Tap That Jazz - Respect - Sing That Fight

Styles: Jazz
Year: 2022
File: MP3@320K/s
Time: 67:58
Size: 156,0 MB
Art: Front

(4:41) 1. Respect
(4:41) 2. Strange Fruit
(6:24) 3. Caro Nome - Rigoletto
(4:39) 4. Decolonise (Don't Just Recognise)
(7:40) 5. E Strano!/ah, Fors 'É Lui/follie, Follie! - La Traviata
(4:48) 6. Sodade
(4:32) 7. I Wish I Knew How It Would Feel To Be Free
(5:43) 8. Arnaq
(4:46) 9. Casta Diva - Norma
(4:34) 10. Les Tringles Des Sistres Tintaient - Carmen
(5:53) 11. Une Sorcière Comme Les Autres
(4:05) 12. Piece Of My Heart
(5:28) 13. Mississippi Goddam

Jazz (formerly known as Les Oignons), features songs performed by the group in a stage show, Sing That Fight, which celebrated in vintage jazz style the lives and songs of an eclectic range of female vocalists, many outside the jazz idiom, whose careers had been affected by sexism and racism. The belittling of female jazz and blues musicians, rife in the past, has been a cause commendably flagged up by Frémeaux on other albums. Names mentioned in this album’s notes range from Aretha Franklin, Nina Simone and Billie Holiday to Janis Joplin and Maria Callas.

The basic quintet’s instrumentation, with banjo, sousaphone and washboard as rhythm, suggests archaic New Orleans style, but the group’s musical aims are more ambitious and far reaching. Carefully planned arrangements tackle, with varying degrees of success, repertoire from operatic arias, soul, pop ballads, Latin and blues. Billie’s Strange Fruit is the only familiar jazz classic.
https://jazzjournal.co.uk/2022/05/17/tap-that-jazz-respect/

Personnel: June MILO (chant vocals); Cajoune GIRARD (Washboard | choeurs backing vocals); Julien VARDON (claquettes tap dance); Julien SILVAND (Trompette trumpet | choeurs backing vocals | direction | composition & paroles lyrics (4) | arrangement); Dominique MANDIN (Sax ténor tenor sax | choeurs backing vocals); Rémi OSWALD (Banjo | choeurs backing vocals); Raphaël MARTIN (Soubassophone sousaphone)

Respect - Sing That Fight

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Swing Shift Big Band - Full House

Styles: Swing, Big Band
Year: 2023
File: MP3@320K/s
Time: 47:09
Size: 108,7 MB
Art: Front

(5:47) 1. Speak No Evil
(4:15) 2. Triste
(3:32) 3. Singin' In The Rain
(3:45) 4. Afternoon
(4:20) 5. Walk On By
(4:06) 6. From Now On
(5:11) 7. Sweet Chaos
(3:21) 8. Mary Ann
(4:16) 9. The Look Of Love
(5:18) 10. Dream Of The Return
(3:11) 11. The Magic Of Christmas (Bonus Track)

This is the home of Canada’s Premier Big Band - Jim John's Swing Shift Big Band. From the band’s beginning in 1996 it quickly became apparent that this was a band intent on preserving the sounds and quality of the big band era a band that has since been recognized as one of the top big bands in the country.

With 17 talented musicians, male and female vocalists and optional dancers and female vocal trio, this band can entertain audiences of all ages. From dances, corporate galas, and jazz festivals to weddings, theatre shows and everything in-between, Swing Shift has the variety to suit any occasion. We can also provide smaller groups, ranging from solo piano, trio, quartet and right up to our very popular 11 piece group a versatile band that specializes in music for all ages. Leader Jim John has twenty years of leadership experience he knows how to make your event a big success.
https://swingshiftbigband.com/s3/

Full House

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Richie Beirach - Leaving

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 76:53
Size: 177,2 MB
Art: Front

( 7:51) 1. Nardis
(14:17) 2. What Is This Thing Called Love / Alone Together / Blue In Green
( 5:04) 3. Round Midnight
( 4:53) 4. On Green Dolphin Street
( 7:35) 5. Some Other Time
( 6:10) 6. Solar
(13:49) 7. Spring Is Here / Maiden Voyage / Monk´S Drem / You Don´T Know What Love Is
( 3:42) 8. Footprints
(13:29) 9. Leaving / Sunday Song

On Leaving, recorded in France in 2022, Richie Beirach revisits thirteen evergreen standards, seven of them grouped together in two medleys, and two of his own compositions ("Leaving," "Sunday Song") written in the 1970s. The album is Beirach's first live solo recording since 1981.

All of the material is more than familiar to Beirach and will be equally well known to seasoned jazz fans. In his liner note, Beirach says that this was intentional. He wanted to roam freely over material that he knew as well as the backs of his hands, taking whatever twists and turns flashed into his mind on the hoof, and he wanted the audience, too, to be so at home with the tunes that they would have a frame of reference for every diversion, digression and discursion that he embarked on. Composers include Miles Davis, Cole Porter, Thelonious Monk, Bill Evans, Leonard Bernstein, Richard Rodgers, Herbie Hancock and Wayne Shorter. Full track listing below.

Beirach also says that he did not approach the performance with a setlist. Instead he made a long list of many tunes he considered playing that evening and at the top of the list wrote: "Choose from." At this point in his life as a pianist, he says, he has put aside intellectual considerations such as consciously thinking about the music at hand or preparing a programme in advance. He is instead wholly concerned with expressionism and being in the moment. (He expounds further on this in the YouTube clip below).

What results are not definitive, or even necessarily substantial, reimaginings of the thirteen warhorses, but rather the spontaneous musical equivalent of a word association game.

