Martial Solal - Coming Yesterday [Live at Salle Gaveau 2019]

Styles: Piano Jazz
Year: 2021
Time: 66:17
File: MP3 @ 320K/s
Size: 152,3 MB
Art: Front

( 6:55) 1. I Can't Get Started (Live)
(11:40) 2. Coming Yesterday (Live)
( 7:05) 3. Medley Ellington (Live)
( 4:36) 4. Sir Jack (Live)
( 6:38) 5. Tea for Two (Live)
( 4:35) 6. Happy Birthday (Live)
( 9:25) 7. Lover Man (Live)
( 4:54) 8. I'll Remember April (Live)
( 5:59) 9. My Funny Valentine (Live)
( 4:26) 10. Have You Met Miss Jones (Live)

In 2010, a British writer travelled to Paris to interview the pianist Martial Solal. The address he had been given was in the affluent suburb Chatou. On arrival, Solal's house struck the writer as something quite unlike the home of any other jazz musician he had ever visited, an haute bourgeoisie villa surrounded by an ornamental garden full of mature trees, the whole surrounded by a high metal fence. The French take their artists seriously and, on the evidence of this house, thought the writer, appeared to reward even jazz musicians generously. Others before him had probably been similarly surprised. "Jean-Luc Godard can be thanked for this," said Solal with a smile, referring to the film director who commissioned him to write the soundtrack for his 1960 arthouse classic A Bout De Souffle (aka Breathless).

Solal, who in 2010, aged eighty-two years, was still receiving royalties from Godard's movie, went on to say that being offered the commission had been for him like winning the lottery, for at the time he was the modestly paid house-pianist at the St Germain des Prés jazz club, living a life as financially precarious as any lower-rung jazz musician anywhere in the world. As singular and asymmetrical a pianist and composer as, say, Thelonious Monk, Solal had no expectations of ever having money in the bank, much less an upmarket home in Chatou. The ongoing income from A Bout De Souffle helped him to continue to put artistic integrity before commercial considerations. For which jazz lovers can be as grateful as he was.

Coming Yesterday Live At Salle Gaveau 2019 is, says Solal in 2021, his final album. He did not know it would be that at the time, imagining instead that it might be the start of a new trajectory in which he would concentrate on standards, eight of which he transforms on this album (the other two tracks, "Coming Yesterday" and "Sir Jack," are originals). But, now aged ninety-three years, Solal has decided to retire while he is still ahead. The album is an elegant and idiosyncratic valedictory in which "Lover Man," "My Funny Valentine" and "Have You Met Miss Jones" are among the tunes given treatments as fresh as the day they left their composers' hands. Solal even succeeds in making "Happy Birthday" sound interesting and unusual for four and a half minutes. Bon voyage, maestro. Enjoy your retirement.
https://www.allaboutjazz.com/coming-yesterday-and-151live-at-salle-gaveau-2019-martial-solal-challenge-records

Personnel: Martial Solal: piano.

Coming Yesterday [Live at Salle Gaveau 2019]

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Ulysses Owens Jr. Big Band - Soul Conversations

Styles: Instrumental Jazz
Year: 2021
Time: 72:48
File: MP3 @ 320K/s
Size: 167,5 MB
Art: Front

(8:53) 1. Two Bass Hit
(5:59) 2. London Towne
(8:37) 3. Beardom X
(7:29) 4. Red Chair
(6:32) 5. Giant Steps
(5:51) 6. Language of Flowers
(8:20) 7. Human Nature
(4:46) 8. Girl Talk
(9:44) 9. Harlem Harlem Harlem
(6:33) 10. Soul Conversations

Drummer Ulysses Owens, Jr.'s Big Band comes out swinging on its debut recording, Soul Conversations, thundering through Michael Dease's incendiary arrangement of the Dizzy Gillespie/John Lewis flame-thrower, "Two Bass Hit." For more such heat, however, the listener must move forward to Track 5, John Coltrane's impulsive "Giant Steps," thence to Track 9 for Charles Turner III's earnest homage to "Harlem Harlem Harlem," on which he doubles as vocalist.

That's not to say that everything in between is less than pleasing, only more sedate. That includes a trio of charts by Owens ("Beardom X," "Red Chair," "Soul Conversations"), trumpeter Benny Benack III's sunny "London Towne," bassist Yasushi Nakamura's shapely ballad, "Language of Flowers," John Bettis/Steve Porcaro's multi-layered "Human Nature" (featuring guest vibraphonist Stefon Harris, as does "London Towne") and Neal Hefti's shopworn and patronizing "Girl Talk." Dependable as they are, one senses that the band is capable of more, but as Owens chose the material that must have been his purpose, and the outcome should be weighed on that basis.

Another aspect that must be considered is the circumstance under which the album was recorded: in concert at Dizzy's Club Coca Cola in New York. While that usually poses no problem, in this case the color and balance do the band no favors. The sound isn't for the most part displeasing; on the other hand, as with the choice of material, the over-all impression is that it could have been better. An accent here, a blemish there it all adds up to a sonic cushion that may be tolerable but is at times less than supportive.

There is no doubting, however, the band's aptitude or enthusiasm. There's an abundance of musical talent in New York, and Owens has stocked the band with proven heavyweights, a benefit that is readily apparent from the outset. "Two Bass Hit" could have set the tone, with spirited blowing by the ensemble and vigorous solos by tenor Diego Rivera, bass trombonist Wyatt Forhan, trumpeter Walter Cano, trombonist Dease, baritone Andrew Gutauskas and Owens himself, but the leader chose another route, moderating the pace and ardor considerably on "London Towne," "Beardom X" and "Red Chair" before re-engaging the accelerator on "Giant Steps," wherein Rivera and tenor Daniel Dickinson trade sturdy blows before Owens and trumpeter Giveton Gelin add earnest solos.

Alto Alexa Tarantino is showcased on "Language of Flowers," Gelin on "Girl Talk," and there are admirable solos elsewhere by Benack, trombonist Eric Miller, alto Erena Terakubo and trumpeter Summer Camargo (muted on "Harlem"). It's a sometimes choppy maiden voyage but one whose strengths far outnumber its weaknesses. Recommended for the exuberant flag-wavers, first-rate solos and sizeable number of impressive moments on the less-than-emphatic numbers.
https://www.allaboutjazz.com/soul-conversations-ulysses-owens-jr-big-band-outside-in-music

Personnel: Ulysses Owens, Jr.: drums; Walter Cano: trumpet; Benny Benack III: trumpet; Summer Camargo: trumpet; Giveton Gelin: trumpet; Alexa Tarantino: saxophone, alto; Erena Terakubo: saxophone, alto; Diego Rivera: saxophone; Daniel Dickinson: saxophone; Andrew Gutauskas: saxophone, baritone; Michael Dease: trombone; Eric Miller: trombone; Gina Benalcazar: trombone; Wyatt Forhan: trombone, bass; Stefon Harris: vibraphone; Takeshi Ohbayashi: piano; Yasushi Nakamura: bass; Charles Turner III: voice / vocals.

