Roger Kellaway - Live at the Jazz Standard Disc 1, Disc 2

Album: Live at the Jazz Standard Disc 1
Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 61:57
Size: 142,0 MB
Art: Front

( 6:44) 1. Cottontail
(10:16) 2. C jam blues
( 8:40) 3. Someday my prince will come
( 6:04) 4. All my life
( 8:36) 5. Im beginning to see the light
( 8:31) 6. Take5
( 6:34) 7. The nearness of you
( 6:32) 8. Doxy

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Album: Live at the Jazz Standard Disc 2
Time: 55:18
Size: 126,7 MB

(10:01) 1. Tumblin tumbleweeds
(14:54) 2. Cherry
( 8:51) 3. You dont know what love is
(15:12) 4. Freddie freeloader
( 6:20) 5. 52Nd street theme

Pianist and composer Roger Kellaway exists in that critical interface between little-known but respected session musician and known but unjustly little-recognized master. His recent recordings for IPO Heroes (2007) and I Was There: Roger Kellaway Plays from the Bobby Darin Songbook (2005) were very well received and revealed a professional, journeyman persistence. Kellaway is a national treasure who is omniscient in the field of jazz. Though not one to perform in public, Kellaway did play several nights at New York City's Jazz Standard which resulted in Roger Kellaway Live at the Jazz Standard.

Kellaway came to this recording with an agenda: the formation of a drummer-less band approximating Nat King Cole's piano, bass, guitar trios of the 1960s. Kellaway accomplishes this with guitarist Russell Malone and bassist Jay Leonhart, both veterans of the New York City jazz scene. Add vibraphonist Stefon Harris to the mix and the core trio becomes a facile swinging quartet. Cellist Borislav Strulev also shows up with a spotlight on the sole Kellaway composition of the set, the elegiac "All My Life." The overall sound is a sepia-toned 1950s and '60s period piece, right down to almost humid analogue sonics. Kellaway's repertoire reflects his aspirations for his band: heavy on Ellington and small combo bop.

The opening disc clocks no less than three Ellington compositions; sprite takes on "Cottontail" and "C Jam Blues," and a churchy "I'm Beginning to See The Light." Kellaway and Harris weave their respective melodies around one another, one starting a phrase with the other finishing. This is most provocative when applied to the song heads, particularly on Paul Desmond's "Take Five." With this jazz standard, there are certain expectations before hearing the arranged spin Kellaway has in store for it. Kellaway and Harris trade sections of the famous opening, leaving the piece slightly off-kilter, but in a pleasant, inventive way.

Kellaway retires his ballad jones with "Someday My Prince Will Come" and "The Nearness of You." Of bebop note is the searing "Doxy" that closes the first disc. The second disc opens with sheer genius. Kellaway arranges the 1930s Bob Nolan and the Sons of the Pioneers' "Tumbling Tumbleweeds." All of the band members have a healthy workout on this piece, Kellaway steering through country and western, roadhouse, and parlor music territories as Malone is particularly effective in his solo and accompanying guitar. The disc highlight is a lengthy treatment of Miles Davis' "Freddie Freeloader." Kellaway effectively draws a century of jazz piano through the modal prism of this abstract blues piece, offering the most compelling interpretation in recent memory. Much of the same can be said for the craggy Monk standard, "52nd Street Theme," which is presented in all of its bop glory. Any Roger Kellaway release deserves a certain respect, but Roger Kellaway Live at the Jazz Standard is a cut above his best. It has a vintage sound with vintage music.~C.Michael Baileyhttps://www.allaboutjazz.com/live-at-the-jazz-standard-roger-kellaway-ipo-recordings-review-by-c-michael-bailey

Personnel: Roger Kellaway: piano; Russell Malone: guitar; Stefon Harris: vibes; Jay Leonhart: bass; Borislav Strulev: cello.

Live at the Jazz Standard Disc 1, Disc 2

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Ella Fitzgerald - Live At The Concertgebouw 1961

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 57:38
Size: 132,6 MB
Art: Front

(1:14) 1. Introduction by Norman Granz
(9:06) 2. Won't You Please Let Me In
(2:45) 3. Too Close For Comfort
(2:21) 4. On A Slow Boat To China
(2:49) 5. How Long Has This Been Going On
(4:05) 6. Heart And Soul
(4:05) 7. You're Driving Me Crazy
(3:40) 8. That Old Black Magic
(2:07) 9. Lover Come Back To Me
(3:36) 10. My Funny Valentine
(2:37) 11. I've Got A Crush On You
(3:18) 12. Lorelei
(4:45) 13. Mr Paganini
(4:04) 14. Mack The Knife
(7:00) 15. Saint Louis Blues

The year was 1961, the venue the Concertgebouw, Amsterdam. After a memorable performance in Berlin a year earlier, Fitzgerald was once again singing to a packed concert hall. Norman Granz, serious and to the point, introduced the musicians. Lou Levy had long been accompanying Ella. The quartet took the stage with the singer herself. In her fresh, almost girlish voice and that hint of characteristic impertinence, she launched into “Too Close For Comfort”, followed by “On A Slow Boat To China”. By now the singer had the audience firmly in the palm of her hand.

