Stephen Riley - El Gaucho

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 60:31
Size: 139,3 MB
Art: Front

(6:53)  1. El Gaucho - Take 2
(7:17)  2. Think of One
(9:15)  3. Never Let Me Go
(7:37)  4. Night and Day
(7:17)  5. Central Park West
(7:29)  6. Milestones
(9:15)  7. J. Mood
(5:26)  8. El Gaucho - Take 3

Stephen Riley's fourth CD as a leader for Steeplechase is a bit different, as he has added a piano to the group. With pianist Ernest Turner, bassist Neal Caine, and drummer Jason Marsalis, the tenor saxophonist explores a combination of standards and time-tested jazz compositions. His soft, breathy vibrato in the gorgeous setting of "Never Let Me Go" is an extended affair, with the rhythm section playing conservatively behind him to allow plenty of space. He adds a hip, disguised introduction to "Night and Day," teasing the listener but never outright stating its well-known theme. Riley wails in John Coltrane's "Central Park West," changing the mood completely from the ballad tracks, while his interpretation of Thelonious Monk's "Think of One" is full of humor. The two takes of Wayne Shorter's "El Gaucho" are as different as night and day, though they both merited inclusion. Not many artists have recorded songs by Wynton Marsalis, though that may be because every leader seems to concentrate primarily on his or her compositions. In any case, this early work by the trumpeter proves to be an excellent choice, showcasing Caine's bluesy touch.By Ken Dryden https://www.allmusic.com/album/el-gaucho-mw0001983521

Personnel: Stephen Riley - tenor saxophone; Ernest Turner - piano; Neal Caine - bass; Jason Marsalis - drums

El Gaucho

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Amy Roberts' Gentlemen Of Jazz - I'm Confessin'

Bitrate: MP3@320K/s
Time: 65:38
Size: 150.3 MB
Styles: Contemporary jazz
Year: 2009
Art: Front

[8:35] 1. Runnin' Wild
[7:56] 2. I'm Confessin'
[5:51] 3. Isle Of Capri
[8:16] 4. That Teasin' Rag
[4:30] 5. A Nightingale Sang In Berkeley Square
[4:37] 6. Royal Garden Blues
[6:21] 7. Singing The Blues
[6:29] 8. Collegiate
[5:40] 9. I Can't Give You Anything But Love
[7:19] 10. Panama

In today's traditional jazz world there is a handful of talented young musicians - Amy Roberts is one of this select group. She first appeared on the club scene in Cornwall (her home county) as a schoolgirl a few years ago. Now (Autumn 2009) aged 21 she is studying music at the Royal Northern College of Music in Manchester, and at the same time she is making a name for herself on the jazz club and festival scene. This, the first CD by her own band, was recorded at the 2008 Bude Jazz Festival. The band has a sound reminiscent of the American small bands of the 1930s and '40s and on this CD they work well together to play hot inventive jazz and entertain their audience. The band line-up is Steve Graham trumpet, Amy Roberts alto sax (flute on one track), Roger Heeley piano, John Baker banjo, Andy Craddock double bass, Graham Smith drums.

I'm Confessin'

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Sant Andreu Jazz Band - Jazzing 14 Vol.1

Styles: Jazz, Big Band
Year: 2024
Time: 66:20
File: MP3 @ 320K/s
Size: 151,8 MB
Art: Front

(2:16) 1. Top Hat, White Tie & Tails
(4:37) 2. Bewitched
(3:12) 3. Four Brothers
(5:40) 4. For All We Know
(4:26) 5. Sway
(6:06) 6. Ceora
(3:23) 7. I Cried For You
(4:14) 8. My One And Only Love
(6:54) 9. Quiza´s, Quiza´s, Quiza´s.mp3
(4:00) 10. The Nearness Of You
(5:32) 11. Lady Be Good
(7:12) 12. After Supper
(4:30) 13. Fantail
(5:12) 14. Curacao Doloroso
(5:53) 15. Cherokee

Sant Andreu Jazz Band is a project arising from a music class. Conducted by Joan Chamorro, the big band brings together children between 6 and 18 years old, around a classic jazz repertoire with lots of swing, which gained the public and sold-out some of the most important music auditoriums in Spain.

The band was founded in 2006 at Escola Municipal de Música de Sant Andreu. The band has performed at numerous concerts and festivals in Catalonia and neighbouring countries. They released their first live CD/DVD Jazzing: Live at Casa Fuster in 2009, featuring alongside established jazz musicians, the precocious 14-year-old, Andrea Motis among other young talents.

2010 was a breakthrough year for the band, with appearances on more than 20 festivals including Valls, Terrassa, Girona, Barcelona, Platja d'Aro, and legendary venues like el Jamboree, Palau de la Música Catalana, JazzSi, Hotel Casa Fuster, featuring international performers like Dick Oatts, Ken Peplowski, Bobby Gordon, Perico Sambeat, Ignasi Terraza, Matthew Simon, and Esteve Pi. The band also released their second recording Jazzing, Vol. 2

In 2012 the film director Ramón Tort made the documentary A film about kids and music based on the band's work and efforts.The film was awarded best feature film at the Lights, Camera, Help Festival in Austin, Texas, in 2013
https://www.freshsoundrecords.com/13058-sant-andreu-jazz-band-albums

Jazzing 14 Vol.1

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Ronnie Cuber - Cuber Libre

Styles: Saxophone Jazz
Year: 1976
File: MP3@320K/s
Time: 52:34
Size: 120,6 MB
Art: Front

(11:59)  1. Star Eyes
( 5:19)  2. Rifftide
(10:18)  3. Tin Tin Deo
( 6:13)  4. Samba D'Orfeo
( 7:07)  5. Misty
( 5:30)  6. Sudwest Funk
( 6:05)  7. Prince Albert

This quartet session was a perfect setting for baritonist Ronnie Cuber, who was 34 years old at the time. Joined by the impeccable pianist Barry Harris, bassist Sam Jones, and drummer Albert "Tootie" Heath, Cuber gets to swing hard on such standards as "Star Eyes," "Rifftide," and "Tin Tin Deo." 

