Wednesday, October 16, 2019

Marcus Printup - Song For The Beautiful Woman

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 59:38
Size: 137,9 MB
Art: Front

(6:41)  1. The Inquiry
(7:14)  2. I Remember April
(6:37)  3. Song For The Beautiful Woman
(6:23)  4. Trauma
(6:17)  5. Presentation
(6:12)  6. Lonely Heart
(6:50)  7. Minor Ordeal
(6:47)  8. Speak Low
(6:34)  9. Dahomey Dance

Trumpeter Marcus Printup's debut as a leader in 1994 followed recordings as a part of the University of North Florida Jazz Ensemble and the Lincoln Center Jazz Orchestra. Accompanied by four other promising musicians in the early days of their careers, including pianist Eric Reed, alto saxophonist Walter Blanding, bassist Reuben Rogers and drummer Brian Blade, Printup puts together a tantalizing mix of originals and standards on this hard bop session, Song for the Beautiful Woman. His compositions include a driving blues "The Inquiry," a sauntering ballad inspired by a brief encounter with a stranger on a plane "Song for the Beautiful Woman," and the infectious "Presentation," which best showcases his already well-developed chops. So many jazz artists tackle "I'll Remember April" at breakneck tempos that they overlook the beauty of the piece; Printup chooses the less-traveled path with great success. His muted solo in "Speak Low" is fueled by Rogers' tasty lines. Marcus Printup's initial recording on his own will appeal greatly to fans of hard bop. ~ Ken Dryden https://www.allmusic.com/album/song-for-the-beautiful-woman-mw0000644448

Personnel: Trumpet – Marcus Printup; Bass – Reuben Rogers; Drums – Brian Blade; Piano – Eric Reed; Tenor Saxophone – Walter Blanding

Song For The Beautiful Woman

Patti Page - Golden Hits

Styles: Vocal
Year: 1960
File: MP3@320K/s
Time: 34:45
Size: 80,9 MB
Art: Front

(3:00)  1. Tennessee Waltz
(2:55)  2. Changing Partners
(2:34)  3. Cross Over The Bridge
(2:38)  4. Old Cape Cod
(2:59)  5. Mockin' Bird Hill
(2:29)  6. (How Much Is That) Doggie In The Window
(2:48)  7. Detour
(2:47)  8. Why Don't You Believe Me?
(3:11)  9. Mister And Mississippi
(2:53) 10. Allegheny Moon
(3:11) 11. With My Eyes Wide Open I'm Dreaming
(3:14) 12. I Went To Your Wedding

Patti Page's first (and for many years her only) hits collection was this ten-track release, which contained nine of her Top Five singles, including the chart-toppers "Tennessee Waltz," "Mockin' Bird Hill," "(How Much Is) That Doggie In The Window," and "I Went To Your Wedding." In addition to being a short album, even for the LP era, it failed to contain Page's first number one, "All My Love," and such biggies as "Would I Love You (Love You, Love You)" and "And So to Sleep Again," but it did feature "With My Eyes Wide Open I'm Dreaming," a song Page had released twice without quite getting into the Top Ten with it. So, the selection was not perfect, but Mercury kept the album in print for decades, since it did feature Page's best-known material at a reasonable price. ~ William Ruhlmann https://www.allmusic.com/album/golden-hits-mw0000312367

Golden Hits

Woody Shaw - Stepping Stones: Live At The Village Vanguard

Styles: Cornet Jazz
Year: 1979
File: MP3@320K/s
Time: 70:35
Size: 162,1 MB
Art: Front

( 9:12)  1. Stepping Stone
(11:16)  2. In a Capricornian Way
( 8:35)  3. Seventh Avenue
(12:04)  4. All Things Being Equal Are Not
(11:14)  5. Escape Velocity
(17:12)  6. Blues for Ball
( 1:00)  7. Theme for Maxine

It's one thing to play the right note, it's another to get it; one thing to play a phrase, another to get to its essence. With academic jazz education more accessible than ever, countless aspiring musicians are learning its vernacular. But music, like all art, is more than technique it's an indefinable truth that can only come from complete immersion and commitment. Learn the language, but without getting on the bandstand every night, playing with as many people in as many contexts as possible, and it's impossible to make the transition from aspiration to being. It's possible to tell almost immediately whether or not a group has managed to get inside the music, transcending mere method. That may not be something you can easily articulate, but it's something you know. From the opening notes of Columbia/Legacy's reissue of the late trumpeter Woody Shaw's 1978 live recording Stepping Stones: Live at the Village Vanguard, there's the instant ring of truth here is a group of players who don't just play notes, they mean them. Hot on the heels of his critically-acclaimed The Moontrane (Muse, 1975), Shaw found himself on a major label with the kind of promotional power that should have led to greater acclaim. Still, his uncompromising devotion to a chosen path contrary to the popular predominance of fusion at that time resulted in a reputation that was greater amongst his fellow musicians than the greater listening public. 

Sixteen years after his tragic death in 1989, the significance of his potent melodies, bright tone, and incisive improvisational style are finally being recognized, with his blend of change-based writing and open-ended modality resulting in flexible but eminently memorable songs. Shaw's band at the time saxophonist Carter Jefferson, pianist Onaje Allan Gumbs, bassist Clint Houston, and drummer Victor Lewis may be the best working group of his career. With everyone but Jefferson contributing songs to the set, it's clear that this is a cooperative, despite Shaw's name on the marquee. They come charging out of the gate for "Stepping Stone with transcendent intensity. Jefferson is especially notable, combining vivid themes with occasional Coltrane-esque sheets of sound. Shaw's "In a Capricornian Way is a modal waltz that's more slow burn than high heat, the perfect setup for Lewis' equally modal 7/4 workout, "Seventh Avenue. But with all the energy and pure engagement of songs like Houston's up-tempo swinger "Escape Velocity and Shaw's equally fast-moving "Blues for Ball, it's Gumbs' lyrical "All Things Being Equal Are Not one of two previously unissued tracks that's the gem of the set. Shaw who eschews trumpet on this date for cornet and, on this song, flugelhorn squeezes pure emotion out of Gumbs' deeply moving ballad. While capable of fleet-fingered runs, Shaw understood the potency of a simple phrase, a well-chosen note, and a perfectly timed trill. Something the entire band clearly understands, making Stepping Stones an album that's more than strong material and imaginative playing. Indeed, it's a deep musical truth that many seek, but few find. ~ John Kelman https://www.allaboutjazz.com/stepping-stones-live-at-the-village-vanguard-woody-shaw-sony-bmg-legacy-review-by-john-kelman.php

Personnel: Woody Shaw: cornet, flugelhorn; Carter Jefferson: tenor saxophone, soprano saxophone; Onaje Allan Gumbs: piano; Clint Houston: bass; Victor Lewis: drums.

