Nick Hempton - Odd Man Out

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 64:05
Size: 147,3 MB
Art: Front

(4:44)  1. Nice Crackle
(5:45)  2. Five Ways Through Harsimus Cove
(4:37)  3. The Winnie Blues
(5:24)  4. Day Dream
(6:37)  5. The Set-Up
(4:55)  6. Fifth Floor Run-Up
(5:58)  7. Nights and Mornings
(7:42)  8. The Slip
(5:33)  9. A Bicycle Accident
(6:48) 10. Streetlight Lament
(5:57) 11. Blue Shadows

So, just who is the Odd Man Out? It's not exactly one of the great enigmas of modern times, but it's something to ponder. Not for too long, though, for time will be much better spent enjoying the music. Odd Man Out is the third album from saxophonist Nick Hempton and his band and it represents a notable step forward for what was already an impressive and hugely enjoyable ensemble. So what's changed since Hempton's second album The Business (Posi-Tone Records, 2011)? In many ways it's business as usual on Odd Man Out: same label, same band, same straight-ahead, swinging, approach, same combination of originals plus two covers. Hempton is once again staring out from the right side of the cover, although he now sports a neatly-trimmed beard and a quizzical eyebrow. But there's a bit more stylistic breadth, a few extra surprises, on album number three. Trombonist Michael Dease is a very welcome guest. Paired with Hempton's tight, dry saxophone tone Dease's open, warm trombone really helps to enrich the sound, whether it's on up-tempo numbers such as "Nice Crackle" or slinky groovers like "The Set-Up," which also features a good-humored Dease solo. Duke Ellington and Billy Strayhorn's "Day Dream" written for alto saxophonist Johnny Hodges proves to be a terrific vehicle for Hempton's more considered and reflective side. The ballad is a duet between Hempton and Art Hirahara, with the pianist providing a beautifully judged accompaniment to the saxophonist's melodic interpretation of the tune. Hempton's own "Nights And Mornings" offers another chance for him to show his skills as a balladeer, this time on a film-noirish tune full of images of rainstorms and lonely streets. There are some odd little twists, too. "Five Ways Through Harsimus Cove" sounds at first as though Hempton's soundtracking the progress of a cat burglar in a '60s crime caper. "A Bicycle Accident" has an improvised feel, resolving gradually to the album's more characteristic straight-ahead sound then pausing briefly before kicking in with a selection of moods and grooves a little Latin, a spot of R&B and eventually ending with the plaintive sound of Dan Aran's cymbals. Randy Newman's "Blue Shadows" (from the 1986 movie Three Amigos) adds a bit of country to the mix. Marco Panascia's jaunty bass line and Aran's rat-a-tat percussion set things up for a Roy Rogers vocal, so it's almost a surprise when Hempton's saxophone enters instead. Although it would probably be even more of a surprise if Rogers did suddenly burst into song. ~ Bruce Lindsay https://www.allaboutjazz.com/odd-man-out-nick-hempton-posi-tone-records-review-by-bruce-lindsay.php

Personnel: Nick Hempton: alto saxophone, tenor saxophone; Michael Dease: trombone; Art Hirahara: piano; Marco Panascia: double bass; Dan Aran: drums.

Odd Man Out

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Charmaine Clamor - Jazzi Pino

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 67:36
Size: 155,5 MB
Art: Front

(7:06)  1. Dahil Sa'yo
(3:26)  2. O, Ilaw
(3:41)  3. Minamahal Kita
(4:28)  4. Lahat Ng Araw
(3:18)  5. Pamulinawen
(3:21)  6. Usahay
(4:59)  7. Sa Ugoy Ng Duyan
(5:06)  8. Pakiusap
(5:03)  9. Minamahal, Sinasamba w/Mon David
(5:13) 10. Matul Nila
(3:37) 11. Dungawin Mo Hirang
(4:55) 12. Ay, Kalisud
(4:32) 13. Panahon Na / Hindi Kita Malimot
(2:26) 14. Harana Sa Dilim
(6:20) 15. My Funny Brown Pinay (My Funny Valentine)

Charmaine Clamor is a Filipina jazz singer based in Hollywood, California best known for melding traditional Filipino folk songs and instruments with American jazz and blues in a newly developed musical genre called "Jazzipino" Born in Subic-Zambales, Philippines, Charmaine Clamor began her singing career at age 3, entertaining passengers in the back of buses traveling to Manila. As she grew, she began providing piano accompaniment while her mother sang kundiman (Filipino torch songs) and English language classics. She didn't move to the United States until she was 16, and grew up speaking Tagalog, singing karaoke, and eating lumpia. Still maintains family connections in Luzon Province, where she visit every year. Has a master's degree in physical therapy and worked full-time as a physical therapist in hospitals and clinics. Volunteers for environmental organizations that promote 'green' living and is a pesco-vegetarian. Originator of Jazzipino, a genre of music utilizing American jazz, blues, soul, Filipino folk music, and other musical forms. She has simultaneously made the top 5 on both JazzWeek’s World (#2) and Traditional Jazz (#4) charts and is the first Filipino-American artist to place two consecutive recordings in the World Music top 10. Has been profiled on NPR's "Weekend Edition" and BBC's "The World." Records in North America under Michael Konik's independent recording company FreeHam Records, which includes the Tony-Award winning Blues great, Linda Hopkins. Charmaine performs at America's leading jazz clubs, performing arts centers, and concert halls. She frequently top bills Filipino cultural celebrations, such as the San Francisco Filipino-American Jazz Festival and the Filipino Library's annual gala in Los Angeles. On September, 2007, at her New York City show, she launched her second album, "Flippin' Out", at the Iridium Jazz Club, with "My Funny Brown Pinay" (to the tune of "My Funny Valentine"). On April 15, 2008, at her Brooklyn debut performance, she treated the mixed crowd to this same theme song/anthem ("Look at my skin – it's brown… Look at my nose – it's flat"). May, 2008, Charmaine Clamor and 8 international jazz artists and bands appeared at the 3rd Annual 2008 Miri International Jazz Festival, at ParkCity Everly Hotel, in Sarawak, Malaysia. In November, 2008, Charmaine released My Harana: A Filipino Serenade the follow-up to "Flippin’ Out," touring America and the Philippines in support of the record. 

