Lindsey Webster - A Woman Like Me

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 64:30
Size: 148,4 MB
Art: Front

(5:30) 1. Feels Like Forever
(5:34) 2. Close To You
(5:37) 3. Only You
(5:18) 4. One Step Forward
(7:08) 5. Perspective
(5:07) 6. Running Around
(6:40) 7. A Woman Like Me
(5:16) 8. Rain
(5:19) 9. The Unknown
(6:12) 10. Always Love Me
(6:45) 11. Somewhere Over The Rainbow

The increasingly longer hiatus’s of Sade and Basia has left a big void for an audience that craves that smooth, urbane style of music that comes from a soul-jazz songstress, and Lindsey Webster has stepped in to fill that void. In a span of two years Webster has gone from a virtual unknown to being arguably the new queen of crossover jazz. And now, the reign extends with the impending release of A Woman Like Me.

That roll get started with a single “Fool Me Once.” That song reached #1 in 2016 on Billboard’s Contemporary Jazz Charts, a chart that had been topped by instrumentals for six straight years since Sade’s last release. Later in ’16 came Lindsey Webster’s first album for Shanachie Entertainment Back To Your Heart (2016), which spun off three more top three singles for that chart. And proving that she was no fluke, her 2018 follow-up Love Inside placed two more songs in the top ten.

This might sound a bit like being in the right place at the right time, but Webster’s talents merit her status. Starting with her voice, which is the soulfully sensual, smoky and unforced delivery that seduces with an earnest reading of the lyrics rather than hitting you on the head with over-the-top technique.

With the third album into her imperial period, we can now spot some big time session players on A Woman Like Me absent on prior records; imagine having a rhythm section like Nathan East (bass), Vinnie Colaiuta, (drums) and Luis Conte (percussion) on your album. While these guys might add a touch more polish to the overall musicianship not that it was ever lacking the winning formula remains, which is the production and songwriting team of Lindsey and her keyboardist and one-time husband, Keith Slattery.

Thus, there’s really nothing that’s going to set A Woman Like Me too far apart from two prior Shanachie records, which speaks more to her consistency and staying within her strengths, so Lindsey Webster fans will be quite pleased with it.

A song like “Feels Like Forever” validates why it was wise to stick with the formula. As is usual with a Webster song, it’s a melody with pop-catchiness and suffused with urbane jazz chords, played with real instruments and rich backing vocals (all done by Webster). All this paired with the timeless topic of romance means it’s a song that will never age.

Though Webster-Slattery often draws some cues from Bacharach-David, “Close To You” isn’t that Carpenters song but rather an attractive mid-tempo funky number that’s looks the part of another high-charting single, capped off by a George Benson-ish guitar solo by regular Webster guitar sideman Mike DeMicco. “Running Around” has that same kind of groove, but Tony DePauolo’s guitar has the bite of rock instead of jazz.

The production is so clean and, refreshingly, not cluttered. The backing track to a cut like “Only You” leaves plenty of breathing space for Webster’s singing and her lyrics, where the focus belongs. The instrumentation is peeled back even further on “One Step Forward,” (video above) by temporarily sidelining East and Conte, and though Slatterly’s piano aside won’t scare off Chick Corea, its delicate touch fits the easy-going groove of the song.

Other songs aren’t necessarily contemporary jazz per se, but close cousins to it, and Lindsey Webster’s got a great finesse of those styles as well. “Perspective” has a lusher, Quiet Storm sort of mood (as does “Rain”) and Webster’s vocal moans toward the end of the track smoothly hands off to Ken Gioffre’s saxophone. “Always Love Me” is a prototypical soul ballad tailor-made for slow dancin’.

But can Lindsey Webster do ballads? “A Woman Like Me” emphatically says ‘yes’; this is where her knack for delivering emotion in the right dose serves the song so well. In a bit of a surprise, East’s bass solo is paired with him scatting over it, though he’s done this before.

The album closes with the only non-original, the ubiquitous “Somewhere Over The Rainbow.” Personally, I would have preferred to hear her take on a Joni Mitchell or Carole King song, but Webster does treat this classic with due reverence.

Webster succeeds not by keeping up with current trends but instead through mastering the little time-honored things that latch people onto her music today and decades from now. This is why the roll Lindsey Webster got on in 2016 will continue with A Woman Like Me. By S. Victor Aaron https://somethingelsereviews.com/2020/03/23/lindsey-webster-a-woman-like-me-2020/

A Woman Like Me

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Bill Mays - Mays In Manhattan

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 64:36
Size: 152,0 MB
Art: Front

(7:46) 1. Manhattan
(5:22) 2. Summer In Central Park
(6:25) 3. U.M.M.G. (Upper Manhattan Medical Group)
(9:34) 4. New York State Of Mind
(6:33) 5. All Accross The City
(6:48) 6. Sunday In New York
(6:19) 7. 317 E. 32nd St.
(9:35) 8. Autumn In New York
(6:12) 9. '39 World's Fair

Bill Mays is a California native, but like many jazz musicians, he was drawn to live in New York City. This session is made up of songs about the Big Apple, though they come from a wide range of composers: Broadway, jazz, and pop. On four of the tracks, Mays expands his trio to a sextet, adding alto saxophonist Jon Gordon, trombonist Ed Neumeister, and trumpeter/flügelhornist Marvin Stamm.

The boisterous take of Richard Rodgers' "Manhattan" makes it seem like a cool, breezy spring day. Stamm switches to flügelhorn for Billy Joel's "New York State of Mind," in which Neumeister adds a mute (for the introduction) to carry on the "ya-ya" tradition begun by Duke Ellington's star trombonist, Tricky Sam Nanton; the piece then shifts gears to suggest a leisurely stroll in the park on a sunny day. The trio selections include a brisk interpretation of Billy Strayhorn's "U.M.M.G." (showcasing bassist Sean Smith extensively) and Lennie Tristano's tricky "317 East 32nd Street." This highly recommended CD has unfortunately been deleted from the Concord catalog.
By Ken Dryden https://www.allmusic.com/album/mays-in-manhattan-mw0000085036

Personnel: Piano – Bill Mays; Alto Saxophone – Jon Gordon (tracks: 1, 4, 6, 8); Bass – Sean Smith; Cornet – Marvin Stamm (tracks: 6); Drums – Tim Horner; Flugelhorn – Marvin Stamm (tracks: 4, 8); Trombone – Ed Neumeister (tracks: 1, 4, 6, 8); Trumpet – Marvin Stamm (tracks: 1).

Mays In Manhattan

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Billy Drummond & Freedom of Ideas - Valse Sinistre

Styles: Jazz, Bop
File: MP3@320K/s
Time: 44:31
Size: 102,4 MB
Art: Front

(4:56) 1. Little Melonae
(7:00) 2. Never Ends
(6:13) 3. Valse Sinistre
(3:29) 4. Laura
(5:18) 5. Frankenstein
(3:15) 6. Changes For Trane & Monk
(5:50) 7. Clara's Room
(4:22) 8. Reconfirmed
(4:05) 9. Lawra

Valse Sinistre is so good that it almost feels irresponsible. Drummer Billy Drummond and his postbop quartet (saxophonist Dayna Stephens, pianist Micah Thomas, and bassist Dezron Douglas) are not only firing on all cylinders, but venturing into such daredevilry that you want to shout, “Are you guys insured?”

