Jack McDuff - Goodnight, It's Time To Go

Styles: Hard Bop, Soul Jazz
Year: 1961
File: MP3@128K/s
Time: 36:11
Size: 33,4 MB
Art: Front

( 6:18) 1. Goodnight, It's Time To Go
( 4:53) 2. Sanctified Waltz
( 6:24) 3. Mcduff Speaking
(10:52) 4. A Smooth One
( 7:42) 5. I'll Be Seeing You

This 1961 date was organist Jack McDuff's first with his regular working band. That group included two players who would become synonymous with the organ combo, soul-jazz sound: tenor saxophonist Harold Vick and the up-and-coming guitarist Grant Green. Vick's tough, versatile, if not particularly distinctive, sound is well-suited to McDuff's needs. Green, however, is by far the more interesting contributor. On this date, his gifts are already well developed, including his skillful use of space and a singular ability to find or create a tune's rhythmic core. Unlike his 1960 debut, McDuff does without a bass player here, using his organ pedals instead, as he would in live performance. When his feet do the walking, McDuff becomes a complete player, locking in on grooves that could never be matched by a hired gun brought in on bass. The highlights are the McDuff originals: "Sanctified Waltz," a gospel-influenced piece that avoids the holy roller excesses that often encumber such numbers, and "McDuff Speaking," a full-tilt, soul-jazz gem.~ Jim Todd https://www.allmusic.com/album/goodnight-its-time-to-go-mw0000865700

Personnel: Jack McDuff - organ; Harold Vick - tenor saxophone; Grant Green - guitar; Joe Dukes - drums

Goodnight, It's Time To Go

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The Le Coq All Stars - The Jazz All Stars Vol.1

Styles: Jazz
File: MP3@320K/s
Time: 52:29
Size: 121,6 MB
Art: Front

(9:33) 1. Theme for Flotus
(9:27) 2. Tu Wero Nui
(5:13) 3. Log Jammin
(4:30) 4. There You Go
(4:55) 5. Afro Blue
(4:33) 6. Caravan
(7:58) 7. Rockin and Rhthym
(6:15) 8. Avalon

The gigless times of 2020 the year of the Covid-19 pandemic could have brought musicians and the industry to their collective knees, gasping for air. Instead, it resulted in more new music than ever before. It filled our lungs with fresh air. It filled our hearts and souls, not to mention our ears. New businesses opening, defying the odds and pursuing their dreams, is a relevant factor. Le Coq Records, emerging in 2020, boldly presents an all-star ensemble featuring many of the world's finest jazz musicians as its virgin voyage on the jazz scene. Someone once said, "Go big or go home." The anonymous quote was not lost on owner and founder Piero Pata. He wisely didn't micro-manage, instead letting the cats do their thing, and allowing it to come together in an organic manner.

Legendary drummer Vinnie Colaiuta heads a big and notable cast. He also plays his ass off! Pianists John Beasley and Bill Cunliffe both play and contribute compositions to the project. Saxophonists Bob Sheppard, Brandon Fields, and Ralph Moore, drummers Marvin "Smitty" Smith and Joe Labarbera, trumpeters Terell Stafford and Wayne Bergeron, bassist John Patitucci, percussionist Alex Acuña, and guitarist Jake Langley are among the powerhouse stable of thoroughbreds. Incorporating a nice mix of originals and timeless classics, the latter included two big bites from the Duke Ellington collection. "Rockin' and Rhythm" and "Caravan" are both brightly arranged by Cunliffe. Andy James provided the lone vocal on the outing, with a reminiscent-of-the-era sound on "Caravan."

The performance was culled from a series of "live in the studio" shows. The band starts in on the music with a sustained groove that intermittently packs a wallop in "Theme for Flotus." A loose and relaxed feel pervades, centered around a very tight Colaiuta and Patitucci pocket. The Beasley-penned composition was first performed at the White House in 2016 as part of International Jazz Day's segment, Jazz at the White House. The closing number, on that night, "Theme for Flotus" was written for, and in honor of, Michelle Obama. On this night it created quite the forum for Colaiuta to play freely and creatively.

In truth, creative expression is to be found throughout this performance and is the backbone of the record. "Tu Wero Nui" and "There You Go" are both Cunliffe originals. They are prime examples of tunes being written and arranged with horn section freedom in mind. They draft the improvisational axis in a full, yet deftly controlled, spin. Patitucci and Acuna are alone on center stage for a duet on "Afro Blue." Patitucci's arrangement of the Mongo Santamaria composition encouraged freedom of expression. Consequently, Acuna and Patitucci engage in a conversation of depth and richness.

Perhaps best know for his work with Joey DeFrancesco, guitarist Langley wields his axe sharply on his written contribution to the collaboration. "Log Jammin'" has the upswing the title would imply, as well as a soulful growl uncaged from Langley's jazz vibe collection. The operation is deftly driven at a steady and controlled pace by "Smitty" Smith, while Beasley's Fender Rhodes counterpoints were the perfect compliments to Langley's leads.

The record closes with a bouncy and, most importantly, respectful, arrangement by saxophonist Rick Margitza, of the Al Jolson co-write "Avalon." A classy tip of the hat to jazz history that was presented with a fresh coat of paint that in no way tarnishes its vintage luster. Le Coq puts themselves on the map by both being passionate enough to put a project of this magnitude together their first time out, and for trusting the all-star personnel to pull it off. Referring to it as "Volume One" also insinuates that there will be a "Volume Two." Having a little confidence is a good thing. ~Jim Worsley https://www.allaboutjazz.com/the-jazz-all-stars-volume-1-the-jazz-all-stars-le-coq-records

Personnel: Vinnie Colaiuta: drums; John Beasley: piano; Bill Cunliffe: piano; John Patitucci: bass, acoustic; Marvin "Smitty" Smith: drums; Alex Acuña: drums; Jake Langley: guitar; Terell Stafford: trumpet; Wayne Bergeron: trumpet; Brandon Fields: saxophone; Bob Sheppard: saxophone, tenor; Chris Colangelo: bass; Ralph Moore: saxophone; Rick Margitza: saxophone, tenor; Rich Eames: piano; Michael Dease: trombone; Charles McNeal: saxophone, alto; Kye Palmer: trumpet; Adam Schroeder: saxophone, baritone; Bob McChesney: trombone.

