Joan Chamorro & Friends - Tenor Summit

Styles: Swing, Jazz
Year: 2024
Time: 41:36
File: MP3 @ 320K/s
Size: 95,6 MB
Art: Front

(10:27) 1. After Supper
(10:12) 2. Anthropology
( 8:13) 3. Body and Soul
(12:43) 4. Blues Up and Down

Joan Chamorro's impact on the development of young jazz musicians within the region of Barcelona is truly remarkable. Small groups. Big bands. Instrumentalists and singers. He is a prime example of what highs a dedicated individual can achieve.

Joan Chamorro (1962) is a Catalan musician. He studied classical saxophone at the Barcelona Conservatory with Professor Adolf Ventas. Parallel studies at the conservatory, he obtained the title of Bachelor Superior Taller de Barcelona. Part of a band called Big Band musicians workshop, which operates in several European festivals.

In addition, working with the Big Band Bellaterra Big Band John Dubuclet, Big Band Jazz Terrassa, the Supercombo Eladio Reinón- Tete Montoliu Orchestra Radio Televisión Española, accompanies Manhattan Transfer and Stevie Wonder. Also working on several projects with the Orchestra of the Teatro Libre.

For a year, he collaborated with the theater group Comedians, with whom he performed at festivals in cities such as New York, Santiago, Paris, Venice ... Also played in most of the festivals that take place in Spain ( Barcelona, Terrassa, San Sebastian, Madrid ...). Has worked with renowned musicians such as Slide Hampton, Tete Montoliu, Frank Foster, Gary Smulyan, Dick Oatts, Bebo Valdés, Ralf Lalama, Teddy Edwards, Frank Wess, Jessy Devis, Dennis Rowland, Josep Maria Farràs, Perico Sambeat, Lluis Vidal, Randy Brecker, Carmen Lundy, David Mengual, David Xirgu Mike P. Mossman, John Mosca, Bart Van Lier, David Allen, Bobby Shew Judy Niemack and many more.

As far as musical tastes, he is also very interested in the music of the twenties and thirties (Bix Beiderbecke, Louis Armstrong, Sydney Becher, Adrian Rollins etc.) Currently leads a quintet ( Andrea Motis & Joan Chamorro Quintet) which is a tribute to the great composer and baritone saxophonist Gerry Mulligan; The Big Band Terrace, the Barcelona Jazz Orchestra, the Jazz Fumanchu Servants and supercombo Dani Alonso; and professor of the Taller and the School of Music in St. Andrew. www.jazz-clubs-worldwide.com

Tenor Summit

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Diana Panton - Blue

Styles: Vocal
File: MP3@320K/s
Time: 64:50
Size: 149,0 MB
Art: Front

(6:13) 1. Where Do You Start?/once Upon A Time
(4:01) 2. Yesterday
(3:42) 3. Without Your Love
(4:16) 4. Losing My Mind
(3:08) 5. This Will Make You Laugh
(4:33) 6. The Trouble With Hello Is Goodbye
(3:47) 7. I'm Gonna Laugh You Right Out Of My Life
(3:54) 8. To Say Goodbye
(5:22) 9. Meaning Of The Blues
(2:14) 10. I'll Only Miss Him When I Think Of Him
(5:52) 11. It's Always 4 Am
(5:08) 12. Just Sometimes
(2:17) 13. How Did He Look?
(3:27) 14. Nobody's Heart
(4:12) 15. Spring Will Be A Little Late This Year
(2:36) 16. You Are There

Two-time JUNO Award winner Diana Panton has established herself as one of the brightest lights on the international jazz scene, a songbird praised by listeners, musicians, and critics alike for her thoughtful song selection and emotional intensity. Diana is pleased to announce the October 28 release of her tenth album, blue.

Blue represents the culminating gesture in a musical narrative of romance that began with pink (2009 JUNO nominee in Canada and Silver Disc Award winner in Japan), followed by RED (2015 JUNO winner). With release dates spanning more than a decade, this trilogy charts the emotional arc of an ill-fated romantic relationship. The eponymous colours symbolically suggest content: pink is the infatuation of first-time love, RED, the passion of true love, and blue, the heartbreak and mystery of love lost.