The performance was quite the opposite of what took place in a recording studio. Fitzgerald settled in as if she were in her living room, welcoming each spectator like a privileged guest and each song she sang, a gracefully proffered glass of champagne. The pieces had to be kept short because she had to see that all the members of the public were served. This release has captured that performance, and has been remastered for crystal-clear sound quality. It’s the closest thing to being right there in the audience those five decades ago.~ Product descriptionhttps://www.amazon.ca/Ella-Fitzgerald-LIVE-CONCERTGEBOUW-1961/dp/B074WVCNMZ

Live At The Concertgebouw 1961

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Frank Foster - No Count

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 35:39
Size: 89,4 MB
Art: Front

(6:04)  1. Stop Gap
(5:14)  2. Excursion
(6:33)  3. Casa Del Marcel
(3:55)  4. Apron Strings
(8:58)  5. Alternative
(4:52)  6. Serenata

No Freddie Green either, but that's okay; the four horns carved out from the Count Basie band for this Frank Foster-led date get along just fine with drummer Kenny Clarke, bassist Eddie Jones, and guitarist Kenny Burrell. The set is a companion to Frank Wess' North, South, East...Wess, recorded by the same players at the same sessions. No Count, however, stays closer to Kansas City swing than the Wess release, which attempted, not altogether successfully, to update the sound with some nods to hard bop. Foster's charts provide for lots of interplay and counterpoint between the two trombones and two tenors. This gets around the potential for the similar ranges of the horns to bog down in tonal homogeneity. The natural, yet sophisticated, blues-based swing players spin out long, masterful lines. Trombonists Henry Coker and Bennie Powell are most effective in supporting roles. The rhythm section is what makes this date, though. The poised Clarke balances the blues feeling of the arrangements with a cool bopping, cymbal-driven pulse. Jones, too, is effective, even if he is a bit far down in the mix. Then there's Burrell, who pretty much steals the show, covering for the absent Count and Basie guitarist Freddie Green with some of the finest rhythm work to be heard anywhere. À la the Count, he also takes the occasional brief but impressive solo. ~ Jim Todd http://www.allmusic.com/album/no-count-mw0000100132

Personnel: Frank Foster (tenor saxophone); Frank Wess (tenor saxophone, flute); Bennie Powell, Henry Coker (trombone); Kenny Burrell (guitar); Eddie Jones (bass); Kenny Clarke (drums).

No Count

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Sarah Vaughan - Live At The Berlin Philharmonie 1969 (Remastered)

Styles: Vocal
File: MP3@128K/s
Time: 83:46
Size: 77,1 MB
Art: Front

(2:48) 1. A Lot of Livin' to Do
(3:43) 2. And I Love Him
(5:38) 3. Alfie
(2:28) 4. On a Clear Day
(5:00) 5. Passing Strangers
(6:07) 6. Misty
(2:05) 7. I Cried For You
(6:00) 8. My Funny Valentine
(2:47) 9. All Of Me
(4:49) 10. Tenderly
(5:06) 11. Fly Me To The Moon
(4:08) 12. Time After Time
(2:33) 13. The Trolley Song
(5:10) 14. By the Time I Get to Phoenix
(3:51) 15. The Sweetest Sounds
(5:01) 16. Polka Dots and Moonbeams
(2:37) 17. Day In, Day Out
(5:32) 18. What Now, My Love
(1:48) 19. I Had a Ball
(6:25) 20. Didn't We

This double disc release of Sarah Vaughan at the 1969 Berliner Jazztage combines two concerts from that day one previously televised and released on CD with another set of never before heard content on disc 2. At the end of the 1960s, Vaughan was without a record label, and while some say this is due to her falling out of favour as her voice darkened with age, others argue that it was the first time she was allowed to sing and do what she wanted. Vaughan toured a lot in these few years and played with her trio a setting which she much preferred to the big band pop stylings that were being pushed on her to record for Mercury and Roulette.

The thing about Sarah is that she not only had the musical knowledge and the harmonic understanding, but she also had the vocal technique to make her voice do pretty much anything she could imagine up in her creative mind. The more confident she became as an artist, the more we got to see this side of her. This concert at the Berlin Philharmonie is essentially the pinnacle of these elements coming together. She throws in crowd pleasing numbers like All of Me and Fly Me to the Moon, satisfies an audience request with My Funny Valentine and never forgets to include Tenderly. She’s never done it the same way twice and this is no exception.

On the Bacharach classic, Alfie, Vaughan dives into the deepest part of her range, filling every semibreve with her rich vibrato, creating phrases with so much emotional pull; from heartbreak to the warmest hug. The Sweetest Sounds has some funky hits and Vaughan’s sassy side comes to the forefront through the lyrics. Time After Time, usually done as a medium swing, is slowed right down and used as Vaughan’s playground of vocal delights, only accompanied by pianist Johnny Veith, and is met with whoops and hollers from the audience.

The trio, Veith on piano, Gus Mancuso on double bass and Eddy Pucci on drums are mostly just along for the ride on this day. They do a great job providing a blank canvas for Vaughan to paint her masterpieces. Veith’s stride-like stylings on ballads like Misty and Polkadots and Moonbeams fill the spaces and accompany her voice beautifully, and Mancuso and Pucci strap in for the up tempo numbers like I Cried for You, The Trolley Song and I Had a Ball that probably knocked even their socks off. Solos are not on the menu here but it’s not even noticeable; Vaughan’s artistry is more than enough. This album is a real treat, up there with Live at the Tivoli and Mr Kelly’s, and totally worth adding to the shelf. https://londonjazznews.com/2021/05/17/sarah-vaughan-live-at-the-berlin-philharmonie-1969/

Musicians: Sarah Vaughan, vocals; Johnny Veith, piano; Gus Mancuso, bass; Eddy Pucci, drums

Live At The Berlin Philharmonie 1969

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Terence Blanchard - Absence

Styles: Trumpet Jazz
File: MP3@320K/s
Time: 64:57
Size: 155,7 MB
Art: Front

( 6:54) 1. Absence
( 6:03) 2. The Elders
( 5:37) 3. Fall
( 1:36) 4. I Dare You (Intro)
( 7:46) 5. I Dare You
( 1:32) 6. Envisioned Reflections (Intro)
( 2:35) 7. Envisioned Reflections
(10:43) 8. The Second Wave
( 5:22) 9. When It Was Now
( 7:17) 10. Dark Horse
( 7:06) 11. Diana
( 2:20) 12. More Elders

Trumpeter Terence Blanchard and the E-Collective's Absence is dedicated to saxophonist and composer Wayne Shorter, who for health reasons has been obliged to retire from performing, at least temporarily. Some people celebrating their 88th birthday, as Shorter did on August 25 2021, might not welcome being the dedicatee of an album with such a title. They might consider a more appropriate choice of words to be Presence or even I'm Feeling Fine Thanks For Asking. But you never know with Shorter who is, in many respects, in a category of his own and who, one hopes, had Absence run past him in advance by his label mate. Perhaps we should be thankful Blanchard's album is not titled Mr Gone, after Shorter's high school nickname. Anyway, there it is. Absence is dedicated to Shorter for "being brilliant" and one cannot argue with that. Shorter has been shining a light as a soloist and as a composer and arranger since the late 1950s under his own name and as a featured sideperson; Art Blakey's The Jazz Messengers (1959/1964), Miles Davis' second great quintet (1965/1968) and Weather Report (1971/1985) are among the latter highlights.

