Chick Corea & Gary Burton - Hot House

Styles: Piano And Vibraphone Jazz
Year: 2012
File: MP3@320K/s
Time: 75:04
Size: 172,7 MB
Art: Front

( 7:26)  1. Can't We Be Friends
( 7:01)  2. Eleanor Rigby
(10:46)  3. Chega de Saudade
( 6:13)  4. Time Remembered
( 3:54)  5. Hot House
( 7:06)  6. Strange Meadow Lark
( 6:04)  7. Light Blue
( 7:22)  8. Once I Loved
(11:53)  9. My Ship
( 7:14) 10. Mozart Goes Dancing

The creative connection upon which vibraphonist Gary Burton ruminates to such length, in his essay for Hot House, is evident from the first instrumental exchanges with longtime collaborator, pianist Chick Corea. Burton and Corea complete each others' thoughts throughout "Can't We Be Friends," sounding as effortless and natural arguably more so as the seamless improvisations that earmarked their very first recorded project together forty years ago, Crystal Silence (ECM, 1972). The symbiosis recurs throughout the ten tracks here, which span standards from pianist Bill Evans' "Time Remembered" to The Beatles' "Eleanor Rigby," where the duo merely hints at the famous tune, preferring, instead, to search out and explore countermelodies for which their respective instruments are particularly suited. The moments when the grand piano and vibes play in unison echo the sublime moments in the original when Paul McCartney's multi-tracked vocals billow through the refrain. At 11:30, "My Ship" is the longest track on the CD, yet it is no more a complete statement than the rest, most of which clock in the six to eight minute range. It's indicative of the unusually deep friendships musicians can enjoy that Burton and Corea can draw upon their shared history, both directly and indirectly. 

Two Antonio Carlos Jobim compositions, "Chega de Saudade" and "Once I Loved," were both part of saxophonist Stan Getz's repertoire during the time when these men were members of his group in the 1960s. As the interplay unfolds, the depth of feeling and the nuance that arises are the instrumental counterpart of conversational reminiscence, in which the two compare and contrast their experiences with the formidable saxophonist. Comparing the level of detail in "Strange Meadowlark" reveals how the relationship between Burton and Corea has grown over the years as they have collaborated, not just with each other, but also in tandem with the likes of bassist/composer Dave Holland. The knowledge and experience they have gained by stretching themselves, individually and together, outside their proverbial comfort zone, is on display here to a great degree, via the sound of the recording itself. The work of longtime recording engineer Bernie Kirsh, whom Corea thanks in his own essay within the CD booklet, the impeccable audio quality captures the fulsome textures of the respective instruments in such a way as to mirror the musicians' thoughts in action.

In a preview of their next recording project, "Mozart Goes Dancing" concludes Hot House and finds Burton and Corea in the presence of the Harlem String Quartet, the spare accompaniment of which mirrors the deceptive simplicity of the pair's playing together. It is altogether preferable to the wash of orchestration that overwhelmed the duo in their last anniversary commemoration five years ago, The New Crystal Silence (Concord, 2008) and whets the appetite for further adventures of a twosome that relishes their mutual inspiration the longer it goes on.
By Doug Collette http://www.allaboutjazz.com/chick-corea-and-gary-burton-hot-house-chick-corea-concord-records-review-by-doug-collette.php

Personnel: Chick Corea: piano; Gary Burton: vibraphone; Ilmar Gavilán: violin (10); Melissa White: violin (10); Juan Miguel Hernandez: viola (10); Paul Wiancko: cello (10).

Hot House

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Jimmy Witherspoon - Love Is A Five Letter Word

Bitrate: MP3@320K/s
Time: 43:09
Size: 98.8 MB
Styles: Urban blues, Blues/jazz vocals
Year: 1975/2011
Art: Front

[0:58] 1. Spoon Tang
[3:34] 2. Buried Alive In The Hills
[3:10] 3. Aviation Man
[3:18] 4. Fool's Paradise
[2:33] 5. What's Going Down
[4:29] 6. The Other Side Of Love
[2:50] 7. Reflection
[4:11] 8. No Money Down
[3:07] 9. Love Is A Five Letter Word
[2:46] 10. Nothing's Changed
[2:53] 11. Landlord, Landlord
[3:01] 12. I Love You, Yes I Do
[3:01] 13. Rollin' Like A Pebble In The Sand
[3:11] 14. I Was Lost (But Now I'm Found)

Mike Vernon had the uncommon producer's gift for shaping arrangements that brought out Jimmy Witherspoon's best. Witherspoon's fans will find this session indispensable to their collections ~Living Blues

Love Is A Five Letter Word

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Julian Lage - The Layers

Styles: Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 24:54
Size: 57,1 MB
Art: Front

(4:12) 1. Everything Helps
(3:02) 2. Double Southpaw
(5:34) 3. Missing Voices
(4:19) 4. This World
(4:01) 5. Mantra
(3:43) 6. The Layers

The layers here come from the wonderful interplay between the guitar of Julian Lage and his trio members Jorge Roeder on bass and Dave King on drums both musicians who lay back nicely, and find a way to resonate with those trademark chromatic notes that Lage seems to spin out effortlessly! The album's billed as a precursor to the previous View With A Room album looser and more exploratory than that one, but also pretty darn great on its own. Titles include "The Layers", "Mantra", "Everything Helps", "This World", "Missing Voices", and "Double Southpaw". © 1996-2023, Dusty Groove, Inc.https://www.dustygroove.com/item/137651/Julian-Lage:Layers

Personnel: Electric Guitar – Julian Lage, Bill Frisell; Acoustic Bass – Jorge Roeder; Drums – Dave King

The Layers

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Anne Bisson - Be My Lover

Styles: Vocal And Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 47:56
Size: 110,3 MB
Art: Front

(4:07) 1. Moondance
(4:19) 2. Blue Bayou
(3:05) 3. I Wake Up (The Nightmare)
(3:37) 4. Are You Sure You Want Me?
(4:10) 5. From The Beginning
(4:11) 6. I Need Protection
(3:59) 7. The Four Horsemen
(4:08) 8. Bridge Over Troubled Water
(3:47) 9. The Seabreeze
(3:40) 10. A Million Dreams
(3:54) 11. Nature Boy
(4:54) 12. Be My Lover

