Saturday, May 17, 2025
Friday, May 16, 2025
Dan Gabel and The Abletones - Live!
Year: 2019
Time: 65:18
File: MP3 @ 320K/s
Size: 151,6 MB
Art: Front
(4:26) 1. Whispering (opening theme) Song of India
(3:47) 2. Swanee River
(2:05) 3. Almost Like Being in Love
(4:28) 4. I Know Why (And So Do You)
(2:48) 5. Sun Valley Jump
(3:29) 6. Moon Ray
(4:02) 7. Moonlight in Vermont
(2:59) 8. Hot-Cha Cha-Cha
(3:25) 9. American Patrol
(2:58) 10. All the Things You Are
(2:45) 11. L-O-V-E
(2:53) 12. Tuxedo Junction
(3:40) 13. Just The Way You Look Tonight
(2:53) 14. East-Side, West-Side (The Sidewalks of New York)
(2:35) 15. Fly Me To the Moon
(3:42) 16. Boogie Blues
(4:21) 17. Moon River
(3:38) 18. Mack the Knife
(3:30) 19. It Had to Be You
(0:44) 20. The Abletones Jive (closing theme)
Picture this: You’re eating dinner in a crowded ballroom surrounded by couples all dressed to the nines. The stage is set. Big Band stand fronts, vintage instruments and derby mutes line the back row. The lights come up, and eighteen musicians, clad in matching tuxedos, blue vests and pocket squares enter from the wings, their highly polished shoes shining as they take the stage. The bandleader, in his white dinner jacket and spats counts off the first number as the vocalist in her shimmering ball gown appears just in time for her entrance. I’m sure you’re picturing a nightclub or a dance hall circa 1939 but no. It’s a wintry evening in 2018 at Mechanics Hall in Worcester, MA and Dan Gabel and The Abletones are doing what they do best transporting their audience back in time with the sights and sounds of the Big Band era.
In mid-January (2018) we had a busy week playing a series of one-nighters from Boston to Long Island. Our last gig of the week was at Mechanics Hall in Worcester for their annual Winter Soiree. Everything seemed to come together perfectly: the band was hot, the hall was aglow, and the dance floor was packed all night. Fortunately for us, Hannah Truckenbrod joined us for this show. Fortunately for you, this memorable evening was recorded!
I am thrilled to present this album of live recordings. No edits were made, nor any post-production processing used. What you hear on the record is what we performed that night thanks to the expertise of recording engineer Mr. Joe Chilorio. So, sit back, relax, or jump up and dance to: The Abletones Live!
In mid-January (2018) we had a busy week playing a series of one-nighters from Boston to Long Island. Our last gig of the week was at Mechanics Hall in Worcester for their annual Winter Soiree. Everything seemed to come together perfectly: the band was hot, the hall was aglow, and the dance floor was packed all night. Fortunately for us, Hannah Truckenbrod joined us for this show. Fortunately for you, this memorable evening was recorded!
I am thrilled to present this album of live recordings. No edits were made, nor any post-production processing used. What you hear on the record is what we performed that night thanks to the expertise of recording engineer Mr. Joe Chilorio. So, sit back, relax, or jump up and dance to: The Abletones Live!
Live!
Buddy Tate - Hard Blowin'
Year: 1978
Time: 37:51
File: MP3 @ 320K/s
Size: 87,1 MB
Art: Front
(9:49) 1. Sweet Georgia Brown
(9:56) 2. Summertime
(9:22) 3. Undecided
(8:42) 4. Body And Soul
Muse has released at least six albums of material recorded at Sandy's Jazz Revival in Massachusetts during a week in 1978. This is veteran tenor Buddy Tate's most rewarding album from the engagement and a fine all-around showcase. Accompanied by pianist Ray Bryant, bassist George Duvivier, and drummer Alan Dawson, Tate stretches out on four familiar standards and shows listeners that he really had one of the more distinctive tenor sounds of the swing era. Recommended. By Scott Yanow https://www.allmusic.com/album/hard-blowin-mw0000902525#review
Personnel: Tenor Saxophone, Flute – Buddy Tate; Bass – George Duvivier; Drums – Alan Dawson; Piano – Ray Bryant
Personnel: Tenor Saxophone, Flute – Buddy Tate; Bass – George Duvivier; Drums – Alan Dawson; Piano – Ray Bryant
Hard Blowin'
Ester Andujar - Inner Songs
Year: 2025
Time: 59:23
File: MP3 @ 320K/s
Size: 136,4 MB
Art: Front
(5:28) 1. Els Somnis
(6:53) 2. Flor del desierto
(7:02) 3. Caminada
(5:42) 4. Under the Sun
(0:37) 5. Inner Sun
(5:49) 6. Purple Wings
(4:38) 7. Beijo partido
(7:06) 8. República
(8:34) 9. Abans de tu
(7:30) 10. Les dones que ens falten
Ester Andújar Rico's album Inner Songs is a mesmerizing journey through language, culture, and emotion. Andújar effortlessly transitions between Spanish, Valencian, Portuguese, and English, making each track feel like an intimate conversation across borders. Even if you are not fluent in all of the languages, the album provokes introspection on how language modifies the listener's perception of music.
