Various - Capitol Sings Johnny Mercer

Bitrate: MP3@320K/s
Time: 71:03
Size: 162.7 MB
Styles: Vocal, Easy Listening
Year: 1991
Art: Front

[3:17] 1. Ella Mae Morse - Ac-Cent-Tchu-Ate The Positive
[3:11] 2. Martha Tilton - And The Angels Sing
[2:49] 3. Gordon MacRae - Autumn Leaves
[3:12] 4. Jo Stafford - Blues In The Night
[1:53] 5. Blossom Dearie - Charade
[3:40] 6. Judy Garland - Come Rain Or Come Shine
[2:22] 7. Nat King Cole - Day In-Day Out
[3:16] 8. Matt Monro - Days Of Wine And Roses
[2:47] 9. The Pied Pipers - Dream
[2:32] 10. Benny Goodman - Goody Goody
[2:52] 11. Johnny Mercer - Glow Worm
[2:55] 12. The Four Freshmen - I Thought About You
[2:49] 13. Dinah Shore - I'm Old Fashioned
[2:57] 14. Dean Martin - In The Cool Cool Cool Of The Evening
[2:16] 15. Stan Kenton & His Orchestra - Jeepers Creepers
[2:22] 16. Vic Damone - Laura
[3:26] 17. Lena Horne - Moon River
[3:03] 18. Johnny Mercer - On The Atchison, Topeka & The Sante Fe
[4:13] 19. Harold Arlen - One For My Baby (And One More For The Road)
[2:58] 20. Kay Starr - P.S. I Love You
[2:21] 21. Nancy Wilson - Satin Doll
[4:00] 22. Hoagy Carmichael - Skylark
[2:54] 23. Keely Smith - That Old Black Magic
[2:47] 24. Andy Russell - Too Marvelous For Words

Singer/songwriter Johnny Mercer was one of the founders of Capitol Records in the early '40s, so it's appropriate that he rates his own volume in the label's various-artists songbook compilation series of the 1990s (one that has already had discs devoted to Cole Porter and George Gershwin). As a lyricist working over a long career, Mercer provides a varied range of material for inclusion. This is a man who was setting words to 1930s swing hits like "And the Angels Sing," "Goody Goody," and "Satin Doll," and was still going strong in the 1960s, when he was writing movie themes like "Moon River" and "The Days of Wine and Roses" with Henry Mancini. In between, there were standards of the ‘40s such as "Blues in the Night" and "That Old Black Magic," and ‘50s favorites like "Autumn Leaves" and "In the Cool, Cool, Cool of the Evening." Capitol was devoted to singers, which allowed it to take advantage of the post-swing era of the late ‘40s and ‘50s when singers ruled. Tops among them was Frank Sinatra, a Capitol artist, who apparently didn't allow his recordings to be compiled on this sort of collection. But many other important singers are included, among them Judy Garland, Nat King Cole, Dinah Shore, and Dean Martin. And Mercer himself pops in several times, as do a couple of his composer collaborators, Harold Arlen and Hoagy Carmichael. Although Mercer has an identifiable writing style, full of a self-invented Southern slang ("swingeroonie!," "my huckleberry friend"), his teaming with different sorts of composers allows for many different musical styles on this disc, making it one of the rangier volumes in the series. ~William Ruhlmann

Capitol Sings Johnny Mercer

---

Marion Brown - Porto Novo

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 56:18
Size: 129,2 MB
Art: Front

( 6:25) 1. Similar Limits
( 6:08) 2. Sound Structure
( 5:49) 3. Improvisation
( 6:33) 4. Qbic
(11:53) 5. Porto Novo
(16:10) 6. And Then They Danced
( 3:17) 7. Rhythmus No. 1

This was one of altoist Marion Brown's best recordings. Although a very adventurous improviser, Brown usually brought lyricism and a thoughtful (if unpredictable) approach to his music. Accompanied by bassist Maarten van Regteben Altena and drummer Han Bennink for this stimulating session (recorded in Holland), Brown stretches out on five of his compositions and is heard at the peak of his creative powers.By Scott Yanow https://www.allmusic.com/album/release/porto-novo-mr0000357302

Porto Novo

---

Greg Skaff - Polaris

Styles: Guitar Jazz
Year: 2021
File: MP3@320K/s
Time: 45:01
Size: 103,7 MB
Art: Front

(4:29) 1. Old Devil Moon
(3:54) 2. Angelica
(5:11) 3. Little Waltz (Duo)
(3:48) 4. Paris Eyes
(5:22) 5. Yesterdays
(4:30) 6. Mr. R.C.
(4:18) 7. Lady of the Lavender Mist
(3:17) 8. Polaris
(5:03) 9. Little Waltz (Trio)
(3:05) 10. Caminando
(1:59) 11. Ill Wind

The pandemic year of 2020 brought with it very little in terms of artistic endeavors, thanks to lockdowns and stay home orders. Yet even under extreme conditions, guitarist Greg Skaff managed to commit to tape some genuinely sublime music that is sure to be remembered as one of 2021'a most memorable releases. Of course, Skaff has been at the forefront of modern jazz guitar since his first big break in the '80s working with the legendary Stanley Turrentine.

Not always getting the press garnered by peers such as Peter Bernstein or Russell Malone, Skaff nonetheless has been part of a healthy New York scene over the past several decades working with an iconic list of employers such as Freddie Hubbard, Bobby Watson, Dr. Lonnie Smith and Mike LeDonne. His own recordings cover a good deal of ground, often putting him in the popular organ combo format. His great run with the Zoho label began in 2004 and culminated with 2017's Soulmation

For Polaris, Skaff was looking to stretch out in a format he had not previously used the standard trio of just guitar, bass, and drums. Without another chording instrument, Skaff carries the job of providing both the melody and supporting chordal structures. If that was not a heady enough prospect, he wanted to bring into the fold jazz luminaries Ron Carter and Albert Tootie Heath. The first sessions came together in the summer of 2019, however the second date almost didn't happen, coming in March of 2020 just as New York City entered lockdown.

The opening "Old Devil Moon" leaves no doubt that a simpatico relationship was established from the first note. Skaff had been working steady gigs with Carter's big band, but Heath and Carter have had few chances to get together over the years. Carter's huge tone fills in the spaces between Skaff's melody lines and Heath's ride cymbal propels the forward-moving momentum. Trading fours with the drummer, crisp snare drum accents echo naturally within the studio space, the recorded sound being another finely-carved facet of this jewel.

Heath drives the Ellington chestnut "Angelica" with his hybrid "Nawlins" groove. Skaff puts melody at a premium as he weaves together his filigreed phrases. The other number from the Ellington cannon, "Lady of the Lavender Mist" showcases the guitarist's lush chordal approach. Heath lightly feathers the beat with his eloquent brushwork. In a similar vein, "Yesterdays" opens with Skaff's burnished chordal work before giving way to Carter's extended statement.

