Maria Schneider & Dawn Upshaw - Winter Morning Walks

Styles: Jazz, Big Band 
Year: 2013
File: MP3@320K/s
Time: 52:11
Size: 127,2 MB
Art: Front

(3:34)  1. Perfectly Still This Solstice Morning
(1:54)  2. When I Switched On a Light
(3:51)  3. Walking by Flashlight
(2:45)  4. I Saw a Dust Devil This Morning
(3:57)  5. My Wife and I Walk the Cold Road
(2:20)  6. All Night, in Gusty Winds
(1:25)  7. Our Finch Feeder
(2:24)  8. Spring, the Sky Rippled with Geest
(6:05)  9. How Important it Must Be
(4:27) 10. Prologue
(4:48) 11. The Dead in Frock Coats
(3:49) 12. Souvenir of the Ancient World
(6:10) 13. Don't Kill Yourself
(4:35) 14. Quadrille

Maria Schneider proved her genius as a composer and arranger beyond any doubt with Concert in the Garden (ArtistShare, 2004), and she did it again on her second masterpiece of orchestral jazz, Sky Blue (ArtistShare, 2007). With Winter Morning Walks, Schneider introduces her first works with major orchestras, the Australian Chamber Orchestra on the nine part "Winter Morning Walks," and the St. Paul Chamber Orchestra on "Carlo Drummond de Andrade Stories," both in partnership with soprano Dawn Upshaw. "Winter Morning Walks," puts music to the poetry of Ted Kooser, the Poet Laureate of the United States from 2004 to 2006. These short, clear, simple and profound pieces were composed during his recovery from cancer treatment. Upshaw's vocals soar.

The Australian Chamber Orchestra along with long time Schneider compatriots Frank Kimbrough (piano), Scott Robinson (reeds), and Jay Anderson (bass) caress the words, inject small surprises inside the pastel string washes, violins and violas whispering like soft breezes through the prairie grass, making the canopies of the tall trees sing. After the subtle magnificence, the hushed beauty of "Winter Morning Walks," it's probably best to take a break, or to perhaps listen to the work again. It is an experience to be savored before moving on to "Carlos Drummond de Andrade Stories." Carlos Drummond de Adrade (1902 to 1987) was one of Brazil's greatest poets. His writing was most often rooted in the everyday, often featuring contrasts between moods of darkness and light. The St. Paul Chamber Orchestra features a broader palette of colors, with the strings joined by woodwinds and brass embracing the vocals. The backdrop behind Upshaw is more colorful here, though the moods are often darker. "The Dead in Frock Coats" throbs with a deep, aching melancholy; while "Don't Kill Yourself" floats back and forth between whimsey and deep despair, narrated by the poet's street-wise and somewhat detached yet sympathetic even loving voice.

Winter Morning Walks features two major works by a major artist. Trumpeter Wynton Marsalis has long been an advocate for Duke Ellington as the greatest composer/arranger that the United States ever produced. That's a hard point to argue against. We may now, with the release of "Winter Morning Walks" and "Carlos Drummond de Andrade Stories," have to acknowledge Maria Schneider as our greatest "living" arranger/composer. ~ Dan McClenaghan https://www.allaboutjazz.com/winter-morning-walks-maria-schneider-artist-share-review-by-dan-mcclenaghan.php

Personnel: Winter Morning Walks: Maria Schneider: composer; Dawn Upshaw: vocals; Jay Anderson: bass; Frank Kimbrough: piano; Scott Robinson: alto clarinet, bass clarinet; The Australian Chamber Orchestra. Carlos Drummond de Andrade Stories: Maria Schneider: composer; Dawn Upshaw: vocals; The St. Paul Chamber Orchestra.

Winter Morning Walks

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Tineke Postma - The Dawn of Light

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 56:35
Size: 129,9 MB
Art: Front

(6:38)  1. Canção de Amor (Suite I Na Floresta do Amazonas)
(7:10)  2. Falling Scales
(4:19)  3. Before the Snow
(5:37)  4. Leave Me A Place Underground
(6:59)  5. The Observer
(5:47)  6. Off Minor
(4:22)  7. Newland
(4:49)  8. The Man Who Stared At Coats
(4:37)  9. Beyond Category
(6:12) 10. Tell It Like It Is

Since her 2004 debut as a leader, Dutch saxophonist Tineke Postma has released records almost like clockwork every alternate year, with The Traveller (EtceteraNow, 2009), as strong a statement as she's made, featuring a quartet of Americans including drummer Terri Lyne Carrington constant companion since Postma's sophomore For the Rhythm (Munich, 2005). The Dawn Of Light returns to an all-Dutch lineup for the first time since First Avenue (Munich, 2004), with the exception of Grammy Award-winner Esperanza Spalding, whose sweetly appealing voice helps keep the irregularly metered "Leave Me a Place Underground" eminently accessible.  The Dawn of Light reunites Postma with keyboardist Marc Vanroon and bassist Frans van der Hoeven from 2007's A Journey That Matters (Foreign Media). Gigging together since 2006, this is the first time Postma has recorded with this group, which also features drummer Martijn Vink, last heard with her on First Avenue. If artists like drummer Han Bennink and pianist Misha Mengelberg put The Netherlands on the map in the 1960s with their New Dutch Swing, then this new generation of Dutch players is equally forward-thinking, but even more liberal when it comes to the palette from which they work, and the styles from which they draw. 

On this largely acoustic session, which features six Postma compositions written specifically for the group, the aptly titled, tempo-shifting "Beyond Category" one of two tracks written by van Roon goes against type, mixing the keyboardist's Fender Rhodes with some retro synth textures; even van der Hoeven turns on, feeding his double bass through an octave divider for a short but commanding solo in the relatively short track's final moments. The Dawn Of Light may have more limited instrumentation than A Journey, which ran the gamut from quartet to octet, but the greater chemistry of this consistent lineup is apparent from the opening moments of Postma's free-spirited interpretation of Heitor Villa-Lobos' "Canção de Amor." Blending instantaneous spontaneity, rubato lyricism reminiscent of pianist Keith Jarrett's 1970s American Quartet, and lithe contrapuntal elegance all supported with simmering energy by van der Hoeven and Vink Postma's alto solo sets an early high bar which van Roon, on acoustic piano, matches and then raises. Postma's compositional skills continue to develop, whether it's on relative sketches like "Falling Scales," where she provides little more than a roadmap, or the episodic "The Observer," which ebbs and flows in dynamics and tempo, Postma's soprano soaring into fluttering passages that occasionally reach into the stratosphere piercing but pure leading to a stop-and-start piano solo that van Roon mixes with the occasional synth line. Postma recently participated on Terri Lyne Carrington's all-female Mosaic Project (Concord, 2011), which deserves to give her some additional and deserved North American exposure. 

But as strong a performance as the saxophonist turns in there, it's in the context of her own music that her growth is most palpable. Rendering accessibly melodic music with an intrepid spirit that's unafraid to let the music unfold where it may, The Dawn of Light is Postma's most integrated and fully realized album to date; and with the saxophonist still only in her mid-thirties, only time will tell where she goes next. ~ John Kelman  http://www.allaboutjazz.com/the-dawn-of-light-tineke-postma-challenge-records-review-by-john-kelman.php#.VEAIWBawTP8
 

Personnel: Tineke Postma: alto and soprano saxophones; Marc van Roon: Steinway grand piano, Korg MS 20 synthesizer, Fender Rhodes Mark I; Frans van der Hoeven: double bass; Martijn Vink: drums; Esperanza Spalding: vocals (4).

