Hilary Gardner & Ehud Asherie - The Late Set

Styles: Vocal And Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 36:20
Size: 85,0 MB
Art: Front

(4:12)  1. Shadow Waltz
(4:58)  2. Sweet And Slow
(5:18)  3. A Ship Without A Sail
(4:04)  4. After You’ve Gone
(3:46)  5. I Never Has Seen Snow
(3:34)  6. I Used To Be Color Blind
(3:05)  7. Everything I’ve Got
(3:29)  8. Make Someone Happy
(3:52)  9. Seems Like Old Times

If you're looking for the definition of a class act, look no more. This is most certainly it. With The Late Set, kindred spirits Hilary Gardner and Ehud Asherie make us simultaneously pine for an era long gone and appreciate what's right in front of us. If you've followed either one of these artists, their simpatico sensibilities should come as no shock. Gardner delivered one of the most meaningful paeans to New York in recent memory with The Great City (Anzic Records, 2014), graced a Broadway stage to lend her voice to Twyla Tharp's Frank Sinatra-focused Come Fly With Me, continues to share the vocal spotlight with fellow charmer John Dokes in the George Gee Swing Orchestra, and matches wits with gal pals Melissa Stylianou and Amy Cervini in Duchess, a Boswell Sisters-inspired trio that's made its mark in the past few years. Asherie, having delved into days gone by with tenor saxophonist Harry Allen, multi-reedist Ken Peplowski's quartet, and all by his lonesome, has carved out his place as one of the finest pianistic purveyors of aged gems operating today. Both of these artists, while walking different paths, always stand out as old souls and valuable exponents of what the Great American Songbook can offer and teach us. That fact is magnified when they join forces. If you've been lucky enough to see this pair live, the magic needs no explanation. 

They put across a winning blend of casual expression and sophisticated artistry that's self-evident. Everything they create comes out as fine art without the slightest hint of artifice. This recording, presenting nine vintage numbers shaped with nuance and care, emphasizes that point and captures the spirit of their live shows. Most of the selections presented here are deep catalog chestnuts from our finest composers and songwriting teams, widely acknowledged or not. Al Dubin and Harry Warren make it onto the scorecard first with "Shadow Waltz," an album opener that gently glides along while referencing how old songs take on new meaning in love's hands, and "Sweet And Slow," a piece that musically mirrors its advice to get off the fast track and appreciate the simple pleasures of time spent with another. The former proves to be a perfect scene-setter for this pair while the latter remains as relevant today as it was eight decades ago. Those who prefer to take comfort in the familiar will likely connect with "After You've Gone," penned by Henry Creamer and Turner Layton; "Make Someone Happy," delivered unto us from Betty Comden, Adolph Green, and Jule Styne; and "Everything I've Got," written by Richard Rodgers and Lorenz Hart. But the majority of this material doesn't play toward popularity. Instead, Gardner and Asherie usually take the roads less traveled, covering those songs that we don't necessarily encounter very often. In many cases, it's those numbers that possess the stronger draw and deeper connective strengths. The depressive threads sewn into Rodgers and Hart rarity "A Ship Without A Sail," for example, can't help but appeal to the soul through sympathy. This is the kind of album that can both connect to modern times and hold high appeal as a throwback statement. ~ Dan Bilawsky https://www.allaboutjazz.com/the-late-set-hilary-gardner-anzic-records-review-by-dan-bilawsky.php

Personnel: Hilary Gardner: vocals; Ehud Asherie: piano.

The Late Set

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The Las Vegas Boneheads - Attack Of The Wind Driven Pitch Approximators

Bitrate: MP3@320K/s
Time: 74:09
Size: 169.8 MB
Styles: Big band, Swing
Year: 2017
Art: Front

[3:15] 1. Springsville
[6:30] 2. If I Only Had A Brain
[3:20] 3. Attack Of The Wind Driven Pitch Approximators
[7:12] 4. Antoine
[4:51] 5. Limehouse Blues
[4:41] 6. Airegin
[7:53] 7. Groove Merchant
[5:36] 8. Jeannine
[4:42] 9. I Loves You Porgy
[7:26] 10. Caravan
[7:13] 11. Gaea
[6:54] 12. The Healer
[4:30] 13. Crooked Smile

Curt Miller - Trombone - Leader; Matt Johnson - Trombone; Nathan Tanouye - Trombone; Nate Kimball - Trombone; Sonny Hernandez - Bass Trombone; Ralph Pressler - Bass Trombone; Andrew Boostrom - Trombone (on "Attack of the WDPA"); Uli Geissendoerfer - Piano; Steve Flora - Bass; Larry Aberman - Drums.

The Boneheads—originally founded by Abe Nole in the early 1960’s—had six trombones and three rhythm players (piano, bass, and drums). The founding members were professional trombone players in the Las Vegas showrooms and consisted of Abe Nole, Charlie Loper, Archie LeCoque, Tommy Hodges, Pat Thompson and Bill Smiley. They rehearsed on the second floor of the old Silver Slipper on The Las Vegas Strip and occasionally at Abe’s home.

By the early 1970's (Generation 2) the group typically rehearsed backstage at the Frontier Hotel, or the at the Village Pub, and had changed personnel. At that time the tenor trombones were Bill Booth, Jim Huntzinger, Ed Morgan and the legendary Carl Fontana. The bass trombones were Bill Rogers and Ralph Pressler. The musicians would work two shows per night, six or seven nights a week, and then get together after hours for their own enjoyment. They would perform with every star on the strip, from Sinatra’s Rat Pack to Elvis and numerous production shows.

Other trombone players that were members of the group during the late 70’s and early 80’s (Generation 3) were Curt Miller, Dick McGee, Bob Scann, Ron Sprouse, Jimmy Trimble, Marty Harrell, Dick “Stretch” McQuary, Dwight Davis and “Hoot” Peterson. “Stretch” arranged a number of Bobby Brookmeyer compositions in the early 1970’s that eventually became the foundation of the “new” Boneheads’ book.

The group and the book disappeared sometime in the mid 1980’s and was not heard from again until 2011 when Curt Miller decided to reconstruct the nearly fifty-year-old ensemble. Such notable composers/arrangers as Gary Anderson, Jim Belk , Steve Flora, Nate Kimball, Curt Miller, and Barry Ross have contributed new charts to the book and updated the concept of the group.

