Ann Burton - It Might As Well Be Love

Styles: Vocal
Year: 2023
Time: 33:04
File: MP3 @ 320K/s
Size: 76,6 MB
Art: Front

(3:55) 1. Sooner Or Later
(2:41) 2. This Is New
(4:50) 3. Nobody's Heart
(2:04) 4. What'll Do
(3:50) 5. I Like You, You're Nice
(3:35) 6. Humpty Dumpty Heart
(4:43) 7. After You
(3:24) 8. You Fascinate Me So
(3:59) 9. It Might As Well Be Spring

Ann Burton (March 4, 1933 - November 29, 1989, Amsterdam) is the pseudonym of Johanna Rafalowicz (between 1938 and 1971: Johanna de Paauw), a Dutch jazz singer.

Ann Burton started her career as a singer in a quintet in Luxembourg and she started off by singing in the Doris Day style. Records of Billy Holiday drastically changed her style. Back in Holland she performed in a jazz repertoire with the trio of Frans Elsen. When Ramses Chaffy founded his “Shaffy Chantant” , Ann Burton was one of the first whom he contracted as a singer. In a long engagement in this group Ann became known at a larger audience.

Her breakthrough came in 1968, working with John J. Vis with whom she made her debute as Blue Burton, accompanied by the trio of Louis van Dijk. With John Vis she also made the albums Ballads and Burton and Ann Burton sings for lovers and other strangers. Further success had to wait till 1973, when she went to Japan, which was the land of the rising sun for her, because in Tokio, Ann Burton became the second most loved Jazz-singer, next to Ella Fitzgerald.https://www.last.fm/music/Ann+Burton/+wiki

It Might As Well Be Love

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Ann Burton - Everything Happens

Styles: Vocal
Year: 1988
File: MP3@320K/s
Time: 38:42
Size: 89,9 MB
Art: Front

(2:29) 1. I Didn't Know What Time It Was
(4:06) 2. Everything Happens
(2:45) 3. Gentleman Friend
(2:43) 4. Dreamer
(2:37) 5. It Don't Mean A Thing
(4:03) 6. Time Was
(3:47) 7. Again
(4:19) 8. Nice And Easy
(3:43) 9. I Won't Dance
(2:42) 10. That's All
(3:31) 11. Nobody Else But Me
(1:51) 12. Afterthoughts

Ann Burton started her career as a singer in a quintet in Luxembourg and she started off by singing in the Doris Day style. Records of Billy Holiday drastically changed her style. Back in Holland she performed in a jazz repertoire with the trio of Frans Elsen. When Ramses Chaffy founded his “Shaffy Chantant” , Ann Burton was one of the first whom he contracted as a singer. In a long engagement in this group Ann became known at a larger audience.

Her breakthrough came in 1968, working with John J. Vis with whom she made her debute as Blue Burton, accompanied by the trio of Louis van Dijk. With John Vis she also made the albums Ballads and Burton and Ann Burton sings for lovers and other strangers. Further success had to wait till 1973, when she went to Japan, which was the land of the rising sun for her, because in Tokio, Ann Burton became the second most loved Jazz-singer, next to Ella Fitzgerald.Anneke Muller (1953) tried to get the exclusive Ann Burton closer to the public by writing this book over her life. The story also pictures an image of the way in which Ann maintained herself in the roaring and constant changing world of Jazz. https://www.jazzmusicarchives.com/artist/ann-burton

Personnel: Vocals – Ann Burton; Bass – Harry Emmery; Drums – Frits Landesbergen; Piano – Rob Agerbeek; Trumpet – Ack Van Rooyen; Vibraphone – Frits Landesbergen

Everything Happens

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Al Grey - Night Song

Styles: Trombone Jazz
Year: 1962
File: MP3@320K/s
Time: 33:20
Size: 76,5 MB
Art: Front

(5:19)  1. Blues In The Night
(6:08)  2. Stella By Starlight
(4:52)  3. The Way You Look Tonight
(4:12)  4. Through For The Night
(5:22)  5. Stardust
(4:28)  6. Night And Day
(2:55)  7. Laughing Tonight

Trombonist Al Grey was famous as “the last of the big time plungers,” for his mastery at using a plumber's plunger to manipulate the color of his instrument. The result was a soulful quality that sounds as if he's singing the blues. Grey rose to prominence as a soloist and gifted accompanist to singers, particularly on bluesy numbers. His unique style developed over years spent playing with many great bands ” such as those of Lionel Hampton and Count Basie,” and his illustrious career spans some of the great periods in the history of jazz, including swing and bebop. Grey came from a musical family. His father, a multi-faceted musician himself, was determined to have young Al learn to play a brass instrument. As a child, Grey often resented being forced to practice, but soon realized its benefits by landing well-paying jobs. Later, while playing in the Navy band during World War II, Grey met trumpeter Clark Terry. The two became lifelong friends and would eventually play in various bands together. Grey joined Benny Carter's band right out of the Navy in 1946. Carter's innovative arrangements and driving swing served as an education for Grey. He also played with Jimmie Lunceford before joining Lionel Hampton's big band. 

It was with Hampton that he began experimenting with the plunger. Hampton noticed the trombonist's facility with the technique as Grey accompanied vocalist Sonny Parker one night, and insisted that Grey keep it as a permanent feature of the band. Dan Morgenstern of the Institute for Jazz Studies notes that jazz musicians often try to squeeze new sounds out of their instruments. This started as far back as King Oliver in New Orleans, who used to hold a child's sand pail in the bell of his trumpet. The plunger became recognized as a very effective device for such purposes. Trombonist Sam Nanton of Duke Ellington's band was recognized as a master plunger, but he died in 1947 without revealing the secrets to his own technique. From that point, Grey became the heir to the plunger tradition. After several years with Hampton, Grey played a year-long stint with Dizzy Gillespie's band, learning the language of bebop, and then joined Count Basie's orchestra in 1957.

Basie's emphasis was on simplicity, and he discouraged some of the fast-playing bebop elements Grey had recently developed. During the recording of “Making Whoopie,” Basie cautioned Grey against overplaying, saying “my goodness don't try to play all you know in one number.” But Grey's individual style meshed perfectly with Basie's orchestra, and “Making Whoopie” would become the trombonist's signature piece. Grey excelled at mixing little blues licks in among the phrases of singers with perfect timing and sensitivity. He honed this unique ability during his early years with the Basie orchestra. Before long, his colorful technique as an accompanist was highly prized among famous singers, including Lena Horne, Tony Bennett, Frank Sinatra and Ella Fitzgerald. Eventually, Grey grew restless with the demands of playing in a large ensemble and left Basie's group to experiment with his solo style. Grey also developed a passion for teaching. 

