Vincent Gardner - The Good Book: Chapter One

Styles: Trombone Jazz
Year: 2007
File: MP3@320K/s
Time: 62:28
Size: 144,3 MB
Art: Front

( 6:42) 1. Love Handles
(11:00) 2. The African Queen
( 8:43) 3. Shiny Stockings
( 5:56) 4. Mo' Joe
( 6:10) 5. The House That Love Built
( 7:50) 6. Sean's Jones Comes Down
( 8:14) 7. Que Pasa?
( 7:48) 8. C.P.W.

Although his major claim to fame up to this point has been time spent with the Lincoln Center Jazz Orchestra, trombonist Vincent Garner is a very likely candidate for the category of talent seeking of wider recognition. As a follow-up to his debut set Elbow Room (Steeplechase, 2006), this effort not only sheds light on his skills as a trombonist but also reminds us of the musical legacies of Frank Foster and Horace Silver. The Good Book: Chapter One brings back the quintet heard on Gardner's first disc (with Marc Cary replacing Aaron Goldberg on piano) while mining the catalogs of Foster and Silver and giving a coat of fresh paint to these attractive pieces.

Of the Foster tunes, it's "Shiny Stockings that gets the most sagacious reworking, use of space and syncopation, helping to alter a well-known line. Of more recent vintage, "Sean's Jones Comes Down is Foster's play on words as homage to the young trumpeter. Its form includes a few bars of ¾ thrown in to keep all on their toes, with Walter Blanding's soprano work proving to be a revelation in terms of his tone and ideas. As for Gardner's voice, he goes for a blend somewhere between swing stylists such as Vic Dickenson, Lawrence Brown and the bop sensibilities of J.J. Johnson. At times, his tone is slightly reminiscent of the warm timbre of a French horn.

The Silver numbers tap the less obvious and the disc is all the better for it. "African Queen is one of the highlights from Silver's Cape Verdean Blues (Blue Note, 1965) and Gardner and company stretch out for their own extended cruise abetted by the highly musical drumming of Quincy Davis. Joe Henderson's "Mo'Joe is another gem from the previously mentioned Cape Verdean set. As for the iconic "Que Pasa? from Song for My Father (Blue Note, 1964), the blend of soprano sax and trombone gives this reading a unique flavor, a quality that pretty much permeates the entire disc. This, of course, elevates the recital beyond your typical tribute album and bodes well for Gardner's further development as an individualist with something important to say. By C. Andrew Hovan https://www.allaboutjazz.com/the-good-book-chapter-one-vincent-gardner-steeplechase-records-review-by-c-andrew-hovan

Vincent Gardner: trombone; Walter Blanding: tenor and soprano sax; Marc Cary: piano; Greg Williams: bass; Quincy Davis: drums.

The Good Book: Chapter One

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Benito Gonzalez - Sing to the World

Styles: Contemporary Jazz
Year: 2021
File: MP3@320K/s
Time: 79:07
Size: 182,4 MB
Art: Front

( 4:56) 1. Sounds of Freedom
( 9:01) 2. Views of the Blues
( 6:34) 3. Father
( 9:19) 4. Offering
(10:32) 5. Visionary
( 5:48) 6. Smile
( 9:17) 7. Sing to the World
( 8:22) 8. 412
( 7:35) 9. Flatbush Avenue
( 7:39) 10. Colors

Unbridled rhythmic fury fueled by a rich harmonic underbelly is the essence of Sing To The World. Pianist Benito Gonzalez has once again assembled a vibrant cast that flourishes on ten original creations. Inventive and energetic, the ensemble gels in the moment and establishes interplay with rich and intelligent conversation. The depth and articulation comes as no surprise, with reference to his previous works as a leader and the seven years Gonzalez spent as a member of Kenny Garrett's band.

Powerhouse bassist Christian McBride aligned with alternately Jeff Tain Watts and Sasha Mashin to anchor and veraciously drive a rhythm section which was both the core and the springboard for Gonzalez, as well as trumpeter Nicholas Payton. Together they built a foundation of Afro-Latin sounds that echoed the ancestral spirits and authentic African dance beats. Playing modern jazz vibes over and within these torrid and variant beats created a fresh and sophisticated fusion sound of its own.

While most of the new material was written by Gonzalez, there are two notable exceptions. The great trumpeter Roy Hargrove and Gonzalez often used to play together and developed a close relationship, both musically and personally. Hargrove wrote the tune "Father" which characterized that bond. They played it often together, always refining it. But the heartfelt melody was never recorded. Until now. "412" is a Watts composition. Watts connected with Gonzalez years ago when he appreciated the young pianist's spirit and respect for the notes. He sat down at the piano one day and showed or taught Gonzalez the melody. Like "Father" it was played a lot but never recorded. The tunes bring a sentimentality which blends well and creates a well sequenced directional change of pace from the mostly fiery tone of Gonzalez's fifth record as a leader.

While Gonzalez is relentlessly engaging throughout, his assault on his keys in no way interferes with his improvisational interface with his bandmates. These cats are very much paying attention to each other and responding in kind. A grand master of the bass, McBride leads and steadies a precise yet ultimately daring rhythm section which Gonzalez gloriously rides like a big kahuna at Big Sur. The robust energy and fine tuned skill sets of the members of the ensemble collectively elevated everyone to the top of their instrumental and conversational game. There is much to be said, much to be heard, and an abundance of joy along the way.By Jim Worsley
https://www.allaboutjazz.com/sing-to-the-world-benito-gonzalez-rainy-days-records

Personnel: Benito Gonzalez: piano; Nicholas Payton: trumpet; Josh Evans: trumpet; Christian McBride: bass; Essiet Essiet: bass; Sasha Mashin: drums; Jeff Tain Watts: drums; Makar Kashitsyn: saxophone.

Sing to the World

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John Abercrombie, Dave Creamer - Creatrix

Styles: Guitar Jazz
File: MP3@320K/s
Time: 74:10
Size: 170,2 MB
Art: Front

(10:27) 1. Your Eyes
( 9:38) 2. Creatrix
( 9:15) 3. Burrito Supreme
(10:29) 4. Sunny Muslin
( 8:05) 5. Blue Clouds Roll
(16:35) 6. Is Wayne Shorter Than Me
( 9:39) 7. Timeless

John Abercrombie's tying together of jazz's many threads made him one of the most influential acoustic and electric guitarists of the 1970s and early '80s; his recordings for ECM helped define that label's progressive chamber jazz reputation. Abercrombie's style drew upon all manner of contemporary improvised music; his style was essentially jazz-based, but also displayed a more than passing familiarity with forms that ranged from folk and rock to Eastern and Western art musics.

Abercrombie attended Boston's Berklee College of Music from 1962 to 1966. While at Berklee, the guitarist toured with bluesman Johnny Hammond. After relocating to New York in 1969, Abercrombie spent time in groups led by drummers Chico Hamilton and Billy Cobham. It was with the latter's Spectrum group that Abercrombie first received widespread attention. Abercrombie's first album as leader was Timeless, a trio album with drummer Jack DeJohnette and keyboardist Jan Hammer. That was followed by Gateway, another trio with DeJohnette, and bassist Dave Holland replacing Hammer.

Abercrombie continued to be active as the 21st century opened, releasing Cat 'n' Mouse in 2002, Class Trip in 2004, A Nice Idea (with pianist Andy LaVerne) in 2005, Structures (recorded with a single microphone) in 2006, and Third Quartet in 2007. Wait Till You See Her appeared in 2009. In 2011, the guitarist issued Speak to Me, a duet recording with pianist Marc Copland on the German Pirouet label. He followed it with the quartet recording Within a Song for ECM. His band on the date included drummer Joey Baron, saxophonist Joe Lovano, and bassist Drew Gress. Another quartet session appeared on the label in October of 2013.