Andújar's vocals carry a subtle but powerful influence from Spanish vocal traditions, particularly in the way she infuses her phrasing with emotional depth and lyrical expression. This is likely inspired by the rich heritage of Spanish singers and genres such as flamenco and bolero, where vocal delivery often emphasizes emotional storytelling and ornamentation.
There are also echoes of George Benson and Al Jarreau in her scat techniques, while at times the album's polished, sophisticated sound brings to mind Basia Gąsienica-Giewont signature blend of jazz and pop. The rhythmic textures and subtle voice-guitar improvisations evoke the spirit of Brazilian bossa nova and Joao Gilberto. Some tracks also carry high-energy funk and soul-infused jazz, adding a dynamic contrast to the more ethereal moments.
Inner Songs is not just a reflection of personal emotion; it also carries an underlying message of social consciousness. Tracks like "Les dones que ens falten" stand as a protest against gender violence, while "República" contemplates historical memory.
Andújar describes "Les dones que ens falten" "The Women We Are Missing" as "a cry of anger, a topic that I cannot and do not want to avoid, an ugly topic. No one wants to talk about this, to assume that male violence surrounds us, but it is what it is." On this track, Valencian saxophonist Javier Vercher joins the band and, according to Andújar, "brings all the emotional storm that this theme inspires in her."
"República" is another track with a powerful social message. Andújar's comment on this song says, "On April 14, 1931, the beginning of the Second Spanish Republic was proclaimed. It marked a period of our history before Franco's dictatorship, during which the social advances that would later shape our democracy began to take form. Many people died defending the Republic, and they fought for the rights we enjoy today. To forget them would be to forget who we are."
Instrumentally, Inner Songs is elevated by a group of exceptional musicians. Albert Palau's piano brings lyrical elegance and harmonic depth, blending classical sensitivity with jazz sophistication reminiscent of Bill Evans, yet grounded in the rhythmic vitality of Latin jazz.
Tico Porcar's drumming is equally nuanced balancing Afro-Cuban and Brazilian influences with jazz precision to create a dynamic, layered foundation.
Iván Cebrián's guitar work stands out for its expressive clarity and stylistic fluidity, drawing from jazz greats like Wes Montgomery and Pat Metheny while embracing the warmth of Brazilian music. His smooth transitions between genres add versatility and color to the album.
Meanwhile, Miquel Álvarez's bass anchors the ensemble with both subtlety and strength, qualities that support the album's emotional and musical breadth.
With Inner Songs, Andújar offers more than just a collection of beautifully crafted tracks she delivers a deeply personal and socially resonant statement. Through her multilingual lyrics, genre-blending arrangements, and fearless engagement with complex themes, Andújar invites listeners into a rich emotional and cultural landscape. By Anastasia Bogomolets
https://www.allaboutjazz.com/inner-songs-ester-andujar-rico-pentasonic-studios/
Andújar's vocals carry a subtle but powerful influence from Spanish vocal traditions, particularly in the way she infuses her phrasing with emotional depth and lyrical expression. This is likely inspired by the rich heritage of Spanish singers and genres such as flamenco and bolero, where vocal delivery often emphasizes emotional storytelling and ornamentation.
There are also echoes of George Benson and Al Jarreau in her scat techniques, while at times the album's polished, sophisticated sound brings to mind Basia Gąsienica-Giewont signature blend of jazz and pop. The rhythmic textures and subtle voice-guitar improvisations evoke the spirit of Brazilian bossa nova and Joao Gilberto. Some tracks also carry high-energy funk and soul-infused jazz, adding a dynamic contrast to the more ethereal moments.
Inner Songs is not just a reflection of personal emotion; it also carries an underlying message of social consciousness. Tracks like "Les dones que ens falten" stand as a protest against gender violence, while "República" contemplates historical memory.
