Natalie Cressman & Ian Faquini - Guinga

Styles: Vocal, Trombone Jazz
Year: 2024
Time: 44:05
File: MP3 @ 320K/s
Size: 102,1 MB
Art: Front

(4:33) 1. Contradição
(4:49) 2. Bolero De Satã
(2:42) 3. Lavagem De Conceição
(2:33) 4. Aria De Opereta
(2:06) 5. Delírio Carioca
(3:28) 6. Ramo de Delírios
(3:00) 7. Por Trás De Brás De Pina
(7:28) 8. Par Constante
(2:59) 9. Garoa E Maresia
(4:12) 10. Segredo De Dadá
(2:27) 11. Nítido e Obscuro/Geraldo No Leme
(5:12) 12. Ellingtoniana
(3:35) 13. Viola Variada
(2:57) 14. Vô Alfredo

Brazilian guitarist-composer Guinga is something of a legendary figure. A polyglot performer associated with música popular brasileira's all-encompassing ethos, he's made his name fusing the contemporary and folkloric strains of his homeland with classical, jazz, rock and pop stylings. His influence looms large in that particular niche of the music world and, honestly, beyond and he receives his flowers on this warm tribute from trombonist Natalie Cressman and guitarist Ian Faquini.

This unique duo, which made an instantly positive impression with Setting Rays of Summer (Cressman Music, 2019) and used the studio to broaden their blend on Auburn Whisper (GroundUP, 2022), didn't come upon the concept of this album by chance. Both are direct musical descendants of the eponymous artist. Faquini came under Guinga's tutelage early on, and both he and Cressman, who initially connected at California Brazil Camp in Cazadero, California, grew under his wing. As both of the younger artists matured, their relationship with Guinga developed from that of mentor-students to friends and colleagues, culminating with this collaboration.

Unlike the majority of tributes, either developed and executed a world apart from their influence or given as a posthumous plaudit, this album arrives with its honoree alive and well, and he was welcomed into the creative process as composer, arranger, lyricist and guest performer. Guinga wrote or co-wrote all of the album's 14 pieces, be they older works or penned specifically for this project, and he appears on five. His guitar graces two Dukish delights the sentimental "Par Constante" (Constant Pair) and the romantically sublime "Ellingtoniana," both featuring Cressman's melodious slide work. And he contributes vocals on three pieces co-written with Faquini: "Contradição" (Contradiction), where a bed of overdubbed trombones supports his light-voiced, sky blue serenade in three; "Lavagem de Conceição," bringing baião's bounce and the topic of Candomblé ritual washing together as one (with some additional vocal assistance from the co-leaders, Anna Paes and Sandy Cressman); and "Segredo de Dadá" (Dadá's Secret), a statement encapsulating saudade (and casting Natalie Cressman as Guinga's singing partner).

Although Guinga is absent from the remaining tracks, they all bear the master's stamp. "Bolero de Satã" (Satan's Bolero), a hit for the titular figure in the '70s, draws a direct line from his own adorned writing to the signature sound of this duo. "Aria de Opereta" (Operetta Aria) delivers a perfect amalgamation of Brazilian and classical languages. The concise "Delírio Carioca" (Carioca Delirium) offers honeyed pleasantries. "Ramo de Delírios" (Bouquet of Delirium), harkening back to Guinga's debut, finds Cressman and Faquini in beautiful sync. The "Nítido e Obscuro / Geraldo No Leme" (Clear and Opaque / Geraldo in Leme) combo speaks to this duo's easy way with difficult rhythmic syntax. And the lively "Vô Alfredo" (Grandpa Alfredo) closer, tapping into Pernambuco's frevo dance rhythms and suggestions, nods to Guinga's grandfather with the leaders allowing their oft-tamed virtuosity to shine through. Lovely and lovingly delivered, Guinga is a gem of a tribute from two great artists to another.By Dan Bilawsky https://www.allaboutjazz.com/guinga-natalie-cressman-and-ian-faquini-self-produced

Personnel: Natalie Cressman – trombone and vocals; Ian Faquini – guitar and vocals; Guinga – guitar and vocals; Anna Paes – vocals; Sandy Cressman – vocals

Guinga

---

Kristine Mills - Looking Back - Moving Forward

Styles: Vocal
Year: 2021
Time: 25:30
File: MP3 @ 320K/s
Size: 58,5 MB
Art: Front

(4:33) 1. Blue Isn't Blue Anymore
(3:55) 2. Go Fly Away
(4:08) 3. Reach Out To Me
(4:12) 4. Infinite Love
(3:56) 5. Hold Fast
(4:43) 6. Dip My Toe in the Waters

Winner of the Houston Press Music Awards, Best Female Vocalist and Best Songwriter, Mills was also nominated for Best Pop Artist, Best Jazz, and Musician of the Year. She was among the 2013 Houston Press Rocks of 100 - Houston’s Most Distinguished Artists and a 2012 Houston Arts Alliance for Established Individual Artists Grant Recipient. Mills wrote the soundtrack for the Gold REMI award-winning documentary film Collector’s Waltz. A member of the Recording Academy, Mills has been recognized for Grammy nomination consideration in several categories.

In addition to many New York City appearances at the Metropolitan Room, Duplex and Zinc Bar, Kristine played sold-out shows as a guest vocalist with the Duke Ellington Orchestra and as a headliner for the Brazilian International Jazz Festival tour in Sao Paolo, Recife, Rio, and Belo Horizonte. She also performed at New Orleans's Snug Harbor, The Miami Music Festival, Houston's Cezanne’s and House of Blues. Mills was Artist-In-Residence at Hotel ZaZa Houston, and Music Director and featured performer at Giorgio's Hotel Granduca Houston. She now includes Pizza Express, Piano Smithfield in London as well as Bert's Jazz Bar at the Merchant Hotel, Belfast among her regular venues.

Since her move to London in the summer of 2021, Kristine has had the pleasure of working with acclaimed pianist, writer and producer Janette Mason in performances along with other fabulous musicians, Darren Beckett, Tom Mason, Simon Little, Sophie Alloway to name a few.

"I just love London!" said Kristine Mills. "I’m enjoying performing and collaborating with a new coterie of London-based jazz and world music musicians for a fresh perspective. The city and its musicians are inspiring."

Mills is known in Houston as being a constant and persistent voice in the jazz scene. With her latest album project, a key moment in her three-decade-long career, she received critical acclaim and media support back. She premiered the single “Hold Fast” with Houston CityBook (see here for the premiere) and celebrated with a sold-out show at Warehouse 72.

"Both songs hold true to the infectiously jazzy sound that has propelled Mills into headliner gigs at events like the Brazilian International Jazz Festival and allowed her to play sold-out shows in theaters and performing arts centers around the world from Houston to Sao Paolo," said Houston CityBook.

She followed up with two EP release concerts, in Austin, Texas at Parker Jazz Club with the critically-acclaimed house band, led by Kris Kimura, and back to Houston at Warehouse 72 with a band led by Chad Wesselkamper.

The new album, as well as her other releases, are available on Spotify, Apple Music and all streaming platforms.

“Looking Back. Moving Forward." EP is the retrospective of my songwriting career,” expressed Kristine Mills. “It encompasses songs written at different times in my life, but they share universal truths about love, life, and death that we all can relate to. Many of the songs are collaborations with other artists which then pull from their experiences to enrich the writing and feelings found in the songs.”

This album was different for Kristine, as she pulled from previously unreleased recordings. Songs on “Looking Back. Moving Forward.” were conceived in pairs from various “sessions” recorded in 2008 to the present. The first set of songs, “The HOUSTON Sessions,” was co-produced by Gabriel Santiago, recorded in Houston then mixed and mastered in Brazil. Kristine’s first two singles are a contrast in love - “Hold Fast” was written in honor of her new husband, whereas “Dip My Toe In The Water” was written amidst the ending of a long marriage. Additional "sessions" recorded in New York and Austin included many well-known musicians such as GRAMMY-nominated American songwriter Jeff Franzel, prolific writer and producer Askold Buk, Sade's touring drummer, Steve Williams, Dave Byrne's tour bassist Paul Frasier, cellist Dave Eggar and Austin-based writer/producer David Rice.

Raul da Gama with World Music Reports says, “Kristine Mills’ talent for songwriting goes well beyond that realm. She is a fine writer of The Song, an even better writer of The Ballad and best of all she writes a compelling narrative. In short, Mills may be considered a complete musician." https://www.kristinemillsmusic.com/bio

Looking Back. Moving Forward.