Blanchard has long had a penchant for string ensembles and the plugged-in E-Collective is augmented on all but one of these twelve tracks by the Turtle Island Quartet. The addition of a neo-classical string quartet to Blanchard's digital-age quintet three of whom, including Blanchard, double on synths works well. That said, the least effective track is the strings-only "The Second Wave," a busy but inconsequential piece written and arranged by violinist David Balakrishman, which runs just shy of eleven minutes; too long, particularly so on a forty-six minute album. On the upside, Blanchard's electro-acoustic arrangement of Shorter's "Fall," first heard on Miles Davis' Nefertiti (Columbia, 1968), is so striking that one cannot help wishing Absence was mostly, if not entirely, composed of Shorter pieces (more than half the tracks here were written by Blanchard and his colleagues, and are too often borderline overblown). For among modern reimaginings of Shorter's early work, this "Fall" is up there with the Robert Glasper-led Blue Note All-Stars' treatment of "Masqualero," first heard on Davis' Sorcerer (Columbia, 1967), on the All Stars' album Our Point Of View (Blue Note, 2017), which also benefited from the presence of original cast members Herbie Hancock on keys and Shorter himself on soprano saxophone.~Chris Mayhttps://www.allaboutjazz.com/absence-terence-blanchard-featuring-the-e-collective-blue-note-records

Personnel: Terence Blanchard: trumpet; Charles Altura: guitar; Fabian Almazan: piano; David Ginyard: bass; Oscar Seaton: drums; David Balakirshnan: violin; Benjamin von Gutzeit: viola; Gabe Terraciano: violin; Malcolm Parson: cello.

Absence

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Linda Ronstadt - Keeping Out of Mischief

Styles: Vocal
Year: 1981
File: MP3@320K/s
Time: 33:52
Size: 78,5 MB
Art: Front

(2:56) 1. Falling In Love Again
(4:00) 2. Crazy He Calls Me
(3:19) 3. Keeping Out Of Mischief
(4:11) 4. Lover Man
(2:00) 5. Never Will Marry
(3:40) 6. I Don't Stand a Ghost Of A Chance
(4:08) 7. Someone To Watch Over Me
(2:06) 8. I've Got A Crush On You
(3:53) 9. What'll I Do
(3:33) 10. Goodbye

Linda Ronstadt has received just about every musical honor imaginable Grammys, Kennedy Center Honors, and more in a career spanning styles and eras. Ronstadt was born in Tucson, AZ, in 1946 but was living in L.A. at the right time to become part of the booming SoCal folk-rock scene. Her band the Stone Poneys scored a 1967 hit with Mike Nesmith’s “Different Drum,” and by their third album, Ronstadt was getting star billing. She began a solo career with 1969’s Hand Sown…Home Grown, applying her huge but artfully modulated pipes to a more country-rocking sound.

She soon scored her first real hit with the lovelorn ballad “Long Long Time,” but it was not until Peter Asher fully took over the production reins that she became a full-blown pop star. In the second half of the ’70s, Ronstadt turned out an unstoppable onslaught of smooth, soft-rocking hits, making a wide range of other artists’ songs her own, including Roy Orbison’s “Blue Bayou,” The Everly Brothers’ “When Will I Be Loved,” and The Rolling Stones’ “Tumbling Dice.”

She flirted briefly but memorably with New Wave on 1980’s Mad Love before making what was then a radical move for a baby-boomer pop singer: tackling the Great American Songbook on 1983’s What’s New. The shift was widely embraced, and she followed up with two similarly styled records. Ronstadt’s subsequent projects included Mexican songs (reflecting her background) and dream-team trio recordings with Dolly Parton and Emmylou Harris. A degenerative condition subsequently rendered Ronstadt unable to sing, and she officially announced her retirement in 2011. She remains a pop and rock icon whose ascendance in an overwhelmingly male ’70s rock scene is an inspiration for generations to come. https://music.apple.com/us/artist/linda-ronstadt/148850

Keeping Out of Mischief

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Marian Montgomery - What's New

Bitrate: MP3@320K/s

Time: 35:02

Size: 80.2 MB

Styles: Jazz vocals

Year: 1966/2005

Art: Front

[1:47] 1. Give Me The Simple Life

[2:16] 2. I'm The Lonesomest Gal In Town

[3:00] 3. Me And My Shadow

[2:44] 4. It Makes No Difference

[3:03] 5. There's A Time And Place For Everything

[3:41] 6. Ain't Nobody's Business If I Do

[2:50] 7. What's New

[3:29] 8. Something I Dreamed Last Night

[3:24] 9. I Finally Got A Break

[3:01] 10. Then I'll Be Tired Of You

[3:20] 11. Love Is Only Love

[2:22] 12. I'll Sing You One Song

The jazz instrumentalist who does more with less has long been popular with aficionados, though the same has not been true of jazz singers, who often seem obliged to wear the music's virtuosity on their sleeve. It is as if by performing jazz on an instrument they were born with is a form of tax-avoidance, and pretending to be a saxophone instead is the only way to pay off the dues. Only Billie Holiday seemed immune to the complaint that, in touching the original materials of a song with the lightest of breaths, she wasn't really singing jazz at all.

