Friday, July 12, 2024

Frank Sinatra, Antônio Carlos Jobim - The Complete Reprise Recordings

Styles: Vocal, Guitar
Year: 1967
File: MP3@320K/s
Time: 58:03
Size: 134,3 MB
Art: Front

(3:20) 1. The Girl From Ipanema
(3:32) 2. Dindi
(2:43) 3. Change Partners
(2:45) 4. Quiet Nights of Quiet Stars
(2:55) 5. Meditation (Meditação)
(2:11) 6. If You Never Come To Me
(3:18) 7. How Insensitive
(2:39) 8. I Concentrate On You
(2:36) 9. Baubles, Bangles And Beads
(2:39) 10. Once I Loved
(3:39) 11. The Song Of The Sabia
(2:35) 12. Drinking Water
(2:36) 13. Someone To Light Up My Life
(2:39) 14. Triste
(2:53) 15. This Happy Madness
(2:20) 16. One Note Samba
(2:27) 17. Don’t Ever Go Away
(3:19) 18. Wave
(3:09) 19. Off Key
(3:40) 20. Bonita

For the first time in over three decades, the Frank Sinatra/Antonio Carlos Jobim recordings are now together in The Complete Reprise Recordings, the most comprehensive compilation of the Sinatra/Jobim sessions yet. The re-mastered classics of the two late musical legends include "Dindi," "How Insensitive," "Quiet Nights of Quiet Stars," and of course, "The Girl from Ipanema," a Jobim masterpiece covered by numerous colleagues such as pianist Vince Guaraldi. In addition to those, there are three new bonus tracks on this reprise that allow for a new compositional spark that perfectly compliment the jazz standards that Jobim arranges in his distinct Brazilian bossa nova style. The Complete Reprise Recordings are a must-have for any collector, and a new lifestyle for dedicated Sinatra/Jobim fans. Sinatra's voice has been heard around the world, and as it is matched flawlessly with the compositional genius of Antonio Carlos Jobim, his fame will continue to grow more than a decade after his passing. https://www.amazon.com.br/Sinatra-Jobim-Complete-Reprise-Recordings/dp/B003CR9BYE

Personnel: Frank Sinatra – vocals, Antônio Carlos Jobim – vocals, guitar

The Complete Reprise Recordings

Jack Walrath - Forsooth!

Styles: Trumpet Jazz 
Year: 2011
File: MP3@320K/s
Time: 63:26
Size: 145,7 MB
Art: Front

(6:07)  1. A Fog Sets In Vienna
(4:41)  2. Pavlov's Cat
(8:14)  3. Espionage
(4:50)  4. Slighly After Midnight
(6:08)  5. The Resurrection Machine
(6:54)  6. Holy Smoke
(9:10)  7. High Plains Riffer
(2:58)  8. Yet, A Tear Tells Its Tale
(9:39)  9. Mescalito's Birthday
(4:41) 10. I Los My Mind in San Bernadino

An often exciting, thoughtful trumpeter and good arranger, Jack Walrath has steadily gained attention and exposure through his contributions to outstanding sessions. Walrath began playing trumpet at nine, and studied at Berklee in the mid- and late '60s while working with other students and backing up R&B vocalists. He moved to the West Coast in 1969, and co-led the bands Change with Gary Peacock, and Revival with Glenn Ferris. Walrath also toured a year with Ray Charles. Walrath relocated to New York in the early 70s, and worked with Latin bands before playing with Charles Mingus from 1974 to 1979, an association that gave him a certain amount of recognition. Walrath contributed some arrangements and orchestrations to Mingus' final recordings. In the 1980s and '90s, he led his own bands, toured Europe with Dannie Richmond and the British group Spirit Level, worked with Charlie Persip's Superband and Richard Abrams, and helped keep the music of Charles Mingus alive by playing with Mingus Dynasty. Jack Walrath has recorded as a leader for Gatemouth, Stash, SteepleChase, Red, Muse, Spotlite, Blue Note, and Mapleshade; he is still improving with age. https://itunes.apple.com/br/artist/jack-walrath/id36602597#fullText

Personnel:  Jack Walrath: tp;  Abraham Burton: ts;  George Burton: p;  Boris Kozlov: b;  Donald Edwards: ds

Forsooth!

Mike Westbrook - Band of Bands

Styles: Contemporary Jazz
Size: 204,5 MB
Time: 89:20
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. Glad Day ( 2:42)
2. Blues for Terenzi (10:20)
3. Johnny Come Lately ( 5:54)
4. Yellow Dog (10:34)
5. Black Market ( 7:28)
6. Doll's House ( 7:27)
7. My Lover's Coat ( 9:04)
8. My Pale Parasol ( 6:42)
9. Illusions (Bonus Track) ( 9:40)
10. Gas, Dust, Stone (11:09)
11. What I Like ( 8:15)

No one could say that the great English composer and bandleader Mike Westbrook has settled into pipe-and-slippers mode for his late career. Although he was 87 when this was recorded and is 88 now, his latest ensemble Band of Bands is a fiercely Westbrookian outfit that shares the same passionate commitment and many of the same gifted personnel as his prolific musical past. As an arranger, he also gets an unfeasibly brassy big band sound from a smallish six piece instrumental line-up that swings like the clappers all the way.

The combination of Karen Street’s accordion with the twin alto-doubling-soprano saxes of Chris Biscoe and Pete Whyman is a masterstroke of casting. Each of them has been with the master for thirty years plus almost fifty in Biscoe’s case, evidently – but their of necessity exposed front-line is wickedly effective, coaxing a bold and gloriously bluesy sound from relatively slender means. Street is particularly essential at conjuring up a thick, horn-chorus feel that somehow creates the illusion that there’s a trumpet in the line-up hidden somewhere, and maybe a trombone too.

The rhythm team of Marcus Vergette on bass and Coach York on drums enhances the intensity of the front-line by grounding the gospelly wails and bluesy ornaments of Whyman and Biscoe with emphatic, rock solid time and driving momentum. It’s all a bit like Mingus, where the airy architecture of the written themes has to share house-room with the very earthy contributions of free-flowing and occasionally impolite-sounding soloists.

Recorded in concert last year at Ashburton Arts Centre in Devon Westbrook’s home county by engineer Matthew North and produced by Jay Auburn, the very live mix is superbly up-front and in your face. It’s also an almost indecently good value single CD that clocks in at around 80 minutes. The opening instrumental tunes set the tone, with the overture-like ‘Glad Day’ from Westbrook’s popular William Blake-related suite of half a century ago, re-recorded and regularly re-presented since then followed closely by the hard-blowing ‘Blues for Terenzi’ and a rollicking version of Billy Strayhorn’s ‘Johnny Come Lately’. All three sound absolutely on the money, with great ensemble passages and spirited individual solos, all guided by Westbrook’s steady hand on the piano-tiller.

The blues theme continues with the entry of singer Kate Westbrook on ‘Yellow Dog’, and she fronts the rest of the set from then on. It’s fair to say that Kate’s contributions divide Westbrook fans. Her unfailing intelligence and far-reaching range of reference she began her career as a painter – have greatly broadened Westbrook’s vision over the years, helping to create a genuinely international aesthetic that is very rare in British jazz. But I found her expressionist version of Friedrich Hollander’s ‘Black Market’, complete with growls and whistling, seven minutes of pure torture.

