Julia Lee - The Very Best Of

Bitrate: 320K/s
Time: 90:06
Size: 206.3 MB
Styles: Jump blues, Swing
Year: 2008
Art: Front

[2:50] 1. Ugly Papa
[2:53] 2. Pagan Love Song
[3:00] 3. My Sin
[2:48] 4. Gotta Gimme What'cha Got
[2:58] 5. When You're Smiling
[2:48] 6. Tell Me Daddy
[2:51] 7. If It's Good
[2:11] 8. My Man Stands Out
[2:49] 9. Back Street
[2:49] 10. Come On Over To My House
[2:46] 11. I'm Forever Blowing Bubbles
[2:38] 12. If You Hadn't Gone Away
[2:39] 13. King Size Papa
[3:00] 14. I Was Wrong
[2:33] 15. Julia's Blues
[2:59] 16. Tonight's The Night
[2:37] 17. Decent Woman Blues
[3:16] 18. Lotus Blossom
[2:53] 19. Snatch And Grab It
[2:58] 20. I Didn't Like It The First Time
[2:46] 21. That's What I Like
[2:23] 22. Don't Save It Too Long
[2:51] 23. Trouble In Mind
[3:01] 24. Dream Lucky Blues
[2:29] 25. Take It Or Leave It
[2:30] 26. Do You Want It
[2:57] 27. Show Me Missouri Blues
[2:56] 28. Don't Come Too Soon
[3:16] 29. Cold Hearted-Daddy
[2:44] 30. Young Girl's Blues
[3:02] 31. The Cure Of An Aching Heart
[2:40] 32. There Goes My Heart

Julia Lee was born in October of 1902 in Boonville, Missouri. She grew up in the Kansas City area and was versed in music early on in her life beginning with a vocal role with a string trio led by her father. Her piano playing was also a plus, and one of her first professional jobs was as an intermission player at a local movie theater. After gaining a bit of notoriety singing at neighborhood gatherings and parties , she became a vocalist with another family member, her brother George. Originally George also led a trio but in the early twenties expanded the group into a full orchestra. George E. Lee and his Singing Novelty Orchestra was a territory band in and around the Kansas City area in the nineteen twenties and thirties. In 1923 the band recorded for the Okeh label but their efforts were never released. Four years later they recorded for the area label called Meritt Records with the songs "Meritt Stomp" and "Down Home Syncopated Blues". Both George and Julia shared the vocal chores with the band.

By the late nineteen twenties Lee had expanded the band to thirteen members. In 1929 and 1930 the band recorded for Brunswick Records. In 1934 Lee merged his band with another top Kansas City band, that of Benny Moten. By 1935 the Moten band had backed out of the association and they were taken over by pianist Count Basie. That year Julia Lee left the band after fifteen years and went out to try and succeed as a solo performer. George E. Lee soon retired from the music business as Julia began to find an audience in the Kansas City area. Through the late thirties and into the war years Julia Lee was a fixture on the K.C. music scene.

For the rest of the mid fifties Julia Lee performed at many clubs in the Kansas City area, often at the Cuban Room. In 1958 she went out to the West Coast again, and in December of that year she passed away in San Diego at the age of fifty eight. She was an early star of the R & B years during the late forties and an engaging pianist and vocalist. Following in her path were Hadda Brooks, Camille Howard, Nellie Lutcher, and so many others. Her music is available on cd recordings that keep alive the energetic and bouncy music of this remarkable performer. ~JCMarion

The Very Best Of

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Vero Pérez & Jorge Villanueva - Saudade

Bitrate: 320K/s
Time: 62:26
Size: 143.0 MB
Styles: Latin jazz
Year: 2014
Art: Front

[6:46] 1. Garota De Ipanema
[4:12] 2. Carinhoso
[4:11] 3. Samurai
[4:13] 4. Chega De Saudade
[5:30] 5. Consolacao
[3:51] 6. Morena Tropicana
[4:15] 7. Frenesí
[3:25] 8. Merceditas
[3:41] 9. Niña Camba
[4:53] 10. Perfidia
[5:04] 11. La Llorona
[4:18] 12. Qué Será De Ti
[4:04] 13. El Talismán
[3:58] 14. You Already Know

Saudade is an album that explores the soul of brazilian music. Classics from BOSSANOVA like "Girl from Ipanema" and also some BOLEROS such as "Perfidia" are included in "Saudade" with beautiful arrangements played as a voice and guitar duet. A beautiful fusion of Latin-American rhythms.

Verónica, or Vero, Pérez is the singer of the electric- jazz group Efecto Mandarina (which also features Bladimir Morales on bass, Diego Ballón on piano and Eddy Chuquimia on drums). At 24 years old, she’s known for her engaging and charismatic performances, captivating audiences with her deep, emotionally laden voice.

Saudade

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Jerry Adler - I Got A Right To Sing The Blues

Bitrate: 320K/s
Time: 31:41
Size: 72.6 MB
Styles: Harmonica jazz
Year: 2013
Art: Front

[2:16] 1. Blue Pacific Blues
[3:11] 2. Boy Meets Horn
[3:14] 3. My Funny Valentine
[2:27] 4. One For My Baby
[2:14] 5. Sophisticated Lady
[1:48] 6. Bewitched, Bothered And Bewildered
[2:37] 7. Perfidia
[3:06] 8. I Got A Right To Sing The Blues
[1:46] 9. Fascinatin' Rhythm
[4:02] 10. Our Love Is Here To Stay
[1:51] 11. Liza
[3:03] 12. Mood Indigo

Hilliard Gerald ("Jerry") Adler (October 30, 1918 – March 13, 2010) was a harmonica player whose performances have been used in numerous film soundtracks.

Adler was born in Baltimore, and early in his childhood mastered the harmonica, winning a local talent contest sponsored by the Baltimore Evening Sun at age 13. His older brother Larry Adler, four years his senior, had won the same contest five years earlier, performing the same piece, Beethoven's Minuet in G. Later, Adler found work with Paul Whiteman and performed regularly with his orchestra. After starting his solo career, he joined the Army Air Corps, where he did theater and film work in the entertainment division. Adler focused on popular music as his career developed, and he soloed in numerous film soundtracks from the 1940s to the 1960s, including Shane, High Noon, Mary Poppins, and My Fair Lady. He also taught actors how to pretend to play the instrument convincingly where their on-screen performances required.

He published an autobiography, Living from Hand to Mouth, in 2005. Jerry Adler died of prostate cancer in 2010, aged 91.