Andújar describes "Les dones que ens falten" "The Women We Are Missing" as "a cry of anger, a topic that I cannot and do not want to avoid, an ugly topic. No one wants to talk about this, to assume that male violence surrounds us, but it is what it is." On this track, Valencian saxophonist Javier Vercher joins the band and, according to Andújar, "brings all the emotional storm that this theme inspires in her."
"República" is another track with a powerful social message. Andújar's comment on this song says, "On April 14, 1931, the beginning of the Second Spanish Republic was proclaimed. It marked a period of our history before Franco's dictatorship, during which the social advances that would later shape our democracy began to take form. Many people died defending the Republic, and they fought for the rights we enjoy today. To forget them would be to forget who we are."
Instrumentally, Inner Songs is elevated by a group of exceptional musicians. Albert Palau's piano brings lyrical elegance and harmonic depth, blending classical sensitivity with jazz sophistication reminiscent of Bill Evans, yet grounded in the rhythmic vitality of Latin jazz.
Tico Porcar's drumming is equally nuanced balancing Afro-Cuban and Brazilian influences with jazz precision to create a dynamic, layered foundation.
Iván Cebrián's guitar work stands out for its expressive clarity and stylistic fluidity, drawing from jazz greats like Wes Montgomery and Pat Metheny while embracing the warmth of Brazilian music. His smooth transitions between genres add versatility and color to the album.
Meanwhile, Miquel Álvarez's bass anchors the ensemble with both subtlety and strength, qualities that support the album's emotional and musical breadth.
With Inner Songs, Andújar offers more than just a collection of beautifully crafted tracks she delivers a deeply personal and socially resonant statement. Through her multilingual lyrics, genre-blending arrangements, and fearless engagement with complex themes, Andújar invites listeners into a rich emotional and cultural landscape. By Anastasia Bogomolets
https://www.allaboutjazz.com/inner-songs-ester-andujar-rico-pentasonic-studios/
Inner Songs
Sunday, May 11, 2025
Saturday, May 10, 2025
Jimmy Scott - Moon Glow
Year: 2003
Time: 53:38
File: MP3 @ 320K/s
Size: 123,3 MB
Art: Front
(3:51) 1. Moonglow
(4:43) 2. Since I Fell For You
(7:10) 3. Those Who Were
(4:12) 4. Yesterday
(7:29) 5. How Long Has This Been Going On?
(4:29) 6. I Thought About You
(6:14) 7. Time On My Hands (You In My Arms)
(3:39) 8. If I Should Lose You
(6:13) 9. Solitude
(5:32) 10. We'll Be Together Again
It took a long time in coming, but Jimmy Scott’s sure found his career groove with his series of “comeback” albums with Todd Barkan for the Milestone label. Barkan somehow knows how to set up Scott’s distinctive vocal presence an unparalleled dynamic between the performer's exquisite sense of jazz and blues timing, and the ravages of Kallmann’s Syndrome on his voice with simple perfection. On his fourth Milestone set, Scott burns like a classic torch singer through classic songs, except he seems to do more than sing these songs he seems to embody them, to give them their own life through his voice.
Scott discovers more shadow than light in “Since I Fell For You,” which pianist Larry Willis and saxophonist David “Fathead” Newman cook up to boiling, and his duet with Willis on “Those Who Were” runs so deep it seems to stop time. This tragic, mournful arrangement of “Solitude” makes the song sound written for Scott, again with Willis plus Grïgoire Maret on harmonica blues. Guitarist Joe Beck also offers soulful counterpart, jazzing up the feel to the opening “Moonglow,” in which Scott languidly bathes just behind the beat, and the nattily swinging “I Thought About You.” By Chris M. Slawecki https://www.allaboutjazz.com/moon-glow-jimmy-scott-fantasy-jazz-review-by-chris-m-slawecki
Personnel: Jimmy Scott - Vocal; Joe Beck--Guitar; Hank Crawford--Alto Sax; Renee Rosnes--Piano; Little Jimmy Scott--Vocals; Lew Soloff--Trumpet; Larry Willis--Piano; Grady Tate--Drums. Lewis Nash--Drums; Eric Alexander--Tenor Sax; Cyrus Chestnut--Piano; Bob Kindred--Tenor Sax; George Mraz--Bass; David "Fathead" Newman--Tenor Sax; Clarence Penn--Drums; Michael Kanan--Piano; Gregoire Maret--Harmonica.
