Lillian Boutté - Nobody Knows

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 51:25
Size: 118,6 MB
Art: Front

(3:53) 1. Traveller's Tune
(8:38) 2. Nobody Knows the Trouble I've Seen
(4:04) 3. Lipstick Traces
(4:35) 4. Strange Things Are Happening
(5:04) 5. It Wasn't the Nails, Pt.1.
(4:54) 6. I Surrender Dear
(3:55) 7. Teardrops
(5:46) 8. It Wasn't the Nails, Pt.2.
(6:46) 9. If We Ever Needed the Lord It's Now
(3:45) 10. I Feel Alright

When singer Lillian Boutté was named “New Orleans Musical Ambassador” in 1986, she was the second jazz legend in the city's history to be accorded this honor - the first having been none other than Louis Armstrong. “Ambassador Lillian” is a loquacious and outspoken defender of her hometown. She has been working extensively to help Katrina victims, doing benefits and organizing relief funds for musicians, many of whom have lost everything. Also very active in this cause is her brother John Boutté a highly heralded singer in his own right and possessor of one of the finest voices in America. The siblings grew up in the Seventh Ward along with eight other sisters and brothers, steeped in the neighborhood culture of the city that is now threatened by extinction in the wake of Katrina.

It has always been Lillian's driving desire to bring the musical heartbeat of her home town nearer to the ears of the world. Over a timeframe of twenty years and with the backing of her albums featuring jazz, pop, blues, soul and gospel, she has succeeded in conveying the city's unique atmosphere to an international audience. For this extended period, she has been touring almost nonstop, doing concerts, club dates and festivals all over the world. Music was Lillian's life right from the start. At the tender age of 11, she won her first singing contest. During her musical studies at New Orleans' Xavier University, she sang in the gospel choir, before being discovered by Allen Toussaint, who used her as a background singer when producing the likes of James Booker, Patti Labelle, the Neville Brothers, the Pointer Sisters and Dr. John.

Then she went on a five-year world tour as an actor, singer and dancer in the musical “One Mo' Time”. At the same time, she made her first solo recordings, and could be seen in two movies: alongside Professor Longhair, Allen Toussaint and Tuts Washington in the critically-acclaimed Stevenson-Pallifi documentary “Piano Players Barely Play Together”, and in a bit part in Alan Parker's “Angel Heart”. Together with blues legend Brownie McGee, she can also be heard on the soundtrack of that movie. Lillian also sang at the Tennessee Williams memorial service in St. Louis cathedral in her native New Orleans, and America's high and mighty were treated to her interpretation of the national anthem in the Superdome. In 1992 she spearheaded 45 of her New Orleans music friends and brought the sounds of Cajun, Soul, R & B, Gospel traditional N.O. Brassbands and as well New Orleans cuisine to 22 cities in Germany under the title SPIRIT OF LOUISIANA. In 1993 she originated the project GOSPEL UNITED in co-operation with 2 Danish organizers, where she was able to show her musical and social influences.

Lillian Boutté worked with local legend Dr. John, with whom she produced the albums “The Jazz Book,” in 1993, and “But...Beautiful,” in 1995. Together with Munich pianist and singer Christian Willisohn, Lillian Boutté recorded the albums “Lipstick Traces,” (’92) “Come Together,” and album “You've Gotta Love Pops,” in 2000. She also released “Music Is My Life,” in 2000. Critics have compared Lillian Boutté with Bessie Smith, Aretha Franklin and Mahalia Jackson. In Europe, where she established a residence, she and her husband Thomas L'Etienne and her band “Music Friends” have already aquired a large following. Her newest show and record “That Don't Keep Me From Cookin In A 'Gumbo Pot '” is a tribute to New Orleans music with the sounds of Sassafras, Mardi Gras, funky creole blues, smoky bars and jumpin' jazz featuring 'new' New Orleans songs by Phil Parnell, Lillian Boutte, Ed Frank and others. An internationally acclaimed Jazz, Gospel and Blues singer,Lillian's unique charismatic personality, stunning voice and love for the music encapsulate an unforgettable experience for anyone who can appreciate a genuine artist. https://musicians.allaboutjazz.com/lillianboutt

Nobody Knows

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Robyn Adele Anderson Vol.1 to Vol.12

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Robyn Adele Anderson is a New York based singer, actress, and arranger. Having originally worked in the non-profit sector providing legal and social services to the local immigrant community, the idea of a career in music was merely a fantasy. However, Robyn’s life changed virtually overnight due to a fortuitous encounter with the genre-bending music collective Scott Bradlee's Postmodern Jukebox. As one of their original singers, she was able to ride the initial wave of their viral success and gain a loyal fanbase all over the world. 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 recording style. Robyn’s most popular covers include swing versions of System of a Down’s “Chop Suey'“ and Nirvana’s “Smells Like Teen Spirit.” Across social media, Robyn has amassed nearly one million followers and more than 400 million views on YouTube. In addition to creating videos, Robyn performs live as a solo artist and regularly collaborates with a variety of musical acts. As part of Postmodern Jukebox she has toured on five continents and has made appearances on “Good Morning America” and Australia’s “The Morning Show.” She has sung as a guest artist with the stripped-down cover duo The Skivvies as well as the award-winning a’cappella groups Six Appeal and Backtrack Vocals. Robyn has also performed in New York City’s immersive theater scene, starring in Speakeasy Dollhouse’s “Ziegfeld’s Midnight Frolic” and “The Girl Who Handcuffed Houdini” as well as Company XIV’s “Seven Sins” and “Nutcracker Rouge.” Currently Robyn is performing in the concert residency “Pop Divas” at Ocean Casino Resort in Atlantic City. 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.

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Oscar Peterson - The Trio

Styles: Piano Jazz
Year: 1973
Time: 38:21
File: MP3 @ 320K/s
Size: 88,1 MB
Art: Front

( 5:31) 1. Blues Etude
(13:52) 2. Chicago Blues
( 7:53) 3. Easy Listening Blues
( 3:46) 4. Come Sunday
( 7:15) 5. Secret Love

Guitarist Joe Pass and bassist Niels-Henning Ørsted Pedersen both play well on these live performances, but the reason to acquire this set is for the remarkable Oscar Peterson. The pianist brilliantly investigates several jazz styles on "Blues Etude" (including stride and boogie-woogie), plays exciting versions of his "Chicago Blues" and "Easy Listening Blues," tears into "Secret Love," and shows honest emotion on "Come Sunday." Peterson really flourished during his years with Norman Granz's Pablo label, and this was one of his finest recordings of the period.
By Scott Yanow https://www.allmusic.com/album/the-trio-1973--mw0000045261#review

Personnel: Oscar Peterson – piano; Joe Pass – guitar; Niels-Henning Ørsted Pedersen – bass.

