Sunday, April 28, 2024

Charlie Haden & Brad Mehldau - Long Ago And Far Away

Styles: Post Bop, Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 71:52
Size: 165,7 MB
Art: Front

( 9:55)  1. Au Privave
( 9:13)  2. My Old Flame
(12:00)  3. What'll I Do
(15:05)  4. Long Ago And Far Away
(12:59)  5. My Love And I
(12:37)  6. Everything Happens To Me

It starts with a few irreverent tickles. Just three minutes into Bird’s “Au Privave,” Brad Mehldau gives his muse the green light, messes around with a spray of notes, and we’re off into a chatty conversation where blithe trills are grounded by buoyant thumps meaning informality has just as much bearing on this entertaining exchange as decorum does. Perhaps that’s predictable. Impulse!’s last three Haden duet discs (with Jim Hall and Gonzalo Rubalcaba, respectively) make hay with a parallel dynamic. One of the bassist’s strengths was splitting the diff between the formidable and the folksy, and as these six performances from a 2007 German show illustrate, Mehldau has little problem turning to his colloquial side when the mood strikes. The cozy context gives the pianist’s whimsy more wiggle room than usual. Though the book is ballad-heavy and the tempos measured, both participants skip through a handful of passages with a mischievous air. Mehldau’s right hand dodges opaque excursions and lets light-hearted flurries carry the day on “What’ll I Do.” Because the two decide on a bouncy gait for “Long Ago and Far Away,” it too is a romp that trusts mercurial solos to control its temperament. 

Both players love a moody digression, however, and “My Love and I” turns bluesy and brooding while still dropping a string of surprises. The pianist’s urbane essence is no longer on the back burner, and the duo’s pulsing interplay renders yet another bit of sage advice: Caprice is an ally, dismiss it at your peril. ~ Jim Macnie https://jazztimes.com/reviews/albums/charlie-haden-brad-mehldau-long-ago-far-away/

Personnel: Charlie Haden – bass; Brad Mehldau – piano

Long Ago And Far Away

Friday, April 26, 2024

Brian Bromberg - Hands: Solo Acoustic Bass

Styles: Post Bop
Year: 2009
Time: 54:16
File: MP3 @ 320K/s
Size: 124,3 MB
Art: Front

(4:49) 1. Stella By Starlight
(2:05) 2. Cute
(2:57) 3. Solar
(5:58) 4. Beatles Medley: Day Tripper / Yesterday / Eleanor Rigby
(4:48) 5. Manha De Carnival
(5:35) 6. In A Sentimental Mood
(3:54) 7. King Of Pain
(3:36) 8. Teen Town
(5:16) 9. Susumu's Blues
(4:50) 10. Use Me
(3:05) 11. Black Dog
(3:20) 12. What Are You Doing The Rest Of Your Life
(3:56) 13. Yeah

Bromberg was born on December 5, 1960, in Tucson, Arizona. His father and brother both played drums, which influenced him to take up the instrument, and at the age of 13 he began seriously pursuing a career as a drummer. Around this time, the leader of his school orchestra steered him towards the upright bass. From then on, he committed himself to a strict practice regimen and even "tested out of high school early" because of the rigorous schedule he set for himself.

Bromberg felt it was essential to gain experience playing live and he accepted virtually every gig he could get. He often played "five to seven nights a week with several different bands." In 1979, Marc Johnson, the bassist working with jazz pianist Bill Evans, heard Bromberg's playing and recommended him to saxophonist Stan Getz, who needed a new bass player. Getz auditioned Bromberg and hired him, and at the age of 19, with only six years of experience on the bass, he found himself touring internationally. Bromberg later worked with other big names in the music business, and become a producer for artists in his genre.

In March 2011, Bromberg partnered with Carvin Guitars to produce a signature model electric bass. The B24 and B25 were based on his own design, which had previously been manufactured by Peavey and Dean. In 2014, Carvin rebranded to Kiesel for most new instruments, and the Brian Bromberg model followed suit in 2015.More.......https://en.wikipedia.org/wiki/Brian_Bromberg

Hands: Solo Acoustic Bass

Ingrid James - Pangaea The Global Collective

Bitrate: MP3@320K/s
Time: 65:44
Size: 150.5 MB
Styles: Jazz vocals
Year: 2010
Art: Front

[5:48] 1. Fame
[5:12] 2. Caramel
[4:08] 3. Dust In The Wind
[5:37] 4. Don't Fear The Reaper
[3:56] 5. God Only Knows
[7:16] 6. San Antonio Rose
[7:34] 7. At Seventeen
[5:23] 8. Mr.Bojangles
[7:03] 9. Close To You
[5:34] 10. Don't Dream It's Over
[8:09] 11. Fame Remix

"This collection of covers of material from the 1970s and 80s by Ingrid James and The Global Collective is no nostalgic, sound-alike trip down memory lane. Nor is it an attempt to cash in on the musical flavour-of-the-month with squeaky adolescent vocals or rapping. It is a set of musically intelligent arrangements by trumpeter Paul Armstrong and multi-instrumentalist Todd Harrison performed by artists from quite literally around the world. The music draws together influences from South and Central America, jazz, bluegrass, folk and popular music. Such a project is only made possible (with a budget in the hundreds of thousands) through the advent of 21st century digital technology, and we are the luckier for it....Ingrid James' extraordinary range is showcased as her voice is variously warm and engaged, cool or contemplative, clear, or soft and hushed. Her diction is flawless... "The outstanding musicians in the Global Collective have asked themselves what these classic songs are really about and approached their material with fresh ears. The result is a refreshing new perspective on our musical past which points us towards a healthy musical future." ~Louise Denson

Pangaea The Global Collective

Laurence Hobgood, Charlie Haden, Kurt Elling - When The Heart Dances

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 64:36
Size: 155,6 MB
Art: Front

(6:41)  1. Que sera sera
(4:49)  2. When The Heart Dances
(6:11)  3. First Song
(7:34)  4. Sanctuary
(5:17)  5. Chickoree
(5:26)  6. Stairway To The Stars
(5:39)  7. New Orleans
(6:44)  8. Why Did I Choose You
(5:52)  9. Leatherwood
(4:45) 10. Daydream
(5:33) 11. The Cost Of Living