Soul Conversations

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Carmen Lundy - Fade To Black

Styles: Vocal
Time: 56:42
File: MP3 @ 320K/s
Size: 130,8 MB
Art: Front

(8:06) 1. Shine a Light
(3:31) 2. So Amazing
(5:39) 3. Daughter of the Universe
(3:19) 4. Ain't I Human
(5:19) 5. Lonesome Blue Butterfly
(4:41) 6. Spell of Romance
(7:15) 7. Say Her Name
(5:21) 8. Transition (To A Promised Land)
(3:49) 9. Privacy
(5:51) 10. Reverence
(3:45) 11. Rest In Peace

Fade To Black is Carmen Lundy’s 16th album and one of her most personal to date. Grammy® Nominated for her previous album Modern Ancestors, these 11 original songs, written and arranged by Carmen Lundy, were conceived during the challenging months of the pandemic and reflect this time of great loss, sorrow, healing, and hope for a brighter, more inclusive future for us all. Tackling the difficult social issues of our time while also musing on the joys of love and relationships, this stunning set of songs takes us on an emotional journey that culminates in the extraordinary hymn-like ballad titled “Rest In Peace”.

Carmen Lundy explains, “I approached the writing of this work from being in this moment in time not necessarily looking back, but observant of the times we live in NOW. Traditional Jazz composition involves understanding its evolution and the spirit of improvisation. In this complete oeuvre, I wanted to explore different approaches to harmonic progressions, extended forms, and subtle rhythmic concepts while providing plenty of space for the lyrics and melodies to sing and tell stories without necessarily feeling the need to represent preconceived ideas about vocal jazz, harmonies and rhythms.” This project was funded in part by a New Jazz Works grant from Chamber Music America (CMA). All songs written and arranged by Carmen Lundy (Carmen Lundy Publishing/BMI).
https://carmenlundy.com/product/fade-to-black/

Personnel: Carmen Lundy: vocals, keyboards, guitar, percussion, horn arrangements, backing vocals. Julius Rodriguez: piano. Matthew Whitaker: organ, keyboards, string arrangements, programming. Kenny Davis: acoustic bass, electric bass. Curtis Lundy: acoustic bass. Terreon Gully: drums. Andrew Renfroe: guitar. Wallace Roney Jr.: trumpet. Giveton Gelin: trumpet. Camille Thurman: tenor saxophone. Morgan Guerin: tenor saxophone.

Fade To Black

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Muriel Grossmann - Quiet Earth

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 40:17
Size: 92,8 MB
Art: Front

(11:05) 1. Wien
( 9:09) 2. African Call
( 8:34) 3. Peaceful River
(11:28) 4. Quiet Earth

Anyone familiar with Tibetan Buddhism will know that once their spiritual leader or Dalai Lama dies, officials set off in search of his reincarnation, interviewing and examining potential postulants. Listening to Quiet Earth by Austrian saxophonist Muriel Grossmann one cannot help but ask if she might be the reincarnation or avatar of the late John Coltrane. Certainly that is one heavy label to place upon Grossmann but, a few minutes into the opener "Wien," and there is little doubt this artist has the proper bona fides.

The composition carries that A Love Supreme (Impulse!, 1965) vibe with a reverence for the ethereal. She is backed by her longtime collaborators, guitarist Radomir Milojkovic, bassist Gina Schwarz, and drummer Uros Stamenkovic, plus organist Llorenc Barcelo who came aboard for the previous release Reverence (2019). Both recordings are available as CDs from Dreamlandrecords or as 200 gram LPs from RR GEMS. "Wien" doesn't parrot that Coltrane masterpiece, it expands upon the concept with Barceló's organ pointing towards the spiritual jazz of Larry Young, and Milojkovic's guitar chewing on some Delta blues.

Like every succession of the Dalai Lama, Grossmann's music carries not just the previous incarnation but also its lineage. "African Call" travels back to the roots of jazz to its motherland, Stamenkovic and Schwarz laying down the rhythms that fuelled the birth of blues, jazz, and rock. If one need more proof of Grossmann's incarnation, "Peaceful River" first finds her on soprano before swapping to tenor saxophone, as its Gospel blues expands into a kind of awakened devotional music where Stamenkovic works his ride cymbal very much in the manner of Elvin Jones. The title track opens with Grossmann drawing first from Ornette Coleman's sound before returning to the Coltrane spirit with her soprano saxophone. Her quartet blossoms with sleek solos by Milojkovic and Barceló before a brief saxophone, bass and drums improvisation acts as a kind of coming attractions preview. By Mark Corroto https://www.allaboutjazz.com/quiet-earth-muriel-grossman-rr-gems-dreamlandrecords

Personnel: Muriel Grossmann: saxophone; Radomir Milojkovic: guitar, electric; Gina Schwarz: bass; Uros Stamenkovic: drums; Llorenc Barcelo: organ, Hammond B3.

Quiet Earth

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Peggy Connelly - Hollywood Sessions

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 46:56
Size: 108,4 MB
Art: Front

(3:03)  1. You Make Me Feel So Young
(2:42)  2. Trouble Is a Man
(3:08)  3. Where Did the Gentleman Go
(2:26)  4. I Have Said Goodbye to Spring
(2:54)  5. What Is There to Say
(2:30)  6. Trav'lin' Light
(3:18)  7. Ev'rytime We Say Goodbye
(3:17)  8. Alone Together
(2:42)  9. I Got Plenty o' Nuttin'
(2:25) 10. Fools Rush In
(2:10) 11. Ev'rytime
(2:47) 12. Gentleman Friend
(4:27) 13. It Never Entered My Mind
(2:59) 14. Why Shouldn't I
(3:14) 15. That Old Black Magic
(2:45) 16. He Was Too Good to Me

By the time she was 15, Peggy Connelly (1931-2007) had a lovely voice that won her jobs singing with competitive big bands in her hometown of Fort Worth, Texas. At 18, she went in search of work as a model and singer, and after a difficult start, she moved to Hollywood. Once there, she landed two significant opportunities. The first involved her appearance in motion pictures and TV shows. The second and more important opportunity was the start of her career as a single recording artist. When she sang, Connelly put to good use her beautiful, round tone and commendable lack of artifice to project the intent of any song with lucidity. She was Frank Sinatra’s girlfriend for over two years, and their relationship opened many doors for her with musicians and the Hollywood studios. Even though Connelly had few significant opportunities in her career to show off her talent as a singer, the times she did resulted in these magnificent recordings. Sinatra, not very fond of praising his colleagues, had no qualms about praising Connelly. When he first heard her sing Ev’ry Time We Say Goodbye, he said: “Hi, beautiful lady, you are wonderful.” https://www.freshsoundrecords.com/peggy-connelly/6707-hollywood-sessions.html

Personnel:  Peggy Connelly (vcl), Marty Paich, Russell Garcia (dir), Conte Candoli, Pete Candoli, Stu Williamson (tp), Russ Cheever (ss), Charlie Mariano (as), Bill Holman (ts), Jimmy Giuffre (bs), Al Hendrickson (g), Jimmy Rowles (p), Harry Babasin, Max Bennett (b), Roy Harte, Stan Levey (d), Jack Costanzo, Ramón Rivera, Willy Gallardo (perc)

Hollywood Sessions

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Joey DeFrancesco - Joey DeFrancesco Plays Sinatra His Way

