Dick Hyman - Dick Hyman Plays Fats Waller

Styles: Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 59:23
Size: 137,0 MB
Art: Front

(2:37)  1. Bach Up To Me
(5:54)  2. Ain't Misbehavin'
(3:52)  3. Keepin' Out f Mischief Now
(3:42)  4. African Ripples
(7:00)  5. Honeysuckle Rose
(2:57)  6. Viper's Drag
(3:59)  7. Willow Tree
(2:54)  8. I'm Goin' To See My Ma
(2:27)  9. Stealin' Apples
(3:47) 10. I've Got A Feeling I'm Falling
(2:36) 11. Handful of Keys
(6:09) 12. My Fate Is In Your Hands
(2:45) 13. Jitterbug Waltz
(2:21) 14. Sweet Savannah Sue
(6:16) 15. Squeeze me

Strange as it seems, pianist Dick Hyman was not present at the recording session that resulted in this CD. Months earlier, Hyman performed 15 Fats Waller songs on the Bosendorfer 2905E reproducing piano in New York. A computer floppy disc of the date was sent to California where it was recorded direct to CD. But more important than the technology involved is the music itself. Sometimes Hyman seems to take these pieces a little too seriously, treating "African Ripples" and "Viper's Drag" as if they were classical music but, to his credit, his treatment of the Waller compositions (mixing in the familiar with obscurities such as an enthusiastic "I'm Goin' To See My Ma" and a very complex version of "Bach Up To Me") does not attempt to copy Fats' style. A surprisingly uptempo version of "Stealin' Apples" and a thoughtful rendition of "Ain't Misbehavin'" are among the highpoints. Recommended. ~ Scott Yanow http://www.allmusic.com/album/dick-hyman-plays-fats-waller-mw0000308856

Personnel: Dick Hyman (piano).

Dick Hyman Plays Fats Waller

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Irene Atman - New York Rendezvous

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 48:44
Size: 113,4 MB
Art: Front

(5:16)  1. Two For The Road
(3:17)  2. Taking A Chance On Love
(5:58)  3. Why Did I Choose You
(4:32)  4. Somos Novios
(3:46)  5. Time After Time
(5:33)  6. I'm A Fool To Want You
(5:37)  7. Charade
(5:15)  8. A Time For Love
(5:14)  9. Alfie
(4:12) 10. The Glory Of Love

Canadian songbird Irene Atman follows her highly acclaimed self-titled, indepedent debut of 2007 with another remarkable effort, this time recording ten gentle standards in an auspicious New York Rendezvous with pianist Frank Kimbrough and other New York players, providing a new meaning to the phrase "New York state of mind." Meeting Kimbrough twenty years ago on, as she states, "a forgettable cruise," Atman reached out to Kimbrough with the thought of recording her second album in New York, to which Kimbrough offered unqualified support and even serves here as co-producer.


Atman is clearly one of the finest singers around, gifted with a voice that allow her to reach high notes with ease, revealing a cool and enticing style that tenderizes the lyrics with a touch of class. She brings the music alive with the assistance of a very fine quartet, led, of course, by Kimbrough, it features bassist Jay Anderson, drummer Matt Wilson and the versatile Joel Frahm on tenor and soprano saxophones. While the selection of music does contain several familiar standards like Burt Bacharach's "Alfie," Jules Styne's "Time After Time," and Johnny Mandel's "A Time For Love," the majority is lesser-known and less frequently recorded music.

There are no real swinging numbers on the album, as Atman instead prefers to focus on the softer side of jazz floating a repertoire of light gentle standards. Henry Mancini's "Two For The Road," from 1967, opens the disc and establishes a warm tone that carries over throughout the recording. Both Kimbrough and Frahm entertain very tasteful solos here with nothing flashy or fancy, just smooth and relaxing. Frahm does provide engaging tenor phrasing between Atman's voicing of the lyrics to "Why Did I Choose You," but it's the singer who is quite pronounced on this beautiful ballad. Frahm also distinguishes himself on the classic "Charade," this time playing soprano.

Armando Manzanero's "Somos Novios" is in good hands as Atman voices the lyrics in Spanish in a soft and passionate rendition of this standard, with Kimbrough providing the meat of the music in an emotional performance. With Wilson's crashing cymbal accents providing the steady beat on "Time After Time," this is the closest the singer comes to dishing out a swinging number. After listening to the finale songs, "Alfie" and "The Glory of Love," there's little doubt that New York Rendezvousis a jewel of an album. 

The music sparkles all over and Irene Atman's Barbra Streisand-like vocals carry the day on this very memorable recording. ~ Edward Blanco http://www.allaboutjazz.com/new-york-rendezvous-irene-atman-self-produced-review-by-edward-blanco.php

Personnel: Irene Atman: vocals; Frank Kimbrough: piano; Jay Anderson: drums; Joel Frahm: tenor and soprano saxophones.