The Trio

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Arne Domnerus & Rolf Ericson And His Orchestra - 1950-1951

Styles: Jazz, Post Bop
Year: 2003
Time: 78:35
File: MP3 @ 320K/s
Size: 179,9 MB
Art: Front

(3:15) 1. What Shall I Say
(2:53) 2. Barit
(2:39) 3. I Cover the Waterfront
(2:47) 4. Lullaby in Rhythm
(3:19) 5. The Nearness of You
(2:54) 6. Git Straight
(2:41) 7. Jumpin' with Symphony Sid
(3:20) 8. Strange Enchantment
(3:04) 9. I Know That You Know
(3:18) 10. Caravan
(3:01) 11. Lillette
(3:05) 12. Be My Love
(2:50) 13. The Pipe
(3:22) 14. Strike Up the Band
(2:31) 15. On the Alamo
(3:03) 16. Darn That Dream
(3:23) 17. Boogie Blues
(3:14) 18. Out of Nowhere
(2:28) 19. Perdido
(3:16) 20. Tenderly
(3:13) 21. What a Kick
(2:47) 22. You Can Count on Me
(3:13) 23. Schooldays
(2:40) 24. Any Time
(2:52) 25. Party for Pres
(3:17) 26. Car Rider

Sven Arne Domnerus was a Swedish jazz alto saxophonist and clarinetist, popularly nicknamed Dompan. He was best known for his recordings with visiting American players such as jazz artists such as James Moody, Art Farmer and Clifford Brown. Domnerus also played with Charlie Parker when he made his tour in Sweden 1950. Domnerus worked with the Swedish Radio Big Band from 1956 to 1978, and wrote for television and films during the period.

He also recorded extensively with Bengt Hallberg. Together with fellow Swedes Bengt-Arne Wallin, Rolf Ericson and Ake Persson (the latter two both former members of Duke Ellington's Orchestra), he participated at the Jazz Workshops, organized for the Ruhrfest in Recklinghausen by Hans Gertberg from the Hamburg radio station.https://www.allaboutjazz.com/musicians/arne-domnerus/

Rolf Ericson, August 29, 1922 – June 16, 1997) was a Swedish jazz trumpeter. He was also flugelhorn player. In 1947, he moved to New York City and joined Charlie Barnet’s bigband in 1949. He also joined Woody Herman’s band in 1950. He worked later with Charlie Parker, Lars Gullin and Paul Gonsalves. He returned to Sweden in 1950 and recorded with Arne Domnerus as well as as Leonard Feather’s Swinging Swedes. Between 1953 and 1956, he returned to the U.S. and performed with the major bands Charlie Spivak and Harry James. He also played with Les Brown and the Lighthouse All-Stars.

He toured Sweden in 1956 and performed with Ernestine Anderson, Lars Gullin and others. Between 1956-1965, he was back in America, where he worked with Dexter Gordon and Stan Kenton, Harold Land, Stan Kenton. Woody Herman. Buddy Rich, Buddy Rich. Gerry Mulligan. Dan Terry. Charles Mingus. From 1963 to 1971, he was with the Duke Ellington Orchestra. He recorded three recordings in the 1960s as part of the Rod Levitt Orchestra (octet). Ericson was a member of the Al Porcino Big Band, Berlin in the late 70s and early 1980s.
https://jazzinfo.org/artist/rolf-ericson

1950-1951

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Eliane Elias - Mirror Mirror

Styles: Piano Jazz
File: MP3@320K/s
Time: 36:16
Size: 84,7 MB
Art: Front

( 6:07) 1. Armando's Rhumba
( 6:27) 2. Esta Tarde Vi Llover
( 5:47) 3. Blue Bossa
(11:33) 4. Corazo´n Parti´o.mp3
( 4:53) 5. Mirror Mirror
( 6:45) 6. Sabor A Mi
( 6:15) 7. There Will Never Be Another You

Multi GRAMMY® winning pianist/singer/composer Eliane Elias’ latest album MIRROR MIRROR on Candid Records is a lifelong musical dream come true an extraordinary piano duet recording of Eliane with the late legendary jazz great Chick Corea, and famed Cuban pianist Chucho Valdés. While her highly successful recordings have predominantly featured her alluring voice and piano mastery, the piano has always been her first love and working with these two incredible icons was a rare opportunity to record in a two-piano setting, something she hasn’t done in many years. For the world-renowned performer, this organically created collection represents more than simply a culmination of an illustrious career that includes nearly 30 recordings, over 2.3 million albums sold, nine total GRAMMY and Latin GRAMMY nominations, a GRAMMY win for Best Latin Jazz Album (Made in Brazil, 2016) and a Latin GRAMMY win for Best Latin Jazz/Jazz Album (Dance of Time, 2017). MIRROR MIRROR marks the classically trained pianist’s first piano-only recording since 1995’s Solos and Duets, a set of piano solos and six duets with pianist Herbie Hancock.

The recordings took place in NYC at Yamaha’s Artist Services in Manhattan with Corea and Brooklyn’s Bunker Studios with Valdés. It features Chick on four tracks, Chucho on three and was produced by Elias with her award-winning team of co-producers Marc Johnson and Steve Rodby, and mixed and mastered by Rich Breen. Though Corea and Valdés alternate in the track list with the opening Corea duet “Armando’s Rhumba” followed by the Valdés duet “Esta Tarde Vi Llover” before the next Corea duo “Blue Bossa,” etc., the flow is remarkably seamless – but the story behind the recording of the album is best told in two distinct segments.Having always counted Corea as one of her chief influences, Eliane first met him in 1978 in Brazil. Meeting on occasion over the years on the road they spoke of someday playing or recording together. Having at last set aside a date to do so, by design the two’s sole literal preparation was about song suggestions. In Eliane’s view, she and Chick had been getting ready for their session with lifetimes dedicated to their craft, their instruments and the art of improvisation.

“Despite him being a generation older, our influences were similar; Bud Powell, Bill Evans, in fact, we had both done tributes to Evans. We also played with many of the same bassists and drummers and, of course both were rooted in classical training. He played Mozart and Scarlatti, I played Bach and Ravel. Those shared influences poured out as we played and one can feel our affinities through the inventiveness of the rhythms and harmonies, how we felt time with each other and how we treated the songs.” When he passed unexpectedly in February 2021, Elias, devastated, was deep in the mixing process with four improvisational duets she had recorded with him. Revisiting the music for release reminded her just how effortlessly they communicated and of the instant rapport they shared.You can discern the duo’s chemistry from the elegant opening of “Armando’s Rhumba”. Ditto the opening sensitive lyrical approach and hypnotic intertwining of notes that drives “Blue Bossa”. The other tracks are the title track “Mirror Mirror” and “There Will Never Be Another You,” the title of which captures what words are insufficient to describe; the beautiful moments Eliane and Chick created in tandem.