Stepping Stones: Live At The Village Vanguard

The Johnny Varro Quartet - All That Jazz

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 70:48
Size: 164,1 MB
Art: Front

(5:22)  1. The Lady's In Love With You
(4:10)  2. The Touch Of Your Lips
(3:46)  3. Mama's Gone, Goodbye
(4:19)  4. Stars Fell On Alabama
(3:50)  5. Swinging Down To New Orleans
(6:42)  6. A Porter's Love Song To A Chambermaid
(3:25)  7. Was I To Blame For Falling In Love With You'
(4:07)  8. Be Careful, It's My Heart
(4:14)  9. A Monday Date
(4:00) 10. Softly, As In A Morning Sunrise
(5:51) 11. Mandy, Make Up Your Mind
(5:18) 12. Darn That Dream
(4:22) 13. On A Slow Boat To China
(5:05) 14. How Deep Is The Ocean'
(6:09) 15. When Day Is Done

This fine swing-oriented set features the Teddy Wilson-influenced piano of Johnny Varro in a quartet with bassist Nicki Parrott, drummer Joe Ascione, and, most importantly, trumpeter Jon-Erik Kellso (who is listed as playing a "puje," a hybrid of trumpet and cornet). Kellso often takes solo honors, with the highlights including such swing standards as "The Lady's in Love With You," "Stars Fell on Alabama," "A Porter's Love Song to a Chambermaid," "A Monday Date," and "On a Slow Boat to China." These melodic and swinging performances would be difficult not to enjoy. ~ Scott Yanow https://www.allmusic.com/album/all-that-jazz-mw0000013354

Personnel: Piano – Johnny Varro;  Bass – Nicki Parrott; Drums – Joe Ascione; Trumpet – Jon-Erik Kellso

All That Jazz

Kai Winding - Stay Around

Styles: Trombone Jazz
Year: 2019
File: MP3@320K/s
Time: 75:48
Size: 174,9 MB
Art: Front

(3:19)  1. Just for a Thrill
(2:28)  2. Hearse Ride
(1:55)  3. Python
(3:12)  4. This Could Be the Start of Something
(3:51)  5. Georgia on My Mind
(1:40)  6. Gravy Waltz
(2:08)  7. Warm
(3:35)  8. Alone Together
(2:21)  9. Hero
(3:08) 10. Going, Going, Gone
(1:53) 11. China Nights
(4:03) 12. Theme from "Picnic"
(2:22) 13. Now and Forever
(2:56) 14. Tube Wail
(4:01) 15. I Concentrate on You
(3:54) 16. Soul Surfin'
(3:05) 17. Side by Side
(2:25) 18. Pipeline
(2:15) 19. Comin' Home, Baby
(2:07) 20. Till (Priere Sans Espoir)
(2:20) 21. The Gospel Truth
(5:09) 22. Trixie
(2:30) 23. Sukiyaki Song
(2:08) 24. Spinner
(2:18) 25. Blue Star (Theme from "The Medic")
(2:25) 26. Surf Bird
(2:07) 27. The Struggle

One of the finest trombonists to emerge from the bebop era, Kai Winding was always to an extent overshadowed by J.J. Johnson, although they co-led one of the most popular jazz groups of the mid-'50s. Born in Denmark, Winding emigrated to the U.S. with his family when he was 12. He had short stints with the orchestras of Alvino Rey and Sonny Dunham, and played in a service band in the Coast Guard for three years. Winding's first burst of fame occurred during his year with Stan Kenton's Orchestra (1946-1947), during which his phrasing influenced and was adopted by the other trombonists, leading to a permanent change in the Kenton sound. He also participated in some early bop sessions, played with Tadd Dameron (1948-1949), and was on one of the Miles Davis' nonet's famous recording sessions. After playing with the big bands of Charlie Ventura and Benny Goodman, he formed a quintet with J.J. Johnson (1954-1956); the two trombonists (who sounded nearly identical at the time) had occasional reunions after going their separate ways. Winding led a four-trombone septet off and on through the latter half of the 1950s and into the '60s, was music director for the Playboy clubs in New York, and during 1971-1972 worked with the Giants of Jazz (an all-star group with Dizzy Gillespie, Sonny Stitt, and Thelonious Monk).

Stay Around

Tuesday, October 15, 2019

Chuck Redd - All This And Heaven Too

Styles: Vibraphone Jazz
Year: 2002
File: MP3@320K/s
Time: 62:40
Size: 144,9 MB
Art: Front

(4:31)  1. How About You'
(5:42)  2. More Than You KNow
(5:47)  3. They Say It's Wonderful
(7:10)  4. Indian Summer
(5:32)  5. Three In One
(5:51)  6. All This And Heaven Too
(5:13)  7. Speaking Of Sounds
(7:21)  8. Barbados
(4:39)  9. I Know Why
(4:51) 10. Bennie's Pennies
(5:59) 11. Once Is Not Enough

When one learns that vibraphonist Chuck Redd got his start as a drummer in the Charlie Byrd Trio, it's easy to understand where he began developing his taste. All This and Heaven Too, his second album as a leader, even resembles a particular Byrd album that he played on in 1998, Au Courant. Like that album, Redd has combined vibraphones with guitar and bass for an intimate but spunky sound. Four of the tracks are filled out a bit by Ken Peplowski on either tenor sax or clarinet. The album gets a bouncy start with "How About You?" before delving into the quieter "More Than You Know." Redd's solos are filled with melody and lovingly realized, while Gene Bertoncini, switching between the electric and acoustic guitar, injects his leads with rhythm and soul. George Mraz's bass holds it all together, offering a steady underpinning to the trio. While song choices like Irving Berlin's "They Say It's Wonderful" reveal the band's interest in traditional forms, the group also tackles Charlie Parker's "Barbados." It only made sense that once classic forms of jazz became established in the '80s and '90s, instruments assigned to the dustbin clarinets, acoustic guitars, and vibraphones would make a comeback. Chuck Redd and friends, however, accomplish much more than a rehashing of yesteryear on All This and Heaven Too. While fans of older jazz styles will enjoy the album, anyone interested in superbly executed music should give it a listen. ~ Ronnie D.Lankford Jr. https://www.allmusic.com/album/all-this-and-heaven-too-mw0000660148