This is only slight hyperbole. Starting on Jackie McLean’s “Little Melonae,” the band is already dancing on a tightrope with their warp-speed run through the complex composition. But then, Thomas charges out with an astonishing solo that goes everywhere at once—Drummond demonstrates his command simply by keeping pace. That’s just the opening salvo. The title track showcases another fine Thomas solo, but this one is overshadowed by a dark improvisation from Stephens’ soprano. It’s an instrument we often think of as letting a bit of light into the proceedings; not this time.By By Michael J. West https://jazztimes.com/reviews/albums/billy-drummond-freedom-of-ideas-valse-sinistre-cellar/

Personnel: Billy Drummond – drums; Dezron Douglas – bass; Micah Thomas – piano; Dayna Stephens – saxophones

Valse Sinistre

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One For All - The Long Haul

Styles: Jazz, Straight-Ahead/Mainstream
Year: 2000
File: MP3@320K/s
Time: 66:24
Size: 152,3 MB
Art: Front

(12:10) 1. A Cry For Understanding
( 7:49) 2. The Long Haul
( 8:01) 3. Echoes In The Night
( 7:26) 4. The Poo
( 6:36) 5. The Good Life
( 7:29) 6. Stash
( 7:35) 7. Summer Nights
( 9:14) 8. Nothin' To It

Working within the broad parameters of hard-swinging, harmonically sophisticated small-band styles from the 40s, 50s, and 60s, the music of the sextetOne For Allalso reflects the experiences of the individual members outside of their cooperative band. An incomplete but telling list of leaders who have employed and influenced various members of the crew includes Cecil Payne, George Coleman, Art Blakey, Jackie McLean, Junior Cook, Slide Hampton, and Louis Hayes.

On The Long Haul, the band’s second release for Criss Criss (and fourth overall), they stake their claim to the tradition. The record comprises impressive material (six out of eight cuts were written by various band members) and arrangements, four primary soloists with something distinctive to say, and a rhythm section that responds to every exigency and shoots off sparks of its own. Most of all, aside from the skill and technique involved, the music possesses a fervency that is genuine: These guys love playing together and it shows.

The disc’s opening cut, “A Cry For Understanding,” composed by John Farnsworth, encompasses the band’s virtues. A slow, somber introduction convincingly executed by tenor saxophonist Eric Alexander and the rhythm section leads to all of the horns playing the theme at a brisk tempo. Alexander’s solo is a fine example of his continuing development. His full-bodied sound spreads out and takes up space without being overbearing, and he stays in absolute control while deliberately working through a variety of ideas that add up to a complete, satisfying whole. In comparison, trombonist Steve Davis’ approach is somewhat spare, skillfully playing off and interacting with pianist David Hazeltine’s chords and the snap of drummer Joe Farnsworth’s snare drum accents.

During a commanding, live wire turn, trumpeter Jim Rotondi frequently phrases on top the beat and occasionally takes brief, fruitful detours. In the unenviable position of following the three horns, Hazeltine, ever mindful of Farnsworth’s and bassist Ray Dummond’s pulse, at first seems casual and then gradually hardens his touch, becoming more expansive and forceful. Backed only by Farnsworth’s brushes, Drummond completes the cycle of solos, integrating a snippet of the song “Wade In The Water,” into a smart, efficient statement.

Alexander’s rollicking tune “Stash,” the band’s first venture into the time signature of 5/4, is another of the disc’s standout cuts. It moves forward in a nice, lopsided manner, with the horns brazenly stating the melody, then giving way to a string of compact solos. First up is Alexander, who is clearly inspired by the odd meter, starting off with short, soulful phrases. When Hazeltine and Farnsworth signal a change in emphasis, he takes off in a series of sprints which ends in barrage of overblowing. Rotondi burns through the rhythmic thicket with ease, making his lines rhyme with call and response patterns. Initially taking more care than usual in placing his notes and letting the rhythm section fill in space, Davis’ solo gradually gains footing while working against the weight of Hazeltine’s stabbing chords. Over Drummond and Hazeltine’s vamp, Farnsworth slyly mixes rhythms that alternately refer to the pulse and create unrelated waves of percussive sound.By David A. Orthmann https://www.allaboutjazz.com/the-long-haul-one-for-all-criss-cross-review-by-david-a-orthmann

Personnel: Eric Alexander - -tenor sax; Jim Rotondi - trumpet, flugelhorn; Steve Davis - trombone; David Hazeltine - piano; Ray Drummond - bass; Joe Farnsworth - drums.

The Long Haul

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Stan Killian - Evoke

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 43:53
Size: 102,6 MB
Art: Front

(6:06)  1. Subterranean Melody
(4:54)  2. Evoke
(6:44)  3. Echolalic
(5:33)  4. Kirby
(7:47)  5. Beekman33
(6:16)  6. Observation
(6:30)  7. Hindu

Stan Killian is reminiscent of Jimmy Heath in that his compositions and tenor saxophone work make each other better, and reflect a stubbornly abstruse but still amiable sensibility. He’s a mainstream postbopper but favors layered riffs that don’t necessarily interlock in his tunes; his swing can be restless, and have a little hitch in its gait. And he enjoys the modal form. On Evoke, Killian eschews the high-powered guest stars (Roy Hargrove, David Binney, Jeremy Pelt) from his 2011 Sunnyside debut, Unified, and relies on the quintet that workshops his tunes every week at the 55 Bar in New York. That familiarity deepens the virtues, especially the somewhat quirky angularity, of his compositional style, while providing fewer solo highlights. It’s a solid band drummer McClenty Hunter, bassist Corcoran Holt and pianist Benito Gonzalez return from Unified, and guitarist Mike Moreno has a notable résumé and a low, liquid tone that calls to mind John Scofield. But the players are mostly in service to the tunes, with Hunter the most notable colorist aside from Killian. Not surprisingly, then, the songcraft seems top-notch. The opener, “Subterranean Melody,” makes arresting use of a 7/4 pulse that surges forth from Killian’s tenor as the rhythm section steadily ups the intensity. “Beekman33” moves with the sort of confident glide that became a hallmark of deeper cuts on albums released during Blue Note’s golden era. And “Hindu” is an effectively itchy pastiche, enlivened by noteworthy solos from Hunter, with Gonzalez unearthing his Latin roots. ~ Britt Robison  http://jazztimes.com/articles/94313-evoke-stan-killian

Personnel: Stan Killian (tenor saxophone); Benito Gonzalez (piano); McClenty Hunter (drums).

Evoke

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Kris Davis & Craig Taborn - Octopus

Styles: Piano
Year: 2018
File: MP3@320K/s
Time: 58:40
Size: 137,0 MB
Art: Front

(10:54) 1. Interruptions One
( 8:02) 2. Ossining
(10:04) 3. Chatterbox
(14:36) 4. Sing Me Softly of the Blues / Interruptions Two
( 7:15) 5. Interruptions Three
( 7:47) 6. Love in Outer Space

Combining discrete notes with splashes and collages of sound, the music of pianists Kris Davis and Craig Taborn on Octopus showcases improvisational prowess at the highest levels. The live recording challenges listeners with electric and sometimes jarring compositions that appear to send shards of musical light in every direction.

Davis provides two compositions for the album and Taborn three. In addition, the pianists cover two tunes, both by keyboard players Carla Bley's "Sing Me Softly of The Blues" and Sun Ra's "Love in Outer Space."

Taborn chose to name his three compositions "Interruptions." The first, "Interruptions One," begins subtly enough with a lyrical abstraction. There's almost a tripping effect, as the notes splatter into ripples and spread out. As the music progresses, a more frenetic abstraction arises think Cecil Taylor here and the chords become more weighty and ponderous. The tune ends with a hopping back and forth between the pianos.

