Joe Williams - Every Day: The Best Of The Verve Years (2-Disc Set)

In effect, this double-disc set, released in anticipation of Joe Williams' 75th birthday, is two compilation albums in one. The first CD, containing material recorded between 1955 and 1957, presents the artist singing with Count Basie and His Orchestra at the start of Williams' national career, when he and Basie scored a major R&B hit with the title song and made albums like Count Basie Swings/Joe Williams Sings, One O'Clock Jump, and The Greatest! Count Basie Swings/Joe Williams Sings Standards. Along with The Count Basie Band and the Dizzy Gillespie Band at Newport, these provide most of the selections included, among them memorable Williams performances such as "Teach Me Tonight," "I'm Beginning to See the Light," and "The Comeback." The second CD chronicles Williams' return to Verve Records in the years 1987 to 1990, for such albums as Every Night and Ballad and Blues Master, both of which were recorded live May 7-8, 1987, at the Vine St. Bar and Grill in Hollywood. So, we have the (relatively) young Williams and a much older Williams towards the end of his career. In both cases, however, he displays considerable dexterity in his blues-tinged jazz singing, and he gets tremendous support from his instrumentalists. The 30-year gap from one disc to another prevents this from being a definitive look at his career, but for the periods covered the anthology is well-chosen. ~William Ruhlmann

Album: Every Day: The Best Of The Verve Years (Disc 1)
Bitrate: MP3@320K/s
Time: 59:11
Size: 135.5 MB
Styles: Vocal jazz
Year: 1993
Art: Front

[5:26] 1. Every Day I Have The Blues
[3:02] 2. Teach Me Tonight
[3:33] 3. In The Evening (When The Sun Goes Down)
[2:48] 4. My Baby Upsets Me
[3:26] 5. Please Send Me Someone To Love
[2:56] 6. Too Close For Comfort
[3:00] 7. Don't Worry 'bout Me
[3:57] 8. Party Blues
[3:03] 9. Stop, Pretty Baby, Stop
[3:06] 10. I'm Beginning To See The Light
[2:28] 11. A Fine Romance
[2:38] 12. I Don't Like You No More
[2:49] 13. There Will Never Be Another You
[3:58] 14. Come Rain Or Come Shine
[2:48] 15. All Right, Ok, You Win
[4:10] 16. The Comeback
[2:40] 17. Roll 'em Pete
[3:15] 18. Smack Dab In The Middle

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Album: Every Day: The Best Of The Verve Years (Disc 2)
Bitrate: MP3@320K/s
Time: 66:51
Size: 153.0 MB
Styles: Vocal jazz
Year: 1993
Art: Front

[5:14] 1. Every Night
[5:17] 2. Sometimes I'm Happy
[5:19] 3. Don't You Know I Care
[4:50] 4. Who She Do
[6:10] 5. Is You Is Or Is You Ain't My Baby
[4:20] 6. Winter Wonderland
[6:56] 7. Ain't Got Nothing But The Blues
[4:21] 8. Too Good To Be True
[5:28] 9. Too Marvelous For Words
[3:25] 10. Jimmy's Blues
[2:35] 11. I Want A Little Girl
[3:48] 12. Ev'ry Day (I Fall In Love)
[9:03] 13. Every Day I Have The Blues

Every Day: The Best Of The Verve Years (Disc 1) (Disc 2)

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Chris Connor - Chris Craft

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 37:42
Size: 88,4 MB
Art: Front

(3:18)  1. Moonlight in Vermont
(2:15)  2. Blow, Gabriel, Blow
(3:40)  3. Here Lies Love
(3:05)  4. Be a Clown
(3:57)  5. Good for Nothin' (But Love)
(2:45)  6. On the First Warm Day
(2:11)  7. Chinatown My Chinatown
(2:44)  8. One Love Affair
(3:25)  9. The Night We Called It a Day
(2:02) 10. Johnny One Note
(3:54) 11. Lover Man
(4:20) 12. Be My All

Along with June Christy, Helen O'Connell, and Julie London, Chris Connor epitomized cool jazz singing in the 1950s. Influenced by Anita O'Day, the torchy, smoky singer wasn't one for aggression. Like Chet Baker on the trumpet or Paul Desmond and Lee Konitz on alto sax, she used subtlety and restraint to their maximum advantage. At the University of Missouri, Connor (who had studied clarinet at an early age) sang with a Stan Kentonish big band led by trombonist Bob Brookmeyer before leaving her native Kansas City for New York in 1947. Quite appropriately, she was featured in the lyrical pianist Claude Thornhill's orchestra in the early '50s. After leaving Thornhill, Connor was hired by Kenton at Christy's recommendation, and her ten-month association with him in 1952-1953 resulted in the hit "All About Ronnie." Connor debuted as a solo artist in 1953, recording three albums for Bethlehem before moving to Atlantic in 1955 and recording 12.

Connor reached the height of her popularity in the 1950s, when she delivered her celebrated versions of Billy Strayhorn's "Lush Life" and George Shearing's "Lullaby of Broadway," and recorded such excellent albums as The Rich Sound of Chris Connor and Lullabies of Birdland for Bethlehem and Chris Craft and Ballads of the Sad Cafe for Atlantic. Connor made a poor career move in 1962, the year she left Atlantic and signed with a label her manager was starting, FM Records  Connor had recorded only two albums for FM when they folded. Connor's recording career was rejuvenated in the 1970s, and she went on to record for Progressive, Stash, and Contemporary in the '70s and '80s. Connor maintained a devoted following in the 1990s and continued to tour internationally.By Alex Henderson
https://www.allmusic.com/artist/chris-connor-mn0000776337/biography

Personnel:  Chris Connor - vocals; Stan Free - piano, arranger;  Mundell Lowe - guitar;  Ed Shaughnessy - drums

Chris Craft

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The 14 Jazz Orchestra - Islands

Styles: Jazz, Big Band
Year: 2023
File: MP3@320K/s
Time: 66:30
Size: 157,1 MB
Art: Front

(6:04) 1. Man from Tanganyika
(6:39) 2. Islands
(6:46) 3. Bud Powell
(4:59) 4. Part of Me
(5:47) 5. Carmencita
(5:52) 6. Missouri Uncompromised
(6:10) 7. Jitterbug Waltz
(6:20) 8. Jaco
(6:27) 9. Some Other Time
(6:19) 10. Loft Dance
(5:04) 11. When She Loved Me

"Islands" from Dan Bonsanti is a tour de force consisting of eleven unique selections, colorful textured arrangements, and outstanding ensemble and solo playing. The fare includes straight-ahead bop, to calypso, film and fusion, all presented by a highly-energized ensemble of Miami-affiliated greats and guest greats.