The group has become known as the “ultimate trombone band” – the players always jump at the chance to play with the group. Curt Miller is the leader and coordinator of the group, and the players that routinely play with the group are Matt Johnson, Nate Kimball, Nathan Tanouye, Sonny Hernandez, Ralph Pressler, and Andrew Boostrom. The rhythm section is comprised of Uli Geissendoerfer on piano, Steve Flora on bass and Larry Aberman on drums.. With the exception of a few live recordings, the group had never formally recorded anything, so we decided to take on the first CD project - 55 years after the inception of the group! I am humbled to be the current curator of a group so rich in history!
Curt Miller

Attack Of The Wind Driven Pitch Approximators

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Jacky Terrasson - Moving On

Styles: Jazz
Year: 2024
Time: 53:33
File: MP3 @ 320K/s
Size: 123,3 MB
Art: Front

(4:45) 1. Besame Mucho
(3:30) 2. Est-ce que tu me suis ?
(2:45) 3. Moving On
(4:02) 4. Misty (NYC Take)
(2:57) 5. R&B
(4:01) 6. Happy
(3:36) 7. Solar
(4:55) 8. Love Light
(3:12) 9. My Baby Just Cares for Me (Pompignan Take)
(4:34) 10. Enfin
(3:30) 11. I Will Wait for You
(2:16) 12. Go Round
(4:12) 13. Af006
(4:19) 14. Edit (piaf)
(0:53) 15. Theme from New York, New York

Jacky Terrasson’s music has always been a marvelous melding of the complex and the understated. Moving On, his latest album, demonstrates both sides of this equation with fantastic results. There’s so much going on here. The theme of this recording comes from the pianist’s move back to France after spending a good portion of his career in New York City. The music demonstrates his love for both the push and pull of life. And the 15 songs on this set add to that yin–yang dichotomy, with two trios playing the tunes.

Bassist Sylvain Romano and drummer Lukmil Perez, the French trio, join Terrasson for six tunes. Bassist Kenny Davis and Alvester join him as the American trio. The music is complex, but in the pocket. His pianism serves both trios well, as Terrasson plays challenging passages with such ease that the listener can just sit back and feel a rush of sound wash over them. Terrasson kicks off the album with his French trio’s total and impressive reimagining of “Beseme Mucho,” the classic bolero written by Consuelo Velázquez.

Terrasson, Romano and Perez take the tune at a heartbreaking adagio, giving it an almost classical reverence. On the flip side, the American trio delivers the album’s title track as a fast-paced, raise-the-roof, feel-good jam demonstrating all the excitement that a new chapter in one’s life can offer. It’s a Terrasson original that flows with positive vibes, as do many of his compositions, like “R&B” or the slow-burning “Edit (Piaf)” from the album. Terrasson also treats us to some really great guest spots and standards.

Grégoire Maret joins in on truly fun version of the mega-hit “Happy,” complete with vocal spots by Camille Bertault and Karen Guiock Thuram. Drummer Billy Hart steps in for a turn on “Misty (NYC Take).” Other treats include “My Baby Just Cares For Me” with a terrific guest vocal by Guiock-Thuram; Est-ce que tu me suis?” with another terrific vocal by Bertault; and “Enfin,” a Terrasson original with Maret guesting. Hart also takes the drum chair for the album’s outro, “Theme From New York, New York.” It’s a fitting 53-second ditty to wrap up a thoughtful set that says “goodbye and thanks” to one home and “hello, can’t wait to see you” to a new one Terrasson’s love letter is beautifully delivered to both.By Frank Alkyer
https://downbeat.com/reviews/detail/moving-on

Moving On

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Scott Hamilton, Paolo Birro, Alfred Kramer, Aldo Zunino - Cinerama

Styles: Saxophone Jazz
Year: 2024
Time: 64:10
File: MP3 @ 320K/s
Size: 147,8 MB
Art: Front

(6:44) 1. Three coins in the fountain
(8:53) 2. I will wait for you
(5:35) 3. Love theme from Point Blank
(6:41) 4. Wives and lovers
(7:38) 5. On Green Dolphin street
(7:03) 6. Two for the road
(8:50) 7. Close enuogh for love
(5:25) 8. I love you, Samantha
(7:18) 9. Manha de Carnaval

A swinging tenor saxophonist with a warm tone and supple feel, Scott Hamilton first emerged in the '70s playing a style that hearkened back to the pre-bebop sound of artists like Ben Webster and Zoot Sims. It was a style that helped Hamilton stand out from his contemporaries, especially during the electrified era of fusion jazz. Signed to Concord, he issued a string of celebrated albums for the label, like 1977's Swinging Young Scott, 1979's Tenorshoes, and 1986's The Right Time, all of which showcased his knack for acoustic jazz, blues, and standards. He gained respect from both contemporary players and veterans, famously touring as a member of legendary clarinetist and bandleader Benny Goodman's small group. Along with contemporaries like cornetist Warren Vache, saxophonist Harry Allen, and saxophonist Scott Robinson, he has continued to keep older jazz traditions alive, playing with swing veterans like guitarist Bucky Pizzarelli, as he did on 1998's Red Door: Remember Zoot Sims, and issuing elegant sessions from his adopted home of Italy, like 2019's Danish Ballads & More.

Born in 1954 in Providence, Rhode Island, Hamilton first became interested in jazz while listening to his father's record collection. Initially starting out on drums at age five, he also played piano, harmonica, and clarinet before settling on tenor saxophone at around age 16. Influenced by players like Johnny Hodges, Ben Webster, Coleman Hawkins, and Zoot Sims, he progressed quickly and by the time he graduated high school, was already playing gigs and sitting in at clubs. It was during these early years that he met and sat in with legendary swing trumpeter Roy Eldridge at a club in Boston. Eldridge encouraged the up-and-coming saxophonist to move to New York, which Hamilton did in 1976 at the age of 22. There, he picked up a six-week stint playing at Michael's Pub, and was able to meet and work with other veteran jazz luminaries like Hank Jones, Vic Dickenson, Anita O'Day, and Illinois Jacquet, among others.

