Monday, January 31, 2022

Johnny Smith - My Dear Little Sweetheart

Styles: Guitar Jazz
Year: 1960/2011
File: MP3@320K/s
Time: 36:25
Size: 84,4 MB
Art: Front

(3:45) 1. My Dear Little Sweetheart
(3:45) 2. Indian Summer
(3:08) 3. Softly, as in A Morning Sunrise
(4:20) 4. All the Things You Are
(3:53) 5. It's So Peaceful in The Country
(3:14) 6. Once In A While
(3:27) 7. Flamingo
(3:06) 8. Spring is Here
(3:49) 9. Violets For Her Furs
(3:53) 10. It Never Entered My Mind

Guitarist Johnny Smith's career spans the decades of the 1940's through the 1990's. From the very beginning of his musical career he influenced the playing of other guitarists. In fact, many mention Smith as a major influence on their playing. The major guitar builders as Guild, Gibson, Benedetto, and the Heritage all have their signature Johnny Smith high end models as a tribute to this master. John Henry Smith, Jr. was born in Birmingham, Alabama in 1922 and was only five years old when he became fascinated with the guitar. His father played five-string banjo but guitar was John's first and lasting love. Initially he was frustrated by the lack of a guitar teacher or instruction manuals: determined to master the instrument, he taught himself to play. Many outstanding and individual jazz soloists have fallen back on the empirical method for the same reason as Smith and emerged with wholly distinctive sounds. In 1935 the Smith family moved to Portland, Maine: Johnny was 13 and good enough to play in local bands.

In 1942 he joined the USAAF (he was already a student pilot) and ended up in a band which needed a cornet player rather than a guitarist. In six months he had learned the cornet well enough to be given the position of first cornetist. After his discharge from the Air Force in 1946 he went back to Portland to play both guitar and trumpet on local radio as well as playing in clubs at night, but the pay was never very good. He went to New York to work as an arranger at NBC and in 1947 he became a member of the NBC orchestra. For eight years he worked with the orchestra as guitarist, trumpeter, arranger and composer.

Although he had been greatly influenced by Django Reinhardt and Charlie Christian at the outset (he learned Django's solos from record and actually met the Gypsy guitarist when he came to the United States in 1946) Johnny did not consider himself to be a jazz musician. Nevertheless, he made his first record as leader in March 1952, in the company of Stan Getz, Eddie Safranski, Sanford Gold and Don Lamond. One title from that date, “Moonlight in Vermont,” was a turning point in Smith's career despite its short duration. “Vermont” was made for the Royal Roost label (frequently abbreviated to Roost Records) and the company signed Smith to a long-term contract during which time he produced around 20 albums. Roost was later absorbed by Roulette which reissued several of Johnny's LPs. Most of the albums featured solo guitar or a trio; two backed Smith with strings playing arrangements the guitarist wrote himself. There was a great appeal to Smith's graceful, melodic treatment of superior tunes. Not only the record-buying public but hundreds of guitarists found the music entrancing. The dexterous fingering, the perfection of manner in which he ran chords and arpeggios, all contributed to the acclaim for Johnny's work.

During his tenure at Roost Records, he produced a long list of significant recordings that include the great quartet recordings: “The Johnny Smith Quartet,” and “The Sound of The Johnny Smith Guitar” among others. Also, during this period he made the “Man With The Blue Guitar.” This album, unusual for its time, has probably been transcribed more than any other Johnny Smith recording. Then there was the production “Annotations of The Muses,” on which Johnny Smith displays everything that made him a great musician and an extraordinary guitar player. Johnny Smith retired from the jazz scene in the 1960's to Colorado where he opened a music store. He continued to play in local nightclubs and made a recording with some local musicians “Reminiscing,” that showed he had lost none of the signature Johnny Smith style or technique. His last recorded work was the Concord Records CD “Legends,” in 1994.

The Johnny Smith Guitars:

In 1955, after discussions with the Guild Guitar Company, Smith designed a guitar and sent the drawings and specifications to the company. The Guild designers modified it (to Smith's dissatisfaction), and manufactured the resulting guitar as the Guild Johnny Smith Award.