Tipping his hat to the organ format he's favored for some time, Skaff offers up Larry Young's "Paris Eyes. The tune sparkles in this setting, complete with some tasty drum fills from Heath. The result of the drummer being late for the second session led to a fortuitous situation where Carter and Skaff tackled the bassist's "Little Waltz," first as a duo and then later again with Heath after he had arrived. Being in the moment, Skaff crafts unique statements in both versions, Carter's upward glissando closing the latter version on a sagacious note.

The significance of Skaff's original "Mr. R.C." will be immediately apparent to those in the know. Its open structure allows the guitarist to stretch out at a brisk tempo. The leader's title track also brings with it superb guitar lines, but its structure is based on a pedal tone that then breaks free during the turnaround. Skaff has stated he gathered bits and pieces of inspiration for this one from the late guitarist Vic Juris.

A beautiful parting statement, "Ill Wind," finds Skaff on his own. Considering what was yet to come in terms of the pandemic, the title seemed apropos for sure, but it also seems to come across with an optimistic tone that permeates the entire session.
By C. Andrew Hovan https://www.allaboutjazz.com/polaris-greg-skaff-smk-jazz

Personnel: Greg Skaff: guitar; Ron Carter: bass; Albert Tootie Heath: drums.

Polaris

---

Scott Hamilton, Paolo Birro, Alfred Kramer, Aldo Zunino - Poinciana

Styles: Contemporary Jazz
File: MP3@320K/s
Time: 58:29
Size: 134,2 MB
Art: Front

(4:51) 1. Birk's Works
(5:55) 2. By Myself
(5:31) 3. You Taught My Heart to Sing
(8:24) 4. Chloe
(5:49) 5. Confirmation
(5:50) 6. I Remember Clifford
(8:56) 7. Poinciana
(6:42) 8. Put on a Happy Face
(6:26) 9. Eu E a Briza

Jazz Saxophone Star Scott Hamilton returns to NativeDSD with Poinciana, his 8th Album in Stereo DSD 64 from Fone Jazz. Poinciana features Hamilton playing in a Jazz Quartet with Paolo Birro, Aldo Zunino and Alfred Kramer. Among the songs on the album are Poinciana by Nat Simon that gives the title to the album plus Birk’s Works by Dizzy Gillespie and Put On A Happy Face by Charles Strouse.

Giulio Cesare Ricci tells us “This album is part of recordings I made during the concerts at the Fonè Music Festival Piaggio in 2021. I recorded this album at the Auditorium Piaggio located inside the famous Museum in Pontedera, the place where Piaggio was born and where it still continues to produce today. It is a state-of-the-art recording with no sound manipulation, no equalization, no reverb, no compression and expansion. With natural sound and true timbre to best enhance the acoustics of the Auditorium of the Piaggio Museum. I used a “field effect” recording technique to bring the listener the live effect as if the listener were present at the performance.”https://www.nativedsd.com/product/sacd238-poinciana/

Personnel: Scott Hamilton, Saxophone; Paolo Birro, Piano;Aldo Zunino, Bass; Alfred Kramer, Drums

Poinciana

---

Oscar Peterson And Ella Fitzgerald - Jazz at the Philharmonic - Festhalle A, Hamburg

Styles: Vocal And Piano Jazz
Year: 1957
File: MP3@320K/s
Time: 69:44
Size: 173,6 MB
Art: Front

(1:43) 1. Intro - Norman Granz
(8:01) 2. How High The Moon
(5:56) 3. Joy Spring
(7:04) 4. Gypsy In My Soul
(0:18) 5. Talk - Norman Granz
(4:27) 6. Pete Pet Pick
(4:22) 7. Undecided
(6:46) 8. Reunion Blues
(0:08) 9. Intro - Norman Granz
(2:35) 10. You Got Me Singing The Blues
(3:29) 11. Angel Eyes
(2:26) 12. Lullaby Of Birdland
(4:17) 13. Love For Sale
(2:51) 14. Tenderly
(3:56) 15. April In Paris
(3:34) 16. Dancing On The Ceiling
(3:44) 17. I Can't Give You Anything But Love
(4:00) 18. Airmail Special

Canadian jazz pianist and composer Oscar Peterson was called the “Maharaja of the keyboard” by Duke Ellington, but simply “OP” by his friends. He released over 200 recordings, won eight Grammy Awards, and received numerous other awards and honours. He is considered one of the greatest jazz pianists, and played thousands of concerts worldwide in a career lasting more than 60 years. He passed away in 2007 at the age of 82.

Ella Fitzgerald was sometimes referred to as the “First Lady of Song”, “Queen of Jazz”, and “Lady Ella”. She was noted for her purity of tone, impeccable diction, phrasing, timing, intonation, and a “horn-like” improvisational ability, particularly in her scat singing. She passed away in 1996 at the age of 79.http://bigozine2.com/roio/?p=5655

Personnel: Ella Fitzgerald - vocals; Oscar Peterson - piano; Don Abney - piano; Herb Ellis - guitar; Ray Brown - bass; Jo Jones - drums

Jazz at the Philharmonic - Festhalle A, Hambrug

---

Sonny Stitt - Soul Girl

Styles: Saxophone Jazz
Year: 1973
File: MP3@320K/s
Time: 35:36
Size: 81,8 MB
Art: Front

(3:20) 1. Got To Get Over
(3:51) 2. Soul Girl
(4:38) 3. Jeep Blues
(5:28) 4. I Known That You Know
(7:20) 5. I Should Care
(5:15) 6. Eight Track Blues
(5:41) 7. Gone With The Wind

Sonny Stitt (tenor and alto saxophonist) was born Edward Boatner Jr. on February 2, in 1924 in Boston, Massachusetts and grew up in Saginaw, Michigan. He had a musical background; his father, Edward Boatner, was a baritone singer, composer and college music professor, his brother was a classically trained pianist, and his mother was a piano teacher. Boatner was soon adopted by another family, the Stitts, who gave him his new surname. He later began calling himself “Sonny”.

In 1943, Stitt first met Charlie Parker, and as he often later recalled, the two men found that their styles had an extraordinary similarity that was partly coincidental and not merely due to Stitt’s emulation. Stitt’s improvisations were more melodic/less dissonant than those of Parker. Stitt’s earliest recordings were made in 1945 with Stan Getz and Dizzy Gillespie. He had also played in some swing bands, though he mainly played in bop bands. Stitt was featured in Tiny Bradshaw’s big band in the early forties. Stitt replaced Charlie Parker in Dizzy Gillespie’s band in 1945.

