Friday, April 16, 2021

Wendell Eugene - Wendell Eugene & His Mardi Gras Band with Brian Carrick

Styles: Trombone Jazz
Year: 2010
File: MP3@320K/s
Time: 70:50
Size: 166,8 MB
Art: Front

(5:13) 1. When You & I Were Young Maggie
(3:31) 2. Mary Wore a Golden Chain
(5:25) 3. Frankie & Johnny
(3:12) 4. Bye Bye Blackbird
(3:51) 5. Do What Ory Say
(6:51) 6. Lover
(5:01) 7. Tennessee Waltz
(4:14) 8. The Last Mile of the Way
(5:34) 9. At Mardi Gras
(7:06) 10. Milk Cow Blues
(5:05) 11. My Memphis Baby
(3:54) 12. Eh La Bas
(3:39) 13. Walk Through the Streets of the City
(3:58) 14. Oh! How I Miss You Tonight
(4:10) 15. Just a Closer Walk with Thee

Wendell Eugene, one of the most respected and longest-serving trombonists in traditional New Orleans jazz, died Tuesday of pneumonia. He was 94. Eugene still performed at the Palm Court Jazz Cafe and local festivals as recently as 2015. By then, he had succeeded the late trumpeter Lionel Ferbos as the city’s oldest active jazz musician.During a career of more than seven decades, Eugene shared stages with the likes of Louis Armstrong, Paul Simon and the Temptations, as well as local jazz luminaries like George Lewis, Paul Barbarin, Albert “Papa” French, Danny Barker, Kermit Ruffins and Dr. Michael White.

Wendell Albert Eugene was born in New Orleans in 1923. His eldest sibling, Homer Eugene Jr., a trombonist, guitarist and banjo player, gave young Eugene his first trombone. By age 15, Wendell was performing professionally. He served in the Navy during World War II. Stationed in California, he performed with the Navy’s marching and concert bands. He backed Armstrong during a USO show in 1943.=After the war, he hit the road with the Lucky Millender and Buddy Johnson orchestras, performing in New York, Chicago and elsewhere. Skilled at reading and writing music, he assisted older musicians and tutored younger ones.

With a family to support he and his late wife of 54 years, Bernice, raised four daughters and wanting to stay closer to home, he took a job as a Postal Service letter carrier in 1949. He also taught trombone at New Orleans’ Grunewald School of Music and continued to perform at night and on weekends. He scheduled vacation time so that he could tour with the Onward Brass Band, the Olympia Brass Band, the Tuxedo Brass Band and Andrew Hall's Society Jazz Band. He also contributed to hundreds of jazz and rhythm & blues recordings, including many produced by Allen Toussaint.

When he retired from the Postal Service in 1979, he devoted himself to playing music full time. He appeared in numerous documentaries about New Orleans jazz. He performed at the first New Orleans Jazz and Heritage Festival and the first French Quarter Festival. He made yearly appearances at both festivals for decades. At age 91, he was still performing regularly with Ferbos’ Palm Court Jazz Band, Andrew Hall’s Society Jazz Band and Gregg Stafford’s Tuxedo Brass Band, always as a sentimental favorite with audiences. He found common cause with musicians much younger than himself while maintaining his standards of excellence. In 2013, he performed at a house party alongside trumpeter Irvin Mayfield, who was more than 50 years his junior.

He recorded his final album as a bandleader, “If I Had My Life to Live Over,” at age 90. Survivors include four daughters, Adele Blanchard, Wendolyn Hampton, Shelia Eugene and Patrice McNeal; six grandchildren; nine great-grandchildren; and two great-great grandchildren. A funeral is scheduled for Saturday at Transfiguration of the Lord Catholic Church, 2212 Prentiss Ave. Visitation will start at 8:30 a.m., followed by a Mass at 10 a.m. Interment will be at Mount Olivet Cemetery.

Charbonnet Funeral Home is in charge of arrangements. https://www.nola.com/entertainment_life/keith_spera/article_d0448e63-054c-5ccd-9318-cde9db1ab246.html

Personnel: Trombone – Wendell Eugene; Banjo – Louis Lince; Bass – Gerald Adams (4); Clarinet – Brian Carrick; Drums – Ernest Elly; Piano – Andrew Hall (16); Trumpet – Jamie Wight; Vocals – Brian Carrick (tracks: 2, 6, 8), Jamie Wight (tracks: 10, 14), Wendell Eugene (tracks: 4, 12)

Wendell Eugene & His Mardi Gras Band with Brian Carrick

Mindi Abair - The Best of Mindi Abair

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 79:51
Size: 183,8 MB
Art: Front

(3:30) 1. Lucy's (Radio Edit)
(3:49) 2. Bloom (Radio Edit)
(3:20) 3. Flirt
(4:23) 4. I'll Be Your Home (feat. Keb' Mo')
(6:18) 5. Imagine
(3:48) 6. Come as You Are
(3:52) 7. Be Beautiful
(4:01) 8. True Love
(4:26) 9. True Blue
(4:08) 10. Wild Heart
(4:01) 11. Seven Day Fool (feat. The Boneshakers)
(5:06) 12. Make It Happen (feat. Booker T. Jones)
(3:19) 13. Haute Sauce (feat. The Boneshakers)
(4:22) 14. Good Day for the Blues (feat. The Boneshakers) [Radio Edit]
(3:59) 15. Pretty Good for a Girl
(5:35) 16. Just Say When (feat. Greg Allman)
(4:28) 17. Smile
(2:54) 18. I Love to Play the Saxophone (feat. The Boneshakers)
(4:24) 19. April (Radio Edit)

During her remarkable 21-year recording career, Mindi Abair has garnered 2 GRAMMY Nominations, recorded with some of the biggest names in music, and built a substantial following among jazz and blues audiences with her soaring melodies and powerhouse style. The Best of Mindi Abair is a 19-song collection of her biggest hits, previously unreleased gems, a few of Mindi’s personal favorites, and her brand-new song “April.” It features a 16-page booklet of personal liner notes written by Mindi, and photos spanning her career drawn from her archive. Smooth jazz hits like “Lucy’s,” “Bloom” and “Come As You Are” appear as radio edits, available here for the first time, so you can listen as you originally fell in love with them on the radio. “Make It Happen,” written and recorded with legendary soul icon Booker T. Jones, has never been released until now.