In 1977, he made his recorded debut for Concord with Scott Hamilton Is a Good Wind Who Is Blowing Us No Ill, featuring trumpeter Bill Berry, pianist Nat Pierce, bassist Monty Budwig, and drummer Jake Hanna. More albums followed on the label, including Scott II, Scott Hamilton and Warren Vache (With Scott's Band in New York), and 1979's Tenorshoes. Also during this period, he joined Benny Goodman's small group, playing with the legendary bandleader as well as Vache, guitarist Chris Flory, and others throughout the late '70s and early '80s. Hamilton kept the traditional jazz torch burning through the '80s, issuing albums like 1982's Close Up, 1985's First Up with cornetist Ruby Braff, and 1986's Major League with Jake Hanna and Dave McKenna. There were also dates with Flip Phillips, Benny Carter, and the Concord All-Stars. In 1986, he earned a Grammy nomination for his contribution to Gerry Mulligan's album Soft Lights & Sweet Music.

In the '90s, Hamilton moved to England, settling in London and forming a quartet with pianist John Pearce, bassist Dave Green, and drummer Steve Brown. Nonetheless, he remained connected to Concord, releasing albums like 1993's East of the Sun, 1995's My Romance, and 1997's After Hours. He also paired for albums with guitarist Bucky Pizzarelli, guitarist Jimmy Bruno, and vocalist Rosemary Clooney. Jazz Signatures arrived in 2001 and featured songs by some of Hamilton's favorite artists like Illinois Jacquet, Benny Carter, and Don Byas. He paired with fellow saxophonist Harry Allen for 2004's Heavy Juice and joined pianist Bill Charlap, bassist Peter Washington, and drummer Kenny Washington for 2005's Back in New York.

Sometime in the late 2000s, Hamilton moved to the Tuscany region of Italy where he remained active touring. He also rounded out his long association with Concord by releasing 2006's Nocturnes & Serenades and 2008's Across the Tracks. Following his move to Italy, Hamilton issued a string of albums on smaller labels including 2010's Midnight at NOLA's Penthouse with pianist Rossano Sportiello, 2011's A Splendid Trio with guitarist Howard Alden, and 2012's 'Round Midnight with saxophonist Harry Allen. He also recorded projects with Jan Lundgren, Karin Krog, and Andrea Pozza. He collaborated with pianist/vocalist Champian Fulton for 2017's Things We Did Last Summer, and returned the following year with the quartet date Moon Mist, featuring pianist Dena DeRose, bassist Ignasi Gonzalez, and drummer Jo Krause. Another quartet date, Danish Ballads & More, arrived in 2019. By Matt Collar https://www.amazon.com/Two-for-the-road/dp/B0DJRN1SHW

Personnel: Scott Hamilton (sax), Paolo Birro (piano), Aldo Zunino (double bass) and Alfred Kramer (drums).

Cinerama

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Jacky Terrasson and Stephane Belmondo - Mother

Styles: Piano And Trumpet Jazz
Year: 2016
File: MP3@320K/s
Time: 44:31
Size: 102,7 MB
Art: Front

(4:39)  1. Hand In Hand
(4:49)  2. Lover Man
(3:45)  3. La chanson d'Hélène
(5:19)  4. In Your Own Sweet Way
(0:39)  5. Pic Saint-Loup
(5:27)  6. Mother
(2:26)  7. Fun Keys
(1:14)  8. Les valseuses (BOF "Les valseuses")
(3:44)  9. Souvenirs
(4:34) 10. You Don't Know What Love Is
(0:53) 11. Pompignan
(4:49) 12. You Are The Sunshine Of My Life
(2:06) 13. Que reste-t-il de nos amours ?

The album "Mother" is a collaboration with pianist Jacky Terrasson and trumpeter Stéphane Belmondo. Of the fourteen securities has an intimate atmosphere to the Impressionist musicality. The inspired dialogue of these two accomplices musicians brings a calm breathing conducive to peace. The collaboration of Jacky Terrasson and Stéphane Belmondo back to their beginnings in the world of jazz, there are nearly thirty years. A time when they already maintained a special musical relationship. They met six years ago for a concert in duo in the southwest of France in Festival of Saint-Emilion. Since they had the opportunity to cultivate their complicity and give birth to a world that belongs to them. "Mother" (Impulse! / Universal) whose output is announced for September 2, is the logical outcome of their reunion. Originally, Jacky Terrasson and Stéphane Belmondo recorded thirty titles to Recall Studios. After listening, they "realized that the ballads sounded beautifully," says the pianist. They therefore decided to keep the "slower songs" for "Mother".  More...translate by google http://www.latins-de-jazz.com/mother-par-jacky-terrasson-et-stephane-belmondo/

Mother

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Nancy Wilson - The Early Years: 2 Complete Albums Plus Bonus Singles

Size: 158,0 MB
Time: 65:54
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. On The Street Where You Live (1:43)
02. Night Mist (2:36)
03. You Leave Me Breathless (2:29)
04. The More I See You (2:10)
05. I Want To Be Loved (2:17)
06. Almost Like Being In Love (1:44)
07. People Will Say We're In Love (1:58)
08. Passion Flower (2:21)
09. Sometimes I'm Happy (Sometimes I'm Blue) (1:49)
10. In Other Words (Fly Me To The Moon) (2:52)
11. All Of You (1:50)
12. If It's The Last Thing I Do (2:05)
13. Teach Me Tonight (2:52)
14. This Time The Dream's On Me (2:17)
15. I'm Gonna Laugh You Out Of My Life (2:38)
16. I Wish You Love (2:00)
17. Guess Who I Saw Today (3:23)
18. If Dreams Come True (1:46)
19. What A Little Moonlight Can Do (2:25)
20. The Great City (2:44)
21. He's My Guy (2:29)
22. Something Happens To Me (1:59)
23. Call It Stormy Monday (2:24)
24. Something Wonderful Happens (2:47)
25. The Seventh Son (2:22)
26. My Foolish Heart (2:32)
27. Next Time You See Me (2:40)
28. The Verdict (2:28)

Nancy Wilson was one of the most prolific singers of the 1960s. Her style was all encompassing, taking in ballads, jazz, R&B, show tunes and pop music, making her classification as a singer hard to define but that is part of her charm and a key element in her seemingly endless career which continues today. Collected here are her first two albums 'Like In Love' and 'Something Wonderful' plus four bonus tracks which include "My Foolish Heart", which was her first taste of chart success. Although this collection of Nancy's early material may lack charting hits, it is chock full of great songs including a wonderful version of T-Bone Walker's "Call It Stormy Monday".