Personnel: Chuck Redd - vibraphone;  Ken Peplowski - clarinet, tenor saxophone; Gene Bertoncini - guitar, acoustic guitar; George Mraz - bass

All This And Heaven Too

Polly Bergen - My Heart Sings

Styles: Vocal
Year: 1959
File: MP3@320K/s
Time: 49:15
Size: 115,4 MB
Art: Front

(2:57)  1. I'm In the Mood for Love
(2:46)  2. Come Rain or Come Shine
(2:41)  3. When I Fall In Love
(2:42)  4. You Better Go Now
(3:33)  5. Don't Blame Me
(2:52)  6. Sophisticated Lady
(1:42)  7. Lucky Day
(2:44)  8. Just One of Those Things
(3:21)  9. (All of a Sudden) My Heart Sings
(2:05) 10. The Lady Is a Tramp
(2:28) 11. I Cried for You
(1:46) 12. I Want to Be Happy
(2:25) 13. Come Prima (For the First Time) - Single Version
(2:57) 14. Au Revoir Again - Single Version
(2:17) 15. I Feel Sorry for the Boy (Who Hasn't Got a Girl) - Single Version
(2:19) 16. He Didn't Call - Single Version
(2:26) 17. Do It Yourself - Single Version
(2:42) 18. Bye Bye Blackbird - Single Version
(2:23) 19. The Happiest Girl In the World - Single Version

My Heart Sings pairs Polly Bergen with arranger Luther Henderson, who shakes up his signature orchestral approach via the addition of cool jazz horns and late-night accoutrements perfectly matched to Bergen's dusky vocals. It's a shame the material is so predictable standard "singer with strings" fare like "Sophisticated Lady," "When I Fall in Love," and "I'm in the Mood for Love" but the set's style and sophistication make up for covering such familiar ground; for that matter, Bergen is such a distinct performer that even the most well-tread lyrics seem refreshed, and the joy she brings to bubbly renditions of "Lucky Day" and "The Lady Is a Tramp" is infectious. ~ Jason Ankeny https://www.allmusic.com/album/my-heart-sings-mw0000093741

My Heart Sings

Joe Chambers - The Outlaw

Styles: Jazz, Post Bop
Year: 2006
File: MP3@320K/s
Time: 50:40
Size: 117,0 MB
Art: Front

(7:12)  1. The Outlaw
(4:22)  2. Tu-Way-Pock-E-Way
(5:42)  3. Come Back to Me
(5:33)  4. I Think It's Time to Say Goodbye
(6:36)  5. In a Sentimental Mood
(4:10)  6. Bembe
(6:45)  7. Escapade
(4:58)  8. Baha
(5:18)  9. Poinciana

Joe Chambers was one of the best percussionists during the Golden Age of Blue Note Records in the 1950s and '60s. The drummer played on Freddie Hubbard's Breaking Point, Bobby Hutcherson's Components, Wayne Shorter's Schizophrenia, Andrew Hill's Compulsion and McCoy Tyner's Tender Moments. Around the same time, Chambers began playing piano as well. He reached a turning point in 1970, when he was invited to join Max Roach's new all-percussive unit, M'Boom. He was encouraged to play all manner of percussion instruments. The Outlaw shows Chambers primarily as a vibraphonist, but he also plays drums, piano, synthesizer programs and marimba. When Chambers is too occupied on the vibes, New York bandleader Bobby Sanabria handles percussion on five of the nine tracks. Much of this album reflects a Latin jazz patina that reminds me of the Pucho & His Latin Soul Brothers groove (and they are still a functional, recording unit). Chambers' combo makes less use of horns on this session than Pucho does, though saxophonist Logan Richardson does get an opportunity to shine on soprano for "Escapade." Two tracks seem to feature a somewhat annoying drum machine, but since none is listed, it must be a synth programming feature. Nicole Gutland appears on two tracks for vocal ("I Think It's Time To Say Goodbye") and vocalese ("Come Back to Me") performances. Chambers performs a mid-tempo version of "In A Sentimental Mood" and pays respects to Vernel Fournier, drummer with the Ahmad Jamal trio, with his own version of "Poinciana." "Bembe" utilizes a rhythm from a Yoruba Santeria ritual, while "Bahia" is a pulsing Brazilian street band peace with Chambers leading the way. All in all, with some exceptions noted, a most pleasant ride! ~ Michael P.Gladstone https://www.allaboutjazz.com/the-outlaw-joe-chambers-savant-records-review-by-michael-p-gladstone.php

Personnel: Joe Chambers: drums, vibraphone, piano, marimba, synthesizer programs; Nicola Gulland: voice; Logan Richardson: soprano and alto saxophone; Misha Tsiganov: acoustic and electric piano; Dwayne Burno: bass; Bobby Sanabria: percussion.