Marion Montgomery, who died aged 67, was just such a minimalist vocalist. Had she been born a decade earlier, she might have benefited more from the ripples spread by young female artists - such as Diana Krall or Stacey Kent - with improvisational sensibilities, but also a cabaret singer's awareness of the curve and drama of a lyric's storyline, and the mood of an audience. ~John Fordham

What's New?

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Jimmy Smith - Bashin': The Unpredictable Jimmy Smith

Styles: Organ jazz
Year: 1962
File: MP3@320K/s
Time: 44:18
Size: 102,6 MB
Art: Front

(5:58) 1. Walk On The Wild Side
(3:59) 2. Ol' Man River
(4:27) 3. In A Mellow Tone
(4:17) 4. Step Right Up
(7:29) 5. Beggar For The Blues
(6:16) 6. Bashin'
(6:17) 7. I'm An Old Cow Hand (From The Rio Grande)
(2:41) 8. Bashin (45 Rpm Version)
(2:50) 9. Ol Man River (45 Rpm Version)

Smith's debut session for Verve kicks off with an explosive big band sound. The first four tracks of BASHIN' feature a sizeable backing orchestra (whose personnel list that may ring some unexpected bells, like future Tonight Show bandleader Doc Severinsen) and dramatic arrangements by Oliver Nelson (who also assumes conducting duties). While fans of Smith's lower-key trio work for Blue Note may cringe at the blare of horns and the grandiose dynamic shifts, Smith is still in uber-cool form, and his Hammond plays the groovy foil to Nelson's occasionally square arrangements. Die-hard enthusiasts of the trio won't be disappointed, however, since the last three tracks are strictly old school. Quentin Warren and Donald Bailey help mix it up in deep blues fashion on "Beggar For the Blues" and the title track, while Smith, even after the large-scale blasts of Bernstein's "Walk On The Wild Side" and Nelson's "Step Right Up," seems right at home. This disc, released in 1962, captures the artist at a transition period, and proves that no matter the band, year or label, Smith was a consistently compelling artist.

Recorded in New York, New York on March 26 & 28, 1962. Originally released on Verve (V6-8474). All tracks have been digitally remastered. This is part of the Verve Master Edition series.

Jimmy Smith (organ); Babe Clark, Robert Ashton, Gerry Dodgion, Phil Woods, George Barrow (saxophone); Joe Newman, Doc Severinsen, Joe Wilder, Ernie Royal (trumpet); Tommy Mitchell, Jimmy Cleveland, Urbie Green, Britt Woodman (trombone); Jimmy Warren, Barry Galbraith (guitar); George Duvivier (bass); Don Bailey, Ed Shaughnessy (drums).

Bashin': The Unpredictable Jimmy Smith

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Elia Bastida - Èlia Bastida Meets Scott Hamilton & Joan Chamorro Trio

Styles: Violin, Saxophone Jazz
File: MP3@320K/s
Time: 74:08
Size: 171,0 MB
Art: Front

(5:20) 1. Awful Lonely
(4:17) 2. The Good Life
(4:52) 3. Moon River
(4:24) 4. I´ll Never Be the Same
(6:03) 5. Tin Tin Deo
(5:11) 6. O Grande Amor
(4:53) 7. For Sentimental Reasons
(4:32) 8. Não Vou Pra Casa
(4:45) 9. Ja-Da
(5:07) 10. Pure Imagination
(4:00) 11. Lobo Bobo
(6:55) 12. Samba em Preludio
(6:00) 13. Que Reste-t-il de Nos Amours?
(7:42) 14. The Nearness of You

I’m Èlia Bastida, born in 1995 in Barcelona. In 1999, when I was 4 years old, I started playing the violin. Since then, music has become more and more important in my life and has become my essence. I love jazz, classical, Brazilian music, melodies, the ability of music to communicate, to excite us, to make you enjoy. I studied classical violin until I was 17, when I joined the Sant Andreu Jazz Band, directed by Joan Chamorro. It was then that I discovered the world of jazz and I was passionate about the possibility of creation and the freedom it gave me.

Later I started singing and playing saxophone in the sax section of the big band. Now, voice and sax are an important part of my concert set. During my career in the Sant Andreu Jazz Band I have played with incredible musicians like Dick Oatts, Scott Hamilton, Joe Magnarelli, Scott Robinson, Joel Frahm, John Allred, Jon-Erik Kellso or Luigi and Pasquale Grasso. And in several countries such as Sweden, Switzerland, Denmark, Italy, France…https://eliabastida.com/en/bio/

Personnel: Èlia Bastida, violin and vocals; Scott Hamilton, tenor sax; Joan Monné, piano; Jurandir Santana, guitar; Joan Chamorro, double bass; Arnau Julià, drums

Èlia Bastida Meets Scott Hamilton & Joan Chamorro Trio

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Rhoda Scott - Take Five / In The Mood / Summertime...

Styles: Soul Jazz, Post Bop
Year: 1980
File: MP3@224K/s
Time: 78:26
Size: 127,9 MB
Art: Front

(2:40) 1. Take Five
(5:49) 2. Summertime
(3:28) 3. Espoir
(4:39) 4. Tanikka
(2:50) 5. Old Man River
(2:24) 6. Mach II
(1:50) 7. Tico-Tico
(3:44) 8. Les Parapluies De Cherbourg
(3:58) 9. In The Mood
(3:41) 10. 'Till
(2:17) 11. Just A Gigolo
(1:51) 12. When The Saints Go Marching In
(4:12) 13. R & R
(4:11) 14. Groggy
(3:19) 15. Toe Jam
(3:42) 16. Ballade For Doriane
(3:19) 17. Blues At 'The Bilboquet
' (7:22) 18. Take A Ladder
(5:04) 19. Sweet Cool
(4:30) 20. Valse A Charlotte
(3:26) 21. Bitter Street

Rhoda Scott, born in 1938 in Dorothy, New Jersey, U.S.A., is the daughter of an itinerant minister, and she grew up in the tradition of small African-American churches. It is while accompanying the Gospels and Negro Spirituals at the age of 8, that her exceptional musical talent was revealed. Although self-taught, she was determined to perfect her musical education, and after attending Westminster Choir College in Princeton, New Jersey, she entered Manhattan School of Music in New York, where she was awarded the Borden Prize for the highest academic average, and obtained her Master of Music degree in 1967. She came to France for the first time in July 1967 to study counterpoint, harmony, and composition at the American Conservatory of Beaux Arts in Fontainebleau, with the great Nadia Boulanger, who had also taught, among others, Aaron Copeland, Pierre Henry, Phillip Glass, and also Quincy Jones.