Charismatic Pianist Singer Songwriter from Montreal, Quebec TV star Anne Bisson is leading her world class jazz trio with 6 new songs and 6 covers. ‘BE MY LOVER’ is her 7th album in 13 years! Over One million streams in 2022! Moondance, Blue Bayou, Bridge over Troubled Water… Beautiful voice, bold arrangements and a taste of the ’70 thrown in the mix!
https://www.annebisson.com/en/home

Personnel: Piano, Organ, Vocals – Anne Bisson; Acoustic Bass, Electric Bass – Jean-Bertrand Carbou; Drums, Percussion – Paul Brochu; Piano – Samuel Jacques

Be My Lover

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Clare Teal - The Clare Teal Fireside Sessions Vol 1, 2 and 3

Styles: Vocal
Year: 2021
Time: 53:12
File: MP3 @ 128K/s
Size: 49,5 MB
Art: Front

(2:57) 1. Messin' With Fire
(3:54) 2. They Say It's Spring
(4:51) 3. At Last
(4:06) 4. You'll Have To Swing It (Mr. Paganini)
(2:45) 5. Jack And Jill Rag
(4:06) 6. Sweet Happy Life
(4:45) 7. I'll Never Be Free
(4:37) 8. Blackbird
(3:33) 9. I Love Being Here With You
(2:48) 10. Tea For Two
(4:55) 11. Chasing Cars
(3:50) 12. It Don't Mean A Thing If It Ain't Got That Swing
(5:59) 13. I Got You (I Feel Good)

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Clare Teal - The Clare Teal Fireside Sessions Vol 2

Styles: Vocal
Year: 2021
Time: 54:51
File: MP3 @ 128K/s
Size: 50,9 MB
Art: Front

(4:16) 1. The Song Is You
(4:05) 2. Let's Do It (Let's Fall In Love)
(5:09) 3. Georgia
(4:58) 4. La Belle Dame Sans Regrets
(3:59) 5. Moonlight In Vermont
(3:17) 6. I Will
(5:32) 7. The Way Young Lovers Do
(5:16) 8. If I Should Lose You
(6:20) 9. My Funny Valentine
(3:23) 10. Baby It's Cold Outside
(4:43) 11. Tainted Love
(3:46) 12. Just One Of Those Things

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Clare Teal - The Clare Teal Fireside Sessions Vol 3

Styles: Vocal
Year: 2021
Time: 53:07
File: MP3 @ 128K/s
Size: 49,3 MB
Art: Front

(3:33) 1. On A Wonderful Day Like Today
(3:49) 2. It's Raining
(4:51) 3. You've Changed
(3:35) 4. The Sheik of Araby
(4:17) 5. California Dreamin'
(3:41) 6. If I Had A Ribbon Bow
(4:02) 7. Blue Bell Pepper
(4:31) 8. Love Hurts
(4:16) 9. Quiet Nights (Corcovado)
(4:56) 10. The Way You Look Tonight
(3:03) 11. Into Each Life Some Rain Must Fall
(2:40) 12. It's A Good Day
(5:48) 13. The Twelve Days of Christmas

In between lockdowns we got the band together, along with a bunch of great filmmakers and created the Clare Teal Fireside Sessions. Three, hour long episodes, filmed in the back room of our home here in Wiltshire.

Starring Jason Rebello, Simon Little, Ben Reynolds plus special guests Pee Wee Ellis, Giacomo Smith and Dave Archer.

Over 3 hours of joyous live music and live performance to watch again and again and again and again ad fin in glorious Technicolor, breath taking Cinemascope and stereophonic sound. Head over to www.clareteal.co.uk for more details.

The Clare Teal Fireside Sessions Vol 1, Vol 2, Vol 3

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SFJazz Collective - New Works & Classics Reimagined

Styles: Jazz, Bop
Year: 2022
File: MP3@320K/s
Time: 79:58
Size: 183,6 MB
Art: Front

( 9:03) 1. Perseverance
(10:41) 2. Crossings
( 8:14) 3. The Plains
( 9:44) 4. Smokey
( 8:13) 5. Lands End
(10:55) 6. Hacienda y Capataz
(10:39) 7. God Bless The Child / That's The Way Of The World
(12:25) 8. Prelude / Someday We'll All Be Free

This limited edition CD, recorded during the SFJAZZ Collective’s four-night residency in October 2022 on the Miner Auditorium stage at the SFJAZZ Center, documents new works from the all-star ensemble. Additionally, the album includes fresh new approaches to timeless classics, like a two-part medley of Billie Holiday’s “God Bless The Child” and Earth, Wind & Fire’s “That’s The Way Of The World,” and Donny Hathaway’s “Someday We’ll All Be Free.”

Featuring 8 tracks, this CD release contains a 24-page booklet with exclusive photos, liner notes, article by Marcus Crowder, and insight from the Collective members on their arrangements.
https://www.sfjazz.org/shop/cds-dvds/sfjazz-collective-cd-new-works-new-works-classics-reimagined/

Personnel: Chris Potter tenor saxophone; David Sánchez tenor saxophone; Warren Wolf vibraphone; Edward Simon piano; Matt Brewer bass; Kendrick Scott drums

New Works & Classics Reimagined

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Michael Dease - The Other Shoe: The Music of Gregg Hill

Styles: Trombone Jazz
Year: 2023
File: MP3@320K/s
Time: 69:07
Size: 159,1 MB
Art: Front

( 3:28) 1. Wake Up Call
( 6:48) 2. Scooter's Dream
( 8:15) 3. Hello, Blues
( 5:38) 4. The Goodbye Blues
( 8:10) 5. The Sleeper
( 5:33) 6. The Classic
( 6:04) 7. Rio Mio
( 5:50) 8. Summer Nights
( 4:24) 9. Shorty's Tune
(14:53) 10. The Other Shoe

Perennial DownBeat Critics Poll winner, trombonist Michael Dease has embraced his role as a torchbearer for his mentors and the great jazz ancestors over his 15 deeply-swinging, state-of-the-art mainstream recordings. For 'The Other Shoe,' Dease teams with the formidable composer Gregg Hill, expanding his rhythmic & harmonic palette with a flexible, in-the-moment perspective while remaining true to the sensibilities at his musical core.

With the prodigiously talented pianist Geoffrey Keezer as a central foil, Dease brings along a wide-ranging collection of musicians, each specifically brought in for their unique outlooks and talents, including clarinetist Virginia MacDonald, Liany Mateo on bass, and drummer Colleen Clark, among others.
https://www.allaboutjazz.com/media/track-wake-up-call-by-michael-dease

Personnel: Michael Dease - trombone; Virginia MacDonald - clarinet ; Geoffrey Keezer - keyboards; Liany Mateo - bass; Colleen Clark - drums.

