Friday, August 9, 2019

Eric Dolphy - Last Date

Styles: Flute, Clarinet And Saxophone Jazz
Year: 1964
File: MP3@320K/s
Time: 45:42
Size: 105,3 MB
Art: Front

(11:16)  1. Epistrophy
( 7:14)  2. South Street Exit
( 4:46)  3. The Madrig Speaks, The Panther Walks
( 5:27)  4. Hypochristmutreefuzz
(11:21)  5. You Don't Know What Love Is
( 5:36)  6. Miss Ann

Apllegedly Eric Dolphy's final recorded performance a fact historians roundly dispute this session in Hilversum, Holland, teams the masterful bass clarinetist, flutist, and alto saxophonist with a Dutch trio of performers who understand the ways in which their hero and leader modified music in such a unique, passionate, and purposeful way far from convention. In pianist Misha Mengelberg, bassist Jacques Schols, and drummer Han Bennink, Dolphy was firmly entwined with a group who understood his off-kilter, pretzel logic concept in shaping melodies and harmonies that were prime extensions of Thelonious Monk, Ornette Coleman, and Cecil Taylor. These three Dolphy originals, one from Monk, one from Mengelberg, and a standard are played so convincingly and with the utmost courage that they created a final stand in the development of how the woodwindist conceived of jazz like no one else before, during, or after his life. Utterly masterful on his flute during "You Don't Know What Love Is," Dolphy's high-drama vibrato tones are simply out of this or any other world, perfectly emoting the bittersweet intent of this song. The ribald humor demonstrated during "Miss Ann" is a signature sound of Dolphy's alto sax, angular like Monk, jovial and more out of the box while he digs in. Where "Epistrophy" might seem standard fare to some, with Dolphy on bass clarinet it is based on voicings even more obtuse than the composer's concept, bouncing along the wings of Mengelberg's piano lines. The post-bop blues of "South Street Exit" is tuneful while also breaking off into tangents, with Bennink's crazy drumming acting like shooting, exploding stars. As the definitive track on this album, "The Madrig Speaks, the Panther Walks" demonstrates the inside-out concept, with mixed tempos changed at will and a 6/8 time insert with Dolphy's choppy alto merging into playful segments as the title suggests a most delightful track. The ridiculously titled "Hypochristmutreefuzz" might be the most understated fare in its more simple angularity, as Schols plays his bass in the upper register while the band dances around him. Last Date is one of those legendary albums whose reputation grows with every passing year, and deservedly so. While it reveals more about the genius rhythm section than Dolphy himself, it also marks the passing of one era and the beginning of what has become a most potent and enduring legacy of European creative improvised tradition, started by Mengelberg and Bennink at this mid-'60s juncture. ~ Michael G.Nastos https://www.allmusic.com/album/last-date-mw0000191723

Personnel: Flute, Bass Clarinet, Alto Saxophone – Eric Dolphy; Bass – Jacques Schols; Drums – Han Bennink; Piano – Misja Mengelberg

Last Date

Lucy Ann Polk - Forgotten Starlet

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 97:55
Size: 226,6 MB
Art: Front

(2:29)  1. Don'cha Go 'Way Mad
(2:39)  2. Easy Living
(1:47)  3. How About You
(3:55)  4. I'm Just A Lucky So And So
(2:39)  5. Looking At You
(2:54)  6. Makin' Whoopee
(2:44)  7. Memphis In June
(3:25)  8. Sittin' And Rockin'
(2:54)  9. Sitting In The Sun
(2:52) 10. Squeeze Me
(2:19) 11. Time After Time
(3:07) 12. When The Sun Comes Out
(1:56) 13. What's Happened To Joe?
(3:00) 14. Back In Your Own Backyard
(3:26) 15. I've Got The World On A String
(3:03) 16. Sometimes I'm Happy
(3:26) 17. Them There Eyes
(3:02) 18. Rock Me To Sleep
(1:36) 19. It's Too Soon To Know
(2:10) 20. Honeysuckle Rose
(2:01) 21. Where Are You
(2:18) 22. Crazy He Calls Me
(2:11) 23. Pretty Baby
(2:36) 24. You're Different
(2:53) 25. Waitin' At The Station
(1:58) 26. September Song
(2:41) 27. Black Coffee
(2:01) 28. Again
(3:21) 29. Squeeze Me (Alt. Version)
(2:46) 30. Polka Dots And Moonbeams
(2:19) 31. But Beautiful
(2:36) 32. Swingin' On A Star
(2:31) 33. It's Always You
(2:12) 34. Aren't You Glad You're You
(2:20) 35. It Could Happen To You
(2:49) 36. Darn That Dream
(2:42) 37. Imagination

Lucy Ann Polk (May 16, 1927 – October 10, 2011) was an American jazz singer who performed with Les Brown's orchestra in the 1950s. She also sang and recorded with Bob Crosby, Kay Kyser, Tommy Dorsey, and Dave Pell. Polk began her music career with her sister and brothers in a quartet named the Four Polks, which was eventually changed to the Town Criers. They performed with big bands led by Les Brown, Lionel Hampton, and Kay Kyser until they disbanded in 1948. Polk became the lead vocalist with the Les Brown Orchestra. From 1952–1954, she was named Best Girl Singer with Band by Down Beat magazine. She began her solo career with the album Lucy Ann Polk with the Dave Pell Octet (Trend, 1954), followed by Lucky Lucy Ann (Mode, 1957; reissued by Interlude under the name Easy Livin in 1959). The latter album featured arrangements by Marty Paich. On both albums, she sang jazz and traditional pop songs by Duke Ellington, Billy Strayhorn, Hoagy Carmichael, Cole Porter, Sammy Cahn, Jule Styne, and Jimmy Van Heusen. She released no more albums and ended her career in 1960. In 1946, Polk married Dick Noel, who played trombone with Les Brown's orchestra. https://en.wikipedia.org/wiki/Lucy_Ann_Polk

Forgotten Starlet

Candy Dulfer - Big Girl

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 68:37
Size: 158,8 MB
Art: Front

(4:14)  1. Wake Me When It's Over (Album Version)
(4:39)  2. I.L.U.
(3:16)  3. Tommygun
(4:38)  4. Jazz It's Me
(6:16)  5. 2 Miles
(5:13)  6. Funkyness
(4:46)  7. Capone
(4:46)  8. Get Funky
(5:05)  9. Chains
(5:59) 10. September
(5:08) 11. Upstairs
(4:47) 12. I'll Still Be Looking
(4:04) 13. Big Girl
(5:39) 14. Wake Me When It's Over - Don Cher Processor-Mix/Long Version

Big Girl is the third album by Dutch alto saxophonist Candy Dulfer. Before its release, she had been working mainly with Ulco Bed. But she was impressed by keyboard player Thomas Bank. This album marks the transition between the two producers and has a funkier style that that tries to incorporate rap and hip hop into contemporary jazz. The album includes a collaboration with Trijntje Oosterhuis on "Funkyness" before Oosterhuis became widely known as a singer. The album is mainly instrumental. According to her official biography, the title of the album was an inside joke, referring to her father Hans Dulfer's album Big Boy and indicating that she had grown up and was in charge of her career.[2] The album peaked at No. 28 on the Dutch album chart. https://en.wikipedia.org/wiki/Big_Girl_(album)

Big Girl

Bill Watrous Quartet - Coronary Trombossa!

