Wendy Kirkland Quartet - Piano Divas

Styles: Vocal And Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 45:50
Size: 105,6 MB
Art: Front

(3:34)  1. Come Dance with Me
(4:01)  2. Bahia
(3:27)  3. Slow Boat to China
(4:43)  4. Some Other Time
(3:45)  5. Hey Good Lookin
(5:15)  6. It's Not Unusual
(1:53)  7. Be Nice
(3:15)  8. Samba Chica
(3:57)  9. Don't Worry Be Happy
(4:07) 10. Cheek to Cheek
(4:12) 11. My Baby Just Cares for Me
(3:36) 12. Meet Me Midnight

This is Wendy’s first recording and the results heard promise a bright future. She has a good jazz voice which she uses to effect on a variety of material here, most of it, as it goes, alien to jazz tradition but she manages to integrate it into the language, so to speak. 'Slow Boat To China' was recorded by Charlie Parker but seen as an unlikely novelty choice at the time; here Wendy gives it a swinging treatment, her voice bright, the piano accompaniment spot on in this version. Paying tribute in a brief sleeve note to other singer/pianists, Wendy mentions Diana Krall, Dena De Rose, Blossom Dearie and Shirley Horn. Her own brand of jazz singing combined with piano accompaniment and soloing seems to me to be closest to Dena De Rose in the way she does both jobs equally well and in her presentation style. The material is not altogether what jazz buffs might expect but it all seems to work well as Wendy takes on 'Hey Good Lookin,’' and 'It’s Not Unusual' although that last named is, fortunately, done as a slow, meditative ballad and never slips into Tom Jones speak. Her crisp, uncluttered solo on this selection is first rate. The notes also point out that these tracks were recorded with Wendy playing piano and singing simultaneously with very little editing afterwards. Ben Sidran’s 'Be Nice', works very well as a jazz piano solo with vocal even if it is an unlikely seeming vehicle for a jazzer. Although they support sturdily throughout the backing trio are brought into focus on 'Samba Chico' where guitarist Sprake plays an inventive solo segment before Wendy returns for some scat and piano gymnastics. Her tribute to Nina Simone and the duet she sings with fellow vocalist, Gary Grace on 'Don't Worry Be Happy' provide variety on a well- planned, straight ahead jazz session that should please all enthusiasts. ~ Derek Ansell https://www.jazzviews.net/wendy-kirkland-quartet---piano-divas.html

Personnel: Wendy Kirkland (voc, p), Pat Sprakes (elg), Paul Jefferies (b), Stevie Smith (d)

Piano Divas

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Chick Corea Elektric Band - Paint the World

Styles: Piano
Year: 1993
File: MP3@320K/s
Time: 74:33
Size: 171,1 MB
Art: Front

(3:58)  1. Paint the World
(5:32)  2. Blue Miles
(6:51)  3. Tone Poem
(5:49)  4. CTA
(1:43)  5. Silhouette
(6:08)  6. Space
(7:32)  7. The Ant & The Elephant
(5:58)  8. Tumba Island
(7:37)  9. Ritual
(7:18) 10. Ished
(8:10) 11. Spanish Sketch
(5:01) 12. Final Frontier
(2:50) 13. Reprise

Chick Corea's Elektric Band II found bassist John Patitucci, drummer Dave Weckl and guitarist Frank Gambale going out on their own and being replaced by Jimmy Earl, Gary Novak and Mike Miller. Saxophonist Eric Marienthal was the only sideman from the first Elektric Band to stick with Corea. Although the new members are not as distinctive as their predecessors, the high-quality material played on this release (which includes Jimmy Heath's "CTA," "Blue Miles" and a variety of Corea originals) is very jazz-oriented and occasionally there are straightahead sections. This set is recommended even to listeners who have not yet acquired a taste for fusion. ~ Scott Yanow https://www.allmusic.com/album/paint-the-world-mw0000101865

Personnel: Piano, Keyboards, Programmed By [Synth], Composed By, Mixed By, Liner Notes, Producer – Chick Corea; Saxophone – Eric Marienthal; Bass – Jimmy Earl; Drums – Gary Novak. 

Paint the World

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Dave Weckl - Master Plan

Styles: Jazz Fusion
Year: 1990
File: MP3@320K/s
Time: 48:18
Size: 112,3 MB
Art: Front

(3:59)  1. Tower Of Inspiration
(6:03)  2. Here And There
(4:51)  3. Festival De Ritmo
(5:54)  4. In Common
(4:32)  5. Garden Wall
(4:47)  6. Auratune
(5:00)  7. Softly, As In A Morning Sunrise
(8:13)  8. Master Plan
(4:55)  9. Island Magic

Dave Weckl's recording career as a leader was off to a decent start with Master Plan  not a fantastic start, but a decent one. The drummer had made a name for himself playing with Chick Corea's fusion-oriented Elektric Band and his straight-ahead Akoustic Band, and his admirers greeted this CD with high expectations. But while Master Plan isn't the mind-blowing gem it could have been, it's a competent, enjoyable jazz-rock outing. Weckl has talented guests in keyboardist Jay Oliver, tenor saxman Michael Brecker and Elektric Band colleagues Corea and Eric Marienthal (soprano and alto sax), and he is in good form on pieces that range from the funky "Tower of Inspiration" to the Afro-Cuban-influenced "Festival de Ritmo" and the Brazilian-minded "Auratune." 