Scott discovers more shadow than light in “Since I Fell For You,” which pianist Larry Willis and saxophonist David “Fathead” Newman cook up to boiling, and his duet with Willis on “Those Who Were” runs so deep it seems to stop time. This tragic, mournful arrangement of “Solitude” makes the song sound written for Scott, again with Willis plus Grïgoire Maret on harmonica blues. Guitarist Joe Beck also offers soulful counterpart, jazzing up the feel to the opening “Moonglow,” in which Scott languidly bathes just behind the beat, and the nattily swinging “I Thought About You.” By Chris M. Slawecki https://www.allaboutjazz.com/moon-glow-jimmy-scott-fantasy-jazz-review-by-chris-m-slawecki
Personnel: Jimmy Scott - Vocal; Joe Beck--Guitar; Hank Crawford--Alto Sax; Renee Rosnes--Piano; Little Jimmy Scott--Vocals; Lew Soloff--Trumpet; Larry Willis--Piano; Grady Tate--Drums. Lewis Nash--Drums; Eric Alexander--Tenor Sax; Cyrus Chestnut--Piano; Bob Kindred--Tenor Sax; George Mraz--Bass; David "Fathead" Newman--Tenor Sax; Clarence Penn--Drums; Michael Kanan--Piano; Gregoire Maret--Harmonica.
Moon Glow
Gato Barbieri - Standards Lost And Found 2
Year: 2025
Time: 54:25
File: MP3 @ 320K/s
Size: 124,9 MB
Art: Front
(9:09) 1. Jayne
(6:24) 2. Anthropology
(6:07) 3. New Rhumba
(6:09) 4. 'Round About Midnight
(6:55) 5. Gato Blues
(5:43) 6. Epistrophy
(5:59) 7. In Search Of The Mystery
(7:56) 8. When Will The Blues Leave?
Standards Lost and Found 2, hosts two compositions by Ornette Coleman (Jayne and When Will The Blues Leave?) a clear homage to the composer, father of free jazz, and an overt demonstration of musical intent and fundamental aesthetic reference. Charlie Parker’s Anthropology is respectfully dedicated to a new interpretation of the more recent jazz tradition from which the four musicians descend, as are the two compositions by Thelonious Monk: ‘Round Midnight and Epistrophy, which, along with Jamal’s fresh New Rhumba however, testify to an already much-transformed tradition. Gato’s In Search of the Mystery and Gato Blues fit perfectly into the set list and reflect the significant role of the Argentine tenor player who in this way places his compositional signature on the record.(by Andrea Polinelli) https://redrecords.it/en/store/vinyls/standards-lost-and-found-2-gato-barbieri/
Personnel:
Gato Barbieri, sax
Franco D’Andrea, piano
Giovanni Tommaso, bass
Pepito Pignatelli, drums
Recorded in Roma, Spring 1968
Remastered by Rinaldo Donati at Maxine Studio, Milano
Standards Lost And Found 2
Gato Barbieri - Standards Lost And Found 1
Year: 2024
Time: 62:28
File: MP3 @ 320K/s
Size: 143,3 MB
Art: Front
( 6:24) 1. Terre Lontane
(10:54) 2. So What
( 3:35) 3. Softly, As In A Morning Sunrise
(10:54) 4. All Blues
( 9:06) 5. Maiden Voyage
( 8:53) 6. Nardis
( 5:27) 7. Lush Life
( 7:11) 8. Tension
A rare and little-known session by Argentinian saxophonist Gato Barbieri playing standards as opposed to his widely known work within Latin and free form jazz. Among the highlights of this incredible album interpretations of Miles Davis's So What and All Blues, Herbie Hancock's Maiden Voyage, and Billy Strayhorn's Lush Life.