Additional Personnel : Luther Allison: piano and Fender Rhodes; Rodney Whitaker: bass; Kevin Jones: percussion; Gwendolyn Dease: percussion; Joel Perez: trombone.

The Other Shoe: The Music of Gregg Hill

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Nicola Sabato - California Hang

Styles: Hard Bop
Year: 2023
File: MP3@320K/s
Time: 59:29
Size: 137,2 MB
Art: Front

(6:18) 1. These Are Soulful Days
(6:23) 2. The Masquerade Is Over
(4:44) 3. Brigas Nunca Mais
(5:30) 4. Bad Motor Scooter Blues
(5:56) 5. Jingles
(7:41) 6. I Guess I'll Hang My Tears Out To Dry
(4:46) 7. Happy Go Lukey
(7:00) 8. Buhaina Buhaina
(3:53) 9. L.a. Bounce
(7:14) 10. Everything Happens To Me

With the creative passion that characterizes him, Nicola Sabato has transformed the California sun into a pure groove extract. The ingredients are simple: just go on site to dialogue with the most highly rated musicians of the jazz world and its surroundings (they have played with Diana Krall, Roy Hargrove, Nancy Wilson, John Pizzarelli, Kurt Elling, Barbra Streisand , Gladys Knight…). An inspired guitarist, a virtuoso pianist and a boosted drummer, each at the height of his personal expression this could only give a jazz cocktail of rare intensity!

Such a meeting of high-flying musicians, united by an uncompromising musical project, reminds us of what an artistic enterprise based on passion and culture is. Evocation of Wes Montgomery and Art Blakey, shuffles, samba, blues… the musical vitality of this album is worth the detour! A jazz that speaks to everyone, with the intensity of sincere projects.Translate By Google
By Jean Szlamowicz https://www.nicolasabatojazz.com/news-1

Personnel: Nicola Sabato : bass/arr.; Graham Dechter : guitar; Tamir Hendelman : piano; Jeff Hamilton: drums

California Hang

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Eva Cassidy - I Can Only Be Me (Orchestral)

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 40:27
Size: 93,3 MB
Art: Front

(3:50) 1. Songbird
(4:34) 2. Autumn Leaves
(3:22) 3. People Get Ready
(5:10) 4. Waly Waly
(5:00) 5. Time After Time
(5:01) 6. Tall Trees In Georgia
(3:58) 7. Ain't No Sunshine
(5:07) 8. You've Changed
(4:21) 9. I Can Only Be Me

I Can Only Be Me is a landmark new collaborative album with the London Symphony Orchestra. Eva Cassidy’s original vocal parts have been isolated and accompanied by new arrangements written by Oscar-shortlisted Christopher Willis and Emmy-winning William Ross.

Utilising recent advances in machine learning technologies, the existing vocal part has been painstakingly restored and enhanced to reveal previously unheard levels of clarity and depth. The result is an emotive, atmospheric album, familiar yet different, lush soundscapes perfectly accompanying pristine vocals. By Editorial Reviews https://www.amazon.com/I-Can-Only-Be-Me/dp/B0BMGX6HHH

I Can Only Be Me (Orchestral)

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Hermine Deurloo & Zapp4 - Welling

Styles: Jazz Contemporary
Year: 2015
File: MP3@320K/s
Time: 42:15
Size: 97,2 MB
Art: Front

(2:53) 1. Varden
(5:28) 2. Het Gouden Wagentje
(5:59) 3. Yer Mali Gakoyoya
(3:15) 4. Una Volta
(5:12) 5. Ericerias
(4:33) 6. Portrait of Tracy
(4:11) 7. Musique Au Fond
(4:15) 8. Walking in the Desert
(6:26) 9. Welling

“It is a sure bet that very few recordings feature the instrumentation of chromatic harmonica and a string quartet, but few harmonica players are on the level of Hermine Deurloo. Based in Amsterdam, Ms. Deurloo studied saxophone at the Amsterdam Conservatory while teaching herself to play the harmonica. She has performed with the Willem Breuker Kollektief, the Metropole Orchestra and other European groups. Like the great Toots Thielemans, she has worked in the studios and appeared on soundtracks. And like Larry Adler, Thielemans’ predecessor, she is capable of playing a wide variety of music.” By Scott Yanow, LA Jazz Scene, September 2015

“Hailing from the jazz rich scene of Amsterdam, Hermine Deurloo brings a modernistic sense and sensibility to her instrument of choice The Harmonica. Her musical canvases are flush with rich coloring and texturing, with brush strokes of chamber and classical adding to the fullness of her modern jazz soundscapes, as the title track from her new album demonstrates.” By West Side of Jazz, July 2015

“For music that’s got a folksy charm and affable personality, there’s an engrossing introspective side to this album, too. Deurloo’s chromatic harmonica dances around the slashing lines of a string quartet, and the crosshatch of furtive motions, deep melodicism and warm harmonies is pretty addictive. Lively music that’s likely inspire all kinds of daydream imagery.” By Bird is the Worm, July 2015

“Hermine Deurloo’s collaboration with Zapp4 is an especially interesting experiment that works out surprisingly well. Over the past weeks, I have appreciated ‘Welling’ more and more each time I listened to it anew, as an exciting musical journey. An absolute recommendation for music lovers who are open to experimental yet really accessible jazz music!” By Fred Pach, MuziekWereld, July 2015

“Welling is a surprising adventure in the jazz world, led by Hermine Deurloo (chromatic harmonica), with the Zapp4 string quartet. You don’t often hear a string quartet together with a chromatic harmonica. The listener is treated to a musical journey with diverse styles in which there is place for swing, improvisation, interaction, and By grooves.” Stefan Koer, Concerto, July 2015

“Welling swings, loose and relaxed, while sometimes you hear chamber music and free improvised jazz. All in all, Welling is a laid back album with 9 top notch pieces of innovative collaboration.” By Hanz Invernizzi, JazzFlits, July 2015