He created a jazz summer camp in his hometown of Pottstown, Pa., where he recruited other jazz greats in to help him teach swing to high school students. Among them were drummer Max Roach, saxophonist Jimmy Heath and pianist Billy Taylor. Grey's students included accomplished professionals, such as Wynton and Delafayo Marsalis, whom he taught his famous plunger techniques. According to fellow Basie alumnus and tenor saxophonist Frank Foster, Grey made an immense contribution to the jazz trombone. “He played a great role in changing the conceptualization of the trombone as an instrument in jazz,” said Foster, adding that Grey revived and elaborated upon the plunger technique “and influenced lots of young players to get into it.” Fortunately, Grey understood the importance of passing his secrets on to younger trombonists, ensuring that this craft will maintain its place in jazz. Grey died on March 24, 2000. Bio ~ http://musicians.allaboutjazz.com/algrey

Personnel:  Al Grey – trombone; Billy Mitchell - tenor sax; Dave Burns – trumpet; Bobby Hutcherson – vibraphone; Earl Washington – piano; Herman Wright – bass; Otis "Candy" Finch – drums; Philip Thomas - conga

Night Song

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Jack Sheldon - Playing For Change

Bitrate: MP3@320K/s
Time: 63:04
Size: 144.4 MB
Styles: Bop, West Coast jazz
Year: 1986/2007
Art: Front

[4:38] 1. Angel Eyes
[5:51] 2. Along Came Betty
[5:10] 3. Ne Quittez Pas
[3:44] 4. You Better Go Now
[4:52] 5. The Chase
[5:19] 6. Dear Ann
[3:17] 7. Wait And See
[5:39] 8. That Old Feeling
[4:02] 9. Follow Me
[4:58] 10. Just For A Thrill
[4:43] 11. Trane's Strain
[4:57] 12. No Trump
[5:48] 13. Nancy

Alto Saxophone – Jerry Dodgion; Bass – Rufus Reid; Drums – Ben Riley; Flugelhorn – Don Sickler (tracks: 2); Piano – Barry Harris (2); Trumpet – Jack Sheldon. Recorded May 24 & 25, 1986 at Englewood Cliffs, NJ.

Jack Sheldon is probably better known for his trumpet playing on other musicians' record dates, but this 1986 studio date more than proves he is a capable leader. With fellow veterans Barry Harris on piano, alto saxophonist Jerry Dodgion, bassist Rufus Reid, and drummer Ben Riley, Sheldon is in top form. Also known for his humorous vocals, he sticks exclusively to trumpet on this occasion, delivering a lyrical solo in "Angel Eyes" and trading licks with Dodgion in a brisk rendition of "The Chase." Fluegelhornist Don Sickler (who did most of the arrangements for the date) sits in during "Along Came Betty." Sheldon also contributed the original ballad "Wait and See," an emotional work that connects with the listener without the need of a lyric. Recommended. ~Ken Dryden

Playing For Change

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'Marlene VerPlanck - I Give Up, I'm In Love

Styles: Vocal Jazz
Year: 2014
Time: 41:07
File: MP3 @ 320K/s
Size: 96,6 MB
Art: Front

(3:21) 1. I Give Up, I'm In Love (Feat. Warren Vache & Glen Francke's Big Band)
(3:12) 2. Good Thing Going
(2:36) 3. How Little We Know (Feat. Harry Allen)
(3:46) 4. The Way You Look Tonight (Feat. Warren Vache & Glen Francke's Big Band)
(4:40) 5. I Love The Way You Dance
(3:08) 6. So Long My Love (Feat. Harry Allen)
(2:26) 7. Sleigh Ride In July
(3:00) 8. My Little Brown Book (Feat. Harry Allen)
(5:24) 9. Where Can I Go Without You (Feat. Warren Vache)
(3:04) 10. I Didn't Know What Time It Was (Feat. Glen Francke's Big Band)
(2:27) 11. You're Really Someone To Write Home About (Feat. Harry Allen)
(3:57) 12. So Many People (Feat. Warren Vache)

Marlene Paula VerPlanck was an American jazz and pop vocalist whose body of work centered on big band jazz, the American songbook, and cabaret.

VerPlanck was born and raised in Newark, New Jersey Her father, Anthony J. Pampinella (1908–1993), operated a gasoline station there, and her mother, Pauline A. Biase (1913–2008), whose family ran an Italian restaurant. She married trombonist, composer, and arranger J. William "Billy" VerPlanck (1930–2009) in 1955, and he became her musical collaborator and champion. They were married for 52 years, until his death in 2009.

VerPlank graduated from Bloomfield High School, and considered a career in journalism. She began performing as a teenager at the age of 19, at a nightclub in Newark, the Well. Her debut album, I Think of You with Every Breath I Take, was released in 1955 when she was 21, and featured Hank Jones, Joe Wilder, Wendell Marshall, Kenny Clarke, and Herbie Mann (uncredited). VerPlanck then went to work as a vocalist for Charlie Spivak's band, and later sang with the Tommy Dorsey band and with Tex Beneke′s band.

VerPlanck was a prolific studio vocalist for commercial jingles during the 1960s and 1970s, and by the 1960s became known as the "New York jingle queen." She recorded thousands of jingles, often for low pay, although her fortunes changed when she sang an arrangement of the 1930s Campbell's Soup "M'm M'm Good" song, which became widely known. Other notable jingles she recorded included "Nationwide is on your side" for the Nationwide Mutual Insurance Company and "Weekends were made for Michelob" for Anheuser-Busch′s Michelob beer. She later told the press that the latter was highly lucrative for her, because she put a "Yeah!" at the end of the jingle that was used over and over again in versions of the jingle recorded by Billy Eckstine, Vic Damone, and Brook Benton, earning her continued royalties. Her jingle work allowed her to hone the clarity of her diction when singing, and she became known for her ability to enunciate the lyrics of songs clearly even while investing them with emotion. Although she toiled largely in obscurity, her voice became widely known to millions of people during the 1960s and 1970s through the familiarity and popularity of her jingles.

VerPlanck also sang backup for Tony Bennett, Perry Como, Frank Sinatra, and Mel Torme, and she performed around the United States and internationally as a cabaret singer. Despite her long and successful career in jingles and as a studio backing vocalist, her second solo album, Marlene VerPlanck Loves Johnny Mercer, was not recorded until 1979, 24 years after her first album. Her solo career then began in earnest, and she released more than 20 albums, mostly on the Audiophile label, and toured extensively as a soloist. She specialized in the Great American Songbook, especially the works of Irving Berlin, Jerome Kern, Johnny Mercer, Cole Porter, and Richard Rodgers, and gained a reputation as one of the most accomplished interpreters of the genre.