I Got A Right To Sing The Blues

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Opus 5 - Introducing Opus 5

Styles: Trumpet And Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 62:36
Size: 143,7 MB
Art: Front

(11:07)  1. Think Of Me
( 5:04)  2. Tallysman
(10:18)  3. Baker's Dozen
( 8:17)  4. Ton To Tom
( 8:20)  5. Nostalgia In Time
( 8:31)  6. Asami's Playland
(10:56)  7. Sokol

Collectively delivered jazz albums almost always fall into one of three categories: some are outings from neophytes looking to pool their resources, while trying to build a fan base from the ground floor up; others marry the musical skills of seasoned musicians who've crossed paths in various situations and/or share a commonality in approach; and the most commercially successful, yet artistically regretfully, are usually hastily conceived or rendered performances that simply attach several big names to a project in order to cash in and make a quick buck. Introducing Opus 5, with a to-die-for grouping of modern heavyweights who speak the same language, falls into the second category. Every member of this multicultural quintet was baptized-by-fire in the world of Charles Mingus having worked at various times in different incarnations of the Sue Mingus-driven groups that honor her husband's music and memory but the material on this seven-song outing usually bears little resemblance to the bassist's compositions. 

Easy going fare to ease the ears into the album (pianist George Cables' "Think Of Me"), bristling material with some fiery trumpet work from Alex Sipiagin ("Talltsman"), an odd-metered gem that showcases pianist/composer David Kikoski's uplifting solo work and puts Boris Kozlov's pliant bass on display ("Baker's Dozen"), and light, elegant bossa nova strains (Toninho Horta's "Ton To Tom") come first in the running order, but they don't come to define this band. The final trio of selections, which include an electrified, muscular hard bop update which nods to Mingus in title and spirit more than sound ("Nostalgia In Time"), a soothing entry that puts saxophonist Seamus Blake's warm, yet lustrous, tenor on display, while also showcasing Sipiagin's softer side (Donald Edwards' "Asami's Playground"), and a Russian folk song arranged to highlight an inside-outside duality in this ensemble ("Sokol"), marks Opus 5 as an omnivorous entity that takes all music in and then spits it back out, refracted through its own multidimensional lens of musical perception. 

While time will tell if this is a one-off outing or the start of a fruitful partnership, in the meantime, Introducing Opus 5 tells the story of five highly skilled musicians carrying out a shared artistic mission, and it proves to be a real musical page-turner. ~ Dan Bilawsky  http://www.allaboutjazz.com/introducing-opus-5-seamus-blake-criss-cross-review-by-dan-bilawsky.php#.U7VtybF8eM1
 

Personnel: Seamus Blake: tenor saxophone; Alex Sipiagin: trumpet, flugelhorn; David Kikoski: piano, Fender Rhodes;,: bass; Donald Edwards: drums.

Introducing Opus 5

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Nina Simone - Nina Simone At Town Hall

Styles: Vocal Jazz
Year: 1983
File: MP3@320K/s
Time: 42:26
Size: 97,5 MB
Art: Front

(3:33)  1. Black Is The Color Of My True Love's Hair
(3:16)  2. Exactly Like You
(2:59)  3. The Other Woman
(5:26)  4. Under The Lowest
(6:01)  5. You Can Have Him
(2:54)  6. Summertime (Instrumental)
(2:47)  7. Summertime (Vocal)
(2:56)  8. Cotton-Eyed Joe
(5:27)  9. Return Home
(3:37) 10. Wild Is The Wind
(3:25) 11. Fine And Mellow

One of Nina Simone's finest recordings, this Colpix LP features the unique singer/pianist performing classic versions of "Black Is the Color of My True Love's Hair," "The Other Woman," and "Wild Is the Wind." With supportive work from bassist Jimmy Bond and drummer Albert "Tootie" Heath, she also sounds fine on a few instrumentals. "Summertime" is performed twice, once as a vocal. From the start of her career, Nina Simone carved out her own unique niche, meshing together her classical piano technique with folk singing, civil rights protest lyrics and jazz. All of those elements are in evidence on this highly recommended set. ~ Scott Yanow  http://www.allmusic.com/album/nina-simone-at-town-hall-mw0000474226

Nina Simone At Town Hall

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Liz Vice - Theres A Light

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 36:51
Size: 90,0 MB
Scans:

(3:28)  1. Abide
(4:33)  2. Empty Me Out
(5:00)  3. Entrance
(3:54)  4. The Source
(4:13)  5. Truly Today
(1:54)  6. Pure Religion
(3:37)  7. Everything Is Yours
(3:54)  8. All Must Be Well
(4:12)  9. Enclosed By You
(2:01) 10. There's A Light

"There's A Light" is Liz Vice's debut album, and we here at Deeper Well could not be more excited about it if we tried (trust us, we tried, couldn't get more excited)! Recorded almost entirely live to analog tape over the spring & summer of 2013 in Portland, OR, this album is a gospel-fueled nod to the R&B / soul records of the 60's and 70's - modern enough not to be "throw back", classically influenced enough to feel timeless.

When I was a kid I would go into the basement and play the “Lion King” soundtrack over and over while I performed a dance alone for hours. Being the middle child of five children in a single parent home allows for one to vanish without anyone noticing. I wanted to perform. I wanted to be an actress. Growing up poor, being brown little brown girl, didn't lend itself to a lot of opportunities to pursue the dream of acting. I can remember at a very early age waking up to the sound of mother singing “Rise and Shine and give God the glory” when she wanted us up for school - to this day that song kind of drives me crazy, but this early memory just reminds me that I have always been around music. My absent father is a very talented award winning musician, with his PhD in music, and he is still involved in the music business to this day. Although he has never been a presence in my life, I can’t deny that the musical gene has passed on to me. Music was all around me, but never something I prayed that God would open doors for me. 

I was always afraid to sing on stage, and to this day my throat feels as though it’s caving in until I pray the simple prayer: “LORD, sing over me and I will sing over the people.” One evening I was watching a man perform a cabaret of his favorite Broadway show tunes. As I sat and watched this man perform, I was hit with an image of me sitting in a classroom. The classroom was filled with students and God was standing at the front. He asked, “Who is up for the challenge?” All of the students raised their hands. I kept my hand down, and my head bowed. I didn't want Him to notice that I had decided that whatever He was asking wasn't my calling. The LORD slowly began to walk towards me and tapped on my desk. I look up and He asked again, “Are you up for the challenge?” I sat there and then I nodded yes. Who is going to tell God ‘NO’!? So here I am, singing. Singing in church, singing with well-known local artists, and even though I can’t claim that the opportunities in music are because of what I've done, I will declare that saying “YES” to God's calling will open your eyes to reasons for why you shouldn't put yourself in a box.  http://noisetrade.com/lizvice/theres-a-light

Theres A Light

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Walt Weiskopf - Simplicity

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 59:15
Size: 136,0 MB
Art: Front

