Carol Albert - Tides of Change

Styles: Piano Jazz
Year: 1993
Time: 43:37
File: MP3 @ 320K/s
Size: 99,9 MB
Art: Front

(3:40) 1. Fortune
(4:40) 2. Tides Oof Change (Inst.)
(4:00) 3. To the Sun
(4:18) 4. I still think about you
(4:17) 5. On my Way
(3:47) 6. Looking through the Horizon
(4:27) 7. Solitude
(4:11) 8. High Seas
(5:10) 9. Beyond Tomorrow
(5:03) 10. Tides of Change (Voc.)

After paving the way with a handful of popular radio singles over the past year, Billboard Artist, Carol Albert brings out a full array of rich jazz and global fusion artistry on her unique concept album FLY AWAY BUTTERFLY. The versatile Atlanta-based composer, keyboardist and vocalist takes the listener on deeply soulful, exotic journey that artfully blends spirited, jazzy piano melodies, dreamy vocals, punchy percussion textures and hypnotic ambiences featuring the soaring, inspirational twist on Al Jarreau’s classic song “One Way," a contemporary homage to one of her jazz heroes offering up the powerhouse saxophone of Sam Skelton. FLY AWAY BUTTERFLY will take your musical imagination to many beautiful destinations!.

A rural town like Hiram, Georgia may not seem a likely start or an international recording artist, but that is exactly where Carol Albert's music talent emerged. In early childhood, Carol loved nothing better than to share the piano bench with her beloved grandmother. "My grandmother lost an arm to cancer, so she played the bass with her left hand and taught me to play the treble with my right. She also composed songs in her sleep and taught them to me. In sharing her melodies, my grandmother imparted her love for me as well as her love of music." As her music appreciation grew, so did Carol's aptitude for classical piano. She earned her Bachelor of Music degree from Georgia State University, and then embarked on a career in which she has left her mark nationally and internationally.

Internationally, Carol has toured four separate times in Europe, performing in Sweden, Germany, France, England, Ireland and Spain. Her CD's have also been quite popular overseas. Innovative Communications, her German Record Label, named Carol's Tides of Change among their "Best of Instrumental Music." Along with Tides of Change, Carol has produced four other CDs: Love In Your Eyes, Christmas Impressions, Morning Music and Night Music. Her works showcase original compositions along with Carol's interpretations of selected popular music.

Carol's many performance venues have been in cities across the US; San Francisco, Texas, Florida, North Carolina, Kentucky and Virginia. Carol has provided entertainment for a variety of trade shows, corporations, organizations and public venues. Carol performed at the US Cable & Film Convention in Atlanta, NARM Convention in San Francisco and Southern Gardening Association Convention. Additionally, Carol has performed for numerous corporations such as the Masters Golf Tournament at Augusta National, Olympics Hospitality Suite for Nations Band/German House, Arthur Anderson, AT&T, BellSouth Cellular, Coca-Cola Executives, Dean Witter, Dow Chemical, Georgia Baptist Hospital, Hilton Managers Association, IBM, NASCAR Association, Motorola, ReMax Associates, Southern Nursing Association and SuperValue to name a few. Private organizations have hired her to perform for such events as Party honoring Henry Kissinger and Party for Muhammed Ali. A small sampling of her appearances in her home city of Atlanta, GA includes the JW Marriott, Marriott Marquis, Four Seasons, Capital City Country Club, Country Club of the South, Garbo's, Peachtree Plaza, Banks and Shane and SwissHotel. Additionally, Carol has enhanced the mood at weddings and other momentous occasions as well.

Formerly a staff accompanist for the Georgia State University Music Department, Agnes Scott College and the Atlanta Ballet, Carol uniquely draws from her classical training to create a blend of smooth, contemporary jazz and easy instrumental rhythms. Her Atlanta area concert appearances include the Fox Theatre Keyboard Colossus, Blue Sky Concert Series, Dogwood Festival, Georgia Music Festival, Piedmont Arts Festival, Dekalb College Concert Hall, Taste of Atlanta Festival, New Sout Music Showcase, WPBA TV Jazz Series and Good Day Atlanta. Carol has also performed for the Jerry Lewis Muscular Dystrophy Telethon, WSB-TV's Walk for Hunger and WAVA TV5's Arthritis Telethon.

In 1991 she received an Emmy Nomination for Outstanding Achievement and Individual Excellence as a Composer for original theme music. Carol also took First Place for the Atlanta Songwriters Association's award in the Professional Category for Jazz. She is a professional member of N.A.R.A.S. (National Academy of Recording Arts & Sciences) and ASCAP (American Society of Composers, Authors and Publishers). Carol welcomes you to Contact her to learn specific details regarding her availability.
https://www.allaboutjazz.com/musicians/carol-albert/

Awards:

Global Peace Song Award Winner, New Age Category Emmy nomination for Outstanding Achievement and Individual Excellence/Composer Atlanta Songwriter’s Association 1st and 3rd Place Professional Jazz Division NARAS Member 25 year Certificate

Tides of Change

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Dutch Swing College Band - Johnny Meyer Goes Dixie

Styles: Big Band, Swing
Year: 1974
Time: 38:40
File: MP3 @ 320K/s
Size: 88,5 MB
Art: Front

(2:37) 1. Chigago
(3:05) 2. At A Georgia Camp Meeting
(3:17) 3. Out Of Nowhere
(3:00) 4. Melancholy Baby
(3:00) 5. Johnny's Habits
(3:00) 6. Avalon
(2:44) 7. Deed I Do
(3:30) 8. (Up A) Lazy River
(2:08) 9. I'm Gonna Sit Right Down And Write Myself A Letter
(2:11) 10. Ain't Misbehavin'
(2:53) 11. Is You Is Or Or Is You Ain't My Baby
(3:25) 12. If I Could Be With You
(3:46) 13. Indiana (Way Back Home In)

During World War 2, the Nazis banned jazz music in the Netherlands. Several youngsters wanted to preserve this music against all odds. They practised secretly, copied illegal radio broadcasts and were determined to found a school for jazz music when the war was over: the Swing College.

On Liberation Day, May 5th 1945, the Orchestra of the Dutch Swing College had its first public performance. Their members gave lectures, organised jazz meetings and started to teach jazz music. The name soon changed into Dutch Swing College Band. In 1960 the DSCBand (in the field of traditional jazz in the Netherlands) became professional and still performs worldwide to this day.http://www.dscband.nl

Dutch Swing College Band - Johnny Goes Dixie

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Tomasz Stanko New York Quartet - December Avenue

Styles: Trumpet Jazz
Year: 2017
Time: 64:21
File: MP3 @ 320K/s
Size: 154,1 MB
Art: Front

(4:13) 1. Cloud
(2:01) 2. Conclusion
(8:52) 3. Blue Cloud
(7:19) 4. Bright Moon
(5:05) 5. Burning Hot
(1:30) 6. David and Reuben
(6:26) 7. Ballad for Bruno Schulz
(4:05) 8. Sound Space
(6:33) 9. December Avenue
(6:08) 10. The Street of Crocodiles
(6:07) 11. Yankiels Lid
(5:58) 12. Young Girl in Flower

The elder statesman of modern Polish jazz, trumpeter and composer Tomasz Stańko has more than a forty year history with ECM. Dating back to his 1976 label debut, Balladyna, Stańko sounds to have arrived fully-formed, and in the company of Dave Holland and Finnish percussionist Edward Vesala. Stańko's trademark atmospheric and cerebral style is fully intact on December Avenue, his twelth album for Manfred Eicher's label.

Stańko's New York Quartet includes ECM artists David Virelles, whose Mbókò (2016) and Antenna (2016), amassed high praise, and Gerald Cleaver who has appeared on a number of the label's releases including those of Michael Formanek, Tim Berne, Roscoe Mitchell and Miroslav Vitous. Both were part of Stańko's Wisława project while bassist Thomas Morgan has been replaced by Reuben Rogers. The bassist's ties to the label are with Charles Lloyd on Rabo de Nube (2007), Mirror (2010) and Athens Concert (2011).

