Belfast to Cork including; Ronnie Scott’s, The Jazz Café, QEH, the Royal Albert Hall and the Royal Festival Hall, participating in major projects such as Jazz Britannia. The tour for my 2009 album ‘From There to Here’ included well known Jazz Festivals beginning with a launch as part of the London Jazz Festival in November 2006, and including others such as Brecon Jazz Festival, Warsaw Jazz Festival, and well known venues such as Ronnie Scott’s Jazz Club. Tracks from the forthcoming ‘Best Foot Forward’ have been previewed at Ronnie Scott’s Jazz Club, and on tour in Brazil.

My Cuban qualifications incorporate a teaching qualification, I have taught extensively in the UK including the UK’s most prestigious music colleges, and also in Cuba. I have taught Jazz Violin and a range of Latin Jazz Ensembles at Leeds College of Music and at various other places including London City University, Professor of LPM Latin Jazz Violin, Guildhall Conservatory Exterior Examiner.

I continue to teach in Havana at the prestigious National Conservatoire, and Trinity College in London and have recently and published a University level textbook on the violin in Cuban Music.

I maintain a close relationship with the Cuban Ministry of Culture, the Cuba Solidarity Campaign, and support the ‘attitude is everything’ campaign to encourage arts venues to become accessible to disabled artists and patrons.https://www.omarpuente.com/about-me/

Play Violin the Cuban Way

Wednesday, March 6, 2024

Ruby Braff & Dick Hyman - America, The Beautiful

Styles: Swing
Year: 2002
Time: 68:29
File: MP3 @ 320K/s
Size: 157,7 MB
Art: Front

(4:31) 1. When It's Sleepy Time Down South
(3:18) 2. When My Sugar Walks Down the Street
(3:44) 3. When I Fall in Love
(5:36) 4. As Long as I Live
(3:52) 5. America The Beautiful
(4:43) 6. Louisiana
(4:18) 7. High Society
(2:44) 8. I'll Be with You in Apple Blossom Time
(5:10) 9. I Ain't Got Nobody
(2:41) 10. This Is All I Ask
(3:13) 11. The Yankee Doodle Boy
(3:41) 12. If Dreams Come True
(3:18) 13. I'm Confessin' That I Love You
(2:47) 14. I've Grown Accustomed to Her Face
(5:01) 15. Dinah
(4:52) 16. Duke Ellington Medley: Don't Get Around Much Anymore/I Let a Song Go Out of My Heart
(4:51) 17. Muskrat Ramble

"Ruby is one of those few people who could solo with a pipe organ, who could improvise with such an unusual instrumental background. It requires a very special ability flexibility, ingenuity, and invention. Ruby, of course, is his own man. Like his idol, Louis Armstrong, he commands the center of attention, even if the background is something as odd as a theatre organ. The tonal colors of a pipe organ are its great glory.

Above all, I'm stimulated by being able to orchestrate on the spot. And once you launch into a bright swinging tempo with the instrument sounding perhaps a beat behind the fingers, the sensation is like leading a herd of galloping elephants. You don't dare look back." By Dick Hyman, Organist who also performs on this release By Editorial Review https://www.amazon.com/America-Beautiful-Braff/dp/B00008GQCL

Personnel: Ruby Braff - cornet, Dick Hyman - Wurlitzer Theatre Organ

America, The Beautiful

Tatum Greenblatt - Imprints

Styles: Trumpet Jazz
Year: 2012
Time: 57:45
File: MP3 @ 128K/s
Size: 54,3 MB
Art: Front

(2:23) 1. Frafrito Malenke Bonacci ("DIAP!")
(5:09) 2. Gotta Feel It
(5:38) 3. As I Wait For You
(6:59) 4. Paris Is Burning
(1:46) 5. Daahoud Intro
(6:07) 6. Daahoud
(1:30) 7. Floating Intro
(7:09) 8. Floating
(6:54) 9. Consider Me Gone
(5:12) 10. Silhouette
(5:49) 11. View From Above
(3:04) 12. Pure Imagination

Tatum Greenblatt has established himself as one of the most in-demand trumpet players on New York City's music scene. Named by Wynton Marsalis as one of his favorite "up-and- coming trumpet players," Greenblatt has performed with Marsalis, as well as with Joe Lovano, Jazz at Lincoln Center Orchestra, The Mingus Legacy Bands, Maria Schneider, India Arie, George Gruntz, Donny McCaslin, David Berger, Christian McBride, Jimmy Cobb, Jeremy Pelt, Sara Gazarek, Reggie Workman, George Garzone and the Duke Ellington Orchestra, among many others.