The Jazz All Stars Album Vol.1

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Gaucho - Deep Night

Bitrate: MP3@320K/s
Time: 56:50
Size: 130.1 MB
Styles: Gypsy jazz
Year: 2009
Art: Front

[4:30] 1. Tea For Two
[2:50] 2. Noto Swing
[4:01] 3. Bossa Dorado
[2:58] 4. Darktown Strutter's Ball
[4:05] 5. Two Deuces
[2:52] 6. Tico Tico
[3:24] 7. Russian Lullaby
[5:49] 8. Bei Dir War Es Immer So Schoen
[3:48] 9. Some Of These Days
[4:51] 10. St. Louis Blues
[4:24] 11. Deep Night
[2:58] 12. Valse A Bambula
[3:01] 13. The Sheik Of Araby
[3:46] 14. Dark Eyes
[3:25] 15. Memories Of You

With Deep Night, the San Francisco sextet Gaucho takes its rightful place as one of the most creative and joyously syncopated ensembles inspired by legendary Gypsy jazz guitarist Django Reinhardt and the rhythmic drive and collective improvisation of the New Orleans swing music and the 'gut bucket' sound. Originally a trio featuring guitarists Dave Ricketts, Michael Groh and stand-up bassist Ari Munkres, Gaucho quickly attracted a dazzling cast of improvisers, including accordion ace Rob Reich, drummer/percussionist Pete Devine, and reed expert Ralph Carney, a brilliantly expressive player best known for his many recordings with Tom Waits. The repertoire ranges from early American Songbook standards and classic blues to vintage Latin American hits and Tin Pan Alley pop numbers.

Deep Night

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Nicole Henry - So Good, So Right: Nicole Henry LIVE

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 61:00
Size: 139,7 MB
Art: Front

(4:40)  1. Stuck in the Middle With You
(4:37)  2. So Good, So Right
(4:29)  3. Neither One of Us
(2:32)  4. Big Yellow Taxi
(4:33)  5. Waiting in Vain
(4:44)  6. Use Me
(4:46)  7. Fire and Rain
(4:03)  8. Love Don't Live Here Anymore
(7:29)  9. Spirit in the Dark
(5:16) 10. Sorry Seems to Be the Hardest Word
(3:53) 11. Home
(5:33) 12. Sweet Love
(4:19) 13. Landslide

Most people who feel that they were born in the wrong time also believe that they would have fit better in some time in the past. I guess that’s because the past is a formed concept in our minds while the future is just an opaque notion. The past has already happened, and we can look back the attitudes, the clothes the culture and other aspects and say ‘I belong there.’ Of course, such beliefs by those of us who were not actually alive at that time require a degree of editing. In many ways the “good old days” were more old than good. Yes, it would have been great take in a show at Small’s Paradise in the 1920s, hanging out with the Harlem Renaissance artists and thinkers. However, that means that I would be a black man in America in the 1920s and we all know what a hassle that could be.

Still, an artist such as Nicole Henry can be forgiven if she feels like an analog girl in a digital world to quote a line from another artist who fits uncomfortably in the current epoch. Henry’s embrace of the music of the 1970s, as demonstrated on her live album So Good So Right, illustrates the ways that musical styles of the 1970s are more attuned to the gifts that Henry brings to the table. In many ways musical tastes have flipped 180-degrees from the musicianship, lyricism, soulful vocals and sophisticated glamour displayed by artists who strode across the 1970s musical stage.

Similar to singers such as Nancy Wilson, Henry brings a jazz sense of timing and phrasing to her vocals. That is heard in the swaying version of “Waiting in Vain” featured on So Good So Right (Henry fans might recall that she included a version of the Bob Marley classic on her studio album Embraceable). Like Aretha Franklin, Henry can speak a variety of musical languages, and this allows her to shift genres. Henry opens the live set with a funky version of the Stealers Wheel classic “Stuck in the Middle With You.” Henry’s treatment of the tune makes me curious of what she would do with my favorite Rafferty tune, “Baker Street.” She transforms Joni Mitchell’s folksy environmental anthem “Big Yellow Taxi” into a head bopping number that fuses blues and gospel.

While Henry showcases her ability to reimagine a number such as “Stuck in the Middle With You,” she plays it straight on her renditions of Brenda Russell’s “So Good So Right” and the Gladys Knight and the Pips classic, “Neither One of Us.” One aspect of crafting a successful live show lies in the artist’s understanding of when it is appropriate to get forward leaning on an arrangement and when to play it straight. Henry’s honest interpretation of these two classics captures the sense of contentment at the start of a relationship and the pathos of stark realization that is always in attendance at a relationships end.

