Maggie Herron - Renditions

Styles: Vocal And Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 50:48
Size: 118,6 MB
Art: Front

(5:34)  1. Centerpiece
(4:05)  2. Ain't Misbehavin'
(4:53)  3. All of Me
(2:42)  4. Perhaps, Perhaps, Perhaps
(3:58)  5. I'm Beginning to See the Light
(4:19)  6. I Will
(4:16)  7. Just One of Those Things
(2:58)  8. Come Away with Me
(3:56)  9. I'll Be Seeing You
(4:24) 10. Don't Wait Too Long
(5:35) 11. I Thought About You
(4:03) 12. Gee Baby, Ain't I Good to You

Jazz vocalist and pianist Maggie Herron takes a bit of a departure on her latest platter titled Renditions. Her previous four albums featured original compositions but with her latest she has chosen to go the standard route, reinterpreting some classics of the genre with a few surprises along the way. She is the core of her Pacific Rim band which also includes Darek Oles on bass and Ray Brinker on drums. Featured guests include Larry Koonse (guitar), Rocky Holmes (alto sax), Dean Taba (bass), Bob Sheppard (flute) and Noel Okimoto (drums).

The album opens with “Centerpiece” featuring the core trio at its expressive best. Herron’s piano and vocals are a nice match, both endearing with her husky jazz voice, excellent scatting and melodic piano tones. The song locks into an understated groove before piano, bass and drum solos are revealed. With the classic “Ain’t Misbehavin” it’s just Herron and Oles reinterpreting the familiar melody and soaking it in some fabulous piano and bass interaction. One of the prettiest tracks has to be “All Of Me” featuring Koonse’s crystalline leads and infectious rhythmic strums and Holmes’ tuneful alto sax. Just an all-around great track. 

Another heartwarming rendition is of The Beatles’ “I Will” which sounds great in the trio format. Herron’s vocals and piano are particularly convincing and the bass solo fits in like a glove. This is another one of those jazz albums that exudes warmth and thoughtfulness with great care taken, treating these classics with the respect they deserve. A four star release to these ears. https://www.seaoftranquility.org/reviews.php?op=showcontent&id=22053

Renditions

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Tape Five - The Roaring 2020s

Styles: Swing
Year: 2019
File: MP3@320K/s
Time: 47:53
Size: 111,1 MB
Art: Front

(3:12)  1. Party Like Its 1929
(3:33)  2. Ballroom Troopers
(3:40)  3. The Cats Pyjamas
(3:17)  4. Boheme Supreme
(3:14)  5. Saint Pauls Infirmary
(3:30)  6. Happy
(3:18)  7. Lady Moustache
(3:33)  8. I Shot the Sheriff
(3:27)  9. Duesenberg
(3:38) 10. Once Upon a Summernight
(3:17) 11. Why Don't You Just Call
(3:30) 12. Saturday Night Down on the Corner
(3:12) 13. Watch out We're Coming Boys
(3:27) 14. The Diary of Don Geroonibop

The Roaring 2020s“  is TAPE FIVE ́s seventh album. Sepia colored retro-modern screens- hots in music: a vintage car cruise with the instrumental „Duesenberg“, a driving dixie clarinet in „The Cats Pyjamas“. Who ́s that „Boheme Supreme“? A retro uptempo version of R&B hit „Happy“, the beat is waltzing through the hall with „Ballroom Troopers“… The gypsy swing ballad „Once upon a summernight“, and the old black corded phone: „Why don ́t you just call?“ A hommage to Brooklyns good old days „Saturday Night down on the corner“, or a rendezvous with the myste- rious beardy dame in „Lady Moustache“. This is the soundtrack of the roaring 2020s it all starts up with the song:  Party like it ́s 1929! https://electroswingthing.com/tape-five-the-roaring-2020s/

The Roaring 2020s

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Ralph Sutton - Little Light

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 77:30
Size: 179,1 MB
Art: Front

(4:52)  1. My Monday Date
(6:01)  2. I've Found a New Baby
(4:00)  3. Indiana
(6:38)  4. West End Blues
(5:47)  5. Panama Rag
(8:28)  6. I Thought I Heard Buddy Bolden Say
(5:11)  7. Muscat Ramble
(2:37)  8. Clarinet Marmalade
(6:36)  9. After You've Gone
(5:28) 10. Basin Street Blues
(6:07) 11. On the Sunny Side of the Street
(4:56) 12. Down in Jungle Town
(5:09) 13. St. James Infirmary
(5:33) 14. Chinatown, My Chinatown

Ralph Sutton was the greatest stride pianist to emerge since World War II, with his only close competitors being the late Dick Wellstood and the very versatile Dick Hyman. Nearly alone in his generation, Sutton kept alive the piano styles of Fats Waller and James P. Johnson, not as mere museum pieces but as devices for exciting improvisations. Although sticking within the boundaries of his predecessors, Sutton infused the music with his own personality; few could match his powerful left hand. Ralph Sutton played with Jack Teagarden's big band briefly in 1942 before serving in the Army. After World War II he appeared regularly on Rudi Blesh's This Is Jazz radio show and spent eight years as the intermission pianist at Eddie Condon's club, recording frequently. He spent time playing in San Francisco, worked for Bob Scobey, moved to Aspen in the mid-'60s, and became an original member of the World's Greatest Jazz Band with Yank Lawson, Bob Haggart, and Bud Freeman. In the 1970s, he recorded many exciting albums for the Chaz label and then cut albums for quite a few labels. Despite suffering a stroke in the early '90s, Sutton kept a busy schedule through the mid-'90s, playing at jazz parties and festivals. He died suddenly on December 29, 2001, in his car outside a restaurant in Evergreen, CO. Although he would have received much greater fame if he had been born 20 years earlier and come to maturity during the 1930s rather than the 1950s, at the time of his death it was obvious that Ralph Sutton had earned his place among the top classic jazz pianists of all time. ~ Scott Yanow https://www.allmusic.com/artist/ralph-sutton-mn0000389980/biography

Little Light

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Sarah Menescal - My World

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 32:52
Size: 75,9 MB
Art: Front

(3:19)  1. Cryin'
(2:49)  2. Hunting High and Low
(3:32)  3. What's up?
(3:20)  4. I Don't Want Your Love
(3:12)  5. Where is My Mind?
(3:02)  6. Used to Love Her
(3:37)  7. High and Dry
(3:04)  8. Oh L'amour
(3:27)  9. 19th Nervous Breakdown
(3:26) 10. Out of Touch

Sarah Menescal is the singer who has brought the bossa nova till an absolutely new place. Owner of a gorgeous voice and surrounded of an incredible crew of producers and musician she has arrived to the record studios with a solid career on her back. (Vintage Café, Jazz and 80s series, etc) On our artistic profit they have recorded this, her second album: "Consequence of Love" giving extremely sensitive versions of pop hits like Adventure of a Lifetime, Shout, Free Fallin´, Mercy, Mercy Me and Lanterna dos Afogados, among many others.