The Outlaw

Ralph Peterson Fo'tet- The Reclamation Project

Styles: Jazz, Post Bop
Year: 1995
File: MP3@320K/s
Time: 59:23
Size: 136,3 MB
Art: Front

(6:07)  1. Further Fo
(5:44)  2. Song of Serenity
(5:33)  3. Long Journey Home
(4:02)  4. Insanity
(4:23)  5. Bottom
(8:27)  6. Turn It Over
(7:20)  7. Just for Today
(5:56)  8. Acceptance
(5:44)  9. For All My Tomorrows
(6:03) 10. Keep It Simple

All of drummer Ralph Peterson's recordings are quite stimulating and have an identity of their own. For this album, his first release in three years, the talented young drummer leads an unusual quartet comprised of soprano-saxophonist Steve Wilson, vibraphonist Bryan Carrott (who doubles on marimba) and bassist Belden Bulloch. Peterson's ten originals explore many moods and grooves but always swing, even when the time signature is complex. The memorable sound of the ensemble and the strong improvising skills of the players are two additional reasons to acquire this explorative but reasonably accessible CD. ~ Scott Yanow https://www.allmusic.com/album/the-reclamation-project-mw0000177802

Personnel: Ralph Peterson - drums;  Steve Wilson - soprano saxophone; Bryan Carrott - vibraphone, marimba; Belden Bullock - bass

The Reclamation Project

Monday, October 14, 2019

Chuck Hedges - Sweet And Lovely

Styles: Clarinet Jazz
Year: 2008
File: MP3@320K/s
Time: 53:14
Size: 123,1 MB
Art: Front

(5:31)  1. Sweet And Lovely
(5:33)  2. Triste
(5:11)  3. Prelude To A Kiss
(4:12)  4. I Got Rhythm
(6:22)  5. The Very Thought Of You
(5:58)  6. Here's That Rainy Day
(5:34)  7. Exactly Like You
(4:53)  8. A Kiss To Build A Dream On
(4:19)  9. Oh, Lady Be Good
(5:38) 10. Mood Indigo

This project began when Chuck Hedges asked me to arrange one or two tunes for his Milwaukee Connection jazz band and string orchestra for the possible inclusion on an upcoming CD. Chuck is a dear friend and one of my favorite musicians of all time! Of course, I was honored to be asked by Chuck to work with him in this capacity. Over the years, Chuck and I have played many gigs together at jazz festivals and jazz clubs all over the world (Chuck on clarinet and me on string bass). We've also recorded several CDs with either Chuck or Tom Saunders as the leader. This would be the first time I would be able to actually write music for Chuck and a larger ensemble. This was an exciting prospect! So, with Chuck's instructions to me regarding his vision for these charts, I jumped right into it and wrote new string arrangements for Triste and Prelude To A Kiss in less than a week. After I completed the first two arrangements, I called Chuck and said, "Give me two more tunes to arrange for your jazz band and strings. I'm on a roll and I want to keep writing while I'm hot!" This process went on for several weeks until, with Chuck's guidance, I had completed ten new original arrangements for Chuck Hedges' Milwaukee Connection and string orchestra. Chuck's original intent was just to have a few string arrangements to record with his sextet. But the project had grown beyond what he had envisioned in the beginning. Now we had enough material for an entire CD! Chuck was thrilled. So was I! The producers of this CD, Denny, Marilyn and Brett Boneck then invited me to come to Milwaukee and participate in the recording sessions for this new CD. My role now shifted from arranger to conductor and musical director. The Bonecks are fantastic people. They are incredibly supportive, gracious and generous. The Bonecks have been close friends with Chuck Hedges for many years and they relished the opportunity to help produce this CD. 

It was my great pleasure to become friends with the Bonecks during the creation of the CD. Along with the invaluable assistance of Executive Producer Harry Abramowitz, Chuck, the Bonecks, The Milwaukee Connection, the string players, the recording engineer Ric Probst and I buckled down for two very intense days of recording at The Exchange Recording Complex studios in Milwaukee, WI. What came out of these sessions was a great masterwork of art spawned from the collective efforts of many. Our team consisted of seventeen talented, dedicated, motivated, focused and cheerful people who worked diligently and beyond Chuck's and my expectations to accomplish this difficult goal in a short amount of time. We are all pleased with the outcome of this CD and hope that you enjoy the final product as much as we enjoyed creating it. I want to express my deepest thanks to everyone who contributed to the success of this recording. I am proud to be associated with these great musicians and music lovers: Denny, Marilyn and Brett Boneck, Cheryl Miller, Harry Abramowitz, engineer Ric Probst, violinists Jerry Loughney and Therese Ritchie, violist Katrin Talbot, cellist Scott Cook, pianist Gary Meisner, string bassist George Welland, drummer Andy LoDuca, guitarists Dave Sullivan and John Parrott, and vibraphonist Bob Maynard. Most importantly, I am extremely grateful to Chuck Hedges for this wonderful opportunity which became one of the greatest musical experiences of my life and I've had A LOT of great musical experiences!). Thank you, Chuck, for your faith in me and for the chance to help you create something really special with lasting value! Sincerely, Paul Keller https://store.cdbaby.com/cd/hedges7

Sweet And Lovely

Marlene VerPlanck - Live! In London

Styles: Vocal
Year: 1993
File: MP3@320K/s
Time: 53:23
Size: 124,1 MB
Art: Front

(2:48)  1. Music Is My Best Friend
(2:13)  2. Get out of Town
(5:46)  3. Body and Soul
(4:00)  4. The Happy Madness
(3:18)  5. Let's Begin
(5:26)  6. Someone to Light up My Life
(3:26)  7. I Wanna Be Around
(3:10)  8. Say It Isn't So
(2:03)  9. Let's Face the Music and Dance
(2:03) 10. Watching You
(4:14) 11. Lover
(2:28) 12. Falling in Love with You
(2:39) 13. It's Bad for Me
(7:27) 14. "Doctor Doolittle" Medley: Something in Your Eyes / I Think I Like You / When I Look in Your Eyes
(2:16) 15. So in Love

Marlene VerPlanck, a wonderful singer whose style falls somewhere between jazz and cabaret, is in fine form on this live CD. VerPlanck, although her improvisations are quite subtle, always swings and manages to find beauty in each song she interprets. This set has a wide variety of material which ranges from such classics as "Body and Soul" and "Let's Face the Music" to the potentially sticky "So in Love" and even a medley from "Doctor Doolittle." Backed by a solid if somewhat anonymous English rhythm section, VerPlanck (who is virtually the whole show) uplifts each song and surprises listeners with her occasional jumps into the stratosphere (her range is remarkable) although she mostly vocalizes in her warm middle register. Recommended. ~ Scott Yanow https://www.allmusic.com/album/live%21-in-london-mw0000236211

Live! In London

Rick Fay - Words Among The Reeds

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 58:04
Size: 134,6 MB
Art: Front