Being a person who grew up listening to many of these tunes, I have always loved the music of the 1970s. I believe that the decade is underrated musically due largely to the great music made during the 1960s, but the 70s showed a particular strength in terms of musical variety musicianship, lyricism and the overall quality of performers. And while nothing can substitute for the originals, you don’t have to lower your expectations to enjoy listening to a master interpreter such as Henry rework these classics. Recommended. ~ Howard Dukes   http://www.soultracks.com/nicole-henry-so-good-so-right-review

So Good, So Right: Nicole Henry LIVE

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Phil Woods - Groovin' To Marty Paich

Styles: Clarinet and Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 53:08
Size: 123,7 MB
Art: Front

(4:16) 1. Groovin' High
(4:07) 2. Walkin' Shoes
(5:57) 3. I've Never Been In Love Before
(3:35) 4. Round Midnight
(4:19) 5. Donna Lee
(6:49) 6. Moanin'
(4:12) 7. Anthropology
(4:06) 8. Violets For Your Furs
(4:04) 9. Bernie's Tune
(3:13) 10. Airegin
(4:03) 11. Too Close For Comfort
(4:21) 12. Shaw' Nuff

At a 2004 West Coast jazz festival presented by producer Ken Poston, altoist Phil Woods was featured performing Marty Paich arrangements with the Los Angeles Jazz Orchestra. The re-created charts were originally recorded by Art Pepper in the 1950s, with the majority drawn from the famous Art Pepper + Eleven album. Woods has a different sound and a slightly different style than Pepper, but his playing is certainly complementary and a logical choice for this project. Pianist Christian Jacob directed the 12-piece orchestra and, although his verbal introductions are sometimes a bit awkward, the music works quite well. Woods, who takes a rare clarinet solo on "Anthropology" (which he jokes about), is in top form throughout. Highlights include "Groovin' High," "Walkin' Shoes," "Bernie's Tune," and "Shaw 'Nuff." Fans of West Coast jazz will enjoy this intriguing reinterpretation of Marty Paich's classic charts.~Scott Yanow https://www.allmusic.com/album/groovin-to-marty-paich-mw0000253029

Personnel: Alto Saxophone, Clarinet – Phil Woods; Alto Saxophone – Don Shelton ; Baritone Saxophone – Bob Carr; Bass – Chris Conner; Bass Trombone – Rich Bullock; Drums – Paul Kreibich; Piano – Christian Jacob; Tenor Saxophone – Brian Scanlon; Trombone – Scott Whitfield; Trumpet – Frank Szabo, Steve Huffsteter; Vibraphone – Brad Dutz

Groovin' To Marty Paich

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Champian Fulton & Scott Hamilton - The Things We Did Last Summer

Styles: Vocal, Piano And Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 59:03
Size: 142,2 MB
Art: Front

( 7:04) 1. When Your Lover Has Gone
(10:04) 2. Black Velvet
( 6:32) 3. I Cried For You
( 6:08) 4. The Things We Did Last Summer
( 6:47) 5. Too Marvelous For Words
( 7:35) 6. My Future Just Passed
( 7:15) 7. Runnin' Wild
( 7:35) 8. The Very Thought Of You

Sometimes it's destiny. In the case of pianist/vocalist Champian Fulton: Her father, Stephen Fulton, is a jazz trumpeter who, early on, exposed his daughter to the sounds of classic jazz, to the exclusion of the then current popular sounds. Also, legendary trumpeter Clark Terry, Stephen's friend, hung around the Fulton house from Champian's earliest days, and slipped into a mentoring role for the young woman as she became a professional in her pre-teen years. But most tellingly, upon entering kindergarten Fulton experienced her first exposure to the popular music of the day, including the vapid artistry of Madonna. Champian, the musically precocious five year old, found these sounds lacking, so she brought a Charlie Parker album to class for show and tell.

Destined to be a jazz performer, for sure. Some initial impressions of the Champian Fulton/Scott Hamilton offering, Things We Did last Summer: 1. Swing and 4/4 time, laid down so exquisitely, is a balm for the soul. 2. Veteran sax man Scott Hamilton, with scores of album releases under his own name over a forty year career, sounds like the world champion of the tenor sax soulful and robust, eloquent in his issuance intricate and nuanced solos. 3. Champian Fulton could make a fine career as a pianist, but, like Diana Krall, she also developed a first rate jazz singer's skills.

Things We Did Last Summer, like the handful-plus of previous Fulton releases, is an exploration of the Great American Songbook, many of them here the lesser-known gems of the genre. On "My Future Just Passed," a vehicle for Chet Baker, Shirley Horn and many more, Champian and Hamilton trade measured, dynamic solos, Fulton's vocal tinged with a possessive longing bordering for all it's loveliness on a certain possessive ruthlessness concerning the "boy I'll now be a fool about." With the set's opener, "When Your Lover Has Gone," swing is king. Fulton sings it with a devilish gleam in her eye she sounds, always, like she's having the time of her life and she lays down a sparkling piano turn that brings Erroll Garner to mind: crisp, a bit flashy, gleamingly elegant, giving way to Hamilton's articulate, coming-right-at-you tenor sax.

Five of the eight tunes feature Champian's assured, sometimes sly, and slightly feline vocal artistry; three are instrumental quartet offerings. "Black Velvet," the instrumental highlight, would fit right into the groove of a Lou Donaldson album. Fulton and Hamilton roll smooth and easy on the bass/drums cushion of, respectively, Ignasi Gonzalez and Esteve Pl. It's an absolutely first rate band, working some superb arrangements. It brings to mind, in this regard, Billie Holiday's Songs For Distingue Lovers (Verve, 1957), with Ben Webster on sax, and Jimmie Rowles on piano. Jazz for the ages classy and marvelously performed.~Dan McClenaghanhttps://www.allaboutjazz.com/the-things-we-did-last-summer-champian-fulton-blau-review-by-dan-mcclenaghan

Personnel: Champian Fulton - piano and vocals; Scott Hamilton - tenor sax; Ignasi Gonzalez - bass; Esteve Pi - drums

The Things We Did Last Summer

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Orrin Evans - The Magic of Now

Styles: Piano Jazz
File: MP3@320K/s
Time: 57:40
Size: 133,6 MB
Art: Front

(13:48) 1. Mynah / The Eleventh Hour
( 5:54) 2. Libra
( 8:21) 3. The Poor Fisherman
( 8:04) 4. MAT-Matt
( 9:05) 5. Levels
( 8:42) 6. Momma Loves
( 3:43) 7. Dave

Timing is everything, the old masters teach. So pianist/composer/bandleader Orrin Evans drops the brazen The Magic of Now just in time. Just in time for the world to open up, renew its commitment, and move forward. Just in time for all to engage in those necessary conversations about civil upkeep. Put plainly, The Magic of Now is the music to lead the charge. A whirlwind of perpetual buoyancy and boundless risk aversion, the eight easeful dances defining The Magic of Now finds Evans reuniting with bassist Vicente Archer, drummer Bill Stewart, and former music camp student, 23-year-old powerhouse alto saxophonist Immanuel Wilkins for some seriously spirited interaction. Evans (who recently gave notice to The Bad Plus) and company play it full tilt and then some.