After earning his Master's Degree from The Juilliard School, Tatum can now be heard performing all over the world with The Richard Bona Group, and frequently around New York City with The Mingus Big Band, Orrin Evans’ Captain Black Big Band, Fat Cat Big Band, and Pedro Giraudo Jazz Orchestra. In May 2011 at the request of Jazz at Lincoln Center, Greenblatt formed and led the Essentially Ellington All-Stars Band performing to sold-out audiences at Dizzy’s Club Coca-Cola. His upcoming album, Imprints, his third as a leader, is slated for release October 2011.

A native of Seattle, WA, Tatum Greenblatt grew up in a musical household with a musician/educator father and filmmaker/educator mother. With frequent rehearsals and impromptu jam sessions often popping up in the family living room, Greenblatt picked up drumming while still a toddler, emulating the musicians who were often at his house to play, and became enamored with the music in his father’s record collection. “My favorite above all others was Art Blakey and The Jazz Messangers,” Greenblatt recalls, “particularly the album, Ugetsu, with Freddie Hubbard on trumpet. I used to ask my parents to put it on when I was just two years old.”

At the age of 9, Tatum picked up the trumpet and one year later, began performing with Imperials, a local music and youth organization. Seattle's excellent music programs, which produced several great young musicians including Anne Drummond, Aaron Parks, and a host of others, offered Greenblatt the chance to thrive at an early age. He played his first professional gig, performing with his father, when he was only in the 5th grade. "I was lucky to have some incredible teachers Robert Knatt in middle school, Clarence Acox at Garfield High School," Greenblatt remembers. "I gigged in Seattle throughout high school, and got to tour Europe twice during that time."

One of Greenblatt's biggest influences at the time was Patience Higgins, a highly respected saxophone teacher and professional gigging musician in New York City, and close friend of Greenblatt's father. Higgins stayed with the family when he came through Seattle, tutoring Greenblatt and offering advice on the life of a New York musician. Higgins connected Greenblatt with John Longo, Wynton Marsalis' former teacher, as well as Stanford Davis and Laurie Frink. Higgins continued to mentor Greenblatt after he moved to New York, with the two often meeting up at the regular Jam Session Higgins lead at St. Nick’s Pub in Harlem. A turning point in Greenblatt's education and professional development came when he participated in Jazz at Lincoln Center's Essentially Ellington High School Band Competition program as a junior and senior.

It was at Essentially Ellington that he initially met Wynton Marsalis, leading to a three-hour private lesson with the trumpet great and on-going lessons when Greenblatt moved to New York City at the age of 18 to attend The New School for Jazz and Contemporary Music. In addition to Marsalis, the move to New York spurred lessons with such trumpet luminaries as Laurie Frink, Joe Magnerelli, Terrell Stafford, Jimmy Owens, Mark Gould, and Chris Jaudes.

Jam sessions at New York clubs such as Cleopatra’s Needle, Zinc Bar, and Smalls, and work with his classmates at the New School, drove Greenblatt to explore experimental, Latin, hip-hop, rock, ska and pop music, greatly expanding his musical horizons. As his education continued, trumpeter Jeremy Pelt became an important mentor to Greenblatt as well, leading to his first experiences playing with The Mingus Big Band. This exciting time period also included a trip to Freiburg, Germany for a jazz workshop with the New School (International Association of Schools of Jazz). Legendary Swiss pianist, composer and big band leader George Gruntz, president of the association that year, presided over the workshop, leading to an offer for Greenblatt to tour with his band.

Greenblatt went on to earn his Master's Degree at the Juilliard School, traveling, performing and conducting educational workshops along the way. While still in school, Greenblatt embarked on three European tours with George Gruntz, performed in two concert series with the Jazz at Lincoln Center Orchestra, began performing regularly with The Mingus Big Band, and subbing in Broadway musical orchestras. By the time he graduated, Greenblatt had solidified his place as one of New York’s top young trumpet players.

In addition to touring and performing, Greenblatt has taken onthe role of music educator. He began giving private lessons as early as the 7th grade, so it is natural that his desire to give back extends into his professional career. He spent five years as a Teaching Artist with the Midori and Friends Program, teaching jazz band and private lessons at an inner city New York high school, and has served as a small- ensemble instructor at The New School.