(6:43)  1. Churchbells Of A Home Away From Home
(8:06)  2. Lazy Afternoon
(6:21)  3. Misbegotten
(5:31)  4. The Sounds Around The House
(6:12)  5. Simplicity
(7:24)  6. Insubordination
(6:44)  7. Gone Tomorrow
(5:35)  8. Brazillia
(6:35)  9. Wonderful Nightmare

A potent tenor saxophonist and composer firmly in the tradition of John Coltrane and Sonny Rollins, Walt Weiskopf was born in Augusta, GA, and grew up in Syracuse, NY. Upon moving to New York City, he joined the Buddy Rich Big Band in 1981 at the age of 21; two years later, Weiskopf signed on with the Toshiko Akiyoshi Jazz Orchestra, concurrently forming his own quartet with brother Joel on trumpet, Jay Anderson on bass, and Jeff Hirshfeld on drums. His debut, Exact Science, appeared in 1989, followed a year later by Mindwalking; Simplicity, released in 1992, topped the European jazz charts for four weeks. After 1993's A World Away, Weiskopf for the first time departed from original compositions to record 1995's Night Lights, a collection of standards; 1997's Song for My Mother, however, returned his own material to the forefront. 

A graduate of the Eastman School of Music in Rochester, NY, Weiskopf and fellow Eastman alum Ramon Ricker teamed in 1990 to write the books Coltrane: A Player's Guide to His Harmony and The Augmented Scale in Jazz; in 1994, Weiskopf also published Intervalic Improvisation, a player's guide for broadening the scope of modern jazz improvisation. In 1996, he joined drummer Rick Hollander's quartet, and as a headliner returned in 1999 with Anytown. Siren was issued a year later.  Bio ~ https://itunes.apple.com/us/artist/walt-weiskopf/id31297805.

Personnel: Walt Weiskopf (tenor saxophone); Andy Fusco (alto saxophone); Conrad Herwig (trombone); Joel Weiskopf (piano); Peter Washington (bass); Billy Drummond (drums).

Simplicity

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Various - Blues Of Summer

Bitrate: 320K/s
Time: 67:48
Size: 155.2 MB
Styles: Post bop, Straight ahead jazz
Year: 2010
Art: Front

[5:29] 1. Danny Moss - Summer Blues
[7:08] 2. Allan Vaché - No Regrets (Blues For Hans)
[7:05] 3. Warren Vaché - Too Phat Blues
[7:30] 4. Buck Clayton - Black Sheep Blues
[4:57] 5. Butch Miles - Barney's Blues
[7:08] 6. Bill Allred - Dear Hans Blues
[6:01] 7. Dave Glasser - Intimacy Of The Blues
[4:14] 8. Bob Wilber - I Gotta Right To Sing The Blues
[2:26] 9. Oscar Klein - Farewell Blues
[5:15] 10. Wycliffe Gordon - St. Louis Blues
[5:29] 11. Warren Vaché - Blues Times 2 (H & S)
[5:02] 12. Harry Allen Quartet - Every Day I Have The Blues

Germany-based record company, Nagel-Heyer, has pulled together some of the best from their stable of performers for a compilation built around the blues, Summer blues to be specific. These tracks were culled from albums made between February 1990 and June 1999. Nagel-Heyer has an impressive stable of stars, all of them well-steeped in the jazz and blues tradition. There's Warren Vache and Allan Vache, trumpeter/ vocalist Byron Stripling, preeminent guitarists Howard Alden and Oscar Klein among the many jazzmiesters represented here. There are also a variety of instrumental combinations that perform the music including the swing big band of the late Buck Clayton, a fortuitous combination of jazz veterans mixed with younger players. The album from which this track is taken was cut just before Clayton passed on and is one of his many legacies. His "Black Sheep Blues," which combines outstanding ensemble and solo work, is one of the album's highlights. There are also cuts featuring trios, quartets, septets and other small groups. There's excellent solo track by New Orleans swing guitarist Oscar Klein. Only two vocals are included, Pug Norton on "I Gotta Right to Sing the Blues" and Warren Vache on an appropriate lament for Summer, "Too Phat Blues." Since the album is tied to Summer, depressing type blues are avoided while happy, bouncy and occasionally sultry, blues are emphasized. The only downer is the cha-cha-cha version of "St. Louis Blues" by Wycliffe Gordon and company.

All in all, this very good compilation should achieve its objective, i.e., to encourage jazz fans to buy complete albums from which these samples have been harvested. ~Dave Nathan

Blues Of Summer

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Blue Mitchell Sextet - Blue Soul

Bitrate: 320K/s
Time: 55:54
Size: 128.0 MB
Styles: Trumpet jazz
Year: 1959/2008
Art: Front

[3:39] 1. Minor Vamp
[4:26] 2. The Head
[3:19] 3. The Way You Look Tonight
[3:54] 4. Park Avenue Petite
[4:03] 5. Top Shelf
[4:56] 6. Waverley Street
[4:08] 7. Blue Soul
[5:46] 8. Polka Dots And Moonbeams
[6:31] 9. Nica's Dream
[3:34] 10. Minor Vamp (Take 1)
[5:07] 11. Park Avenue Petite (Take 1)
[6:27] 12. Blue Soul (Take 2)

Trumpeter Blue Mitchell left his home in Miami for a short stint in New York City, headed back to Florida, and then to Los Angeles before his brief but vital career as a jazz trumpeter ended. This sojourn identified his sound, initially branded by the warmth of the Southeast, burnished by the hustle and bustle of the Big Apple, and polished by the West Coast cool school demeanor. In 1959, as Mitchell returned to Miami, he connected with Detroit trombonist Curtis Fuller and Philadelphia tenor saxophonist Jimmy Heath to form one of the most potent three-horn front lines in jazz history. Few knew how good they were until after the fact, but this recording, the third album for Mitchell as a leader, has him and his mates in full flight. Drummer Philly Joe Jones has a lot to do with the solid booster rocket-like propulsion on this primarily hard bop date, and check out his calypso variations on the second chorus of the otherwise easy blues swing and ultra melodic "Waverley Street." Credit Mitchell's street smarts and highly developed melodic inventiveness as the focal point for this definitive session. In many ways, this is a parallel album to the Miles Davis classic Kind of Blue, with subtle undertones driven by fourth-gear swing. The CD kicks off with the famous "Minor Vamp," of which Fuller's original take for the Savoy label has been remixed and layered, and is heard in the acid jazz dancehalls. It's a familiar sparse line, a two-note vamp tacked onto a lithe, perky melody that needs no critique -- it's simply great! More concisely rendered hard bop follows on "The Head," not complex by any means, but filled with plenty o' soul. The hardest line crops up during "Top Shelf," featuring a memorable, cutting, precise solo by Heath. Fuller and Heath lay out so you can hear in full dimension the cozy and warm persona of Mitchell on the ballad "Park Avenue Petite," but especially on the bright, easy swinger "Blue Soul," which most accurately approaches Kind of Blue. In tribute to his then boss, Horace Silver, "Nica's Dream" features Mitchell's muted trumpet over an underlying fresh bed of trombone and tenor sax. Even more so, Mitchell's deep blue horn shines on the standard "Polka Dots and Moonbeams," an organ of sheer beauty and one to be studied for those who need to learn that playing fewer notes more musically is an admirable quality. This is one of the most precious jazz recordings of a year that would soon give sway to the Blue Note sound, and is in many real and important ways as much of a prelude as any other statement. It's a must-have for all serious mainstream jazz fans. ~Michael G. Nastos