In September, 2009, "Jazzipino" was launched with a full fledged promotional tour in the Philippines under the Viva Records label. Charmaine is a founding member of JazzPhil-USA, a non-profit organization that promotes jazz artists of Filipino descent in the United States and has been credited with introducing Filipino culture to mainstream audiences. Charmaine was selected by The Filipino Women's Network as one of the 100 Most Influential Filipino Women in the United States  In May, 2008, Charmaine was noted as a rising jazz star in the United States by LA Weekly’s jazz critic Brick Wahl. Her two-night gig at Hollywood’s Catalina Bar & Grill was Wahl's jazz event Pick of the Week: “She made a big splash with Flippin’ Out its hip mix of beautifully arranged standards and jazzed-up Tagalog love songs took the ‘Filipina Singing Sensation’ into the upper reaches of the jazz and world charts. And no wonder: Her husky, sassy tone, languid moves and unpretentious Pinoy attitude that’s just a tad rebellious have the kind of natural appeal you can’t buy at any music school.” Jazz Times Magazine described her as "a dynamic new compass point in world music." All About Jazz wrote that she is "quite simply one of the finest singers to come around in a long time." Jazz critic Don Heckman of the Los Angeles Times stated that “Her debut album, 'Searching for the Soul', announced the arrival of an impressive new vocal artist.” He subsequently wrote that Charmaine is "One of the important and original new jazz singers of the decade." In January, 2009, he selected Charmaine's debut at Yoshi's Jazz Club as the Pick of the Week in San Francisco. Charmaine has headlined the top jazz clubs in New York, Los Angeles, San Diego, San Francisco, Seattle, Atlanta, and Miami. Often, she is the first Pinay to perform at the venue  such as at Yoshi's, in SF. In July, 2009, in San Diego, California, she won the 6th Annual Asian Heritage Award in the Performing Arts which recognizes Asian and Pacific Islander leaders in various fields, including Medicine, Education, Government, and the Performing Arts. In October, 2009, Charmaine won the 12th Annual FILIPINAS Magazine Achievement Award in Entertainment. She was also honored with a special FAMAS Award (Filipino Oscar) for her cultural trailblazing. Charmaine has had two consecutive albums in the JazzWeek World Music Top-10. https://www.last.fm/music/Charmaine+Clamor/+wiki

Jazzi Pino

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Ethel Smith - Seated One Day At The Organ

Styles: Jazz, Post Bop
Year: 2000
File: MP3@320K/s
Time: 46:50
Size: 109,4 MB
Art: Front

(4:48)  1. The Lost Chord
(3:53)  2. Jesu, Joy Of Man's Desiring
(2:54)  3. Cradle Song
(2:37)  4. Mazurka
(3:31)  5. Warsaw Concerto
(1:25)  6. Flight Of The Bumble Bee
(4:00)  7. Ritual Fire Dance
(4:25)  8. Clair De Lune
(4:31)  9. Liebestraum
(4:26) 10. Largo
(2:05) 11. Brahm's Cradle Song
(4:25) 12. Fugue In G Minor
(3:43) 13. Malaguena

Ethel Smith (November 22, 1902,  May 10, 1996) was an American organist who played primarily in a pop style on the Hammond organ. Born Ethel Goldsmith, she performed from a fairly young age and traveled widely, after studying both music and several languages at Carnegie Tech. She became proficient in Latin music while staying in South America, and it is the style of music with which she is now most associated. She was a guitarist as well as an organist, and in her later years occasionally played the guitar live for audiences, but all her recordings were on the organ. She ultimately recorded dozens of albums, mostly for Decca Records. An attractive woman with a preference for colorful outfits, particularly hats, Smith performed in several Hollywood films such as George White's Scandals (1945) and Melody Time (1948). She was married to Hollywood actor Ralph Bellamy from 1945 to 1947, at the height of her fame, and their acrimonious divorce made headlines. She never had children. Her rendition of "Tico Tico" became her best-known hit. She performed it in the MGM film Bathing Beauty (1944), after which her recording reached the U.S. pop charts in November 1944, peaked at #14 on January 27, 1945, and sold nearly two million copies worldwide. "Down Yonder" was her second national hit, reaching #16 on October 27, 1951. Smith's recording of "Monkey on a String" became the theme song for Garfield Goose and Friends, a popular children's television show in Chicago that ran from 1952 until 1976. https://en.wikipedia.org/wiki/Ethel_Smith_(organist)

Seated One Day At The Organ

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Pat Patrick Band - Get Up and Dance

Styles: Vocal, Big Band
Year: 2009
File: MP3@320K/s
Time: 44:15
Size: 102,9 MB
Art: Front

(3:18)  1. September
(3:30)  2. Lady Marmalade
(4:14)  3. Give It To Me Baby
(4:55)  4. All Night Long
(3:36)  5. Can't Take My Eyes Off You
(3:37)  6. I Like The Way You Move
(3:10)  7. Hey Pokey Way
(2:10)  8. This Cat's On A Hot Tin Roof
(5:44)  9. Let's Get It On / Stir It Up
(3:36) 10. KISS
(3:45) 11. Can't Get Enough Of Your Love
(2:32) 12. The Letterman Theme

Pat Patrick, like John Gilmore, spent virtually his entire career with Sun Ra's Arkestra, leading to him being somewhat underrated. Patrick had a particularly appealing sound on baritone and, although he did not lead any record sessions of his own, he was one of the better baritonists of the 1950s and '60s. As a child he studied piano, drums, and trumpet before switching to saxophones. 

At Du Sable High School in Chicago he first met John Gilmore. Patrick did record with John Coltrane (Africa Brass), play briefly with Duke Ellington, was a member of a little-known version of Thelonious Monk's quartet (1970), and in 1974 he recorded with the Jazz Composer's Orchestra. But otherwise, Pat Patrick from 1954 on and off until his death was closely associated with Sun Ra, where he was a reliable sideman. ~ Scott Yanow https://www.allmusic.com/artist/pat-patrick-mn0000143284/biography

Get Up and Dance

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Christine Fawson - Sings Jazz

Styles: Trumpet Jazz
Year: 2018
File: MP3@320K/s
Time: 42:45
Size: 98,6 MB
Art: Front

(5:18)  1. Night in Tunisia
(4:13)  2. World on a String
(6:25)  3. It Might as Well Be Spring
(5:02)  4. The Second Time Around
(6:03)  5. I Concentrate on You
(4:57)  6. I Love You
(3:08)  7. Fools Rush In
(3:14)  8. What Is This Thing Called Love
(4:20)  9. Could It Be You

Former Berklee Professor, Christine Fawson has made her fourth album as a leader. Over the years, Christine has played many different styles of music. But old school swinging jazz keeps calling her! On Sings Jazz, she is accompanied by Tim Ray on piano, who penned beautiful arrangements for the album. Also on the album is Dave Zinno on upright bass and Casey Schereuell on drums. Guest Vocalist, David Thorne Scott. 