Man, this is a beautiful album. How could it be otherwise? An intimate, unhurried conversation between Laurence Hobgood, since 1994 vocalist Kurt Elling's musical director, and one of the finest jazz pianists out there, and the magisterial Charlie Haden, featured bassist in bands led by saxophonist Ornette Coleman, pianist Keith Jarrett and guitarist Pat Metheny, among a truck load of other distinctions. The inimitable Elling guests on three tracks  In his liner notes, describing the genesis of When The Heart Dances, Hobgood relates how, at a convention of the IAJE (International Association of Jazz Educators), he was chatting with Haden. Commenting on the mayhem and confusion that is the recording industry in the 2000s, Haden said something like, "I don't know about you, but the crazier things get, the more I think how nice it is to make records where we can just play music.  And just play music is what they do gorgeous, transporting music unalloyed by artifice, gimmickry or any notion to be style jockeys. Within 30 seconds or so of the start of the opening track, Jay Livingston and Ray Evans' lovely "Que Sera Sera," Hobgood and Haden have woven a spell which doesn't let up until the final whispers of Don Grolnick's "The Cost Of Living," and lingers in the memory long after. If music can soothe the savage beast, the medicine doesn't get any more efficacious than that on When The Heart Dances  The pace is measured and moderate even Hoagy Carmichael's "New Orleans" is here more hymn-like than a dancehall romp the interaction deep and easy. Hobgood and Haden get straight to the heart of their source material, five originals and six standards, with a gentle intensity that is utterly beguiling. It's hard to think of many parallels, but the imagination with which the duo explore the hidden corners of the standards is on par with that of pianist Al Haig's The Al Haig Trio (Esoteric, 1954) or 55 years later, pianist Liam Noble and drummer Paul Clarvis's Starry Starry Night (Village Life, 2009). Exquisitely poised, it's music of shimmering beauty. Elling's three tracks slot right into the ambiance, his performance of Haden's rhapsodic "First Song" a masterpiece among masterpieces.  A mention has to made of sound engineer Ken Christianson, who has turned in what is in effect an audiophile recording, perfectly capturing the spectrum of resonances of both Hobgood's Steinway D and Haden's bass, made some 250 years ago by the French luthier Jean-Baptiste Vuillaume, and sounding never more like an instrument of the gods than it does here. Elling's warm caress is similarly ennobled. Were it recorded on a mobile phone, When The Heart Dances would be magical enough. By way of Christianson, it's simply irresistible. ~ Chris May https://www.allaboutjazz.com/when-the-heart-dances-kurt-elling-naim-label-review-by-chris-may.php

Personnel: Laurence Hobgood: piano; Charlie Haden: bass (1-3, 5-8, 10, 11); Kurt Elling: vocals (3, 6, 10).

When The Heart Dances

Jim Snidero - For All We Know

Styles: Saxophone Jazz
Year: 2024
Time: 53:27
File: MP3 @ 320K/s
Size: 123,0 MB
Art: Front

(7:56) 1. For All We Know
(5:14) 2. Naima
(6:21) 3. Love For Sale
(6:32) 4. Blackberry Winter
(5:19) 5. Parker's Mood
(6:33) 6. Willow Weep For Me
(7:58) 7. My Funny Valentine
(7:32) 8. You Go To My Head

The cover photo on Jim Snidero's For All We Know features the saxophonist holding his horn out in front of his body as if he is offering it to us as a holy relic. Holy it is when he plays it; a relic it is not.

The album is Snidero's first recorded offering in a trio setting sax, bass and drums. No chording instrument. His partners in chordlessness, Peter Washington and Joe Farnsworth bass and drums, respectively are a perfect choice, guys who have played with everybody from Art Blakey, McCoy Tyner, Tommy Flanagan, Cedar Walton and so many more. They were also Snidero's bandmates on the masterful Live At the Deer Head Inn (Savant, 2021). Some called that disc a masterpiece. They may have been right.

Snidero's tone is strikingly pure, showcased all the more in the spare trio setting. Tonal beauty stood out in his previous masterpiece, Strings (Milestone Records), released originally in 2002 and re-released in a slightly buffed-up form in 2021 on the Savant label. It is even more apparent on For All We Know, with the altoist playing the familiar standards, from the title tune opener through John Coltrane's "Naima" to Charlie Parker's (there has to be a Bird song here) "Parker's Mood." Throw in Cole Porter's "Love For Sale," Rodgers and Hart's "My Funny Valentine," and the old war horse "Willow Weep For Me" and you have a classic set, played with reverence and an unmatchable feel for melodic beauty.

2024's release of For All We Know sees Jim Snidero entering his fifth decade of jazz artistry. Excellent sounds from start to finish, especially his Savant Records output that began in 2007 with Tippin'. His sound like Charlie Parkers,' Art Peppers' and Lee Konitz's is something special, like that holy relic he is holding out is made of gold, the twenty-four-carat type.By Dan McClenaghan
https://www.allaboutjazz.com/for-all-we-know-jim-snidero-savant-records

Line-up/Musicians: Jim Snidero (alto saxophone); Peter Washington (bass); Joe Farnsworth (drums)

For All We Know

Wednesday, April 24, 2024

Nicole Glover - Plays

Styles: Saxophone Jazz
Year: 2023
Time: 42:35
File: MP3 @ 320K/s
Size: 98,1 MB
Art: Front

(4:52) 1. Open or Close
(4:47) 2. The Fox
(5:01) 3. The A-Side
(5:09) 4. Munsoon
(6:01) 5. Inception
(4:59) 6. One Second, Please
(5:51) 7. I've Grown Accustomed to Her Face
(5:50) 8. Blues for Mel

Nicole Glover's a hell of a tenorist one with a deep, rich tone, but also lots of modern edges too able to spin out really long, imaginative solos in a style that's almost at the level of vintage Sonny Rollins, especially given that the setting here is a trio on half the album! Nicole blows alongside the bass of Tyron Allen and drums of Kayvon Gordon, players who keep things loose and very open so that Glover has all this space to express herself with a very unique voice.