---

Cory Weeds - Just Like That

Styles: Saxophone Jazz
Year: 2011
Time: 62:34
File: MP3 @ 320K/s
Size: 144,1 MB
Art: Front

(7:03) 1. Just Like That
(5:14) 2. Adanac
(6:40) 3. Have a Little Faith in Me
(4:59) 4. Noah's Dance
(6:28) 5. One a Clear Day
(5:03) 6. The Big H
(6:34) 7. Waltz for Someone Special
(5:29) 8. Rat Race
(7:29) 9. The Way She Was
(7:30) 10. You're as Right as Rain

Saxophonist Cory Weeds has been a professional musician for the better part of 15 years.

As a member of popular Vancouver band People Playing Music he toured Canada, the United States and Europe and recorded was a key part in the success of the band's Sette CD released in 1997. In 1998 he formed his instrumental band CRASH that he co-led with tenor saxophonist Jerry Cook. The band released its first CD entitled Crash in 1998 and toured Canada the same year playing at the prestigious Montreal Jazz Festival. The band went back into the studio in 1999 to record their sophomore release Candyshop. In 2003 the band was booked to back up Hammond B3 organ guru Dr. Lonnie Smith. This chance meeting resulted in the band's 3rd CD The Dr. Is In on Cellar Live featuring the renowned B3 Organist. The CD was a huge success and led to several tours of the Pacific Northwest.

Weeds is a member of The Night Crawlers which released their debut CD, Presenting on Cellar Live in 2007, and was nominated for Album Of The Year at the National Jazz Awards in 2008. The Night Crawlers released their second CD/Record in early 2011 titled Down In The Bottom featuring a big band. The album won a Western Canadian Music Award for Best Album Of The Year. The B3 Kings is a seasonal quartet featuring Denzal Sinclaire on voice / drums, Chris Gestrin on b3 organ and Bill Coon on guitar. The band recorded a CD that was released in 2005 that has been a hit worldwide and their first full length Christmas CD You Better Watch Out! was released in December of 2011. The band continuously sells out venues in Western Canada during the Christmas season. Weeds is a charter member of Melody Diachun's EQ that released their debut CD in 2008 and Jennifer Scott's Brasiliera. They will be releasing a CD in mid 2012.

In 2006 Weeds was a member of the saxophone section that backed up Paul Anka and has also graced the horn section with singing sensation Nikki Yanoffsky. Weeds has also shared the stage with international superstars such as Lou Donaldson, David Fathead Newman, Charles McPherson, Harold Mabern, Scott Hamilton, Ian Hendrickson-Smith and Mike DiRubbo. He has also shared the stage with locals like Brad Turner, Mike Allen, Hugh Fraser, Don Thompson, Oliver Gannon, Cam Ryga and Ross Taggart.

Perhaps Weeds' biggest musical accomplishment came in January, 2008 when he recorded his first CD as a leader featuring New York heavyweights guitarist Peter Bernstein, organist Mike Ledonne and drummer Joe Farnsworth. Big Weeds was released to critical acclaim across the continent. The CD debuted on the JazzWeek chart at #49 and made it all the way up to #17. Big Weeds also graced Bob Parlocha's Top 40 Jazz Chart making it as high as #9. Big Weeds was nominated for Album Of The Year at the 2009 National Jazz Awards and was selected by Jazz Week as one of the Top 100 Releases of 2008.

In August, 2008 Weeds shared the stage with yet another New York heavyweight, trumpeter Jim Rotondi. The band recorded their first CD in January, 2009 in New York City featuring pianist Ross Taggart, bassist John Webber and drummer Willie Jones III. Everything's Coming Up Weeds shot up JazzWeek Charts making it as high as #6 and was voted #32 out of the Top 100 Jazz Recordings of 2009.

The Many Deeds Of Cory Weeds features the dynamic duo of organist Joey Defrancesco and drummer Byron Landham as well as trumpeter Chris Davis. The record debuted on the JazzWeek Chart at number 26 and remained in the Top 50 for 10 weeks.

Weeds' most recent release Just Like That featuring The Tilden Webb Trio has received critical acclaim. It graced the JazzWeek charts for 12 weeks making it as high as #7 and continues to receive airplay around the world. https://www.allaboutjazz.com/musicians/cory-weeds/

Personnel: Acoustic Bass – Jodi Proznick; Alto Saxophone – Cory Weeds; Congas – Chris Davis (tracks: 4); Drums – Jesse Cahill; Piano – Tilden Web

Just Like That

---

Joe Magnarelli - Persistence

Styles: Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 57:16
Size: 132,2 MB
Art: Front

(6:06)  1. Presistence
(7:59)  2. the Village
(7:01)  3. I Had the Craziest Dream
(6:10)  4. D Train Boogaloo
(9:36)  5. Haunted Heart
(6:34)  6. You and the Night and the Music
(5:41)  7. Ballad for Barretto
(8:06)  8. Soul Sister

The stark black and white cover photo of trumpeter Joe Magnarelli peering out at you from the cover of Persistence emits a brooding and a blandness that is light years away from the robust, enjoyable musical experience offered by the music on the disc itself. Magnarelli, a first-call trumpeter among first-callers, leads an exciting group of other New York musicians (stars all) in eight selections originals and standards that are both intriguing and satisfying. There is such a sense of spontaneity and excitement in this recording that it gives the impression of being recorded live: each tune has that wonderful on-the-edge sense to it. "Persistence," the first cut (and one of five Magnarelli originals), sends you back in jazz time to a smoke-filled, excitement-laden, 1960s Blue Note session. After a hip intro and a Kenny Washington drum fill with echoes of Max Roach, the quintet steams ahead on the head. Heavenly shades of Art Blakey and the Jazz Messengers inspire the team as they roll it out for hard bop at its hottest. It's clear, as he fires away on his tasteful solos, that Magnarelli has regularly visited the jazz trumpet pantheon and tuned his ear to the greats. He is a player of excitement, inspiration, fire and control. The band is impeccable too. 

Baritone saxophonist Gary Smulyan shines throughout the session; his bellowing sound is never too heavy to swing. Washington's cymbal work is fireworks, worthy of Tony Williams. Pianist David Hazeltine fits in beautifully, both when comping and playing some marvellously engineered solos. Bassist Peter Washington is supremely solid always right there. "The Village" lays down an easy bossa nova groove under a lazy, carefree melodic line. Hazeltine builds a tasteful solo. No dragging here, only sway. Magnarelli cascades over the horn and constantly surprises the listener, never falling into cliche or hollow pyrotechnics in lieu of inspiration. Reaching into the Great American Songbook, "I Had the Craziest Dream" spotlights Magnarelli's beautiful soft swing approach. There's no hokey here, no schmaltzy vibrato or syrupy swinging. This track is on a par with a classic version by trumpeter Jack Sheldon. Magnarelli is pure taste. He uses rhythm and melody to construct his solos. Hazeltine's solo is a gem (catch the "Stella By Starlight"-copped cliche: cute!) There's a nice Washington solo too. "D Train Boogaloo," a funky blues head, sidewinders over a go-go beat and a Lee Morgan quote, spectacularly so. 

You can bet there are aspiring trumpeters out there who right now are transcribing, copping and wood-shedding Magnarelli licks. The Dietz-Schwartz standard "Haunted Heart" is given a bluesy feel. Magnarelli carries the lead with Smulyan haunting us with a second melodic take and a marvelously lyrical solo. The extended lines intrigue. Hazeltine's comps and interplay with the soloists are perfection before he goes tasteful on his own. The non-related Washingtons capitalize here together. "You and the Night and the Music"and the race flag! Magnarelli's Dizzy Gillespie ish Harmon mute work fires at a tempo reminiscent of Clifford Brown's "Cherokee" he even throws in a Brown lick drawn from that classic's intro. Magnarelli spent many years performing with the great bandleader Ray Barretto. His "Ballad for Barretto" has such a beautifully classic melodic approach similar to Benny Golson's "I Remember Clifford" that other instrumentalists will probably embrace this tune down the jazz road. 

Triple-metered over "Body and Soul" chord changes, "Soul Sister" opens with Magnarelli and Smulyan lightly carrying the melody. The superimposition of new melodic material over standard harmonic changes is as old as jazz. For Magnarelli to use his marvelous compositional chops to take such a standard and turn it into a hip waltz is slick genius. There are no gimmicks in Persistence. Magnarelli and his colleagues sound comfortably secure in themselves. All have paid dues in the shed, studios and pits, on the road and wherever. It's that persistence that results in performance perfection. Magnarelli presents us with an honest, no frills attempt at that goal. And, yes, he does indeed come close. Very, very close. A terrific, persistently satisfying disc. ~ Nicholas F.Mondello https://www.allaboutjazz.com/joe-magnarelli-persistence-by-nicholas-f-mondello.php

Personnel: Joe Magnarelli: trumpet; Gary Smulyan: baritone saxophone; David Hazeltine: piano; Peter Washington: bass; Kenny Washington: drums.