Throughout this bop-oriented date, Cuber shows why he has been considered one of the top masters of the baritone during the past 20 years.~Scott Yanow http://www.allmusic.com/album/cuber-libre-mw0000869723

Personnel: Ronnie Cuber (baritone saxophone); Barry Harris (piano); Albert Heath (drums).

Cuber Libre

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Cannonball Adderley, Milt Jackson - Things Are Getting Better

Bitrate: MP3@320K/s
Time: 52:46
Size: 120.8 MB
Styles: Soul jazz, Saxophone jazz
Year: 1958/2012
Art: Front

[4:58] 1. Blues Oriental
[0:44] 2. A Few Words
[7:09] 3. Things Are Getting Better
[4:45] 4. Serves Me Right (Take 5)
[5:18] 5. Groovin' High
[6:56] 6. The Sidewalks Of New York (Take 5)
[6:23] 7. Sounds For Sid
[6:43] 8. Just One Of Those Things
[4:34] 9. Serves Me Right (Take 4, Alternate)
[5:12] 10. The Sidewalks Of New York (Take 4, Alternate)

This title provides ample evidence why alto Cannonball Adderley is considered one of the masters of his craft. Here he joins forces with Modern Jazz Quartet co-founder Milt Jackson on vibes to create a variety of sonic atmospheres. They are backed by the all-star ensemble of Wynton Kelly on piano, Percy Heath on bass, and the one and only Art Blakey on drums. The moody "Blues Oriental" opens the set with Jackson immediately diving in with his trademark fluid runs and shimmering intonation. Adderley counters with a light and lively line that weaves between the rhythm section. The optimistic "Things Are Getting Better" is a good-natured romp as the co-leads trade and cajole each other into some downright rollicking exchanges. This directly contrasts with the sultry "Serves Me Right," which allows the combo members to demonstrate their collective musical malleability. The interaction between Adderley and Jackson sparkles as they entwine their respective playing with an uncanny singularity of spirit. The cover of Dizzy Gillespie's "Groovin' High" contains another spirited performance with some thoroughly engaging improvisation, especially during Adderley's voracious solos. "Sidewalks of New York" bops freely as Jackson unleashes some sublime licks against a hearty and equally boisterous sax. Adderley's "Sounds for Sid" demonstrates his uncanny ability to swing with a strong R&B vibe. With drop-dead timing and profound instrumental chops, this cut is undoubtedly one of the best from Adderley's earliest canon. The album concludes with a jumping reading of Cole Porter's "Just One of Those Things." While Wynton Kelly has been uniformly solid, his interjections stand out here as he bridges and undergirds the two as they banter with flair and aplomb. This set can be recommended without hesitation to all manner of jazz enthusiast, as it quite literally offers something for every taste. [Some reissues include two bonus tracks supplementing the original seven-song running order, alternate takes of "Serves Me Right" and "Sidewalks of New York."] ~Lindsay Planer

Things Are Getting Better

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Miriam Aida - Come On Home

Styles: Vocal
Year: 2008
Time: 48:46
File: MP3 @ 320K/s
Size: 112,2 MB
Art: Front

(3:16) 1. Come On Home
(3:53) 2. A Handful Of Soul
(4:24) 3. Two Steps From The Blues
(3:03) 4. Now That You're Gone
(3:56) 5. You'd Be So Nice To Come Home To
(2:58) 6. Make Sure You're Sure
(3:41) 7. The Man I Love
(2:50) 8. A Night In Tunisia
(4:52) 9. Skylark
(3:13) 10. Jive Samba
(6:00) 11. Ruby And The Pearl
(3:00) 12. Rainbows End
(3:33) 13. I'm Not Ashamed

Miriam Aïda, one of Sweden’s most popular singers with an international following, has performed in Japan, UK, Brazil, France, Spain, USA, Turkey, Russia, Italy, Germany and of course all around Sweden and Scandinavia, both as a solo artist as well as with the band A Bossa Elétrica. She has shared the stage with many great Brazilian musicians such as Hermeto Pascoal, Badi Assad and master guitarist Marco Pereira.

After exploring the music traditions of Brazil and her success with the albums such as Quatro Janelas, Letras ao Brasil & É de Lei! she has been spotted in several national TV shows.

Miriam ́s extensive talent travels through a number of musical landscapes and since her album-debut in 2002 she has released 8 albums as a leader. Since 2010 she is an acclaimed radio profile for Swedish National Radio as a producer and music journalist. She has hoasted the Swedish Radio live broadcast JazzAward "Jazzkatten" several times and on the PolarPrize 2017 she interviewed Wayne Shorter on PolarTalks.

Following the success of the Swedish Grammy, Manifest and World Music Awards nominated albums Letras ao Brasil (2009) and Visans Väsen (2011), mixing Swedish traditional songs with Brazilian rhythms, her album AFRO SAMBA ORCHESTRA - É de Lei!" was awarded "Rhythm of the Year" by Manifestgalan.

The album honors the Brazilian legend and founder of Afro Samba, Baden Powell. And was recorded in Sweden and Rio de Janeiro in collaboration with the Brazilian arranger Jayme Vignoli. É de Lei! features one of Rio’s greatest singers, Marcos Sacramento.