The opener, McCoy Tyner's "Man from Tanganyika" is an ultra-rhythmic grabber, offering fine solos and polyrhythmic burn. "Islands," from Mike Mainieri's pen, is a catchy, upbeat calypso with an extravagant middle section. "Bud Powell," is a certified bebop stroller from Chick Corea, featuring solos from Ed Maina, Jason Carder and Mike Levine. Levine's composed "Part of Me" is a slick "All of Me" clone contemporized with the ensemble contrapuntally stating.

The arrangements from Bonsanti, Mike Levine, and the late Tom Boras are colorful without being overly complicated. They are such that the group sounds larger than it really is. The writers have a wizard's touch in terms of pairings, orchestrated textures, and combinations. Woodwinds mingle and marry with other sections in colors galore.

The ensemble, while recorded remotely, is tight and buys into the session with obvious delight. Miami sax legend Ed Calle gets featured solo billing and, as expected of this master, delivers the goods. There are other great solo standouts here, including trumpeter Jason Carder, Mike Manieri, and Mark Levine. The various rhythm sections sparkle, with guests Peter Erskine and Will Lee chiming in.

Levine's "Carmencita" is a darker, faster Latin groove with blue fire and a fine piano solo. Pat Metheny's "Missouri Uncompromised" flitters speedily with vibes and flute handling melodic honors. "Jitterbug Waltz," from the Fats Waller canon, is a reed doublers' playground. Bass revolutionary Jaco Pastorius is saluted here eponymously with a ¾ blue-ish statement on "Jaco." The ballad "Some Other Time" is a trumpet feature tastefully played by Jason Carder. "Loft Dance" is a wild Afro-Cuban head-shaker from Dave Liebman who guests. Randy Newman's folksy "When She Loved Me" with Lindsay Blair's guitar spotlit, closes the session in elegant style.

"Islands" is a most satisfying album of highly diverse grooves and textures from leader Bonsanti and his cadre of superb musicians and arrangers.By Nicholas F. Mondello
https://www.allaboutjazz.com/islands-featuring-ed-calle-dan-bonsanti-and-the-14-jazz-orchestra-self-produced

Personnel: Dan Bonsanti: composer / conductor; Ed Calle: saxophone; Ed Maina: woodwinds; Peter Brewer: saxophone, tenor; Mike Brignola: saxophone, baritone; Brett Murphey: trumpet; Jason Carder: trumpet; John Lovell: trumpet; Dana Teboe: trombone; Major Bailey: trombone; Mike Levine: piano; Lindsey Blair: guitar.

Additional Instrumentation: Ed Calle: Soprano sax, flute; Peter Brewer: flute, clarinet; Mike Brignola: flutes, bass clarinet; Dave Liebman: soprano sax (10) Ed Maina: flute; Peter Erskine: drums (1,2,6); Lee Levin: drums (4,5,8,10,11); Mike Harvey: drums (3,7,9); Richard Bravo: percussion (2,4,5,10); Joe Davidian: piano (10); Randy Bernsen: acoustic guitar (8); Mark Egan: electric bass ((6,11); Will Lee: electric bass (8); Nicky Orta: e;ectric bass (5,10); Tim Smith: electric bass (2); Jamie Ousley: acoustic bass (3,4,7,9); Dennis Marks: acoustic bass (1); Mike Manieri: vibes (2,6);

Islands

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Martina DaSilva - Living Room 3

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 45:35
Size: 105,6 MB
Art: Front

(3:56) 1. Autumn Leaves
(4:43) 2. Cheek To Cheek
(3:59) 3. Falando de Amor
(3:51) 4. Complications of a Broken Heart
(5:09) 5. You're Everything
(4:43) 6. Midnight Sun
(4:31) 7. I'll Be Seeing You
(3:26) 8. Sem Você
(7:00) 9. End of the Road
(4:13) 10. Moody's Mood for Love

Martina DaSilva is a jazz vocalist, composer and arranger. In addition to being a leading member of the band The Ladybugs, DaSilva has worked with Jon Batiste, Postmodern Jukebox, Gunhild Carling and Bria Skonberg, among others.

Raised in New York City, DaSilva was born to a Brazilian father and American mother. She speaks fluent Portuguese. As a child, she performed in local musical theatre productions and eventually studied both classical music and jazz at Fiorello H. LaGuardia High School, graduating in 2009 (alongside Josh Holcomb, Zack O’Farrill, Adam O'Farrill, Joanna Sternberg, and others).

DaSilva initially attended McGill University in Montréal, but opted to return to New York City and complete her undergraduate degree at The New School for Jazz and Contemporary Music in 2011. She studied formally with Andres Andrade, Peter Eldridge and Neal Miner. During this time, DaSilva also became heavily involved in New York City's reburgeoning early jazz scene and performed regularly throughout the city as both a bandleader and vocalist.

In 2013, DaSilva formed her band The Ladybugs through a chance encounter at the Hotel Chantelle in New York City's Lower East Side. While filling in for another vocalist at the hotel's rooftop restaurant, the venue's manager approached DaSilva and asked if she had a unique concept band that could perform regularly on Sundays. Although she had no such group at the time, she responded that she led an ‘’all-female 1920s band’’ named "The Ladybugs." She quickly assembled a group and initially performed as the band's sole vocalist before being joined by vocalist Kate Davis.

The duo augmented with ukulele and snare drum, eventually integrating trombonists Joe McDonough and Rob Edwards and additional members on guitar and bass. Davis eventually left the group to pursue her solo work and was replaced by current frontline vocalist Vanessa Perea. Repertoire has included music from the 1920s, 1930s, 1940s and 1950s as well as songs drawn from DaSilva's and Perea's Latin-American heritage and Disney classics.

DaSilva was singled out as one of the most notable jazz vocalists of her generation in a 2015 article published by Vanity Fair.

In 2018, she was recruited by Scott Bradlee to join Postmodern Jukebox. She has since performed globally with the group and has been notably featured on the group's single Beautiful (adapted from its original performance by Christina Aguilera).

DaSilva collaborated with acoustic bassist Dan Chmielinski in 2019 to compose, record, produce and release the holiday-inspired album A Very ChimyTina Christmas. The recording primarily featured the pair in a duo format, but also included guest artists Lucas Pino, Ben Wolfe, Joel Ross and Gabe Schnider. The album featured DaSilva's original song "Diamonds and Pearls" and a music video cover of Wham’s "Last Christmas." A Very ChimyTina Christmas received critical acclaim in the New York Times and Rolling Stone Magazine, among others.

DaSilva has been a frequent musical guest and contributor for Fireside Mystery Theatre, a podcast specializing in historical theatrical performances. She has also performed regularly with immersive-theatre troupe Little Cinema.

Early in 2020, DaSilva began inviting friends and collaborators over to her apartment to shoot live performances. After organizing and coordinating the band, music, and footage, she would release it on social media. These recordings quickly developed into full imaginative albums which encapsulated her next three LIVING ROOM releases (2021 & 2023).