"This release fills a gap in Barbieri's discography. The artist we met in his first work as a single leader, 'In Search Of The Mystery' (1967), moved in the realm of pure improvisation, going in the direction of the spirituality of Albert Ayler and Pharoah Sanders. In the Roman sessions, however, Barbieri recovers his original matrix deeply rooted in the language of John Coltrane and, in part, in that of the early Ornette Coleman. To some extent it is a completely new Barbieri that emerges from these recordings." Marco Giorgi (from liner notes) https://www.jazzmessengers.com/en/102262/gato-barbieri/standars-lostandfound1
Personnel:
Gato Barbieri, sax
Franco D'Andrea, piano
Giovanni Tommaso, bass
Pepito Pignatelli, drums
Recorded in Roma, Spring 1968
Remastered by Rinaldo Donati at Maxine Studio, Milano
Standards Lost And Found 1
Franco D'Andrea, piano
Giovanni Tommaso, bass
Pepito Pignatelli, drums
Recorded in Roma, Spring 1968
Remastered by Rinaldo Donati at Maxine Studio, Milano
Standards Lost And Found 1
Wednesday, May 7, 2025
Dan Moretti - Brazilia Live at the Pump House: Celebrating Wayne Shorter
Year: 2024
Time: 51:09
File: MP3 @ 320K/s
Size: 117,8 MB
Art: Front
(5:51) 1. Black Nile (Live)
(5:52) 2. Fee Fi Fo Fum (Live)
(6:34) 3. Night Dreamer (Live)
(5:58) 4. Speak No Evil (Live)
(6:51) 5. Witch Hunt (Live)
(5:57) 6. Yes or No (Live)
(7:09) 7. Oriental Folk Song (Live)
(6:55) 8. Footprints (Live)
While everyone has ideas, some ideas are admittedly better than others. Saxophonist Dan Moretti and Brazilia's notion to salute the music of Wayne Shorter by reshaping and Latinizing eight of the legendary saxophonist's splendid compositions was a good idea. Doubters need only survey the finished product, recorded in front of an enthusiastic audience in December 2024 at The Pump House Music Works in Wakefield, Rhode Island. Shorter's unique and engaging melodies, several of which are now enshrined in the jazz canon, lend themselves readily to Brazilia's fresh interpretations, wherein the core elements are preserved even as they are enriched by Latin rhythms that add spirit and fire to an already handsome image. Moretti's razor-sharp and focused ensemble is clearly enjoying the moment and leaving no rhythmic stone unturned as it digs hard into every theme with awareness and gusto.
Moretti's partners in Brazilia are pianist Maxim Lubarsky, bassist Oscar Stagnaro, drummer Steve Langone and percussionist Ernesto Diaz, each of whom punches above his weight to enhance what is truly a group endeavor. There is solo room for all, with Lubarsky especially impressive whenever his number is called. As for Moretti, he is eloquent on tenor sax (six numbers) or soprano ("Speak No Evil," "Yes or No)," while Diaz' heavy-duty percussion is an indispensable part of the equation.
The swaying "Black Nile" is first up, read here as a mambo, followed by a cha-cha version of "Fee Fi Fo Fum" and the reggae-infused "Night Dreamer." The ensemble slips easily into a samba-style rendition of "Speak No Evil," followed by the mambo "Witch Hunt," a rhythmically intense "Yes or No" and sauntering "Oriental Folk Song" before bowing out with one of Shorter's best-known and most-often covered compositions, "Footprints."
This is a very good concert by any measure, enfolding an ample reservoir of upbeat and pleasurable music while shedding new light on the impressive compositional skills of the renowned saxophonist Wayne Shorter.
By Jack Bowers https://www.allaboutjazz.com/live-at-the-pump-house-celebrating-wayne-shorter-dan-moretti-and-brazilia-self-produced
Moretti's partners in Brazilia are pianist Maxim Lubarsky, bassist Oscar Stagnaro, drummer Steve Langone and percussionist Ernesto Diaz, each of whom punches above his weight to enhance what is truly a group endeavor. There is solo room for all, with Lubarsky especially impressive whenever his number is called. As for Moretti, he is eloquent on tenor sax (six numbers) or soprano ("Speak No Evil," "Yes or No)," while Diaz' heavy-duty percussion is an indispensable part of the equation.
The swaying "Black Nile" is first up, read here as a mambo, followed by a cha-cha version of "Fee Fi Fo Fum" and the reggae-infused "Night Dreamer." The ensemble slips easily into a samba-style rendition of "Speak No Evil," followed by the mambo "Witch Hunt," a rhythmically intense "Yes or No" and sauntering "Oriental Folk Song" before bowing out with one of Shorter's best-known and most-often covered compositions, "Footprints."
This is a very good concert by any measure, enfolding an ample reservoir of upbeat and pleasurable music while shedding new light on the impressive compositional skills of the renowned saxophonist Wayne Shorter.