Entitled 39 Steps, its lineup contained only one change, as Copland replaced Lovano. Uncharacteristically, he released Inspired, a collaborative setting with fellow guitarists Rale Micic, Peter Bernstein, and Lage Lund, for Artistshare in 2016, before returning to ECM with his regular quartet for Up and Coming early the following year; it would be his final recording. After years of health problems, including a stroke suffered in early 2017, Abercrombie succumbed to heart failure at home on August 22. He was 72. By Chris Kelsey https://www.allmusic.com/artist/john-abercrombie-mn0000214546/biography

Creatrix

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Jim Rotondi - Excursions

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 61:31
Size: 142,7 MB
Art: Front

( 6:12) 1. Shortcake
( 7:19) 2. Little B's Poem
( 7:19) 3. Excursions
( 7:53) 4. What Is There To Say
( 7:25) 5. Angel Eyes
( 7:09) 6. Little Karin
( 7:57) 7. Jim's Waltz
(10:14) 8. Fried Pies

One of the next major talents yet to be discovered by the jazz public at large, trumpeter Jim Rotondi is a dynamo full of the kind of bristling trumpet fire that distinguished such predecessors as Freddie Hubbard and Woody Shaw. Over the course of his first two Criss Cross dates, Introducing Jim Rotondi and Jim’s Bop Rotondi proved that he was a capable mainstream player with great promise in terms of developing his own voice. Now with Excursions he goes to the head of the class with what has to be his finest work to date.

Leading what is essentially the cooperative One For All with drummer Kenny Washington spelling standby Joe Farnsworth at the drums, Rotondi works his way through a few standards and an original from his own pen, in addition to one apiece from Steve Davis and Eric Alexander. The title track is a solid standout, first heard on a Jackie McLean date featuring composer Davis. During the closing vamp, Rotondi quotes from “Pensativa,” further establishing the association with Hubbard. “What Is There To Say” is a mature ballad performance illuminating Rotondi’s burnished tone.

Hazeltine gets to strut his stuff with another one of his totally ingenious revamps. This time around he turns the usually delicate “Angel Eyes” into an active up-tempo romp that makes the most out of his voicings for the three-horn front line. Of course, Alexander is no slouch himself when it comes to the composition department. The sprightly “Jim’s Waltz” is of his invention and it has that beaming quality that marks his most blissful tunes, a repeated four-note vamp cunningly used to separate choruses Consistently stimulating, Excursions is yet another in a long line of significant Criss Cross sides and further testimony that the label indeed has something special in the guise of one Jim Rotondi.
By C.Andrew Hovan https://www.allaboutjazz.com/excursions-jim-rotondi-criss-cross-review-by-c-andrew-hovan#

Personnel: Jim Rotondi: Trumpet.

Excursions

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Bob Thompson - Say What You Want

Styles: Piano Jazz
Year: 1988
File: MP3@320K/s
Time: 38:25
Size: 91,9 MB
Art: Front

(4:30)  1. Say What You Want
(5:05)  2. My Heart Is Dancing
(4:20)  3. Uptown Serenade
(6:17)  4. Someone
(4:25)  5. On The Horizon
(6:24)  6. Is This Love
(7:22)  7. New River Blue

Since 1991 Bob Thompson has been pianist, and regularly featured artist on West Virginia’s NPR syndicated radio show, Mountain Stage. For the past twenty-three years he has also been co-producer and host of Joy to the World, a Holiday jazz show, broadcast on public radio stations nationwide, and heard internationally on the Voice of America. In October 2015, Bob Thompson was inducted into the West Virginia Music Hall of Fame. Bob makes his home in Charleston, West Virginia, and has enjoyed a long and active career as a performer, composer, arranger, and educator. For decades he has played at festivals and venues around the country, and has also taken his music to Europe, Africa, and South America. Bob Thompson’s resume includes guest appearances on Marian McPartland’s Piano Jazz, on National Public Radio, and BET on Jazz with Ramsey Lewis. His recordings on Intima Records, and Ichiban International, received high recognition on the jazz charts, with several reaching the top-ten. His recent recordings, Bob Thompson “Live” on Mountain Stage, and Smile, with the Bob Thompson Unit, are on his own label, Colortones.com. Bob’s current group, The Bob Thompson Band, has a new recording, “Look Beyond The Rain”. It was released January 8th 2016 on Blue Canoe Records. In addition to Bob the band features saxophonist Doug Payne, guitarist Ryan Kennedy, John Inghram on bass, and Tim Courts on drums. “This is my musical family, we all live in Charleston and have been playing together for a long time. We are trying to play music that makes people feel good. We want to spread a little love during these troubled times. Making this record was a lot of fun. It was also great to reunite with my friend, and producer during my years with Ichiban, Buzz Amato.”

After hearing Thompson live or on any of his numerous recordings you might be surprised to learn how hard Thompson tried to avoid the keyboard as a kid. Although there was always a piano in his home in Jamaica, N.Y., Bob had little interest in learning how to play it. “When I was in junior high school, I had a piano teacher who came to my house to give me lessons. He thought I had some talent. So one summer, he told my mom he’d teach me for free, Thompson recalls. “I said I wasn’t interested. I didn’t want to spend the summer taking piano lessons.” Instead, Thompson picked up the trumpet, playing in various school bands. And when he arrived on the campus of West Virginia State College, he wanted to join the student jazz band. Only one problem, they already had a fine trumpet player. “He was great, and the trumpet spot was closed.  So I started playing piano, just so I could be in the band and learn about the music from him,” Thompson says. It was a switch that stuck. And Thompson left the trumpet behind to hone his keyboard skills. While a student at West Virginia State College, Thompson formed the Modern Jazz Interpreters, a piano trio who appeared at the Notre Dame Jazz Festival in 1964. Shortly thereafter, Thompson received a valuable lesson from another performer, Chicago saxophonist Bunky Green, who joined the band on a State Department tour to Algiers. “He’s the person that really inspired me to spend my life playing music,” Thompson says. “He used to tell me, ‘When you sit down to your instrument, play as though it might be the last time.” ‘So don’t fool around, don’t jive. Go ahead and say what you’ve got to say’.”

That’s advice which Thompson has followed throughout his professional career, which began with the Jazz Interpreters, and then later on his own in the 1970s. Through the 80s, Thompson released a series of widely acclaimed solo albums, recording first for his own Rainbow Records and then on Capitol’s Intima jazz label. “Violinist John Blake encouraged me to record my own compositions. He was a big inspiration.” Blake produced the recordings “7 In 7 Out” and “Brother’s Keeper” with guests like bassist Gerald Veasley, guitarist Kevin Eubanks, and drummer Omar Hakim. Hakim also produced Thompson’s 1986 album “Say What You Want.” The albums are tasteful, thoughtful, contemporary jazz. These recordings garnered strong airplay on radio stations nationwide. Meanwhile, Thompson moved to Atlanta-based Ichiban International Records to release the albums Love Dance (1992), The Magic In Your Heart (1993), Ev’ry Time I Feel The Spirit (1996) and Lady First. Ev’ry Time I Feel The Spirit, which is a collection of spirituals performed in Thompson’s unique contemporary jazz style, was re-released in 2003 on DM Records. Bob Thompson has had a long relationship with Mountain Stage, an eclectic, Charleston-based weekly music broadcast on National Public Radio that’s featured everyone from R.E.M. to K.D. Lang, The Neville Brothers, and Joshua Redman. Having been a frequent guest on the show since its inception in 1983, Bob was always a big Mountain Stage fan. In 1991 he was invited to become a regularly featured performer on the show, and pianist in the house band. “I’ve just fallen in love with Mountain Stage,” says Thompson, “It’s also gotten my music out to a more diverse audience.” In between concerts and festival gigs, Thompson can still be found playing clubs in Charleston something he says keeps him close to his musical roots. “When I’m on a big stage, I just treat it like I’m in a bar somewhere,” he says. “The kind of connection with the audience I like happens a lot when we’re playing in a small club, and that carries over when we get into a larger venue.” Music education is also very important to Thompson. He continues teaching a few private students and doing occasional workshops at colleges and public schools. “I love teaching because it gives me an opportunity to pass along the help that so many have given me along the way. I am always thankful for this opportunity to do something in life that I truly love.”http://colortones.com/about-bob-thompson/

Say What You Want

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Lisa Hilton - Paradise Cove

Styles: Piano Jazz
File: MP3@320K/s
Time: 49:15
Size: 113,5 MB
Art: Front

(4:13) 1. Birks’ Works
(3:54) 2. Fast Time Blues
(4:58) 3. Blues Vagabond
(6:29) 4. Another Simple Sunday With You
(5:55) 5. Cha Cha Cha A´ La Carte
(3:56) 6. Mercurial Moments
(3:45) 7. Night Cap & A Little Chaos
(4:26) 8. Storybook Sequel
(3:14) 9. Mediterranean Dreams
(3:25) 10. What The World Needs Now Is Love
(4:56) 11. Paradise Cove

At a time in our collective consciousness when it appears nothing is functioning as it once did, or is as reliable as it once was, or gives us purpose and solace as we once knew, along comes the soft sustaining magic of Lisa Hilton's gorgeous new recording, Paradise Cove, and for all of its enchanting forty-five minutes all is right with the world again.