"Interruptions Two" emerges from Bley's "Sing Me Softly Of The Blues." Like a Cubist painting, the Bley tune is deconstructed and put back together in an unsettled disorienting manner. When Taborn's "interruption" enters, one piano explodes across the keys while the other states single notes paired with adroit pedal work. The music takes a spatial turn. The piano chords become more forceful and full throated. Single notes announce a grand orchestral climax. Then a repetitive note materializes above subtle explorations. Are we in a dream? The music becomes more forceful before sliding into the ether.

"Interruptions Three" begins as a blues abstraction. While one pianist contributes chords structured around an unusual time meter, the other races along with Taylor-like explorations of notes. The stutters and starts of one are embellished by the other's roving adventures.

Davis offers two compositions, "Chatterbox" and "Ossining." Both display fascinating interplay between the pianists. "Ossining" incorporates almost a binary approach as the pianists exchange "data." The highest keys on the piano are broached and the composition revolves and spins in a circular motif. "Chatterbox" incorporates more Cecil Taylor-like booms, swirls, plops, twirls and trills. The pianists race around each other, creating great splashes of sound. The listener feels pinned to the back of the seat of this musical roller coaster. The roller coaster slows at the end and its musical passengers may exit the car.

The album concludes with a gentle performance of Sun Ra's "Love in Outer Space." There is an impressionistic and romantic feel to the music and, as it progresses, the music develops a Latin rhythmic impulse underneath the melody.

No doubt the music on Octopus is dense and complex. But Davis and Taborn elicit a vocabulary that is both challenging and "in the moment." Their stream of consciousness improvisations are both ear and mind bending. They have thrown down the musical gauntlet. Are you brave enough to pick it up?
By Don Phipps https://www.allaboutjazz.com/octopus-kris-davis-piano-craig-taborn-piano-pyroclastic-records-review-by-don-phipps

Personnel: Kris Davis: piano; Craig Taborn: piano.

Octopus

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Charles Lloyd - Trios: Chapel

Styles: Saxophone, Flute Jazz
File: MP3@320K/s
Time: 45:52
Size: 105,6 MB
Art: Front

( 7:23) 1. Blood Count
( 9:00) 2. Song My Lady Sings
( 7:19) 3. Ay Amor
( 9:49) 4. Beyond Darkness
(12:19) 5. Dorotea's Studio

Blue Note Records has a history of boasting strong stables of players. In the 1950s and 60s, we could look to Art Blakey and the Jazz Messengers, trumpeter Lee Morgan, pianist Herbie Hancock, saxophonist Wayne Shorter and if ever there was an incomplete list compiled, that one is it. Time rolls on. Twenty years (or thereabouts) into the new millennium, the label hosts an all-star roster once again pianist Gerald Clayton, saxophonist Melissa Aldana, sax man Immanuel Wilkins, guitarist Julian Lage, and to wrap up another partial listing veteran saxophonist Charles Lloyd.

At eighty-four years of age, Lloyd after a sixty-plus year career that includes album releases on Atlantic, Columbia and ECM Records, Warner Music extends his twenty-first century connection with Blue Note Records via a "Trio of Trios," three separate trio albums, featuring three different groups of players, released one at a time on different dates over a mid-to-late 2022 time span.

The first of these, Trios: Chapel, was named for the San Antonio, Texas, Elizabeth Coates Chapel in which it was recorded. Lloyd's choice of bandmates: guitarist Bill Frisell and bassist Thomas Morgan, a duo teaming responsible for a pair of gorgeous and understated ECM albums, Small Town (2017) and Epistrophy (2019). In addition, Frisell is a member of Lloyd's other Blue Note recording group, the Marvels; so there is a connection, a built-in rapport at play in the spontaneous-sounding set of tunes.

Overall, the group displays a light touch, making buoyant and delicately pretty sounds that vibrate in an understated chapel resonance. An obvious parallel is with the Paul Motian recordings the drummer did with saxophonist Joe Lovano and Frisell for ECM Records: It Should Have Happened A Long Time Ago (1985) and I Have The Room Above Her (2005). Lloyd's sound is gentle, bird-like (not Charlie Parker "bird-like," but possessed of an actual ornithological elocution), opening with the prettiest version of Billy Strayhorn's "Bloodcount" imaginable. Frisell is succinct, his notes and chords ringing clear and true, unembellished, while Morgan's deft underpinnings offer a perfect support without calling out for attention.

Dreamy, compelling, non-propulsive sounds that exist outside of time, as a sort of soundtrack to some kind of tranquil enlightenment, or as a testament to "right now."
By Dan McClenaghan https://www.allaboutjazz.com/trios-chapel-charles-lloyd-blue-note-records

Personnel: Charles Lloyd: saxophone, alto flute; Bill Frisell: guitar, electric; Thomas Morgan: bass, acoustic.

Trios: Chapel

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Dave Brubeck Quartet - Tralfamadore Buffalo New Yörk

Styles: Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 67:18
Size: 154,9 MB
Art: Front

( 3:11) 1. Introduction
(10:29) 2. Sunny Side Of The Street
( 7:10) 3. These Foolish Things
(16:31) 4. Travellin' Blues
( 5:27) 5. Stompin' For Mili
( 9:09) 6. Margie
(13:58) 7. Take Five
( 1:20) 8. Closing Words By DB

In the 1950s and '60s, few American jazz artists were as influential, and fewer still were as popular, as Dave Brubeck. At a time when the cooler sounds of West Coast jazz began to dominate the public face of the music, Brubeck proved there was an audience for the style far beyond the confines of the in-crowd, and with his emphasis on unusual time signatures and adventurous tonalities, Brubeck showed that ambitious and challenging music could still be accessible. And as rock & roll began to dominate the landscape of popular music at the dawn of the '60s, Brubeck enjoyed some of his greatest commercial and critical success, expanding the audience for jazz and making it hip with young adults and college students.

David Warren Brubeck was born in Concord, California on December 6, 1920. Brubeck grew up surrounded by music his mother was a classically trained pianist and his two older brothers would become professional musicians and he began receiving piano lessons when he was four years old. Brubeck showed an initial reluctance to learn to read music, but his natural facility for the keyboard and his ability to pick up melodies by ear allowed him to keep this a secret for several years. His father worked as a cattle rancher, and in 1932, his family moved from Concord to a 45,000-acre spread near the foothills of the Sierras. As a teenager, Brubeck was passionate about music and performed with a local dance band in his spare time, but he planned to follow a more practical career path and study veterinary medicine. However, after enrolling in the College of the Pacific in Stockton, California, Brubeck played piano in local night spots to help pay his way, and his enthusiasm for performing was such that one of his professors suggested he would be better off studying music. Brubeck followed this advice and graduated in 1942, though several of his instructors were shocked to learn that he still couldn't read music.

Brubeck left college as World War II was in full swing, and he was soon drafted into the Army; he served under Gen. George S. Patton, and would have fought in the Battle of the Bulge had he not been asked to play piano in a Red Cross show for the troops. Brubeck was requested to put together a jazz band with his fellow soldiers, and he formed a combo called "the Wolfpack," a multi-racial ensemble at a time when the military was still largely segregated. Brubeck was honorably discharged in 1946, and enrolled at Mills College in Oakland, California, where he studied under the French composer Darius Milhaud. Unlike many composers in art music, Milhaud had a keen appreciation for jazz, and Brubeck began incorporating many of Milhaud's ideas about unusual time signatures and polytonality into his jazz pieces. In 1947, Brubeck formed a band with several other Mills College students, the Dave Brubeck Octet. However, the Octet's music was a bit too adventurous for the average jazz fan at the time, and Brubeck moved on to a more streamlined trio with Cal Tjader on vibes and percussion and Ron Crotty on bass. Brubeck made his first commercial recordings with this trio for California's Fantasy Records, and while he developed a following in the San Francisco Bay Area, a back injury Brubeck received during a swimming accident prevented him from performing for several months and led him to restructure his group.