Stańko has long surrounded himself with a younger generation of top-rate musicians, helping to keep his own, introspective-leaning style, more open. Historically notably among those supporting players was the Lontano (ECM, 2006) group where the trumpeter was backed by the Marcin Wasilewski Trio who went on to substantial success. The New York Quartet has similarly brought out Stańko's considerable free improvisational skills but to a limited extent.

Virelles' meloncholy piano opens "Cloud," joined quickly by Stańko on a languid ballad that sets up the more spirited "Conclusion." On the latter we hear Rogers crafty introduction and Stańko's more animated playing but at just two- minutes, the piece doesn't quite live up to its energetic beginning. The pace doesn't accelerate again until "Burning Hot" where relative to the reflective stroll of the opening numbers the title is representative of Stańko's more inventive playing and the complex interaction with Virelles. "Ballad for Bruno Schulz" is essentially a Stańko/Virelles duo and the most appealling of the quiet compositions on December Avenue.

The minimal "Sound Space" leads to the energetic, boppish title track featuring a standout solo from Rogers and engaging contributions from both Stańko and Virelles, held together with some intricate and sophisticated work by Cleaver. "Yankiels Lid" is the most open of the twelve pieces and sees Virelles and Rogers at their most imaginative, while Stańko takes an accompanying role. "Young Girl In Flower" closes the album much as it began-a gentle ballad highlighted by Stańko's breathy signature style.

Stańko has been long been regarded for his ability to cover a wide range of emotions with his instrument and he can make the trumpet speak in tongues when he wishes to do so. But the avant-garde Stańko of circa Bluish (Power Bros., 1991) has long since been supplanted by the lyrically sophisticated minimalist of recent years. That mind-set works well in making his more visionary arrangements pop in the context of an entire album. December Avenue is strikingly balanced and tastefully performed by this well synergized quartet.By Karl Ackerman https://www.allaboutjazz.com/december-avenue-tomasz-stako-new-york-quartet-ecm-records-review-by-karl-ackermann

Personnel: Tomasz Stanko, trumpet; David Virelles, piano; Reuben Rogers; bass; Gerald Clayton, drums.

December Avenue

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Something Else! - Soul Jazz

Styles: Bop
Year: 2024
Time: 50:54
File: MP3 @ 320K/s
Size: 117,1 MB
Art: Front

(4:56) 1. Filthy McNasty
(7:55) 2. Too Blue
(4:05) 3. Mean Greens
(4:57) 4. The Chicken
(7:05) 5. Driftin'
(7:23) 6. Slow Drag
(5:34) 7. Strasbourg/St. Denis
(8:57) 8. Naima (Bonus Track)

Jazz supergroup Something Else! is led by Vincent Herring, featuring some of the very best musicians today, playing some of the most iconic toe-tapping Soul Jazz songs ever created. This era of fantastic, rhythmic and soul warming music will be presented with new arrangements plus original compositions in the same genre.

The septet lineups draw from a pool of talented artists whose combined talents make for exciting, danceable and hugely enjoyable shows.

Alto Sax: Vincent Herring
Trumpet: Jeremy Pelt / Randy Brecker / Freddie Hendrix
Tenor sax: James Carter / Eric Alexander
Guitar: Paul Bollenback / Russell Malone
Piano: David Kikoski / Mike LeDonne
Bass: Essiet Essiet / Yasushi Nakamura
Drums: Lewis Nash / Jeff Watts / Johnathan Blake

"The jazz supergroup Something Else!, …then followed with top-shelf soul-jazz and swing… Every one of these musicians is elite it was an extraordinary set. “ ~ Glide Magazine

“…the band wears its hard-bop heart on its sleeve …It practically dares audiences to sit still and remain on their best behavior.” By Steve Futterman, The New Yorker
https://atljazzfest.com/artists/something-else/

Soul Jazz

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Cybill Shepherd - Live at the Cinegrill

Styles: Vocal
Year: 2001
Time: 53:02
File: MP3 @ 320K/s
Size: 122,5 MB
Art: Front

(4:19) 1. That Old Black Magic
(5:19) 2. Diamonds Are a Girl's Best Friend
(2:20) 3. Menopause Blues
(2:02) 4. Walking the Dog
(1:31) 5. Talk Memphis to Me
(3:26) 6. Belle of the Blues
(1:37) 7. Moonlighting
(1:14) 8. I Told Ya I Love Ya Now Get Out
(2:18) 9. Blue Moon
(2:29) 10. Nice Work If You Can Get It
(7:12) 11. Kitchen Man
(0:44) 12. Just in Time
(2:12) 13. Long Before I Knew You
(2:20) 14. The Party's Over
(3:23) 15. I'm Going Back
(3:59) 16. She Must Be Beautiful
(4:37) 17. S'Wonderful
(1:18) 18. For All We Know
(0:34) 19. Bows-Playout

Cybill Shepherd is a one-of-a-kind steel magnolia, a Southern beauty queen who looks soft as a flower petal but who in reality is anything but soft on the inside. Her patrician looks and bombshell figure generated modeling and acting careers while her saucy attitude and flair for comedy won fans for her as well. Most interesting of all, behind the beautiful façade is a woman with brains and talent. She always spoke her mind, as evidenced by a tell-all memoir in 2000 in which she didn't hesitate to spill the beans and name which male co-star failed to finish a horizontal tango, which one tangoed too fast, and who was best equipped for the encounter. In addition to modeling, acting, writing, and producing, Shepherd also sings. She has released seven albums and has performed live in cabarets and other nightspots in Los Angeles, New York, San Francisco, and London.

Like many vocalists, Shepherd began with a stint in the church choir as a child. She started taking voice lessons when she was 16 years old. Her repertoire is a mixture of standards, blues, rock, and ballads. Peabo Bryson appears on her Somewhere Down the Road album. Stan Getz joins her on Mad About the Boy, and Phineas Newborn Jr. appears on Vanilla. Another album, Songs From the Cybill Show in 1999, is a tie-in to her similarly named television comedy series which launched in 1995.

A Tennessee native, Shepherd twice took the title of Miss Teenage Memphis, first in 1966 and again two years later. She was named Model of the Year by Stewart Models in 1968. Her photo has graced the covers of such magazines as Vogue, Life, People, and Glamour. One of those covers sparked Peter Bogdanovich's interest in Shepherd, leading to a long-term relationship and a starring role in his 1971 film, The Last Picture Show. The Heartbreak Kid followed the next year.

Other films include Texasville, Married to It, Daisy Miller, and Taxi Driver. Her awards include four Golden Globes and an equal number of People's Choice Awards. The Hollywood Radio and Television Society dubbed Shepherd and Bruce Willis, her co-star in the Moonlighting television series during the late '80s, Woman and Man of the Year in Broadcasting.

Shepherd was married twice. Her 1978 marriage to David Ford ended in divorce in 1982. In 1987 she wed Bruce Oppenheim, but that union, too, ended in divorce in 1990. She has three children. https://www.allmusic.com/artist/cybill-shepherd-mn0000149345#biography

Live at the Cinegrill

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Bill Barron - Essential Jazz Masters

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 139:34
Size: 323,7 MB
Art: Front

(6:06)  1. Groovin'
(3:05)  2. Billie's Bounce
(4:36)  3. A Cool One
(6:23)  4. Oriental Impressions
(4:49)  5. Jelly Roll
(6:17)  6. Nebulae
(6:49)  7. Bill's Boogie
(7:32)  8. Ode to an Earth Girl
(5:23)  9. Desolation
(4:31) 10. Self Portrait
(6:59) 11. Duality
(5:45) 12. Back Lash
(9:04) 13. Now's the Time
(5:04) 14. Work Song
(4:08) 15. Persian Street Scene
(5:52) 16. Noodlin'
(9:37) 17. Blast Off
(5:21) 18. Playhouse March
(7:07) 19. Fox Hunt
(6:43) 20. Modern Windows Suite: Men At Work
(7:40) 21. Modern Windows Suite: Tone Colors
(4:09) 22. Modern Windows Suite: Dedication to Wanda
(6:23) 23. Modern Windows Suite: Keystone