Then again, on the lovely closing number, ‘What I Like’, as she and the band exchange breezy call and response badinage, she sounds perfect, and perfectly Westbrookian. The song, which unpretentiously celebrates drink and fraternity, among many other things, is like an emblem of the composer. It’s the humanity, the unwavering left-of-centre commitment, and the sheer good fellowship of his music and personality that have helped to make Mike Westbrook the closest thing to an English version of Duke Ellington that we have. ‘Band of Bands’ certainly does enough to celebrate that. The recording was supported by the Airshaft Trust and the patrons of Band of Bands. By Phil Johnson/
https://londonjazznews.com/2024/06/21/mike-westbrook-band-of-bands/

Personnel: Mike Westbrook - piano; Kate Westbrook - voice; Chris Biscoe - alto / soprano saxophones; Peter Whyman - alto / soprano saxophones / clarinet; Karen Street - accordion; Marcus Vergette - bass; Coach York - drums

Band of Bands

Thursday, July 11, 2024

Randy Sandke - The Music Of Bob Haggart

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 60:00
Size: 138,4 MB
Art: Front

(3:26)  1. It Ain't Necessarily So
(2:30)  2. It Takes a Long Pull To Get There
(2:35)  3. I Got Plenty O' Nuttin'
(3:00)  4. Summertime
(3:11)  5. Bess, You Is My Woman Now
(2:12)  6. Oh, I Can't Sit Down
(3:24)  7. I Loves You, Porgy
(4:26)  8. My Man's Gone Now
(3:07)  9. Bess, Oh Where's My Bess?
(2:23) 10. There's a Boat Dat's Leavin' Soon For New York
(3:20) 11. Mardi Gras Parade
(3:22) 12. What's New?
(5:42) 13. Dogtown Blues
(3:10) 14. My Inspiration
(4:39) 15. South Rampart Street Parade
(4:58) 16. At the Jazz Band Ball
(4:27) 17. Big Noise From Winnetka

Most jazz fans are well acquainted with some arrangement or another of George Gershwin's Porgy and Bess, but few of them are acquainted with Bob Haggart's charts of the score. The reason is simple: Haggart's arrangements, released at the same time as the Porgy and Bess movie, were pushed to the back of the record racks by versions of the same music by (among others) Miles Davis and Gil Evans, the Modern Jazz Quartet, the Oscar Peterson Trio and Louis Armstrong and Ella Fitzgerald. Modern-day trumpeter Randy Sandke has decided that this was an unfair quirk of history, and after some detective work and painstaking transcription he's reassembled Haggart's Porgy and Bess plus some other charts under the prosaic title The Music of Bob Haggart.

Haggart's charts for Gershwin don't try to reinvent the wheel as other interpreters at the time did; their sound, straightahead, tart and tight, takes the listener back to Gershwin's own idiom with minimum fuss and maximum verve. Frequent solo breaks allow the stellar band Sandke has assembled to shine; while everyone puts their best foot forward in this endeavor, the two most impressive players are Jon-Erik Kellso on the (frequently muted) puje, sounding period without sounding old, and Sandke himself, alternately caressing and goosing some of the most famous melodies ever written. Jazz fans shouldn't lose sleep over having favored Miles, Oscar or Louis and Ella for so many years; Haggart's version isn't that compelling. But, as this recording proves, it can be a lot of fun in the right hands. ~ Andrew Lindemann Malone  http://jazztimes.com/articles/13713-the-music-of-bob-haggart-under-the-direction-of-randy-sandke-randy-sandke

Personnel:  Bob Haggart (arranger, bass); Randy Sandke (leader, trumpet); Scott Robinson (tenor & baritone saxophones); Jack Stuckey (baritone saxophone); Byron Stripling (trumpet); John Allred, George Masso, Wycliffe Gordon (trombone); Ken Peplowski (clarinet); Derek Smith, Ed Metz, Sr. (piano); Howard Alden (guitar); Greg Cohen (bass); Joe Ascione, Tony DeNicola (drums).

The Music Of Bob Haggart

Robyn Adele Anderson - Just Play the Right Notes

Styles: Vocal
Size: 95,7 MB
Time: 40:38
File: MP3 @ 320K/s
Year: 2022
Art: Front

1. Puttin' On The Ritz (2:25)
2. Quién Será (2:34)
3. Mambo Italiano (2:27)
4. Fly Me To The Moon (3:27)
5. All Of Me (2:58)
6. Whatever Lola Wants (3:10)
7. La Vie En Rose (2:59)
8. Why Don't You Do Right? (3:17)
9. Dream A Little Dream Of Me (3:04)
10. Quizás (2:34)
11. Take The "A" Train (3:00)
12. Summertime (3:07)
13. Witchcraft (2:33)
14. Autumn Leaves (2:55)

Robyn Adele Anderson is a New York based singer and arranger. Her career swiftly shifted gears from working in the nonprofit sector to the arts when she crossed paths with the genre-bending music collective Postmodern Jukebox back in 2013. After several years of collaborating with the group, Robyn branched out to pursue a solo music project by performing covers on her own YouTube channel. She quickly gained notability for her creative arrangements and authentic live recording style. Her most notable covers include swing versions of “Chop Suey” by System of a Down and “Bawitdaba” by Kid Rock. Across social media, Robyn has amassed nearly a million followers and more than 300 million views on YouTube.

In addition to creating videos, Robyn has performed live all over the world. She has toured on five continents and has made appearances on several TV shows including “Good Morning America,” “VH1 Morning Buzz,” and Australia’s “The Morning Show.” In New York City Robyn can be found singing at swing dance events as well as acting in the immersive theater scene. She has starred in a variety of productions including Speakeasy Dollhouse’s “Ziegfeld’s Midnight Frolic” and “The Girl Who Handcuffed Houdini.”

Robyn has embraced not only the sound but the aesthetic of eras gone by. She pays homage to the “pinup girls” of the ‘40s and ‘50s in the form of an annual pinup calendar. She continues to combine modern and retro trends in her fashion which can be seen in her videos and portfolio of portraits. https://www.robynadele.com/about-me

Just Play the Right Notes

Thomas Marriott - Crazy: The Music Of Willie Nelson

Styles: Trumpet Jazz
Year: 2008
File: MP3@256K/s
Time: 57:37
Size: 106,0 MB
Art: Front

(6:05)  1. Phases And Stages, Circles And Cycles
(4:38)  2. Everywhere I Go
(4:37)  3. Write Your Own Songs
(8:43) 4. You Wouldn't Cross The Street to Say Goodbye
(3:08)  5. Blame It On The Times
(2:52)  6. I'm Building Heartaches
(7:08)  7. The Great Divide
(3:41)  8. Crazy
(4:57)  9. Time Slips Away
(7:04) 10. One In A Row
(4:39) 11. On The Road Again

If you want to put your music into compartments, it might be hard to cozy up to a "jazz" CD getting tight with the tunes of "country" icon Willie Nelson. But smart music lovers throw the labels down the man hole, and maybe remember that none other than Miles Davis counted himself a Nelson fan check out the six takes of the tune "Willie Nelson" on The Complete Jack Johnson Sessions (Columbia Records, 2003) boxed set. Enter trumpeter/flugelhornist Thomas Marriott, with Crazy: The Music of Willie Nelson. Marriott and the band take on a couple of Nelson's best known compositions the 1961 Patsy Cline hit "Crazy," and the Nelson-recorded "On the Road Again" (is there a person alive who hasn't heard those tunes?), along with a bunch of lesser-known gems. But if you're expecting understated, subtle country flavors, think again. The sound has a distinctly modern and often brash tone, thanks in no small part to the three members of the under-recorded Matt Jorgensen + 451 ensemble: drummer Jorgensen, saxophonist Mark Taylor, and keyboardist Ryan Burns. Especially Burns, who switches from the acoustic piano mode of his Tree-O (Odd Bird Records, 2007) in favor of some serious musical adventurousness with his Fender Rhodes and Moog synthesizer. The opener, "Phases & Stages, Circles and Cycles" pulses to life on Geoff Harper's slow bass throb leading into a rhythm that sizzles behind Marriott's echoing horn, giving way to Taylor's cool, sweet nuances on soprano sax before Ryan Burns splashes neon colors and gleaming metallic sounds around. 