In 1951, the Dave Brubeck Quartet made their debut, with the pianist joined by Paul Desmond on alto sax; Desmond's easygoing but adventurous approach was an ideal match for Brubeck. While the Quartet's rhythm section would shift repeatedly over the next several years, in 1956 Joe Morello became their permanent drummer, and in 1958, Eugene Wright took over as bassist. By this time, Brubeck's fame had spread far beyond Northern California; Brubeck's recordings for Fantasy had racked up strong reviews and impressive sales, and along with regular performances at jazz clubs, the Quartet began playing frequent concerts at college campuses across the country, exposing their music to a new and enthusiastic audience that embraced their innovative approach. Brubeck and the Quartet had become popular enough to be the subject of a November 8, 1954 cover story in Time Magazine, only the second time that accolade had been bestowed on a jazz musician (Louis Armstrong made the cover in 1949). In 1955, Brubeck signed with Columbia Records, then America's most prestigious record company, and his first album for the label, Brubeck Time, appeared several months later.

A steady stream of live and studio recordings followed as the Dave Brubeck Quartet became the most successful jazz act in the United States, and in 1959, they released one of their most ambitious albums yet, Time Out, a collection of numbers written in unconventional time signatures, such as 5/4 and 9/8. While Columbia were initially reluctant to release an album they felt was too arty for the mainstream, their fears proved groundless Time Out became the first jazz album to sell a million copies, and in 1961, it bounded back into the charts when "Take Five" unexpectedly took off as a single, rising to 25 on the pop charts and five on the adult contemporary survey.

As Brubeck enjoyed increasing commercial success, he began exploring new musical avenues; in 1959, the Brubeck Quartet performed with the New York Philharmonic, performing "Dialogues for Jazz Combo and Orchestra," a piece written by Howard Brubeck, Dave's brother. Dave's own composition "Elementals," written for orchestra and jazz ensemble, debuted in 1962; "Elementals" was later adapted into a dance piece by choreographer Lar Lubovitch. And Brubeck and his wife, Iola, wrote a song cycle called "The Real Ambassadors" that celebrated the history of jazz while decrying racism; it was performed at the 1962 Monterey Jazz Festival, with contributions from Louis Armstrong, Carmen McRae, and Lambert, Hendricks & Ross. The Brubeck Quartet also became international stars, with the State Department arranging for them to perform in locales rarely visited by jazz artists, including Poland, Turkey, India, Afghanistan, Iraq, and Sri Lanka.

In 1967, Brubeck dissolved the Dave Brubeck Quartet and began devoting more time to composing longer works that often focused on his spiritual beliefs, including an oratorio for jazz ensemble and orchestra, "The Light in the Wilderness," which debuted in 1968; "The Gates of Justice," first performed in 1969, which melded passages from the Bible with the writings of Martin Luther King, and "Upon This Rock," which was written for Pope John Paul II's visit to San Francisco in 1987. Brubeck continued to perform in a more traditional jazz format as well, forming a new combo in 1968 featuring Jack Six on bass, Alan Dawson on drums, and Gerry Mulligan on baritone sax. In the '70s, Brubeck also toured with a group featuring his sons Darius (keyboards), Chris (bass and trombone), and Dan (drums); dubbed Two Generations of Brubeck, the ensemble performed a bracing fusion of jazz, rock, and blues. In 1976, Brubeck reassembled the classic lineup of the Dave Brubeck Quartet for a 25th anniversary tour; the reunion was cut short by the death of Paul Desmond in 1977.

From the mid-'80s onward, Brubeck maintained a schedule that would befit a rising star eager to make a name for himself rather than a respected elder statesman. He continued to compose orchestral works as well as fresh jazz pieces, and recorded and performed on a regular basis with a variety of accompanists. Perhaps the most honored jazz artist of his generation, Brubeck received awards from two sitting United States Presidents -- Bill Clinton presented him with the National Medal of the Arts in 1994, and Barack Obama presented him with the Kennedy Center Honors in 2009. Brubeck also received a star on the Hollywood Walk of Fame, a lifetime achievement Grammy from the National Academy of Recording Arts and Sciences, the Smithsonian Medal, and honorary degrees from universities in five different countries, among many other awards for his life in music. When he died of heart failure late in 2012, just one day before his 92nd birthday, his life and his work were celebrated around the world.By Mark Deming https://www.allmusic.com/artist/dave-brubeck-mn0000958533/biography

Personnel: Dave Brubeck - Piano; Randy Jones - Drums; Bobby Militello - Sax; Michael Moore - Bass

Tralfamadore Buffalo New Yörk

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Jackie Cain & Roy Kral - Echoes

Stleys: Vocal And Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 66:33
Size: 154,0 MB
Art: Front

(2:29)  1. I Wonder What's the Matter With Me
(3:58)  2. Corcovado
(2:38)  3. Mountain Greenery
(6:15)  4. It's So Peaceful In The Country
(3:58)  5. Walk Pretty
(4:21)  6. Sweet Surrender
(4:23)  7. The Fat Man
(3:39)  8. How Little We Know
(4:51)  9. The Way We Are
(3:43) 10. The Echoes Of My Life
(5:42) 11. Samba Do Avião
(4:51) 12. Winter Comes
(3:17) 13. The Runaround
(6:19) 14. Wheelers And Dealers
(6:01) 15. New York State Of Mind

In the annals of jazz vocal duos, none stands taller than Jackie Cain and her husband, the late Roy Kral. When it came to interpreting American popular songs they were without peer, and like Bobby Short or Matt Dennis, every note, every measure, every phrase was urbane and tasteful.  Echoes, on which Cain and Kral radiate hipness and charm as leaders of a blue-collar quintet, was recorded live in September 1976 at Howard Rumsey's Concerts by the Sea in Redondo Beach, California. The twosome would keep on singing and playing until Kral's death in 2002, always with the same warmth, intelligence and clarity of purpose that had defined their partnership for more than half a century. I don't know if this concert was typical (I suspect that it was), but one of the great pleasures lies in Cain and Kral's wide-ranging choice of material, some of which may be unfamiliar but all of which is splendid. It's pointless to catalog highlights, as almost everything qualifies; on the other hand, one must at least acknowledge the lovely, seldom-heard verse to Alec Wilder's "It's So Peaceful in the Country, Roy's clever salute to filmdom's Sydney Greenstreet, "The Fat Man (lyric by Fran Landesman), Wilder's poignant ballad "Echoes of My Life (lyric by Rogers Brackett) and André Previn/Dory Langdon's sardonic survey of the battle of the sexes, "The Runaround. 

That's not to suggest that anything else is less than stylish, from Robert Ragan's "I Wonder What's the Matter with Me to Billy Joel's "New York State of Mind. Antonio Carlos Jobim is well represented with "Corcovado and "Samba do Aviao, and there are irresistible songs by David Gates ("Sweet Surrender ), Harvie S ("Winter Comes, lyric by Jackie), Dave Frishberg ("Wheelers and Dealers ), Wilder again ("Walk Pretty, lyric by Landesman), Rodgers and Hart ("Mountain Greenery ) and Hoagy Carmichael/Johnny Mercer ("How Little We Know, which isn't the song of that name made popular by Frank Sinatra). Completing the concert are David Gates' "Walk Pretty and Roy's all-scat original, "The Way We Are. The backup trio, brought in from San Francisco, is admirable, and there are a number of bright solos by young vibraphonist Brian Atkinson. Engineer Rod Nicas, who recorded the concert in '76, has superbly mastered and mixed the tapes. For fans of Cain and Kral, Echoes provides a chance to hear them again at their best; for those who haven't had the pleasure, it's an exhilarating preface to their artistry and charisma. ~ Jack Bowers  http://www.allaboutjazz.com/echoes-jackie-cain-jazzed-media-review-by-jack-bowers.php

Personnel: Jackie Cain: vocals;  Roy Kral: piano, vocals;  Brian Atkinson: vibes;  John Mosher: bass;  Gary Nash: drums.