Stitt played alto saxophone in Billy Eckstine’s big band alongside future bop pioneers Dexter Gordon and Gene Ammons from 1945 until 1956, when he started to play tenor saxophone more frequently, in order to avoid being referred to as a Charlie Parker imitator. Later on, he played with Gene Ammons and Bud Powell. Stitt spent time in a Lexington prison between 1948–49 for selling narcotics.

Stitt, when playing tenor saxophone, seemed to break free from some of the criticism that he was imitating Charlie Parker’s style, although it appears in the instance with Ammons above that the availability of the larger instrument was a factor. Indeed, Stitt began to develop a far more distinctive sound on tenor. He played with other bop musicians Bud Powell and Eddie “Lockjaw” Davis, a fellow tenor with a distinctly tough tone in comparison to Stitt, in the 1950s and recorded a number of sides for Prestige Records label as well as albums for Argo, Verve and Roost. Stitt experimented with Afro-Cuban jazz in the late 1950s, and the results can be heard on his recordings for Roost and Verve, on which he teamed up with Thad Jones and Chick Corea for Latin versions of such standards as “Autumn Leaves.”

Stitt joined Miles Davis briefly in 1960, and recordings with Davis’ quintet can be found only in live settings on the tour of 1960. Concerts in Manchester and Paris are available commercially and also a number of concerts (which include sets by the earlier quintet with John Coltrane) on the record Live at Stockholm (Dragon), all of which featured Wynton Kelly, Jimmy Cobb and Paul Chambers. However, Miles fired Stitt due to the excessive drinking habit he had developed, and replaced him with fellow tenor saxophonist Hank Mobley. Stitt, later in the 1960s, paid homage to one of his main influences, Charlie Parker, on the album Stitt Plays Bird, which features Jim Hall on guitar and at Newport in 1964 with other bebop players including J.J. Johnson.

He recorded a number of memorable records with his friend and fellow saxophonist Gene Ammons, interrupted by Ammons’ own imprisonment for narcotics possession. The records recorded by these two saxophonists are regarded by many as some of both Ammons and Stitt’s best work, thus the Ammons/Stitt partnership went down in posterity as one of the best duelling partnerships in jazz, alongside Zoot Sims and Al Cohn, and Johnny Griffin with Eddie “Lockjaw” Davis. Stitt would venture into soul jazz, and he recorded with fellow tenor saxophonist Booker Ervin in 1964 on the Soul People album.

Stitt also recorded with Duke Ellington alumnus Paul Gonsalves in 1963 for Impulse! on the Salt And Pepper album in 1963. Around that time he also appeared regularly at Ronnie Scott’s in London, a live 1964 encounter with Ronnie Scott, The Night Has A Thousand Eyes, eventually surfaced, and another in 1966 with resident guitarist Ernest Ranglin and British tenor saxophonist Dick Morrissey. Stitt was one of the first jazz musicians to experiment with an electric saxophone (the instrument was called a Varitone), as heard on the albums What’s New in 1966 and Parallel-A-Stitt in 1967.

In the 1970s, Stitt slowed his recording output slightly, and in 1972, he produced another classic, Tune Up, which was and still is regarded by many jazz critics, such as Scott Yanow, as his definitive record. Indeed, his fiery and ebullient soloing was quite reminiscent of his earlier playing. He also recorded another album with Varitone, Just The Way It Was – Live At The Left Bank in 1971 which was released in 2000.

Stitt joined the all-star group Giants of Jazz, which also featured Art Blakey, Dizzy Gillespie, Thelonious Monk, Kai Winding and bassist Al McKibbon) and made albums for Atlantic Records, Concord Records and Emarcy Records. His last recordings were made in Japan. In 1982, Stitt suffered a heart attack, and he died on July 22 in Washington, D.C. http://www.sonnystitt.com/biography/

Soul Girl

---

Shirley Horn - Softly

Bitrate: MP3@320K/s
Time: 52:15
Size: 119.6 MB
Styles: Jazz vocals, Standards
Year: 1988/1998
Art: Front

[7:13] 1. Since I Fell For You
[4:26] 2. You're My Thrill
[7:06] 3. How Long Has This Been Going On
[5:15] 4. My, How Time Goes By
[8:41] 5. Summer (Estate)
[3:38] 6. Forget Me
[6:36] 7. I Watch You Sleep
[3:03] 8. Softly, As I Leave You
[6:13] 9. Dindi

Bass – Charles Ables; Drums – Steve Williams; Piano & Vocals – Shirley Horn;

Softly is a masterpice. Anyone who appreciates a grown up sense of romanticism and sensuality will find endless joy from this album. For me, Softly is the perfect soundtrack to a rainy Sunday afternoon in bed with your lover.

The Shirley Horn Trio played so slowly, but with perfect musicality and rhythm, as to be hypnotic. The drummer, Steve williams, is one of the finest percussionists you will ever hear. It should be noted that Shirley Horn is the singer AND pianist. Ms. Horn's voice is sultry and deep while her piano playing displays a highly sensitive understanding of chord structure and voicing. I often think her piano playing sounds like French impressionists like Debussy, Ravel, or Satie. You're my thrill is a hauntingly beautiful melody/lyric, How Long Has This Been Going On? includes the rarely used opening recitative as heard in "Funny Face" starring Audrey Hepburn, My, How The Time Goes By is the definition of "in-th-pocket" groove, and my favorites: I watch you sleep, and the title track, Softly, truly capture the tender satisfaction of watching your lover sleep and the complexities of adult relationships.

I am an audiophile. I used to think the album was poorly recorded because I had a cheap Pioneer stereo with boomy Bose speakers. On a mediocre stereo the bass is heavy and the treble sounds bright. On a high-end system the album is a bit cool, but very clearly recorded. Audiophile is the name of the record label that produced Softly! ~J. Evege

Softly

---

Gary Smulyan - Tadd's All, Folks

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 67:40
Size: 155,5 MB
Art: Front

(7:23) 1. Whatever Possessed Me
(5:32) 2. This Night of Stars
(7:06) 3. Weekend
(7:42) 4. Lovely One in the Window
(6:40) 5. You're a Joy
(3:56) 6. Take a Chance on Spring
(9:57) 7. My Dream / Do You Remember Now
(4:54) 8. Sweet Life
(7:38) 9. I'm Never Happy Anymore
(6:48) 10. Never Been in Love

This album is all about Tadd Dameron (1917 - 1965), one of the most important American jazz composer/musicians. Multiple award-winner Gary Smulyan conceived the brilliant idea of recording Dameron compositions with lyrics.