Righteous, rowdy, and riotous, joy abounds as the quartet, led by Archer and Stewart, slyly open Stewart's "Mynah" from Telepathy (Blue Note, 1997) and it immediately becomes palpable that these guys are very glad, very effin' glad, to be playing together. To be being together: Wilkins' ascending, Evans comping, and the rhythm, well it's meant to blend with little bother into the ecstatic, blow-the-roof-off, cutting party wit of Mulgrew Miller's "The Eleventh Hour." Anyone not familiar with Wilkins' rapid ride to the top of the young jazz elite need only hear the power and glory of the elders his tone and energy conjure on this track alone. So entranced is Wilkins that Evans, sensing the young'un may blow a gasket, literally wrests the spotlight away by going total Thelonious Monk at about the four-minute mark.

Which brings us to "Libra" and the distinct possibility that Evans just may have penned the anthem for the new world. Sure the tune dates back to 2006 with the trio of Evans, bassist Madison Rast and drummer Byron Landham Live In Jackson, Mississippi (Imani Records), but it doesn't resonate as deeply on that occasion as it does so effortlessly here. An elegiac, light hearted melody that won't let go brings to the fore all of Evans' soulful particulars: Percussive one moment, and poppy the next, riding a tight Stewart groove.

As if to show that he isn't only about the power of his majestic horn, Wilkins delivers "The Poor Fisherman," a knowing, reflective, shimmering ballad that Archer and Stewart whisper around as Evans plays with sentiment and delicacy. Another winner from Wilkins, "Levels" is a relaxed 5/4 that affords Evans and his former student some post bop, one-on-one time. Everyone swings intently on "Momma Loves." As if to remind us that it isn't always party time, the quartet quietly close with Evans' ruminative "Dave," making The Magic of Now a keeper from beginning to end.~MIKE JURKOVIChttps://www.allaboutjazz.com/the-magic-of-now-orrin-evans-smoke-sessions-records

Personnel: Orrin Evans: piano; Vicente Archer: bass; Bill Stewart: drums; Immanuel Wilkins: saxophone, alto.

The Magic of Now

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Gaucho - Thinking Of You

Bitrate: MP3@320K/s
Time: 44:57
Size: 102.9 MB
Styles: Gypsy jazz
Year: 2014
Art: Front

[4:06] 1. Thinking Of You
[4:03] 2. Save It For The Next Guy
[3:10] 3. Sugarspoon Blues
[3:30] 4. Mariposa Waltz
[3:21] 5. The I'm In Trouble Blues
[4:41] 6. Song For Wong
[3:13] 7. The Sometimes I'm Still Blue Blues
[3:33] 8. I Think I'm In Love
[3:10] 9. The Aaron Lackman Blues
[3:50] 10. The Tricycle Waltz
[3:50] 11. San Francisco Song
[4:24] 12. Little Boo

Gaucho has been together and working 4-7 days a week in their home base of San Francisco for over 10 years and tours regularly. Winner's of the SFweekly's reader's poll in 2009 for "Best Jazz and Blues Band," in the time they have been together they have played tons of gigs, made 6 albums, licensed songs for commercials and films, their 2 biggest being Pixar and the Metropolitan Museum of Art in Manhattan

While Gaucho is a gypsy jazz band, they also are deeply inspired by the music of Louis Armstrong, Duke Ellington, Fats Waller, Bix Beiderbecke, Hoagy Carmichael, James P. Johnson and much of the early American Jazz and Blues musics. Due to the fact that all the band members were born in the later part of the 20th century, they are also all influenced by the music they grew up with. Gaucho feels that while they love the music of the 1920's-1940's and that those sounds are their focus, they are also still alive today and strive for a fresh and living take on these older styles!

The band centers around the trio of Dave Ricketts (guitarist, composer and bandleader for Gaucho) Rob Reich, Accordionist extraordinaire and the wonderful bassist, Ari Munkres. Craig Ventresco and Victor Wong do some sweet guitar playing in the band as well as Ralph Carney on Saxophone and Steve Apple on drums! Also, as the band has grown over the years, it has earned the respect of other great musicians and some have graciously recorded with the band. It is a deep honor to list the following names: Leon Oakley, the cornetist of SF's Turk Murphy Band, Clint Baker, Marty Eggers, NYC's Tamar Korn co-wrote songs with Ricketts for the Gaucho CD,"Pearl" and star vocalist of "Part-Time Sweetheart," Georgia English.

Gaucho plays many Bay Area gigs but the band is best known for it's now 12+ year residency at Amnesia on Wednesday nights from 8:00-10:00 PM at 853 Valencia Street in San Francisco's Mission District.