By Jack Bowers https://www.allaboutjazz.com/live-at-the-pump-house-celebrating-wayne-shorter-dan-moretti-and-brazilia-self-produced
Brazilia Live at the Pump House: Celebrating Wayne Shorter
Ute Lemper - Pirate Jenny
Year: 2025
Time: 41:05
File: MP3 @ 320K/s
Size: 94,5 MB
Art: Front
(4:48) 1. Mack the Knife
(5:44) 2. Speak Low
(4:22) 3. Surabaya Johnny
(4:16) 4. My Ship
(5:53) 5. Pirate Jenny
(5:04) 6. Le Grand Lustucru
(6:05) 7. Die Ballade vom ertrunkenen Mädchen
(4:50) 8. Salomon Song
Germany's optimistic yet fragile Weimar Republic period was wedged between two brutal wars during the early 20th century. Extending from 1918 to 1933, it was proudly called the Jazz Age and the Golden Twenties and offered an abundance of free-flowing entertainment choices. It was also a time of inflation, chaos and conflict dominated by economic instability and political extremism.
Although German cabaret had its origins at the beginning of the century, its true glory days reigned during those heady years between the wars. A bawdy combination of music, dance, theater and comedy was originally presented in opulent venues but also migrated to seedy grottos and decadent clubs. Flashing from the marquees were the names of producers and composers, including Kurt Weill and Bertolt Brecht. Performers such as Lotte Lenya (Weill's wife) helped personify the characters. Other chanteuses included Marlene Dietrich, Germany's original queen of seduction, who got her start in clubs and went onto worldwide fame via song and cinema.
The mantra of the masses was grab a bottle of champagne and embrace the morbid humor, cynicism and sarcasm of the day. Although the republic was short lived, the sounds and stories successfully moved from sewers to streets to stages and endures to this day. The last few decades of the 20th century saw Marianne Faithfull, the 'Brit It' girl, fall under the spell of Weill and Brecht and an aging Lenya blessing the up-and-coming operatic soprano and actress Teresa Stratas.
Then there was German born Ute Lemper. She flirted with a jazz combo in the very late 1970s and embraced theater and dance in the 1980s and used her long, lean statuesque physique to its utmost advantage. She could be wide-eyed and animated like Fanny Brice or vamp things up like a regal Norma Desmond. There was always a sly nod and wink from Lemper to her audience. She eventually shimmied and sashayed her way through performances in Cats, Cabaret, Chicago and more. People noticed.
Marlene Dietrich befriended Lemper upon hearing about a Dietrich inspired Lemper performance soon followed by her full-length recording debut in the late 1980s. In keeping with the bittersweet lyrics of the 1920s and beyond, she wearily sang "I'm a poor relation," "I work my fingers to the bone," and "that's not living, that's just frustration" on the very first song of her first album. Two songs later, Lemper cooly mesmerized the listener with the macabre tale of "Mack the Knife" and revealed "there's a dead man lying on the shore," that "Jenny Towler was found with a knife in her chest" and concluded with "those in the dark cannot be seen."
With Dietrich's blessing of Lemper's presentations, the torch had passed. Although five of Lemper's first seven albums focused on Weill, she eventually recorded music affiliated with Edith Piaf plus works by Jacques Brel, Stephen Sondheim and more contemporary artists, such as Tom Waits. Lemper even began writing and recording her own material. Her 2025 release, Pirate Jenny, confirms that the addictive pull of Weill continues.
This disc is a 21st-century interpretation of Weill pieces sans a retro 1920s sound and style. The collection is a celebration of Weill's birth in 1900 and further confirms his enduring staying power. Although the black-and-white cover photo of Lemper with blood-red lipstick is as alluring as ever, a 2025 Lemper video draws us into a concrete quicksand of a decadent underground. She prowls through the streets as a slightly deranged back-alley Joker, complete with garishly smeared lipstick and a weary cat like swagger and sway. As for the album, it is a collection of only eight pieces (six sung in English plus one each in German and French) with Weill-Brecht collaborations featured on five selections, all from the 1920s.
It may only be eight songs but you will still meet a menagerie of nefarious characters. A decidedly eerie and cautious "Mack the Knife," opens the show. This hypnotic missive is more a dreary Bladerunner 2049 than a vibrant Berlin 1928 and it sets the tone for the evening. There is a pair of Weill songs from the early war years of the 1940s. "Speak Low" (lyrics by Ogden Nash) drifts on ethereal clouds of sound while "My Ship" (lyrics by Ira Gershwin) floats on understated ribbons of sound. Both are complemented by the brief appearance of a muted trumpet which returns during several other songs as well. Both "Speak Low" and "My Ship" went on to become jazz standards recorded by a seemingly endless A-list of top artists.