The more familiar the listener is with the source material, the more compelling they are likely to find Beirach's expositions. Non-sequiturs abound, as do rococo embellishments and, frankly, melodramatic flourishes. The prevailing mood is rhythmically intense and the only sustained moments of reflection come with the closing "Leaving" and "Sunday Song." But the overall effect is as Beirach intended, and seventy-five unpredictable minutes fly. By Chris May
https://www.allaboutjazz.com/leaving-richie-beirach-jazzline-records

Personnel: Richie Beirach: piano.

Leaving

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Jan Savitt And His Top Hatters Orchestra - 1938 & 1939 Broadcasts (Live)

Styles: Big Band, Swing
Year: 2013
File: MP3@320K/s
Time: 60:26
Size: 140,4 MB
Art: Front

(1:58) 1. Opening Theme
(2:32) 2. I Married An Angel
(3:16) 3. Heart & Soul
(2:51) 4. Could You Pass In Love ?
(3:44) 5. Mood Indigo
(2:15) 6. A - Tisket A - Tasket
(2:51) 7. No Wonder
(3:05) 8. Love Of My Life
(3:06) 9. What Are You Doing Tonight ?
(3:08) 10. The Yam
(1:41) 11. Closing Theme
(0:56) 12. Opening Theme
(2:34) 13. Back To Back
(3:42) 14. I Poured My Heart Into A Song
(2:46) 15. Cinderella
(3:56) 16. Day In, Day Out
(3:02) 17. 720 In The Books
(2:49) 18. To You
(2:53) 19. Ring Dem Bells
(2:57) 20. A Man And His Dream
(4:15) 21. It's A Wonderful World & Closing Theme

The birth date of violinist, vocalist, arranger, and bandleader Jan Savitt is in dispute; although his birthday is officially listed as September 4, 1913, Savitt could have been born as early as 1908. Savitt's father played in Tsar Nicholas II's Imperial Regiment Band, and his family came to America in 1914. Savitt played violin as a child, and was invited to join the Philadelphia Orchestra at 15.

He studied both in Europe and at the Curtis Institute, and in the '30s formed a string quartet that had a nationally broadcast show. He formed his Top Hatters band in 1937 and began touring in 1938. A child prodigy and accomplished player, his real fame came as a bandleader. His groups were thoroughly practiced and disciplined, with an ensemble sound considered among the finest of the era. Their signature song was "Quaker City Jazz," and they had a big hit with "720 in the Books."

Savitt's band included vocalist George Tunnell, who used the name Bon Bon and was one of the first Black singers or instrumentalists to work with a white band. The group had a number of his in the '40s, then made some low-budget films in 1946 and 1947. Savitt died suddenly while on a tour in 1948. By Ron Wynn https://www.allmusic.com/artist/jan-savitt-mn0000214192/biography

1938 & 1939 Broadcasts (Live)

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Dionne Warwick - Playlist: The Best Of Dionne Warwick

Bitrate: MP3@320K/s
Time: 60:10
Size: 137.8 MB
Styles: Easy Listening, AM pop
Year: 2016
Art: Front

[2:53] 1. Walk On By
[2:55] 2. Do You Know The Way To San Jose
[2:44] 3. People Get Ready
[2:43] 4. Trains And Boats And Planes
[3:01] 5. Anyone Who Had A Heart
[2:50] 6. I'll Never Fall In Love Again
[2:44] 7. Don't Make Me Over
[2:45] 8. I Just Don't Know What To Do With Myself
[3:03] 9. I Say A Little Prayer
[3:06] 10. Peace Of Mind
[3:06] 11. Message To Michael
[2:55] 12. Raindrops Keep Falling On My Head
[3:34] 13. (Theme From) Valley Of The Dolls
[2:24] 14. Another Night
[4:19] 15. This Girl's In Love With You
[3:06] 16. We've Only Just Begun
[2:21] 17. Don't Go Breaking My Heart
[2:45] 18. Alfie
[2:49] 19. (They Long To Be) Close To You
[3:57] 20. Then Came You

In 1962, Warwick released her first single, "Don't Make Me Over." It became a hit the following year. A typo on the record led to an accidental name. Instead of "Dionne Warrick," the label read "Dionne Warwick." She decided to keep the new moniker and went on to greater chart success. In 1964, Warwick had two Top 10 singles with "Anyone Who Had a Heart" and "Walk On By"—both penned by Bacharach and David. "Walk On By" was also her first No. 1 R&B hit.

More hits, including many written by Bacharach and David, followed as the 1960s progressed. "Message to Michael" made the Top 10 in 1966, and her version of "I Say A Little Prayer" climbed as high as the No. 4 spot the following year. Warwick also found great success with her contributions to movie soundtracks. The theme song for the 1967 film Alfie, starring Michael Caine, was a solid success for her, as was "Valley of the Dolls," from the 1968 movie of the same name.

In 1968, Warwick had other hits, including her trademark tune "Do You Know the Way to San Jose," which earned Warwick her first Grammy Award. That same year, Warwick made history as the first African-American woman to perform for Queen Elizabeth II in England.

Playlist: The Best Of Dionne Warwick

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Terell Stafford, Dick Oatts, Bruce Barth, Tim Warfield - Fly with the Wind

Styles: Trumpet Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 36:47
Size: 84,7 MB
Art: Front

( 6:57) 1. All Members
(13:24) 2. Fly with the Wind
( 8:58) 3. Naima
( 7:26) 4. Yes I Can, No You Can't

Terell Stafford, Tim Warfield, Dick Oatts, Bruce Barth, Mike Boone and Justin Faulkner pay tribute to Philadelphia’s iconic jazz composers on Fly With the Wind. The second outing by the all-star Temple Jazz Sextet features inspired arrangements of compositions by John Coltrane, McCoy Tyner, Jimmy Heath and Lee Morgan.
https://www.jazziz.com/10-albums-you-need-to-know-april-2023/

Personnel: Terell Stafford, trumpet; Dick Oatts, alto saxophone; Bruce Barth, piano; Tim Warfield, tenor saxophone; Mike Boone, bass; Justin Faulkner, drums