Artist of the year at Swedish World Music Awards 2012

"A versatile artist, colorful, headstrong, audacious and personal. A performer who twists and turns on the familiar and who creates new perspectives for all of us.” This was the jury’s statement when Miriam Aïda received the price for Artist of the year at the Swedish World Music Awards in 2012.
https://info4993393.wixsite.com/miriamaida/about

Come On Home

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Ronnie Cuber - Four

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 66:43
Size: 153,9 MB
Art: Front

(4:50)  1. Battery Blues
(7:24)  2. Sidewinder
(5:28)  3. Motivation
(9:17)  4. Tenderly
(6:56)  5. Just Friends
(6:14)  6. Bluesette
(5:24)  7. Coming Home Baby
(6:02)  8. How High the Moon
(8:49)  9. Sugar
(6:15) 10. Four

Ronnie Cuber's always a hell of a swinger, but he sounds especially nice here  really letting his baritone hit some bold, soulful sounds in the company of Hammond organist Brian Charette, guitarist Ed Cherry, and drummer Adam Nussbaum! The record's got this soul jazz vibe that's a bit different than some of Cuber's other records and features a number of tunes penned by older heroes of the genre – like Horace Silver, Lee Morgan, Stanley Turrentine, and others – which makes for a set of songs that has Ronnie sounding completely wonderful all the way through. There's few cats who could ever make a baritone sax sound this wonderful – and we think you'll agree after hearing tracks that include "Four", "Battery Blues", "Bluesette", "Coming Home Baby", "Sugar", and "Motivation". https://www.dustygroove.com/item/936387/Ronnie-Cuber:Four

Personnel: Ronnie Cuber – baritone saxophone; Ed Cherry – guitar; Brian Charette – Hammond B3.; Adam Nussbaum – drums

Four

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Cannonball Adderley - Quintet In Chicago

Styles: Saxophone Jazz

Year: 1959
File: MP3@320K/s
Time: 34:03
Size: 78,2 MB
Art: Front

(4:40)  1. Limehouse Blues
(6:14)  2. Stars Fell on Alabama
(5:46)  3. Wabash
(4:33)  4. Grand  Central
(5:34)  5. You' re A Weaver Of Dreams
(7:13)  6. The Sleeper

This exciting session consists of the 1959 edition of The Miles Davis Sextet minus its leader, though it was later reissued as Cannonball & Coltrane, as there was evidence that both men had considerable input into the date. A brisk "Limehouse Blues" features great exchanges between the saxophonists, while Adderley's soulful "Wabash" is more easygoing. This newly remastered CD is a distinct improvement over the earlier retitled reissue. ~ Ken Dryden  http://www.allmusic.com/album/cannonball-adderley-quintet-in-chicago-mw0000088595

Cannonball Adderley Quintet: Cannonball Adderley (alto saxophone); John Coltrane (tenor saxophone); Wynton Kelly (piano); Paul Chambers (bass); Jimmy Cobb (drums).

Quintet In Chicago

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Bobby Hutcherson - Stick Up!

Styles: Vibraphone Jazz
Year: 1997
File: MP3@320K/s
Time: 40:26
Size: 93,1 MB
Art: Front

(6:26)  1. Una Muy Bonita
(6:58)  2. 8/4 Beat
(6:59)  3. Summer Nights
(6:57)  4. Black Circle
(9:32)  5. Verse
(3:32)  6. Blues Mind Matter

One of Bobby Hutcherson's best albums, Stick-Up! was also his first official release not to feature drummer Joe Chambers, who was a major part of Hutcherson's outside leanings. Instead, Stick-Up! stakes out the middle ground between hard bop and the avant-garde, offering a set of structured yet advanced modal pieces indebted particularly to Coltrane. Hutcherson's originals (five out of six selections) show him at the top of his game as a composer, and the ensemble's playing is tight and focused throughout, but what really lifts Stick-Up! to the top tier of Hutcherson's discography is its crackling energy. It's quite possibly the hardest-swinging album he ever cut, and part of the credit has to go to the stellar rhythm section of McCoy Tyner on piano, Herbie Lewis on bass, and Billy Higgins on drums, who lay down a driving, pulsating foundation that really pushes Hutcherson and tenorist Joe Henderson. Tyner in particular is a standout, charging relentlessly forward on the intricate "8/4 Beat" and "Black Circle" and lending a Coltrane-ish flavor to the spiritually searching "Verse." The lone non-Hutcherson piece, Ornette Coleman's sometimes overlooked "Una Muy Bonita," is given a fantastic, rollicking treatment as catchy as it is progressive, proving that the piece is a classic regardless of whether it's interpreted freely or with a steady groove and tonal center. Hutcherson's originals are uniformly strong and memorable enough to sit very well next to it, and that coupled with the energetic performances ranks Stick-Up! with Dialogue and Components as the finest work of Hutcherson's tenure at Blue Note.
~ Steve Huey https://www.allmusic.com/album/stick-up%21-mw0000028035

Personnel: Joe Henderson - tenor saxophone;  Bobby Hutcherson - vibraphone, composer; McCoy Tyner - piano; Herbie Lewis - bass; Billy Higgins - drums

Stick Up!

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Gene Bertoncini - Jobim: Someone To Light Up My Life

Styles: Bossa Nova
Year: 1996
Time: 62:46
File: MP3 @ 320K/s
Size: 143,7 MB
Art: Front

(5:41) 1. Chopin Prelude/How Insensitive
(5:37) 2. Dindi
(3:21) 3. Quiet Night Of Quiet Stars (Corcovado)
(3:19) 4. Someone To Light Up My Life
(4:45) 5. Triste
(4:45) 6. Double Rainbow (Chovendo Na Roseiro)
(3:55) 7. Crossroads (Caminhos Cruzados)
(5:38) 8. No More Blues (Chega De Saudade)
(5:31) 9. Rome Montage (From The Adventurers)
(6:16) 10. Song Of The Jet (Samba Do Avião).mp3
(4:48) 11. Portrait In Black And White (Zingaro)
(5:04) 12. Once I Loved (O Amor Em Paz)
(5:56) 13. If You Never Come To Me
(4:18) 14. Felicidade

The veteran guitarist's collection of bossa novas by the late Antonio Carlos Jobim demonstrate his gift for counterpoint and improvisation in this all-acoustic masterpiece. Accompanied only by the Latin percussion of John Arruci and Jon Bates, Bertoncini plays an astonishingly uptempo "Corcavado" that seems to have overdubbed guitar lines but doesn't.