Persistence

---

Charles McPherson Group - Follow the Bouncing Ball

Styles: Saxophone Jazz
Year: 1989
Time: 67:14
File: MP3 @ 320K/s
Size: 153,9 MB
Art: Front

(6:24) 1. Passport
(4:59) 2. Where Are You
(4:33) 3. Follow the Bouncing Ball
(6:33) 4. Blues for Mac
(4:18) 5. Starburst
(5:59) 6. The Prophet
(8:00) 7. Dearly Beloved
(4:21) 8. Fun and Games
(8:52) 9. Mantra
(7:23) 10. Prelude to a Kiss
(5:47) 11. An Oscar for Treadwell

A musical descendant of Charlie Parker, alto saxophonist Charles McPherson leads two separate groups in this compilation. The first few selections, from an evidently otherwise unissued session in 1989, feature a quartet with pianist Alan Broadbent, bassist Jeffrey Littleton, and drummer Charles McPherson, Jr. The leader and Broadbent both inject fiery solos into the brisk interpretation of Parker's infrequently played blues "Passport." The easygoing bossa nova treatment of the standard "Where Are You" proves no less dazzling, followed by two potent McPherson originals, the spirited bop vehicle "Follow the Bouncing Ball" (based on the changes to "Lover") and the late-night-themed "Blues for Mac."

The final seven tracks made up the contents of the Discovery LP The Prophet, but this 1983 session features pianist Mike Wofford, bassist Andy Simpkins, drummer Donald Bailey, Sr., and trombonist Kevin Quail, with conga player Hayward Brown, Jr. added on some tracks. McPherson is clearly enthusiastic about his rhythm section and gives it plenty of space, while the somewhat obscure Quail holds his own. The interplay in the leader's uptempo cooker "Starburst" is an obvious highlight, though the lush interpretation of Duke Ellington's "Prelude to a Kiss" also proves masterful. Sadly, this CD disappeared from print when the label folded after producer Albert Marx's death, and hopes of a reissue remain slim.By Ken Dryden https://www.allmusic.com/album/follow-the-bouncing-ball-mw0000078357

Personnel: Alto Saxophone – Charles McPherson; Bass – Andy Simpkins, Jeffery Littleton; Congas – Hayward Brown, Jr.; Drums – Charles McPherson, Jr., Donald Bailey, Sr.; Piano – Alan Broadbent, Mike Wofford; Trombone – Kevin Quail

Follow the Bouncing Ball

---

The Keynoters With Nat King Cole: The Essential Keynote Collection 9

Styles: Swing, Jazz
Year: 1986
Time: 47:29
File: MP3 @ 128K/s
Size: 47,6 MB
Art: Front

(4:17) 1. You're Driving Me Crazy (Alternate Take)
(4:15) 2. You're Driving Me Crazy
(4:38) 3. I'm In The Market For You
(4:31) 4. Blue Lou (Unissued Master 1)
(4:22) 5. Blue Lou (Unissued Master 2)
(4:20) 6. I Found A New Baby (Unissued Master)
(3:18) 7. I Can't Believe That You're In Love With Me (Alternate Take)
(3:06) 8. I Can't Believe That You're In Love With Me
(3:11) 9. The Way You Look Tonight (Alternate Take)
(3:10) 10. The Way You Look Tonight
(2:38) 11. Airiness A La Nat (Alternate Take)
(2:39) 12. Airiness A La Nat
(3:00) 13. My Old Flame

Valuable anthology in the huge Complete Keynote Sessions anthology line. This set featured Cole playing with group assembled for recording sessions organized by Harry Lim for his Keynote label. They are solidly in swing mode and present Cole at his peak as soloist and accompanist. Unfortunately, both this and the total 21-disc package are difficult to find and expensive.By Ron Wynn https://www.allmusic.com/album/the-keynoters-with-nat-king-cole-mw0000651253#review

Personnel: Trumpet – Charlie Shavers (tracks: 1 to 6), Jonah Jones (tracks: 1 to 6); Tenor Saxophone – Budd Johnson (tracks: 1 to 6); Alto Saxophone – Willie Smith (2) (tracks: 7 to 13); Bass – Milt Hinton (tracks: 1 to 6), Red Callender (tracks: 7 to 13); Drums – J. C. Heard (tracks: 1 to 6), Jackie Mills (tracks: 7 to 13); Piano – Johnny Guarnieri (tracks: 1 to 6), Nat King Cole (tracks: 7 to 13)

The Keynoters With Nat King Cole: The Essential Keynote Collection 9

---

Angela Verbrugge - Somewhere

Styles: Vocal
Year: 2024
Time: 29:30
File: MP3 @ 320K/s
Size: 68,3 MB
Art: Front

(4:58) 1. I Had the Craziest Dream
(3:52) 2. Somewhere
(3:56) 3. Born to Be Blue
(3:09) 4. Until I Met You (Corner Pocket)
(5:00) 5. For You, For Me, Forevermore
(4:13) 6. Je Ne Veux Pas Te Dire Bonsoir (Remix)
(4:19) 7. If the Moon Turns Green

The proper response to Beauty is an awed admiring silence. So these liner notes should be one word in a large font: LISTEN. But Angela asked me to add a few hundred keystrokes to the project, so here we are. Incidentally, I have chosen to focus on Angela in the midst of the most superb musicians and arrangements. I hope they will forgive me!

Angela Verbrugge is a great subversive. Her work is so quietly insinuating that listeners might easily underestimate it in favor of singers who make their work look arduous. But in every song, she creates singular landscapes of feeling that run parallel with melody and lyrics, as if the songs were sheets of colored tissue paper through which she shines light to make magic shadows on the wall.

In her casual-sounding way, she offers us truths of the heart, urgent and genuine. A gentle authenticity without pretense. Rather than a throbbing vibrato, long-held notes in forests of violins, she offers us a light-hearted tenderness, a speaking naturalness. And she is an elegant improviser, a risk-taker, a great horn-player who doesn't bring a case to the gig.

Her musical range is anything but narrow: on one track, she suggests the Basie band without all those suits and music stands; on another, she serves us a croissant in an imaginary cafe on Boulevard Saint Germain in Paris.

I am so impressed by her light touch with songs that ordinarily lead singers to melodrama. Forgive the domestic metaphor, but it is as if Angela had gone to the laundry room with these songs, put them in the spin-dryer on high heat for a few seconds to remove decades of damp sentimentality, and brought them out, resuscitated.

Her "Craziest Dream" is nearly whimsical ("let me tell you about the weird thing that happened last night!") an interlude of love-making at the breakfast table. "Somewhere" is sweetly sustaining: in her production of West Side Story, Tony and Maria live on and leave the city to sell their own goat cheese, far from skyscrapers. "Born to Be Blue," a self-pitying lament in others' hands, is now a playful duet for voice and piano. "For You, For Me, Forevermore" is a series of airy footsteps through the never-heard verse and chorus.

The one exception is her "If the Moon Turns Green," a 1935 song by Bernie Hanighen, Billie Holiday's friend and advocate. Billie didn't record it when it was new, but Angela's version makes up for that. It is a masterpiece of delicate ardor, and I do not overstate. By Michael Steinman https://www.allaboutjazz.com/angela-verbrugge-somewhere

Personnel: Angela Verbrugge - vocals; Erik Kalaidzis - vocals (2); Ray Gallon - piano (3,4,5,7); Cameron Brown - bass (4,7); Anthony Pinciotti - drums (4,7); Dave Say - saxophones (2,6); Miles Black - piano (1,2,6); Jodi Proznick - bass (1,2,6); Joel Fountain - drums (1,2,6)

Somewhere

---

David Benoit - Timeless

Styles: Piano Jazz
Year: 2024
Time: 48:54
File: MP3 @ 320K/s
Size: 114,2 MB
Art: Front

(4:45) 1. Fuzzy Logic (feat. Spice Fusion)
(4:52) 2. Cafe Rio (feat. Spice Fusion)
(4:23) 3. The Surest Things Can Change (feat. Brian McKnight)
(4:35) 4. Restless (feat. Spice Fusion)
(4:56) 5. Drive Time (feat. Spice Fusion)
(4:08) 6. Savannah Dream (Sophie's Song)
(4:35) 7. 6 PM (feat. Spice Fusion)
(5:42) 8. Beat Street (feat. Spice Fusion)
(6:54) 9. Mercy, Mercy, Mercy (feat. Spice Fusion)
(3:59) 10. Savannah Dream (Sophie's Song) (Radio Edit)

Grammy Nominated Pianist, Composer, Arranger, Film & TV Scorer.