(3:30)  1. Who Am I'
(4:00)  2. Sheepface
(4:23)  3. Singin' The Blues
(3:24)  4. In The Cool, Cool, Cool Of The Evening
(5:30)  5. Lazy Mood
(3:53)  6. A String Of Pearls
(4:48)  7. Blue And Sentimental
(5:12)  8. Wild Man Blues
(5:46)  9. Don't Explain
(7:14) 10. Come Sunday
(5:43) 11. I Wish I Could Shimmy Like My Sister Kate
(4:37) 12. Spotlite

Rick Fay, on his previous release Poetry And Jazz, had effectively combined his poetry readings with trad jazz. On Words Among The Reeds, Fay verbally pays tribute to some of his favorite musicians, and then plays one of the songs associated with each artist. Included are his homages to Zutty Singleton, Bix Beiderbecke, Johnny Mercer, Eddie Miller, Bobby Hackett, Herschel Evans, Wild Bill Davison, Billie Holiday, Duke Ellington, Muggsy Spanier, and Coleman Hawkins. While the talking is heartfelt, it is the music that makes this a recommended disc. Fay manages to play in a variety of styles on tenor, soprano, and clarinet (emulating Miller, Hawkins and Sidney Bechet in spots) and there are also fine solo spots for flugelhornist Jackie Coon, trombonist Dan Barrett, and pianist Johnny Varro. The music is swinging and joyful, with highlights including "Singin' The Blues," "Lazy Mood," "'Wild Man Blues," and Coleman Hawkins' "Spotlite."~ Scott Yanow https://www.allmusic.com/album/words-among-the-reeds-mw0000036603

Words Among The Reeds

Jan Garbarek - Eventyr

Styles: Saxophone Jazz
Year: 1980
File: MP3@320K/s
Time: 56:19
Size: 129,5 MB
Art: Front

(11:36)  1. Soria Maria
( 5:01)  2. Lillekort
( 9:19)  3. Eventyr
( 2:21)  4. Weaving A Garland
( 9:05)  5. Once Upon A Time
( 5:51)  6. The Companion
( 4:32)  7. Snipp, Snapp, Snute
( 8:30)  8. East Of The Sun And West Of The Moon

Eventyr means “adventure.” Classical listeners may also recognize it as the name of Frederick Delius’s lovely 1917 tone poem, which is often translated as “Once Upon A Time” to underscore its origins in the folk tale collections of Norwegian scholar Peter Christen Asbjørnsen. Here, the name adorns one of Jan Garbarek’s most recondite efforts to date and, like its own “Once Upon A Time,” houses a world of lessons and signs for those willing enough to interpret them. Joined by John Abercrombie and Nana Vasconcelos, he spins a string of seven improvisations, rounded out by a standard, “East Of The Sun And West Of The Moon” (Brooks Bowman), that doesn’t so much end the album as open us to its nebulous center. In that center we encounter swirls of majesty as only he can draw. With almost liquid fire and ever-insightful phrasing, Garbarek brings his deepest considerations to the nearly 12-minute “Sora Maria” that is its primordial soup. His interplay with Abercrombie resolves into a vague continent, where only the playful refractions of “Lillekort” resolve themselves into separate entities. Vasconcelos’s pliancy is the animating skeleton of the title track, in which his gravelly voice and ritualism exudes from every gamelan hit. In “Weaving A Garland,” tenor sax and guitar paint a rolling horizon of vegetation. Such shorter tracks as this and “The Companion” comprise the more potent incantations amid the long-form spells that otherwise dictate the album’s vocabulary. Transcendence comes in the form of “Snipp, Snapp, Snute,” a sparkling menagerie of triangles and wooden flute that works its light into a crepuscular sky. Through it we see in fine detail the inner life of three musicians whose nets run far into the cosmic ocean, where only transformation awaits in the catch. https://ecmreviews.com/2011/10/22/eventyr/

Personnel: Jan Garbarek Tenor Saxophone, Soprano Saxophone, Flutes; Nana Vasconcelos Berimbau, Talking Drum, Percussion, Voice; John Abercrombie   Electric 6 And 12 String Guitars, Mandolin Guitar

Eventyr

Jimmie Noone, Earl Hines - At The Apex Club

Styles: Clarinet And Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 43:29
Size: 101,2 MB
Art: Front

(3:01)  1. I Know That You Know
(3:16)  2. Sweet Sue, Just You
(3:19)  3. Four Or Five Times
(3:15)  4. Every Evening I Miss You, Pt. 1
(2:39)  5. Every Evening I Miss You, Pt. 2
(3:10)  6. Ready For The River
(3:03)  7. Forevermore
(3:11)  8. Apex Blues
(3:04)  9. My Monday Date
(3:03) 10. Blues My Naught Sweetie Gives To Me
(2:47) 11. Oh Sister, Ain't That Hot
(3:08) 12. King Joe
(3:13) 13. Sweet Lorraine, Pt. 1
(3:17) 14. Sweet Lorraine, Pt. 2

Jimmie Noone, (born April 23, 1895, near New Orleans, La., U.S.died April 19, 1944, Los Angeles, Calif.), black American jazz clarinetist noted for his lyricism and refinement of technique. He is one of the three principal clarinetists of early jazz, the other two being Johnny Dodds and Sidney Bechet.Noone studied with Bechet and began his career with New Orleans bands, including important ones led by Freddie Keppard, Kid Ory, and Buddy Petit. In 1918 he settled in Chicago, where he played with Doc Cooke’s band (1920–26, 1927) and studied with classical clarinetist Franz Schoepp. He recorded with King Oliver’s Creole Band in 1923. By the late 1920s he was also leading his own group at the Apex Club (1926–28) and other Chicago venues. Despite some touring, he remained largely in Chicago throughout the 1930s and led a big band in 1939. About 1943 he resettled in California, where he led a band and also played on recordings and radio programs with Ory. A masterly ensemble player in the traditional New Orleans style, Noone also proved an adept partner for the more modern Louis Armstrong, as the two accompanied singer Lillie Delk Christian’s 1928 recordings. Noone’s greatest impact was as a soloist. His full sound, melodic fertility, and graceful command of instrumental technique influenced other early jazz players and also swing-era clarinetists, most significantly Benny Goodman. The 1928 recordings of his Apex Club band, featuring his interplay with alto saxophonist Joe Poston, are a transition between the early jazz ensemble style and the more modern swing style, as represented by the solos of Noone and his pianist, Earl Hines. They include “Apex Blues,” “Four or Five Times,” “Sweet Sue,” and “I Know That You Know” and are considered Noone’s finest works. https://www.britannica.com/biography/Jimmie-Noone