Also remarkable is his soft, understated version of "Double Rainbow." Any guitar student or jazz fan will be mesmerized by Bertoncini's crisp playing on "Zingaro.By Ken Dryden
https://www.allmusic.com/album/jobim-someone-to-light-up-my-life-mw0000087917#review

Jobim: Someone To Light Up My Life

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Nancy Wilson, Cannonball Adderley - S/T

Bitrate: MP3@320K/s

Time: 43:57

Size: 100.6 MB

Styles: Standards, Vocal jazz

Year: 1962/1993

Art: Front

[2:42] 1. Save Your Love For Me

[2:17] 2. Never Will I Marry

[2:58] 3. The Old Country

[2:23] 4. Happy Talk

[4:15] 5. The Masquerade Is Over

[2:32] 6. A Sleepin' Bee

[2:13] 7. Little Unhappy Boy

[4:29] 8. Teaneck

[4:55] 9. I Can't Get Started

[5:09] 10. One Man's Dream

[3:56] 11. Never Say Yes

[6:03] 12. Unit 7

An excellent collaboration of the Nancy Wilson voice with the Cannonball Adderley alto sax from the early '60s. While this 1961 recording was the first time Wilson was with Adderley in the studio, it was not the first time they had worked together. After singing with Rusty Bryant's band, Wilson had worked with Adderley in Columbus, OH. (It was there that Adderley encouraged her to go to N.Y.C. to do some recording, eventually leading to this session.) Not entirely a vocal album, five of the 12 cuts are instrumentals. A highlight of the album is the gentle cornet playing of Nat Adderley behind Wilson, especially on "Save Your Love for Me" and on "The Old Country." Cannonball Adderley's swinging, boppish sax is heard to excellent effect throughout. Joe Zawinul's work behind Wilson on "The Masquerade Is Over" demonstrates that he is a talented, sensitive accompanist. On the instrumental side, "Teaneck" and "One Man's Dream" are especially good group blowing sessions. On the other end of the spectrum, Adderley's alto offers a lovely slow-tempo treatment of the Vernon Duke-Ira Gershwin masterpiece, "I Can't Get Started. the listeners on their musical toes, the first couple of bars of "Save Your Love for Me" are quotes from "So What" from the Miles Davis Sextet seminal Kind of Blue session. Given the play list and the outstanding artists performing it, why any serious jazz collection would be without this classic album is difficult to comprehend. ~Dave Nathan

Nancy Wilson, Cannonball Adderley

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Christian Sands - Foot Prints

Bitrate: MP3@320K/s
Time: 65:24
Size: 149.7 MB
Styles: Traditional jazz combo
Year: 2002
Art: Front

[4:05] 1. Four
[4:07] 2. Canteloupe Island
[6:19] 3. Wave
[5:26] 4. All Blues
[6:11] 5. Sands Of Eqypt
[4:38] 6. Footprints
[4:49] 7. Ryan's Groove
[4:38] 8. I'll Remember April
[6:08] 9. A Night Intunisia
[5:41] 10. Wind Chimes
[7:35] 11. Maiden Voyage
[5:42] 12. Ain't No Sunshine

Christian Sands has been described as "a dynamic pianist with extraordinary musical maturity beyond his years". He is indeed an accomplished musician with great poise and sophistication. He possesses a warm, unpretentious personality together with an honest, heartfelt approach to playing which keeps him in demand. He has been playing the piano since 4 years old. Age 5 is when he wrote his first musical composition. On this debut recording, he wrote and arranged several of the songs.

Foot Prints

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Marilyn Monroe - I Wanna Be Loved By You

Styles: Vocal
Year: 2008
Time: 48:22
File: MP3 @ 320K/s
Size: 117,2 MB
Art: Front

(3:00) 1. I Wanna Be Loved By You
(3:33) 2. Diamonds Are A Girls Best Friend
(2:39) 3. I'm Gonna File My Claim
(3:03) 4. You'd Be Surprised
(2:21) 5. A Fine Romance
(2:58) 6. Kiss
(3:26) 7. Bye Bye Baby
(3:38) 8. After You Get What You Want You Don't Have It
(3:24) 9. When Loves Go Wrong Nothing Goes Right
(1:21) 10. Some Like It Hot
(5:09) 11. My Heart Belongs To Daddy
(2:46) 12. She Act Like A Woman Should
(2:59) 13. When I Fall In Love
(3:13) 14. Do It Again
(2:31) 15. I'm Through With Love
(2:14) 16. The River Of No Return

Who really was Marilyn Monroe? I Wanna Be Loved By You tries to answer this question. Charting her life journey, from Norma Jean’s rise to fame up to her controversial death, this play centres around the private persona of America's most infamous sex symbol.

In I Wanna Be Loved By You, Monroe’s character is played by all three of the female cast members at different points in the play. This strategy works well to emphasise Monroe’s conflicting personalities, the pre-celebrity young girl, the iconic actress and pin-up, and the private Marilyn, known to nobody but herself. This production also cleverly depicts Monroe’s love/hate relationship with the press. Each scene is broken up by a frantic media scrum, intruding into the play in the same interfering fashion they had in Monroe’s short life. At one point, Joe DiMaggio, Monroe’s second husband, states that “the press are either at your feet or your throat,” a line reminiscent of today’s treatment of celebrity.

I Wanna be Loved By You is excellent at detailing the events of Monroe’s life, from her marriages - including those to DiMaggio and Arthur Miller - to her relationship with her mum and her drug addiction. Yet this production doesn’t unravel any of the secrets it promises to and this is a problem. I Wanna Be Loved By You tries to do too much. Fifty minutes is not enough time to accurately comment on every aspect of Monroe’s life. Focusing on one would have been difficult enough. As a result, this production provides an interesting account of a complex character, but barely scratches the surface.By Liz Rawlings https://www.festmag.com/edinburgh/archive/i-wanna-be-loved-by-you

I Wanna Be Loved By You

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Stella Bass - Too Darn Hot

Styles: Vocal
Year: 2014
Time: 53:42
File: MP3 @ 320K/s
Size: 123,8 MB
Art: Front

(4:02) 1. All The Things You Are
(4:40) 2. I Keep Going Back To Joe's
(2:10) 3. Too Darn Hot
(5:29) 4. Aeroplane
(6:03) 5. A Nightingale Sang In Berkeley Square
(5:03) 6. Back To Black
(3:12) 7. The Frim Fram Sauce
(5:22) 8. The Nearness Of You
(3:47) 9. Why Don't You Do Right
(4:42) 10. Estate
(3:37) 11. A Wink And A Smile
(5:28) 12. Black Coffee