Blue Soul

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Joan Chamorro - Joan Chamorro Presenta Eva Fernandez

Bitrate: 320K/s
Time: 59:17
Size: 135.7 MB
Styles: Latin jazz, Saxophone jazz
Year: 2013
Art: Front

[4:17] 1. These Foolish Things
[6:06] 2. Comes Love
[5:00] 3. Cry Me A River
[5:04] 4. B.A.Blues
[4:40] 5. Whisper Not
[3:24] 6. Cheek To Cheek
[3:43] 7. Souvenir
[4:49] 8. Just Friends
[4:56] 9. My Ideal
[6:04] 10. My Favorite Things
[3:19] 11. I'm Fool To Want You
[4:08] 12. Georgia On My Mind
[3:42] 13. Old Folks

This second CD of 'Joan Chamorro presenta' is one more thing that makes me proud of my work. Eva Fernández is a musician since I met her, at age 7. She has always showed outstanding ability and sensibility. Her Petite Fleur in the Sant Andreu Jazz Band's first CD, with her friend Andrea Motis, has moved me a lot of times and has made me feel proud of her. Her alto sax sound is clean and powerful, and her work as a lead of the saxophone section is brilliant.

Eva is a soprano, alto and baritone saxophonist as well as clarinetist. On this record we can enjoy her good work with the soprano and alto saxophones, but what really stands out is her voice, which has a characteristic and special timbre that she modulates depending on what she wants to communicate. Her performer and jazz musician condition also allows her to express all sort of melodies in a different way. ~Joan Chamorro

With Scott Robinson, Dick Oatts, Ignasi Terraza, Andrea Motis, Esteve Pi, Josep Traver, Curro Gálvez, Víctor Correa, Jaume Ferrer, Sant Andreu Jazz Band.

Joan Chamorro Presenta Eva Fernandez

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JazzXChange - Walk Tall: Tribute To Joe Zawinul

Bitrate: 320K/s
Time: 39:44
Size: 91.0 MB
Styles: Hard bop
Year: 2009
Art: Front

[3:40] 1. One For Newk
[4:50] 2. Money In The Pocket
[6:25] 3. Walk Tall
[5:55] 4. Mercy, Mercy, Mercy
[4:56] 5. Mystified
[5:27] 6. Scotch & Water
[4:32] 7. Country Preacher
[3:55] 8. Sticks

During his fifty year career, Joe Zawinul pioneered the development of many jazz styles. Together with Cannonball Adderley he added Soul to Jazz, and with Miles Davis, on those classic recordings In A Silent Way and Bitches Brew, he invented Electric Jazz. Later , with Weather Report and his Zawinul Syndicate he included ethnical elements to create a borderless, panglobal jazz music.

After his death in 2007, JazzXChange took on the challenge of paying tribute to the keyboard wizard who is still the most important European in the history of jazz. Their new album, Walk Tall, recorded for BlueNote Germany, contains a selection of tunes composed by the Austrian ambassador of music back in the 1960’s during his time with the Cannonball Adderley Band.

These early compositions of Josef Erich Zawinul include the title track Walk Tall (written in honour of Martin Luther King), Mercy Mercy Mercy (best selling jazz recording at that time with over a million copies sold), Scotch and Water, Country Preacher and more. These are interpreted by JazzXChange respectfully and with great musical ingenuity. JazzXChange dismantles and then reassembles the components of these classics, but maintains their essence to deliver a compact and tasty sound.

In 2006, with their debut album Well, You Needn't, JazzXChange turned tunes by Sonny Rollins, Milt Jackson, Benny Golson, Thelonious Monk, Joe Henderson etc. into modern jazz stylings. The extensive reviews by print media, television and radio focused not only on a great debut by this German outfit, but also recognized the unusual personnel of the band. Next to the most experienced professionals of the European jazz scene were two prominent German businessmen: August-Wilhelm Scheer, founder of IDS Scheer and member of the supervisory board of SAP and Werner Seifert, CEO of Deutsche Boerse until 2005. After hearing August’s articulate baritone sax and Werner’s bluesy keyboard style on Well, You Needn't , the media took up the transition from manager to musician with a big halo with headlines such as From stock exchange to JazzXChange. Amongst the vast publicity for the two unconventional managers, the (actual) music lost out from time to time in the media reporting. Now the excitement has cooled a little, the new album, Walk Tall should earn more space in the music pages rather than the business section of the papers. The new album, with it’s first rate musicianship, has certainly earned that right.

Walk Tall: Tribute To Joe Zawinul

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Terri Brinegar - As I Am

Styles: Jazz, Vocal
Year: 2008
File: MP3@320K/s
Time: 46:22
Size: 106,5 MB
Art: Front

(4:09)  1. Three Words
(3:36)  2. The Love Of My Life
(3:49)  3. Sweet Passion
(3:29)  4. I Got The Right
(3:17)  5. As I Am
(4:12)  6. Paradise
(3:35)  7. Give It Away
(4:48)  8. Home
(3:12)  9. Let Me Come Back Home
(5:27) 10. Why You Treat Me So Bad
(3:45) 11. Gone
(2:59) 12. Sunshine

Terri has been surrounded by music from a very young age - her parents were Bluegrass musicians. At the age of 9, Terri began violin lessons with the idea that she’d play fiddle in the family band. However, her classical music training lead her in a different direction. She chose upon classical voice as her major study at North Texas State University, with a full academic scholarship. She was the winner of many state-wide competitions and graduated with honors. New York City was her next venture when she was accepted into the famed Juilliard School of Music. Terri soon realized though that she did not want a professional career as an opera singer. So she moved to Los Angeles where she was exposed to many other thriving genres of music, namely Rock & Roll, Blues, R&B, and Soul. It was here she joined her first band and started writing music. She sang in many Blues and R&B bands and even performed at the Monterey Bay Blues Festival, the Catalina Blues Festival, House of Blues, BB King’s Blues Club, and countless concert venues. In January of 2006, she moved to Nashville to begin her next journey, focusing on songwriting and of course, singing.  http://www.cdbaby.com/cd/terribrinegar