DaSilva performed in Adam Neely's analysis of "The Girl From Ipanema" in 2020 which received over 4.2 million views on YouTube. She later contributed to Neely's analysis of "Castaways" from The Backyardigans in 2021, which amassed nearly 3 million views.

In 2022, DaSilva collaborated with Dan Chmielinski again, and they released their Constellations album. Constellations featured regular and new guest artists such as Marquis Hill, Ken Kubota, Andrew Renfroe, Grace Kelly, and Joel Ross. Containing two Martina DaSilva originals, "Twin Flame" and "My Universe," Bass Magazine praised DaSilva's "stunning acuity for composition." The pair has been able to consistently produce a unique and touching sound with their thoughtful arrangements. In 2023, Milky Way was released and featured Gabe Schnider, Chad LB, Joel Ross, Lucas Pino, Sasha Berliner, Dida Pelled, Michael Stephenson, and Grace Kelly
https://en.wikipedia.org/wiki/Martina_DaSilva#Early_life

Living Room 3

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Nicola Conte & Rosalia De Souza - Garota Moderna

Styles: Bossa Nova
Year: 2002
File: MP3@320K/s
Time: 61:38
Size: 142,2 MB
Art: Front

(5:16) 1. Maria Moita
(5:45) 2. Bossa 31
(2:32) 3. Adriana
(4:38) 4. Tempo Futuro
(4:23) 5. Saudosismo
(5:26) 6. Canto De Ossanha
(3:44) 7. Fica Mal Com Deus
(4:43) 8. Mais
(3:41) 9. As Gotas
(3:31) 10. Mar Azul
(3:49) 11. Ipanema
(7:15) 12. Zona Sul
(6:49) 13. Samba Novo

Italian producer Nicola Conte was responsible for one of the biggest underground dance hits of 2000, the wonderfully catchy and light "Bossa Per Due." That song and the album it was on, also titled Bossa Per Due, were a refreshing blast of laid-back Brazilian jazz meeting Stereolab at cocktail hour and made Conte one of the most sought-after producers in the world.

In 2003 he hooked up with Rosalia de Souza, and on her debut record, Garota Moderna, Conte has done perhaps his best work yet. Over 13 tracks he and de Souza create a light, swinging, and hip mood that never flags and is a complete joy from beginning to end.

Most of the songs are cut from the same cloth as Bossa Per Due: bossa nova-influenced rhythms spiced with loungy jazz touches and liberally borrowing elements from electronic dance music and easy listening. The frothy tropical cocktail is topped off with de Souza's sensual and sweet (and mostly sung in Portuguese) vocals.

She never oversings or does anything remotely dramatic, often forgoing words altogether and crooning wonderful la-de-das. She is the perfect foil for Conte's winking and swinging sonic constructs. Tracks like "Maria Moita," "Tempo Futuro," "Mais," and "Ipanema" are sly groovers that sound like they should be playing in a James Bond movie set in Brazil.

In fact the whole record is a retro-futuristic treat. It should appeal to dance music mavens, jazz fans, Brazilian music lovers, and just about anyone who likes easygoing, sunny dance music. It will also further cement Conte's position as a top-notch producer.By Tim Sendra
https://www.allmusic.com/album/garota-moderna-mw0000024730

Personnel: Vocals – Rosalia De Souza; Alto Saxophone [Alto Sax], Flute – Gaetano Partipilo; Double Bass – Pietro Ciancaglini; Bass [Fender] – Davide Penta (track 4); Drums – Lorenzo Tucci; Guitar – Enrico Bracco (tracks: 2, 3, 5, 10, 12), Alberto Parmegiani (tracks 1,6),Guido Di Leone (track 11); Keyboards [Electronic] – Gianluca Petrella (track 7); Piano, Organ – Pietro Lussu; Organ – Sam Paglia (track 6); Vibraphone – Pasquale Bardaro; Percussion – Tarek Abou Chanab (track 7); Trumpet – Fabrizio Bosso (track 9); Producer, Arranged By – Nicola Conte; Written-By – Nicola Conte (tracks: 2, 4, 8, 9, 12, 13), Rosalia De Souza (tracks: 4, 8, 9, 13)

Garota Moderna

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Wilma Baan - So nice

Styles: Vocal
Year: 2021
File: MP3@320K/s
Time: 50:14
Size: 120,7 MB
Art: Front

(4:28) 1. So nice
(3:59) 2. Social call
(4:24) 3. Close enough for love
(4:09) 4. Do nothing till you hear from me
(3:08) 5. Better than anything
(5:29) 6. Folks who live on the hill
(4:46) 7. Teach me tonight
(4:02) 8. Day by day
(3:10) 9. End of a love affair
(4:29) 10. Where do you start
(3:20) 11. I didn't know what time it was
(4:45) 12. Here's to life

When you hear 'So Nice', the debut release from vocalist Wilma Baan, you may wonder why you haven't heard her before. Wilma's rich, mellow tone, impeccable timing and elegant delivery pay homage to her musical influences (Julie London, Nancy Wilson, Dianne Reeves) on this accomplished recording of 12 treasures from the standard repertoire.

The arrangements by Graham Harvey provide a sparklingly fresh take on these much-loved songs including a wonderfully sensitive version of the inexplicably under recorded 'Day by Day' and on a poignant rendition of 'Here's to Life', producer Claire Martin coaxes every nuance and shade from Wilma's charming vocal performance.

Chris Traves' mellifluous trombone solo on 'Close Enough for Love' demonstrates the generous contributions made by Chris (he also co-produced the album with Claire Martin) Josh Morrison and Dave Chamberlain throughout the recording (Dave can be heard playing the guitar on tracks 1 & 8).

For Wilma,'So Nice' represents the fulfilment of a long-held ambition; to record songs that have deeply moved and inspired her and that have sustained her love for the jazz repertoire through the years.
https://www.allaboutjazz.com/album/so-nice-wilma-baan

Personnel: Wilma Baan - vocals; Graham Harvey - piano, Fender Rhodes, arrangements; Dave Chamberlain - double bass, guitars (1, 8); Josh Morrison - drums; Claire Martin - percussion; Chris Traves - trombone (3), percussion

So nice

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Greta Matassa - Portrait

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 62:46
Size: 145,6 MB
Art: Front

(5:03)  1. Pieces of Dreams
(3:38)  2. To Make You Feel My Love
(4:43)  3. The Shining Sea
(5:11)  4. Prelude to a Kiss
(4:06)  5. If You Never Fall in Love with Me
(5:01)  6. Down Here on the Ground
(4:18)  7. That Day (From "Cinema Paradiso")
(3:43)  8. The Beat of My Heart
(4:29)  9. The One Who Loves the Most / Softly as I Leave You
(4:33) 10. Gone with the Wind
(5:27) 11. Just for a Thrill
(4:43) 12. Baubles Bangles and Beads
(7:46) 13. Lush Life

Greta Matassa has made choices in her career that have sacrificed some visibility in exchange for lifestyle. Yet the Seattle based vocal artist has established herself firmly as one of America's finest singers, and one of the best that jazz has to offer in the new century. To this point, the jazz public at large had not heard from Matassa in 11 years, since her last solo Origin release, The Smiling Hour (Origin, 2008). With Portrait (Origin, 2019), Matassa explores the best music she has performed in the past decade with her working quintet that includes pianist Darin Clendenin, bassist Clipper Anderson, saxophonist Alexey Nikolaev and drummer Mark Ivester.