Hilton may not have the wild chops of many of her peers or the instigative approach to the parade of shadows that hound us, but her music offers release into something greater, something less arch and/or demanding. Hilton's sincere compositions are candles in the dark, the sunrise of a better day. They are a true romance of the earth, the sky, and the resolute spirit.

Nothing on Paradise Cove (Hilton's twenty-sixth recording) is rushed or meant to lull you into a false expectancy. With the addition of simpatico trumpeter Igmar Thomas, Hilton introduces a new emotional voice, in turn adding even more depth and resiliency to her tightly-constructed (though the tightness is never felt) musings. Her long-running rapport with bassist Luques Curtis pulses at the heart of Paradise Cove, whose two well chosen covers, the Pink Panther noir-ish blues of Dizzy Gillespie's eternal "Birk's Works" and Burt Bacharach and Hal David's wistful and wishful 1965 pop gem, "What the World Needs Now is Love," serve to amplify and complement Hilton's own endearing work.

It is also enduring work, as the lucid and uncomplicated motifs of "Another Simple Sunday With You" and the majestic uplift of "Storybook Sequel" (a tune that should become a chestnut) instantly reveal. Reminiscent of many reflective moments intuited by such influences as Dave Brubeck, Brad Mehldau, and Bill Evans, these two tracks alone make the album a sure fire favorite. The bright, whispery restraint exhibited on both tracks by drummer Obed Calvaire and Thomas clear, yearning lines are standout performances.

An unabashed fan of the cha cha and other Latin infused rhythms, Hilton and her L.I.L.O. quartet, (Lisa, Igmar, Luques, Obed) sidestep and swing on "Mercurial Moments" and "Cha Cha Cha À La Carte." They cut loose on the many tempo-ed, retro-vibey "Fast Time Blues" and juke joint leaning "Blues Vagabond." Closing on the lush, hopeful cadences of its namesake track, Paradise Cove proves itself a team effort all around. For Hilton, who either willfully or unjustly flies under the broader jazz radar, it is another quietly brave achievement. By Mike Jurkovic
https://www.allaboutjazz.com/paradise-cove-lisa-hilton-ruby-slippers-productions

Personnel: Lisa Hilton: piano; Luques Curtis: bass, acoustic; Igmar Thomas: trumpet; Obed Calvaire: drums.

Paradise Cove

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Emma Pask - Dream Of Life

Styles: Vocal
File: MP3@320K/s
Time: 58:23
Size: 134,0 MB
Art: Front

(6:23) 1. Smack Dab In The Middle
(4:26) 2. If I Were A Bell
(6:46) 3. Here There And Everywhere
(5:23) 4. The Eagle And Me
(3:38) 5. They Say It's Wonderful
(3:01) 6. Caí Dentro
(5:25) 7. Dream Of Life
(4:08) 8. I Just Found Out About Love
(4:40) 9. Rumour Has It
(4:52) 10. If You Never Come To Me
(4:14) 11. Heading In The Right Direction
(5:20) 12. Don't Touch Me

Award winning vocalist Emma Pask has firmly established herself as one of Australia’s favourite voices in Jazz.

Emma will present her new album ‘Dream of Life’ in concert with a collection of beautifully arranged Jazz Standards, a Beatles classic, an Adele pop hit, and some high energy Brazilian magic.

Emma’s effortless and honest stage presence combined with her powerful vocal ability, leaves audiences spellbound and inspired whenever she takes to the stage. Emma has toured extensively throughout Australia and has had some exciting performances abroad. “Having the opportunity to play live so often, there comes a unique rapport, a connection and energy that builds within a band,” Emma says.

“The repertoire has a chance to settle in, and find a place where it all feels so good. That’s the time I like to head into the studio”. Sonically this recording is live, raw, real, and up close, sounding and feeling as though you are right there in the room. While Emma’s voice and style are unique, and individually her own, her performances are reminiscent of the classic era of jazz, when swing was top of the charts.

Her talent was first spotted by internationally renowned Jazz great James Morrison, when she was just 16 years old. She joined his band as the lead vocalist at 16, and went on the spent a solid 20 years touring the world with Morrison. Emma is a ‘Mo’ award winner for Jazz Vocalist of the year, and has received two ARIA award nominations for. Best Jazz Album of the Year in 2014 and 2016.

Emma will be accompanied by Kevin Hunt on piano, Phil Stack on bass and Tim Firth on drums.https://emmapask.com/event/dream-of-life-new-album/

Personnel: Vocals – Emma Pask; Drums – Emma Pask, Tim Firth; Piano – Kevin Hunt; Piano, Drums – Phil Stack

Dream Of Life

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Roland Hanna & George Mraz - Romanesque

Styles: Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 42:49
Size: 99,4 MB
Art: Front

(8:23) 1. Humoreske
(5:44) 2. Serenade
(6:10) 3. Reverie
(4:31) 4. Chant Sans Paroles, Op. 2, No. 3
(6:24) 5. Swan Lake
(8:39) 6. Yours Is My Heart Alone
(2:54) 7. Clair De Lune

Originally made for the Japanese Trio label and released domestically by Black Hawk, this was at least the sixth duet album that pianist Roland Hanna made with bassist George Mraz. Hanna takes seven classical melodies (including "Humoresque," "Reverie," "Swan Lake" and "Yours Is My Heart Alone") and transforms them into swinging and lyrical jazz, respecting the melodies but also coming up with fresh variations. Fine music.By Scott Yanow https://www.allmusic.com/album/romanesque-mw0000188145

Personnel: Piano – Roland Hanna; Bass – George Mraz

Romanesque

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Iris Ornig - No Restrictions

Styles: Contemporary Jazz
Year: 2012
File: MP3@320K/s
Time: 63:12
Size: 147,1 MB
Art: Front

(4:18) 1. Autumn Kiss
(6:56) 2. We Shall Meet Beyond the River
(6:37) 3. Venus as a Boy
(4:33) 4. No Restrictions
(6:21) 5. If Anything Goes Wrong
(5:55) 6. The Way You Make Me Feel
(7:27) 7. Gate 29
(5:46) 8. Spark of Light
(7:09) 9. No Restrictions Version II
(8:06) 10. Uptight

Intrepid bassist Iris Ornig's second release follows the thematic structure of her remarkable debut, New Ground (Self Produced, 2009), but is more polished and coherent, hence more engaging. This is a hard goal to achieve, as the first was a thoroughly enjoyable and stimulating album.

If New Ground was a collection of short stories sharing a common thesis then No Restrictions is a novel, exploring a similar leitmotif and expanding on it. The emphasis is more on original compositions, and even the two arranged covers do not come from the jazz canon but are of pop music origin.

On Björk's "Venus as a Boy," Ornig's melodic bass and Marcus Gilmore's percussive drums build a framework with vague rock sensibilities. On this, the inimitable Helen Sung channels a subtler inner Don Pullen with modal and circular piano lines. Kurt Rosenwinkel's psychedelic yet earthy guitar, continuing Sung's train of thought, weaves an absorbing tone poem.