Echoes

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Stan Killian - Brooklyn Calling

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 53:22
Size: 122,7 MB
Art: Front

(8:53) 1. Horizon
(8:57) 2. Holocene
(5:14) 3. Buy Back
(7:40) 4. Shibuya Crossing
(9:01) 5. Concept of Peace
(7:45) 6. Brooklyn Calling
(5:49) 7. Open Doors

Years ago, a group of folks were having dinner at a Westside San Antonio, Texas, restaurant known as Los Barrios. Occasionally, some restaurants there would start a jazz policy. In a place better known for mariachis, this would be a pleasant surprise. One Friday evening, some kid was playing tenor sax, quite a bit of tenor sax, in fact. The guy's name because getting his card seemed like a good idea was Stan Killian, not a familiar one among the roll of local notables, which made his instrumenal facility even more interesting. What was this guy doing playing here?

There have been a number of players who made the seventeen-hundred mile trek from San Antonio to New York, such as Ernie Caceres, for one. Others have, too, but Killian has stuck around, for good reason. While the temptation to label him a Texas Tenor is understandable, that is not really fair to Killian. Apart from being able to blow with a raw edge, he does not really put a listener in mind of Arnett Cobb, Buddy Tate, or David "Fathead" Newman. In the end, he sounds very much himself, modern, less bluesy or r&b than any of the other Texans. On "Horizon," one thinks, a taste of Sonny Rollins, but Killian's bridge is the Brooklyn, not the Williamsburgh.

Killian also plays with his band, not just backed by a rhythm section. "Shibuya Crossing," which he dedicates to his Japanese fans, is an interactive production, not just solo tenor, and pretty as well. We get to hear plenty of both bassist Corcoran Holt and McClenty Hunter, a fine drummer who can definitely play time. "Concept of Peace" is reflective, framed by Paul Bollenback's spare guitar and a fine arco solo on bass which shows how far bowing on jazz bass has come since Paul Chambers.

Bollenback also provides a reflective solo which strikes a delicate feeling. Killian comes roaring back on "Brooklyn Calling," with a certain urgency which adds to the jazz-rock ambience Bollenback provides. "Open Doors," with its shifting rhythmic feel, closes things out. All the compositions are original, by the way. There was, of course, nothing laid back about the Texas Tenors. Maybe, in just that way, Killian does fit right on this very appealing and dynamic recording.
By Richard J Salvucci https://www.allaboutjazz.com/brooklyn-calling-stan-killian-sunnyside-records

Personnel: Stan Killian: saxophone, tenor; Paul Bollenback: guitar; McClenty Hunter: drums; Corcoran Holt: bass.

Brooklyn Calling

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Gary Bartz - There Goes the Neighborood

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 70:29
Size: 162,3 MB
Art: Front

( 9:47)  1. Racism (Blues in Double Bb Minor)
( 8:39)  2. On A Misty Night
(13:28)  3. Laura
( 8:58)  4. Tadd's Delight
(10:09)  5. Impressions
(10:13)  6. I've Never Been In Love Before
( 9:11)  7. Flight Path

Although he dismissed notions about a comeback, this '90 album was the triumphant, exuberant vehicle Gary Bartz hadn't made in quite a while. His rippling solos and dominant presence were welcome for fans who wondered if he had squandered the potential he'd shown in the '60s. ~ Ron Wynn https://www.allmusic.com/album/there-goes-the-neighborhood-mw0000678444

Personnel:  Gary Bartz - alto saxophone; Kenny Barron - piano; Ray Drummond - bass; Ben Riley - drums

There Goes the Neighborood

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Girma Bèyènè & Akalé Wubé - Éthiopiques 30: Mistakes on Purpose

Styles: Jazz, Folk
Year: 2017
File: MP3@320K/s
Time: 66:40
Size: 153,8 MB
Art: Art

(3:34) 1. Tewèdjign endèhu (Ahun negèrign)
(4:21) 2. Ené nègn bay manèsh
(6:25) 3. Muziqawi silt
(3:58) 4. Enkèn yèlélèbesh
(3:52) 5. Feqer endè krar (Yebèqagnal)
(9:28) 6. Bèmèlkesh aydèlèm
(3:34) 7. Mèslogn nèbèr
(2:50) 8. Fetsum Fetsum (Tirulegn tolo)
(5:55) 9. For Amha
(5:13) 10. Sét alamenem
(3:58) 11. Wub nat
(6:20) 12. Mèlèwètesh menèw
(3:52) 13. Tsegérèda
(3:13) 14. Tewèdjign endèhu (Ahun negèrign)

“From the label “Girma Bèyènè disappeared from the Addis Abeba music scene in 1981. Miraculously, he was invited by the exiled producer Amha Eshèté to tour the US with the Wallias Band and three singers (Mahmoud Ahmed, Gétatchèw Kassa and Wubishet Fisseha). Girma chose to never return back to the military-Stalianian paradise of Ethiopian dictator Menguistou. Another six musicians followed in his steps. The freshly exiled quickly realised that the Ethiopian community in the US was too small and restrained to offer them enough work to get by as full time musicians. What followed was a chaotic life full of odd jobs which increasingly left less and less time for music.

Girma’s first return to his dear homeland happened on invitation from the 7th Ethiopian Music Festival of Addis Abeba in May 2008, which was held around a tribute to Girma Bèyènè and some other exiled saxophone players from the 80s (Moges Habte, Tilaye Gèbrè, Tewodros Meteku).

Following that invitation, Girma quietly settled back in Addis for good. It was a discrete affair, considering the huge reputation which he still held in Ethiopia, especially within circles of influential contemporary musicians. Also considering the impressive fan base he garnered with jazz and world music lovers from all around the globe through the publication of the Ethiopiques series, first in line being the members of the band Akalé Wubé.

Those who have never seen Akalé Wubé play live have little idea of the groove we’re talking about. They’re not about showy musical feats, neither about posed stage antics. They are all about good old, pure grooves, sober and lyrical, the kind to move feet and lighten hearts. They are already three albums in, three records of pure creative devotion to the cause. None of the covers played are copy/pasted, and all their ethio-grooves are revisited with liberty and passion the best way to pay tribute and give back life to a genre of music and to a musician which has been, for far too long, put aside and forgotten…until now.

Now it is these guys that have listened, appreciated, covered, reinvented and unpretentiously invited Girma Bèyènè … and Girma was totally up for it! An unpredictable meeting that could take any direction, luckily we love risks! Girma Bèyènè featuring Akalé Wubé, or the other way round? In any case it will be a heavyweight match.”https://boomkat.com/products/ethiopiques-30-mistakes-on-purpose

Personnel: Bass – Oliver Degabriele; Guitar – Loïc Rechard; Saxophone, Flute, Bass Clarinet – Etienne De La Sayette; Trumpet, Krar, Flugelhorn – Paul Bouclier

Éthiopiques 30: Mistakes on Purpose

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Chris Standring - Simple Things

Styles: Guitar Jazz, Smooth Jazz
File: MP3@320K/s
Time: 50:38
Size: 117,5 MB
Art: Front

(4:34) 1. Shadow Of Doubt
(4:51) 2. Thank You Bootsy
(3:46) 3. Change The World
(5:38) 4. A Thousand Words (For Samantha)
(4:41) 5. Face To Face
(4:46) 6. Ain't Nothin But A Thing
(4:11) 7. The Gist Of You
(4:37) 8. No Two Ways About It
(4:04) 9. Too Close For Comfort
(5:13) 10. Don't Get Me Started
(4:12) 11. And The Show Goes On

A few years ago I attended a festival where jazz guitarist Chris Standring was playing with Bob James. In a casual conversation after the concert, I asked Chris if he could imagine to join Fourplay as the new guitarist. Sometimes dreams don't come true. However, the question illustrates my appreciation for his music, which can easily compete in quality with that of guitarists Lee Ritenour, Larry Carlton or Chuck Loeb.