“Hermine Deurloo is not just another harmonica player, and Zapp4 is not just another string quartet, because they each have a solid grounding in jazz idioms. The music is of an enjoyable lightness and elegance. The sounds work together very well and add value to each other.” By Jan Jasper Tamboer, Parool, July 2015 Each composition has a unique and persuasive feel to it. From light and sunny to fascinating and intense, and everything in between.”
By Mischa Andriessen, Trouw, September 2015 https://www.herminedeurloo.com/js_albums/welling/

Personnel: Harmonica, Producer – Hermine Deurloo; Cello – Emile Visser; Viola – Oene van Geel; Violin – Jasper Le Clercq, Jeffrey Bruinsma

Welling

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Jacques Loussier - The Best of Play Bach

Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 70:00
Size: 65,2 MB
Art: Front

(3:35) 1. Air on the G String
(4:34) 2. Jesu, Joy of Man's Desiring
(4:19) 3. Chorale No. 1
(3:26) 4. Chromatic Fantasy
(3:56) 5. D Minor Concerto (Adagio)
(4:24) 6. D Minor Concerto (Allegro Moderato)
(9:48) 7. D Minor Concerto (Allegro Risoluto)
(4:54) 8. Italian Concerto (Adagio)
(4:57) 9. Italian Concerto (Allegro)
(3:02) 10. Italian Concerto (Presto)
(4:38) 11. Prelude No. 2
(3:34) 12. Siciliano in G Minor
(9:23) 13. Toccata & Fugue in D Minor
(5:25) 14. Prelude No. 1

Jacques Loussier was born in Angers, in northwestern France, October 26, 1934. He started playing piano at the age of ten and quickly demonstrated tremendous ability. When Loussier was just sixteen, he entered the Conservatoire Nationale de Musique in Paris where he studied with Professor Yves Nat whose youthful compositions were praised by Faure and Saint-Saëns, and whose prodigious gifts as a pianist were encouraged by Debussy. Continuing this distinguished lineage, Loussier was to become one of Nat’s most accomplished pupils, heading the conservatory’s piano class of over five hundred students before leaving to commence a freelance career that included travels to South America and the Middle East as well as work as accompanist for Catherine Sauvage and Charles Aznavour.

In 1959, Loussier hit upon the idea that was to make his international reputation, combining his interest in jazz with his love of J.S. Bach. Only a pianist with such an exceptional classical technique and deft improvisatory skill could have nurtured such a vision. He founded the Play Bach Trio, which used Bach’s compositions as the basis for jazz improvisation. The trio immediately caught the public imagination. In their live appearances, tours and concerts, plus a succession of recordings built on the cornerstone of four albums made for Decca between 1960 and 1963, Loussier’s group achieved a breakthrough to popular commercial success enjoyed by only a select few jazz musicians. In fifteen years, the trio sold over six million albums.

During its heyday, the trio broadened the range of its experiments with Loussier double tracking some pieces on organ and piano and, later, recording some of his arrangements of Bach’s concerti with the Royal Philharmonic Orchestra. However, after years on the road, like many popular commercial groups, the original trio reached the end of its natural life in 1978. In 1980, Loussier retired to his home in Provence to compose, research and record. He had already dabbled in film and ballet composition, and had established his own recording studio at Miraval, not far from Nice, where in addition to composing his own pieces for acoustic and electronic instruments, he played host to many recording stars of the rock world including Pink Floyd, Elton John, Sting and Yes. In fact, segments of Pink Floyd’s The Wall were recorded at Loussier’s studio.

Loussier’s own music in the 1980s explored the integration of new technology with conventional instruments, just as his 1950s experiments explored the ground between jazz and classics. He produced suites for piano, synthesizers, percussion and bass, and some rock-jazz-classical fusion works including Pulsions, Pagan Moon and Fusions Sous La Mer.

The tercentenary of Bach’s birth in 1985 coaxed Loussier back to the trio format, and he re-formed the Play Bach Trio with two new partners. He feels his new trio has far more stylistic range than its predecessor, and whereas that was a pioneer group, the latter-day trio combines jazz, rock and contemporary classical ideas with a mix of jazz and Bach.

The trio keeps up a busy touring schedule, traveling annually in Japan and the U.K. as well as in Loussier’s native France. It also appears regularly in Germany, Spain and Italy. Loussier leaves plenty of room in his schedule to write his own compositions. In 1986, he produced a mass entitled Lumières, his first full-scale work for symphony orchestra, which continues his exploration of the synthesis of musical genres. In its Paris premiere, classical countertenor James Bowman and soprano Deborah Rees found themselves singing alongside a rock drummer. Loussier has subsequently written a trumpet and violin concerto (both in 1988), a suite for string, Tableaux Venetiens, and a ballet, Trois Couleurs (1989), to celebrate the bi-centenary of the French Revolution.

His first Telarc release, Jacques Loussier Plays Bach, debuted in 1996. His next recording, Vivaldi’s Four Seasons, unlocked a new vein of creativity and self-discovery, in which Loussier searched for a deeper level of exploration altogether. He followed up this excursion into the Italian baroque with Jacques Loussier Plays Satie, a look at the founding father of French minimalism. His exceptional 1999 release, Ravel’s Bolero, explored Loussier’s very personal connection to the work of the French impressionists. The Bach Book/40th Anniversary Album, a new recording of Loussier’s best-selling works from the ‘60s was also released in 1999. In 2000, for the first time ever, Loussier tackled the monumental Goldberg Variations, in honor of the 250th anniversary of the death of J.S. Bach. Recent releases from Jacques Loussier include Beethoven’s Symphony No. 7 (2003) and The Best of Play Bach (SACD only) in February 2004.

Impressions of Chopin’s Nocturnes, Loussier’s first solo piano recording and an intimate exploration of the works of Frederic Chopin, was released on Loussier’s 70th birthday in October 2004. He returned to the trio setting a year later with the October 25, 2005, release of Mozart Piano Concertos 20/23.

Loussier returned to his roots in the Bach canon with the 2006 release of Bach: The Brandenburgs, a jazz interpretation of Bach’s six Brandenburg Concertos.