Personnel: Alto Saxophone, Clarinet – Joe "Doc" Poston; Banjo, Guitar – Bud Scott; Clarinet – Jimmie Noone; Drums – Johnny Wells; Piano – Earl Hines; Tuba, Bass – Lawson Buford

At The Apex Club

Sunday, October 13, 2019

Rhoda Scott - Stardust

Styles: Soul Jazz, Post Bop
Year: 1991
File: MP3@320K/s
Time: 57:46
Size: 133,3 MB
Art: Front

(7:03)  1. Stardust
(4:07)  2. Manhattan
(4:13)  3. Groggy
(4:23)  4. Moonlight Serenade
(6:34)  5. Stormy Weather
(5:26)  6. Long Ago (And Far Away)
(4:17)  7. Un Jour Tu Verras
(5:01)  8. Ballade For Michele
(6:02)  9. Lover Man (Oh Where Can You Be)
(5:05) 10. Sweet Cool
(5:32) 11. Tenderly

Rhoda Scott (born July 3, 1938) is an American soul jazz organist. Scott was first attracted to the organ in her father’s church at age seven. "It's really the most beautiful instrument in the world", she stated in a recent interview. "The first thing I did was take my shoes off and work the pedals." From then on she always played her church organ in her bare feet, and to this date she has continued the practice. In 1967 Scott moved to France, where she has since spent most of her career. https://en.wikipedia.org/wiki/Rhoda_Scott

Stardust

Daryl Sherman - My Blue Heaven

Styles:  Vocal
Year: 2015
File: MP3@320K/s
Time: 50:03
Size: 115,8 MB
Art: Front

(4:29)  1. I Walk a Little Faster
(4:26)  2. Wouldn’t It Be Loverly
(5:42)  3. Feel Like Makin’ Love
(4:10)  4. Lets Go Live in a Lighthouse
(3:43)  5. Cycling Along with You
(4:04)  6. Inside a Silent Tear
(3:37)  7. My Blue Heaven/ A O Zora
(4:20)  8. You Turned the Tables on Me
(4:06)  9. Fly Me to the Moon
(3:32) 10. You Wanna Bet
(4:20) 11. The Brooklyn Bridge
(3:29) 12. The Moon Is a Harsh Mistress

Singers who perform in public as they must have singular obstacles to face in performance.  Even though the ringing cash register is now a museum piece, there are so many extraneous sounds to surmount even when the audience is properly quiet and (imagine this!) everyone’s smartphone is shut off.  Dishes and glasses clink; the waitstaff murmurs details of the specials, offers a dessert menu, presents the bill.  The presumed answer to this is amplification, which can make a quiet sound audible at the back of the room, but in the process coarsens every nuance. A CD session recorded in a studio has its own set of obstacles: the creative artist may be restricted to one small space, may be burdened with headphones and be banished into a booth . . . but we don’t see these travails, and the sound we hear through our speakers is a kinder representation of the human voice. And the Orchestra with Vocal Refrain is Daryl, piano and vocals, with Harvie S, string bass, on tracks 2 and 10.  It’s a delightfully old-fashioned CD: twelve tracks, fifty minutes, but no need to turn it over. From the start, it’s a wonderful chance to hear Daryl “her ownself”as we might say in the Middle West a century ago.  She is of course her own splendid accompanist, and her two selves never get in each other’s way.  And I would direct some pianists who revere Tatum as their model to her spare, pointed accompaniment. Her voice is the true delight here.  

Daryl sounds so much like herself, and is I think instantly recognizable, although one may call to mind Mildred Bailey, Blossom Dearie, and Dave Frishberg as musical colleagues and inspirations.  I think she’s been undervalued because of what sounds (to the casual listener) like girlish charm, a high sweet voice with a conversational, sometimes wry delivery. But once the listener is into this CD for more than a chorus, the absence of other instrumentalists allows us to hear emotional depth beneath the apparent light-heartedness.  This isn’t to say that the disc veers towards the dark or maudlin, but there is a true adult sensibility that makes even the most familiar material shine as if beautifully polished and lit.  And even if you think you know how Daryl sings and plays, I submit that this CD is her masterpiece to date, sending us gentle immediacy of the most rare kind. It’s a wonderful one-woman show, with nothing to excess, and a CD I’d like to send to many singers to show ’em how it can be done...More https://jazzlives.wordpress.com/2016/09/02/a-private-recital-daryl-shermans-blue-heaven/

My Blue Heaven                 

Hank Jones Trio - Have You Met This Jones?

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 44:24
Size: 102,5 MB
Art: Front

(5:03)  1. There's a Small Hotel
(7:37)  2. Portions
(4:23)  3. The Oregon Grinder
(5:12)  4. I Got It Bad and That Ain't Good
(5:45)  5. We're All Together
(4:34)  6. Like Someone In Love
(5:19)  7. Now's the Time
(6:27)  8. Robbins Nest

Hank Jones often worked in The Great Jazz Trio, but this 1977 album came out under his own name, backed by a European rhythm section. Long regarded for his versatility and class, Jones does nothing to change that perception here with a varied set of standards and other tunes. Jones sounds particularly strong on the bluesy “Organ Grinder,” where his playing is both effortless and anchored with a strong narrative line. Jones was always one to have the lightest of touches on a ballad; his take on Ellington’s “I’ve Got It Bad” has an ornate filigree around the edges of the melody that never digresses into overplaying. “Like Someone in Love,” which gets a solo opening before settling in for a gentle pace just above ballad speed, is a classic piece of piano trio work. 

Not known for his oral accompaniment (as opposed to Monk or Keith Jarrett), Jones can be heard clear as day on “We’re All Together” and elsewhere, which speaks to the exceptional recording quality of this album and newly remixed sound for its debut in the digital format. ~ Editors' Note https://music.apple.com/us/album/have-you-met-this-jones/873097291

Personnel: Hank Jones - piano; Isla Eckinger - bass; Kurt Bong - drums

Have You Met This Jones?