And half the record also features vibes from the great Steve Nelson who seems to have some bolder, harder tones in his instrument to match Glover's energy. Titles include "Munsoon", "Inception", "Blues For Mel", "One Second Please", "The Fox", and "Open Or Close".© 1996-2024, Dusty Groove, Inc.https://www.dustygroove.com/item/170370/Nicole-Glover:Nicole-Glover-Plays

Plays

Brian Bromberg - In the Spirit of Jobim

Styles: Jazz/Bossa
Year: 2007
Time: 64:15
File: MP3 @ 320K/s
Size: 147,1 MB
Art: Front

(3:50) 1. One Note Samba
(4:53) 2. Wave
(5:45) 3. Coastline Drive
(5:23) 4. Little Tune
(7:08) 5. Triste/Desafinado
(5:56) 6. Corcovado
(7:30) 7. Once I Loved
(6:12) 8. Isn't It Beautiful
(5:33) 9. Ray of Sunshine
(7:08) 10. Talia (for my niece)
(6:41) 11. Ellen (for Ellen Cohn)
(5:21) 12. The Girl From Ipanema

When an intensely creative and prolific artist such as Brian Bromberg decides to devote two full releases to the music of (or inspired by) another creative, you can imagine the respect is deep and the results bound to be at least interesting if not amazing. Bassist virtuoso, producer/composer Bromberg has embraced the repertoire of two icons, Jimi Hendrix and Antonio Carlos Jobim. The interpretations are heartfelt. Inspired and immense in musicality.By Editorial Reviews
https://www.amazon.com/Spirit-Jobim-Brian-Bromberg/dp/B00861J3EE

Personnel: Bass [Nylon String Piccolo Bass], Bass [Upright] – Brian Bromberg

Featuring: Airto, Alex Acuña, Corey Allen, Gary Meek, Joel Taylor, Mike Shapiro (2), Mitch Forman, Oscar Castro-Neves, Otmaro Ruiz, Ramon Stagnaro, The Rising Sun Orchestra String Section

In the Spirit of Jobim

Ray Crawford - Smooth Groove

Styles: Guitar Jazz
Year: 1961
File: MP3@320K/s
Time: 43:32
Size: 99,9 MB
Art: Front

( 8:30)  1. The Compendium Suite
( 7:39)  2. Miss April
( 6:09)  3. Impossible
(10:11)  4. I Knew Prez
(11:00)  5. Smooth Groove

Guitarist Ray Crawford, best known for his associations with pianist Ahmad Jamal and organist Jimmy Smith, only led one session in his early years. Because the Candid label soon went bankrupt, the set went unreleased altogether until this 1988 CD. Comprised of five Crawford originals, the session finds the guitarist playing fairly advanced hard bop with trumpeter Johnny Coles, baritonist Cecil Payne (in top form), pianist Junior Mance, bassist Ben Tucker, and drummer Frankie Dunlop. Everyone sounds fine, making one regret that this set fell between the cracks for so many years.~Scott Yanow http://www.allmusic.com/album/smooth-groove-mw0000093298

Personnel: Ray Crawford (guitar), Cecil Payne (baritone saxophone), Johnny Coles (trumpet), Junior Mance (piano), Ben Tucker (bass), Frankie Dunlop (drums).

Smooth Groove

Bill Perkins - Jazz City

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 42:38
Size: 98,5 MB
Art: Front

(3:56)  1. Jazz City
(3:17)  2. It Had to Be You
(3:34)  3. Beyond the Sea
(2:48)  4. Cross Walk
(3:06)  5. Blue Skies
(3:12)  6. Hags!
(6:03)  7. Montrose
(2:32)  8. Sweet Saxophones
(6:15)  9. The Mouse Hop
(2:24) 10. Early Morning Smog
(5:25) 11. Two Visitors

Among the "coolest" of the West Coast tenor players of the 1950s, Bill Perkins in later years became a bit influenced by John Coltrane and modernized his style in a personal way. A flexible and versatile musician who also played baritone, alto, soprano, and flute, Perkins was best-known for his work on tenor. Born in San Francisco, he grew up in Chile, moved to Santa Barbara, and served in the military in World War II. After studying music and engineering, he played in the big bands of Jerry Wald, Woody Herman (1951-1953 and 1954), and Stan Kenton (1953-1954 and 1955-1958).

"Perk" started recording as a leader in 1956 (most notably Grand Encounter with John Lewis), including sets with Art Pepper and Richie Kamuca. During the 1960s he had a dual career as a studio musician and a recording engineer, and during 1970-1992 he was a member of the Tonight Show Band. Since then, Perkins played baritone and tenor with the Lighthouse All-Stars and was a member of the Bud Shank Sextet, in addition to heading his own sessions for a variety of labels. He died on August 9, 2003 of cancer at the age of 79.~ Scott Yanow https://itunes.apple.com/us/artist/bill-perkins/id714766#fullText

Jazz City

Monday, April 22, 2024

Halie Loren - They Oughta Write A Song

Styles: Vocal
Year: 2010
Time: 69:37
File: MP3 @ 320K/s
Size: 160,4 MB
Art: Front

(3:08) 1. They Oughta Write A Song
(4:44) 2. A Whiter Shade Of Pale
(3:37) 3. Blue Skies
(3:51) 4. Autumn Leaves
(4:09) 5. Fever
(6:15) 6. God Bless This Child
(3:28) 7. My Rainbow Race
(2:22) 8. Perhaps, Perhaps, Perhaps
(3:59) 9. How Should I Know
(5:08) 10. Summertime
(2:51) 11. I Don't Miss It That Much
(4:52) 12. Dock Of The Bay
(4:39) 13. As Time Goes By
(3:58) 14. Free To Be Loved By Me
(5:44) 15. I Still Haven't Found What I'm Looking For
(3:19) 16. Danger In Loving You
(3:27) 17. Sunny Afternoon

They Oughta Write a Song sees the 24-year-old Halie Loren getting back to her roots as a jazz singer. The album consists of 13 tracks, including not only jazz standards, but three originals and a half-handful of "jazzified" classic covers. Those new to jazz would be hard-pressed to tell one from the other, so deftly do Loren and her backing band pianist Matt Treder, bassist Mark Schneider, percussionist Brian West and trumpeter Tim McLaughlin on trumpet dive in and make themselves home in a sea of lush, jazzy warmth.

The opening title track sounds like a standard (and, if there is any sense of fairness in the world, it will be someday) but is actually an original, co-written by Loren at the tender age of 18 in Nashville. The other two originals, "How Should I Know?" and "I Don't Miss It That Much" sound remarkably similar to tracks from the soundtrack to Midnight in the Garden of Good and Evil(1997), but are likewise a well-balanced mixture of classic jazz and modern sass.