The vocal part is phenomenally rendered by the young talent Anaïs Reno. Three songs including the lovely This Night Of Stars have never been recorded before. https://www.birdland.com.au/gary-smulyan-tadd-s-all-folks

Personnel: Gary Smulyan(baritone saxophone); Pete Malinverni(piano); David Wong(bass); Matt Wilson(drums); Anais Reno(vocal)

Tadd's All, Folks

---

Francesca Tandoi Trio - For Elvira

Styles: Vocal And Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 62:21
Size: 143,5 MB
Art: Front

(5:12) 1. In A Mellow Tone
(6:16) 2. For Elvira
(4:47) 3. Love For Sale
(5:22) 4. P.S. I Love You
(4:49) 5. Dedicated To You
(4:54) 6. Parker 51
(6:44) 7. Estate
(6:33) 8. Mice's Blues
(3:32) 9. You Do Someyhing To Me
(4:20) 10. I'm Confessin' That I Love You
(5:01) 11. You're My Everything
(4:46) 12. Goodbye

Francesca Tandoi started to play classical piano at an early age. After a few years she got very much interested in jazz music and became a big fan of swinging virtuoso piano players like, Oscar Peterson, Phyneas Newborn, Gene Harris, Bobby Timmons, and other musicians of that generation. She started her carrier as a teenager in Italy, especially in the jazz scene of Rome, her own city. She had the chance to play and perform with many great italian musicians, joining some of the most important italian jazz festivals all around the country. In 2009 she moved to the Netherlands and in 2013 she gradueted with a special mention at the “Royal Conservatory of The Hague” in jazz piano and singing.

After that she moved to the Conservatory of Rotterdam “Codarts” and got her Master degree in 2015 writing a thesis about “The art of rearranging jazz standards for jazz piano trio” . In Holland she started playing with some of the finest dutch and international jazz musicians and performed all around the world. Jazz festivals in Japan, Malesya, Indonesia, India. Tours all around Europe. Holland, Italy, Swiss, Germany, France, Belgium, Czech Republic, Greece, Ukraine. She also performed in many important jazz festivals as North sea jazz festival, Maastricht jazz festival, Breda jazz festival, Bosendorfer gala 2013, and many others, both as accompanist and as a leader of her trio. With her trio (Frits Landesbergen on drums and Frans van Geest on double bass) she recorded three CD's for a japanise label: Atelier Sawano For Elvira (2014) Something blue (2015) Wind Dance (2016) https://music.metason.net/artistinfo?name=Francesca%20Tandoi

Personnel: Piano, Vocals – Francesca Tandoi; Bass – Frans Van Geest; Drums, Producer – Frits Landesbergen

For Elvira

---

Yola Nash - Touched By Love

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 33:23
Size: 77,5 MB
Art: Front

(6:22) 1. Lies And Wishes
(5:29) 2. I Miss You Loving Me
(4:54) 3. Ready For Love
(4:56) 4. Dance With Me
(5:35) 5. Forbidden Love
(6:05) 6. Lololove Me

Yola Nash is often described as a European-American treasure, for her media, art, and humanitarian achievements. As an internationally accomplished singer, she has performed for Pope John Paul II and successfully debuted on the Top 40 AC radio charts in the USA. She made history by becoming the first Polish-American singer to perform and record with the world-renowned, Grammy-winning Jazz at Lincoln Center Orchestra and its music director, legendary trumpeter, Wynton Marsalis.

And as music critics often emphasize Yola's Polish roots and vibes place her in a long line of female performers whose exotic delivery adds appeal to her music. Yola’s new highly anticipated album, “Touched By Love”, it's an intimate acoustic jazz meditation on love with European Folk, Pop and Latin flavors. And it's up for a Grammy this year in two Jazz Vocal categories. Best Jazz Vocal Album and Album Of The Year. All songs on the album written by Yola (except one) and acclaimed composers Dr. Octavio Vazquez and Dr. Graham Keir.

The lone song on “Touched By Love” not penned by Yola is “Dance With Me,” a cabaret-like track that she describes as “musical exploration.” It sets a beautiful theatric poem by award-winning Poet, Writer, Poetry Film Director Fella Cederbaum to music written by the author. The Poet Fella is also featured at the end of that track (Spoken Word).

This excellent collection of Yola's original, poetic songs and musical ideas married perfectly with the brilliant, artistic vocabulary of her band allowed the magic to happen and took her project to a unique dimension. Her songs derive from the depths of her personal experience. She collaborates with extraordinary musicians, artists and engineers including: award winning composer, poet Fella Cederbaum, Edsel Gomez, the Grammy winning, pianist, composer, arranger (former music director of jazz legend, Dee Dee Bridgewater), who came on board as Music Director to help produce Yola’s dream album; Grammy winning percussionist Luisito Quintero (also a member of legendary Chick Corea's band), Grammy nominated accordionist Alex Meixner, award winning jazz guitarist Dr. Graham Keir, accomplished bassist Dave Baron (known for his collaborations with Herbie Hancock).

Yola also brought a couple of master recording engineers to help shape her signature sound like Tom Tedesco, known for his works with the biggest jazz stars in the world, including: Joe Lovano, Ravi Coltrane, Randy Brecker as well as Grammy winning Fran Cathcart.

Aside from the music, you'll want to read Yola's inspiring and truly uplifting personal story, a story of triumph over adversity that shows the power of Yola's positive spirit. The spirit that bravely lead her from communist Poland and extreme adversities to freedom, to NYC, to her own show at WABC and to Grammy Awards.

Touched By Love

---

Charlie Porter - Hindsight

Styles: Trumpet Jazz
Year: 2021
File: MP3@320K/s
Time: 60:42
Size: 139,6 MB
Art: Front

(5:49) 1. Tipping Point
(7:00) 2. Hindsight
(6:51) 3. Walking the Plank
(7:52) 4. Things Fall Apart
(7:37) 5. Requiem
(9:43) 6. In Short Supply
(5:55) 7. Going Viral
(5:32) 8. Paradise Lost
(4:19) 9. For Ellis

Portland based trumpeter/composer Charlie Porter is back, and following the trend industry wide over the past year, has released a finely crafted collection of pieces attached to a social narrative. Hindsight examines how we act in hindsight dealing with the long term societal struggles of racism, corruption and inequality. While two of the pieces feature the lyrics of Majid Khaliq and Madelaina Piazza, Porter has namaged to weave the emotional uncertainty of daily life during the Covid-19 pandemic into bittersweet melodies performed by a stellar cast.

Porter is no stranger to the abstract art of applying social commentary to instrumental composition, as this recording follows his acclaimed statement of the American condition, Immigration Nation (OA2, 2019). The two albums feature some common denominators in superb alto saxophonist Nick Biello, and the grounding presence of bassist David Wong and drummer Kenneth Salters. New to the crew is pianist Orrin Evans, vibraphonist Behn Gillece, guitarist Mike Moreno and transcendent vocalist Jimmie Herrod.