In 1961, Gibson, went to meet the retired Smith at his home in Colorado Springs. Smith designed the guitar he wanted built. The design was accepted by Gibson with a few minor cosmetic changes which were acceptable to Smith. Gibson began production of the resulting Gibson Johnny Smith model that year. Guild continued to produce their Johnny Smith guitar under the model name Guild Artist Award.

When Gibson moved its manufacturing facilities from Kalamazoo, Michigan to Nashville, Tennessee, several of their managers and artisans chose to stay behind. Many of these ex-employees formed Heritage Guitars and bought the old Kalamazoo factory from Gibson. Given a choice between Gibson and Heritage building the guitar that bore his name, Smith chose to stay with the old artisans at the old location under new ownership. The Heritage Johnny Smith model was introduced in 1989. Like Guild before them, Gibson continued to manufacture their version of the Johnny Smith design with a new name: the Gibson LeGrand.

Fender Musical Instruments Corporation, of which Guild Guitars was a subsidiary, asked Smith if he would be willing to return his endorsement to the Guild Artist Award. Familiar with Schultz's management, and knowing that the construction would be supervised by master luthier Bob Benedetto, Smith agreed. The Guild Johnny Smith Award by Benedetto was available through Guild dealers until early 2006 when Benedetto left Fender. https://www.allaboutjazz.com/musicians/johnny-smith

My Dear Little Sweetheart

Fourplay - Energy

Styles: Jazz, Crossover Jazz
Year: 2008
File: MP3@320K/s
Time: 50:25
Size: 115,6 MB
Art: Front

(5:52) 1. Fortune Teller
(5:25) 2. The Whistle
(4:17) 3. Ultralight
(4:57) 4. Cape Town
(5:07) 5. The Yes Club
(3:09) 6. Prelude For Lovers
(6:35) 7. Look Both Ways
(5:21) 8. Argentina
(4:54) 9. Comfort Zone
(4:45) 10. Sebastian

Fourplay is as much a conundrum as a contrivance. Their punning name suggests sexy jazz and both levels are sometimes achieved but if this collective's aim of producing what is, after all, supposed to be "pretty music" meets its goal, it may sell millions but it rarely rises above agreeable (for those paying attention) or merely listenable (for those doing other things). Energy, the foursome's eleventh release and seventh with Larry Carlton in place of original guitarist Lee Ritenour, continues this foray but with slightly better than average results. While no Fourplay album has ever produced any definitive musical statement, the eponymous first album (Warner Bros., 1991) contains many of what remains today to be the band's best and best-known music ("Bali Run," "101 Eastbound," "Moonjogger").

It also set the group's "fourmula" "Bali Run" rewrites, a strikingly anonymous ballad featuring a high-profile or label-mate singer and low-key riff-based tunes from each of the group's four leaders. Only occasionally has the group appeared to go for something greater. Several examples include "Chant" from Between The Sheets (Warner Bros., 1993), Snowbound (Warner Bros., 1999), a charming and unusual holiday collection, and the quite fine Heartfelt (Bluebird, 2002).

Here, they may have actually come up with the "energy" to make something that matters slightly more than usual. As always, keyboardist Bob James and guitarist Larry Carlton are the predominant soloists although bassist Nathan East's occasional warm vocalizations give this band its distinct personality and while James often contributes the stronger tunes, Carlton steps up here with two mildly funky gems, "Ultralight," offering a brief and welcome respite by Bob James on Fender Rhodes, and "Comfort Zone," which seems to have jumped right out of the Crusaders catalog (Carlton was one of the Crusaders in the 1970s). But, like so much in the Fourplay band book, even these lack the sort of drama or sustained interest that make a memorable tune compelling.

Bob James contributes three interesting compositions, most notably the enchanting "Sebastian," which is based on a beautiful Bach piano piece and nicely recalls his synth-driven take on Beethoven's Ninth Symphony, "Ludwig," from 1983. James mines more of his past on "The Yes Club," a jaunty sprite that echoes his Lucky Seven (Columbia, 1979) fusion days and "Look Both Ways," which initially suggests One On One (CBS, 1979), his 1979 foray with Earl Klugh, then moves to suggest a few pieces on the pair's 1992 collaboration, Cool (Warner Bros., 1992). Indeed, "Look Both Ways" offers one startling minute that is the jazziest and most exciting this foursome has ever gotten. This is the way to look.