Everyone knows David Benoit’s soundtracks for the “Peanuts” telefilms, which have amassed over 20 radio chart-toppers, as well as his music for films produced by Clint Eastwood, Sally Field, and many others. His collaborations with artists as diverse as The Rippingtons, Faith Hill, David Sanborn, Marc Antoine, and CeCe Winans have earned him praise from both press and fans alike. His orchestral work with the Pacific Vision Youth Symphony (which he founded in 2001), the Los Angeles Philharmonic, the London Symphony Orchestra, and the Philippine Philharmonic, but what truly sets this pianist and composer’s success apart is his ability to reinvent himself and be appreciated on both the jazz and smooth jazz scenes. “Timeless” presents about ten original compositions that reflect his passion for orchestral music, similar to what he could conceive for cinema, but this time in service of his vision of jazz, inviting Brian McKnight on the track “The Surest Things Can Change” perhaps to add a smooth touch to the whole.

Throughout this album, despite knowing David Benoit’s entire body of work, I remain fascinated by his way of writing music and managing arrangements, as David Benoit has a style all his own, born from a broad culture. “Timeless” also includes two more intimate recordings made in Los Angeles with a 10-piece brass section consisting of trumpets, trombones, bass trombone, flutes, and clarinets. These musicians, along with David’s touring rhythm section, Dan Schnelle on drums, and Roberto Vally on bass, have created a completely unique and distinctive sonic journey. On one of these two selections, “The Surest Things Can Change,” composed by Gino Vannelli and arranged by Benoit. The other of these two pieces, “Savannah Dream,” composed by SRG Jazz president Claude Villani, and arranged by Benoit, is the album’s first single. David Benoit has come a long way since his formative years in the South Bay of Los Angeles.

A grand album where the brass bursts here and there to make way for more poetic moments, in each track of this album, there’s always so much happening, so that when you listen to this CD several times, you spend your time discovering things you hadn’t noticed before. Listening to this album by David, others come to mind, like the fabulous album “So Nice” with Marc Antoine, “Heroes,” and the timeless “Here’s to you Charlie Brown…. And all the others,” all these fabulous albums that David Benoit has been releasing over the decades. As a discreet artist, I realize that his work is part of the composers who have been part of my universe for a very long time, like Bob James, Marcus Miller, David Sanborn, and I’ll stop there, otherwise, I’ll need to create a 5.000-page volume to tell you all this. Just know that “Timeless,” like every album by David Benoit, is a little wonder, soft and sometimes unclassifiable, very jazzy, very… full of other things too, sublime, admirable… “Indispensable!” By Thierry De Clemensat
https://www.paris-move.com/reviews/david-benoit-timeless-eng-review/

Timeless

---

Cæcilie Norby - I Had a Ball - Greatest & More

Styles: Vocal
Year: 2007
Time: 62:42
File: MP3 @ 320K/s
Size: 147,5 MB
Art: Front

(3:23) 1. Girl talk
(3:50) 2. Spinning wheel
(3:53) 3. Comes love
(3:02) 4. I had a ball
(4:43) 5. Life on mars
(6:03) 6. Cuban cigars
(5:05) 7. First conversation
(4:24) 8. Just one of those things
(4:53) 9. Big time
(5:26) 10. My man
(3:55) 11. Set them free
(3:35) 12. What do you see in her
(4:03) 13. Man's got soul
(6:18) 14. A poem & a prayer

She can do it all: fusion, rock and jazz. At the tender age of 32 she already has a stupendous carrier, and she has contributed to breaking down the rigid division into genres; in addition she has attracted notice by awakening an interest in jazz in the young, traditionally rock-oriented audience. Cæcilie Norby was born on 9 September 1964 in Fredriksberg, Denmark, into a musical family: her father, Erik Norby, is a renowned score composer, and her mother, Solveig Lumholt, an opera singer. The family's only record with rhythmic music was one with the singer Nancy Wilson, and together with the Beatles tapes it became well worn.

She went to the singing school of Sankt Annæ Gymnasium, and then followed a year at a folk high school with theatre as her main subject. In the summer of 1982, when she participated at a jazz festival at Brandbjerg, she was one of the founders of Street Beat, and she was the vocalist in this group for the next 18 months. From 1983 she was part of the jazz/funk group Frontline, which was awarded the Ben Webster Prize in 1985 and in the same year recorded the album Frontline. In the former Danish music magazine MM, a readers' poll bestowed prizes on the orchestra for "Jazz Act of the Year", "Live Act of the Year", "Most Promising Act", "Album of the Year" and Cæcilie elected "Soloist of the Year".

She has also toured with various groups and has performed several times with the Danish Radio Big Band. In 1985, she launched on a long co-operation with the singer Nina Forsberg in the highly popular rock group One-Two. The group existed right up to 1993 and recorded three albums. 1986 saw Cæcilie representing Denmark in an international jazz orchestra at the Knokke Festival in Belgium. Moreover, Cæcilie Norby has performed as vocal soloist with numerous Danish jazz musicians and orchestras: pianist Jørgen Emborg, Klüvers Big Band, drummer Niels Ratzer, pianist Thomas Clausen and many more. In 1990, Cæcilie's father wrote the work "Concerto for Two Sopranos" for Zealand Symphonic Orchestra. The two sopranos were Cæcilie herself and her mother, and the work contains both classical, rhythmic and improvising elements.

Cæcilie has also performed with her mother and Thomas Clausen with a mixture of opera, musical and jazz titled "Ballads, Blues & Lieder". During the 1990s, Cæcilie Norby has really cultivated her popular version of the standard repertoire of jazz music. She has been on frequent tours with her own quartet comprising pianist Ben Besiakov, bassist Lennart Ginman and Søren Christensen or Alex Riel playing the drums, and she has toured Europe with local quartets and big bands. In addition, she has been external examiner at the Academy of Rhythmic Music in Copenhagen, and moreover she has arranged and sung at various studio productions. In the spring of 1995 her album Cæcilie Norby was released on Blue Note, the legendary jazz label, with contributions by a number of trend-setting international composers and soloists, including saxophonists Randy Brecker and Rick Margitza, drummer Billy Hart, pianist Lars Jansson, and composers Chick Corea, Don Grolnick and Randy Brecker.

The CD was mixed and partly recorded in the USA. The Jazz Special magazine elected Cæcilie Norby one of the year's five best records featuring a Danish jazz musician, and the five-digit sales figures achieved so far both in Denmark and Japan are exceptional for a jazz album. Cæcilie certainly never expected to do that well. Her initial target was a mere 5,000 records sold, which would be something for a jazz album. But then Cæcilie calls her music jazz pop; it is by no means hard-core jazz. Following the release of Cæcilie first CD on Blue Note she has been on tour most of the time, with some of the musicians on the CD Cæcilie Norby as well as others. This success is now being followed up by another Blue Note release: My Corner of the Sky, and the contributors include drummer Terri Lyne Carrington, bassist Lars Danielsson and the Brecker brothers on tenor sax and flugelhorn. As on her first album, Niels Lan Doky is co-producer and co-arranger.

Cæcilie Norby has scored a tremendous success with her numerous projects, and she has been through the entire rock circus without becoming capricious. Although she is a popular favourite at festivals, she is drawn to smaller, more intimate venues, to the standard repertoire of jazz and to the talent of jazz musicians for improvising and going on stage without having spent six months in training camp and without the backing of a huge machinery. What has been referred to as a flirt with jazz must now be called a firm commitment. Cæcilie Norby's voice is lyrical and supple. She colours her vowels to taste. Improvisations and scats are done with elegance. Her phrasing can be both down-to-earth and romantic. She can radiate anything from the sweet and vulnerable to the crude and powerful. Some critics have compared Cæcilie Norby to Swedish Monica Zetterlund and to the American singers Nancy Wilson, Dinah Washington and Aretha Franklin.
https://www.jazzmusicarchives.com/artist/caecilie-norby

Personnel: Vocals – Cæcilie Norby; Alto Saxophone, Piccolo Flute, Flute, Alto Flute, Clarinet – Morten Øberg; Alto Saxophone, Soprano Saxophone, Flute, Clarinet – Niels Løkkegaard; Baritone Saxophone, Bass Clarinet – Finn Henriksen; Bass, Electric Bass – Morten Ramsbøl; Drums – Espen Laub von Lillienskjold; Guitar – Søren Bo Addemos; Orchestra – Klüvers Big Band; Piano, Keyboards – Mads Bærentzen; Tenor Saxophone, Flute, Clarinet – Claus Waidtløw, Michael Bladt; Trombone – Jacob Ringsmose, Nikolai Bøgelund Pedersen, Stefan Ringive; Trumpet – Henrik Hou Peddersen, Jan Lynggaard Sørensen*, Jesper Riis, Rasmus Bøgelund; Valve Trombone – Niels Jacob Nørgaard

I Had a Ball - Greatest & More

---

Joe Lovano - Flights of Fancy: Trio Fascination Edition Two

Styles: Saxophone Jazz
Year: 2001
Time: 67:54
File: MP3 @ 320K/s
Size: 155,4 MB
Art: Front

(6:22) 1. Flights of Fancy
(3:31) 2. On April (I'll Remember April)
(4:36) 3. Amsterdam
(4:26) 4. Blue Mist
(4:01) 5. Off and Runnin'
(6:26) 6. Infant Eyes
(6:35) 7. 206
(8:00) 8. Bougainvillea
(4:52) 9. Windom Street
(4:42) 10. Hot Shot
(3:56) 11. Aisha
(3:09) 12. Amber
(5:46) 13. On Giant Steps
(1:26) 14. Flights of Fancy (Reprise)

The first edition of Joe Lovano's Trio Fascination featured Dave Holland on bass and Elvin Jones on drums. Following the album's release in 1998, however, Lovano's live shows featured the less famous but equally muscular bass/drum team of Cameron Brown and Idris Muhammad. On Trio Fascination, Vol. 2, the Lovano/Brown/Muhammad unit is only one of four trio configurations that the saxophonist employs. Taking the trio concept beyond the traditional confines of horn, bass, and drums, Lovano takes a left turn and colors this album with continually changing instrumentation.