Singer Stella Bass is a stalwart of Dublin's live music scene, leading small jazz ensembles and collaborating with the HotHouse Big Band and the Dublin City Jazz Orchestra. Bass's debut jazz recording follows Smoke and Sound (Self Produced 2010), her cabaret tribute to Kurt Weil, Bertold Brech, Marlene Dietrich et al. In the main, Too Darn Hot sees Bass mine the jazz standards of the 1930s and 1940s, repertoire she's polished every Sunday for years in Dublin's chic Cafe en Seine. To stand out in a market awash with standards recordings requires something special and Bass, with her beguiling voice, comes fairly close. Whilst this set is unlikely to generate excitement amongst fans of more contemporary jazz there's no denying Bass's qualities as a singer and interpreter.

Classically trained, Bass's technical chops are evident from the first notes of Jerome Kern/Oscar Hammerstein's "All The Things You Are"; more importantly, her voice possesses soul, swing and pizzazz. Noteworthy too, are the arrangements of pianist Phil Ware, whose deft use of space and dynamics frame Bass's performances beautifully while enabling the excellent supporting cast to shine.

Bass has assembled some of Dublin's finest jazz musicians and they do her proud; guitarist Hugh Buckley impresses at slow tempos as on the Kern/Hammerstein tune and equally, when the band is swinging, as on Cole Porter's "Too Darn Hot." Trumpeter Danny Healy uncorks a gem of a solo on Jack Segal/Marvin Fischer's "I Keep Going Back to Joe's," providing sympathetic support to Bass's gently bluesy delivery. On Manning Sherwin/Eric Mascwitz's ballad "A Nightingale Sang in Berkeley Square," tenor saxophonist Robert Geraghty and Buckley's understated lyricism underscores Bass's nuanced delivery.

The leader injects a little fun with "Frim Fram Sauce," Redd Evans/Joe Ricardel novelty song popularized by the Nat King Cole Trio. Despite the frivolous lyrics, this old-fashioned swinger has endured, from Ella Fitzgerald/Louis Armstrong to Diana Krall half a century later. Ware's arrangement for trumpet, saxophones and Karl Ronan's trombone adds little-big band luster to Joseph 'Kansas Joe' McCoy's blues tune "Why Don't You Do Right?" Bass would probably settle for a fraction of the million copies that Peggy Lee and Benny Goodman's version shifted in 1942.

Bass also convinces on contemporary fare. On Robert Palmer's "Aeroplane" her poignant delivery and Buckley's emotive intervention combine to eclipse the original. Amy Winehouse's perfect retro-pop tune "Back to Black" is slowed down and artfully rearranged for horns; the rhythm section of Ware, bassist Nev Lloyd and drummer Dominic Mullan bring a subtle jazz sensibility to both tracks. Bass provides another highlight with Bruno Martino/Bruno Brighetti's "Estate," typically sung as a bossa nova since Joao Gilberto popularized the song; Bass instead sticks convincingly to the original Italian version in a compelling duet with Ware.

Hoagy Carmichael/Ned Washington's 'The Nearness of You," Ramsey McLean/Marc Shaiman's breezy "A Wink and a Smile" and Sonny Burke/Paul Francis Webster's sultry, late-night blues "Black Coffee" round out an enjoyable set. Too Darn Hot just confirms what jazz aficionados in Dublin already know Bass is a class act.By Ian Patterson https://www.allaboutjazz.com/too-darn-hot-stella-bass-self-produced-review-by-ian-patterson

Personnel: Stella Bass: vocals; Phil Ware: piano, Rhodes piano, arrangements; Hugh Buckley: guitar; Dominic Mullan: drums; Nev Lloyd: double bass; Danny Healy: trumpet, flugelhorn; Michael Buckley: alto saxophone; Robert Geraghty: tenor saxophone; Karl Ronan: trombone.

Too Darn Hot

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Renee Olstead - Renee Olstead

Styles: Jazz, Vocal

Year: 2004
File: MP3@320K/s
Time: 44:24
Size: 106,0 MB
Art: Front

(4:12)  1. Summertime
(3:31)  2. Taking A Chance On Love
(3:20)  3. Is You Or Is You Ain't My Baby?
(4:26)  4. Someone To Watch Over Me
(4:11)  5. Breaking Up Is Hard To Do
(3:32)  6. A Love That Will Last
(2:56)  7. Meet Me, Midnight
(4:34)  8. Sunday Kind Of Love
(3:16)  9. On A Slow Boat To China
(3:27) 10. What A Difference A Day Makes
(3:21) 11. Midnight At The Oasis
(3:32) 12. Sentimental Journey

With a seriously bluesy jazz voice, Olstead wows everyone who hears her, including the renowned David Foster who co-produced this album of classics. Unless someone told you, you might never suspect that Olstead is only in high school! Renee Olstead...hear her...you won't believe your ears. 

No less an expert on pop affairs than Neil Sedaka likens the impossibly mature voice of 14-year-old vocalist/TV star (CBS' Still Standing) Renee Olstead to "Patsy Cline, Ella Fitzgerald and Billie Holiday all wrapped in one." There's no disputing the sultry vocal talents showcased on this debut that balances familiar chestnuts from the great American songbook ("Summertime," "Someone to Watch Over Me," "Sentimental Journey") with more recent fare that veers from R 'n' B sass ("Is You Is Or Is You Ain't My Baby") to 70s chart hits like Sedaka's own "Breaking Up Is Hard to Do" and Maria Muldaur's "Midnight at the Oasis." 