Styles: Hard Bop, Soul Jazz
Year: 2004
File: MP3@320K/s
Time: 53:25
Size: 122,9 MB
Art: Front

(5:38) 1. I Get a Kick out of You
(5:58) 2. Teach Me Tonight
(5:23) 3. Pennies from Heaven
(6:47) 4. What's New
(6:05) 5. Witchcraft
(5:37) 6. What Now My Love
(6:21) 7. Don't Worry 'Bout Me
(5:22) 8. Falling in Love with Love
(6:09) 9. Angel Eyes

Although he’s been on the Concord label for several years now, it seems that the well spring of material that Joey DeFrancesco cut for Joe Fields’ HighNote imprimatur continues to be harvested with the latest offering being this 1998 session recorded in 24-bit digital splendor by the legendary Rudy Van Gelder. Don’t look for the title on this one to provide much more than a unifying element for the tunes included, which just happen to be numbers that ‘Ol’ Blue Eyes’ recorded at some point during the span of his career. Known to vocalize somewhat himself, DeFrancesco does no singing here either. The emphasis is on the type of hard swinging groove music that has always been this organist’s main form of expression.

In the company of Houston Person (who led DeFrancesco to the Muse label many years ago), guitarist Melvin Sparks, and longtime drummer Byron Landham, our leading man delivers nine selections that all clock in at around the five to six minute length. With its clever opening vamp, “Pennies From Heaven” finds DeFrancesco at his boppish best, with Sparks weighing in with his own juicy chords in support (as well as a solo that includes a clever “shave and a hair cut” quote to boot). At the start of his career I happened to interview Joey and he commented on how much he dug the bass lines of Groove Holmes. That he’s developed his own way with those foot pedals is clear on this performance alone.

There’s really no need to analyze each individual track here, as anyone even remotely familiar with DeFrancesco will be aware of his mastery of the mighty B-3. Van Gelder’s sound job brings Joey and the guys right into your living room. This no frills affair may be short on the revolutionary, but it will surely please fans of DeFrancesco, Person, and Sparks.
By C. Andrew Hovan https://www.allaboutjazz.com/plays-sinatra-his-way-joey-defrancesco-review-by-c-andrew-hovan

Personnel: Joey DeFrancesco (organ), Houston Person (tenor sax), Melvin Sparks (guitar), Byron Landham (drums)

Joey DeFrancesco Plays Sinatra His Way

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Judith Owen - Come On & Get It

Styles: Vocal And Piano Jazz
File: MP3@320K/s
Time: 51:09
Size: 127,7 MB
Art: Front

(3:28) 1. Blossom's Blues
(2:52) 2. Satchel Mouth Baby
(3:37) 3. The Spinach Song
(2:55) 4. Tess's Torch Song
(5:57) 5. He's a Tramp
(3:52) 6. He's a Real Gone Guy
(3:03) 7. Big Long Slidin' Thing
(3:16) 8. Fine Brown Frame
(2:47) 9. Everything I've Got Belongs to You
(4:12) 10. Come on & Get It, Honey
(4:57) 11. Nice Girls Don't Stay for Breakfast
(3:28) 12. Why Don't You Do Right?
(3:03) 13. Snatch & Grab It
(3:36) 14. Long John Blues

Welsh singer-pianist Judith Owen now lives in New Orleans. She’s recorded and toured with Richard Thompson and she supported Bryan Ferry during his UK tour.

Owen became intrigued as a young girl by the risqué lyrics of female vocalists after finding records by Nellie Lutcher and Julia Lee that had been hidden by her father. Come On & Get It (Owen’s 13th album) celebrates these and kindred singers like Dinah Washington and Blossom Dearie who delivered similarly suggestive songs in the 40s and 50s. One of them, Julie London’s Nice Girls Don’t Stay For Breakfast, was actually first recorded in 1967, but no one’s complaining.

In keeping with the spirit of things, just as Julia Lee’s band was called “Her Boyfriends”, Owen refers to hers as “Her Gentlemen Callers”. On cornet is Kevin Louis who’s played with Jimmy Heath, Carmen Lundy and Gary Bartz amongst others. His splendid accompaniments are much in the manner of John Chilton’s trumpet playing with that other salty songster, George Melly. The excellent David Torkanowsky (Cyrille Aimée) is on piano; Lex Warshawsky (Cyrille Aimée and Adonis Rose) is on bass and in-demand Pedro Segundo (Ronnie Scott’s All Stars, Dennis Rollins and Kansas Smitty) is on drums. For a taste, try this: Blossom’s Blues.

Every song on the album is a gem delivered with crystal clear intonation by Owen and superb musicianship from the band. There are guest artists along the way who I understand to include 89-year-old Preservation Hall Jazz Band reedsman Charlie Gabriel, Donald Harrison Jr, Jason Marsalis, Nicholas Payton, Evan Christopher and saxophonist Ricardo Pascal. I think they mostly feature in the recording’s three big-band numbers and there’s great saxophone playing on some of the tracks but unfortunately there’s a lack of detail about any of the artists on the promotional CD that I received. Perhaps more information will be on the commercially available issue. Either way, it’s a smashing album and highly recommended.https://jazzjournal.co.uk/2022/10/04/judith-owen-come-on-get-it/

Come On & Get It

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Dmitry Baevsky - Soundtrack

Styles: Saxophone Jazz
Year: 2021
File: MP3@320K/s
Time: 65:38
Size: 150,6 MB
Art: Front

(4:46) 1. Evening Song
(3:58) 2. Vamos Nessa
(5:17) 3. Baltiyskaya
(5:22) 4. Grand Street
(4:30) 5. The Jody Grind
(5:27) 6. La Chanson De Maxence
(4:02) 7. Over and Out
(4:29) 8. Le Coiffeur
(3:47) 9. Invisible
(6:51) 10. Autumn in New York
(5:37) 11. Stranger in Paradise
(6:16) 12. Tranquility
(5:11) 13. Afternoon in Paris

A collection of songs, some of which are likely to be included in aficionados' play lists; interpretations that don't stray very far off the beaten path; and a band of players who share a vision of how the material should be handled. It's the recipe for many recordingspast, present and future within the mainstream of jazz. So, why does alto saxophonist Dmitry Baevsky's Soundtrack, an entry that readily fits this pattern, stand out from the crowd?

In Baevsky's scheme the melodies of popular songs from the 20th century, such as "La Chanson de Maxence" (AKA, "You Must Believe in Spring"), and "Stranger in Paradise," are worthy of special consideration. Though he possesses a jazz musician's proclivity for reconfiguring a melodic line, oftentimes minimal modifications are sufficient to put the song across. Two consecutive trips through "Evening Song" sound as if Baevsky is encouraging the listener to savor the differences. The often covered "Autumn in New York" succeeds on account of his deft blend of the melody and bop-influenced enhancements.