In October 2007, Telarc released Encore! Jacques Loussier Plays Bach, a two-disc set that includes recordings from the early 1990s " the period immediately following a lengthy hiatus when Loussier disbanded his original Play Bach Trio and took time off from the rigors of recording and performing to focus on his own compositions. The set spotlights Loussier’s numerous strengths as both a jazz innovator and a classical composer. Disc 1, recorded in 1991, features the new Loussier Trio assembled in the late ’80s after the hiatus. Disc 2, recorded in 1992, features original classical compositions by Loussier, in which he stays true to the sound of a chamber orchestra, using the string textures familiar from his immersion in the music of the baroque era, but also brings in contemporary resonances, both in the solo parts and in the percussion contributions.https://www.allaboutjazz.com/musicians/jacques-loussier

The Best of Play Bach

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Jill Barber - Homemaker

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 35:00
Size: 80,9 MB
Art: Front

(3:07) 1. Instant Cash For Gold
(3:21) 2. Beautiful Life
(4:13) 3. Homemaker
(3:06) 4. Joint Account (Feat. Slow Leaves)
(3:40) 5. Woman Of My Own Dreams
(3:27) 6. Hell No
(3:40) 7. My Mother's Hand
(3:11) 8. Big Eyes
(3:49) 9. Helium
(3:19) 10. Still In Love

Jill Barber returns to her folk roots with her new album, "Homemaker", delivering ten quietly profound songs about the complexities of motherhood, marriage, and the struggle to feel at home in one’s own identity. Having spent the last 20 years playing nearly every folk and jazz festival in Canada and captivating audiences across the globe, touring Japan, Europe, Australia, Mexico, South America, the USA and the Middle East, It was over the past few years that Jill began to feel an increasing disparity between her public image and the reality of her domestic life as an exhausted wife and mother.

Whereas her most recent albums have been bathed in lush string arrangements,"Homemaker" sees emotions laid bare, with a stripped-down production style reminiscent of her acclaimed debut Oh Heart and double Juno Award nominated follow-up For All Time. Written and recorded in her adopted hometown of Vancouver where she lives with her husband and two children, Homemaker is the first record that sees Jill in the role of a producer, co-producing with Erik Neilsen, and features some of Vancouver’s top session players. “"Homemaker" is an intentional push-back against the worn-out notion of what it means to be ‘just a homemaker’.

It is a statement about the humility and strength that it takes to do the meaningful work of creating a home for others, while still holding space for your own dreams." 1 Instant Cash for Gold 2 Beautiful Life 3 Homemaker 4 Joint Account (feat. Slow Leaves) 5 Woman of My Own Dreams 6 Hell No 7 My Mother's Hand 8 Big Eyes 9 Helium 10 Still in Love. Editorial Reviews https://www.amazon.com/Homemaker-Jill-Barber

Homemaker

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Sylvia Syms - Syms By Sinatra

Styles: Vocal
Year: 1982
File: MP3@320K/s
Time: 36:32
Size: 83,8 MB
Art: Front

(2:25) 1. Hooray for Love
(4:40) 2. All My Tomorrows
(3:06) 3. By Myself
(4:43) 4. You Go to My Head
(3:17) 5. Close Enough for Love
(3:16) 6. Them There Eyes
(3:44) 7. Someone to Light Up My Life
(4:12) 8. I Thought About You
(3:59) 9. You Must Believe in Spring
(3:06) 10. That Old Devil Moon

Not to be confused with the English actress of the same name, Sylvia Syms was born Sylvia Blagman in Brooklyn, New York on December 2, 1917. Perhaps less well known for her acting career, Syms became a premier jazz and cabaret singer, remarkable for a versatility that encompassed many genres of music. She was dubbed by close friend, Frank SInatra, as the “world’s greatest saloon singer.” Syms had just begun a month-long residency at the Algonquin Oak Room in Sylvia Syms Sings Sinatra, and famously collapsed on stage as she was about to begin her encore, “This Will Be My Shining Hour.” She was pronounced dead of a heart attack, on May 10, 1992, age 74. She was also about to celebrate the release of a new album, You Must Believe in Spring

Syms’ interest in performing began at an early age her first performance being in front of family and friends. She has said of that, “My parents didn’t know how to cope with my singing. They were poor and their backgrounds had taught them that the life of a singer or actress led directly to the gutter.” She revealed that she was singing in her carriage before she was talking, and later would sit on the stoop of her home in Brooklyn singing at the top of her lungs. Overcoming childhood polio, Syms began haunting clubs in Manhattan as a teenager, where she met the likes of Dean Martin and Mae West (who put her in a revival of “Diamond Lil” as Flo the shoplifter in 1948). She made her first meaningful singing debut in 1941 at Kelly’s Stable, a famous club among famous clubs on West 52nd Street in New York City.

As an actress,she often played the part of Bloody Mary in South Pacific and had the lead in a production of Hello, Dolly! Her other roles were in musicals and plays such as Dream Girl, Thirteen Daughters, Funny Girl, Flower Drum Song and Camino Real. In 1972, Syms had a lung removed, which did not stop her from performing as Bloody Mary at the Chateau de Ville Dinner Theater in Framingham, Massachusetts.

At the beginning of her recording career, Syms released albums on the DRG label, the Bainbridge label and several other independents, producing hits such as “Wild Is the Wind” and “Cuando Te Fuiste De Mi.” Eventually signed to the Decca label, she had a major success with her 1956 release of “I Could Have Danced All Night,” which sold over one million copies and earned her a gold record certification by the Recording Industry Association of America.

She recorded with jazz greats Milt Hinton, Kenny Burrell and Bucky Pizzarelli, among others. Frank Sinatra produced her 1982 album, Syms By Sinatra. Notably, she conducted master classes in singing for 14 years at the Northwood Institute, a performing arts university in Dallas. Syms also appeared regularly at the Cafe Carlyle in Manhattan and would sometimes, impromptu, would join Bobby Short during his set. At the time of her death, Sylvia Syms had recorded more than 15 albums in several different genres, leaving a rich legacy of music to the ages.
https://nitelifeexchange.com/actress-cabaret-and-jazz-doyenne-sylvia-syms-known-for-her-versatility/

Personnel: Sylvia Syms - vocals; Frank Sinatra - conductor; Don Costa - arranger;

Syms By Sinatra

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The Capp-Pierce Juggernaut Feat.Joe Williams - Live At The Century Plaza

Styles: Jazz, Bop
Year: 1978
File: MP3@320K/s
Time: 42:40
Size: 98,1 MB
Art: Front

( 3:57) 1. Fiesta In Brass
( 5:42) 2. Basie's Deep Fry
( 4:35) 3. Souvenir
( 5:08) 4. Capp This!
( 5:02) 5. Tarragon
( 4:44) 6. Swing Shift
(10:51) 7. Joe's Blues
( 2:39) 8. What The World Needs Now Is Love

The packaging for this reissue CD could be better (it leaves out the personnel listing and even the recording date) but the Capp/Pierce Juggernaut is heard throughout the live session in fine form. The main soloists in the 1978 version of the 17-piece orchestra are pianist co-leader Nat Pierce, trumpeter Al Aarons, trombonist Buster Cooper, tenors Bob Cooper and Herman Riley, and altoist Marshall Royal; the other co-leader, Frank Capp, has a drum feature on "Capp This."