After such an illustrious cursus, Rhoda Scott is at ease in any context: classical music, jazz, gospels and blues. Gifted with an exceptional memory, she can play hundreds of themes from standards, but capable of composing a large part of her repertory.It was Count Basie who discovered her and hired her to play in his club in Harlem, which is where Eddie Barclay, during a stay in New York with his friend Raoul Saint-Yves, heard her play. Impressed by her original style and her communicative talent, they suggested she come to Paris. Director of the renowned jazz club, Le Bilboquet, Raoul Saint-Yves signed her on in July 1968. The following year her first French album was released on the Barclay label, “Take A Ladder,” on which, accompanied on drums by Daniel Humair, she interpreted jazz standards, as well as themes from “West Side Story,” and her own composition, “Take A Ladder.” The album was an immediate success, both critical and popular.

Mastering perfectly her Hammond Organ, the famous B-3, attached to three Leslie speakers, Scott records and performs generally with her only support being a drummer, playing her own bass lines on the organ pedalboard. She invariably removes her shoes to play, which has earned her the nickname of “The Barefoot Lady,” or in French, “l’Organiste aux Pieds Nus.” In October 1969, she wed Raoul Saint-Yves who continued to be the producer of her numerous recordings, usually associated with a particular circumstance (“Live At The Olympia in 1971, “In New York With Thad Jones and Mel Lewis Jazz Orchestra” in 1975, “With Kenny Clarke” in 1977, etc.) or a particular theme (“Ballades” in 1973, “Orgues de Noël” in 1977, “Negro Spirituals” in 1983, etc.) All published on the Barclay label. In 1978, Eddie Barclay presented Scott with a trophy attesting the sale of over 500 000 albums sold.

With the arrival of the Compact Disc, while many of her vinyl albums were being re-edited or compiled, Scott signed a contract with the Verve label and recorded “Frame For The Blues” (1992,) “Feeling The Groove” (1993,) and “Alone” (1997.) In 2003, her “Encore, Encore, Encore,” with Lucien Dobat on drums, was released on the Sunnyside label (USA). Scott is frequently sought after for her powerful Hammond sound. Among her many collaborations, one can mention “Organ Masters” with Emmanuel Bex, Thierry Eliez, Stéfan Patry, and Benoît Sourisse, “Soul Sisters” with singer La Velle, “Rock My Boat “with David Linx and André Ceccarelli, or “Djangolized” with violinist Aurore Voilqué. On stage, she has been seen with Ella Fitzgerald, George Benson, ,and Ray Charles.

At the famous festival, “Jazz à Vienne” she created in 2004 the Rhoda Scott Lady Quartet with musicians Sophie Alour (tenor sax,) Airelle Besson (bugle,) and Julie Saury (drums.) A group that has lasted, with Airelle Besson being replaced by Lisa Cat-Berro (alto sax.) often appearing at the Sunset Jazz Club in Paris, and on tour.. In 2017, Stéphane Portet, owner of the Sunset, created his own label in order to record the CD “We Free Queens”, with special guests Geraldine Laurent, Anne Pacéo, and Julien Alour.

In 2018, Soctt was promoted to the title of Commandeur in the Order of Arts and Letters. She lives regularly in Chartres, and is active with many choral groups, having made arrangements of Negro Spiritual which are sung throughout France. In 2014, 47 years after her first Master’s degree, Scott obtained a Master of Arts degree in Jazz History and Research from Rutgers University of New Jersey. For her 80th birthday, Scott has chosen the rising generation of jazzwomen in France. The grand lady of the Hammond organ offers us a jazz which is generous with swing and a touch of blues; a music as joyful as it is lively, music within every listener’s field of reference. http://www.rhoda-scott.com/bio/

Take Five / In The Mood / Summertime...

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The Filthy Six - The Fox

Styles: Acid Jazz
Year: 2012
File: MP3@128K/s
Time: 68:59
Size: 64,2 MB
Art: Front

(5:22) 1. Midnight Boogaloo
(5:57) 2. Down Frenchmen St
(5:16) 3. Prattle in Seattle
(5:01) 4. This Maybe
(7:52) 5. The Rum Diary
(4:20) 6. Getting Better
(7:28) 7. The Fox
(4:29) 8. Jukebox
(5:37) 9. Slinky
(3:45) 10. GirlFriend
(4:52) 11. Get Down
(3:41) 12. Never Can Say Goodbye
(5:14) 13. Girlfriend - Instrumental

Line-up: NICK ETWELL trumpet,flugelhorn; MARK BROWN tenor sax; JAMES FENN guitar; PETE WHITTAKER organ; DANIEL DRURY electric bass; SIMON LEA drums

Back at the club for the first time since their debut release the band are currently showcasing material from their latest EP ‘Soho Filth: Live from Dean Street Studios' (out 12/11/21 on Color Red Music), featuring new single ‘Mr Shmingle Bangle’ (w/Snowboy) which brings a little Caribbean flavour to their tasty soul jazz stew!