New York Rendezvous

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Phil Woods, Carl Saunders - Play Henry Mancini

Styles: Saxophone And Trumpet Jazz
Year: 2004
File: MP3@320K/s
Time: 74:57
Size: 172,3 MB
Art: Front

(7:15)  1. The Pink Panther
(6:21)  2. Lightly
(4:39)  3. Walkin' Bass
(6:46)  4. Soldier In The Rain
(6:20)  5. Free And Easy
(4:47)  6. Fallout!
(5:36)  7. Goofin' At The Coffee House
(6:38)  8. Dreamsville
(5:39)  9. Mr. Lucky
(5:19) 10. Sorta Blue
(5:56) 11. A Quiet Gass
(9:35) 12. Two For The Road

Yes, it's "The Pink Panther," "Mr. Lucky" and "Two for the Road," but if anyone can take the late film/television composer Henry Mancini's quasi-jazz and make it swing like a willow in a windstorm, it's two old (well, oldish ) masters like alto saxophonist Phil Woods and trumpeter Carl Saunders. And swing they do, as does the unsung but abundantly talented Denver-based rhythm section of pianist Jeff Jenkins, bassist Ken Walker and drummer Paul Romaine. It's readily apparent that the quintet is having a marvelous time digging into Mancini's themes, seven of which are from the television series Peter Gunn (but not the well-known title song). Besides the roguish "Panther," the others include the principal motifs from the films "Two for the Road" and 'soldier in the Rain." Although Mancini wrote with the masses in mind, he had a fondness for jazz that was often reflected in his music, some of the clearest evidence of which can be heard on "Walkin" Bass," "Fallout!," 'sorta Blue," "A Quiet Gass" and the loose-limbed, ultra-hip "Goofin' at the Coffee House." As Woods says in the liner notes, "[Mancini's] writing is in the tradition of Gershwin, Porter and Arlen hardly a shabby group with whom to be associated.

Mancini wrote beautiful music too (check out "Dreamsville," one of the album's many highlights, which includes gossamer solos by Saunders, on flugel, and Woods, or the lyrical and pensive "Two for the Road"). The theme from "Mr. Lucky" is invigorated by changing the tempo from leisurely to double-time and implanting explosive statements by the dynamic duo. "Gass," on the other hand, is, like "Goofin'," an unassuming swinger that seems to have been written with Jazz in mind, and Saunders and Woods take to it like the proverbial ducks to water. Whether you're a Mancini fan or never cared much for his music, you may be swiftly ensnared, as I was, by the unflagging artistry of Messrs. Woods and Saunders, who place their imposing and indelible stamp on a dozen of his charming compositions. This is the third album I've heard from Graham Carter's fairly new label, Jazzed Media, and every one has been a winner. ~ Jack Bowers http://www.allaboutjazz.com/play-henry-mancini-phil-woods-jazzed-media-review-by-jack-bowers.php

Personnel: Phil Woods, alto saxophone; Carl Saunders, trumpet, flugelhorn; Jeff Jenkins, piano; Ken Walker, bass; Paul Romaine, drums.

Play Henry Mancini

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Jackie McLean & Tina Brooks - Street Singer

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 41:42
Size: 96,0 MB
Art: Front

( 6:49)  1. Melonae's Dance
( 7:00)  2. Appointment In Ghana
( 6:44)  3. Medina
( 7:29)  4. Isle Of Java
(10:18)  5. Street Singer
( 3:20)  6. A Ballad For Doll

Street Singer is a hard bop album jointly led by tenor Tina Brooks and alto Jackie McLean, released on the Japanese Blue Note label in 1980. The tracks "Appointment in Ghana", "A Ballad for Doll" and "Isle of Java" were originally released in 1960 on Jackie's Bag. The three tracks left would be later included on the CD reissue of said album. https://en.wikipedia.org/wiki/Street_Singer

Personnel:  Tina Brooks - tenor saxophone;  Jackie McLean - alto saxophone;  Blue Mitchell – trumpet;  Kenny Drew – piano;  Paul Chambers – bass;  Art Taylor - drums

Street Singer

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Warne Marsh - Lee Konitz Quintet - Live At The Montmartre Club - Jazz Exchange Vol. 2

Styles: Saxophone Jazz
Year: 1975
File: MP3@320K/s
Time: 57:50
Size: 133,2 MB
Art: Front

(6:11)  1. Kary's Trance
(5:54)  2. Foolin' Myself
(8:12)  3. Sound-Lee
(1:12)  4. Two Voice Invention No.1 Allegro
(7:08)  5. Two Not One
(5:05)  6. Darn That Dream
(8:19)  7. 317 East 32nd Street
(1:22)  8. Two Voice Invention No.13 Allegro Tranquillo
(9:15)  9. April
(5:06) 10. Everything Happens To Me

In December 1975, tenor saxophonist Warne Marsh and altoist Lee Konitz went on a European tour. Their musical reunion showed that the magic that had existed between them a quarter-century before when they teamed up with their teacher Lennie Tristano was still very much present. Both saxophonists had grown through the years, and on this second of three sets, they are in consistently inventive form. Accompanied by a quiet English rhythm section (guitarist Dave Cliff, bassist Peter Ind and drummer Alan Levitt), the interplay between Marsh and Konitz, who had very complementary yet individual styles, is quite impressive, as are their individual solos on on four thinly disguised "originals," "Foolin' Myself," "Darn That Dream" and a couple of brief "Two-Part Inventions" by Bach. Well worth acquiring. ~ Scott Yanow  http://www.allmusic.com/album/live-at-the-montmartre-club-jazz-exchange-vol-2-mw0000123595

Personnel:  Alto Saxophone – Lee Konitz;  Bass – Peter Ind; Drums – Alan Levitt;  Guitar – Dave Cliff;  Tenor Saxophone – Warne Marsh

Live At The Montmartre Club-Jazz Exchange Vol. 2

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Scott Robinson - Plays The Compositions Of Thad Jones: Forever Lasting

Styles: Straight-Ahead/Mainstream
Year: 2007
File: MP3@320K/s
Time: 68:47
Size: 158,5 MB
Art: Front