As I Am

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Opus 5 - Progression

Styles: Trumpet And Flugelhorn Jazz
Year: 2014
File: MP3@320K/s
Time: 62:06
Size: 142,6 MB
Art: Front

( 8:51)  1. Snow Child
(10:06)  2. Fear of Rooming
( 9:17)  3. Climbing
(10:03)  4. Walk a Waltz
( 9:19)  5. Geraldine
( 7:41)  6. Inner Balance
( 6:46)  7. For Instance, Take This

In the world of jazz the quintet is an established tradition. The standard quintet format has been one of the most common throughout the history of the music. It's a hard format to mess up, but it's an even harder format in which to stand out. On their most recent recording, Progression, Opus 5 stands out as a group rooted in tradition but always exploring possibility. A esthetically the group follows in the spirit of some of the great quintets of the past like Art Blakey and Miles Davis's second quintet. But each band member's voice shines in their solos and the band as a unit creates organic and moving music. All familiar names on the Criss Cross label, these five players all have years of playing experience with each other. Their comfort and joy in playing with each other can be found on every track. Unlike their first two releases, Progression, features wholly original material from the band members. Drummer Donald Edwards contributes the opening and closing tunes on the album, both energetic swingers. The last tune, "For Instance, Take This," flies by at a burning tempo and pianist David Kikoski lets the sparks fly in his solo. Bassist Boris Kozlov and Edwards seem to effortlessly match his every twist and turn. 

Kozlov contributes two originals to the setlist. "Walk a Waltz" is a curiously titled piece considering it moves through several time signatures including 7/8 and 10/8. Kozlov also contributes "Inner Balance," a beautiful and haunting Shorter-esque ballad. Alex Sipiagin's masterful phrasing and dark, warm sound on the flugelhorn match the song's tone perfectly. "Climbing" is the sole Sipiagin composition on the album. Adding in overdubbed muted trumpet, to create a third voice, the three melodic lines weave in and out of each other perfectly. Saxophonist Seamus Blake contributes his original tune "Fear of Rooming" a fun, bouncy tune in three. Each member of the band takes their turn in the spotlight at various points in the music on Progression, but this band is a perfect example of the old jazz cliché that a band is "more than the sum of its parts." Though rooted in swing music, these musicians are constantly stretching the limits of harmony and time. They take risks in the music and the risks pay off because of the strength of the band as a whole. ~ Andrew Luhn   http://www.allaboutjazz.com/progression-opus-5-criss-cross-review-by-andrew-luhn.php#.U7R6n7F8eM0
 

Personnel: Alex Sipiagin: Trumpet and Flugelhorn; Seamus Blake: Tenor Saxophone; David Kikoski: Piano; Boris Kozlov: Bass; Donald Edwards: Drums

Progression

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Lori Lieberman - Takes Courage

Styles: Vocal Pop
Year: 2010
File: MP3@224K/s
Time: 57:34
Size: 92,5 MB
Art: Front

(3:49)  1. Early Wednesday Morning
(4:32)  2. Another Galaxy
(4:28)  3. New York Mining Disaster
(4:18)  4. Gun Metal Sky
(4:19)  5. The Opposite Of Love
(3:38)  6. Only With You
(4:13)  7. When You Were Mine
(5:18)  8. He Needs You
(4:23)  9. Bus Stop
(5:04) 10. More Than This
(4:54) 11. My Baby Needs A Shephard
(4:13) 12. Killing Me Softly
(4:18) 13. Takes Courage

Leonard Cohen came up on stage in one of her concerts and sang “Bird On A Wire”. Don McLean invited her to be a part of his documentary, “American Troubadour,”   Judy Collins called her a gifted songwriter.Highly regarded among her peers and younger artists alike, this legendary artist has gone on to record LP after CD, gleaning the respect of an ever-changing industry  a loyal and devoted base of fans. Best known for Killing Me Softly”, written during her Troubadour days in Los Angeles when her girlfriend, writer Michele Willens, took her to a  Don McLean in concert, she developed her producing and arranging skills into a career that has spanned over fifteen albums. Featured in author, Leo Blokhuis’ book, “Sounds Of The West Coast” which won the Golden Tulip Award, he devotes a chapter that details Lori Lieberman’s early music California in the seventies, the Sunset Strip and the West Coast club circuit that included singer-songwriters such as Joni Mitchell, Jackson Browne, and The Eagles. A true full circle moment occurred a few weeks ago, when she met Don McLean for the first time at his concert in Los Angeles, where he credited the song to Lori Lieberman, and sang its inspiration, “Empty Chairs”, to her. Born in Los Angeles but raised in Switzerland, among Lieberman’s early musical influences were Francoise Hardy, Tom Rush, Cat Stevens “and anything from the States I could get my hands on”.

After attending University in Boston, she signed her first record deal with Capitol Records. The next five LPs on that label included some of the leading studio musicians a young Larry Carlton, members of the “L.A. Express”, Sneaky Pete, and pianist Joe Sample. She toured the U.S. with Randy Newman, Billy Joel, Leonard Cohen, John Sebastian and Rick Nelson, to name a few. For several years,as the  music business went from acoustic to disco, Lori Lieberman spent time away in the hills of Malibu to raise three children. She returned to recording under the guidance of Joseph Cali, who first had the idea to record her with his then partner, Mark Levinson, as a two mic live experience. She was nominated for the Golden Note Award for excellence with “A Thousand Dreams”, on Pope Music, and two CDs followed “Home Of Whispers”, and “Gone Is The Girl”, became staples of the Audiophile community, who embraced her stunning songs, warm vocals and rich orchestrations. Rich Warren, of WFMT Chicago, named “Home Of Whispers” as his number one, most recommended CD of that year. With the release of “Monterey”, on Drive On Records, co-produced by Lori Lieberman and Joseph Cali, with songs composed and arranged by Lieberman, she toured the U.S., receiving airplay as the Indie market increased, highlighting her natural and acoustic sound. “Gun Metal Sky”, released in 2009, marked her debut as an orchestrator for strings and woodwinds. While most of the songs were self-penned, she included interesting and unique versions of songs by some of our most beloved songwriters Emmylou Harris, The Bee Gees, Paul Simon, and the Hollies. Three songs were added to Sirius Radio’s “The Loft”, and performances that included the City Winery in New York, and a premiere concert tour of the Netherlands led to distribution throughout Europe, and a deal with V2 Records...More  http://lorilieberman.com/wordpress/bio/