Fly with the Wind

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Tianna Esperanza - Terror

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 33:08
Size: 76,5 MB
Art: Front

(4:01) 1. Terror
(1:49) 2. Princess Slit And The Raincoat Prince
(3:57) 3. Lewis
(2:40) 4. Tempered Heart
(4:24) 5. Granada
(2:17) 6. Buy You A New Attitude
(4:10) 7. Three Straight Bitches From Hell
(4:18) 8. Hunger (Feat. Mick Flannery)
(3:33) 9. Pick A Stone (Feat. Rachael Yamagata)
(1:54) 10. Lone Child (Feat. Valerie June)

We might only be two months into the new year but regardless Tianna Esperanza has released undoubtedly one of the top albums of 2023 with the release of their debut Terror. After teasing its release via a string of superb singles that revealed the resolute and stunning depths of her music, the full collection is now available to stream.

Ten songs of lush poetics made all the more compelling by Esperanza’s eviscerating vulnerability and rallying spirit. Taking cues from the likes of Nina Simone and Public Enemy, the music that pools within Terror is as much about confronting the blemishes left by life’s darkest moments as it is about emerging from them definitively.
https://www.grimygoods.com/2023/02/28/tianna-esperanza-debut-album-terror/

Terror

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Antonio Zambrini & Rita Marcotulli - La Conversazione

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 42:17
Size: 98,6 MB
Art: Front

(3:40) 1. Beatriz
(3:15) 2. Natale a Riminni
(2:26) 3. Garrincha
(5:49) 4. Small Ballad
(6:11) 5. La Strada
(5:39) 6. Melamp
(2:25) 7. Passato di Vedura
(3:35) 8. Giant Steps
(3:18) 9. Antonia
(2:35) 10. Canto Triste
(3:19) 11. Here's That Rainy Day

Born 1959, Rome, Italy. Playing piano from early childhood, Marcotulli studied classical music at the Santa Cecilia Conservatory before being drawn to Brazilian music. She also began moving onto the fringes of jazz and established a local reputation at first, before becoming well known among contemporary jazz audiences both at home and abroad. This was largely due to playing with musicians such as Chet Baker, Richard Galliano, Jon Christensen, Palle Danielsson, Peter Erskine, Steve Grossman, Joe Henderson, Hélène La Barrière, Joe Lovano, Tony Oxley, Michel Portal, Enrico Rava, Michel Bénita, Aldo Romano and Kenny Wheeler. In 1987 she was nominated for the Best Young Talent award in the Music Jazz Poll and the following year she was a member of Billy Cobham’s band, touring Europe and the USA and appearing on 1989’s Incoming. She spent some time in Sweden, before returning to Italy in the early 90s. In the late 90s, she played the San Remo festival in duo with Pat Metheny and also appeared as a member of a piano trio, with Paul Bley and John Taylor, at the Olympic Theatre of Vicenza.

Among other musicians with whom Marcotulli has worked and sometimes recorded are Sal Nistico, Pino Daniele, Andy Sheppard, Charlie Mariano, Marilyn Mazur, Roberto Gatto, Bob Moses, and she has had a long-term musical relationship with Dewey Redman. Marcotulli has claimed the influence of musicians such as Thelonious Monk, Bill Evans and John Coltrane. A highly skilled performer, she chooses to play in a style that derives as much from pop and folk as jazz. In addition to playing in jazz circles, Marcotulli has also composed music for the dance theatre and for films. By AllMusic
https://www.allmusic.com/artist/rita-marcotulli-mn0000808191/biography

La Conversazione

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Coleman Hawkins & Henry "Red" Allen - Reunion In Hi-Fi. The Complete Classic Sessions

Reunion In Hi-Fi. The Complete Classic Sessions CD 1
Styles: Saxophone And Trumpet Jazz
Year: 2009
Time: 61:21
File: MP3 @ 320K/s
Size: 142,0 MB
Art: Front

(5:52) 1. Love Is Just Around The Corner
(5:32) 2. Let Me Miss You, Baby
(4:42) 3. Ride, Red, Ride
(8:27) 4. I Cover The Waterfront
(5:30) 5. 'S Wonderful
(3:45) 6. St. James Infirmary
(6:52) 7. Algiers Bounce
(5:14) 8. Love Me Or Leave Me
(5:38) 9. I've Got The World On A String
(4:10) 10. Ain't She Sweet
(5:35) 11. Sweet Lorraine

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Reunion In Hi-Fi. The Complete Classic Sessions CD 2
Time: 68:41
File: MP3 @ 320K/s
Size: 159,6 MB
Art: Front

(3:00) 1. Battle Hymn Of The Republic
(4:22) 2. Frankie And Johnny
(2:58) 3. When The Saints Go Marchin' In
(6:23) 4. South
(4:28) 5. Won't You Come Home, Bill Bailey?
(5:02) 6. The Blues
(3:55) 7. Maryland, My Maryland
(3:32) 8. Stormy Weather
(3:45) 9. Mean To Me
(5:57) 10. The Lonesome Road
(4:34) 11. Sleepy Time Gal
(5:00) 12. Summertime
(3:16) 13. All Of Me
(2:36) 14. Tea For Two
(4:49) 15. Wild Man Blues
(4:57) 16. Rosetta

Five blowing sessions from 1957 and 1958 find singing trumpeter Henry "Red" Allen and tenor saxophonist Coleman Hawkins jamming with some of New York's best mainstream traditional jazz musicians. The seed bed, as it were, for these studio recording dates was the Metropole, a big smoky nightclub up on Seventh Avenue, not far from Times Square. Hawkins, a seasoned veteran of the music, often comes across as gruff and blustery in this company, exactly as he did when they gigged together at the Metropole, where rowdy, beer-swilling audiences loudly demanded material that was more old-fashioned than what Hawkins preferred to play at that point in his life. Hawkins and Allen hadn't recorded together since 1933.