"The release dates were deliberately spread over a decade from the first to the final album in the trilogy in order for the music to better reflect different stages in a relationship," says Diana Panton. "I knew that my voice and perspective would be more mature if I waited to record the blue album a little later in my life."

blue showcases Diana Panton, exuding confidence and completely in command of her interpretive powers. Her lustrous, evocative vocals are backed by the artistry of four longtime musical colleagues who made significant contributions to the beauty and passion of the RED album of 2015. The four include three Order of Canada honourees: tenor saxophonist Phil Dwyer C.M., guitarist Reg Schwager C.M., and pianist/arranger Don Thompson O.C., plus first-call bassist Jim Vivian. The sonic landscape of blue also features the extraordinary talents of the Penderecki String Quartet, who acquired their name in 1986 upon the invitation of the great Polish composer himself.

Diana Panton's tenth release is not a casual listen, but a penetrating delve into feelings that accompany the fragments of a broken relationship. "Where Do You Start?" shows that Panton knows precisely where to start, and that is by delivering the pure, unaccompanied poetry of her beautiful, clear voice with its bold superiority of interpretation and intonation. Pianist Don Thompson provides his own musical commentary to the quixotically titled "Where Do You Start?" and the pair segues into the haunting strains of the popular song from the '60s, "Once Upon a Time."

Highlighting his interpretative gifts as a composer/arranger and pianist, talents required to create the unfiltered emotive content permeating blue, is Don Thompson's work on "The Trouble with Hello is Goodbye." This song from the '70s showcases the Penderecki String Quartet's artistry, features a supremely emotive sax improv by Phil Dwyer, and underpins Diana Panton's uncomplicated, honest way with a musical phrase.

In "To Say Goodbye," Panton dips into the rich lower register of her vocal range to capture the profound sadness of the song's lyrics, an expression so true that the listener instinctively feels she is living every word. Also noteworthy is Diana Panton's interpretation of Norma Winstone's poignant lyrics for "Just Sometimes," inspiring another flawless solo from tenor saxophonist Phil Dwyer.

In command of a keen aesthetic sense, Diana Panton has attracted the attention of some of the jazz world's most respected masters. When legendary multi-instrumentalist Don Thompson first heard the nineteen-year-old Diana sing, with unabashed enthusiasm he urged her to audition for the renowned Banff Centre for the Arts Jazz Workshop. It was there that she studied under Norma Winstone, and, in subsequent visits, with Sheila Jordan and Jay Clayton.

When the time arrived for her to go into the recording studio, award-winning guitarist Reg Schwager was invited to join Don Thompson in laying down a collaborative sound that has proved to be, on all of her albums, the perfect setting for the delicate nuance of Diana's pure vocals. The late, great jazz critic Len Dobin called the product of that first session, ...yesterday perhaps, one of the finest debut albums he had heard in years.

Since the release of that first album in 2005, Diana Panton's career has gathered astounding momentum, drawing international acclaim for her nine albums and the impressive variety and quality of her catalogue of songs. The numerous honours garnered include JUNO Awards for RED in 2015 and I Believe in Little Things in 2017, two Silver Disc Awards in Japan, seven JUNO nominations, nine Hamilton Music Awards, and a host of National Jazz Award nominations and Canadian and American independent music award nominations.

I Believe in Little Things charted simultaneously on Billboard's Jazz and Children's Music charts and went to #1 on Amazon's "Movers and Shakers" chart, following an interview on NPR. The album received a four-star review in DownBeat magazine and was one of their Best Albums of 2016. Panton's albums have made the year-end lists of ICI Musique, NOW Magazine, Jazz Critique Magazine, the Montreal Mirror, and DownBeat, among others, and, in addition to reaching #1 on Amazon and iTunes in Canada and the US, have made bestseller lists in Hong Kong, Japan, and Taiwan.
By Michael Major https://www.broadwayworld.com/bwwmusic/article/Diana-Panton-Announces-New-Album-blue-20220912

Personnel: Diana Panton – Vocals, Producer; Phil Dwyer – Saxophone; Reg Schwager – Guitar; Don Thompson – Piano, Arranger; Jim Vivian – Bass; Penderecki String Quartet:; Jerzy Kaplanek – Violin; Jeremy Bell – Violin; Christine Vlajk – Viola; Katie Schlaikjer – Cello

Blue

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Doug Raney Quartet - Raney '96

Bitrate: MP3@320K/s
Time: 67:23
Size: 154.3 MB
Styles: Guitar jazz
Year: 1996
Art: Front

[7:34] 1. Giant Steps
[8:33] 2. Besame Mucho/The Dolphin
[7:45] 3. I Fall In Love Too Easily
[5:31] 4. Querido
[6:09] 5. Fried Pies
[8:19] 6. Moose The Mooche
[7:44] 7. Re Person I Knew
[8:23] 8. I Loves You Porgy
[7:21] 9. Afro Blue

Bass – Lennart Ginman; Drums – Herlin Riley; Guitar – Doug Raney; Piano – Ben Besiakov. Recording Date: July, 1996.