Thinking Of You

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Beverly Kenney - Sings With Jimmy Jones

Bitrate: MP3@320K/s
Time: 34:20
Size: 78.6 MB
Styles: Jazz vocals
Year: 1956/2013
Art: Front

[2:54] 1. A Fine Romance
[2:35] 2. Who Cares What People Say
[3:05] 3. Isn't It A Lovely Day
[2:48] 4. Mairzy Doats
[3:19] 5. Nobody Else But Me
[3:05] 6. The More I See
[2:45] 7. Old Buttermilk Sky
[3:52] 8. I Never Has Seen Snow
[2:04] 9. Makin' Whoopee
[2:32] 10. The Charm Of You
[2:26] 11. My Kind Of Love
[2:47] 12. Can't Get Out Of This Mood

Beverly Kenney, one of the most interesting jazz singers of the mid-'50s, led just three albums in her brief career. This set, reissued by the Spanish Fresh Sound label, teams Kenney with pianist Jimmy Jones, four then-current members of Count Basie's band (trumpeter Joe Newman, Frank Wess on tenor and flute, rhythm guitarist Freddie Green, and bassist Eddie Jones), plus former Basie-ite Jo Jones on drums. The light but swinging backing is perfect for Kenney, who excels on such songs as "Nobody Else But Me," "A Fine Romance," "Isn't This a Lovely Day," and "Can't Get Out of This Mood." She deserves to be remembered. ~Scott Yanow

Sings With Jimmy Jones

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Kenny Barron & Buster Williams - Two as One

Styles: Piano Jazz, Bop
Year: 1986
File: MP3@320K/s
Time: 51:05
Size: 117,1 MB
Art: Front

(11:08) 1. All of You
(11:31) 2. This Time the Dream's on Me
( 3:58) 3. Someday My Prince Will Come
(15:53) 4. I Love You
( 8:35) 5. My Funny Valentine

Kenny Barron is joined by Buster Williams for this live set from the 1986 Umbria Jazz Festival. Since the two had worked together on a number of recording sessions previously, they were very familiar with each other's skills and they mesh very well on all five of the standards on this date. Williams is not a mere accompanist but a musical equal who finds interesting paths when the pianist is in the lead. Barron's inventive approach to these chestnuts is always inventive, especially in the extended takes of "All of You," "This Time the Dream's on Me," and "I Love You." "Someday My Prince Will Come" is rather brief by comparison to the remaining performances, but the novel treatment includes repeating several of the phrases within its structure before moving on, as well as Williams' pulsing repeated bassline. "My Funny Valentine" especially benefits from Barron's bittersweet arrangement. This rewarding date should be considered essential.~Ken Drydenhttps://www.allmusic.com/album/two-as-one-mw0000652219

Personnel: Kenny Barron – piano; Buster Williams – bass

Two as One

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Connie Francis - Songs To A Swinging Band

Bitrate: MP3@320K/s
Time: 32:51
Size: 75.2 MB
Styles: Standards
Year: 1961/2007
Art: Front

[2:31] 1. You're Nobody 'til Somebody Loves You
[3:02] 2. Ol' Man Mose
[2:57] 3. How Long Has This Been Going On
[2:42] 4. My Love, My Love
[4:12] 5. It Might As Well Be Spring
[2:15] 6. Taboo
[2:14] 7. Love Is Where You Find It
[2:47] 8. I Got Lost In His Arms
[2:03] 9. Dat's Love
[3:05] 10. Angel Eyes
[2:38] 11. Gone With The Wind
[2:22] 12. Swanee

Connie Francis pays tribute to the songs and styles of the 1920s and '30s on this album of standards arranged and conducted by Richard Wess. Francis effectively belts out songs like "You're Nobody 'Til Somebody Loves You" and "Swanee" and also handles ballads like "I Got Lost in His Arms" and "Angel Eyes" well.~William Ruhlmann

Songs To A Swinging Band

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Dave Stryker - As We Are

Styles: Guitar Jazz
File: MP3@320K/s
Time: 55:55
Size: 130,1 MB
Art: Front

(1:10) 1. Overture
(6:13) 2. Lanes (feat. Brian Blade)
(8:58) 3. River Man (feat. Sara Caswell)
(6:28) 4. Hope (feat. John Patitucci)
(5:52) 5. Saudade (feat. Julian Shore)
(7:17) 6. One Thing at a Time (feat. Julian Shore)
(5:45) 7. As We Were (feat. John Patitucci)
(7:17) 8. Dreams Are Real
(6:52) 9. Soul Friend (feat. Sara Caswell)

Pat Metheny has a section of his website entitled "Pat Recommends," where he discusses jazz guitarists whom he believes are "making the best music of their careers" on their recent recordings. Dave Stryker is one of the musicians Metheny mentions, and this is certainly an accurate assessment. Dave Stryker has established himself as one of the foremost guitarists in jazz, and with As We Are, he adds another important contribution to his discography. Stryker has a phenomenal work ethic. He's been playing professionally since the seventies, and has worked with an impressive list of artists, including Jack McDuff, Stanley Turrentine, Eliane Elias, and many others.

He's also had a successful solo career, including his popular Eight Track (2016) series, Blue Soul (2020) with Bob Mintzer and the WDR Big Band, and Baker's Circle (2021), all on Strikezone Records. Along with these accomplishments, he is an Adjunct Professor of Jazz guitar at the Jacobs School of Music at Indiana University, the Mason Gross School of the Arts at Rutgers University, and the John J. Cali School of Music at Montclair State University. He is also actively involved in providing online jazz guitar tutorials. As We Are marks Stryker's 34th album as a leader, and it proves that he is a continuously evolving artist whose music just seems to get better with each release. Here he teams up with bassist John Patitucci, pianist Julian Shore, and drummer Brian Blade. Along with these musicians, Stryker has added a string quartet, featuring Sara Caswell and Monica K. Davis on violin, Benni von Gutzeit on viola, and Marika Hughes on cello.