Loren's interpretation of non-jazz classics is equally competent, taking familiar songs from other genres and reinterpreting them in novel ways. Procol Harem's "A Whiter Shade of Pale" dials back the "Lucy in the Sky with Diamonds" vibe and replaces it with something smokier, sassier, and quite different. Pete Seeger's "My Rainbow Race" loses the folksy focus and goes a bit more Latin, with percussion and bass underlining Loren's thick, rich vocals. Otis Redding's "(Sittin' On) The Dock of the Bay" gets a somewhat less melancholy interpretation, retaining the song's soulful wistfulness while adding a bit more bounce and sway.

The bulk of the album, however, is composed of jazz standards, which necessarily draw comparisons with other such covers. "Autumn Leaves," covered by everyone from Nat King Cole to Paula Cole, is, by way of comparison, minimalist. While other versions of the song contain layers of instrumentation Paula Cole's version, on the Midnight in the Garden of Good and Evil (Warner Bros., 1997) soundtrack, even adds percussion to mimic the sound of rustling leaves—here it's just Loren and Treder, voice and piano, boiling the song down to its basics. Osvaldo Farres' "Perhaps, Perhaps, Perhaps" appears as well, sung half in Spanish and half in English and, while clocking in at about the same length as Cake's cover on Fashion Nugget(Capricorn, 1996), is distinctly more traditional and definitely sexier.

George Gershwin's "Summertime" is also worth a special mention. Originally composed for Porgy and Bess (1935), the jazz standard has been covered by everyone from Louis Armstrong and Ella Fitzgerald to Janis Joplin, always serving to frame each singer's particular vocal talents regardless of instrumentation Joplin's mournful shrieks atop electric guitar; Fitzgerald's warmth contrasted with Armstrong's growl. Here, Loren's clear-as-a-bell lilt and tease is half "drifting off to sleep" lullaby and half "stay up till sunrise" striptease, allowing her to make the song her own. By Some One https://www.allaboutjazz.com/they-oughta-write-a-song-halie-loren-white-moon-productions-review

Personnel: Halie Loren: vocals; Matt Treder: piano, keys; Mark Schneider: bass; Brian West: drums; Tim McLaughlin: trumpet.

They Oughta Write A Song

Bill Perkins & Frank Strazzeri - Warm Moods

Bitrate: MP3@320K/s
Time: 57:22
Size: 131.3 MB
Styles: West Coast jazz
Year: 1992/2004
Art: Front

[3:38] 1. Ceora
[5:11] 2. Dewey Square
[5:06] 3. Warm Valencian Nights
[4:18] 4. For Sal
[5:50] 5. Sweet Lorraine
[3:39] 6. You Know I Care
[4:56] 7. Lavender Dreams
[3:50] 8. Scrapple From The Apple
[4:20] 9. Haelen Nocturne
[5:08] 10. Long Ago
[8:24] 11. Willow Weep For Me
[2:56] 12. Yesterdays Gardenias

Baritone Saxophone, Clarinet, Bass Clarinet, Producer – Bill Perkins (tracks: 3,11 (Bass Clarinet] 5 [Clarinet]); Piano, Producer – Frank Strazzeri. Recorded at Sage & Sound Recording Studio in Hollywood, California on November 11, 1991.

Among the "coolest" of the West Coast tenor players of the 1950s, Bill Perkins in later years became a bit influenced by John Coltrane and modernized his style in a personal way. A flexible and versatile musician who also played baritone, alto, soprano, and flute, Perkins was best-known for his work on tenor. Born in San Francisco, he grew up in Chile, moved to Santa Barbara, and served in the military in World War II. After studying music and engineering, he played in the big bands of Jerry Wald, Woody Herman (1951-1953 and 1954), and Stan Kenton (1953-1954 and 1955-1958). "Perk" started recording as a leader in 1956 (most notably Grand Encounter with John Lewis), including sets with Art Pepper and Richie Kamuca. During the 1960s he had a dual career as a studio musician and a recording engineer, and during 1970-1992 he was a member of the Tonight Show Band. Since then, Perkins played baritone and tenor with the Lighthouse All-Stars and was a member of the Bud Shank Sextet, in addition to heading his own sessions for a variety of labels. He died on August 9, 2003 of cancer at the age of 79.~ Scott Yanow

Warm Moods

Paula Atherton - Dancin' Shoes

Styles: Saxophone Jazz
Year: 2024
Time: 49:30
File: MP3 @ 320K/s
Size: 117,5 MB
Art: Front

(4:10) 1. Baila
(4:13) 2. Inside Out and Backwards
(4:05) 3. Keep It Comin'
(5:25) 4. Give Me a Reason
(4:13) 5. Dancin' Shoes (feat. Greg Manning)
(4:33) 6. Soul Picnic
(4:07) 7. Ready or Not
(4:57) 8. Move On Up
(4:29) 9. Time Out
(4:35) 10. Don't Look Back
(4:36) 11. Open Road

Paula Atherton’s Dancin’ Shoes is a deep dive into the possibilities of infusing elements of R&B, soul, and Latin grooves to create a jazz experience that transcends musical boundaries. With her seventh full-length release, Atherton showcases her saxophone, flute, and heartfelt vocal abilities, offering an album that resonates with both jazz purists and casual listeners alike.

The album starts with “Baila,” a track brimming with a light, joyous Latin flavor that is seamlessly melded with a smooth jazz groove. Atherton’s flute commands the forefront, weaving through the ensemble with warmth and agility, promising a dance-inducing start to the album’s journey. This piece sets a high bar for the album, with Atherton’s solo work displaying an engaging blend of motivic development and sheer enjoyment, perfectly embodying the spirit of dance.

“Inside Out & Backwards” takes a funkier turn, setting its tone with a toe-tapping groove that underpins Atherton’s dynamic alto saxophone. The rhythm section and the punchy horn hits, combined with Lou Gimenez’s fusion-inspired guitar solo, create a compelling narrative of musical exploration.

The album’s first single, “Keep it Comin’,” stands out for Atherton’s ability to craft top-charting hits while maintaining a high musical integrity. The track’s smooth jazz foundation supports Atherton’s expressive alto saxophone solos, marked by saxophone screams and chromatic approaches that captivate the listener’s attention.

“Give Me A Reason” slows the pace with a heartfelt ballad that showcases Atherton’s excellent vocal sound and saxophone skills. The slow shuffle and R&B influences make it a standout piece, demonstrating Atherton’s versatility and ability to shape a melody vocally and on the saxophone.