Well, as you can see from the numerous reviews of his albums, I have followed his musical career with great attention, because I consider him one of the great guitarists of our century. His new album Simple Things will be released on May 22, 2022 and Chris has just presented to the audience the first video titled Change The World.

After the passing of Chuck Loeb, which came as a surprise to me, one appreciates the music and creativity of any good musician. In the liner notes, Chris reveals to us that despite a healthy lifestyle, he had suffered a heart attack shortly before the recording of the new album began in March 2021. In view of the current situation with the pandemic and the imminent danger of a new nuclear world war, one is only made aware of the fragility of one's own life. If it is then such a personal incisive experience, as it happened to Chris, you begin to weigh one' s life and ask, what is important for me?

For Chris, it's the Simple Things in his new chapter of life. "Spending time with loved ones, being present, doing things with joy, thinking of others." So he considers his album a gift to his friends and, of course, to himself, because Chris is a musician through and through.

Besides Chris (guitar, keyboards and programming) you can listen to his longtime friends, Rodney Lee (keyboards), Andre Berry (bass), Chris Coleman (bass), Kevin Axt (upright bass), and Gary Meek (tenor sax). Chris has written, produced and arranged all songs.

The album opens with Shadow Of Doubt. If one ever existed, Chris blows it away with his Benedetto guitar. A funky uplifting melody to awaken the spirits. Speaking of funk, we also have Bootsy Collins. With Thank You Bootsy, Chris is building a personal tribute to this legend.

Change The World, the first single of the album, reminds me a bit of Ready Steady Flow. The sound of his guitar is admittedly dominant characteristic. The emotional versatility of his guitar playing is also remarkable. On A Thousand Words (For Samantha) resonates a lot of tenderness.

On Face To Face, Chris brilliantly links the styles of other guitarists. I especially liked the Prince quote. With Ain't Nothing But A Thing he reaches deeper into the citation box of music history with a conspicuous reference to James Brown.

On his new album Chris also serves us melancholic pieces with depth and content. A good example is The Gist Of You. No Two Ways About It makes it clear that sometimes you have to make your choices and there are no alternatives. Chris sees it positively in this case.

Many things threaten our well-being, especially when they get too near to us. The term Too Close For Comfort aptly describes this condition. Chris does not build up a threatening backdrop with his melodious song, but envelops us with mellifluous guitar tones.

On Don't Get Me Started Chris invites saxophonist Gary Meek to a featured sax solo with extensive improvisations. With the final And The Show Goes On Chris sends a clear signal: "I will stay with you". I've been enjoying Chris Standring's new album Simple Things song by song. This is the Chris Standring and his music as we love him.http://www.smooth-jazz.de/firstview/Standring/SimpleThings.htm

Simple Things

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Nicole Henry - Time to Love Again

Styles: Vocal
Year: 2021
File: MP3@320K/s
Time: 44:50
Size: 103,2 MB
Art: Front

(4:02) 1. Feeling good
(4:40) 2. Midnight at the Oasis
(4:10) 3. Your smiling face
(5:41) 4. I didn't know what time it was
(6:52) 5. Is it a crime
(4:50) 6. Until it's time for you to go
(5:46) 7. Wild is the wind
(4:53) 8. Love and affection
(3:50) 9. Overjoyed

Nicole Henry has been making a lot of noise, nicely, with her latest album. It is easy to see why.

While critics compare her to everyone from Natalie Cole to Whitney Houston, she really does sound like herself. She swings elegantly and does not oversing. Her intonation, diction and phrasing are impeccable. Henry is the epitome of good taste. She obviously has chops and range to burn, but keeps both under control. She will neither shatter your nerves nor your windows. One suspects that performance is part of her appeal: better to be in the live audience rather than listening through headphones. But, as the The Rolling Stones reminded us, you can't always get what you want.

Her taste in material is good too, ranging from jazz to rock to soul to pop. None of the tunes are original, but Henry puts a distinctive vocal and rhythmic stamp on them. And her timbre ranges from sultry to sweet, as the tune calls for. "Midnight at the Oasis" is undergoing something of a revival, but Henry's version is just different enough to keep Maria Muldaur at bay, which is not easy. Others have also done "What Time It Was," but there are no intervallic gimmicks here. James Taylor? "Your Smiling Face." Really? Yes, Somehow it works, and works well. "Overjoyed" by Stevie Wonder is another favorite, with an intimation of what energy Henry keeps under wraps.

It may be premature to compare her to Sarah Vaughan, as some of her fans are wont. Time will tell, but she is in the ballpark.By Richard J Salvucci https://www.allaboutjazz.com/time-to-love-again-nicole-henry-banister-records

Personnel: Nicole Henry: voice / vocals; Pete Wallace: piano; Jean Caze: trumpet; Aaron Lebos: guitar; Troy Roberts: saxophone; Eric England: bass, electric; Camilo Velandia: guitar; Eduardo Rodriguez: percussion; Dan Warner: guitar; John Michalak: saxophone, tenor; Richard Bravo: percussion; David Chiverton: drums; Gregoire Maret: harmonica; Teddy Mulet: trumpet; Jim Hacker: trumpet; Jorge Dorbal, Jr: trombone; Tom McCormick: woodwinds; Doug Emery: keyboards.

Time to Love Again

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Paul Bley Trio - The Nearness Of You

Bitrate: MP3@320K/s
Time: 65:25
Size: 149.8 MB
Styles: Piano jazz, Avant Garde jazz
Year: 1989
Art: Front

[ 5:29] 1. This Can't Be Love
[12:50] 2. The Nearness Of You
[ 7:23] 3. What A Difference A Day Makes
[ 4:31] 4. These Foolish Things
[11:26] 5. Blues In The Closet
[ 6:15] 6. Lullaby Of Birdland
[10:39] 7. We'll Be Together Again
[ 6:49] 8. Take The A Train

Bass – Ron McClure; Drums – Billy Hart; Piano – Paul Bley. Recorded November 21, 1989