The Dawn of Light

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Maria Schneider Jazz Orchestra - Evanescence

Styles: Big Band, Contemporary Jazz
Year: 1994
File: MP3@320K/s
Time: 72:55
Size: 168,2 MB
Art: Front

(10:29) 1. Wyrgly
(11:23) 2. Evanescence
( 9:02) 3. Gumba Blue
( 5:52) 4. Some Circles
( 8:08) 5. Green Piece
( 7:09) 6. Gush
( 4:53) 7. My Lament
( 7:30) 8. Dance You Monster To My Soft Song
( 8:24) 9. Last Season

Maria Schneider's debut as a leader is quite impressive. Her complex arrangements of her nine originals are most influenced by Gil Evans and Bob Brookmeyer, although her own musical personality shines through. There are strong solos from tenors Rick Margitza and Rich Perry, trumpeter Tim Hagan, altoist Tim Ries, and particularly pianist Kenny Werner, but it is the moody ensembles that most stick in one's mind. Schneider's arrangements are often dense, a bit esoteric, and thought-provoking; this music may need several listens for one to grasp all that is going on. By Scott Yanow
https://www.allmusic.com/album/evanescence-mw0000114781

Personnel: Maria Schnieder – conductor; Mark Vinci – alto saxophone, flute, alto flute, clarinet, piccolo; Tim Ries – alto saxophone, soprano saxophone, flute, clarinet; Rich Perry – tenor saxophone, flute; Rick Margitza – tenor saxophone; Scott Robinson – baritone saxophone, bass saxophone, bass clarinet, clarinet; Tony Kadleck – trumpet, flügelhorn; Greg Gisbert – trumpet, flügelhorn; Laurie Frink – trumpet, flügelhorn; Tim Hagans – trumpet, flügelhorn; John Fedchock – trombone; Keith O'Quinn – trombone; Larry Farrell – trombone; George Flynn – bass trombone, tuba; Ben Monder – guitar; Kenny Werner – piano; Jay Anderson – bass guitar; Dennis Mackrel – drums; Emidin Rivera – percussion on "Gush"; Bill Hayes – flexatone on "Gush"

Evanescence

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Tineke Postma - For The Rhythm

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 63:44
Size: 147,6 MB
Art: Front

(5:23)  1. Summersong
(3:04)  2. Voyage
(5:44)  3. Comprehension
(4:41)  4. Pump It Up!
(8:08)  5. Dialog
(6:40)  6. Song For Sea-Tee
(6:08)  7. New Life
(7:07)  8. Wandering
(5:49)  9. Goodbey
(5:15) 10. Love Theme
(5:40) 11. For The Rhythm

Driving with plenty of contemporary excitement all around her, Dutch saxophonist Tineke Postma provides the kind of tension and release that makes modern jazz swing. Not quite thirty, but experienced through rigorous educational programs in both the United States and Holland, she has combined a strong foundation with her natural inclination for jazz's mainstream. Eight of the eleven pieces on this, her second album as leader, come from her composing pen. Saxophone influences such as Cannonball Adderley and John Coltrane show up in each of the selections, as well as evidence of Postma's mentorships with Chris Potter, Dick Oatts, and Dave Liebman. Look at the common denominator: it all comes from the heart. A dreamy piece written for her mother, "Song for Sea-Tea features alto and guitar in a comfortable unison that floats melody upon melody, while Terri Lyne Carrington's drum set swirls surround them with a rhythmic stutter. Pump it Up! features a similar formula, but with Fender Rhodes in a contemporary adventure that sizzles with dramatic fire. The blues is built in, giving Postma a free-flowing dialog that speaks to a broad audience. Dialog, on the other hand, eschews the blues and goes for the jugular. Here, Postma and guitarist Edoardo Righini bring their fire to a boil gradually, giving it plenty of time to age. 

Her soprano saxophone "dialog reaches far and wide. Additionally, pianist Rob van Bavel turns in a superb solo section on this one that builds from the ground up, unleashing the passion through finely articulated phrases. Carrington ties it all together with her swarming rain of percussive torrents. Goodbye comes at us on slow feet rubato, legato, and reeling like the bartender at 3 am. This tender alto saxophone intimacy works its magic on this standard theme, which is interpreted alone with piano. If the album weren't so darn good to begin with, this piece could be called her best shot. Another intimate arrangement brings us the "Love Theme from Spartacus through the voices of bass, drums, and alto. Pared down for a lyrical affair, Postma's ensemble stretches out with pride. The song itself brings majesty, while the trio adds a warm overcoat to its soul. Closing out with the title track, the full ensemble swings hard in a fresh adventure that smokes behind the leader's blazing alto. The new year has only just begun, and already we're faced with a candidate for our 2006 top ten lists. For the Rhythm comes highly recommended; it reveals a powerful new voice on the mainstream jazz scene that makes the new year look pretty bright. ~ Jim Santella  http://www.allaboutjazz.com/for-the-rhythm-tineke-postma-215-music-munich-records-review-by-jim-santella.php#.VEWfXMlNeKU
 

Personnel: Tineke Postma: alto saxophone, soprano saxophone; Rob van Bavel: piano, electric piano; Edoardo Righini: guitars; Darryl Hall, Jeroen Vierdag: double bass; Terri Lyne Carrington: drums.

For The Rhythm

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Joscho Stephan Trio - Four of a Kind

Styles: Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 48:37
Size: 112,0 MB
Art: Front

(3:16) 1. Swing News
(3:58) 2. One for Max
(3:47) 3. Rambos Armada
(4:36) 4. Tears
(5:05) 5. Funk 22
(3:47) 6. Just a Gigolo
(2:15) 7. Limehouse Blues
(3:47) 8. Beautiful Love
(3:30) 9. It Don't Mean a Thing
(4:08) 10. Blue Moon
(2:41) 11. Valse de la Mer
(4:21) 12. They Remind Me Too Much of You
(3:19) 13. Struttin' with Some Barbecue

Young fingerstyle guitarist from Germany, Joscho Stephan belongs to a new generation of guitar virtuosos who are introducing fresh stylistic elements into Gipsy Swing.

His debutalbum was named CD of the month by the American magazine Guitar Player and critics found Joscho as virtuoso young musician working in the swing tradition of Django Reinhardt.

Stephan’s music is a mixture of slow melodic jazz and fast, jolly gypsy music. Throughout his music Stephan’s incredible skill and technique can be heard from his vibrato to his incredible runs up and down the guitar neck. Recently Stephan has completed a tour around the world with the great Tommy Emmanuel. https://www.veojam.com/players/joscho-stephan

Four of a Kind

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Antonio Zambrini - Quietly

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 49:06
Size: 116,9 MB
Art: Front

(4:18) 1. Olha Maria
(8:19) 2. Alfie
(6:22) 3. Gaia
(4:20) 4. Heyoke
(6:54) 5. First Song
(5:30) 6. Ola Martinho
(5:17) 7. Meu Bem
(8:05) 8. Goodbye

Antonio Zambrini: Jazz pianist and composer from Milan, Zambrini, has drawn the attention of critics and musicians, especially with his “songs,” published his several trios and quartet recordings, as well as reprised and played by various musicians in the jazz area.

Trumpeter and composer Ron Horton had Zambrini guest in his Cd “It’s a gadget world,” recorded in New York in 2006, including some of Zambrini’s songs. Pianist Stefano Bollani opens with a tune by Zambrini, his solo album produced by ECM, the famous label in Germany, issued in 2006.

Mr. Lee Konitz recorded a series of Zambrini’s tunes in a sequence of three CDs they realized together for the label “Philology” in 2008. English pianist John Law dedicated to Zambrini’s music his cd “The moment” in 2002. Zambrini was a guest in several broadcastings by National Radio and he was for 7 years partner of Cineteca Italiana, Milan, improvising live piano soundtracks of silent movies.

More recent projects are regarding young guitarist Filippo Cosentino, with an out coming cd along with Jesper Bodilsen and Andrea Marcelli, a new trio with bass player Paolino Dalla Porta and French drummer Manhu Roche, a cd entitled "Dois Lugares," with the great Samba composer and performer Moacyr Luz. Several concerts in the last two years with this "Dois Lugares " project, led by Italian vocalist Francesca Ajmar and with Moacyr Luz himself, who wrote most of the music for this project.

Also, about Brasil, a long collaboration with the choir director from Sao Paulo, Martinho L. Galati De Olivera, Kept Zambrini through several concerts, finally in Sao Paulo in 2014, playing with some great names of that scene's music like Teco Cardoso, Lea Frerie, and Fabiana Cozza.