Styles: Trombone Jazz
Year: 2014
File: MP3@320K/s
Time: 48:59
Size: 112,8 MB
Art: Front

(6:48)  1. Here's That Rainy Day
(7:30)  2. Blue and Sentimental
(6:13)  3. Charmaine
(8:01)  4. No More Blues
(5:38)  5. Pig Farm
(7:59)  6. Goodbye
(6:48)  7. Diane - Bonus Track

William Russell Watrous III (June 8, 1939  July 2, 2018) was an American jazz trombonist. He is perhaps best known by casual fans of jazz music for his rendition of Sammy Nestico's arrangement of the Johnny Mandel ballad "A Time for Love" which he recorded on a 1993 album of the same name. A self-described "bop-oriented" player, he was well known among fellow trombonists as a master technician and for his mellifluous sound. Watrous' father, also a trombonist, introduced him to the instrument at an early age. While serving in the U.S. Navy, Watrous studied with jazz pianist and composer Herbie Nichols. His first professional performances were in Billy Butterfield's band. Watrous' career blossomed in the 1960s. He played and recorded with many jazz luminaries, including Maynard Ferguson, Woody Herman, Quincy Jones, Johnny Richards, and trombonist Kai Winding. He also played in the house band on the Merv Griffin Show from 1965 to 1968. In 1971, he played with the jazz fusion group Ten Wheel Drive. Also in the 1970s, Watrous formed his own band, The Manhattan Wildlife Refuge Big Band, which recorded two albums for Columbia Records. The band was later renamed Refuge West when Watrous moved to southern California. He continued to work as a bandleader, studio musician, and performer at jazz clubs. In 1983, Watrous collaborated with Alan Raph to publish Trombonisms, an instructional manual covering performance techniques for trombone. He has recorded as a solo artist, bandleader, and in small ensembles. These recordings include a Japanese Import album in 2001 containing material recorded in 1984 with Carl Fontana, whom Watrous has cited as his favorite trombonist. He traveled periodically to San Diego to play with his good friend and former student, Dave Scott, a noted jazz musician himself and TV broadcast host. Watrous taught for two decades at the University of Southern California in Los Angeles, before retiring in 2015. He died in Los Angeles on July 2, 2018. He was survived by his wife, Maryann; their son, Jason; and two daughters from a previous marriage Melody Watrous Ide and Cheryl Schoolcraft. https://en.wikipedia.org/wiki/Bill_Watrous

Personnel: Trombone – Bill Watrous; Piano, Electric Piano [Fender Rhodes] – Jim Cox; Bass – Tom Child; Drums – Chad Wackerman; Percussion, Vibraphone – Dave Levine

Coronary Trombossa!

Marc Jordan - Both Sides

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 50:05
Size: 115,4 MB
Art: Front

(6:04)  1. Nearness Of You
(5:13)  2. Calling You
(5:08)  3. I Saw Your Smile
(5:50)  4. Walk On The Wild Side
(7:19)  5. Both Sides Now
(4:46)  6. What Are You Doing For The Rest Of Your Life
(6:24)  7. Wild Horses
(4:14)  8. He's Going To Break Your Heart
(5:05)  9. People Get Ready

Listing all of Marc Jordan’s songwriting credits, awards and accolades would take up the whole word count of this review, so let me simply say that the man knows his way around a song. And since this album is mostly covers only two of the tracks are originals his mighty interpretative skills are a key component here. The other key component of Both Sides is Lou Pomanti, who produced, arranged and orchestrated all the tracks. These two men are at the top of their games and we are the beneficiaries. The album is rich with instrumentation courtesy of the Prague Symphony Orchestra and guest appearances by international heavies like Randy Brecker and Tommy Emmanuel, and local luminaries like Kevin Breit and Larnell Lewis. Although he covers a couple of standards from the Great American Songbook, it’s the reinterpretations of classic folk/rock songs that are standouts for me. In particular, Lou Reed’s Walk on the Wild Side shines with its many layers and gorgeous woodwinds, courtesy of Toronto’s own, John Johnson. Although the soft, groovy treatment of the tune is antithetical to its subject matter, it works. Beautifully. Jordan’s thoughtful handling of the title tune also caused me to hear these familiar lyrics with fresh ears and I was struck by how mature Joni Mitchell’s writing was for one so young. (She was in her early 20s when she wrote Both Sides Now.) Overall, the album reflects a full-grown artist who has lived completely, and well. ~ Cathy Riches https://www.thewholenote.com/index.php/booksrecords2/jazzaimprovised/29043-both-sides-marc-jordan

Both Sides

Thursday, August 8, 2019

Alex Sipiagin - Images

Styles: Trumpet Jazz
Year: 1998
File: MP3@320K/s
Time: 51:02
Size: 117,6 MB
Art: Front

( 8:03)  1. Tarde
( 7:44)  2. Freaker
(11:57)  3. Little Dancer
( 3:26)  4. Song - 1
(12:34)  5. Novgorod Bells
( 7:15)  6. Midwestern Night Dream

"Alex Sipiagin is an amazing musician truly a multifaceted composer, arranger, producer, a wonderful lead trumpet player, and most of all, a completely original trumpet and flugelhorn soloist. As an improviser, he blends his Russian American background into something unique which, quite frankly, astounds me every time I hear him" ~ Randy Brecker, trumpeter. http://www.alexsipiagin.com/

Personnel: Trumpet, Flute, Producer, Arranged By – Alex Sipiagin; Alto Saxophone – David Binney; Bass – Scott Colley; Drums – Jeff Hirshfield; Guitar – Adam Rogers ; Piano, Accordion – Gil Goldstein; Tenor Saxophone – Chris Potter ; Trombone – Joshua Roseman

Images

Anna Wilson - Yule Swing!