Other inspired collaborations include “I’ll Be Your Home” featuring Keb’ Mo’, “Just Say When” penned and recorded with Gregg Allman, and her woman-powered blues anthem “Pretty Good For A Girl” featuring guitar hero Joe Bonamassa. Fan favorite “Be Beautiful” checks into the compilation, as does a previously unissued take on the John Lennon classic, “Imagine.” “I Love To Play The Saxophone” and “Good Day For The Blues” hail from her albums as Mindi Abair and The Boneshakers, and the brand-new song, “April,” recorded as the world was shutting down in 2020 rounds out the collection. It brings Mindi's path full circle as it’s an instrumental reminiscent of her classic hits and provides the perfect jumping off point for the next chapter to begin. Follow the arc of Mindi’s unique musical journey with this 19-song collection featuring songs from 11 different albums, 8 unique tracks that have never been available to the public before now, 28 stunning photos, and Mindi telling her story in her own words … a must for any Mindi fan.

The Best of Mindi Abair

Thursday, April 15, 2021

The Anthony Wilson Trio - Jack of Hearts

Styles: Guitar Jazz
Year: 2009
File: MP3@320K/s
Time: 58:08
Size: 134,6 MB
Art: Front

(3:45)  1. Mezcal
(5:47)  2. Jack of Hearts
(5:44)  3. Hawkeyes
(7:43)  4. Carnegie Blues
(8:10)  5. Theme from Chinatown
(4:24)  6. Vida Perdida Acabou
(4:58)  7. Orange Crate Art
(4:09)  8. Harajuku
(7:36)  9. Zweet Zurzday
(5:49) 10. Homecoming

Jack of Hearts isn't the first Anthony Wilson album to feature an organist extensively; for example, he worked with the Los Angeles-based organist Joe Bagg on his 2005 release Savivity. But the guitarist has worked with acoustic pianists more often than organists (at least as of 2009), and Jack of Hearts is unusual in that it finds Wilson not using a pianist at all. On this early 2009 session, Wilson forms an intimate trio with Larry Goldings on organ and Jeff Hamilton or Jim Keltner on drums. 

In the '90s and 2000s, Goldings was one of the leading proponents of a post-Jimmy Smith aesthetic on the Hammond B-3. Goldings has been greatly influenced by the late Larry Young, who started out as a Smith disciple but evolved into an innovative, distinctive post-bop/modal player and went down in history as "The John Coltrane of the Organ." Of course, Goldings is not a clone of Young; he is most certainly his own person, but he shares Young's love of post-bop. So it isn't surprising that Goldings does a lot to shape the post-bop perspective that dominates Jack of Hearts. 

His presence is a major plus on material that was composed by Goldings and/or Wilson, and it is a major plus on memorable arrangements of Coleman Hawkins' "Hawkeyes" and two of Duke Ellington's lesser-known pieces ("Zweet Zursday" and "Carnegie Blues"). The fact that neither of those Ellington tunes is a standard speaks well of Wilson, who is smart enough to realize that one of the joys of the vast Ellington songbook is hearing all of the worthwhile Ellington compositions that didn't become standards. Jack of Hearts is a consistently engaging addition to Wilson's catalog. ~ Alex Henderson http://www.allmusic.com/album/jack-of-hearts-mw0000821393

Personnel: Anthony Wilson (guitar); Larry Goldings (celesta); Jeff Hamilton , Jim Keltner (drums).

Jack of Hearts

Prince Lasha - The Cry!

Styles: Flute Jazz
Year: 2000
File: MP3@320K/s
Time: 43:00
Size: 99,2 MB
Art: Front

(5:07) 1. Congo Call
(7:01) 2. Bojangles
(4:55) 3. Green and Gold
(5:03) 4. Ghost of the Past
(5:07) 5. Red's Mood
(5:36) 6. Juanita
(5:18) 7. Lost Generation
(4:48) 8. A.Y
.
Give a quick listen to this CD and you might be tempted to write off Prince Lasha and Sonny Simmons as Ornette Coleman knockoffs, albeit good ones. The reality is that Lasha had been playing with Coleman since high school, swapping ideas and looking for fellow players in a world that wasn’t quite ready for what they had to offer. Coleman broke through first, and finally people were ready for Lasha; The Cry, one of Lasha and Simmons’ only appearances on record, present them as a fine working unit that never quite garnered that much attention. Both Coleman and Lasha have similar approaches, yet Lasha’s compositions are more accessible than Coleman’s. Unlike Haden and Higgins, the rhythm section is content to follow a very consistent pulse (unusual for Peacock), providing a firm base that allows the two horns to explore all sorts of terrain. The heads (such as they are) are practically hummable and almost pretty. Simmons sounds quite a bit like a Coleman with more precision, and in fact may be using a plastic alto; Lasha prefers a wooden flute, which gives his passages a dark, earthy tone that contrasts well with the bitter, vibratoless sax. One can be forgiven for thinking that this is Simmon’s date; he gets two songs all to himself without Lasha, both of which show that he could have been a major player in the free jazz area if the cards were dealt differently. These guys probably don’t understand harmolodics any more than you do, but are still capable of creating fine free jazz that succeeds at being adventurous without being demanding. ~ David Rickert https://www.allaboutjazz.com/the-cry-prince-lasha-fantasy-jazz-review-by-david-rickert.php

Personnel: Prince Lasha-flute, Sonny Simmons-alto sax, Gary Peacock, Mark Proctor-bass, Gene Stone-drums.

The Cry!

Wednesday, April 14, 2021

Elvin Jones, Jimmy Garrison Sextet, McCoy Tyner - Illumination!

Styles: Jazz, Post Bop
Year: 1998
File: MP3@320K/s
Time: 31:04
Size: 71,9 MB
Art: Front

(5:33) 1. Nuttin' Out Jones
(3:46) 2. Oriental Flower
(6:25) 3. Half And Half
(4:09) 4. Aborigines Dance In Scotland
(5:12) 5. Gettin' On Way
(5:57) 6. Just Us Blues

Until it was reissued in 1998, this was one of the more elusive Impulse sets of the 1960s. Recorded in 1963 and co-led by John Coltrane's drummer and bassist (Elvin Jones and Jimmy Garrison), the music is most significant for introducing Sonny Simmons (alto and English horn) and Prince Lasha (flute and clarinet), who are joined in the sextet by underrated baritonist Charles Davis and Trane's pianist McCoy Tyner.

Each of the musicians except Jones contributed an original (there are two by Davis); the music ranges from advanced hard bop to freer sounds that still swing. While Garrison's contributions are conventional (this was his only opportunity to lead or co-lead a date), Jones is quite powerful. However, it is the playing of both Simmons, who tears it apart on English horn during "Nuttin' Out Jones," and Lasha (when is he going to be rediscovered and recorded again?) that make this early "New Thing" date of greatest interest.~ Scott Yanow https://www.allmusic.com/album/illumination%21-mw0000033695

Personnel: Drums – Elvin Jones; Alto Saxophone, English Horn – Sonny Simmons; Baritone Saxophone – Charles Davis; Bass – Jimmy Garrison; Clarinet, Flute – Prince Lasha; Piano – McCoy Tyner

Illumination!