Trio one is Lovano, Brown, and Muhammad. Trio two features the leader with Billy Drewes on soprano saxophone and alto flute and Joey Baron on drums; trio three with Toots Thielemans on harmonica and Kenny Werner on piano; and trio four with Dave Douglas on trumpet and Mark Dresser on bass. (The trios change unpredictably from track to track, sort of like a CD player in shuffle mode.) Varying the instrumentation even further, Lovano, like on volume one, switches from among his arsenal of horns: tenor, straight alto, soprano, and C-melody saxes, as well alto and bass clarinets.

On "206," he modifies trio four by playing drums behind Douglas and Dresser, and on "Blue Mist" he begins with gongs to supplement Muhammad's percussion textures. In two instances, the trios change during the very course of the tune. "Bougainvillea" (by Lovano's wife, vocalist Judi Silvano) starts with trio one and in the last two or so minutes segues to an impressionistic ending featuring trio three. "On Giant Steps," based on the groundbreaking Coltrane chord changes, proceeds in the opposite direction: Trio three solos freely and simultaneously, then passes the baton to trio one, which launches into a swing tempo far slower than is usual for the tune, but no less burning.

One of Lovano's first high-profile projects was an unorthodox trio with guitarist Bill Frisell and drummer Paul Motian. The saxophonist's association with Drewes and Baron dates back to the early '70s. So Lovano's "trio fascination" has deep roots, and the music on this record is a cumulative and probably near-exhaustive survey of his abilities within the form. One only need contrast "Hot Shot" or "Flights of Fancy" or the obscure McCoy Tyner ballad "Aisha" (all trio one) with modernist, offbeat abstractions like "Amber" and "Amsterdam" by trio four, or "Off and Runnin'" by trio two, to get an idea of Lovano's artistic range. Fans looking for more of the hard-driving, free-spirited swing of the first Trio Fascination record will find it here in smaller doses. And those who got their first taste of Lovano with 2000's neo-bop nonet record 52nd Street Themes ought to be prepared for something very different. By David R.Adler
https://www.allmusic.com/album/flights-of-fancy-trio-fascination-edition-2-mw0000105325

Personnel: Joe Lovano- tenor saxophone, straight alto saxophone, alto clarinet, soprano saxophone, bass clarinet, C-melody saxophone, gongs, drums, percussion; Billy Drewes- soprano saxophone, alto flute, percussion; Dave Douglas- trumpet; Toots Thielemans- harmonica; Kenny Werner- piano; Mark Dresser, Cameron Brown- bass; Idris Muhammad, Joey Baron- drums.

Flights of Fancy: Trio Fascination Edition Two

---

Charles McPherson Quartet Feat. Steve Kuhn - But Beautiful

Styles: Saxophone And Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 71:25
Size: 164,6 MB
Art: Front

( 8:25)  1. Be My Love
( 8:43)  2. I Should Care
(10:22)  3. We'll Be Together Again
( 9:00)  4. My Ideal
( 7:28)  5. I Didn't Know What Time It Was
( 7:14)  6. I'll Never Stop Loving You
( 3:29)  7. Love Letters
( 9:33)  8. But Beautiful
( 7:11)  9. Gone With The Wind

Charles McPherson delves into a number of standards in this collection of timeless ballads, well accompanied by pianist Steve Kuhn, bassist David Williams, and drummer Leroy Williams. The alto saxophonist's tone has a bit of a bluesy edge throughout the sessions, as if he is reminiscing about a past love. His heartfelt rendition of "My Ideal" stands out, as do his two interpretations of songs by Nicholas Brodszky, "Be My Love" and "Love Letters." McPherson picks up the tempo with "I Didn't Know What Time It Was," though his tone doesn't shift to a lighter mood. The relaxed mood makes this release perfect for late-night listening. The only drawback with this CD is the ugly cover photo, which McPherson denounced as very tasteless during a 2007 interview. ~ Ken Dryden   http://www.allmusic.com/album/but-beautiful-mw0000351771

Personnel: Charles McPherson alto sax; Steve Kuhn piano; David Williams bass; Leroy Williams drums

But Beautiful

---

The Four Freshmen - Love Songs

Released: 2012
Size: 80,0 MB
Time: 34:43
File: MP3 @ 128K/s
Styles: Vocal Jazz Quartet,Easy Listening
Art: Big front

01. Stardust [3:36]
02. Body And Soul [4:11]
03. Only Trust Your Heart [3:08]
04. I Can't Believe That You're In Love With Me [2:41]
05. As Long As I'm Dreaming [3:29]
06. Plenty Of Money And You [2:39]
07. These Foolish Things [3:59]
08. A Nightingale Sang In Berkeley Square [3:25]
09. On The Street Where You Live [4:29]
10. I Love You [3:03]

The Four Freshmen is an American male vocal band quartet that blends open-harmonic jazz arrangements with the big band vocal group sounds of The Modernaires (Glenn Miller), The Pied Pipers (Tommy Dorsey), and The Mel-Tones (Artie Shaw), founded in the barbershop tradition. The Four Freshmen is considered a vocal band because the singers accompany themselves on guitar, horns, bass, and drums, among other instrumental configurations.The last original member retired in 1993, but the group still tours internationally to sold-out audiences and has recorded jazz harmonies since its late '40s founding in the halls of the Jordan School of Music at Butler University (Indianapolis).

In early 1948, brothers Ross and Don Barbour, then at Butler University's Arthur Jordan Conservatory in Indianapolis, Indiana, formed a barbershop quartet called Hal's Harmonizers. The Harmonizers also included Marvin Pruitt — soon replaced by Ross and Don's cousin Bob Flanigan — and Hal Kratzsch (1925–70), replaced in 1953 by Ken Errair. The quartet soon adopted a more jazz-oriented repertoire and renamed itself the Toppers. At first, they were influenced by Glenn Miller's The Modernaires and Mel Tormé's Mel-Tones, but soon developed their own style of improvised vocal harmony. In September 1948, the quartet went on the road as The Four Freshmen, and soon drew the admiration of jazz legends such as Dizzy Gillespie and Woody Herman.In 1950, The Four Freshmen got a break when band leader Stan Kenton heard the quartet in Dayton, Ohio, and arranged for an audition with his label, Capitol Records, which signed The Four later that year. In 1952, they released their first hit single "It's a Blue World". Further hits included "Mood Indigo" in 1954, "Day by Day" in 1955, and "Graduation Day" in 1956.The Four Freshmen won Best Vocal Group of the Year in Down Beat magazine's Readers' Polls in 1953, 1954, 1955, 1956, 1958, 2000, and 2001.

The Four Freshmen were nominated in the Grammy Vocal Group Performance category in 1958 for "The Four Freshmen in Person" (Capitol), 1961 for "Voices in Fun" (Capitol), 1962 for "The Swingers" (Capitol), 1964 for "More Four Freshmen and Five Trombones" (Capitol), and in 1986 for "Fresh!" (Pausa).Throughout the 1950s and early 1960s, The Four Freshmen released a number of recordings, made film and television appearances, and performed in concert. The group eventually lost their mainstream following with the advent of the British pop bands of the 1960s. The group did not disband, however, even after the last original member, Bob Flanigan, retired in 1993. After his retirement Flanigan managed the group and owned the rights to The Four Freshmen name. He died on May 15, 2011 at the age of 84 from congestive heart failure. Ross Barbour died on August 20, 2011 from cancer at the age of 82.During its 65-year history, The Four Freshmen had twenty-three different line-ups and twenty-four different members !! The 2013 Four Freshmen lineup of Brian Eichenberger (lead, bass, arranger), Stein Malvey (second voice, guitar), Curtis Calderon (third voice, trumpet, flugelhorn), and Bob Ferreira (fourth voice, drummer, soloist) was first established in 2013. They perform at upwards of 100 bookings a year.The Four Freshmen have been honored with the following designations: JazzTimes magazine's Readers Poll Best Vocal Group (multiple wins), Down Beat magazine's Readers Poll Best Vocal Group (multiple wins), and Down Beat magazine's Readers Poll Hall of Fame finals (multiple years).