(5:53)  1. Quietude
(4:13)  2. To You
(5:50)  3. Interloper
(3:49)  4. Don't Ever Leave Me
(5:47)  5. Three And One
(3:31)  6. Yours And Mine
(3:57)  7. Fingers
(4:27)  8. All My Yesterdays
(4:37)  9. TNA Blues
(4:14) 10. A Child Is Born
(7:17) 11. Walkin' About
(5:28) 12. Kids Are Pretty People
(3:53) 13. The Summary
(5:44) 14. Greeting And Salutations

Thad Jones was best known as an outstanding composer/arranger, in addition to his abilities as a trumpeter and bandleader (various small groups, the Thad Jones/Mel Lewis Orchestra and the Count Basie Orchestra, the latter following Basie's Death). Scott Robinson has long been an admirer of Jones and he may be one of the first to devote an entire CD to the late composer's works, which includes fourteen songs, several of which have been rarely recorded. This release compiles selections from four different recording sessions over a thirteen-year period, utilizing different combinations of rhythm sections. One is so used to seeing Scott Robinson playing such a wide variety of saxophones that it is easy to forget that he also plays other instruments, including echo cornet, flugelhorn, French horn, C-flute and E flat-soprano flute, plus alto clarinet, all heard on this release.

Robinson's session with organist Mike LeDonne produces some of the most unusual sounds of the date. On several tracks, he plays bass sax, which produces surprising results in the lush ballad "To You," the peppy "Three and One" and the greasy "TNA Blues"; Robinson makes the ungainly horn sound very melodic, sounding inspired by the late baritone saxophonist Pepper Adams (also a Jones/Lewis alum). For the gorgeous ballad "A Child is Born" (easily one of Jones' best tunes), Robinson creatively combines theremin as the lead voice with overdubbed alto clarinet to construct a unique treatment of this jazz standard, assisted by pianist Richard Wyands. Thad Jones' elder brother Hank makes a special appearance in a warm rendition of "All My Yesterdays" with Robinson playing a rich vibrato-filled tenor sax à la Ben Webster. This is no mere novelty release, but a thoughtful series of arrangements in honor of one of the best jazz composers of the 20th century. ~ Ken Dryden  http://www.allaboutjazz.com/scott-robinson-plays-the-compositions-of-thad-jones-forever-lasting-scott-robinson-arbors-records-review-by-ken-dryden.php

Personnel: Scott Robinson: C-flute; C-melody sax, F-mezzo-soprano sax, tenor sax, thundersheet, bass sax, Eb-soprano flute, contrabass sarrusophone, theremin, alto clarinet, bell, echo cornet, French horn, flugelhorn;  Mike LeDonne: Hammond B-3 organ;  Richard Wyands: piano:  Hank Jones: piano;  Pat O’Leary; bass;  Dennis Mackrel: drums;  Klaus Suonsaari: drums.

Plays The Compositions Of Thad Jones: Forever Lasting

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Pamela Luss With Houston Person - Sweet and Saxy

Styles: Vocal And Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 44:38
Size: 102,7 MB
Art: Front

(4:34)  1. Canadian Sunset
(4:08)  2. You Better Go Now
(3:44)  3. Star Eyes
(3:26)  4. Can't Get Out of This Mood
(3:28)  5. Why Was I Born?
(5:42)  6. Maybe You'll Be There
(3:56)  7. Nice 'n Easy
(5:31)  8. You Belong To Me
(2:18)  9. Don'cha Go Away Mad
(2:42) 10. Ain't No Sunshine
(5:04) 11. It's Too Late

Through three fine recordings, jazz vocalist Pamela Luss has stayed the course singing standards in her own inimitable, alluring fashion. Blessed with a solid vocal instrument that at-times wavers with a girlish fascination for pure or unrequited love, Luss gives it another go on this, her fourth album, backed up by Houston Person's working band featuring the excellent pianist John DiMartino, and at times guitarist James Chirillo. The lust Luss is able to conjure is hard to resist, as she stands tall and lean among these well-known songs, interpreted with just a dash of sass, a large portion of confidence, a slight vibrato, and an at-times lissome eye toward a hopeful future. 

Person works well with most singers (i.e. Etta Jones) but here he seems to feed off of the vocal lines Luss dishes out. They're clearly having fun trading phrases on occasion, or in retort when the vocalist makes statements like the come-and-run-away ballad "You Better Go Now," the light bossa nova take of "Can't Get Out Of This Mood," or the sensual, samba-tinged "You Belong to Me." Chirillo is particularly tasteful on the five numbers where he's added on, strumming like the seasoned Freddie Greene during "Nice & Easy," and diving into the shuffle "Teardrops from My Eyes" - more of this one please Ms. Luss! DiMartino is also the arranger of these selections, increasing the sophistication of tracks like the temptation calypso "Canadian Sunset," controlling the swing factor of "Star Eyes," or enhancing a bluesy feeling to "Why Was I Born?".

Perhaps the single track where Luss comes a bit out of her comfort zone is the playful "Don'tcha Go Away Mad," always a tongue-in-cheek favorite, as those asking for forgiveness while looking for an amicable exit from confrontation can relate to. This is a good combination of vocalist and backup band, one that could, at some point in time, explore a more down-home blues approach. While hers is a voice that does take some getting used to, she's refining her method with each recording, becoming a true professional interpreter of the tried-and-true American popular songbook. ~ Michael G.Nastos http://www.allmusic.com/album/sweet-and-saxy-mw0000824422

Personnel: Pamela Luss (vocals); James Chirillo (guitar); Houston Person (tenor saxophone); John Di Martino (piano); Willie Jones III (drums).