Kristin Korb - What If?

Styles: Vocal
File: MP3@320K/s
Time: 36:25
Size: 84,4 MB
Art: Front

(4:30) 1. Supercalifragilisticexpialidocious
(5:46) 2. Copacabana
(5:45) 3. Overjoyed
(4:51) 4. The Power of Love
(5:28) 5. This Is My Life
(5:24) 6. Don't Let Me Be Lonely Tonight
(4:38) 7. Can't Buy Me Love

American double bassist and vocalist Kristin Korb was primarily based in LA until moving to Denmark about 10 years ago, where she continues to impress audiences with her nonchalant, no-nonsense look at jazz. Her laid-back personality resonates through her music she has a way of taking anything and making it sound cool. This is evident in Korb’s newest release, What If?, where she has rearranged some very recognisable pop songs into trendy jazz numbers. In opening track Supercalifragilisticexpialidocious a song rooted in childhood nonsense from the classic film Mary Poppins Korb has played with mixed metre and pushed the scansion of the lyrics into something musically interesting and even sophisticated. Snorre Kirk on drums is a staple in her band and the two mesh together so well; Korb’s writing is obviously drawn to featuring bass grooves and rhythmic elements and Kirk ties everything together seamlessly.

An admirable trait, in this listener’s opinion, of Korb’s taste in music is that she never shies away from a bit of ‘cheese’, but instead finds a way to turn it into a delicacy thus palatable by pop fans and Michelin star music fans alike. Copacabana is definitely one of Barry Manilow’s most famous hits, and seeing the title on the album jacket may incite an involuntary little cringe. But no need, this arrangement has taken the exotic 70s disco hit and given it a more modal feel with a captivating urgency that wasn’t present in the original. There is something delightful in recognising a piece of music hearing something familiar, realising what it is, and then hearing it in a whole new light. Sometimes simple adjustments, or just an artist putting their own spin on something so famous can be touching. Overjoyed was already a delicate Stevie Wonder song, but here it is soft and twinkly, with the soulful beat removed (it’s a bit of a squidgy synth sound, if you recall), and the passion in Korb’s voice is featured more prominently as a result.

The Power of Love was one track that has changed in style enough that I had to remind myself how the original went. This Huey Lewis and the News song has had such a clever treatment adding more feeling to the lyrics (which are quite an apt message in our divisive world at the moment). The solo by award-winning Danish harmonica player Mathias Heise is bluesy and intricate just what the song needed to tie it together. This Is My Life is from a Shirley Bassey album from the sixties of the same title. This version is poignant and thought-provoking after a year frozen in time and full of reflection. It’s like a celebration of music, our careers and our creativity, and how they are integral to living fulfilled lives. It starts soft, but the trombone solo by Steen Nikolaj Hansen brings a warmth to the tune. By Magnus Hjorth‘s piano solo, the celebration is in full swing. The final chorus with intermingling lines from Korb, Hjorth and Hansen is beautiful and free.

James Taylor’s classic Don’t Let Me Be Lonely Tonight showcases a lightness to Korb’s voice and a bass solo with a richness to balance. Tenor sax solo by Karl-Martin Almqvist may be short but he packs a punch, reminiscent of a Celine Dion power-ballad before Korb brings it back in for a romantic, altered ending. The record ends with another harmonica feature for Heise on a Beatles standard Can’t Buy Me Love. Elements of a New Orleans second line sneak in here and there, with funky punches too, but it swings somethin’ fierce which is just what was needed.~ Lauren Bush https://londonjazznews.com/2021/04/12/kristin-korb-what-if/

What If?

Tuesday, April 13, 2021

Jacob Fischer Trio - Black Orpheus

Styles: Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 52:32
Size: 121,2 MB
Art: Front

(6:02) 1. Gentle Rain
(3:52) 2. Small Teardrop
(3:22) 3. Triste
(5:39) 4. How Insensitive
(5:18) 5. Sonho Carioca
(4:00) 6. Once I Loved
(4:58) 7. Assanhado
(4:52) 8. Black Orpheus
(4:39) 9. Bole-Bole
(3:47) 10. Desafinado
(3:58) 11. Doce De Coco
(2:04) 12. This Happy Madness

Danish native Jacob Fischer is a rising star and one of the most in-demand jazz guitarists in Europe. Born in 1967, the self-taught guitarist began working as a professional when he was 17 years old, and since then has participated in more than 200 recordings.

Fischer impressed with his debut from the Japanese label Venus Records, a Bill Evans tribute album with a simple trio with bass and drums. Now, he has shown a completely different side with his second release Black Orpheus, playing Brazilian music (bossa nova, samba and choro) with acoustic guitar. His authentic feel comes from his experience of traveling and performing throughout Brazil, and support of the great Brazilian drummer Duduka DaFonseca. https://store.acousticsounds.com/d/116472/Jacob_Fischer_Trio-Black_Orpheus-Single_Layer_Stereo_SACD

Musicians: Jacob Fischer, guitar; Martin Wind, bass; Duduka DaFonseca, drums

Black Orpheus

Sarah Moule - Stormy Emotions

Styles: Vocal
File: MP3@320K/s
Time: 48:16
Size: 111,5 MB
Art: Front

(3:29) 1. Nothing Is Mine Now
(4:04) 2. Are We Just Having Fun
(5:02) 3. Never That's When
(4:17) 4. Close To Tears
(4:48) 5. A Magician's Confession
(3:23) 6. Truly Unruly
(3:44) 7. After The Fall
(4:14) 8. On Hold Living In Limbo
(3:05) 9. Time Is The Beast
(4:17) 10. The Long Arm Of Love
(4:46) 11. Fool's Gold
(3:02) 12. Stormy Emotions

The lyrics here are by Fran Landesman. If you’ve encountered any of hers before, you’ll know that although they’re entirely at home in jazz, and mainly concern love, they can’t be tossed about like any old standard. They’re wary, suspicious, suggesting that the singer has been around the block too many times to fall for the usual line of chat. Occasionally there’s a secretive backward glance to lost innocence, hastily suppressed. That’s a lot of nuance for a composer to take on board and for a singer to convey. Landesman declared that she’d got lucky when she met Simon Wallace, her songwriting partner for 18 years until her death in 2011, and had collected a bonus when he married the singer Sarah Moule.