The disc closes with "On the Road Again," probably Nelson's most familiar melody. Marriott and company change the original's quiet country charm into an expansive, lush, electric wash of sound that seems as if it could have been issued from the underbelly of an alien spacecraft that has picked up an errant Willie broadcast out in space, and is now hovering in a starry sky, broadcasting its otherworldly renditions down to an awe-struck earthly crowd. And of course there's "Crazy." The band begins simply, gently, reverently, before things fall apart the horns and keys sounding like misfiring neurons crazy. This set of eleven Willie Nelson songs done up in a quite adventurous jazz mode is an unusually fine and original listening experience. ~ Dam McClenaghan https://www.allaboutjazz.com/crazy-the-music-of-willie-nelson-thomas-marriott-origin-records-review-by-dan-mcclenaghan.php

Personnel: Thomas Marriott: trumpet, flugelhorn; Mark Taylor: saxophone; Ryan Burns: Moog synthesizer, Fender Rhodes; Geoff Harper: bass; Matt Jorgensen: drums; Wayne Horwitz: keyboards (3); Rick Mandyck: guitar (10), vocal (11); Cecil Young: gong (11).

Crazy: The Music Of Willie Nelson

Jack Walrath - Portraits in Ivory and Brass

Styles: Trumpet Jazz
Year: 1992
File: MP3@320K/s
Time: 68:44
Size: 157,7 MB
Art: Front

( 4:59)  1. Bess, You Is My Woman
( 4:55)  2. Epitaph For Seikolos
(10:14)  3. Shadows
( 9:43)  4. Kirsten
( 9:50)  5. Monk's Feet
(11:42)  6. Road to Sophia
( 9:30)  7. Blues in F
( 7:47)  8. Green Eyes

An often exciting, thoughtful trumpeter and good arranger, Jack Walrath has steadily gained attention and exposure through his contributions to outstanding sessions. Walrath began playing trumpet at nine, and studied at Berklee in the mid- and late '60s while working with other students and backing up R&B vocalists. He moved to the West Coast in 1969, and co-led the bands Change with Gary Peacock, and Revival with Glenn Ferris. Walrath also toured a year with Ray Charles. Walrath relocated to New York in the early 70s, and worked with Latin bands before playing with Charles Mingus from 1974 to 1979, an association that gave him a certain amount of recognition. Walrath contributed some arrangements and orchestrations to Mingus' final recordings. In the 1980s and '90s, he led his own bands, toured Europe with Dannie Richmond and the British group Spirit Level, worked with Charlie Persip's Superband and Richard Abrams, and helped keep the music of Charles Mingus alive by playing with Mingus Dynasty. Jack Walrath has recorded as a leader for Gatemouth, Stash, SteepleChase, Red, Muse, Spotlite, Blue Note, and Mapleshade; he is still improving with age.By Ron Wynn https://itunes.apple.com/us/artist/jack-walrath/id36602597#fullText

Personnel: Jack Walrath (trumpet); Larry Willis (piano).

Portraits in Ivory and Brass

Tuesday, July 9, 2024

Lena Horne - New York Jazz Club

Styles: Jazz, Vocal
Year: 2014
File: MP3@320K/s
Time: 91:56
Size: 213,1 MB
Art: Front

(2:40)  1. There's a Boat That's Leavln' Soon for New York
(2:57)  2. You Don't Have to Know the Language
(2:49)  3. I'll Do Anything
(2:45)  4. Maybe
(2:40)  5. Take It Slow, Joe
(6:21)  6. Frankle and Johnny
(3:18)  7. Love Is the Thing
(3:12)  8. Then I'll Be Tired of You
(3:10)  9. Polka Dots and Moonbeams
(2:13) 10. It's Love
(2:36) 11. Just My Luck
(2:53) 12. Get Rid of Monday
(3:11) 13. A Friend of Yours
(2:21) 14. It's Anybody's Spring
(3:24) 15. Sleigh Ride In July
(1:56) 16. My Heart Is a Hobo
(2:57) 17. It Could Happen to You
(3:11) 18. Call Me Darling
(4:35) 19. Mood Indigo, I'm Beginning to See the Light
(2:40) 20. It's All Right With Me
(3:15) 21. How Do You Say It
(2:06) 22. Day In, Day Out
(3:07) 23. New Fangled Tango
(3:14) 24. Honeysuckle Rose
(4:19) 25. I Love to Love
(2:01) 26. You Do Something to Me
(1:55) 27. From This Moment On
(3:02) 28. Like Someone In Love
(3:32) 29. You're the One
(3:26) 30. Fun to Be Fooled


Lena Mary Calhoun Horne (June 30, 1917 – May 9, 2010) was an American jazz and pop music singer, dancer, actress, and civil rights activist. Horne joined the chorus of the Cotton Club at the age of 16 and became a nightclub performer before moving to Hollywood, where she had small parts in numerous movies, and more substantial parts in the 1943 films Cabin in the Sky and Stormy Weather. Because of the Red Scare and her political activism, Horne found herself blacklisted and unable to get work in Hollywood. Her career spanned over 70 years appearing in film, television, and on Broadway. Returning to her roots as a nightclub performer, Horne took part in the March on Washington in August 1963, and continued to work as a performer, both in nightclubs and on television, while releasing well-received record albums. She announced her retirement in March 1980, but the next year starred in a one-woman show, Lena Horne: The Lady and Her Music, which ran for more than three hundred performances on Broadway. She then toured the country in the show, earning numerous awards and accolades. Horne continued recording and performing sporadically into the 1990s, disappearing from the public eye in 2000.


Lena Horne was born in Bedford–Stuyvesant, Brooklyn. Reportedly descended from the John C. Calhoun family, both sides of her family were a mixture of European American, Native American, and African-American descent, and belonged to the upper stratum of middle-class, well-educated people. Her father, Edwin Fletcher "Teddy" Horne, Jr. (1893–1970), a numbers kingpin in the gambling trade, left the family when she was three and moved to an upper-middle-class black community in the Hill District community of Pittsburgh, Pennsylvania. Her mother, Edna Louise Scottron (1894–1976), was a granddaughter of inventor Samuel R. Scottron; she was an actress with a black theatre troupe and traveled extensively. Edna's maternal grandmother, Amelie Louise Ashton, was a Senegalese slave. Horne was mainly raised by her grandparents, Cora Calhoun and Edwin Horne. When Horne was five, she was sent to live in Georgia. For several years, she traveled with her mother.