In January 1983, VerPlanck took part in recording In the Digital Mood, an early all-digital recording of the music of Glenn Miller by the Glenn Miller Orchestra. The album included two vocal tracks – "Chattanooga Choo-Choo" and "(I've Got a Gal In) Kalamazoo", and VerPlanck was invited to sing the female vocals in a recreation of the singing group The Modernaires, which consisted of one female and four male vocalists, and to bring four male colleagues with her to sing the four male vocal parts. The album's producers expected her to bring unknown session and back-up singers with her, but she surprised and delighted the producers and the orchestra by arriving with Julius LaRosa, Mel Torme, Michael Mark, and Marty Nelson for the recording session on January 20, 1983.

VerPlanck last performed in December 2017 at a jazz club in New York City. She died of pancreatic cancer at a hospital in Manhattan, New York City on January 14, 2018, aged 84 and was buried at Mt. Olivet cemetery in Bloomfield Source:Wikipedia
https://www.allaboutjazz.com/musicians/marlene-verplanck

I Give Up, I'm In Love

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Christian McBride/Edgar Meyer - But Who's Gonna Play the Melody?

Styles: Jazz
Year: 2024
Time: 66:15
File: MP3 @ 320K/s
Size: 152,8 MB
Art: Front

(5:56) 1. Green Slime
(4:43) 2. Barnyard Disturbance
(3:29) 3. Bebop, of Course
(5:15) 4. Bass Duo #1
(3:59) 5. Solar
(4:33) 6. Canon
(3:25) 7. Philly Slop
(1:55) 8. Interlude #1
(4:18) 9. FRB 2DB
(6:01) 10. Bewitched, Bothered and Bewildered
(6:08) 11. Bass Duo #2
(5:05) 12. Lullaby for a Ladybug
(5:35) 13. Days of Wine and Roses
(1:45) 14. Interlude #2
(4:02) 15. Tennessee Blues

It is not known exactly how many duets of this nature have fallen into the lackluster bin of audio history. But rest assured that But Who's Gonna Play The Melody? is as far from that incalculable number as the moon is from the sun.

Emblematic of Christian McBride's whole groove credo, everything falls into place quickly, smoothly, and easily on But Who's Gonna Play The Melody?. On the bassist's gazillionth high spirited musical offering, McBride soul-teams with finger-snapping, bluegrass-bred, classical composer & bassist Edgar Meyer who has previously played with Joshua Bell, Bela Fleck, and Yo-Yo Ma for a most rousing revelry. Both virtuosos with a keen sense of humor, McBride and Meyer curate their heartland musical idiosyncrasies, resulting in some very sweet moments such as the hip swaying "Green Slime" and the see-sawing "Barnyard Disturbance," both mischievous Meyer originals.

McBride answers those compositional hijinks with "Bebop, Of Course" and, as the duo reels and rolls from that throbbing bounce-a-thon, they willingly engage in "Bass Duo #1," a complex yet informal and actively conversational Meyer invention. In the overall scheme of things, it comes as no surprise that the duo follow up with a romping take on Miles Davis's richly languid "Solar" (Miles Davis Quintet, Prestige, 1954.)

"Canon," with its chamber echoes and achingly emotive arching, catches the lift and frees itself with "Philly Slop," a noir jump-hop which the ever- agile duo jitterbug merrily through. On "FRB 2DB" Meyer thoroughly enjoys his time on the grittier side of the classical tracks and McBride is gleeful to be his bro-boy companion.

With McBride sidling over to the piano to provide delicate guardrails, an extremely wistful "Bewitched, Bothered and Bewildered," gracefully unravels as Meyer takes his bow to the tune and soars. "Bass Duo # 2" pops as elegantly and playfully as its predecessor, with the two masters slurring, walking, giving way. It is a six-minute lesson in the art of being human, ready to compromise for the better of all, here and now, ready to support, to huddle, to move forward towards a more perfect union. And that is what But Who's Gonna Play The Melody? is really all about.By Mike Jurkovic
https://www.allaboutjazz.com/but-whos-gonna-play-the-melody-christian-mcbride-mack-avenue-records

Personnel: Christian McBride – acoustic bass (all tracks except 8, 12); piano (tracks 8, 12); Edgar Meyer – acoustic bass (all tracks except 10, 14); piano (tracks 10, 14)

But Who's Gonna Play the Melody?

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Urszula Dudziak - Future Talk

Styles: Vocal
Year: 1979
Time: 38:19
File: MP3 @ 320K/s
Size: 87,8 MB
Art: Front

(5:00) 1. Kasia's Dance
(3:02) 2. Moontag
(2:38) 3. Future Talk
(3:39) 4. Shenkansen
(3:40) 5. Chorale For One
(0:48) 6. Klick
(5:53) 7. Roxanna
(4:49) 8. Quiet Afternoon
(1:44) 9. By Myself
(4:37) 10. The Cats
(2:26) 11. Double Bounce

The unusual singer Urszula Dudziak is heard on this set performing four unaccompanied solos, a duet with Michal Urbaniak's lyricon and six group pieces with such players as altoist Zbigniew Namyslovski, guitarist John Abercrombie, keyboardist Kenny Kirkland and bassist Marcus Miller. Although her backup crew is strong, Dudziak is the dominant force for few other singers could create with the sounds that she can. The eccentric avant-garde music (last out on this out-of-print LP) takes several listens to absorb.By Scott Yanow https://www.allmusic.com/album/future-talk-mw0000874104#review

Future Talk

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Joe Stilgoe & Metropole Orkest - Theatre

Styles: Vocal, Cabaret
File: MP3@320K/s
Time: 59:40
Size: 137,6 MB
Art: Front

(1:02) 1. Theatreland
(5:49) 2. Take Me Back to the Theatre
(5:37) 3. Cabaret
(5:03) 4. Lost in The Stars
(4:18) 5. Does Anybody Have a Map
(4:54) 6. Mr Matcham
(5:42) 7. The King's New Clothes
(5:31) 8. The King's New Clothes
(6:22) 9. No More Not While I’m Around Children Will Listen
(4:30) 10. Gonna Build a Mountain
(5:48) 11. Bring Down The Curtain
(4:59) 12. Jellicle Songs For Jellicle Cats

Stilgoe’s ninth album, now on Westway Records, is a tribute to the theatre or, to be precise, to the great songwriters through the years (plus three new songs written by Stilgoe himself). Simon Callow appears on one of the new songs, a tribute to Frank Matcham who designed many theatres round Britain, and he is not the only theatrical guest on the album. Stilgoe is joined by a star-studded theatrical line-up of special guests: Anna-Jane Casey, Louise Dearman, recent Olivier nominee Omari Douglas, Hadley Fraser, Le Gateau Chocolat, Jason Manford, Trevor Dion Nicholas, Jamie Parker and Rebecca Trehearn. Tom Richards conducts and appears as a guest playing soprano saxophone on the beautiful ‘Lost in the Stars’.