Listening to these 12 tracks, 10 of them previously unrecorded, you can hear what Landesman meant. Moule catches the shifting moods, touchingly in A Magician’s Confession, candidly in Are We Just Having Fun?, and always unerringly. Wallace’s music catches the spirit of each lyric, brilliantly played by his small band. The prize there goes to Mark Lockheart’s soprano saxophone throughout Close to Tears, moving from dialogue with the voice to solo and back again.

Personnel: Sarah Moule (vocals); Simon Wallace (piano & keyboards); Mick Hutton, Neville Malcolm (double bass); Paul Robinson, Rob Young (drums); Mark Lockheart (soprano saxophone & bass clarinet); Nigel Price (electric & acoustic guitar); Charlie Cawood (acoustic guitar)

Stormy Emotions

Louis Jordan & His Tympany Five - Five Guys Named Moe

Bitrate: MP3@320K/s
Time: 74:13
Size: 169.9 MB
Styles: Jump blues, Swing, R&B
Year: 1991/2006
Art: Front

[3:05] 1. Five Guys Named Moe
[4:23] 2. Pistol Packin' Mama
[1:30] 3. Jubilee Jingle Rap
[4:43] 4. I Can't Get Started
[4:52] 5. Rose Room
[3:21] 6. Nagasaki
[2:29] 7. End Announcements And Jubilee Theme One O'clock Jump
[1:57] 8. Jumpin' At The Jubilee
[2:51] 9. (I'm Gonna Move To The) Outskirts Of Town
[1:35] 10. The End Of My Worry
[2:17] 11. How High Am I
[2:22] 12. Hey Now, Let's Live
[2:29] 13. Slender, Tender And Tall
[2:19] 14. (My Feet Are Killing Me, Marching In) The Infantry Blues
[3:18] 15. Is You Is Or Is You Ain't (My Baby )
[3:04] 16. Caldonia (What Makes Your Big Head So Hard)
[2:39] 17. Bahama Joe
[2:50] 18. Nobody But Me
[1:25] 19. Caldonia With Opening Announcements
[3:00] 20. You Was Right, Baby!
[2:34] 21. Ofay And Oxford Grey
[2:23] 22. Reconversion Blues
[2:36] 23. On The Atchison, Topeka And The Santa Fe
[2:23] 24. End Theme Caldonia And Announcements
[3:03] 25. Is You Is Or Is You Ain't (My Baby ) (#2)
[2:13] 26. Don't Worry 'bout The Mule
[2:20] 27. Pinetop's Boogie Woogie

Alto Saxophone, Vocals – Louis Jordan; Bass – "Po" Simpkins*; Drums – Rossiere "Shadow" Wilson; Piano – Arnold Thomas; Trumpet – Eddie Roane.

Effervescent saxophonist Louis Jordan was one of the chief architects and prime progenitors of the R&B idiom. His pioneering use of jumping shuffle rhythms in a small combo context was copied far and wide during the 1940s. Jordan's sensational hit-laden run with Decca Records contained a raft of seminal performances, featuring inevitably infectious backing by his band, the Tympany Five, and Jordan's own searing alto sax and street corner jive-loaded sense of humor. Jordan was one of the first black entertainers to sell appreciably in the pop sector; his Decca duet mates included Bing Crosby, Louis Armstrong, and Ella Fitzgerald.

The son of a musician, Jordan spent time as a youth with the Rabbit Foot Minstrels and majored in music later on at Arkansas Baptist College. After moving with his family to Philadelphia in 1932, Jordan hooked up with pianist Clarence Williams. He joined the orchestra of drummer Chick Webb in 1936 and remained there until 1938. Having polished up his singing abilities with Webb's outfit, Jordan was ready to strike out on his own. The saxist's first 78 for Decca in 1938, "Honey in the Bee Ball," billed his combo as the Elks Rendezvous Band (after the Harlem nightspot that he frequently played at). From 1939 on, though, Jordan fronted the Tympany Five, a sturdy little aggregation often expanding over quintet status that featured some well-known musicians over the years: pianists Wild Bill Davis and Bill Doggett, guitarists Carl Hogan and Bill Jennings, bassist Dallas Bartley, and drummer Chris Columbus all passed through the ranks. ~partial bio by Bill Dahl

Five Guys Named Moe 

Monday, April 12, 2021

Deana Martin - Destination Moon

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 44:52
Size: 104,6 MB
Art: Front

(2:31) 1. I Love Being Here With You
(2:31) 2. Beyond the Sea
(2:58) 3. Gee Baby Ain't I Good to You
(4:06) 4. Frim Fram Sauce
(3:55) 5. Break It to Me Gently
(2:21) 6. About a Quarter to Nine
(3:45) 7. Where Did You Learn to Love Like That
(4:00) 8. Paradise
(2:44) 9. G.I. Jive
(3:28) 10. Stuck in a Dream With Me
(2:58) 11. Destination Moon
(3:22) 12. Read Between the Lines
(3:03) 13. Nothing but the Best
(3:09) 14. True Love (Duet)

Among the female progeny of post-WWII pop elite who’ve established musical careers themselves-an impressive list that includes Liza Minnelli, Natalie Cole and Nancy Sinatra-Deana Martin, fourth of Dean’s eight children, remains the least known.

An accomplished stage and TV actress with a respectable voice, decent range and solid sense of swing, Martin has filled two previous albums with tunes made famous by her dad and his cronies. Fond of big, brassy arrangements-think classy, if pedestrian, approximations of Nelson Riddle and Billy May charts-Martin certainly isn’t the most adventurous of singers. But she shares her papa’s warmth and pluck.By Christopher Loudon https://jazztimes.com/reviews/albums/deana-martin-destination-moon/

Destination Moon

Sonny Simmons - I'll See You When You Get There

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 58:54
Size: 135,9 MB
Art: Front

( 9:08) 1. Ancient City of Petra
( 5:14) 2. Ballade for Queen Anna
( 4:11) 3. Carebian Fiesta
( 5:33) 4. Colours
( 7:03) 5. I'll See You When You Get There
(11:21) 6. Close Encounter
( 5:01) 7. Fancy Free
( 3:06) 8. Too Late for Tears
( 4:07) 9. Round Midnight
( 4:06) 10. Tenderly

Once upon a time, guys like Chet Baker and Charlie Parker would tour as singles, playing wherever they could get a gig, backed by the local jazz hotshots. These days, as often or not, similar ad hoc gatherings result in CDs like this: alto sax legend Sonny Simmons playing a mix of his own tunes and standards, accompanied by three talented Scandinavian musicians who support the saxophonist ably but complacently.