The other arrangement is Michael Jackson's "The Way You Make Me Feel," that gets a soulful groove with blue tinges and features trumpeter Mike Rodriguez's funky, Kenny Dorham-influenced sound. Ornig's own solo demonstrates her supreme lyricism and ingenuity as an improviser and an instrumentalist. Her complex embellishments not only bring the tune solidly into the jazz realm; they also demonstrate the full potential of an instrument that, even after a century of evolution, too often gets relegated to the role of a timekeeper.

The intricate and multilayered "Gate 29" is a gorgeous composition that features Rodriguez's burnished trumpet with the right amount of vibrato blowing a melancholic song. Like a modern day troubadour Rosenwinkel's romantic yet blistering tones maintains the wistful ambience. Sung's flowing but edgy pianism colors the piece with darker hues. Ornig's tight and deep vamps and Gilmore's keen and assertive polyphonics integrate the individual voices of the band members into a satisfying whole.

Not one to hog the spotlight Ornig relies on the intimate esprit du corps that permeates her quintet's ensemble work. The group creates a bittersweet ambience on the impressionistic ballad "We Shall Meet Beyond The River." Rodriguez's crepuscular and elegiac horn mixes well with Rosenwinkel's bluesy strings like a rain puddle shimmering in the setting sun. Ornig' resonant vibrations and Gilmore's sensitive brushes and sticks create a rhythmic structure that supports this elaborate interaction. Sung's keys sprinkle clusters of earthy notes like a gentle rain shower.

A consummate musician, Ornig demonstrates a combination of sophistication, maturity and originality with No Restrictions that is rarely present so early in someone's career. This unique elegance and worldliness will, hopefully, remain the trademark of her art for years to come.By Hrayr Attarian
https://www.allaboutjazz.com/no-restrictions-iris-ornig-self-produced-review-by-hrayr-attarian

Personnel: Iris Ornig: bass; Kurt Rosenwinkel: guitar; Michael Rodriguez: trumpet; Helen Sung: piano; Marcus Gilmore: drums.

No Restrictions

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Charles Lloyd - Trios: Ocean

Styles: Saxophone And Flute Jazz
File: MP3@320K/s
Time: 41:23
Size: 95,2 MB
Art: Front

(12:19) 1. The Lonely One (Live)
( 8:53) 2. Hagar of the Inuits (Live)
(10:03) 3. Jaramillo Blues(Live)
(10:08) 4. Kuan Yin (Live)

Ocean is the second volume in saxophonist Charles Lloyd's 2022 Trios series, all recorded with different personnel. This one finds Anthony Wilson on guitar and Gerald Clayton on piano. Both men are members of his Kindred Spirits ensemble. The set was livestreamed during the pandemic on September 9, 2020 from the stage of the Lobero Theatre in Santa Barbara, California sans audience. Lloyd has spent his career integrating jazz, blues, and American styles with the music of other global traditions. One of his qualities is that no matter how far afield he travels, his clear, emotive tone keeps the music, no matter how exotic, readily and honestly accessible.

There are four long tunes here, all originals by Lloyd. Opener "The Lonely One" commences with spectral resonance as the tenor emits long breathy notes, Clayton builds sparse minor shapes as Wilson delivers soft, flamenco-esque arpeggios. After two minutes, Lloyd's horn introduces another theme that winds around the guitar as Clayton flows purposefully and distinctly around them with a deeply inquisitive solo. Moods and dynamics shift, shorter accents and solos emerge and retreat, and the band gels around Lloyd's mysterious, Latin-tinged modal assertions.

The saxophonist pulls out his mostly neglected alto in "Hagar of the Inuits." He improvises solo for a couple of minutes before a call-and-response exchange with Clayton whose knotty chords deliberately draw on Monk before Lloyd quotes briefly from John Coltrane's "A Love Supreme" and Wilson slips in spiky blues runs dictating the pianist's shift to a 21st century take on boogie woogie. "Jaramillo Blues (For Virginia Jaramillo and Danny Johnson)" was composed for two artists she's a painter,he's a sculptor. Lloyd leads this swinging 12-bar blues with the flute. Wilson's chordal vamps bridge Clayton's rhythmic keyboard. It's bright, with lots of subtle movement and tonal shading underneath. The sequential exchanges and turnarounds between pianist and guitarist are canny. Wilson's massive wall of shapes offers abundant textural support for Clayton's punchy, walking chordal solo. He seamlessly shifts to comping as the guitarist offers an elegantly articulated solo that touches on the jazz guitar's history from Charlie Christian to T-Bone Walker to Jim Hall.

Lloyd rejoins for the last few minutes as the conversation becomes sprightly and jovial. Closer "Kuan Yin" is titled for the Chinese goddess of mercy and compassion she is known as Tara in Tibetan Buddhism. Clayton introduces it by playing percussively, dampening the lower strings from inside the piano. He follows by establishing a minor-key rhumba rhythm with Wilson before Lloyd tentatively introduces the melody. Before long, he ratchets its intensity as the pianist cascades single-note runs and illustrative chords with colorful, gorgeously toned rhythmic articulation from the guitarist. Behind Lloyd they build to a dynamic group crescendo before whispering to a fade. Ocean offers a document of spontaneously created music-making of a very high order. A snapshot of a moment in time, the energy, creativity, and surprise offered here are a delight. By Thom Jurek https://www.allmusic.com/album/trios-ocean-mw0003770629

Personnel: Alto Saxophone, Tenor Saxophone, Alto Flute – Charles Lloyd; Guitar – Anthony Wilson; Piano – Gerald Clayton

Trios: Ocean

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Molly Ryan - Sweepin’ the Blues Away

Styles: Vocal
File: MP3@320K/s
Time: 46:01
Size: 106,0 MB
Art: Front

(4:30) 1. Get Yourself a New Broom (And Sweep the Blues Away)
(5:37) 2. The Folks Who Live on the Hill
(4:31) 3. I'm Putting All My Eggs in One Basket
(3:57) 4. You and I
(4:33) 5. A Nightingale Sang in Berkeley Square
(3:34) 6. I'll Sit Right on the Moon (And Keep My Eyes on You)
(3:09) 7. I Wonder Who's Kissing Him Now
(4:16) 8. You Turned the Tables on Me
(4:15) 9. A Cottage for Sale
(3:16) 10. Let a Smile Be Your Umbrella (On a Rainy Day)
(4:19) 11. If You Want the Rainbow (You Must Have the Rain)

New York City jazz vocalist Molly Ryan knows how to swing with the best of ‘em. Hailed as a “critic’s favorite” by author and Wall Street Journal music writer, Will Friedwald, Ryan announces the release of her fifth solo album, Sweepin’ the Blues Away, on Turtle Bay Records, which features 11 jazz classic songs from the swingin’ ‘30s.

Since arriving in 2003 from Roseville, CA, Ryan has established quite a career on the NYC jazz scene. She has performed at prestigious Manhattan venues such as the Café Carlyle, The Rainbow Room, Joe’s Pub, Symphony Space, Birdland Jazz Club, Dizzy’s Club Coca-Cola, Iridium Jazz Club, The Player's Club, the Waldorf Astoria, The Cutting Room, and The Town Hall. She has performed alongside such prominent jazz artists as Randy Reinhart, Jon-Erik Kellso, Bria Skonberg, Dan Barrett, Mark Shane and Rossano Sportiello, as well as with the preeminent 1920s-style orchestra, Vince Giordano’s Nighthawks.

Ryan has appeared at numerous jazz festivals and jazz parties throughout the U.S. and abroad, including the Atlanta Jazz Party, the Central Illinois Jazz Festival, the North Carolina Jazz Festival, the New York Hot Jazz Festival, the Old Jazz Meeting “Zlota Tarka” in Ilawa, Poland and Winter Jazzfest in New York City, among others. In addition, Molly Ryan’s voice can be heard on the Grammy Award-winning HBO television series Boardwalk Empire (Season One). She also has made appearances on the AMAZON PRIME TV series, The Marvelous Mrs. Maisel(Season Three) and in Take Me Back to Manhattan, the Emmy-nominated musical revue celebrating New York and the great American songbook.