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 40:51
Size: 94,4 MB
Art: Front

(4:06)  1. Yule Swing
(3:01)  2. Christmas Is Coming to Town
(4:23)  3. Through Their Eyes
(3:49)  4. Holiday Lovin'
(3:31)  5. Light Me Up
(4:35)  6. Wish
(3:25)  7. One Day
(2:36)  8. Mrs. Claus
(4:34)  9. A House, a Home
(6:48) 10. Resolutions

If Christmas is a time for giving, vocalist Anna Wilson scores a two-base hit with Yule Swing. Not only does she offer listeners the gift of holiday music, but she also contributes to a charitable cause: Habitat for Humanity. Like many vocalists, this Pennsylvania product grew up with the Great American Songbook standards, including works by Frank Sinatra and Judy Garland. However, rather than adopting them as her own, which many artists before her have done, Wilson has preferred to write her own music, with the goal of creating new jazz songs for younger listeners as well as offering something different for older fans who have heard the same classics over and over. In addition to her musical career, Wilson has been an avid supporter of Habitat for Humanity, making appearances on the organization's behalf and allowing it to use her song, "A House, A Home," in public service announcements on radio and television. The title song sets the stage. With a swinging horn section, Wilson rings in the holiday season. "Forget caroling / Everybody dance and sing," she sings. The double entendre is evident in the joyful sound. "Yule Swing" or "you'll swing," either way, it's a perfect stocking stuffer. "Through Their Eyes" is a tribute to children. This easygoing track, with muted trumpets softly in the background and elegant piano by Jeff Franzel, features Wilson's rich alto voice. With lyrics like, "And be young at heart for just a while," it's a call for adults to use the wonder of children to help overcome their troubles and enjoy life. Bassist Sean O'Bryan Smith sets a cool-jazz rhythm on "Light Me Up," a delightful duet with guest vocalist Chuck Wicks. Wilson enjoys some Janis Siegel-like inflections. The song includes a bluesy guitar solo. "One Day" quiets things down. Wilson reminds one of Doris Day as she sings about the gratitude of family during that special day. The background arrangement is minimal. Then, she kicks it into high gear again with "Mrs. Claus," a sassy, playful nod to the woman behind Santa. Rick Braun makes a guest appearance, playing muted trumpet on "A House, A Home." While Yule Swing is 10 all-new songs, the melodies and rhythms revisit a bygone era. Wilson and her co-writers capture the spirit of old-school swing. Some instrumental solos and the big horn section certainly add to the pleasure, but it's Wilson's voice that makes this collection a gift that will last. Everybody loves Christmas, and most artists have it in them to record Christmas music at some point in their careers. However, it is the rare singer who trims the tree with all-new material. Wilson does, and it's a beauty. ~ Woodrow Wilkins https://www.allaboutjazz.com/yule-swing-anna-wilson-transfer-records-review-by-woodrow-wilkins.php?width=1920

Personnel: Anna Wilson: vocals; Sean O'Bryan Smith: bass; Paul Gordon: Hammond B-3; Wayne Killius: drums; Mike Noble: guitar; Monty Powell: guitar; Justin Levinson: percussion; Jeff Franzel: piano; Max Abrams: saxophone; Roy Agee: trombone; Steve Patrick: trumpet (1-8, 10); Rick Braun: trumpet (9); Chuck Wicks: vocals (5); Sam Roberts: child's voice; Hayley Roberts: child's voice.

Yule Swing!

Dave Stryker - Blue To The Bone II

Styles: Guitar Jazz
Year: 2004
File: MP3@320K/s
Time: 62:13
Size: 143,3 MB
Art: Front

( 4:27)  1. Rockin' in rhythm
( 1:32)  2. Goin' to New Orleans - introduction
( 8:07)  3. Goin' to new Orleans
( 5:43)  4. Sittin' on top of the world
(11:22)  5. 24 for Elvin
( 6:40)  6. Mystery street
( 5:18)  7. The squeeze
( 8:28)  8. Mood
(10:33)  9. Mug shot

Considering that forty-something guitarist Dave Stryker has made over a dozen albums under his own name, leads a sharp quartet with Steve Slagle, and is in constant demand as a sideman working in the past with Stanley Turrentine, Jack McDuff, Javon Jackson, and Kevin Mahogany, you'd think he'd be practically a household name. Unfortunately that's not the case, but his first Blue to the Bone project from a few years back did seem to attract some critical plaudits and bring into the circle some added new fans. And now that the second offering in this series has just made its debut here in America, one can only hope that the good vibes just keep building. As great as the first set was, it's without hesitation that I deem this new one a valiant leap forward. For the neophyte, the concept is really quite simple- get together a modest-sized horn section, bring a B-3 along, and write some charts that accent a "blue" point of view. But while the prior record leaned a bit more on the classic 12-bar blues form, this set offers up a colorful diversity in terms of song structure. Of course, Stryker can get down with his bad self, as he more than adequately proves on a cover of Howlin' Wolf's "Sittin' On the Top of the World." Somehow the spicy gumbo of the Crescent City proves to be a perfect adjunct to the blues in Stryker's mind, with both originals "Mystery Street" and "Goin' To New Orleans" spurred on by Adam Nussbaum's "second line" drumming and the guitarist's processed tone, akin to a slide-steel at times. 

His solo spot on the former makes potent use of distortion and note bending. Balanced by an Ellington gem and a Steve Slagle original, a few tunes that have been previously recorded get a facelift too, including "Mood" and "24 For Elvin," an extended form with a modal quality to it that does indeed suggest Elvin Jones' work with the classic John Coltrane quartet. Sharing the solo honors with Stryker and equally beguiling in the long run are trumpeter Brian Lynch, alto saxophonist Steve Slagle, pianist Bruce Barth, and drummer Adam Nussbaum. They, along with the charts and an elation that the blues almost paradoxically provide, make for an end product that is indeed greater than the sum of the parts. Now, here's waiting with baited breath for the release of Stryker's latest project inspired by Miles Davis' Bitches Brew period. Bring it on SteepleChase! 
~ C.Andrew Hovan https://www.allaboutjazz.com/blue-to-the-bone-ii-dave-stryker-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Dave Stryker- guitar, Brian Lynch- trumpet, Steve Slagle- alto sax & flute, Clark Gayton- trombone, Bob Parsons- baritone saxophone, Bruce Barth- piano & organ, Jay Anderson- bass, Adam Nussbaum- drums