Sweet and Saxy

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Joel Weiskopf - The Search

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 64:27
Size: 147,8 MB
Art: Front

(6:45)  1. Edda
(7:50)  2. Bess, You Is My Woman Now
(6:21)  3. It Could Happen To You
(7:50)  4. Song For The Lost
(6:26)  5. Criss Cross
(6:29)  6. One For Karl
(9:21)  7. The Search
(7:46)  8. Red's Blues
(5:34)  9. My One And Only Love

The time was ripe for 37-year-old pianist Joel Weiskopf to make his maiden voyage as a leader. Known as the younger brother of tenor phenom Walt Weiskopf, Joel's seasoned experiences in music include nine years of training in classical piano, graduation from the New England Conservatory of Music, and gigs with Teddy Kotick, George Garzone, Tim Hagans, and Woody Herman. All this in addition to his much-valued contributions to brother Walt's Criss Cross catalog and a few other dates for the label as a sideman. What immediately impresses one about Joel's style is his total command of the instrument, his creative muse finding its voice without strain. Dense and incendiary as a McCoy Tyner one minute, he can be as tastefully sparse and melodic as influences Errol Garner and Ahmad Jamal the next. Variance and diversity mark the shrewd program of standards and originals heard here, with Weiskopf's range and versatility hinted at without turning things into an incoherent grab bag. 

Wayne Shorter's "Edda" provides the type of changes that Weiskopf just eats up with ease. He's also confident enough to try a turn at Monk's "Criss Cross" and does so in a manner that retains the tune's spirit, but let's his own poetic identity show through. The lengthy title track is a microcosm of taste and creativity, with the group interplay making for a seductive listen, but then bassist Peter Washington and drummer Billy Drummond are both quite a wonder throughout. Their musical integrity and ability to inspire make both of these talented men an asset to any fellow musician. How could you not be pushed to the max as a soloist with Peter and Billy around? So let's see, he's got ballads covered and up tempo romps, but can he handle the blues parlance? No problem, as "Red's Blues" more than amply demonstrates. Then, as if to resolve things on a quiet note, a stunning solo reading of "My One and Only Love" closes out a momentous debut. There's a whole lot of piano going on here and Joel's ability to establish himself as a major voice is without question. ~ C.Andrew Hovan http://www.allaboutjazz.com/the-search-joel-weiskopf-criss-cross-review-by-c-andrew-hovan.php

Personnel: Joel Weiskopf- piano, Peter Washington- bass, Billy Drummond- drums

The Search

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Erik Truffaz - The Walk Of The Giant Turtle

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 53:12
Size: 122,0 MB
Art: Front

(3:48)  1. Scody Pt. 1
(4:21)  2. Scody Pt. 2
(5:25)  3. King B
(7:07)  4. Flamingos
(4:25)  5. Turiddu
(5:50)  6. Next Door
(6:08)  7. Belle De Nuit
(4:27)  8. Wilfried
(6:46)  9. Seven Skies
(4:51) 10. The Walk Of The Giant Turtle

With the tension of his muted trumpet and the release of his open horn, Erik Truffaz walks on the back of a giant turtle representing planet Earth. His hip creations traverse continents as well as history. While jazz and electric fusion have remained faithful soul mates for over 30 years, the popular mix has always represented a thorn in the side of loyal, straight-ahead devotees. Most of the recordings issued by Miles Davis after 1969, after all, still pose questions in the minds of die-hard fans. Trumpeter Truffaz has created a powerful follow-up to last year’s Mantis, on which he sketched out drawings that connected the dots between cool jazz, world beat affairs, and tradition. This time out, Truffaz’s session sizzles with hot rock defiance, techno-dance energy and creative, in- your-face gestures.

”Seven Skies” heralds the approach of a passionate rock opera. “Flamingos” moves gracefully along dream-filled pathways. “King B” and “Next Door” strut to the heavy backbeat of a crowded dance floor. “Turiddu” and “Belle de Nuit” lay low with the sweet dreams of tomorrow. “Wilfried,” a personal favorite, offers intricate counterpoint behind the delicately woven and fresh open voice of Truffaz’s trumpet. To close the program, “The Walk of the Giant Turtle” stirs creative fires that all too often get left out in today’s business world where dollars carry more weight than artistic achievement. Kudos to Truffaz for his courage in seeing things his own way, with this recommended album as the fortuitous result. ~ Jim Santella  http://www.allaboutjazz.com/the-walk-of-the-giant-turtle-erik-truffaz-blue-note-records-review-by-jim-santella.php

Personnel: Erik Truffaz- trumpet; Patrick Muller- keyboards; Marcello Giuliani- electric bass; Marc Erbetta- drums.

The Walk Of The Giant Turtle

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Scott Robinson & Emil Viklicky Trio - Summertime

Styles: Piano And Saxophone Jazz

Year: 2005

File: MP3@320K/s

Time: 65:25

Size: 149,9 MB

Art: Front

(7:07)  1. Summertime

(5:41)  2. Not Yet

(7:00)  3. Blues Refraction

(3:58)  4. Pod Nasima Okny

(6:32)  5. Out of Nowhere

(6:01)  6. East of the Sun

(5:44)  7. Just for Us

(3:59)  8. In a Sentimental Mood

(5:03)  9. Scott's Blues

(5:58) 10. Never Been in Love

(4:08) 11. Dark Composition

(4:06) 12. Under Our Windows

Scott Robinson has been affected a bit by the Roland Kirk syndrome. His interest in and ability to play just about every saxophone ever invented and some that haven't has obscured his talent to listeners more comfortable with musicians that can be identified by a single instrument, in spite of being very active recently both as a leader and member of Joe Lovano's Nonet. Pianist Emil Viklicky is the best known jazz musician working in the Czech Republic today but virtually unknown outside Central Europe, despite having developed a delightfully original style by combining elements of modern jazz with the melodies of Moravian folk songs and having been commissioned to compose a piece for "Let Freedom Swing," part of the festival that marked the opening of the new building that houses Jazz at Lincoln Center. Fortunately Summertime , recorded for Radio Prague, is available to shed light on these two unjustly under-recognized artists.