This is an exciting album full of improvisation and a real live jazz feel. Go see Christine Fawon live to get the true experience of old school jazz singer/entertainer! https://store.cdbaby.com/cd/christinefawson4

Sings Jazz

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Andrew Hill - Dance With Death

Styles: Piano Jazz 
Year: 1980
File: MP3@320K/s
Time: 45:55
Size: 105,6 MB
Art: Front

(5:32)  1. Yellow Violet
(5:51)  2. Partitions
(7:31)  3. Fish 'N Rice
(6:39)  4. Dance With Death
(6:44)  5. Love Nocturne
(6:24)  6. Black Sabbath
(7:10)  7. Dance With Death (alternate take)

In a little over seven years beginning in '63, pianist Andrew Hill recorded over a dozen albums as a leader for Blue Note, yet it is only in recent years that the importance of these recordings is being recognized. Although he was overshadowed at the time by more eminently approachable pianists including Herbie Hancock and McCoy Tyner, the truth is that while Hill's somewhat more oblique style kept him from reaching a broader audience, time and Blue Note's reissue of several key Hill recordings are painting a picture of an artist who created a complex world of rhythms and harmonies, examining music on the left without losing sight of memorable thematic constructs and clever, shifting grooves. Groove may not be a word that comes immediately to mind when thinking of Hill, but one listen to the lightly funky "Fish 'n Rice" and the more subtly insistent pulse of both versions of the title track included on the recently reissued Dance With Death and it becomes clear that Hill is as capable of captivating rhythms as he is more complex shifts. His more challenging side is in evidence on the aptly-named "Partitions," where the piece is broken up into discrete segments of varying tempi that still manage to hang together as a conceptual whole. Hill's time sense, with front-line instruments seeming to follow each other as they walk through the complicated theme of the balladic "Love Nocturne" until they eventually converge, is more elastic, less rigid than many of his contemporaries. Hill's sometimes convoluted compositions could sound clumsy in the wrong hands, but as was the case on '64's classic Point of Departure, Hill has surrounded himself with a stunning, albeit generally less well-known lineup. 

Woodwind multi-instrumentalist Joe Farrell, who would achieve his greatest success with Chick Corea a few years down the road, was already an established player with a robust tenor sound and a less nasal soprano sound than Coltrane, and would go on to grace Hill's more overtly ambitious '69 date, Passing Ships . Charles Tolliver, whose thick trumpet tone differentiated him from other fine contemporaries like Woody Shaw, never achieved the level of attention he deserved, although he is featured on many fine recordings by artists including Horace Silver, Jackie McLean and Booker Ervin, and released a number of intriguing albums as a leader in the '70s. Bassist Victor Sproles may be the least-known member of the quintet, but he possesses an approach not unlike Ron Carter's and, along with drummer Billy Higgins, the best-known player on the session, he navigates the challenging meters without losing sight of the inherent swing of the material, most notably on "Yellow Violet." Meanwhile Hill the pianist solos with an intriguing combination of lyricism and odd eccentricity. Dance With Death may not be the unequivocal masterpiece that Point of Departure is, nor is it as monumentally ambitious as Passing Ships , but it comes close an outstanding small ensemble work that continues to demonstrate what people have been missing and are only now beginning to realize. ~ John Kelman https://www.allaboutjazz.com/dance-with-death-andrew-hill-blue-note-records-review-by-john-kelman.php?width=1920

Personnel: Charles Tolliver (trumpet), Joe Farrell (tenor sax, soprano sax), Andrew Hill (piano), Victor Sproles (bass), Billy Higgins (drums)

Dance With Death

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Shirley Scott - Happy Talk (Remastered)

Styles: Jazz, Post Bop
Year: 2014
File: MP3@320K/s
Time: 34:48
Size: 80,2 MB
Art: Front

(8:43)  1. Happy Talk
(5:28)  2. Jitterbug Waltz
(4:51)  3. My Romance
(5:17)  4. Where or When
(5:01)  5. I Hear a Rhapsody
(5:26)  6. Sweet Slumber

An admirer of the seminal Jimmy Smith, Shirley Scott has been one of the organ's most appealing representatives since the late '50s. Scott, a very melodic and accessible player, started out on piano and played trumpet in high school before taking up the Hammond B-3 and enjoying national recognition in the late '50s with her superb Prestige dates with tenor sax great Eddie "Lockjaw" Davis. Especially popular was their 1958 hit "In the Kitchen." Her reputation was cemented during the '60s on several superb, soulful organ/soul-jazz dates where she demonstrated an aggressive, highly rhythmic attack blending intricate bebop harmonies with bluesy melodies and a gospel influence, punctuating everything with great use of the bass pedals. Scott married soul-jazz tenor man Stanley Turrentine, with whom she often recorded in the '60s. The Scott/Turrentine union lasted until the early '70s, and their musical collaborations in the '60s were among the finest in the field. Scott wasn't as visible the following decade, when the popularity of organ combos decreased and labels were more interested in fusion and pop-jazz (though she did record some albums for Chess/Cadet and Strata East). But organists regained their popularity in the late '80s, which found her recording for Muse. Though known primarily for her organ playing, Scott is also a superb pianist  in the 1990s, she played piano exclusively on some trio recordings for Candid, and embraced the instrument consistently in Philly jazz venues in the early part of the decade. At the end of the '90s, Scott's heart was damaged by the diet drug combination, fen-phen, leading to her declining health. In 2000 she was awarded $8 million in a lawsuit against the manufacturers of the drug. On March 10, 2002 she died of heart failure at Presbyterian Hospital in Philadelphia. ~ Alex Henderson and Ron Wynn https://itunes.apple.com/ca/album/happy-talk-remastered/915593021

Personnel:  Shirley Scott - organ;  Earl May - bass;  Roy Haynes - drums

Happy Talk (Remastered)

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Joe Diorio & Joe Giglio - Rainbow Shards

Styles: Guitar Jazz
Year: 2009
File: MP3@320K/s
Time: 67:58
Size: 156,1 MB
Art: Front

(12:25)  1. Wine & Roses
(16:38)  2. Body & Soul
(11:29)  3. You Or No 1
(14:32)  4. Black Orpheus
(12:52)  5. O O N (Out of Nowhere)