The same attention to detail applies to Baevsky's treatments of an array of tunes by venerable jazz musicians: Sonny Rollins' "Grand Street," Horace Silver's "The Jody Grind," Dexter Gordon's "Le Coiffeur," Ornette Coleman's "Invisible," Ahmad Jamal's "Tranquility" and John Lewis' "Afternoon in Paris." One distinguishing characteristic of Baevsky's approach to the jazz material (as well as the popular songs) is his regard for dynamics. In contrast to many contemporary saxophonists who sound as if they're demanding to be heard, he's more likely to come way down in volume then to roar, bark or bellow. For instance, the first time around "Grand Street" sounds as if Baevsky is revealing a soulful secret. Joined to his sensitivity to dynamics is the capacity to sound at one with the band on the heads. The music is all the better for his willingness to forsake being the center of attention. A couple of prime examples are "The Jody Grind" and "Tranquility."

"Evening Song" and "Afternoon in Paris," the tracks that bookend the record, best represent Baevsky's virtues as a soloist. The three choruses on "Evening Song" gradually move away from the haunting melody, as he leans into the medium tempo pulse, fashions edgy, well-proportioned lines, and integrates the sprinting runs that are an essential feature of his style. A rendering of "Afternoon in Paris" with only bass and drums displays a more adventuresome disposition. While the solo ultimately remains on solid ground, Baevsky scatters pithy comments throughout and, as if harnessing all his strength, reaches a startling climax at the beginning of the second chorus.

For all Baevsky's capabilities as a song interpreter and improviser, a considerable amount of the success of Soundtrack is due to the contributions of a first-rate band comprised of pianist Jeb Patton, bassist David Wong and drummer Pete Van Nostrand. Their united approach to "The Jody Grind" feels like a deeply grooving assembly of component parts. The breezy Latin quality they bring to "Le Coiffeur" amounts to an invitation to dance. The amiable, medium tempo swing of "La Chanson De Maxence" advances without any signs of stress or strife. Van Nostrand epitomizes good timekeeping, precise sticking, tasteful fills, as well as his placing strokes slightly beneath the bass line. Patton's perceptive accompaniment buoys the ensemble without taking up too much space. Wong's firm, muscular lines make a deep impression while working in tandem with Van Nostrand. Soundtrack is Baevsky's most accomplished recording to date, a sophisticated, invigorating piece of work that makes one look forward to his future endeavors.By David A. Orthmann https://www.allaboutjazz.com/soundtrack-dmitry-baevsky-fresh-sound-records

Personnel: Dmitry Baevsky: saxophone, alto; Jeb Patton: piano; David Wong: bass; Pete Van Nostrand: drums.

Soundtrack

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Jacqui Dankworth - For All We Know

Styles: Vocal
Year: 2000
File: MP3@320K/s
Time: 48:21
Size: 111,2 MB
Art: Front

(2:57)  1. Nobody's Fault But Mine
(3:11)  2. Song
(4:54)  3. Mad Song
(4:21)  4. And Did Those Feet in Ancient Time
(5:30)  5. It Might as Well Be Spring
(4:00)  6. Rose Girl
(4:10)  7. If I Were a Bell
(5:33)  8. So Many Stars
(4:13)  9. Love Is Here to Stay
(3:57) 10. Sitting on Top of the World
(5:30) 11. For All We Know

English vocalist Jacqueline Dankworth has teamed with her regular pianist James Pearson for a live performance of a well-selected program of standards, originals and traditional songs. Although For all We Know is her debut as a soloist, Dankworth is by no means a novice entertainer. She has appeared in London's West End theatres in musical productions, was featured with the BBC Orchestra in a program of newly arranged Gershwin material, stinted with her brother Alec Dankworth, (not John), as a jazz singer and is a seasoned traveler, having worked from Hawaii to Hong Kong with stops in Indonesia and New Zealand. For the last couple of years, she has had her own pop group, Field of Blues. Dankworth brings her performing diversity to this album which rebuffs efforts to categorize her. Suffice it to say, she has perfect pitch, excellent diction and phrasing. Her voice is lighter than one usually hears in contemporary jazz singers (more like a folk singer of yore), and has an airy, ethereal feeling. 

She helps to dispel the notion that to be passionate and emotional, the singer must be loud, as she shapes each song with her own special charisma. Compare, for example, the relatively somber Nina Simone penned "Nobody's Fault but Mine" with the carefree "If I Were a Bell." The latter, by the way, highlights the piano of James Pearson, who also can be contemplative in a classical music sort of way. Celestial qualities are brought to the forefront coming through soft and clear on "So Many Stars." Risk taker that she is, Dankworth extracts words from Dyonysis Sophistes putting a contemporary twist to them in "Rose Girl. 

She has been down this artistic road before having put the poetry of A. E. Houseman in a jazz setting with the New Perspectives Ensemble. Unfortunately, Dankworth's softness works against her as either bad mike placement, bad mixing or some other technical problem results in having Pearson's piano overwhelm Dankworth to the point where it is almost inaudible on some tracks. But this is a good album anyway. ~ Dave Nathan http://www.allmusic.com/album/for-all-we-know-mw0000622214

For All We Know

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Paul Smith - Cool And Sparkling

Styles: Piano Jazz
Year: 1956/2021
File: MP3@320K/s
Time: 35:47
Size: 81,9 MB
Art: Front

(3:20) 1. I Remember You
(2:57) 2. Kempy The Painter
(3:50) 3. A Young Man's Fancy
(2:28) 4. Dandy Randy
(3:32) 5. Alone Together
(2:39) 6. The Grump
(2:25) 7. You And The Night And The Music
(3:32) 8. I'll Take Romance
(2:08) 9. Little Evil
(4:18) 10. Can't Help Lovin' Dat Man
(1:55) 11. Murphy's Light
(2:38) 12. Have You Met Miss Jones

While its title and cover certainly suggest a record firmly in the bachelor pad/lounge music camp, Cool and Sparkling: The Liquid Sounds of Paul Smith nevertheless boasts a melodic ingenuity and technical emphasis that reward deeper listening. What keyboardist Smith dubs "liquid sound" is in fact a space-age pop precursor to soul-jazz, with an energy and groove all its own.

Aided by clarinetist Abe Most, guitarist Tony Rizzi, and bassist Sam Cheifitz, Smith is too good a player and too clever a composer to settle for mere background music structure is as important here as sound, and while Cool and Sparkling blends effortlessly with its surroundings, it never sacrifices substance for style. By Jason Ankeny https://www.allmusic.com/album/cool-and-sparkling-mw0000520186

Personnel: Paul Smith - Piano; Sam Cheifitz - Bass; Tony Rizzi - Guitar; Ronnie Lang - Sax; Julie Kinsler - Flute; Irving Cottler - Drums.

Cool And Sparkling

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Boney James - Detour

Styles: Smooth Jazz
File: MP3@320K/s
Time: 40:35
Size: 93,9 MB
Art: Front

(4:08) 1. Detour
(3:36) 2. Bring It Back
(3:53) 3. Sway
(4:07) 4. Memphis
(4:05) 5. Tribute
(3:40) 6. Coastin’ (feat. Lalah Hathway)
(3:53) 7. The Loop
(4:34) 8. Northern Lights
(3:47) 9. Intention
(4:47) 10. Blur

Four-time GRAMMY nominee, multiplatinum-selling saxophonist Boney James' new album, Detour, marks his 18th release as a leader. Following the success of his 2020 album, Solid (#1 Billboard Contemporary Jazz Chart, #10 Billboard Top Albums Chart), Boney's new record showcases 10 original tracks including "Coastin'" featuring iconic vocalist Lalah Hathaway. Also featured is trumpeter Dontae Winslow, known for his work with the West Coast Get Down.