Takes Courage

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George Kahn - Jazz Deluxe

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 61:32
Size: 141,0 MB
Art: Front

(5:41)  1. Bourbon Street Strut
(4:56)  2. Smooth Jazz Seven
(5:00)  3. Silver Blues
(6:40)  4. Miles Journey
(5:31)  5. Ritmo Jazz
(4:09)  6. Your Life
(5:29)  7. Summer Carnival
(4:44)  8. Dream Lover
(3:35)  9. El Rico Montuno
(6:18) 10. Riding On Air
(4:04) 11. Time Flyer
(5:19) 12. Havana Nights

A major force in the Los Angeles jazz community since the late 1990s, pianist-composer George Kahn recently released his sixth CD, Cover Up! Made available through his Playing Records label, Cover Up! features Kahn's trio with bassist Brian Bromberg and drummer Alex Acuna, plus occasional guests. The brilliant lineup of players interprets four catchy originals as well as some surprising , recognizable rock tunes that are transformed into jazz. “People always respond to songs they know,” says George Kahn. “Thinking about it, I realized that I'd always wanted to create jazz versions of tunes that one does not normally hear in a jazz setting. Rather than perform ‘Stella By Starlight' or ‘Autumn Leaves' yet again, I thought it would be fun to play songs that I liked while I was growing up, usually from the late 1960s and early ‘70s and some newer tunes. I settled on songs by Cream, Pink Floyd, Bill Withers and John Mayer along with the Beatles.” Rather than performing watered-down versions of pop tunes, Kahn created arrangements that reinvented the songs as swinging and hip jazz. “‘Sunshine Of Your Love' was difficult initially, but when I played it in the studio with Brian Bromberg and Alex Acuna, it really jelled. 

‘Comfortably Numb' has a very open and interesting chord progression that allows it to work very well as a ballad. The first time I heard ‘Waiting On The World To Change,' I loved the song and realized that it was really a gospel tune although John Mayer does not play it like that. We slowed it down, added a couple of chord changes and there it was.” Also quite unusual is the meshing together of the Beatles' “Yesterday” and Jerome Kern's “Yesterdays.” Rather than play it as a conventional medley, the two songs are combined in a way that keeps listeners guessing as to which song is which. George Kahn has been playing with Brian Bromberg and Alex Acuna on an occasional basis since they met in 2004 and they formed the nucleus of his previous CD “…Compared To What?“ There is clearly a strong chemistry between the three of us. When I thought about doing a new album, they were the first musicians I thought of. I love playing with them, and the groove we get is so natural and infectious.” Tenor-saxophonist Justo Almario and trumpeter John Fumo, who are on four selections apiece, are old friends while the versatile guitarist Pat Kelley adds a great deal to the music on two cuts. Bill Withers' “Use Me” features the young singer Courtney Lemmon. “My wife is a vocal teacher and Courtney was one of her students when she was attending Santa Monica High School around eight years ago, She was also our babysitter at one time and had a great voice even then. She sang a song on my previous CD, studied at the New School in New York, moved back to the Los Angeles area a year ago, and was a natural to feature on the Bill Withers song.” 

George Kahn grew up in New Rochelle, New York, studying classical music from the age of nine. He began composing while in high school and was always interested in improvisational music, studying the music of Charles Ives, John Cage and Karlheinz Stockhausen as a Composition Major at Brandeis University. He did not start to explore jazz until his last years at Brandeis, being particularly affected by John Coltrane's Kulu Se Mama, which opened his mind towards what was possible in music. After graduating, he lived on Cape Cod for a couple of years, did some gigs in Boston, toured the East Coast with a disco band and eventually moved to California in 1976. “I decided that it was time to stop saying I was a musician and actually be one.” Kahn worked in an improvising New Age group for a few years, studied arranging with Spud Murphy, and performed in a variety of settings. In the latter half of the 1990s he made his move, forming the Playing Music label and Sudhana Music Publishing. Since then he has released six CDs. “Each of my albums features a wide range of styles which are tied together by my compositional and playing style. For my debut Out of Time, I decided to shoot high and get my dream drummer, Billy Higgins. After I talked him into working on the project, he recommended bassist Richard Reid. Everything fell into place after I got Billy. I was surprised to find out that he did not read music. But by the second run through, he had every song down. That guy had the biggest ears in the world, he was just phenomenal.” Next out was Conscious Dreams, an un-issued recording from 1985 that is more in the New Age vein, featuring George Kahn on all of the instruments. Freedom Vessel mostly has Kahn in a trio with the late bassist Dave Carpenter and drummer Joe LaBarbera, plus guest spots for altoist Eric Marienthal and Bobby Rodriguez. The emphasis is on the pianist's infectious originals. 

Midnight Brew uses Kahn's working trio of the time (with bassist Karl Vincent and drummer M.B. Gordy) as the nucleus behind such all-stars as Marienthal, Justo Almario, guitarist Larry Koonse, trumpeter Bobby Rodriguez and singer Tierney Sutton. The Kahn-Bromberg-Acuna trio appears for the first time on …Compared To What?, assisted by Almario, Marienthal, John Fumo and guitarist Ira Ingber. “Naturally I like to think that each CD is stronger than the previous one,” says the pianist. “It is like having building blocks, with each new project building on the ones of the past. One of Keith Jarrett's focuses is to be riff free, not constantly playing the riffs and phrases that you already know and instead concentrate on flowing improvisation. That is my aim in my playing.” George Kahn, who performs frequently in the Los Angeles area, including an annual Jazz For The Homeless fundraiser for the charity PATH (People Assisting The Homeless) and benefits for public school music programs, looks forward to touring again in the near future. “My main goal is to share my music with as many people as possible. I believe that there is a great deal of life in West Coast Jazz. It is not only viable but has the opportunity and ability to broaden its base. I purposely picked out songs that might get a John Mayer fan who has never heard a jazz album, to possibly explore this CD because they know some of the songs. I hope that Cover Up! will give more people a door into this wonderful music.” Both accessible and consistently creative, “Cover Up!” is George Kahn's finest recording to date, containing music that is difficult to resist. Bio ~ http://musicians.allaboutjazz.com/georgekahn

Jazz Deluxe

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Leny Andrade - Embraceable You

Size: 121,3 MB
Time: 51:41
File: MP3 @ 320K/s
Released: 1993
Styles: Jazz Vocals, Brazilian Jazz
Art: Full

01. Misty (6:06)
02. Autumn Leaves (3:43)
03. The Man I Love (5:44)
04. Night And Day (3:30)
05. Embraceable You (4:06)
06. Stella By Starlight (4:06)
07. Body And Soul (5:41)
08. Satin Doll (4:57)
09. Watch What Happens (3:28)
10. Just In Time (2:33)
11. The Shadow Of Your Smile (4:35)
12. 'S Wonderful (3:06)

Born in Rio de Janeiro, the Brazilian singer Leny Andrade has toured the world and won countless accolades. At the age of nine, only three years after beginning to play the piano, Andrade won a scholarship to the Brazilian Conservatory of Music in Rio. At the age of eleven, she was invited to sing in a children's program at Radio Tupi, where she performed weekly for two years. At fifteen, she had her first professional gig as a singer with the orchestra of Maestro Perminio Goncalves.