He helped lead educational workshops internationally while attending Juilliard, and has recently lead workshops with The Mingus Big Band at the University of Vermont and at the annual Mingus High School Competition and Festival. https://www.allaboutjazz.com/musicians/tatum-greenblatt/

Imprints

Andrea Motis/Camerata Papageno/Christoph Mallinger/Federico Dannemann - Febrero

Styles: Vocal
Year: 2024
Time: 38:03
File: MP3 @ 320K/s
Size: 88,3 MB
Art: Front

(3:48) 1. La Pajita
(4:43) 2. The Man I Love
(3:56) 3. Carinhoso
(5:08) 4. Someone to Watch Over Me
(4:06) 5. Garota de Ipanema
(4:07) 6. Noche de Ronda
(4:16) 7. Sensemaya´
(3:53) 8. Perfidia
(4:02) 9. El Carnaval

Febrero is a declaration of pure joy. With a repertoire chosen by Andrea Motis along with her friend Federico Dannemann, and recorded like in the golden era of jazz (all of the musicians playing together in the same place, at the same time), she sounds relaxed, happy, but also bluesy, knowing that those unique summer days in Chile will fade away, like everything else in life.

On Febrero you hear two jazz standards by the Gershwin brothers and melodies from the Brazilian and Latin American tradition, including two classics from the Inti-Illimani songbook composed by Horacio Salinas. Above all, Motis remembers the atmosphere of these days and notes that «through the delicate arrangements and how the recording sounds, these songs bring me back to the feeling of calmness and deep joy that we all had together during those summer days in Chile». Few albums sound happier than Febrero. By Joan Anton Cararach https://jazztojazz.com/en/product/febrero/

Febrero

Tuesday, March 5, 2024

Bing Crosby - Bing Crosby Sings & Swings Love Songs 1

Styles: Swing
Year: 2023
Time: 74:08
File: MP3 @ 320K/s
Size: 172,2 MB
Art: Front

(1:34) 1. I Can’t Give You Anything But Love (Alternate Take) (Feat. The Buddy Cole Trio)
(2:27) 2. I Get A Kick Out Of You
(2:49) 3. Almost Like Being In Love
(2:48) 4. Do Nothing Till You Hear From Me
(2:31) 5. People Will Say We're In Love (Version 2)
(2:46) 6. La Borrichita (I'll Never Love Again)
(2:00) 7. The Lady Is A Tramp
(2:19) 8. Zing Went The Strings Of My Heart
(2:56) 9. That's Amore
(2:03) 10. Where Or When
(2:01) 11. Love's Old Sweet Song
(2:37) 12. Isn't This A Lovely Day?
(1:59) 13. C'est Magnifique / Taking A Chance On Love (Mono)
(2:35) 14. You're Just In Love (Version 2)
(2:34) 15. I’ve Got My Love To Keep Me Warm
(2:35) 16. All The Way
(2:29) 17. Pagan Love Song / Cuban Love Song
(1:50) 18. Everybody Loves My Baby
(2:23) 19. Love And Marriage
(3:27) 20. P.s. I Love You (1953 Version)
(2:42) 21. No Te Importe Saber (Let Me Love You Tonight)
(2:06) 22. Taking A Chance On Love
(2:00) 23. All My Love (Bolero)
(2:18) 24. Papa Loves Mambo
(3:35) 25. South Of The Border
(2:22) 26. I Love Paris
(2:56) 27. Medley: I'm Glad I'm Not Young Anymore / I Wish I Were In Love Again (Live) (Feat. Maurice Chevalier)
(1:35) 28. Why Don't You Fall In Love With Me
(2:06) 29. Pledging My Love
(3:32) 30. I'm Through With Love

Harry Lillis "Bing" Crosby Jr. (May 3, 1903 – October 14, 1977) was an American singer, actor, television producer, television and radio personality and businessman. The first multimedia star, he was one of the most popular and influential musical artists of the 20th century worldwide. Crosby was a leader in record sales, network radio ratings, and motion picture grosses from 1926 to 1977. He was one of the first global cultural icons. Crosby made over 70 feature films and recorded more than 1,600 songs.