The new 10-song collection is a subtle stylistic turn that builds on the commercial success of 2020’s Solid, James’ highest charting release ever on the pop charts, peaking in the Top 10 on the Billboard 200.

Featuring vocals from 5-time Grammy winner Lalah Hathway, Detour was recorded largely at Boney’s L.A. home studio (live drums and percussion were tracked at venerable Sunset Sound). The album was produced by Boney with co-production from in-demand writer/producer, Jairus “J-Mo” Mozee (Anderson.Paak, Nicki Minaj, Anthony Hamilton) among others. Additional musicians on the album are keyboardist Tim Carmon (Eric Clapton), longtime drummer Omari Williams and bassist Alex Al, renowned percussionist Lenny Castro and guitarists Big Mike Hart and Paul Jackson Jr.

During his 30-year career, Boney James has released a staggering 18 studio albums – including a pair of Christmas records -with 1995’s Seduction, 1997’s Sweet Thing and 1999’s Body Language all RIAA certified gold. In 2015, Boney’s futuresoul spent 11 weeks atop the Billboard Contemporary Jazz Chart and was the best-selling Contemporary Jazz Record of 2015. Boney has earned four Grammy nominations (“I’m not gonna lie… I’d still love a statue,” he says), two NAACP Image Award nominations and a Soul Train Award, while a dozen of his albums have landed at #1 on Billboard’s Contemporary Jazz Album chart. His collaborators in the past include a Who’s Who of R&B and soul: Raheem DeVaughn, Faith Evans, George Benson, George Duke, Dwele, Al Jarreau, Philip Bailey, Anthony Hamilton, Jaheim, Eric Benét, Dave Hollister, Stokley Williams, Kenny Lattimore and Angie Stone. http://news.theurbanmusicscene.com/2022/08/boney-james-to-release-18th-new-album-detour/ 

“We’ve all been on a detour these last few years,” says Boney. “This album reflects how my music and I have been affected by the times we’re in.”

Personnel: Tenor Saxophone, Producer – Boney James;Bass – Alex Al; Drums – Omari Williams; Guitar – Paul Jackson Jr.; Percussion – Lenny Castro; Piano – Tim Carmon; Trumpet – Dontae Winslow; Vocals – Lalah Hathaway

Detour

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Mary LaRose - Out Here

Styles: Vocal
Year: 2021
File: MP3@320K/s
Time: 52:26
Size: 120,8 MB
Art: Front

(6:59) 1. Gazzelloni
(5:07) 2. 245
(5:00) 3. Out There
(6:49) 4. Music Matador
(7:00) 5. Gw
(5:39) 6. Serene
(6:08) 7. Out to Lunch
(4:39) 8. Love Me
(5:01) 9. Warm Canto

Vocalist Mary LaRose has explored the instrumental music of jazz artists in the past, penning lyrics to the music of Thelonious Monk,Ornette Coleman, Albert Ayler, and Charles Mingus. Also included in her previous releases is the music of Eric Dolphy, who has always been a spirit guide for LaRose. With Out Here, she dedicates an entire album to Dolphy's compositions, plus a couple pieces tied to his legacy.

This session reminds you of the great Carmen McRae's Carmen Sings Monk (Novus, 1990). Like that recording, LaRose adds insight into and new appreciation of some classic compositions. Alongside partner Jeff Lederer, who plays clarinets, LaRose's ensemble includes Tomeka Reid (cello), Patricia Brennan (vibraphone, electronics), bassist Nick Dunston, and drummer Matt Wilson. Blending sung, spoken word, and scatting vocalese, the music is packed with ceaseless animation, with the arrangements by Lederer. LaRose's wordless duet with Wilson's drums opens "Gazzelloni" which blossoms into an infectious groove. Lederer's solo on clarinet (instead of Dolphy's choice of flute) pairs nicely with the solos of Reid, Brennnan, and Dunston. That funny word (a dedication to Italian flutist Severino Gazzelloni) is repeated, parsed, and spun as if in a blender, creating an addictive cocktail. LaRose emulates Annie Ross' surfing vocalese with "245" and "GW," the latter piece featuring Brennan's vibraphone skew wiffed with electronics. We also hear two poems.

Mal Waldron's "Warm Canto" is decorated with Patricia Donegan's "Lover's Wish," which LaRose speaks over the intertwined clarinets of Lederer, Isaiah Johnson and Cameron Jones, and Hallie Lederer's "Syncopation" becomes the spoken/sung lyrics to Dolphy's "Serene." Matt Wilson's contagious march informs the intricate classic "Out To Lunch," punctuated by Lederer's clarinet, Reid's cello, and LaRose's twisted tongue recital. Maybe the best tribute to Dolphy is the cover of Prince Lasha and Sonny Simmons' "Music Matador." LaRose matches the composition with acrobatic lyrics sung over the Afro-Caribbean sounds of salsa trombonist Jimmy Bosch and percussionist Bobby Sanabria with additional vocals by Maya Rose Lederer. Everybody, let's dance.
By Mark Corroto https://www.allaboutjazz.com/out-there-mary-larose-little-i-music

Personnel: Mary LaRose: voice / vocals; Jeff Lederer: saxophone, tenor; Tomeka Reid: cello; Patricia Brennan: vibraphone; Nick Dunston: bass; Matt Wilson: drums; Jimmy Bosch: trombone; Bobby Sanabria: drums; Isaiah Johnson: drums; Cameron Jones: clarinet; Maya Rose Lederer: voice / vocals.

Out Here

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Betty Roché - Take The 'A' Train

Bitrate: MP3@320K/s
Time: 41:33
Size: 95.1 MB
Styles: Jazz vocals
Year: 1956/2014
Art: Front

[3:10] 1. Take The A Train
[4:00] 2. Something To Live For
[2:26] 3. In A Mellow Tone
[3:01] 4. Time After Time
[3:14] 5. Go Away Blues
[3:37] 6. Can't Help Lovin' Dat Man
[4:32] 7. Route 66
[3:45] 8. All My Life
[2:36] 9. I Just Got The Message Baby
[4:04] 10. All Too Soon
[3:15] 11. You Don't Love Me No More
[3:48] 12. September In The Rain

Conte Candoli/Trumpet; Eddie Costa/Vibraphone; Whitey Mitchell/Bass; Donn Trenner/Piano; Davey Williams/Drums; Betty Roche/Vocals.