From then on, Andrade performed almost constantly, both with groups and solo. While she was still underaged, she performed in two of the hippest clubs of the era: Bottles Bar and Bacara Club with the Sergio Mendes Trio. In the late 1950's, Andrade was already a well-established performer, and the Bossa Nova surge of the time launched her recording career and won her international recognition.

Andrade has starred in many musicals, such as Rio, Bossa, and Balanco and Gemini 5 in Rio and in Mexico City, and after Gemini 5''s run ended, she stayed in Mexico for five years, performing in clubs and on television and becoming one of the most popular artists in all of Mexico.

Back in Brazil, Andrade assumed her position as a "musician's singer," based on her incredible ability to improvise and her flair at scat singing. She toured all over Latin America while recording many albums and appearing in musical theater and on television.

Andrade has invited to perform in jazz festivals all over the world; she has been featured in festivals from Sweden to Spain and almost everywhere in between. Jazzman Paquito D'Rivera even composed a song inspired by her, "For Leny," which was included on his album Manhattan Burn.

The New York Times describes her: "like Sarah Vaughan, Andrade has a large, rich voice that becomes a mighty baritone when she dips into her lower register ... she possesses a lusty, free-flowing passion that packs every phrase with an earthy sensuality." Leny Andrade's Chesky Records release, her first American recording, Maiden Voyage (JD113) has been lauded as "an elegant, sophisticated voyage into high-voltage jazz which will leave you breathless."

During the recording session for Maiden Voyage, Andrade leaned forward in her chair and pronounced slowly, "I pay the price of every word I sing." Throughout a career which has spanned almost half a century, that has certainly been true. Now, Chesky Records proudly introduces to the US this intense first lady of Brazilian jazz, Leny Andrade.

Embraceable You

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Lucyan Group - Orient-Jazz

Size: 135,7 MB
Time: 58:19
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz, World, Fusion
Art: Front

01. Shakti (3:51)
02. Morning Gymnastics (4:03)
03. Dominika-San (3:56)
04. Kirtan Raga (5:38)
05. Kalidesh (5:38)
06. Flight Of The Camel (4:17)
07. Tamil Song (6:03)
08. Oriental Swing (5:23)
09. Japanese Song (5:15)
10. Song Of Rocks (7:53)
11. Indian Song (6:16)

"The Lucyan Group" it is the name of a Polish musical group, founded by Polish multi-instrumentalist and composer Lucjan Weso?owski (performing under the artistic pseudonym “Lucyan). The group has been founded in the 2009 and plays mostly the music composed by the leader, inspired by the Oriental and Balkan folk music. In the repertoire there are also Indian , Tibetan and Japanese songs.

The CD "Orient-jazz" has been recorded by thsi band with helping of a few musicians. They are 2 saxophone-players: Luca Donini (Italy) and Sagit Zilberman (Israel), clarinet-player Miroslaw Klepaczka (Poland), violin-player Piotr Przybyl and Julian Wesolowski (nephew of leader) who recorded djembe and synthesizer in 2 songs.

Orient-jazz is a term coined by Lucyan, who, with this term, defines the music composed by him, as being a combination of elements of jazz and Oriental music. Since the early 80's, he has been composing tracks that structurally and rhythmically derive from jazz, but are close to Oriental music in their melodic harmonies. The scales being utilized by Lucyan originate from different traditions, such as Indian, Chinese, Arabic, Japanese, etc. His compositions are generally built in a similar manner to jazz songs; the rhythmical sphere makes reference to Oriental music, especially to that of India. The harmonic spaces are very diversified – at one time, they resemble Oriental tracks where European-style harmony is practically non-existent; at another, such as in the track called “Morning Gymnastics”, they are constructed in a fashion typical of Western culture, tending towards jazz through the use of multisonic chords.
Improvisations are performed using the scale of a given theme, or scales remaining very close to that scale. Phrasing, depending on his musicians' individual preferences, alludes more or less to jazz phrasing.

1986 in Poland was the year of the release of the magnetic cassette “The Orientation to the Orient - part 1”, which includes tracks in this genre only. Apart from Lucyan's compositions, the cassette also includes 2 tracks composed by Bohdan Lizon', both in a similar style. The whole of the Orient-jazz songs were mostly performed by the band called “The Orientation to the Orient”, which had been founded by Lucyan in 1983. Its line-up was made up of jazz musicians, such as saxophonist Wojciech Staroniewicz, violinist Krzysztof Maciejowski or bass guitarist Tomasz Ga;ssowski. For many years, the pillar of the band was flutist Stefan B?aszczyn'ski. Lucyan's Orient-jazz compositions were also performed by his Italian band “The Lucyan Group”, active in the years 1994-1997 and 2002-2004. Currently, these songs constitute the repertoire of his Polish formation that has been in existence since December 2009, and continues the artistic work under the same name as “The Lucyan Group”.
Lately this music is played also by new Lucyan’s groups: “Verso Oriente” (Italy) and “The Orient-Jazz Duo” (Poland).

Orient-Jazz

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Lucy Lummis - Lucy Lummis With The Best In Town

Size: 68,3 MB
Time: 29:12
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals, Cabaret
Art: Front

01. The Boy Next Door (Feat. Antonio Peral) (3:23)
02. When You're In Love (Feat. Antonio Peral) (3:37)
03. Gotta Move (2:02)
04. On The Street Where You Live (Feat. Antonio Peral) (4:37)
05. What A Difference A Day Makes (Feat. David Pastor) (3:08)
06. Lover Man (Feat. Lluis Vidal) (5:08)
07. I Got Plenty O' Nuttin' (3:07)
08. The Way He Makes Me Feel (Feat. Antonio Peral) (4:06)

Lucy started her training in ballet, jazz, tap and singing at “La Companyia” (Barcelona). She graduated from the “London Studio Centre” with a diploma in musical theatre and was awarded the “Sheila ‘O’Neil award” to the most outstanding allrounder.