Crosby’s early career coincided with recording innovations that allowed him to develop an intimate singing style that influenced many male singers who followed, such as Frank Sinatra, Perry Como, Dean Martin, Dick Haymes, Elvis Presley, and John Lennon. Yank magazine said that Crosby was "the person who had done the most for the morale of overseas servicemen" during World War II. In 1948, American polls declared him the "most admired man alive", ahead of Jackie Robinson and Pope Pius XII.: 6  In 1948, Music Digest estimated that Crosby’s recordings filled more than half of the 80,000 weekly hours allocated to recorded radio music in America.

Crosby won the Academy Award for Best Actor for his performance in Going My Way (1944) and was nominated for its sequel, The Bells of St. Mary's (1945), opposite Ingrid Bergman, becoming the first of six actors to be nominated twice for playing the same character. Crosby was the number one box office attraction for five consecutive years from 1944 to 1948. At his screen apex in 1946, Crosby starred in three of the year's five highest-grossing films: The Bells of St. Mary's, Blue Skies and Road to Utopia. In 1963, he received the first Grammy Global Achievement Award. Crosby is one of 33 people to have three stars on the Hollywood Walk of Fame, in the categories of motion pictures, radio, and audio recording. He was also known for his collaborations with his friend Bob Hope, starring in the Road to ... films from 1940 to 1962.

Crosby influenced the development of the post–World War II recording industry. After seeing a demonstration of a German broadcast quality reel-to-reel tape recorder brought to the United States by John T. Mullin, Crosby invested $50,000 in the California electronics company Ampex to build copies. He then persuaded ABC to allow him to tape his shows and became the first performer to prerecord his radio shows and master his commercial recordings onto magnetic tape. Crosby has been associated with the Christmas season since he starred in Irving Berlin's musical film Holiday Inn and also famously sang "White Christmas" in the movie.

Through audio recordings, Crosby produced his radio programs with the same directorial tools and craftsmanship (editing, retaking, rehearsal, time shifting) used in motion picture production, a practice that became the industry standard. In addition to his work with early audio tape recording, Crosby helped finance the development of videotape, bought television stations, bred racehorses, and co-owned the Pittsburgh Pirates baseball team, during which time the team won two World Series (1960 and 1971).https://musicbrainz.org/artist/2437980f-513a-44fc-80f1-b90d9d7fcf8f

Bing Crosby Sings & Swings Love Songs 1

Tony Lakatos - Nothing Like a Ballad

Styles: Saxophone Jazz
Year: 2023
Time: 53:09
File: MP3 @ 320K/s
Size: 122,5 MB
Art: Front

(3:31) 1. More Than You Know
(6:01) 2. What´s New
(3:44) 3. Tenderly
(5:09) 4. Chelsea Bridge
(5:12) 5. My Little Brown Book
(6:22) 6. A Flower Is A Lovesome Thing
(5:26) 7. Infant Eyes
(6:50) 8. When We Were One
(4:29) 9. It Might As Well Be Spring
(6:23) 10. Sunday Afternoon

In these times, it is not easy to find anything that permits us to foresee with clarity the direction in which jazz is evolving. . For this reason, let us forget for a moment questions such as “should art advance or not ?”. This could be an option that would allow us to enjoy music in all of its splendor.

In this context it is very comforting to run into recordings like “Nothing Like a Ballad” by Gypsy saxophonist Tony Lakatos, whose proposal would draw as much interest three decades ago as in the remote future. However, since we are asking these questions, one would ask what is the necessity of recording a handful of ballads that have already been recorded and are amongst the favorites of any serious jazz fan. I don’t think that there is any answer to this question and perhaps it’s probably not even worth trying to find one. After listening to “Nothing Like a Ballad”, I would prefer to write about the enormous beauty of this recording.

Situated in a very comfortable space-time frame, Lakatos proposes his conception of ten ballads such as the mysterious “What’s New”, the atmospheric “Chelsea Bridge” , or to mention one more , his version of “Infant Eyes” which in my judgement would serve to fully defend the meaning and the function of the ballad in all of its power of expression and emotion in the heart of afro-american music.

Accompanied by an excellent rythmn section that have been playing together for many years in different projects, the saxophonist revindicates such essential values in jazz music as are individuality and leadership. His warm and profound sound flows with the tightly knitted accompaniment provided by the pianist Fabio Miano, the bassist Ignasi Gonzalez and the drummer Jo Krause.