This CD (put out by Evidence) brings back singer Betty Roché's definitive session. Although she had sung briefly with Duke Ellington on two occasions in 1943 and the early '50s, fame had eluded Roché. After this album she would record two more records (available in the Original Jazz Classics series) over the next few years and then disappear back into obscurity. Assisted by vibraphonist Eddie Costa, trumpeter Conte Candoli, pianist Donn Trenner, bassist Whitey Mitchell, and drummer Davey Williams, Roché is heard at her best on this set of standards. Highlights include a remake of "Take the 'A' Train" (she had previously recorded a classic version with Ellington), "Something to Live For," "Route 66," and "September in the Rain." Two additional versions of "Go Away Blues" round out the excellent release. ~Scott Yanow

Take The 'A' Train

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Banu Gibson & Bucky Pizzarelli - Steppin' Out

Bitrate: 320K/s
Time: 55:34
Size: 127.2 MB
Label: Swing Out
Styles: Contemporary Jazz vocals, Easy Listening
Year: 2002
Art: Front

[4:16] 1. I Don't Know Enough About You
[3:19] 2. This Year's Kisses
[3:08] 3. Love's A Necessary Thing
[3:22] 4. Steppin' Out With My Baby
[4:08] 5. Memphis In June
[3:45] 6. It's A Woman's Prerogative
[3:19] 7. Put The Blame On Mame
[3:38] 8. Remember
[4:07] 9. There's A Lull In My Life
[5:15] 10. Me And The Blues
[3:56] 11. September Song
[5:07] 12. There Will Never Be Another You
[5:16] 13. Winter Moon
[2:50] 14. What'll I Do

This set is a change of pace for singer Banu Gibson, who is usually heard with her New Orleans Hot Jazz Band. Instead, she is accompanied by a quartet comprised of guitarist Bucky Pizzarelli, her regular pianist David Boeddinghaus, bassist Bill Huntington, and drummer Jake Hanna, with occasional appearances by trumpeters Connie Jones or Jon-Erik Kellso and Brian Ogilvie on tenor and clarinet. Also a bit different is the repertoire, which, instead of being from the 1920s and '30s, dates primarily from the late '30s and 1940s. What is the same as in the past is the consistent high quality of Gibson's vocals and her enthusiasm and sensitivity for the music. Among the highlights are "I Don't Know Enough About You," "Memphis in June," "Put the Blame on Mame," "There's a Lull in My Life," and "There Will Never Be Another You." ~ Scott Yanow

Recorded on February 13-14, 2002.

Banu Gibson (vocals); Bucky Pizzarelli (guitar); Brian Ogilvie (tenor saxophone, clarinet); Jon-Erik Kellso, Connie Jones (trumpet); David Boeddinhaus (piano); Bill Huntington (guitar, bass); Jake Hanna (drums).

Steppin' Out

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Bill Evans & Robben Ford - Common Ground

Styles: Jazz Fusion
File: MP3@320K/s
Time: 56:05
Size: 129,2 MB
Art: Front

(4:20) 1. Ever Ready Sunday
(5:42) 2. Crabshaw Don't Care
(6:26) 3. Sentimental Mode
(8:11) 4. Hearts of Havana
(4:15) 5. Common Ground
(6:11) 6. Passaic
(7:27) 7. Stanley
(6:42) 8. Dennis the Menace
(6:46) 9. The Little Boxer

MPS is proud to announce the release of the newest project by Robben Ford and Bill Evans, called Common Ground on September 30th, 2022. The multiple times Grammy nominees Ford and Evans have shared the stage in Europe, North America and even Japan and already released a collaborative album called The Sun Room together in 2019 (earMUSIC). With the jazz rock album Common Ground they continue their creative relationship as Evans explains.

“Every now and then, like-minded musicians are able to get together in the studio or on the same stage and create interesting music together. It’s the blending of each other’s influences and styles, and the will to create something new and fresh that can turn this ‘creative meeting’ into something special. I believe myself and Robben share that same ideology. We both love all kinds of music whether it’s classic blues, soul, rock and roll, you name it. This openness to combine different kinds of music and create something musical and special is what brought me and Robben together in the first place. Robben composed some of the most inspiring music I’ve played in a long time. Our writing styles blend seamlessly.”

The first single and title track that was digitally released today features the vocals of popular German singer Max Mutzke, who finds the kindest words for this collaboration. “When I was a little boy, I went to Bill Evans concerts with my father. I listened to his music over and over. Bill has always been a musical inspiration for me. Now he is my friend and that is an incredible joy for me. What a great person. At his request, I am singing a song on his and Robben’s album. It's a dream come true.”

Recorded in Nashville, the jazz rock album features a first-class rhythm section with bassist Darryl Jones (recording and touring with the Rolling Stones since 1993 and former sideman of Miles Davis and Sting) and drummer Keith Carlock (currently a touring member of Steely Dan). It was produced by Bill Evans and Clifford Carter, who also took over the piano and organ on the title track.

Robben Ford about the recording: “It’s always a great and sought-after pleasure to work with some of the best musicians in contemporary music, and making this record was for me one of those occasions. We have, each of us, worked with one another in different configurations in the past, so, there is a comfort level in that. But more importantly, everyone involved is a dedicated musician who’s first thought is to make the best music possible in any situation. Such a joy for me, personally, to play with these gents! Bill and I have worked quite a lot together over the past several years. But, the opportunity given to us by Edel to finally document the music has happily resulted in two recordings that we are very proud of the first being “Sun Room" released on earMUSIC and now Common Ground on MPS.

I feel the music presented here is “fresh" in both composition and performance with all of the musicians being versatile, true improvisers and having a strong sense of groove, as well. These are the qualities that make you want to play! I’m so happy to have been a part of what lead to this record.”

About Robben Ford: Robben Ford is an American rock, blues and jazz guitarist. Ex-member of fusion pioneers Yellowjackets, he is admired for his solo works but also known for his collaborations with giants of music like Miles Davis, Joni Mitchell, George Harrison and many others. He comes from a generation of Californian musicians who contributed to eliminate boundaries between different genres, often writing and performing timeless music that will stand the test of time.

About Bill Evans: Bill Evans is an American saxophonist, pianist and producer who has recorded 26 solo albums to date. He has played, toured and recorded with artists such as Miles Davis, Herbie Hancock and John McLaughlin to name a few before spending the last 30 years touring with his own groups worldwide and receiving wide recognition as a true renaissance man.
By MPShttps://www.allaboutjazz.com/news/robben-ford-and-bill-evans-new-album-common-ground-out-on-september-30th-on-mps/

Personnel: Saxophone, Keyboards [Keys] – Bill Evans; Guitar, Mellotron [Mellowtron] – Robben Ford; Bass – Darryl Jones; Drums – Keith Carlock

Common Ground

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Brandon Goldberg - In Good Time

Styles: Piano Jazz
Year: 2021
File: MP3@320K/s
Time: 66:46
Size: 153,5 MB
Art: Front

( 7:21) 1. Authority
( 5:45) 2. Circles
(10:35) 3. Time
( 3:36) 4. Nefertiti
( 6:03) 5. Monk's Dream
( 5:00) 6. Stella by Starlight
( 8:59) 7. El Procrastinador
( 7:12) 8. Someone to Watch over Me
( 9:08) 9. Ninety-Six
( 3:04) 10. Send in the Clowns

Pianist Brandon Goldberg may not have the seasoned years behind him yet, (In Good Time finds him brewing with ideas most fifteen-year-olds never tackle) but it is no more a beloved veteran than the late Ralph Peterson who, via a wisely archived voice mail, urges the young man "What's up Brandon, gimme a shout man we hook up later this week!" The drummer and cat supreme then wishes him "Peace" and a split second later the barnstorming, deftly pugilistic "Authority" kicks off Goldberg's emergent sophomore release.