Although primarily recognized as a guitarist, As We Are highlights Stryker's talents in composition as well. Almost all of the selections included are Stryker originals, and they show a slightly different side of his music. While many of his past recordings feature a groove-oriented small group setting, the instrumentation here relies heavily on string arrangements. Obviously, incorporating strings into jazz is nothing new, but Stryker's approach is somewhat different from many traditional string arrangements. As he explains, "I always wanted to do something where strings would really be integrated into the music, not a coloring or sweetening that comes later." The interaction of the string quartet with the traditional group format helps give the album a slight film soundtrack feel, and the artwork seems to reflect its musical narrative. The cover shows what appears to be a series of windows, drawing the eye from one room to another. Each song seems to tell its own story, but they are all connected through a central thread.

The compositions featured on As We Are show a wide range of jazz influences. From the Brazilian flavors of "Hope" or "Saudade" to "One Thing At A Time," with its 60s classic Herbie Hancock and Wayne Shorter undertones, the album has many effective nuances. Along with these influences, Stryker also includes a beautiful cover of Nick Drake's "River Man." Throughout the album, the level of musicianship is impressive. Each of the players here is in top form. Stryker's guitar technique is excellent as always, and even though the musical style might be a bit different from what some might expect from him, this album is among his finest achievements. As Stryker points out, "it's my dream project," and As We Are is a deeply satisfying album on many levels. This is definitely one of the most thought-provoking and beautifully-crafted albums to come along in recent times.~KYLE SIMPLER https://www.allaboutjazz.com/as-we-are-dave-stryker-strikezone-records

Personnel: Dave Stryker: guitar; John Patitucci: bass, acoustic; Julian Shore: piano; Brian Blade: drums; Sara Caswell: violin; Monica K. Davis: violin; Benni von Gutzeit: viola; Marika Hughes: cello.

As We Are

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Beegie Adair - Grover's Hat Project

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 58:49
Size: 135,2 MB
Art: Front

(4:46) 1. Darkness on the Delta
(3:39) 2. King Size Papa
(4:02) 3. Tomorrow Night
(4:03) 4. San Antonio Rose
(3:33) 5. Anytime
(4:56) 6. That’s My Desire
(3:31) 7. Honey Come and Dance with Me
(3:26) 8. Among My Souvenirs
(3:45) 9. If I Could Be with You (One Hour Tonight)
(3:04) 10. Someday Soon, Sweetheart
(4:28) 11. The Gypsy
(2:53) 12. Twelfth Street Rag
(2:53) 13. You Made Me Love You
(5:19) 14. Just a Little Lovin’
(4:25) 15. That’s My Desire (Bonus Track)

Produced by Adair Music Group, LLC, GROVER'S HAT PROJECT is a new musical experience for fans of The Beegie Adair Trio! Recorded at the legendary RCA Studio A, it is a look back at the Blues, Western Swing, Honky Tonk and the Forties' Standards. Featuring legendary instrumentalists and vocalists like Vince Gill, Delbert McClinton, Connie Smith, Ray Stevens, Ranger Doug, Charlie McCoy and many more, GROVER'S HAT PROJECT will make you want to try a little two-step with your favorite dance partner! Accepting pre-orders. Scheduled release date is December 11th. CDs will be mailed, via USPS first class or media mail. Dates subject to change. While supplies last. https://beegieadair.com/album/925194/grover-s-hat-project

R.I.P.

Born: December 11, 1937

Died: January 23, 2022

Grover's Hat Project

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Beverly Kenney - Like Yesterday

Styles: Jazz, Vocal
Year: 1959
File: MP3@320K/s
Time: 26:12
Size: 67,8 MB
Art: Front

(2:15)  1. Undecided
(2:09)  2. Sentimental Journey
(2:24)  3. I Had The Craziest Dream
(1:47)  4. And The Angels Sing
(2:41)  5. More Than You Know
(1:48)  6. The Dipsy Doodle
(2:20)  7. What A Difference A Day Made
(2:05)  8. Somebody Else Is Taking My Place
(2:34)  9. A Sunday Kind Of Love
(1:38) 10. Any Old Time
(2:22) 11. Happiness Is A Thing Called Joe
(2:02) 12. Tampico

With Like Yesterday, Beverly Kenney updates a series of pop standards with a formula rooted in the archly modern sound of Eisenhower-era jazz. Experienced decades after the fact, the album boasts a timelessness that renders its basic conceits of time and place moot, especially given that the fierce intelligence of Kenney's phrasing and the sultry depth of her vocals contrast so sharply with the Doris Day stereotypes associated with the period in question. Backed by a small but exemplary supporting cast including guitarist Chuck Wayne and reedist Jerome Richardson, Kenney eschews embellishment and excess in favor of lean, taut arrangements that emphasize emotional context, Her readings of familiar songs like "More Than You Know" and "A Sunday Kind of Love" possess a startling intimacy.~Jason Ankeny http://www.allmusic.com/album/like-yesterday-mw0000529647

Like Yesterday

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Steve Slagle - Plays Monk

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 60:42
Size: 139,6 MB
Art: Front

( 6:45)  1. Think Of One
(11:20)  2. Worry Later
( 7:12)  3. Ugly Beauty
( 5:23)  4. Criss Cross
( 7:58)  5. Jackie-Ing
( 4:52)  6. Monk
( 4:33)  7. Light Blue
( 6:02)  8. Bemsha Swing
( 6:33)  9. Epistophy