Listening to the track ‘Overture’ I was, at once, glued to the speaker with its lush orchestration, followed by a track called ‘Take Me Back to the Theatre’ which is a lovely tribute to the reopening of the theatres after the pandemic. Then the tracks get a bit hit or miss for me. ‘Cabaret’ goes through so many genres of music that it becomes a bit of a mess. I understand what he and the arranger were trying to achieve but I think what it ends up as is a cacophony of sounds. ‘Lost in the Stars’ is a beautiful number and, thankfully, is given the treatment it deserves with a wonderful saxophone solo. ‘Anybody Have a Map’ from Dear Evan Hansen is given a jazzy arrangement, which is not really to my taste.

We then have one of the new numbers called ‘Mr Matcham’, a tribute to the great theatre designer Frank Matcham. As a tribute it works, with a soliloquy halfway through by Callow. After listening to it you will know a bit more about the great man Matcham not Callow! ‘On Broadway’ follows with a bit of a hokey intro but, once it gets going, it is an absolutely brilliant arrangement, featuring great orchestral and fantastic vocals from Stilgoe. For some reason, I suppose for some humour, the next track is ‘The King’s New Clothes’ which is not from the theatre but from film (being pedantic, I know) a track the album could have done without.

Sondheim is next with a medley, ‘No More, Not While I’m Around, Children Will Listen’, beautifully orchestrated and showing Stilgoe’s voice off beautifully. One of my favourite tracks on the album. ‘Gonna Build a Mountain’ goes for the jazzy feel again, but this time it does work in its favour. Another of the new songs, ‘Bring Down the Curtain’, tells the listener that you may very well be able to bring down the curtain on the theatre but you will never be able to stop the show. Theatre will go on no matter what! Then, for another reason known only to himself, Stilgoe finishes the album with ‘Jellicle Songs for Jellicle Cats’. Apart from being taken from my least favourite musical in the world, it is just a strange song to end an album with.

Overall, this is a very entertaining album with little surprises along the way. Stilgoe is obviously a great talent and, with his arrangers Tom Richards, Callum Au, Evan Jolly and Andrew Cottee, have come up with some interesting ideas. The Metropole Orkest must also get a special mention as they bring those aforementioned arrangements to life.~ Nick Wakehamhttps://musicaltheatrereview.com/cd-review-theatre-joe-stilgoe/

Theatre

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Chuck Mangione - Land of Make Believe

Styles: Trumpet Jazz
Year: 1973
File: MP3@320K/s
Time: 39:04
Size: 91,1 MB
Art: Front

( 7:38)  1. Legend Of The One-Eyed Sailor
( 3:37)  2. Lullaby For Nancy Carol
( 7:23)  3. El Gato Triste
( 4:07)  4. The Gloria From The Mass Of St. Bernard
( 3:52)  5. As Long As We're Together
(12:24)  6. Land Of Make Believe

Though much less expansive than Mangione's other Mercury concerts (only 37 minutes on a single CD or LP), Land of Make Believe is the most successful of the lot, a winning combination of attractive tunes, big-thinking orchestrations, just enough jazz content, and a genuinely felt sense of idealism. Here there is no dead weight; all of the material is very engaging and the combined forces of Mangione's quartet and the Hamilton (Ontario) Philharmonic are on fire. The performance of Mangione's "Legend of the One-Eyed Sailor" still exerts a ferocious jolt of life-affirming energy, "El Gato Triste" is an attractive Latin number, and the buoyant "Gloria" from The Mass of St. Bernard with the Horsehead Chamber Singers makes one want to hear more. The childlike title tune has both a touching sense of naïveté and a lot of drive in key spots credit expert drummer Joe LaBarbera with the latter and Esther Satterfield's clear-eyed Nancy Wilson-like vocals made her famous for a time. This would be Mangione's most irresistible attempt at embracing the whole world of music and for awhile, it was possible to believe that he would become a major unifying figure in American music. Alas, thus far this would be the last full flowering of that promise. ~ Richard S.Ginell https://www.allmusic.com/album/land-of-make-believe-mw0000192140

Personnel:  Chuck Mangione - Flugelhorn, Mixing, Orchestration, Conductor, Arranger;  Joseph C. Crupi - Conductor, Director;  Marta Hidy - Concert Master, Violin;  Gap Mangione - Electric Piano, Toy Instruments;  Cello: Edgar Hayes, Zdenek Konicek;  Flute: Ned Corman, Ron Davis, Paula Elliott, Gordon Johnson, Gerry Niewood, Ray Ricker, Joe Romano, Jeff Tkazyik,;  Tuba: Charles Daellenbach;  Trombone: Eugene Watts, Bill Reichenbach Jr., Janice Robinson, Art Linser III,;  French Horn: Robert Hansen, Gregory Hustis, Graeme Page, Brad Warnaar;  Trumpet: Jon Faddis, Jeff Tyzik, Fred Mills, Ronald Romm;  Viola: Barbara Hustis, Jaroslav Karlovský, Ann Armin;  Violin: David Hung, Rudolph Kalup, Christine Haarvig, Beth Gorevic, Natalie Mysko, Margaret Neufeld, Kathryn Wunder, Michel Zaitzeff;  Tenor Sax: Ron Davis, Ray Ricker, Joe Romano;  Tenor Vocals: Ron Berger, Scott Bump, Jeff Bowlby, Steve Russell;  Alto Vocals: Kathleen Collins, Barbara Hendricks, Terry Lodge;  Soprano Vocals: Jan Walp,;  Bass Vocals: Russ Cembrinski, Michael Cleveland, Jim Smith, Jeff Wilber, Jim Wilber;  Electric Bass: Al Johnson;  Drums: Joe LaBarbera;  Bassoon: Tom Elliot, John Courtney;  String Bass: David Young, Jack McFadden;  Guitar, Guitar (Acoustic), Piano (Electric), Unknown Contributor Role: Don Potter

Land of Make Believe

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Si Zentner and His Orchestra - Desafinado, Swingin' Country