A steadfast champion of jazz guitar duos  a longstanding tradition that goes back to the first Eddie Lang/Lonnie Johnson collaborations from the late ‘20s (“Guitar Blues,” “Handful of Riffs”) and has continued through the decades with such modern pairings as John Scofield & John Abercrombie (1982’s Solar), George Van Eps & Howard Alden (1992’s Hand-Crafted Swing) and Jim Hall & Bill Frisell (2009’s Hemispheres) Joe Giglio organized a regular Friday night hang for his fellow plectrists at 107 West, an intimate restaurant in his Upper West Side neighborhood that served as the primary scene for guitar aficionados in New York City for eight years. During that period, Giglio played duos with a whole fraternity of accomplished, swinging and like-minded players as Jack Wilkins, Howard Alden, Paul Bollenback, Peter Bernstein, Carl Berry and others. On one memorable occasion in May 2004, jazz guitar master Joe Diorio made it down to 107 West to play duets with Giglio, and the two Joes established rare chemistry through the course of their harmonically and rhythmically sophisticated extrapolations on familiar jazz standards. That one-time performance, documented here on Rainbow Shards, is underscored by uncanny finesse on ballads and bristling with an exuberant, uninhibited swing feel on the up tempo numbers. It stands with some of the finest examples in the guitar duo genre and also represents one the last recordings that the great Joe Diorio made before being sidelined in 2005 by a stroke that robbed him of full use of his left hand. While the 73-year-old guitar great has been on the mend, going through a rigorous physical rehab regimen, ever-so-slowly making progress on the road to recovery, Rainbow Shards captures Diorio in full command of his powers, swinging and burning up the fretboard with a beautiful balance of technical mastery and sheer abandon. And Giglio rises to the occasion with some inspired six-string work of his own. The two Joes open with a jaunty, loosely swinging rendition of Henry Mancini’s melancholy “Days of Wine and Roses” with Diorio’s warm-toned, velvety-smooth lines flowing on top of Giglio’s insistent comping. They switch roles midway through as Diorio supplies dreamy chord voicings behind Giglio’s linear burn. When Diorio returns for his second solo through the last two-minutes of the piece, he blows over the barline with a sense of ease and melodic ingenuity until the piece reaches its sublime conclusion.  The oft-recorded jazz standard “Body and Soul” is handled here as a gently insinuating bossa nova, with Giglio’s rhythmic chording underscoring Diorio’s elegant melody line. By the 4-minute mark the two begin opening up the piece and at the 6-minute mark, as Giglio drops out, Diorio takes off on a daring right-brain solo extrapolation on the theme.

Giglio returns at the 7:45 mark with a brief unaccompanied statement of his own before Diorio begins comping lightly beneath him with a myriad of beautiful chord voicings through the next four-plus minutes of Giglio’s solo. They return to the head and take it out just as they had begun, in subtle samba fashion with Diorio blowing over the changes in his inimitable style, culminating in a short burst of furious speed licks at the tag before a sublime finish.  Sammy Cahn’s “You Or No One” is taken at a brisk clip, with Giglio carrying the melody first over Diorio’s lush chord work before opening up with a fleet-fingered solo. They switch roles at 4:40 and Diorio begins his solo with a bit of restraint before erupting with a fusillade of notes by the 5:30 mark. They interpret Luiz Bonfa’s melancholy bossa nova “Black Opheus” with tenderness and a touch of reverence for the original. Diorio’s unaccompanied intro simultaneously states and extrapolates on the theme, drawing on his vast harmonic language. Giglio enters at the 2:45 mark and they head into some intricate counterpoint playing that runs through the 5-minute mark before Diorio commences some freewheeling fretboard excursions. At the 7-minute mark, Giglio begins exploring in daring, unaccompanied fashion, alternating between rich chord voicings and deftly-spun single note lines. Diorio comps gently behind him at the 9-minute mark and returns to his opening role of playing the melody over Giglio’s changes through the remainder of the piece. Their expansive treatment is book-ended with Diorio’s two-minutes of gently introspective unaccompanied guitar that ends in a hush. The two Joes close out this telepathic session with an inventive take on “Out of Nowhere,” a romantic nugget introduced in 1931 by a young crooner named Bing Crosby. Their two-guitar version opens as a kind of fugue, with one guitarist shadowing the other, before they settle into the familiar form on this jazz standard, swinging the changes to a rousing climax while interweaving complex lines along the way. Diorio feeds Giglio with sly, shifting chord voicings before launching into an adventurous, unaccompanied solo of his own that he gradually develops to some impressionistic heights of six-string fantasia. And they return to the subdued fugue for the outro, putting a pretty bow on this gift to all guitar fans. Says Giglio of his intimate encounter with the revered guitarist: "It is an honor to know and make music with Joe Diorio. He has been an inspiration to me since I started to play jazz and his influence is more profound with each passing day. Joe has helped me to reach a deeper level in my expression, both through his playing and his deep insights into life. He has reached a zenith through deep inquiry and love." Those qualities come into play in a big way on this highly intuitive session that has both players pushing the harmonic envelope and nonchalantly flashing technical virtuosity on the fretboard while remaining wide open and strictly in the moment. https://store.cdbaby.com/cd/jdioriojgiglio

Rainbow Shards

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Betty Buckley - Hope

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 84:10
Size: 196,1 MB
Art: Front

(5:17)  1. Ecotopia
(6:01)  2. Any Major Dude Will Tell You
(5:56)  3. Falling in Love
(5:32)  4. Long Ago & Far Away
(4:08)  5. Intro to Hope
(5:01)  6. Hope - Live
(3:34)  7. My Least Favorite Life
(7:01)  8. Don't Take Me Alive
(5:14)  9. Little Eyes / Except Goodbye
(4:06) 10. Every Little Thing - Live
(7:53) 11. Shades of Scarlett Conquering
(4:09) 12. Dope Island
(3:47) 13. I Feel Lucky
(6:28) 14. Quiet - Live
(3:47) 15. Gilda's Story
(2:54) 16. Prisoner in Disguise
(3:12) 17. Young at Heart

Tony Award-winning Broadway legend Betty Buckley will release her inspiring and emotionally-compelling new live album Hope a profound mix of Americana, pop, rock and standards from Palmetto Records in physical, digital and streaming formats on Friday, June 8. Buckley will celebrate the album at Joes Pub at the Public in New York with an exclusive four-concert engagement from June 5 to 9. Buckley will also offer a Five Day Performance Workshop at New York s T. Schreiber Studio from June 2 to 8. The album Hope coincides with her debut as Madame L Angelle in the AMC television hit Preacher the third season begins June 25 and rehearsals this summer for her starring role in the first National Tour of the smash Tony-winning revival of Hello, Dolly! These successes follow a remarkable year which included co-starring in M. Night Shyamalan s film Split (the #1 Movie in America and an International Box Office hit) opposite James McAvoy, and a recurring role in the CW hit Supergirl. Hope, Buckley s eighteenth album, features her quartet of musicians including the renowned multi-Grammy-nominated Christian Jacob, Buckley s long-term Pianist, Arranger and Music Director; Oz Noy on guitar; Tony Marino on bass; and Dan Rieser on drums. Buckley commented, this recording is a collection of songs by some of my favorite composers and songwriters. All were chosen as a response to all that we, as a World Community, have experienced from late 2016 through 2017 until now. I hope this musical journey will allow listeners to experience, feel, dream and, hopefully, inspire you to claim your highest hope for brighter days for our beautiful planet and our united human family. The Tony Award-winning composer and lyricist Jason Robert Brown who also contributed two numbers to Buckley s previous album, the two-disc Story Songs provided the album s reflective title song, which serves as a thematic centerpiece to the recording. 