WSJ music critic Will Friedwald says, “Molly swings the melody as well as the words without affectation of any kind. She brings a straight-ahead innocence and total believability to the music…She sounds worldly wise beyond her years, wonderfully gentle and lyrical.” Whether you're feeling blue or not, the new jazz swing album by Molly Ryan Sweepin’ the Blues Away, guarantees to lift your spirits! Available now on CD or vinyl at TurtleBayRecords.com. By EMPKT PR https://www.allaboutjazz.com/news/nyc-jazz-vocalist-molly-ryan-releases-new-album-on-turtle-bay-records/

Personnel: Molly Ryan (Vocal); Dan Levinson (tenor sax/clarinet), Rossano Sportiello (piano), Rob Adkins (bass), Kevin Dorn (drums)

Sweepin’ the Blues Away

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David Caldwell-Mason - Nascent

Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 54:37
Size: 126,1 MB
Art: Front

(4:59) 1. God Only Knows
(5:39) 2. I Should Care
(4:13) 3. Dancing Song
(6:47) 4. Sweet Lou
(5:29) 5. Love Song From The Rhodopes
(4:34) 6. Nor Egrets
(7:36) 7. Nascent
(4:36) 8. Three Reasons
(5:27) 9. One Of These Things First
(5:12) 10. Breathe

"The word nascent conjures the feeling of arriving, or beginning, but also hints at future potential. That feeling of push and pull gets at the fundamental nature of improvisation - the present is always becoming the past, just as the future arrives, becoming briefly, the present.

Original music written by Caldwell-Mason, jazz standards, Bulgarian folk music, as well as haunting renditions of Nick Drake and Brian Wilson songs, are woven into a cohesive musical tapestry, emphasizing the importance of simplicity, motivic development, and expressiveness. David's longtime trio is joined by guest saxophonist Jeremy Powell on two songs."

Personnel: David Caldwell-Mason, piano; Pablo Menares, bass;Felix Lecaros, drums; Jeremy Powell, tenor sax (tracks 4 and 10 only)

Nascent

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Octokats - Playboy Swings

Styles: Jazz
Year: 2017
File: MP3@320K/s
Time: 71:56
Size: 166,6 MB
Art: Front

(6:02) 1. Lady In Cement
(3:02) 2. Cheek To Cheek
(5:16) 3. Just Friends
(3:27) 4. Jazz Wagner
(4:09) 5. Violets For Your Furs
(3:36) 6. Blue Skies
(3:10) 7. Boplicity
(3:05) 8. Groovin' High
(3:54) 9. Four
(5:04) 10. Work Song
(5:38) 11. Angel Eyes
(5:31) 12. 'Deed I Do
(3:54) 13. Kiss Me And Kill Me With Love
(2:56) 14. Old Devil Moon
(3:31) 15. Rudy Tootie
(3:25) 16. Something For Cat
(6:09) 17. Green Dolphin Street

West Coast jazz refers to various styles of jazz music that developed around Los Angeles and San Francisco during the 1950s. West Coast jazz is often seen as a sub-genre of cool jazz, which featured a less frenetic, calmer style than bebop or hard bop. The music tended to be more heavily arranged, and more often composition-based.

We, the Octokats, have resurrected this relaxed sytle of jazz here in Southern Ontario. The very essence of COOL can be found in this style of music. One of the most famous West Coast Jazz Musicians is Dave Pell. We modeled our octet after the Dave Pell lineup. The instrumentation for his octet consisted of Tenor Sax, Baritone Sax, Trumpet, Trombone, Piano, Guitar, Bass and Drums.

To hear a sample of our music please preview this video we made at our first gig at Chalker’s Pub in Toronto on March 24, 2013.http://www.octokats.com/?page_id=56

Personnel: Sarang Kulkarni (Baritone/Alto Saxophones); Gary Martin (Alto/Tenor Saxophones); James Shea (Trumpet/Flugelhorn); Michael Kearns (Trombone); Stephen Landsberg (Guitar); William Bryant (Piano); Mauro Bellotto (Upright Bass); John Collin (Drums); Alan Reid (Drums)

Playboy Swings

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Clifford Jordan - Mosaic

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 78:40
Size: 180,6 MB
Art: Front

(6:06)  1. Sunrise In Mexico
(5:20)  2. Extempore
(4:49)  3. Down Through The Years
(4:05)  4. Quittin' Time
(4:46)  5. One Flight Down
(3:56)  6. Windmill
(5:00)  7. Don't You Know I Care?
(4:59)  8. Mosaic
(3:54)  9. Cumberland Court
(4:52) 10. A Story Tale
(5:39) 11. You're Driving Me Crazy
(3:28) 12. Defiance
(6:03) 13. Prints
(5:03) 14. Hip Pockets
(5:16) 15. They Say It's Wonderful
(5:16) 16. If I Didn't Care

Two excellent early Clifford Jordan albums, Starting Time and A Story Tale, are reissued in full on this single CD. Jordan, whose sound was just beginning to become quite distinctive in 1961, is heard with a quintet also including trumpeter Kenny Dorham, pianist Cedar Walton, bassist Wilbur Ware, and drummer Albert "Tootie" Heath, and on a set with altoist Sonny Red, Tommy Flanagan or Ronnie Mathews on piano, bassist Art Davis, and drummer Elvin Jones. 

With the exception of four selections, all 16 tunes are group originals. Best-known are Walton's "Mosaic" and "One Flight Down," but all of the music is high-quality hard bop. Dorham and Red are both in excellent form, constantly challenging Jordan. Fine if formerly obscure music. ~ Scott Yanow http://www.allmusic.com/album/mosaic-mw0000010913

Personnel: Clifford Jordan (tenor saxophone); Sonny Red (alto saxophone); Kenny Dorham (trumpet); Ronnie Mathews, Tommy Flanagan, Cedar Walton (piano); Wilbur Ware (acoustic bass); Elvin Jones, Albert "Tootie" Heath (drums).

Mosaic

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Keiko Lee - Voices4

Styles: Vocal, Piano Jazz
File: MP3@320K/s
Time: 75:59
Size: 175,0 MB
Art: Front

(4:35) 1. Fly Me To The Moon (Remix)
(4:46) 2. I.g.y.
(5:05) 3. Here, There And Everywhere
(4:09) 4. Smoke Gets In Your Eyes (Feat. Exile Atsushi)
(5:47) 5. Distance
(5:00) 6. Feel Like Makin Love (Feat. Raul Midón)
(4:33) 7. Amaku Kiken Na Kaori
(5:15) 8. All At Once
(3:24) 9. Theme From New York, New York
(4:15) 10. Sweet Love
(4:01) 11. I Look To You
(4:52) 12. Smile (Feat. Koji Tamaki)
(4:49) 13. Umi O Miteita Gogo
(5:18) 14. The Golden Rule (Feat. Sadao Watanabe)
(5:56) 15. The Nearness Of You
(4:07) 16. This Love Will Last

Keiko Lee is a Korean jazz pianist and singer. Born in Handa City, Japan, Lee's musical career began as an accompanist in the jazz clubs of Nagoya. Her own singing, however, soon began to attract notice, and she has become a prominent performer and recording artist.https://www.last.fm/music/Keiko+Lee/+wiki

Voices4

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Dan Levinson's Palomar Quartet & Molly Ryan - Four On The Floor

Styles: Clarinet, Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 35:42
Size: 82,4 MB
Art: Front

(5:32) 1. In A Shanty In Old Shanty Town
(3:27) 2. Silhouetted In The Moonlight
(4:47) 3. Joseph, Joseph
(4:13) 4. Otolaryngology
(3:53) 5. My Ideal
(5:15) 6. Just One Of Those Things
(4:11) 7. Only Another Boy And Girl
(4:22) 8. Fine And Dandy

The 2017 winner of Hot House Magazine’s “NYC Jazz Fans Decision” award for Best Clarinetist, Dan Levinson is equally at home as both leader and sideman, fronting his own groups as well as performing with those led by others. During a 30-year career specializing in traditional jazz and swing music, he has appeared alongside such prominent artists as Mel Tormé, Wynton Marsalis, Dick Hyman, Bria Skonberg, Ed Polcer, Howard Alden, Joe Ascione, Dan Barrett, Jon-Erik Kellso, Randy Reinhart, Mark Shane, Dick Sudhalter, Frank Vignola, Rossano Sportiello, Nicki Parrott, and Randy Sandke.