Their initial contact had been as members of Fletcher Henderson's Orchestra, and the presence of ex-Henderson bandsmen in trombonist J.C. Higginbotham and clarinetist Buster Bailey makes the first 11 tracks (most of which was initially released as Ride, Red, Ride in Hi Fi and reissued by RCA Bluebird in 1990 as World on a String) feel like a true reunion. Presented as Henry "Red" Allen's All-Stars, the group was supported by a rhythm section led by pianist Marty Napoleon. Allen himself played and sang some of the best jazz of his life on this album.

Here at long last it is compiled into the same package with similar recordings from 1957-1958 which have been released under numerous headings, most appropriately on the Jass label as High Standards and Warhorses. This wonderful compilation is rounded off with two excerpts from the CBS television special The Sound of Jazz, taped on December 5, 1957 with Allen leading an even tougher group combining full-strength Hawkins with the individualism of clarinetist Pee Wee Russell, trombonist Vic Dickenson, and cornetist Rex Stewart.By arwulf arwulf
https://www.allmusic.com/album/reunion-in-hi-fi-the-complete-classic-sessions-mw0001304883

Credits: Arranged By – Dewey Bregman (tracks: 2-1 to 2-7), Larry Clinton (tracks: 2-8 to 2-14); Bass – Chubby Jackson (tracks: 2-8 to 2-14), Lloyd Trotman (2) (tracks: 1-1 to 1-11), Milt Hinton (tracks: 2-1 to 2-7, 2-15, 2-16); Clarinet – Buster Bailey (tracks: 1-1 to 1-11), Pee Wee Russell (tracks: 2-15, 2-16), Sol Yaged (tracks: 2-1 to 2-7); Clarinet, Alto Saxophone – Earl Warren (tracks: 2-8 to 2-14); Cornet – Rex Stewart (tracks: 2-15, 2-16); Drums – Cozy Cole (tracks: 1-1 to 2-7), George Wettling (tracks: 2-8 to 2-14), Jo Jones (tracks: 2-15, 2-16); Guitar – Danny Barker (tracks: 2-15, 2-16), Everett Barksdale (tracks: 1-1 to 1-11); Piano – Lou Stein (tracks: 2-1 to 2-7), Marty Napoleon (tracks: 1-1 to 1-11, 2-8 to 2-14), Nat Pierce (tracks: 2-15, 2-16); Tenor Saxophone – Coleman Hawkins; Trombone – J.C. Higginbotham (tracks: 1-1 to 2-7), Vic Dickenson (tracks: 2-15, 2-16); Trumpet – Henry "Red" Allen

Reunion In Hi-Fi. The Complete Classic Sessions CD 1, CD 2

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Eric Alexander - A New Beginning - Alto Saxophone with Strings

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 48:28
Size: 121,9 MB
Art: Front

(4:41) 1. Blues for Diane
(5:40) 2. Embraceable You
(4:53) 3. All My Tomorrows
(7:21) 4. Maybe September
(4:53) 5. To Love and Be Loved
(3:44) 6. Anita
(4:43) 7. She Was Too Good to Me
(5:40) 8. Too Late Now
(6:48) 9. Blues for Diane (Alternate Take)

As difficult times often beget new beginnings, the COVID-19 quagmire gave birth to alto saxophonist Eric Alexander. To some, a tenor-to-alto switch may not seem to be a newsworthy matter, but for the initiated it's the stuff of headlines. An inveterate tenor at the apex of the scene for more than three decades, Eric put the alto away in his teen years and never looked back.

"But with the dearth of opportunities to play during the pandemic, I started to work on it," he confesses. After successfully pitching the idea of using his second saxophone-with-strings project as a debut on alto, the present recording is quite simply astounding. Working with his regular rhythm section and adding ace string arrangements, this altoist delivers one revelatory performance after another.By Editorial Reviews
https://www.amazon.com/New-Beginning-Alto-Saxophone-Strings/dp/B0BX4LVZ1V?source=ps-sl-shoppingads-lpcontext&ref_=fplfs&psc=1&smid=ATVPDKIKX0DER

A New Beginning - Alto Saxophone with Strings

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Sonja Indin - And Then She Wrote - Poetry Goes Jazz

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 59:35
Size: 137,1 MB
Art: Front

(5:03) 1. This Poem
(3:33) 2. Expecting You – Accepting You
(4:21) 3. Mom's Care (Mom's Song)
(4:45) 4. It All Seems Like Nothing At All
(5:17) 5. Rainbow
(4:19) 6. Femme Phénoménale
(3:56) 7. Inventory
(3:41) 8. And Then I Wrote
(4:28) 9. Freedom (Welcome)
(3:46) 10. Sometimes It's Hard Being A Mom
(3:31) 11. Friendship
(4:16) 12. Renewal
(4:18) 13. Vers La Fin De L'hiver (A Day In Paris)
(4:13) 14. Take Good Care – Heb Dier Sorg

There's the title cut: or rather, the George Shearing instrumental to which Indin has set her own lyrics, and whose title "And then I wrote" she (re)makes her own, in tribute to the female poets she has mobilised for her project.

Indin's feisty words against Shearing's cool vibe create a productive tension, as the female practitioner of a male dominated craft takes over the "master's tools", not so much to dismantle his house as to rebuild it, driven both by her need for liberation "Speak your mind, pronounce it" and by her desire for a revivification of a revered tradition "I first heard this song / I had to hum along, / N' then I wrote these lines / Substantial words that rhyme." Rather than being cowed by her great predecessors, or crushed by the continuing injustices of her age ("Bewildered as I am / In these modern times"), Indin resolves to make her mark, on the musical world and in her life as a woman and mother.