The CD's only hard bop offering is "Softly, as in a Morning Sunrise," which finds Weckl forming a trio with pianist Ray Kennedy and bassist Tom Kennedy. Master Plan isn't essential, but it isn't anything to be ashamed of either. ~ Alex Henderson https://www.allmusic.com/album/master-plan-mw0000690080

Master Plan

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Eric Marienthal - Voices of the Heart

Styles: Saxophone Jazz
Year: 1988
File: MP3@320K/s
Time: 51:59
Size: 120,7 MB
Art: Front

(4:00)  1. Voices of the Heart
(4:18)  2. Your Eyes
(4:11)  3. Blue Space
(2:49)  4. Brazilian Dream
(5:04)  5. Premonition
(4:48)  6. Tippin'
(3:54)  7. Being with You
(4:46)  8. Harvest Dance
(4:17)  9. Written in the Wind
(4:26) 10. Walk Like An Emu
(4:31) 11. Someone Said
(4:50) 12. Backstep

Altoist Eric Marienthal's debut as a leader has four notable guest appearances by his employer, keyboardist Chick Corea, and one spot for guitarist Frank Gambale. Otherwise, he is generally joined by a quintet also including keyboardist Jim Cox, the great bassist John Patitucci, drummer Vinnie Colaiuta, and guitarist Pat Kelley. The ten obscure songs (only two by the leader) are worthwhile, if not overly memorable, but Marienthal's soulful solos are always fun to hear. ~ Scott Yanow https://www.allmusic.com/album/voices-of-the-heart-mw0000195867

Voices of the Heart

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Wendy Kirkland - The Music's on Me

Styles: Vocal And Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 53:02
Size: 122,7 MB
Art: Front

(3:47)  1. The Music in Me
(4:52)  2. Haven't We Met
(8:23)  3. Pools
(3:11)  4. Sandalia Dela
(5:50)  5. Playground
(1:32)  6. Nothing Like You
(7:52)  7. September Second
(4:55)  8. West Coast Blues
(3:14)  9. O Gato Molhado
(4:15) 10. Sunday In New York
(5:04) 11. Travelling Home

It has been two years since Wendy Kirkland released her debut album, Piano Divas, and with the success of the recording and subsequent tours has firmly established herself as a first rate pianist and vocalist, an accolade that has been long overdue as Kirkland has been plying her trade as a professional musician for more than twenty years. Now with the release of her new album, The Music's On Me, there can now be no doubt that she is poised to take her place as one of the very best. Everything about The Music's On Me indicate that Wendy has taken a huge step forward. From the song selection, arrangements, through to performance and recording it is all there, with all the hard work paying off handsomely. Overall the album has a much more contemporary feel than its predecessor, yet there is no mistaking the identity of performer or the development and growth from the earlier recording. The quartet are by now well played in, and in a perfect position to interpret the arrangements, and play as a seamless unit. Bass and drums are rock solid swinging effortlessly, with Wendy and Pat Sprakes bringing their understanding of each others playing to bear so that is often as much a joy to hear how they support each other as the individual solos themselves. From the opening number, 'The Music In Me', written by Wendy and husband/guitarist, Pat Sprakes, there is a confidence and swagger in the performance that is reassuringly affecting. 

The vocals are relaxed and warm with guitar and piano getting in deeply swinging solos. This trick is also repeated on the very next number, 'Haven't We Met' where Wendy accompanies herself on a piano/scat solo that is quite exhilarating. The regular quartet are joined by a couple of special guests, with saxophonist Tommaso Starace and Roger Beaujolais on vibes featuring on two numbers apiece. The vibesman is heard to sterling effect on 'Pools' that I always associate with the stellar, Steps Ahead group, and Russell Malone's 'Playground', that along with Wendy's delightful vocals contributes a solo that is uniquely his own while still being in total empathy with Wendy and the song.  The saxophonist is heard on alto on 'September Second'  with a beautifully languid solo that captures the mood of Michel Petrucciani's lovely composition, switching to soprano saxophone for 'Travelling Home', another Kirkland/Sprakes original, playing sensuously melodic lines accompanying the vocal along with a solo that contributes to bringing the album to a satisfying close. 

The feeling throughout the album is a joyous affair from start to finish, and with Wendy now playing with an assurance that indicates that perhaps she is starting to really believe in herself, and quite rightly so too. With confidence riding high, Wendy is not just content to produce another highly enjoyable album in The Music's On Me, but also has the audacity with her version of Don Grolnick's 'Pools'  to hint at the possible direction of a future album, taking things along an even tougher and modern approach. Adding lyric's to Grolnick's fine contemporary composition, the pianist then delivers another example of her simultaneous piano/scat solo, prior to digging in on piano with a solo that  steals the show and is the highlight of an already impressive album. https://www.jazzviews.net/wendy-kirkland---the-musics-on-me.html

Personnel: Wendy Kirkland (piano & voice); Pat Sprakes (guitar); Paul Jefferies (bass guitar & double bass); Steve Wyndham (drums); Roger Beaujolais (vibraphone); Tommaso Starace (saxophones)

The Music's on Me

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Jacques Loussier - Beautiful Love

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 77:56
Size: 180,3 MB
Art: Front

( 4:37)  1. Andante
( 5:04)  2. Fantasy in C Minor
( 2:43)  3. Mack the Knife
( 4:02)  4. Aie Pitié De Moi, Ô Seigneur Dieu
( 3:26)  5. Air (Orchestral Suite No. 3)
( 2:58)  6. Sarabande
(11:20)  7. Fantaisie Et Fugue En Sol Mineur
( 3:47)  8. Stay Well
( 2:27)  9. Mon Ami, My Friend
( 4:08) 10. Jesu, Joy of Man's Desire
( 6:19) 11. Prelude No. 1
( 2:40) 12. Polly's Song
( 2:00) 13. Le Tango Des Matelots
( 4:38) 14. Concerto After the Italian Taste
( 2:56) 15. Prelude No. 16
( 2:45) 16. Oh, Heart of Love
( 5:05) 17. Fantaisie En Ut Mineur
( 1:59) 18. Minuet 1 & 2
( 4:54) 19. Prelude No. 8

An acclaimed French pianist known for his jazz interpretations of classical works, Jacques Loussier rose to prominence leading his trio in the 1960s. A gifted classical musician in his youth, Loussier gravitated toward jazz and issued a series of innovative, genre-bending albums under the Play Bach title in which he reworked the music of Johanne Sebastian Bach. Over the years, he applied this same approach to works by other classical composers, and even expanded his palette, exploring electronics and Latin-traditions on albums like 1979's Pulsion, 1999's Ravel: Bolero, and 2011's Schumann: Kinderszenen (Scenes from Childhood). He also composed for film and television, working out of his Studio Miraval in Provence. Following a stroke in 2011 he retired from the stage and passed away in 2019 at the age of 84. Loussier was born in 1934 in Angers, France to a banker and homemaker. He first started taking piano lessons around age ten. Soon after, he discovered the music of Bach, including pieces like "Notebook for Anna Magdalena Bach" and "Prelude in G Minor." He became entranced, often improvising naturally upon the themes in the pieces. By his teens he had moved to Paris where he studied privately with noted pianist Yves Nat, delving deeper into Bach, as well as composers like Claude Debussy, Gabriel Fauré, and Camille Saint-Saëns. He enrolled at the Conservatoire National Musique and continued to expand his skills outside of class playing jazz gigs at local bars. While at school he began to compose, and further solidified his third stream approach fusing classical with jazz.