From 1927 to 1929 she lived with her uncle, Frank S. Horne, Dean of Students at Fort Valley Junior Industrial Institute (now part of Fort Valley State University) in Fort Valley, Georgia, who would later serve as an adviser to President Franklin Delano Roosevelt.From Fort Valley, southwest of Macon, Horne briefly moved to Atlanta with her mother; they returned to New York when Horne was 12 years old. She then attended Girls High School, an all-girls public high school in Brooklyn that has since become Boys and Girls High School; she dropped out without earning a diploma. Aged 18, she moved in with her father in Pittsburgh, staying in the city's Little Harlem for almost five years and learning from native Pittsburghers Billy Strayhorn and Billy Eckstine, among others...More https://en.wikipedia.org/wiki/Lena_Horne

New York Jazz Club

Ruby Braff - Braff Plays Wimbledon (Second Set)

Album: Braff Plays Wimbledon (Second Set)

Styles: Cornet Jazz
Size: 146,8 MB
Time: 63:54
File: MP3 @ 320K/s
Year: 2007
Art: Front

1. Rockin' Chair ( 4:29)
2. When A Woman Loves A Man ( 5:09)
3. I Cried For You ( 9:26)
4. Pennies From Heaven ( 6:03)
5. Jive At Five (13:30)
6. I'm Pullin' Through ( 5:54)
7. Miss Brown To You ( 5:59)
8. I Know That You Know ( 8:44)
9. Save It, Pretty Mama ( 4:35)

Although cornetist Ruby Braff is joined on this set by flügelhornist Warren Vaché, trombonist Roy Williams, guitarist Howard Alden, pianist Brian Lemon, bassist Dave Green, and drummer Allan Ganley, Vaché's role is, in reality, minor (mostly just ensemble parts with a few short solos), and Williams is only on a few numbers, although he plays very well.

Fortunately, Braff is in prime form throughout, even better here than on The First Set; the phrase "adoration of the melody" (which he coined a few decades ago) perfectly fits his lyrical improvisations. The repertoire consists of veteran standards and the highlights include "I Cried for You," "Pennies from Heaven," and "I Know That You Know," although all nine selections are quite enjoyable.

Braff, a master at utilizing his lower register, sometimes has a musical conversation with himself, jumping between registers. Swing pianist Lemon sounds inspired throughout, while guitarist Alden has a few good spots. A typically rewarding Ruby Braff session. By Scott Yanow
https://www.allmusic.com/album/braff-plays-wimbledon-the-second-set-mw0000441662

Personnel: Ruby Braff - cornet; Brian Lemon - piano; Warren Vaché - flugelhorn; Roy Williams - trombone; Howard Alden - guitar; Dave Green - bass; Allan Ganley - drums

Braff Plays Wimbledon (Second Set)

Ruby Braff - Braff Plays Wimbledon (First Set)

Album: Braff Plays Wimbledon (First Set)

Styles: Cornet Jazz
Size: 132,2 MB
Time: 57:30
File: MP3 @ 320K/s
Year: 2007
Art: Front

1. Someday Sweetheart ( 4:20)
2. The Very Thought Of You ( 7:42)
3. Wouldn't It Be Loverly ( 5:10)
4. I've Got A Feeling I'm Falling ( 5:14)
5. Take The A Train (14:45)
6. This Is All I Ask ( 5:30)
7. It's The Same Old South ( 3:30)
8. When I Fall In Love ( 5:37)
9. China Boy ( 5:40)

Cornetist Ruby Braff sound fine on this set for the British label Zephyr. Most of the selections find him taking passionate and typically lyrical solos on swing standards in a quintet with pianist Brian Lemon, guitarist Howard Alden, bassist Dave Green and drummer Allan Ganley.

A few numbers add Warren Vache on flugelhorn and trombonist Roy Williams, but perhaps due to too much mutual respect, few fireworks fly. One would hope that Braff and Vache would match wits against each other, but this is largely Braff's show.

Still, the music overall (which is highlighted by "Someday Sweetheart," "I've Got a Feeling I'm Falling" and "China Boy") should please trad jazz and mainstream collectors. By Scott Yanow https://www.allmusic.com/album/braff-plays-wimbledon-the-first-set-mw0000434487#review

Personnel: Ruby Braff - cornet; Brian Lemon - piano; Warren Vaché - flugelhorn; Roy Williams - trombone; Howard Alden - guitar; Dave Green - bass; Allan Ganley - drums

Braff Plays Wimbledon (First Set)

Karin Krog, Georgie Fame - On a Misty Night: The Songs of Tadd Dameron

Styles: Vocal
Size: 153,8 MB
Time: 66:41
File: MP3 @ 320K/s
Year: 2018
Art: Front

1. On a Misty Night (7:17)
2. I'm Never Happy Anymore (5:59)
3. If You Could See Me Know (7:49)
4. Accentuate the Bass (5:35)
5. That´s the Way It Goes (4:11)
6. Take a Chance on Spring (5:00)
7. Dig It (3:52)
8. The Happy Heart (4:06)
9. Never Been in Love (5:21)
10. Good Bait / Ladybird (6:31)
11. Fointainbleau / Trane (5:16)
12. That´s the Way It Goes - Alternative Version (5:36)

Jazz connoisseurs know all about the magic of Cleveland born pianist, composer and arranger Tadd Dameron, best known perhaps for his tune ‘On A Misty Night’. One of Dameron’s biggest advocates is national treasure George Fame. Georgie has recorded ‘Misty Night’ on at least two occasions and regularly features it in his live shows, so when he was invited to join a musical tribute to Dameron, he jumped at the chance.

The invite came via Norwegian jazz pianist Per Husby who was persuaded by jazz chanteuse Karin Krog to investigate the oft-neglected work of Dameron. This was back in 1983 when Husby and Krog recorded four Dameron songs that, sadly, were never released at the time. The duo presented the songs at the Molde Jazz Festival in 1984 and despite a tape running, the live recording was deemed poor quality and never issued. Then ’85 a CD, ‘Dedications’, was finally released by Hot Club Records. By this time George Fame had come on board after Husby had asked him to add lyrics to a number of the tunes and the album eventually won a Norwegian Grammy.

In 1996 the Husby/Krog pairing was resurrected by record label owner Bjørn Petersen who had the team record more Dameron songs in New York but after a “soft” and critically acclaimed release the project floundered.

Ms Krog, though, is nothing if not dogged and last year managed to persuade Odin Records that there was just too much good music in the can to lay unappreciated. So the label team put together this “new” Todd Dameron tribute album which contains recordings from 1984, ’85 and ’96.

The album is named for Dameron’s best-known song and this 7 minute plus version of ‘On A Misty Night’ opens proceedings. On it Fame and Krog share the vocal as they do on other Dameron classics like the sprightly ‘Dig It’, ‘That’s The Way it Goes’ and the clever medley of ‘Good Bait’ and ‘Ladybird’. Georgie’s out on his own on ‘Accentuate The Bass’ while Ms Krog enjoys five solos including the surprising ‘I’m Never Happy Anymore’. She also features on the medley of ‘Fontainebleau’/’Trane’ and ‘That’s The Way It Goes’. Both those tracks, from the live Molde Jazz Festival recording, have never been issued in any format before.