Bill Barron was an advanced and adventurous tenor saxophonist (doubling on soprano) who never compromised his music or received much recognition. He spent his formative years and beyond in Philadelphia, not moving to New York until 1958. Barron first came to the jazz world's attention through his participation on a Cecil Taylor date in 1959. After recording with Philly Joe Jones, Barron co-led a fine post-bop quartet with Ted Curson. However, Barron spent much of the remainder of his career as an educator, directing a jazz workshop at the Children's Museum in Brooklyn, teaching at City College of New York, and becoming the chairman of the music department at Wesleyan University. His "day job" made it possible for him to consistently record non-commercial music for Savoy (in 1972 he made that label's last jazz record), Dauntless, and Muse. Every one of Bill Barron's recordings as a leader uses brother Kenny Barron (16 years his junior) on piano. ~ Scott Yanow https://www.allmusic.com/artist/bill-barron-mn0000059950/biography

Essential Jazz Masters

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Eartha Kitt - Shorty Rogers And His Giants - St. Louis Blues

Styles: Vocal, Big Band
Year: 1958
Time: 35:12
File: MP3 @ 320K/s
Size: 91,7 MB
Art: Front

(2:45) 1. St. Louis Blues
(3:12) 2. Beale Street Blues
(2:53) 3. Chantez-les bas
(3:29) 4. Hesitating Blues
(2:36) 5. Steal Away (Negro Spiritual)
(3:13) 6. Careless Love
(2:40) 7. Atlanta Blues (Make Me One Pallet On Your Floor)
(3:44) 8. Long Gone
(1:57) 9. Hist the Window, Noah
(2:24) 10. Yellow Dog Blues
(2:49) 11. Friendless Blues
(3:24) 12. The Memphis Blues

Eartha Kitt was an international star who gave new meaning to the word versatile. She distinguished herself in film, theater, cabaret, music and on television. Miss Kitt is one of only a handful of performers to be nominated for a Tony (three times), the Grammy (twice), and Emmy Award (twice). She regularly enthralls New York nightclub audiences during her extended stays at The Cafe Carlyle and these intimate performances have been captured in her newest recording, Eartha Kitt, Live at The Carlyle.

Miss Kitt’s distinctive voice has enthralled an entirely new generation of fans. Young fans loved her as YZMA, the villain, in Disney’s animated feature The Emperor's Groove, (2001 Annie Award for Best Vocal Performance / Animated Feature). Miss Kitt was also featured in the sequel, The Emperor's New Groove II and reprised the role in the popular Saturday morning animated series The Emperor’s New School (2007 Emmy Award for Outstanding Performer in an Animated Program and 2007 Annie Award for Best Vocal Performance in an Animated Television Production).

Eartha Mae Kitt was ostracized at an early age because of her mixed-race heritage. At eight years old, she was given away by her mother and sent from the South Carolina cotton fields to live with an aunt in Harlem. In New York her distinct individuality and flair for show business manifested itself, and on a friend’s dare, the shy teen auditioned for the famed Katherine Dunham Dance Troupe. She won a spot as a featured dancer and vocalist and before the age of twenty, toured worldwide with the company. During a performance in Paris, Miss Kitt was spotted by a nightclub owner and booked as a featured singer at his club.

Her unique persona earned her fans and fame quickly, including Orson Welles, who called her “the most exciting woman in the world”. Welles was so taken with her talent that he cast her as Helen of Troy in his fabled production of Dr. Faust. Back in New York, Miss Kitt was booked at The Village Vanguard, and soon spotted by a Broadway producer who put her in New Faces of 1952 where every night she transfixed audiences with her sultry rendition of Monotonous. Her show stopping performance in New faces, which ran for a year, led to a national tour and a Twentieth Century Fox film version. Broadway stardom led to a recording contract and a succession of best- selling records including Love for Sale, I Want to Be Evil, Santa Baby and Folk Tales of the Tribes of Africa, which earned her a Grammy nomination.

During this period, she published her first autobiography, Thursday's Child. Miss Kitt then returned to Broadway in the dramatic play Mrs. Patterson and received her first Tony nomination. Other stage appearances followed, as did films including The Mark of Hawk with Sidney Poitier, Anna Lucastra with Sammy Davis, Jr. and St Louis Blues with Nat King Cole. In 1967, Miss Kitt made an indelible mark on pop culture as the infamous Catwoman in the television series, Batman. She immediately became synonymous with the role and her trademark growl became imitated worldwide.

Singing in ten different languages, Miss Kitt has performed in over 100 countries and was honored with a star on The Hollywood Walk of Fame in 1960. In 1966, she was nominated for an Emmy for her role in the series, I SPY. In 1968, Miss Kitt’s career took a sudden turn when, at a White House luncheon hosted by Lady Bird Johnson, she spoke out against the Vietnam War. For years afterward, Miss Kitt was blacklisted in the U.S. and was forced to work abroad where her status remained undiminished. In December 2006 she returned to Washington and light the National Christmas Tree alongside President and Mrs. George W. Busch In 1974, Miss Kitt returned to the United States, with a triumphant Carnegie Hall concert and, in 1978, received a second Tony nomination for her starring role in the musical, Timbuktu. Miss Kitt’s second autobiography, Alone With Me, was published in 1976 and I'm Still Here: Confessions of a Sex Kitten was released in 1989. Her best- selling book on fitness and positive attitude, Rejuvenate! (It's never Too Late), was released by Scribner in May 2001.

Live theater is Miss Kitt’s passion. In 2001, Broadway critics singled her out with a Tony and Drama Desk nomination for her role as Dolores in George Wolfe’s The Wild Party. Over the last few years, she has starred in National Tours of The Wixard of Oz and Rogers & Hammerstein’sCinderella. In December 2003, Miss Kitt dazzled Broadway audiences as Liliane Le Fleur in the revival of Nine, The Musical.In December 2004, she appeared as The Fairy Godmother in The New York City Opera production (Lincoln Center) of Cinderella. Most recently, she starred in the off-Broadway production of Mimi Le Duck (2006) and The Westport County Playhouse production of The Skin of Our Teeth (2007). Miss Kitt remainrd devoted to performing in front of live audiences, from intimate cabarets to concert halls with local symphonies.

Recent appearances include appearances at Detroit’s Music Hall, Washington, D.C.’s Blues Alley, Seattle’s Jazz Alley, Palm Beach’s Kravis Center for the Performing Arts, The Mohegan Sun Casino’s Cabaret Showroom, Sarasota’s Van Wetzel Center for the Performing Arts Festival. She is especially proud to have brought her one-woman show to the 51st Annual JVC Newport Jazz Festival and the Miami Beach JVC Jazz Festival. In February 2007, British audiences welcomed Miss Kitt back to London for a special series of eight sold-out performances at The Shaw Theater. Eartha Kitt passed on Christmas Day, 2008.
https://www.allaboutjazz.com/musicians/eartha-kitt/

St. Louis Blues

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Mary Lou Williams - A Keyboard History

Styles: Piano Jazz
Year: 1955
Time: 68:14
File: MP3 @ 320K/s
Size: 156,2 MB
Art: Front

(2:08) 1. Fandangle
(3:28) 2. Mama, Pin a Rose On Me
(3:38) 3. Roll 'em
(3:34) 4. Sweet Sue
(5:17) 5. Lullaby of the Leaves
(2:19) 6. Taurus
(3:32) 7. Jericho
(4:46) 8. I Love Him
(4:02) 9. Amy
(4:42) 10. It's the Talk of the Town
(3:32) 11. I Love You
(4:00) 12. Easy Blues
(2:17) 13. Between the Devil and the Deep Blue Sea
(3:12) 14. There's a Small Hotel
(3:21) 15. En Ce Temps-la
(3:04) 16. Lover
(2:40) 17. Carioca
(3:31) 18. Nicole
(2:35) 19. Tire Tire L'Aguielle
(2:31) 20. Autumn in New York

Mary Lou Williams’ difficult to find 1955 LP A Keyboard History (Jazztone J1206) in its entirety. Williams is showcased here in both a trio setting with bassist Wendell Marshall and drummer Osie Johnson on some tunes, as well as solo piano on many selections. As a bonus, another complete album by the pianist recorded the previous year in Paris.