Styles: Jazz
Year: 1962/1966
File: MP3 @ 128K/s
Art: Front

(2:31) 1. Desafinado
(2:54) 2. Maria
(2:13) 3. Quizas, Quizas, Quizas (Perhaps, Perhaps, Perhaps)
(2:18) 4. Speak Low
(2:34) 5. Midnight Sun
(2:54) 6. Goza Goza
(2:24) 7. Bernie's Tune
(2:40) 8. Oso Blanco
(2:14) 9. Come Closer to Me
(2:45) 10. Star Eyes
(2:20) 11. Lisbon Antigua
(2:08) 12. Caravan

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(2:11) 13. Busted
(2:53) 14. Almost Persuaded
(3:20) 15. Born To Lose
(2:32) 16. Make the World Go Away
(2:42) 17. Rablin' Rose
(2:30) 18. Crazy
(2:24) 19. Columbus Stockade Blues
(3:02) 20. Your Cheatin' Heart
(2:11) 21. King Of The Road
(2:24) 22. Hurtin' Heart
(2:42) 23. The Tip Of My Fingers
(2:03) 24. The Race Is On

Si Zentner's aggregation came on the big-band scene late, at the close of the fifties when the era had really passed. Before forming the big band, he had played with Les Brown in 1940, and then moved on to work with Harry James, Jimmy Dorsey and Billy May, as well as doing much studio work. His first group, formed in 1957, was a studio band, and in 1959 it had become a touring band, having a recording contract with Liberty Records. That was no small feat; and flying in the teeth of the current fad, the twist craze, by forming a fifteen-piece orchestra showed a certain chutzpah on Zentner's part, if not insanity. However, it worked, and the band picked up various awards, including a Grammy in 1961 for Best Instrumental and thirteen consecutive wins for Best Big Band in Down Beat polls in the 60s. Like the Billy May bands in which Zentner had appeared, his bands also featured the brass sections, giving a "fat brass" sound.

Recorded in 1963 on the Liberty label, the Desafinado album cashed in on the bossa nova craze of the time. The fifteen pieces were augmented by an added guitarist and percussionist. While not all of the tunes are, strictly speaking, bossa nova ones, they all lend themselves to a bossa nova treatment, most of the arrangements written by the band's piano player, Bob Florence. Other than a couple of originals, Goza, Goza and Oso Blanco by Zentner and Florence, which I found the most interesting of the group, the rest are familiar enough. Some of the tempos have to be slowed down to accommodate the Latin rhythm, such as Midnight Sun, Bernie's Tune or Star Eyes, as a few of them almost seem to threaten to stop, but all are certainly pleasant listening. Not an aficionado of bossa nova myself, I found the unending stream of bossa nova rhythm a bit tedious, but those who are fans will undoubtedly feel differently.

Like the Desafinado album, Swingin' Country appeared first on LP on the Liberty label. Although all selections are country tunes, several are adapted to another current craze of that time, namely the twist. I find these adaptations a little less successful than the bossa nova ones mentioned above. Perhaps, too, country music does not lend itself to big-band treatment quite as well as other genres. However, all of these tunes should be familiar, even to those who are not country music devotees. As to their being "swingin'" I'm not so sure-but entertaining, yes.

On a final note, Zentner was unyielding in his espousal of the big-band format. He refused gigs that did not call for his full band right to the end when he died of leukemia in 2000.By Bert Thompson
http://www.musicinternational.com/jazz/2012/Si_Zentner_CDLK4463.htm

Personnel: Si Zentner - Trombone; Bob Florence - Piano

Si Zentner And His Orchestra Play Desafinado, Swingin' Country

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Bennie Wallace, Dave Holland & Elvin Jones - Big Jim's Tango

Styles: Saxophone Jazz
Year: 1982
File: MP3@320K/s
Time: 38:38
Size: 88,5 MB
Art: Front

( 5:41)  1. Big Jim Does The Tango For you
( 5:57)  2. My Heart Belongs To Daddy
( 9:41)  3. Green & Elloy
( 4:46)  4. Monroe County Moon
(12:31)  5. The Free Will

Bennie Wallace has long had his own unique style, combining together the raspy tone of Ben Webster with the frequent wide interval jumps of Eric Dolphy. He has an explorative style that sound-wise looks back toward the swing era. Wallace started on clarinet when he was 12 and a few years later switched to tenor. He graduated from the University of Tennessee in 1968, and in 1971 moved to New York, where he debuted with Monty Alexander. Wallace gigged with Sheila Jordan, played with many avant-garde musicians, was in George Gruntz's Concert Jazz Band in 1979, and led his own trio/quartet on and off throughout the 1970s and '80s. 

He recorded frequently prior to 1985 for Enja, but his mid- to late-'80s Blue Note recordings are more memorable, for they find him infusing his appealing sound with touches of New Orleans R&B and a healthy dose of humor. In the '90s, Wallace began writing music for films, including White Men Can't Jump. He also stayed active on the jazz scene, releasing Old Songs in 1993 on JVC, Talk of the Town also in 1993 on Enja, and Someone to Watch Over Me in 1999 on Enja. In 2002 Wallace scored critical success with Moodsville and followed it up with the release of In Berlin, a recording of a 1999 appearance at the Berlin Jazz Festival. Since that time, Wallace has released studio albums including The Nearness of You in 2004 and the Coleman Hawkins-themed Disorder at the Border in 2007. Bio ~ https://itunes.apple.com/us/artist/bennie-wallace/id215522732#fullText

Personnel: Bennie Wallace (tenor saxophone); Dave Holland (bass); Elvin Jones (drums).

Big Jim's Tango

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Chris Hopkins - Chris Hopkins Meets The Young Lions: Live! Vol. 1

Styles: Vocal, Swing
Year: 2024
Time: 45:33
File: MP3 @ 320K/s
Size: 105,5 MB
Art: Front

(5:12) 1. Wrap Your Troubles In Dreamss
(4:49) 2. Indiana
(4:41) 3. Until The Real Thing Comes Along
(4:56) 4. Rockin' Chair
(3:19) 5. The Best Rhings In Life Are Free
(4:32) 6. Satin Doll
(4:22) 7. Moonlight Serenade
(4:44) 8. My Baby Just Cares For Me
(4:31) 9. I Never Knew
(4:21) 10. Blue Moon

A superb swing and classic pianist (he held his own with Dick Hyman on a duo piano album), Chris Hopkins is based in Germany where he records for his Echoes Of Swing Productions. He has been on records since 1994 including with (among others) the Swedish Jazz Kings (featuring cornetist Bent Persson), clarinetist Engelbert Wrobel’s Swing Society, Dan Barrett, Bob Barnard, and his own Echoes Of Swing quartet which features him on alto.