The Early Years

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Diana Panton - Christmas Kiss

Styles: Vocal, Christmas
Year: 2012
File: MP3@320K/s
Time: 61:57
Size: 143,8 MB
Art: Front

(4:32)  1. Kissing By the Mistletoe
(4:44)  2. Baby It's Cold Outside
(4:00)  3. Christmas Kiss
(2:51)  4. Winter Weather
(3:27)  5. C'est Noel Cheri (M'ami)
(3:55)  6. Winter Wonderland
(5:18)  7. Have Yourself a Merry Little Christmas
(5:22)  8. December
(3:32)  9. Snowbound
(4:47) 10. Winter Warm
(3:52) 11. The Christmas Waltz
(4:34) 12. Christmas Time Is Here
(3:22) 13. Let It Snow! / C'est L'hiver
(4:43) 14. Images of Christmas
(2:50) 15. Douce Nuit / Silent Night

With a purr as smooth as whipped egg nog, Panton makes Christmas Kiss a sprig of audio mistletoe, backed by the light touch of jazz trio trumpeter Guido Basso, guitarist Reg Schwager and Don Thompson on bass, piano and vibraphone. ~ Editorial Reviews https://www.amazon.com/Christmas-Kiss-Diana-Panton/dp/B009E313Y6

Christmas Kiss

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Scott Hamilton - Looking Back

Styles: Contemporary Jazz
Year: 2024
Time: 63:53
File: MP3 @ 320K/s
Size: 158,8 MB
Art: Front

(6:24) 1. I've Grown Accustomed to her Face
(6:17) 2. The Maids of Cadiz
(7:18) 3. Beyond the Bluebird
(5:42) 4. Big Tate
(4:40) 5. Rockin' Chair
(6:46) 6. Noblesse
(6:10) 7. Tune Up
(7:24) 8. Hey There
(5:40) 9. Shadowland
(7:28) 10. On a Clear Day

In Looking Back, Scott Hamilton takes us on a journey through time, reflecting on a career forged by solo excellence and the bonds of collaboration. The seventy-year-old tenor saxophonist, known for his deep connection to the jazz tradition, has crafted a ten-track album reflecting his artistic journey and the many jazz giants and fellow musicians who have shaped his sound. Hamilton, alongside his Scandinavian quartet—Jan Lundgren on piano, Hans Backenroth on bass, and Kristian Leth on drums—delivers a set based on dialogue between musical friends. Their common jazz language allows the quartet to move as a unit, each player indispensable, each a flowing performance in the intricate hard-bop conversation.

The album opens with “I’ve Grown Accustomed to Her Face,” immediately, the ballad tempo shines with the atmosphere of collaboration that defines Looking Back. Hamilton’s tenor is smooth and lyrical, but the gentle brushwork from Leth and the rich harmonic bed laid by Backenroth and Lundgren support his playing’s elegance. This isn’t a one-man show; it’s a shared experience, a weaving together of individual voices that builds into something greater. Hamilton’s phrasing is poignant and deliberate, as Lundgren’s subtle piano voicings, Leth’s fluid brushes, and Backenroth’s steady bass interact and support his performance into a cohesive story.

In “The Maids of Cadiz,” the musical conversation deepens. Hamilton’s melodic lines are built with impeccable phrasing, creating an interplay that is about giving space between each phrase for breathing and ensemble interaction. When Backenroth and Leth follow these musical exhales, they frame Hamilton’s tenor, giving it the space and support to take flight. Lundgren’s accompaniment mirrors Hamilton’s harmonic playfulness, echoing his lines while adding subtle harmonic approaches that keep the listener engaged. There’s an undeniable sense of trust in this ensemble, a confidence allowing each musician to push and pull against the time without losing their sense of unity.

“Big Tate,” Hamilton’s original blues, showcases the band at its most expressive. Hamilton opens unaccompanied, his tenor saxophone filling the space with warmth and authority before the rest of the quartet eases into a medium swing groove. The entire ensemble moves with a sense of relaxed precision, letting the groove unfold naturally. The connection between Leth’s drumming and Backenroth’s bass is particularly evident here they create a rhythmic bedrock that gives Hamilton and Lundgren the freedom to explore without hesitation. Lundgren’s piano solo is full of rhythmic motifs and bluesy color, and as the piece develops, it becomes clear that each player knows exactly when to lead, when to follow, and when to simply listen.

In “Tune Up,” the quartet embraces a more up-tempo swing, but again, the emphasis is on how the musicians interact rather than individual virtuosity. Hamilton’s approach centers on the fluid language of hard bop, his lines moving effortlessly to emphasize chord tones with creative approach embellishments. The beauty of this track lies in Hamilton’s nimble phrasing and the way Leth, Lundgren, and Backenroth react to it—they are in constant dialogue, taking their cues from Hamilton’s improvisational melodic and rhythmic choices and adding their own voices to the conversation.

“Shadowland,” a waltz ballad, brings a different expression into the album. The 3/4 time signature allows the ensemble to explore a more expansive soundscape, with each player contributing thoughtfully to the overall texture. Hamilton’s tenor sings through the melody with gentle grace, while Lundgren’s piano lines provide a shimmering backdrop full of subtle harmonic shifts. Backenroth and Leth work together to create a rhythmic flow that is both steady and dynamic, giving the music a sense of movement that is deeply evocative. Hamilton and Lundgren’s solos focus on constructing clear, lyrical melodies, making “Shadowland” a highlight of the quartet’s shared sensitivity and musical maturity.

“On a Clear Day” shifts the mood to a Latin jazz feel. The rhythm section lays down a gentle sway, with Leth’s understated percussion providing a steady backdrop for Hamilton’s tenor. The ensemble switches to a swing feel for the solos. Backenroth’s bass anchors the harmony, while Lundgren’s delicate comping fills in the spaces, ensuring that Hamilton’s swinging solo lines are supported and developed. Hamilton shows off his lyrical phrasing, each note carefully shaped and articulated, delivering a performance that truly shines in its subtle interaction within the quartet.