A cynical ear might question how much of Olmstead's own life informs these bluesy performances: how trying can eigth grade be for an attractive redhead with a major label contract? Indeed, the tagline for at least one latter-day Ella Fitzgerald project comes frequently to mind here: "Is it real, or it Memorex?" Olmstead is yet another teen protege of hugely successful producer David Foster (who's midwifed the careers of Josh Groban and Michael Buble in recent years), and he provides her with some sturdy jazz arrangements to riff emotively on here even if his production is as slick and bloodless as ever. Still, Foster's penchant for overwrought melodrama is kept mercifully in check on his own composition "I Want a Love to Last," while his shrewd teaming of the young chanteuse with fellow teen pop phenom Peter Cincotti on Sedaka's "Breaking Up.." deftly underscores the promising talents of both. ~ Jerry McCulley - Editorial Reviews  http://www.amazon.com/Renee-Olstead-RENEE-OLSTEAD/dp/B00020HEL6

Personnel: Reneé Olstead (vocals); Carol Weisman (vocals); Dean Parks (guitar, acoustic guitar); Don Shelton (clarinet, alto saxophone, tenor saxophone);  Warren Luening (trumpet); Alan Broadbent, Billy Childs, Billy Childs Trio, Gerald Clayton (piano); Brian Bromberg (bass instrument); Jeff Hamilton , David Tull (drums); Neil Devor (programming); Peter Cincotti (vocals, piano); Dennis Budimir (guitar); Chris Botti, Rick Baptist (trumpet); Chris Dawson (piano); Joe La Barbera, Vinnie Colaiuta (drums).

Renee Olstead

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David Bitelli & Ollie Usiskin - Harlesden Sessions

Styles: Jazz
Year: 2024
Time: 49:19
File: MP3 @ 128K/s
Size: 45,2 MB
Art: Front

(3:45) 1. Determination
(3:17) 2. Train
(2:49) 3. The Agreed 2 Step
(3:23) 4. Partly Party
(2:29) 5. Rovelli
(5:50) 6. The Reminder
(3:06) 7. Just Go
(3:20) 8. Caution
(5:55) 9. The Rise
(3:32) 10. Tod You Once
(4:56) 11. Temperamental
(3:29) 12. Particulate Motion
(3:23) 13. The Underneath

Tenor saxophone and drums is now a familiar setting within the loose definitions of jazz and improvised music. If John Coltrane and Rashied Ali really made the format “a thing”, then there have been no shortage of musicians queuing up to dip their toes in the water.

With no harmony instrument or bass to hold down the bottom end, it can seem an unforgiving setting for both musician and audience, yet there is a remarkable variety of sounds, textures, rhythmic and melodic possibilities that lend themselves to this format.

These sessions that were recorded on a rather ad hoc basis on “occasional Thursdays” (I just love that as detailed information for the recording dates for the performances), yet the music just flows with the sheer joy of playing and making music together. Apart from that the music is a lot of fun, in the best possible way.

Both musicians are hugely experienced in a a wide range of musical styles. Bitelli came to prominence with the soul-jazz band Working Week and as a member of the anarchic and iconic British big band Loose Tubes. In addition, he has also been a member of Mike Westbrook’s band as well as leading his own groups.

His partner in crime is drummer Usiskin who CV is equally as impressive, including playing with guitarists Nigel Price and Jim Mullen. He has also recorded for SLAM in the past with bassist Max Oliver, presenting a recording of freely improvised duets on the album Usiskin/Oliver Duo.

Taking up the gauntlet of the tenor/drums format, the two musicians draw on their experience to present a series of thirteen improvised duets that focus on groove and melody, and thrive on the variety of music that they can conjure out of thin air.

On this outing Usiskin does not feel the need to make a lot of noise or clatter restlessly around the kit. He is simply brings a concentrated focus on rhythmic movement and patters that do not just lend themselves to melodic statements from the saxophonist but positively suggest them. There is nothing flashy about Usiskin’s playing, but he is constantly inventive varying the beat, subtle changes in dynamics and not afraid to take the lead when required.

By the same token, Bitelli must be overjoyed to have such a supportive partner. His lines are lean, concise and free to pick up melodies and his own rhythmic motifs knowing that his colleague with every step of the way. The saxophonist’s playing is a joy throughout, relishing the rock solid groove from Usiskin on ‘Determination’ for him to work from, and the delicate brushwork that accompanies his improvisation on ‘The Rise’, enabling him to move into more abstract areas before moving back into a lovely melodic improvisation that brings the piece to a close.

Bitelli is a natural storyteller, and the drummer a natural listener, throwing questions and observations into the mix in ‘Told You Once’, and when the tenorist does push the music further out on ‘Train’ exploring split tones and multiphonics that can be drawn out of his instrument, Ususkin is right there with just the right thing to say.

Sceptics may well view this recording as music that Bitelli and Usiskin played to please themselves, the resulting album though is one that I am sure will please many.

You can also check out our Take Five segment we have done with Bitelli and Usiskin.By Nick Lea https://jazzviews.net/david-bitelli-ollie-usiskin-harlesden-sessions/

Personnel: David Bitelli (tenor saxophone); Ollie Usiskin (drums)

Harlesden Sessions

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Nick Colionne - Influences

Styles: Guitar, Smooth Jazz
Year: 2014
Time: 54:43
File: MP3 @ 320K/s
Size: 127,7 MB
Art: Front

(5:04) 1. Slammin'
(4:48) 2. Got To Keep It Moving
(4:36) 3. Nico's Ride
(5:25) 4. Whatcha Gonna Do
(4:06) 5. Born Again
(4:21) 6. When You Love Somebody
(3:50) 7. Here's To You
(3:51) 8. C-Ray
(5:22) 9. Whatta 'bout You
(5:01) 10. Sting Like A King B
(3:44) 11. Got To Keep It Moving (Short)
(4:29) 12. Got To Keep It Moving (Long)

Well into his third decade of making the strings sing with his very own sweet Chicago soul, guitarist Nick Colionne digs deep as he takes musical stock of the people and things that helped propel his career and fully establish his place as one of the real cats, a cat that finds connection with his audience in a way that not many can.