Following his graduation, he embarked on a fruitful career as an accompanist, working with a bevy of marquee singers including Charles Aznavour, Frank Alamo, Catherine Sauvage, and others. He was able to travel and soak up the musical traditions of other parts of the world including that of the Middle East and Latin America. He also formed his own trio with bassist Pierre Michelot and drummer Christian Garros. Known for their jazz reworkings of Bach pieces, the trio debuted with a series of albums on Decca beginning with Play Bach No. 1 in 1959 and culminating in Play Bach Aux Champs Elysees in 1965. A major success for Loussier, the trio toured and recorded for 15 years, moving from Decca to Philips/Phonogram in the early '70s and selling over six million albums. The trio gained wider public recognition when their version of Bach's "Air on the G String," which was used in a series of award-winning Benson & Hedges television commercials. Along with leading his trio, Loussier began composing for film and television, issuing soundtracks for projects like 1967's The Killing Game, 1968's The Dark of the Sun, and 1969's You Only Love Once, among others. In the early '70s, he disbanded his trio and settled in Provence, where he opened his own recording studio, Studio Miraval. In addition to producing his own projects there, Miraval has played host to a variety of artists over the years including Elton John, Sting, and Pink Floyd. Away from his trio, Loussier began to expand his musical palette, exploring electronics, funk, and Latin sounds on albums like 1979's Pulsion, and 1982's Pagan Moon. In 1985, inspired by the 300th anniversary of Bach's birth, Loussier formed a second version of his trio, again playing a mix of classical and jazz with many of the added stylistic textures he had adopted since the group's start. Working with his second trio, Loussier continued to find a receptive audience issuing albums like 1996's Jacques Loussier Plays Bach, which landed at number 33 on the Billboard Classical Albums chart.

More albums followed including 1999's Bach Book: 40th Anniversary Album and Ravel: Bolero, both of which featured his signature classical and jazz mix. In 2000, Loussier paired his trio with Turkish pianists Güher and Süher Pekinel for Take Bach. Baroque Favorites: Jazz Improvisations arrived in 2001 and peaked in the Top 50 of the Billboard Classical Albums chart. There were similarly well-regarded recordings of Beethoven, Mozart, and Chopin. In 2002, Loussier filed a lawsuit against rapper Eminem and executive producer Dr. Dre, claiming that portions of their track "Kill You" were stolen from his composition "Pulsion." The lawsuit was ultimately settled out of court. In 2009, the then-75-year-old pianist issued the trio album Plays Bach: The 50th Anniversary Recording. He then applied his distinctively cross-pollinated voice to Robert Schumann's 1838 composition with 2011's Schumann: Kinderszenen (Scenes from Childhood). Loussier suffered a stroke in 2011 and retired from performing. He died on March 5, 2019 at a hospital in Blois, in France’s Loire Valley. He was 84 years old. ~ Matt Collar https://www.allmusic.com/artist/jacques-loussier-mn0000122083/biography

Beautiful Love

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Lee Konitz - Classic Konitz

Styles: Saxophone Jazz 
Year: 2018
File: MP3@320K/s
Time: 56:52
Size: 131,5 MB
Art: Front

( 4:10)  1. You're Clear Out of this World
( 3:57)  2. East 32nd
( 2:50)  3. My Old Flame
( 4:29)  4. I Remember You
( 5:20)  5. Round Midnight
( 3:01)  6. Skylark
( 4:04)  7. The Daffodil's Smile
( 3:06)  8. Easy Livin'
( 2:22)  9. I've Got It Bad
(11:14) 10. If I Had You
( 3:40) 11. Froggy Day
( 4:10) 12. You Are Too Beautiful
( 4:22) 13. You Don't Know What Love Is

One of the most individual of all altoists (and one of the few in the 1950s who did not sound like a cousin of Charlie Parker), the cool-toned Lee Konitz has always had a strong musical curiosity, leading him to consistently take chances and stretch himself, usually quite successfully. He was a member of Miles Davis' classic '50s nonet, and his early work alongside pianist Lennie Tristano is often cited as an influence on the "free jazz" movement of the '60s. He built upon Tristano's approach on his own albums like 1950's Subconscious-Lee, 1957's Tranquility, and 1967's The Lee Konitz Duets, all of which showcase his sculptural approach to harmony. A longtime associate of the Creative Music Studio since the '70s, Konitz has continued to record distinctive albums, exploring both standards and forward-thinking original material.  Born in 1927 in Chicago, Konitz studied clarinet early on, eventually switching to alto. Following early work with Jerry Wald, he gained some attention for his solos with Claude Thornhill & His Orchestra (1947). 

He began studying with Lennie Tristano, who had a big influence on his conception and approach to improvising. Konitz was with Miles Davis' Birth of the Cool nonet during their one gig and their Capitol recordings (1948-1950), and he recorded with Lennie Tristano's innovative sextet (1949), including the first two free improvisations ever documented. Konitz blended very well with Warne Marsh's tenor (their unisons on "Wow" are miraculous) and would have several reunions with both Tristano and Marsh through the years, but he was also interested in finding his own way; by the early '50s he started breaking away from the Tristano school. Konitz toured Scandinavia (1951), where his cool sound was influential, and he fit in surprisingly well with Stan Kenton & His Orchestra (1952-1954), being featured on many charts by Bill Holman and Bill Russo.  Konitz was primarily a leader from that point on. He almost retired from music in the early '60s but re-emerged a few years later. His recordings have ranged from cool bop to thoughtful free improvisations, and his Milestone set of Duets (1967) is a classic. In the '70s and '80s, Konitz increased his recorded output, issuing consistently stimulating sessions for such labels as SteepleChase, Philogy, Soul Note, and others.