Then "Pirate Jenny" takes center stage at the album's midpoint. Whether pickpocket, prostitute or a tart combination of both, she commands our attention with a cynical growl that is more spoken than sung. The final track, the Weill-Brecht penned "Solomon Song," is a tortuous tale that maintains the same atmospheric aural drone that dominates the album from start to finish.
If you are in search of new interpretation with subtle twists and turns, welcome to tonight's cabaret since the liner notes remind the listener this is "Kurt Weill reimagined... " If you are seeking more traditional versions of these songs, rewind to any number of earlier Lemper releases and cherry-pick a collection of your choice. It ultimately comes down to 'different' instead of 'better or worse.' There are no garish klieg lights or bombastic orchestra at this venue, just low-key sounds with swirls of smoke lingeringand then dissipating into thin air. By Scott Gudell
https://www.allaboutjazz.com/pirate-jenny-ute-lemper-the-audiophile-society
Although German cabaret had its origins at the beginning of the century, its true glory days reigned during those heady years between the wars. A bawdy combination of music, dance, theater and comedy was originally presented in opulent venues but also migrated to seedy grottos and decadent clubs. Flashing from the marquees were the names of producers and composers, including Kurt Weill and Bertolt Brecht. Performers such as Lotte Lenya (Weill's wife) helped personify the characters. Other chanteuses included Marlene Dietrich, Germany's original queen of seduction, who got her start in clubs and went onto worldwide fame via song and cinema.
The mantra of the masses was grab a bottle of champagne and embrace the morbid humor, cynicism and sarcasm of the day. Although the republic was short lived, the sounds and stories successfully moved from sewers to streets to stages and endures to this day. The last few decades of the 20th century saw Marianne Faithfull, the 'Brit It' girl, fall under the spell of Weill and Brecht and an aging Lenya blessing the up-and-coming operatic soprano and actress Teresa Stratas.
Then there was German born Ute Lemper. She flirted with a jazz combo in the very late 1970s and embraced theater and dance in the 1980s and used her long, lean statuesque physique to its utmost advantage. She could be wide-eyed and animated like Fanny Brice or vamp things up like a regal Norma Desmond. There was always a sly nod and wink from Lemper to her audience. She eventually shimmied and sashayed her way through performances in Cats, Cabaret, Chicago and more. People noticed.
Marlene Dietrich befriended Lemper upon hearing about a Dietrich inspired Lemper performance soon followed by her full-length recording debut in the late 1980s. In keeping with the bittersweet lyrics of the 1920s and beyond, she wearily sang "I'm a poor relation," "I work my fingers to the bone," and "that's not living, that's just frustration" on the very first song of her first album. Two songs later, Lemper cooly mesmerized the listener with the macabre tale of "Mack the Knife" and revealed "there's a dead man lying on the shore," that "Jenny Towler was found with a knife in her chest" and concluded with "those in the dark cannot be seen."
With Dietrich's blessing of Lemper's presentations, the torch had passed. Although five of Lemper's first seven albums focused on Weill, she eventually recorded music affiliated with Edith Piaf plus works by Jacques Brel, Stephen Sondheim and more contemporary artists, such as Tom Waits. Lemper even began writing and recording her own material. Her 2025 release, Pirate Jenny, confirms that the addictive pull of Weill continues.
This disc is a 21st-century interpretation of Weill pieces sans a retro 1920s sound and style. The collection is a celebration of Weill's birth in 1900 and further confirms his enduring staying power. Although the black-and-white cover photo of Lemper with blood-red lipstick is as alluring as ever, a 2025 Lemper video draws us into a concrete quicksand of a decadent underground. She prowls through the streets as a slightly deranged back-alley Joker, complete with garishly smeared lipstick and a weary cat like swagger and sway. As for the album, it is a collection of only eight pieces (six sung in English plus one each in German and French) with Weill-Brecht collaborations featured on five selections, all from the 1920s.
It may only be eight songs but you will still meet a menagerie of nefarious characters. A decidedly eerie and cautious "Mack the Knife," opens the show. This hypnotic missive is more a dreary Bladerunner 2049 than a vibrant Berlin 1928 and it sets the tone for the evening. There is a pair of Weill songs from the early war years of the 1940s. "Speak Low" (lyrics by Ogden Nash) drifts on ethereal clouds of sound while "My Ship" (lyrics by Ira Gershwin) floats on understated ribbons of sound. Both are complemented by the brief appearance of a muted trumpet which returns during several other songs as well. Both "Speak Low" and "My Ship" went on to become jazz standards recorded by a seemingly endless A-list of top artists.