Getting down to the bones of the music, Hindsight is a fine jazz album that has two distinct chapters, and a delightful tag at the end. The opener, "Tipping Point," is a neo-bop gem that swings hard and fast, highlighted by Wong's relentless bass line. Porter's thick sound and elegant articulation is evident from the outset, as is the madly swinging Biello's otherworldly talents. The addition of Evans pays immediate dividends, as is the case throughout these nine tunes. While his solos are always an intrepid delight, his comping behind his mates enables the rhythm section to unspool freely and provide a seamless center for soloists to orbit about.

Adding Gillece to the mix for the title track, Porter offers a lovely ballad featuring a melody so beautiful, it seems as if the soloists handle it with special regard. Porter's muted solo is lush, his long tones expressing romance and melancholy. Evans shines once again, reimagining the piece with colorful chord voicings.

"Things Fall Apart" sends the album on a completely different path. Herrod's vocals are surrounded by a darker, electric fabric of sound, with the vibe set primarily by guitarist Moreno, and electric bassist Damian Erskine's Jaco-esque work. Herrod beautifully renders Khaliq's prose, and is joined by rapper Rasheed Jamal in that recitation. There is a slight disconnect in the arrangement as Jamal enters the fray in terms of phrasing, acting much like a double time solo within a ballad.

"In Short Supply" takes yet another turn, incorporating African instrumentation. Bassekou Kouyate joins on n'goni (African traditional guitar), and Mahamadou Tounkara provides amazing depth on tama (African Talking Drum). Herrod sings melody without lyrics, like a fresh wind blowing off the water.

While six of the tunes in this collection sound more like modern, post-bop jazz with traditional instrumentation, Porter is not afraid to wander into different quadrants of his imaginative compositional prowess. "For Ellis" welcomes his newborn son to the world in a very personal way. Porter's solo trumpet is framed by a choral arrangement performed by the Hallowed Halls Gospel Choir. The piece is detached from common grounding elements, left adrift and guided by Porter's gentle, yet abstract manifestations on trumpet.

Albums cobbled from work of seemingly disparate parts, can at times be seen as unfocused artistically. But having lived through 2020, an epic year of isolation we have all endured, the music on this album more seems like echoes of a mind left to the vagaries of time and space. It somehow finds a way to the listener's inner sanctum and sheds a light on that which we have all experienced collectively. It will be interesting in so many ways some decades down the road, to look back at this period of time in terms of jazz composition. With Hindsight, Porter leaves a blaze on that particular trail. By Paul Rauch https://www.allaboutjazz.com/hindsight-charlie-porter-oa2-records

Personnel: Charlie Porter: trumpet; Nick Biello: saxophone; Orrin Evans: piano; Mike Moreno: guitar; Behn Gillece: vibraphone; David Wong: bass; Kenneth Salters: drums; Damian Erskine: bass, electric; Jimmie Herrod: voice / vocals; Rasheed Jamal: voice / vocals; Majid Khaliq: violin; Mahamadou Tounkara: percussion; Bassekou Kouyate: various.

Hindsight

---

Franco Ambrosetti - Nora

Styles: Flugelhorn and Guitar Jazz
File: MP3@320K/s
Time: 54:03
Size: 127,2 MB
Art: Front

(6:38) 1. Nora's Theme
(7:05) 2. Morning Song
(7:48) 3. All Blues
(5:32) 4. Falling in Love
(5:55) 5. Autumn Leaves
(6:37) 6. Sweet Journey
(6:04) 7. It Happened Quitetly
(8:23) 8. After the Rain

When Alan Broadbent isn't playing extraordinary jazz piano with his trio, he's typically hard at work arranging and conducting a large orchestra for a jazz artist or vocalist. In the case of Swiss flugelhornist Franco Ambrosetti's new album, Nora (Enja), Alan is at the helm of a 22-piece string orchestra, and the result is gorgeous, reflective and perfect for this time of year. The album also features guitarist John Scofield, bassist Scott Colley, pianist Uri Caine and drummer Peter Erskine.

Ambrosetti began his recording career as a leader on trumpet in Milan in 1965 with A Jazz Portrait of Franco Ambrosetti, featuring Franco D'Andrea (p) Giorgio Azzolini (b) and Franco Mondini (d). Remarkably, he is self-taught, and his tone is deliciously embracing. Coming up in Italy over the years, he played with a long list of touring American jazz greats, including Kenny Clarke, Dexter Gordon, Phil Woods, Cannonball Adderley, Geri Allen, Joe Henderson, Michael Brecker and Mike Stern.

John Scofield has recorded with Ambrosetti multiple times. The first was in 1978 on The George Gruntz Concert Jazz Band in Germany, followed by Movies in 1986, Movies, Take 2 in 1988, Cheers in 2017, Long Waves in 2019 and Lost Within You in 2020. For Alan, this is his first Ambrosetti collaboration. And what a score he has written. Ambrosetti was looking for a project on the same scale as Bird With Strings and Clifford Brown With Strings two of his favorite albums that marry a strong soloist and an understanding orchestral background. Mission accomplished on Nora.

The opening track is Nora's Theme by Ambrosetti, which sets the mood. Nora is Nora Helmer, the lead character in Ibsen's A Doll's House. Ambrosetti wrote the theme for a 1997 production of the play that starred his wife, Silli, in the Nora role. So in truth, Nora's Theme is a deep, passionate love song for his wife.

Moving forward, the album feels like the soundtrack to a romantic suspense movie set in Malibu, starring Kim Novak or Sandy Dennis. It's soft and panoramic, but there are undertones of psychological drama to come. The songs that follow Nora's Theme are George Gruntz's Morning Song of a Spring Flower, Miles Davis's All Blues, Victor Feldman's Falling in Love, the standard Autumn Leaves, Ambrosetti's Sweet Journey, Johnny Dankworth's It Happens Quietly and John Coltrane's After the Rain. Alan's arrangements remain wonderfully atmospheric and Ambrosetti's flugelhorn soars gracefully through the mist birdlike, but with strength and purpose.