The entire album plays like a set they might perform one evening in an intimate setting. There is a beautiful chemistry illustrated broadly in the intricacies of the musical interaction, and effortless sense of swing from piece to piece. Opening with Michel LeGrand's "Pieces of Dreams," the listener hears immediate impressions of a long tenured band, with the scorching solo of Nikolaev weaving its way through the elegant comping of Clendenin, and the one mind tamdem of Anderson and Ivester. It is a melody perfect to highlight the cadence of Matassa's innovative approach, her amazing sense of tonality and range, and deep connection with the blues. Innocently sequestered between melodies composed by the likes of Ellington and LeGrand is a Bob Dylan jewel, "To Make You Feel My Love." Matassa switches gears to present this soulful rendition, giving the impression that this tune's intimate setting may well be in Detroit. In short, the opening two numbers clearly establish not only Matassa's versatile skill set, but her willingness to go deep into a melody with a musician's mind.

Her instrument has always been unquestionably top tier, her ability to interpret within the mood and emotive qualities of a tune second to none. Why shouldn't one of the finest voices in jazz perform one of the genre's most beautiful and memorable melodies? With "Prelude to a Kiss" Matassa reveals her perfect pitch, the enabler that allows her to journey outside of a melody with the insight of a composer in spontaneous motion. Pianist Clendenin delivers an elegant solo, and the perfect phrasing to allow Matassa's impeccable articulation of the lyrics tell the story, and establish the vibe of the Ellington classic.

"If You Never Fall In Love With Me," features Matassa and Nikolaev in a lively exchange with voice playing counterpoint to tenor in horn-like fashion. Matassa's abilities to solo without words is more akin to a fine horn player than a practitioner of more traditional scat. "Beat of My Heart" is a playful tune lyrically delivered in rapid fire articulation. Matassa delivers a scintillating, hard-swinging solo. Her work on this tune is representative of her artistry, of the immaculate musicianship she employs, that which has been a constant on stage and in the studio over her career that now spans more than a quarter century. "Gone With The Wind" begins with Matassa and bassist Anderson in tandem. The band enters the fray swinging gently with Clendenin's tasteful harmony setting things in motion. Choosing to record this album with her standard quintet that she has mainly performed with over the past decade shows its true colors on this piece. The chemistry and comfort level achieved is that which is achieved over time, over countless hours on stage and in rehearsal. In this sense, Portrait is the truest recording Matassa has made in her career in terms of being representative of her time as a working musician, as part of a working band. 

The cover of the CD features a portrait of Matassa's mother, painted by her late father. Matassa alludes to conversations about jazz and art around the kitchen table at 3 AM, about learning to understand the parallels between jazz improvisation and abstract expressionism. This album bears the imprint of familial love, whether it be that of her father, or that of the kinship that has bonded her band together over a significant stretch of time. Either way, Portrait is a gathering point for Matassa's sheer artistry. 

By Paul Rauch https://www.allaboutjazz.com/portrait-greta-matassa-origin-records-review-by-paul-rauch.php

Personnel: Greta Matassa: vocals; Darin Clendenin: piano; Clipper Anderson: bass; Mark Ivester: drums; Alexey Nikolaev: saxophones.

Portrait

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Claire Daly & George Garzone - VuVu for Frances

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 59:45
Size: 137,5 MB
Art: Front

(6:22) 1. All the Way
(6:23) 2. Sweet Georgia Bright
(4:51) 3. Fools Rush In
(4:54) 4. People Will Say We're in Love
(4:06) 5. The Lonely Goatherd
(2:22) 6. Mood Indigo
(4:55) 7. Warm Valley / What Am I Here For
(4:43) 8. Hold Out Your Hand
(3:51) 9. Half Nelson
(3:47) 10. Harlem Nocturne (feat. Jon Davis)
(3:15) 11. The Very Thought of You
(4:49) 12. The Saga of Harrison Crabfeathers
(5:22) 13. Manhattan (feat. George Garzone)

Working jazz musicians have long been accustomed to the necessity of playing just about anything, in any setting, and Claire Daly is no exception. The intrepid baritone saxophonist has recorded tributes to Thelonious Monk and Rahsaan Roland Kirk and, in 2016, she even offered a distinctive take on Motown classics with 2468 West Grand Boulevard (Glass Beach Jazz). With the enviable versatility on her formidable horn which has brought her consistent acclaim, she now turns to more conventional jazz fare, uniting with tenor saxophonist George Garzone, a mentor and collaborator who brings his lighter touch to a wide-ranging, enjoyable set of standards and show tunes.

Daly's episodic work with Garzone goes back at least to 1998, when she appeared on his Moodiology (NYC Records), an album characteristic of Garzone's assertive style. Here he is much more subdued—indeed, the "VuVu" in this record's title is a neologism from Garzone which indicates his willingness to focus his contributions in a melodic, understated manner. Daly too stays largely within a restrained, lyrical temperament, suitable for a repertoire which ranges from Duke Ellington's "Mood Indigo" to Rodgers and Hart's "I'll Take Manhattan." Ironically, the one cut in which the two saxophonists turn it loose is the Rodgers & Hammerstein number "Lonely Goatherd," one of two tunes from that songwriting team (the other being "People Will Say We're in Love"). On "Goatherd," Daly's arrangement uses an odd-meter framework to unleash some ferocious playing from both saxophonists, particularly during their mutual improvisation toward the close of the track. In other respects, the two play it straight, hewing closely to the tunes of the classic repertoire.