All ten tracks on Mary Lou (Emarcy LP MG26033) are trio performances featuring Buddy Banks on bass, and Jean-Louis Viale on drums. Both albums received a five-star rating in Down Beat magazine https://www.jazzmessengers.com/en/9374/mary-lou-williams/mary-lou-williams

Personnel: Mary Lou Williams, piano; Wendell Marshall, bass (out on 2, 4, 6 & 10); Osie Johnson, drums (also congas on 7; out on 2, 4, 6, 8 & 10)

A Keyboard History

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Don Sebesky - Joyful Noise; A Tribute To Duke Ellington

Styles: Hard Bop, Crossover Jazz
Year: 1999
Time: 68:21
File: MP3 @ 320K/s
Size: 156,5 MB
Art: Front

(8:00) 1. Mood Indigo
(8:13) 2. Creole Love Call
(6:49) 3. Chelsea Bridge
(5:35) 4. Caravan
(3:56) 5. Warm Valley
(9:23) 6. Take The Coltrane
(4:16) 7. Satin Doll
(6:09) 8. Joyful Noise Suite; Gladly
(6:40) 9. Joyful Noise Suite; Sadly
(6:31) 10. Joyful Noise Suite; Madly
(2:44) 11. Ko-Ko

Joyful? Absolutely. Noise? Not on your bass drum, compadre.

If it has taught us nothing else, the “Year of Ellington” now drawing to its close has shown that there are an almost infinite number of ways in which to enter and throw light upon the Duke’s abundant storehouse of enduring musical treasures. Don Sebesky has chosen the big–band route the one most favored by the maestro himself to stylishly renovate half a dozen opulent melodies by Ellington and his co–authors and another by alter ego Billy Strayhorn, uncloak his own three part “Joyful Noise Suite” and present a faithful transcription of “Ko–Ko” from Ellington’s 1941 recording for RCA.

Sebesky, one of the most respected Jazz composer / arrangers in the business, can literally have his pick of accomplished sidemen, and he chose only the best for this ensemble (including several from the formidable Vanguard Jazz Orchestra). A number of them (including, I believe, most of the trumpet section) can be seen from time to time in drummer Louie Bellson’s “East Coast” ensemble, which speaks for itself. As if that weren’t enough to ensure success, Sebesky has brought in a quintet of world–renowned guest soloists Bob Brookmeyer, Ron Carter, Tom Harrell, John Pizzarelli and Phil Woods, each of whom plays a concise but notably dynamic role. Ellington’s wonderful compositions notwithstanding, the centerpiece of this impressive tribute is Sebesky’s 19–minutes–plus suite, whose three picturesque movements (“Gladly,” “Sadly,” “Madly”) capture superbly the indomitable Ellington spirit while showcasing emphatic solos by Brookmeyer, Woods, Harrell, pianist Jim McNeely, bassist Dennis Irwin and drummer Dennis Mackrel.

Brookmeyer, who on the eve of his 70th birthday is playing as well as he ever has (he’s especially impassioned in the suite), solos also on “Creole Love Call,” “Caravan” and “Ko–Ko.” Woods is heard on the first two of those and on “Satin Doll,” Harrell and Carter on “Satin Doll” and “Creole Love Call,” Pizzarelli on “Mood Indigo,” “Caravan” and “Satin Doll.” Although he’s listed as a guitarist / vocalist, Pizzarelli’s vocals consist of wordless counterweights to his guitar solos.

The guest artists don’t usurp all of the solo space, with McNeely declaiming boldly on “Mood Indigo,” the elaborately rebuilt “Chelsea Bridge,” “Warm Valley” and “Ko–Ko.” Trumpeter Barry Ries, tenor Scott Robinson and the entire trombone section are featured on “Mood Indigo,” while tenor Tom Christensen is in the foreground on “Chelsea Bridge” and “Take the Coltrane,” trombonist Jim Pugh on “Take the Coltrane,” soprano Chuck Wilson and baritone Kenny Berger on “Warm Valley,” alto Andy Fusco on “Chelsea Bridge” and “Take the Coltrane,” flugel Brian O’Flaherty on “Chelsea Bridge,” trumpeter Tony Kadleck on “Creole Love Call.”

Each of them is outstanding, but it is Sebesky’s superior arrangements that produce the strongest and most lasting impression. “My intention,” he says in the liner notes, “was not to imitate Duke. Instead, I’ve tried to treat these great tunes in new and unexpected ways; ‘Chelsea Bridge’ and ‘Mood Indigo,’ originally done as ballads, are given new time signatures and much faster tempos; ‘Creole Love Call,’ led by Ron Carter’s insistent bass line, is much ‘dirtier’ than Duke’s version; ‘Caravan’ is built on an arrangement Erroll Garner did for his trio on a 1954 LP (listen for his ‘left hand’ under Phil Woods’ solo).

This is our love letter to this great master.” It’s precisely the sort of love letter Duke would have cherished. By Jack Bowers
https://www.allaboutjazz.com/joyful-noise-a-tribute-to-duke-ellington-don-sebesky-rca-victor-review-by-jack-bowers

Personnel: Alto Saxophone – Andy Fusco, Chuck Wilson (2); Arranged By – Don Sebesky (tracks: 1 to 10); Baritone Saxophone – Kenny Berger; Bass – Dennis Irwin (tracks: 1, 3, 4, 6, 8 to 11), Ron Carter (tracks: 2, 5, 7); Conductor – Don Sebesky; Drums – Dennis Mackrel; French Horn – Peter Gordon (8); Piano – Jim McNeely; Tenor Saxophone – Scott Robinson (2), Tom Christensen; Trombone – Alan Raph, Jim Pugh, John Mosca, Randy Andos; Trumpet – Barry Ries (tracks: 1, 3, 4, 6, 8 to 11), Brian O'Flaherty, Tim Hagans (tracks: 2, 5, 7), Tony Kadleck

Joyful Noise; A Tribute To Duke Ellington

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Wesla Whitfield - High Standards

Styles: Vocal
Year: 1997
Time: 56:36
File: MP3 @ 320K/s
Size: 129,6 MB
Art: Front

(5:01) 1. From This Moment On
(3:41) 2. I Didn't Know What Time It Was
(6:03) 3. Don't Explain
(4:33) 4. Just One Of Those Things
(4:03) 5. Where Are You?
(3:53) 6. My Favorite Things
(5:06) 7. Exactly Like You
(4:31) 8. Ev'rything I Love
(4:46) 9. How High The Moon
(5:59) 10. Don't Take Your Love From Me
(5:04) 11. Let's Do It
(3:53) 12. Ev'ry Time We Say Goodbye

On this, her tenth album, Wesla Whitfield continues her journey through the Great American Songbook. Liner notes to the contrary, it seems as if Whitfield is trying to move toward a jazzier presentation of the music with High Standards. Toward this end, she has surrounded herself with some excellent jazz musicians. Gary Foster's cool, boppish alto appears on all but two cuts.

Michael Moore's bass and Joe LaBarbera's drums have graced more jazz albums than one can count. The presence of these established players notwithstanding, the results are mixed. On "From This Moment On" and "Don't Explain," the meshing of Foster's high-energy jazz playing and Whitfield's splendid vocalizing provides two examples of where it works.

But it's clear that Whitfield continues to be more at ease with cabaret than with the riskier jazz genre. Like many in cabaret, she creates expectations and sets the mood by including the verse for most of the songs on this set. Cabaret or jazz notwithstanding, her voice of springwater purity, excellent diction, imaginative phrasing, and excellent breath control which allows her to stretch out the words giving continuity to the lyrics, make Whitfield a leading champion of the traditional popular song. Listen to her as she extends the lyrics on "Ev'ry Time We Say Goodbye" and "Don't Explain."