Among others, Zambrini performed with Lee Konitz, Mark Murphy, William Parker, Tiziana Ghiglioni, Enrico Rava, Ron Horton, Nenna Frenlone, Hamid Drake, Claudio Fasoli, Tiziano Tononi, Ben Allison, Gabriele Mirabassi, Kyle Gregory, Rita Marcotulli, Javier Girotto, Eliot Zigmund, Jesper Bodilsen, Maria Pia De Vito, Pietro Tonolo, Manhu Roche, Paolino Dalla Porta, Andrea Marcelli, Fabrizio Bosso.
https://www.highresaudio.com/en/album/view/a63fp3/antonio-zambrini-jesper-bodilsen-martin-maretti-andersen-quietly

Quietly

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Lee Wiley - Night in Manhattan

Styles: Vocal
Year: 1951
File: MP3@320K/s
Time: 71:16
Size: 168,2 MB
Art: Front

( 3:26) 1. Manhattan
(37:21) 2. I've Got a Crush on You
( 3:18) 3. I Don't Stand a Ghost of a Chance With You
( 3:10) 4. Oh! Look at Now
( 2:53) 5. How Deep Is The Ocean
( 2:50) 6. Time on My Hands
( 3:15) 7. Street of Dreams
( 3:33) 8. A Woman's Intuition
( 3:10) 9. Sugar
( 2:28) 10. Anytime, Anyday, Anywhere
( 2:34) 11. Soft Lights and Sweet Music
( 3:12) 12. More Than You Know

Sensual and dignified, sophisticated and warm, Lee Wiley has inspired outbursts of sheer poetry from many a captivated listener. Her sound induces a "marvelous," "ticklish" sensation, akin to "running your hand over a piece of fine Harris tweed," marveled producer Dave Garroway. She "blows smoke rings, each note a puff that melts into wisps of vibrato," conceptualized author Will Friedwald. Her voice and style "have long since made me extremely eager to go to bed with her," disclosed critic James Frazier. Not content with this daring confession, he also bluntly labeled her "one bitch of a singer."

Protested singer and Wiley scholar Barbara Lea: "She had more fire, more rhythm, more roughness, more silkiness, more deep personal warmth, than the job description of Pop Singer called for." Asked writer Richard Hadlock, in an open letter to Wiley, "Lee, have you ever wondered why so many… from road-tough musicians to jaded pub-crawlers, act like kids on Christmas when they hear you sing?" (Wiley did wonder.) The eulogies could go on for pages, but the point is clear enough: Lee Wiley is a singer with a certain mystique.

The Wiley mystique was generated by both personal and professional circumstances, and further fed by some willful biographical manipulation by her musical associates, her record labels, and the artist herself. Nicknamed "Pocahontas" and characterized as regal by her friends, Wiley descended from the princess of a Cherokee tribe and from an English missionary who married an American parishioner... according to publicity material. Her birth date remains uncertain - initially given as 1915, then moved back to 1910, still more recently to 1908 - and revisionism has taken over the more sensational aspects of her biography (running away from home in the late 1920s, temporary blindness after a fall from a horse in the early 1930s, a near encounter with tuberculosis in the mid-1930s, etc,).

Her looks most certainly contributed to the Wiley allure. Her brother Ted once reported that everybody wanted to marry the tall, strikingly attractive Oklahoman with corn-colored hair and olive skin. ("Everybody" included the eight-times-married bandleader Artie Shaw, whose offer was declined by the twice-married singer.) One motivation for her long retirement (from about the age of 50 until the years preceding her death from cancer, in 1975) was the apparently high price that Wiley placed on physical attractiveness. It was her contention in 1971 that "singing includes a number of things ... aside from the voice ... these girls who are trying to get up on the bandstand at forty years old ... doesn't make any sense to me."

An enigmatic personality likewise fueled the fascination. Various oral and written accounts paradoxically depict her as difficult and easy to work with; proud and/or bitter about the treatment received from the music business; heavily addicted to alcohol but outspokenly intolerant of other musicians' addictions; foul-mouthed, even unkind to other singers yet fiercely loyal to those within her own circle; hesitant while speaking though assured when singing. Friends and colleagues further portray her as a woman with a strong sense of integrity and a fierce sense of independence, traits that caused her to give up on various "golden" opportunities to further her career. The best documented of such opportunities happened in 1935 when she departed from a feature role in the top-rated Kraft radio show because its producers refused to give billing to composer Victor Young, who was then personal and musical partner.

Wiley's relatively small discography further contributes to her mythic status. Over a four-decade career, she recorded less than ten albums and about 40 singles; live and radio broadcasts make up for the remainder of her material in circulation. Thus her mystique stems not only from her biography and her persona, her looks and her sound, but also from a sort of bittersweet adoration accorded to great but under-recorded artists.
https://www.allaboutjazz.com/musicians/lee-wiley

Night in Manhattan

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Michel Sardaby, Monty Alexander - Caribbean Duet

Styles: Piano Jazz
Year: 1985
File: MP3@320K/s
Time: 55:49
Size: 128,7 MB
Art: Front

(6:04) 1. Jamaica Farewell
(6:48) 2. Yellow Bird
(4:10) 3. Like Someone In Love
(6:57) 4. Nocturne Dance
(5:08) 5. Fuchsia - Hibiscus
(7:27) 6. Antony
(6:15) 7. Happy Talk
(4:52) 8. Macouba
(8:06) 9. Eleuthera

Caribbean-born pianist/composer Michel Sardaby is an adept jazz performer with a warm, sophisticated post-bop style. Born in Fort de France, Martinique in 1935, Sardaby grew up surrounded by music: His father owned a cafe and sold pianos. As a result, he played piano from a young age, and quickly revealed himself as a prodigy. Blanching under the strict tutelage of his private instructor, Sardaby initially stopped his piano studies, choosing instead to study art at the Boulle School in Paris. He eventually returned to his instrument full-time, and worked regularly throughout the '60s, playing with his own groups, and backing blues artists like T-Bone Walker, and Sonny Boy Williamson. As a leader, he made his recorded debut in the late '60s with the quartet session Five Cat's Blues and the live date Blue Sunset.

By the '70s, Sardaby was spending more time working in New York. His output picked up during this period with albums like 1970's Night Cap, a trio date featuring bassist Percy Heath and drummer Connie Kay. More well-regarded albums followed including 1974's Gail, recorded with bassist Richard Davis and drummer Billy Hart, and 1977's In New York, again with Davis as well as drummer Billy Cobham and percussionist Ray Barretto. These albums showcased both his lyricism and his growing interest in Latin and funk rhythms.

Although Sardaby stayed active, his recordings slowed over the next few years, before he returned with Caribbean Duet, a collaboration with pianist Monty Alexander. Going Places, a trio date with bassist Rufus Reid and drummer Marvin "Smitty" Smith, followed in 1989. A year later, he paired with bassist Jay Leonhart for Night Blossom. Straight On, a rare quintet date featuring trumpeter Louis Smith, saxophonist Ralph Moore, bassist Peter Washington, and drummer Tony Reedus, appeared in 1993. Sardaby then moved to the Japanese label Sound Hills for a handful of efforts in the late '90s including Intense Moment, Classics & Ballads, and Voyage with bassist Ron Carter.