The Count Basie sound-alike band (which sounds surprisingly like Duke Ellington's on "Fiesta in Brass") performs Pierce's arrangements with swing and spirit. An added plus is that Joe Williams sits in for "Joe's Blues" (during which he sings some of his favorite blues stanzas) along with a throwaway version of "What the World Needs Now Is Love." By Scott Yanow https://www.allmusic.com/album/the-live-at-the-century-plaza-mw0000187957

Personnel: Drums – Frankie Capp; Piano – Nat Pierce; Bass – Chuck Berghoffer; Guitar – Ray Pohlman; Saxophone – Bob Cooper, Herman Riley, Lanny Morgan, Marshal Royal*, Bill Green; Trombone – Alan Kaplan, Britt Woodman, Buster Cooper, Garnett Bown; Trumpet – Al Aarons, Bill Berry, Bobby Shew, Frank Szabo; Vocals – Joe Williams

Live At Century Plaza

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Bill Charlap, Sandy Stewart - Love Is Here To Stay

Styles: Vocal And Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 57:05
Size: 132,9 MB
Art: Front

(5:09)  1. Love Is Here To Stay
(5:35)  2. After You
(4:29)  3. The Boy Next Door
(5:44)  4. A Sleepin' Bee
(3:34)  5. Always
(5:18)  6. Here I Am In Love Again
(6:16)  7. I've Got a Crush On You
(4:38)  8. Where Is Me?
(5:05)  9. Dancing On The Ceiling
(7:34) 10. It Might As Well Be Spring
(3:36) 11. I'll Never Go There Anymore

It is unusual to hear a son and his mother record together in a jazz setting, but this collection of ballads by Bill Charlap and Sandy Stewart is a stunning duo date. Charlap is best known as the leader of a superb piano trio, along with having worked extensively with Gerry Mulligan and Phil Woods, but he may find himself in great demand by other vocalists following this CD. Stewart has recorded only sporadically over the years, though she has worked with her son on a number of club dates. Her instrument has mellowed like a fine wine, with a slight vibrato that adds to the intimacy of each performance. Charlap's interludes between phrases are lush yet never overdone, while he makes great use of space in his accompaniment.

While there are quite a few standards present, they also chose songs that have been unjustly neglected. "Here I Am in Love Again," written by the late Moose Charlap (the singer's husband and the pianist's father), is a hopeful song about love in its early stages, which they approach with tenderness. Another Charlap composition, "I Never Go There Anymore," is just the opposite, a sentimental look back at a distant past that can never be recaptured. The standards are just as enticing. Stewart restores the frequently omitted verse to a moving take of "Love Is Here to Stay" and perfectly captures the wistful air of "The Boy Next Door." Singer/pianist Barbara Carroll's engaging liner notes capture the essence of this very romantic CD. ~ Ken Dryden http://www.allmusic.com/album/love-is-here-to-stay-mw0000350948

Personnel: Bill Charlap (piano); Sandy Stewart (vocals).

Love Is Here To Stay

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Shirley Jones & Jack Cassidy - Speaking of Love

Styles: Vocal
Year: 2021
File: MP3@320K/s
Time: 37:10
Size: 89,1 MB
Art: Front

(2:45) 1. Vienna, City of My Dreams
(2:22) 2. I'll Follow My Secret Heart
(3:03) 3. Try to Forget
(2:30) 4. Sympathy
(3:15) 5. The Song Is You
(3:31) 6. Will You Remember
(4:08) 7. If You Could Only Come with Me / I'll See You Again
(2:58) 8. Lover, Come Back to Me
(2:46) 9. Wanting You
(2:53) 10. A Kiss in the Dark
(3:27) 11. You Are Love
(3:25) 12. Kiss Me Again

Shirley Jones, the young star of the Rodgers & Hammerstein movie musicals Oklahoma! and Carousel, married Jack Cassidy, the Broadway stage musical performer whose featured appearances included Wish You Were Here and Shangri-La, on August 5, 1956, and the following year the couple released this LP of songs from musicals and operettas that had played in New York and London between 1905 ("Kiss Me Again" from Victor Herbert's Mlle. Modiste) and 1934 ("I'll Follow My Secret Heart" from Noel Coward's Conversation Piece).

By 1957, such material, the work of composers like Rudolf Friml, Jerome Kern, and Sigmund Romberg, was out of date on stage and film, but Jones and Cassidy applied their trained voices Jones' pure soprano, Cassidy's soaring tenor to it with sincerity and fervor, and Percy Faith gave them an accompaniment to support their best efforts. They didn't quite bring back the age of the operetta, but they showed that it could have a contemporary meaning, especially in its romantic sentiments.

Cassidy soloed brilliantly on Kern and Oscar Hammerstein II's "The Song Is You" from Music in the Air, taking the title back from such pop craftsmen as Frank Sinatra, and Jones had her way with Herbert and B.G. DeSylva's "A Kiss in the Dark" from Orange Blossoms. But the rest of the tracks were duets, and the couple's real-life romance turned Kern and Hammerstein's "You Are Love" from Show Boat and Romberg and Hammerstein's "Lover, Come Back to Me!" from New Moon into impassioned musical statements. The interpretations bordered on classical music rather than pop, but they also brought new life to a virtually moribund form.By William Ruhlmann
https://www.allmusic.com/album/speaking-of-love-mw0001286744

Speaking of Love

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Dave Brubeck Quartet - London Flat, London Sharp

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 58:25
Size: 134,2 MB
Art: Front

(4:29)  1. London Flat, London Sharp
(5:07)  2. To Sit And Dream
(7:30)  3. The Time Of Our Madness
(7:04)  4. Unisphere
(3:26)  5. Steps To Peace
(6:23)  6. Forty Days
(4:19)  7. Cassandra
(8:04)  8. Yes, We All Have Our Cross To Bear
(8:04)  9. Mr. Fats
(3:53) 10. Ballad Of The Rhine