Line-Up:
Brian Eichenberger: Guitar,Lead Vocals,Arranger
Vince Johnson: Upright Bass,2nd Voice
Curtis Calderon: Trumpet,Flugelhorn,3rd voice
Bob Ferreira: Drums,4th voice

Love Songs

---

David Hazeltine - Blues Quarters, Vol.2

Styles: Piano Jazz, Hard Bop
Year: 2007
Time: 61:25
File: MP3 @ 320K/s
Size: 140,6 MB
Art: Front

(5:57) 1. Moment of Joy
(7:21) 2. But Here's the Thing
(7:03) 3. Inner Circle
(5:16) 4. Goin' Out of My Head
(7:56) 5. Embraceable You
(6:42) 6. Unforgettable
(6:20) 7. Suddenly It's Spring
(6:57) 8. The Second Blues Quarters
(7:49) 9. Blues for Us

A lot of water has passed under the proverbial bridge since the last time that David Hazeltine got together with Eric Alexander for the initial 1998 session billed as Blues Quarters Vol.1 (Criss 1188). As strong a showing as the pianist and his cohorts made on that initial release, I think all would agree this latest incarnation is even better, imbued with a maturation and musical camaraderie that has further developed due to countless numbers of gigs undertaken in the intervening years.

It's also interesting to ponder the fact that Hazeltine, Alexander, bassist Peter Washington, and drummer Joe Farnsworth have all built very prosperous careers over the past several years and have done so in a manner that is somewhat left of center from the norm. Historically, jazz musicians have gained prominence either through the forging of completely new paths that can also hold traps for alienating an audience or by recreating former styles in a retro manner that puts originality at a lesser premium. But while Hazeltine and his cohorts have steered clear from avant-garde leanings, preferring to work squarely within the bop tradition, they have expanded upon and refined the constraints of the mainstream in a way that has led to revitalization of a style that threatened to stagnate during the "young lions" craze of the late '80s and early '90s.

One of the incubators for this new music has been the group One For All, a sextet of leaders including Hazeltine and his friends from the disc at hand, the collective just recently celebrating an unprecedented ten-year run that culminated in its recent album The Lineup being honored as Recording of the Month in the November 2006 issue of Stereophile magazine, a prize usually reserved for classical or other more obscure releases. In his review of the disc, Robert Conrad commented strongly on the "headlong plunging urgency" of the music that he avows would not be possible without the "world-class blue-collar rhythm section [including] Hazeltine and Farnsworth." The point being that it is this same chemistry and common sense of purpose that makes Blues Quarters Vol.2 such a satisfying recital.

Like the first set, this latest offering goes for a combination of original tunes and some well-picked standards, but with an additional twist. On several tracks, the Latin rhythms of conguero Jose Alexis Diaz provide further seasoning that is aided and abetted by Hazeltine's coy arrangements. A veteran of New York's Latin scene, Diaz has been heard with many giants of the music including Tito Puente and Mario Bauza and can also be found on At the Main Event (Criss 1070) by trumpeter Brian Lynch.

"Moment of Joy" gets things started on a sunny note, this easy-going swinger boasting an atypical form with eight bars of an opening theme followed by a twelve-bar release that is then repeated. Statements by Alexander and Hazeltine precede a short testimonial by Washington, who proves not only to be a confident supporting player throughout but also a highly musical soloist.

Diaz makes his first appearance on the smoldering "But Here's the Thing," an Afro-Cuban groove that is built around sections of varying length, although the solos stick closely to the basic 16-bar structure of the head. Eric leads off with a typically refined solo full of rhythmic variety and textural variations such as upper register shouts and cries. Hazeltine follows before turning things over to Diaz, who blows over a percolating vamp with Farnsworth's rim clicks marking the clave.

Eric Alexander contributes "Inner Circle," a medium tempo number with a basic 24-bar form. This time around, Hazeltine takes the first several choruses before handing it off to Alexander. The two then take turns trading four bar exchanges with Farnsworth, an especially musical drummer who can always be counted on for statements that rely more on cogent phrasing and rhythmic resourcefulness than on mere displays of technical flash.

An iconic number directly associated with the feel good music of the 1960s, "Goin' Out of My Head" first hit the pop charts as performed by Little Anthony and the Imperials. Later, guitarist Wes Montgomery would see its potential for jazz fodder in a 1965 version arranged by Oliver Nelson. Alexander sits out on this one, but Diaz is back to help establish a lightly swinging bossa beat. This is just one example of Hazeltine's expertise in updating pop tunes of the '60s and '70s, an area which lately seems to have become his specialty.

Often considered the perfect litmus test for determining a jazz musician's potential for interpreting a ballad, "Embraceable You" is also one of George and Ira Gershwin's best-known pieces, the 1944 gem making its debut in the film Girl Crazy. Alexander delivers the melody with an appropriate degree of warmth and immediacy before the pace quickens at the start of Hazeltine's first solo chorus. The tempo stays up for Alexander's entrance and soon he's using the opening phrase as a launching point for further development, his unaccompanied cadenza bringing things in for a smooth landing.

"Unforgettable" will always be closely associated with Nat King Cole, his original version peaking as high as #12 on the Billboard charts back in 1952. Subsequent performances would include those by pianist Dick Hyman and vocal great Dinah Washington, but neither of these pack quite the visceral punch of Hazeltine's sagacious reworking here. With Diaz again on congas, the pace quickens for a fine series of solos from Alexander, Hazeltine, and Diaz in that order.

Looking for a number in waltz tempo, the quartet settles on "Suddenly, It's Spring," a seldom-heard standard that nonetheless can be heard in several jazz incarnations by instrumentalists such as Zoot Sims and Stan Getz and by several vocalists including Frank Sinatra and Chris Connor. Farnsworth's Latinesque embellishments accompany an opening vamp that subsequently leads into Alexander's delivery of the melody, the overall mood not unlike that of McCoy Tyner's "Three Flowers."

The universality of the blues that also happens to give the disc its title makes it presence strongly felt on the concluding two numbers. ""Blues Quarters 2" and "Blues for Us," the former not technically a blues and the latter definitely of the 12-bar variety, both make the most of one of the music's oldest and more enduring forms with some fluent soloing from everyone on board.

Of course it goes without saying that jazz has continued to struggle to find its place within a market that has changed dramatically over the past few years. In many ways, the presentation of jazz recordings from a historical perspective is directly opposed to current technological favorites such as iPods and MP3s. Because of this, it's doubtful that many jazz fans are looking to cram as many "tunes" into their pods as they can. Hazeltine and his close circle of friends have the opportunity to turn the tables on this current state of affairs as they continue to make music of the highest caliber. Blues Quarters 2 joins an already impressive body of work that is sure to stand the test of time even as the times are rapidly changing. By C. Andrew Hovan https://www.allaboutjazz.com/david-hazeltine-blues-quarters-vol2

Personnel: David Hazeltine (p), Eric Alexander (ts), Peter Washington (b) & Joe Farnsworth (d) plus Jose Alexis Diaz (congas on #2, 4 & 6)

Blues Quarters, Vol.2

---

Karen Souza - Essentials II

Styles: Vocal
Year: 2014
Time: 45:08
File: MP3 @ 320K/s
Size: 105,7 MB
Art: Front

(3:23) 1. The Way It Is
(4:03) 2. Wicked Game
(3:38) 3. Everyday Is Like Sunday
(3:37) 4. Dreams
(3:36) 5. Think For A Minute
(3:37) 6. Skin Trade
(3:20) 7. Can't Help Falling In Love
(4:09) 8. Everybody Hurts
(3:17) 9. Never Tear Us Apart
(3:59) 10. Twist In My Sobriety
(3:38) 11. The Sound Of Violence
(4:46) 12. Shape Of My Heart

It is clear that Karen Souza is poised to be recognized as the great new voice of Jazz today. Following her successful albums Essentials and Hotel Souza, Karen brings us Essentials II, a meticulous selection of hits of all time in fantastic Jazz versions, in which her voice takes us to an intimate and sensual world.