Ambrosetti's tone throughout has a melancholy, sunny afternoon feel as if you're driving along country roads this fall with the trees ablaze in color. You can't help but think things over as you listen. The combination of Ambrosetti's soulful flugelhorn and Alan's empathetic and ruminative strings pull you in deeper on each track. [Photo above of Alan Broadbent conducting by Joe Vella]

Also unbeatable is the new 3D sound technology used to record the music. The fidelity creates the sensation that you're seated in the middle of the recording studio. As you listen, all that's missing are snapping logs in a fireplace. This album and Alan deserve a Grammy for Best Large Jazz Ensemble Album and another for Ambrosetti for Best Improvised Jazz Solo.By Marc Myers https://www.jazzwax.com/2022/10/franco-ambrosetti-nora.html

Personnel: Franco Ambrosetti, flugelhorn; John Scofield, guitar; Scott Colley, bass; Uri Caine, piano; Peter Erskine, drums; Sara Caswell, violin, concertmaster; Alan Broadbent, arranger, conductor

Nora

---

Ian Carr Double Quintet - Solar session

Styles: Trumpet Jazz
Year: 2021
File: MP3@320K/s
Time: 26:41
Size: 61,3 MB
Art: Front

(1:36) 1. Element 1
(4:42) 2. Bedrock Deadlock
(7:32) 3. Spirit Level
(4:06) 4. Torso
(8:42) 5. Snakehips' Dream

One of the first European jazz bandleaders to embrace synthesizers, bass guitars and other electric instruments, trumpeter, composer and author Ian Carr forged a singularly British style of jazz-rock with his band Nucleus, which he formed in 1969 and with which he recorded a dozen albums through the 1970s. Carr had previously paid extensive dues in acoustic jazz, most notably as co-leader with saxophonist Don Rendell of the highly regarded, culturally inclusive Rendell-Carr Quintet from 1964 to 1969.

Carr was a great admirer of Miles Davis and was the author of the authoritative Miles: A Critical Biography (Quartet, 1982). But he did not allow his admiration for Davis to shape Nucleus, which developed in parallel to rather than in the slipstream of Davis' electric bands. Carr's trajectory had deeper roots in the ideas of pianist and composer Neil Ardley, out of whose 1969 ensemble Nucleus' original lineup emerged. Like Ardley, Carr broke rules and defied genres, and Nucleus drew on progressive rock, contemporary classical and electronica in addition to jazz. In his 1973 survey of British jazz, Music Outside: Contemporary Jazz in Britain (Latimer New Dimensions), Carr famously declared: "To hell with dogma!"

Solar Session is another valuable recovery from the vaults by the estimable not-for-profit label Jazz In Britain. It comprises a 26:44 suite which was recorded live in the studio on October 26 1970 and broadcast the following night on BBC radio. Two months later, the same "double quintet" (with the addition of trumpeter and flugelhornist Kenny Wheeler) went on to record an extended and restructured version of the material, which was released as Nucleus' third album, Solar Plexus (Vertigo, 1971). A work-in-progress, the music on Solar Session provides an insight into the development of the suite, which, on the 8:41 closing track, "Snakehips' Dream," shows its closest, yet still glancing, intersection with Miles Davis' Bitches Brew (Columbia, 1969), which had been released eight months earlier. By Chris May https://www.allaboutjazz.com/solar-session-ian-carr-jazz-in-britain

Personnel: Ian Carr: trumpet; Harry Beckett: flugelhorn; Brian Smith: saxophone, tenor; Tony Roberts: saxophone, tenor; Karl Jenkins: keyboards; Chris Spedding: guitar, electric; Ron Matthewson: bass, electric; Jeff Clyne: bass, acoustic; John Marshall: trumpet; Chris Karan: congas; Keith Winter: synthesizer.

Solar session

---

Willie Jones III - Groundwork

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 42:43
Size: 98,4 MB
Art: Front

(4:41)  1. Git'cha Shout On
(6:10)  2. Hindsight
(6:48)  3. Dear Blue
(5:23)  4. Toku Do
(4:43)  5. Charity
(6:27)  6. Groundwork
(4:02)  7. New Boundary
(4:25)  8. Jamar

Drummer Willie Jones III is releasing a new album, Groundwork, dedicated to the late Cedar Walton, Ralph Penland, Mulgrew Miller and Dwayne Burno, influences on Jones who have passed in recent years. Jones’ sixth album as a leader and the 17th release on WJ3 Records, is now available on iTunes and Amazon.com and will be in stores on February 19. On Groundwork, according to a press release, Jones explores the works of Walton, his former bandleader; Penland, an early mentor; and Burno, Jones’ contemporary and former band mate. 

The album also includes original tunes by Buster Williams, Eric Reed and more. Musicians on the recording include Williams (bass) and Eddie Henderson (trumpet), Reed (piano), Warren Wolf (vibes) and Stacy Dillard (saxophones).  https://jazztimes.com/news/drummer-willie-jones-iii-dedicates-new-album-to-departed-influences/

Personnel:  Drums – Willie Jones III;  Bass – Buster Williams; Piano – Eric Reed; Tenor Saxophone – Stacy Dillard; Trombone – Steve Davis; Trumpet – Eddie Henderson; Vibraphone – Warren Wolf

Groundwork

---

The Spike Wilner Trio - Aliens & Wizards

Styles: Piano Jazz
Year: 2021
File: MP3@320K/s
Time: 46:13
Size: 106,5 MB
Art: Front

(3:54) 1. Righty-O!
(6:56) 2. Non Troppo
(6:32) 3. Adagio
(4:36) 4. Mindset
(4:23) 5. Blue Gardenia
(4:35) 6. Stella By Starlight
(3:18) 7. Aliens & Wizards
(6:10) 8. Prayer for Peace
(5:45) 9. Trick Baby

Spike Wilner generally noted in his native New York City as an excellent jazz pianist, is even more widely known as proprietor of two of the city's leading jazz clubs, Smalls and Mezzrow. Though hard hit by the Covid-19 pandemic, Wilner has soldiered on, presenting live music whenever possible and forming the SmallsLIVE Foundation, a non-profit arts group dedicated to creating and propagating jazz in New York through recordings, live streaming, archiving, educational initiatives and live performances. Wilner's foundation teamed up with fellow musician and entrepreneur Cory Weeds' Cellar Music Group to produce Aliens & Wizards, a splendid trio date showcasing Wilner, bassist Tyler Mitchell and drummer Anthony Pinciotti.

Besides leading the trio, Wilner, who shows admirable control of the keyboard, wrote six of the album's nine selections to accompany the standards "Blue Gardenia," "Stella by Starlight" and the high-stepping opener, "Righty-O!" Even though Wilner's compositions are laudable, the other three clearly stand among the album's highlights. Wilner earns high marks for the earnest, hymn-like "Prayer for Peace," which modulates to soulful blues and freewheeling jazz before returning to its reverential taproot, and for the fast-paced finale, "Trick Baby" (aka "Love for Sale"), wherein everyone loosens up and lets the sparks fly as they may, as they do earlier on Wilner's double-quick "Non Troppo."