Since the early 2000s, Sardaby has recorded intermittently, issuing 2003's trio session Karen featuring bassist Reuben Rogers and drummer Dion Parson, and At Home: Tribute to My Father, with bassist Ray Drummond and drummer Winard Harper. In 2006, the pianist celebrated his 70th birthday and a 50-plus-year career with the concert album A Night in Paris. By Matt Collar
https://www.allmusic.com/artist/michel-sardaby-mn0000890212/biography

Personnel: Piano – Michel Sardaby, Monty Alexander

Caribbean Duet

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Art Pepper - Art Pepper + Eleven

Styles: Saxophone, Clarinet Jazz
Year: 1959
File: MP3@320K/s
Time: 54:36
Size: 125,5 MB
Art: Front

(3:27)  1. Move
(3:24)  2. Groovin' High
(3:13)  3. Opus de Funk
(3:34)  4. 'Round Midnight
(3:00)  5. Four Brothers
(3:00)  6. Shaw 'Nuff
(2:46)  7. Bernie's Tune
(3:32)  8. Walkin' Shoes
(3:20)  9. Anthropology
(3:02) 10. Airegin
(5:17) 11. Walkin'
(3:24) 12. Donna Lee
(5:00) 13. Walkin' (alternate take 1)
(5:02) 14. Walkin' (alternate take 2)
(3:26) 15. Donna Lee (alternate take)

Only a handful of jazz recordings can be described as truly classic. Art Pepper + Eleven: Modern Jazz Classics is a member of that handful. Recorded between March and May 1959, + Eleven has the distinction of being excellent on multiple planes. One is Pepper himself. A journeyman multi-reedist who was already a veteran of big bands lead by Gus Arnheim, Benny Carter, and Stan Kenton, Pepper was reaching his first pinnacle as an artist when + Eleven was recorded. This recording falls chronologically between Art Pepper Meets the Rhythm Section (Contemporary CCD-7532-2) and Gettin' Together (Contemporary OJCCD-169-2) in the Contemporary catalog. This trilogy alone would have established Pepper's reputation as the finest post-Parker alto saxophonists, let alone all of his exceptional comeback recordings of the late '70s and early '80s that followed a decade of incarceration because of Pepper's well known heroin addiction. Pepper's tone during this period was dry ice-cool, very expressive and brilliant. A second source of excellence in this recording is the presence of the late Marty Paich as the arranger. It was a monumental task that Mr. Paich undertook to mold these often craggy bebop tunes into the engaging big band vehicles they became under his pen. 

Denzil Best's "Move" simply jumps from the speakers. It is comparable to Miles Davis 1949 Nonette recording of the same song, except that Paich and Pepper add a hard shine to the soft bop of the song. Paich's French Horns on Monk's "'Round Midnight" recalls both Gil Evans and Claude Thornhill before him, ensuring that lineage of thought remained intact. "Four Brothers," "Bernie's Tune," "Walkin' Shoes," and "Anthropology" are all treated as high art by artist, arranger and band alike. Speaking of the band, this is the third mark of excellence in this recording. A Who's Who of West Coast musicians, it is fairly easy to pick out Pete Condoli's and Smiling Jack Sheldon's trumpets or Bill Perkins's tenor saxophone. Russ Freeman provides the piano as he did on several other Pepper offerings. A Big Band in all but name, this group of musicians was as essential to the historic significance of this recording as the leader and arranger. This release of Art Pepper + Eleven: Modern Jazz Classics is part of Fantasy's effort to release remastered masterpieces from its vaults. All of the alternate takes are released, as they have a several earlier offerings. The sonics of this release are exceptional. The drums and bass are clear and apparent and the space around Pepper and the other soloists is well defined. ~ C.Michael Bailey https://www.allaboutjazz.com/art-pepper--eleven-modern-jazz-classics-art-pepper-contemporary-review-by-c-michael-bailey.php

Personnel: Art Pepper: Alto And Tenor Saxophones, Clarinet; Al Porcino, Jack Sheldon, Pete Candoli: Trumpet; Dick Nash: Trombone; Bob Enevoldsen: Tenor Saxophone, Valve Trombone; Vince De Rosa: French Horn; Charlie Kennedy, Bud Shank, Herb Geller: Alto Saxophone; Richie Kamuca, Bill Perkins: Tenor Saxophone; Med Flory: Baritone Saxophone; Russ Freeman: Piano; Joe Mondragon: Bass; Mel Lewis: Drums.

Art Pepper + Eleven

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Tineke Postma - Aria

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 54:30
Size: 126,9 MB
Art: Front

(5:00) 1. Sankalpa
(5:13) 2. Frede
(4:12) 3. The Sky Is Everywhere
(4:36) 4. Still Another Day
(3:48) 5. Lion's Roar
(6:10) 6. Vibe Shift
(4:11) 7. Idyll for Ellemis
(6:13) 8. Hymn for Hestia
(5:35) 9. Mysterious Duty
(6:17) 10. Leaning Into The Afternoon
(3:11) 11. Loft

Renowned Dutch saxophonist sets out on a journey of exploration and creative expression, accompanied by her new group featuring the talented and acclaimed Ben Monder, Robert Landfermann, and Tristan Renfrow.

Tineke Postma, the highly acclaimed bandleader, composer, and saxophonist, is set to release her eagerly awaited 8th album Aria in May 2023 via Edition Records. Aria reflects Tineke's personal musical journey since the release of her "Freya" album in February 2020, featuring new compositions, including pieces inspired by the Bimhuis Composition Assignment 2021. The title "Aria" represents Tineke's passion for incorporating breath and space in her music, which, she feels, is more important than ever in today's world. It also signifies melody, and is a musical form central to opera, an influence on Tineke and one she holds dear: in particular the expressive and lyrical singing of Maria Callas.

The appeal of the word Aria lies in its versatility. It means "song" or "melody" in Italian, and literally translates to "air," a musical term used for an elaborate vocal solo in opera. Tineke holds a fond memory of hearing legendary opera singer Maria Callas for the first time at age 10, which left a lasting impression on her and shaped her love for strong lyrical melodies. The lyricism, drama, and intensity in Callas' singing has stayed with Tineke ever since and remains a foundation of her musical style. As Tineke explains; “My saxophone playing style, as an instrumental expression closest to the human voice, has always been influenced by the melodic vocal lyricism in the music of greats like Maria Callas.

The word "Aria," meaning "air," also inspires me to allow my music to breathe, whether it's intense or serene. One of the things we as musicians can do for the community and humanity as a whole is to let peace, awareness and the beauty of music and life resonate through our compositions and playing.” There is so much going on in our world right now; we all can use some space, breath and air when we create and deal with life.”“Through the years I’ve come to realise that AIR is the most important element I need as a horn player and human being. I try to always ask myself before I pick up my horn; how am I feeling right now? Do I feel grounded? Breathing properly gets me into a zone of focus and relaxation in order to be as creative and play as well as possible.

This album is a mix of instant composed ensemble improvisations and composed music by Tineke. Besides lyrical melodies and adventurous rhythms, she focuses on musical elements such as sound, space, textures, ambience and orchestration inspired by the music of Ben Monder, Bill Frisell, Paul Motion, electric music from the 1970s by Miles Davis and the full oeuvre of her hero Wayne Shorter.

For some of her “compositions” Tineke used clear musical forms based on certain Aria forms, with a clear beginning and end, some shorter and longer or through composed Aria forms. Until 1400 the Aria signified a style of singing, after 1700 it referred to an instrumental form. Back then the Aria consisted of three parts. One of Tineke’s compositions, called The Sky Is Everywhere is influenced by this. After 1850 a concert Aria was a song which stood alone without being part of a larger work with one mood and one tempo. Leaning Into the Afternoons, Those Who Are Closely and Ballad are good examples of this concept. The Aria part of an opera is the moment of reflection and expression of the story. As Tineke always says; “I like to tell stories with my work and playing”.

Aria

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Kathrine Windfeld Big Band Plays Thomas Agergaard - Black Swan

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 56:56
Size: 132,0 MB
Art: Front

(6:44) 1. Black Swan
(5:02) 2. Human Be Legends
(7:03) 3. Different Corner
(5:57) 4. Hast
(4:04) 5. Air Born Lotus
(3:48) 6. Op-us 1 Suite, Dream Society
(5:10) 7. Op-us 1 Suite, History Talks
(2:33) 8. Op-us 1 Suite, Fixing Room
(3:32) 9. Op-us 1 Suite, For Nick
(6:11) 10. Op-us 2 Suite, Storm P
(3:20) 11. Op-us 2 Suite, Testing
(3:27) 12. Op-us 2 Suite, Why Why Why

Do opposites really attract? Danish big band leader Kathrine Windfeld's compositions are meticulously worked out in advance, whereas saxophonist Thomas Agergaard, her collaborator on this gig, takes a different, more spontaneous approach.

"Thomas writes quite differently than I do," says Windfeld. "He thrives on the energy of the moment. This is beneficial to the music, but it is also a challenge when we are so many together and have to make something work within a limited time frame."