The son of the late great Jimmy Raney, Doug carries on the tradition in his own way. Here, the Denmark-based guitarist is supported by pianist Ben Besiakov, bassist Lennart Ginman and drummer Herlin Riley. Fluent and swinging, Raney deftly negotiates the myriad harmonies of both “Giant Steps” and “Moose The Mooch,” a rhythm changes workout that features some especially hip, dissonant comping by Besiakov. On Pat Martino’s Latinesque “Querido” and Wes Montgomery’s swinging “Fried Pies,” he not only demonstrates his ability to blow over disparate grooves, but also salutes two of his biggest influences. “I Fall In Love Too Easily” and “I Loves You Porgy” provide the ballad portion of the program and suggest that melodic gifts may at least be partially genetic. Beautiful work from one of the instrument’s most underrated players.By Jim Ferguson

Raney '96

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Edith Piaf, Jacqueline François, Charles Aznavour, Yves Montand - Paris Chante ... Paris Sings ...

Styles: Chanson
Year: 2024
Time: 62:20
File: MP3 @ 320K/s
Size: 144,7 MB
Art: Front

(2:20) 1. Non, je ne regrette rien
(2:17) 2. For Me... Formidable
(2:33) 3. Paris canaille
(1:27) 4. Paris à la nuit
(4:29) 5. Milord
(3:39) 6. Tu t'laissez aller
(2:28) 7. La goulante de Paris
(3:19) 8. Ce jour-là à Paris
(3:09) 9. La vie en rose
(2:07) 10. C'est si bon
(2:30) 11. La Seine
(3:20) 12. Les feuilles mortes
(2:30) 13. Jolies mômes de mon quartier
(3:15) 14. Padam, Padam
(2:07) 15. Quand tu m'embrasses
(2:59) 16. Hymne à l'amour
(2:25) 17. La Marie-Vison
(3:09) 18. Les amants de Paris
(3:49) 19. Les deux guitares
(2:28) 20. L'air de Paris
(3:09) 21. Paris se regarde
(2:40) 22. Paris

The Modern Jazz Quartet - Lonely Woman

Bitrate: MP3@320K/s
Time: 43:23
Size: 99.3 MB
Styles: Bop
Year: 1962/2000
Art: Front

[6:15] 1. Lonely Woman
[4:00] 2. Animal Dance
[7:52] 3. New York 19
[3:50] 4. Belkis
[6:30] 5. Why Are You Blue
[2:43] 6. Fugato
[6:26] 7. Lamb, Leopard
[5:43] 8. Trieste

Having sponsored Ornette Coleman at the School of Jazz near Lennox, MA, pianist and composer John Lewis helped launch the controversial career of one of the last great innovators in jazz. Lewis' support of the ragtag Texas native was somewhat unique in jazz circles at the time and even surprising, especially considering the gulf between the classical jazz formality of his group the Modern Jazz Quartet and Coleman's radical notions of free improvisation. Nevertheless, Lewis not only saw in Coleman the first jazz genius since bebop's Parker, Gillespie, and Monk, but put pay to the praise with the MJQ's 1962 rendition of one of Coleman's most famous numbers, "Lonely Woman." (Along with Art Pepper's 1960 version of "Tears Inside," this was one of the earliest of Coleman covers done.) The 1962 Atlantic album of the same name turns out to be one of the band's best efforts. Lewis and fellow MJQ members Milt Jackson, Percy Heath, and Connie Kaye capitalize on the dramatic theme of "Lonely Woman" while adding a bit of chamber music complexity to the mix. The quartet doesn't take Coleman's free form harmolodic theory to heart with a round of quixotic solos, but the group does spotlight the often overlooked strength of his compositional ideas. And while the MJQ further plies its knack for involved pieces on Lewis originals like "Fugato" and "Trieste," the group also balances out the set with looser material more in tune with Jackson's blues and swing sensibilities. A great disc that's perfect for the curious jazz lover. ~Stephen Cook

Lonely Woman

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Aaron Goldberg - The Now

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 53:21
Size: 123,8 MB
Art: Front