The title track, “Dancin’ Shoes,” embodies the album’s essence a fusion of upbeat rhythms and melodies that compel movement. The synergy between Atherton’s saxophone and the funk-driven guitar and keyboard work creates an unstoppable energy and joy.

Her cover of Curtis Mayfield’s “Move on Up” adds a fresh layer to the album, blending soulful vocals with a funky bass line that pays homage to the original while showcasing Atherton’s unique interpretative skills.

As the album nears its close with tracks like “Time Out” and “Don’t Look Back,” Atherton’s collaboration with esteemed producers and musicians such as Curtis Harmon and Lou Gimenez adds depth and complexity to the project, ensuring that each song contributes to the album’s cohesive sound and feel.

Ending on a high note, “Open Road” encapsulates the album’s theme of adventure and exploration. The track’s driving groove and Atherton’s agile saxophone work make it a fitting conclusion to an album that takes listeners on a musical journey.

Mastered by Randy Merrill at Sterling Sound, Dancin’ Shoes offers a runtime of just over 49 minutes of compelling music that speaks to the heart and the feet. Released under Dream On Records, this vibrates with Paula Atherton’s unwavering commitment to conveying the groove side of jazz. With each track, Atherton invites us into her world a world where every note and rhythm tells a story, encouraging us to dance, reflect, and, above all, enjoy the rich tapestry of sounds she has woven together.By Ferell Aubre https://thejazzword.com/2024/04/paula-atherton-dancin-shoes-review/

Dancin' Shoes

Dayna Stephens - Closer Than We Think

Styles: Saxophone Jazz
Year: 2024
Time: 53:23
File: MP3 @ 320K/s
Size: 124,5 MB
Art: Front

(5:15) 1. Bubbly
(6:09) 2. The Nomad
(4:47) 3. Ryland
(3:04) 4. Scrutiny
(4:12) 5. Placate
(5:51) 6. ESP
(4:06) 7. A New Spring
(5:47) 8. Te
(3:59) 9. Blue Poles
(6:47) 10. Back Home
(3:21) 11. Placate (Reprise)

Dayna Stephens is an extraordinary saxophonist, composer, and monumental educator, enjoying well-deserved recognition in the contemporary scene. Mentored by legends such as Terence Blanchard, Wayne Shorter, and Herbie Hancock, Stephens made a name for himself by winning the DownBeat Critics Poll for Rising Star Tenor Saxophonist in 2019. He is active in the New York jazz scene, teaching at the Manhattan School of Music and William Paterson University.

Here’s what you need to know about this remarkable saxophonist, equally exciting despite working in a different style than saxophonist Céline Bonacina. The analogy one can draw with Wayne Shorter precisely reflects a similarly rich musical approach; indeed, Dayna does not seek to please but imposes his style, born from an absolute richness stemming from a diverse and extensive cultural background. Due to the pace of the contemporary world, creating a coherent list of peers and mentors wasn’t feasible, initially disappointing Stephens. “We all play better when we play with people we perceive to be better than us,” says Dayna Stephens

“The frustration of not being able to do this consistently with the same personnel every time that was a hurdle I kept running into whenever I wanted to put something together.” But from this initial setback, a seed of inspiration began to sprout. Stephens who is a full-time educator in some of America’s most prestigious music conservatories thought about the places and people who had inspired him and realized that while he was inspired by his heroes, he received as much, if not more, inspiration from the students he had the privilege to teach. “When this paradigm shift occurred, there wasn’t really a question about the people I wanted to play with.”

Just these profound reflections show how deeply Dayna Stephens understands the foundation of an artist, which translates into this album with compositions and arrangements of extraordinary quality. Of course, this music is quite elitist; those seeking easily digestible tunes may pass it by, but others will have the pleasure not only of discovering the art of this saxophonist and composer but also his profound sensitivity.

Several composers’ works are featured on this album, and a distinct absence of piano can be noted on “Closer Than We Think.” When asked, Stephens remarked that much of the sonic palette of this album was inspired by Sonny Rollins’ timeless album, “The Bridge.” “My father bought me ‘The Bridge,’ and I fell in love, acknowledging the gravity, and sometimes even the playful and humorous expression that I felt from Sonny,” says Stephens. “This level of intimacy, warmth, and a sense of limitless possibilities is the source of my addiction to this music.” As for the saxophonist’s compositions, one of the tracks composed by Stephens on the album is “A New Spring,” emotionally linked to the composer himself. The melody was composed in Stephens’ head as he underwent one of his last dialysis sessions before receiving a kidney transplant. As Stephens sat in the dialysis chair, his brain spun the melody through a plethora of orchestration options, and each pleased him. Although it has been interpreted in different ways, the arrangement used on the album with its guitar-centric sonic landscape powerfully encapsulates the idea of reaching a new beginning.

Undoubtedly, this album is a reference for all fans of this musical genre, and as such, it becomes indispensable for enthusiasts of music with complex architecture.https://www.paris-move.com/reviews/dayna-stephens-closer-than-we-think-eng-review/

Personnel: Dayna Stephens: saxes & EWI; Emmanuel Michael : guitar; Kanoa Mendenhall: bass; Jongkuk Kim: drums; Jeremy Pelt: trumpet (track 6)

Closer Than We Think

Sunday, April 21, 2024

Carol Welsman - Memories Of You

Styles: Piano And Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 60:51
Size: 139,3 MB
Art: Front

(3:49)1. Don't Be That Way
(2:45)2. Why Don't You Do Right
(3:28)3. Moonglow
(3:10)4. Stompin' At The Savoy
(5:47)5. As Time Goes By
(4:49)6. When You're Smiling
(4:10)7. Johnny Guitar
(4:02)8. Fever
(2:53)9. Goody Goody
(3:08) 10. The Very Thought Of You
(2:39) 11. On A Slow Boat To China
(4:50) 12. Memories Of You
(3:03) 13. Sing Sing Sing
(3:50) 14. Where Or When
(4:15) 15. More Than You Know
(4:06) 16. The Glory Of Love

Carol Welsman is a talented singer/pianist who hails from Canada and now spends much of her time in Los Angeles. Her numerous achievements include five Juno (Canadian Grammy) Award nominations and several CDN Smooth Jazz Awards. Like bossa nova icon Joao Gilberto and his guitar, Carol's honey-and-whiskey voice and her crisp, rhythmically articulate piano lines seem an integral part of each other. Also possessing wonderful arranging skills, she's an authentic vocal/instrumental artist who brings an irresistible blend of musicality and lyrical insight to everything she touches.