The rest of the band includes pianist Jon Davis, bassist Dave Hofstra, and drummer David F. Gibson. They provide all the support needed to let Garzone and Daly do their thing and with the delicate touch required on pieces such as Duke Ellington's "Warm Valley," rendered gorgeously before transitioning into the briskly paced "What Am I Here For?" There are a few surprises here, including a brief vocal turn from Daly on Steve Kuhn's "Hold Out Your Hand," and Davis switching to keyboards for a vigorous treatment of Kuhn's modal "Saga of Harrison Crabfeathers." For the most part the quintet refrains from taking too many chances, preferring to let the melodies shine lambently. And there is nothing to fault them for in that regard; when Daly and Garzone generate their tender dialogue on "Fools Rush In," it is easy to appreciate the genuine reverence the two veterans bring to this material.By Troy Dostert
https://www.allaboutjazz.com/vuvu-for-frances-clare-daly-with-george-garzone-daly-bread

Personnel: Claire Daly: saxophone, baritone; George Garzone: saxophone, tenor; Jon Davis: piano; Dave Hofstra: bass; David F. Gibson: drums.

Additional Instrumentation: Daly: vocals (8); Davis: keyboards (12).

VuVu for Frances

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Dutch Swing College Band - Digital Dixie

Styles: Swing
Year: 1981
File: MP3@320K/s
Time: 51:46
Size: 119,8 MB
Art: Front

(1:39) 1. Way Down Yonder in New Orleans
(4:48) 2. Knee Drops
(4:20) 3. West End Blues
(4:42) 4. At A Georgia Camp Meeting
(5:25) 5. I Want a Little Girl
(4:04) 6. China Boy
(4:48) 7. Creole Belles
(3:28) 8. Sugar
(5:57) 9. The Kazoos
(3:29) 10. Down Home Rag
(5:11) 11. On Green Dolphin Street
(3:49) 12. Everybody Loves My Baby

The Dutch Swing College Band "DSCB" is a traditional dixieland band founded on 5 May 1945 by bandleader and clarinettist/saxophonist Peter Schilperoort.

Highly successful in their native home of The Netherlands, the band quickly found an international following. It has featured such musicians as Huub Janssen (drums), Henk Bosch van Drakestein (double bass), Kees van Dorser (trumpet), Dim Kesber (saxes), Jan Morks (clarinet), Wout Steenhuis (guitar), Arie Ligthart (banjo/guitar), Jaap van Kempen (banjo/guitar), Oscar Klein (trumpet), Dick Kaart (trombone), Ray Kaart (trumpet), Bert de Kort (cornet), Bert Boeren (trombone), Rod Mason, Rob Agerbeek (piano) among many others.

The band provided the interval act for the Eurovision Song Contest 1976 presented live from Den Haag.

The band continues to tour extensively, mainly in Europe and Scandinavia, and record directed by Bob Kaper, himself a member since 1967, following the former leader, Peter Schilperoort's death on 17 November 1990. Schilperoort had led the band for more than 45 years, albeit with a five-year sabbatical from 13 September 1955, when he left to pursue an engineering career before returning to lead the band again officially on 1 January 1960.
https://en.wikipedia.org/wiki/Dutch_Swing_College_Band

Digital Dixie

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Chris Connor - Chris Connor (Hd Remastered)

Styles: Vocal
Year: 1956/2018
File: MP3@320K/s
Time: 40:46
Size: 94,9 MB
Art: Front

(1:54)  1. I Get a Kick out of You
(3:17)  2. Something to Live For
(3:11)  3. Get out of Town
(3:51)  4. Where Are You?
(2:18)  5. Anything Goes
(3:28)  6. When the Wind Was Green
(3:47)  7. He Was Too Good to Me
(2:51)  8. You Make Me Feel so Young
(3:50)  9. Everytime
(2:32) 10. Way out There
(2:47) 11. My April Heart
(2:14) 12. Almost Like Being in Love
(2:04) 13. Circus (Bonus Track)
(2:35) 14. Flying Home (Bonus Track)

Stunningly repackaged, remastered, and featuring new liner notes by leading jazz writers, the Warner Jazz Masters Series includes best sellers as well as rare, sought-after gems. The first jazz vocal LP ever released on Atlantic Records, Chris Connor's self-titled album is one of her best (among considerable competition). Connor's coarse, throaty tone, sweet phrasing, and unerring rhythm were peaking during the late '50s, and the results are delightful tweaks of the standards "Anything Goes" and "Almost Like Being in Love." With similarly excellent results, Connor also transforms a couple of Sinatra's evergreens: "I Get a Kick Out of You," taken at breakneck pace with a small group including pianist John Lewis, bassist Oscar Pettiford, and drummer Connie Kay; "Where Are You"; and "You Make Me Feel So Young," with a ten-piece featuring tenor Zoot Sims and bassist Milt Hinton.
By Editorial Reviews https://www.amazon.com/Connor-Chris/dp/B0009QQ6I0

Chris Connor (Hd Remastered)

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Karen Oberlin - Live at the Algonquin: The Songs of Frank Loesser

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 47:31
Size: 109,8 MB
Art: Front

(3:08)  1. If I Were a Bell
(2:40)  2. Lovelier Than Ever
(3:12)  3. Why Fight the Feeling?
(2:31)  4. My Time of Day
(3:18)  5. Love Isn't Born (It's Made)
(5:20)  6. Heart and Soul / I Wish I Didn't Love You So
(5:19)  7. Traveling Light / Wanting to Be Wanted
(3:09)  8. Hamlet
(2:57)  9. What Are You Doing New Year's Eve?
(0:17) 10. Spoken Intro: Animals
(5:42) 11. The Inch Worm / Snug As a Bug in a Rug
(2:40) 12. Spring Will Be a Little Late This Year
(0:29) 13. Spoken Intro: I Believe in You
(3:34) 14. I Believe in You
(3:08) 15. More I Cannot Wish You

Multi award-winning Oberlin received these raves, among others, for her three-week engagement at the legendary Oak Room at the Algonquin, when this CD was recorded: “Karen Oberlin is a demure pop-jazz singer who radiates a subdued glamour… Beyond having a pretty voice, poise and interpretive insight, Ms. Oberlin is a thorough researcher who placed many of the songs in a historical or personal context… A smart, polished show.”~Stephen Holden, The New York Times “A Christmas tree angel named Karen Oberlin is lighting up the Algonquin’s Oak Room with a show that sends you out humming. I loved the bebop jawbreakers, and she excels on the love songs. Subtle, elegant and musically spot on, the lovely Ms. Oberlin is such a welcome addition to the often noisy and pointless cabaret scene that one can even imagine her accompanied by a celesta without causing the slightest hint of boredom. She’s a keeper.”~Rex Reed, New York Observer

“How would you like your own private one-to-one performance by a sophisticated singer? All right, so there are other people with you in the Oak Room of the Algonquin Hotel. But everyone seems to fade away as Karen Oberlin has a love affair with the music and lyrics she has chosen and sings so intimately that it’s as if her songs are meant only for you. She sets the bar for her purity of tone and interpretation at the outset with “If I Were a Bell” from “Guys and Dolls,” sung with utmost clarity and attention to detail. She liltingly sings such ballads as “I Don’t Want to Walk Without You” (music in this case by Jule Styne), “I’ve Never Been in Love Before” from “Guys and Dolls,” and “I Wish I Didn’t Love You So” from the 1947 film “Perils of Pauline.” Honoring the prolific composer and lyricist could not be in better hands.”~William Wolf, William Wolf’s Entertainment Guide