Her outstanding control can be credited to her classical training. This album will strengthen her position as one of popular song's most creative interpreters. One final note: there are discrepancies on the way Whitfield spells her first name. Most places where it appears spell it "Weslia." However, "Wesla" is the way it is spelled on her official web site, and that is the spelling used here.
By Dave Nathan https://www.allmusic.com/album/high-standards-mw0000601801#review

Personnel: Vocals – Wesla Whitfield; Bass – Michael Moore (2); Drums – Joe LaBarbera; Reeds – Gary Foster (tracks: 1 to 8. 10, 12)

High Standards

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Michael Kaeshammer - Lovelight

Styles: Vocal And Piano Jazz
Year: 2009
Time: 38:14
File: MP3 @ 320K/s
Size: 87,5 MB
Art: Front

(3:31) 1. Lovelight
(2:48) 2. On My Own
(3:57) 3. Isabelle
(2:59) 4. Goodbye
(3:05) 5. Glory Of Love
(2:15) 6. I Wish I Knew
(3:19) 7. Give You My Heart
(3:12) 8. Cupid
(3:46) 9. Dawn's Song
(2:14) 10. Now That My Baby's Gone
(2:26) 11. Bei Mir Bist Du Schon
(4:38) 12. Hamp's Boogie

Michael Kaeshammer is an artist brimful with talent. Not only can he hold is own with some first-call pianists, but he can also play in a variety of styles and is well versed in the history of popular 20th century music. He is also a fine vocalist, with a slightly gravelly voice. He is well aware of his limited range, making use of it to squeeze emotion out of a song when required. He can also cast caution to the wind, throwing his head back and singing his heart out with such swagger that the effect is decidedly intoxicating. He is the kind of troubadour who is instantly recognizable because of his sharp inflection and delicate phrasing.

On Lovelight, he also comes up trumps in the songwriting department, featuring a repertoire of seven melodies that play to his distinctive voice. He also plays piano with a great deal of sensitivity, accompanying himself with surprising subtlety. He is exquisitely sensitive on "Dawn's Song," while full of longing and wistfulness on "On My Own." He drives up the emotional heat on "Goodbye," though it is by no means a tear-jerker, and adopts a moodily distant approach to "Give You My Heart," while still managing to pull off the heart of the song.

Three tracks "On My Own," "Goodbye" and "Give You My Heart" feature a big band, playing with wonderful colors, arranged and conducted by Canadian alto saxophonist, Phil Dwyer (who does not play here). All three songs are quite memorable and, if not suitable for impulsive dancing, then must surely feature the most infectiously joyful music on the disk. Also noteworthy is a magnificent version of the old Yiddish song "Bei Mir Bist du Schon," made so famous by The Andrews Sisters years ago, as well as Sam Cooke's "Cupid," which possesses a terrific, fuzzy ballad quality. The pure joy of "Hamp's Boogie" seems a fine way to bring this set to a close.

Perhaps the only downside is that it is much too short, compounded by the relative brevity of songs that, while memorably delivered, are all about five minutes or less. For an artist who can seemingly pull almost anything off with charm and attitude, this is something that Kaeshammer will have to address with his next disk which will, no doubt, be once again breathless with energy. By Raul d'Gama Rose https://www.allaboutjazz.com/lovelight-michael-kaeshammer-alert-music-review-by-raul-dgama-rose

Personnel: Michael Kaeshammer: voice, piano, Fender Rhodes (8, 11), reed organ (7); Marc Rogers: acoustic bass, electric bass (3, 8), background vocals (12); Mark McLean: drums, percussion (1, 3, 5, 8), background vocals (8); William Sperandel: trumpet (1, 3); Chris Gale: tenor saxophone (1, 3); Kevin Breit: guitar (5); Justin Abedin: guitars (3, 5, 8); Karen Graves: violin (3); Kevin Fox: cello (3); Davide DiRenzo: percussion (3, 8); Joel Parisien: background vocals (3, 8); Ron Lopata: Hammond B3 organ (3); Tia Brazda: background vocals (7). Big Band (2, 4, 7) arranged by Phil Dwyer: Bob Leonard: baritone saxophone, bass clarinet; John Johnson: tenor saxophone; Verne Dorge: alto saxophone; Jason Logue: trumpet, flugelhorn; Dave Dunlop: trumpet, flugelhorn; Steve McDade: trumpet, flugelhorn; Alister Kay: trombone; Gord Myers: trombone; Wayne Ferguson: piano technician.

Lovelight

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Thea Danos - I Wish You Love

Styles: Vocal
Year: 2024
Time: 26:50
File: MP3 @ 320K/s
Size: 61,8 MB
Art: Front

(4:35) 1. I Wish You Love
(4:29) 2. You're Blasé
(3:59) 3. Just One of Those Things
(4:15) 4. Águas de Março
(4:53) 5. When Sunny Gets Blue
(4:37) 6. You're Everything

Thea Danos, a Nashville native often referred to as an “old soul”, has a nostalgic style that transports you to a time of martinis and vinyl records. She specializes in jazz and Brazilian bossa nova, inspired by the Latin rhythms and serine landscapes of South America. She has spent extensive time in Brazil working with international musicians, and perfecting her Portuguese singing. Her musical influences include Ella Fitzgerald, Frank Sinatra, Sergio Mendes, Antonio Carlos Jobim, Louis Prima, and João Gilberto.

The modern twist she puts on classic jazz songs has captured audiences of all ages. She has toured the world, produced beautiful collaborations with a South American orchestra, and can be heard on countless recording sessions. Thea has a grace and presence that is captivating and a voice that is set apart. Sit back, grab a cocktail, and get ready to travel back to the coolest decade of all time, the 1960s, with Thea. https://theadanosmusic.com/bio

I Wish You Love

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Hank Crawford - Essential Jazz Masters

Styles: Saxophone Jazz
Year: 2011
Time: 108:46
File: MP3 @ 320K/s
Size: 250,9 MB
Art: Front

(2:47) 1. Whispering Grass
(5:34) 2. Misty
(6:34) 3. Angel Eyes
(3:09) 4. The Peeper
(5:09) 5. What Will I Tell My Heart?
(3:58) 6. Stardust
(2:43) 7. Groovin'
(3:53) 8. Baby, Let Me Hold Your Hand
(3:20) 9. You've Changed
(5:04) 10. Don't Get Around Much Anymore
(4:53) 11. Dat Dere
(5:03) 12. But On The Other Hand
(4:22) 13. Don't Cry, Baby
(6:41) 14. Boo's Tune
(3:40) 15. Sweet Cakes
(3:17) 16. Read 'Em And Weep
(4:39) 17. Sherri
(3:31) 18. Please Send Me Someone To Love
(5:38) 19. Lorelei's Lament
(5:44) 20. Stoney Lonesome
(4:36) 21. Sister Sadie
(4:28) 22. Two Years Of Torture
(4:43) 23. The Story
(5:09) 24. Four, Five, Six

Hank Crawford was an alto sax sensation since he stepped out of the Ray Charles band back in 1963. A signature piercing, full bodied, blues, soul, and gospel drenched tone, sets him apart from the alto pack. He has an instantly recognizable voice, and his excellent choice of material suits his style perfectly. He is a bluesman turned preacher on the sax, and the sermon is always on time.

Bennie Ross Crawford Jr. was born in Memphis, Tennessee on December 21, 1934, began formal piano studies at age nine and was soon playing for his church choir. His father had brought an alto saxophone home from the service and when Hank entered high school, he took it up in order to join the band. He credits Charlie Parker, Louis Jordan, Earl Bostic and Johnny Hodges as early influences.

At school, he hung out with Phineas and Calvin Newborn, Booker Little, George Coleman, Frank Stozier and Harold Mabern all of whom would go on to become important jazz figures. "We had a pretty good education just by being around each other," Crawford says now.

Before he had finished high school, Hank was playing in bands led by Ben Branch, Tuff Green, Al Jackson, Sr. and Ike Turner. They were frequently called upon to back such up-and-coming blues singers as B. B. King, Bobby Bland, Junior Parker, Johnny Ace and Roscoe Gordon and the Palace Theatre, the Club Paradise and other Memphis venues.
More......https://www.allaboutjazz.com/musicians/hank-crawford/

Essential Jazz Masters

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Cannonball Adderley / Nat Adderley Quintet - What Is This Thing Called Soul (Live In Europe)

Styles: Saxophone And Cornet Jazz
Year: 1960
File: MP3@320K/s
Time: 42:06
Size: 96,7 MB
Art: Front

(8:51) 1. Azule Serape
(6:43) 2. Big "P"
(6:36) 3. One For Daddy-O
(9:59) 4. The Chant
(8:26) 5. What Is This Thing Called Love
(1:29) 6. Cannonball's Theme

Cannonball Adderley's 1960 Quintet (with cornetist Nat Adderley and pianist Victor Feldman) was in top form during their tour of Europe. Norman Granz did not release the music heard on this CD until almost 25 years after the fact but the strong solos and enthusiastic ensembles had not dated nor faded with time. These versions of "The Chant," "What Is This Thing Called Love?" and "Big 'P'" make for interesting comparisons with the better-known renditions. Adderley fans will want this set. By Scott Yanow https://www.allmusic.com/album/what-is-this-thing-called-soul-mw0000674626


Personnel: Alto Saxophone – Cannonball Adderley; Cornet – Nat Adderley; Drums – Louis Hayes; Piano – Vic Feldman; Bass – Sam Jones.