Memories of You is a special project she did in partnership with Producer Takao Ishizuka, to celebrate the 50th anniversary of his company, All Art Promotion. For the past 50 years, Ishizuka and All Art Promotion have been a major driving force in bringing jazz musicians to Japan. The year 2009 also was the 100th anniversary of the birth of Benny Goodman, so they decided to join forces with Ken Peplowski the best jazz clarinet player in the world now in my opinion to do a Benny Goodman tribute album. They also wanted to include vocal numbers popular in Japan, and found the tunes made famous by Peggy Lee a perfect fit.

Thus, the program consists of well-known tunes associated with Goodman and songs associated with Peggy Lee. Her Los Angeles-based regular band (Pierre Coté on guitar, Rene Camacho on bass and Jimmy Branly on drums) is augmented by Brazillian percussionist Cassio Duarte, and legendary drummer Frank Capp, who used to play with Peggy Lee, appears on two tracks as guest drummer. This is a wonderful jazz vocal album, full of wonderfully inventive arrangements, superb singing, and musicianship of highest order. Pressed on the superior-sounding HQCD, the sound quality of this CD is so good that it received the highest honor from the Jazz Critique Magazine of Japan, the 2009 Jazz Disc Gold Award in the vocal album category. It means that the magazine recognized it as the best-sounding jazz vocal album released in 2009. Recommended!
http://www.eastwindimport.com/product-info.asp?CategoryName=HQCDProductID=1584

Personnel: Carol Welsman (piano, vocal); Ken Peplowski (clarinet); Pierre Conté (guitar); Jimmy Branly (drums); Cassio Duarte (percussion); Frank Capp (drums)

Memories Of You

Charlie Barnet - The Capitol Big Band Sessions

Styles: Big Band, Jazz
Year: 1998
Time: 67:38
File: MP3 @ 192K/s
Size: 93,7 MB
Art: Front

(2:28) 1. Redskin Rhumba
(2:30) 2. Eugipelliv
(3:11) 3. Lonely Street
(2:57) 4. Cu-Ba
(3:08) 5. Charlie's Other Aunt (1st Version)
(3:10) 6. Easy Living
(3:07) 7. Charlie's Other Aunt
(2:49) 8. Overtime
(3:02) 9. O'henry
(5:27) 10. Portrait Of Edward Kennedy Ellington
(2:47) 11. Be-Bop Spoken Here
(3:22) 12. Gloomy Sunday
(3:14) 13. Over The Rainbow
(3:11) 14. All The Things You Are
(2:47) 15. Pan Americana
(3:08) 16. Ill Wind
(3:12) 17. Claude Reigns
(2:21) 18. Really?
(2:40) 19. Spain
(3:10) 20. My Crime
(2:53) 21. Theme For Cynthia
(2:55) 22. (I'm A Dreamer) Aren't We All?

Although Charlie Barnet will always be best known for his popular swing band of 1939-1942, he continued leading orchestras throughout the 1940s. In 1949 he temporarily embraced bebop, with his band being full of modernists (some of which were Stan Kenton's sidemen, since Kenton was taking a year off).

At one point his trumpet section had three screamers (Maynard Ferguson, Doc Severinsen, and Ray Wetzel) in addition to the fine bop soloist Rolf Ericson. Other musicians who played with Barnet in 1949 included pianist Claude Williamson, bassist Eddie Safransky, altoist Vinny Dean, Dick Hafer on tenor, and trombonist Herbie Harper, with some of the arrangements provided by Manny Albam, Gil Fuller, and Pete Rugolo.

This CD has all of Barnet's bop recordings, plus a version of "Redskin Rhumba" from mid-1948 and a dance band date with a different orchestra in 1950. Among the highlights are "Cu-Ba," "Charlie's Other Aunt," "Overtime," "Portrait of Edward Kennedy Ellington," "Bebop Spoken Here" (featuring singing from Dave Lambert and Buddy Stewart), "Claude Reigns," and "Really." Particularly highly recommended to bop fans who would never have associated Charlie Barnet with that style.By Scott Yanow https://www.allmusic.com/album/the-capitol-big-band-sessions-mw0000042401#review

Personnel: Soprano Saxophone, Alto Saxophone, Tenor Saxophone – Charlie Barnet; Alto Saxophone – Art Raboy (tracks: 2 to 10), Dick Meldonian (tracks: 19 to 22), Frank Pappalardo (2) (tracks: 1,), Ruben Leon (tracks: 13 to 18), Vinnie Dean (tracks: 2 to 18), Walt Weidler (tracks: 1); Baritone Saxophone – Bob Dawes (tracks: 1, 19 to 22), Danny Bank (tracks: 2 to 12), Manny Albam (tracks: 13 to 18); Bass – Ed Mihelich (tracks: 19 to 22), Eddie Safranski (tracks: 2 to 18), Iggy Shevak (tracks: 1); Bongos – Diego Ibarra (tracks: 4, 5), Diego Iborra (tracks: 2 to 5); Bongos, Congas – Ivar Jaminez (tracks: 6 to 10); Congas – Carlos Vidal (tracks: 2, 3, 11 to 18); Congas, Bongos – Francisco Alvarez (2) (tracks: 4, 5); Drums – Cliff Leeman (tracks: 4 to 12), Dick Shanahan (tracks: 1), John Markham (tracks: 19 to 22), Tiny Kahn (tracks: 13 to 18); Piano – Claude Williamson (tracks: 1 to 18), Donn Trenner (tracks: 19 to 22); Tenor Saxophone – Bill Holman (tracks: 19 to 22), Bud Shank (tracks: 1), Dave Matthews (2) (tracks: 2 to 10), Dick Hafer (tracks: 6 to 18), Jack Laird (tracks: 19 to 22), Kurt Bloom (tracks: 2 to 18); Trombone – Dick Kenney (tracks: 2 to 22), Harry Betts (tracks: 13 to 18), Herb Harper (tracks: 1, 13 to 18), Karl De Karske (tracks: 1), Kenny Martlock (tracks: 2 to 22), Obie Massingill* (tracks: 2 to 12), Phil Washburne (tracks: 1,); Trumpet – Al Del Simone (tracks: 19 to 22), Carlton McBeath (tracks: 19 to 22), Dave Burns (tracks: 2, 3), Dave Nichols (6) (tracks: 1), Doc Severinsen (tracks: 2 to 18), Fern Caron (tracks: 4, 5), Irv Lewis (tracks: 1), Jack Hanson (tracks: 1,), John Coppola (tracks: 19 to 22), John Howell (tracks: 2 to 18), Lamar Wright (2) (tracks: 1 to 10), Ray Wetzel (tracks: 13 to 18), Rolf Ericson (tracks: 6 to 18), Tony Di Nardi (tracks: 2 to 10); Vocals – Buddy Stewart (tracks: 11), Dave Lambert (3) (tracks: 11), Trudy Richards (tracks: 6, 12, 16)