In 1992, he won the prestigious Jazzpar Prize. He kept a busy release schedule throughout the '90s and dabbled in the world of classical music with 2000's French Impressionist Music from the Turn of the Twentieth Century. The Mark Masters Ensemble joined him for 2004's One Day with Lee, and in 2007 he recorded Portology with the Ohad Talmor Big Band. He has recorded on soprano and tenor but has mostly stuck with his distinctive alto.  In 2011, he released his own trio album, Knowinglee, and appeared on the live ECM date Live at Birdland (recorded in 2009) with pianist Brad Mehldau, bassist Charlie Haden, and drummer Paul Motian. Three years later, he joined Dan Tepfer, Michael Janisch, and Jeff Williams for First Meeting: Live in London, Vol. 1. The quartet date, Frescalalto, arrived in 2017 and featured the saxophonist alongside pianist Kenny Barron, bassist Peter Washington, and drummer Kenny Washington. In 2019, Konitz paired with longtime associate saxophonist/arranger Ohad Talmor for the album Old Songs New, a nonet recording focusing on beloved yet less-often-recorded standards. ~ Scott Yanow https://www.allmusic.com/artist/lee-konitz-mn0000227776/biography

R.I.P.
Born: October 13, 1927 Chicago, Illinois, US
Died:    April 15, 2020 (aged 92) Manhattan, New York City, US

Classic Konitz

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Katie Melua - Live in Concert

Styles: Vocal And Guitar
Year: 2019
File: MP3@320K/s
Time: 85:33
Size: 197,8 MB
Art: Front

(2:33)  1. Tu Ase Turpa Ikavi
(3:42)  2. Plane Song
(4:32)  3. Belfast
(3:33)  4. Nine Million Bicycles
(3:59)  5. Just Like Heaven
(3:41)  6. River
(4:21)  7. Dreams on Fire
(2:07)  8. Cradle Song
(4:37)  9. All-Night Vigil - Nunc Dimittis
(4:52) 10. O Holy Night
(3:15) 11. Diamonds Are Forever
(4:50) 12. Perfect World
(2:12) 13. The Little Swallow
(4:01) 14. I Cried for You
(4:36) 15. The Flood
(4:32) 16. The Closest Thing to Crazy
(3:41) 17. Piece by Piece
(6:37) 18. Wonderful Life
(3:56) 19. Fields of Gold
(5:10) 20. Maybe I Dreamt It
(4:36) 21. What a Wonderful World

Plucked from music-school obscurity by songwriter/producer Mike Batt, Katie Melua quickly became the highest-selling female musician in the U.K., a feat that owed much of its success to her wildly popular 2003 debut. Melua was born in Soviet Georgia in 1984 and later moved to Belfast, Northern Ireland. Her family pulled up stakes several years later and relocated to London, where Melua entered the B.R.I.T. School for the Performing Arts & Technology. The record industry-funded school had a habit of graduating talented artists like Floetry, and Melua became its next success when a 2003 showcase caught the attention of Batt, who'd been looking for a vocalist capable in both jazz and blues styles. Call Off the Search, her debut album, was issued in the U.K. in November 2003 by Batt's own label, Dramatico Records. A comfortable, tasteful blend of jazz vocals, pop style, and adult contemporary sway, the album featured two cuts penned by Melua (including a tribute to one of her biggest influences, Eva Cassidy), as well as covers of material from John Mayall, Randy Newman, and the James Shelton classic "Lilac Wine." The single "Closest Thing to Crazy" hit number one in December, and by January of the following year, Call Off the Search had gone platinum (300,000 units in the U.K.). It continued selling copies for years, eventually going platinum six times.

Gigs in Europe followed, and in May 2004 Melua made her way to the U.S. for a round of club dates in support of the album's domestic release. She achieved even greater success with her 2005 follow-up, Piece by Piece, a heady blend of worldbeat and jazz-pop that topped both the international and British charts before setting its sights on the U.S. market in 2006. The similarly jazz-inflected Pictures followed a year later, and the concert recording Live at the O² Arena appeared in 2009. In 2010, Melua delivered the studio effort The House, which widened her sound with production from techno mastermind William Orbit. Two years later, she returned with the orchestral pop album Secret Symphony, featuring arrangements by longtime producer Batt. Melua finished out her six-album deal for Batt with 2013's similarly orchestral-leaning Ketevan. Named after her given birth name, the album featured the singles "I Will Be There" and "The Love I'm Frightened Of." Well received, it peaked at number six on the U.K. charts. In 2016, Melua returned with In Winter, her first holiday-themed effort and first album after parting ways with longtime collaborator Batt. Recorded in her native country of Georgia with the all-female Gori Women's Choir, In Winter featured original material from Melua alongside a cover of Joni Mitchell's "River" and several traditional classical holiday songs. ~ Johnny Loftus https://www.allmusic.com/artist/katie-melua-mn0000101522/biography

Live in Concert

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Stanley Cowell - Waiting For The Moment

Styles: Piano Jazz 
Year: 1977
File: MP3@320K/s
Time: 38:33
Size: 91,0 MB
Art: Front

(3:05)  1. Ragtime
(3:00)  2. Boogie Woogie
(3:32)  3. Parisian Thoroughfare
(7:19)  4. 'Round Midnight
(2:14)  5. Spanish Dancers
(5:14)  6. Sienna: Welcome My Darling
(4:39)  7. Sienna: Waiting For The Moment
(5:16)  8. Coup De Grass
(4:09)  9. Today, What A Beautiful Day

This out-of-print LP is a solo set by Stanley Cowell. The first side has five acoustic numbers which range from the "Ragtime" and "Boogie Woogie" sections of Jimmy Heath's "Afro-American Suite Oof Evolution" to "'Round Midnight" and Bud Powell's "Parisian Thoroughfare." The flip side finds Cowell utilizing both electronics and overdubbing to perform four of his more modern originals. An interesting if not quite essential program. ~ Scott Yanow https://www.allmusic.com/album/waiting-for-the-moment-mw0000871127

Personnel:  Stanley Cowell - piano, electric grand piano, synthesizer, thumb piano

Waiting For The Moment

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Wim Overgaauw Trio - Dedication

Styles: Guitar Jazz
Year: 1978
File: MP3@320K/s
Time: 33:56
Size: 78,6 MB
Art: Front