Then "Pirate Jenny" takes center stage at the album's midpoint. Whether pickpocket, prostitute or a tart combination of both, she commands our attention with a cynical growl that is more spoken than sung. The final track, the Weill-Brecht penned "Solomon Song," is a tortuous tale that maintains the same atmospheric aural drone that dominates the album from start to finish.
If you are in search of new interpretation with subtle twists and turns, welcome to tonight's cabaret since the liner notes remind the listener this is "Kurt Weill reimagined... " If you are seeking more traditional versions of these songs, rewind to any number of earlier Lemper releases and cherry-pick a collection of your choice. It ultimately comes down to 'different' instead of 'better or worse.' There are no garish klieg lights or bombastic orchestra at this venue, just low-key sounds with swirls of smoke lingeringand then dissipating into thin air. By Scott Gudell
https://www.allaboutjazz.com/pirate-jenny-ute-lemper-the-audiophile-society
Pirate Jenny
Darius Brubeck & Dan Brubeck - Gathering Forces
Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 43:17
Size: 99,2 MB
Art: Front
(10:14) 1. Earthrise
( 5:52) 2. Three Mile Island
( 6:09) 3. Kearsage Strut
( 2:49) 4. Just Think About WHat Happens
( 6:33) 5. Tugela Rail
( 4:55) 6. The Parrot
( 6:44) 7. I Say There's Hope
Year: 1992
File: MP3@320K/s
Time: 43:17
Size: 99,2 MB
Art: Front
(10:14) 1. Earthrise
( 5:52) 2. Three Mile Island
( 6:09) 3. Kearsage Strut
( 2:49) 4. Just Think About WHat Happens
( 6:33) 5. Tugela Rail
( 4:55) 6. The Parrot
( 6:44) 7. I Say There's Hope
Brubeck majored in ethnomusicology and the history of religion at Wesleyan University, graduating cum laude. Brubeck holds an MPhil from Nottingham University. "He was awarded a Bellagio Project Residency (Rockefeller Foundation) as Composer in 2005 and received 'Outstanding Service to Jazz Education' awards in 1988, 1992, 1994, 1998, 2005 and 2006." Darius performed (with all three of his brothers) at the 2009 Kennedy Center Honors Gala when his father received a medal for his lifetime contribution to American culture. President Barack Obama and Mrs Michelle Obama were in the audience. Brubeck currently lives in the south of England in East Sussex.
During the 1970s and early '80s, pianist Brubeck led his own groups, played with Don McLean, Larry Coryell and toured the world with Two Generations of Brubeck and The New Brubeck Quartet (Dave, Darius, Chris and Dan Brubeck). Several albums were recorded along the way. Brubeck's focus changed to South Africa in 1983, when he initiated the first degree course in Jazz Studies offered by an African university. He taught at the University of KwaZulu-Natal (UKZN), Durban, South Africa, and was later appointed Director of the Centre for Jazz and Popular Music, where he remained until 2006.
During the 1970s and early '80s, pianist Brubeck led his own groups, played with Don McLean, Larry Coryell and toured the world with Two Generations of Brubeck and The New Brubeck Quartet (Dave, Darius, Chris and Dan Brubeck). Several albums were recorded along the way. Brubeck's focus changed to South Africa in 1983, when he initiated the first degree course in Jazz Studies offered by an African university. He taught at the University of KwaZulu-Natal (UKZN), Durban, South Africa, and was later appointed Director of the Centre for Jazz and Popular Music, where he remained until 2006.
After leaving full-time teaching, he was made a Senior Research Associate of the School of Music. While based in London, he taught courses at the Guildhall School of Music and Drama and Brunel University. He has an M.Phil Degree from Nottingham University, where he also taught jazz history for a year. https://en.wikipedia.org/wiki/Darius_Brubeck
Personnel: Darius Brubeck (piano, keyboards); Chris Bishop (vocals); Nelson Bogart (guitar, trumpet, background vocals); Bob Hanlon (flute, alto saxophone, tenor saxophone, baritone saxophone, background vocals); Dan Brubeck (drums, percussion); Dave Weckl (drums).
Personnel: Darius Brubeck (piano, keyboards); Chris Bishop (vocals); Nelson Bogart (guitar, trumpet, background vocals); Bob Hanlon (flute, alto saxophone, tenor saxophone, baritone saxophone, background vocals); Dan Brubeck (drums, percussion); Dave Weckl (drums).
Gathering Forces
Subscribe to:
Posts (Atom)