Blue To The Bone II

Denny Zeitlin - Precipice

Styles: Piano Jazz
Year: 2010
Time: 68:13
Size: 116,6 MB
Art: Front

( 6:06)  1. Free Prelude/What Is This Thing Called Love?/Fifth House P1
( 6:18)  2. Free Prelude/What Is This Thing Called Love?/Fifth House P2
( 4:51)  3. Out Of My Dreams
(10:06)  4. On The March
( 8:49)  5. The We Of Us
( 7:00)  6. Deluge
( 2:46)  7. Oleo
( 6:55)  8. Love Theme From Invasion Of The Body Snatchers
( 6:36)  9. Pulsar
( 8:40) 10. Precipice

The recorded live format seems to suit pianist Denny Zeitlin, who is certainly the only top tier jazz pianist who is also a practicing psychiatrist. His In Concert (Sunnyside Records, 2009), with his trio featuring bassist Buster Williams and drummer Matt Wilson, was filled with beautiful moments of surrender and improvisational élan, and stunningly spontaneous displays of technical proficiency. His follow-up, Precipice, a solo piano outing, finds the pianist again live in concert, recorded at Ralston Hall in 2008, in Santa Barbara, California. The symbiotic three-way relationship with his band mates on In Concert was compelling, as good as it gets for fans of the piano trio sound brainy yet accessible, and immensely virtuosic, covering John Coltrane ("Mr. P.C.") and Cole Porter (a full of surprises "All of You"), along with Zeitlin's original tunes. Going solo for Precipice results in something even more mesmerizing. Zeitlin's original "Free Prelude" serves as a wandering improvisational foray that leads, with perfect logic, into the Cole Porter standard "What is This Thing Called Love?" Covered often and well, Zeitlin gives the melody a certain quirky reverence that eventually cranks into high gear as it evolves into a burning take on Coltrane's "Fifth House," gathering a percussive momentum to close out twelve-plus minutes of tightly focused yet highly spontaneous jazz. Rodgers and Hammerstein's classic, "Out of My Dreams" showcases Zeitlin's refined touch and gorgeously lush harmonies. 

"On the March" is the first of five Zeitlin originals on the set. It features some harp-like, inside-the-piano strumming. The mood is bright and whimsical at first, with injections of majesty. It is a composition containing complex twists and turns, with hard-driving moments interspersed with dreamy, drifting interludes. Cerebral, perhaps, but always approachable and always gorgeous. Zeitlin has a wonderful way with love songs. His "The We of Us," written for his wife Josephine, has an achingly tender, ethereal beauty, and "Love Theme from Invasion of the Body Snatchers" (Zeitlin did the soundtrack for 1978 remake of the sci-fi classic) has a luminous loveliness, a tune suffused with deep melancholy and tragic yearning. "Pulsar," a high-octane Zeitlin original, showcases Zeitlin's capacity for complexity and elegance married to percussive zest, leading into the title tune/set closer. The energy level is set even higher, with shifting sections of funk and free improvisation, and glistening, crystalline bursts of notes that make the unexpected expected, for a grand closing to an extraordinary set of solo piano music. 
~ Dan McClenaghan https://www.allaboutjazz.com/precipice-denny-zeitlin-sunnyside-records-review-by-dan-mcclenaghan.php

Personnel: Denny Zeitlin: piano.

Precipice

Marco Marzola - Bon Voyage

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 41:24
Size: 95,4 MB
Art: Front

(3:25)  1. Un jour
(4:15)  2. Bon voyage
(4:36)  3. Magic Finger
(6:07)  4. Visitors
(5:30)  5. Raboso Funk
(4:13)  6. Ready Steady Go
(3:33)  7. Sans toi
(4:53)  8. Od
(4:48)  9. Visitors - Alternative Take

Ongoing collaboration with Musicians of the International jazz scene across Europe at Jazz Festivals and Jazz Clubs. His artistic training began at the conservatory of Ferrara (Italy). Captured by Jazz at an early age, he moved to New York in 1982 where he studied with Barry Harris and Buster Williams. He became interested in Ethnic Music, Blues and Pop. Alongside his work as sideman, he started several projects as a band leader featuring International acclaimed guests such as Ed Cherry, Steve Turre, Sherman Irby, Akua Dixon, Darrell Green, Dion Parson. As a testimony to these collaborations, there are now a number of Albums available on line. He shared the stage and recorded with the most representative Musicians of the INTERNATIONAL JAZZ SCENE around Europe and United States such as: Betty Carter, Jimmy Lovelace, Tommy Tarantine, Jimmy Owens, Paul Jeffrey, Craig Handy, Harold Land, George Cables, Steve Turre, Tommy Campbell, John Hics, Tony Scott, Bruce Forman, Jimmy Cobb, Dion Parson, John Clark, Sherman Irby, Chuck McPherson, James Zollar, Darrell Green, Jesse Davis, Akua Dixon, James Hurt, Ed Cherry, Stacy Dillard, Bruce Williams, Jerome Jennings, Art Hirahara, Camille Thurman, Giulio Capiozzo, Flavio Boltro, Stefano Bollani, Fabrizio Bosso and many other. http://www.marcomarzola.com/bio/

Personnel:  Marco Marzola [bass]; Karin Mensah [vocal]; Federico Pellegrini [harmonica]; Marco Bovi [guitar]; Nico Menci [piano]; Bruno Marini [hammond]; Luca Donini [tenor saxophone]; Bruno Marini [baritone & alto saxophones]; Gianluca Carollo [trumpet]; Lele Barbieri [drums]

Bon Voyage

Wednesday, August 7, 2019

Dave Eshelman's Jazz Garden Big Band - When Dreams Come True

Styles: Jazz, Big Band
Year: 1993
File: MP3@320K/s
Time: 69:22
Size: 160,3 MB
Art: Front

(5:51)  1. Firm Roots
(7:32)  2. We'll Never Say Goodbye
(6:20)  3. Love You Madly
(6:24)  4. Tumbao Nuevo
(6:52)  5. Old Folks
(7:05)  6. When Dreams Come True
(7:13)  7. Invitation
(7:06)  8. Bb Blues In F
(6:54)  9. Mystique
(8:00) 10. Original Rays