"Her voice warms like melting butter to infuse her love songs with emotion and passion. With shades of the whispery Doris Day intimacy, she luxuriates over the long lines and romantic intent of "Wanting to Be Wanted", an intense song cut from Most Happy Fella just before its New York opening... With her warmth and introspection, Frank Loesser's songs come to us as fresh and contemporary as the annual question, "What Are You Doing New Year's Eve?". Karen Oberlin has followed a straight upward path since she began her career. In a three-week engagement in the Oak Room, she proves her audiences were right and her critical acclaim is well-deserved."~Elizabeth Ahlfors, Curtainup.com

“Like a breath of spring, Karen Oberlin’s lush vocal renditions of the songs of one of America’s foremost writers of the American theater filled the air of the historic Oak Room. Oberlin, always in control, cleverly weaves lyrical wonders whether it’s a sensitive and plaintive “I Don’t Want to Walk Without You” (music by Jule Styne) or a meticulously sung novelty, “Hamlet” (1949 film: Red, Hot and Blue). Musical Director Jon Weber, skillful in his accompaniment and arranging, added vocal counterpoint to a sultry “Baby, It’s Cold Outside.” From Pulitzer Prize winner How to Succeed in Business Without Really Trying (slated for a Broadway revival in 2011), Oberlin showed off flawless styling on “I Believe in You.” A mix of pop and jazz with an easy delivery, it feels as if she hugs each lyric, Oberlin is joyous to behold.”~Sandi Durell, Cabaret Scenes Magazine http://www.cdbaby.com/cd/karenoberlin

Live at the Algonquin: The Songs of Frank Loesser

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Roni Ben-Hur - Signature

Bitrate: MP3@320K/s
Time: 62:07
Size: 142.2 MB
Styles: Bop, Guitar jazz
Year: 2005
Art: Front

[4:17] 1. Mama Bee
[9:28] 2. Bacchianas Brasileiras, No. 2 Aria
[8:22] 3. Blues In The Night
[8:01] 4. Eretz
[6:32] 5. Slowly But Surely
[6:33] 6. Choro, No. 1
[5:54] 7. Time On My Hands
[6:19] 8. Luiza
[6:35] 9. So In Love

Bass – Rufus Reid; Drums – Leroy Williams; Guitar – Roni Ben-Hur; Percussion – Steve Kroon (tracks: 2, 6, 8, 9); Piano – John Hicks. Recorded September 12, 2004 at Avatar Studios, NYC.

The person and musician who is Roni Ben-Hur comes shining through on Signature. The record so full of joy that it is easy to just sit back, relax and enjoy a hour's worth of fine music—and it's much more than just good playing. The late pianist John Hicks, a pro's pro if there ever was one, is in sync with Ben-Hur every step of the way through the varying emotions and styles of these tunes.

Ben-Hur is clearly out of the Wes Montgomery mold (at least) and is extremely secure in his technique—so much so, in fact, that it fades into the background, allowing his musical ideas to come to the fore. He uses a clear tone and his playing is very clean and precise. Indeed, partly what makes the album so enjoyable is that Ben-Hur is never predictable. He manages to surprise time after time in an extremely satisfying way. The material comprises an interesting mix of immediately recognizable standards ("Blues In The Night," "Time On My Hands" and "So In Love") and originals ("Mama Bee" and "Eretz" by Ben-Hur, "Slowly But Surely" by Hicks), plus three unusual choices: "Bachiana Brasileiras No. 2, Aria" and "Choro No. 1" by Heitor Villa-Lobos and the relatively lesser-known "Luiza" by Antonio Carlos Jobim.

My interest in Signature was piqued by the South American tunes and Ben-Hur's "Eretz." Villa-Lobos, whose compositions form part of the core repertoire of classic guitar players, is a master of understatement, producing beautiful melodies and harmonies from seeming simplicity. His music is very direct, straightforward and highly emotional. The Aria played here was originally composed for eight cellos and soprano voice, so the first task was to arrange it for the band, allowing some room for soloing in a composition that changes meters often. Ben-Hur makes the second task seem natural: he fills every note with the passion and emotion that the composer put into the piece. The Choro will be familiar to any classic guitarist, and this arrangement is very true to the spirit of the original. Jobim's "Luiza" might not be recognized by most people who know his other, more popular tunes. Nevertheless, it is far from a lesser work, and Ben-Hur sings it through his guitar in a simple arrangement that lets the music speak for itself. Finally, Ben-Hur's own "Eretz" speaks directly from the heart of someone with a love of his homeland, in this case Israel. The tune's emotions, as complex as Israel's history, deliver "... a prayer, my prayer for peace." ~Budd Kopman

Signature

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Chris Connor - New Again

Styles: Vocal 
Year: 1987
File: MP3@320K/s
Time: 43:02
Size: 99,8 MB
Art: Front

(3:07)  1. Dearly Beloved
(4:12)  2. Down In Brazil
(3:49)  3. I Never Meant To Hurt You
(3:18)  4. Love Locked Out
(5:42)  5. Astaire Medley
(3:08)  6. Mad About The Boy
(4:19)  7. Antonio's Song
(4:14)  8. I Wish I'd Met You
(5:03)  9. My Foolish Heart
(6:04) 10. Jukebox Medley

The follow-up album to Chris Connor's Classic is similar in the moods it covers, the style of music and the instrumentation. Michael Abene and Richard Rodney Bennett split the keyboard duties, trumpeter Claudio Roditi and Bill Kirchner (on various reeds) have some short solos, and flutist Dave Valentin makes a couple of guest appearances. Connor, at 59, still had a powerful and haunting voice, as she shows on "Dearly Beloved," "My Foolish Heart," and even on a couple of medleys (one of Fred Astaire tunes and the other a "Jukebox Medley"). Listeners should acquire a good sampling of Chris Connor's 1950s recordings first, but her two Contemporary CDs have their value too. ~ Scott Yanow https://www.allmusic.com/album/new-again-mw0000200370

Personnel:  Vocals – Chris Connor;  Acoustic Bass – Michael Moore;  Drums – Buddy Williams; Flute – Dave Valentin; Keyboards – Michael Abene, Richard Rodney Bennett; Percussion – Sammy Figueroa; Tenor Saxophone, Alto Saxophone, Soprano Saxophone, Flute, Clarinet – Bill Kirschner; Trumpet, Flugelhorn – Claudio Roditi

New Again

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Lee Wiley - Music of Manhattan, 1951