The title track leads off with Robinson blowing softly and intimately on cornet before switching to tenor to play the familiar melody. He alternates so seamlessly between the two horns that even though the trumpet and saxophone are never heard together it's hard to believe there aren't two musicians at work. Bassist Frantisek Uhlir takes the lead on "East of the Sun," plinking out the lyrics pizzicato-style before Robinson comes in on the bossa nova beat. On "Just for Us," Uhlir's sharp solo offsets Robinson's trad soprano. "In a Sentimental Mood" pops out of the speakers when Robinson's full-force tenor takes over from his wispy preamble and Viklicky's opening light-touch accompaniment. "Never Been in Love" is taken from the dependable Tadd Dameron songbook, and Robinson can't resist manipulating a wind machine he found in the studio on his own "Dark Composition." By the time Robinson and Viklicky pair up for the reflective coda, "Under Our Window," tastefulness and professionalism have been stamped on every cut. ~ Jeff Stockton http://www.allaboutjazz.com/summertime-scott-robinson-review-by-jeff-stockton.php

Personnel: Scott Robinson: saxophones, cornet; Emil Viklicky: piano, celeste; Frantisek Uhlir: bass; Laco Tropp: drums.

 

Summertime

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Peter Martin - Something Unexpected

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 72:18
Size: 166,6 MB
Art: Front

(9:29)  1. Unusual Suspects
(8:28)  2. La Pregunta
(9:17)  3. The Queen
(5:52)  4. Attestation
(6:25)  5. Triste
(4:09)  6. Corcovado
(7:28)  7. Dr. Jackle
(7:42)  8. Lovely One
(7:39)  9. Lotus Blossom
(5:44) 10. I Wish

Thirty-year-old New Orleans native Peter Martin is showcased on Something Unexpected, the second release in Max Jazz's Piano Series. To date, there have been three releases in this series. The first was Bruce Barth's superb East and West (Max Jazz 201) and following Peter Martin's contribution was Jessica Williams' outstanding This Side Up (Max Jazz 203). Like the label's vocal series, the piano series highlights a wide range of jazz styles with an emphasis on innovation and originality. This is certainly true for the piano series.

Peter Martin provides his addition to the piano series library with a live recording from St. Louis' Jazz Bistro. Fellow Now Orleanian Nicholas Payton and Marsalis alum Reginald Veal join Martin in a collection of originals and standards. Martin deftly covers the gambit from Kenny Dorham's "Lotus Blossom" to Jackie McLean's "Dr. Jackle." The show closer, Stevie Wonder's "I Wish" is a swinging little groove piece cast against the backdrop of an acoustic quintet. Martin's own "Unusual Suspects" and "Lovely One" betray a talent well beyond his three decades. Something Unexpected is a snappily crafted collection of songs performed very much in a subdued post bop mode. It will appeal to all middle-of-the-road mainstreamers. ~ C.Michael Bailey  http://www.allaboutjazz.com/something-unexpected-peter-martin-maxjazz-review-by-c-michael-bailey.php

Personnel: Peter Martin - piano; Reginald Veal - bass; Adonis Rose - drums; Nicholas Payton - trumpet; Brice Winston - tenor saxophone.

Something Unexpected

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Massimo Farao' Trio - Autumn Leaves

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 61:13
Size: 140,8 MB
Art: Front

(6:14)  1. Corcovado
(6:58)  2. Estate
(5:36)  3. To Each His Own
(6:33)  4. Chanson De Maxence
(5:02)  5. Someday My Prince Will Come
(5:15)  6. No Problem
(7:02)  7. Cheek to Cheek
(5:33)  8. Alone Together
(7:32)  9. Autumn Leaves
(5:24) 10. I Thought About You

Massimo Farao is a wonderful Italian pianist who has played and recorded with Red Holloway, Albert "Tootie" Heath, Tony Scott, Franco Ambrosetti, Nat Adderley, Jeff Tain Watts, Jack DeJohnette and Chris Potter, among others. Venus Records' producer Tetsuo Hara must have really fallen in love with Farao's music because in less than a year he has released no less than five of the Italian pianist's albums. The debut CD by his trio Luiza was followed by Bohemia After Dark which featured his bassist Aldo Zunino in a duo setting. Now we have three new albums (Autumn Leaves, My Funny Valentine and I Left My Heart In San Francisco) that were all recorded in a three-day session in February, 2014. 

It seems quite a feat for a piano trio to produce three albums worth music in three days, but the quality of the performance is consistently high. Farao's passionate style and romanticism are very attractive along with the rich harmonies he creates. 

He doesn't play too many notes and his arrangements are relatively straight forward, but his choice of notes is exquisite. With his unfailing sense of swing, all his music including ballads radiates an aura of happiness.Recommended to fans of piano trios!http://www.eastwindimport.com/product-info.asp?ProductID=13338

Personnel:  Massimo Farao (piano);  Aldo Zunino (bass);  Marco Tolotti (drums)

Autumn Leaves

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Mike LeDonne - Awwlright!