Looking Back features a classic hard-bop chemistry that is undeniable and irresistible. The ensemble is skilled in shining as individuals and as parts of a greater whole, with each member enhancing the others’ contributions. Hamilton’s rich, warm tone and lyrical phrasing are at the forefront, but this is an album about the collective experience about how each member of this quartet brings something unique to the jazz expression. The album reflects Hamilton’s lifelong devotion to the classic virtues of jazz, while the Scandinavian quartet’s contributions ensure that the music remains vibrant, contemporary, and alive. The interplay, the shared breaths, and the moments of spontaneous creation make Looking Back standout as a love letter to jazz, collaboration, and the enduring legacy of their shared musical journey. By Nolan DeBuke
https://thejazzword.com/2024/11/scott-hamilton-looking-back-review/

Looking Back

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Nicki Parrott - Winter Wonderland

Styles: Holiday
Year: 2012
File: MP3@320K/s
Time: 62:08
Size: 142,8 MB
Art: Front

(5:23)  1. Have Yourself a Merry Little Christmas
(4:36)  2. Christmas In New Orleans
(3:35)  3. I'll Be Home For Christmas
(5:33)  4. The Christmas Song
(4:11)  5. Blackberry Winter
(3:51)  6. Blue Christmas
(4:23)  7. I've Got My Love To Keep Me Warm
(3:54)  8. Christmas Time Is Here
(3:40)  9. White Christmas
(4:05) 10. June In January
(4:42) 11. My Favorite Things
(3:24) 12. Winter Weather
(3:55) 13. Baby, It's Cold Outside
(3:28) 14. Winter Wonderland
(3:22) 15. What Are You Doing New Year's Eve?

Acclaimed bassist & vocalist Nicki Parrott is joined by sax player Houston Person, pianist John di Martino along with a host of competent musicians for this album dedicated to songs of the Winter season including several Christmas tunes. You'll find such songs as "Have Yourself a Merry Little Christmas", "Blue Christmas", "June In January", "I've Got My Love to Keep Me Warm", and of course, "Winter Wonderland".

Personnel: Nicki Parrott, vocals, bass; John Di Martino, piano; Houston Person, tenor saxophone; Lisa Parrott, baritone saxophone; Paul Meyers, guitar; Tim Horner, drums

Winter Wonderland

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Ruby Braff, Scott Hamilton - For The Last Time

Album: For The Last Time Disc 1

Styles: Cornet And Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 59:32
Size: 137,1 MB
Art: Front

(12:15)  1. Sometimes I'm Happy
( 4:57)  2. Why Shouldn't I'
(12:24)  3. Just You, Just Me
(15:58)  4. I Want a Little Girl
(13:56)  5. Rockin' Chair

Ruby Braff's discographer Thomas P. Hustad addresses the concern posed by this album in his liner notes when he speaks of the "trepidation" with which "we tend to approach any musician's final recording." Tenor saxophonist Scott Hamilton, whose contribution approaches Braff's own, had his own hesitations, based on his unhappy memories of the gig, at the Nairn Jazz Festival in Scotland, as Braff, suffering from the emphysema that would kill him six months later, required a fan on-stage to help his breathing. But Hamilton withdrew his objections when he actually heard the recording, which shows little evidence of the leader's infirmity. It gives plenty of evidence of a group of sympathetic musicians accustomed to playing together, taking their orders from Braff, who seems to call for the solos and also decide when they're finished.

Everybody in the six-piece band takes those solos, as the tunes extend out to ten or even 15 minutes each. Probably, that allows time for Braff to gather himself for his own playing, but when he steps in, he is his usual self, coming up with interesting variations on the melodies of familiar standards. The best moments, though, are when Braff and Hamilton, his longtime protégé, play together at the openings of such songs as "Dinah," "Yesterdays," and "The Man I Love," with Hamilton coming up with counter-melodies. At such times, this doesn't come off as Braff's last night on-stage; it seems like just another great show in a storied career. By William Ruhlmann https://www.allmusic.com/album/for-the-last-time-mw0000801881

Musicians: Ruby Braff-cornet, Scott Hamilton-tenor saxophone, Jon Wheatley-guitar, John Bunch-piano, Dave Green-bass, Steve Brown-drums

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Album: For The Last Time Disc 2

Time: 55:41

Size: 128,3 MB

(10:29)  1. Dinah

(13:08)  2. Yesterdays

(15:42)  3. The Man I Love

( 6:31)  4. The Man With a Horn

( 9:49)  5. Indiana

For The Last Time Disc 1, Disc 2

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Diane Schuur - Diane Schuur & the Count Basie Orchestra

Styles: Vocal
Year: 1987
Time: 42:15
File: MP3 @ 320K/s
Size: 96,7 MB
Art: Front

(3:31) 1. Deedles' Blues
(3:13) 2. Caught a Touch of Your Love
(4:24) 3. Travelin' Light
(2:45) 4. I Just Found out About Love
(4:04) 5. Travelin' Blues
(3:09) 6. I Loves You, Porgy
(3:25) 7. You Can Have It
(4:45) 8. Only You
(3:09) 9. Everyday
(4:06) 10. We'll Be Together Again
(2:52) 11. Until I Met You
(2:49) 12. Climbing Higher Mountains

This CD features a logical combination: singer Diane Schuur with the Count Basie big band. In what would be longtime rhythm guitarist Freddie Green's final performance, Schuur and the Basie ghost band (under the direction of Frank Foster) perform material that includes her standards (such as "Deedles' Blues" and "Climbing Higher Mountains"), Dave Brubeck's "Travlin' Blues" and the Joe Williams-associated "Everyday I Have The Blues." Unfortunately, the Basie band is mostly used in accompaniment without any significant solos, but Schuur sounds quite comfortable in this format and her voice is in prime form. By Scott Yanow https://www.allmusic.com/album/diane-schuur-the-count-basie-orchestra-mw0000192464#review

Diane Schuur & the Count Basie Orchestra

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Dave Grusin,Lee Ritenour,Diane Schuur,Dave Valentin - GRP Live In Session

Styles: Fusion
Year: 1985
Time: 41:56
File: MP3 @ 320K/s
Size: 96,0 MB
Art: Front

(6:10) 1. Mountain Dance
(7:25) 2. Oasis
(6:18) 3. The Rit Variations
(4:53) 4. Reverend Lee
(6:33) 5. Dolphin Dreams
(6:08) 6. Rio Funk
(4:25) 7. St. Elsewhere

A Perfect album by members of GRP recording artists. Detail sounds and its acoustic. A must have for Jazz lover and GRP album collectors. Highly recommended
https://www.vinylpussycat.com/product/dave-grusin-lee-ritenour-diane-schuur-dave-valentin-grp-live-in-session/

Credits:

Bass – Abraham Laboriel; Drums – Carlos Vega; Electric Guitar, SynthAxe – Lee Ritenour; Executive-Producer – Dave Grusin; Flute – Dave Valentin; Piano [Midi-Kawai Piano], Synthesizer [Yamaha DX7], Synthesizer [Roland Super Jupiter] – Dave Grusin; Tenor Saxophone, Synthesizer [Roland Super Jupiter], Synthesizer [Yamaha DX7], Synthesizer [Emulator2] – Larry Williams; Vocals – Diane Schuur