Though based in New York City, Dan’s busy schedule often takes him across the continent and around the world. He has performed in Brazil with the Bunk Project, a band organized by Woody Allen and banjoist Eddy Davis, in Italy with the Manhattan Rhythm Kings, in Scotland with David Ostwald’s Louis Armstrong Centennial Band, in Germany with the Barrelhouse Jazz Band, in Japan with the New York Ragtime Orchestra, in Los Angeles at the Playboy Mansion, and at numerous jazz clubs in Paris, including Le Petit Journal, Caveau de la Huchette, Autour de Midi, Duc des Lombards, and Le Bilboquet.

His numerous music festival appearances include the New Orleans Jazz and Heritage Festival, the Sweet and Hot Music Festival in Los Angeles, the Bix Beiderbecke Memorial Jazz Festival in Davenport, the Central Illinois Jazz Festival, the Sacramento Jazz Jubilee, the Orange County Classic Jazz Festival, the Sedalia Ragtime Festival, the Hot Steamed Jazz Festival in Essex, Connecticut, the Edinburgh Festival and Nairn Jazz Festival in Scotland, and the Brecon Festival in Wales. From 1992-2004 Dan was a regular guest at Dick Hyman’s annual Jazz in July Festival in New York. In 2004 Dan organized and was featured in the JVC Jazz Festival’s centennial tribute to Jimmy Dorsey at NYC’s famed Birdland jazz club.

An ardent Benny Goodman devotee, Dan’s tributes to the clarinet legend have brought him many accolades over the years. In 1996 he gave a televised concert in Reykjavík for the president of Iceland and the prime minister of Italy. Since 1998, his re-creations of Goodman’s 1938 Carnegie Hall jazz concert have delighted audiences on both sides of the Atlantic, spawning countless command performances in the ensuing years with various big bands. Dan is the clarinet soloist with – and co-founder of – James Langton’s New York All-Star Big Band, NYC’s preeminent swing orchestra, with whom he has appeared at Lincoln Center’s prestigious Midsummer Night Swing series, and with whom he continues to perform regularly at the world-famous Rainbow Room in Manhattan. Since 2003, Dan has toured frequently with Andrej Hermlin’s Swing Dance Orchestra from Berlin, performing tributes to Goodman, Artie Shaw and others in sold-out concert halls throughout Germany and Europe.

Dan’s tremendous respect for songs and lyrics has made him a popular accompanist with vocalists over the years. As reedman with Ingrid Lucia and the Flying Neutrinos, Dan has performed in Atlantic City and Las Vegas, as well as at clubs throughout New York City. From 1990-2002 Dan toured extensively with singer/guitarist Leon Redbone, with whom he appeared on national television and at the celebrated jazz club Pizza Express in London. Dan has also accompanied vocalists Banu Gibson, Daryl Sherman, Janet Klein, Cynthia Sayer, and, most notably, his wife, the charming and talented Molly Ryan.

Since 1993 Dan has been a member of Vince Giordano’s Nighthawks, with whom he has appeared at Carnegie Hall, on Late Night with Conan O’Brien, and on Garrison Keillor’s A Prairie Home Companion radio program, in addition to the band’s bi-weekly appearances at Iguana Restaurant in Manhattan.

Dan’s own ensembles vary considerably in style and repertoire, running the gamut from ragtime-era dance music to early jazz to swing: his Canary Cottage Dance Orchestra specializes in early twentieth century (pre-jazz) popular music; his Roof Garden Jass Band is devoted exclusively to re-creating the earliest jazz recordings, made between 1917 and 1923; his Palomar Quartet is modeled after the renowned Benny Goodman Quartet and features the same lineup of clarinet, piano, vibes, and drums; his gypsy jazz group Fête Manouche honors the rich legacy of guitarist Django Reinhardt; and his New Millennium All Stars brings together a new generation of young and vibrant “torch bearers” who are currently breathing new life into century-old jazz traditions.

Originally from the Los Angeles area, Dan moved to New York in 1983. The following year he met 82-year-old reedman James “Rosy” McHargue, who became Dan’s friend and mentor, and over the next fifteen years taught him most of what he now knows about music and life. During that period Dan also studied with world-class clarinet instructor Leon Russianoff and saxophone virtuoso Al Gallodoro.

In 1990 Dan moved to Paris to join a band formed by American cornetist Dick Miller that featured the up-and-coming vocalist Madeleine Peyroux, then 16 years old. Dan’s wanderlust soon took him across the continent, through 17 European countries, where he earned a living for a year playing on the streets. Shortly after returning to the U.S., Dan temporarily relocated to New Orleans to perform a five-night-a-week engagement at the Royal Sonesta Hotel on Bourbon Street.

Dan has performed on over 150 CDs, including nine under his own name. He can also be heard on the soundtracks to the films The Cat’s Meow, Ghost World, The Loss of a Teardrop Diamond, and Martin Scorsese’s The Aviator, as well as on all five seasons of the Grammy Award-winning HBO television series Boardwalk Empire and all three seasons of the Amazon Prime Video series The Marvelous Mrs. Maisel. Dan’s complete discography, along with his engagement calendar, photos, more information on his ensembles, and samples of his music, are available at www.danlevinson.com

Personnel: Dan Levinson, clarinet; Mark Shane, piano; Matt Hoffmann, vibes; Kevin Dorn, drums; Molly Ryan, vocals

Four On The Floor

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Lakis Tzimkas - Blue Train-SKY Paths

Styles: Avant-garde Jazz
Year: 2000
File: MP3@320K/s
Time: 32:32
Size: 74,7 MB
Art: Front

(6:12) 1. Blue for You (feat Wayne Brasel)
(5:06) 2. Langsam
(8:26) 3. Rainy Wednesday
(5:37) 4. Next Time
(7:09) 5. Nicolas

Lakis Tzimkas was born in Thessaloniki and grew up in Kozani, Greece. His first band was Social Squash, punk band formed in 1984. His first study on electric bass was at Jazz Conservatory in Thessaloniki with Manolis Sideridis. In 1994 further studies at American Institute of Music in Vienna, with Angus Thomas, Jonas Hellborg, Wayne Brasel, lead to achieving a Professional diploma. In 1995 studies on jazz contrabass at Art University of Graz, Austria, with Wayne Darling, Ewald Oberleitner and Mark Dresser. In 1996 he had his first solo-bass concert. In June 2000 he finishes the studies and achieves a Master degree. In June 2008 he finishes his classical studies in Contrabass at University of Macedonia in Thessaloniki with Eugenios Politis.

During his staying in Austria he played and toured with the Big Band and the Symphony Orchestra of Graz University, in Austria, Slovenia, Poland and Slovakia. He worked with musicians such as Wayne Brasel, Mark Murphy, Fritz Pauer, Angus Thomas, Henry Robinett, Alan Jones, Sheila Jordan, James Carter, Karl Ratzer and others. Since July 2000, he lives in Thessaloniki, Greece, and he plays in many different bands with numerous styles varying from be-bop to funk, contemporary music. Namely, he played with Sakis Papadimitriou and Georgia Syllaiou, with Sheila Jordan - at Half Note Jazz Club, in Athens, January 2003, and on tour in Greece, March 2004 - Andy Sheppard, Rex Richardson, Milcho Leviev, Danny Hayes, Chicko Freeman, Mordy Ferber, Christos Rafalides, Jeff Boudreaux, Sanni Orasmaa, Ed Neumeister, Michel Hatzigeorgiou, James Carter, Uli Rennert, Clyde Stubblefield, Joris Dudli, Jon Hendricks, Rick Margitza, Adam Nussbaum, Richie Morales, Airto Moreira, Glen Ferris, Chuck Manning, Ron Petrides, Venchi Blagoev, Dimitrios Vassilakis, Takis Farazis, Takis Barberis, Vaso Dimitriou, Savina Giannatou, Nikos Touliatos, Nikos Anadolis, Sami Amiri, Faton Macula, Antonis Ladopoulos quartet, Tilemachos Moussas band, Giotis Kiourtsoglou, Dimitris Gouberitsis, Charis Kapetanakis, Giannis Oikonomidis, Kostas Kouvidis, Nikos Vargiamidis, Plan 3 trio and formed or co initiated the Lakis Tzimkas & Oleg Chaly quartet,Trio Balkano, with Pantelis Stoikos(trumpet) and Alekos Papadopoulos(drums).