Influences is a musical journey of self re-discovery, offering a palate of moods and flavors born of life experiences, challenges and the effect of the people past and present that have helped shape and mold his sound. Music can be the ultimate healer not only for the creator but also those of us who seek the escapism. Nick gets this and you immediately feel him from the opening strains as he provides lift with this feel good collection of new sides. His chops have never been more exacting, his melodies more exhilarating, his hooks more infectious.

Collaborating again with the great James Lloyd on 'Pieces Of A Dream' and inviting Maysa on the journey gives 'Influences' just the right amount of spice and pop, but in the end it is all about Nick as he bears his soul though this collection of musical chapters in this his latest book, one written with his strings and sings of the places he s been and the places he still has to go.

The lead single Got To Keep It Moving is certain to fire up his legions of fans and find its rightful place atop the radio charts. Never one to take what he has for granted, Colionne knows he has been blessed with a great gift and he will continue to share it as he connects with his fans through live performance in 2014 and share Influences in a way that only he can.By Editorial Reviews https://www.amazon.com/Influences-Nick-Colionne/dp/B00I89Y330

Influences

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One For All - The Third Decade

Styles: Jazz
Year: 2016
Time: 65:50
File: MP3 @ 320K/s
Size: 152,9 MB
Art: Front

(5:16) 1. Easy
(5:59) 2. Buddy's
(6:20) 3. It's Easy To Remember
(7:36) 4. Daylight
(5:33) 5. Ghost Ride
(7:11) 6. For Curtis
(4:32) 7. Ruth
(4:29) 8. Babataytay
(6:38) 9. K Ray
(6:21) 10. Frenzy
(5:49) 11. Hey, Stevie D

Hard to believe it will be twenty years ago next year that the hard bop ensemble One For All debuted with Too Soon To Tell on the fledgling Sharp Nine label. Formed as a group that regularly played together at an uptown Broadway club called Augie's, each member was just at the start of their own budding careers. Even today, it continues to be a surprise that these gentlemen still find the time to assemble for the occasional record date or live appearance.

Much has transpired since 1997. Augie's was transformed into Smoke, the club that continues to thrive and provides the imprimatur for the record label documenting the set at hand. Fifteen albums are to be found in the band's oeuvre, including four on Sharp Nine, five for Criss Cross Jazz, four for the Japanese Venus label, and two live concert recordings. Indeed on the cusp of starting their third decade together as a band, this fittingly titled set brings into focus all of the best qualities of these gentlemen, including their composing talents and singular musical voices. It also happens to be their first new release in five years.

The proceedings open with the Steve Davis original "Easy." Those crisp snare hits from drummer Joe Farnsworth announce that we are indeed in for a pleasurable ride. The warm timbre of the three-piece horn section is a trademark of this unit and it's all here to enjoy from the very first note. The tempo picks up with David Hazeltine's "Buddy," a tribute to his mentor and fellow pianist Buddy Montgomery. The sprightly bossa tempo brings some joyous shouting from trumpet ace Jim Rotondi.

Hazeltine is also responsible for the cheery arrangement of "It's Easy to Remember" and another tribute in the guise of "K-Ray." Dedicated to recently deceased drummer Killer Ray Appelton, this one is a brisk and swinging ditty that finds Farnsworth in all his glory. Particular attention should be paid to the sound the drummer achieves. His toms are tuned high and his ride cymbal has a nice, dry ping, all of which are individualistic and very pleasing. His solo statements are articulate and engaging and never wear out their welcome.

Both Davis' "Daylight" and Eric Alexander's "Frenzy" are ebullient numbers that bristle with excitement. The former speaks with a jaunty Latin-esque voice while the latter is straight ahead swing buoyed by John Webber's rock solid bass lines. For Rotondi's contributions, there's the 16th note groove of "For Curtis" and the long-lined "Ruth," both of which settle into a pleasurable platform for soloing. Although it goes without saying, both Davis and Rotondi are chock full of great ideas and say much over the course of their many solos.

Alexander, Davis, Hazeltine, and Rotondi have largely served as the band's main arrangers/writers over the course of the band's history. It is then a pleasure to find that this date marks the first time all six members contribute to the program. Webber's "Babataya" recalls some of the funky gems from the Blue Note era, such as Lee Morgan's "Party Time." Farnsworth's "Hey,Stevie-D" makes for a fine shuffle that puts Alexander in the mood to strut his stuff. And speaking of Alexander, his gorgeous ballad "Ghost Ride" serves as moment of calm in an otherwise pretty upbeat session.

Over the course of The Third Decade's eleven generous tracks, we get to hear a well-honed machine operating at peak power. Even though distances often keep these six gentlemen apart, one can only hope their new home at Smoke Sessions will provide for further releases and the we won't have to wait another five years before the next one.By C. Andrew Hovan
https://www.allaboutjazz.com/the-third-decade-one-for-all-smoke-sessions-records-review-by-c-andrew-hovan

Personnel: Jim Rotondi: trumpet & flugelhorn; Eric Alexander: tenor saxophone; Steve Davis: trombone; David Hazeltine: piano; John Webber: bass; Joe Farnsworth: drums

The Third Decade

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Artistry Jazz Group - Tribute!

Styles: Vocal And Piano Jazz

Year: 2012
File: MP3@320K/s
Time: 70:31
Size: 162,0 MB
Art: Front

(3:50)  1. Palo Alto
(4:04)  2. Shirley Steps Out
(5:14)  3. Last Night When We Were Young
(4:08)  4. Bijou
(3:02)  5. Up an' Atom
(6:08)  6. Lost in a Summer Night
(2:55)  7. The Bad and the Beautiful
(2:44)  8. Undercurrent Blues
(5:13)  9. The Man that Got Away
(3:57) 10. Fantasy
(6:34) 11. As You Are
(6:58) 12. The St. Vitus' Dance
(5:31) 13. Changing My Tune
(6:00) 14. Lotus Blossom
(4:06) 15. Boplicity

An absolute gem, featuring some of the best players in Scandinavia in an extremely well thought-out program of music, paying tribute to "musicians and artists who shaped new sounds and ideas." It's the brainchild of independent record producer Torgil Rosenberg and pianist Jan Lundgren. Three top Swedish musicians, Peter Asplund on trumpet, Klas Lindqvist on alto sax and clarinet, and Janne Bengtsson on flute, join Lundgren's already all-star Artistry group, filling out the sound on selected numbers. The choice of musicians and composers receiving tribute is highly eclectic, ranging from alto saxophonist Lee Konitz, pianist Horace Silver, trumpeter Miles Davis and big band leader Stan Kenton to singer June Christy, Swedish composer/pianist Nils Lindberg (paired with US bassist Red Mitchell, who lived in Sweden for many years) and composers George Gershwin and Billy Strayhorn. The album opens with reed multi-instrumentalist Jimmy Giuffre's arrangement of Lee Konitz's marvelous post bop piece, "Palo Alto," on which Lundgren solos superbly. It continues with Mel Powell's quirky "Shirley Steps Out," with reed man Klas Lindqvist taking solo honors.