Stellar trombonist, composer, and leader Dave Eshelman continues to bring the best of modern big band arrangements to the attention of the jazz public with his Jazz Garden Big Band. In their 16th year when this album was cut in 1991, the band is home to top California studio and performing jazz artists. One hears in this aggregation touches of Stan Kenton (in the voicing) on such cuts as "Mystique" and the modernism of Gil Evans on other tracks such as "Original Rays," where the band is augmented by a French horn, bassoon, tuba, and oboe, recalling Evans' days as arranger for Claude Thornhill. Not only is the ensemble playing extraordinary, but the solos test the imagination and technical skills of each player who's put front and center. Showing no reluctance to let another trombonist share the spotlight, Eshelman has Dave Martell out front on Cedar Walton's "Firm Roots." Pianist Susan Muscarella also has a lot to say on the track. The play list brings out the diversity of the arrangements. "When Dreams Come True," featuring the daring tenor of Daniel Zinn, written as a sonata, shows another aspect of Eshelman's composing and arranging. A slightly swinging "Love You Madly" has the nicely modulated flugelhorn of Steve Campos taking the lead, while the standard "Old Folks" gets a fresh coat of paint with Eshelman's a cappella trombone wielding the brush. Irrespective of tracks, all the music has a modern quality to it, which means there is some dissonance, off-center harmonics, and contemporary ideas reflected in the arrangements. The Jazz Garden Big Band must be considered a leader in the formation and presentation of big band music in the modern creative vein. Recommended. ~ Dave Nathan https://www.allmusic.com/album/when-dreams-come-true-mw0000934135

Personnel:  Trombone – Dave Eshelman, Dave Gregoric , Dave Martell, Chip Tingle ; Bass – Seward McCain; Bass Trombone – Phil Zahorsky; Bassoon – Dominic Teresi ; Congas – Michael Spiro;  Drums – Russ Tincher; French Horn – Larry Osborne; mGuitar – Tim Volpicella; Oboe – Steve Parker ; Piano – Smith Dobson, Susan Muscarella; Saxophone, Woodwind – Bennett Friedman, Bob Farrington, Dan Zinn, Mary Fettig, Paul Contos, Rory Snyder; Trombone [Lead] – John Russell ; Trumpet [Lead], Flugelhorn – Marvin McFadden; Trumpet, Flugelhorn – Bill Resch, Dan Buegeleisen, Steve Campos; Tuba – Tony Clements ; Vibraphone – Dennis Cooper

When Dreams Come True

Elizabeth Shepherd - Montréal

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 45:51
Size: 106,7 MB
Art: Front

(3:57)  1. Tio`tia:Ke
(4:31)  2. Reine Du Monde
(5:32)  3. Suits and Ties
(4:54)  4. The Terminal
(2:19)  5. C'est Le Temps
(5:52)  6. Ainsi
(4:32)  7. Our Lady
(3:31)  8. Jedlika
(2:58)  9. La Boxe
(4:21) 10. The Good Lord's Work
(3:20) 11. Beau Voyage

MONTRÉAL is a play on words: in French, "mon" means "my"; it's about "my Montreal"a look into the city I love, the neighbourhoods I've discovered, and some of the untold stories I've had the privilege to hear. After all, it's not the buildings, history books or street names that make the place, but the people and their stories. Over five years, I interviewed people at random, who had one thing in common: being Montrealers. I asked them to tell me something about their Montreal, and collected all kinds of tales - humorous, moving, tragic, sometimes outright bizarre. I sifted through the interviews and narrowed them down to 11, which became these songs. Each one tells someone's story, and refers to a specific location in Montreal. I then placed each song location on a map, and traced the itinerary in an order that placed them within walking distance of each other. So in the 50 minutes it takes to listen to the songs, listeners could also physically move through each of the places the songs are about. But what about those who can't be in Montreal to "walk the album"? I teamed up with Montreal videographer Stefan Verna to shoot a short film for each song. I also wrote a book that touches on the people and places behind the stories, and the changing nature of this city. I had no idea of what I was getting into, setting out to speak to strangers. I now understand a little better just how many narratives have been omitted from the official history, and how so many groups of people have worked hard to carve out a space for their community, and forge a home within this city. But ultimately, it is individuals, each with their own story, who make up this richly complex and beautiful island we call home. https://store.cdbaby.com/cd/elizabethshepherd

Montréal

The Fat Babies - Solid Gassuh

Styles: Jazz
Year: 2016
File: MP3@320K/s
Time: 47:54
Size: 111,5 MB
Art: Front

(3:07)  1. Doctor Blues
(2:54)  2. After a While
(2:55)  3. Feelin' Good
(4:23)  4. Did You Ever See a Dream Walking?
(2:39)  5. Original Charleston Strut
(2:52)  6. Pencil Papa
(2:48)  7. I Miss a Little Miss
(2:36)  8. Parkaway Stomp
(2:47)  9. You Were Only Passing Time with Me
(3:10) 10. Alabamy Bound
(3:02) 11. Slow River
(3:57) 12. Delirium
(3:25) 13. Egyptian Ella
(3:45) 14. Sing Song Girl
(3:26) 15. Maple Leaf Rag

There is nothing innovative about the Fat Babies. The Chicago hot-jazz band is stuck, firmly and proudly, in the long-ago past. The seven musicians in this group may all appear to be young fellows, but they are very old men at heart. Their third proper album, Solid Gassuh, is more of the same, and that’s a great thing. The music of the 1920s and ’30s comes crisply alive in modern fidelity. The septet Andy Schumm on cornet, Dave Bock on trombone, John Otto on clarinet and alto saxophone, Jake Sanders on banjo and guitar, Paul Asaro on piano, Beau Sample on bass and Alex Hall on drums transports us to an innocent age well before the chaos of bebop. On familiar tunes like “Doctor Blues” and “Maple Leaf Rag,” and less-remembered ones like “Parkway Stomp” and “Sing Song Girl,” horns swing wildly atop drumming locked in with metronomic bass plucking and banjo strumming and rollicking stride piano. The musicianship is superb and everything sounds so historically accurate from Schumm’s hearty blasts and Bock’s low growls to Asaro’s boogie-woogie runs and Hall’s hi-hat hits. Even Asaro’s earnest vocals he sings on five tunes including the wonderful great-grandpa hit “Did You Ever See a Dream Walking?” are perfectly dated. If the Fat Babies had overdubbed cracks and pops onto this album, you’d swear it was a compilation of old 78s. ~ Steve Greenlee https://jazztimes.com/reviews/albums/fat-babies-solid-gassuh-delmark/

Personnel:  Andy Schumm on cornet, Dave Bock on trombone, John Otto on clarinet and alto saxophone, Jake Sanders on banjo and guitar, Paul Asaro on piano, Beau Sample on bass and Alex Hall on drums.