In contemplating who she would like to work with to complete a piano duets album, the idea of playing with Valdés came quickly to mind, and Eliane describes the sessions as spontaneous, full of heart, passion, and energy and just as importantly, another dream fulfilled. She and Valdés ran into each other at festivals and other venues over the years, and have a deep affection for each other’s playing. Before they started recording at their Model D Steinway and Sons pianos, they had a brief meeting in Miami to go over song choices. Valdés was enthusiastic about her unique suggestions of tunes by Mexican and Spanish composers. He knew the songs but was surprised she did – until Eliane told him about her mother Lucy, the daughter of a Spanish Basque who exposed her to countless Spanish language and Latin songs in addition to her extensive jazz collection. They looked over Eliane’s charts in a fun afternoon of playing together, so that when they arrived at the studio a few days later, the only question was, “Do you solo first or do I? Eliane and Chucho create an intoxicating mix of Cuban and Brazilian rhythms throughout their three tunes, from the elegantly romantic “Esta Tarde Vi Llover” to the mood-swinging ”Corazon Partío” and “Sabor a Mi,” a sensual bolero which begins introspectively, then evolves into a percussive jam. “The give and take, the way I accompanied him and he accompanied me, and how we answered each other reflects how completely connected we were,” Eliane says.

Born in São Paulo, Brazil, Eliane began her classical piano studies at age seven and at twelve was transcribing solos from the great jazz masters. By 15, she was teaching piano and improvisation at one of Brazil’s most prestigious schools of music. Her performing career began two years later, working with Brazilian singer/songwriter Toquinho and the great poet Vinicius de Moraes, who was also Antonio Carlos Jobim’s co-writer/lyricist. Later in NYC, after performing for several years with Steps Ahead and recording on their self-titled second album (also featuring Michael Brecker, Michael Mainieri, Peter Erskine and Eddie Gomez), she launched her solo career in 1984 with a collaboration album with Randy Brecker titled Amanda.

Eliane’s first official album under her own name, Illusions, featured Stanley Clarke, Steve Gadd, Lenny White, Eddie Gomez and Toots Thielemans and hit #1 on the Radio & Records Contemporary Jazz chart. Voted Best New Talent in the Jazziz magazine critics’ poll in 1988, Eliane is a four-time Gold Disc Award recipient, a three-time Best Vocal Album winner in Japan and winner of the 2018 Edison Lifetime Achievement Award in Holland. Her 2019 album Love Stories, as most of her previous releases, hit #1 on the jazz charts worldwide.

“The title MIRROR MIRROR wasn’t chosen simply because it was one of the songs Chick and I recorded,” says Eliane. “It was all about the two pianos facing each other like a beautiful mirror image, and how in each duet we reflected each other’s thoughts and ideas back and forth. To me, the piano is an extension of my body, heart and soul and is at the center of everything I do. I will always be proud and grateful for the opportunity to have registered these special musical encounters with these two master musicians.” http://news.theurbanmusicscene.com/2021/07/eliane-elias-to-release-new-album-mirror-mirror/

Mirror Mirror

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Tatiana Eva-Marie, Avalon Jazz Band - April in Paris

Styles: Vocal, Jazz Band
Year: 2021
File: MP3@320K/s
Time: 54:35
Size: 126,4 MB
Art: Front

(3:54) 1. C’est magnifique
(4:17) 2. La Vie en rose
(3:07) 3. J’attendrai
(2:57) 4. Y’a d’la joie
(3:26) 5. La Mer
(3:48) 6. April in Paris
(4:16) 7. Sous le ciel de Paris
(3:44) 8. C'est le printemps
(3:29) 9. Fleur Bleue
(2:50) 10. L’Automne à Paris
(3:46) 11. Comment allez-vous?
(4:08) 12. A Paris
(3:15) 13. Parlez-moi d’amour
(3:18) 14. La Foule
(4:12) 15. Douce France

Tatiana Eva-Marie was born in a musical family, in Switzerland, to renowned film composer Louis Crelier and solo violinist Anca Maria. She grew up surrounded by classical music on one side and jazz and music from the seventies on the other. Tatiana Eva-Marie calls herself a “recording studio rat”, and she started her career as a singer at age 4 when she recorded a duo album with famous children’s performer Henri Des. Two years later, she recorded her first solo album and featured in her first professional theatre play. She fell in love with the stage and has been performing ever since.

During her childhood, Tatiana Eva-Marie performed regularly in various stage productions and sang as a guest star in her father’s New Orleans style band The Cotton Club Jazz Orchestra for the closing ceremony of the Vevey Comedy Film Festival. At age 12, she started her professional training at the Theatre Populaire Romand acting school in Switzerland, and then a few years later, at the American Academy of Dramatic Arts in New York City.

Tatiana Eva-Marie was accepted in a special high school for young artists and athletes and graduated at only 16 years old. She then moved to Paris, where she studied medieval literature at the Sorbonne University during the day, and performed as a Gypsy singer and dancer at night in cabarets across the city, barefoot on tables with the Eastern mafia drinking vodka out of her shoes.

She performed as a singer and actress in some of the most renowned theaters in France, including the Comedie Francaise and the Theatre du Rond Point. Tatiana Eva-Marie wrote and directed two musical theater plays, Rhapsodia and The Magic Violin, which had a lot of success at the Avignon Theater Festival. Tatiana Eva-Marie now lives in New York City, where she is continuing her artistic career. She is the lead singer of Avalon Jazz Band and collaborates with many talented artists on film, music and theater projects. https://www.allaboutjazz.com/musicians/tatiana-eva-marie

April in Paris

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Avalon Jazz Band - Je Suis Swing

Bitrate: MP3@320K/s
Time: 55:44
Size: 127.6 MB
Styles: Contemporary jazz
Year: 2016
Art: Front

[3:37] 1. Ménilmontant
[3:21] 2. Coquette
[3:40] 3. Je Suis Swing
[3:43] 4. La Complainte De La Butte
[4:02] 5. I Can't Give You Anything But Love
[2:53] 6. Stompin' At Decca
[3:24] 7. Darling Je Vous Aime Beaucoup
[3:17] 8. C'est Si Bon
[3:32] 9. Songe D'automne
[2:32] 10. Le Soleil Et La Lune
[3:21] 11. Sweet Sue, Just You
[4:20] 12. Seule Ce Soir
[3:43] 13. J'ai Ta Main
[2:57] 14. Rosetta
[3:56] 15. Clair De Lune
[3:18] 16. Q'est-Ce-Qu'on Attend Pour être Heureux

Vocals – Tatiana Eva-Marie; Violin – Adrien Chevalier; Guitars – Olli Soikkeli & Vinny Raniolo; Clarinet – Evan Arntzen; Bass – Brandi Disterheft; Accordion – Albert Behar.