(4:40)  1. Quiet Nights
(2:41)  2. Barney's Blues
(3:19)  3. Dedication
(3:30)  4. Just a Sittin' and a Rockin'
(2:48)  5. Twisted Blues
(2:30)  6. Snipverkouden
(2:31)  7. Monk's Hop
(3:54)  8. Adagio from Concerto d'Aranjuez
(2:19)  9. Old Tough One: Wilde Ganzen / Ouwe Taaie / Als Op Capri / Op De Woelige Baren
(2:52) 10. Footin' It
(2:47) 11. Introduction

Wim Overgaauw ( Hilversum , November 23, 1929 - there, November 30, 1995 ) was a Dutch jazz guitarist .Overgaauw started his career as a violinist and played in a string orchestra for two years. He then switched to guitar and performed with clubs in the US military with Nick Vollebregt . In the 1950s he performed with Wessel Ilcken and later led his own groups. He was best known in the 1960s as a member of the Pim Jacobs Trio and as an accompanist to singer Rita Reys . He also made recordings with, for example, Lee Konitz and accompanied Cannonball Adderley , Sam Jones and Jimmy Raney . Overgaauw received an Edison in 1971 for his first solo album Don't Disturb .For many years he was a teacher at the Hilversum Conservatory , where he included Jesse van Ruller , Martijn van Iterson and Maarten van der Grinten among his students. By nature, he modestly avoided performing in public in his last years. In an interview in 1994 he indicated that he was influenced by his students and by young guitarists like David Gilmore from Steve Coleman 's band . He also composed music for film and television, gave guitar workshops and wrote the textbook "The European Jazz Guitar". https://nl.wikipedia.org/wiki/Wim_Overgaauw

Dedication

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George Colligan - Constant Source

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 69:15
Size: 159,3 MB
Art: Front

( 7:57)  1. Tarantula
( 7:10)  2. Saga
( 6:43)  3. I'm Getting Sentimental Over You
( 5:13)  4. Flint Michigan
( 9:12)  5. Pitchrider
(13:27)  6. Void
( 9:25)  7. My Eyes That Cried
(10:05)  8. Constant Source

When it comes to spotting young talent worthy of wider recognition, it’s often those small independent labels who are responsible for giving the youngsters some visibility. This also makes for a good situation in terms of the artist because he/she, more often than not, has more control over the artistic integrity of the final product, something that is not as easily achieved when spending the big corporate dollars. The downside, however, is that the coffers for publicity are on the small side when you’re hooked up with the little independent guy. SteepleChase producer Nils Winther apparently liked what he heard when first checking out George Colligan because he gave the pianist a chance to cultivate his original voice as a vital SteepleChase artist. While not as visible here in the U.S. as those guys with the major label contracts, Colligan shows signs of becoming one of the best pianists and composers of his generation. The last Colligan SteepleChase from the back catalog to see a domestic release, Constant Source is arguably among his boldest statements. With a resonant front line pairing of alto and tenor sax (played by Jon Gordon and Mark Tuner respectively), Colligan and his crack rhythm section pull out all the stops via a ten selection set of originals (albeit a reworking of “I’m Getting Sentimental Over You”). The whole program is made up of beefy and well-developed charts that forgo the trite and customary.

sounds just like its name, with counterpoint between bass and the piano’s low end adding to the mysterious vibe. Perhaps the catchiest of the lot, “Saga” utilizes a captivating piano vamp that launches the head and subsequent solos, ultimately settling into a hybrid bossa groove. The third tune of the program is an atypical ballad entitled “Flint Michigan,” although both the CD label and the tune list on the back have the cut incorrectly listed as track number four. Showing just how adept he is at drastically altering standards, Colligan takes “I’m Getting Sentimental Over You” and turns it into a medium tempo romp in seven, with the bridge alternating between 4/4, 6/4, and a 5/8 tag. Two pieces hint at the impact of Colligan inspiration Gary Thomas. “Pitchrider” speaks in terms of ‘70s fusion, complete with George’s use of Fender Rhodes, while “Void” clocks in at over 13 minutes and contains dense passages of collective interplay that are punctuated by Howard Curtis’ acute drum work. The electric piano shows up again on the slow and spacey “My Eyes That Cried,” with the title track leaving a postscript in regards to Colligan’s compositional gifts, penned in the odd meter of 5/4. For the present, Colligan has proved a valuable sideman to vocalist Cassandra Wilson, saxophonist Don Braden, and trombonist Robin Eubanks. His already impressive oeuvre will be supplemented shortly by a new release on the Fresh Sound label and a forthcoming SteepleChase trio date. In the meantime, Constant Source, not to mention his other SteepleChase sides, finds Colligan speaking with an authority and maturation that belies his youth.~ C.Andrew Hovan https://www.allaboutjazz.com/constant-source-george-colligan-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: George Colligan (piano and Fender Rhodes), Jon Gordon (alto & soprano saxophones), Ed Howard (bass), Howard Curtis (drums)

Constant Source

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La Section Rythmique, Harry Allen & Luigi Grasso - La Section Rythmique +2

Styles: Contemporary Jazz
Year: 2019
File: MP3@320K/s
Time: 50:55
Size: 117,3 MB
Art: Front

(4:04)  1. You 'N' Me
(7:25)  2. In the Still of the Night
(5:52)  3. Birth of the Blues
(4:54)  4. Day Dream
(4:30)  5. Wes' Tune
(4:42)  6. One for Duke
(6:14)  7. Blues up and Down
(3:06)  8. New Orleans
(5:00)  9. Step Right Up
(5:04) 10. I Don't Stand a Ghost of a Chance with You

This rhythm trio (guitar, bass and drums) won awards with its first album in 2015, and has now backed, on concerts and recordings, such memorable jazz artists as Scott Hamilton, Evan Christopher, Lillian Boutté  and Ken Peplowski, amongst others. On this release the trio plays host to seasoned New York tenorist Harry Allen, paired with an exciting and skilful young Italian altoist, Luigi Grasso a new name to me. Guitarist David Blenkhorn and bassist Sébastien Girardot I have heard and enjoyed previously, as key contributors on the fine Django A La Créole albums on Frémeaux. Gillaume Nouaux’s supple and attentive drumming fits in neatly in the closely integrated and tastefully swinging rhythm backing.