The Capitol Big Band Sessions

Cory Weeds Meets Champian Fulton - Every Now And Then

Styles: Saxophone And Piano Jazz
Year: 2024
Time: 48:20
File: MP3 @ 320K/s
Size: 130,2 MB
Art: Front

(4:53) 1. Boss Tutch
(5:15) 2. It's Alright with Me
(5:47) 3. Too Marvelous For Words
(4:21) 4. Linger In My Arms a Little Longer Baby
(5:32) 5. The Best Things In Life Are Free
(4:20) 6. Carry Me Back to Old Manhattan
(3:49) 7. That's Not Your Donut
(7:21) 8. Every Now & Then
(6:57) 9. The Snapper

Cory Weeds saxophonist with an expressive sound rooted in Jazz tradition, a label owner tirelessly documenting unsung Jazz heroes, one of Canada’s most important Jazz impresarios, the hardest-working man in Jazz business Cory Weeds is all of these things, and much more.

Weeds may be best known as the founder and owner of Cory Weeds’ Cellar Jazz Club in Vancouver, which he successfully ran for more than 14 years. Weeds built the Cellar to become one of North America’s best Jazz clubs, where masters such as George Coleman, Jeff Hamilton, Louis Hayes, David “Fathead” Newman, Dr. Lonnie Smith, and the finest Jazz musicians from Vancouver and across Canada and the U.S. performed before it closed in February 2014.

But he wasn’t just the club owner. As a saxophonist who studied at the University of North Texas and Capilano University, Weeds spent many nights on the Cellar bandstand as a leader and sideman. He held his own when performing with icons like Joey DeFrancesco and Christian McBride. Weeds has also recorded twenty albums as a leader, including his latest Home Cookin' Just Coolin' (with Tilden Webb, John Lee and Jesse Cahill), What Is There To Say? (with Phil Dwyer and a 12 piece string section), O Sole Mio (with Eric Alexander, Mike LeDonne, Peter Bernstein and Joe Farnsworth), Day By Day (with David Hazeltine, Ken Lister and Jesse Cahill), Live at Frankie’s (with Terell Stafford and Harold Mabern) Explosion (with Gary Smulyan, PJ Perry, Steve Davis and Joe Magnarelli), Let’s Groove (with Mike Ledonne), Dreamsville (with The Jeff Hamilton Trio), It’s Easy To Remember (with David Hazeltine, Joe Magnarelli, Paul Gill and Jason Tiemann, reached #1 on the Jazz Week Charts) This Happy Madness, (with The Jeff Hamilton Trio, reached #1 on the Jazz Week Charts), Condition Blue, The Music Of Jackie McLean (with Peter Bernstein, Mike LeDonne, and Joe Farnsworth)., As Of Now (with the Harold Mabern Trio), Let’s Go (with Steve Davis), the Juno-nominated Up A Step (Cory Weeds Quartet), With Benefits (with Lewis Nash and Peter Washington), Just Like That (with the Tilden Webb Trio), The Many Deeds of Cory Weeds (with Joey DeFrancesco), Everything’s Coming Up Weeds (with Jim Rotondi), and Big Weeds (with Peter Bernstein, Mike LeDonne, and Joe Farnsworth).

While the Cellar is now a happy memory, the record label Weeds established in 2001 is alive and well. Rebranded in 2018, The Cellar Music Group has put out over 350 recordings, including many that have spent extensive time on the JazzWeek charts, been reviewed in acclaimed print publications and been featured on NPR's Fresh Air. Weeds has also served as producer on more than 200recordings. In 2017 Weeds celebrated a win at the 2017 Juno Awards when Metalwood won for Jazz Album Of The Year: Group. Another Weeds-produced album w Brad Turner Quartet with guest Seamus Blake - Jump Up was nominated in 2019 and The Ostara Project in 2023.

2023 has been a watershed year for Weeds and the label. In March pf 2023 Weeds and the label were awarded a Grammy for The Generation Gap Jazz Orchestra in the large ensemble category. Weeds was also recognized as a #2 Rising Star Producer in Downbeat Magazine and Cellar Music was #8 in Record Label Of The Year.
https://www.highresaudio.com/en/album/view/7mdjn6/cory-weeds-champian-fulton-every-now-and-then

Personnel: Cory Weeds – Alto Saxophone; Champian Fulton – Piano, Vocals

Every Now And Then

Bill Frisell - Orchestras

Styles: Guitar Jazz
Year: 2024
Time: 86:50
File: MP3 @ 320K/s
Size: 198,8 MB
Art: Front

(3:15) 1. Nocturne Vulgaire
(5:09) 2. Lush Life
(4:47) 3. Doom
(4:25) 4. Rag
(6:01) 5. Throughout
(5:56) 6. Electricity
(5:58) 7. Sweet Rain
(7:03) 8. Richter 858, No. 7
(3:50) 9. Beautiful Dreamer
(7:11) 10. Lookout for Hope
(4:28) 11. Levees
(6:24) 12. Strange Meeting
(6:32) 13. Doom
(4:09) 14. Electricity
(6:48) 15. Monica Jane
(4:47) 16. We Shall Overcome

The influential American guitarist Bill Frisell and the innovative English composer and arranger Michael Gibbs go back a long way. Frisell first heard Gibbs’s ingenious writing for the vibraphonist Gary Burton when he was a teenager in the 1960s; in the mid-1970s he studied composition with Gibbs at Berklee College of Music, in Boston. Since then the guitarist has played in Gibbs’s stellar big bands, and the composer has arranged many of Frisell’s compellingly unconventional tunes in 2015 they collaborated on an album with the NDR Bigband. A longstanding ambition to record with an orchestra, however, has eluded them.