Well, let's admit it; the whole idea of doing tribute albums has really gotten out of hand recently. But if you're going to do this type of thing, then saxophonist Steve Slagle and his talented crew have the right idea. For starters, a piano is nowhere to be heard from, with the chameleon-like guitar of Dave Stryker taking on the chordal functions. Right there we avoid any inclinations to produce a mere clone of the original. And instead of delivering the umpteenth version of "Round Midnight" or "Straight, No Chaser," Slagle has opted for a more intelligent selection of Monk charts while including one original of his own (this simply-titled affair, "Monk," also happens to be one of the highlights of the entire disc).  While it would have seemed logical for Slagle to pursue perhaps a tribute to Mingus, owing to his time currently spent with the Mingus big band, the Monk concept actually fits him quite well. His pungent alto, along with Stryker's biting tone, gives this music a contemporary edge that offers a new stance without sacrificing integrity. As an added bonus, Slagle pulls out his alto clarinet on "Jackie-ing" to great effect, at times suggesting the collective attack of Don Byron's work with Bill Frisell. Throughout, bassist Anderson and drummer Nussbaum are supportive and interactive, with Stryker's voicings often suggesting a larger front line than what we have in reality. In the final analysis, what a breath of fresh air it is to find a tribute album that manages to tip a hat to its honoree while also maintaining an identity and integrity of its own. And for anyone out there still ill at ease regarding the future survival of jazz, the sounds of Slagle and Stryker, both as a pair and separately, are just a few of the many coming from committed players who are proving you don't have to reject tradition in order to innovate. ~ C.Andrew Hovan https://www.allaboutjazz.com/steve-slagle-plays-monk-steve-slagle-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Steve Slagle- alto saxophone & alto clarinet (track 5 only), Dave Stryker- guitar, Jay Anderson- bass, Adam Nussbaum- drums

Plays Monk

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Misha Tsiganov Quintet - Misha's Wishes

Styles: Piano Jazz
File: MP3@320K/s
Time: 66:46
Size: 154,9 MB
Art: Front

(7:13) 1. Fire Horse
(8:32) 2. Strike up the Band
(5:34) 3. Misha's Wishes
(6:09) 4. There Was a Birch Tree in the Field, So What
(2:18) 5. Lost in Her Eyes
(6:08) 6. Just a Scale
(8:20) 7. Give Me Five
(7:15) 8. Hope and Despair
(7:21) 9. Comrade Conrad
(7:51) 10. Are You with Me

Misha Tsiganov, who lived in Leningrad in the former Soviet Union until he emigrated to the U.S. in 1991, has never shied away from a challenge. That's apparent from the level's of complexity that Tsiganov embeds in the 18 arrangements and 9 originals on his three prior Criss Cross Albums.

As written in the liner notes for the album Spring Feelings, Tsiganov has established a signature blend of mixed meters, shifting tempos, changing keys and re-harmonization that he deploys in order to insure 'that something is happening’, so the listener doesn't fall asleep.

Tsiganov's latest, Misha's Wishes, doesn't eschew technical complexity. But the feel of this sophisticated, emotionally nuanced program - performed by old friends Alex Sipiagin, Seamus Blake, Boris Kozlov and Donald Edwards, with whom Misha Tsiganov feels such simpatico is different than its predecessors. https://www.challengerecords.com/products/16385399148366

Personnel: Misha Tsiganov: piano, Fender Rhodes; Alex Sipiagin: trumpet, flugelhorn; Seamus Blake: tenor saxophone; Boris Kozlov: bass; Donald Edwards: drums

Misha's Wishes

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Sylvia Bennett - Sonrie

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 39:18
Size: 90,3 MB
Art: Front

(3:28) 1. Mirada De Amor
(3:12) 2. Besame Mucho
(3:22) 3. Por Ti
(3:56) 4. Sonrie
(2:38) 5. Quien Sera
(3:04) 6. Somos Novios
(2:40) 7. Cuando Vuelva A Tu Lado
(3:44) 8. Tanto Vivir
(3:54) 9. Perfidia
(3:43) 10. La Sombra De Tu Amor
(2:39) 11. El Reloj
(2:53) 12. Sabor A Mi

Inspired by her passion for Latin music and culture, Sonríe realizes one of Sylvia Bennett’s most cherished dreams: a Spanish language recording of timeless classics. Lose yourself in the Grammy nominated artist’s sultry voice a voice first discovered by jazz legend, Lionel Hampton, and lauded by U.S. Presidents and critics alike. Sonríe is an irresistible Latin seduction, a tropical concoction as intoxicating as a first kiss.

“Grammy award winning vocalist Sylvia Bennett releases Sonríe, a jazz standards release with a new twist, well a Latin tinged one at least. In an era where a high percentage of jazz vocalists focus on the technique and articulation of the notes, it is refreshing to hear a master of song stylings put her spin on classic jazz standards completely sung in Spanish. So what about the authenticity you ask? Italian born, Bennett an always striving for perfection and reaching new heights (no wonder Lionel Hampton hired her permanently) artist procured a language coach (Juan Angelogianopulos) to make sure her journey would be flawless, and I must say that it is. Bennett shines; she lures the listener in with her luxurious voice and golden pipes, then sets the mood and delivers just the right atmosphere no matter the language for the listener.” http://www.sylviabennett.com/music_sonrie.html

Sonrie

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Herb Ellis - Late Date

Bitrate: MP3@320K/s
Time: 102:38
Size: 234.9 MB
Styles: Guitar jazz
Year: 2018
Art: Front

[4:03] 1. Detour Ahead
[4:51] 2. Somebody Loves Me
[4:50] 3. Blues For Junior
[4:49] 4. Royal Garden Blues
[7:16] 5. Late Date
[3:20] 6. Clo's Blues
[6:04] 7. Patti Cake
[7:16] 8. Blues For Janet
[3:31] 9. Sweet Lorraine
[6:18] 10. Have You Met Miss Jones
[3:44] 11. It Could Happen To You
[6:01] 12. Soft Winds
[4:29] 13. Makin' Whoopee
[4:09] 14. A Simple Tune
[2:59] 15. Tin Roof Blues
[5:38] 16. Big Red's Boogie Woogie
[7:05] 17. Pap's Blues
[4:41] 18. Sweetheart Blues
[4:20] 19. Phil's Tune
[3:49] 20. Ellis In Wonderland
[3:15] 21. Les Tricheurs