My World

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Burak Bedikyan - Istanbul Junction

Styles: Piano Jazz 
Year: 2019
File: MP3@320K/s
Time: 63:09
Size: 145,5 MB
Art: Front

(6:54)  1. Particles
(6:33)  2. Moods
(6:59)  3. Toprak
(9:49)  4. Aquarian
(8:27)  5. Valentine
(6:44)  6. Reminiscence
(5:06)  7. Innerview (for Ayse)
(7:15)  8. L'ombre Lumineuse (Dedicated to Olivier Messiaen)
(5:19)  9. Postlude

Istanbul-born and New York-based pianist Burak Bedikyan is an inventive composer and intelligent improviser with a subtle touch. His fifth release, the intimate and cinematic Istanbul Junction, showcases his talents fully as he leads a new band through nine of his captivating originals.  The album's overall ambience is dramatic and darkly-hued, and the various tracks expand within it with vibrant poetry. The main theme of "Moods," for example, consists of expectant and simmering refrains. These progress into an intriguing and serpentine melody out of which emerge Bedikyan's dense chords, forming an elegant and crystalline improvisation. Hungarian saxophonist Gabor Bolla contributes a warm, sinewy solo which is yearning and emotive, and fades seamlessly into the closing head. Middle Eastern influences delightfully color some of the music, like the tender and wistful "Toprak"; it starts with Bedikyan's resonant and sparse notes which the band's undulating refrains follow. Over Turkish drummer Can Kozlu's rustling lithe beats and American bassist Matthew Hall's reverberating thumps Bedikyan's extemporization expands with simmering lines. Bolla's eloquent and bittersweet tenor mirrors Bedkyan in spontaneity and lyricism.

Equally engrossing is the charmingly angular "Innerview (For Ayse)" which finds Bedikyan, unaccompanied, flirting with dissonance. The tune itself is deeply introspective and passionate with overlapping chords and breathtaking cascades which demonstrate Bedikyan's virtuosity on the keys. Bedikyan pays homage to one of his idols, the ingenious 20th century composer Olivier Messiaen, on the moving and mellifluous "L'ombre Lumineuse." The piece eschews overtly Western Classical phraseology and is more akin to a jazz ballad. Kozlu's sparkling percussion and Hall's agile lines form a restless and supportive rhythmic framework. Bedikyan infuses his pianism with a bittersweet melancholy while Bolla builds an intricate extemporization with graceful facility and raw emotion. The ensemble concludes with a sublimely synergistic performance. Istanbul Junction is a cohesive work, and a high point of Bedikyan's superb career. As Kozlu points out in the liner notes, Bedikyan has singularly fused various traditions into a personal artistic statement. The record is, perhaps, his most mature and unique to date. ~ Hrayr Attarian https://www.allaboutjazz.com/istanbul-junction-burak-bedikyan-steeplechase-lookout

Personnel: Burak Bedikyan: piano; Matthew Hall: bass; Can Kozlu: drums; Gabor Bolla: tenor sax

Istanbul Junction

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Hannah Svensson - Places and Dreams

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 51:25
Size: 118,8 MB
Art: Front

(5:22)  1. Places and Dreams
(5:12)  2. Beautiful Day
(4:22)  3. Woodstock
(4:45)  4. Friday Afternoon
(3:57)  5. Honeysuckle Rose
(5:28)  6. Something in Return
(3:58)  7. Catch the Stars
(4:10)  8. Not Meant to Be
(4:56)  9. Let Go
(3:58) 10. Malibu Song
(5:12) 11. När natten blir dag

Critically acclaimed singer and songwriter Hannah Svensson releases a new album: ""Places and dreams"" which consists of newly composed material by Hannah as well as interpretations by Joni Mitchell and Dave Castle. The music is characterized by strong melodies and the material on the new album is a meeting between jazz and pop harmonies with plenty of room for improvisation. The group's musical influences range from jazz, pop and blues where their own sound goes like a theme through each song. The album as well as live concerts feature four distinguished jazz musicians: Jan Lundgren (Piano) Ewan Svensson (guitar) Matz Nilsson (bass) and Zoltan Czörsz (drums) who together with Hannah form a fantastic group. Hannah Svensson paves her own way and with five albums established herself as one of our most appreciated jazz singers. She is heard in many different combinations and contexts both in Sweden and internationally. I see music as a lifelong journey and with this album I have landed in something new that has always been within me. Some of the songs are written almost ten years ago, they have been lying there, waiting to be picked up at the right time and context. ""Places and dreams"" is a summary of things that have inspired my life. A dream can take me to new places, but a place can also create dreams, whether it is far away on the beach in Malibu, a beautiful day in the Gothenburg archipelago or a Friday afternoon in Copenhagen. (Hannah Svensson) ~ Editorial Reviews https://www.amazon.com/Places-Dreams-Hannah-Svensson/dp/B07WV6DCTH

Places and Dreams

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Diana Panton - A Cheerful Little Earful

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 53:29
Size: 123,7 MB
Art: Front

(3:58)  1. Happy Talk
(3:11)  2. It's A Most Unusual Day
(2:32)  3. A You're Adorable
(3:52)  4. Red Red Robin
(2:55)  5. I Don't Want to Live On the Moon
(3:28)  6. Cheerful Little Earful
(3:16)  7. If You Feel Like Singing Sing
(3:15)  8. Music and Me
(3:46)  9. Pocketful of Miracles
(5:28) 10. Look to the Rainbow
(3:43) 11. All In the Golden Afternoon
(2:43) 12. Experiment
(3:55) 13. Aren't You Glad You're You
(3:11) 14. Sing A Rainbow
(4:10) 15. Hush-A-Bye Island