Solid Gassuh

Jack Jones - For the "In" Crowd

Styles: Vocal
Year: 1966
Time: 28:02
Size: 47,2 MB
Art: Front

(3:10)  1. What The World Needs Now Is Love
(2:22)  2. Yesterday
(2:56)  3. You’ve Got Your Troubles
(2:16)  4. 1-2-3
(2:21)  5. Wildflower
(1:54)  6. Love Bug
(2:20)  7. The “In” Crowd
(1:52)  8. Baby I’m Yours
(2:21)  9. Just Yesterday
(2:02) 10. The Weekend
(2:48) 11. I Want to Meet Her
(1:36) 12. Sunshine, Lollipops And Rainbows

Jack Jones is one of the greatest singers of all time. A true Singers’ Singer and luminary. A double Grammy winner, Jack performs around the globe to sold-out audiences in venues ranging from Jazz clubs to the London Palladium. Jack Jones is the very definition of a complete and total entertainer. The New York Times raves, “he is arguably the most technically accomplished male pop singer…”. There is only one Jack Jones. Born in Hollywood, California, on the night his singer/movie star father, Allan Jones, recorded his hit, “Donkey Serenade”. Jack would make his famous parents ( his mother was the elegant ’30’s actress Irene Hervey) especially proud of their award-winning son for the diversity and breadth of his talent. Jones attended University High School in West Los Angeles, while also studying drama and singing with private teachers chosen by his father. A young athlete, he gave up his track and football team sports to devote himself to serious study of the arts. Uni High was a school attended by teenagers from all economic walks of life. Ever conscious of his privileged life as the son of a famous show business family, he went out of his way to play down this part of his life with his friends, not knowing that after his graduation and parents’ divorce, he would be financially strapped and have to start from scratch like most of the other students. One of his most memorable experiences while in high school was when one of his friends, Nancy Sinatra, invited her father to sing in the school auditorium. It left an indelible mark that helped shape Jones’ career choice. Jones’ professional debut was a brief stint as part of his father’s act at the Thunderbird Hotel and Casino in Las Vegas when he was just 19 years old. He went out on his own three weeks later, working odd jobs including as a gas station attendant, to support himself while pursuing his singing career. His first break came when a demo he recorded for songwriter Don Raye found its way to Capitol Records. While with the label he recorded a few singles and an album, which he admits was mediocre. Although he eventually left Capitol. One gem from his album, “This Could Be The Start Of Something Big”, caught the attention of a San Francisco club owner who booked him for a three week run at Facks. While performing there, he was discovered by Pete King, a producer and artist for Kapp Records who quickly signed him to the label. Still working at his “day job” as a gas station attendant when his first album on Kapp was released Jones, while washing a customer’s windshield, was surprised to hear one of his cuts playing on the car radio. He could now legitimately hope that his “day job” days would soon be over. 

As his career gained momentum, Jones developed a deep appreciation for well constructed songs that also have emotional appeal. His respect for songs that tell stories with meaning and beauty led him to record works by the greatest balladeers of all time: Sammy Cahn, Jimmy Van Heusen, Cole Porter, the Gershwin’s, Harold Arlen, Michel Legrand and Alan & Marilyn Bergman. He was inspired by great Jazz instrumentalists he discovered during his teen years such as Gerry Mulligan, Clark Terry, Buddy Rich, Bob Brookmeyer, Dave Pell Octet, Marty Paiche Dectet, Shorty Rogers and the Giants, and Count Basie. Jones’ talent and commitment to his art earned him two Grammy’s for “Best Pop Male Vocal Performance” with his singles “Lollipops and Roses” by Anthony Velona and Bacharach/ David’s “Wives and Lovers”. His release, Jack Jones Paints A Tribute To Tony Bennett, was nominated for “Best Traditional Pop Vocal Performance”. He was also nominated for “The Impossible Dream” and his recording of “Wives and Lovers” was nominated for “Record of the Year”. His hit records include “The Race Is On”, “Lady”, “Call Me Irresponsible”,and “What I Did For Love”. On April 13, 1989, he was honored with his own star on the Hollywood Walk of Fame, close to where his father’s star is located. He is also renowned as a leading interpreter of musical theater -with acclaimed performances in “Guys and Dolls”, “South Pacific”, “She Loves Me”, and “Pajama Game” . Over the years he has guest-starred on countless episodic and/or comedy television series. Most recently he starred as Don Quixote in Man Of La Mancha in the national tour. Most recently, Jack has completed a guest-starring role in the British comedy film: Cruise Of The Gods. Admirers of Jones’ talent include artists who influenced him as a young singer: Sinatra who said, “Jack is one of the major singers of our time,” Mel Torme called him “the greatest ‘pure’ singer in the world” and legendary composers Sammy Cahn and Michel Legrand. In 1971, Jones honored Michel Legrand by recording the first complete vocal album in English of the French composer’s songs. Released by RCA, Jack Jones Sings Michel Legrand is an album which exquisitely showcases the vocalists art and a recording that Jones counts as one of his favorites. In 1997 he recorded New Jack Swing for Honest Entertainment, which introduced Jones to a new generation of fans with hip, swing renditions of “Every Breath You Take”, “Have You Ever Loved A Woman”, Keb Mo’s “Dangerous Mood”, “All Or Nothing At All” and the classic “Mack The Knife”. 