My opinion is that “Nothing Like a Ballad” is one of those necessary records, not only to emphasize the importance of the ballad as a classical and timeless art form, but also to allow us to become travelers , taking us on beautiful journeys which will inevitably affect our emotions. By Josep Ramon Jové
https://discmedi.com/en/disco_new/14125/nothing-like-a-ballad

Nothing Like a Ballad

The Gerry Beaudoin Trio - Just Among Friends

Bitrate: 320K/s
Time: 47:34
Size: 108.9 MB
Styles: Swing, Guitar jazz
Year: 1998
Art: Front

[3:39] 1. Just Among Friends
[4:14] 2. St. Thomas
[5:01] 3. Nashville Nod
[5:30] 4. My Romance
[3:58] 5. Don't Get Around Much Anymore
[6:03] 6. All Blues
[4:29] 7. Misty
[6:11] 8. The Girl From Ipanema
[8:26] 9. Mood Indigo

This second acoustic recording featuring the Gerry Beaudoin Trio with jazz guitar legend Bucky Pizzarelli and mandolin titan David Grisman was " ..submitted for consideration for a Grammy nomination." Award winning jazz guitarist Gerry Beaudoin, (1992 National Association of Independent Record Distributors Award for best jazz recording and 1993 and 1995 Cadence Magazine Editors Choice Award)has performed on over 22 recordings in his career. A guitarists guitarist Gerry has performed or recorded with the cream of jazz and blues guitarists including Duke Robillard, Howard Alden, John and Bucky Pizzarelli, Jimmy Bruno, Jack Wilkins, Ronnie Earl, Hubert Sumlin,and rock guitar legend turned jazz guitarist Jay Geils from the J.Geils Band. He is also a featured performer on the Mel Bay Productions DVD,Cafe Benedetto. Gerry was recently contracted by Hal Leonard Publishing to write a book/CD project on acoustic jazz guitar.

A chance meeting with mandolinist David Grisman in 1990 led to their 1992 all acoustic recording, Minor Swing, with Duke Robillard sitting in on second guitar. Just Among Friends is the follow up to that first recording and jazz guitar legend Bucky Pizzarelli lent his talents to this recording. To quote David Grisman" ..Gerry Beaudoin is one of the finest guitarists and composers I know. I am looking forward to more musical adventures with Gerry and his trio in the future." The Boston Globe called Gerry ".." A swing guitar master." and blues guitar legend Duke Robillard stated,"..Gerry can play anything from swing to bop and is one hell of a blues guitarist."

Gerry also performs in the concert attraction New Guitar Summit, featuring Gerry with Duke Robillard and Jay Geils. In 2003 Gerry was invited to headline the Ottawa International Jazz Festival.

Just Among Friends

Mike Nock - Hearing

Styles: Piano Jazz
Year: 2023
Time: 50:39
File: MP3 @ 320K/s
Size: 117,1 MB
Art: Front

(2:19) 1. Prologue
(4:34) 2. Sunrise
(1:42) 3. Conundrum
(6:19) 4. Vale John
(1:03) 5. Re-Affirmation
(7:16) 6. And In The Night Comes Rain
(1:24) 7. Jacanori
(1:30) 8. Accessing the Flow
(6:55) 9. Spirit Song
(1:02) 10. Square Circles
(4:04) 11. Waltz For My Lonely Years
(6:36) 12. Journey Through An Imaginary Landscape
(5:49) 13. Windows Of Arquez

Mike Nock has had a varied sixty-five-year musical journey, receiving many awards and honours. It has been thirty years since he released his celebrated solo piano album Touch, recorded at the Australian Broadcasting Commission's Eugene Goossens Hall in Sydney in 1993. Hearing has him returning to the same hall for another solo album and, as the title indicates, it is all about the facility of perceiving sounds aptly and interpreting them in a particular way on a range of his compositions and tunes from a few of his favourite musicians, Bryce Rohde, Bernie McGann and Jonathan Zwartz.

A spontaneously delicate bijou of an opener, "Prologue," is followed by " Sunrise," from Nock's first solo album in 1978. The improvisation, "Conundrum" then leads to "Vale John," a work in progress at the time, which celebrates the life and friendship the pianist experienced with the drummer & bandleader John Pochée who sadly died unexpectedly a day before the recording.