With four players of the caliber of Bob James, Larry Carlton, Nathan East, and Harvey Mason, talented and experienced beyond imagination and certainly capable of choosing their own direction, it's easy to hope for more than what Energy provides. But now, well past the group's 15-year mark, it's unreasonable to expect any substantial change. Despite this, Energy lives up to its claim, invigorating Fourplay to deliver one of its more interesting and enjoyable releases.~Douglas Paynehttps://www.allaboutjazz.com/energy-fourplay-heads-up-international-review-by-douglas-payne

Personnel: Bob James: keyboards; Nathan East: bass, vocals (4, 10); Larry Carlton: guitar; Harvey Mason: drums; Sara East: background vocal (4); Noah East: background vocal (4); Elijah East: background vocal (4); Marcel East: programming (4), percussion (4), keyboards (4), guitar (4); Esperanza Spalding: vocals (6).

Energy

Johnny Smith - The Sound Of The Johnny Smith Guitar

Bitrate: MP3@320K/s
Time: 69:40
Size: 159.5 MB
Styles: Guitar jazz
Year: 1961/2001
Art: Front

[4:45] 1. Come Rain Or Come Shine.
[3:20] 2. Gypsy In My Soul
[4:54] 3. Embraceable You
[5:28] 4. Misty
[4:04] 5. As Long As There's Music
[4:28] 6. Round Midnight
[3:20] 7. This Can't Be Love
[3:56] 8. Blues Chorale
[1:26] 9. Prelude
[2:42] 10. I Got It Bad (And That Ain't Good)
[2:20] 11. Let's Fall In Love
[4:58] 12. The Virus
[2:28] 13. Some Of These Days
[2:11] 14. You Took Advantage Of Me
[2:29] 15. Over The Rainbow
[3:37] 16. Out Of Nowhere
[3:33] 17. Prelude To A Kiss
[3:32] 18. Un Poco Loco
[3:01] 19. Hippo The Sentimental
[2:57] 20. It's You Or No One

When cool-toned guitarist Johnny Smith left New York for Colorado in the mid-'50s, he didn't hang up his guitar. He continued to play locally and make occasional trips back to the Big Apple to record. The two sessions included on The Sound of the Johnny Smith Guitar were the results of two trips in 1960 and 1961. Just about everything goes right on these sessions. Smith's guitar especially shines in the company of pianist Hank Jones, bassist George Duvivier, and drummer Ed Shaughnessy in the second set. There's a lovely, soulful version of "'Round Midnight," with a nice long solo by Smith (he even bends a blue note or two) and a shorter, though poignant one, by Jones. The band goes into overdrive for "This Can't Be Love," filling it with bouncy rhythm and sharp lead work. Pianist Bob Pancoast, bassist George Roumanis, and drummer Mousey Alexander join Smith on the 1960 session, originally issued as Johnny Smith Plus the Trio. As with the 1961 set, solid instrumental choices like "Some of These Days" and "Hippo the Sentimental Hippy" brighten up the proceedings. The band also bravely tackles Bud Powell's "Un Poco Loco," kicking it off with an extended, fiery drum workout by Alexander. In fact, the band doesn't join in until the last minute of the piece. Whether one considers the choice selections, good accompaniment, or wonderful guitar work by Smith, The Sound of the Johnny Smith Guitar is a lovely album and a good introduction to a fine guitarist. ~Ronnie D. Lankford Jr.

The Sound Of The Johnny Smith Guitar

The Le Coq All Stars - Le Coq Records Presents: The Jazz All Stars Vol.2

Styles: Jazz
File: MP3@320K/s
Time: 57:45
Size: 133,2 MB
Art: Front

(6:39) 1. Whatever You Say
(7:07) 2. Witches
(4:55) 3. Yesterday's
(5:55) 4. The Before Times
(5:37) 5. Freddie's Blues
(5:46) 6. Doodlin'
(7:31) 7. Balinda
(7:18) 8. Around the Corner
(6:53) 9. Danse

Le Coq Records presents The Jazz All Stars Vol. 2 offers a vibrant calling card for a label quickly taking its place at the vanguard of modern jazz. "The Jazz All-Stars Vol. 2 shows a little of everything Le Coq is about, from its compositional temperament to the high sonic quality," says label founder Piero Pata. ", "There's quite a mix of sounds and styles, and I feel that the album really shows off the talents of our wonderful artists. John Patitucci holds everything together magnificently so that Andy James' gorgeous vocals and the dazzling solos of Chris Potter, Rick Margitza, and Terell Stafford - just to name a few can shine."