GRP Live In Session

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Jihye Lee Orchestra - Infinite Connections

Styles: Jazz
Year: 2024
Time: 63:18
File: MP3 @ 320K/s
Size: 145,4 MB
Art: Front

(6:23) 1. Surrender
(6:38) 2. We Are All From the Same Stream
(7:08) 3. Born In 1935
(6:59) 4. Eight Letters
(7:54) 5. Karma
(7:32) 6. You Are My Universe
(6:57) 7. Nowhere Home
(8:31) 8. In The Darkest Night
(5:12) 9. Crossing The River Of Grace

Composer/conductor Jihye Lee has a keen sense of rhythm in her work. On her latest recording, Infinite Connections, Lee puts that affection and her powerful music on full display. The theme for the album rests on the profound memories Lee has of her grandmother, who was born in Korea when it was a Japanese colony. Lee’s grandmother, an orphan, married as a teenager, mainly to be protected from the sex trade. She maintained the sadness throughout her life of a woman held down by a stifling patriarchal society, according to Lee.

The tune “Born In 1935” captures that feeling beautifully, chronicling her grandmother’s journey from happiness in youth to darkness in adulthood to dementia late in life (she passed away in 2022). The orchestration is beautiful. Alto soloist Dave Pietro (known for his work with the Maria Schneider Orchestra and practically every other New York big band of note) delivers a fabulously stirring solo. The power of Lee’s rhythmic focus here and throughout the recording is no accident. She features traditional Korean folk rhythms as the backdrop to her compositions on Infinite Connections.

They are exquisitely performed by percussionist Keita Ogawa of Snarky Puppy fame along with the orchestra’s amazing rhythm section of Jared Schonig on drums, Matt Clohesy on bass, Adam Birnbaum on piano and Alex Goodman on guitar. The album has punch from the downbeat, with the stunning opener “Surrender” featuring trumpeter Ambrose Akinmusire delivering a killer guest spot.

He also guests on the mysteriously lovely “You Are My Universe.” Kudos go out to trombonist Alan Ferber and tenor saxophonist Jason Rigby for terrific work throughout; especially fine are their solos on “We Are All From The Same Stream.” Co-produced by Lee and big band composer-leader Darcy James Argue, Infinite Connections stirs the soul, inspires the listener to ponder deep thoughts and makes for an ultimately beautiful listening experience. Jihye Lee is a composer who with capture your ears, attention and imagination, today and well into the future.By Frank Alkyer https://jihyemusic.com/

Infinite Connections

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Amanda McBroom - Voices

Time: 52:46
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Pop Vocals
Art: Front & Back

01. South Bound Train (4:31)
02. Feet Of Clay (4:15)
03. The Rose (Feat. Vince Gill) (4:46)
04. Old Love (3:29)
05. Yarnell Hill (4:43)
06. The Last Thing On My Mind (3:19)
07. Welcome Home (3:18)
08. Sometimes (4:52)
09. Voices That Come Through The Wall (3:26)
10. I'm Here For Life (3:47)
11. Hope Floats (4:23)
12. Make A Memory (4:32)
13. 12th Of Never (3:18)

In her ninth recording Amanda McBroom writes and sings stories in the voices of women in transition - the bittersweet reflections of a woman travelling on a train from one life to another, the wife of a fireman in the Yarnell Hills fire in Arizona waiting for her husband to come home, the isolation and fear of a young woman hearing voices come through the wall in a family unable to express their feelings, the humor and joy of finding love at an advanced age.

As a singer and a songwriter, Amanda is not new to emotion in song. THE ROSE captured the world's heart when Bette Midler sang it for the film of the same name and earned Amanda a Golden Globe for Best Film Song, a roomful of gold and platinum records, and a wave of worldwide recordings and uses of the song including a #1 hit in the UK by boy band Westlife and a verse unexpectedly sung by Kurt Cobain in the documentary Montage of Heck. It is the outpouring of gratitude from people around the world that sing the song at weddings and funerals, with families, friends, and choirs that is Amanda's biggest reward. But anyone who has ever heard Amanda herself sing THE ROSE in her live concerts around the world - from Taiwan's Sun Yat Sen Concert Hall to Australia's Adelaide Cabaret Festival to the intimate Pheastranty in London or Carnegie Hall - would say that she captures the emotion, passion and love of her song better than anyone. When Amanda got the call to sing THE ROSE in a duet with Vince Gill, her favorite voice of America, she jumped at the chance. The call came from Fred Mollin, producer of best sellers for Jimmy Webb, Kris Kristoferson, and J.D. Souther as well as Amanda's A WAITING HEART. She listened to the voices of her friends and fans and created the project through Kickstarter. She assembled a team of social media experts, videographers and oversubscribed the project in less than 30 days.

VOICES was recorded in Nashville at the Sound Emporium.

Review:
Wounded hearts are one of the collection's pressing themes, perhaps the overarching theme. A related issue is the all-too-often transitory nature of love. Also stressed is the power of the past to affect the present not always positively. Then there's the power of hope. Singing in her pure manner, McBroom chooses songs that, as she sees it, reiterate these constants. Undoubtedly, the prolific songwriting McBroom is still best known for 'The Rose,' which she reprises in a quite different version from her initial track: She's beautifully joined by Vince McGill. Of the 13 inclusions, she wrote nine, three with frequent collaborator Michele Brourman. She opens with Julie Gold's 'Southbound Train,' including a lyric about a damaged heart 'on the baggage rack.' Songwriter Gold is still best known for supplying as with McBroom's 'The Rose' the other Bette Midler signature song 'From a Distance. This anthem demonstrates Gold's plangent strengths. Of the other songs, only 'The Last Thing on my Mind' and 'The Twelfth of Never' are well-known, but McBroom's versions of the others suggests they all should be recognized as standards. Voices was produced in Nashville. (Vince McGill was probably close at hand). When singers go to Music City (see also k. d. lang), they tend to produce something that sounds unmistakably country maybe uptown country, but country all the same. There's nothing wrong with that, as this brilliant CD completely substantiates. David Finkle The Huffington Post

Voices

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Jay Ashby, Steve Davis - Mistaken Identity