(6:47)  1. Trocando Em Miudos
(5:02)  2. Yoyo
(5:02)  3. The Wind In The Night
(2:47)  4. E-Land
(5:17)  5. Perhaps
(4:55)  6. Triste Baía Da Guanabara
(2:48)  7. Background Music
(6:22)  8. Francisca
(6:16)  9. One's A Crowd
(8:00) 10. One Life

Hailed by Down Beat magazine for his quick-witted harmonic reflexes, fluid command of line and cut-to-the-chase sense of narrative logic, Aaron Goldberg has made his name as one of jazz s most compelling pianists, both as a bandleader and frequent collaborator with Joshua Redman, Wynton Marsalis, Kurt Rosenwinkel, Guillermo Klein and many more. On his new release The Now, Goldberg reunites with bassist Reuben Rogers and drummer Eric Harland, the virtuoso rhythm team going all the way back to his 1998 debut Turning Point. On their fifth outing together, the trio foregrounds a central truth about the art of playing jazz: that no two performances will be the same because the music is created, in Goldberg s words, in the dynamic plane of the present.

A jazz record is literally one moment in time, Goldberg explains. Each song captures those five minutes, and not more. This is especially counterintuitive when you think about iconic jazz recordings like Kind of Blue, where we can all sing every solo. That record would sound totally different, we d all be singing different solos, if it d been recorded five minutes later or even five seconds later. That aspect of jazz is what makes it magical for me. I think every time you make an album you contribute to this illusion that jazz operates like other forms of music, where you figure out the song, you practice it, you play it a million times, then you record the definitive version. Jazz doesn t work like that, and I felt it was time to explicitly wrestle with this in some thematic way. In every idiomatic zone from Brazilian ballads to roaring bebop, Goldberg and the trio have a way of spontaneously sculpting every bar as it flows by, like a wave on a river. That Rogers and Harland have also spent the last few years working with master saxophonist Charles Lloyd has deepened their communication and subtlety beyond measure. With Goldberg, they revel in the lesser-explored corners of jazz repertoire, bringing wit, explosive chops and also keen understatement to bear on the music at hand.~ Editorial Reviews http://www.amazon.com/The-Now-Aaron-Goldberg/dp/B00OUGOE1Q

The Now

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Klas Lindquist - Handle with Care

Styles: Saxophone Jazz
Year: 2024
Time: 67:05
File: MP3 @ 320K/s
Size: 154,5 MB
Art: Front

(5:31) 1. My Old Flame
(6:32) 2. Tea for Two
(6:19) 3. Prelude to a Kiss
(6:20) 4. The Day We Met
(6:13) 5. The Man with a Horn
(6:27) 6. Cry My a River
(6:23) 7. Bernadette
(6:25) 8. Stardust
(5:03) 9. Cherokee
(3:09) 10. Days of Wine and Roses
(4:55) 11. Sweet Pumpkin
(3:43) 12. Come Sunday

Considered one of "Sweden's most exciting jazz musicians," by the Goteborgs Posten, a major Swedish-language daily newspaper published in Gothenburg, Sweden, Klas Lindquist delivers his fifth album as leader with the intimate and sophisticated Handle with Care. As pianist Champian Fulton states in the liner notes, the album, "Spotlights Klas Lindquist as a soloist with a voice and perspective all his own." She essentially hits the nail on the proverbial head in describing the saxophonist's work on the recording, which is pronounced, powerful and penetrating.

A follow up to his well-received Alternate Source of Energy (Yellow Car Records 2023) with his much-regarded nonet, garnishing the recognition of Sweden's number one jazz album of 2023, it was one of several albums the leader recorded with an ensemble of nine musicians. On this session, Lindquist returns to a smaller intimate format and records with a quartet of fellow countrymen featuring pianist Leo Lindberg guiding a seasoned rhythm section of Niklas Fernqvist and drummer Daniel Fredriksson.

On tap, are only two originals with the majority of the twelve tracks featuring familiar standards from the likes of Duke Ellington, Hoagy Carmichael, Henry Mancini, and Ray Noble among others. The leader's beautiful solos begin on the opening Arthur Johnston/ Sam Coslow classic "My Old Flame," and progress on the oft-recorded Vincent Youmans/Caesar standard "Tea for Two." He treats Ellington's "Prelude to a Kiss" tenderly before presenting his first original, "The Day We Met," peppered with plenty of high notes a terrific piece of bop.