What Is This Thing Called Soul (Live In Europe)

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Jill Barber - Encore!

Styles: Vocal
Year: 2024
Time: 41:24
File: MP3 @ 320K/s
Size: 95,4 MB
Art: Front

(2:51) 1. Plus je t’embrasse
(4:05) 2. Ménilmontant
(3:07) 3. Nuages
(2:52) 4. De temps en temps
(3:42) 5. Padam padam
(2:58) 6. La mer
(4:06) 7. Ordinaire
(6:06) 8. Mal de vivre
(4:12) 9. Les eaux de Mars
(3:42) 10. Que reste-t-il de nos amours?
(3:39) 11. Parlez-moi d’amour

“For me, singing in French is a physical, sensory experience ... It’s a new language in which I can express myself artistically and be vulnerable.” (Jill Barber under her homepage)

It is already the fourth album with/by JILL BARBER, which we discuss under our side and – let's say it her voice is still getting used to. Many say guarantees: “Wow, a really charismatic voice that is recognized again always and everywhere!”

Others, on the other hand, could also notice: “Oh, strange this voice, which gives the songs a clearly recognizable, but somehow sometimes childlike charisma in high tones!”

It is always a matter of subjective (listening) feeling – and that is decisive and decisive in music. But especially with JILL BARBER the boundaries of sky high jayscent to quite annoyed are quite fluent.

This feeling does not change on their current album “ ENCORE! ”. But, but, but... ...and here we would be at a real plus point in the context of her 2024 album: “ ENCORE! “ Barbers (second) purely French-language album, which follows her most successful (also French-language) album “Chansons” from 2013, in which she covered a large number of classic French chansons, which accompany the language of this language in the French language.

And right here – with her now eleven-year-old album JILL BARBER ENCORE!is once again using “ENCORE!”: Where “Chansons” stopped, she is now setting her new interpretations of French-language classics, including songs by BLOSSOM DEARIE, ROBERT CHARLEBOIS, CHARLES TRENET, who now she now include the legendary PIdeveloped the extra classreation, which would certainly have inspired the good Edith in this intensity, away.

Thus, “ ENCORE!” actually becomes an absolutely fascinating album for friends of French chansons, which, in addition to the specially chosen cover versions, the quiet chanson and cocktail lounge atmosphere, which can probably best be described as the adjective 'dreamlike'.

But it is not only the aura of the French Chanteuse Piaf, which the Canadian musician knows how to capture perfectly, also another musician, this time from a completely different genre, revives her in an inimitable way with “De temps en temps”: the American-born, dancing and singing actress JOSEPHINE BAKER, who accepted French citizenship in 1937 and belonged to the Resistance in the Second World War. With her fascinating as well as very revealing manner, she was the muse of many artists and was considered the 'Black Venus'.

It is precisely this aura that JILL BARBER revives with her Baker song like a 'White Venus' by noting herself: "The black-American, Anglophone Joséphine Baker made this song famous in 1939 and later became one of the greatest stars in France. At that time, it was daring for a woman to sing about her desire for physical affection without the need for a relationship and I think it is still quite sexy and empowering today.”

And that behind every note and many texts on “ ENCORE!” now also a lot of eroticism plays a big role, is quite striking. But eroticism and chanson basically often belong as closely together as the swing and the big band, which also often sounds on Barber's album. But the French chanson is simply much more intimate, which can be enjoyed to the fullest of this finely designed yellow LP, which is why another special song from the LP is “Oridinaire”, which JILL BARBER explicitly emphasizes: “When I first heard this classic by Robert Charlebois, I was completely enchanted... It is a conjuring of a famous singer. I approached this performance like an actress by becoming the central figure of the song in all her fragility. In combination with Drew's lush and dramatic string orchestration, this is really pure emotion.”

But not only “Ordinaire” is the pure emotion on “ENCORE! “. Basically, it is each of the 11 songs that literally strip before us in the versions of the Canadian musician until we discover her whole beauty. And this is exactly where this extraordinary voice from JILL BARBER fits perfectly.

FAZIT: One decade after her world success “Chanson” JILL BARBER once again collaborates with the Grammy-nominated producer Drew Jurecka and the musicians, who accompanied her eleven years earlier on “Chanson’s” (their most successful album to date) to produce “ENCORE!”, the long-awaited sequel. “ ENCORE!” is a wonderfully arranged and richly orchestrated album that contains completely new interpretations of classic songs by Edith Piaf, Charles Trenet, Blossom Dearie, Django Reinhardt, Robert Charlebois, Josephine Baker and others, and continues the atmosphere like Aura, with which JILL BARBER has already conquered the hearts of their fans with the French language and selected cover songs.

However, it will become apparent whether, after so many years, there is still favourable to the easing musical times for this 11-year-old success concept. “ ENCORE!” is a successful 'addition' of the "Chansons" album. Especially recommended is the coloured vinyl pressing, which spreads a similarly warm and relaxed-dream mood on the turntable as the songs between the grooves.
http://www.musikreviews.de/reviews/2024/Jill-Barber/ENCORE/

Personnel: Vocals - Jill Barber; Bass - Chris Banks; Guitar - Nathan Hiltz, Justin DuHaime; Others - Winds, strings, harps, bandoneo, accordion

Encore!

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Lyn Stanley - The Moonlight Sessions, Vol. Two

Styles: Vocal Jazz
Year: 2017
File: MP3@320K/s
Time: 58:18
Size: 136,8 MB
Art: Front

(3:50)  1. Makin' Whoopee
(3:19) 2. The Very Thought of You (feat. Christian Jacob)
(3:19)  3. That Old Feeling (feat. Mike Garson)
(2:34)  4. Summer Knows
(4:06)  5. Over the Rainbow (feat. Christian Jacob)
(5:02)  6. How Deep Is the Ocean? (feat. Mike Garson)
(4:54)  7. Angel Eyes (feat. Mike Garson)
(5:51)  8. At Seventeen (feat. Mike Garson)
(4:43)  9. You've Changed
(3:27) 10. Smile
(5:46) 11. Love Me or Leave Me (feat. Tamir Hendelman)
(2:42) 12. How Insensitive (feat. Christian Jacob)
(5:27) 13. Since I Fell for You (feat. Mike Garson)
(3:12) 14. I'll Be Seeing You

Song Stylist Lyn Stanley completes her Moonlight Sessions with Volume 2. This present offering follows only a few months after the release of her well-received The Moonlight Sessions, Volume 1 (A.T. Music, 2017), capping her project with a collection of carefully selected, well-covered standards, with a couple of surprises. Stanley's three-part creative paradigm, started with Volume 1 is continued and completed here. Stanley aimed to: one, reestablish a measure of audio fidelity (analog) to recording and playback; two, reassert the Great American Songbook as the gateway to understanding the history of jazz; and three, redefine what a "song stylist" is. She has largely accomplished this, while still offering something beyond these creative vectors: a deeply intimate consideration of iconic life songs. The disc opens with a perfect Stanley vehicle, "Makin' Whoopie." She give the standard a spot-on sardonic reading that smolders with experience and humor. Hendrik Meurkens' harmonica provides just a slippery enough slope to send the song into the stratosphere. Stanley's romantically-charged, wistful reading of "That Old Feeling" segues nicely into the first surprise, "Summer Knows" from the film, Summer of '42 (Warner Bros., 1971). This pairing is a slick bit of programming deserving attention. The second such diptych involves the other surprise, Janis Ian's 1974 single "At Seventeen" from her album Between The Lines (Columbia). This is Stanley's most daring and inspired inclusion in this recital and she sings the song with a sepia nostalgic charge that makes the piece fit with the rest of the set list. Juxtaposed against the almost sheer darkness of "Angel Eyes," the two songs give ready evidence to Stanley's command of her repertoire and direction. Critic's Note: Anno Domini 2017, marks the 100th Anniversary of recorded jazz, deftly noted by the release of the Original Dixieland Jazz Band's shellac "Dixieland Jass Band One-Step (A)/Livery Stable Blues (B)," Victor 18255, recorded February 26, 1917 and released March 7, 1917. Just for perspective, in 1917, my father was 18 months old and my mother was yet to be born for two years. It is also the twentieth anniversary of me writing for All About Jazz. The first recording I reviewed for the magazine was Art Pepper's San Francisco Samba (Contemporary, 1997), published December 1, 1997. I am using this present review as part of a series noting my twentieth anniversary with the magazine and paying special tribute to my fellow writers at All About Jazz and Publisher Michael Ricci. ~ C.Michael Bailey https://www.allaboutjazz.com/lyn-stanley--the-moonlight-sessions-volume-2-lyn-stanley-at-music-llc-review-by-c-michael-bailey.php