The world ambassadors of French hot jazz are presenting their highly anticipated first full-length CD “Je Suis Swing”, a tribute to the Zazou youth of 1930s and 40s Paris, with a mix of American and French jazz standards, sprinkled with hidden gems. They have traveled the globe from New York to Fiji, from hidden speakeasies to Lincoln Center, spreading France’s proverbial joie de vivre, led by singer Tatiana Eva-Marie, named one of her generation’s “finest rising vocalists” by magazine Vanity Fair. She will be joined by violin virtuoso Adrien Chevalier and young guitar wizard Olli Soikkeli, complementing her vocals with the iconic sound of the Hot Club De France. Their repertoire will include the music made famous by Charles Trenet, Yves Montand, Django & Grappelli, Jean Sablon and more, with original arrangements that reflect the innocent decadence of the Parisian jazz age.

Je Suis Swing

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Bobby Wellins Sextet - Homage To Caledonia

Styles: Saxophone Jazz
Year: 2024
Time: 74:11
File: MP3 @ 128K/s
Size: 70,3 MB
Art: Front

( 9:06) 1. What is the truth?
( 7:53) 2. Conundrums
( 3:18) 3. Aura best
(12:16) 4. Piano solo
( 2:25) 5. Introduction / Gathering
(10:23) 6. March
( 5:07) 7. Battle
( 6:05) 8. Aftermath
(17:33) 9. Dizzy's blues (including St. Thomas)

Bobby Wellins said about the composition of "The Culloden Moor Suite:" "It was something that came to me after reading John Prebble's book about the Battle of Culloden and the way he described events leading up to it and the dreadful aftermath... I wanted to capture, not just the terrible sadness that must have resulted from what was a pretty horrific event, but also the sense of expectancy and celebration, even if it turned out to be misplaced, in the gathering of the Jacobite army."

This is the only complete small ensemble recording of the suite released up to 2024. The booklet, largely written by drummer Spike Wells, is a memoir of the time in 1979 when the group toured the country under the aegis of Jazz Services and the Arts Council. Wells describes the early versions of the suite with the New Departures quintet and the version with the Scottish National Jazz Orchestra with Tommy Smith. On the album, the quartet becomes a sextet with the addition of Lol Coxhill and Bryan Spring.

Producer Pete Woodman outlines the background to the Battle of Culloden which took place in 1746 . It was an attempt for Charles Edward Stewart to restore his father James to the British throne. The battle is crucial to Scottish/English history but it is a pity that Woodman does not mention the excellent Peter Watkins film about the battle.

In many ways, the Pete Jacobsen piano solo which is not part of the suite, is a wonderful addition to the performance. Jacobsen is a lost hero of British jazz music. Anyone who wonders why Jacobsen's work is still cherished has only to listen to this twelve-minute, untitled piano solo. Jacobsen plays freely, ranges widely and as a maverick let loose he is lyrical, inventive and creative. The playing could have been recorded yesterday.

The suite is not "Under Milk Wood." It is hard-edged, craggy, horny, bristling with defiance and Scottish sadness,,,, a validation. The non-Culloden pieces are valuable additions to the Wellins discography.. "Aura" is short, too short, because it is haunting in the way that only a Wellins solo can be. For moments, it is all there, the plaintive tone, the endemic sadness and beauty and a completely compatible accompaniment from Jacobsen.

Although the sound quality of Jazz in Britain albums, taken from musicians' archives, is not always pristine, the presentation is always first-rate.. Here, the images of Culloden Moor and the grave markers on the moor have definition, clarity and colour. There are photos and publicity from the time. Above all, this is a valuable historical document documenting the playing of an important composition.By Jack Kenny
https://www.allaboutjazz.com/homage-to-caledonia-bobby-wellins-sextet-jazz-in-britain

Homage To Caledonia

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Bud Shank - New Gold!

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 61:43
Size: 142,0 MB
Art: Front

(5:45)  1. Port Townsend
(4:52)  2. Alternate Root
(5:56)  3. Let Me Tell You Why
(5:41)  4. Straight No Chaser
(6:25)  5. Perkolater
(6:15)  6. Grizzly
(5:13)  7. Finger Therapy For Sherman
(6:35)  8. Linda
(4:58)  9. Killer Joe
(4:59) 10. Funcused Blues
(5:00) 11. Little Rootie Tootie

Bud Shank assembled a pianoless sextet made up of West Coast musicians for this 1993 studio date, including a front line consisting of the alto saxophonist and leader with trumpeter Conte Candoli, tenor and soprano saxophonist Bill Perkins, baritone saxophonist Jack Nimitz, and a rhythm section that includes bassist and composer John Clayton and drummer Sherman Ferguson. The playing is crisp, the ensembles are a joy to hear, and the solos are consistently adventurous. "Port Townsend" is a lively post-bop vehicle that opens the session, featuring a strong solo by Candoli. The leader contributed the somewhat exotic "Perkolator" (a feature for Perkins' soprano sax) and the pretty ballad "Linda." But it is Clayton's charts that threaten to steal the show, including the strutting "Alternate Root," the bittersweet "Let Me Tell You Why," which has some almost mournful solos by Shank, and the funky blues "Funcused Blues." There are also impressive performances of jazz standards by Thelonious Monk and Benny Golson. Unfortunately, this CD was deleted with the demise of the initial revival of the Candid label. ~ Ken Dryden https://www.allmusic.com/album/new-gold-mw0000177457

Personnel:  Bud Shank (alto saxophone);  Conte Candoli (trumpet);  Bill Perkins (tenor saxophone, soprano saxophone);  Jack Nimitz (baritone saxophone);  John Clayton (bass);  Sherman Ferguson (drums)

New Gold!

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Tatiana Eva-Marie, Avalon Jazz Band - I Wish You Love

Styles: Vocal, Jazz Band
Year: 2016
File: MP3@320K/s
Time: 24:53
Size: 57,6 MB
Art: Front

(3:45) 1. Ménilmontant
(2:51) 2. I Love Paris
(2:09) 3. Qu'est-ce qu'on attend pour être heureux?
(2:22) 4. Zou Bisou Bisou
(2:44) 5. Runnin' Wild
(3:47) 6. Que reste-t-il de nos amours?
(2:05) 7. Ah, dis! Ah, bonjour!
(2:42) 8. Bonjour sourire
(2:24) 9. Fit as a Fiddle

Beautiful things happen in Paris. The musicians in Avalon jazz band met somewhere between music schools and bohemian cafés, and decided to bring back French and American Swing Jazz. They are currently in New York, rewinding the musical clock in some of the hottest spots in the city. https://www.reverbnation.com/avalonjazzband?popup_bio=true