Styles: Vocal
Year: 1998
File: MP3@320K/s
Time: 67:06
Size: 155,6 MB
Art: Front

(3:36) 1. Street of Dreams
(3:11) 2. Oh, Look at Me Now
(1:49) 3. Hallelujah
(4:38) 4. Manhattan
(2:58) 5. Manhattan
(4:18) 6. Ghost of a Chance
(3:02) 7. Sugar
(3:07) 8. I've Got a Crush on You
(3:48) 9. Sugar
(2:23) 10. Anytime, Anyday, Anywhere
(3:04) 11. Oh, Look at Me Now
(2:26) 12. Deed I Do
(3:24) 13. That's for Sure
(1:42) 14. 'S Wonderful
(2:08) 15. I've Got a Crush on You
(1:26) 16. Anytime, Anyday, Anywhere
(2:30) 17. Street of Dreams
(2:52) 18. Manhattan
(1:48) 19. Deed I Do
(3:13) 20. I've Got a Crush on You
(4:02) 21. I'm Comin' Virginia
(3:47) 22. Down to Steamboat Tennessee
(1:45) 23. Baby, Won't You Please Come Home

These 1951 selections come from transcription discs and live appearances at Storyville, a Town Hall Concert, and the Rustic Lodge. Wiley was a great vocalist, often associated with Chicago Dixieland musicians. Her primary influence was Ethel Waters, and she had much in common with Billie Holiday as well.

Both had rather raw, “whiskey soaked” timbres and laid-back attacks, and made up for limited ranges and power with excellent taste, sensitivity and the ability to freshen melodies by improvising on them. She was known for her sensitive ballad performances, but sang blues convincingly as well. Her accompanists here include some fine trumpeters, Billy Butterfield, Buck Clayton, Muggsy Spanier, and Red Allen, and pianist Joe Bushkin.

She’s very relaxed and sure of herself. And she’s wonderfully unpretentious. Pianist Stan Freeman, who worked with her, said Wiley “didn’t know what she was singing half the time.” Maybe, but she interprets lyrics meaningfully, accenting words and syllables astutely. Though her vocals have a weary quality, she never gets maudlin, and there are times when she’s buoyant. By Harvey Pekar
https://jazztimes.com/archives/lee-wiley-music-of-manhattan-1951/

Personnel: Vocals – Lee Wiley; Bass – John Field (tracks: 7 to 13), Milt Hinton (tracks: 16 to 20), Mort Stuhlmaker (tracks: 1 to 5); Cornet – Jack Honeywell (tracks: 21 to 23), Muggsy Spanier (tracks: 7 to 13); Drums – Barrett Deems (tracks: 7 to 13), George Wettling (tracks: 1 to 5), Jo Jones (tracks: 16 to 20); Orchestra – Ray Bloch And His Orchestra (tracks: 15); Piano – Dave Bowman (tracks: 6), George Wein (tracks: 7 to 13), Joe Bushkin (tracks: 1 to 5 16 to 20); Trumpet – Billy Butterfield (tracks: 1 to 6), Buck Clayton (tracks: 16 to 20), Henry "Red" Allen (tracks: 21 to 23)

Music of Manhattan, 1951

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Sophia Tomelleri With Massimo Faraò - Sweet And Lovely

Styles: Saxophone And Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 57:16
Size: 131,9 MB
Art: Front

(5:10) 1. Sweet And Lovely
(7:34) 2. I Couldn’t Live Without You
(4:30) 3. Barbados
(4:55) 4. How About You
(5:10) 5. The Shadow Of Your Smile
(8:02) 6. Reflections
(5:50) 7. I Want To Be Happy
(9:12) 8. Ask Me Now
(6:49) 9. Love For Sale

Sophia Tomelleri, born in 1992, graduated in 2013 in classical saxophone at the “G. Verdi” in Milan,then moved to Bavaria and obtained a three-year degree in Jazz saxophone at the “Hochschule für Musik und Theater München” in Munich in 2018.

During this period, he obtained a scholarship to spend a year at the CMDL, a Parisian institute under the guidance of violinist Didier Lockwood. In Paris you have the opportunity to play with John Betsch, Emmanuel Bex, Sava Medan.

Based in Milan, she is a versatile musician and in demand in various formations and musical projects, ranging from the most traditional to contemporary Jazz. In 2020 she won first place for young Jazz soloists in two competitions: the "Luciano Zorzella" award and the "Massimo Urbani" award.
https://www-emmerecordlabel-it.translate.goog/artist/sophia-tomelleri/?_x_tr_sl=it&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc

Sweet And Lovely

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Russ Johnson Quartet - Reveal

Styles: Post Bop
Year: 2023
File: MP3@320K/s
Time: 51:42
Size: 119,3 MB
Art: Front

(6:57) 1. Skips
(9:06) 2. The Slow Reveal
(7:53) 3. Long Branch
(3:08) 4. R.E.M. Unit
(7:17) 5. Agnomen
(6:22) 6. Veiled Invitation
(1:42) 7. T.R.M.
(5:54) 8. Dog Gone It
(3:20) 9. Coda

While he has appeared on seemingly countless releases as a sideman, trumpeter Russ Johnson remains chronically under-recorded as a leader. It thus comes as a cause for rejoicing whenever one sees his name at the top of a release. Thankfully, Calligram Records has helped redress that problem with Reveal, Johnson's latest offering featuring a quartet with violinist Mark Feldman, bassist Ethan Philion and drummer Timothy Daisy. Geof Bradfield and Chad McCullough started Calligram with an eye toward showcasing some of the best talent in Chicago's ever-thriving jazz scene, and Reveal certainly qualifies. With a wide gamut of expression and a true spirit of mutuality, the disc is a terrific representation of Johnson and his colleagues' many talents.

Feldman's appearance on an all-Chicago recording is not a mistake, as the longtime New York city denizen has become a Chicago transplant, following the path that Johnson himself took in the early 2010s. He is an unfailingly dynamic and imaginative improviser, but also supremely responsive, as he darts through and alongside Johnson's lines on the crackling opening track, "Skips."

With an irrepressible groove created by Philion and Daisy, the tune is propelled forward by the obvious rapport shared by the trumpeter and violinist, who have an uncanny ability to anticipate and echo each other's moves. Their deep conversation continues in a very different vein on "The Slow Reveal," a nine-minute patient excavation which puts a premium on close and subtle interactions, as Philion's arco generates an enticing alchemy with Feldman before Johnson enters the mix to tease out his own carefully measured statements. But with this group there is always energy in reserve, and this track eventually finds it, with an intensity fueled by Daisy's restless vortex.

Reveal's nine tracks, all penned by Johnson, work their magic by oscillating between vigor and reflection. "Long Branch," the group's tribute to trumpeter Jamie Branch, is a case in point, with Johnson and Feldman taking the opportunity to delve into the kind of quiet lyricism Branch could herself explore with aplomb but with a seething intensity building underneath as the track unfolds. Fittingly, "REM Unit" possesses a dream-like power, with Philion's wide-ranging technique pivotal in shaping the track's trajectory with Johnson and Feldman.