Simmons appears in duo with, alternately, bassist Mats Eilertsen, pianist Anders Aarum and drummer Ole Thomas Kolberg. Eilertsen gets the most work, playing with Simmons on six of the 10 tracks. Of Simmons’ three partners, he’s the most consistently interesting. Strong and agile in his own right, he nevertheless serves mostly as a backstop off of which Simmons bounces ideas. Aarum and Kolberg are present on two tracks apiece, performing more than adequately but without particular distinction. Simmons is left to do the heavy lifting, and he’s up to the task, combining the most expressive aspects of free playing with his own unique take on postbop harmony and rhythm.~ Chris Kelsey https://jazztimes.com/archives/sonny-simmons-ill-see-you-when-you-get-there

Personnel: Alto Saxophone [Alto Sax], English Horn – Sonny Simmons; Acoustic Bass – Mats Eilertsen (tracks: 1, 4 to 6, 9, 10); Drums – Ole Thomas Kolberg (tracks: 3,7); Piano – Anders Aarum (tracks: 2, 8)

R.I.P.
Born: August 4, 1933
Died: April 6, 2021

I'll See You When You Get There

Jim Snidero - Live at the Deer Head Inn

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 55:33
Size: 128,0 MB
Art: Front

(0:24) 1. Band Intro by Denny Carrig
(5:58) 2. Now's the Time
(6:52) 3. Autumn Leaves
(0:32) 4. Intro to "Ol' Man River"
(6:57) 5. Ol' Man River
(7:02) 6. Bye Bye Blackbird
(6:48) 7. Idle Moments
(7:00) 8. Who Can I Turn To
(8:11) 9. My Old Flame
(5:44) 10. Yesterdays

This album documents that rarest of events from the past few months: a live jazz gig recorded in October 2020 in front of a live audience who truly and audibly appreciate what the players can do. The quality is truly excellent however, this listener did find the mind prone to wander, drawn by an irresistible temptation to start thinking about what the album represents, the circumstances in which it was made, the story it tells, rather than listening to the album itself. The economy/ecology of putting on music in small venues has always been fragile, but an album like this, and the level of craft and inventiveness to be witnessed, sets one pondering about the things which we have always assumed we could take for granted. Given that it increasingly seems that small-venue gigs might be among the last economic sectors to be “unlocked”, this album makes me want to reflect on what it will take to ensure that the people who have the community-minded instinct and the imperative to make these things happen can continue to do so. That train of thought does inevitably lead to far more questions than answers…

And there’s another reminder of how ephemeral the scene is: the Deer Head Inn in Delaware Water Gap, Pennsylvania is proud to declare itself as the country’s “oldest continuously running jazz club”. In other words, no club in the whole of the US has attained the longevity of this one. This was the venue where, more than half a century ago, a teenager from nearby Allentown called Keith Jarrett received the benefit of encouragement to try sitting in with the house band. And so he did, not just on piano, but also so I read on drums…

The instigator of the gig recorded here is Jim Snidero, an alto saxophonist originally from the Bay Area of California, now also a respected educator with a teaching post at the New School in New York. He had booked a trio of the very best to play with him on this, his first gig in more than half a year. To be reminded just how good all four of them are is perhaps the greatest pleasure of hearing this session. Above all, for me at least, that was the case for that very special bassist Peter Washington. He was a Jazz Messenger back in the mid- to late- 1980s and since then has been a sideman on literally hundreds of albums. Bassist in the trios of Tommy Flanagan and then Bill Charlap, Washington is just astonishingly, consistently, jaw-droppingly good. His solo lines always have a direction, an interest, a story, a particular personality. There is a special moment on Autumn Leaves when he is left completely on his own to solo. I had somehow hoped to be able to write at this point that the sheer authority of his playing had not just compelled the band but also the Deer Head Inn audience to be silent, to listen to him in awe, not to miss a note… but facts have a way of getting in the way of a good story: this and one other track (unspecified in the liner notes and press materials) were not actually a part of the set that night, but were recorded later in the same space, and not at the live gig. That said, it is the playing that counts, and Washington is just stupendous.

Drummer Joe Farnsworth, who once upon a time learnt from Alan Dawson who also taught Tony Williams, Terri Lyne Carrington… is, as ever, both empathetic and in the pocket. Farnsworth is unshowy but unbelievable. Harold Mabern once told me in an interview “Joe Farnsworth is probably the best drummer playing jazz” – and on the evidence of this, I would certainly not demur. More distractions…The fact that this release happens to coincide with an announcement from Orrin Evans that he is leaving The Bad Plus after three years to concentrate on other projects is another sideways thought which takes the mind away from the act of listening. Evans is on fine form here, and the sheer presence and (there might not be a better word) perfection of the Washington/Farnsworth tandem allows the pianist to relish plenty of “out” playing in a joyous, unpredictable way that always sounds fresh and interesting rather than contrived. He is also a wonderfully discreet accompanist notably in My Old Flame.

And Jim Snidero himself is well summed-up in a recent Guardian album review by Dave Gelly. Musicians evolve sometimes we can forget that obvious fact and it is indeed his ballad playing, notably on Ol’ Man River, which does draw the listener in best. There is also a neat touch that he decided to start the set with Parker’s Now’s The Time. Parker’s daughter Kim was in the audience, and her voice is audible shouting “Yeah” at the end of one of the tracks. It is a very good thing that Live at the Deer Head Inn exists. It feels like a token of hope, a prayer for the return of live gigs, of interaction, and of rebuilding communities drawn together by a passion for great live music. As the Deer Head Inn’s most famous alumnus once remarked (and with rather greater assuredness than the teenager who once played there): “Jazz is there and gone. It happens. You have to be present for it. That simple.” ~ Sebastian Scotney https://londonjazznews.com/2021/03/22/jim-snidero-live-at-the-deer-head-inn/

Personnel: Jim Snidero (alto saxophone), Orrin Evans (piano), Peter Washington, bass), Joe Farnsworth (drums)

Live at the Deer Head Inn

Bobby Timmons - This Here Is Bobby Timmons / Easy Does It

Bitrate: MP3@320K/s
Time: 78:29
Size: 179.7 MB
Styles: Soul jazz, Jazz piano
Year: 2012
Art: Front

[3:29] 1. This Here
[5:05] 2. Moanin'
[2:27] 3. Lush Life
[4:13] 4. The Party's Over
[3:20] 5. Prelude To A Kiss
[5:26] 6. Dat Dere
[5:05] 7. My Funny Valentine
[4:30] 8. Come Rain Or Come Shine
[3:57] 9. Joy Ride
[4:53] 10. Easy Does It
[4:35] 11. Old Devil Moon
[5:49] 12. A Little Busy
[4:51] 13. I Don't Stand A Ghost Of A Chance With You
[3:29] 14. Pretty Memory
[6:29] 15. If You Could See Me Now
[5:01] 16. I Thought About You
[3:32] 17. Groovin' High
[2:07] 18. Autumn In New York

Twofer: Tracks #1-9 from the 12" album “This Here Is Bobby Timmons” (Riverside RLP-1164); Tracks #10-17 from the 12" album “Easy Does It – Bobby Timmons Trio” (Riverside RLP-9363). Bonus track #18, taken from the album “Pianists Galore!” (Jazz West Coast JWC-506).