Other highlights include two numbers from the seminal jazz-rock fusion group Steely Dan, including the wry Any Major Dude Will Tell You and the scintillating rock groove of Don t Take Me Alive. Several selections originate from Buckley s favorite singer/songwriters. Falling In Love is a plaintive ballad by Grammy Award-winner Lisa Loeb, while the noir-inspired deep cut Shades of Scarlett Conquering comes from the iconic Joni Mitchell. The joyously rollicking I Feel Lucky from Mary Chapin Carpenter bristles with life. Buckleys childhood friend and collaborator T Bone Burnett provided three compositions from the album, including the haunting My Least Favorite Life, which he wrote with Rosanne Cash and Lera Lynn for the HBO Series True Detective. And true to her love of the great standards, the album features two timeless classics, a sensitive interpretation of the Jerome Kern and Ira Gershwin gem Long Ago and Far Away. BETTY BUCKLEY, in an award-winning career that has encompassed TV, film, stage and concert work around the globe, is probably best known as one of theater s most respected and legendary leading ladies. She won a Tony Award for her performance as Grizabella, the Glamour Cat, in Andrew Lloyd Webber s Cats. 

Buckley received her second Tony Award nomination for Best Actress in a musical for her performance as Hesione in Triumph of Love, and an Olivier Award nomination for her critically-acclaimed interpretation of Norma Desmond in the London production of Andrew Lloyd Webber s Sunset Boulevard, which she repeated to more rave reviews on Broadway. She is a 2012 Theatre Hall of Fame inductee. ~ Editorial Reviews https://www.amazon.com/Hope-Betty-Buckley/dp/B07C9D5PCP

Hope

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Lonnie Liston Smith - Love Is the Answer

Styles: Vocal And Piano Jazz
Year: 1980
File: MP3@320K/s
Time: 67:37
Size: 155,8 MB
Art: Front

(4:19)  1. In the Park
(4:46)  2. Love Is the Answer
(5:57)  3. Speak About It
(4:01)  4. Bridge Through Time
(5:46)  5. On the Real Side
(4:57)  6. The Enchantress
(6:05)  7. Give Peace a Chance (Make Love Not War)
(3:13)  8. Free and Easy
(7:06)  9. Space Princess (Special Disco Version)
(7:07) 10. A Song for the Children (Special Version of the 7inch Single)
(3:42) 11. Love Is the Answer (7inch Version)
(3:36) 12. Bridge Through Time (7inch Version)
(3:41) 13. Give Peace a Chance (Make Love Not War) (7inch Version)
(3:14) 14. Free and Easy (7inch Version)

Lonnie Liston Smith entered the 1980s with Love Is the Answer, which is quite similar to previous Columbia efforts like Exotic Mysteries and Song for the Children. Jazz's hard-liners continued to call Smith a sellout; as they saw it, a musician who was talented enough to have been employed by the likes of Pharoah Sanders, Betty Carter, and Rahsaan Roland Kirk had no business becoming more commercial and catering to the quiet storm audience. But while Love Is the Answer isn't as challenging as Smith's work with Kirk and Sanders and isn't in a class with such Flying Dutchman gems as Astral Traveling and Expansions, it isn't a bad album either. "The Enchantress," "Bridge Through Time" (which female rap group the Conscious Daughters sampled on their 1993 recording "We Roll Deep"), "In the Park," and other instrumentals on this LP aren't brilliant, but they're pleasant and likable. 

Love Is the Answer was the second Smith album to employ vocalist James "Crabbe" Robinson, who had replaced Donald Smith and is featured on the mellow title song as well as the funkier selections "Speak About It" and "Give Peace a Chance (Make Love Not War)." The charismatic Donald Smith was a tough act to follow, but Robinson handled himself nicely when he was a member of the Cosmic Echoes. While Love Is the Answer isn't among the pianist/keyboardist's essential releases, it isn't anything to be ashamed of either. ~ Alex Henderson https://www.allmusic.com/album/love-is-the-answer-mw0000916894

Personnel:  Piano, Electric Piano, Producer – Lonnie Liston Smith; Backing Vocals – Butch Jackson, Cassie Hawkins, Gloria Jones, Keith Rose, Marcella Allen;  Bass – Pee Wee Ford; Congas, Bongos – Lawrence Killian; Drums – Lino Reyes; Guitar – Abdul Wali; Horns – Albert "Duke" Jones, Johnathan Lewis, Kevin Jasper, Koran Daniels, Louis P. Barbarin; Percussion – Asante; Tenor Saxophone, Soprano Saxophone, Flute – Dave Hubbard; Vocals – James "Crabbe" Robinson

Love Is the Answer

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Vicky Wyman - While The Music Plays On

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 34:07
Size: 79,6 MB
Art: Front

(3:06)  1. Mad About The Boy
(2:31)  2. Amado Mio
(4:36)  3. You Go To My Head
(3:52)  4. Harlem Nocturne
(2:34)  5. Perhaps, Perhaps, Perhaps
(4:26)  6. While The Music Plays On
(3:46)  7. I Concentrate On You
(3:20)  8. The Rules Of The Road
(2:44)  9. You And The Night And The Music
(3:09) 10. Quiet Nights Of Quiet Stars

Vicky Wyman sings contemporary jazz pop standards with power and passion updated with strains of Afro Cuban and blues. From the American songbook to Brazilian pop classics, Vicky\'s vocals smoke and soar. Vicky began in a folk duo in Pennsylvania as a teenager and quickly moved into professional theatre and cabaret in New York City. The move influenced her to look for an edgier sound she formed a rock band and her songwriting flourished. During this period she explored blues and country as well and landed gigs in top NYC venues. Her debut album Heartland was recorded in Nashville with the Grand Ole Opry band, a hybrid of country and rock. Now she is backed by Newport, Rhode Island\'s finest jazz musicians including Gray Sargent, a longtime guitarist of Tony Bennett. With While The Music Plays On, Vicky has ultimately created a masterful style that brings the story of each of these songs to life and allows its sounds and images to linger. https://store.cdbaby.com/cd/vickywyman

While The Music Plays On

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Tom Grant - Delicioso

Styles: Piano, Vibraphone Jazz
Year: 2010
File: MP3@320K/s
Time: 61:09
Size: 142,0 MB
Art: Front