The graphics on A Cheerful Little Earful by Diana Panton and, to a certain extent, this title as well may cue a “children’s record”, but make no mistake Miss Panton’s gorgeous winter 2019 release will have a much broader appeal. The “cheerful little earful” evokes the joy of music really. It also brings together repertoire that celebrates the creativity of timeless song from an era that is all but lost to us in an age when every recording musician seems compelled to pen his or her own songs. While that’s not necessarily a bad thing, there is nothing like the eternal magic of song that lives and breathes and is aglow in the Great American Songbook; songs from timeless films and Broadway hits written by masters such as Oscar Hammerstein II and Richard Rodgers, Sammy Cahn and Jimmy van Heusen, “Yip” Harburg and Burton Lane, and Cole Porter among others. More to the point, there’s nothing like the eternal magic of this repertoire sung by Diana Panton, with the great musicianship of Don Thompson and Reg Schwager accompanying her along the way. As ever on A Cheerful Little Earful Miss Panton is on top of her game. She gives notice throughout that she is an artist of the first order.

Her instrument is gorgeous; lustrous, precise and feather-light. Her musicianship is also fierce as she digs into the meaning of each word, brings ceaseless variety to soft dynamics and gives every phase grace. As ever, in everything she sings on yet another magnificent disc, Miss Panton brings narratives vividly to life and creates rhapsodic atmosphere. Songs such as “Pocketful of Miracles” and “Look To The Rainbow” are exquisite examples of everything that is timeless and great about Miss Panton’s musicianship. Miss Panton has the unique privilege of enjoying the extraordinary musicianship of Don Thompson, the veritable doyen of Canadian music; as well she has been fortunate to have the masterful guitarist Reg Schwager on each of her albums. Mr Thompson – whether as the arranger of note or whether on piano, bass or vibraphone – and Mr Schwager both bring deeply interiorised readings of this music. This complements the vision and artistry of Miss Panton in a matchless way. This music, as with that of her other albums, is light on melancholy, and saturated with the imaginative and luminous colour of joy. These, and other reasons mentioned in the course of this review make A Cheerful Little Earful an irresistible record, one that is likely to also garner many accolades as it gets its rightful due on radio and other media.~ Raul Gama https://torontomusicreport.com/reviews/cd-reviews/diana-panton-a-cheerful-little-earful/

Personnel: Diana Panton: vocals; Reg Schwager: guitar; Don Thompson: bass, piano and vibraphone

A Cheerful Little Earful

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Chicago - Night & Day: Big Band

Styles: Jazz, Big Band 
Year: 1995
File: MP3@320K/s
Time: 51:20
Size: 119,3 MB
Art: Front

(3:06)  1. Chicago
(3:22)  2. Caravan
(3:12)  3. Dream a Little Dream of Me
(4:04)  4. Goody Goody
(4:26)  5. Moonlight Serenade
(5:35)  6. Night & Day
(6:04)  7. Blues in the Night
(3:20)  8. Sing, Sing, Sing
(5:10)  9. Sophisticated Lady
(3:42) 10. In the Mood
(3:37) 11. Don't Get Around Much Anymore
(5:36) 12. Take the "A" Train

Generally, when contemporary performers have taken on retro projects like this one, they have tended to emphasize their fidelity to the sources consider Linda Ronstadt hiring arranger/conductor Nelson Riddle to recreate his string backgrounds for albums like What's New. Chicago takes a different approach to the swing band classics it tackles here  it Chicago-izes them. The arrangements are by trombonist James Pankow, who manages to make everything from Duke Ellington's "Caravan" to Glenn Miller's theme "Moonlight Serenade" sound like a lost Chicago track. Those familiar with the originals, many of which were instrumental hits, may be surprised to hear the lyrics to songs like "Sing, Sing, Sing." Clearly, the group is aiming more at pleasing contemporary fans than evoking nostalgia, and it succeeds in reinventing some well-established standards, even if older fans may find some of these versions radically altered. ~ William Ruhlmann https://www.allmusic.com/album/night-day-big-band-mw0000175235

Night & Day: Big Band

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Jimmy Giuffre Quartet - Skylines

Styles: Cool Jazz
Year: 2013
File: MP3@320K/s
Time: 77:56
Size: 179,2 MB
Art: Front

(6:59)  1. Two For Timbuctu
(7:56)  2. The Boy Next Door
(7:56)  3. My Funny Valentine
(6:30)  4. What's New
(9:29)  5. The Quiet Time
(8:27)  6. The Crab
(9:22)  7. Wee See
(6:33)  8. My Funny Valentine - Short Version
(5:27)  9. Two For Timbuctu - Short Version
(9:14) 10. Mack The Knife

Reedman and composer Jimmy Giuffre was born in Dallas, TX. He started his musical education at age 9 learning the clarinet and within few years he was proficient enough to give solo clarinet recitals at local functions. After high school he attended North Texas State University receiving a B. A. in music. During his college years he played in local bands. Soon after graduation he enlisted in the Army and was a member of the official Army band. After discharge he became a professional arranger for several big bands including Boyd Raeburn's, Buddy Rich's, Jimmy Dorsey’s and most famously in Woody Herman’s where he also played tenor sax. During his tenure with Woody Herman’s big band he composed the classic “Four Brothers” in 1947. In the early 1950s Jimmy Giuffre moved to LA and studied for a while at UCLA and played with the bands of Shorty Rogers and Howard Rumsey. He also added baritone sax to his repertoire. He was introduced by one of his colleagues to music teacher, poet and composer Dr. Wesley La Violette. From the later he learned the concept of classical counterpoint; a linear style of composing that freed one of chord structures. From 1954-1958, Jimmy Giuffre recorded several classic albums for Capital and Atlantic including the 1956 landmark record Clarinet. His, unusual for the time, groups were drummerless/pianoless trios initially with Jim Hall on guitar, and Ralph Pena on bass and then with Jim Hall and valve trombonist Bob Brookmeyer, creating an unusual lineup for its time. The first incarnation of the trio appeared participated on KABC “Stars of Jazz” tv show where he met his future wife. In the late 50s his trio changed format and he replaced the guitar with Paul Bley's piano and the valve trombone with Steve Swallow’s bass. From this trio comes the 1962 classic Free Fall. This album also marked a transition in his musical style from what he had called “blues-based folk jazz” to a new free jazz. His trio changed personnel again in the mid 1960s with Don Friedman at the piano and Barry Phillips on bass.