Chris Hopkins Meets The Young Lions – Live Vol. 1 has Hopkins on piano leading a quintet also featuring trumpeter Thimo Niesterok, guitarist-vocalist Tijn Trommelen, bassist Caris Hermes, and drummer Mathieu Clement. The lack of liner notes is unfortunate since I have not heard of any of the sidemen before who I assume are a lot younger than Hopkins. However one does need written commentary to know immediately that this is a talented bunch.

Trumpeter Niesterok in particular is a very good soloist with an attractive sound who also contributes a solid lead. He is well featured, competing with Hopkins for solo honors while the rhythm section is solid and supportive. Among the highlights are such numbers as “Wrap Your Troubles In Dreams,” “Indiana,” “The Best Things In Life Are Free,” and “My Baby Just Cares For Me.”

Chris Hopkins recordings are always pretty rewarding and this one has the extra bonus of introducing listeners to some new talents.https://syncopatedtimes.com/chris-hopkins-meets-the-young-lions-live-vol-1/

Chris Hopkins Meets The Young Lions: Live! Vol. 1

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Babbba - Cabaret Canvas

Styles: Jazz Fusion
Year: 2024
Time: 71:44
File: MP3 @ 320K/s
Size: 165,9 MB
Art: Front

(3:59) 1. The sidewalk swing
(3:36) 2. Keeps on loving you
(2:49) 3. In the dark there's nothing to fear
(3:10) 4. Creating something new
(3:34) 5. Paint the dark, paint the light
(3:13) 6. Here's lovers' hearts
(2:22) 7. Groove so smooth
(2:53) 8. It's a jazzy sweet romance
(2:34) 9. Smooth fusion of sound
(2:43) 10. Fusion all around me
(3:33) 11. Walking down the street
(1:46) 12. Nobody knows
(2:23) 13. A triolet in perfect time
(2:15) 14. We sway the intimate space
(3:00) 15. Under the soulful sky
(3:11) 16. Midnight canvas
(3:06) 17. Everybody needs the surface
(2:46) 18. Shufflin'
(3:47) 19. Harmonies we create
(3:35) 20. Blend of hopes
(2:40) 21. Sweet stroll of love
(2:57) 22. Every step feels fresh and new
(2:52) 23. Dancing shadows
(2:50) 24. Speeding in the night

"Babbba - Cabaret Canvas" is a musical piece, specifically a song from a YouTube video by "Babbba". The song is described as a mix of sound and hue, with a fusion of light and rhythm. The video features a percussive line and a clear voice, creating an atmosphere of a vibrant and dynamic performance.

The song's lyrics, as described, include lines like "silent steps on rhythm percussion leads the way" and "canvas painted brightly a mix of sound and hue". The music is described as a fusion of sound and light, with a rhythmic flow.

Cabaret Canvas

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Crystal - Clear

Styles: Funk
Year: 1986
Time: 36:32
File: MP3 @ 128K/s
Size: 35,0 MB
Art: Front

(4:01) 1. The Groove Tune
(3:24) 2. Turnaround
(3:54) 3. 2nd Line Tonight
(4:16) 4. Let's Give Us One More Try
(3:08) 5. Scratch
(0:34) 6. Hank
(3:32) 7. 3 to 2
(3:09) 8. You Never Know
(4:13) 9. Ain't That The Way
(3:58) 10. Percolator
(2:19) 11. Dangerous Curves

Personnel: Alto Saxophone, Tenor Saxophone – Rex Wertz; Art Direction – Zand Gee; Bass, Vocals, Written By – James Lucas (8); Drums, Vocals, Written By – James ("Cadillac") Cardarelli; Executive-Producer – Eric Schabacker; Flute, Alto Flute – Glenn Goss; Guitar – Charlie Morris; Keyboards, Vocals, Producer, Written By, Arranged By – Charlie Carmorata; Mastered By – George Horn; Congas – Bob Weldon; Tenor Saxophone – Dr. Fred; Vocals, Keyboards, Written By – Holly Camorata

Clear

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Carmen Cuesta-Loeb - Toda una vida

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 50:43
Size: 119,2 MB
Art: Front

(3:46)  1. Voy a Apagar la Luz
(3:50)  2. Quizás, Quizás, Quizás
(4:23)  3. Contigo Aprendí
(4:40)  4. Eu Sei Que Vou Te Amar
(4:02)  5. El Reloj
(4:57)  6. La Puerta
(4:40)  7. El Día Que Me Quieras
(4:52)  8. No Te Confundas
(4:09)  9. Dos Gardenias
(4:16) 10. Como Fue
(3:16) 11. Bésame Mucho
(3:46) 12. Toda una Vida

“Toda Una Vida” is not your typical Boleros album even though it has mostly Bolero standards. Spaniard singer Carmen Cuesta gives a nice jazzy spin to classic Boleros in her CD with the help of jazz guitarist and husband Chuck Loeb. “Most singers at one point in their career will want to do a Boleros album…” Carmen told me in an interview with Latino Music Café. “There are so many good Bolero albums out there, that I wanted to give mine something different. I wanted to combine the American influence of Jazz with the Latin essence of the Bolero” said the singer raised in Madrid.To be able to achieve this beautiful differentiation in “Toda Una Vida”, it helps to work (and be married ) with legendary guitarist Chuck Loeb, who played in Stan Getz´s band. 

“Collaborating with Chuck allowed me to take (the songs) into a slightly different dimension, a new approach” says Carmen in her press release for “Toda Una Vida” (released January 2014). In our conversation, Carmen said that they wanted to change the tempo of the typical Bolero, but still keeping the essence of the message and feeling of each song. This extraordinary mix of beautiful Bolero standards with a slightly different musical approach was achieved thanks to Chuck Loeb’s musical mastery as well as the participation of Madrid-based renown musicians. “Toda Una Vida” was co-produced by popular Spanish music producer Paco Ortega and was recorded in Ortega’s Musicgrama recording studio in Madrid.¨ For her 6th album, Carmen Cuesta selected a combination of songs that include renown Bolero standards, a few less known Boleros, and then added one song of her own authorship. “My first thought was to record less known but beautiful Boleros that people might not be familiar with; but then decided that I also wanted to record some Bolero standards that I really love. To round up the album I thought, ‘why not add one of my own compositions?’, and added “No Te Confundas”. http://www.latinomusiccafe.com/2014/02/16/carmen-cuestas-jazzy-boleros-in-toda-una-vida/

Personnel: Carmen Cuesta: vocals; Chuck Loeb: guitars, additional keyboards; José San Martín: drums, shakers; Antonio “Toño” Miguel: acoustic bass; Moisés P. Sánchez: piano, electric piano; Yuvisney Aguilar: percussion; Antonio Serrano: harmonica (3); Kike Perdomo: flute (2); Oli Rockberger: piano (12).