Much of the roster on the new release has returned from Volume 1, including Cunliffe and Beasley; bassists Patitucci and Chris Colangelo; drummers Vinnie Colaiuta and Marvin "Smitty" Smith; percussionist Alex Acuña; trumpeter Terell Stafford; saxophonist Margitza; guitarist Jake Langley and vocalist James, among others. Volume 2 bolsters the line-up with such heavy hitters as saxophonists Chris Potter and Bob Sheppard; bassist Ben Williams; drummers Marcus Gilmore and Terreon Gully; trombonist Michael Dease; keyboardist Jon Cowherd; guitarists Russell Malone and Paul Jackson Jr.; and trumpeter Rashawn Ross.

This staggering stable of in-demand artists harkens back to the music's golden age, a time when (jazz) giants walked the earth and crossed paths in myriad combinations under the auspices of their shared labels. Pata conceived of that model when he dreamed of gathering the greatest modern musicians to record for Le Coq. Like its predecessor, The Jazz All-Stars Vol. 2 features the label's unique take on some classic favorites, both arranged by the Grammy-winning Bill Cunliffe and featuring the entrancing vocals of Andy James. The Jerome Kern/Otto Harbach standard "Yesterdays" is given a bold treatment perfect for James' unsentimental nostalgia, highlighted by an eloquent Chris Potter solo. Horace Silver's "Doodlin'" is propelled by the robust swing of bassist Chris Colangelo and drummer Marvin "Smitty" Smith, wonderfully matched by James' sassy playfulness.~Editorial Reviews https://www.amazon.com/Coq-Records-Presents-Jazz-Stars/dp/B09NMFZ9WH

Le Coq Records Presents: The Jazz All Stars Vol. 2

Saturday, January 29, 2022

Mary Halvorson, Bill Frisell - The Maid with the Flaxen Hair: A Tribute to Johnny Smith

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 42:12
Size: 97,3 MB
Art: Front

(6:03) 1. Moonlight in Vermont
(8:12) 2. The Maid With the Flaxen Hair
(3:15) 3. Scarlet Ribbons for Her Hair
(4:33) 4. In the Wee Small Hours of the Morning
(3:30) 5. Shenandoah
(4:27) 6. The Nearness of You
(3:25) 7. Black Is the Color of My True Love’s Hair
(3:18) 8. Old Folks
(2:56) 9. Misty
(2:28) 10. Walk Don’t Run

Sometimes I love reading scorchers (especially on amazon and youtube) of albums and artists I like a lot. Mary Halvorson, for example, often seems to disappoint people who are confronted with her music without having heard her before. On her new release, The Maid With The Flaxen Hair, a duo album with Bill Frisell, she pays tribute to the music of guitarist Johnny Smith. A listener ranted that this was a perfect example of “the bankruptcy of modern jazz guitar, taking one wonderful song after another, burying the melody in all sorts of extraneous effects“. For him the album was just awful and he wondered what kind of tribute to Johnny Smith this was. Well, one that makes perfect sense, of course.

Compared to Wes Montgomery, Joe Pass, Herb Ellis and Grant Green, Johnny Smith is by far less famous. On the other hand, especially among musicians, Smith, who was also familiar with classical music, is widely considered as one of the greatest guitarists of the cool jazz era of the 1950s and early 1960s - and he has influenced both Halvorson and Frisell. Together, they play ten numbers associated with the guitarist, most of them ballads.