The Filthy Six are one of the most exciting, authentic Soul Jazz outfits in the UK today and have established themselves as one of the most electric live acts on the scene. Their soaring Horns, blistering Guitar and gut-wrenching Organ are fuelled by one of the hardest grooving rhythm sections around, producing a hip-shakingly powerful mixture of jazz, funk and boogaloo totally in keeping with the finest traditions of the late 60s Blue Note/Prestige sound. Led by trumpeter Nick Etwell (Tom Jones, David Axelrod, Jill Scott), this collection of musical gunslingers have worked with some of the biggest names in Music; including Amy Winehouse, Beck, Mavis Staples, Mark Ronson, Jack White, Dionne Warwick, Ronnie Spector, The Foo Fighters, Chrissie Hynde, Mumford & Sons, Robbie Williams, Spiritualized, James Taylor Quartet and the Atomic Bomb Band to name a few. These instrumental groove merchants fuse boundless energy and musicianship to create tight, funky music for the mind, body and soul.

"The Filthy Six bring the soul-jazz workout right up to date with a joyful exposition of groove led abandon... great fun and excellent musicianship combined with tight funky grooves" - Echoes Magazine

"The improvisational quality and overall musicianship undoubtedly retains that Blue Note brilliance we've come to expect from the ever studious Filthy Six… showing the real depth these guys have as musicians and reinforcing the stride these scamps are most definitely in!” (8/10) - Blues & Soul Magazine

"Led with brassy authority by trumpeter Nick Etwell this punchy band recalled the muscular funk of Jimmy Smith and Brother Jack McDuff... dazzling guitar breaks and appropriately booting sax solos went down a treat!" (4/5) ~ London Evening Standard https://www.ronniescotts.co.uk/artists/the-filthy-six

“Album of the week” (The Fox 2012) - Jazz FM

The Fox

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Elis Regina - The Collection

Bitrate: MP3@320K/s
Time: 34:16
Size: 78.5 MB
Styles: Brazilian jazz, Bossa Nova
Year: 2014
Art: Front

[3:31] 1. Águas De Março
[3:50] 2. Corcovado
[3:08] 3. Bala Com Bala
[3:09] 4. Wave
[3:05] 5. Retrato Em Branco E Preto
[3:12] 6. Inútil Paisagem
[4:28] 7. A Volta
[2:39] 8. Bonita
[3:10] 9. Chovendo Na Roseira
[2:15] 10. Modinha
[1:42] 11. O Que Tinha De Ser

For the relentless way she drove herself and members of her band she was nicknamed ‘Pinmentinha’ (Little Pepper). This is her collection. Beautiful, classic popular Brazilian music! Highly recommended!

The Collection

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Dena DeRose - Ode to the Road

Styles: Vocal And Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 64:18
Size: 149,0 MB
Art: Front

(4:00)  1. Ode to the Road
(5:34)  2. Nothing Like You
(6:14)  3. Don't Ask Why
(6:46)  4. All God's Chillun Got Rhythm / Little Willie Leaps
(5:25)  5. That Second Look
(5:28)  6. Small Day Tomorrow
(6:28)  7. The Way We Were
(6:06)  8. Cross Me Off Your List
(5:55)  9. I Have the Feeling I've Been Here Before
(5:29) 10. A Tip of the Hat
(6:48) 11. The Days of Wine and Roses

Thin pickings so far this year in terms of top jazz vocals albums and now thankfully this. I haven't heard a Dena DeRose album in years worse luck and the singer-pianist does not disappoint here. And yet this record, shaped round a core trio, is very out of place, it's classic jazz, so American, but does not sit easily in much jazz issued in 2020. Yet some things do not go out of fashion. Hipster, swinging, slightly cynical, worldly wise, a very sophisticated jazz club kind of record and yet all the clubs are shut. The irony suits. https://www.marlbank.net/posts/ode-to-the-road-and-the-jazz-we-are-miss
 

Musician:  Dena DeRose, vocals & piano; Martin Wind, bass; Matt Wilson, drums; with special guests Sheila Jordan; Houston Person; Jeremy Pelt

Ode to the Road

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Meral Guneyman, Dick Hyman - Danzas Tropicales

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 61:48
Size: 142,8 MB
Art: Front

( 3:37)  1. Garota De Ipanema (Girl from Ipanema)
( 5:07)  2. Asfalto
( 5:46)  3. Milonga Del Adios
( 3:23)  4. Manhã De Carnaval
( 9:53)  5. Adios Nonino
( 5:15)  6. Prelude in E Minor-Insensatez
( 3:06)  7. Só Danço Samba
( 3:44)  8. Valse Des Portes Des Caixas
( 1:57)  9. La Rayuela
(10:13) 10. Danzas Tropicales
( 6:24) 11. Milonga Del Angel
( 3:16) 12. Cavaquino-Braziliera

The award-winning and classical trained pianist Meral Guneyman, along with the iconic jazz arranger, composer and pianist Dick Hyman, present Danzas Tropicales, a fluid collection of piano compositions dedicated to Latin dance rhythms. Guneyman and Hyman create a sound which captures a signature blend of Latin fervor and sophisticated elegance. Danzas Tropicales features an array of lively rhythms, ranging from the original title piece, composed by Hyman himself, to an exciting spectrum of Latin-American classics spanning the past century, including interpretations of “Garota De Ipanema (Girl From Ipanema)" and “Manhã De Carnaval." “We dived into the world of Tango Nuevo, Bossa Nova and Samba, and found great enjoyment in performing these popular but challenging dance rhythms. Of course, to begin with, we were dealing with beautiful compositions by Astor Piazzolla, Antonio Carlos Jobim, Luis Bonfa, Ernesto Nazareth, and in particular, Pablo Ziegler, who became our friend and adviser in the preparation of this album. In addition, there was Dick Hyman's remarkable concert piece, 'Danzas Tropicales,' which gave us our album title. Dick is also responsible for the deft arrangements of many of the titles," states Meral Guneyman. This album follows their critically-acclaimed Ryko debut, Playful Virtuosity. JAZZWISE MAGAZINE claimed that “Meral Guneyman possesses an exquisite touch, immense power and a formidable technique, “ while JAZZ TIMES said, “It is hard to imagine another piano couple offering the vast shimmering coordinated pointillismwaterfalls of romanticism." ~ Michael Ricci https://news.allaboutjazz.com/meral-guneyman-and-dick-hyman-release-danzas-tropicales.php