And "Veiled Invitation" is another moment in which the quartet moves from a pensive to a demonstrative register, as the track commences in a reticent vein but eventually finds its way toward a surging vitality. "Dog Gone It," on the other hand, allows the quartet to let loose from the outset, as its nod to Julius Hemphill's "Dogon A.D." sizzles with menace. Philion's brooding bass and Daisy's relentless rock rhythm push Feldman into a frenzy, but Johnson also thrives on the track's propulsive thrust, with lines that dance and weave through the piece's closing minute.

After the cathartic force of "Dog Gone It," the album concludes with a welcome reverie the beautiful "Coda," with Feldman's delicate upper-register playing almost reaching the ether, while Johnson's mournful trumpet announces the end of a terrific recording.By Troy Dostert
https://www.allaboutjazz.com/reveal-russ-johnson-quartet-calligram-records

Personnel: Russ Johnson: trumpet; Mark Feldman: violin; Ethan Philion: bass; Tim Daisy: drums.

Reveal

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Ruby Braff, George Barnes Quartet - Live At The New School

Bitrate: MP3@320K/s
Time: 79:24
Size: 181.8 MB
Styles: Mainstream jazz
Year: 1974/1994
Art: Front

[5:19] 1. This Can't Be Love
[4:51] 2. With Time For Love
[4:15] 3. There Will Never Be Another You
[3:10] 4. Solitude
[3:55] 5. Struttin' With Some Barbeque
[3:08] 6. On The Sunny Side Of The Street
[4:47] 7. Thou Swell
[4:26] 8. Body And Soul
[4:04] 9. Squeeze Me
[3:56] 10. It Don't Mean A Thing If It Ain't Got That Swing
[2:36] 11. Rockin' In Rhythm
[4:53] 12. Sugar
[4:05] 13. Liza
[3:52] 14. You're A Lucky Guy
[3:10] 15. Don't Blame Me
[2:49] 16. Cheek To Cheek
[4:14] 17. Mean To Me
[2:17] 18. Here There And Everywhere
[4:23] 19. Goose Pimples
[5:03] 20. Nobody Else But You

Bass – Michael Moore; Cornet – Ruby Braff; Lead Guitar – George Barnes; Rhythm Guitar – Wayne Wright. Concert recorded 22 April 1974 in New York City.

This is the best album by far that the Braff/Barnes quartet ever made,which is not to say that their other records are bad, they weren't, but this one is an absolute treasure, made better by including all the music recorded that night, unlike the original LP. Ruby Braff must be the best cornet player in jazz, and George Barnes amongst the best swing guitarists of his time. They play so wonderfully together that it is difficult to single out any tracks as being the best, but my favourite numbers are "There will never be another you","Solitude", "Rockin' in rhythm" ,"Struttin' with some barbecue", and "It don't mean a thing".

But really the whole record is great, with the highest standards of musicianship from both the principals and Michael Moore and Wayne Wright on bass and rhythm guitar. Interestingly, the lack of a drummer doesn't stop the group swinging like crazy! The recording is excellent too, it does a great job in capturing the beautiful tone that both Ruby and George coax from their instruments. This is the most enjoyable jazz album I bought during 2000, and in my opinion the Braff/Barnes quartet was one of the outstanding groups of the seventies. Anyone with an appreciation for good music making cannot fail to be inspired and uplifted by this tasteful, humourous and sublime recording. ~William J. Churchman

Live At The New School

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Oscar Peterson - Tracks

Styles: Piano Jazz
Year: 1970
File: MP3@320K/s
Time: 42:48
Size: 98,8 MB
Art: Front

(4:03) 1. Give Me The Simple Life
(4:19) 2. Basin Street Blues
(3:10) 3. Honeysuckle Rose
(5:11) 4. Dancing On The Ceiling
(2:41) 5. Child Is Born
(5:23) 6. If I Should Lose You
(2:47) 7. Little Jazz Exercise
(5:20) 8. Django
(4:21) 9. Ja Da
(5:27) 10. Just A Gigolo

Pianist Oscar Peterson is frequently astounding on this solo set. After nearly 20 years of mostly performing with trios, Peterson sounds quite liberated in this setting, throwing in some hot stride, unexpected changes in tempos and keys, and surprises whenever he thinks of them. "Give Me the Simple Life," "Honeysuckle Rose," and the ironically titled "A Little Jazz Exercise" are quite remarkable, yet Peterson also leaves space for some sensitive ballads. By Scott Yanow
https://www.allmusic.com/album/tracks-mw0000319509

Tracks

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Girl Talk - Talkin' Jazz

Styles: Soul Jazz, Hard Bop
Year: 1996
File: MP3@320K/s
Time: 51:15
Size: 118,1 MB
Art: Front

(2:50) 1. Girl Talk
(3:06) 2. Blue And Sentimental
(4:03) 3. O Grande Amor
(5:33) 4. Polkadots And Moonbeams
(3:43) 5. September In The Rain
(6:36) 6. It's Easy To Remember
(5:15) 7. Estate
(3:56) 8. Let's Cool One
(5:08) 9. Blame It On My Youth
(4:23) 10. Beautiful Love
(6:37) 11. I Fall In Love To Easily

Kurt Rosenwinkel - Undercover: Live at the Village Vanguard

Styles: Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 53:12
Size: 122,2 MB
Art: Front

( 8:16) 1. Cycle Five
( 7:03) 2. The Past Intact
( 7:58) 3. Solé
( 7:19) 4. Our Secret World
( 9:37) 5. Music
(12:57) 6. Undercover

Legendary guitarist and composer Kurt Rosenwinkel's latest quartet with visionary jazz musicians Aaron Parks (Piano & Fender Rhodes), Eric Revis (Acoustic Bass) and Greg Hutchinson (Drums). The group's exhilarating recording Undercover: Live At The Village Vanguard is a selection of seven of Rosenwinkel's original compositions, captured over three nights of their week-long run at the historic Village Vanguard, the legendary New York jazz club that has been host to the defining artists in jazz, including Bill Evans, John Coltrane, Sonny Rollins, Joe Henderson, and countless others.

Undercover: Live At The Village Vanguard captures the joyous, visceral energy of Rosenwinkel's masterful quartet, and easily finds its place in the continuum of historic recordings made there. Editorial Reviews
https://www.amazon.com/Undercover-Live-at-Village-Vanguard/dp/B0C4FPMY2Y

Personnel: Kurt Rosenwinkel – guitar; Aaron Parks – piano, keys; Eric Revis – bass; Greg Hutchinson – drums

Undercover: Live at the Village Vanguard

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