(5:21)  1. Luxurium
(4:18)  2. Cute New Car
(4:21)  3. Whistling In The Dark
(4:54)  4. Language of Our Own
(5:41)  5. Lizard Lounge
(5:20)  6. Delicioso
(4:35)  7. Nature Walk
(5:19)  8. The Dog Park
(3:59)  9. Escape Into Dreamland
(3:35) 10. Dancing Heart
(3:55) 11. Enamorata
(5:13) 12. Breathing In The Love
(4:38) 13. Heidi's Song

The reputation of smooth jazz went from bad to worse in the ‘90s and 2000s, and 2010 was full of forgettable, shamelessly uncreative smooth jazz CDs that did absolutely nothing to make its soiled reputation any better. But Tom Grant's self-produced Delicioso, it turns out, is among 2010's more substantial smooth jazz releases. The pianist/keyboardist (who is also heard on vibes) offers a light, commercial, gently funky blend of jazz, R&B and pop; Delicioso never pretends to be a Red Garland recording. But there is a difference between light and lightweight, and laid-back, groove-oriented offerings such as "Whistling in the Dark," "Lizard Lounge," "Cute New Car," and "Luxurium" are light rather than lightweight. The vibe that Grant seems to be going for on much of this album is something along the lines of Joe Sample, Lonnie Liston Smith, Jeff Lorber, or Rodney Franklin circa 1979-1982; Delicioso isn't in a class with Sample's Carmel or Smith's Loveland, but it isn't a bad album, either. Grant isn't afraid to stretch out and do some improvising, and his solos have more energy than one usually expects from the jazz-lite crowd. Plus, the 60-minute CD's Brazilian-flavored tunes (which include "The Dog Park" and the title song) are also easy to appreciate. It's obvious that Grant, who turned 64 in 2010, didn't want to record just another turn-your-brain-off album for smooth jazz/NAC radio programmers. That said, Delicioso does have a few throwaway tracks; the disc is slightly uneven. And even though Grant gives himself adequate solo space, he overdoes it with the electronic programming (which is fine for electronica or hip-hop, although jazz is better served by a more organic approach to producing). But all things considered, Delicioso is a decent listen and demonstrates that smooth jazz doesn't have to be total fluff. ~ Alex Henderson https://www.allmusic.com/album/delicioso-mw0002028528

Personnel: Tom Grant - vocals, piano, vibraphone, programming; Marlon McClain - guitar; Dan Faehnle - guitar; Chance Hayden - guitar; Shelly Rudolph - vocals; Paul Mazzio - trumpet; Renato Caranto - saxophone

Delicioso

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Scott Hamilton/Rossano Sportiello - Midnight At Nola's Penthouse

Styles: Saxophone And Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 67:24
Size: 156,0 MB
Art: Front

(8:49)  1. Wonder Why
(6:06)  2. A Garden in the Rain
(7:08)  3. This Can't Be Love
(5:40)  4. A Time for Love
(7:16)  5. Come Back to Sorrento
(5:29)  6. All My Tomorrows
(7:24)  7. Big Butter and Egg Man
(6:10)  8. It's All in Your Mind
(6:46)  9. All God's Chillun' Got Rhythm
(6:31) 10. In the Middle of a Kiss

Scott Hamilton emerged in the mid-'70s as a player who had a gift for creating a lush, swinging sound, regardless of the tempo or style. His partner on this 2010 studio session, Italian pianist Rossano Sportiello, is two decades younger, but the perfect partner. Their program includes a mix of standards and lesser-known songs, all played with a minimum of fuss and a maximum of beauty. 

"A Garden in the Rain" isn't the first ballad one would expect a jazz duo to choose, but the lush interpretation here could launch others into investigating its potential. Hamilton's boisterous playing is boosted by Sportiello's driving accompaniment, with the influence of the late Dave McKenna apparent. "Big Butter and Egg Man" is rarely played outside of traditional jazz/New Orleans jazz, but their brisk, lyrical interpretation should open some ears. They also sizzle with their driving rendition of "All God's Chillun' Got Rhythm," with plenty of fireworks as they trade the lead. This rewarding date deserves a follow-up meeting. ~ Ken Dryden https://www.allmusic.com/album/midnight-at-nolas-penthouse-mw0002078955

Personnel:  Scott Hamilton - Saxophone;   Rossano Sportiello - Piano.

Midnight At Nola's Penthouse

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Ethel Smith - Ethel Smith Swings Sweetley

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 30:53
Size: 72,2 MB
Art: Front

(2:16)  1. A String of Pearls
(2:48)  2. Tenderly
(3:00)  3. Moonglow
(4:59)  4. Theme and Variations
(2:36)  5. Lullaby of Birdland
(2:37)  6. Misty
(2:53)  7. Sophisticated Lady
(2:15)  8. Shuffle Rock
(2:22)  9. My One and Only Love
(2:43) 10. Stompin' at the Savoy
(2:19) 11. The Gospel

The widely acknowledged "First Lady of the Hammond Organ," Ethel Smith remains best remembered for her recording of the Argentine traditional "Tico-Tico," which sold close to two million copies during the mid-'40s. Born Ethel Goldsmith in Pittsburgh on November 22, 1910, she studied music and linguistics at Carnegie Tech, and upon graduation accepted a job playing piano with a local theater; when a Schubert show passing through the Iron City invited Smith to join their troupe, she soon embarked on a 28-week U.S. tour, eventually landing in California. There she was first asked to play the Hammond electric organ on a Hollywood studio lot -- virtually overnight she seemed to master the instrument, and in 1940 she was tapped for a headlining gig at New York's St. Regis Hotel. While at the St. Regis, Smith received a call from Hammond Studios: the owners of Rio de Janeiro's famed Copacabana Club were looking for a female organist to headline a 26-week engagement. In all she remained in Brazil for about a year, immersing herself in the local musical culture and traditions.

While strolling through one of Rio's seedier districts, Smith stumbled on a local dancehall combo performing a song she'd never heard before; intrigued, the musicians explained the song was a traditional Argentine favorite, although its name and composer were unknown. Dubbing the tune "Tico-Tico," she incorporated it into her act, and it quickly became a crowd favorite. The Japanese attack on Pearl Harbor hastened Smith's return to the U.S. and the St. Regis, where one evening she was approached by George Washington Hill, the head of the American Tobacco Company. Hill had caught Smith's show at the Copacabana and now invited her to join the radio blockbuster Your Hit Parade -- she accepted, becoming one of the show's highest-paid performers. In 1944, she recorded "Tico-Tico," which would go on to rank among the best-selling hits of the decade; that same year, Smith also made her film debut, appearing opposite Esther Williams in Bathing Beauty. Subsequent film appearances include 1945's George White's Scandals and 1946's Cuban Pete, which starred Desi Arnaz.