Some of the numbers on this album are reworkings of old compositions but others were put together in the studio just before the recording was made. The gentle, meditative ballad "Airborne Lotus" the most interesting song in the collection is an example of the latter approach. Agergaard's tenor states the theme over Windfeld's subdued piano accompaniment. "Dream Society," which follows, features Agergaard on alto flute and is darker and more intricate. It's part of a suite that includes three more songs, the most interesting of which is perhaps the brooding "For Nick."

It's all a bit hit and miss. There are some interesting bits and pieces but the suite and the CD in general, lacks overall musical coherence. The first suite is followed by a second which culminates in "Why Why Why," an existential cry of pain the listener may well feel like echoing.

After the session Windfeld said, "It's been exciting for the band and not least of all for myself, to have a different kind of repertoire." The impression was that she'd nonetheless be glad to return to more familiar if less exciting modus operandi in future. When opposites attract, perhaps it's only for a limited amount of time.By Chris Mosey https://www.allaboutjazz.com/black-swan-kathrine-windfeld-big-band-storyville-records-review-by-chris-mosey

Personnel: Kathrine Windfeld: piano; Gøran Abelli, Mikkel Aagaard, Anders Larson: trombone; Magnus Oseth, Andre Bak, Rolf Thofte Sørensen: trumpet; Thomas Agergaard, Jakub Wiecek, Roald Elm Larsen, Ida Karlsson, Toke Reines: saxophone; Viktor Sandstrøm: guitar; Johannes Vaht: bass; Henrik Holst Hansen: drums.

Black Swan

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Maria Schneider - Days Of Wine And Roses

Styles: Jazz, Big Band
Year: 2005
File: MP3@320K/s
Time: 57:39
Size: 132,5 MB
Art: Front

(8:46)  1. Lately
(7:07)  2. The Willow
(5:33)  3. That Old Black Magic
(7:20)  4. My Ideal
(2:49)  5. Last Season
(8:46)  6. Days Of Wine And Roses
(7:22)  7. Over The Rainbow
(9:53)  8. Bird Count

Originally released in a limited edition boxed with two bottles of Riesling wine the reissue of this unique CD is a welcome event for fans of Maria Schneider. There's no wine this time but it still includes a fascinating taste of her older arrangements. There are three that reach back more than twenty years to her studies at the Eastman School of Music: the originals: "Bird Count and "Last Season, and her chart of the standard "My Ideal.  Her composition "Lately dates from 1987 and was originally intended for Mel Lewis but never submitted to his orchestra. "'The Willow' was written as a dedication of love and gratitude to Mel, according to Schneider's notes. Her close friend and teacher Bob Brookmeyer commissioned the arrangements of "That Old Black Magic and "Over the Rainbow for a project with the Cologne Radio Orchestra. Ivan Lins' "Começar de Novo and the title selection come from a 1994 collaboration with Toots Thielemans and the Norrbotten Big Band."This album is like a double-exposed photograph, she writes in the liner notes, referring to the pre-Orchestra arrangements from the 1980s through the 1990s juxtaposed with the late January 2000 edition of her own large ensemble, recorded live to two-track at the Jazz Standard by the brilliant engineer David Baker. Days of Wine and Roses is dedicated to Baker, who recently passed away. He also co-produced the recording with Schneider. The magnificent sonic clarity, depth and definition serve as a fitting remembrance of his loving attention to detail and keen hearing; he was likely the premier recording engineer of his time.The Maria Schneider Orchestra's previous recordings tended to concentrate primarily on a diaphanous quality in the writing, leading many commentators to pigeonhole her as a colorist, an orchestral impressionist akin to Gil Evans, with whom she apprenticed and to whom Evanescence was dedicated. Days of Wine and Roses demonstrates conclusively that this is but one facet of her talents as a composer, arranger and orchestrator. "Lately is a relaxed yet propulsive swinger in a latter-day Basie groove that would have been right at home in the Mel Lewis Jazz Orchestra book. The bustling "Bird Count brings the Charles Mingus of "Gunslinging Bird to mind, as well as its namesake Charlie Parker, with preaching reeds plus testifying trumpets and trombones massing in gospel-esque fervor.

It might be said that the arrangements are the true "stars of this organization, but there are some beautifully conceived and fully formed solos as well. One that must be singled out is Scott Robinson's baritone saxophone tour de force on "The Willow. A portion of this tenderly limned melody bears a fleeting resemblance to Duke Ellington's "Prelude to a Kiss, and a similar mood is evoked as well. The baritone solo begins in pensive pastels, lightly burred at times, with pianist Frank Kimbrough's gently probing accompaniment and the stirring brushes of drummer Tim Horner. Schneider's arrangement gradually brings in the other horns, building the dynamic level, and Robinson rises with them, an eagle riding a thermal, judiciously applying split tones and a range from the bottom of the horn to the near-falsetto register. He flies up and "out without losing sight of the ground then gradually glides back down, meshing mesmerizingly with the orchestration. It's a dramatic performance, ranging from tenderness to passion and back again. The title is certainly an apt one. Like a willow, this composition, arrangement and interpretation have a tensile strength that nonetheless bends with the breeze, never brittle and unyielding, always motile and mutable. "Last Season is a fetching miniature, performed as a solo piano reflection by Frank Kimbrough, which segues seamlessly to the saudade orchestral intro of "Começar de Novo. Soprano saxophonist Tim Ries is the featured soloist on this piece, which is a gorgeous ballad rather than a bossa nova or samba despite its Brazilian pedigree.

Rick Margitza takes "That Old Black Magic at a brisk pace, the chart buoying along a fleet tenor saxophone solo with some particularly pungent lower brass exclamation points. Greg Gisbert's mellifluous flugelhorn is showcased on "My Ideal, which opens and closes as a ballad with a lightly swinging medium-tempo portion at the midpoint. "Days of Wine and Roses is transformed from an evocation of cocktail lounge ennui to an up-tempo romp in this arrangement, with solos from Ries whose soprano tone is here a touch too austere for my taste and Rich Perry on tenor. Schneider's rhapsodic chart of "Over the Rainbow is graced with an eloquent solo by alto saxophonist Charles Pillow, who has some of the spicy snap of latter-day Art Pepper in his sound and ideas here. Pepper also recorded a nakedly emotional interpretation of this classic Harold Arlen melody. The closing "Bird Count has a string of solos, with Frank Kimbrough on piano and Ingrid Jensen on trumpet the standouts. It's too bad that there isn't more of Jensen's solo work on the program; she is a superb player. In the five-plus years since Days of Wine and Roses was recorded there have been a few changes of personnel in the orchestra, but the majority of musicians (thirteen by my count) are the same as on 2004's Concert in the Garden. Pianist Frank Kimbrough is one of the constants, as is guitarist Ben Monder. Although the latter doesn't solo in this program, he is an essential part of the rhythm section, while the former is a marvelously incisive, expressive soloist and one of the leading accompanists in the business. The continuity and cohesion of the ensemble are exemplary. Days of Wine and Roses presents a snapshot of the 2000 edition of the Maria Schneider Orchestra in performance, and it's a gladly received document of another side or perhaps one should say other sides of her estimable talents. This recording is available only through Maria Schneider on the web. ~ Bill Bennett https://www.allaboutjazz.com/maria-schneider-orchestra-days-of-wine-and-roses-live-at-the-jazz-standard-by-bill-bennett.php

Personnel: Maria Schneider: composer, arranger, conductor; Tim Ries: alto and soprano saxophone, clarinet, flute; Charles Pillow: alto and soprano saxophone, clarinet, flute; Rich Perry: tenor saxophone, flute; Rick Margitza: tenor saxophone, flute; Scott Robinson: bass and baritone saxophones, bass clarinet, clarinet, flute; Tony Kadleck: trumpet, flugelhorn; Greg Gisbert: trumpet, flugelhorn; Laurie Frink: trumpet, flugelhorn; Ingrid Jensen: trumpet, flugelhorn; Keith O'Quinn: trombone; Rock Ciccarone: trombone; Larry Farrell: trombone; George Flynn: bass trombone; Ben Monder: guitar; Frank Kimbrough: piano; Tony Scherr: bass; Tim Horner: drums.