Avalon Jazz Band is a French - American vintage jazz band - orchestra , based in Paris and originally from New York . It was formed in 2012 by jazzmen Tatiana Eva-Marie and Adrien Chevalier. His favorite repertoire of compositions and covers is inspired by vintage standards of French chanson and American jazz standards ( Great American Songbook ) from the Jazz Age , New Orleans Jazz , hot jazz , French- swing - Parisian zazou , or emblematic gypsy jazz of the 1930s and 1940s , with covers, among others, of Django Reinhardt and Stéphane Grappelli (founders of the Hot Club de France ), Charles Trenet and Johnny Hess, Yves Montand, Henri Salvador, Ray Ventura, Jean Sablon, Juliette Gréco, Lucienne Delyle, Frank Sinatra, Nat King Cole, Fats Waller, or Cole Porter.https://fr-m-wikipedia-org.translate.goog/wiki/Avalon_Jazz_Band

Members: Tatiana Eva-Marie — vocals; Adrien Chevalier — violin; Vinny Raniolo, Agan Koran, Duved Dunayevski — guitar; Roberto Gervasi, Kate Dunphy — accordion; Oran Etkin — clarinet; Stéphane Séva — keyboard; Julian Smith, Eduardo Belo, Leigh Barker — double bass

I Wish You Love

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Gene Krupa - Big Noise from Winnetka

Styles: Jazz, Swing
Year: 1959
File: MP3@320K/s
Time: 48:39
Size: 112,2 MB
Art: Front

( 4:24)  1. Big Noise from Winnetka
( 5:32)  2. Take the "a" Train
( 5:48)  3. Some of These Days
( 5:46)  4. Sweet Georgia Brown
( 3:01)  5. Petite Fleur
( 4:08)  6. Lonesome Road
( 8:33)  7. Don't Be That Way
(11:25)  8. Drum Boogie

The first drummer to be a superstar, Gene Krupa may not have been the most advanced drummer of the 1930s but he was in some ways the most significant. Prior to Krupa, drum solos were a real rarity and the drums were thought of as a merely supportive instrument. With his good looks and colorful playing, he became a matinee idol and changed the image of drummers forever. Gene Krupa made history with his first record. For a session in 1927 with the McKenzie-Condon Chicagoans, he became the first musician to use a full drum set on records. He was part of the Chicago jazz scene of the 1920s before moving to New York and worked in the studios during the early years of the Depression. In December 1934 he joined Benny Goodman's new orchestra and for the next three years he was an important part of Goodman's pacesetting big band. Krupa, whose use of the bass drum was never too subtle, starred with the Goodman Trio and Quartet, and his lengthy drum feature "Sing, Sing, Sing" in 1937 was historic.

After he nearly stole the show at Goodman's 1938 Carnegie Hall Concert, Krupa and Goodman had a personality conflict and the former soon departed to form his own orchestra. It took the drummer a while to realize with his band that drum solos were not required on every song! Such fine players as Vido Musso, Milt Raskin, Floyd O'Brien, Sam Donahue, Shorty Sherock, and the excellent singer Irene Daye were assets to the Krupa Orchestra and "Drum Boogie" was a popular number but it was not until 1941 when he had Anita O'Day and Roy Eldridge that Krupa's big band really took off. Among his hits from 1941-1942 were "Let Me Off Uptown," "After You've Gone," "Rockin' Chair" and "Thanks for the Boogie Ride." Krupa made several film appearances during this period, including a very prominent featured spot in the opening half-hour of the Howard Hawks comedy Ball of Fire, performing an extended version of "Drum Boogie" (with Roy Eldridge also featured), and William Dieterle's faux jazz history, Syncopation. Unfortunately, Krupa was arrested on a trumped-up drug charge in 1943, resulting in bad publicity, a short jail sentence, and the breakup of his orchestra. In September 1943 he had an emotional reunion with Benny Goodman (who happily welcomed him back to the music world). Krupa also worked briefly with Tommy Dorsey before putting together another big band in them middle of 1944, this one with a string section. 

The strings only lasted a short time but he was able to keep the group working into 1951. Tenor saxophonist Charlie Ventura and pianist Teddy Napoleon had a trio hit in "Dark Eyes" (1945), Anita O'Day returned for a time in 1945 (scoring with "Opus No. 1") and, although his own style was unchanged (being a Dixieland drummer at heart), Krupa was one of the first swing big bandleaders to welcome the influence of bebop into his group's arrangements, some of which were written by Gerry Mulligan (most notably "Disc Jockey Jump"). Among the soloists in the second Krupa Orchestra were Don Fagerquist, Red Rodney, Ventura, altoist Charlie Kennedy, tenorman Buddy Wise, and in 1949 Roy Eldridge. After breaking up his band in 1951, Krupa generally worked with trios or quartets (including such sidemen as Ventura, Napoleon, Eddie Shu, Bobby Scott, Dave McKenna, Eddie Wasserman, Ronnie Ball, Dave Frishberg, and John Bunch), toured with Jazz at the Philharmonic, ran a drum school with Cozy Cole and had occasional reunions with Benny Goodman. In 1959, Columbia Pictures released The Gene Krupa Story, a biographical drama based on Krupa's life starring Sal Mineo in the title role and Red Nichols in a supporting part. Gradually worsening health in the '60s resulted in him becoming semi-retired but Krupa remained a major name up until his death. Ironically his final recording was led by the same person who headed his first appearance on records, Eddie Condon. Gene Krupa's pre-war big-band records are gradually being released by the Classics label. ~ Scott Yanow https://itunes.apple.com/us/album/big-noise-from-winnetka/id376420584

Personnel:  Leader, Drums – Gene Krupa;  Bass – Jimmy Gannon;  Piano – Ronnie Ball; Tenor Saxophone, Clarinet, Flute – Eddie Wasserman

Big Noise from Winnetka

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Orquestra Jazz De Matosinhos/Rebecca Martin/Larry Grenadier - After Midnight

Styles: Jazz, Big Band
Year: 2022
Time: 52:08
File: MP3 @ 320K/s
Size: 120,4 MB
Art: Front

(5:00) 1. The Space in a Song to Think
(5:48) 2. In the Nick of Time (state of the Union)
(4:02) 3. Brother Can You Spare a Dime
(3:47) 4. Kentucky Babe
(4:50) 5. After Midnight
(4:20) 6. Portrait
(4:47) 7. Don’t Mean a Thing at All
(6:15) 8. Willow Weep for Me
(4:20) 9. All Day Long She Wrote
(3:37) 10. Lush Life
(5:16) 11. Joey

Portugal’s Orquestra Jazz De Matosinhos was created in 1997 as a non-profit institution, and through the years it has worked with such American artists as Carla Bley, Lee Konitz, Kurt Rosenwinkel, Maria Schneider, Dee Dee Bridgewater and Fred Hersch. For After Midnight, which was recorded right before the pandemic, they are joined by singer/songwriter Rebecca Martin and her husband, bassist Larry Grenadier.