Perhaps the defining piece of the album is Lindquist's rendition of the Bonnie Lake/Jack Jenney dynamite number "The Man with a Horn," made popular by Lou Donaldson, Eric Alexander and others. This take of the standard must be compared favorably to the others and considered as one of the top versions ever recorded. Pianist Lindberg weighs in quite nicely on the American torch song from Arthur Hamilton, "Cry Me A River," as Lindquist sounds off in accompaniment of his pianist.

The two musicians do it again on "Bernadette" with Lindberg laying down some nice Bill Evans like key work as the saxophonist displays his chops in a call and response moment making this piece of music wonderful to hear. The music slows down a bit on the stylish Carmichael composition "Stardust" for a delicate and mellow take on this familiar standard. Nobel's recognizable melody of "Cherokee" brings out the bassist and drummer in a more pronounced role on the shortest but perkiest tune of the album.

The immortal Henry Mancini standard "The Days of Wine and Roses" is truly another winner with Lindquist and the band, playing off each other in one cohesive manner demonstrating just how good this group truly is. "Sweet Pumkin" and Ellington's spiritual ballad "Come Sunday," brings the music to a graceful finish. What may not be finished, however, is the favorable impression one may have after only one listen to Klas Lindquist's brilliant Handle with Care.
By Edward Blanco https://www.allaboutjazz.com/handle-with-care-klas-lindquist-self-roduced/

Personnel: Klas Lindquist - alto saxophone; Leo Lindberg - piano; Niklas Fernqvist - bass; Daniel Fredriksson - drums

Handle with Care

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Fabienne Ambühl Trio - Glitterwoods

Styles: Piano Jazz
Year: 2015
Time: 54:45
File: MP3 @ 320K/s
Size: 126,6 MB
Art: Front

(1:43) 1. Glitterwoods, Pt. 1
(3:41) 2. Glitterwoods, Pt. 2
(1:24) 3. Glitterwoods, Pt. 3
(3:54) 4. Hang On
(5:42) 5. Was
(4:59) 6. Oasis
(5:14) 7. Black Horses Suite
(3:31) 8. No Memories
(3:54) 9. Paths
(6:06) 10. Sea Son
(6:00) 11. Inchworms
(4:58) 12. While We Were Gone
(3:34) 13. Between Your Eyes

“Stripped-back minimalism and emotional depth, playfulness and maturity, and a profound jazz sensibility combined with a powerful romantic imagination, forge her unmistakable style. By Norbert Krampf

Fabienne Ambuehl is a Swiss pianist, singer and composer, living in London. With her trio she released the debut album Glitterwoods (Traumton Berlin), which was well-received in the European jazz press.

The band’s new album, with Jon Scott on drums, Matt Ridley on bass, Tom Ollendorff on guitar, featuring Ant Law on guitar, will be out in January 2025.

As well as performing with her trio and solo, Fabienne in the recent past, has performed with the Noga Ritter band and worked and toured in Senegal for a musical residency, supported by Arts Council England. With Neele & the Soundvoyage she released a EP and the album Visions (QFTF Berlin 2018) and toured Switzerland and Germany. As a singer and soloist of the Jazz Choir Freiburg she toured Germany and Austria. In July 2017 she was their soloist at the Eurovision Song Contest for choirs in Riga, Latvia.

Fabienne completed her masters at Lucerne School of Music. She studied with Hans Feigenwinter and Chris Wiesendanger alongside vocal studies with Bruno Amstad and Lauren Newton. She has further studied with Jean Paul Brodbeck, Christoph Stiefel, Asaf Sirkis and Gwilym Simcock.

She won a scholarship from Friedl Wald Stiftung and studied at the Complete Vocal institute in Copenhagen. She is the winner of a Förderpreis of the Kanton Zug and with Harmonie Greber was selected for Suisse Diagonales Jazz.https://www.fabienneambuehl.com/

Glitterwoods

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Shorty Rogers & The Giants - You Shorty, Me Tarzan!