The mercurial "Righty-O!" ("Lady Be Good"?) would test any trio's mettle; Wilner and his mates not only meet the challenge head-on but do a commendable job of taming the beast. Wilner frames a crisp solo, which is followed by dynamic four-bar exchanges with Pinciotti. That leads to a trio of Wilner's amiable charts: "Non Troppo," "Adagio" and "Mindset," followed by "Gardenia" and "Stella," whose inherent charms are earnestly brought to the fore by the trio. Wilner is notably eloquent on "Gardenia," well-spoken and sturdy on "Stella," wherein Mitchell also solos sharply.

As Aliens & Wizards was recorded in August 2020, "at the height of the pandemic," as the liner notes attest, the assumption is that everyone was suitably masked and distanced. Whatever the case, Wilner's trio has recorded an impressive session, which, as icing on the cake, is devoted to a good cause. Let's hope that normal times return soon to Smalls and Mezzrow and, indeed, to every venue in New York City and around the country rekindling the fire and excitement of live jazz for audiences who have for too long been unable to respond to and appreciate its insuperable spirit.
By Jack Bowers https://www.allaboutjazz.com/aliens-and-wizards-spike-wilner-cellarmusic

Personnel: Spike Wilner: piano; Tyler Mitchell: bass; Anthony Pinciotti: drums.

Aliens & Wizards

---

Melissa Aldana - 12 Stars

Styles: Saxophone
File: MP3@320K/s
Time: 45:01
Size: 103,4 MB
Art: Front

(6:22) 1. Falling
(7:30) 2. Intuition
(0:38) 3. Intro to Emilia
(7:35) 4. Emilia
(7:22) 5. The Bluest Eye
(6:50) 6. The Fool
(5:41) 7. Los Ojos de Chile
(2:59) 8. 12 Stars

Before we get into tenor saxophonist Melissa Aldana's album which is excellent, so hang on in there a word about press releases and publicity campaigns. Specifically, those from Blue Note.

The label's headquarters in Los Angeles is in danger of becoming known for award-winning b.s. in this regard, as demonstrated during the campaign for Aldana's label debut. Here is an example: 12 Stars, we are told, "grapples with concepts of childrearing, familial forgiveness, acceptance, and self-love." Given that there is not one spoken word on the entire album, or any clues in the track titles, this is a fatuous statement. Heaven knows what Alfred Lion would have thunk.

On to better things. Aldana fronts a quintet which includes three members of the quartet she has led since 2017: guitarist Lage Lund, who also produced and who co-wrote with Aldana all but the thirty-nine second snippet "Intro To Emilia," bassist Pablo Menares (who wrote "Intro To Emilia") and drummer Kush Abadey. The fifth member is pianist Sullivan Fortner.

Aldana studied with George Garzone at Berklee and, after graduating, moved to New York to study with George Coleman. She names both players as "dear friends" in the album credits but, since debuting with Free Fall (Inner Circle, 2010), she has developed a style which outwardly owes little to either of them. It could be described as "active meditation" in that it comes across as inward looking but is infused with a degree of energy and movement not normally part of meditation practice. It is, perhaps, the cerebral version of another apparent oxymoron, "hot yoga."

Anyway, call it what you will, Aldana has got it down. So, too, her sound, which most often inhabits the middle and upper registers of the tenor, entirely avoiding harmonics and broken or vocalized tones. It is a pure, clean, athletic sound, with just a trace of vibrato on extended notes. Aldana is the key soloist throughout and so beautiful is her playing, and so inventive her ideas, that Lund and Fortner's occasional brief solos almost (almost) seem like a distraction. Fortner swaps the acoustic piano for a Rhodes on two tracks, on which he and Lund, who is credited with "gizmos" as well as guitar, conjure an enjoyably trippy ambiance. 12 Stars merits a solid four stars.~Chris May https://www.allaboutjazz.com/12-stars-melissa-aldana-blue-note-records15648

Personnel: Melissa Aldana: saxophone; Lage Lund: guitar; Pablo Menares: bass; Sullivan Fortner: piano; Kush Abadey: drums.

12 Stars

---

David Murray Brave New World Trio - Seriana Promethea

Styles: Clarinet And Saxophone Jazz
File: MP3@320K/s
Time: 57:39
Size: 132,4 MB
Art: Front

(4:48) 1. Seriana Promethea
(8:17) 2. Necktar
(7:22) 3. Metouka Sheli (Ballad For Adrienne)
(8:31) 4. Rainbows For Julia
(9:34) 5. Switchin' In The Kitchen
(7:24) 6. Anita Et Annita
(6:25) 7. If You Want Me To Stay
(5:15) 8. Am Gone Get Some

It's over 45 years since David Murray blew into the Lower East Side lofts from California. For a while he was near ubiquitous and amassed a discography to match. While releases have become less prolific in the decades since, he remains restlessly active, and Seriana Promethea by his Brave New World Trio ranks alongside his best. With a saxophone style strung between the twin poles of the New Thing of Albert Ayler and the earlier practices of Coleman Hawkins and Ben Webster, it is the latter which has exerted the greater pull over time.

The eight cuts, seven by Murray and one cover, comprise material honed on tour and subsequently captured in the studio in November 2021. Each is based around accessible song form, handled with aplomb by bassist Brad Jones and drummer Hamid Drake, who furnish a rock solid bottom end and a buoyant swing which allows the leader to go as far out as he wishes, but packs enough sass to grip tight when needed.

While there's nothing revelatory about Murray's playing, he is supremely accomplished, full of nuance, and a consummate exponent of the ballad. Hinting at his seminal experiences in the lofts, he colors his contemporary mainstream discourse with adroitly co-opted extremes and a preternatural command of the upper register. With his extraordinarily deep woody tone Jones proves a fount of melodic variation without missing a beat, both in counterpoint and when stepping forward. He can hold down the riffs with the best, but it's what he interpolates between which grabs the attention. Murray has always shown an affinity for strong drummers, as albums with the likes of Sunny Murray, Rashied Ali, Andrew Cyrille, Steve McCalland Elvin Jones attest, so his ten years and counting association with Drake comes as no surprise.

Murray wields his bass clarinet for the only time on the jaunty grooving title cut, establishing a percolating vamp in consort with Jones before spinning out ever expanding runs punctuated by the occasional excited yelp. Each of the tracks stays true to the parameters of the tunes, but Murray often stretches the boundaries, perhaps posing himself challenges in doing so. One such comes on the standout, "Rainbows For Julia," with its aching yet celebratory feel, where after setting out the theme he elaborates on it by running his notes together using a tremolo effect which he takes further and further into the weeds, while keeping the original refrain just about discernible. The overall impact is remarkable.