Toda una vida

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Syd Lawrence Orchestra - A Night At The Movies

Styles: Jazz
Year: 2011
Time: 60:53
File: MP3 @ 320K/s
Size: 141,4 MB
Art: Front

( 3:07) 1. Strike Up The Band
( 3:17) 2. Misty
( 1:57) 3. Hooray For Hollywood
( 3:45) 4. It's Magic
( 3:12) 5. With A Song In My Heart
( 3:58) 6. Laura
( 1:57) 7. Put On A Happy Face
( 5:10) 8. Marcel McTattie LeCoq
( 4:32) 9. It's Alright With Me
( 3:44) 10. Boulevard Of Broken Dreams
( 2:49) 11. Alexander’s Ragtime Band
( 3:13) 12. Tara’s Theme
( 3:05) 13. The Pink Panther
( 3:18) 14. Smile
(13:42) 15. James Bond Medley

Founded in 1967 by trumpeter and arranger Syd Lawrence, The fabulous Syd Lawrence Orchestra has been thrilling audiences in Concert Halls, Theatres, TV Shows and Music Festivals all over Great Britain and Continental Europe for over 50 years.

Renowned for it’s exciting blend of high octane Big Band Swing and Classic Dance Music, the Orchestra’s repertoire ranges from the wartime million sellers of the legendary Glenn Miller through the era of the great Count Basie Orchestra to the hit songs of Frank Sinatra and Ella Fitzgerald. Count Basie himself described the Syd Lawrence Orchestra as “So good it should be Banned!”.
https://syd-lawrence-orchestra.com/

A Night At The Movies

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Suzanne Pittson - Emerge Dancing

Styles: Vocal Jazz
Year: 2024
File: MP3@128K/s
Time: 65:50
Size: 61,6 MB

(3:52) 1. Blackbird
(3:42) 2. Everything I Love
(7:37) 3. The Secret Life of Plants
(4:45) 4. It All Goes 'Round and 'Round
(3:56) 5. Blues and the Abstract Truth
(6:06) 6. You've Got a Friend
(6:07) 7. I Get Sentimental Over Nothing
(6:06) 8. Never Never Land
(5:00) 9. Without a Song
(5:42) 10. Love's the Thing
(5:22) 11. Something More
(7:29) 12. What Can I Do?

Emerge Dancing is a fascinatingly intriguing album from New York vocalist (and pianist/composer) Suzanne Pittson and her husband, pianist Jeff Pittson. Primarily a duo album, the pair is joined on a trio of tracks by their son, violist Evan Pittson. Team Pittson has delivered a buffet of jazz, pop, rare-find and well-known standard fare that emerges as 24k performance and production gold.

The frequently-recorded John Lennon and Paul McCartney gem "Blackbird" opens this session with the duo exploring its textures and lyric nuances. Suzanne Pittson delivers the tune with just enough drama and engagement with the lyric to give it a new sheen. Jeff elaborates beautifully, both in accompaniment and in a fine solo. The upbeat "Everything I Love," from the Cole Porter songbook, has Pittson handily delivering a swinging portrait with some sizzling scat, prancing over and alternating with Jeff's comps and keyed responses. The Pittsons deliver a rather dramatic take on Stevie Wonder's documentary film score piece, "The Secret Life of Plants." Suzanne lithely bounces the intervallic structure of Wonder's melody and delivers the tune's poetry with fervor. This track was powerful in its original presentation and is here, as well.

Suzanne Pittson has a uniquely intriguing vocal instrument. She is upbeat, on-point with her pitch and diction and effervescently hip, both in terms of her interpretation and her scatting. Plus, she's a fun listen. Jeff is equally up to the musical tasks and, whether soloing or backing, has the piano firmly in his creative grasp. Savvy listeners will notice that the pair has a combined positive vibe that harkens back to the joyously swinging Jackie Cain and Roy Kral.

"It All Goes 'Round and 'Round" is a beautiful ballad take wherein Pittson sing-speaks the lyrics, accompanied by Jeff's overdubbed Toots Thielemans-like harmonica responses and lush piano. Oliver Nelson's classic "Blues and the Abstract Truth," here a family affair, gets off with a fierce Vince Guaraldi-ish ostinato before Suzanne and son Evan's viola-doubled melody and lyric burn; and there is no letup in sight. A fine viola solo erupts, including Evan copping a lick trumpeter Freddie Hubbard played on the original recording. A spectacularly hip track. The rarely recorded ballad "I Get Sentimental Over Nothing" written by Suzanne's aunt, Minette Allton, and Nat King Cole, has the Pittsons delivering a beautiful take on the tune. A brilliant production selection this. "Without a Song" is presented up-tempo and joyously swinging, with an energized scat from Pittson.

Jeff Pittson picks up on the bouncing joy with an equally hip ride. The pair reach back to the '50s again for "Love Is the Thing," with Slide Hampton's melody and Mike Holober's modern applied lyrics. Instrumentally known as "Frame for the Blues," the tune was a brassy 1958 hit for the Maynard Ferguson band. The Pittsons deliver it in a noir smoky-bar blue. Suzanne is red-lipstick-seductively swinging. Catch Jeff's last few tinkles up where the cigarette burns are. The very hopeful "What Can I Do?" ends the session on a slower, reflective note with Evan's overdubbed viola adding a splendid touch.

Whether one dances, cuts in or sits out listening, Emerge Dancing is a supremely well-performed presentation all around. By Nicholas F.Mondello
https://www.allaboutjazz.com/emerge-dancing-suzanne-pittson-vineland-records

Personnel: Suzanne Pittson: voice, piano (8); Jeff Pittson: piano, chromatic harmonica (4); Evan Pittson: viola (5, 11, 12)

Emerge Dancing

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Tok Tok Tök - This Can't Be Love

Styles: Jazz/Rock/Pop
Year: 1998
Time: 27:46
File: MP3 @ 128K/s
Size: 25,5 MB
Art: Front

(2:32) 1. Moonglow
(2:49) 2. Doodlin'
(4:57) 3. Invitation
(1:19) 4. Ma Nah Ma Nah
(3:52) 5. Moon Dance
(2:53) 6. Love For Sale
(2:05) 7. I Want To Be Happy
(3:50) 8. Song For My Father
(1:29) 9. Octopuss's Garden
(1:55) 10. This Can't Be Love