Allen’s light-toned, mature and fluent phrasing is complemented effectively by Grasso’s rounded, exuberant and expressive alto. There’s close rapport throughout in ensemble, and some sizzling exchanges in the upbeat Blues Up And Down.Steeped in jazz heritage, the repertoire alternates throughout between upbeat and laid-back. The laudably open-book approach to style salutes classic jazz with a refreshingly re-worked blend ranging from mainstream to bop.The enthusiastic Grasso reins in for the Hodges classic Day Dream, almost rivalling the master himself with an exquisitely nuanced performance. Allen follows on with breathy hints of Ben Webster, and they both reprise Hodges and Webster on the beautifully arranged One For Duke. In The Still Of The Night is another lovely arrangement and performance, but every track appeals. Highly recommended. https://jazzjournal.co.uk/2019/07/08/la-section-rythmique-2-harry-allen-luigi-grasso/

Personnel: David Blenkhorn (g); Sébastien Girardot (b); Guillaume Nouaux (d); Harry Allen (ts); Luigi Grasso (as).

La Section Rythmique +2

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Wallace Roney - Blue Dawn - Blue Nights

Styles: Trumpet Jazz
Year: 2019
File: MP3@320K/s
Time: 53:28
Size: 123,2 MB
Art: Front

(6:13)  1. Bookendz
(5:28)  2. Why Should There Be Stars
(7:54)  3. Wolfbane
(8:13)  4. New Breed
(7:05)  5. Don't Stop Me Now
(9:00)  6. In a Dark Room
(5:15)  7. Venus Rising
(4:15)  8. Elliptical

Wallace Roney's eighth album for the HighNote label, 2019's Blue Dawn-Blue Nights, finds the trumpeter collaborating with a cadre of young lions and balancing dusky after-hours warmth and propulsive post-bop modalism. The album comes three years after the similarly expansive A Place in Time, which featured veterans Gary Bartz, Lenny White, and Patrice Rushen. From that album, only White returns here, playing on half of Blue Dawn-Blue Nights. He and Roney are also joined by an invigorating ensemble including Roney's nephew drummer Kojo Odu Roney, tenor saxophonist Emilio Modeste, pianist Oscar Williams II, and bassist Paul Cuffari. Somewhat of a departure from Roney's past work, Blue Dawn-Blue Nights features songs written by his bandmates, along with a handful of deftly curated covers. The result is a surprisingly cohesive album that benefits from each player's unique yet clearly like-minded point-of-view. Roney opens the album with keyboardist Wayne Linsey's roiling, R&B-inflected "Bookendz." A longtime friend of Roney's, Linsey wrote songs for Miles Davis, and "Bookendz" certainly brings to mind Davis' fusion period with both White and Odu Roney supplying the song's kinetic rhythm. Shifting gears, the band eases into the yearning ballad "Why Should There Be Stars," which works as a showcase for Roney's plaintive lyricism. Contrasting that is White's funky "Wolfbane," a circular groover in which Roney smears and glides against the drummer's dynamic percussion waves. Also compelling is the group's reading of David Liebman's dissonant mid-tempo swinger "New Breed." Originally recorded by Elvin Jones for his 1973 date Mr. Jones, here the melody is played with Harmon-muted intensity by Roney and Modeste. Elsewhere, they sink into "Don't Stop Me Now," a slow-burning R&B slow jam culled from Miles Davis' '80s period, and again evoke Davis' late-'60s quintet on Williams' impressionistic modal piece "In a Dark Room." Closing the album are two of Modeste's compositions, beginning with the driving "Venus Rising" and finishing with the far-eyed "Elliptical," both of which benefit from Roney and his band's burnished harmonic textures. ~ Matt Collar https://www.allmusic.com/album/blue-dawn-blue-nights-mw0003308946

Blue Dawn - Blue Nights

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Yelena Eckemoff, Manu Katché - Colors

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 79:53
Size: 186,3 MB
Art: Front

(8:15)  1. White
(4:56)  2. Pink
(3:59)  3. Orange
(6:09)  4. Green
(6:20)  5. Violet
(3:04)  6. Indigo
(8:24)  7. Blue
(7:20)  8. Red
(4:01)  9. Brown
(6:37) 10. Bordeaux
(6:07) 11. Yellow
(4:00) 12. Aquamarine
(3:02) 13. Grey
(7:33) 14. Black

Pianist Yelena Eckemoff brings the top drummers into her recording sessions, whether it's Billy Harton Lions (2014), or Peter Erskine on Glass Song (2012) and Desert (2015), or Jon Christensen for Everblue (2014) all of these on her own L & H Production label. The year 2019 finds the prolific Eckemoff presenting her first duo album, Colors, a piano and drums affair with another topline partner sitting at the kit: Manu Katche, a distinctive drumming stylist and a leader in his own right, with eight releases to his name, five of them on ECM Records.  Colors could just as well been called Life, a panoramic set of Eckemoff originals that affixes different colors to life's stages, from "White," an examination of birth's blank slate, to "Orange," a celebration of youthful energy, through "Violet," a nod to the thrill of first love, to "Black," a facing, with equanimity, of death's mysterious void. Eckemoff's music is often complex and cerebral, drawing on her classical studies in her native Russia, and it frequently leans toward the reflective and inward. This is especially true of her early recordings, like Cold Sun (L & H, 2010) and the previously mentioned Glass Song. But with the release of Lions her sound seemed to draw as much from the heart and gut as it did from the head; the energy of life seemed to swim in tandem beside the reveries of the mind. 