Robert Farnon & His Orchestra - A Portrait of Johnny Mathis

Styles: Jazz, Easy Listening
Year: 1965
File: MP3@320K/s
Time: 35:45
Size: 84,4 MB
Art: Front

(3:49)  1. Misty
(2:17)  2. The 12th of Never
(3:00)  3. It's Not for Me to Say
(2:49)  4. What Will My Mary Say
(2:41)  5. When Sunny Gets Blue
(2:49)  6. Maria, from 'West Side Story'
(3:08)  7. Chances Are
(2:34)  8. A Certain Smile
(3:14)  9. Gina
(2:37) 10. Small World
(3:34) 11. Wonderful, Wonderful
(3:08) 12. Someone

Robert Farnon, a composer of light classical and "mood music," is a rival to figure such as Eric Coates, David Rose, and Percy Faith. He has also been notably successful in the field of film music since the 1940s. Robert Joseph Farnon was born into a musical family in Toronto, Canada in 1917. He showed a natural aptitude as a musician, and at age 19, was already being employed as an arranger with the Canadian Broadcasting Company Orchestra in Toronto, under the direction of Percy Faith. Farnon succeeded Faith as director of the orchestra when Faith departed Canada for America. Farnon's main interest at the time lay in writing serious music, despite the fact that he enjoyed great success with his arrangements. At age 22, he composed his first symphony, which was performed by the Toronto Symphony in 1941, and later by the Philadelphia Orchestra. A second symphony followed a year later, and it, too, received performances in Canada, but Farnon discovered that he had little personal affinity for writing works of that depth and dimension, talented though he might have been. It was during his service with the Canadian army during World War II, when he was assigned as a bandleader and sent to England, that Farnon discovered the light classical music of composers such as Charles Williams and Eric Coates. This was something of a revelation to him their brand of music was internally complex while not overly profound, inventive and expressive without being pretentious. Their work became something of the model upon which he chose to build his career as a composer, and that brand of light classical music led naturally, in turn, to film composition. Farnon made his career in England after the war, writing mood music for Chappell Music, a task at which he was eminently successful, his music not only popular in the broadcasts for which it was intended, but also entering the repertory of numerous pops orchestras in England and around the world. Farnon soon entered the field of film music as well, writing his first score in 1948 for the upper-class romantic comedy Spring in Park Lane, produced by Herbert Wilcox, and the music for its direct sequel Maytime in Mayfair.In 1951, Farnon was assigned to write the score for his first major international film, Captain Horatio Hornblower, based on the exploits of C.S. 

Forrester's naval hero of the Napoleonic era, starring Gregory Peck. A British Warner Bros. production directed by legendary action filmmaker Raoul Walsh, Hornblower was a hit around the world and remains one, as an oft-revived and telecast film; it is Farnon's best-known screen work as well, virtually his magnum opus. He subsequently had assignments for films such as Gentlemen Marry Brunettes and the screen adaptation of The Little Hut, which, as films, left relatively little impression on the public. In the '60s, his screen assignments included some slightly higher profile work, such as the music for the Hayley Mills film The Truth About Spring and also the all-star western adventure drama Shalako. Farnon has remained a top composer in his field for 50 years. In addition to his film scores, his popular instruments include "How Beautiful Is Night," "Journey into Melody," "Pictures in the Fire," "Westminster Waltz," and "A Promise of Spring." In addition to its melodic content, Farnon's music is noted for its deceptively complex internal structure, which makes it as interesting as it is attractive. A quiet, self-effacing man, without the gift for self-promotion that rivals Percy Faith or David Rose showed, Farnon has never had a high-visibility creative role, preferring to work quietly and show himself through his work. In 1992, Reference Recordings issued a CD of Farnon conducting his own concert pieces, and a suite derived of the Captain Horatio Hornblower score. ~ Bruce Eder https://www.allmusic.com/artist/robert-farnon-mn0000831796/biography

A Portrait of Johnny Mathis

Doc Severinsen and His Big Band - The Look of Love : Big Band Magic

Styles: Trumpet Jazz, Big Band 
Year: 2019
File: MP3@320K/s
Time: 38:40
Size: 89,9 MB
Art: Front

(3:16)  1. The Look of Love
(2:58)  2. Flamingo
(4:11)  3. Blues In the Night
(2:49)  4. Granada
(4:00)  5. When Your Lover Has Gone
(2:41)  6. Johnny One Note
(3:06)  7. Lonesome Road
(2:51)  8. My Funny Valentine
(3:26)  9. St Louis Blues
(2:31) 10. Love for Sale
(3:05) 11. I Cried for You { Now It's Your Turn to Cry for Me }
(3:42) 12. Poor Butterfly

For 25 years, Doc Severinsen was arguably the best-known trumpet player in America, appearing on television every weeknight as the leader of the Tonight Show Orchestra. Known for his exceptionally loud wardrobe, Severinsen often bantered good-naturedly with host Johnny Carson, while supplying the show's incidental music (bridging commercial breaks, introducing guests, etc.). Despite the musical limitations of that format, the Tonight Show Orchestra was increasingly considered one of the best big-band jobs available as time passed: generous exposure, steady work, and declining options elsewhere. Severinsen maintained a side career to allow himself to stretch out, recording bop, big-band swing, and crossover-friendly instrumental pop for a series of labels beginning in the '60s. When The Tonight Show was on hiatus, he toured with smaller groups and guested with numerous jazz and pops orchestras around the country. He had his critics in the jazz world, partly because his albums weren't strictly jazz, but also partly because he didn't display his chops very often; he was an able bebop soloist with a bright, clean tone and a tremendous range in the upper register of his horn. In the mid-'80s, he finally brought the Tonight Show Orchestra into the studio for a series of popular and well-received recordings. 