Late 60s brought another innovation to Jimmy Giuffre's music: the introduction of drums with the percussionist Randy Kay. His clarinet, bass drum trio recorded a few albums of the introspective and free jazz music he had started composing. In the 1970s he moved to the east coast and taught at New York University, Rutgers, the New School of Social Research and the New England Conservatory. In order to supplement his income he also composed music for theatre, dance companies, films and TV commercials and also acted as a hand model in some of the commercials. In the 1980s Giuffre started exploring a more electric sound by adding to his clarinet and Kay’s drums electric bass and electronics. The quartet recorded a few albums for Soul Note that have gone out of print. In 1988 he recorded a series of reed duets with his student Andre Jaume called Momentum. This CD is currently available on Hat Hut. In the 1990s there was a resurgence of interest in the Free Form music that led to a reunion of the Paul Bley, Steve Swallow and Jimmy Giuffre trio and a European tour. Parkinson Disease started taking a toll on his health so in the early 2000's he retired from teaching and touring and settled in rural Massachusetts. He passed awa on April 24, 2008. https://musicians.allaboutjazz.com/jimmygiuffre

Skylines

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Jimmy Cobb - Remembering U

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 64:15
Size: 148,7 MB
Art: Front

(6:06)  1. Eleanor
(3:36)  2. Pistachio
(6:18)  3. Man in the Mirror
(4:56)  4. Remembering U
(4:42)  5. JC's AC
(4:39)  6. Composition 101
(6:48)  7. I Just Can't Stop Loving You
(4:10)  8. Willow Weep for Me
(4:48)  9. W.K.
(6:23) 10. Cedar's Rainbow
(5:51) 11. I Don't Wanna Be Kissed (By Anyone but You)
(5:53) 12. Cobb's Belle

Legendary Drummer Jimmy Cobb Still Swinging After All These Years! Remembering U features a guest appearance by the late trumpeter Roy Hargrove and is the final session by legendary engineer Rudy Van Gelder. A consummate accompanist, unerring timekeeper, outstanding soloist and dynamic leader in his own right, revered drummer Jimmy Cobb showcases his inimitable touch on ballads and his irrepressibly swinging ride cymbal pulse on Remembering U. Accompanied by his working trio of Japanese pianist Tadataka Unno and Italian bassist Paolo Benedettini, Cobb's latest stands as a tribute to those people who have been a part of his long journey in jazz and are no longer with us. Special guests include tenor saxophonist Javon Jackson and the late trumpeter Roy Hargrove in one of his last studio sessions. The recording also marks the final session of legendary engineer Rudy Van Gelder, who presided over classic sessions for the Blue Note, Prestige and Impulse! labels. (Cobb remembers playing on a Van Gelder session in the mid 1950s when the fledgling engineer was operating out of his parents home in Hackensack, New Jersey.)

On Remembering U, 2009 NEA Jazz Masters Award winner Cobb proves beyond a shadow of a doubt that, at age 90, he is indeed still swinging after all these years. Cobb's expansive list of recording credits over seven decades reads like a Who's Who in Jazz. Among the countless sessions he participated in since the mid '50s are such landmark recordings as Miles Davis' Kind of Blue, Sketches of Spain, Porgy & Bess and Sorcerer, John Coltrane's Giant Steps and Coltrane Jazz, Wes Montgomery's Full House, Boss Guitar and Smokin' at the Half Note as well as potent sessions with Freddie Hubbard, Stan Getz, Bobby Timmons, Cannonball Adderley, Sarah Vaughan, Sonny Stitt and a string of acclaimed trio recordings with pianist Wynton Kelly and bassist Paul Chambers. On Remembering U, his 12th as a leader and first for his own Jimmy Cobb World label, Cobb and his versatile crew display remarkable chemistry on 12 tracks. https://news.allaboutjazz.com/jimmy-cobb-historic-release-featuring-roy-hargrove-remembering-u-final-session-by-rudy-van-gelder

Remembering U

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The Dutch Swing College Band - Singles Collection Volume III (1953-1955)

Styles: Swing, Dixieland
Year: 1990
File: MP3@320K/s
Time: 49:12
Size: 113,1 MB
Art: Front

(2:58)  1. Frog-I-More Rag
(2:26)  2. Doctor Jazz
(2:53)  3. Careless Love Blues
(2:48)  4. Way Down Yonder In New Orleans
(2:54)  5. I've Found A New Baby
(2:59)  6. Room Rent Blues
(3:00)  7. Muskrat Ramble
(2:54)  8. Tears
(3:25)  9. Alexander's Ragtime Band
(3:15) 10. Black And Blue
(2:43) 11. Dippermouth Blues
(2:52) 12. When The Saints Go Marching In
(2:50) 13. When The Saints Go Marching In
(2:48) 14. Bill Bailey Won't You Please Come Home
(2:42) 15. Trouble In Mind
(2:42) 16. La Java
(3:02) 17. Mon Homme

The Dutch Swing College Band has endured numerous personnel changes in its more than fifty-year history as one of the Netherlands' top jazz ensembles. Although no members remain from the original group, the latest lineup continues to honor the tradition-rooted approach of the founders. Bob Kaper (1939- ) replaced clarinet player Peter Schilperoort during an illness in 1966, and remained with the band; he has led the Dutch Swing College Band since Schilperoort's death in 1990. The fourth leader in the group's history, Kaper succeeds Frans Vink, Jr. (1945-46), Joop Schrier (1955-60), and Schilperoort (1946-55; 1960-1990). Kaper previously led the Beale Street Seven, a group he founded in 1957. An amateur group from 1945 until turning professional in 1960, the Dutch Swing College Band reached their early peak in the late '40s, when they were tapped to accompany such jazz musicians as Sidney Bechet, Joe Venuti, and Teddy Wilson. The New Melbourne Jazz Band recorded an album, A Tribute to the Dutch Swing College Band, featuring music associated with the Holland-based group. https://www.allmusic.com/artist/dutch-swing-college-band-mn0000130996/biography