With her bright, colorful dresses, omnipresent hats, and trademark high-heels, Smith cut a glamorous figure indeed, and in 1945 she made headlines by marrying actor Ralph Bellamy, then appearing on Broadway in State of the Union. The couple split two years later, and Smith rededicated herself to her performing career, becoming almost as proficient on guitar as she was on the Hammond. Although she never repeated the massive success of "Tico-Tico," she toured extensively during the 1950s and 1960s, and also continued her acting career, appearing in a series of non-musical roles in small off-Broadway plays. In 1969, Smith also enjoyed a brief run in a musical version of Tom Jones. But with the arrival of a new decade she retired from touring and settled in Palm Beach, FL, where she continued performing at local benefits and social engagements well into her eighties. Smith died at the age of 85 on May 10, 1996. ~ Jason Ankeny https://itunes.apple.com/ca/album/ethel-swings-sweetly/499557448

Ethel Smith Swings Sweetley

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Christine Fawson - Here Now

Styles: Trumpet Jazz
Year: 2016
File: MP3@320K/s
Time: 40:54
Size: 95,0 MB
Art: Front

(1:13)  1. Who Am I Anyway
(4:47)  2. Here Now
(4:49)  3. Sleep
(6:20)  4. Aqui
(5:25)  5. Feel Like Makin' Love
(4:35)  6. She's out of My Life
(5:03)  7. Imagination
(4:48)  8. Pikong Kong
(3:51)  9. The Nearness of You

As a vocalist and trumpet player, Christine Fawson has always loved performing classic jazz standards from the American Songbook. On her 2016 album, Here Now she shows a new side of trumpet playing. This album is a combination of standards throughout the years as well as a few original tunes. https://store.cdbaby.com/cd/christinefawson2

Here Now

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The Ray Conniff Singers - It's The Talk Of The Town

Styles: Vocal
Year: 1959
File: MP3@320K/s
Time: 28:24
Size: 66,5 MB
Art: Front

(2:43)  1. It's The Talk Of The Town
(2:28)  2. You're An Old Smoothie
(2:18)  3. Buttons And Bows
(2:14)  4. Let's Put Out The lights
(2:15)  5. It's Been A Long, Long Time
(2:08)  6. Zip-A-Dee-Doo-Dah
(2:17)  7. Deep In The Heart Of Texas
(2:42)  8. Love Is The Sweetest Thing
(2:30)  9. They say It's Wonderfull
(2:17) 10. Hands Across The Table
(2:31) 11. My heart Cries For You
(1:55) 12. Rosalie

Ray Conniff brought his chorus into the foreground for the first time on It's the Talk of the Town, and credited the album to the Ray Conniff Singers. Conniff's chorus is bright and cheery, unlike the immense-sounding Norman Luboff Choir or the comparatively stodgy Robert Shaw Chorale. But despite the high level of energy and enthusiasm, the choral format gives the album a throwback feel that is only amplified by material like "Zip-a-dee-doo-dah" and the Gene Autry favorite "Buttons and Bows," although the latter is, admittedly, very good. The increased focus on the chorus comes at the expense of the instrumental arrangements, which are relegated to a supporting role well behind the voices. It's the Talk of the Town, more than any of Conniff's other vocal albums, treads a little too close to Mitch Miller territory for comfort. ~ Greg Adams https://www.allmusic.com/album/its-the-talk-of-the-town-mw0000654359

It's The Talk Of The Town

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Barb Jungr, John McDaniel - Float Like a Butterfly: The Songs of Sting

Styles: Vocal And Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 67:11
Size: 157,3 MB
Art: Front

(3:12)  1. Wrapped Around Your Finger
(3:45)  2. Englishman in New York
(3:54)  3. Fields of Gold
(5:31)  4. King of Pain
(5:19)  5. Moon Over Bourbon Street
(4:12)  6. Shape of My Heart
(4:37)  7. Roxanne
(4:32)  8. It's Probably Me
(3:44)  9. Until (A Matter of Moments)
(2:31) 10. August Winds
(4:04) 11. Don't Stand So Close to Me
(4:06) 12. Fortress Around My Heart
(3:32) 13. Desert Rose
(2:12) 14. Every Little Thing She Does Is Magic
(5:07) 15. Fragile
(2:31) 16. Message in a Bottle
(4:15) 17. Every Breath You Take

In her introduction Barb Jungr has pointed out the hurdles of interpreting a singer-songwriter of near legendary status such as Sting who comes with all the trappings of such fame. It has, she suggested, made some folk recoil at the mention of his name even before getting to the essence of what the man is all about. Interpreting and adapting Sting’s songs for herself and her pianist John McDaniel throws up a number of challenges not least how to re-configure songs where the backings by the groups in the original recordings are regarded as an essential part of the package. The 18 songs in this programme cross the decades, the most recent being ‘August Winds’ from the short-lived Broadway musical The Last Ship in 2014 (opening in Newcastle on 12 March 2018, followed by a major UK and Ireland tour.). The hits are here but a number of the lesser-known songs suggest that Jungr has paid careful attention to all the texts, stripping each one down to the bare essentials and singing them with an insight and a rawness and emotional energy that she can truly call her own. Jungr can do fun too, her harmonica interpolations being a joy in their own right. ‘Russians’, a polemic against US/Russian foreign policy of the mid 1980s, is launched on the piano with Prokofiev’s ‘Entry of the Montagues and Capulets’, is a rousing anthem in her hands, as is ‘Fortress Around My Heart’. She lends ‘Every Little Thing He Does Is Magic’ a catchy bounce in contrast to the gentle sway of the tune and accompaniment in her interpretation of ‘An Englishman in New York’, so apt for the figure of Quentin Crisp. I loved her evocation of ‘Fields of Gold’, inspired it seems by a pastoral scene viewed from a window in Sting’s Wiltshire house, and in similar vein, ‘Fragile’, a song addressing green issues, prefaced by her poetic description of walking on her beloved Isle of Skye. Her linking narrative is pithy and sometimes unexpected as in her tale of Hogarthian shenanigans in a gentleman’s club in St James’ where she applied for her first job in London in 1975.She also gives us a little insight into the problems lyrics, as in ‘Desert Rose’, can present to a singer instancing a trait in Sting’s lexicon whereby he’ll alter just one word in a line making it “hideous to learn”. The pianist McDaniel is the accompanist and arranger of the songs, a consummate professional, who is at ease whether singing solo, joining in harmony on the refrains, or adding a few words of his own to the links between the songs. One senses a rare rapport between the two of them and a fervent wish from the audience that they will return before too long. http://musicaltheatrereview.com/barb-jungr-john-mcdaniel-float-like-a-butterfly-the-sting-collection-the-pheasantry/