It all sounds very confusing, doesn’t it? At last, though, more jazz fans can enjoy more of the artistry of Georgie Fame and Karin Krog, the arranging skills of Per Husby and, above all, the wonderful tunes of Tadd Dameron.
https://www.soulandjazzandfunk.com/reviews/karin-krog-a-georgie-fame-on-a-misty-night-odin-records/

Personnel: Vocals – Georgie Fame, Karin Krog; Alto Saxophone – Guttorm Guttormsen, Vidar Johansen; Alto Saxophone, Soprano Saxophone – Jerome Richardson; Baritone Saxophone – John Pål Inderberg , Scott Robinson ; Baritone Saxophone, Bass Clarinet – John Surman; Bass - Jay Leonard, Terje Venaas; Drums – Egil Johansen, Grady Tate; Flute – Vidar Johansen; French Horn – Odd Ulleberg , Peter Gordon ; Guitar – Bucky Pizzarelli; Orchestra – Per Husby Orchestra; Piano – Egil Kapstad , Ted Rosenthal; Soloist [Trumpet Solo] – Atle Hammer, Michael Leonhart; Soprano Saxophone – Vidar Johansen; Soprano Saxophone, Clarinet, Flute – Guttorm Guttormsen; Tenor Saxophone, Flute – Frank Wess , Knut Riisnæs; Trombone – Frode Thingnæs, Jim Pugh; Trumpet – Atle Hammer , Earl Gardner, Jan Allan, Martin Drover, Michael Leonhart , Petter Kateraas; Tuba – Howard Johnson , Stein Erik Tafjord

On a Misty Night: The Songs of Tadd Dameron

Jan Lundgren - Blue Lights

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 58:57
Size: 136,1 MB
Art: Front

(6:19) 1. Take Me In Your Arms
(4:35) 2. Blue Lights
(5:53) 3. Love Of My Life
(5:10) 4. Easily Found
(5:33) 5. Stranger In Paradise
(4:59) 6. Winter Moon
(6:47) 7. A Sunny Rain
(5:34) 8. Fair Weather
(4:51) 9. Skylark
(4:57) 10. Out Of The Past
(4:13) 11. We could Make Such Beatiful Music Together

Lundgren, born in Kristianstad in southern Sweden on March 22nd 1966, and raised in Ronneby, Blekinge, had his first piano lessons at age five. He was soon discovered to have an exceptional musical talent. After a long period of classical training, he discovered jazz more or less by chance in the late 1980’s. He was instantly hooked, rapidly absorbed the jazz piano tradition from Oscar Peterson, Erroll Garner to Bud Powell and Bill Evans, and acquired a depth of knowledge of the Great American Songbook like possibly no other European jazz pianist.

While sailing through his studies at the renowned Royal College of Music in Malmö, he also took up a busy schedule as a professional musician that quickly helped to build his reputation in Sweden. Discovered by Swedish bebop legend Arne Domnérus, he frequently played with other Swedish stars like Putte Wickman and Bernt Rosengren.

Lundgren’s debut album “Conclusion” was released in 1994, and propelled his career firmly forward. The following year saw the formation of the Jan Lundgren Trio with long time student associates Mattias Svensson (bass) and Rasmus Kihlberg (drums), who was replaced in the beginning of the year 2000 by the Dane Morten Lund. This steady band recorded seven well-received and commercially very successful albums for the Swedish label “Sittel” in the period up to 2003.

The album “Swedish Standards”, released in 1997 even became a bestseller and reached a place in the Swedish pop charts. But the album “Landscapes” (2003) sold comparably and both releases soon became classics due to their linking Swedish folk music and jazz. The band’s intense tour schedule founds a temporary peak in a concert at Carnegie Hall as part of “Swedish Jazz salutes the USA”.

As a sideman, Lundgren has accompanied such greats as Johnny Griffin, Benny Golson, Herb Geller, James Moody, or singer Stacey Kent. He has also shared the stage with ACT-artist Ulf Wakenius a number of times.

Jan Lundgren has been awarded a number of prizes since the early 90’s: In 1997 “Swedish Standards” became “best jazz album of the year”. He was nominated for the “Swedish Grammy” in 1995, 1997 and 2008 and the “Swedish Django d’Or Prize” in 1998, 2001 and 2002.

Having visited a long list of European territories and venues, Lundgren has also been on extended tours of Australia and Japan. He has visited the USA about 15 times and recorded some well-received albums for the label “Fresh Sound”.
https://www.allaboutjazz.com/musicians/jan-lundgren

Personnel: Piano – Jan Lundgren; Bass – Jesper Lundgaard; Drums – Alex Riel

Blue Lights

Monday, July 8, 2024

Laura Fygi - The Latin Touch

Styles: Vocal Jazz
Year: 2000
File: MP3@320K/s
Time: 58:13
Size: 134,6 MB
Art: Front

(3:35)  1. Historia De Un Amor
(3:28)  2. Quizas, Quizas, Quizas
(3:23)  3. Perfidia
(4:11)  4. Abrazame
(3:04)  5. Como Fue
(2:52)  6. Solamente Una Vez
(3:03)  7. Besame Mucho
(3:38)  8. Noche De Ronda
(3:06)  9. Piel Canela
(3:40) 10. La Puerta
(4:22) 11. Dimelo
(3:52) 12. La Mentira
(3:08) 13. Amor
(3:23) 14. Cuando Vuelva A Tu Lado
(2:51) 15. You Belong To My Heart (Solamente Una Vez)
(3:09) 16. Amor (English Version)
(3:21) 17. What A Difference A Day Makes (Cuando Vuelva A Tu Lado)

''I'm going back to my roots,'' Laura Fygi said about The Latin Touch. A delectable mix of salsa, cha-cha and great boleros is the ingredient for this magnificent album. A nice variation of slow and fast numbers, the album also includes classics such as ''Quizas, Quizas, Quizas'', ''Besame Mucho'', among others. There are three bonus tracks accompanying this album, all of which are the English versions of the other tracks. This seventh album offering from Laura Fygi is simply the best. Universal. 2000. ~ Editorial Reviews https://www.amazon.com/Latin-Touch-LAURA-FYGI/dp/B00004S5ZG

Personnel: Laura Fygi (background vocals); Leonardo Amuedo (guitar, background vocals); Friederike Darius (alto flute); Joe Rivera , Ruud Breuls (trumpet); David Rothschild (trombone); Hans Vroomans (piano, background vocals); Frits Landesbergen (vibraphone); Liber Torriente (bongos, percussion); Beatriz Aguiar (background vocals).

The Latin Touch

Jim Rotondi Quintet - Introducing Jim Rotondi

Styles: Trumpet Jazz
Year: 1997
File: MP3@320K/s
Time: 57:20
Size: 132,0 MB
Art: Front

(7:43)  1. Ninny Melina
(8:45)  2. Woodoo
(5:01)  3. Make Believe
(7:36)  4. Little Flower
(6:15)  5. A Peck A Sec
(6:45)  6. Too Soon To Tell
(6:56)  7. Indian Summer
(8:16)  8. On The Que Tee

Trumpeter Jim Rotondi is a solid post-bop musician with a warm tone and an improvisational approach deeply steeped in the tradition of great jazz trumpeters. While the Butte, Montana native began piano lessons with his mother at age eight, it was the trumpet that became his main instrument from age 12 on. After graduating high school in 1980, Rotondi enrolled in the highly regarded jazz studies program at North Texas State University. In 1984, he earned first place in the International Trumpet Guild's jazz trumpet competition. Post-college, Rotondi toured with various ensembles including the Lionel Hampton Orchestra and Charles Earland's quintet. Eventually settling in New York City, Rotondi established himself as a mainstay in the city's vibrant jazz club scene.