Because, as she writes, "Who gives in speechless? / Careless? Wordless?" Well, not Sonja Indin, that's for sure.https://propermusic.com/products/sonjaindin-andthenshewrotepoetrygoesjazz

And Then She Wrote - Poetry Goes Jazz

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Die Drei Damen With Lisa Wahlandt, Andrea Hermenau & Christiane Ottl - Venus in The Backyard

Styles: Vocal, Post Bop
Year: 2018
File: MP3@320K/s
Time: 47:16
Size: 111,6 MB
Art: Front

(4:08) 1. Count on me
(3:01) 2. Wanderer
(4:02) 3. Love yourself
(3:45) 4. Time after time
(3:59) 5. Venus in the backyard
(2:38) 6. Old country
(4:13) 7. Dat dere
(4:02) 8. Embrace
(2:57) 9. Price tag
(2:55) 10. For the longest time
(3:36) 11. One for my baby
(3:18) 12. Here comes the sun
(4:36) 13. Calling you

The three ladies are charming again! They sing about Venus in the backyard, who wears a sparkling smile on her lips, about the warming embrace that makes the world a magical place, or about the wanderer whom she would love to accompany as she walks through the beauties of this earth. The three ladies playfully mix jazz with pop music in a playful, playful way. "Venus in the Backyard", the third CD of the Drei Damen sounds airy, like a breeze, but also earthy-grooving and winking-swinging, and in the slim cast with three voices, piano and bass. Since 2013, singer Lisa Wahlandt, pianist Andrea Hermenau and bassist Christiane Öttl have thrilled their audience with jazzy songs.

After the debut album 2014 and the excursions to Bavarian and German on "Dream Farther" in 2016, the master musicians have now focused on English-language hits and each of them has contributed to "Venus in the Backyard" an own composition. From the classic "One for my Baby" from the 40s to George Harrison's "Here comes the sun" to Cindy Lauper's 80s hit "Time after Time" to Bruno Mars' "Count on me" from 2010.

Their interpretations of familiar songs are like fresh air treatments for these hits. Brilliantly transparent is the band sound, clear and pure, the voices merge, with precisely articulated text. Wahlandt, Hermenau and Öttl prove a fine hand in their song selection. Songs that have a story and tell. Current pop songs are freed from the excessive production ballast and come as weightless chansons therefore, Jesse J's "Price Tag" about. Ed Sheeran's "Love Yourself", on the other hand, gets really groove-tailwind through casual Fender Rhodes sounds and the body percussion of guest musician and drummer Gabriel Hahn.

Back to the Jazzwurzeln the three ladies is in Bobby Timmons "Dat Dere". Here, saxophonist Mulo Francel from Quadro Nuevo as a guest may unpack his wonderfully creaky tenor saxophone sound. Playfulness, the highest musicality and an intimate band feeling are the secrets of the Three Ladies.By Editorial Reviews
https://www.amazon.com/Backyard-WAHLANDT-ANDREA-HERMENAU-CHRISTIANE/dp/B07GW2R798

Venus in The Backyard

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Shaun Johnson Big Band Experience - Made For Her

Styles: Vocal, Big Band
Year: 2021
File: MP3@320K/s
Time: 26:20
Size: 60,8 MB
Art: Front

(4:22) 1. Sing Me Anything
(3:04) 2. Multiplied By Two
(3:06) 3. All Because Of You
(3:11) 4. This Old Man
(3:21) 5. Losing You
(3:19) 6. Say Goodnight
(3:07) 7. Multiplied By Two (Remix)
(2:47) 8. Love Me Tender (Live)

I'm surrounded by influential women in my life. My mom had four sisters - I have two - and growing up I enjoyed three great aunts who were like grandparents to me. Too, I started the Big Band Experience with an incomparable ally, Michelle, who has worked tirelessly by my side (Okay, actually I am usually running to catch up with her).

And now, I am lucky to be surrounded by three daughters and a beautiful partner in my wife, Mary, who not only supports me at hundreds of shows (with three girls in tow and a career of her own), but who also creates videos and brainstorms the next great ideas with me. Each track on this album was made as an homage to those around me. And the thread that clearly connects each song is HER.
https://musicconnection.us/UPC/760137565116

Shaun Johnson & The Big Band Experience are: Shaun Johnson - Lead Vocals (Saint John’s University); Aaron Moe – Alto Saxophone (Chair of the Music Department, Normandale Community College); Jeff Carver – Trumpet (Buena Vista University); David Stamps – Trombone (Assistant Professor of Jazz/Composition, Gustavus Adolphus College); Ronny Loew – Tenor Saxophone (Berklee College of Music); David Stanoch – Percussion (Percussion Faculty, McNally Smith College of Music); Theodore Brown – Piano (Music Education/Opera, Xavier University); Jim Bierma – Bass (Professor, University of Minnesota)

Made For Her

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Mark Soskin - Empathy

Styles: Contemporary Jazz
Year: 2023
File: MP3@320K/s
Time: 67:36
Size: 156,8 MB
Art: Front

(5:27) 1. Saints And Sinners
(4:32) 2. Three Flowers
(5:00) 3. Waltz For Zoe
(5:30) 4. In a Silent Way
(6:04) 5. Shadow Dancing
(5:09) 6. Small Victories
(5:56) 7. Little Fingers
(5:33) 8. Breathless
(6:55) 9. Wanderlust
(5:25) 10. Better Time
(6:36) 11. Fuchsia
(5:23) 12. Empathy

Empathy is the perfect title for this intimate session from pianist Mark Soskin and bassist Jay Anderson a set that's spare, but never sleepy or too relaxed as the players really understand each other well enough to swing at most moments, even when gentle as they make their way through a batch of material that was mostly penned for the record by Soskin. His tunes include "Fuchsia", "Better Times", "Little Fingers", "Small Victories", "Shadow Dancing", and "Waltz For Zoe"all beautiful numbers with a vibe that's as poetic as their titles balanced by nice takes on "Three Flowers" and "In A Silent Way". © 1996-2023, Dusty Groove, Inc.