Personnel: Lyn Stanley: vocals; Mike Garson: piano; Christian Jacob: piano; Tamir Hendelman: piano; Chuck Berghofer: bass; Ray Brinker: drums; Bernie Dresel: drums; Joe LaBarbara: drums; Luis Conte: percussion; John Chiodini: guitar; Chuck Findley: trumpet; Rickey Woodard: tenor saxophone; Bob McChesney: trombone; Hendrik Meurkens: harmonica.

The Moonlight Sessions, Vol.Two

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Lyn Stanley - The Moonlight Sessions, Vol. 1

Styles: Vocal Jazz

Year: 2017

File: MP3@320K/s

Time: 50:42

Size: 116,6 MB

Art: Front

(4:56)  1. All or Nothing at All (feat. Christian Jacob)

(4:06)  2. Willow Weep for Me (feat. Tamir Hendelman)

(4:34)  3. Moonlight Serenade (feat. Christian Jacob)

(5:16)  4. My Funny Valentine (feat. Mike Garson)

(4:52)  5. Embraceable You (feat. Tamir Hendelman)

(3:01)  6. Why Don't You Do Right?

(2:59)  7. Girl Talk (feat. Mike Garson)

(4:19)  8. Crazy (feat. Mike Garson)

(3:07)  9. Close Your Eyes (feat. Mike Garson)

(4:38) 10. How Insensitive (feat. Tamir Hendelman)

(4:58) 11. Break It to Me Gently (feat. Mike Garson)

(3:49) 12. In the Wee Small Hours

With release of her various audiophile editions (LP, CD, reel-to-reel) of The Moonlight Sessions, Volume 1, Lyn Stanley brings into clear focus the driving forces behind her previous three releases: Lost in Romance (A.T. Music, LLC, 2011); Potions: From the '50s (A.T. Music, LLC, 2014); and Interludes (A.T. Music, LLC, 2015). These forces include: one, reestablishing a measure of audio fidelity (analog) to recording and playback; two, reassert the Great American Songbook as the gateway to understanding the history of jazz; and three, redefine what a "song stylist" is. Stanley has made it a sharp point to pay close attention to the sonics of her recordings. She has always been able to surround herself with the best musicians and record in the warmest of environments like Hollywood, CA's Capitol Recording Studios, and Los Angeles, CA's The Village Studios and LAFx using Frank Sinatra's Telefunken U47 ("Telly") microphone, to boot. The recordings were analog mixed and mastered to 1/4" 30ips stereo tape, with engineering provided by Al Schmitt/Steve Genewick (tracking); Michael Bishop (mixing) and Bernie Grundman (mastering). The media produced for distribution are: One-Step 180 gram/45RPM/Double Vinyl LP; stereo SACD (Super Audio CD) Hybrids; and 1/4" 15ips reel-to-reel tape. What all this gear-head speak means is that the environment for the music has all the proper sonic nutrients and dry warmth to produce the type of recorded sound we, of a certain age, can remember hearing. Stanley's aim is to record and produce media able to provide test material for high- end audiophile playback systems; to do it thoughtfully and creatively; and to honor the music produced. Stanley's repertoire here is already amply time-tested to the point where it is fair to ask, ..."if we could possibly need one more standards vocal set?" Every generation needs an artist to set an example of how the songs making up the Great American Songbook are performed as nominally envisioned by the composers. For me, my introduction to the Songbook was through Linda Ronstadt's mid-'80s standards recordings, What's New (Asylum, 1983); Lush Life (Asylum, 1984); and For Sentimental Reasons (Asylum, 1986). Were these great vocal recordings? I suspect they were good enough as they got me interested in these songs from the 1920s-'50s that basically defined a jazz canon after 1945.

For the front end of the 21st Century, a solid argument can be made that Lyn Stanley is an artist bearing the mantle of teacher, to a new generation of music listeners, of the times and places from which jazz, instrumental and vocal music came. This extant collection of songs called "standards" has been nothing if not durable in its various interpretations. What Stanley provides in her previous three recordings, and now The Moonlight Sessions, Volume 1, is an elegantly conservative approach to these songs that can be compared to that of Frank Sinatra. Sinatra had great respect for the composers and songwriters providing him material, and he honored them in his styling of their songs. His interest was never about improvisation; it was always about sincere and well-balanced delivery. So, too, is Stanley's charge. Her recordings' superb sonics and carefully considered arrangements provide a nourishing environment for her to present these songs in a sophisticated manner befitting their introduction to the newly exposed. Finally, Stanley reminds us of the difference between a "song stylist" and a "jazz singer," though, if we were to construct a proper Venn diagram, there would certainly be overlap between the two. In comparison, Stanley has more in common with Sinatra than, say, Betty Carter. She is not going to detonate some barrage of scat and vocalese fireworks; rather, Stanley delivers her melodies unadorned by nothing more than her warm and intimate alto voice. On The Moonlight Sessions, Volume 1 Stanley addresses her material with spare yet graceful instrumental ornamentation. Her rhythm section is anchored by pianists Mike Garson, Christian Jacob, and Tamir Hendelman; bassist Chuck Berghofer; and drummers Ray Brinker, Bernie Dresel, {Joe LaBarbara}}. Added to this considerable firepower are other notable musicians, specifically chosen for the given compositions.

Stanley's Volume 1 recital kicks off with a clever "All or Nothing at All," bookended with trumpet quotes (courtesy of Chuck Findley) from George Gershwin's A Rhapsody in Blue. That little touch adds a sepia patina to the song before Stanley brings the song into the present. Stanley sings con brio, as does Findley in his finely-structured obbligato and solos. Tenor saxophonist Rickey Woodard digs deep, producing a muscular, virile tone to play foil to Stanley's coolly jaded protagonist on "Willow Weep for Me." The tempo is measured and determined, never lagging: a hard feat to achieve at slow tempo. The inclusion of Glenn Miller's "Moonlight Serenade" (with lyrics by Mitchell Parish) is a pleasant surprise and a smart nod to the Swing Era, when jazz was the popular music. Again, Stanley sings languidly, with a crepuscular recline in her voice. "My Funny Valentine" and "Embraceable You" deserve added attention for their ubiquity in recorded literature. Music writer Scott Yanow's published "Ten Songs That Should Be Avoided" in his book The Jazz Singers: The Ultimate Guide (Backbeat, 2008). This list necessarily includes "My Funny Valentine." Unless one can bring something dramatically new to this war-horse as Laurie Antonioli did darkly on her 2015 Varuna (Origin Records), it should be allowed to rest. My defense for Stanley's inclusion is her beautiful and conservative treatment, which presents the melody as originally intended. Then, compare it to Chet Baker's idiosyncratic Chet Baker Sings (Pacific Jazz, 1954) to hear two vastly different approaches to the same song. This same reasoning works for "Embraceable You": Listen to Stanley's purring performance of the tune, and then to Charlie Parker's famous 1947 recording to hear what the big deal about jazz is. That said, Stanley did not play everything by the book. Her performance of Willie Nelson's (by way of Patsy Cline) "Crazy" is arranged as a polite roadhouse romp where the singer lets her hair down. The inclusion of Brenda Lee's "Break It to Me Gently" is inspired, forcing the perimeter of what are considered "standards" a little further out. Stanley closes with "The Wee Small Hours in the Morning," reminding us, of necessity, of Frank Sinatra in our musical collective consciousness...and of the necessity of Lyn Stanley and her mission. Now, on with Volume 2! ~ C.Michael Bailey https://www.allaboutjazz.com/the-moonlight-sessions-volume-1-lyn-stanley-at-music-llc-review-by-c-michael-bailey.php

Personnel: Lyn Stanley: vocals; Mike Garson: piano; Christian Jacob: piano; Tamir Hendelman: piano; Chuck Berghofer: bass; Ray Brinker: drums; Bernie Dresel: drums; Joe LaBarbara: drums; Luis Conte: percussion; John Chiodini: guitar; Chuck Findley: trumpet; Rickey Woodard: tenor saxophone; Bob McChesney: trombone; Hendrik Meurkens: harmonica.