Apopsis trio, Bass to Bass, a contrabass duo with Nektarios Karantzis, Categoria X, a funk project, and Free Call, an electronic free jazz project. In addition, he conducted and played with the "Magic Road Big Band", in October 2002, with Milcho Leviev and Vicky Almasidou as special guest performers. He played in jazz clubs and festivals like Porgy and Bess, in Vienna, Orpheum, in Graz, B Flat in Berlin, Rabbat jazz festival, in Morocco, Warsaw summer jazz days, in Poland, Santorini jazz festival and Sani jazz festival, Thessaloniki Olympic city jazz festival and Athens Olympic city jazz festival, in Greece, Euro jazz festival in Mexico, Plovdiv Jazz Festival, and many others in Greece and Europe. He taught at Philippos Nakas Conservatory, Ionian University and Music School of Serres He teaches electric bass, contrabass, jazz ensemble and jazz harmony at Modern Music Conservatory and Music School in Thessaloniki. https://jazzonline.gr/en/musicians/item/2500-tzimkas-lakis.html

Personnel: Lakis Tzimkas – Bass; George Tzoukas – Piano; Manolis Koutsounanos – Drums; Wayne Brasel – Guitar

Blue Train-SKY Paths

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Benny Goodman - Alone Together

Styles: Clarinet Jazz, Swing
File: MP3@320K/s
Time: 64:27
Size: 148,1 MB
Art: Front

(5:50) 1. Runnin' Wild
(9:38) 2. Sing, Sing, Sing
(5:11) 3. Here's That Rainy Day
(8:59) 4. Don't Be That Way / Stompin' At The Savoy
(3:24) 5. Alone Together
(4:07) 6. You've Changed
(3:46) 7. Tangerine
(3:29) 8. How Long Has This Been Going On
(6:37) 9. That's A Plenty
(2:53) 10. Sunday
(2:28) 11. Taking A Chance On Love
(2:41) 12. Please Don't Talk About Me When I'm Gone
(2:39) 13. Send In The Clowns
(2:38) 14. Goodbye

Benjamin David Goodman was born on May 30, 1909 in Chicago, Illinois. He was the ninth child of immigrants David Goodman and Dora Grisinsky Goodman, who left Russia to escape anti-Semitism. Benny’s mother never learned to speak English. His father worked for a tailor to support his large family, which eventually grew to include a total of 12 children and had trouble making ends meet.

When Benny was 10 years old, his father sent him to study music at Kehelah Jacob Synagogue in Chicago. There, Benny learned the clarinet under the tutelage of Chicago Symphony member Franz Schoepp, while two of his brothers learned tuba and trumpet. He also played in the band at Jane Addams’ famous social settlement, Hull-House.

Benny’s aptitude on the clarinet was immediately apparent. While he was still very young, he became a professional musician and played in several bands in Chicago. He played with his first pit band at the age of 11, and became a member of the American Federation of Musicians when he was 14, when he quit school to pursue his career in music. When his father died, 15-year-old Benny used the money he made to help support his family. During these early years in Chicago, he played with many musicians who would later become nationally renowned, such as Frank Teschemacher and Dave Tough.

When Benny was 16, he was hired by the Ben Pollack Band and moved to Los Angeles. He remained with the band for four years and became a featured soloist. In 1929, the year that marked the onset of the Great Depression and a time of distress for America, Benny left the Ben Pollack Band to participate in recording sessions and radio shows in New York City.

Then, in 1933, Benny began to work with John Hammond, a jazz promoter who would later help to launch the recording careers of Billie Holiday and Count Basie, among many others. Hammond wanted Benny to record with drummer Gene Krupa and trombonist Jack Teagarden, and the result of this recording session was the onset of Benny’s national popularity. Later, in 1942, Benny would marry Alice Hammond Duckworth, John Hammond’s sister, and have two daughters: Rachel, who became a concert pianist, and Benji, who became a cellist.

Benny led his first band in 1934 and began a few-month stint at Billy Rose’s Music Hall, playing Fletcher Henderson’s arrangements along with band members Bunny Berigan, Gene Krupa, and Jess Stacy. The music they played had its roots in the southern jazz forms of ragtime and Dixieland, while its structure adhered more to arranged music than its more improvisational jazz counterparts. This gave it an accessibility that appealed to American audiences on a wide scale. America began to hear Benny‘s band when he secured a weekly engagement for his band on NBC’s radio show Let’s Dance, which was taped with a live studio audience.
br /> The new swing music had the kids dancing when, on August 21, 1935, Benny’s band played the Palomar Ballroom in Los Angeles. The gig was sensational and marked the beginning of the years that Benny would reign as King: the Swing Era. Teenagers and college students invented new dance steps to accompany the new music sensation. Benny’s band, along with many others, became hugely successful among listeners from many different backgrounds all over the country.

During this period, Benny also became famous for being colorblind when it came to racial segregation and prejudice. Pianist Teddy Wilson, an African American, first appeared in the Benny Goodman Trio at the Congress Hotel in 1935. Benny added Lionel Hampton, who would later form his own band, to his Benny Goodman Quartet the next year. While these groups were not the first bands to feature both white and black musicians, Benny’s national popularity helped to make racially mixed groups more accepted in the mainstream. Benny once said, “If a guy’s got it, let him give it. I’m selling music, not prejudice.”

Benny’s success as an icon of the Swing Era prompted Time magazine in 1937 to call him the “King of Swing.” The next year, at the pinnacle of the Swing Era, the Benny Goodman band, along with musicians from the Count Basie and Duke Ellington bands, made history as the first jazz band ever to play in New York’s prestigious Carnegie Hall.

Following the concert at Carnegie Hall, the Benny Goodman Band had many different lineup changes. Gene Krupa left the band, among others, and subsequent versions of the band included Cootie Williams and Charlie Christian, as well as Jimmy Maxwell and Mel Powell, among others.

The Swing Era began to come to a close as America got more involved in World War II. Several factors contributed to its waning success, including the loss of musicians to the draft and the limits that gas rationing put on touring bands. However, though the big band days were drawing to a close and new forms of music were emerging, Benny continued to play music in the swing style. He dabbled in the “bop” movement of the 1940s, but never succumbed, as the rest of the world did, to the allure of rock and roll influences in the 1950s and 1960s. Instead, Benny tried his hand at classical music, doing solos with major orchestras, and studying with internationally acclaimed classical clarinetist Reginald Kell.

These appearances further demonstrated Benny’s range as a musician. His talent was unquestionable from the time he was 10 years old, and in recording sessions throughout his career, he very rarely made mistakes. Krell had helped him to improve some of his techniques, making Benny’s playing even stronger.

In 1953, Benny’s band planned to join Louis Armstrong and his All Stars in a tour together, but the two band leaders argued and the tour never opened at Carnegie Hall, as had been planned. It is not certain whether the tour was canceled due to Benny’s illness or the conflict between the band leaders. The rest of the decade marked the spread of Benny’s music to new audiences around the world. The Benny Goodman Story, a film chronicling his life, was released in 1955, exposing new and younger audiences to his music. Benny also toured the world, bringing his music to Asia and Europe. When he traveled to the USSR, one writer observed that “the swing music that had once set the jitterbugs dancing in the Paramount aisles almost blew down the Iron Curtain.”

During the late 1960s and 1970s, Benny appeared in reunions with the other members of his quartet: Teddy Wilson, Gene Krupa, and Lionel Hampton. In 1978, the Benny Goodman band also appeared at Carnegie Hall again to mark the 30th Anniversary of when they appeared in the venue’s first jazz concert.