Days Of Wine And Roses

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Artemis - In Real Time

Styles: Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 50:23
Size: 117,2 MB
Art: Front

(7:05) 1. Slink
(6:17) 2. Bow and Arrow
(6:18) 3. Balance of Time
(4:51) 4. Lights Away from Home
(7:30) 5. Timber
(7:03) 6. Whirlwind
(5:34) 7. Empress Afternoon
(5:42) 8. Penelope

The all-star jazz sextet Artemis further coalesce their sophisticated post-bop sound with their sophomore album, 2023's In Real Time. When the group debuted with 2020's eponymous title, the all-women group brought each of the member's extensive solo experience to bear on their vibrant group sound.

While part of the line-up has shifted since then, the group (still led by pianist Renee Rosnes) sounds even more united. Part of this is due to the increased time Rosnes and her rhythm section partners, including bassist Noriko Ueda and drummer Allison Miller, have spent touring and performing together.

Also returning is trumpeter Ingrid Jensen, whose warm tone and lithe, Kenny Wheeler-esque harmonies work as a bold herald to the group's lush interplay. Coming on board this time out are tenor saxophonist Nicole Glover and alto saxophonist/multi-reedist Alexa Tarantino, who both bring their distinctive improvisational styles to the fore. While originality is still at the core of Artemis' sound, there's a feeling that Rosnes and her bandmates are also exploring their influences.

It's a vibe that's evident from the start on their sparkling rendition of longtime Pat Metheny bassist Lyle Mays' "Slink," a song culled from his 1985 self-titled album. Here, Artemis transform the contemporary synths of Mays' original into a more organic-sounding arrangement, one where the contrapuntal bass groove is nicely off-set by colorful flute, sax, and vocal harmonies.

They further underscore the deep influences at play on In Real Time with album's closing take on Wayne Shorter's "Penelope" fleshing out the late sax legend's composition with Jensen's muted, night sky trumpet leads, Rosnes' luminous pianos chords, and spectral saxophone solo from Glover. Equally potent are the group's own originals, including Miller's "Bow and Arrow" (a roiling tune in the '60s hard bop tradition) and Tarantino's atmospheric waltz "Whirlwind" (recalling Miles Davis' '60s recordings).

There's also Jensen's "Timber," her vocal-like trumpet textures framed by a funky '70s-style groove and Rosnes' dewy Fender Rhodes accents. While much of In Real Time evokes the deep well of the post-bop jazz tradition that inspires Artemis, they never fail to inspire on their own terms.By Matt Collar
https://www.allmusic.com/album/in-real-time-mw0003961691

Personnel: Renee Rosnes: piano; Ingrid Jensen: trumpet; Alexa Tarantino: alto and soprano saxophone, flute; Nicole Glover: tenor saxophone; Noriko Ueda: bass; Allison Miller: drums.

In Real Time

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Freddie Hubbard - One of a Kind

Styles: Trumpet Jazz
Year: 2023
File: MP3@320K/s
Time: 42:23
Size: 97,8 MB
Art: Front

(4:20) 1. UK Forty
(7:22) 2. One of a Kind
(8:18) 3. First Light
(2:30) 4. There Is No Greater Love
(4:44) 5. Love Connection
(7:12) 6. One of Another Kind
(7:56) 7. UK Forty One

Hubbard played the mellophone and trumpet working under local legends Wes and Monk Montgomery, before moving to New York and becoming immersed with some of the city’s finest Jazz musicians, including Philly Joe Jones, Sonny Rollins, Slide Hampton, Eric Dolphy, J. J. Johnson, and Quincy Jones. His recording “Ready For Freddie” solidified him as one of the most innovative and underrated Jazz trumpet players alive, and it’s follow-up, the critically acclaimed album “First Light”, not only won him his first Grammy Award, cementing not only his jazz status but also his mainstream appeal

“…a barnstorming trumpet player… …triumphantly volatile.” – John Pareles, New York Times

The Ad Lib Series, now available on DVD for the first time, is a collection of 46 concert TV programs presenting the best Jazz, Pop and Blues artists showcasing their skills with a Jazz flair. Seen on TV internationally, Ad Lib (filmed in 1980) was the first musical television series recorded in Stereo. Each DVD features 2 episodes of the acclaimed Ad Lib Series.

As Seen on TV, this special Ad Lib Series DVD, “Freddie Hubbard: One of a Kind”, captures one of the 20th Century’s greatest Jazzmen, impressing everyone who heard him blow his horn. Freddie Hubbard, known throughout his career as a passionate yet bold and ferocious trumpeter, constantly adapted his playing style with a seemingly effortless poise, creating an individual style with powerful grace.
https://arkadiarecords.com/product/freddie-hubbard-one-of-a-kind/

Personnel: Freddie Hubbard: Trumpet; Billy Childs: Piano; Stephen Houghton: Drums; Buck Clark: Percussion; Larry Klein: Bass

One of a Kind

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Dutch Swing College Band - Dutch Swing College Band 75

Styles: Jazz, Swing
Year: 2022
File: MP3@320K/s
Time: 46:17
Size: 107,7 MB
Art: Front

(2:54) 1. 2020 Rag
(3:56) 2. Lulu's Back in Town
(4:13) 3. Aunt Hagar's Blues
(2:52) 4. Oriental Strut
(4:01) 5. Rent Party Blues
(2:34) 6. Darktown Strutters Ball
(2:48) 7. The Eel
(3:16) 8. Shim-me-sha-wabble
(3:53) 9. Lazy Mood
(2:41) 10. Charleston
(3:44) 11. Quincy Street Stomp
(3:42) 12. The Mooche
(2:35) 13. Georgia Swing
(3:01) 14. Tiger Rag

The Dutch Swing College Band has endured numerous personnel changes in its more than fifty-year history as one of the Netherlands' top jazz ensembles. Although no members remain from the original group, the latest lineup continues to honor the tradition-rooted approach of the founders.

Bob Kaper replaced clarinet player Peter Schilperoort during an illness in 1966, and remained with the band; he has led the Dutch Swing College Band since Schilperoort's death in 1990. The fourth leader in the group's history, Kaper succeeds Frans Vink, Jr. (1945-46), Joop Schrier (1955-60), and Schilperoort (1946-55; 1960-1990). Kaper previously led the Beale Street Seven, a group he founded in 1957.

An amateur group from 1945 until turning professional in 1960, the Dutch Swing College Band reached their early peak in the late '40s, when they were tapped to accompany such jazz musicians as Sidney Bechet, Joe Venuti, and Teddy Wilson. The New Melbourne Jazz Band recorded an album, A Tribute to the Dutch Swing College Band, featuring music associated with the Holland-based group. By Craig Harris
https://www.allmusic.com/artist/dutch-swing-college-band-mn0000130996/biography

Dutch Swing College Band 75

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Roxy Coss - Chasing The Unicorn

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 56:58
Size: 196,8 MB
Art: Front

(5:46)  1. Chasing the Unicorn
(4:40)  2. A Shade of Jade
(3:46)  3. You're There
(4:52)  4. Free to Be
(4:15)  5. Oh! Darling
(5:08)  6. Never Enough
(5:17)  7. Virgo
(5:13)  8. Unwavering Optimism
(5:57)  9. Benny's Tune
(6:00) 10. Endless Cycle
(5:59) 11. Crazy

The title of the third, and latest release of New York based saxophonist Roxy Coss, Chasing the Unicorn (Posi-Tone, 2017), enables a vision that all artists embrace-that elusive and mythical state of total expression attained by only an elite few, that which not only presents beauty and passion to the universe, but is integrated into the social and spiritual dynamic of the culture it embraces. The pursuit in itself is where sounds, sights, and emotions are gathered to create true art. In the saxophone world, this conjures up names like Parker, Coltrane, Shorter, and Henderson. This pursuit of an impossible, elusive, and ultimately expressive state is the world where saxophonist Roxy Coss resides. Known largely for her work with trumpeter Jeremy Pelt, Coss developed rapidly as a leader, and more importantly, as a composer, during her quintet's three year residency at New York's famed Smoke Jazz Club. Her musical relationship with guitarist Alex Wintz prompted a change in her approach to the traditional jazz quintet, replacing the trumpet with guitar, creating a front line partner with greater harmonic and melodic versatility. On this recording, she adds pianist Glenn Zaleski, who dwells in the modern aesthetic territory of pianists such as Brad Mehldau while echoing influences of the great Bill Evans.