While Martin is a skilled songwriter and lyricist, her pitchy voice is an acquired taste, as is her bland delivery. One should concentrate on the messages of her lyrics rather than her tone. On After Midnight, she makes that a little easier by having her 11 songs with the big band followed by bonus cuts: solo readings of the lyrics by 11 different women. The big band performs arrangements by their director Pedro Guedes, Carlos Azevedo and two from Guillermo Klein.

There are occasional solos such as by an altoist on “The Space In A Song To Think,” drum breaks from Marcus Cavaleiro on “In The Nick Of Time,” guitarist Andre Fernandes during “After Midnight” and Grenadier on several pieces. But the orchestra is mostly in a subsidiary role, and the lack of mood and tempo variations is unfortunate. There are some who enjoy Bob Dylan’s singing while others find him difficult to sit through. For me, the latter is true of this Rebecca Martin showcase.
By Scott Yanow https://downbeat.com/reviews/detail/after-midnight

After Midnight

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Hank Mobley - Messages (Reissue)

Styles: Saxophone Jazz
Year: 1976
File: MP3@320K/s
Time: 76:15
Size: 175,5 MB
Art: Front

( 6:57)  1. Bouncing With Bud
( 5:41)  2. 52nd Street Theme
( 6:15)  3. Minor Disturbance
( 7:32)  4. Au Privave
( 8:42)  5. Little Girl Blue
( 6:37)  6. These Are The Things I Love
( 6:04)  7. Message From The Border
( 5:37)  8. Xlento
( 5:49)  9. The Latest
(10:01) 10. I Should Care
( 6:56) 11. Crazeology

With the exception of Hank Mobley's original "Alternating Current," which was left out due to lack of space, this single CD has all of the music from the two Prestige LPs Mobley's Message and Hank Mobley's Second Message; a two-LP set from 1976 which had the same Messages title and catalog number, but also the complete program, is actually the preferred acquisition, but will be difficult to locate. The first session mostly features the fine tenor Hank Mobley jamming on four superior bop standards, including "Bouncing with Bud," "52nd Street Theme" and "Au Privavem" and his own "Minor Disturbance" in a quintet with trumpeter Donald Byrd, pianist Barry Harris, bassist Doug Watkins and drummer Art Taylor; altoist Jackie McLean has a strong cameo on "Au Privave." The second set, recorded a week later, is less of a jam session, with Mobley, trumpeter Kenny Dorham, pianist Walter Bishop, bassist Doug Watkins and drummer Art Taylor essaying three of Mobley's now-obscure compositions, Benny Harris's "Crazeology" and the standards "These Are the Things I Love" and "I Should Care." The two dates give one a good example of Hank Mobley's playing prior to becoming a regular Blue Note artist, where he would create his greatest work. ~ Scott Yanow https://www.allmusic.com/album/messages-mw0000201086

Personnel: Tenor Saxophone – Hank Mobley; Alto Saxophone – Jackie McLean; Bass – Doug Watkins; Drums – Art Taylor; Piano – Barry Harris, Walter Bishop; Trumpet – Donald Byrd, Kenny Dorham 

Messages (Reissue)

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Jack Wilkins - Until It's Time

Styles: Guitar Jazz
Year: 2009
Time: 69:35
File: MP3 @ 320K/s
Size: 159,4 MB
Art: Front

(6:02) 1. Arthur's Theme
(5:50) 2. Show Me
(6:02) 3. Blossom
(4:58) 4. Walk Don't Run
(6:30) 5. These Foolish Things
(4:32) 6. Lauro's Waltz
(7:23) 7. Two for the Road
(5:30) 8. Fur Elise
(5:04) 9. Tico-Tico
(5:35) 10. Airegin
(4:24) 11. Until It's Time for You to Go
(7:39) 12. Blossom (extended version)

A guitarist with the kind of dexterity that Jack Wilkins shares is bound to find success in many fields, especially when based in New York, where he's surrounded by great musicians all the time. As Until It's Time features piano, bass and drums in support of Wilkins' sensual fret board articulation, much of the album relies on familiar songs and a conservative love affair with melody.

Wilkins works in unison with piano, stretches out frequently, and turns his musical partners loose often in order to invite adventures of their own. Most of the session features up-tempo romps where rhythm grabs a collar-full of surprise and propels the unit forcefully. Others, such as "These Foolish Things," slow the mood down considerably in order to allow soulful ballad feelings their share of the moment.

A blazing-fast arrangement of "Tico Tico" finds Wilkins burning up the fret board with fingers that accelerate like a machine gun. While his articulation rides fast in sixth gear, the guitarist delivers a crystal attack where every note finds clarity. Similarly, "Airegin" and "Show Me" allow the ensemble to romp hard and fast with a characteristic bop attack.

Wilkins, 65, has remained an integral part of the New York jazz scene for close to 50 years. From Buddy Rich's small ensembles of the 1970s to a modern-day NEA grant and a striking relationship with the Smithsonian Institution, he's covered all the jazz bases and continues to create great jazz. By Jim Santella
https://www.allaboutjazz.com/until-it-jack-wilkins-maxjazz-review-by-jim-santella

Personnel: Jack Wilkins: amplified guitar; Jon Cowherd: piano, piano & organ (3, 12), organ (11); Steve LaSpina: double bass; Mark Ferber: drums; Samuel Torres: percussion (1); Jeff Barone: acoustic guitar (3, 12).

Until It's Time

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Hank Mobley - Jazz Message #2

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 32:14
Size: 74,5 MB
Art: Front

(9:51)  1. Thad's Blues
(6:40)  2. Doug's Mino B' Ok
(6:31)  3. B. For B.B.
(4:58)  4. Blues Number Two
(4:11)  5. Space Flight

Impressive lineups, both in the front line and the rhythm section, fuel the two 1956 sessions on this Savoy reissue. The players are committed, the writing is good, and the performances reward repeated listening. The result is a worthwhile precursor to the industry standard hard bop Mobley would later record for Blue Note.Lee Morgan, then 18, joins Mobley on two tracks that have pianist Hank Jones, bassist Doug Watkins, and drummer Art Taylor in the rhythm section. Even if Morgan at this time was audibly still growing as a trumpet player, his poise, execution, and resourceful imagination were already the tools of a master. Donald Byrd, on form and playing with crispness and authority, moves into the trumpet chair for the three remaining tracks. This time it's Barry Harris on piano, Kenny Clarke on drums, and Watkins (again) on bass. The influence on Mobley of swing era tenors, from Lester Young to Illinois Jacquet, can be clearly heard on these tracks. Mobley's respect for and understanding of the pre-bebop style serve him well in his contribution to the development of the predominant jazz style that followed bebop. In addition to three Mobley originals, there is a blues by Thad Jones and another from Watkins. The standout track is Mobley's "Space Flight," a bright, up-tempo bop number that has memorable solos from Mobley, Byrd, Harris, and Clarke. The recording on this CD is very good but, as is common on Savoy reissues, the running time isn't long 32 minutes in the case of this jazz message. ~ Jim Todd https://www.allmusic.com/album/the-jazz-message-of-hank-mobley-vol-2-mw0000098294