Singles Collection Volume III  (1953-1955)

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Jeff Goldblum & The Mildred Snitzer Orchestra - I Shouldn’t Be Telling You This

Styles: Vocal, Cabaret
Year: 2019
File: MP3@320K/s
Time: 41:40
Size: 97,2 MB
Art: Front

(4:06)  1. Let's Face The Music And Dance (with Sharon Van Etten)
(4:31)  2. The Sidewinder / The Beat Goes On (with Inara George)
(4:42)  3. Driftin'
(3:55)  4. The Thrill Is Gone / Django (with Miley Cyrus)
(3:46)  5. The Kicker
(3:23)  6. Don’t Worry ‘Bout Me (with Fiona Apple)
(2:51)  7. The Cat
(4:09)  8. Four On Six / Broken English (with Anna Calvi)
(1:44)  9. If I Knew Then (with Gina Saputo)
(4:42) 10. Make Someone Happy (with Gregory Porter)
(3:45) 11. Little Man You've Had A Busy Day

A year after issuing his debut album, The Capitol Studios Sessions, Jeff Goldblum returns to the piano and his band the Mildred Snitzer Orchestra with 2019's I Shouldn't Be Telling You This. The acclaimed actor brings a level of street cred to his musical endeavors that many celebrity-turned-musicians lack. A longtime jazz pianist, Goldblum actually started out playing gigs years before he embarked on his Hollywood career and has continued to moonlight as a pianist, regularly playing shows around Los Angeles and New York. While he displays a knack for straight-ahead jazz sophistication, it doesn't hurt that he surrounds himself with a bevy of top-notch pros, including Hammond B-3 specialist Joe Bagg who carries a lion's share of the Mildred Snitzer Orchestra's sound throughout the album. Also contributing are bassist Alex Frank, guitarist John Stone, drummer Kenny Elliott, and saxophonists James King and Scott Gilman. Together, they play a brightly attenuated brand of '60s-influenced jazz that brings to mind the groovy hard bop of Horace Silver crossed with the urbane soulfulness of Ramsey Lewis. As on The Capitol Studios Sessions, here Goldblum also features a handful of guest performers, including indie singer/songwriter Sharon Van Etten, who acquits herself nicely on a dusky version of "Let's Face the Music and Dance." Similarly, Fiona Apple evokes Shirley Bassey's feline swagger on "Don't Worry 'Bout Me." 

One of Goldblum's more interesting choices on the album is to create unexpected mash-ups, as with his wryly swinging combination of Lee Morgan's "The Sidewinder" and Sonny Bono's "The Beat Goes On" featuring singer Inara George. Also surprisingly effective is his arrangement of Wes Montgomery's "Four on Six" weaved together with Marianne Faithfull's "Broken English" and helmed with Weimar cabaret swagger by singer Anna Calvi. Somewhat less effective is Miley Cyrus' rendition of Ray Henderson and Lew Brown's standard "The Thrill Is Gone" paired with John Lewis' "Django," which while proving Cyrus has more vocal chops than she's often given credit for, trades the song's yearning subtlety for a Broadway-level theatricality that feels forced. Nonetheless, Goldblum's skill at showcasing other performers is clearly a part of his charm, and here it extends beyond pop artists as he brings on San Diego trumpeter Gilbert Castellanos for several tasty solos, spotlights L.A. jazz chanteuse Gina Saputo on an impressive vocalese version of "If I Knew Then," and communes with Grammy-winning vocalist Gregory Porter over a warm reading of "Make Someone Happy." While Goldblum's smiling charisma is the main selling point to I Shouldn't Be Telling You This, he often takes a backseat, even waiting until the very last song to spotlight his own lyrical vocal skills on the intimately rendered "Little Man, You've Had a Busy Day." It's an admirable choice given the high level of talent displayed by his guests and the Mildred Snitzer Orchestra. That said, Goldblum sounds good, and his fans probably wouldn't mind hearing more of him and less of his friends. ~ Matt Collar https://www.allmusic.com/album/i-shouldnt-be-telling-you-this-mw0003301480

I Shouldn’t Be Telling You This

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Letta Mbulu - The Essential

Styles: Vocal, African Traditions
Year: 2017
File: MP3@320K/s
Time: 74:24
Size: 172,5 MB
Art: Front

(6:08)  1. Namalizo (Live)
(4:56)  2. Hareje (Live)
(4:56)  3. Culani Nami
(5:20)  4. Not Yet Uhuru
(5:49)  5. Unity
(2:43)  6. Everybody Sing Along (Live)
(5:04)  7. Music Is A Rainbow
(4:02)  8. Help Me Somebody
(3:52)  9. Maru A Pula (Live)
(6:45) 10. There's Music In The Air (Live)
(4:54) 11. Khuluma
(6:13) 12. Carry On
(4:33) 13. Nobody Loves Me, Like You
(9:03) 14. Kukuchi

With her performance at the Unity Festival Apartheid in 1991, Letta Mbulu returned triumphantly to her homeland of South Africa. Having been exiled, due to Apartheid, for more than a quarter century, Mbulu had gone from a teenager in the groundbreaking South African musical production King Kong of 1960 to one of the most influential singers to ever come out South Africa. In addition to recording such South African hits as "I Need Your Love," "Buza," and "Everybody Sing Along," Mbulu added her soulful vocals to recordings and/or concerts with late jazz saxophonist Cannonball Adderly, Michael Jackson, and Harry Belafonte. Mbulu, whose screen credits include, A Warm December and The Color Purple, performed the opening title track and most of the African music for the historical 1970s miniseries Roots, part one and part two. According to Quincy Jones who produced her collaboration with Michael Jackson, "Liberian Girl," and co-produced The Colour Purple, "Mbulu is the roots lady, projecting a sophistication and warmth which stirs hope for attaining pure love, beauty, and unity in the world." During her lengthy exile, Mbulu remained committed to the music of her birth land. She helped to form South African Artists United (SAAU) in 1986, basing the group on the Union of South African Artists that grew from the African Jazz and Variety for whom she made her early debut. Mbulu's husband, Caiphus Semenya, who she met while touring with King Kong, plays an essential role in her music. ~ Craig Harris https://www.allmusic.com/artist/letta-mbulu-mn0000215321