Personnel: Vocals, Harmonica – Barb Jungr; Vocals, Piano – John McDaniel

Float Like a Butterfly:The Songs of Sting

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Five Play - Five Play Plus

Styles: Jazz, Post Bop
Year: 2007
File: MP3@320K/s
Time: 56:20
Size: 130,1 MB
Art: Front

(4:33)  1. Theme From Mr. Broadway
(5:43)  2. That Old Feeling
(5:13)  3. Funk In A Deep Freeze
(8:17)  4. Crazy, He Calls Me
(6:12)  5. If I Only Had A Brain
(5:56)  6. Polka Dots And Moonbeams
(4:50)  7. Pure Imagination
(5:38)  8. Bud Powell
(4:26)  9. In The Wee Small Hours Of The Morning
(5:29) 10. On The Good Ship Lollipop

Here's another bright and swinging album by drummer Sherrie Maricle's able quintet, Five Play (a.k.a. DIVA Lite), encumbered at times by questionable mixing but as a whole quite engaging. For the group's second recording on Arbors, Maricle has assembled an international troupe of all-stars from the larger ensemble alto saxophonist Karolina Strassmayer hails from Austria, tenor Anat Cohen from Israel, bassist Noriko Ueda and drummer Tomoko Ohno from Japan and set aside room for guest shots by two members of DIVA's first-class trumpet section, Jami Dauber and Barbara Laronga, on five selections to lend color and variety to the two-reed front line (and to lend the album its title).  Every member of the group is impressive Cohen, Strassmayer and Ohno especially so on their showcase numbers, Cohen (clarinet) on "That Old Feeling, Strassmayer on "Crazy, He Calls Me, Ohno on the Arlen/Harburg classic from The Wizard of Oz, "If I Only Had a Brain. Dauber frames tasteful solos on Hank Mobley's "Funk in Deep Freeze, Leslie Bricusse/Anthony Newley's "Pure Imagination, and (muted) Richard Whiting/Sidney Clare's show-stopper for Shirley Temple, "On the Good Ship Lollipop. 

Laronga does the same on Chick Corea's boppish "Bud Powell and the standard "In the Wee Small Hours of the Morning (on which Ueda carries the melody). Maricle, who swings consistently in the style of her chief role model, the legendary Buddy Rich, bonds with Ohno and Ueda to form a taut and agile rhythm section on which Cohen, Strassmayer and their guests can always lean for support. As for the mixing gaffe alluded to earlier, it affects mainly Strassmayer on the quintet numbers, "Theme from Mr. Broadway and "Polka Dots and Moonbeams, wherein her alto sounds remote and is largely overshadowed by the more prominently recorded rhythm section. But that's hardly enough to put a damper on the session, which is lively and invigorating from start to finish, with sparkling group interplay and admirable solos by every member of the crew. If you've not heard Five Play before, this is a splendid way to get acquainted. 

~ Jack Bowers https://www.allaboutjazz.com/five-play-plus-five-play-arbors-records-review-by-jack-bowers.php

Personnel: Sherrie Maricle, leader, drums; Anat Cohen, tenor sax, clarinet; Karolina Strassmayer, alto sax, flute; Tomoko Ohno, piano; Noriko Ueda, bass. Special guests: Jami Dauber (3, 7, 10), Barbara Laronga (8-10), trumpet, flugelhorn.

Five Play Plus

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Mari Wilson - Pop Deluxe

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 54:13
Size: 125,0 MB
Art: Front

(0:56)  1. Island of Dreams (Intro)
(3:53)  2. Always Something There to Remind Me
(3:33)  3. I Couldn't Live Without Your Love
(4:48)  4. The Look of Love
(4:33)  5. Don't Sleep in the Subway
(4:41)  6. You're My World
(7:06)  7. 24 Hours from Tulsa
(4:32)  8. In Private
(3:45)  9. White Horses
(3:39) 10. Anyone Who Had a Heart
(4:37) 11. I Close My Eyes and Count to Ten
(4:54) 12. I Just Don't Know What to Do With Myself
(3:10) 13. Island of Dreams

2016 album from the British vocalist. Regarded by many as one of the UK's best pop singers and interpreters of songs, Mari Wilson (aka The Neasden Queen Of Soul) is releasing an album in which she brings her own unique take to some classic pop songs from British icons including Dusty Springfield, Petula Clark, Sandie Shaw and Cilla Black. The inspiration for Pop Deluxe came from Mari's memories of growing up, listening over and over to these songs on the Dansette in her bedroom whilst daydreaming of one day being on Top Of The Pops herself. Each of the chosen songs means something truly personal to Mari. Her decision to sing the 'White Horses' TV theme is firmly rooted in her childhood: "This song is almost in my DNA. When I would come home from school, my dad and I would always do the Evening News crossword and watch The White Horses TV Show - the theme tune would send shivers down my spine and still does. " 

~ Editorial Reviews https://www.amazon.com/Pop-Deluxe-Mari-Wilson/dp/B01C68SMY4

Pop Deluxe

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Ted Curson - Plenty Of Horn

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 39:18
Size: 91,1 MB
Art: Front

(2:52)  1. Caravan
(6:16)  2. Nosruc Waltz
(4:22)  3. The Things We Did Last Summer
(3:41)  4. Dem's Blues
(4:20)  5. Ahma ( See Ya )
(3:33)  6. Flatted Fifth
(3:55)  7. Bali - H'ai
(5:03)  8. Antibes
(5:12)  9. Mr Teddy

An excellent and flexible trumpeter, Ted Curson will always be best known for his work with Charles Mingus' 1960 quartet (which also included Eric Dolphy and Dannie Richmond). He studied at Granoff Musical Conservatory; moved to New York in 1956; played in New York with Mal Waldron, Red Garland, and Philly Joe Jones; and recorded with Cecil Taylor (1961). After the 1959-1960 Mingus association (which resulted in some classic recordings), Curson co-led a quintet with Bill Barron (1960-1965), played with Max Roach, and led his own groups. He spent time from the late '60s on in Europe (particularly Denmark) but had a lower profile than one would expect after returning to the U.S. in 1976. 

He led sessions for Old Town (1961), Prestige, Fontana, Atlantic, Arista, Inner City, Interplay, Chiaroscuro, and several European labels. Curson died of a heart attack on November 4, 2012. He was 77 years old. ~ Scott Yanow https://itunes.apple.com/gb/album/plenty-of-horn-remastered/915587792

Personnel:  Ted Curson (trumpet), Bill Barron (tenor sax on #5 & 6), Eric Dolphy (flute on #3 & 7), Kenny Drew (piano), Jimmy Garrison (bass), Roy Haynes (drums on #5 & 6), Danny Richmond (drums on #3 & 7) and Pete La Roca (drums on #1,2,4,8 & 9).

Plenty Of Horn

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