Styles: Trombone Jazz
Year: 2011
Time: 59:24
File: MP3 @ 128K/s
Size: 55,9 MB
Art: Front

(5:33) 1. Mistaken Identity
(5:45) 2. Double Take
(5:27) 3. Chega De Saudade
(5:49) 4. Nina Never Knew
(7:28) 5. Choices
(4:23) 6. Tootin' for Toots
(5:36) 7. The Odd Couple
(7:48) 8. Spirit Waltz
(5:48) 9. Stable Mates
(5:43) 10. One For All

A New York Yankees fan and a Boston Red Sox fan make an odd couple on the bandstand. How do you get them to play nicely with others and how do you deal with the issue of two virtuoso jazz trombonists who are often mistaken for each other, even causing fellow jazz musicians to do the occasional double take? The answer to this little dilemma might find Jay Ashby and Steve Davis collaborating in a musical setting where one would be for the other, or one for all. That’s what you’ll hear on this CD, where orchestral tone, effortless three octave range, and gorgeous legato lines with saxophone-like speed are the standard on this most difficult of instruments. As an example, check out the stablemates on the smoking tootin’ for Toots. These two musicians have advanced the jazz trombone far into the 21st Century.

Special kudos to the dynamite rhythm sections on this CD! The impeccable drumming of Roger Humphries and Tom Wendt drive these tunes with both energy and control. Sparkling piano from David Bryant and stellar guitar work from Marty Ashby beautifully complement these tenor horns. Bassists Dwayne Dolphin and Brian Stahurski provide nonpareil foundations for this hour of swinging jazz. Enjoy! By Dr. David Beaudreau https://myiesstore.com/mcgjazz/product/jay-ashby-steve-davis-mistaken-identity/

Mistaken Identity

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Lisa Hilton - Lucky All Along

Styles: Piano Jazz

Liane Carroll - Seaside

Styles: Vocal And Piano Jazz
Year: 2015
Time: 42:15
File: MP3 @ 128K/s
Size: 42,1 MB
Art: Front

(4:01) 1. Seaside
(2:24) 2. Almost Like Being In Love
(4:03) 3. Bring Me Sunshine
(4:50) 4. Nobody's Fault But Mine
(5:03) 5. Get Me Through December
(5:05) 6. Mercy Now
(3:15) 7. Wild Is The Wind
(4:19) 8. I Cover the Waterfront
(5:35) 9. My Ship
(3:34) 10. For Those In Peril On The Sea

Hooking up for a third time with producer and musician James McMillan, Liane Carroll brings the entire spectrum of her artistry to bear on this 10-track love letter to her hometown of Hastings. For anyone who had the pleasure of hearing her perform the Joe Stilgoe-penned title track earlier this year at the Old Vic, Evan Jolly's widescreen, brass-rich arrangement on the album takes the song to completely new levels of gorgeousness.

Following a towering scat on ‘Almost Like Being In Love’, Carroll's slow, heartbreakingly lovely version of ‘Bring Me Sunshine’ cannot fail to bring a lump to the throat. ‘I Cover The Waterfront’ and ‘My Ship’, with its surprising gear change ushering in yet another breathtaking scat solo, offer balm for the soul following the melancholic slow burn of ‘Get Me Through December’, ‘Mercy Now’ and ‘Wild Is The Wind’, before the hymnal calm of ‘For Those In Peril On The Sea’ brings this exceptional album to a close. In Liane Carroll, the art of the song has one of its greatest exponents.https://www.jazzwise.com/review/liane-carroll-seaside

Personnel: Liane Carroll – vocals, piano; Steve Pearce – acoustic bass; Ian Thomas – drums; James McMillan – flugelhorn, keyboards, percussion, bass, tenor horn, vibraphone; Evan Jolly – trumpet, cornet, flugelhorn; brass band and brass arrangements; Andy Wood – euphonium, trombone; Julian Siegel – tenor saxophone; Rob Leake – baritone and tenor saxophones; Mark Edwards – piano; Malcolm Edmonstone – piano; brass arrangements; Mark Jaimes – acoustic and electric guitars, Rob Luft – guitar

Seaside

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Sant Andreu Jazz Band - Jazzing 14 Vol.2

Styles: Jazz, Big Band
Year: 2024
Time: 48:46
File: MP3 @ 320K/s
Size: 111,6 MB
Art: Front

(6:09) 1. I Never Knew
(3:39) 2. When You're Smiling
(4:26) 3. The Nearness Of You
(2:33) 4. Chinatown My Chinatown
(2:12) 5. Jazz Me Blues
(4:12) 6. Manhã De Carnaval
(3:29) 7. Rosetta
(6:32) 8. Time After Time
(4:01) 9. Just a Closer Walk with Thee
(3:18) 10. Teach Me Tonight
(7:26) 11. Prince Albert
(4:56) 12. Royal Garden Blues

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.2

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Keith Jarrett - The Old Country (Live at the Deer Head Inn)

Year: 2024
Time: 73:40
File: MP3 @ 320K/s
Size: 168,9 MB
Art: Front

( 8:14) 1. Everything I Love (Live)
( 9:54) 2. I Fall In Love Too Easily (Live)
( 8:51) 3. Straight No Chaser (Live)
( 9:50) 4. All of You (Live)
( 6:56) 5. Someday My Prince Will Come (Live)
(12:54) 6. The Old Country (Live)
( 8:25) 7. Golden Earrings (Live)
( 8:32) 8. How Long Has This Been Going On (Live)

Keith Jarrett remarked as he listened to a tape of the session: "I think that you can hear on this tape, what jazz is all about." What did he mean? Was he reacting to criticisms of his long-form improvisations? Was it because he was in a small venue that prioritized jazz?

Of course, you can hear "what jazz is all about." Major musicians accompanied him: bassist Gary Peacock, Paul Motian, a master drummer he had not played with for some time.

The first, earlier, album from Deer Head Inn has been acclaimed and admired. Some of the melodies were favored by Miles Davis. Jarrett's work, as before, is shaped by the contours of the songs and the chord structures. He is also challenged by reacting to a different drummer from his Standards Trio.

The venue was important to Jarrett. It was the scene of one of his first paid engagements. The club founded by a jazz-loving English teacher, Bob Lehr, had been recently taken over by Bob's daughter and Jarrett was anxious to be one of the first to play there as it was re- christened. Jarrett describes the intimate atmosphere: "a warm, humid, rainy, foggy autumn night in the Pocono Mountains. The room was full of people, and outside on the porch more people listened through the screen doors." The words have a nostalgic warmth that permeates the music.