Straight and fast. That's how the Dave Brubeck Quartet grabs you with the opening title song of London Flat, London Sharp. Surrounded by a supporting cast of Bobby Militello, Michael Moore, and Randy Jones, the pianist is at the top of his game on this new outing. Clocking in at just under an hour, with ten tracks ranging from the three-and-a- half-minute ballad "Steps to Peace to the strutting, eight-minute "Mr. Fats, the album covers plenty of ground and takes no detours. After the dazzling opener, the group settles into a laid-back swing on "To Sit and Dream. On both, Militello carries the main melody on alto sax while Brubeck stirs up some delightful piano solos, complemented by Jones on drums and Moore on double bass. Brubeck, now 84, needs little introduction, having been a mainstay on the jazz scene for more than half a century. One of his early quartets struck gold in 1960. Their album, Time Out, and its singles, "Take Five and "Blue Rondo a la Turk, were the first in modern jazz to go gold. While Brubeck is frontman, Militello is the star. He has appeared on some fifty-plus albums with a varied list of performers, including Charlie Shoemake, Chuck Mangione, Mark Colby, and the Manhattan Transfer's Cheryl Bentyne. In the 1970s, Militello spent five years with Maynard Ferguson's orchestra, playing baritone sax and serving up sensational flute solos on such show tune adaptations as "Maria (from 'West Side Story'), "Theme from Star Trek, and "Over the Rainbow, plus Eric Gale's "Swamp. Militello also has four solo albums, and he's recorded fourteen with Brubeck, including the new release. Some of the songs were featured on Brubeck's 40th Anniversary Tour of the UK, including "London Flat, London Sharp, so named because during part of that tour, the group stayed in London apartments (flats), which Brubeck said was sharp after previously complaining about their accommodations. "Steps to Peace, the only song on the new album to feature Militello on flute, was penned by Derrill Bodley on September 11, 2001. 

His daughter, Deora, was a passenger on Flight 93, which was hijacked and later crashed into rural Pennsylvania. The song, written later that day, was dedicated to Deora, the other passengers who died and The Sharing of a Just Peace, an organization Bodley has worked with in recent years. All other tracks are Brubeck originals, including such standouts as "Forty Days, which depict Jesus' period of solitude in the desert, and "The Time of Our Madness. "Yes, We All Have Our Cross to Bear is one of the few spots where bassist Moore gets to stretch out. Jones and Moore provide the backdrop for Brubeck and Militello's leads and improvisations. Though Jones doesn't have any extended solos, his presence is felt on all but "Ballad of the Rhine, a Brubeck solo. With upbeat grooves and eloquent ballads, London Flat, London Sharp is straight jazz with no gimmicks.By Woodrow Wilkins
https://www.allaboutjazz.com/london-flat-london-sharp-dave-brubeck-telarc-records-review-by-woodrow-wilkins.php

Personnel: Dave Brubeck, piano; Bobby Militello, alto sax and flute; Michael Moore, double bass; Randy Jones, drums

London Flat, London Sharp

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Linda Keene - One More for the Road. The Dixie Songbird's Complete Recordings Disc1 and Disc 2

Album: One More for the Road.The Dixie Songbird's Complete Recordings Disc 1
Styles: Jazz
Year: 2022
Time: 63:57
File: MP3 @ 320K/s
Size: 149,5 MB
Art: Front

(2:25) 1. Blue And Disillusioned
(2:23) 2. Poor Butterfly
(3:11) 3. White Sails
(3:22) 4. Octoroon
(2:35) 5. The Sheik Of Araby
(3:58) 6. Tears From My Inkwell
(2:38) 7. Yankee Doodle
(3:02) 8. Especially For You
(2:48) 9. You're The Moment In My Life
(2:54) 10. At The Balalaika
(3:14) 11. The Straight Hour
(2:51) 12. As Long As I Live
(2:51) 13. Ac-dc Current
(2:59) 14. I Love You Too Much
(2:31) 15. Time Square Scuttle
(2:55) 16. One Cigarette For Two
(2:54) 17. For Whom The Bell Tolls
(2:24) 18. Number Ten Lullaby Lane
(2:54) 19. Strictly From Dixie
(2:59) 20. Embraceable You
(2:53) 21. Somebody Loves Me
(3:04) 22. Mound Bayou

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Album: One More for the Road.The Dixie Songbird's Complete Recordings Disc 2
Styles: Jazz
Year: 2022
Time: 62:45
File: MP3 @ 320K/s
Size: 146,3 MB
Art: Front

(3:01) 1. Georgia On My Mind
(3:00) 2. Way Down Yonder In New Orleans
(2:50) 3. Shine
(2:54) 4. Someone To Watch Over Me
(2:52) 5. Ja-da
(2:48) 6. Frankie And Johnny
(2:59) 7. When My Sugar Walks Down The Street
(3:57) 8. Romance
(3:50) 9. Zero Hour
(4:09) 10. Joe-joe Jump
(4:07) 11. Unlucky Woman
(4:44) 12. Blues In The Storm
(3:54) 13. Don't Let It End
(2:50) 14. Gee Baby, Ain't I Good To You
(2:32) 15. I Don't Stand A Ghost Of A Chance With You
(2:53) 16. Blues On My Weary Mind
(2:36) 17. I Must Have That Man
(2:29) 18. Muddy Water
(4:10) 19. One For My Baby

"Just when you think you’ve heard every canary from the big band era like Helen Ward, Helen Forrest or Martha Tilton, Fresh Sound Records digs up the virtually unknown Linda Keene, who was the vocalist for bands including Jack Teagarden, Tony Pastor, Bobby Hackett and Lennie Hayton before teaming up with Henry Levine’s Strictly From Dixie Jazz Band.

As you can tell, for the most part Keene was associated with “traditional” sounding bands, aka “Chicago” or “New Orleans”, but, hey, this was the Big Band Era, so everything recorded had a swing feel to it. Keene has a tone in the warm school of Forrest and Tilton, easy on the ears for “Blue and Disillusioned” with Hackett (along with Pee Wee Russell/cl and Eddie Condon/g) and sounding comfy with Teagarden’s band on a fun “Yankee Doodle” and “Tears From My Inkwell”. Hayton’s Orchestra, including guitarist Dave Barbour, has Keene in uptown swing form on “At The Starlight Hour” and the Ellingtonian “I Love You Much Too Much”. In 1941 she fronts Tony Pastor’s band, sharing the vocals with Dorsey Anderson on cozy “For Whom The Bell Tolls.”