Until now. In fact, on this double release of concert-hall recordings with his regular trio of Thomas Morgan, on bass, and Rudy Royston, on drums, Frisell gets to play Gibbs’s orchestrations with two large ensembles: the 59-strong Brussels Philharmonic and the 11-piece Umbria Jazz Orchestra. “To say this is a dream come true would be an understatement,” Frisell writes in a short liner note.

Far from being a predictable soloist-with-strings project, Orchestras fully integrates guitarist, trio and ensembles into one multifaceted whole. Not all of the 16 selections are Frisell originals there are striking explorations of two famed Gibbs themes, Sweet Rain and Nocturne Vulgaire, and supersmart orchestrations of timeless songs such as Lush Life and Beautiful Dreamer. On Frisell standards that include Strange Meeting, Lookout for Hope and his masterpiece Throughout, however, the arrangements seem to take on an entirely different dynamic and dimension; it’s as if they are projections of Frisell’s searching and sometimes mysterious musical imagination itself.

It is also fascinating to compare and contrast: the philharmonic sounds lush, cinematic and darkly romantic; the jazz orchestra feels more earthy and laidback there is a kind of easy dissonance to its mood. A triple-LP version, which includes a bonus album of additional concert material, mostly featuring the trio alone, is available for completists.
.https://www.irishtimes.com/culture/music/review/2024/04/18/bill-frisell-orchestras-guitarist-trio-and-ensembles-become-one-multifaceted-whole/

Personnel: Bill Frisell: guitar; Thomas Morgan: bass; Rudy Royston: drums + Brussels Philharmonic and Umbria Jazz Orchestra.

Orchestras

Saturday, April 20, 2024

Scott Hamilton, Dena DeRose - The Shadow of Your Smile

Styles: Saxophone And Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 36:13
Size: 83,8 MB
Art: Front

(10:18) 1. Blue Hodge
( 6:28) 2. The Shadow of Your Smile
( 8:22) 3. How Deep Is the Ocean
( 7:06) 4. Summer Wind
( 3:58) 5. La Rosita Ii

As you well know, last May we launched Scott Hamilton's album; La Rosita. Well, we have a surprise for Scott Hamilton fans, and that is that we had an ace up our sleeve: a second part of that wonderful concert that was recorded live at the Espai de la Música Mestre Vila de Benicàssim during the Seminar Jazz International held in December 2015.

We present you “The shadow of your smile”, a work that is undoubtedly at the level of his partner “La Rosita”, and that forms a perfect tandem with him. Both collect together the exquisite concert of the great Scott Hamilton, which was accompanied by Dena DeRose on piano, Ignasi González on double bass and Jo Krause on drums. ~ Translate By Google http://blaurecords.com/discos/lanzamiento-the-shadow-of-your-smile-scott-hamilton/

Personnel: Tenor Saxophone – Scott Hamilton; Piano – Dena DeRose; Bass – Ignasi González; Drums – Jo Krause

The Shadow of Your Smile

Nicole Glover - Strange Lands

Styles: Saxophone Jazz
Year: 2021
Time: 50:55
File: MP3 @ 320K/s
Size: 117,6 MB
Art: Front

(3:15) 1. Strange Lands
(5:47) 2. Hive Queen
(7:07) 3. The Twilight Zone
(6:39) 4. Dindi
(3:42) 5. Parks
(4:56) 6. The Switch
(6:01) 7. Notturno
(5:07) 8. A Flower Is a Lovesome Thing
(8:17) 9. I Concentrate on You

Time was when a jazz trio without a piano or guitar was a rare occurrence. But once Sonny Rollins went chordless at the Vanguard the die was cast and, though the instrumentation is still not exactly thick on the ground, it is an important subset in the list of saxophone-fronted jazz groups. For the last three years tenor saxophonist Nicole Glover has embraced this format with her regular band featuring colleagues Daniel Duke (bass) and Nic Cacioppo (drums).

Here, for her first album with the group and her Savant Records debut, she has attracted the attention of keyboard great George Cables, who appears on four tracks of the recording. Michael J. West points out in the album's liner notes that to Glover, "Cables represents the continuum of the music, its past, present and future; she wanted that wisdom and energy to manifest itself and inform the band's work."

In the trio numbers, mostly originals, the musicians display a unity of thought that goes far beyond the notes, one that takes the freedom of a chordless ensemble and runs with it. Their music is full of strength and power, challenging but communicative with a sly sense of playfulness peeking out occasionally all providing a memorable musical experience that is at once high-spirited and deeply felt. https://propermusic.com/products/nicoleglover-strangelands

Personnel: Nicole Glover (tenor saxophone), Daniel Duke (bass), Nic Cacioppo (drums) with special guest: George Cables (piano)

Strange Lands

Ann Burton - It Might As Well Be Love

Styles: Vocal
Year: 2023
Time: 33:04
File: MP3 @ 320K/s
Size: 76,6 MB
Art: Front

(3:55) 1. Sooner Or Later
(2:41) 2. This Is New
(4:50) 3. Nobody's Heart
(2:04) 4. What'll Do
(3:50) 5. I Like You, You're Nice
(3:35) 6. Humpty Dumpty Heart
(4:43) 7. After You
(3:24) 8. You Fascinate Me So
(3:59) 9. It Might As Well Be Spring

Ann Burton (March 4, 1933 - November 29, 1989, Amsterdam) is the pseudonym of Johanna Rafalowicz (between 1938 and 1971: Johanna de Paauw), a Dutch jazz singer.

Ann Burton started her career as a singer in a quintet in Luxembourg and she started off by singing in the Doris Day style. Records of Billy Holiday drastically changed her style. Back in Holland she performed in a jazz repertoire with the trio of Frans Elsen. When Ramses Chaffy founded his “Shaffy Chantant” , Ann Burton was one of the first whom he contracted as a singer. In a long engagement in this group Ann became known at a larger audience.

Her breakthrough came in 1968, working with John J. Vis with whom she made her debute as Blue Burton, accompanied by the trio of Louis van Dijk. With John Vis she also made the albums Ballads and Burton and Ann Burton sings for lovers and other strangers. Further success had to wait till 1973, when she went to Japan, which was the land of the rising sun for her, because in Tokio, Ann Burton became the second most loved Jazz-singer, next to Ella Fitzgerald.https://www.last.fm/music/Ann+Burton/+wiki

It Might As Well Be Love