Gary Peacock is usually referred to as a master bassist. His history via Albert Ayler, Lee Konitz, George Russell, Paul Bley and Bill Evans shows adventure and openness. His knowledge of mid- twentieth-century jazz is without equal. An extended time in Japan made him aware of another culture. In addition, Peacock was a man of deep insights who endeavored to understand himself and his relationship to music. He said: "There are two approaches to improvisation. The first approach, I would say, is the person, the self, playing the muse, playing the self. And the second one is the muse playing the self, playing the muse. In the first case, it starts with the player and ends with the player. In the second case, it begins with the muse and ends with the muse. It's the idea of allowing the music to take me over rather than me taking the music over."

At the time Peacock's daily mantra was a quote from his Zen teacher, John Daido Loori, Roshi. "I asked him one time, "What is Zen?" He said, "Just do what you're doing while you're doing it." It is so simple, but it is so hard! That's something about Keith. Whatever he's doing, he's doing it. In some ways, he's more Zen than anybody I've ever met."

The drummer from the classic Bill Evans trio, Paul Motian, was substituting this evening for Jack DeJohnette. It is interesting to compare the two drummers. Motian's more restrained, spacious playing contrasts with DeJohnette's more active, multi-layered approach in Jarrett's Standards Trio. There is a freer rhythm from Motian at Deer Head and he undoubtedly has a great influence on the music. He also knows when to do nothing.

Keith Jarrett believed, like Lester Young, that it was necessary to know the lyrics of a song. Knowing the lyric, he felt, makes the shape of his offering more organic, and deeper, the phrasing more elegant. The choice of pieces from this such as the complex lyric "How Long Has This Been Going On?," a subtle sophisticated song about innocence meeting experience. It is not really about betrayal but about the existential reaction to the wonder of a first real kiss. The tempo chosen by Jarrett is entirely appropriate.

An almost hymnlike opening to "I Fall In Love Too Easily" eventually has a world-weary roue feel to it as the interpretation is tinged with regret and self-awareness. Peacock and Jarrett seem lost in the melody with Motian hardly audible. The infectious swing of "Straight No Chaser" almost seems out of keeping with the mood of the rest of the album as it smooths out Thelonious Monk's idiosyncrasies.

Is it fanciful to say that Nat Adderley's "Old Country" has a similarity in mood to Jarrett's "Country"? Both are elegies to a vanished world; both are elegant melodies that linger in the mind.

The enchantment of jazz is that some nights have special, almost indefinable qualities; other nights are almost routine. Jarrett and Peacock have always striven to outlaw the commonplace nights. Here are the inspired variations, the technique under control, the avoidance of cliches, the teeming ideas, the adroit harmonies, the intense concentration and the graceful treatment of wonderful themes. Jarrett is right: this tape is what jazz is all about. By Jack Kenny
https://www.allaboutjazz.com/the-old-country-more-from-the-deer-head-inn-keith-jarrett-ecm-records__30760

Personnel: Keith Jarrett - piano; Gary Peacock - bass, acoustic; Paul Motian - drums

The Old Country (Live at the Deer Head Inn)

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Stella Bass - Smoke & Sound

Styles: Vocal
Year: 2010
Time: 57:14
File: MP3 @ 320K/s
Size: 132,7 MB
Art: Front

(4:10) 1. A Little Yearning (Live)
(4:08) 2. It's All A Swindle (Live)
(4:29) 3. The Smart Set (Live)
(2:03) 4. Maskulinum-Femininum (Live)
(2:53) 5. Chuck Out The Men (Live)
(5:47) 6. Munchhausen (Live)
(3:21) 7. Die Moritat Von Mackie Messer (Live)
(3:05) 8. Falling In Love Again (Live)
(4:04) 9. Lili Marlene (Live)
(5:40) 10. Surabaya Johnny (Live)
(4:06) 11. Alabama Song (Live)
(4:51) 12. The Saga Of Jenny (Live)
(4:25) 13. Speak Low (Live)
(4:05) 14. Mack The Knife (Live)

Stella studied music from a young age, starting piano accordion lessons at five, followed later by singing and piano, both through the Royal Irish Academy of Music. A degree in Computer Science from University College Dublin followed, and in 2017 she completed a Master’s Degree in Music in Dublin’s Conservatory of Music. She used the unexpected downtime of the pandemic to build on her undergrad IT skills to study Music Production with Berklee College, Boston, and Music Composition & Arranging with Studio Orchestrations, Belfast, which has led her into the fascinating world of writing, arranging and producing sync music for TV, film and gaming; she has already had several albums of her original instrumental music signed exclusively to Warner Chappell Production Music in Nashville.

That said, her heart will always be, first and foremost, as a singer, story-teller and concert performer. Alongside her studies, many years of singing in musicals, concerts and as bandleader at the bandstand helped Stella finely-tune her craft, and her versatile repertoire crosses over jazz, light classical and musical theatre.

Stella’s recent studio album, the 2025 Grammy longlisted “Look for the Silver Lining”, is a collaboration with the acclaimed Johnny Taylor Trio, featuring a mix of jazz standards and some new songs written by Stella. Since releasing her first album in 2014, she has performed at all the major jazz festivals in Ireland – including a headline performance at Cork Jazz Festival 2024, as well as performances in Pizza Express London Pheasantry and jazz venues in Germany, France and Australia. She has devised several concert programmes including, “Stella Sings Ella”, a tribute to Ella Fitzgerald, as well an exploration of jazz-inspired interpretations of the music Stephen Sondheim, alongside collaborator Cian Boylan. Both of these shows have toured the island of Ireland with the support of the both Arts Councils on the island, while the Ella show most recently (November 2024) returned to a sold-out lunchtime audience @ NCH.

No stranger to the art of the big band, Stella sings with the Hot House Big Band for their monthly residency in Dublin, has recorded with the Dublin City Jazz Orchestra, and she leads her own quartet with whom she tours and performs her own much-loved weekly jazz residency show.

She has also branched out into radio broadcasting, having presented and produced a music show on Dublin City FM for over 3 years, and has also been a presenter on Ireland’s beloved Christmas FM. She has also become an accomplished voiceover artist, recording radio and TV voiceovers for private and corporate clients. https://stellabass.com/about

Smoke & Sound: An Evening Of Berlin Cabaret

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