A brief stellar Nock reimagining, "Re-Affirmation" leads on to a delicate interpretation of Jonathan Zwartz's, "And in the Night Comes Rain" which he originally wrote for the pianist, proves sonically blissful, as does the other brief improvisation "Jacanori." Bernie McGann's iconic "Spirit Song," now almost an Australian standard, is interpreted sensitively to the original. "Journey through an Imaginary Landscape" meanders towards a personal favourite on the album, the pianist's interpretation of the Bryce Rohde composition, "Windows of Arquez."

The atmosphere of quiet which runs right through this recording is reason alone to recommend it. More space is given between notes than is expected from a solo piano recording. This recording is all about becoming cognisant of sound. Finally, it is not what you play but how you play. This is a recording of virtuosic and introspective pianism, with occasions of playfulness and melody. Mike Nock's session of interpretations and improvisations gives the feeling of a continuation of an intimate, unique, and personal musical adventure from a master of his craft.
By Barry O'Sullivan https://www.allaboutjazz.com/hearing-mike-nock-abc-jazz

Personnel: Mike Nock - piano

Hearing

Monday, March 4, 2024

Noah Haidu - Standards

Styles: Piano Jazz
Year: 2023
Time: 56:28
File: MP3 @ 320K/s
Size: 130,7 MB
Art: Front

(5:11) 1. Old Folks
(4:01) 2. Just In Time
(4:24) 3. Beautiful Friendship
(6:06) 4. All The Way
(5:47) 5. Someday My Prince Will Come
(5:30) 6. You And The Night And The Music
(6:55) 7. Ana Maria
(4:32) 8. Skylark
(6:02) 9. Thought About You
(1:17) 10. Last Dance I
(6:38) 11. Last Dance II

In 1983, Keith Jarrett, Gary Peacock and Jack DeJohnette released the first of their album of standards, Standards Vol. 1 (ECM). The trio's harmonic ideas, insight and collective musicianship went on to become the benchmark for reworking these well- known American songs. Together they recorded 21 albums over three decades.

Inspired by that trio's work and celebrating the 40th anniversary of that release, pianist & composer, Noah Haidu, has released Standards. He is joined by bassists Buster Williams and Peter Washington, drummer Lewis Nash and guest saxophonist Steve Wilson. In many ways, Standards could be considered the companion release to Slowly: Song for Keith Jarrett (Sunnyside, 2021), Haidu's heartfelt tribute following Jarrett's debilitating illness. After recording that album, Haidu felt drawn to the trio format in his live performances and this release has evolved from that time spent on the road.

Starting with relaxed piano and melodic bass, the album opener, "Old Folks," subtly changes to a faster pace as Nash's drums drive the tune forward. "Just in Time," follows with Williams' fluent bass lines and Nash's fluid drumming contributing in equal part to Haidu's eloquent piano touch. "A Beautiful Friendship" opens with supple bass and swings throughout. Haidu's delicate style comes to the fore in the gentle "All the Way" as Nash and Williams hold back just enough to let the track breathe. Having played on the first four tracks, Williams makes way for Washington to take up bass duties for the rest of the album. He starts with a fluent improvisation, along with Haidu, on "Someday My Prince Will Come."

Haidu then picks the perfect moment to introduce acclaimed saxophonist, Steve Wilson on two tracks. The mood immediately changes as his alto takes centre stage on the fast moving "You and the Night and the Music." The Wayne Shorter composition, "Ana Maria" follows. Shorter wrote this piece for his wife, who passed away, along with their niece, on TWA flight 800. The playing is soulful and reverent and as Haidu states: "With the loss of Ana Maria, Dalila and of Wayne himself, this song now embodies the narrative of loss in so many ways."

Hoagy Carmichael's "Skylark" is a solo piano piece and is admirably executed. Haidu is at his bluesy best while Washington and Nash provide compelling support on the uplifting "I Thought About You." The album could end there, but another change sees Wilson return on "Last Dance I" and "Last Dance II." These are both Haidu compositions rather than standards. Named after a Jarrett recording and composed in tribute to his Standards trio and their final concert at the New Jersey Performing Arts Center. They feature energised solos from Wilson and Haidu. The contemporary feel adds another facet to the album.