With over 50 recorded albums (17 of them chanting Billboard’s Top 20) and consistently sold-out world tours, Jack Jones continues to charm audiences with his wit, sensitivity and vocal power. In addition to a successful recording career, Jones’ impressive credits include film and television roles; an internationally syndicated TV variety show; performances at Carnegie Hall, the Kennedy Center, and the White House. He has also performed and later recorded popular theme songs for film and TV (“Love with a Proper Stranger”, “The Love Boat”). On his second release for Honest Entertainment, Jack Jones Paints A Tribute To Tony Bennett, Jones pays homage to a friend and an American icon. He counts Bennett among those vocalists who most influenced his style (a small but elite group that includes Mel Torme, Sammy Davis Jr., Billy Eckstien, and Frank Sinatra). Professional relationship aside, Jones and Bennett have been friends since their meeting at Chicago’s Palmer House Hotel in the late 60’s when Jones attended the last show of Bennett’s engagement at the Empire Room, before opening in the same room the following night. Of his tribute album, which features some of Bennett’s signature songs, Jones says, “This album is my way of saying thanks to a dear friend.” In selecting songs for this album, he chose three of his personal Bennett favorites, “Skylark”, “Shadow Of Your Smile” and “You Must Believe In Spring”. 2008 marks his 50th anniversary in show business! In the early summer of 2008 the world’s most recognized hotel brand, Holiday Inn Hotels and Resorts, launched their “M.B.A.” (Master in Business Accommodations) marketing campaign bringing the timeless voice of Jack Jones singing a new recording of “The Love Boat Theme”. Jones also recently shared his voice with a whole new generation when he sang “Boat of Romance” as part of an episode on the Emmy-nominated Disney Channel animated musical television series Phineas and Ferb.Jack Jones released the next chapter in his long history of making hits, Love Makes the Changes: The Lyrics of Alan and Marilyn Bergman. A tribute to the lives and shared love of Jack’s good friends and celebrated songwriters, Alan and Marilyn Bergman. During their distinguished career, their songs have been nominated for sixteen Academy Awards, for which they have won three: “The Windmills of Your Mind” in 1968, “The Way We Were”: in 1973, and the score for “Yentl” in 1984. More.. http://jackjones.lolipop.jp/jack-jones-biography/

For the "In" Crowd

Tuesday, August 6, 2019

Jeremy Pelt - Noir en Rouge

Styles: Trumpet Jazz
Year: 2018
File: MP3@320K/s
Time: 66:03
Size: 151,7 MB
Art: Front

( 5:30)  1. Make Noise!
( 8:08)  2. Re-invention
( 9:38)  3. Sir Carter
( 7:02)  4. Black Love Stories
(10:34)  5. Evolution
(11:48)  6. I Will Wait for You
( 5:30)  7. Melody for V
( 7:50)  8. Château d’eau

A really great live set from trumpeter Jeremy Pelt  who seems to use the format to open up with even more bold energy than his recent studio albums! There's a freewheeling vibe here that reminds us of the way that Freddie Hubbard could really transform in a live setting both searing as a soloist, and this very powerful force as a leader really urging the best out of his group on the date a quintet that includes Victor Gould on piano, Vincente Archer on bass, Jonathan Butler on drums, and Jacqueline Acevedo on percussion! The other players have this incessant energy that can't help but drive Pelt forward  and the whole group gels together wonderfully, on titles that include "Black Love Stories", "Sir Carter", "Re-Invention", "Make Noise", "Evolution", and "I Will Wait For You".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/877866/Jeremy-Pelt:Noir-En-Rouge-Live-In-Paris

Personnel: Trumpet, Producer – Jeremy Pelt; Bass – Vicente Archer; Drums – Jonathan Barber; Percussion – Jacquelene Acevedo; Piano – Victor Gould

Noir en rouge

Houston Person - In a Sentimental Mood

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 58:21
Size: 134,9 MB
Art: Front

(4:15)  1. Don't Get Around Much Anymore
(6:43)  2. Tenderly
(5:40)  3. Skylark
(4:34)  4. You Don't Know What Love Is
(5:20)  5. The Way We Were
(5:05)  6. My Funny Valentine
(4:56)  7. All the Things You Are
(5:05)  8. Good Morning Heartache
(4:23)  9. Without a Song
(3:42) 10. In a Sentimental Mood
(4:32) 11. Embraceable You
(4:02) 12. Deed I Do

Houston Person is an excellent, underrated tenor saxophonist with a full, rich tone and a knack for well-constructed, tasteful, but never boring solos. That said, he's occasionally guilty of giving the people what they want, releasing smooth and conservative albums that are perfectly enjoyable to listen to, but somewhat beneath what he's capable of. 2000's In a Sentimental Mood is exactly that; this collection of standards features some excellent performances of classic ballads, but it's all so polite that it's hard to see the set as anything more than better-than-average background music. Foregoing his usual organ accompaniment, Person teams up with pianist Stan Hope, standup bassist George Kaye, and drummer Chip White for a classic piano trio-plus-sax lineup, and the song selection is undeniable: you just can't go wrong with tunes like "My Funny Valentine," "All the Things You Are," and "Don't Get Around Much Anymore." Yet there are so few risks taken on In a Sentimental Mood that one doesn't even have to listen to the album; anyone who knows these songs and Houston Person's characteristic sound already knows what this album sounds like. It sounds terrific, but it's hard not to want more. ~ Steward Mason https://www.allmusic.com/album/in-a-sentimental-mood-mw0000101164

Personnel:  Houston Person – tenor saxophone; Stan Hope – piano; George Kaye – bass; Chip White – drums

In a Sentimental Mood

Ari Hoenig - Bert's Playground

Styles: Jazz, Post Bop
Year: 2013
File: MP3@320K/s
Time: 64:50
Size: 149,4 MB
Art: Front

(10:50)  1. Moment's Notice
( 5:25)  2. The Way You Look Tonight
( 7:13)  3. Seraphic
( 7:49)  4. Ramilson's Brew
( 2:35)  5. Round Midnight
( 6:31)  6. Fall
( 7:59)  7. Bert's Playground
( 4:27)  8. For Tracy
( 8:34)  9. Green Spleen
( 3:23) 10. Embraceable You

The varied contexts in which drummers play make their own sessions as leaders either spottily uneven or dynamically diverse. For Bert's Playground, drummer Ari Hoenig has gathered a troop of six musicians that includes two bassists, guitarists and saxophonists that he mixes and matches to illuminate the fun to be had. After receiving a gentle push from Hoenig and bassist Matt Penman, guitarist Jonathan Kreisberg and tenor saxophonist Chris Potter swing hard on Trane's "Moment's Notice." Guitarist Gilad Hekselman and bassist Orlando Fleming transform Jerome Kern's beautiful "The Way You Look Tonight" into a sandbox for boppy guitar explorations. Kreisberg, layering acoustic and electric guitars, elegantly combines with altoist Will Vinson for "Seraphic"'s subtle spin. This is followed by Hoenig and Penman leading the way up the intricate jungle-gym bars of "Ramilson's Brew." Hoenig eerily conjures up a drum solo version of "Round Midnight" then joins Kreisberg and Fleming for a reinterpretation of Wayne Shorter's "Fall." The title cut is an apt potpourri of post-bop rhythmical playscapes. "For Tracy" again has Hoenig and Kreisberg combining for a gorgeous and leisurely slide. "Green Spleen" is a deliciously funky and wild tenor/guitar seesaw. And Gershwin's "Embraceable You," delicately interpreted by Hekselman's guitar, is a tender reminder that it is time to call it a day. A major aspect of what holds this session together is Hoenig's understated style. He leads not with bravado but with a wonderfully exquisite touch, allowing his band mates to cavort. ~ Elliott Simon https://www.allaboutjazz.com/berts-playground-ari-hoenig-dreyfus-records-review-by-elliott-simon.php

Personnel: Ari Hoenig: drums; Chris Potter: tenor saxophone (1, 4, 9); Will Vinson: alto saxophone (3, 7); Jonathan Kreisberg: guitar (1, 3, 4, 6, 7, 8, 9); Gilad Hekselman: guitar (2, 10); Matt Penman: bass (1, 3, 4, 7, 9); Orlando LeFleming: bass (2, 6, 8, 10).