Empathy

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Elizabeth Shepherd - Three Things

Styles: Vocal, Bop
Year: 2023
File: MP3@320K/s
Time: 37:03
Size: 85,3 MB
Art: Front

(4:16) 1. Time
(3:50) 2. Call Up My Scene
(3:06) 3. Thank You
(4:12) 4. Three Things Remain
(3:30) 5. Guests
(5:02) 6. Right Now
(4:02) 7. Vernon Morning Star
(3:10) 8. Move On
(1:33) 9. Wild Geese
(4:16) 10. All You Need

Definitely, the novelties that are appearing have sincerely summer flavors. And it's not the singer Elizabeth Shepherd who will contradict your columnist. Like jazz with its satellites, let's say that Three Things is a sumptuous record with urban and poetic atmospheres that will reach a vast audience, like those who frequent Osheaga and Sonic Islands while we're at it.

Cradled by a bewitching voice, sometimes synthesized with "pretty electronic loops" that don't spoil the sauce, Three Things is part of a current that combines both current R&B and light techno. Even if we prefer the pure blue note, why not?. These new well-calibrated trends are completely up to date, creating perfect atmospheres when the sun has come. In twelve tracks, everything can be consumed easily and we strongly recommend: Time, All You Need, Wild Geese and of course the flagship track: Three Things.

Elizabeth has cooked up a different album for us that is also her most innovative and accomplished work to date, with enigmatic sound samples and sounds all tied together in a musical groove that sounds more like Kendrick Lamar than Diana Krall. For the better part of two decades, she distinguished herself and stood out as a songwriter. The rhythmic complexity remains, but Three Things reveals that Elizabeth's relationship with music has changed, in part due to the isolation caused by the pandemic. By Christopher Rodriguez https://sortiesjazznights-com.translate.goog/three-things-delizabeth-shepherd/

Musicians: Elizabeth Shepherd – vocals, keyboards, samples, synthesizers; Michael Occhipinti – guitar, banjo; Mark Rainey – vocals; Erik Hove – alto saxophone; Chris Gestrin – organ, synthesizers; Jasper Hoiby – bass, looper, synthesizers; Rémi-Jean LeBlanc – bass; Samuel Joly – percussion, tambourine, synthesizers; Mark Nelson – drums; Colin Kingsmore – drums

Three Things

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Bud Powell - Bouncing With Bud

Styles: Piano Jazz
Year: 1962
File: MP3@320K/s
Time: 42:30
Size: 97,8 MB
Art: Front

(4:16) 1. Rifftide
(6:00) 2. Bouncing With Bud
(4:59) 3. Move
(6:00) 4. The Best Thing for You
(6:45) 5. Straight, No Chaser
(6:16) 6. I Remember Clifford
(5:49) 7. Hot House
(2:22) 8. 52nd Street Theme

This album has cropped up in various guises over the years. Most recently it was part of Storyville's In Copenhagen series." It's back, as part of the same label's Remastered Vinyl collection.

Powell was one of the most talented yet tragic artists in jazz history, a giant of the bebop era who translated Charlie Parker's harmonic ideas onto the piano, but whose life was blighted by mental illness, exacerbated by alcohol and drug use.

At the end of the 1950s he moved to Paris with Buttercup, an American woman who may or may not have been his wife. According to Francis Paudras, a jazz fan who befriended Powell and wrote about his life in the French capital in Dance Of The Infidels (Da Capo Press, 1998), Buttercup kept Powell sedated and took most of the money he made.

During this unhappy time, Powell visited Scandinavia, where on April 26 1962 he cut Bouncing With Bud in Copenhagen for the now defunct Sonet label. The bassist on the session was Niels Henning Orsted Pedersen, only 15 years old.

Relieved of domestic misery, Powell delved joyously into the past for his repertoire, kicking off with "Rifftide," a medium tempo bop number based on the chords of "Lady Be Good."

It's followed by "Bouncing With Bud," one of his most successful compositions. It no doubt brought back happy memories of the classic 1949 recording he made of the tune with the legendary Fats Navarro on trumpet and Sonny Rollins on tenor.

Then there's Denzil Best's "Move," recalling a 1950 session with Charlie Parker. Later Bird refused to play with Powell, telling people, "He's crazier than I am."

There are two songs by his friend Thelonious Monk, the blues-based "Straight No Chaser" and "52nd Street Theme," which Powell sometimes used as a signature tune, recording it with Kenny Clarke in 1946 and with his own quintet in 1949.

Francis Paudras wrote of Powell: "Emotion flowed out of him. There are different kinds of emotion: there is the easy, superficial kind, and there is another kind, that doesn't make you laugh or cry, that doesn't make you feel anything but a sense of perfection. That's what I felt with Bud." It can be felt here, if you listen carefully. By Chris Mosey https://www.allaboutjazz.com/bouncing-with-bud-bud-powell-storyville-records-review-by-chris-mosey

Personnel: Bud Powell: piano; Niels Henning Orsted Pedersen: bass; William Schiøpffe: drums.

Bouncing With Bud

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Buster Williams - Ain't Misbehavin'

Bitrate: MP3@320K/s
Time: 46:41
Size: 106.9 MB
Styles: Bop
Year: 2010
Art: Front

[6:24] 1. Ain't Misbehavin'
[8:27] 2. When The Sky Is Clear
[7:06] 3. Dreams Come True
[9:29] 4. So Falls The Past
[6:34] 5. Betcha By Golly Wow
[8:38] 6. Seascape

One of jazz's most valuable sidemen, Buster Williams has flourished through many periods of changing fashions in jazz. Best known since the 1980s for his solid, dark tone and highly refined technique on the acoustic bass, the jazz-rock generation knew him as the mobile anchor of Herbie Hancock's exploratory Mwandishi Sextet from 1969 to 1973, doubling on acoustic and electric basses sometimes attached to electronic effects devices.