Before founding Tok Tok Tok in 1998, Tokunbo Akinro (lyrics) and Morten Klein (composition and arrangement), the creative and organizing heart of the band, worked together in various other projects. Their musical search for melodic beauty associated with groove and soul led them to find their completing parts in each other. They played concerts all over the world from Paris, Berlin, Madrid and The Hague to Kyiv, Tel Aviv and São Paulo. In 2013, after 15 years of working together, Morten Klein and Tokunbo Akinro decided to have a break and to concentrate on solo projects.https://en.wikipedia.org/wiki/Tok_Tok_Tok

This Can't Be Love

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John McLaughlin - Live at Montreux Jazz Festival 2022

Styles: Jazz Fusion
Year: 2025
Time: 90:50
File: MP3 @ 320K/s
Size: 208,6 MB
Art: Front

( 9:00) 1. Kiki (Live at Montreux Jazz Festival 2022)
( 6:26) 2. Lock Down Blues (Live at Montreux Jazz Festival 2022)
( 8:01) 3. The Creator Has a Master Plan (Live at Montreux Jazz Festival 2022)
( 7:41) 4. Hijacked (Live at Montreux Jazz Festival 2022)
( 5:34) 5. Gaza City (Live at Montreux Jazz Festival 2022)
( 5:05) 6. Mr. Dc (Live)
( 5:22) 7. Abbaji (Live at Montreux Jazz Festival 2022)
( 5:13) 8. New Blues Old Bruise (Live)
( 6:29) 9. Here Comes the Jiis (Live)
(10:46) 10. The Light at the Edge of the World (Live)
(13:36) 11. Echoes from Then (Live)
( 7:33) 12. El Hombre Que Sabia (Live)

One of Rolling Stone's Top 100 Guitarists of All Time, John McLaughlin returns in peak form with Live at Montreux Jazz Festival 2022, a stunning performance captured at one of the world's most iconic musical stages.

A trailblazer who reshaped jazz fusion through his work with Miles Davis, the Mahavishnu Orchestra, and Shakti, McLaughlin brings over five decades of innovation to this electrifying 90-minute set. Backed by his longtime band The 4th Dimension and featuring award-winning Cuban pianist Jany McPherson as special guest, this release is a masterclass in genre-defying musicianship.

The setlist draws from every corner of McLaughlin's expansive musical journey, including fan favorites like "New Blues Old Bruise" and "El Hombre Que Sabia" a heartfelt tribute to friend and flamenco legend Paco De Lucia. The band also delivers inspired renditions of Pharoah Sanders' spiritual jazz epic "The Creator Has a Master Plan" and Piero Piccioni's cinematic gem "The Light at the Edge of the World."

Recorded with cutting-edge mobile technology and mixed by George Murphy (Shakti, Mumford & Sons, Ellie Goulding) at Eastcote Studios in London, Live at Montreux Jazz Festival 2022 is more than a concert it's an immersive experience that captures the soul, skill, and spontaneity of a guitar legend hailed by Jeff Beck as "the greatest living guitarist."
https://elusivedisc.com/john-mclaughlin-the-4th-dimension-montreux-jazz-festival-2022-2lp/?srsltid=AfmBOorbXBlQK7yhDfFBBz3jZY_6oeaKHyEHSDZJIG15wVXfwsmGF09i

Live at Montreux Jazz Festival 2022

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The Brian Lynch/Eddie Palmieri Project - Simpático

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 66:43
Size: 153,9 MB
Art: Front

(7:54)  1. The Palmieri Effect
(5:25)  2. Que Seria La Vida
(8:52)  3. Guajira Dubois
(6:03)  4. Jazz Impromptu
(8:39)  5. Paginas De Mujer
(8:18)  6. Slippery
(8:24)  7. Jazzucar
(6:15)  8. Tema Para Marissa
(6:50)  9. Freehands

Two decades of working as a highly accomplished trumpeter in Eddie Palmieri's Latin jazz band has culminated for Brian Lynch with this completely ravishing recording alongside his musical mentor. While the name of the group might raise the question of "who's on first?", rest assured that this is an inspired collaboration with the less-celebrated Lynch firmly at the helm. Most of the tunes are his, and the versions of Palmieri's pieces are marked by Lynch's hand. In fact, this album marshals some playing from Palmieri, particularly on the tumbling "The Palmieri Effect," which opens the album with a roar from Palmieri's piano, that I've missed from some recent discs under Palmieri's leadership. While the program of Simpatico is clearly Latin jazz and Palmieri's salsified McCoy Tynerisms are resplendently prominent throughout, there are lovely selections that wouldn't be expected on a Palmieri album. One example is the Lynch original "Jazz Impromptu," which has a sound you'd expect from a hard-blowing Blue Note session from decades ago. The bop roots in Lynch's original compositions are even evident in a guajira-chacha like "Guajira Dubois," where guest alto saxophonist Phil Woods, hardly a supreme Latin jazzman, brings an interesting bop sensibility to the proceedings.

The seventeen musicians (in addition to the superstar Palmieri) are all playing at the top of their game, bringing out an acute brilliance in Lynch's playing that I've never heard so thrillingly projected. But the biggest surprise among this crowd of talent is the Mexican-American diva Lila Downs. Her vocals have a dusky sensuality and subtle understatement that compels re-visioning just how extroverted a great Latin jazz vocalist need be. Lynch may have revolutionized the already rising career of Downs by showcasing her in a context so far removed from her own recordings, which are deeply rooted in traditional Mexican song.  

There's a move afoot in the jazz world to expand the parameters of Latin jazz, with Hilary Noble, Rebecca Cline and Dafnis Prieto among the prime instigators. In his own sweet way, in spite of being less radical conceptually in breaking out of a traditional Latin jazz style than those three musicians, Lynch is triumphantly pushing Latin jazz boundaries. This is a magnificent recording, whatever label you pin on it, and it makes you hope for more Lynch collaborations with his mentor in the near future. ~ Norman Weinstein https://www.allaboutjazz.com/simpatico-eddie-palmieri-artistshare-review-by-norman-weinstein.php

Personnel: Brian Lynch: trumpet; Eddie Palmieri: piano; Lila Downs: vocals; Phil Woods: alto saxophone; Donald Harrison: alto saxophone; Conrad Herwig: trombone; Giovanni Hidalgo: congas; Dafnis Prieto: drums; other players including Gregory Tardy, Mario Rivera, Boris Kozlov, Ruben Rodriguez, Luques Curtis, Robby Ameen, Pedro Martinez, Johnny Rivero, Edsel Gomez, Marvin Diz, Pete Rodriguez.

Simpático

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