When the orchestra broke up in 1992, Severinsen hit the road with a select group of alumni, and also continued his guest appearances around the country. Carl Hilding "Doc" Severinsen was born on July 7, 1927, in Arlington, OR, and was initially nicknamed "Little Doc" after his father, a dentist. Starting music lessons at age seven, Severinsen originally wanted to play the trombone, although his violin-playing father urged him to take up that instrument instead. As it turned out, the trumpet was the only brass instrument available in their small town, and Severinsen got so good so quickly that he was performing with the local high school band while still seven years old. At age 12, he won the Music Educators' National Contest, and as a high schooler, he toured with Ted Fio Rito's orchestra. Upon finishing school, he joined a succession of touring big bands starting in 1945, including Tommy Dorsey (where he was a featured soloist), Charlie Barnet, Benny Goodman, and Noro Morales. In 1949, he settled in New York, where he worked as a staff musician for NBC and a recording session sideman, backing the likes of Dinah Washington and Anita O'Day. He moved over to television in 1952, and appeared on the original, Steve Allen-hosted Tonight Show as a member of Skitch Henderson's orchestra. In 1962, when Carson took over the show, Henderson made Severinsen his assistant orchestra leader. Around the same time, Severinsen cut the first of a series of albums for the Command label; his earlier efforts were largely standard big-band swing, but by the late '60s he had moved into groovy, swinging instrumental pop in the so-called "now sound" vein, often arranged by Dick Hyman. In 1966, Henderson abruptly departed The Tonight Show under still-mysterious circumstances. Milton DeLugg briefly took over as his replacement, but Severinsen was promoted to the post of orchestra leader and musical director in 1967. His outlandish, brightly colored wardrobe and easy comic chemistry with Carson quickly cemented him into the job, where he would stay for the next 25 years. In the meantime, Severinsen moved from Command over to RCA in the early '70s, and then went to Epic for 1975's Night Journey, a surprisingly credible foray into jazz-funk fusion. Even more surprisingly, Severinsen landed some disco play with the dance-club hits "I Wanna Be With You" and "Night Journey" in 1976. The follow-up LP, 1977's Brand New Thing, offered more of the same. 

In 1985, Severinsen recorded an album for Passport with a new fusion group called Xebron. The following year, he brought the Tonight Show Orchestra into the studio for their long-awaited first recording sessions, cutting a number of swing standards. The resulting album, The Tonight Show Band, was released on Amherst and sold briskly, also winning a Grammy for Best Jazz Large Ensemble Recording. A second, similar album, The Tonight Show Band, Vol. 2, was released in 1987. Facets, which found Severinsen working with crossover fusion ensembles and string orchestras, was a Top Ten jazz hit in 1988. Severinsen returned to the studio with the Tonight Show Orchestra in 1991 for the well-reviewed Once More...With Feeling!; they followed it in 1992 with Merry Christmas From Doc Severinsen and the Tonight Show Orchestra. It proved to be their last hurrah together; Carson's retirement that year ushered in major changes at The Tonight Show, and new host Jay Leno let Severinsen and the band go. Severinsen quickly gathered some of the band's most prominent members, and embarked on a sort of farewell tour of America. He would continue to tour with many of them during the '90s, most notably trumpeters Conte Candoli and Snooky Young, drummer Ed Shaughnessy, saxophonists Ernie Watts and/or Bill Perkins, and pianist Ross Tompkins. Additionally, Severinsen cut an album with the Cincinnati Pops (1992's Unforgettably Doc) and served as guest conductor for symphony orchestras in Minnesota, Milwaukee, Buffalo, and Phoenix; he also made numerous guest appearances as an instrumentalist, led brass workshops and clinics, and even moved into designing and manufacturing trumpets. After a lengthy hiatus from recording, he returned with 1999's Swingin' the Blues, which featured a generous selection of Tonight Show Orchestra alumni. ~ Steve Huey https://www.allmusic.com/artist/doc-severinsen-mn0000167794/biography

The Look of Love : Big Band Magic

Saturday, October 12, 2019

Dave Scott - Brooklyn Aura

Styles: Trumpet Jazz
Year: 2015
File: MP3@320K/s
Time: 69:34
Size: 160,1 MB
Art: Front

( 2:14)  1. Prologue 2
(13:34)  2. Persistance
(12:22)  3. Non Adherence
(15:50)  4. Eccentricities
(11:43)  5. Brooklyn Aura
(13:48)  6. 11th Street Obstruction

Trumpeter Dave Scott is a shade different from peers on the Steeplechase roster in his preference for patience over prolificacy. Brooklyn Aura is only his fourth album for the Danish label in the last decade. As with the earlier outings Scott handles composerly duties, but deviates from the line-up of his earlier efforts in placing fresh recruits Jacob Sacks and Satoshi Takeishi in the piano and drum chairs respectively. Regulars Rich Perry and bassist John Hebert are returnees with the former’s tenor serving as a supple front line foil to Scott’s probing and polished modulations. Six pieces succeed in the difficult stylistic hat trick of leaning retro without sounding reductive or redundant.“Prelude” primes the players for the demanding itinerary ahead with a swirling, fanfare-styled series of horn unisons that folds directly into the prodding rhythm section introduction to “Persistence”. Scott’s burnished phrases echo the insistence intimated by the piece’s title, pushing and flexing against a propulsive vamp forwarded by Sacks. Hebert and Takeishi stoke the tension, tracing tightening concentric circles that signal Perry’s precision ensemble entry. An ensuing tenor solo interlude limns oblique phraseology in line with vintage Wayne Shorter as Sacks and Hebert drop out leaving just drums as restless accompaniment. Several more switches and sleights of instrument slide by and the overall effect echoes classic searching Sixties postbop as spun from confident 21st century sensibilities. The album’s four other pieces occupy comparably expanded space and Scott makes the most of the capaciousness to pack in plenty of subtle surprises and challenging obstacles for his colleagues. “Non Adherence” builds from an incremental cadence on the back of Hebert’s bass and Sack’s rigid left hand as composer and Perry peel off eliding asides. Once again the intrinsic agility and rounded smoothness of Scott’s brass works as a beguiling textural counterweight to the dark and brooding undercurrents at work in the music. “Eccentricities”, the balladic title piece and “11th Street Obstruction” collectively offer up another forty-plus minutes of labyrinthine, constantly active and reactive communication. Comparisons to the aforementioned Shorter and Andrew Hill are dots to connect, but Scott keeps the enterprise keenly personal, proving that a project’s proper time in the creative incubator is reliably worth the cost in wait. ~ Derek Taylor https://dustedmagazine.tumblr.com/post/137286929598/dave-scott-brooklyn-aura-steeplechase
 
Personnel:  Trumpet, Composed By – Dave Scott; Bass – John Hebert; Drums – Satoshi Takeishi; Piano – Jacob Sacks; Tenor Saxophone – Rich Perry

Brooklyn Aura