Bobby Timmons was one of the leading exponents of the funky school of jazz piano, who also contributed heavily to the so-called “soul” movement with his three hit compositions: Moanin’, This Here, and Dat Dere, all part of his first album, “This Here Is Bobby Timmons.” But he was much more than that.

As this and his second album, “Easy Does It,” show, he was an imaginative, creative bop pianist with a richly varied repertoire. Both albums are models of unaffected, driving trio jazz in which the pianist, a catalytic, combustible player in any situation, makes full, two-handed use of the keyboard without ever resorting to pianistic tricks to make an easy point. Developing his solos with logic, consummate taste and an implacable sense of time, with Sam Jones and Jimmy Cobb providing sterling rhythm support, he showed he was an extremely capable, many-faceted performer as well as the groove-funk-soul purveyor of lazy cliché.

This Here Is Bobby Timmons / Easy Does It

Sunday, April 11, 2021

Jacob Fischer - Guitarist

Styles: Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 70:18
Size: 163,4 MB
Art: Front

(3:27) 1. Douce Ambience
(4:59) 2. Detour Ahead
(5:16) 3. Jean de Fleur
(5:14) 4. Gentle Rain
(4:02) 5. Brother Joseph
(3:44) 6. For My Lady
(4:30) 7. Motion
(4:25) 8. Sharing the Blues
(3:41) 9. Swing 39
(3:01) 10. My Serenade
(6:01) 11. Seven Come Eleven
(4:13) 12. West Coast Blues
(5:07) 13. Oriental Shuffle
(5:52) 14. Corner Pocket
(3:05) 15. Kärleksvals
(3:35) 16. Backwaters

On this superb recording, the supremely gifted and surprisingly eclectic Danish artist Jacob Fischer has chosen to interpret pieces by fellow guitarists. In recent years, Fischer has been identified with the Django Reinhardt«s tradition, and several of the songs in this well-chosen set are by Reinhardt or evoke his aura. But Fischer«s personal take on Reinhardt, as well as his inclusion of works by Jimmy Raney, Grant Green, Wes Montgomery, and others suggests that the guitarist draws on a much more varied musical palette. Jazz fans should be grateful to him and the rest of this group for creating music that reinforces the timelessness, artistic honesty, variety, vitality, and continued creative potential of small-group swing. From the album notes by Ed Berger, who retired in 2011 after more than thirty years at the Rutgers Institute of Jazz Studies to pursue freelance writing and photography. He is the author of biographies of Benny Carter and George Duvivier, and is currently writing a book about trumpeter Joe Wilder.

Personnel: Jacob Fischer: acoustic guitar; Bucky Pizzarelli: 7-string guitar; Antti Sarpila: clarinet, soprano sax; Nicki Parrott: bass; Eddie Metz: drums

Guitarist

Maggie Herron - Your Refrain

Styles: Vocal And Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 37:49
Size: 87,4 MB
Art: Front

(4:57) 1. Whatnot
(3:45) 2. He Can't Even Lay an Egg
(4:17) 3. Your Refrain
(5:19) 4. Watching the Crows
(2:24) 5. In Case of Love
(3:17) 6. I Can't Seem to Find My Man
(5:00) 7. Both Sides Now
(4:04) 8. Touch
(4:43) 9. God Bless the Child

Hawaii’s Award-Winning Vocalist, Pianist, and Songwriter Maggie Herron’s Sixth Album, Your Refrain, is a gorgeous, witty, heart-bearing set of original songs written with her late daughter, Dawn Herron, to whom she dedicates the album.

Recorded during the shelter in place order, the album features a dazzling cast of collaborators, including pianist Larry Goldings, guitarist Larry Koonse, saxophonist Bob Sheppard, and arrangers Geoffrey Keezer, Gillian Margot, and Bill Cunliffe. Pianist, Maggie Herron’s 2019 project, Renditions, won the Na Hoku Hanohano Award for Jazz Album Of The Year. The album revealed the jazz-steeped singer/songwriter as a beguiling interpreter of standards. Her poignantly enthralling new album Your Refrain was released on her Herron Song Records label and captures a creatively charged mother-and-daughter communion cut short by tragedy.

A luminous presence on Hawaii’s jazz scene for more than four decades, Herron has earned national renown as a gifted singer/songwriter. Less known is that she collaborated with her daughter, lyricist Dawn Herron, on many of her songs. They were in the midst of a fruitful patch of writing when a bicycle accident took Dawn’s life on April 5, 2020. She was 49 and left a husband and two teenage sons. Deep in mourning and on pandemic-induced hiatus from her eight-year tenure as a resident musician in the Halekulani Hotel-Waikiki, Herron decided to channel her love and grief into recording her recent collaborations with Dawn.

The title track, “Your Refrain,” is a powerful song about loss, but the album is brimming with life, wit, and humor. The opening track, “WhatNot,” is a bluesy ode to melancholy, featuring the brilliant pianist Larry Goldings and the superb, well-traveled tandem of bassist David Enos and drummer John Ferraro. The trio accompanies Herron on the hilarious “He Can’t Even Lay An Egg,” a sly piece of funk on which Dawn puts a fowl spin on the war of the sexes, and “I Can’t Seem to Find My Man,” a playfully wry piece that combines Frishbergian detail with Lennon and McCartney tunefulness.