Styles: Piano Jazz, Post bop
Year: 2015
File: MP3@320K/s
Time: 55:52
Size: 128,3 MB
Art: Front

(5:58)  1. AwwlRight!
(7:50)  2. Love Don't Love Nobody
(6:09)  3. Never Can Say Goodbye
(6:32)  4. The Boss
(6:42)  5. Let It Go
(8:11)  6. Mary Lou's Blues
(7:09)  7. You Are So Beautiful
(7:17)  8. Hadley Joe

Pianist and composer Mike LeDonne was born in Bridgeport, CT, in 1956. LeDonne was practically raised at his parents' music store and by the age of ten, his father, a jazz guitarist, was hiring him out on gigs. After graduating from the New England Conservatory of Music in Boston, LeDonne moved to New York, where he started working at Jimmy Ryan's (at the time, one of New York's oldest jazz clubs). Here LeDonne met and played with some of the great historical figures of jazz, including Roy Eldridge, Papa Jo Jones, and Vic Dickenson, among others. In 1988, LeDonne joined the Milt Jackson Quartet, frequently writing compositions for the group. Jackson eventually recorded several of these compositions and LeDonne became the band's musical director after Jackson's death in 1999.

LeDonne began recording in 1988, debuting with the post-bop album Bout Time, which was released on the Criss Cross label. LeDonne recorded several more albums for Criss Cross throughout the early and mid-'90s, peaking with the sextet album Soulmates, a straight-ahead recording which featured soloists such as alto saxophonist Jon Gordon, tenor saxophonist Joshua Redman, and trumpeter Ryan Kysor. LeDonne switched to the Double Time label in 1998, recording Waltz for an Urbanite and, most recently, the quintet album Then and Now, which features the exceptional playing of tenor saxophonist Eric Alexander. LeDonne remains among the best (if at times underrated) pianists on the New York jazz scene today and has been praised by such jazz luminaries as Oscar Peterson, Milt Jackson, and Benny Golson. Bio ~ Alex Arcone  http://www.allmusic.com/artist/mike-ledonne-mn0000489069/biography

Personnel: Mike LeDonne (Hammond b-3 organ); Peter Bernstein (guitar); Eric Alexander (tenor saxophone); Jeremy Pelt (trumpet); Joe Farnsworth (drums).

Awwlright!

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Lisa Ono - My Favorite Songs

Styles: Vocal Jazz, Bossa Nova
Year: 2015
File: MP3@320K/s
Time: 52:22
Size: 125,5 MB
Art: Front

(4:29)  1. And I Love You So
(4:37)  2. Whatever Will Be Will Be
(3:54)  3. Blue Canary
(4:14)  4. Una Lacrima sul Viso
(3:38)  5. G.I. Blues
(5:03)  6. Summertime
(6:06)  7. You’ve Changed
(2:29)  8. There Will Never Be Another You
(4:48)  9. Take Five
(3:56) 10. Jailhouse Rock
(4:06) 11. Raindrops Keep Falling on My Head
(5:01) 12. Plaisir D’Amour

Born in Sao Paulo, Brazil. Lisa Ono spent her childhood in Brazil until she became 10 years old. She started singing and playing the guitar when she was 15 years old, and her debut as a professional Bossa Nova singer was in 1989. Her natural voice, rhythmic guitar playing, and her charming smile led her to a huge success and helped Bossa Nova to be popular in Japan. She has performed with many top musicians such as the legendary Antonio Carlos Jobim, the Jazz Samba giant Joao Donato, and has been performing enthusiastically in New York, Brazil and Asian countries. The album “Dream”, which was released in 1999, sold more than 2 hundred thousand copies in Japan, and since than she has established a determined position in the Japanese Bossa Nova community. http://onolisa.com/eng/biography-3/

My Favorite Songs

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Dick Hyman - Thinking About Bix

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 66:32
Size: 153,3 MB
Art: Front

(3:58)  1. Thinking About Bix
(3:20)  2. Singing' the Blues (Till My Daddy Comes Home)
(2:55)  3. Ostrich Walk
(5:23)  4. I'm Coming, Virginia
(3:43)  5. Jazz Me Blues
(4:33)  6. Candlelights
(2:43)  7. 'Tain't So, Honey, 'Tain't So
(2:54)  8. Since My Best Gal Turned Me Down
(6:02)  9. In the Dark
(2:49) 10. Clementine (From New Orleans)
(5:10) 11. Lonely Melody
(4:01) 12. In a Mist
(3:16) 13. Sweet Sue (Just You)
(4:51) 14. Wringin' and Twistin'
(2:56) 15. Flashes
(5:22) 16. Davenport Blues
(2:28) 17. You Took Advantage of Me

A piano is not a cornet. That should be obvious, yet both the name of the label, Reference Recordings and statements like this one by pianist Dick Hyman in the notes "As with all of these replicas, I've tried to reproduce Bix' solo exactly." belie that obvious fact. Hyman's reproductions of cornet solos by Bix Beiderbecke lack not only the sounds characteristic of brass wind instruments, but the context of those solos. This is an unaccompanied piano recording; Bix recorded the solos rendered here with mostly small bands playing the New Orleans/Chicago style now termed trad jazz.

Thinking About Bix (Piano Solo) is not a reproduction but a refraction through the prism of Hyman's piano and imagination, providing a fresh setting for music originally performed or in the case of the Bix piano pieces composed by Bix Beiderbecke. Like similar ventures that take transcribed solos from recordings and orchestrate them (the groups Pres and Bird Feathers, many tribute big band projects), Hyman's renditions here illuminate aspects of both Bix and the bands he worked with that are revelatory, clarifying harmonies and casting melody in a luminous spotlight. But Hyman's most impressive achievement is finding pianistic equivalents for band arrangements that reflect the suave sophistication of Paul Whiteman ("'Tain't So, Honey, 'Tain't So") or peppy, jazz age rhythmic spirit of Bix & His Gang ("Since My Best Gal Turned Me Down").