Bert's Playground

Bill Watrous Quartet - Roaring Back into New York, New York

Styles: Trombone Jazz
Year: 2014
File: MP3@320K/s
Time: 42:43
Size: 98,8 MB
Art: Front

(7:19)  1. I Should Care
(7:51)  2. My Ideal
(6:37)  3. Limehouse Blues
(9:42)  4. Serenade in Blue
(6:39)  5. I've Got a Crush on You
(4:32)  6. 7 Come 11

One of the finest bop-oriented trombonists from the 1960s onward, Bill Watrous had a low profile after moving to Los Angeles in the 1980s despite remaining quite active. Possessor of a beautiful tone and remarkable technique, Watrous was oftentimes overlooked in jazz popularity polls. His father was a trombonist and introduced Bill to music. He played in traditional jazz bands as a teenager and studied with Herbie Nichols while in the military. Watrous made his debut with Billy Butterfield, and was one of the trombonists in Kai Winding's groups during 1962-1967. He was a busy New York-based studio musician during the 1960s, working and recording with Quincy Jones, Maynard Ferguson, Johnny Richards, and Woody Herman; playing in the television band for Merv Griffin's show (1965-1968); and working on the staff of CBS (1967-1969). After playing with the jazz-rock group Ten Wheel Drive in 1971, Watrous led his own big band (the Manhattan Wildlife Refuge) during 1973-1977, recording two superb albums for Columbia. After moving to Los Angeles in the late '70s, Watrous continued working in the studios, appearing at jazz parties, playing in local clubs, and leading an occasional big band. He recorded as a leader for Columbia, Famous Door, Soundwing, GNP/Crescendo, and with his big band for Double-Time. Bill Watrous died in Los Angeles in July 2018 at the age of 79. ~ Scott Yanow https://www.allmusic.com/artist/bill-watrous-mn0000765776/biography

Personnel:  Trombone – Bill Watrous; Piano – Derek Smith; Bass – Linc Milliman; Drums – Ronnie Bedford

Roaring Back into New York, New York

Monday, August 5, 2019

'Wild' Bill Davison - But Beautiful

Styles: Trumpet Jazz
Year: 1997
File: MP3@320K/s
Time: 73:02
Size: 169,8 MB
Art: Front

(3:55)  1. If I Had You
(4:25)  2. Sunday
(6:34)  3. I Can't Get Started
(5:51)  4. Georgia
(3:32)  5. But Beautiful
(6:51)  6. B Flat Blues
(4:10)  7. Someday You'll Be Sorry
(3:59)  8. Am I Blue
(3:25)  9. You Took Advantage of Me
(3:17) 10. Ghost of a Chance
(4:53) 11. I'm Confessin'
(3:07) 12. A Rainy Day
(4:41) 13. Everything Hapens to Me
(3:54) 14. Memories of You
(4:21) 15. Blue Turning Grey over You
(6:01) 16. Exactly Like You

Cornetist Wild Bill Davison recorded often in 1974-77 during his annual visits to Copenhagen and virtually all of those albums (usually released by Storyville) are recommended to Dixieland fans. For this set, Wild Bill is heard either backed by a rhythm section or by a medium-sized group with a sax section. The repertoire is full of ballads although there is plenty of tempo and mood variation. Davison was in his late prime during the era as can be heard on superior versions of "You Took Advantage of Me," "But Beautiful," "I'm Confessin'" and "Blue Turning Gray over You."~ Scott Yanow https://www.allmusic.com/album/but-beautiful-mw0000241151

Personnel: Trumpet – Wild Bill Davison; Alto Saxophone – Per Carsten Petersen; Baritone Saxophone – Flemming Madsen; Bass – Hugo Rasmussen; Drums – Ove Rex; Guitar – Torben Munk; Piano – Niels Jørgen Steen; Tenor Saxophone – Steen Vig,  Uffe Karskov,  Tenor Saxophone, Clarinet – Jesper Thilo

But Beautiful

Grace Knight - Keep Cool Fool

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 40:30
Size: 95,0 MB
Art: Front

(3:09)  1. Your Cheatin' Heart
(2:23)  2. Keep Cool Fool
(3:15)  3. Don't Know Much About Love
(3:33)  4. Am I Blue
(3:33)  5. I'm A Woman
(2:42)  6. I'm Glad There Is You
(3:12)  7. It Ain't Necessarily So
(2:37)  8. Sentimental Journey
(3:31)  9. One I Love
(3:34) 10. Undecided
(2:43) 11. He Needs Me
(2:40) 12. Baby Won't You Please Come Home
(3:32) 13. Down By The Salley Gardens

Grace Knight is one of Australia’s finest vocalists with a stellar career spanning 35 years. Throughout her career Grace has embraced numerous musical genres demonstrating her skill and versatility. She created a storm with the 80’s pop group, Eurogliders, where Grace achieved international success with the summer anthem of 1984 Heaven (Must Be There). Grace’s next musical incarnation had her recording the soundtrack and making an acting appearance in the 1990 ABC TV series ‘Come In Spinner’. Recorded with Australian jazz great Vince Jones, Come In Spinner was an enormous success and went on to achieve triple platinum sales status. Grace’s first solo album Stormy Weather was received with critical acclaim and confirmed Grace Knight as Australia’s first lady of jazz. Now in 2012, Grace Knight once again delivers a sublime album of cool jazz (I’m A Woman, Am I Blue, It Ain’t Necessarily So), classic nostalgia (Sentimental Journey) as well as surprising with divine interpretations of Your Cheating Heart and Down By The Salley Gardens. Grace’s sixth solo album is the perfect cocktail party accompaniment so sit back, sip a cocktail and remember to Keep Cool Fool. https://www.abcmusic.com.au/discography/grace-knight-keep-cool-fool

Keep Cool Fool