Williams learned both the double bass and the drums from his father, but having been enormously impressed by Oscar Pettiford's recordings, he ultimately decided to concentrate on the bass. After studying theory and composition at Philadelphia's Combs College of Music in 1959, Williams joined Jimmy Heath's unit the following year and played with Gene Ammons and Sonny Stitt in 1960 and 1961, as well as behind singers Dakota Staton (1961-1962), Betty Carter (1962-1963), Sarah Vaughan (1963), and Nancy Wilson (1964-1968). The gig with Wilson prompted a move to Los Angeles, where the Jazz Crusaders used him for concert dates and recordings from 1967 to 1969, and he also played briefly with Miles Davis in 1967 and the Bobby Hutcherson/Harold Land quintet. Moving to New York in 1969, Williams joined Hancock's sextet, appearing on all of his Warner Bros. albums, as well as The Prisoner (Blue Note), Sextant (Columbia) and with trumpeter Eddie Henderson's spinoff group on Capricorn and Blue Note. Over a five-year period (1976-1981), Williams led numerous recording sessions for Muse, Denon, and Buddah while continuing to freelance before, during, and after that span. In the '80s, he was a member of both the Timeless All-Stars and Sphere, writing a number of compositions for the latter. Among the musicians for whom he has played from the '80s onward are Kenny Barron, Frank Morgan, Stanley Cowell, Steve Turre, Emily Remler, and Larry Coryell. ~bio by Richard S. Ginnell

Ain't Misbehavin'

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Eddie Calvert - Easy

Styles: Trumpet Jazz
Year: 2023
File: MP3@320K/s
Time: 31:07
Size: 71,8 MB
Art: Front

(2:24) 1. Can't Help Lovin' Dat Man
(2:52) 2. Easy To Love
(2:21) 3. Falling In Love With Love
(2:52) 4. A Little Love, A Little Kiss
(2:25) 5. Love Is The Sweetest Thing
(2:37) 6. The Man I Love
(2:45) 7. Oh Mein Papa
(2:23) 8. One Night Of Love
(2:18) 9. Taking A Chance On Love
(2:19) 10. What Is This Thing Called Love?
(2:18) 11. Why Do I Love You?
(3:28) 12. My Yiddishe Mame

Eddie Calvert, known as the man with the golden trumpet, was born in Preston, Lancashire on the 15th March 1922 as Albert Edward Calvert. As a child he was exposed to his family's love of brass band music and he learned to play many brass instruments but concentrated on the trumpet. He joined the Preston Town Silver Band at the age of 11 but the war interrupted his musical career and by the late 1940s he returned to play in various amateur brass bands, eventually moving to the professional circuit with the dance bands Geraldo and Billy Ternet.

Going solo, he appeared on TV with the Stanley Black Orchestra. He signed to the Columbia label, part of the EMI group and released an instrumental trumpet version of the German song Oh Mein Papa which had most famously been covered in English as Oh My Papa by Eddie Fisher. Calvert's instrumental easily won the chart battle in the UK and it remained at no.1 for nine weeks at the beginning of 1954.

Over a year later he was involved in another chart battle for supremacy with the song Cherry Pink And Apple Blossom White and this time it was much closer with both his and a very similar trumpet version by Perez Prado reaching no.1 in the Spring of 1955. Several other hits followed including a version of Stranger In Paradise, John And Julie and Mandy, while Little Serenade was his final hit in June 1958.

When the 1960s provided no change of fortune, Calvert moved away to settle in South Africa where he lived out the remainder of his life, dying on the 7th of August 1978. By Sharon Mawer
https://www.allmusic.com/artist/eddie-calvert-mn0000793645

Easy

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Mary Foster Conklin - These Precious Days

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 47:31
Size: 109,4 MB
Art: Front

(3:18) 1. Summertime
(4:05) 2. Some Cats Know
(4:11) 3. Just A Little Lovin'
(5:19) 4. Come In From The Rain
(5:38) 5. Scars
(4:27) 6. Just For Now
(3:59) 7. A Little White Ship
(3:50) 8. Heart's Desire
(3:31) 9. Rainbow
(4:31) 10. Until It's Time For You To Go
(4:36) 11. September Song

Mary Foster Conklin is a New York-based singer with an eclectic approach to the choices she makes in deciding upon a repetoire for her fifth release, These Precious Days. Unafraid to step outside the nine dots, she has focussed the project on lesser-known jazz and popular compositions by predominately female songwriters. Joining Conklin are a number of top shelf New York musicians including pianist and arranger John di Martino, violinist Sara Caswell, bassist Ed Howard, drummer Vince Cherico, guitarist Guilherme Monteiro and percussionist Samuel Torres.

The session opens with "Summertime." This is not the George Gershwin classic, but rather has lyrics that are unmistakably from the pen of the Canadian poet and iconic songwriter Leonard Cohen. Conklin delivers them with panache and resonance. "Just A Little Lovin'" by Barry Mann and Cynthia Weil trips along in singular fashion with Conklin covering the importance of the simple things in life message with an earthy charm. Di Martino and Caswell offer well thought out interjections.

For an interesting change of pace, the Dory and André Previn number "Just For Now" is set to a samba beat led by guitarist Guilherme Monteiro and percussionist Samuel Torres, who keep the fire stoked. Conklin covers the number with brisk proficiency and tasteful restraint. The sardonic and hip songwriter /pianist Dave Frishberg hooked up with pianist Alan Broadbent to pen "Heart's Desire." Conklin inhabits this story of love and longing without rigidity or stifling nostalgia.