Personnel: Hank Mobley - tenor saxophone; Donald Byrd - trumpet; Barry Harris - piano; Doug Watkins - bass; Kenny Clarke - drums

Jazz Message #2

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Syd Lawrence Orchestra - Salute To Glenn Miller

Styles: Big Band
Year: 2009
Time: 68:23
File: MP3 @ 320K/s
Size: 159,6 MB
Art: Front

(3:25) 1. A String of Pearls
(2:50) 2. Sun Valley Jump
(2:59) 3. Somewhere Over the Rainbow
(4:34) 4. The St Louis Blues March
(4:58) 5. Stardust
(2:03) 6. Cherokee
(4:40) 7. Swing Low Sweet Chariot
(3:12) 8. Adios
(6:18) 9. Holiday for Strings
(3:55) 10. American Patrol
(3:27) 11. If I Had You
(2:43) 12. Caribbean Clipper
(2:19) 13. Embraceable You
(3:52) 14. Jeep Jockey Jump
(3:59) 15. Tuxedo Junction
(3:01) 16. Three Coins in the Fountain
(2:13) 17. Anchors Aweigh
(3:51) 18. Moonlight Serenade
(3:55) 19. In The Mood

The Syd Lawrence Orchestra brings you 19 essential Glenn Miller instrumental classics. As well as stunning re-recordings of the staples of the Miller repertoire such as In the Mood, Moonlight Serenade, Tuxedo Junction and A String of Pearls, there are recreations of some of the rarely heard repertoire of Major Miller's AEF Orchestra.

The AEF Orchestra was Glenn's wartime services orchestra and therefore never recorded commercially. Here for the first time, lovingly transcribed from scratchy V disc recordings, and recreated in the studio by the Syd Lawrence Orchestra we have the AEF versions of Somewhere Over The Rainbow, Cherokee and Holiday for Strings.

Salute to Glenn Miller' brings the monochrome memories of the war years back to life in glorious digital stereo, revitalising the classics of Glenn s repertoire and reintroducing some of the AEF's lost gems! A 'Must Have' for any lover of the music of Glenn Miller.By Editorial Reviews
https://www.amazon.com/Salute-Glenn-Miller-Syd-Lawrence/dp/B002RXK79W

Salute To Glenn Miller

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Sant Andreu Abraça Brasil (Live) Disc 1 And Disc 2

Styles: Jazz, Big Band
Year: 2023
Time: 60:29
File: MP3 @ 320K/s
Size: 140,3 MB
Art: Front

(5:40) 1. Esmeraldas (Live)
(5:28) 2. Açaí (Live)
(4:57) 3. É Com Esse Que Eu Vou (Live)
(4:48) 4. Dindi (Live)
(4:37) 5. Palhaçada (Live)
(4:05) 6. Frevo (Live)
(4:47) 7. Vivo Sonhando (Live)
(4:56) 8. Maria das Mercedes (Live)
(5:54) 9. Deusa do Amor (Live)
(3:51) 10. Você já Foi à Bahia? (Live)
(4:17) 11. Estate (Live)
(3:56) 12. Brazil (Live)
(3:09) 13. Feitiço da Vila (Live)

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Sant Andreu Abraça Brasil (Live) Disc 2
Styles: Jazz, Big Band
Year: 2023
Time: 51:23
File: MP3 @ 320K/s
Size: 119,3 MB
Art: Front

(3:20) 1. Samba da Minha Terra (Live)
(3:32) 2. Onde Anda Você (Live)
(4:42) 3. Morena Boca de Ouro (Live)
(5:32) 4. É Luxo Só (Live)
(3:19) 5. Samba de Verão (Live)
(3:34) 6. Dunas (Live)
(4:16) 7. Vestido de Bolero (Live)
(5:24) 8. Curacao Doloroso (Live)
(3:40) 9. Tico Tico (Live)
(4:15) 10. Corcovado (Live)
(4:23) 11. Chega de Saudade (Live)
(5:20) 12. Bossa Nueva (Live)

It is the result of many years of loving the music of this marvellous country. In the context of the Sant Andreu Jazz Band we have performed and recorded more than 50 songs by authors such as Tom Jobim, Djavan, Pixinguinha, Ary Barroso, Joao Gilberto, Chico Buarque, Roberto Menescal, Dorival Caymmi, Dona Ivone Lara...

Voices such as Andrea Motis, Rita Payés, Èlia Bastida, Alba Armengou and Koldo Munné have been inspired by great Brazilian performers and, through them, have managed to have their own voice in interpreting this rich, melodic, harmonic and rhythmic music. Our interpretations always leave room for improvisation, taking advantage of the fact that jazz music is our greatest source of inspiration.

SANT ANDREU ABRAÇA BRAZIL is not only music, it is also a gesture, a way of bridging the gap between both cultures. To give a giant embrace that crosses the ocean.

This is what happened during the Jazzing Festival, where the 25 songs that make up this double CD were recorded live, featuring the voices of Vanessa Moreno and Analu Sampaio, who came from Brazil especially to sing with us, as well as voices from the Sant Andreu Jazz Band such as Andrea Motis, Rita Payés, Èlia Bastida, Alba Armengou, Koldo Munné and Edu Ferrer. We can also enjoy the voices of guests such as Carme Canela, Jurandir dã Silva, Enrique González and Maria Zerpa.

The diversity of the voices that make up this CD make it unique. 25 songs to enjoy listening to Music invites us to dream. Let's close our eyes and cross the Atlantic. Let's let ourselves be carried away by the bossa nova, the samba, the baião, the choro, the frevo.
https://discmedi.com/en/disco_new/14937/sant-andreu-abraa-brasil

Sant Andreu Abraça Brasil (Live) Disc 1, Disc 2

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Sant Andreu Abraça Brasil Vol. 2 (Live)

Styles: Jazz, Big Band
Year: 2024
Time: 46:38
File: MP3 @ 320K/s
Size: 108,2 MB
Art: Front

(3:41) 1. Choro das Aguas (Live)
(4:07) 2. Só Tinha de Ser com Você (Live)
(5:08) 3. Senhorinha (Live)
(2:55) 4. Na Carreira (Live)
(4:05) 5. Maçã do Rosto (Live)
(3:37) 6. Valsinha (Live)
(4:36) 7. Azul (Live)
(4:02) 8. Fato Consumado (Live)
(5:17) 9. Dindi (Live)
(4:02) 10. Por Causa de Você (Live)
(5:05) 11. Tudo é Ilusão (Live)

Joan Chamorro (1962) studied saxophone in the Barcelona Conservatory under the mentorship of profesor Adolf Ventas. Parallel to his cassical studies he got a superior grade at the Barcelona’s Taller de Músics. Took part of the Big Band del Taller de músics, the Big Band de Bellaterra, John Dubuclet’s Big Band, the Big Band Jazz Terrassa, and Eladio Reinón-Tete Montoliu’s Supercombo, touring Europe at different venues and festivals, and appearing in the most renowned Spanish jazz festivals (Barcelona, Terrassa, Sant Sebastiàn, Madrid...). Chamorro has been also part of the Orquestra de Radio Televisión Española, where he had the opportunity to back big names in the scene as Manhattan Transfer and Stevie Wonder.