The Moonlight Sessions, Vol.One

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Eric Reed & Dave Young - Live To Air Oscar Peterson Day

Styles: Piano, Bop
Year: 2022
File: MP3@320K/s
Time: 36:18
Size: 84,6 MB
Art: Front

(6:05) 1. Night Train
(5:55) 2. Moten Swing
(6:13) 3. Bags' Groove
(2:49) 4. I Got It Bad (and That Ain't Good)
(5:44) 5. Hymn to Freedom
(5:04) 6. Perdido
(4:25) 7. Georgia on My Mind

On Aug. 15, 2022, JAZZ.FM91 honoured and celebrated one of our country’s best, Oscar Peterson. The day culminated in this special Live to Air concert featuring pianist Eric Reed and bassist Dave Young in a duet performance in the Long & McQuade Performance Hall at JAZZ.FM91. It was co-hosted by Dani Elwell and Céline Peterson.
https://www.youtube.com/watch?v=7I573iuWL20

Personnel: Eric Reed - piano; Dave Young - bass

Live To Air Oscar Peterson Day

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Chris Byars - Boptics

Styles: Saxophone Jazz
Year: 2024
Time: 62:49
File: MP3 @ 320K/s
Size: 144,6 MB
Art: Front

(5:56) 1. Bophthalmology
(6:35) 2. Melatonin'
(6:03) 3. Minor Boptics
(7:21) 4. 3 D Flat
(6:33) 5. eKat
(5:04) 6. Endure And Remain
(5:31) 7. Look Ahead
(7:01) 8. Clementsy
(7:29) 9. Emily Reno
(5:11) 10. Times Square Lights

Chris Byars was born Christopher Lawrence Byars in 1970 in New York City to musical parents Janita Byars (First Clarinet, American Symphony Orchestra) and James Byars (Oboe/English Horn, New York City Ballet Orchestra). In 1983, he adopted jazz as a musical departure from an early career as an opera singer, during which he performed dozens of productions for The New York City Opera and The Metropolitan Opera, including many high-pressure solo roles.

Byars earned Bachelor of Music (1990) and Master of Music (jazz studies, performance, 1992) degrees from Manhattan School of Music. Over the course of five decades, Byars has participated in musical productions from behind the scenes, as a sideman, as a leader, as a traveling artist, conductor, educator, arranger, and composer. Byars has traveled to 55 countries representing the Unites States as a Cultural Envoy for music outreach programmed by US Embassies. Chris co-directed recurrent outreach programs in Syria and in Cyprus, with the purpose of healing divisions and building goodwill towards the United States.

Byars has carefully balanced attention between works of the past and present. Performing with the quintet Across 7 Street in the 1990s, he regularly premiered new compositions while appearing steadily on Sundaynights at Smalls Jazz Club. Byars has composed five extended works as suites (several movements each), addressing local geographies, musical depictions of biographies, and visual art. The current working band is titled Chris Byars Original Sextet which denotes a departure from material written by others. One decade previous, Byars transcribed, arranged, performed, and recorded tributes to jazz greats Teddy Charles, Freddie Redd, Gigi Gryce, Lucky Thompson, Duke Jordan, Frank Strozier, and Jimmy Cleveland.

When possible, these subjects or their families were included as performers or listeners. During the pandemic, Byars continued to arrange and compose, writing Birdography for the NDR Big Band (Hamburg, Germany) and original material for an upcoming 2023 Steeplechase Records release entitled Look Ahead, Byars sought economic refuge within the sphere of civic service, personally interviewing and assisting over 10,000 citizens as a bilingual Contact Tracer for New York City, canvassing the Bronx as a Field Enumerator for the 2020 Decennial Census, and serving as a Spanish Interpreter of NYC Board of Elections.

In May 2022, his CD entitled Rhythm and Blues of the 20s was released for Steeplechase, featuring new original compositions and arrangements for the Chris Byars Original Sextet.
https://www.jazzmusicarchives.com/artist/chris-byars

Personnel: Chris Byars(tenor saxophone), Zaid Nasser(alto saxophone), Stefano Doglioni(bass clarinet), John Mosca(trombone), Ari Roland(bass), Keith Balla (drums)

Zara McFarlane - Sweet Whispers: Celebrating Sarah Vaughan

Styles: Vocal
Year: 2024
Time: 43:57
File: MP3 @ 320K/s
Size: 101,4 MB
Art: Front

(5:49) 1. Tenderly
(3:46) 2. Mean To Me
(4:39) 3. Inner City Blues
(3:17) 4. September Song
(2:35) 5. Great Day
(5:40) 6. If You Could See Me Now
(3:42) 7. Interlude
(4:10) 8. Obsession
(3:13) 9. The Mystery of Man
(4:29) 10. Stardust
(2:33) 11. Sweet Whispers

Zara McFarlane's fifth album a recording that actually fits the vogueish description "project" represents a marked change of focus for the singer, from London to New York City and points west. Closely associated with London's radical underground jazz scene, McFarlane has previously peopled her touring and recording bands with fellow adventurers such Shabaka Hutchings, Shirley Tetteh, Idris Rahman, Robin Hopcraft, Nathaniel Cross, Binker Golding and Moses Boyd. Significantly, too, McFarlane has also written the vast majority of the material she has recorded, with her Jamaican heritage often apparent, never more so than in the remarkable, at times surreal, Songs Of An Unknown Tongue (Brownswood, 2020), and its immediate predecessor, Arise (Brownswood, 2017).

All this changes with Sweet Whispers: Celebrating Sarah Vaughan. Not for the worse, not for the better, just changes. The album is a sumptuous tribute to Sarah Vaughan during her 100th-anniversary year. The set list comprises eleven songs closely associated with Vaughan, and McFarlane is accompanied by a reeds and rhythm section quartet performing in classic straight-ahead style. The group was assembled by Giacomo Smith, who co-produced and co-arranged with McFarlane. The arrangements are outstanding (check the YouTube below). Smith also plays soprano saxophone, alto saxophone, clarinet and bass clarinet on the album.

The program includes "If You Could See Me Now," the first song Vaughan recorded under her own leadership, in 1946, written for her by Tadd Dameron and Carl Sigman. There is, too, the last song Vaughan recorded, Gilson Peranzzetta, Dori Caymmi and Tracy Mann's "Obsession," from Brazilian Romance (Columbia, 1987). Also included, Marvin Gaye and James Nyx's "Inner City Blues (Make Me Wanna Holler)," which Vaughan recorded on her album A Time In My Life (Mainstream, 1971). Like McFarlane, Vaughan did not shy away from recording socially and politically inspired songs.

It is sometimes imagined that the stylists on London's underground scene are dismissive of America's jazz tradition. It is, of course, nonsense and Sweet Whispers demonstrates that. McFarlane makes no attempt to "recalibrate," "reimagine," "reconstruct" or reanything the material, though there is a nod to the Caribbean on "Obsession" with the use of steel pan. The album was recorded live to tape, with minimal overdubs, and possesses an appropriately authentic back in the day feel.By Chris May
https://www.allaboutjazz.com/sweet-whispers-celebrating-sarah-vaughan-zara-mcfarlen-eternal-source-of-light

Sweet Whispers: Celebrating Sarah Vaughan

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