Personnel: Piano – Dick Hyman (tracks: 1, 2, 4, 6b, 7, 8, 10, 11, 12), Meral Güneyman (tracks: 1, 2, 3, 4, 5, 6a, 6b, 8, 9, 10, 11, 12)

Danzas Tropicales

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Carol Sloane and Clark Terry - The songs of Ella & Louis sang

Styles: Vocal Jazz
Year: 1997
File: MP3@320K/s
Time: 59:18
Size: 137,2 MB
Art: Front

(5:00)  1. I Won't Dance
(4:22)  2. Tenderly
(6:17)  3. Don't Be That Way
(4:32)  4. Can't We Be Friends

(4:29)  5. Gee baby, Ain't I good to you?
(5:35)  6. Autumn in New York
(5:07)  7. Let's Do It
(4:56)  8. The Stars Fell on Alabama
(4:13)  9. Moonlight in Vermont
(5:37) 10. Blueberry Hill
(5:42) 11. Stompin' At The Savoy
(3:25) 12. When it's Sleepy Time Down South

This release both is and, in a sense, isn't a tribute to the mighty and lovable Ella Fitzgerald and Louis Armstrong. As far as the repertoire goes, of course, these songs were associated with Ella and Louis in their separate and joint projects. But Carol Sloane and Clark Terry are definitely not imitators of anybody; it is their inimitable styles, mannerisms, lyrical bents, and distinctive senses of humor that make this disc happen. Terry's slippery trumpet slides and bounces over the notes in a completely different manner than Armstrong, and he displays just as much personality in doing so. You also hear much more of Terry's actual singing than usual (as opposed to his mumbles act on "Stompin' at the Savoy"), breezy and full of jive. Carol Sloane is closer to Shirley Horn in soft-focused tone than she is to Ella, and she makes a fine dusky-voiced foil for Terry's talking horn obligatos. With only the backing of a piano trio, this is as relaxed and ingratiating a set in its own way as the first Ella/Louis albums on Verve were, evoking the atmosphere, if not the actual sound, of a 1950s Norman Granz production. ~ Richard S.Ginell   http://www.allmusic.com/album/songs-ella-louis-sang-mw0000596724

Personnel: Carol Sloane (vocals); Clark Terry (vocals, trumpet, flugelhorn); Bill Charlap (piano); Dennis Mackrel (drums).

The songs of Ella & Louis sang

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Ahmad Jamal - Live In Paris 1996

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 59:33
Size: 137,9 MB
Art: Front

(14:07) 1. Bellows
(11:02) 2. Patches
(12:05) 3. Autumn Leaves
(12:23) 4. Devil's In My Den
( 9:55) 5. There's A Lull In My Life

In this glorious live document from 1996, the master pianist/composer/bandleader breaks from the trio format to feature guitar, violin, the great Manolo Badrena on percussion, and the thrilling sax work of George Coleman.~Editorial Reviewshttps://www.amazon.com/Live-Paris-1996-Ahmad-Jamal/dp/B00009WVTF

Ahmad Jamal - Piano; Calvin Keys - Guitar; Joe Kennedy Jr. - Violin; Yoron Israel - Drums; George Coleman - Tenor Saxophone; Jeff Chambers - Bass; Manolo Badrena - Percussion

Live In Paris 1996

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Hank Jones - Jam at Basie

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 64:02
Size: 147,5 MB
Art: Front

(8:25) 1. Cool Struttin'
(4:31) 2. Cotton Tail
(5:42) 3. Summertime
(5:47) 4. Have You Met Miss Jones
(7:09) 5. Road Song
(3:51) 6. In a Sentimental Mood
(6:37) 7. Mercy, Mercy, Mercy
(5:49) 8. Twisted Blues
(7:18) 9. Moose the Mooch
(8:49) 10. Blue Monk

Jam At Basie is a very special record. It is the late Hank Jones' last live recording, made at a jazz spot in Japan called "Basie" in August 2009. In front of the appreciative audience, Jones, who had just turned 91, played with vigor, finesse and imagination with young and talented American musicians who belong to his grandchildren's generation. The performance is inspired throughout and everyone is given ample space to stretch out. It is astonishing and we are grateful for it that Jones played as well as ever at that age. It's all there in full glory the elegance, the beautiful and strong touch, the advanced sense of harmony and unique inflections.

This special recording was first released as super-limited, super-expensive Crystal Disc made of high-quality glass. Now it is finally made available on regular CD and vinyl LP. It is released by the new label ZZJA Plus, a partnership between Shoji "Swifty" Sugawara, the owner of Basie and well-known audiophile, and Yasohachi "88" Itoh, the renowned producer who has been associated with East Wind, Sony and his own Eighty-Eights labels.

The recording team consisting of top engineers at Sony Japan, pulled out all the stops to document these two-day concerts with the highest fidelity possible. First, they opted to record them analog, using rare Ampex 456 half-inch tapes and the Studer A820 tape recorder. Second, for the CD release, they mastered it in DSD. Third, they used all the techniques Sony has to make the regular, redbook CD sound better, including the blue laser diode cutting, green label coating and silver spattering. The result is an astonishingly high quality sound that will satisfy even the most demanding audiophiles.