Only a jazz pianist as completely schooled in both piano technique and jazz piano history could pull off a project like this with the felicity and élan of Hyman. From the wonderful Bix and band interpretations and the four impressionistic piano compositions that make up Bix' "Modern Suite" to the final, rollicking four-hand duet with fellow pianist Mike Lipskin on "You Took Advantage of Me," Hyman imaginatively revives that old slogan: "Bix Lives!."~ George Kanzler  http://www.allaboutjazz.com/thinking-about-bix-piano-solo-dick-hyman-reference-recordings-review-by-george-kanzler.php

Personnel: Dick Hyman, Mike Lipskin: piano.

Thinking About Bix

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Pam Saulsby - The Full Measure Of A Woman

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 32:32
Size: 75,1 MB
Art: Front

(3:37)  1. Fever
(3:06)  2. Cheek To Cheek
(2:05)  3. Fly Me To The Moon
(4:47)  4. As Time Goes By
(4:45)  5. Besame Mucho
(3:37)  6. California Dreamin'
(5:18)  7. Peel Me A Grape
(5:15)  8. Cry Me A River

This CD is a simmering collection of covers. It is rich, sophisticated, full of passion, with a delivery that will touch your soul like no other. Without reinventing the wheel, this album is a gracious gem, full of both tenderness and sass, thanks to the blending of samba rhythms, smooth and traditional jazz, and a swing feel. It's a lively journey of a woman fully expressed in what she wants in love and how it should be delivered. http://www.cdbaby.com/cd/pamsaulsby

The Full Measure Of A Woman

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Joel Weiskopf - Change In My Life

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 64:18
Size: 147,4 MB
Art: Front

(5:45)  1. There's Been A Change
(7:46)  2. Enigma
(6:46)  3. Righteousness, Peace And Joy
(6:05)  4. First Love
(5:54)  5. You Are My Way, My Truth And My Life
(6:15)  6. Irish Folk Song
(6:25)  7. The Believer
(6:44)  8. Song For My Grandmother
(6:37)  9. All The Things You Are
(5:56) 10. Day Of Rejoicing

On his third outing for Criss Cross, pianist Joel Weiskopf returns to the trio format that launched his career as a leader. His sidemen require no introduction to jazz fans bassist John Patitucci and drummer Brian Blade (fresh from extensive touring the with great Wayne Shorter) are on hand to aid Weiskopf in his quest. This album features nine originals and one heavily reworked standard, all of which attest to Weiskopf's gifts as both a player and composer. ~ Editorial Reviews  http://www.amazon.com/Change-Life-Joel-Trio-Weiskopf/dp/B00007FZIA

Personnel: Joel Weiskopf (piano); John Patitucci (bass); Brian Blade (drums).

Change In My Life

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Kenny Drew - Trippin'

Styles: Piano Jazz
Year: 1984
File: MP3@320K/s
Time: 46:38
Size: 117,8 MB
Art: Front

(7:17)  1. Trippin'
(5:16)  2. On a Slow Boat to China
(6:10)  3. Vacation in Hakone
(4:46)  4. Easy Flight
(5:30)  5. Take the 'A'TRAIN
(6:24)  6. Concierto de Aranjues
(5:24)  7. The Eternal Traveller
(5:45)  8. Journey's end Blues

Kenny Drew gets a spot of great guest help here the legendary Toots Thieleman on guitar and harmonica joining a core trio that also includes Niel Henning Orsted Pedersen on bass and Ed Thigpen on drums! Toots only shows up on two of the album's eight tracks, but really makes them sparkle adding a sweet dose of color to the already great, well-honed rhythms of the group. 

Titles include "Journey's End Blues", "Easy Flight", "Take The A Train", "Concierto E Aranjuez", and "Trippin".  https://www.dustygroove.com/item/61889

Personnel:  Kenny Drew (Piano); Toots Thielemans (Harmonica, Guitar, Whistle) (#1, 5); Niels-Henning Orsted Pedersen (Drums); Ed Thigpen (Bass). 

Trippin'

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Marion Meadows - Forbidden Fruit

Styles: Saxophone Jazz, Smooth Jazz
Year: 1994
File: MP3@320K/s
Time: 54:47
Size: 126,0 MB
Art: Front

(5:15)  1. Red Light
(4:54)  2. You're Always on My Mind
(5:58)  3. Asha
(5:48)  4. Forbidden Fruit
(4:43)  5. Whenever Your Heart Wants to Sing
(5:12)  6. You Will Never Know what You're Missing
(5:16)  7. Back 2 Back
(3:38)  8. Save the Best for Last
(5:02)  9. Somewhere Island
(4:59) 10. Comin' Home to You
(3:56) 11. Nocturnal Serenade

On Forbidden Fruit, Marion Meadows chooses tight, infectious material and surrounds his soprano sax with slick production, towering arrangements and brisk, exotic rhythms that generally keep the listener attentive, if not consistently enthralled. His problem? He only reallly lets loose on a few cuts ("Back 2 Back," "Comin' Home To You"). The rest of the time, he plays it strictly by the book, cruising demurely rather than generating explosive spark. More tonal variety would be appreciated. Meadows is a fine player who knows how to please and enchant at will, but too often he lets himself lose his way in what is essentially a top notch producer's project. ~ Jonathan Widran  http://www.allmusic.com/album/forbidden-fruit-mw0000110236