The Essential

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Randy Brecker & Ada Rovatti - Brecker Plays Rovatti - Sacred Bond

Styles: Trumpet and Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 74:01
Size: 170,6 MB
Art: Front

( 7:20)  1. Sacred Bond
( 8:39)  2. Helping Hands
( 8:36)  3. Reverence
(10:32)  4. The Baggae
( 5:20)  5. The Queen of Bibelot
( 8:31)  6. Britches Blue
( 5:25)  7. Brainwashed
( 5:42)  8. Mirror
( 7:04)  9. The Other Side of the Coin
( 6:47) 10. Quietly Me

Jackie and Roy Krall, Louis Prima and Keely Smith, Marian and Jimmy McParland all musically fruitful jazz marriages. The progression continues with Sacred Bond from trumpeter, Randy Brecker and saxophonist spouse Ada Rovatti. In some of the aforementioned cases, specifically Jackie and Roy, the duo are stylistically tied at the hip. Here, the respective styles of Brecker and Rovatti merge spectacularly two stellar musicians who happen to be an item. The result? A superb performance. Rovatti, a technically outstanding and creative saxophonist, delivers ten originals which are robust platforms on which she, Randy and the band can stretch out. The selections cover a diverse range of grooves from the plaintive title opener to the dramatically soulful "Reverence" (a respectful salute to Aretha Franklin), "Baggage," a varied-tempo textural statement (which thematically vaguely echoes Horace Silver's"Strollin'"), a soprano sax stated "Britches Blue,"a highlight that tips hat to the Prince of Darkness, the straight-ahead swinger, "The Queen of Bibelot," and a cuica-infused Latin-flavored take, "The Other Side of the Coin." The triple-metered, dynamic "Quietly Me" deals the "seal."  The most compelling component of this album is the combination of the Rovatti-Brecker improvisational styles. Rovatti, a modernist, favors longer, dynamically-enhanced ribbons that cover the range and timbre of her axes. No lick player, she grabs the thematic substance of the composition at hand and lets fly a Niagara of creativity. The Grammy-winning Brecker is on top of his game throughout. He is pari passu with his frontline partner and follows suit with exciting lines offering frequent hints of his Philly bebop roots. The ensemble is as good as it gets. Pianist David Kikoski (who offers a 3rd-degree solo on "The Queen of Bibelot") and ace rhythm mates shine bright across the date. No gimmickry here, just a connected team and its crew offering superb music. Sacred Bond invites, enthralls and is indeed a marriage well-played. ~NICHOLAS F. MONDELLO https://www.allaboutjazz.com/brecker-plays-rovatti-sacred-bond-randy-brecker-piloo-records-and-productions-llc

Personnel: Randy Brecker: trumpet; Ada Rovatti: saxophone; David Kikoski: piano; Alex Claffy: bass; Rodney Holmes: drums; Jim Beard: organ; Café’ Da Silva: percussion; Adam Rogers: guitar; Stella Brecker: vocals.

Brecker Plays Rovatti - Sacred Bond

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The Modern Jazz Quartet - Longing for the Continent (Request)

Styles: Cool, Third Stream, Bop
Year: 1985/2005
File: MP3@320K/s
Time: 39:17
Size: 90,5 MB
Scans: Front

(4:42)  1. Animal Dance
(4:45)  2. Django
(2:51)  3. England's Carol
(2:15)  4. Bluesology
(5:09)  5. Bag's Groove
(6:18)  6. Sketch 3
(7:31)  7. Ambiquite
(5:42)  8. Midsommer

The Modern Jazz Quartet is well documented on a number of outstanding labels, though there is only sketchy information about the background of this particular CD. Recorded in 1958 in Europe, probably from one or more radio broadcasts, the group is in top form, though the sound is at times a bit overmodulated. In addition to favorites like John Lewis' "Django," and Milt Jackson's "Bluesology" and "Bags' Groove," there are less frequently performed gems like "Animal Dance." Jackson's bluesy vibes are featured extensively, though Lewis' elegant piano is also a treat. The quartet is joined by the le Jazz Groupe de Paris on two tracks ("Sketch 3" and "Ambiquette"), primarily adding a bit of background color with reeds and brass with occasional solos, though no mention is made of the guests anywhere within the CD booklet or tray card. This budget CD, most recently available through Laserlight, falls short of being essential, though Modern Jazz Quartet fans will enjoy it.

Personnel:

Bass – Percy Heath
Drums – Connie Kay
Piano – John Lewis (2)
Vibraphone – Milt Jackson

Longing for the Continent

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Davina & The Vagabonds - Sugar Drops

Styles: New Orleans Jazz
Year: 2019
File: MP3@320K/s
Time: 37:11
Size: 87,0 MB
Art: Front

(3:03)  1. Bone Collection
(3:49)  2. I Can't Believe I Let You Go
(3:27)  3. Devil Horns
(3:39)  4. Little Miss Moonshine
(4:03)  5. Sugar Drops
(4:06)  6. Another Lonely Day
(3:52)  7. No Matter Where We Are
(4:07)  8. Mr. Big Talker
(3:31)  9. Magic Kisses
(3:29) 10. Deep End

2019 release. Sugar Drops is the first album on Red House Records from Davina and the Vagabonds and marks the first time singer/songwriter/pianist Davina Sowers entered a proper studio to record an album. The Minneapolis-based artist holed up in Nashville's Compass Sound Studio with producer (and Compass Records co-founder) Garry West, along with her trumpeter, string arranger and husband, Zack Lozier, and a rotating cast of powerhouse players including Todd Phillips (David Grisman, Robbie Fulks) on bass, Doug Lancio (Patty Griffin, John Hiatt, Tom Jones) on guitar and Reese Wynans (Stevie Ray Vaughan, Joe Bonamassa) on Hammond B3. Sugar Drops is distillation of bluesy barroom baritone and bravado, graveyard jazz grooves, and noir-ish confessional lyricism backed by boisterous piano, guitar, and strings. Eclectic, engaging and instilled with a deep respect and knowledge for the Great American Songbook. https://www.amazon.com/Sugar-Drops-DAVINA-VAGABONDS/dp/B07SBCK59B