In 1982, Benny was honored by the Kennedy Center for his lifetime achievements in swing music. In 1986, he received both an honorary doctorate degree in music from Columbia University and the Grammy Award for Lifetime Achievement. He continued to play the music that defined his lifetime in occasional concert dates until his death in June 1986 of cardiac arrest. He was laid to rest after a short nonsectarian service with around 40 family members and friends in attendance on June 15, 1986 at Long Ridge Cemetery in Stamford, Connecticut. Through his amazing career, Benny Goodman did not change his style to conform to the latest trends, but retained the original sound that defined the Swing Era and made him the world renowned King of Swing. https://bennygoodman.com/biography/

Alone Together

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Candy Dulfer - We Never Stop

Styles: Jazz Funk
File: MP3@320K/s
Time: 79:30
Size: 183,9 MB
Art: Front

(5:17) 1. Yeahyeahyeah
(6:24) 2. Mo' Seats At The Table
(4:08) 3. Jammin' Tonight
(6:01) 4. Deeper
(4:59) 5. Say Something
(6:31) 6. Raindrops
(5:41) 7. We Never Stop
(5:59) 8. The Walls (Feat. Marcus Miller)
(3:59) 9. Perspective (Feat. Durand Bernarr, Aron Hodek & Philip Lassiter)
(5:57) 10. Since I Found U
(5:30) 11. Afraid For More
(7:08) 12. No Time For This
(6:57) 13. The Climb
(4:54) 14. Convergency

Dutch superstar saxophonist, singer, songwriter Candy Dulfer, carves out a funky party with infectious grooves and superb sax on We Never Stop. Featuring multi Grammy-winning guitarist Niles Rodgers and famed bass player Marcus Miller, the album is set to release October 28 via The Funk Garage/Mascot Label Group.

Candy Dulfer and her talented band emerged from the world-wide pandemic with fierce determination to uplift and stand strong against the pain and strife of the world. Her weapon is We Never Stop, a non-stop blast of contemporary funk, jazz, R&B and pop with some of the best sax playing you’ll hear all year.

We Never Stop feels like more of a collective rather than a showcase for Candy Dulfer. Which points directly to one of the main themes of her new album joining together to welcome all who bring something to the table.

As a solo artist and songwriter, in-demand instrumentalist and collaborator, Candy Dulfer has worked with some of the biggest names in modern music including Van Morrison, Mavis Staples, Maceo Parker, Lionel Richie, Pink Floyd, Beyonce, Aretha Franklin and last but not least Prince.

Any musician who toured and recorded with Prince had to be of the highest caliber. Candy Dulfer is one of them. She performed with Prince on TV shows, at The Grammy Awards, in studio sessions, and became a permanent member of his Musicology tour and album.

Prince influences can be heard on We Never Stop. From the funky rhythms to a few of the lead vocals from Dutch vocalist Ivan Peroti on a few tracks. They are a welcomed and refreshing nod to The Purple One.

We Never Stop is a feel-good, romp-stomp with Candy’s superb sax playing lighting up the 14 tracks of stanky jams, smooth R&B, jazz and contemporary funk. The lyrics reflect the toll the pandemic took on music communities and the racial divide all with a positive, inspiring vibe.

Candy shares, “The main spirit of this music is to elevate. It feels like it’s never been more important to not wallow in the hurt and the pain in the world, and let that defeat us. That’s why I called this album, We Never Stop.”

With slick production, We Never Stop kicks off with the funky party jam, “YeahYeahYeah.” This is vintage funk with a modern spin. With hints of P-Funk and Prince, it’s Dulfer’s staccato alto sax that cuts through the mix with rich tones and fabulous rhythm. Right from the start, you can hear her love of this music.

Candy Dulfer is a lifelong musician with an impressive career as a solo artist. She’s released 12 studio albums and toured the world for over 35 years and her debut album Saxuality earned a Grammy nomination. Her father, Hans Dulfer, is a well-known saxophonist.

A mid-tempo slow jam, “Mo’ Seats At The Table” speaks to the notion of welcoming everyone. Smooth lead vocals are shared by Dulfer and Dutch vocalist Ivan Peroti, until Dulfer’s sax solo flows in, her tone beautiful with the kind of phrasing only a pro could create with such ease. The track moves into an ultra-funky groove mid song and Peroti allows his Prince influence to surface in his vocals.

“Jammin’ Tonight” blasts off with the help of the legendary Niles Rodgers on guitar. It’s not unlike an 80s pop hit but fun all the same. It’s a high energy groove and you can just hear it on rotation for New Year’s Eve. The horn section of Dulfer (alto sax), Philip Lassiter (trumpet), Sam Greenfield (tenor and baritone sax), Efe Erdem (trombone), is tremendous. Top shelf.

More modern funky songs to follow such as “Say Something,” a great song if I ever heard one. Featuring a lovely melody with Peroti working his magic on vocals and Dulfer adding her powerful, punchy sax runs. Backing vocals from all involved add richness to this winner.

Don’t miss the up-tempo title track “We Never Stop” and “The Walls,” featuring bass master Marcus Miller, a contemporary R&B number. “Perspective” featuring Durand Bernarr, Aron Hodek and Philip Lassiter, is a grand funk number that will hurl you onto the dance floor.

Candy Dulfer has a magical ability on saxophone. Versatile is not just a word here. From warm, soulful tones to full throttle jams, she has mastered her instrument as one of the most memorable voices on the planet. Her playing shines on the slower jams as well as the high-energy tracks. As top-tier pros go, Dulfer integrates her talents to make everyone involved sound the best they can be. That’s the fabulous Candy Dulfer.By Martine Ehrenclou https://www.rockandbluesmuse.com/2022/10/27/review-candy-dulfer-we-never-stop/

We Never Stop

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Nellie McKay - Sister Orchid

Styles: Vocal Jazz
Year: 2018
File: MP3@320K/s
Time: 35:00
Size: 81,3 MB
Art: Front

(2:21)  1. My Romance
(2:01)  2. Angel Eyes
(3:32)  3. Small Day Tomorrow
(5:54)  4. Willow Weep for Me
(2:17)  5. The Nearness of You
(3:34)  6. Georgia On My Mind
(3:10)  7. Lazybones
(2:41)  8. Where or When
(2:55)  9. Everything Happens to Me
(3:47) 10. In a Sentimental Mood
(2:42) 11. My Romance (Reprise)

Given her jazz-influenced sound and knack for thoughtfully chosen cover songs, it's surprising that Nellie McKay had never released a complete jazz standards album until 2018's smoky, intimately rendered Sister Orchid. The closest the idiosyncratic singer/songwriter had gotten previously was her brightly attenuated 2009 Doris Day tribute, Normal as Blueberry Pie, which found her investigating songs heavily associated with the iconic actress and singer. Similarly, on 2015's My Weekly Reader, McKay took on some of her favorite '60s pop tunes by bands like the Kinks, Herman's Hermits, Moby Grape, and others. Here, McKay takes a deftly straightforward approach, performing a set of well-chosen standards that wouldn't be out of place on an album by Blossom Dearie (another McKay touchstone) from the 1950s. McKay, who arranged and played all of the songs on Sister Orchid, recorded the album in New York with engineer Chris Allen. Allen has worked with a bevy of jazz, folk, and pop artists including Kurt Elling, José James, Ingrid Michaelson, Andrew Bird, and others, and brings a soft, natural warmth that never interferes with McKay's performance. Primarily, these are spare arrangements, often just McKay accompanying herself on piano, as on the haunting "Angel Eyes." Elsewhere, as on her dusky reading of "Where or When," she weaves in a mournful cello. There are also jaunty bits of ukulele, as on "Lazybones," which also features her overdubbed backing vocals. The Broadway-tested McKay also displays her love of cabaret as she intersperses crowd chatter and clinking glasses to theatrical effect on "Everything Happens to Me." Despite her penchant for artifice, McKay reveals her strong musical chops on Sister Orchid, launching into a mad-eyed boogie-woogie section on "Where or When" and delivering a spine-tingling, synth-accented take on "In a Sentimental Mood" that conjures the neon-soaked atmosphere of David Lynch's Twin Peaks. ~ Matt Collar   https://www.allmusic.com/album/sister-orchid-mw0003153960

Sister Orchid

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