Recorded in 1989 and issued simultaneously on LP and CD, the digital version features two extra cuts and thus weighs in at about 16 minutes longer than the vinyl. The first question is why an artist of Bley's restlessness and vision would record a batch of tunes like these old nuggets in the first place. Bley's trio on this date is an estimable one: Drummer Billy Hart and bassist Ron McClure join the pianist for eight standards that range from the title track by Hoagy Carmichael to Oscar Pettiford's "Blues in the Closet" to George Shearing's "Lullaby of Birdland." Bley has an interesting way of approaching standards, which is why this hard bop rhythm section is key to the performances here. While he may approach Richard Rodgers' "This Can't Be Love" as a bebop tune with a modal sensibility -- he found the mode inside the tune's architecture -- Bley's sense of phrasing falls out of all the traditional jazz boxes. His bebop style is full of angular spaces and odd half notes and his modal mannerisms suggest tonal maneuvers requiring notes that go by at a clip (16th, even a 32nd in a major seventh chord run!) in counterpoint with McClure. Of course, this is what makes the man one of the bona fide geniuses of the music -- his manner of reworking something so it is something totally different yet still sounds like itself. In a ballad like the title tune, Bley allows Hart plenty of room to explore with his brushes by creating huge spaces in the melody, not merely by syncopation but by extending the chordal reach of the tune itself and allowing the tempo to hover rather than move toward any particular measure or melodic invention (of which there is plenty). Strangely, his reading of the Carmichael number is deeply moving, and played in a manner that suggests Mal Waldron's with a lighter touch and a longer reach for harmonic structures. The trio's performance of "What a Difference a Day Makes" seems rushed at first, as the musicians slip through the melody like a breeze through a screen door -- but it's all smoke and mirrors. Bley is moving the melody around to find room for McClure and Hart to lay back and coast on where he's taking the harmony, which is into a realm that suggests Herbie Nichols and Bill Evans. By the time Bley gets to Shearing's tune and the closer, Billy Strayhorn's "Take the 'A' Train," he's convinced us all once again that there is something new in everything. While the Strayhorn stalwart may be one of the most recorded jazz tunes in history, it has never sounded like this. Before the melody falls like dominoes and like lightning from Bley's right hand, he moves through a series of Monkish augmented chords that make no apparent sense harmonically until the melody jumps right out of them. As McClure and Hart move to double time, Bley triples and they're off and running, floating back and forth between pitches and key changes, even slipping in a bit of Ornette's chromaticism at the break. The other cool thing is that Bley manages to quote, however minutely, from every other tune on the session in his solo! This date is Bley at his most relaxed and amiable, playing with two veterans who not only handle his sudden shifts in mood and color but, more often than not, texture them in advance of what's coming -- dig McClure's hammer-on run near the end of "'A' Train" and, as Bley follows him and opens the scale up, you'll get a stunning example. This is Bley at his level jamming best. If this had been a cutting session, I'd have hated to be the horn player. ~Thom Jurek

The Nearness Of You

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Akalé Wubé & Manu Dibango - Anbessa

Styles: Jazz Band
File: MP3@320K/s
Time: 36:25
Size: 85,1 MB
Art: Front

(2:52) 1. Ekedi feat. Manu Dibango
(4:13) 2. Gentlemen de Camp Yabassi
(3:43) 3. Anbessa feat. Manu Dibango
(3:13) 4. Otetena Munja
(4:32) 5. Du Bush A Bush
(4:12) 6. African Pop Session feat. Manu Dibango
(5:34) 7. La Colère des Dieux
(3:45) 8. Tinchel
(4:16) 9. Peaceful Homeland

Akalé Wubé is a Parisian band devoted totally to the grooves of 60s and 70s Ethiopian music. Since their beginnings in 2009, Akalé Wubé have been exploring passionately and meticulously the musical goldmine of Swingin' Addis, which they discovered through the “Ethiopiques” compilation curated by Buda Musique. https://www.discogs.com/artist/1984877-Akal%C3%A9-Wub%C3%A9

Members: Etienne de la Sayette: tenor & baritone saxophone, bansuri flute, washint; Paul Bouclier: trumpet, percussions, krar; Loïc Réchard: guitar; Oliver Degabriele: electric bass; David Georgelet: drums

Anbessa

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Stockholm Swing All Stars !!! Vol. 3: Listen

Styles: Swing
File: MP3@320K/s
Time: 47:18
Size: 108,7 MB
Art: Front

(4:20) 1. Pick Yourself Up
(4:50) 2. Poinciana - Where or When
(4:33) 3. Upper Manhattan Medical Group
(3:12) 4. And Clyde
(7:08) 5. The Preacher
(4:13) 6. If I Had You
(2:41) 7. New Shoes
(6:42) 8. The Unpleasantness
(3:32) 9. mr Sven
(6:02) 10. Don’t Get Around Much Anymore

The idea was to form a band featuring the top jazz and swing players in Stockholm. The four horn players in the front line play an important role in the band. With cleverly written arrangements, mostly by Klas Lindquist and Fredrik Lindborg, the band can play softly like a small group and seconds later explode in a big band fortissimo. The rhythm section gives the band a bouncing ground for the solos and ensembles.

The members of the Stockholm Swing All Stars are considered among the best in their field in Sweden. The band plays swing and jazz music suitable both for concerts and for dancing. They often play at lindy hop and other dance events as well as in concert halls.

The Stockholm Swing All Stars have released five albums and one DVD. The most recent album, “In The Spirit of Duke Ellington”, was released in September 2018. They tour all over Scandinavia, and sell out the Stockholm Concert Hall and the Gothenburg Concert Hall regularly.
https://www.stockholmswingallstars.com/about/

The Stockholm Swing All Stars are: Karl Olandersson – trumpet and vocals Klas Lindquist – reeds Fredrik Lindborg – reeds Dicken Hedrenius – trombone Daniel Tilling – piano Göran Lind – double Bass Mattias Puttonen – drums

Stockholm Swing All Stars !!! Vol. 3: Listen

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Stan Getz, Zoot Sims, Al Cohn, Allen Eager, Brew Moore - The Brothers

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 43:50
Size: 102,3 MB
Art: Front

(3:12) 1. Five Brothers
(3:36) 2. Five Brothers (Alternate Take)
(3:54) 3. Battle Of The Saxes
(3:48) 4. Four And One Moore
(3:33) 5. Four And One Moore (Alternate Take)
(3:23) 6. Battleground
(3:17) 7. Battleground (Alternate Take)
(4:35) 8. The Red Door
(4:22) 9. Zootcase
(4:28) 10. Tangerine
(5:37) 11. Morning Sun

The music on this LP recalls the airy "Four Brothers" sound that tenor saxophonists Stan Getz, Zoot Sims and Herbie Steward, and baritone saxophonist Serge Charloff, plied in Woody Herman's band of 1947. For this outing, Steward and Charloff exit, and four become five with the addition of tenor luminaries Al Cohn, Brew Moore, and Allen Eager. The set appropriately kicks off with Gerry Mulligan's "Five Brothers," a tune reminiscent of Jimmy Giuffre's original "Four Brothers" in its fluid and bouncy arrangement.

Three other attractive and similarly disposed originals (one more by Mulligan and two by Cohn) complete the saxophone session from 1949, all featuring swinging statements by each soloist. A 1952 sextet date led by Sims and Cohn is also included, offering up another round of original and buoyantly swinging cuts, bolstered by lively contributions from trombonist Kai Winding and solid rhythmic support by pianist George Wallington, bassist Percy Heath, and drummer Art Blakey. A fine release that nicely showcases the cool, proto-West Coast bop forged by both these soloists and Miles Davis.~ Stephen Cook https://www.allmusic.com/album/the-brothers-mw0000652734

Personnel: Piano – George Wallington, Walter Bishop, Bass – Gene Ramey , Percy Heath; Drums – Art Blakey, Charlie Perry; Tenor Saxophone – Al Cohn, Allen Eager, Brew Moore, Stan Getz, Zoot Sims; Trombone – Kai Winding

The Brothers

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John Scofield - A Go Go

Styles: Guitar Jazz
Year: 1998
File: MP3@320K/s
Time: 51:37
Size: 118,8 MB
Art: Front

(6:35)  1. A Bo Go
(6:45)  2. Chank
(5:26)  3. Boozer
(5:12)  4. Southern Pacific
(4:26)  5. Jeep On 35
(2:14)  6. Kubrick
(5:11)  7. Green Tea
(6:45)  8. Hottentot
(6:21)  9. Chicken Dog
(2:39) 10. Deadzy