Sugar Drops

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Carrie Wicks - Reverie

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 54:09
Size: 125,8 MB
Art: Front

(3:36)  1. A Love for Just Part
(4:44)  2. Paginas En Blanco
(3:51)  3. Wide Open
(5:07)  4. Shadow Play
(5:08)  5. Some Other Spring
(5:34)  6. Spider Rain
(4:00)  7. Elephant in the Room
(3:44)  8. Remember
(5:48)  9. Safe in This World
(4:07) 10. Late June
(3:51) 11. A Secret Place
(4:33) 12. Meet Me at No Special Place

Seattle-based vocalist Carrie Wicks is back with her fourth effort on the Origin label, and while there are many similarities stylistically with her previous efforts, Reverie more draws from the original compositions of Wicks and her partners Ken Nottingham and Nick Allison.  One of the commonalities between the recordings is Wicks' insight into putting together a top shelf unit on her behalf. Even more so, including pianist Bill Anschell in the mix is a particularly astute move, considering Anschell's stellar reputation with vocalists earned from his time as pianist/musical director for Nneena Freelon. The band rounds out with trailblazing bassist Jeff Johnson, uber talented drummer D’Vonne Lewis, and perhaps the perfect foil for Wick's dark narrative vocal style, saxophonist Brent Jensen.  "Wide Open" encapsulates the vibe of the album, with Wicks swaying through a melodic drift in her signature dark, poetic, conversational delivery. As with all of the lyrical content, the storyline is personal, observational, and an essential part of the listening experience. "Spider Rain" begins with Lewis' mood setting opening, unfolding into Wicks' introspective presence.

As is true throughout the album, the harmonic framework provided by the aforementioned cast is exquisite. The reflective vibe of the record continues with "Paginas en Blanco," musing on stories never told in both English and Spanish. Jensen and Anschell offer brief solos, both rich in melodic lyricism. "Safe in the World" typifies the compositional approach for the ten originals included staying well within Wicks' strengths as a vocalist while stressing an open ended melody allowing free verse expressionism, with less emphasis on dynamic range. There is a real cafe style vibe, that feels like late night in a hipster setting. Reverie requires the listener to connect with the poetry of the narrative, or the experience is lost. The exquisite playing of the band, both in support and in soloing, is what allows the listener to connect the dots verse to verse. The qualities that are original and unique in Wick's vocal style are as well what tends to draw the listener away into a circular continuum. While the writing is smart, and intimately soul reflective, the vibe of the record seldom strays from that allure. The album lacks a fuller spectrum of musical and emotional colors that would create a broader audience experience. While this gathering of superb west coast musicians provides a formidable foundation for this collection of poetically nuanced tunes, they are seldom given the opportunity to stretch out and fully display their collective talents as they often do in Wicks' live performances. Wicks' music exposes her literary roots, and abilities as a storyteller. Reverie was created in that spirit.~Paul Rauch https://www.allaboutjazz.com/reverie-carrie-wicks-oa2-records

Personnel: Carrie Wicks: vocals; Bill Anschell: piano; Jeff Johnson: bass; D'Vonne Lewis: drums; Brent Jensen: soprano & alto saxophones.

Reverie

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Joel Paterson - Let It Be Guitar! Joel Paterson Plays the Beatles

Styles: Guitar Jazz
Year: 2019
File: MP3@320K/s
Time: 43:29
Size: 101,4 MB
Art: Front

(2:11)  1. All My Loving
(1:53)  2. From Me to You
(2:35)  3. And I Love Her
(2:39)  4. This Boy
(2:23)  5. If I Fell
(2:56)  6. Michelle
(2:54)  7. Girl
(2:49)  8. Things We Said Today
(3:12)  9. Honey Pie
(2:47) 10. I Don't Want to Spoil the Party
(2:43) 11. No Reply
(3:45) 12. Can't Buy Me Love
(4:17) 13. Drive My Car
(2:53) 14. Because
(3:02) 15. Something
(0:23) 16. Her Majesty

As a follow up to his well-revered holiday album Hi-Fi Christmas Guitar, Joel Paterson will release a collection of vintage instrumental, guitar-centric covers of songs from the Beatles' catalog, entitled Let It Be Guitar! Joel Paterson Plays The Beatles. The album - out on September 20th - features the guitarist's signature blend of vintage jazz, exotica, blues, rockabilly, western swing and country, and uses classic Beatles songs as a sonic template for the mid-century musical journey. The album's pre-order link is live on both Joel Paterson's and Bloodshot Records' sites. In addition to the announcement, a sneak-peak stream of the song "Michelle" was launched today via the label's site. Let It Be Guitar! Showcases fresh new arrangements of these familiar tunes, employing a wide variety of musical styles and guitar sounds, paying tribute to Paterson's biggest influences including Les Paul, Chet Atkins, Jorgen Ingmann, James Burton, Buddy Emmons, Ernest Ranglin and many more. Of the inspiration for the album, Paterson says, "This is the guitar record I've always wanted to make. 