This is equatable to the leader Coss, who can't seem to shake the tethers tied to masters like Wayne Shorter and Joe Henderson in her pursuit of her own distinctive sound. That being said, she achieves a wonderful blend of lyricism and inspired intensity throughout her solos on both tenor and soprano saxophones, and on her interpretation of Wayne Shorter's classic hard bop ballad, "Virgo," a daunting and pensive bass clarinet. New York firebrands, bassist Rick Rosato, and drummer Jimmy Macbride round out the quintet, and deliver as one would expect. Rosato's lovely tone, sense of timing, form, and melodic invention underpins the foundational pulse of MacBride's fluid playing, echoing the percussive sentiments of his mentor, Kenny Washington.


Coss leads the way on the title track, with a winding angular melody on soprano, switching to a harmonic role mid piece on bass clarinet. The piece personifies Coss' compositional prowess, and the wonderful rapport this quintet attains throughout this recording. Rosato and Macbride maintain the balance between form and spontaneous invention, enabling Wintz to play the role as counterpoint foil for Coss, and blending ever so deftly with pianist Zaleski to create a layered approach to harmony. Coss' original pieces are worthy palettes for musical interpretation, and throughout the course of her three albums Roxy Coss (Self Produced, 2010), Restless Idealism (Origin, 2016), and now Chasing the Unicorn, they are seemingly fleeing the constraint of her ever evolving hard bop notions of uniformity. "Free to Be" personifies this continually liberating progression for Coss, building the melody off of a melodic triad with Wintz and Zaleski. Her soprano solo builds to an improvised counterpoint exchange with Wintz, that is validation of Coss' audible vision of what she wants her quintet to sound like. Any notion that eschewing the traditional jazz quintet front line with trumpet as some sort of trivial maneuver to establish uniqueness is vanquished. Her musical bond with Wintz is comparable with any saxophone/trumpet pairing, with the added chordal, harmonic dimensional rapport. Coss' decision to cover the Lennon/McCartney classic, "Oh! Darling" makes perfect sense, being that it is built on the blues, an aspect of Coss' personal approach that is offered in exquisite fashion by her probing and soulful tenor.

The aforementioned foray into Shorter's "Virgo" displays the artist's versatility in this interpretive rendition delivered on bass clarinet. One of Shorter's more tender melodies is sublimely treated with emotive phrasing and a deep, pulsing tone, adrift with relentless romanticism. Roxy Coss' understanding of the jazz language, of identifying her personal approach as a leader continues to progress, or rather advance, utilizing giant strides rather than short, measured steps. Sure, she has spent ten years now in New York, ten years away from the west coast stronghold of jazz that is her native Seattle. In traditional terms, she has paid her dues. She has been able to create art that is emblematic of her upbringing, being the daughter of brilliant sculptor, and light and sound artist, Mary Coss. She has done so with a tenor saxophone and a passionate allegiance to the masters that have paved the way. She is willing to escape the boundaries of her fears, and continue to endeavor into that which is mythical in vision, yet tangible in form. Chasing the Unicorn is a reflection of just that.
By Paul Rauch https://www.allaboutjazz.com/chasing-the-unicorn-roxy-coss-posi-tone-records-review-by-paul-rauch.php

Personnel: Roxy Coss: tenor and soprano saxophones, bass clarinet; Alex Wintz: guitar; Glenn Zaleski: piano; Rick Rosato: bass; Jimmy Macbride: drums.

Chasing The Unicorn

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Antonio Zambrini, Andrea Di Biase, Jon Scott - Songs From The Procol Harum Book

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 48:42
Size: 111,7 MB
Art: Front

(6:51) 1. Pilgrim's Progress
(6:01) 2. Crucifiction Lane
(8:20) 3. A Salty Dog
(5:36) 4. Homburg
(7:58) 5. Fires (Which Burnt Brightly)
(5:41) 6. Quite Rightly So
(3:48) 7. Something's Following Me
(4:24) 8. A Whiter Shade Of Pale

Antonio Zambrini is esteemed one of the best italian composer. The last three recordings by Antonio Zambrini , “Quartetto”, “Due colori” and “Musica” ( all by Abeat records ) have been of great success either in critics and sales all around many countries. It’s the first time that Antonio Zambrini is recording some songs by other people’s.

To do that he choose the repertoire of Procol Harum, the band from England who, during the ‘60 and ’70 years, created some very well known songs all over the world such as “A Whiter Shade of Pale”, “Homburg”, “Salty Dog”, “Something’s following me” and many more…Elegance of touch, accurate care of choosing notes, deep but peaceful improvisation, predilection of intimate situations, makes Antonio one of the most original pianist of the Italian scene.

In this Cd Zambrini has been supported by the doublebass player Andrea Di Biase , who studied at the Guildhall School of London and by the English drummer Jon Scott. The typical italian mood of Zambrini takes more inspiration from the “British”climate of the rhithmic section.By JazzLoft

Personnel: Antonio Zambrini (piano); Andrea Di Biase (double bass); Jon Scott (drums)

Songs From The Procol Harum Book

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Rickie Lee Jones - Pieces Of Treasure

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 34:09
Size: 79,4 MB
Art: Front

(3:11) 1. Just in Time
(3:20) 2. There Will Never Be Another You
(3:26) 3. Nature Boy
(4:16) 4. One For My Baby
(2:50) 5. They Can't Take That Away from Me
(2:31) 6. All The Way
(4:08) 7. Here's That Rainy Day
(4:44) 8. September Song
(2:53) 9. On the Sunny Side Of The Street
(2:46) 10. It's All In The Game

Ever since Linda Ronstadt bravely took on the Great American Songbook with three albums back in 1983, pop singers with a rock background have taken on the classics of the first half of the 20th century and reinterpreted them for contemporary audiences. When Ronstadt sang them with the Nelson Riddle Orchestra, critics considered the act revolutionary. Rock originated as a rebellion against the mainstream pop of the 1950s. Now rock was dissenting from what it had become by embracing what it had campaigned against. Artists as varied as the once vulgar Rod Stewart (remember songs such as “You’re So Rude” from A Nod Is as Good as a Wink?) and anti-authoritarian as Bob Dylan have gone on to release multi-volume collections of smooth standards.

Now it’s Rickie Lee Jones‘ turn. As one might expect, she does it coolsville style with a jazz combo. She makes the songs her own through her combination of little girl style and wizened woman narration. When Jones sings, her vocals tell a story through her intonations as well as through the lyrics. At times, she makes one put down the whiskey and grab the cigarette from the ashtray as she wistfully recalls “There Will Never Be Another You”. In other songs, such as “It’s All in the Game”, the opposite is true. Listening to the singer’s sadness makes one want to reach for a drink.

Russ Titelman, who co-produced Jones’ 1979 self-titled debut (and her second record, Pirates), helms this production. But this is no retro album or exercise in 1970s nostalgia. The music and style are very different than it used to be. Titleman assembled a small jazz combo (Rob Mounsey on piano, guitarist Russell Malone, bassist David Wong, and drummer Mark McLean) to back Jones and let her vocals breathe. More importantly, to let the songs move in a metropolitan air where the spaces between sounds are as significant as the instruments themselves. There is a spareness to the arrangements that conveys urbane refinement. The music was recorded at Sear Sound during a five-day stint in New York City and sounds as sophisticated as the city that never sleeps.

Even the rural connotations of “Nature Boy” come across as cosmopolitan, thanks to Ara Dinkjian’s lead oud playing. The instrumental introduction situates Jones’ intonations about “the strange, enchanted boy” into something transcendent. The singer’s declaration that love is the secret of life makes perfect sense in this context.