It is a no-nonsense, full-on opener which finds Peterson and Goldberg squaring off and bolstering the springy unison lines of trumpeter Josh Evans and saxophonist Stacy Dillard before they too sail off headlong into solo land. The seemingly ever-present bass of Luques Curtis whose balancing tones can be heard on such fine recent releases as Lisa Hilton's Transparent Sky (Ruby Slippers Productions, 2021) and Peterson's affirmative, final recording as a leader, Raise Up Off Me (Onyx Productions, 2021) holds the fort and In Good Time moves blithely on from there.

Though definitely in a quintet state of mind, "Circles" becomes a stately, sepia-tinted meditation between Goldberg (whose ear for lyrical accompaniment again surpasses his age) and Dillard's fluid logistics. Peterson's controlled shadings and Evans' poignant announcement nearly steal "Time" but, vets that they are, the two give way to Goldberg's intuitive comping, before Evans (echoing his mentor Jackie McLean) blows the tune to its conclusion. The ensemble then vigorously take on Wayne Shorter's languid "Nefertiti" and jump particularly high on, what else, Thelonious Monk's heightened "Monk's Dream."

A perhaps too somber "Send In the Clowns" (with guest trumpeter Antoine Drye) closes the record, but it is the preceding two of Goldberg's five originals, the tempo crazy "El Procrastinador" and the snappy, spirited hijinks of "Ninety-Six" that continue Goldberg's evolution. Filled and fired by the pianist's wizened yet youthful enthusiasm, Dillard, Curtis, and Evans run the bop gamut on "Ninety-Six" while Peterson holds "El Procrastinator" to its 7/4 course, but burns the map along the way. That is how you teach the next generation. By Mike Jurkovic https://www.allaboutjazz.com/in-good-time-brandon-goldberg-self-produced

Personnel: Brandon Goldberg: piano; Josh Evans: trumpet; Stacy Dillard: saxophone; Luques Curtis: bass, acoustic; Ralph Peterson: drums; Antione Drye: trumpet.

In Good Time

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Cyrus Chestnut - Geniune Chestnut

Styles: Piano Jazz 
Year: 2006
File: MP3@320K/s
Time: 55:24
Size: 127,6 MB
Art: Front

(4:53)  1. The Brown Soldier
(4:14)  2. El Numero Tres
(5:21)  3. If
(4:27)  4. Ellen's Song
(4:42)  5. Mason Dixon Line
(5:03)  6. Baby Girl's Strut
(6:30)  7. The First Time Ever I Saw Your Face
(5:00)  8. Eyes On The Prize
(6:11)  9. Through The Valley
(5:37) 10. I'm Walkin'
(3:20) 11. Lord I Give Myself To You

One hardly thinks of age six as the start of a career in anything, but that's when pianist Cyrus Chestnut began his. As was the case with many musicians and singers, the church was his first gig. He played at Mount Calvary Baptist in Baltimore, and within three years, he was studying classical music at the Peabody Institute. Over the years, a variety of training and experiences led him to jazz. He worked alongside some modern jazz heavyweights like Terence Blanchard, Wynton Marsalis, Freddie Hubbard, Chick Corea and Dizzy Gillespie, as well as vocalists Joe Williams and Betty Carter. Chestnut also has won numerous awards, including the Oscar Peterson and Quincy Jones scholarships, and The Basie Award. After years as a sideman, Chestnut became a leader, releasing his first album, There's a Brighter Day Comin', then The Nutman Speaks, The Nutman Speaks Again and Nut. Throughout his career, he's blended some straightforward jazz with covers of pop tunes, all in his own unique style. The foundation holds with his Telarc debut, Genuine Chestnut. The album begins with the delightful "The Brown Soldier. In addition to Chestnut's piano, the song highlights Russell Malone's guitar, with nods to Michael Hawkins on bass and Neal Smith on drums. As Chestnut explains, the song is about being a jazz soldier, playing day to day and putting a smile on someone's face with music. Hawkins' bass makes that seem easy as he sets up Malone's guitar solo. The third track, "If, features Malone and Chestnut in a tranquil cover of the popular hit by Bread. With subtle notes by Hawkins and drummer Neal Smith, the song has a traditional jazz feel. A hint of samba appears in "Ellen's Song, an original ballad. 

Chestnut honors tradition but delves in originality as well. A stop-time beat introduces "Mason Dixon Line, a high-energy piece that highlights Smith's pacing on the cymbals while Chestnut and Hawkins go for a ride. Percussionist Steve Kroon adds a Latin flavor to the playful "Baby Girl's Strut. Smith gets a bit more freedom on this one as he complements the leader. The elegant "Eyes on the Prize is the first of three inspirational pieces. While playing as a group, each musician charts his own course on this expression of freedom. And setting up the closer, "Lord, I Give Myself to You, Chestnut and his sidemen deliver a delightful cover of Fats Domino's "I'm Walkin', which features Malone. When Cyrus Chestnut plays, it's often difficult to tell which genre he's in, which is a good thing. Blending contemporary jazz, traditional jazz and gospel, plus the occasional seasonings of Latin and samba, he gives himself plenty of freedom to explore different emotions, while keeping the music in recognizable form. Add to that his apparent ease on the piano, and you've got a musician who really does know how to put a smile on your face. In listening to Genuine Chestnut, one gets the sense that he's smiling, too. ~ Woodrow Wilkins https://www.allaboutjazz.com/genuine-chestnut-cyrus-chestnut-telarc-records-review-by-woodrow-wilkins.php

Personnel: Cyrus Chestnut: piano; Michael Hawkins: bass; Neal Smith: drums; Steve Kroon: percussion; Russell Malone: guitar.

Geniune Chestnut

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Various - Capitol Sings Rodgers & Hammerstein

Bitrate: MP3@320K/s
Time: 59:07
Size: 135.4 MB
Styles: Vocal, Easy Listening
Year: 1994
Art: Front

[2:52] 1. Bobby Darin - Hello, Young Lovers
[3:11] 2. Jo Stafford - Some Enchanted Evening
[3:07] 3. Ray Anthony - The Surrey With The Fringe On Top
[3:12] 4. Peggy Lee - Something Wonderful
[2:57] 5. Jeff Alexander Singers - Medley Happy Talk-Honey Bun
[2:56] 6. Helen O'connell - No Other Love
[2:44] 7. Al Martino - If I Loved You
[1:56] 8. Nancy Wilson - People Will Say We're In Love
[3:09] 9. The Andrews Sisters - Younger Than Springtime
[1:59] 10. Bobby Darin - Love Look Away
[2:49] 11. Jo Stafford - The Gentleman Is A Dope
[2:45] 12. The Starlighters - I Whistle A Happy Tune
[2:11] 13. Peggy Lee - I Enjoy Being A Girl
[1:58] 14. Tennessee Ernie Ford - My Favorite Things
[2:46] 15. Margaret Whiting - A Wonderful Guy
[3:06] 16. Dick Haymes - It Might As Well Be Spring
[2:32] 17. Nancy Wilson - Getting To Know You
[3:30] 18. Vic Damone - The Sound Of Music
[4:06] 19. Judy Garland - You'll Never Walk Alone
[5:12] 20. Sinfonia Of London - The Carousel Waltz