The final two cuts are more recognizable compositions. The first is Buffy Sainte-Marie's "Until It's Time For You To Go" and then the Kurt Weill/Maxwell Anderson popular standard "September Song." Conklin delivers the first with a strong lyrical footing and evocative coloration. On the second, sympathetically supported by Di Martino and Caswell, she reaches out on an emotional level to deliver a rendition filled with unhurried revelation. By Pierre Giroux https://www.allaboutjazz.com/these-precious-days-mary-foster-conklin-mock-turtle-music

Personnel: Mary Foster Conklin: voice / vocals; John di Martino: piano; Sara Caswell: violin; Ed Howard: bass; Vince Cherico: drums; Guilherme Monteiro: guitar; Samuel Torres: percussion.

These Precious Days

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Ahmad Jamal - Emerald City Nights: Live At The Penthouse 1963-1964, 1965-1966

Emerald City Nights Live At The Penthouse 1963-1964 CD 1
Styles: Piano Jazz, Bop
Year: 2022
Time: 34:23
File: MP3 @ 320K/s
Size: 78,9 MB
Art: Front

(10:29) 1. Johnny One Note
( 7:20) 2. Minor AdJustments
( 6:06) 3. All Of You
(10:27) 4. Squatty Roo

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Emerald City Nights Live At The Penthouse 1963-1964 CD 2
Styles: Piano Jazz, Bop
Year: 2022
Time: 56:27
File: MP3 @ 320K/s
Size: 129,5 MB
Art: Front

(12:17) 1. Bogota
( 7:45) 2. Lollipops & Roses
( 8:16) 3. Tangerine
( 8:58) 4. Keep On Keeping On
(13:48) 5. Minor Moods
( 5:21) 6. But Not For Me

Emerald City Nights Live At The Penthouse 1963-1964 CD 1, CD 2

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Emerald City Nights Live At The Penthouse 1965-1966 CD 1, CD 2

Styles: Piano Jazz

Year: 2022
File: MP3@320K/s
Time: 78:02
Size: 179,5 MB
Art: Front

(15:06) 1. I Didn’t Know What Time It Was
( 5:17) 2. Who Can I Turn To?
(10:33) 3. My First Love Song
( 9:26) 4. Feeling Good
(11:46) 5. Concern
( 5:43) 6. Like someone In Love
( 8:36) 7. Invitation
( 8:43) 8. Poinciana
( 2:47) 9. Whisper Not

Let's entertain the undisputed truth that Ahmad Jamal, all ninety-two years of him, is quite possibly the coolest cat on a warming planet and these companion double sets Emerald City Nights: Live at the Penthouse (1963-1964), and Emerald City Nights: Live at the Penthouse (1965-1966) take on a rather folklorish, must-have status.

With the blessing of His Coolness Jamal himself, Grammy-nominated producer and musical gumshoe Zev Feldman christens his new imprint, Jazz Detective, (itself a division of the Feldman-founded Deep Digs Music Group) in high, high fashion he has set as a standard with other crazy good releases by Cannonball Adderley Swingin' In Seattle Live At The Penthouse 1966-67 (Reel to Reel Recordings, 2019) and Bill Evans Some Other Time: The Lost Session From the Black Forest (Resonance Records,2016) just to name two of many.

Stunning on every possible sensory level audio, graphics, liner notes, performance both sets (a third set of recordings from the Penthouse, 1966-1968 is planed for future release) simultaneously captures Jamal and his cohorts in hot performance mode and sets them free to be heard like all greats should be: At the top of their game. Riding the frothy crest of the jazz world at the time, Jamal, along with bassist Richard Evans and drummer Chuck Lampkin (Disc 1-2 '63) and bassist Jamil Sulieman Nasser (Disc 3-4 '63) set the fires burning early. Rodgers & Hart's show tune "Johnny One Note" gets a fierce recalculation as Jamal creates off the cuff, on the spot, in synch to a whole other rascal level of show tune. This here is what live jazz, on any given moment of any night in any city or backwater, is and should be. Genius revealed. Genius shared.

Evans's romping, "Minor Adjustments" rolls from the stage with a spry and wiry minimalism too impossible (or too improbable) to describe. Let's just say cool abounds. Cool abides and Johnny Hodges's wild ranging "Squatty Roo" is a fast-paced testament to that. Evans' "Bogota" with Nassar on bass for this 3/26/64 gig, snaps and recoils making for a swaying, rhythmic adventure. Jamal throughout pulls from Art Tatum, Erroll Garner, as well as his contemporary Ramsey Lewis, whose insights into Jamal and the times they played accentuates the beautiful packaging, as do essays and analysis by Hiromi, Kenny Barron, Jon Batiste, Marshall Chess , Penthouse broadcast engineer Jim Wilke, Feldman, Aaron Diehl and others in the know.

Emerald City Nights: Live at the Penthouse (1965-1966) kicks off with another Rodgers/Hart show tune, "I Didn't Know What Time It Was" and the tune's inherent whimsy, when fused with Jamal's eccentric economy and the crackling pace of Nasser and Lampkin just skyrockets and ricochets from one end of the Penthouse to another. Hold tight as drummer Vernel Fournier engages in some playful wrangling to wrest control from Jamal on the pianist's own "Concern." Frank Gant picks up the drums and sets that soul/exotic hit single pace of "Poinciana," assuring Emerald City Nights: Live at the Penthouse (1965-1966) is indeed as worthy and exciting a set as the earlier 63-64 set and promises greater heights for all future releases. By Mike Jurkovic
https://www.allaboutjazz.com/emerald-city-nights-live-at-the-penthouse-1963-1964-emerald-city-nights-live-at-the-penthouse-1965-1966

Personnel: Ahmad Jamal: piano; Jamil Nasser: bass; Chuck Lampkin: drums; Richard Evans: bass .

R.I.P.
Born Jul 2, 1930
Died April 16, 2023

Emerald City Nights: Live At The Penthouse 1965-1966 Cd 1, Cd 2

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