The great Los Angeles saxophonist Bob Sheppard contributes exquisite soprano sax work on “Watching the Crows,” an uncommonly poetic affirmation about attaining insight into oneself. On first hearing of that song earlier this year, with Maggie backing herself on piano, Dawn told her, “mom, it’s my favorite collaboration to date”. Maggie had spent years coaxing her daughter to work on songs together. “Dawn had been writing short stories and poems most of her life and I kept asking her to write lyrics for me. I knew she would be great at it. With this newest release we now have 19 songs recorded as co-writers,” Herron says. The first two songs they wrote together were the romantic love song “Je T’aimerais”, arranged by Geoffrey Keezer, and “Le Printemps est Arrivé” where Dawn drew on her fluency in French. It is a graceful piece Maggie recorded with trumpet star Rick Braun, who also joined her on vocals. Both songs are on her 2014 album Good Thing.More......... https://bigislandmusic.net/award-winning-vocalist-maggie-herron-releases-sixth-album-your-refrain/

Your Refrain

Jimmy Heath - Peer Pleasure

Styles: Saxophone Jazz
Year: 1987
File: MP3@256K/s
Time: 47:50
Size: 87,7 MB
Art: Front

(7:23) 1. Trane connection
(6:15) 2. Song for Ben Webster
(7:01) 3. You Can See
(6:01) 4. Is That So?
(6:25) 5. Ellington's Stray Horn
(8:03) 6. Forever Sonny
(6:40) 7. I Waited for You

The most unusual aspect of this CD is that Jimmy Heath, in addition to his usual tenor and soprano, also plays alto (his original instrument) on two of the six numbers. The material pays tribute to John Coltrane, Sonny Rollins, Ben Webster (an Ernie Wilkins original), and Dizzy Gillespie, and "Ellington's Stray Horn" is included along with a Monty Alexander original. Two songs are played by Heath with guitarist Tony Purrone, bassist Stafford James and drummer Akira Tana; pianist Larry Willis makes the group a quintet on one piece, and trumpeter Tom Williams expands the band to a sextet for the three remaining selections. The largely straight-ahead set benefits from the changing instrumentation and the fresh material, and Jimmy Heath (60 at the time) shows that he was still very much in prime form.~ Scott Yanow https://www.allmusic.com/album/peer-pleasure-mw0000651348

Personnel: Tenor Saxophone, Soprano Saxophone, Alto Saxophone – Jimmy Heath; Trumpet, Flugelhorn – Tom Williams; Acoustic Bass – Stafford James; Drums – Akira Tana; Electric Guitar – Tony Purrone ; Piano – Larry Willis

Peer Pleasure

Saturday, April 10, 2021

Jacob Fischer Trio - Django

Styles: Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 64:13
Size: 148,7 MB
Art: Front

(4:28) 1. Napolitana
(5:02) 2. Metabolic Age
(3:43) 3. Small Teardrop
(6:03) 4. Django
(5:31) 5. Sonho Carioca
(4:49) 6. Theme for Ernie
(4:08) 7. Frère Joseph
(4:53) 8. Retrato Em Branco e Preto (zingaro)
(3:24) 9. Accent Circonflexe
(3:11) 10. Brother Can You Spare a Dime?
(4:34) 11. Parisian Thorughfare
(4:50) 12. Amarcord
(2:46) 13. Hugos Howl
(3:25) 14. Den Allersidste Dans
(3:18) 15. Huset på Christianshavn

Jacob Fischer Trio made their record debut in 2008 with the Danish violinist Svend Asmussen as guest musician. With Django , the trio follows up on the success with Italian Fancesco Cali as guest musician on accordion. Django is, as the title suggests, a tribute to Django Reinhardt - the Belgian guitarist, who to that extent came to form a school within the genre mix jazz / gypsy. Few guitarists, like him, have created a style. But he did, despite a physical weakness

Like Django Reinhardt, Jacob Fischer plays guitar. And no one can be in doubt: Jacob Fischer is both fascinated by Django Reinhardt's universe and even an excellent guitarist with an obvious sense of the genre. Add to that the fact that he has managed to get Francesco Cali on accordion, you have the basic elements of what has become a good, expressive album. For that's what Django is: A beautiful, well-crafted whole with a simple set-up and a simple expression. An instrumental album that reflects the fusion of Jacob Fischers, Hugo Rasmussen, Janus Templetons and Fancesco Calis in the genre. https://translate.google.com.br/translate?hl=en&sl=da&u=https://gaffa.dk/anmeldelse/52688/jacob-fischer-trio-django&prev=search&pto=aue

Personnel: Guitar – Jacob Fischer; Guitar [Rhythm] – Regin Fuhlendorf; Accordion – Francesco Calì; Bass – Hugo Rasmussen; Drums – Janus Templeton

Django

Ralph Peterson - Triangular

Styles: Jazz, Post Bop
Year: 1988
File: MP3@320K/s
Time: 47:09
Size: 108,5 MB
Art: Front

(5:05) 1. Bemsha Swing
(7:37) 2. Triangular
(5:16) 3. Water Colors
(6:17) 4. Princess
(5:57) 5. Just You, Just Me
(4:38) 6. Move
(6:42) 7. Splash
(5:34) 8. Smoke Rings

This is a consistently simulating trio session by the creative drummer Ralph Peterson. On "Bemsha Swing," Peterson's drumming is straight from a New Orleans parade band while "Just You, Just Me" (which features pianist Geri Allen doing her witty impressions of Thelonious Monk) has the trio playing the opening and closing melody choruses in three different tempos simulataneously. "Move" really cooks and each of the five originals (bassist Essiet Essiet's "Splash," three diverse Peterson compositions and the fairly free improvisation "Triangular") have their own personalities. Although Allen is the lead voice, the musical communication between the members of the group results in each musician having an equally important role. Highly recommended.~ Scott Yanow https://www.allmusic.com/album/triangular-mw0000202206

Personnel: Drums – Ralph Peterson; Bass – Essiet Okon Essiet, Phil Bowler; Piano – Geri Allen

Triangular

Nicki Parrott - If You Could Read My Mind

Styles: Vocal
File: MP3@320K/s
Time: 55:36
Size: 128,7 MB
Art: Front

(5:48) 1. I Can See Clearly Now
(4:18) 2. Jolene
(4:42) 3. If You Could Read My Mind
(4:36) 4. Vincent
(4:32) 5. Every Breath You Take
(4:56) 6. The First Time Ever I Saw Your Face
(4:31) 7. You Belong To Me
(4:04) 8. We've Only Just Begun
(4:54) 9. This Girl's In Love With You
(4:42) 10. Do That To Me One More Time
(4:16) 11. Lean On Me
(4:11) 12. The Water Is Wide

Nicki Parrott, an internationally acclaimed bassist, arrived in New York in May of 1994, the recipient of a grant from the Australia Council for the Arts allowing her travel to the US and study with her mentor, one of the world’s premiere double bassists, Rufus Reid. In the same year she was also nominated for the “Australian Young Achievers Award”.Today, Nicki Parrott is a world-class double bassist and an emerging singer/songwriter. In her work with artists from around the globe she has brought a signature sound to every bass part she has played. She performs regularly at the world’s best Jazz Festivals and can be seen Monday’s at the Iridium Jazz Club in New York City with the legendary guitarist and inventor, Les Paul. Since June of 2000, this union has been an ideal showcase for her musical abilities, flair for improv, and gift for entertaining a crowd.Born in Newcastle, Australia, Nicki Parrott began her musical training on the piano at the age of four. She also took up the flute and continued to play both instruments throughout her school years. At the age of 15, Nicki switched her focus to the double bass, formed a band with her older sister Lisa (alto sax) and began composing instrumental pieces that they would eventually record for their premier CD release, The Awabakal Suite (2001).