Vocalist Vivian Buczek is a revelation, displaying full-fledged confidence and a maturity only hinted at in her previous recordings with the group. She performs great versions of Harold Arlen's bittersweet "Last Night When We Were Young" and George Gershwin's "Changing My Tune," switches with consummate ease from Queen of Cool June Christy to Judy Garland, albeit singing the best, bluesiest song in Garland's book, "The Man That Got Away," written by Harold Arlen and Ira Gershwin for the 1954 film A Star Is Born.  Buczek does her best with the rather dated "back to nature" lyrics of Lindberg and Mitchell's "As You Are" and turns in a fine wordless vocal on "Undercurrent Blues," by Chico O'Farrill whose arrangements ushered King of Swing Benny Goodman, somewhat unwillingly, into the bebop era.

She also chooses the closer, going for Miles Davis' "Boplicity" and handling Ray Passman and Holli Ross' high-speed "Bebop Lives" lyrics with great aplomb. Hollywood composer David Raskin's "The Bad And The Beautiful" is one of two outstanding solo outings by Lundgren. The other is a lovely, lingering interpretation of Billy Strayhorn's "Lotus Blossom."  Guitarist Jacob Fischer's solo does wonders for "Fantasy" by Prince of Pretension Stan Kenton (based on a piece by classical composer Maurice Ravel), while Hans Backenroth plays some terrific bass on Horace Silver's "The St. Vitus' Dance." Only rarely do albums come any better than this.By Chris Mosey http://www.allaboutjazz.com/tribute-jan-lundgren-volenza-review-by-chris-mosey.php

Personnel: Jan Lundgren: piano;  Vivian Buczek: vocal;  Jacob Fischer: guitar;  Hans Backenroth: bass;  Johan Löfcrantz Ramsay: drums;  Peter Asplund: trumpet, flugelhorn;  Klas Lindqvist: alto sax, clarinet;  Janne Bengtsson: flute.

Tribute!

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Jon De Lucia - The Brubeck Octet Project

Styles: Saxophone Jazz
Year: 2024
Time: 49:29
File: MP3 @ 320K/s
Size: 114,4 MB
Art: Front

(0:38) 1. Curtain Music
(4:17) 2. Love Walked In
(4:05) 3. Fugue on Bop Themes
(4:29) 4. Let's Fall In Love
(5:58) 5. IPCA
(6:20) 6. September in the Rain
(5:17) 7. I Hear A Rhapsody
(2:57) 8. The Way You Look Tonight
(4:39) 9. Prelude
(4:12) 10. What Is This Thing Called Love
(5:54) 11. Love Me or Leave Me
(0:37) 12. Closing Theme

Synchronicity is a wondrous thing. Item: At around the same time that Albert Ayler was developing his sound in the U.S.A., the Ethiopian tenor saxophonist Getatchew Mekurya was forging a strikingly similar one in Addis Ababa. Neither player had heard the other, and Mekurya had never heard any jazz at all. Feel the Force?

Rewind a decade or so and we encounter another space/time portal, this one connecting the U.S.A.'s East Coast and West Coast. In New York, in 1949-50, Miles Davis was fronting a nonet whose 78rpm singles were later compiled on the album Birth Of The Cool (Capitol, 1957). In Oakland, in 1948-49, Dave Brubeck was leading an octet whose 78rpm singles were later compiled on the album Dave Brubeck Octet (Fantasy, 1956).

The Davis and Brubeck bands were both exploring an approach to jazz that eschewed the heated intensity of bop. Both were experimenting with new, classically influenced harmonies and ensemble voicings. There was one significant difference between them: Davis' band, in the main, played original compositions, and Brubeck's, in the main, played covers, albeit harmonically, and often rhythmically, reimagined. (The Davis/Brubeck and Ayler/Mekurya parallels are not analogous in another way, since Davis and Brubeck would have known through the grapevine what each other was up to and must almost certainly have heard at least some of each other's recordings. But feel the Force or what?)

Fast forward seven decades, and the alto saxophonist Jon De Lucia has put together another octet, with Brubeck's instrumentation, this time on the East Coast. The band revisits twelve of Brubeck's scores. De Lucia has expanded Brubeck's original arrangements while retaining their spirit and he has done a beautiful job. The Brubeck Octet Project retains the vibe of the original recordings, being deliciously anachronistic while simultaneously modern (or perhaps that should be timeless), and the players (see Personnel) are on a par with the 1948-49 lineups.

Audio quality is far richer and has considerably more presence than the indifferent sound of Brubeck's original tracks (check the YouTube below). The Brubeck Octet Project by no means cancels out Dave Brubeck Octet, but it seems probable that anyone who enjoys the earlier album will enjoy this 2024 salute.By Chris May
https://www.allaboutjazz.com/the-brubeck-octet-project-jon-de-lucia-museum-clausum

Personnel: Jon De Lucia - Alto Saxophone, Leader; Brandon Lee - Trumpet; Scott Robinson - Tenor Saxophone; Becca Patterson - Trombone; Jay Rattman - Baritone Saxophone and Clarinet; Glenn Zaleski - Piano; Daniel Duke - Bass; Keith Balla - Drums

The Brubeck Octet Project

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