Colors presents that mix to perfection. Eckemoff's piano sound is, as always, crisp and clean of touch, intricate and nuanced and complex. It can sound a bit playful, full of wordless wonder ("White"); and it can portray an expanding consciousness with an inward tilt ("Pink"), and it can ROCK OUT, big time, with Eckemoff and Katche digging-deep into a relentless groove on "Orange." Is it Eckemoff prodding and exhorting Katche, or is it Katche elbowing Eckemoff; or is it a balanced pairing, a two way call and response bubbling with the electricity of life? Probably the last choice, given a listen to "Indigo," another animated, jazz-rock, groove-centric sound. Not that moments of reflections aren't present. "Violet," concerning "the thrill of first love" is a reflective interlude of subtle beauty; and "Blue" begins as a lyrical, inward rumination that shifts, two minutes in, into a playful prance that swells to a tempest that then tapers down to tranquility, rolling then to a re-start of the cycle. And "Red" seems to dance with the vibrancy and sassiness and confidence of an attractive woman in her prime (imagery taken from Eckemoff's accompanying poem in the cover booklet). Colors covers a wide range of moods and styles, a mode of operation that can reveal weaknesses in a thematic cohesion. That Eckemoff and Kache avoid this potential hazard over a fourteen song, near-eighty minute set is remarkable.  One of Yelena Eckemoff's finest recordings. ~ Dan MacClenaghan https://www.allaboutjazz.com/colors-yelena-eckemoff-l-and-h-production-review-by-dan-mcclenaghan.php

Personnel: Yelena Eckemoff: piano and compositions; Manu Katché, drums.

Colors

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Isabella Lundgren - Out of the Bell Jar

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 45:21
Size: 104,4 MB


( 5:25)  1. You're Gonna Make Me Lonesome When You Go
( 6:35)  2. The Times Are a Changing
( 8:05)  3. It Ain't Me Babe
( 3:52)  4. Lay Down Your Weary Tune
(10:44)  5. Trouble
( 4:06)  6. Out of the Bell Jar
( 6:31)  7. Forever Young

This release is the newest from Swedish vocalist Isabella Lundgren. It features arrangements of classic Bob Dylan songs, sung with Isabellas exceptional artistry. Isabella Lundgren has a seriousness and a gravity that is unique. It's like she makes time stand still just by being, I guess that's what they call charisma and presence. And then she sings absolutely fantastically, with a natural, flowing time and a low-key but expressive phrasing. The fact the she has something to say with her lyrics, also adds to the magic. She is one of the greatest things that has ever happened to the Swedish Jazz scene. (Swedish Daily News) Lundgrens incisive and agile voice, often reminiscent of Anita ODay and Billie Holiday, came from a formally attired, deceptively slight frame and it thus was less of a surprise than it might have been to discover later that having studied music at New Yorks New School she is now in Stockholm studying to be a priest. She had the congregation in her hand right from the lightly accompanied rubato intro to That Old Black Magic that opened the set. There was also Its Magic and a couple of blues, all delivered with compelling authority and a mischievous sense of swing. (Mark Gilbert, JazzJournal) ~ Editorial Reviews https://www.amazon.com/Out-Bell-Jar-Isabella-Lundgren/dp/B07ZLK56KX

Out of the Bell Jar

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Archie Shepp, Jasper Van't Hof - The Fifth of May

Styles: Saxophone And Piano Jazz
Year: 1987
File: MP3@320K/s
Time: 48:10
Size: 110,4 MB
Art: Front

( 7:50)  1. Down Home New York
( 7:38)  2. The Hunter
( 6:37)  3. Naima
( 5:16)  4. Pulse of the Roots
(15:16)  5. 5th of May
( 5:30)  6. In a Decent Way

This is an unusual CD with Archie Shepp, mostly playing tenor but also contributing a couple of vocals and a bit of soprano, performing duets with the keyboards and synthesizer of Jasper Van't Hof. The music (originals by Shepp or Van't Hof, along with John Coltrane's "Naima") ranges from danceable tracks and mood pieces to explorative works, and generally holds one's interest. A good couple of days for Archie Shepp, who could be quite erratic in the 1980s. ~Scott Yanow https://www.allmusic.com/album/the-fifth-of-may-mw0000652903

The Fifth of May

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Vincent Gardner - The Good Book, Chapter Three

Styles: Trombone Jazz
Year: 2012
File: MP3@320K/s
Time: 67:53
Size: 167,0 MB
Art: Front

(6:07)  1. Double Talk
(7:34)  2. Another Hair-Do
(6:27)  3. I Waited for You
(6:40)  4. Compulsion
(6:38)  5. One Bass Hit
(6:57)  6. Darn That Dream
(5:57)  7. Dizzy Atmosphere
(5:48)  8. Charlie's Wig
(7:12)  9. There'll Never Be Another You
(8:29) 10. Sid's Delight

This album is like the cotton of the advertisement, it does not deceive. It is the third volume that trombonist Vincent Gardner edits from his series 'The Good Book' and is dedicated to bebop. So white and bottled ...

Vincent R. Gardner was born in Chicago in 1972 and grew up in Hampton, Virginia. He comes from a family with strong musical roots, it was Mercer Ellington who hired him for his first professional job and from there he went to work with Wynton Marsalis and entered the famous Jazz at Lincoln Center Orchestra to which he still belongs.

'The Good Book' is a series of CDs that Gardner has dedicated to musicians or styles. The first was dedicated to the music of Frank Foster and Horace Silver, the second entitled 'Now' , was dedicated to the closest composers in time with songs by Marcus Roberts, Kenny Barron, Jeremy Pelt or Anthony Wonsley . Also added some composition of old acquaintances like Kurt Weil, Jimmy Heath or Victor Young . Now it is the turn of the bebop and seeing the wishes of Vincent Gardner we can imagine that he will not do anything wrong.

In this third chapter of the 'Good Book' we find perfect performances of songs like 'Double Talk' by Fast Navarro, 'Another Hair-Do' and 'Charlie´s Wig' by Charlie Parker, 'Compulsion' by Miles Davis or 'Dizzy Atmosfere 'by Gillespie among others. Ten portions of bebop cleanly played by Marsalis string musicians such as Ryan Kisor on trumpet, Peter Washington on double bass or Ali Jackson on drums, Gardner's companions on 'Lincoln', plus the addition of musicians such as Dick Oatts on sax or pianist Peter Zak .If you like bebop do not hesitate, this album will be your favorite of the year, if not, you will enjoy a nice portion of tall bebop. http://www.distritojazz.com/discos-jazz/vincent-gardner-the-book-of-bebop-the-good-book-chapter-three

Musicians: Vincent Gardner (trombone), Ryan Kisor (trumpet), Dick Oatts (alto sax), Peter Zak (piano), Peter Washington (double bass), Ali Jackson (drums).