In 1997, Rotondi joined forces with saxophonist Eric Alexander and drummer Joe Farnsworth to form the jazz super-group One For All with which he has recorded a large body of work. Also in 1997, he released his debut album, Introducing Jim Rotondi on the Dutch label Criss Cross. Since then he has released a steady stream of albums including Jim's Bop (1998), Excursions (2000), Destination Up (2001), New Vistas (2004), Iron Man (2006), Four of a Kind (2008), 1000 Rainbows (2010), and Hard Hittin' at the Bird's Eye (2013). In the 2000's, Rotondi began spending more time in Europe, eventually relocating to Graz, Austria where he holds a jazz professor position at the University of Music and Dramatic Arts. When not teaching, Rotondi remains an active touring a recording musician as both a solo artist and member of One For All. In 2016, he released Dark Blue on the Smoke Sessions Records. By Matt Collar https://www.allmusic.com/artist/jim-rotondi-mn0000852157/biography

Introducing Jim Rotondi

Steve Slagle - Dedication

Styles: Saxophone, Flute Jazz
Year: 2018
File: MP3@320K/s
Time: 58:24
Size: 134,7 MB
Art: Front

(6:36)  1. Sun Song
(6:23)  2. Niner
(7:44)  3. Major in Come
(7:06)  4. Triste Beleza (Beautiful Sadness)
(6:45)  5. Opener
(5:59)  6. Watching Over
(4:19)  7. Corazon
(6:23)  8. Sofi
(7:04)  9. Charcoal Blues

Steve Slagle is one of those players that's often overlooked yet hard to forget. Why this sixty-five-year-old saxophonist who's constantly bringing energy and a spirit of exploration to the fore doesn't get the ink or marquees that come to his musical peers ten years his senior or several decades his junior is something of a head-scratcher. If you've seen him as a sideman, encountered him co-leading a band with guitarist Dave Stryker, checked out his duo work with pianist Bill O'Connell on The Power Of Two (Panorama Records, 2015), or heard any of his fine recent leader dates, like Evensong (Panorama Records, 2012) or Alto Manhattan (Panorama Records, 2016), it's fairly likely that you're wondering the same thing. While there's no firm explanation about Slagle's status, other than the fact that many jazz lovers are polarized and look only toward the "new thing" or focus exclusively on extreme longevity, there's no doubt that his name should be high on the list of stellar alto players plying their trade on the scene. This album, referencing both the man's steadfast study of his craft and the dedicatory nature of these songs, is but one more example of his strengths. With a stellar band by his side, Slagle delivers nine numbers that clearly point toward his influences, preferences, and experiences. "Sun Song," a bright and grooving calypso honoring the great Sonny Rollins, leads off the program. 

Then comes "Niner," a hip and angular tune taking its title from a nickname bestowed upon on Slagle by bassist Steve Swallow; "Major Come In," an up-tempo thriller given unto swing itself that works off of major chords in five different keys and runs on Bill Stewart's spang-a-lang ride work and Scott Colley's driving bass lines; "Triste Beleza (Beautiful Sadness)," a breezy bossa nova dedicated to "the great spirit of music from Brazil"; and "Opener," nodding toward saxophonist Jackie McLean, containing one of pianist Lawrence Fields' most memorable solos on the album, and featuring the leader on alto and flute. In all five cases, one thought rings true: Slagle remains consistently inventive as he uses his imagination and skill to color within, right on, and just outside the lines. The back-end of the album proves to be perfectly in line with what precedes it, presenting songs that are both grounded and intriguing. "Watching Over," for Marc Chagall, is straight-eighths and swirling colors, with the appealing Stryker-Slagle partnership in the spotlight. That duo's chemistry is then further highlighted on Stryker's Joe Zawinul dedication, "Corazon," where melodic directness acts as a cornerstone and bass and nylon strong acoustic create a supportive foundation for the alto's melodic musings. 

To finish things off this band delivers "Sofi," a soprano-fronted song in seven dedicated to Slagle's daughter, and Wayne Shorter's "Charcoal Blues," saluting the piece's composer and providing a welcome dose of earthy blowing. There may be saxophonists who've been in the game longer and/or pushed more boundaries, but you'd be hard-pressed to find a more dependably "on" player than Steve Slagle. By Dan Bilawsky https://www.allaboutjazz.com/dedication-steve-slagle-panorama-records-review-by-dan-bilawsky.php

Personnel: Steve Slagle: alto saxophone, flute (5), soprano saxophone (8); Lawrence FIelds: piano; Scott Colley: bass; Bill Stewart: drums; Roman Diaz: congo, percussion (1, 4, 5, 6, 7); Dave Stryker: electric guitar (2, 4, 6, 7, 8, 9), nylon string acoustic guitar (4, 7).

Dedication

Sunday, July 7, 2024

Jo Stafford - Lucky Days

Styles: Vocal
Year: 2021
File: MP3@320K/s
Time: 68:22
Size: 158,1 MB
Art: Front

(2:30) 1. Baby, It's Cold Outside
(2:53) 2. Sleigh Ride
(3:04) 3. O Holy Morning
(1:34) 4. Winter Weather
(2:05) 5. Let It Snow, Let It Snow, Let It Snow
(2:08) 6. Silent Night
(3:33) 7. The Christmas Song
(2:28) 8. I've Got My Love to Keep Me Warm
(2:20) 9. Winter Wonderland
(2:37) 10. By the Fireside
(2:20) 11. It Happened in Sun Valley
(3:03) 12. Toyland
(4:14) 13. 'T Was the Night Before Christmas
(2:23) 14. March of the Toys
(3:21) 15. June in January
(0:32) 16. Jingle Bells
(2:34) 17. I Wonder as I Wander
(3:21) 18. Whiffenpoof Song
(3:38) 19. Hanover Winter Song
(3:31) 20. Georgia on My Mind
(3:08) 21. Moonlight in Vermont
(3:11) 22. Nearer My God to Thee
(0:44) 23. Happy Holiday
(2:36) 24. These Will Be the Best Years of Our Lives
(1:55) 25. O Little Town of Bethlehelm
(2:27) 26. Make Believe

Jo Elizabeth Stafford, the third of four sisters, was born November 12, 1917 on a tract of land known as "Lease 35" in Coalinga,California. Her mother, Anna York Stafford,a distant cousin of World War I hero Alvin York was known as one of the finest five-string banjoists in Gainsboro, Tennessee. Her father, Grover Cleveland Stafford, had come West to work in the California oil fields.

Jo's professional debut was with the Stafford Sisters, a trio in which Jo, upon graduation from Long Beach Poly High, joined her sisters Christine and Pauline. They had their own weekly radio show on KHJ radio, were regular performers on David Broekman's California Melodies, the Crockett Family of Kentucky shows, and performed both solo and group vocal work for all the major motion picture studios.