Personnel: Marion Meadows (soprano saxophone, tenor saxophone); Eric Benet Jordan (vocals, background vocals); Ricardo Silveira (guitar, acoustic guitar); Dori Caymmi , John T. Smith, Jef Lee Johnson (guitar); Yutaka Yokokura (koto, keyboards); Morris Pleasure (trumpet, keyboards); Johnny Britt (trumpet); Michael Bearden (piano, keyboards, synthesizer, programming); Werner "Vana" Gierig (piano, keyboards, synthesizer, keyboard programming); Don Grusin, Bobby Lyle (piano); Brian Alexander Morgan (keyboards, synthesizer, drums, drum programming, background vocals); Joe Melotti (keyboards, synthesizer, drums); Jerry Peters (keyboards); Derek Bramble (synthesizer, drums, percussion, programming); Stan Smith (drums, percussion); Michael Shapiro, Ricky Lawson, Lionel Cordew (drums); Luis Conte, Munyungo Jackson, Bashiri Johnson (percussion); Joe Wolf (programming); SWV, LeAnne Lyons, Tamara Johnson, Jilien, Cheryl Gamble (background vocals).

Forbidden Fruit

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Dion - Alone With Dion / Runaround Sue (Original Albums Plus Bonus Tracks 1961)

Album: Alone With Dion
Size: 83,2 MB
Time: 35:45
File: MP3 @ 320K/s
Released: 1961/2013
Styles: Pop Rock, Doo Wop
Art: Front

01. Lonely Teenager (2:16)
02. After The Dance (1:58)
03. P.S. I Love You (2:33)
04. Save The Last Dance For Me (2:33)
05. Little Miss Blue (2:17)
06. Havin' Fun (2:20)
07. Close Your Eyes (1:57)
08. Fools Rush In (2:46)
09. My One And Only One (3:22)
10. North East End Of The Corner (2:33)
11. One For My Baby (3:40)
12. Then I'll Be Tired Of You (2:21)
13. Ruby Baby (Bonus Track) (2:34)
14. Will Love Ever Come My Way (Bonus Track) (2:28)

Personnel:
DION DIMUCCI, lead vocals and guitar, plus:
The Del-Satins: Stan Zizka, Leslie Cauchi and Bobby Failla (tenor vocals),
Fred Ferrara (baritone vocals),
Tom Ferrara (bass vocals). Unidentified backing vocals on side 1, track 1.
Orchestras conducted and arranged by Glen Stuart, Stan Applebaum, and Robert Mersey
[exact personnel is unknown, as well as who conducted and arranged each song.]

Recorded between 1960 and 1961 at Allegro Sound Studios and Bell Sound Studios, New York.

This quintessential CD edition includes Dion's magnificent first solo album, Alone with Dion, originally released on the Laurie label in March 1961. This debut CD veers between portraying Dion as a sensitiveheart throb in the brilliantly sung “Lonely Teenager,” and as an all-around pop entertainer now grown up enough to sing standards in front of a big swing band, a la Bobby Darin (“North East End of the Corner”) or a string orchestra a la Johnny Mathis (“Fools Rush In”).

In addition to the original masterpiece, this collector's item contains 2 bonus tracks recorded during that same period but not included on the album (they were only released as the two sides of a single in 1961): “Kissin' Game” and “Heaven Help Me.”

Alone With Dion

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Album: Runaround Sue
Size: 100,6 MB
Time: 38:32
File: MP3 @ 320K/s
Released: 2013
Styles: Pop Rock, Doo Wop
Art: Front

01. Runaround Sue (2:49)
02. Somebody Nobody Wants (2:43)
03. Dream Lover (2:16)
04. Life Is But A Dream (2:33)
05. The Wanderer (2:46)
06. Runaway Girl (2:25)
07. The Majestic (2:40)
08. Little Star (2:40)
09. Lonely World (2:07)
10. (I'll Remember) In The Still Of The Night (2:46)
11. Kansas City (2:39)
12. Take Good Care Of My Baby (2:24)
13. The Kissing Game (Bonus Track) (2:56)
14. Heaven Help Me (Bonus Track) (2:00)
15. Could Somebody Take My Place Tonight (Bonus Track) (2:41)

Dion as a solo artist was initially a kind of hybrid performer, known for his teen idol image but trying for a harder and also a more advanced sound, as revealed on this album. The hits included here, "Runaround Sue," "The Wanderer," and "The Majestic," are so familiar that they tend to eclipse the rest of this 14 song album -- all of the rest, however, is well-sung, -played, and -arranged, ranging from basic hard rock & roll ("Kansas City") to smooth teen pop, which always keeps at least one foot up to the ankle in rock & roll (hence the electric guitar solo on "Could Somebody Take My Place Tonight"). "Little Star" has rated inclusion on several key collections, while "Lonely World" is perhaps the lost single off of this album, with a great beat, killer hooks, and a beautifully shaped performance by the singer and his backup vocalists. What's more, even the covers of familiar material such as "Dream Lover" and "In the Still of the Night" are performed in a style unique to Dion and are worth hearing and owning. The singer was still straddling the gap between teen idol and serious rock & roller, and between late-'50s doo wop and a harder early-'60s sound, although the more serious love songs and the surprisingly articulate guitar solo on "Kansas City" clearly showed that he was winning the musical battle for his own distinct sound. It wasn't a long jump from the repertory here to his distinctive covers of R&B classics like "Ruby Baby." ~by Bruce Eder

Runaround Sue

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