For nostalgia buffs and fans of the American popular song hit parade, here's a blast directly out of "this was your life": 20 tracks from the good old days of pop-cum-jazz via the Richard Rodgers & Oscar Hammerstein songbook bring you such talented -- but ultimately soft-soap -- singers as Peggy Lee, Al Martino, Vic Damone, and Judy Garland, vocal groups the Andrews Sisters and the Starlighters, a jazzier young Nancy Wilson, and the much hipper Bobby Darin. The funniest number is Jo Stafford's "The Gentleman Is a Dope," the weirdest is Tennessee Ernie Ford doing "My Favorite Things," and the most out-of-context cut is the finale by the Sinfonia of London? Quaintness and reverence for the old days does have an appeal, albeit limited in modern times, so if you wax poetic for this type of show tunes and don't have these artists in your home, this could fill the bill. ~Michael G. Nastos

Capitol Sings Rodgers & Hammerstein

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Eugenie Jones - Players Disc 1, Disc 2

Album: Players Disc 1
Styles: Vocal
File: MP3@320K/s
Time: 39:13
Size: 90,3 MB
Art: Front

(2:39) 1. I Got Rhythm
(5:31) 2. There Are Thorns
(6:40) 3. Multicolored Blue
(4:10) 4. Ultimo Baile En Casa
(5:16) 5. You Can Have Him
(5:19) 6. Skipping Under Starlight
(4:27) 7. The Gift Of Life
(5:08) 8. Ey Brother

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Album: Players Disc 2
Time: 30:33
Size: 70,4 MB

(4:50) 1. Sittin' At The Bar
(3:25) 2. Blue Skies
(4:25) 3. Red Dress
(5:17) 4. But I Do
(4:22) 5. As Long As
(4:26) 6. One More Night To Burn
(3:44) 7. Do I Move You

Youth is an overrated attribute in jazz. The advantages that accrue with a little mileage have been particularly evident in the emergence of several excellent women singers since the turn of the century, including René Marie, Gail Pettis, and Denise Donatelli. Eugenie Jones, a Seattle-area vocalist and songwriter, is a more-than-worthy addition to their ranks. She made a strong impression with her 2013 debut Black Lace Blue Tears and followed up with 2015’s confident and consistently engaging Come Out Swingin’. Her self-produced third album, Players, is more than impressive, pairing Jones with a far-flung, bicoastal, multi-generational cast of, well, players who sound deeply in sync with her aims. It’s a two-disc album focusing on her originals, and if every song isn’t set to a memorable melody, her fine-grained voice and keen attention to her collaborators keeps the ear piqued.

Highlights include Jones’ composition “Sittin’ at the Bar,” a skillfully etched scene of a woman seeking musical succor at the end of a long day. Accompanied by pianist James Weidman, bassist Reggie Workman, drummer Bernard Purdie, trombonists Julian Priester and Jovan Johnson, and tenor saxophonist Asaf Even Zur, Jones sounds right at home among the august company. “Red Dress,” a passionate self-embrace, pairs her lustrous voice with Marquis Hill’s poised and silky trumpet. She’s equally effective on standards, from a funky arrangement of Irving Berlin’s “Blue Skies” to a world-weary take on his kiss-off “You Can Have Him.”
By Andrew Gilbert https://jazztimes.com/reviews/albums/eugenie-jones-players-openmic/

Players Disc 1, Disc 2

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Deelee Dube - Trying Times

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 47:39
Size: 109,4 MB
Art: Front

(5:15) 1. Tryin' Times
(3:49) 2. Still Trying (feat. Russell Malone)
(4:13) 3. On a Clear Day
(4:15) 4. Ugly Beauty (Still We Dream)
(5:36) 5. 500 Miles High
(3:44) 6. Thou Swell
(3:38) 7. Lazy Afternoon (Feat. Russell Malone)
(6:14) 8. Joy
(6:38) 9. Unity
(4:13) 10. Still We Try (Spoken Word Tone Poem)

Five years ago, the annual Sarah Vaughan International Vocal Competition named Deelee Dube its first British winner and (2016) Sassy Award recipient, landing Dubé a spot at the Montreal International Jazz Festival and recording contract for this Concord Records debut.

Trying Times marks a major label debut, but Deelee Dube is no artistic novice. She started violin lessons when she was four and put together her first band when she was fourteen. Her 2016 release Tenderly was produced and arranged by Italian tenor saxophonist Renato D'Aiello and performed with D'Aiello's quartet. In early 2017, they teamed to present Sarah Vaughan Reimagined: Deelee Dubé Sings Sarah Vaughan with the Renato D'Aiello Quartet at Royal Albert Hall. Dubé is also a published poet and her project artwork has been exhibited at Shakespeare's Globe Theatre.

Trying Times begins with its title track, opened by Dubé's strong and soulful unaccompanied voice, which here lands somewhere between Miss Sarah's sassy swing and Anita Baker's gospel of soul. The instrumental accompaniment builds into a classic, inventive jazz sound, with dissonant horns smudging the lyrics about trouble and pianist (arranger and producer) Benito Gonzalez slipping and sliding into a funky blue haze.

Then Dubé and company thoroughly conquer the series of powerful, challenging tunes that form the backbone of this debut. After romping through a sharp and energetic "On a Clear Day," they downshift into the version of "Ugly Beauty (Still We Dream)" which pairs Carmen McRae's lyrics with the only waltz Thelonious Monk ever wrote. Pianist Gonzalez smudges several "wrong notes" to honor Monk's unique style, just like he mines the sound of Horace Silver from the opening title track, and the singer's hushed final verse dishes a delicious blend of naivete and misterioso.

Next, Dubé's voice detonates "500 Miles High," originally written by Chick Corea to feature vocalist Flora Purim in Return to Forever, into liftoff and orbit. It leaps and bounds like quicksilver its hard-driving and twisting melody, making each note ring and shine. "500 Miles High" divebombs into a full- bore roadrunner's take on "Thou Swell," where pianist Gonzalez, bassist Corcoran Holt and drummer Mark Whitfield Jr. trade flurries of notes and chords like sparring partners, so fast and furious that your ears can barely keep up. "Thou Swell" closes with an explosion of vocalese fireworks, and then downshifts into a tender duet with Russell Malone's guitar on a languid "Lazy Afternoon."

Altogether, Trying Times presents an incredible range of material energetically performed by a singer and band with the chops to back it up. It's a most impressive debut. (Here's hoping that arranger Gonzalez tries to take on a "On a Clear Day You Can See 500 Miles High" medley for Dubé's follow-up.)By Chris M. Slawecki https://www.allaboutjazz.com/tryin-times-deelee-dube-concord-music-group

Personnel: Deelee Dube: voice / vocals; Benito Gonzalez: piano; Russell Malone: guitar, electric; Corcoran Holt: bass; Mark Whitfield Jr.: drums; Eric Wyatts: saxophone, tenor; Duane Eubanks: trumpet; Andrae Murchison: trombone.

Trying Times

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