After marriage broke up the Stafford Sisters trio , Jo joined a group called the Pied Pipers, and along with her seven other group members was hired by Tommy Dorsey for the Raleigh-Kool radio program in 1938. After ten weeks with Dorsey the group dissolved, but Jo was hired back with three others once again as the Pied Pipers who sang with Dorsey for three years, recorded "I'll Never Smile Again" with Frank Sinatra, and provided Jo with the opportunity of making her own solo recordings with the Dorsey band. Her first solo recording was "Little Man with a Candy Cigar."

When Johnny Mercer assembled the artists to form Capitol Records in 1943, Jo began a recording career that was to culminate in Columbia Records giving her a Diamond Award as the first recording artist to sell 25,000,000 Records.

After guesting on all the major radio shows, Jo started her own series with the Chesterfield Supper Club, to which was added the Jo Stafford Show for Revere Camera, followed by featured roles on the Carnation and Club 15 Shows.

In 1950, Jo began a series of broadcasts that brought her international recognition. In Hollywood she recorded a weekly fifteen minute Youth Program for the Voice of America to internationally promote the cause of democracy.

Soon she added another weekly half-hour musical show, also recorded in Hollywood, for broadcast over 200,000 watt Radio Luxembourg; Europe's most powerful station. During this period Frank Lee , then British director of Radio Luxembourg said: "In her own quiet way Stafford is selling America to Europe."

In 1952, coinciding with her marriage to arranger/conductor/composer Paul Weston, European demand (and a honeymoon) took them to London, where she headlined the bill at the Palladium and made appearances for the Voice of America in the British Isles and on the continent.

With the advent of television , Jo Stafford guested on all the major variety shows, and in 1954 hosted her own JO STAFFORD SHOW on CBS-TV. Thus when Hollywood decided to commemorate its stars with plaques in the sidewalks of Hollywood Boulevard and Vine Street Jo Stafford was one of the few stars to have three separate plaques, one for records, one for radio, and one for television.

In the late fifties she cut down her activities sharply in order to devote her time to her family, and aside from a few trips to New York to appear on the Garry Moore and Firestone Hour Variety Shows, she did only recordings and TV shows based in Hollywood.

In 1961 the family moved to London for the summer so that Jo could host her final JO STAFFORD SHOW, a syndicated series for the ATV British Network. These shows were seen in this country, Australia, New Zealand and Canada, as well as in the British Isles, and her guests included Bob Hope, Peggy Lee, Ella Fitzgerald and Peter Sellers.

While family commitments precluded her public appearances, Jo did continue to record for Capitol, Dot , and Reader's Digest Records, as well as making religious albums for Corinthian and the World Library of Sacred Music.

Her Hits include: "You Belong to Me", "Timtayshun" , "Whispering Hope" ( with Gordon MacRae ), "Shrimp Boats", "Make Love to Me", "Jambalaya", her album of "American Folk Songs", and the comedy albums made under the name of Darlene Edwards. One of these, "Jonathan and Darlene in Paris", won a Grammy Award in 1960 for Best Comedy Recording. Most of her best known recordings including "The Columbia Hits Collection", are currently in release on the Corinthian Records label.

She is a past-president of SHARE, one of Hollywood's best known charitable organizations, which concerns itself with aiding mentally handicapped children. One of her last public appearances was at SHARE's 25th Anniversary Show, along with Frank Sinatra, Dean Martin, Sammy Davis,Jr., Johnny Carson and Milton Berle.

Her final public vocal performance was with the Hi Los as part of a Society Of Singers tribute to Frank Sinatra. Her Corinthian recordings continue to enjoy sales throughout the world.
https://www.allaboutjazz.com/musicians/jo-stafford

Lucky Days

Kenny Burrell - Unlimited 1: Live at Catalina's

Styles: Guitar Jazz, Big Band
Year: 2016
File: MP3@320K/s
Time: 75:51
Size: 174,3 MB
Art: Front

(1:29)  1. Spoken Introduction
(9:33)  2. Stolen Moments
(5:36)  3. Jeannine
(5:43)  4. Be Yourself
(0:27)  5. Spoken Introduction
(6:03)  6. Remembering
(1:07)  7. Spoken Introduction
(9:33)  8. Mama Ya Ya
(5:43)  9. Fourth Dimensions (aka Kenny's Sound)
(7:49) 10. Adelante!
(0:26) 11. Spoken Introduction
(6:28) 12. Soulero
(0:22) 13. Spoken Introduction
(9:49) 14. Strayhorn Medley: Passion Flower/Take the "A" Train
(0:15) 15. Spoken Introduction
(5:22) 16. Things Ain't What They Used to Be (with Barbara Morrison)

Guitarist Kenny Burrell, who isn't generally known for hanging out with big bands, now has one of his own: the Los Angeles-based Jazz Orchestra Unlimited, for which he serves as music director on its debut album, Unlimited 1, Live at Catalina's. While the ensemble is splendid, individually and collectively, there's no doubt that Burrell is the star attraction. Any misgiving about that is erased by the fact that the names of orchestra members aren't listed in the Catalina's booklet except as soloists.

Luckily, most of them have at least one chance to do so, leaving less than a handful of uncounted participants. In his opening remarks, Burrell says a part of the orchestra's mission is to become a repertory ensemble playing "the great jazz classics and standards," a purpose that is somewhat underplayed here, as only four of the ten numbers would qualify as such. Besides soloing on all but one selection, Burrell sings on two (Duke Pearson's "Jeannine," his own "Remembering"), guest Barbara Morrison on one (the bravura finale, "Things Ain't What They Used to Be"). Although his voice is by no means polished, Burrell manages to reach the proper notes; Morrison, meanwhile, lends a bluesy patina to the Ellington classic, on which Burrell and the orchestra swing with abandon. Burrell's co-directors are composer / arranger / guitarist Charley Harrison and trumpeter Bobby Rodriguez, and among the album's highlights is Rodriguez' loping Latin-accented romp, "Mama Ya Ya," written to honor his great-great grandmother (on his mother's side).

Rodriguez also composed the multi-faceted "Adelante!" as a showpiece for Burrell and the orchestra. Completing the amiable program are Burrell's lyrical "Be Yourself" (inspired, he writes, by Ellington) and power-packed "Fourth Dimensions" (arranged by Don Sickler), Richard Evans ' evocative blues, "Soulero" (featuring versatile drummer Clayton Cameron) and a Billy Strayhorn medley ("Passion Flower," "Take the 'A' Train"), on the last of which the trumpet section reprises Ray Nance's original solo. In sum, an auspicious debut by the Jazz Unlimited Orchestra, whose sections are laden with some of the area's most accomplished sidemen, and another solid outing for Burrell who is at home in any arena.By Jack Bowers https://www.allaboutjazz.com/unlimited-1-live-at-catalinas-kenny-burrell-highnote-records-review-by-jack-bowers.php

Personnel: Kenny Burrell: artistic director, electric guitar, vocals, commentary; Los Angeles Jazz Orchestra Unlimited: Charley Harrison, Dr. Bobby Rodriguez: co-directors; Bobby Rodriguez: trumpet; Mike Price: trumpet; Dave Richards: trumpet; Jon Papanbrook: trumpet; Tom Marino: trumpet; Andre Delano: alto sax; Justo Almario: tenor sax, flute; Scott Mayo: tenor sax; Charles Owens: baritone sax; Nick De Pinna: trombone; Ryan Porter: trombone; Billy Mitchell: piano; Trevor Ware: bass; Clayton Cameron: drums; Barbara Morrison: vocal (16). Other personnel unlisted.