Murray similarly infuses the tradition with the avant saxophone lexicon to confound expectations elsewhere as well, whether with a legato which flows like lava over the rocky outcrops on "Necktar" or the spicing of his elongated lines with peppery exclamations on the upbeat "Switchin' In The Kitchen." "Anita Et Annita" convinces as tender double portrait, while Murray imbues Sly And The Family Stone's "If You Want Me To Stay" with an almost religious fervor. Classic jazz, but what sets it apart is that it is done so well with absolute conviction. By John Sharpe https://www.allaboutjazz.com/seriana-promethea-david-murray-intakt-records

Personnel: David Murray: bass clarinet, tenor saxophone; Brad Jones: bass; Hamid Drake: drums.

Seriana Promethea

---

Steve Davis, Eric Alexander, Mike DiRubbo, Harold Mabern, Nat Reeves, Joe Farnsworth - Crossfire

Styles: Trombone Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 58:55
Size: 135,5 MB
Art: Front

(8:19) 1. Then and Now
(7:36) 2. From the Inside Out
(6:39) 3. Peacekeeper
(9:54) 4. Old Folks
(7:06) 5. Cousin Mary
(6:19) 6. Falling in Love with Love
(7:19) 7. This Nearly Was Mine
(5:39) 8. Con Alma

Steve Davis is one of the breed of young boppers whom have mastered the idiom. Here, the trombonist leads a group mostly culled from One for All, a conglomeration of extraordinary musicians who perform regularly together in the Big Apple. Veteran pianist Harold Mabern joins them, adding experience and depth. Davis plays a mean 'bone, strongly indebted to Curtis Fuller.

Like Fuller, he sticks to the middle range of the horn, boasts a somewhat nasal tone, and plays smoothly at almost any tempo. He is also a good, if cautious, composer. Tenor saxophonist Eric Alexander continues to grow both in stature and skill, and contributes solidly with strong solos. While there is nothing revolutionary or new in the group's playing, there is a strong sense of camaraderie and precision that lifts this performance to a higher level. By Steve Loewy https://www.allmusic.com/album/crossfire-mw0000600873

Musicians: Steve Davis – trombone; Eric Alexander – tenor sax; Mike DiRubbo – alto sax; Harold Mabern – piano; Nat Reeves – bass; Joe Farnsworth – drums

Crossfire

---

Sandra Marlowe - The Heart Always Remembers

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 72:27
Size: 166,9 MB
Art: Front

(4:47) 1. Fascinating rhythm
(5:34) 2. When did you leave heaven
(4:56) 3. Practical arrangement
(4:27) 4. In my arms
(4:37) 5. Too much heaven
(8:24) 6. Corner store blues
(5:28) 7. A sweet wind
(4:14) 8. Nice weather for ducks
(6:53) 9. Whistling away the dark - Anyone can whistle
(5:01) 10. The heart always remembers
(7:25) 11. Trav'lin' all alone - Travelin' light
(5:10) 12. So quiet is the night
(5:24) 13. Let the music take you

The heart always remembers, but so too do the ears. Vocalist Sandra Marlowe, probably aware of that fact, quickly grabs attention by demonstrating a real métier for metric play and gymnastics on pianist Larry Dunlap's witty, album-opening arrangement of "Fascinating Rhythm." Once that focus is on her work, Marlowe doesn't let up. In short order there's a balladic "When Did You Leave Heaven?" which dials things down (and offers some space to bassist Dan Robbins), a waltzing take on Sting's "Practical Arrangement" showcasing the singer's well-paced emotional arc(s), and a full-on embrace of touching and tender jazz-pop with Robin Hambey's "In My Arms." By the time the program arrives at Dunlap's Brazilian-influenced look at the Bee Gees' "Too Much Heaven," it's clear that Marlowe knows how to hold her own in plenty of spaces.

Originals and clever medleys make up most of the balance of the program, with Fran Landesman and Tommy Wolf's snazzy yet light-hearted "Nice Weather For Ducks" acting as the only performance which doesn't slot into any of those categories. Marlowe offers three self-penned selections, sending out the fiery and down-home "Corner Store Blues," the calming bossa-based "A Sweet Wind" and the moving title track; Dunlap delivers two for the road, contributing his intimate "So Quiet Is The Night" and upbeat, samba-strutting "Let The Music Take You" at the album's end; and compositional mergers make for good bedfellows in different places, made clear through the flowing-turned-sunny "Whistling Away The Dark/Anyone Can Whistle" and sly "Trav'lin All Alone/Travelin' Light." Cooking up a baker's dozen of treats with help from Dunlap, Robbins, drummer Jason Lewis and a few one-time guests, Marlowe truly makes her voice carry. By Dan Bilawsky https://www.allaboutjazz.com/the-heart-always-remembers-sandra-marlowe-lovedog-media

Personnel: Sandra Marlowe: voice / vocals; Larry Dunlap: piano; Dan Robbins: bass; Jason Lewis: drums.

The Heart Always Remembers

---

Lee Konitz, Alan Broadbent - More Live-Lee

Styles: Saxophone And Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 66:06
Size: 151,9 MB
Art: Front

(7:34) 1. Invitation
(6:21) 2. Body and Soul
(6:47) 3. Thingin'
(5:40) 4. You Stepped Out Of A Dream
(4:10) 5. Nothin'
(8:03) 6. I Can't Get Started
(6:53) 7. Lennie's
(7:18) 8. How Deep Is The Ocean?
(4:31) 9. You Go To My Head
(2:55) 10. Bending Broadly
(5:52) 11. Just Friends

Tristano disciples Lee Konitz and Alan Broadbent paired together back in 2000 at the Jazz Bakery for two nights of improvisational wizardry. Their first release, Live-Lee, was of such high quality that the remaining tracks have been assembled on the encore release. If anyone knows anything about these two souls, there is no such thing as a "leftover" performance; each song has here has the same merits and magic as the initial Live-Lee.

Broadbent and Konitz paint quite the picture as they cruise around and under the melody. Broadbent, with his spacious support, lays a gentle foundation for Konitz' airy tone to float over. Broadbent also knows when to swing and push, as demonstrated on the assertive and fiendishly arranged "Bending Broadly." Rhythm is always implied and well stated on the pieces like the supple "Thingin'" and "You Stepped Out of a Dream." Broadbent is even allowed to demonstrate his prowess and reception of the Bill Evans baton on the effusive "You Go to My Head."

The focus of More Live-Lee, however, is Konitz, who seems to shine in settings with minimal accompaniment. His treatment of "I Can't Get Started" is as definitive as Lester Young's and just as mournful, wistful and yearning. His dry tone is immediately identifiable and elicits emotional and visceral reactions like few musicians can. As a music teacher once said, "If you have a good tone, your audience will hang in with you wherever you take them." Konitz and Broadbent have added another path for us to follow.By AAJ Staff https://www.allaboutjazz.com/more-live-lee-lee-konitz-review-by-aaj-staff

Personnel: Lee Konitz- alto sax; Alan Broadbent- piano.

More Live-Lee

---