Many of the tracks featured on the album were part of Jarrett, Peacock and DeJohnette's catalogue. They are all played with vitality and appropriate respect. The variety of mood and texture, the track sequencing and the use of the different musicians, all ensure that the album sustains interest throughout. They have served Haidu with inspiration for a connection which he has distilled into a clear contemporary musical statement of his own. Highly recommended.By Neil Duggan
Noah Haidu: Standards album review @ All About Jazz

Standards

Ann Hampton Callaway - Fever: a Peggy Lee Celebration!

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 51:10
Size: 118,1 MB
Art: Front

(3:43) 1. Fever
(3:18) 2. Till There Was You
(2:36) 3. The Glory Of Love (Feat. John Pizzarelli)
(6:06) 4. The Folks Who Live On The Hill
(1:47) 5. Sing A Rainbow
(2:57) 6. I Don't Know Enough About You
(3:37) 7. Claire De Lune
(5:54) 8. Black Coffee
(3:51) 9. I Love Being Here With You
(3:26) 10. The Other Part Of Me
(3:22) 11. Johnny Guitar
(4:53) 12. Where Can I Go Without You?
(2:38) 13. This Is A Very Special Day / It's A Good Day
(2:55) 14. Angels On Your Pillow

Peggy Lee was a remarkable singer and songwriter, but to some listeners, deeply enigmatic. Her time, often well behind the beat, conveyed a subtle sense of irony. "Are you getting this?" she sometimes seemed to say, "or am I going too fast for you?" She could be exuberant and world weary almost in the same breath. It was seemingly up to the audience to decipher her meaning. Lee could convey expectation and experience simultaneously, as in her version of "Folks Who Live on The Hill." "Fever."

Well, it was not as if much imagination was needed, with a drummer dropping exclamation points, but tastefully, not bump and grind. As much as any singer of her generation, even more than Anita O'Day, Lee could convey emotional turmoil, never perhaps really distant from her personal life. She was a singer for adults, like O'Day or Billie Holiday. She could sing sweetly, but that was not her customary image by the time she reached the 1960s.

Those same qualities are gloriously evident in Ann Hampton Callaway's well-chosen celebration of Lee. Just in case the listener were inclined to miss them, Callaway's version and it is her version of "Fever" includes a wry commentary on Lee's first marriage to guitarist Dave Barbour, when she was in her apprenticeship to Benny Goodman in the 1940s. It is a nod to Lee's songwriting as well, like "Captain John Smith and Pocahontas," that Lee apparently added. It is instructive to listen to Callaway doing "Till There Was You."

This tune dates from the 1950s, and Lee sold it as a straight love song, no fireworks. Callaway gives a different impression, regret perhaps. When you think of Lee as the voice of experience as in "Is that All There Is?," Calloway's quality is strikingly different. It is the same on "Folks Who Live on the Hill." Lee could have been looking into the future, but Callaway leaves the impression that she has seen it all.

"Black Coffee" has been done by so many artists since Sarah Vaughan that it would take a book to compare them. Callaway gives it a solid blues treatment, and like some others, she has the right voice for it, down and dirty. Lee pretty much did it that way too, but not every singer has. Callaway is true to the original, but then so was Lee. Preference is a matter of taste.

On the other hand, some of the material is, well, if not obscure, probably new to some. "The Other Part of Me," for instance, or "Johnny Guitar," is presumably related to a Joan Crawford film made in 1954 about the risks an independent woman had to take on the Wild West. Lee started young and had a long career that included acting. Not everyone will be familiar with her entire trajectory, or coded allusions to aspects of her personal life.

As for Callaway, this recording only goes to show she has not chosen to coast on past successes, of which there have been many. She is, like Lee, quite versatile, ranging far beyond basic blues, and very much her own singer and songwriter, no matter who her formative influences were.

There are plenty of subtle clues about Callaway's outlook in her singing: anyone who can do a song like "Thoughts and Prayers" is not about to compromise artistry or talent for anyone. Nor, one suspects, would Peggy Lee either. Jazz can be complicated, and so too, its best exponents.By Richard J Salvucci https://www.allaboutjazz.com/fever-a-peggy-lee-celebration-ann-hampton-callaway-palmetto-records

Personnel: Ann Hampton Callaway: voice / vocals; John Pizzarelli: guitar; Ted Rosenthal: piano; Martin Wind: bass, acoustic; Tim Horner: drums; Bob Mann: guitar.

Fever: a Peggy Lee Celebration!

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

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

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

Sunday, March 3, 2024

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

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

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

Friday, March 1, 2024

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

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


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)

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

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