The Good Book, Chapter Three

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Archie Shepp, Jasper Van't Hof - Mama Rose

Styles: Saxophone and Piano Jazz
Year: 1985
File: MP3@320K/s
Time: 42:08
Size: 96,5 MB
Art: Front

( 9:17)  1. Contracts
(12:04)  2. Mama Rose
(11:47)  3. People
( 3:39)  4. Kalimba
( 5:19)  5. Recovered Residence

From the moment Jasper Van't Hof lays a finger on the synthesizer, unrolling a plush carpet of electronic music, it's clear that "Mama Rose" is not going to be your typical Archie Shepp album. The brash interplay often found on Shepp's small-group recordings has been replaced by a cozier relationship between keyboard and saxophone on this series of duets, recorded in concert in West Germany in 1982. The most moving performance is the title track, the only one of the album's five selections written by Shepp. A stirring recitation with an autobiographical slant, it's dedicated to Shepp's grandmother and "the struggle that transpired in the Sixties," and concludes with an impassioned soprano saxophone solo. Unfortunately, Van't Hof, a veteran of many European ensembles, isn't always up to Shepp's standards. He seems inordinately fond of minimalistic rhythmic effects and simulating rock-guitar runs. Still, the sheer variety of instruments at his disposal, both electronic and acoustic, allows him to anticipate and respond to Shepp's solos in infinitely colorful ways. The result is the exotic contours of "Kalimba" and the sweeping chromaticism of "Recovered Residence." Once Van't Hof establishes the mood, Shepp has no trouble making it meaningful and memorable. ARCHIE SHEPP & JASPER VAN'T HOF - "Mama Rose" (Steeplechase SCS1169). https://www.washingtonpost.com/archive/lifestyle/1984/02/17/a-mellow-archie-shepp/a5a6b40e-523f-4c9a-a245-4c01e19017ac/

Personnel: Archie Shepp - tenor saxophone, soprano saxophone, recitation;  Jasper van't Hof - piano, electric piano, organ, synthesizer, computer, kalimba

Mama Rose

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George Benson - Walking To New Orleans

Styles: Guitar and Vocal
Year: 2019
File: MP3@320K/s
Time: 37:31
Size: 87,3 MB
Art: Front

(3:54)  1. Nadine (Is It You)
(3:49)  2. Ain't That A Shame
(3:39)  3. Rockin' Chair
(3:35)  4. You Can't Catch Me
(4:54)  5. Havana Moon
(3:45)  6. I Hear You Knocking
(3:19)  7. Memphis, Tennessee
(4:08)  8. Walking To New Orleans
(3:03)  9. Blue Monday
(3:22) 10. How You've Changed

Following up 2013's urbane Inspiration: A Tribute to Nat King Cole, George Benson returns with another tribute production, 2019's ebullient Walking to New Orleans: Remembering Chuck Berry and Fats Domino. Interestingly, while Benson is best known for his funky instrumental jazz of the '70s and '80s, and smooth R&B crooning of the '80s and '90s, both of these latter-career tributes find him tackling material from even older traditions. Where Inspiration was a lushly swinging standards album, Walking to New Orleans is all blues grit and old-school R&B swagger. Though primarily influenced by jazz artists like Wes Montgomery and Charlie Christian, Benson certainly owes at least a modicum of his soulful style to early rock legends Berry and Domino, both of whom helped shape the sound of modern rock and pop music. As Benson grew up in Pittsburgh, the album's title evokes a conceptual travelogue as he moves from the Midwest through Berry's home state of Missouri, all the way down South to Domino's hometown of New Orleans. To help achieve this rootsy trek, Benson worked with producer Kevin Shirley (John Hiatt, Aerosmith, Joe Bonamassa) at Nashville's Ocean Way Studios, where he also conscripted the assistance of pros like drummer/music director Greg Morrow, guitarist Rob McNelley, pianist Kevin McKendree, and bassist Alison Prestwood. The results are loose and straightforward as Benson (primarily showcased here as a singer) takes on Berry favorites like "Walking," "Nadine (Is It You?)," and "Memphis, Tennessee," as well as Domino hits like "Ain't That a Shame," "I Heart You Knocking," and "Blue Monday." While there are tasty Benson guitar licks peppered throughout, fans of his instrumental work may wish there was more of an emphasis on his improvisation. Nonetheless, these are earthy and robust productions that never stray too far afield of their rock & roll source. ~ Matt Collar https://www.allmusic.com/album/walking-to-new-orleans-remembering-chuck-berry-and-fats-domino-mw0003250486

Walking To New Orleans

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Scott Bradlee's Postmodern Jukebox - Top Hat On Fleek

Styles: Vocal, Contemporary Jazz  
Year: 2015
File: MP3@320K/s
Time: 52:44
Size: 122,9 MB
Art: Front

(4:08)  1. Halo
(3:31)  2. Hey There Delilah
(3:23)  3. Hey Ya!
(3:11)  4. Give It Away
(3:53)  5. Thong Song
(4:24)  6. Viva La Vida
(4:03)  7. Sugar, We're Going Down
(3:33)  8. Welcome To The Jungle
(2:59)  9. Umbrella
(3:31) 10. Single Ladies (Put A Ring On It)
(4:33) 11. Someday
(4:41) 12. Say My Name
(3:30) 13. Where Are Ü Now
(3:18) 14. Mad World

Released just prior to the group's 2015 North American tour, "Top Hat On Fleek" eschews current chart toppers for songs that will be especially nostalgic to Millenials.  "Thong Song" and Fall Out Boy's "Sugar, We're Going Down" receive the brassy, '40s swing treatment, while "Halo," "Hey Ya!," and "Say My Name" connect '90s R&B to its Motown ancestry.  Joey Cook, fresh from her appearance on American Idol that name checked Postmodern Jukebox live on prime time television,contributes her unique style and multi-instrumental abilities to the mix, and Sara Niemietz establishes herself as one of PMJ's most exciting new vocalists with her vocal on "Hey Ya!" Must-Have Tracks: LaVance Colley's vocal on "Halo" is a masterpiece; the psychedelic '60s Austin Powers take on "Give It Away" shows more brilliance from Aubrey Logan; the classic folk song remake of "Hey There Delilah" evokes Bradlee's work on Bioshock Infinite. https://www.postmodernjukeboxshop.com/product/5QDDMJ014/top-hat-on-fleek-download

Top Hat On Fleek

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