After completing high school, Nicki moved to Sydney and attended the New South Wales Conservatorium of Music, where she graduated with an Associates degree in Jazz Studies. When bassists such as the legendary Ray Brown (Dizzy Gillespie, Ella Fitzgerald, Duke Ellington, Oscar Peterson) and John Clayton (Diana Krall, Whitney Houston) were playing in town, Nicki would find them, contact them and arrange lessons from them. She was awarded a scholarship to the prestigious Pan Pacific Music Camp, and soon after, took first place in the 1992 Jazz Action Society's Annual Song Competition for her composition, Come and Get It.In 1990, Nicki began touring Australia with Russian musicians Daniel Kramer and Alexander Fischer playing sold out shows across the country. This was followed by successful tours with American trumpeters Bobby Shew and Chuck Findley. When she was off the road, Nicki was consistently playing bass with other world-renowned jazz musicians like New Zealand’s Mike Nock (piano), Australia's Dale Barlow (tenor sax), Paul Grabowsky (piano), Bernie McGann (alto sax) and the explosive Ten Part Invention.

In May of 2002, The Nicki and Lisa Parrott Quartet headlined the prestigious Mary Lou Williams Jazz Festival held at the Kennedy Center in Washington D.C. The show was broadcast on NPR and was well received by the press. She was also the resident bassist with the Kitchen House Blend, a house band that premiered and performed new music from local New York composers. They would blend jazz, hip-hop, classical and rock in one evening...“It was a very creative experience”.Nicki expanded her musical repertoire and appeared on the Broadway stage in such shows as: Imaginary Friends, You're a Good Man Charlie Brown, Summer of '42, and Jekyll and Hyde. She is still active on Broadway today and regularly performs in the comedic musical, Avenue Q.

Since coming to the United States Nicki Parrott has performed and/or recorded with such notable musicians as Randy Brecker, Skitch Henderson, Jose Feliciano, Rebecca Paris, Bucky Pizzarelli, John Pizzarelli, Warren Vache Jr., Clark Terry, Michel Legrand, Billy Taylor, Dick Hyman, Patti Labelle & the New York Pops Orchestra, Annie Ross, the Florida Pops Orchestra, Terri Thornton, Holly Hoffman, DIVA, Marlena Shaw, Monica Mancini, Patrice Rushen, Harry Allen, Red Holloway, Kenny Davern, Mike Stern, Bernard Purdie, John Tropea, David Krakauer, Howard Alden, Randy Sandke, Greg Osby, Jack Wilkins, Ken Peplowski, Johnny Frigo, Joe Wilder, Houston Person, Wycliffe Gordon, Rachel Z and Johnny Varro.

Nicki has also performed at most of the world’s major jazz festivals. In the United States she’s appeared at the Newport Jazz Festival (2005), the Litchfield Jazz festival (2005), the Jazz in July concert series at the 92nd street Y (2003, 2004), the Detroit Jazz Festival (2005) and the Lionel Ha mpton Jazz Festival (2001). Outside the USA Nicki has appeared at the Cully Lavaux Festival (Switzerland - 1995), the Grimsby Jazz Festival (UK - 1996), Berlin Jazz Festival (Germany - 1998), the Ottawa Jazz Festival (2004), the Krakow Music Festival (Poland), JazzAscona (2005, 2006), Bern Jazz Festivals (Switzerland - 2005, 2006), Edinburgh Jazz & Blues Festival (UK - 2006) and of course, she has played at numerous music festivals across Australia. Nicki Parrott is committed to the continuing musical education women receive in order to further their careers and ultimately remain active as musicians past their teen years. In keeping with her sense of community, Nicki’s desire is to teach underprivileged kids to play instruments and learn to enjoy music. It is her belief t hat teaching music to children helps keep them interested in school and out of trouble. https://musicians.allaboutjazz.com/nickiparrott

Nicki Parrott loves old pop songs with good lyrics and good melodies and decided to feature them into this jazz setting.

Personnel: Nicki Parrott (vocal); Larry Fuller (piano); Lewis Nash (drums); Harry Allen (tenor sax); David Blenkhorn (acoustic and electric guitars)

If You Could Read My Mind

Mary Ann Hurst - Wishing On A Star

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 43:52
Size: 101,9 MB
Art: Front

(3:23)  1. Pete Kelly's Blues (Up/Swing)
(4:45)  2. Soon It's Gonna Rain
(3:48)  3. Skylark
(5:11)  4. A Taste Of Honey
(3:31)  5. People Get Ready
(5:11)  6. You Must Believe In Spring
(2:45)  7. When You Wish Upon A Star
(4:11)  8. Ain't No Sunshine
(3:19)  9. Surrey With The Fringe On Top
(3:20) 10. 59th Street Bridge Song (Feelin' Groovy)
(4:23) 11. Pete Kelly's Blues (Ballad Version)

Although billed as a trio effort, this album is a showcase for singer Mary Ann Hurst. Her previous track record includes the rather dauntingly-titled Chinese Folksongs In A Jazz Mode from 2000. There's nothing quite as exotic here, simply a well-wrought session that begins with more than a touch of the cool female vocalists of the 1950s. Even the opening track, "Pete Kelly's Blues," is pure jazz nostalgia, taken from the soundtrack of the Jack Webb film. Hurst's trio is not your usual piano/bass/drums unit but a combination of voice with acoustic guitar and percussion, giving this album a decidedly intimate patina. Mary Ann Hurst deivers many of the tunes in ballad tempo, raising the tempo on others to provide contrast to such titles as "Skylark," "When You Wish Upon A Star," and "You Must Believe in Spring." "Soon It's Gonna Rain," "A Taste of Honey," with a Latin pulse from Gilad, and a mid-tempo "The Surrey With The Fringe On Top" all work to provide a well-mixed set. A few of these songs, like Paul Simon's "Feelin' Groovy" and Bill Wither's "Ain't No Sunshine," seem to be in need of temporary retirement. Let us respect the value of percussionist Gilad and especially guitarist/arranger Freddie Bryant on this album. Bryant is a wonder, either strumming on the up-tempo songs or providing sensitive playing and solo work on the majority. The tongue-in-groove fit of his playing and Hurst's smoky vocals place this album on a special shelf. ~ Michael P.Gladstone https://www.allaboutjazz.com/wishing-on-a-star-mary-ann-hurst-love-bug-review-by-michael-p-gladstone.php

Personnel: Mary Ann Hurst: vocals; Freddie Bryant: guitar; Gilad: percussion.

Wishing On A Star