Apart from these early projects, Chamorro has worked as part of the Orquestra del Teatre Lliure, and the well-known theatre group the Comediants, having shows in great venues as New York, Santiago de Xile, Paris, and Venice.

Chamorro has played with such jazz legends like Slide Hampton, Tete Montoliu, Frank Foster, Teddy Edwards, Frank Wess, Bebo Valdés, Randy Brecker, Gary Smulyan, Dick Oatts, Ralf Lalama, Jessie Davis, Dennis Rowland, Carmen Lundy, Mike Mossman, John Mosca, Bart Van Lier, David Allen, Bobby Shew, Judy Niemack, along with important local names like Josep Maria Farràs, Perico Sambeat, Lluis Vidal, David Mengual, David Xirgu and many more.

Multiinstrumentalist (he’s able to play all different kind of reeds and upright bass); nowadays he’s popularly known as the founder and director of the Sant Andreu Jazz Band, and specially to lead the internationally acclaimed Andrea Motis & Joan Chamorro Quintet.
https://www.freshsoundrecords.com/12863-joan-chamorro-albums

Sant Andreu Abraça Brasil Vol. 2 (Live)

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Ron Carter Quartet - Live at Monte-Carlo Jazz Festival 2023

Styles: Jazz
Year: 2023
Time: 81:19
File: MP3 @ 320K/s
Size: 186,2 MB
Art: Front

(36:04) 1. 595/ Mr. Bow Tie / Joshua / Little Waltz
(12:23) 2. Saguaro
( 9:37) 3. My Funny Valentine
( 6:05) 4. Seven Steps to Heaven
( 7:15) 5. You are my Sunshine
( 9:52) 6. You and the Night and the Music

Ron Carter is among the most original, prolific, and influential bassists in jazz. With more than 2,000 albums to his credit, he has recorded with many of music's greats: Tommy Flanagan, Gil Evans, Lena Horne, Bill Evans, B.B. King, the Kronos Quartet, Dexter Gordon, Wes Montgomery, and Bobby Timmons.

Ron Graduated the Eastman School in 1959 and packed up his belongings and moved to New York City with his wife, Janet. Later that year, Downbeat magazine listed Ron as #15 of 23 in their bass player poll. A great start.

In the early 1960s he performed throughout the United States in concert halls and nightclubs with Jaki Byard and Eric Dolphy. He later toured Europe with Cannonball Adderley. From 1963 to 1968, he was a member of the classic and acclaimed Miles Davis Quintet. He was named Outstanding Bassist of the Decade by the Detroit News, Jazz Bassist of the Year by Downbeat magazine, and Most Valuable Player by the National Academy of Recording Arts and Sciences.

In 1993 Ron Carter earned a Grammy award for Best Jazz Instrumental Group, the Miles Davis Tribute Band and another Grammy in 1998 for Call 'Sheet Blues', an instrumental composition from the film 'Round Midnight. In addition to scoring and arranging music for many films, including some projects for Public Broadcasting System, Carter has composed music for A Gathering of Old Men, starring Lou Gosset Jr., The Passion of Beatrice directed by Bertrand Tavernier, and Blind Faith starring Courtney B. Vance. Carter shares his expertise in the series of books he authored, among which are Building Jazz Bass Lines and The Music of Ron Carter; the latter contains 130 of his published and recorded compositions.

Carter earned a bachelor of music degree from the Eastman School in Rochester and a master's degree in double bass from the Manhattan School of Music in New York City. He has also received two honorary doctorates, from the New England Conservatory of Music and the Manhattan School of Music, and was the 2002 recipient of the prestigious Hutchinson Award from the Eastman School at the University of Rochester. Carter has lectured, conducted, and performed at clinics and master classes, instructing jazz ensembles and teaching the business of music at numerous universities. He was Artistic Director of the Thelonious Monk Institute of Jazz Studies while it was located in Boston and, after 18 years on the faculty of the Music Department of The City College of New York, he is now Distinguished Professor Emeritus.

Ron remains as active as ever. 2022 is another big year for him. At the 64th Grammy Awards he won Best Jazz Instrumental Album award along with Jack DeJohnette and Gonzalo Rubalcaba for their album "Skyline". In May, Ron celebrates his 85th birthday and is hosting a concert at Carnegie Hall in New York City on May 10th. He then starts a full tour including trio, big band and quartet performances.https://www.allaboutjazz.com/musicians/ron-carter/

Personnel: Ron Carter: bass; Renee Rosnes: piano; Jimmy Greene: sax; Payton Crossley: drums

Live at Monte-Carlo Jazz Festival 2023

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Eboni Fondren - Eboni Fondren With Laurent Marode Orchestra

Styles: Vocal
Year: 2024
Time: 29:18
File: MP3 @ 320K/s
Size: 67,4 MB
Art: Front

(3:58) 1. How Deep Is The Ocean
(4:01) 2. Solitude
(2:52) 3. I'm Beginning To See The Light
(4:07) 4. Get Out of Town
(6:14) 5. Ain't Nobody Like My Baby
(3:25) 6. My Baby Just Cares For Me
(4:38) 7. Can't Help Lovin Dat Man

Dynamic vocalist and entertainer Eboni Fondren, brings passion and excitement whenever she takes the stage. Her precise readings of jazz standards, which she seasons with a dash of R&B, fill a room with energy and delight. With a smooth and sultry finish, audiences will be enchanted by her lyrical interpretation and ability to draw an audience in leaving them wanting more.

Graduating from the Everette DeVan School of Groove in 2012, Eboni has become one of the most highly sought after and premiere jazz vocalists in Kansas City. In addition to her own musical projects which include Eboni and the Ivories, and a member of the Lost Wax Band, Eboni collaborates with some of Kansas City's top musicians and can be heard swinging all over the local jazz scene.

She was selected as the 2021 and 2022 Favorite Jazz Vocalist by the KC Jazz Ambassadors, nominated as a Woman to Watch by Her Life Magazine, represents Kansas City Jazz with the VisitKC Bureau and recently had the honor and amazing opportunity to represent the United States at the 2023 G20 Summit in Varanasi, India. https://www.ebonifondrenmusic.com/epk-1

Eboni Fondren With Laurent Marode Orchestra

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