She spent a couple of years with Levine’s Dixie Jazz Band, giving an impressive read of “Georgia On My Mind” and sounding believable on “Someone to Watch Over Me”. A bluesy meeting with Joe Marsala’s Orchestra, which included Leonard Feather/p, Joe Thomas/tp and Chuck Wayne/g along with the clarinet leader, having Keene tap into her inner Peggy Lee on “Unlucky Woman” and “Blues in the Storm”.

Most fun and modern is her stint with trumpeter Charlie Shavers in a smaller unit, and Keene sounding delightful on “Gee Baby, Ain’t I Good To You” and a drenched “Blues On My Weary Mind”. A spartan early 50s session with guitar and piano has her in a rowdy mood for “Muddy Water” and out Sinatra-ing on “One For My Baby”. Included are all of the session notes, and a great 52-page booklet giving you some background on this lady. How did we miss this?" By George W. Harris (June 16, 2022)
https://www.jazzweekly.com

One More for the Road. The Dixie Songbird's Complete Recordings Disc1,Disc2

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Mark Sherman - The L.A. Sessions

Bitrate: MP3@320K/s
Time: 70:53
Size: 162.3 MB
Styles: Vibraphone jazz
Year: 2012
Art: Front

[5:39] 1. Woody N' You
[5:18] 2. Quasimodo
[5:47] 3. It Could Happen To You
[5:46] 4. Celia
[5:31] 5. Far Away
[5:43] 6. Whisper Not
[5:00] 7. Moment's Notice
[9:11] 8. Bag's Groove
[5:02] 9. Serpent's Tooth
[5:27] 10. Quasimodo (Bonus)
[5:31] 11. Woody 'n You (Bonus)
[6:51] 12. Celia (Bonus)

Vibraphonist Mark Sherman has had a longstanding desire to release an album featuring some of his favorite bebop and standard tunes. Now, in L.A. Sessions, this dream comes true, with happy results. These jazz gems from a half-century ago are played in the tradition, but Sherman and his cohorts lovingly add luster. Chief help comes from Bill Cunliffe, on Hammond B-3 organ (rather than his usual piano), and masterful guitarist John Chiodini, a favorite on the Southern California club scene.

Sherman has 30 years of recording, composing, and performing with top players and vocalists. Indicating his prowess, he topped Downbeat Magazine's Critics Poll in 2007, 2008 and 2009. Much influenced by Milt Jackson, his centerpiece here is an extended version of the great vibraphonist's classic "Bag's Groove." On this, he is laidback and mellow, embracing, midway, solid guitar, organ and drum solosBop's progenitors are well represented. Dizzy Gillespie's 1942 standby, "Woody N' You," is a pleasure, as is Bud Powell's "Celia," another game-changing genre piece with its unmistakable and groundbreaking rhythmic repetition and chord tones. The quartet excels on both.

Sherman travels forward in time with Miles Davis' "Serpent's Tooth," featuring Charles Ruggiero's torrential drums, helping to create a swirling vibes-guitar tempest. Along the way, John Coltrane's "Moment's Notice" brings a post bop feel to the proceedings, while Sherman's original, "Far Away," with its haunting atmosphere, brings to mind Thelonious Monk's "'Round Midnight" from the earlier era.

If asked what bop was like, this CD could be used as an aural illustration. Not as authentic as listening to a pioneer like Charlie Parker, perhaps, but these enthusiastic recreations do prevail. ~Larry Taylor

Mark Sherman: vibes; Bill Cunliffe: Hammond B3 organ; John Chiodini: guitar; Charles Ruggiero: drums.

The L.A. Sessions

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Maria Kim - With Strings: Dream of You

Styles: Vocal
Year: 2021
File: MP3@320K/s
Time: 43:31
Size: 100,1 MB
Art: Front

(3:05) 1. Dream Of You
(5:23) 2. Dancing In The Dark
(3:31) 3. Almost Like Being In Love
(5:47) 4. You Don't Know What Love Is
(4:39) 5. Embraceable You
(2:45) 6. Give Me The Simple Life
(6:00) 7. I Left My Heart In San Francisco
(4:20) 8. It's All Right With Me
(4:03) 9. 'S Wonderful
(3:54) 10. What's New

An original, lyrical soloist and a demanding group leader, Maria Kim is a dynamic singer, pianist and composer. Maria Kim grew up in South Korea, and took up the piano at the age of 3; 12 years later she was singing and playing the piano professionally throughout South Korea as the youngest jazz vocalist and pianist.

When she was 18yrs old, Maria Kim won 1st Place in Vocals and a scholarship from the Berklee College of Music World Scholarship Tour held in South Korea. She moved to Boston in 2006, and there she performed weekly gigs with the Berklee professors as well as attending school there.

After Berklee, Maria Kim enrolled in the New England Conservatory of Music where she studied under Ken Schaphorst, Ran Blake and Dominique Eade. She performed with Irene Aebi, Dave Holland, Ran Blake, and Steve Swallow, and started to develop her own unique style combined with free jazz.

Free jazz pianist and legend, Ran Blake, noted "Maria Kim is very special and one of the greatest singers I've played with."

Based on her career throughout South Korea and the United States, she set her musical direction to, "Not a single note wasted". Her music is a battle of two different egos within herself; Calm, dispassionate contemplation of her piano playing and the fearless vocalist exploring promptly to reach the perfect note, harmony and rhythm.

In 2013, Maria Kim became the first person to win two sections of Jazz People Magazine's "Rising Star" award for piano and vocal. She released her album which she directed, composed, wrote lyrics, played piano and sang. She was also selected as the "2016 New Face of Korean Jazz" by EBS Gonggam.

In 2017, accompanied by Yoonseung Cho, the first Korean Monk Institute graduate, Maria Kim released her new album "I'm Old Fashioned". Jazz critics had this to say about the new album:

"Whenever, wherever, with whoever you listen to this album, it gives that thrilling heart warming moment. This is something we call the jazz magic" ~ Jiho Choi

"Why is the dense reinterpretation so important in Jazz field? [I'm Old Fashioned] contains one possibility." ~ Kyoungjun Lee

In 2018 She release the first jazz vocal duet album in Korea with the male vocalist Sung Huh through Sony Music Korea. This album "I Want to Be Happy" was selected as one of the Jazz People magazine’s 2018 top 10 jazz album.

With Strings: Dream of You

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