Unlimited 1: Live at Catalina's

Black Art Jazz Collective - Truth To Power

Styles: Jazz, Big Band
Size: 144,2 MB
Time: 62:45
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. Black Heart (5:49)
2. The Fabricator (6:16)
3. Truth To Power (8:20)
4. It's Alright (7:51)
5. Coming Of Age (5:29)
6. Dsus (5:29)
7. Code Switching (5:51)
8. Soliloquy (For Sidney Poitier) (4:20)
9. Lookin' For Leroy (6:45)
10. Blues On Stratford Road (6:30)

Many jazz fans break out in a sweat when they see the word “collective" in the name of a jazz group. One assumes the music is going to be avant-garde and free form to the point of incoherence. You'll be happy to know that that the Black Art Jazz Collective's new album Truth to Power (HighNote) is warmly stormy and soulfully engaging.

This collective is a sextet that has been around since 2014 and features topnotch musicians carrying on the tradition of black jazz of the 1960s and '70s that was both spirited and socially conscious. The album includes the following musicians on different tracks: Jeremy Pelt, Josh Evans and Wallace Roney Jr. (tp), James Burton III (tp), Wayne Escoffery (saxophones), Xavier Davis and Victor Gould (p,el p), Vincent Archer and Rashaan Carter (b) and Johnathan Blake and Mark Whitfield, Jr. (d).

tracks are: Black Heart; The Fabricator; Truth to Power; It's Alright; Coming of Age; Dsus; Code Switching; Soliloquy (for Sidney Poitier); Lookin' for Leroy; Blues on Stratford.

The music is hard-charging ("Truth to Power," “Dsus," “Lookin' for Leroy" and “Code Switching") and sensual ("It's Alright" and “Soliloquy for Sidney Poitier". In some places the group reminds me of Art Blakey and the Jazz Messengers with Wayne Shorter and in others the Jazz Crusaders.

Overall, the Black Art Jazz Collective has its own sound that delivers a strong message. This is jazz from a black point of view as I remember it in the 1960s and '70s, which means it's deeply felt and muscular in a poetic, meaningful way. Check it out. By Marc Myers
https://www.allaboutjazz.com/news/black-art-jazz-collective-and-39truth-to-power-and-39/

Personnel: Wayne Escoffery - (tenor saxophone); Jeremy Pelt - (trumpet); Josh Evans, Wallace Roney Jr; James Burton III - (trombone); Xavier Davis - (piano on tracks 1, 2, 4, 5, 9 & 10); Victor Gould - (piano on tracks 3, 6, 7 & 8); Vicente Archer - (bass on tracks 1, 2, 4, 5, 9 & 10); Rashaan Carter - (bass on tracks 3, 6, 7 & 8); Johnathan Blake - (drums on tracks 1, 2, 4, 5, 9 & 10); Mark Whitfield Jr - (drums on tracks 3, 6, 7 & 8).

Truth To Power

Jacintha - The Girl from Bossa Nova

Styles: Vocal, Brazilian Jazz, Bossa Nova
Year: 2004
File: MP3@320K/s
Time: 45:17
Size: 104,0 MB
Art: Front

(4:34) 1. O Ganso
(3:15) 2. So Danço Samba
(4:48) 3. Dindi
(3:44) 4. Once I Loved
(4:32)  5. Desafinado
(5:07) 6. So Nice
(5:08) 7. Wave
(5:06) 8. How Insensitive
(4:51) 9. Corcovado
(4:07) 10. Waters Of March


Jacintha picks up the tempo on her first bossa nova session. Featuring a program of some of the most well known classics of the genre, including several Jobim favorites like So Nice, Desafinado, Dindi and Corcovado, as well as less familiar tunes like O Ganso and So Danco Samba, this CD is a striking change of pace for Jacintha. With superb work from tenor Harry Allen and guitarist John Pisano (ex-Diana Krall), the album's supreme finishing is the magical playing of legendary Brazilian master percussionist Paulinho Da Costa, who blesses the entire album with an authentic bossa nova vibe.By Editorial Reviews https://www.amazon.com/Girl-Bossa-Nova-Jacintha/dp/B00027JYWQ


Personnel: Acoustic Guitar – John Pisano; Bass – Darek Oleszkiewicz; Drums – Tim Pleasant; Percussion – Paulinho Da Costa; Piano – Bill Cunliffe; Tenor Saxophone – Harry Allen ; Vocals – Jacintha .

The Girl from Bossa Nova

Wednesday, July 3, 2024

Grant Stewart - Young At Heart


Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 54:59
Size: 127,0 MB
Art: Front

(7:59) 1. Young At Heart
(8:36) 2. You're My Thrill
(6:13) 3. Roll On
(5:41) 4. Shades Of Jackie Mac
(7:00) 5. Repetition
(6:47) 6. Serenade To Sweden
(6:49) 7. Modinha
(5:52) 8. Jet Stream

Since moving from Toronto to New York at age 19, Grant Stewart has spent 15 years dutifully toiling in the city's jazz underground. Only over the past few years have we begun to hear some worthy examples of the tenor saxophonist's labor a release under his name for Criss Cross, a pair on the same label by Reeds and Deeds (a band he co-leads with Eric Alexander), and a couple on the Video Arts imprint. Although all of these discs are worth your discretionary income and time, 2007's In the Still of the Night (Sharp Nine) was a career-defining recording. From shrewd choices in material, a crack rhythm section, to Stewart's glowing solos, it was one of those rare instances in which everything came together in a near perfect manner. Sharp Nine owner/producer Marc Edelman wasted no time getting Stewart back in the studio, and he wisely decided there was no need to retool a winning formula. On Young at Heart, once again, Stewart is joined by pianist Tardo Hammer, bassist Peter Washington, and drummer Joe Farnsworth. The record is every bit as good as its predecessor in part because of Stewart's ability to sound at ease and establish his own identity on different kinds of material and at various tempos. There's stability and depth to his playing that sets him apart from a host of well-known, thirty-something tenor stylists who blow convoluted to a fault.

The tenor saxophonist's thoughtful interpretations of songs by Duke Ellington, Antonio Carlos Jobim, Neal Hefti, and others are complete in themselves. He lingers on the melodies instead of merely using them as a springboard for improvisation. Throughout the head of the title track, for example, Stewart deliberately moves thorough Hammer's lively accompaniment. A subdued rendition of "You're My Thrill" conveys a quiet resignation. Stewart's style of improvising is fresh, uncluttered, and cliche free. On medium and up tempo tracks like "Roll On," "Serenade to Sweden," "Shades of Jackie Mac," and "Jet Stream," he invariably plays a steady, evenly paced stream of ideas. One favorite device is burrowing into the rhythm section's thrust for an extended period before briefly easing up and gliding over them. Throughout the ballad "Modinha," Stewart's gift for spontaneous melodic invention is more pronounced, and so is his dramatic range. At one important juncture, he falls silent for what feels like an eternity before reaching a brief climax.By David A. Orthmann
https://www.allaboutjazz.com/young-at-heart-grant-stewart-sharp-nine-records-review-by-david-a-orthmann.php

Personnel: Grant Stewart: tenor saxophone; Tardo Hammer: piano; Peter Washington: bass; Joe Farnsworth: drums.

Young At Heart