Professional credits: “La Bella y La Bestia” (Tour in Spain) as swing and Mrs. Potts cover, “Chicago” as swing, Mama Morton cover and resident director (Madrid & Spain Tour),
“Zorro” (UK Tour & West End) as Anabel and cover Inez, “Los Productores” (Madrid), as Martha Malkovich & Not You, “Mamma Mia” (Madrid) as swing & cover Ali, and assistant choreographer for Barcelona production, “Fama, el musical” (Barcelona) as Mabel Washington, “Porter Paradis” (Barcelona) as Ethel Merman. Also, various performances with big band and jazz quintet formations & solo cabaret performances in various venues throughout Spain.

Lucy Lummis With The Best In Town

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The Mike Vax Big Band - BigBandJazz.net

Size: 172,5 MB
Time: 74:34
File: MP3 @ 320K/s
Released: 2002
Styles: Big Band
Art: Front

01. Alex's Tune (6:28)
02. Seascape (5:22)
03. La Virgen De La Macarena (6:23)
04. Mr. Natural (5:26)
05. Pennies From Heaven (2:55)
06. I'm Glad There Is You (3:18)
07. On A Slow Boat To China (4:11)
08. Boney (6:07)
09. Baubles, Bangles & Beads (3:19)
10. Autumn In New York (6:26)
11. Variations On A Brazilian Folk Song (7:52)
12. Oblivion (5:07)
13. Malaguena (5:16)
14. All The Things You Are (Bonus Track) (6:17)

Trumpeter Mike Vax has come up with an interesting idea, using his latest album to promote the web site bigbandjazz.net, which in turn promotes the Oakland, CA–based non–profit group Friends of Big Band Jazz (FBBJ), whose worthy goal is to help keep big–band Jazz alive for future generations. FBBJ supports and promotes performances by the MVJO, proceeds from which are used to provide opportunities for young musicians to pursue their interest in big–band Jazz through summer camps and other musical programs and events. While buying a copy (or more) of the CD helps FBBJ spread the word about big–band Jazz, an even better reason to do so is that the MVJO is a conspicuously high–powered ensemble molded in the image of the celebrated Stan Kenton Orchestra, and bigbandjazz.net encompasses more than seventy–two minutes of eminently rewarding big–band Jazz. In short, it’s a kick to hear and appreciate music as bright and admirable as this. Section work is crisp and unerring, soloists alert and resourceful. The orchestra comes out swinging on the first of five well–crafted originals, Dave Hanson’s bouncy “Royal Rendezvous” (solos by tenor Scott Peterson and trumpeter Mike Olmos). Vax is the soloist on the sensuous “Love Theme from Hair,” which precedes buoyant new works by Howard Cespedes (“Sunday Variations”) and Bob Washut (“Hoofin’”). Guest Cami Thompson is up next, offering the first of her two amiable vocals, on Cole Porter’s “I Concentrate on You“ (she’s also heard on Michel Legrand’s “The Way He Makes Me Feel”). There are two versions of the electrifying “Virgen de Macarena,” the first with solos by Vax and Peterson (on soprano), the second (which closes the album) featuring Vax alone. The orchestra settles into a genial groove on “That Old Feeling,” “Let’s Face the Music and Dance” and a surprisingly persuasive reading of the theme from “Naked Gun.” Peterson and trombonist Scott Tingle are the soloists on “Feeling,” Olmos, alto Antony Pickard, guitarist Randy Vincent and guest conguero Raul Rekow on “Dance,” Olmos, Vax, pianist Max Perkoff, baritone Doug Rowan and bassist Mario Suraci on “Gun.” Lennie Niehaus’ explosive “Vax Attacks,” with fiery comments by Vax and Peterson, is reminiscent of the great Maynard Ferguson bands of the ’60s, while Frank Foster’s “Blues in Hoss Flat” (solos by pianist Si Perkoff, trumpeter George Spencer, trombonist Mara Fox) is torn straight from the Basie book. Sandwiched between them is Rolf Johnson’s rhythmic “Ice Nine,” whose soloists are Rowan (on bass clarinet) and alto Rory Snyder. Great big–band Jazz for a worthy cause; in the words of Ira Gershwin, who could ask for anything more? ~Jack Bowers

Personnel: Mike Vax, leader, trumpet, flugelhorn; Rory Snyder, alto, soprano sax, flute, piccolo; Antony Pickard, alto sax, flute; Scott Peterson, tenor, soprano sax, flute; Brenda Thompson, tenor sax, flute; Doug Rowan, baritone sax, bass clarinet; Dan Fava, Rolf Johnson, Mike Olmos, George Spencer, trumpet, flugelhorn; Troy Oswald, Mara Fox, Peggy Vax, trombone; Chip Tingle, Steve Trapani, bass trombone; Si Perkoff, piano; Max Perkoff (9), piano, electric keyboard; Randy Vincent, guitar; Mario Suraci, acoustic bass; Dan Parenti (5), electric bass; Kent Bryson, drums. Guest artists

BigBandJazz.net

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Laverne Butler - A Foolish Thing To Do

Bitrate: 320K/s

Time: 54:24

Size: 124.5 MB

Styles: Vocal jazz

Year: 2013

Art: Front

[4:24] 1. A Foolish Thing To Do

[4:38] 2. End Of A Love Affair

[5:09] 3. Go Away Little Boy

[3:38] 4. One Minute To Zero / When I Fall In Love

[6:06] 5. Dindi

[4:09] 6. West Coast Blues

[5:44] 7. Affinity

[4:34] 8. Jubilee / Just One Of Those Things

[4:30] 9. Do Re Mi / Make Someone Happy

[3:30] 10. Make It Easy On Yourself

[4:01] 11. Never Let Me Go

[3:57] 12. Basin Street Blues

LaVerne Butler's jazz vocals on A Foolish Thing To Do emphasizes her fluid mastery of the jazz form and her genuine joy in the music. The beautiful vocalist sings 12 blues-inflected jazz gems written by some of America's most prolific songwriters on this follow-up to her chart-topping Blues In The City. Accompanied by Terrell Stafford on trumpet, Bruce Barth on piano, Darryl Hall on bass and Victor Lewis on drums, Butler opens with "A Foolish Thing To Do," a love-gone-wrong blues she co-wrote with Bruce Barth. Terrell Stafford's trumpet announces the fateful theme and punctuates Butler's vocals throughout the song before easing into a solo with a bluesy jazz dialect reminiscent of the great Louis Armstrong.LaVerne Butler takes command of the lyrics on "Make It Easy On Yourself" and finds her wringing the tears from it whereas so many other vocalists have delivered it in such a glib matter-of-fact way. In addition to the excellent string accompaniment on three compositions and Bruce Barth's piano stylings throughout this great program, LaVerne Butler's graceful creativity, tone, phrasings and emotion are among the shining elements that make up her very cool tools of vocal expression and natural talent. ~Paula Edelstein

A Foolish Thing To Do

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