I love the Beatles and their artistry and attention to detail in the recording studio-and I love all-things-guitar. So, I had a great time diving into these amazing songs, coming up with my own arrangements, and at the same time paying tribute to some of my favorite guitarists and vintage recording techniques of yesteryear." The album's liner notes were written by singer/songwriter and fellow vintage appreciator J.D. McPherson and give further explanation of the project, "Each of Joel's interpretations of these songs are concise, genre-bending, stylish tone poems, mixing both Joel's and the Beatles' own century-spanning inspirations into one zesty musical stew. Contained within certain tracks, you may even find nods to OTHER instrumentalists who have delved into the Beatles' body of work... It's almost the meta-sonic equivalent of a Liverpudlian Rube Goldberg drawing." Recorded in Chicago at Reliable Recorders and at Paterson's home studio, Let It Be Guitar! #features Joel on guitar, pedal steel, and lap steel; Beau Sample (Devil in a Woodpile, The Modern Sounds, The Fat Babies) on bass; Alex Hall (The Flat Five, The Western Elstons, The Fat Babies) on drums; and Chris Foreman on Hammond B3 organ. One of the busiest musicians on the roots music scene today, Paterson can be heard playing with The Modern Sounds, The Joel Paterson Organ Trio featuring Chris Foreman, Devil in a Woodpile, The Western Elstons, and many other Chicago-based projects. ~ Editorial Reviews https://www.amazon.com/Guitar-Joel-Paterson-Plays-Beatles/dp/B07WHMQ9CX

Let It Be Guitar! Joel Paterson Plays the Beatles

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Althea Rene - Flawsome

Styles: Flute Jazz 
Year: 2019
File: MP3@320K/s
Time: 37:10
Size: 86,6 MB
Art: Front

(4:30)  1. Inner Circle
(4:10)  2. Rock with You
(3:47)  3. Passion
(4:02)  4. Barbara Mae
(3:46)  5. Jump to It
(3:53)  6. Flawsome
(4:22)  7. We Are One
(3:58)  8. Let Me Love You
(5:19)  9. Life on Mars

Flutist Althea René hails originally from the heart of Detroit, Michigan. She started her exploration of music at the fledgling age of four.  Her formal studies included classical music while attending Howard University in Washington D.C. as most musicians do, her continued exploration of music led her to gain  further inspiration from the accomplishments of Yusef Lateef, Ian Anderson, and her father (one of Motown’s original Funk Brothers) Dezie McCullers. Her endeavors have not always been that of music.  For more than 10 years she was employed as a Wayne County Deputy Sheriff (Detroit, Michigan). Music was always in her soul and proudly, she is a full-time performing/recording artist. René’s discography includes nine vivacious albums that have brought forth chart sightings on the Billboard Chart and the Smooth Jazz Chart. In fact, René made history by becoming the first flute player in the history of the Billboard Chart to reach the number one spot.  René is also an entrepreneur launching her first book in June 2018 entitled “Becoming Chocolate Barbie a guide for professional women in the music business.”  Her latest album Flawsome continues her solid discography of soulful stylings.  The album features Demetrius Nabors: keyboards; Robert Skinner: bass; Gary Johnson, Andrew Freeman and Jas Miller: guitar; Nate Winn, Eric Valentine: drums; Chris “Big Dog” Davis, Lew Laing: drum programming, keyboard bass, keyboards, rhythm arrangements; Euge Groove, Jeanette Harris: sax; Andrew Dorsett: keyboard and programming and Dwight Adams: trumpet.

“Rock with You” is René at her best. Set to a rich groove that allows René to push and pull the Michael Jackson melody with finesse and style. René’s flute tone is round, and she has a slight vibrato to the majority of her long notes. The arrangement does justice to the original, with some harmonic and orchestrative surprises. René’s solo is centered around the melody and she never tries to over complicate things. Rene is all about the feel of each phrase.  The relaxed nature of the playing is perfect for Rene’s style of musical expression and also shows the versatility of Jackson’s appeal and musical works. David Bowie’s “Life On Mars” is given the a funky treatment.  Trumpeter Dwight Adams adds a warm tone and muted trumpet sounds. Rene’s arrangement is excellent as the tune has nice feel changes and different instrumental colors. This a tremendous solo by Rene. The solo has energy, harmonics, humming while playing, growls and trills. This is feel good music, both here and on Mars! Althea René has certainly put together a worthy listen, though she touts Flawsome as having imperfections, its is those human elements that make the album that more accessible for its human beauties. Make no mistake this is as close to human perfection as one would desire, the performances are top-shelf and René sounds better than ever. ~Ferrel Aubre https://thejazzword.com/2019/07/althea-rene-flawsome/

Flawsome

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Simone Kopmajer - My Favorite Songs Disc 1, Disc 2

Album: My Favorite Songs Disc 1

Styles: Vocal

Year: 2019

File: MP3@320K/s

Time: 51:18

Size: 118,5 MB

Art: Front

(4:07)  1. Didn't You Say

(4:30)  2. Come Fly with Me

(4:29)  3. I've Never Been in Love Before

(3:39)  4. How Do You Keep the Music Playing

(3:26)  5. You Don't Call Me

(4:15)  6. Mighty Tender Love

(4:40)  7. Exactly Like You

(3:27)  8. I Dream of You

(4:38)  9. Shoes

(4:20) 10. The Morning Sun

(3:37) 11. Jeepers Creepers

(6:06) 12. Time

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Album: My Favorite Songs Disc 2

Time: 62:49

Size: 145,0 MB

(3:22)  1. Nothing's Gonna Change My Love for You

(4:25)  2. Can't Take My Eyes off You

(5:19)  3. Just the Way You Are

(3:35)  4. How Sweet It Is

(4:13)  5. Blue Bayou

(4:35)  6. The Best in You

(6:05)  7. Wichita Lineman

(3:20)  8. That's Why You Go Away

(5:00)  9. Kiss

(4:40) 10. What's Going On

(5:04) 11. Have You Ever Seen the Rain

(2:58) 12. Whatever Happens (Reprise)

(5:36) 13. Lately

(4:33) 14. Rolling in the Deep

''My Favorite Songs'' is Simone Kopmajer´s first "Best Of" album, a collection of songs from her last 12 recordings. The Double-LP features artists such as George Mraz, Victor Lewis, Jamaaladeen Tacuma, Houston Person and many more on a 32-song set that presents songs from ''The Great American Songbook'', originals and exquisite covers of songs made popular by Frank Sinatra, Ray Orbison and Bill Withers. She has soul and a particular charismatic tone in her voice that gives each song that special something. Born in Austria, Simone Kopmajer already achieved at a young age what many musicians, bands and ensembles dream of - the launch of a successful international career. In the United States, Japan and Southeast Asia, the singer is a household name for lovers of demanding and refined jazz music. She fills large concert halls, performs as the headliner of major international festivals and has sold thousands of CDs worldwide."~ Editorial Reviews https://www.amazon.com/My-Favorite-Songs-SIMONE-KOPMAJER/dp/B07YMF29CS

My Favorite Songs

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