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 55:42
Size: 129,4 MB
Art: Front

( 3:25)  1. The Elephant Wail
( 1:40)  2. Los Barbaros
( 3:05)  3. Paradise Found
( 1:55)  4. Trapped
( 2:14)  5. Los Primitivos
( 3:24)  6. Oomgawa
(17:33)  7. Tarzanic Suite
( 3:19)  8. Mountain Greenery
( 4:57)  9. Martian Lullaby
( 4:08) 10. Bluesies
( 2:16) 11. Big Band Blues
( 1:15) 12. I Want To Be Happy
( 6:26) 13. The Three Little Bops

2010 release, the fourth installment in the Giant Steps label's series of classic recordings by legendary modernists Shorty Rogers & the Giants. Assembled is the rare percussive soundtrack to Tarzan the Ape Man that featured the likes of Bud Shank, Bob Cooper, Frank Rosolino and other famed West Coasters. Said Shorty: "At first, I was slightly apprehensive when MGM approached me to write and record the soundtrack for a Tarzan movie, but I needn't have concerned myself. They just said, make it exciting with plenty of drumming, and left me alone to get on with it. So I approached it as if I was really making a new Giants album, which is what it really was. I don't want to sound discourteous, but the album we made was much better that the actual movie". Also included is an equally rare 'live' appearance by the Big Band version of the Giants from an appearance on the TV show the Stars of Jazz. Giant Steps. ~Editorial Reviews https://www.amazon.com/You-Shorty-Tarzan-Rogers-Giants/dp/B0032BVEIG

Personnel:  Trumpet, Conductor, Composed By – Shorty Rogers ;  Bass – Buddy Clark, Joe Mondragon ;  Drums – Carlos Rosario, Chach Gonzales, Chico Guerrero, Frank Capp, Modesto Duran ;  Piano – Pete Jolly ;  Saxophone – Bill Holman, Bill Hood, Bill Perkins, Bob Cooper, Bud Shank, Chuck Gentry;  Trombone – Bob Enevoldsen, Frank Rosolino, Harry Betts, Marshall Cram;  Trumpet – Al Porcino, Buddy Childers, Don Fagerquist, Ollie Mitchell

You Shorty, Me Tarzan!

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The Pacifists - The Pacifists

Styles: Vocal
Year: 2021
Time: 40:32
File: MP3 @ 320K/s
Size: 93,5 MB
Art: Front

(3:12) 1. We´ve Only Just Begun
(3:47) 2. Yesterday Once More
(3:27) 3. Goodbye To Love
(3:49) 4. Close To You
(6:28) 5. This Masquerade
(3:11) 6. Rainy Days And Monday´s
(3:19) 7. Superstar
(3:39) 8. Top Of The World
(3:24) 9. Hurting Each Other
(3:05) 10. It´s Going To Take Some Time
(3:07) 11. For All We Know

Alexander Claffy - Memento

Styles: Jazz
Year: 2024
Time: 49:26
File: MP3 @ 320K/s
Size: 113,6 MB
Art: Front

(10:06) 1. Brother
( 8:32) 2. Tokyo
( 7:22) 3. Tassia
( 7:22) 4. Jinriksha
( 8:55) 5. This Nearly Was Mine
( 7:07) 6. Power Station

I’d like to open by thanking everyone who helped to make this album possible. You know exactly who you are and I couldn’t have made it without you.

“Memento”, derived from the concept of “Memento Mori” is my 10th leader effort. By the time this album has been released I’ll be 32 years old. In an age where releasing 50 minutes of consecutive music may seem archaic, I’m just doing my best to document a place and time in my growth and development. When the stars align and I see a group of musicians that can come together and document a sign of the times, I jump at the chance. Even if I myself am not in the exact shape I want to be to record, I’ll take that risk.

This document serves as a reminder of what high level musicianship is still coming out of New York City. To be able to have one of the world’s greatest geniuses, my brother, Kurt Rosenwinkel contributing to this record is a dream within itself. I did my best to assemble some of my favorite voices, and give a pallet which everyone could speak their minds onto.

The goal here was to bring some emotionally powerful music that reminds us each: to enjoy and be grateful. Every day could be your last. And that’s how I’m trying to consistently play and contribute art for the rest of my days. A musical “Memento Mori”, that translates that urgency into song. This Record is dedicated to the memory of my father, Joseph Francis Claffy.
Yours Truly, Alexander Claffy https://alexanderclaffymusic.bandcamp.com/album/memento

Personnel: Alexander Claffy - bass; Kurt Rosenwinkel - guitar; Jimmy Macbride - drums; Matt Chalk - alto sax (tracks 1, 5); Tim Brey - piano (tracks 1, 4-6); Dave Kikoski - piano (tracks 2, 3 & 4); Stacy Dillard - tenor saxophone (tracks 2 & 4); Eric Alexander - tenor saxophone (track 6); Simon Moullier - vibraphone (tracks 1, 2, 4 - 6)

Memento

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