Bill Frisell’s connection to Johnny Smith goes even further back. He studied with him in 1970 at the University of Northern Colorado, where Smith had moved after the death of his wife in order to take care of his daughter. Frisell wasn't impressed by Smith’s lessons, coming down on his playing as “old fuddy duddy corny schmaltzy stuff“. He’s often regretted this statement since then, because he soon discovered the grace in Smith's elaborate and lyrical playing. “I didn't get it at the time. I wasn't hearing the beauty. I’m ashamed of myself and embarrassed to tell you this“, he later said about Smith’s style. One of Frisell’s signature tracks, “Shenandoah“ (from Good Dog, Happy Man), is based on Smith’s version of the traditional song and dedicated to him. Frisell did also copy Smith's arrangement of the folk song "Black is the Color of My True Love's Hair“ and it's this arrangement that Halvorson plays note for note here. What is more, she plays it on a guitar designed by Johnny Smith. And what an outstanding version this is. Halvorson’s playing is ultra-precise, she takes the mellowness out of Smith’s version. It’s simple, clean and clear, the melody is crassly put to the fore, so that one has the impression that each note stabs you. This is foiled by Frisell's wobbly, yet elegant accompaniment.

Although the love of the two guitarists of Smith’s music constantly shines through, they make his versions their own as they meander through these well known compositions. As to Halvorson she does this with her hallmark sound created by a volume pedal and a Line 6 delay modeler plus expression pedal, as to Frisell it’s his reverberant, spacious, open style. Another highlight is “In the Wee Small Hours of the Morning“, a classic the duo plays with the utmost respect, almost dissecting it. “Walk Don't Run“, a Smith original and the only uptempo track here, closes the album. It’s a joyful, sparkling number, that sounds as if the notes were made of glass. “I'm nowhere close to getting it right, but I'm going to keep on trying and trying“, Frisell says on playing this tune. That’s a bit too coquettish, of course. The Maid With The Flaxen Hair is a virtuoso album that not only every guitarist should listen to. Moreover, it’s a very good introduction to Johnny Smith, no matter what the negative comments say.~Martin Schrayhttps://www.freejazzblog.org/2019/01/mary-halvorson-bill-frisell-maid-with.html

Personnel: Guitar, Arranged By – Mary Halvorson; Guitar, Arranged By, Liner Notes – Bill Frisell

The Maid with the Flaxen Hair: A Tribute to Johnny Smith

Jimmy Cobb's Mob - Only for the Pure at Heart

Styles: Jazz, Hard Bop
Year: 1998
File: MP3@320K/s
Time: 65:07
Size: 149,5 MB
Art: Front

( 8:07)  1. Delilah
( 5:51)  2. Say Little Mama Say
( 6:07)  3. Only For the Pure At Heart
( 4:03)  4. Stars Fell on Alabama
( 4:46)  5. Gingerbread Boy
( 6:10)  6. Johhny Red
( 5:58)  7. Smile
( 6:16)  8. Ma Turk
(10:58)  9. Vida Blue
( 6:48) 10. Riverside

Jimmy Cobb was in his late sixties when he recorded Only for the Pure at Heart, but the veteran drummer was still playing with the type of enthusiasm that had characterized his work with Miles Davis, Wes Montgomery, Cannonball Adderley, and other big names 35 and 40 years earlier. Of course, enthusiasm is easier to come by when you have as solid and cohesive a band as Cobb does on this often relaxed bebop date, which employs Richard Wyands on piano, John Webber on bass, and the Grant Green-influenced Peter Bernstein on guitar. Cobb called this working band Jimmy Cobb's Mob, although it shouldn't be confused with the Cobb's Mob that Texas tenor saxman Arnett Cobb led in the 1950s (when bassist George Duvivier wrote the song "Cobb's Mobb" for him). 

However, Jimmy Cobb's Mob of the late '90s isn't unlike the bands he'd helped bring to life in the 1950s and 1960s, and straight-up bop is exactly what the drummer provides on material ranging from "Smile" and "Stars Fell on Alabama" to Bernstein's catchy "Vida Blue" and Webber's moody "Johnny Red." In fact, much of the CD sounds like it could have been recorded 40 years earlier. Only for the Pure at Heart is the work of an accomplished drummer who, at 68, continued to excel by sticking with the tried and proven. ~ Alex Henderson  http://www.allmusic.com/album/only-for-the-pure-of-heart-mw0000038556

Personnel: Jimmy Cobb (drums); Richard Wyands (piano); Peter Bernstein (guitar); John Webber (bass).

Only for the Pure at Heart

Friday, January 28, 2022

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

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

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

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

Thursday, January 27, 2022

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

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

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

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

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

Wednesday, January 26, 2022

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

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

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

Tuesday, January 25, 2022

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

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