It is only fitting that Hank Jones' last live recording was made in Japan, because the Japanese people loved him and he loved them back. He toured Japan numerous times and made many recordings for Japanese labels. He was so popular there that he was once featured on a television commercial. He passed away on May 16, 2010, but his legacy lives on, and we are eternally grateful for his artistry. Thank you, Hank Jones! http://www.eastwindimport.com/product-info.asp?ProductId=1409

Personnel: Hank Jones (piano); David Wong (bass); Lee Pearson (drums); Raymond McMorrin (tenor sax)

Jam at Basie

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Eydie Gorme - Blame It on the Bossa Nova

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 33:55
Size: 79,3 MB
Art: Front

(2:50) 1. One Note Samba
(2:53) 2. Melodle d'Amour
(2:50) 3. The Glft
(2:06) 4. The Sweetest Sounds
(2:43) 5. Dansero
(2:30) 6. Blame It on the Bossa Nova
(2:46) 7. Desafinado
(3:02) 8. The Message
(1:45) 9. Almost Like Being in Love
(1:47) 10. Moon River
(2:14) 11. The Coffee Song
(1:47) 12. I Remember You
(2:23) 13. Sweet Talk
(2:11) 14. Oba Oba

Edith Gormezano, better known as Eydie Gormé, was an American singer who sang for albums, television, broadways, stage concerts and in nightclubs. She performed both solo as well as along with her husband, Steve Lawrence. The duo met while working for the ‘Tonight!’ show with Steve Allen and became a successful team. In the 1950s and 1960s, she consistently released singles and albums. Some of her best-known work include ‘Blame It on the Bossa Nova’ and the Spanish album ‘Amor’. Along with her husband, she released the album ‘We Got Us’ which won a Grammy Award. Individually too, she won a Grammy for her single ‘If He Walked Into My Life’. During the latter part of her career, the couple created TV tributes for famous composers with one of them even bagging the prestigious Emmy Awards.

Eydie Gorme was born on August 16th 1928 in the Bronx, New York to parents who were Turkish-born Jews of Spanish descent. Her father, Nessim Garmezano, was an immigrant tailor who changed his name when he settled in the US. Her mother’s name was Fortune Gorme. Eydie had two older siblings by the name of Corene and Robert. Her two siblings were trained in music, however, since they did not do much in the field, Eydie, was not given music training. At the tender age of three, she debuted as a singer by participating in a children’s radio show being broadcast at a departmental store.

She went to William Howard Taft High School in The Bronx and graduated from there in 1946. While there, she prominently featured in school musicals. During weekends, she sang for a band led by her friend Ken Greengrass. After high school, she joined the City College of New York to study foreign trade and economics. She studied at nights and during daytime worked as an interpreter and later manager for a theatrical supply export company. During weekends though, she still continued to perform for the Greengrass band. After sometime, she quit her job to try her luck in singing. Her friend Ken Greengrass became her manager.More https://www.thefamouspeople.com/profiles/eydie-gorm-47288.php

Blame It on the Bossa Nova

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Chris Flory, Mike LeDonne, Mark Taylor - Word On The Street

Bitrate: MP3@320K/s
Time: 61:03
Size: 139.8 MB
Styles: Swing, Guitar jazz
Year: 1996
Art: Front

[5:40] 1. When You Grow To Old To Dream
[4:39] 2. Snibor
[6:38] 3. Comes Love
[5:05] 4. Crazy, He Calls Me
[4:53] 5. Taps Miller
[4:58] 6. You Don't Know Me At All
[6:10] 7. I'm A Fool To Want You
[7:10] 8. Going To Meetin'
[8:10] 9. Don't You Know I Care (Or Don't You Care To Know)
[7:35] 10. The Touch Of Your Lips

Chris Flory (guitar); Mike LeDonne (organ); Mark Taylor (drums). Recorded at Sear Sound, New York, New York on September 22, 1996.

Especially inspired by guitarist Bill Jennings and organist Wild Bill Davis, Flory swings relentlessly, often serving up a generous blues helping. On this recording he opts for the organ trio format, relying on the talents of B-3 pilot Mike LeDonne and drummer Mark Taylor.

The tunes themselves, generally not associated with the organ trio, constitute one of the more obvious aspects that set this album apart. “Comes Love” gets a Latin make over and finds Flory swinging hard over clave rhythm rim shots and a lush organ cushion. He particularly burns on Basie’s “Taps Miller,” a brisk rhythm changes workout that also features LeDonne’s fancy footwork on the B-3’s pedals and Taylor’s tight, succinct fills. But Flory can also play it soft and sensitive, as he demonstrates on “I’m A Fool To Love You,” where he renders the melody with lyrical single notes and octaves before taking the tempo up a notch for the solos. A grooving, refreshing blend of tradition, subtle creativity, and fiery fretwork. ~Jim Ferguson

Word On The Street

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La Bouche Manouche, Irene Serra - Roseland

Styles: Gypsy Jazz
Year: 2019
File: MP3@128K/s
Time: 42:19
Size: 39,7 MB
Art: Front

(5:37) 1. Rose Room
(4:06) 2. After You've Gone
(4:27) 3. How Deep Is the Ocean
(2:21) 4. La Vie En Rose
(3:18) 5. Can't Help Lovin' that Man
(3:53) 6. Tu Solamente Tu
(5:22) 7. Russian Lullaby
(4:07) 8. Medley : I Love Paris/Django's Tiger/Tico Tico
(4:34) 9. Billie's Bounce
(4:30) 10. Valse Des Lilas

La Bouche Manouche is a vintage jazz band influenced by the chic and sophisticated era of the jazz age and beyond. Their ample repertoire is rooted in the sound of gypsy jazz, with swing tunes from Django Reinhardt, as well as traditional gypsy swing tunes, charlestons, French chansons, bal musette and classic jazz standards from the Great American Songbook. https://ireneserra.com/

Personnel: Irene Serra : Vocals; Andy Ruiz-Palma : Lead Guitar; Simon Rawling : Rhythm Guitar; Amy Baldwin : Double Bass; Nathan Mansfield : Violin, Trumpet (on Track 2)

Roseland

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