Love is the primary topic of songs from the Great American Songbook, whether it’s the lack of it (i.e., “One for the Road”) or that it redeems (“Just in Time”), or how it’s the end all / be all (“All the Way”) or the memories of it (“They Can’t Take That Away From Me”). Jones croons about love with sweetness but never gushes too sentimentally. Her persona suggests that she’s always in control, even when she sings about being out of control.

May that's just a function of age. When she croons, “Here’s That Rainy Day”, she doesn’t seem upset about her fate (being alone) as much as accepting her destiny. The same is true of the opposite side of the coin. The young narrator of “On the Sunny Side of the Street” extols life’s positive virtues. You can feel the singer leaving her troubles at the door and walking down the avenue with a big smile on her face.

Jones’ ability to be both old and young makes her rendition of “September Song” compelling. She can identify with each lover of a May/December romance, no matter what age. Jones is a pirate who plunders the treasures of the Great American Songbook for all of its riches. The music is as timeless as she is. By Steve Horowitz
https://www.popmatters.com/rickie-lee-jones-pieces-of-treasure

Personnel: Rickie Lee Jones voice / vocals; Russell Malone guitar, electric.; David Wong bass; Mark McLean. drums; Mike Mainieri. vibraphone.

Pieces Of Treasure

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Various Artists - Colin Curtis Presents Jazz Dance Fusion

Styles: Fusion, Latin Jazz
Year: 2018
File: MP3@320K/s
Time: 117:29
Size: 270,0 MB
Art: Front

(5:52) 1. What's Going On
(4:50) 2. Harolds House of Jazz
(7:43) 3. Spirit of Truth
(4:01) 4. The Angels
(6:49) 5. Spirit's Samba
(2:55) 6. Someone to Light Up My Life
(4:12) 7. Zamba
(5:52) 8. To Let You Know I Care
(7:52) 9. The Samba Express
(6:30) 10. Murilley
(3:56) 11. New York Afternoon
(5:13) 12. Empty Faces
(6:06) 13. Ponteio
(6:00) 14. Flying Colors
(8:37) 15. Image
(5:22) 16. Vera Cruz
(6:35) 17. Morning Song
(4:35) 18. El Exi-Hente
(6:45) 19. Demon Upstairs
(7:35) 20. Samba Do Brilho

Well, you wait for a decent Jazz compilation to come along and then two come along at once. In a previous review we talked about Mike Peden and Tony Higgins’ J Jazz compilation on BBE and gave it top marks and now DJ and music collector supreme Colin Curtis has compiled another blinder out now on Joey Negro’s Z Records.

Before reviewing this selection it is important to put it into a context. The Jazz scene in the UK is so strong at present with DJ events such as Shiftless Shuffle, The Return of the Illicit Groove’s nights, Another Sunday At Dingwalls and Out To Lunch. Coupled with live acts such as Sons of Kemet, Nubya Garcia, Moses Boyd and their various collaborative incarnations and we are truly living in an era which bridges the Jazz dance and Rare Grooves scenes of the 80s to the New Jazz of today. The bands featured on the Brownswood compilation ‘We Out Here’ and who appear at the weekly Jazz Re:Freshed are testament to that link.

So where does Jazz Dance Fusion fit into this? Well, first off this is not an excuse to bury oneself in a retro pique of nostalgia. Indeed, what this compilation represents is an underpinning of what is new now. Always a leftfield sub-genre within the leftfield genre of Jazz, Jazz dance was, and is, the music which bridged the gap between soul, funk and latin grooves and which gave the dancers the chance to throw down moves or simply just lose themselves in rythyms which screamed out at them.

My personal journey into this came in the 80s when, as an extremely hung over soulboy, I went into the Saturday afternoon jazz room session at a weekender expecting to be able to get a hair of the dog and nurse my way into the night to come. I have no idea who was on the decks that moment I walked in but what was playing was Charles Earland’s brilliant track Murilley and what happened was I never made it across the dancefloor to the bar. Three hours of dancing later I was hooked. This album brings that day back to me in an almost visceral way.

However, as I said earlier, this album along with other recent compilations (J Jazz, Kev Beadle’s Private Collection etc) are so important for the thriving scene that exists right now with the new acts, DJs, bands, events already outlined. From Track 1, the sublime version of Marvin’s What’s Going On by Michele Hendricks to Track 20, Bill Hardman’s Samba Do Brihlo there is a massive hint to to the new Jazz of today with rythyms and drum breaks that are clear pre-cursors to Drum & Bass, Hip-Hop and House music. The vocal tracks, Richie Cole’s seminal New York Afternoon, the aforementioned Michele Hendricks and Mark Murphy’s Empty Faces, reach out in a way that vocalists of the calibre of Asheber, Saul Williams & Zara Macfarlane do now....More
https://illicitgroove.wordpress.com/2018/03/01/colin-curtis-presents-jazz-dance-fusion-a-review-by-bob-hill/

Colin Curtis Presents Jazz Dance Fusion

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Roberta Donnay - Bohemian

Styles: Vocal
Year: 2001
File: MP3@320K/s
Time: 35:31
Size: 82,7 MB
Art: Front

(4:05) 1. Crack In The Sidewalk
(5:02) 2. Fly Me In From Nowhere
(4:34) 3. Graffiti
(3:33) 4. Canada
(4:38) 5. Jody
(5:16) 6. This Train
(4:20) 7. I Will Not Be Blind
(3:59) 8. Ain't Got You

Musicians can take on the role of anthropologist, curious about what came before in music and how musicians reflected their world around them. Award- winning vocalist and songwriter Roberta Donnay is that rare species of musician who almost lives in another time, as she and her Prohibition Mob Band exist to revive the Jazz Age of America. After two very enjoyable CDs of music from the 1920s-30s, Roberta Donnay and her Prohibition Mob Band continue their exploration of early jazz and swing with a tribute to one of the most influential figures in all of jazz. Donnay is possibly the first female singer to record a full-length project devoted exclusively to Louis Armstrong.For My Heart Belongs To Satchmo, Roberta Donnay & the Prohibition Mob Band revive 15 songs from Armstrong's career. Avoiding the obvious hits, Donnay performs both superior obscurities and personal favorites.

“'My Heart Belongs To Satchmo' is such a joyful project for me,” adds Donnay, “I wanted to capture the heart of Satchmo and the love that we have of his music.” Ms. Donnay, her arrangers, and the musicians of the Prohibition Mob Band succeed at paying a loving tribute to the great Satchmo.~ Scott Yanow, jazz journalist/historian

Featured performers on the recording are Donnay’s Prohibition Mob Band: John R. Burr, piano; Sam Bevan, bass; Deszon Claiborne, drums; Rich Armstrong, coronet/trumpet; Sheldon Brown, clarinet; Mike Rinta, trombone, Matt Baxter, guitar. Guest artists: Annie Stocking, background vocals on “Pennies From Heaven”.

“Bathtub Gin”, listed as One Of The Best Albums 2015 in DownBeat Magazine, is another significant achievement in Donnay’s colorful and productive career as a producer, performer and songwriter. Always writing, Donnay has had many of her songs selected for multiple TV and film placements and has served as a music supervisor for movies. Also a producer and a journalist, Donnay understands how music can help tell the story of issues and events. Her song “One World,” an ASCAP Composer Award-winning song, was selected as a world-peace anthem for the 50th Anniversary of the United Nations and was the theme for World Aids Day in South Africa. A longtime resident of the Bay Area, Donnay has been a singer and percussionist with the iconic band Dan Hicks and The Hot Licks since 2005- 2016 and also performs still with “The Hot Licks”. Her own band, The Prohibition Mob Band, is well known out west and tours frequently.

Shares Donnay, I’m honored to have the opportunity to record and perform this music, to carry forward a piece of this legacy, and I hope I can inspire others to re-discover this music and the reasons we fell in love with jazz. Jazz was the music of the people and the music of freedom. Now, more than ever, I feel we need the encouragement, wisdom, and the courage to question authority. Time for a new renaissance! https://musicians.allaboutjazz.com/robertadonnay

Bohemian

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