This time, the album was produced by the mythical Richard Gottehrer, famous for his work with stars such as Blondie, The Go-Gos, Dr. Feelgood, Richard Hell and The Bongos, among others. Recorded in The Orchard Studios, in New York City, it's carefully and incredibly produced sound invites us to enjoy Karen's warm voice as we have never been able before. Without any doubt, this is one of the most anticipated releases of this season.By Editorial Reviews
https://www.amazon.com/Essentials-II-Karen-Souza/dp/B00O3UBGQU

Essentials II

---

The Four Freshmen - Live At The Franklin Theatre

Size: 96,2 MB
Time: 40:50
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front & Back

01. Route 66 (3:20)
02. Poinciana (3:07)
03. Pick Up Your Tears (And Go Home) (2:13)
04. Now You Know (3:22)
05. Cold Cold Heart (2:45)
06. There Will Never Be Another You (3:23)
07. The Day Isn't Long Enough (3:03)
08. Day By Day (2:04)
09. In This Whole Wide World (2:44)
10. Just A Gigolo/I Ain't Got Nobody (4:28)
11. It's A Blue World (3:17)
12. Charmaine (2:34)
13. Give Me The Simple Life (2:04)
14. Graduation Day (2:18)

Personnel:
Brian Eichenberger
Stein Malvey
Curtis Calderon
Bob Ferreira

The Four Freshmen long tradition of 65 years continues into the 2014 performance season with a change in the group line-up.

After 13 years with America’s most enduring vocal group Vince Johnson has been called to pursue other musical interests. Johnson, well known for his overall musicality , talented bass playing, rounding out the third part in the vocal harmony, and most noted for his skillful whistling solos, will be missed.

Johnson has a Bachelors of Music in Performance from California State University, Long Beach, as well as a Masters of Music in Jazz Studies from the prestigious University of Southern California.

Succeeding Johnson will be Stein Malvey. Malvey has performed, toured, and recorded all over the U.S. He holds a Bachelor of Music degree from Lawrence University Conservatory of Music, and has been an integral part of the music scenes in both Minneapolis and New York City.

The Four Freshmen enter a new season of performance with their unique brand of vocal pop harmonies looking forward to continuing the legacy of headlining concerts around the globe. The Four Freshmen eagerly anticipate Malvey’s voice and guitar stylings.

The Four Freshmen remain the Acclaimed Masters of Harmony. As the Wall Street Journal proclaims, “Long live The Four Freshmen may they never graduate.”

Live At The Franklin Theatre

---

The Leaders - Mudfoot

Styles: Jazz
Year: 1986
Time: 41:53
File: MP3 @ 320K/s
Size: 96,6 MB
Art: Front

(13:18) 1. Miss Nancy
( 4:24) 2. Elaborations
( 3:43) 3. Midnite Train
( 4:45) 4. Freedom Swing Song
( 5:41) 5. Song of Her
( 6:53) 6. Mudfoot
( 3:07) 7. Cupid

The Leaders were formed in the mid-'80s as a vehicle for six notable players (trumpeter Lester Bowie, altoist Arthur Blythe, Chico Freeman on tenor and bass clarinet, pianist Kirk Lightsey, bassist Cecil McBee, and drummer Don Moye) to play straight-ahead advanced jazz. Their debut album, cut for the defunct Black Hawk label, is difficult to find unfortunately so, for it is an excellent effort.

Two songs are group compositions (including the ad-lib "Midnite Train"); Freeman provided a tribute to Eric Dolphy ("Freedom Swing Song"); and the other selections include originals by Blythe and McBee, plus Sam Cooke's "Cupid" (which has a Freeman vocal). Worth searching for.
By Scott Yannow https://www.allmusic.com/album/mudfoot-mw0000199075#review

Personnel: Alto Saxophone – Arthur Blythe; Bass – Cecil McBee; Drums – Don Moye; Piano – Kirk Lightsey; Tenor Saxophone, Bass Clarinet, Vocals, Producer – Chico Freeman; Trumpet – Lester Bowie

Mudfoot

---

Eliane Elias - Eliane Elias Plays Jobim

Styles: Vocal And Piano Jazz
Year: 1989
Time: 58:02
File: MP3 @ 320K/s
Size: 132,9 MB
Art: Front

(4:46) 1. Waters Of March / Agua De Beber
(4:25) 2. One Note Samba
(3:00) 3. Don't Ever Go Away (Por Causa De Voce)
(3:03) 4. Sabiá
(5:11) 5. Passarim
(8:27) 6. Don't Ever Go Away
(6:32) 7. Desafinado
(5:31) 8. Angela
(8:52) 9. Children's Games
(5:46) 10. Dindi
(2:24) 11. Zingaro

This is not an album for those die-hard bossa fans. These popular Jobim tunes all were revisited by Elias with the goal of bridging the gap between Brazilian music and jazz; that goal was achieved. She affirms herself in this complex idiom, resulting in an album that can be enjoyed by any jazz connoisseur.

On this record, Elias responds successfully to all the challenges that come with interpreting a legendary artist like Jobim. Enriching Jobim's harmonies through her own musical wisdom, already in the album's first track ("Waters of March"/"Água de Beber"), she escapes from the trap of a conventional soothing rendition. Together with the talents of percussionist Naná Vasconcelos, she instills there a true Brazilian samba spirit, with its restless, somewhat aggressive quality. "Sabiá," usually recalled under Jobim's dense orchestration, receives a delicate ad-lib treatment that metamorphoses into a ballad.

"Desafinado," one of the best known Jobim tunes in America, may be the biggest surprise, with itsunstable jazz rhythm joined by creative re-harmonization. "Angela," a haunting, mysterious melody, is properly explored as a calm ballad. "Zíngaro," or "Retrato Em Preto E Branco," is faithful to its Brazilian sentiment in which a ballad feel menaces to take charge but is soon substituted by a typically Brazilian melancholy. "Samba de Uma Nota Só," in a funky interpretation, is not recognizable until they come to the bridge.

Then a samba feel takes place, with hot solos and cuíca interventions with the jazzy drumming of deJohnette's enriching the overall pancultural result. The album closes with Elias singing "Don't Ever Go Away" with her heartfelt tone backed by a piano that betrays the classical music tradition inherent to the formation of the Brazilian sensitivity. By Alvaro Neder
https://www.allmusic.com/album/eliane-elias-plays-jobim-mw0000315237#review

Personnel: Piano, Voice – Eliane Elias; Bass – Eddie Gomez; Drums – Jack DeJohnette

Eliane Elias Plays Jobim

---

Roseanna Vitro - Tell Me The Truth

Size: 139,6 MB
Time: 60:05
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. On Your Way Down (5:56)
02. Walkin' After Midnight (4:25)
03. Respect Yourself (5:54)
04. Your Mind Is On Vacation (5:10)
05. I'll Be Long Gone (7:09)
06. Foolin' Myself (5:51)
07. Tell Me The Truth (5:21)
08. When Will I Be Loved (4:23)
09. Fortunate Son (5:26)
10. A Healing Song (5:57)
11. I'll Fly Away (4:27)

It is completely fitting that vocalist Roseanna Vitro conceive of and release a recording devoted to the music of the American South. But, this is not just any thoughtlessly- assembled concept recording. Vitro is the master of intelligently programmed and produced thematic albums as evidenced by: Catching Some Rays: The Music of Ray Charles (Telarc, 1997); The Time of My Life: Roseanna Vitro Sings the Songs of Steve Allen (Seabreeze, 1999); Conviction: Thoughts of Bill Evans (A Records, 2001); The Delirium Blues Project: Serve or Suffer (Half Note Records, 2008); The Music of Randy Newman (Motema, 2011); and Clarity: Music of Clare Fischer (Random Act, 2014). At best, these are not subjects one would expect addressed on a jazz recording. That said, Vitro, and husband/producer Paul Wickliffe, have made a creative habit of envisioning and producing such unlikely, and well-executed projects.

A native of Hot Springs, Arkansas, Vitro is part of a rich local musical tradition that included Johnny Cash, Bob Dorough, Glenn Campbell, Al Green, Levon Helm, among others. Her Southern bona fides are beyond question. But "Southern Music" describes a diffuse expanse of material. This is where Vitro is at her programming best. In all her similar projects, she resists the obvious. She proves this by kicking off Tell Me the Truth with Allen Toussaint's "On Your Way Down," a darkly-colored classic covered by Little Feat, Gov't Mule, and Phish, among many others. In Vitro's hands, this menacing, New Orleans Gris Gris is transformed into an upbeat, Latin-inflected tome on humility when especially gifted. Pianist Mark Soskin provides a sharp arrangement that features guitarist Mitch Stein in an assertive and distorted guitar solo and saxophonist Tim Ries waxing R&B on tenor.