An excellent bop-based guitarist with a slight country twang to his sound, Herb Ellis became famous playing with the Oscar Peterson Trio during 1953-1958. Prior to that, he had attended North Texas State University and played with the Casa Loma Orchestra, Jimmy Dorsey (1945-1947), and the sadly under-recorded trio Soft Winds. While with Peterson, Ellis was on some Jazz at the Philharmonic tours and had a few opportunities to lead his own dates for Verve, including his personal favorite, Nothing But the Blues (1957). After leaving Peterson, Ellis toured a bit with Ella Fitzgerald; became a studio musician on the West Coast; made sessions with the Dukes of Dixieland, Stuff Smith, and Charlie Byrd; and in the 1970s became much more active in the jazz world. He can be heard on the first three releases issued by the Concord label, interacting with Joe Pass on the initial two, and he toured with the Great Guitars (along with Byrd and Barney Kessel) through much of the 1970s into the '80s. After a long series of Concord albums, Ellis cut a couple of excellent sessions in the 1990s for Justice, as well as 1999's Burnin' on Acoustic Music. After battling Alzheimer's disease, Herb Ellis died at the age of 88 at his home in Los Angeles on March 28, 2010. ~ Scott Yanow

Late Date

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Beverly Kenney - Snuggled On Your Shoulder

Styles: Vocal
Year: 1954
File: MP3@320K/s
Time: 34:50
Size: 80,4 MB
Art: Front

(2:54)  1. Tea For Two
(1:43)  2. There Will Never Be Another You
(2:44)  3. The Things We Did Last Summer
(1:54)  4. Moe's Blues
(2:48)  5. Can't Get Out Of This Mood
(1:57)  6. Surrey With The Fringe On Top
(2:15)  7. Snuggled On Your Shoulder
(2:46)  8. That's All
(2:13)  9. Ball And Chain (Sweet Lorraine)
(2:02) 10. A Foggy Day
(2:14) 11. Surrey With The Fringe On Top
(2:26) 12. Violets For Your Furs
(1:57) 13. Mountain Greenery
(4:53) 14. Almost Like Being In Love

Notes for original 2006 Japanese issue.
Beverly Kenney was born in Harrison, New Jersey on January 29,1932, and began her professional singing career in Miami Beach in 1953. The following year she joined the Dorsey Brothers band, but only remained with them for a few months before going solo again. In 1955 alone she recorded three albums, accompanied by the likes of groups led by Ralph Burns, Johnny Smith and a small contingent from Basie band for the small but prestigious Roost label. And there were appearances in a number of top clubs, like Chicago's Mister Kelly's, and on major national TV shows such as Steve Allen's. In 1957 she signed with a major label, Decca. But by 1960, it was all over. Beset by changing mass tastes in music (Kenny once wrote a song entitled "I Hate Rock and Roll"), suffering money woes, and complicated by undiagnosed manic depression, on April 16th of that year she committed suicide It is somehow fitting that issue of this previously unreleased vocal-piano set, the first "new" material by Beverly Kenney in nearly half-a-century should occur in Japan where critics and fans have long continued to revere and appreciate her.~Bill Reed

Notes for 2010 re-issue:

Whether there is a connection or not, in the ensuing years following the release of "Snuggled" and of two subsequent SSJ Records (Japan) issues of unreleased Kenney, there continues an ever-increasing interest in the singer. More surprisingly, in the West she is also starting to become something of a known musical quantity. But there is little doubt about the impact on public awareness regarding Kenney that resulted from the article by New York broadcaster Jonathan Schwartz in the November '92 issue of GQ magazine. The five songs listed as "alternate versions" appeared on Kenney's first and third (of three) Roost label recordings. These albums were followed by three more albums and a handful of singles on Decca. According to those who were around the singer at the time, the making of her third release for that outfit, Like Yesterday, was an especially trying time. She was only able to complete the sessions with the help and guidance of a psychotherapist. Shortly afterward, she took her own life.~B.R. http://www.cdbaby.com/cd/BeverlyKenney

Note: Two of these tracks, Violets for Your Furs and Mountain Greenery were never performed by the Kenney on any other recording.

Snuggled On Your Shoulder

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Matt Dusk - JetSetJazz

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 30:33
Size: 72,0 MB
Art: Front

(3:20) 1. Let’s Hop On A Plane!
(2:42) 2. Lo Siento
(2:24) 3. Kicks In The 6ix
(4:01) 4. Nothing On You
(2:50) 5. Lovers Lane
(3:27) 6. Four Seasons
(2:28) 7. My Paris Is You
(2:55) 8. Rich In Love
(2:47) 9. I’ll Find You
(3:35) 10. All Because Of You

Multi-award-winning, Platinum-selling artist Matt Dusk has been enthralling audiences around the world for years, leaving in his wake a series of radio hits, acclaimed albums, and a loyal fan base that continues to grow with every passing year. He has had three number one radio hits: All About Me, Back in Town and Good News, is an alumnus of the St. Michael’s Choir School and studied under jazz piano legend Oscar Peterson at York University. Dusk has been awarded three GOLD albums: Two Shots, Good News and JetSetJazz and three PLATINUM albums: My Funny Valentine, Just The Two of Us and Old School Yule! Notable award nominations include, five JUNO awards, one ADISQ, one Róze Gali: Muzyka and a Dimond from Trójka PR3 in Poland. https://www.mattdusk.com/#Discography

Crooners like Toronto’s Matt Dusk has taken what he has learned from the greats and molded it for a modern audience.~ LA Times

Blending distinctly Sinatra-esque swagger, Dusk is waist deep in grandiose arrangements that are dripping with Sin City excess and turns the clock back some four decades with excellence Jazz Times
Matt Dusk impressively brings Las Vegas back to the glory days as the standards singer sounds remarkably like Rat Packer Frank Sinatra.~ Billboard

JetSetJazz

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