For those of us who found ourselves swept away by the funk and soulful precision of early seventies releases like the Crusaders' Chain Reaction, John Scofield's latest offering will find a grateful audience too long spoon fed and spiritually starved on lush over-productions. A Go-Go gets down to business with no-nonsense production values and grooves. Scofield's strings sing through melodies laden with R&B hooks and southern fried blues, wailing, jibing, taunting, and preaching to us the gospel of urban funk. Despite what may be a return to safe, familiar radio-friendly territory for Scofield, instead we're treated to an ambitious and yet genuinely felt jazz-pop instrumental. A Go-Go stands clearly as one of the year's top fusion releases-but these tracks deeply mine Scofield's blues and Blue Note roots, such that the "fusion" label can only be applied here in a narrow and out-of-kilter way. Isn't that the case with all strong jazz in the fusion vein? Not to discount Scofield's chromatic flights into bizzare little vignettes and his athletic, angular progressions. What comes through is how much fun Scofield had in crafting and recording these pieces-the side of Sco that can certainly command applause alongside an Anthony Braxton or Cecil Taylor takes a nap in the back seat for the most part. Here hip-hop shuffles dance to the relaxed pumping of Billy Martin's acoustic traps. "Chank" takes off on a classic James Brown vamp, and the mixed chord voicings of organ and Sco's hollow-body honk with texture richer than molassass; clever and hip melodies give way to ferocious soloing underpinned by slamming grooves.

Scofield's guitar and John Medeski's organ are weaving in and out of a urban tarantella twisted further by an ideal and versatile rhythm section. "Jeep On 35" is that light and airy style of fusion propelled by soulful acoustic strumming, that seems made for a summer day's coastal drive. As the grooves escalate, this funky vehicle increasingly overheats into a steamy, intoxicating funk. Given the tasty chunks of Hammond B3 organ and Wurlizter electric piano thrown into the mix, there's a decidedly early 70s NYC urban fusion vibe.The tracks are arranged meticulously with no shortage of delicious, quirky changes-the kind of stuff you imagine popsters of the Walter Becker/Donald Fagen variety taking their cues from. This is what happens when a serious jazz artist again takes their cues and melodic clues from urban streets Scofield's guitar tells his audience about the realities of fast cars and their thundering radios, clamoring dives, and serpentine swaying hips without need for words or synthesizers. Given the general level of musicianship in evidence, Scofield's tracks make for a perfect Sunday afternoon for all who that like their stiff shot of blues chased by the odd chord so characteristic of pianists like Bill Evans or Dave Brubeck. Such is the singular charm of John Scofield, who serves up a jazz concoction that dances that narrow alleyway between extremely relaxed and extremely serious music, and it has all the earmarks of a "breakthrough" for Scofield in terms of airplay (as if radio could really be this hip). ~ Christopher Hoard https://www.allaboutjazz.com/a-go-go-john-scofield-verve-music-group-review-by-christopher-hoard.php
 

Personnel: John Scofield: guitar; John Medeski: organ, piano; Chris Wood: bass; Billy Martin: drums.

A Go Go

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Allison Wheeler - Winterspring

Styles: Vocal
File: MP3@320K/s
Time: 61:16
Size: 142,8 MB
Art: Front

(5:02) 1. Winterspring
(5:57) 2. Something Good
(6:32) 3. Ophelia
(6:13) 4. The Hazel Wood
(2:35) 5. Lines
(7:31) 6. Nose Dive
(5:25) 7. The Giant
(0:53) 8. A Dream is a Wish
(5:52) 9. Love
(7:48) 10. Going Home
(7:22) 11. Dawn

Downbeat’s 2018 ‘Undergraduate Vocal Soloist of the Year’ Allison Wheeler is a rising talent from California (based in the Czech Republic), who’s now set to release her debut album winterspring. The album features leading Czech pianist Daniel Bulatkin and his trio, Max Makagonoy on double bass, Petr Nohavica on drums, as well as guest guitarist David Doružka and Luboš Soukup on saxophone and clarinet. This impressive instrumental ensemble fuses perfectly with Wheeler’s dynamic and folky vocals, creating an extraordinary sound world that dominates each track on the album. Wheeler successfully constructs a world of her own imagination, fuelled by her expansive vocal improvisation, folk-like nostalgia, and love for impressionism. Through crossing genre boundaries and combining various stylistic techniques, Allison Wheeler has created a contemporary jazz album which frequently borrows from folk and world music traditions. This can also be heard in the work of Wheeler’s musical influences, including Russian-American songwriter and vocalist Regina Spektor, experimental songwriter Fiona Apple and Irish American folk-rock vocalist Aoife O’Donovan.

The album begins with the title track ‘winterspring’ and a single-note piano introduction joined by Wheeler’s soothing vocals. The song slowly builds into a web of shifting time signatures and deviating harmonic structures, which are merged with Wheeler’s overlapping main and backing vocals. The lyrics provide a narrative based on the static and calm natural world, contrasting the busyness of the song's texture. Wheeler finds ways to create contrast throughout the track, with climactic and bustling sections instantly followed by more spacey moments, where her vocals shine through beautifully. The interactivity between the backing and main vocal lines can be heard further on in the song, where the melodies repeat each other canonically like a vocal chain heard in a traditional folk song. The prominence of the backing vocals is apparent throughout the album, particularly in the tracks ‘Ophelia’, ‘The Hazel Wood’ and ‘Nose Dive’.

Though Wheeler’s folk-like style shines through in ‘winterspring’, ‘Ophelia’ and ‘The Hazel Wood’, many of the other tracks on the album explore other contemporary jazz approaches. The second track, ‘Something Good’, with its more electronic and synthesised feel, references the sounds used by various musicians in the contemporary jazz scene. Wheeler’s ability to explore the music of the current jazz world while embracing her distinct style makes this album all the more exciting and unpredictable. The track features the virtuosic playing of Luboš Soukup, heard in his elaborate interjections throughout the verses and in his distinct improvisational style.

Wheeler’s impressive scat-soloing becomes more apparent, especially in ‘Nose Dive’, which spotlights her incredible vocal range and melodic creativity. The subsequent guitar solo also demonstrates dulcet originality, becoming more experimental and tonally explorative. The whole band drives the improvisation section to a climax before dramatically falling to a delicate piano moment, which is extremely effective. ‘The Giant’ also exhibits a more experimental side to Wheeler’s compositional style. The introductory sound world is based around the travelling drum line, with occasional high-pitched interjections from the piano, woodwind, strings, and Wheeler’s vocals. The use of extended performance techniques such as trills and growls create a setting which is sonically vibrant and unique.

‘A Dream is a Wish’ becomes a momentary pause from the chaotic nature of the previous track. Wheeler’s acapella singing of this popular Disney song is both nostalgic and soothing, perhaps allowing the listener to connect with the sounds of their childhood. This leads effectively into the graceful and scalic piano introduction of ‘Love’. The piano solo epitomizes the light-hearted feel heard from the starting melody, musically translating this message of love and warmth. The wordless tenth track ‘Going Home’ translates this message also, not through lyrics, but its introspective and sentimental feel. Each song throughout the album has its own narrative which can be heard through the instrumentation alone, making this album a very special and reflective listen indeed.
By Isabel Marquez https://www.jazzviews.net/allison-wheeler---winterspring.html

Personnel: Allison Wheeler - vocals & music; Daniel Bulatkin - piano/fender rhodes/prophet; Max Makagonov - double bass; Petr Nohavica - drums with special guests: David Doružka - guitar; Luboš Soukup - soprano and tenor saxophone/clarinet strings (tracks 3 &4); Lucie Agopianová - violin 1; Šárka Ozgová - violin 2; Zuzana Korenová - viola; Nozomi Sekine - cello

Winterspring

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