While Patsy Cline's "Walkin' After Midnight" has been covered by other jazz vocalists (Patrice Jegou, Livia Devereux, Lawrence Lebo, Tierney Sutton; Kari Gaffney), Vitro injects a breezy, strolling quality to the song. She sings with a soulful abandon steeped in the jazz tradition. Vitro shares duet singing duties with Al Chestnut on the Staple Singers' "Respect Yourself" and trio duties with Kate McGarry and Cindy Scott (with one Sara Caswell on violin) on Eli Yamin's "A Healing Song, all with festive results. Creedence Clearwater Revival's "Fortunate Son" in transmuted into a 21st Century jazz anthem. Vitro finds much common ground with Mose Allison on the latter's "Your Mind is on Vacation," at the same time turning the soul meter on Boz Scagg's "I'll Be Long Gone." Roseanna Vitro should be rightly heard as one of our leading jazz vocalists today. Her track record of smartly programmed recordings is ample evidence of this. Tell Me the Truth is a valuable addition to her continuing contribution to jazz vocals. By C.Michael Bailey

Personnel: Roseanna Vitro: vocals, arrangements; Mark Soskin: piano, group and horn arrangement; Dean Johnson: bass; Rudy Royston: drums; Mitch Stein: guitars; Tim Ries: saxophone; Nathan Eklund: trumpet; Al Chestnut: vocals (3); Sara Caswell: violin (10); Kate McGarry: vocals (10); Cindy Scott: vocals (10).

Tell Me The Truth

---

Sara Schoenbeck & Wayne Horvitz - Cell Walk

Styles: Avant-Garde Jazz, Chamber Jazz, Free Improvisation
Year: 2020
Time: 64:45
File: MP3 @ 320K/s
Size: 148,7 MB
Art: Front

(3:49) 1. Undecided
(2:11) 2. Twining
(4:18) 3. No Blood Relation
(3:00) 4. Long Wing
(2:26) 5. 3 Places in Southern California
(6:37) 6. The Fifth Day
(3:31) 7. Deep Well Well
(2:14) 8. Tin Palace
(3:37) 9. Cell Walk
(6:13) 10. Sutter St.
(3:07) 11. Laughter
(2:58) 12. for Lou Harrison
(3:28) 13. Sleeper Ship
(5:58) 14. Ironbound
(3:58) 15. Marcuselle
(3:22) 16. We Will Be Silk
(3:50) 17. American Bandstand

The relationship between Sara Schoenbeck, one of the only bassoon practitioners to truly and successfully fold the instrument's sound into the realm of chamber jazz, and pianist Wayne Horvitz, a touchstone in creative music, has been documented in the past. The work of Horvitz's Gravitas Quartet, formed in 2004 and featuring Schoenbeck alongside trumpeter Ron Miles and cellist Peggy Lee, is but one indicator of the way those two have managed to meld the roaming and refined into a single concept; and the pianist's Some Places Are Forever Afternoon (Songlines Recordings, 2015), drawing inspiration from the work of poet Richard Hugo while adding guitarist Tim Young, bassist Keith Lowe and drummer Eric Eagle to the established foursome, is yet another, more forward look at how they connect. Both of those bands and formats suit the pairing, but neither one highlights it like this pared-down meeting.

Clearing away their comrades, Schoenbeck and Horvitz settle in for a collection of (mostly) miniatures that both rise to great heights and sink to dark depths, all the while showcasing synergy and sympathies of an extraordinary nature. The program includes spellbinding melodic drifts spied from a distance and sourced from the heavens, descents into catacombs echoing cacophonous lines, meetings with the proudly sedate, and curious turns of phrase that soothe and suggest multiple pathways. The music is never short on surprise, and it's always focused on a fine balance in voicing and vision(s).

Opening on "Undecided," a beautifully resigned gambol and glide across waters of reflection, and "Twining," which finds the bassoon wrapping a dark plait around stark piano, Schoenbeck and Horvitz immediately establish a duality in emotional expressions. As they continue exploring different nooks, what started out as that single, yin-and-yang split becomes ever more fragmented. The waltz-time flow of "No Blood Relation" is a source of comfort. The prickly and foreboding messages in "Long Wing" offer warnings. The propulsive "Tin Palace" drives Stravinsky-esque menace straight to the heart. And "For Lou Harrison," presumably dedicated to the contemporary classical composer, builds atop dancing and dizzying note pairs.

Eleven of these performances were recorded at Pyatt Hall in Vancouver, where Horvitz had the use of a beautifully-maintained Steinway D, and a follow-up session in Brooklyn added six more, all involving his addition of electronics. But the collected works play like one single statement and offer little to no hint of a split-session mentality. Whether paying a debt to Cecil Taylor with the title track, lending slow-flow paranoia form on "Sutter St.," entering the alien territory of "We Will Be Silk," or visiting the idyllic-turned-mysterious "American Bandstand," Schoenbeck and Horvitz operate as one, playing to the music and moment more than the spaces they inhabit.

Cell Walk, broaching fresh territory in multiple ways, suggests an unusually aligned sense of understanding shared between two unique artists. This is the rare case where the phrase "one of a kind" can be applied to the individual(s), the collective entity and its album all at once. Delivering music with incredible depth of presence, Sara Schoenbeck and Wayne Horvitz prove mesmerizing.
By Dan Bilawsky https://www.allaboutjazz.com/cell-walk-sara-schoenbeck-wayne-horvitz-songlines-recordings>

Personnel: Bassoon – Sara Schoenbeck; Piano, Electronics, Producer – Wayne Horvitz

Cell Walk

---

Brenda Earle Stokes - Motherhood

Styles: Vocal And Piano Jazz
Year: 2024
Time: 55:14
File: MP3 @ 320K/s
Size: 127,9 MB
Art: Front

(5:00) 1. The Endless Wait
(4:25) 2. This Is Your Childhood
(4:54) 3. Who Am I Now?
(5:05) 4. Where Are the Mothers?
(6:35) 5. Kathleen
(6:51) 6. Loose Tooth Blues
(4:57) 7. Saying Goodbye
(8:11) 8. Sharp Edges
(5:24) 9. The Strength of a Woman
(3:48) 10. Happy Mother's Day

Motherhood is a salient subject if ever there was one. Yet few jazz musicians ever touch on it in their work, never mind dedicating an entire record to the topic. The real or keenly felt need to keep up with the Joneses in a musical atmosphere that typically applauds and promotes standard bearers, hyper-masculine happenings, politically charged firebrands, and cutting-edge quests doesn't leave much room for an honest and open-hearted look at the scope of selflessness and self-discovery involved with maternal matters. The truth is that it takes serious bravery and being real two things that are in surprisingly short supply nowadays to show yourself and share a good deal about this journey, and Brenda Earle Stokes is one of the seemingly few willing to go here.

Consciously or not, this Canadian-born, New York City-based pianist-vocalist-composer began to contemplate exploring motherhood through song as she captured thoughts, fragments and lyrics in a notebook while pushing her young son's stroller around her neighborhood. Eight years later, during a residency at the Banff Centre for Arts and Creativity, Stokes armed with her written musings, voice memos, perspective and experience(s) wrote eight compositions in nine days, essentially birthing this project.

Few stones are left unturned here as Stokes gives a candid look at motherhood in her own inimitable voice. "The Endless Wait" the opener, with some of the leader's most moving singing, plus ace trumpet work from Ingrid Jensen offers outward expression for the mind in pregnancy, contemplating possibilities, time and ties to the generations. In doing so it introduces confessional qualities in Stokes' songcraft that carry across the entire program.

Whether taking us through wonderful yet trying years of growth during "This is Your Childhood," processing identity at once lost, subsumed and discovered through parenting on the questioning "Who Am I Now?," exploring beauty and body issues (and society's role in aggravating and propagating both) in the gently flowing "Where Are The Mothers?," or the increased responsibilities and stresses that squeeze a woman with school-aged children on singer-songwriter gem "Kathleen," Stokes has a knack for removing blinders that a significant portion of the civilized world intentionally or willingly wears when it comes to matters of motherhood. And her bandmates Jensen, bassist Evan Gregor, drummer Ross Pederson, backing vocalists Melissa Stylianou and Nicole Zuraitis use their expertise to help flesh out her clear and communicative vision at every turn.

Weighty matters logically dominate this discourse, but Stokes has a real way of softening some of the blows and/or adding humor in her delivery. She uses "Loose Tooth Blues" as a hip trip into a second-grader's shoes, presents Mr. Potato Head as prime fodder in a talk of letting go and moving on during the emotion-raising "Saying Goodbye," and offers a rundown of modern society's ever-present dangers with humor-streaked, beat poet brilliance in "Sharp Edges." And when all of that is played, sung and done, there are the celebrations a supremely soulful "The Strength of a Woman" and laudatory "Happy Mother's Day" which elevate those who deserve to be on a pedestal ever so high in the sky. May this be the start of a jazz trend to recognize motherhood in all its truths, difficulties, joys and wonders.By Dan Bilawsky
https://www.allaboutjazz.com/motherhood-brenda-earle-stokes-self-produced

Personnel: Brenda Earle Stokes - voice and piano; Evan Gregor - bass; Ross Pederson - drums; Ingrid Jensen - trumpet; & Nicole Zuraitis - backing vocals

Motherhood

---