Silky Denims

Friday, February 16, 2024

Kayla Waters - Apogee

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 42:00
Size: 96,2 MB
Art: Front

(2:15) 1. Earth Arrival
(4:33) 2. I Am
(3:23) 3. Sunkissed
(4:27) 4. Heaven Is Here
(3:21) 5. Freedom March
(4:45) 6. The Dream
(4:42) 7. Elevation Bop
(3:50) 8. Spirit Awakening
(4:41) 9. Look to Love
(1:58) 10. Pluto Departure
(4:01) 11. Apogee

Contemporary jazz pianist, composer and writer Kayla Waters, the daughter of famous saxophonist Kim Waters, debuts with her first work Apogee (2017) on Trippin N’ Rhythm Records.

Along side of Kayla, Kim was also executive producer for her album. Apogee is another word for the highest point in the development of something, a climax or culmination. For Kayla this album is the first highlight of her musical career. She has written all songs of the CD.

The album was recorded in six days straight. The album has biographical references. So for example Earth Arrival tells the story how Kayla arrives on earth, the point when everything started. The song grows with a constant flow, a springy rhythm and vibrant keyboard works.

I Am implies Kayla's personality and her love for music. The arrangement is from shiny appearance and polished blank. You can feel the wings of Kim Waters. Sunkissed describes a person whose appearance is attractive because they have recently been in the sun. Figuratively it means pampered by life. Kayla chooses this adjective for her state of life. For being in a happy position to make those things, what she loves most. This piece is astoundingly positioned in contemporary jazz.

Heaven Is Here underlines this with another musical expression. The song gets an unexpected twist when Kayla presents a vocal impact transferring the tune from an even and smooth keel to excitingly troubled water. Freedom March is conceived as a protest song. However, in the absence of a strong text, the meaning is lost in an admittedly successful instrumental showpiece.

The Dream is a tribute to Martin Luther King's socio-political appeal in August 1963. A surprisingly political reference that is seldom in the smooth jazz genre. When Sister Peace and Mr. Freedom are in search of their dream than you know in which direction. Elevation Bop is the anthem for the world to raise and move forward. Kayla and Kim create a unique theme by uniting smooth and contemporary jazz in transcending genre and expectations.

Kayla refers Spirit Awakening on herself as young woman with her talent, her possibility of sustainable development and potential. She feels the song like a blossoming of a flower. In this sense the melody unfolds in its multiplicity. With the ballad Look to Love Kayla defines her very own emotional and vocal approach on this subject.

A frozen region north of Pluto’s icy mountains, is informally named “Tombaugh Regio” (Tombaugh Region) after Clyde Tombaugh, who discovered Pluto in 1930. Pluto Departure is Kayla's idea, if even this planet is so far away, love is possible over there. The unreality of this region is reflected in her song.

The final Apogee embraces all elements, which are popular in today's smooth jazz. A catchy piano theme, strings, synth bass, horns and a stomping beat. Kayla Waters is a hot ticket in smooth jazz. She shows individual character in her compositions leaving a lasting impression. Avoiding sonorous platitudes with intelligent arrangements and dazzling themes is a promising concept. http://www.smooth-jazz.de/starportrait/Waters/Apogee.htm

Line-up/Musicians: Kayla Waters keyboards, vocals; Kim Waters saxophone; Shacara West vocals; Kelly Gainer flute

Apogee

Eddie Henderson - Witness to History

Styles: Trumpet Jazz
Year: 2023
File: MP3@320K/s
Time: 56:00
Size: 128,7 MB
Art: Front

(7:02) 1. Scorpio Rising
(8:35) 2. Why Not?
(7:40) 3. Sweet and Lovely
(8:45) 4. It Never Entered My Mind
(5:21) 5. Freedom Jazz Dance
(5:02) 6. I'm Gonna Miss You, My Darling
(7:04) 7. Totem Pole
(6:27) 8. Born to Be Blue

Make no mistake: it is the hot buttered soul, "Shaft"-like theme of "Scorpio Rising" that first snags one's attention. But once snagged, the old cool sets in and Witness To History, trumpeter Eddie Henderson's self curated soundtrack, unwinds with a wicked fervor. A deep, wicked joy.

Henderson who has pretty much seen it all from the impulsive, jazz rock Realization (Capricorn, 1973) through The Cookers to the still palpable Shuffle and Deal (Smoke Avenue, 2020) looks back for a PBS documentary due for release in early 2024 and knows for sure he has had a good run. He then intuitively and soulfully gathers a few wily and confident cohorts and it is away to the races.

But it is not that frantic metro influencer gallop for this crew. Not by any means. These cats are all pure blue, after-hours shuffle. Because not only is Henderson, now in his eighty-third orbit, at a zenith in said orbit, ditto that of Donald Harrison's blue venue sax and George Cables' pianistic touch. Splice all that in with the interstitial elasticity of bassist Gerald Cannon and drummers Lenny White andMike Clark and "Scorpio Rising" becomes an infectious roll through the back alleys of late 1970s urban noir. The liquid gold of "I Am Going to Miss You, My Darling," written by the trumpeter's wife, beautifully occurs.

It is very hard to learn that everyone should lay back on the groove, but to this group it is a banner taken into battle. A badge of honor. Witness To History is full of badges and banners. First heard on Lee Morgan's eventful The Sidewinder (Blue Note, 1964), "Totem Pole" holds all the flash and slink of the original but with its own immediate vibe. Cables' jumpy "Why Not" is a slow steamer highlighted by trumpet and saxophone punching the air. As it should be, "Sweet and Lovely" is all trad jazz with Cannon in the lead.

Maybe when and if it all becomes accountable, Witness To History does not stand the test of time. Maybe it does. The same can be said for all and any of us. But that does not make Witness To History any less of great record. In fact it just being makes it all that much better.By Mike Jurkovic https://www.allaboutjazz.com/witness-to-history-eddie-henderson-smoke-sessions-records__22447

Personnel: Eddie Henderson - trumpet; Donald Harrison - saxophone, alto; George Cables - piano; Lenny White - drums ; Gerald Cannon - bass

Witness to History

Darden Purcell - Love's Got Me in a Lazy Mood

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 67:28
Size: 155,2 MB
Art: Front

(6:37) 1. Willow Weep for Me
(6:24) 2. Love's Got Me in a Lazy Mood
(5:41) 3. Come Back to Me
(5:48) 4. It's a Most Unusual Day
(4:57) 5. I Concentrate on You
(5:35) 6. A Cottage for Sale
(5:55) 7. Estrada Branca (This Happy Madness)
(7:24) 8. Chatterbox
(7:09) 9. Estate
(6:32) 10. Taking a Chance on Love
(5:21) 11. You've Changed

Darden Purcell's album Love's Got Me In A Lazy Mood (OA2 Records, 2023) shows her keen ear for the subtleties and nuances which define the West Coast cool jazz vocal sound. Purcell's album comprises eleven tracks which blend the laid-back, sophisticated rhythms and melodic inventiveness that characterize the style with beautiful singing and nimble playing.

Purcell is joined by an ensemble of musicians whose contributions are pivotal to the album's charm and success. On six tracks the ensemble features Joe Locke on vibraphone, whose nuanced textures and rhythmic sophistication add depth to each track. Shawn Purcell, who arranged all the songs, weaves intricate harmonies and melodies which complement and converse with Darden Purcell's vocals. Todd Simon's piano provides a supportive undercurrent, binding the ensemble's sound. The rhythmic foundation laid down by Jeff Reed on acoustic bass and Todd Harrison on drums is compelling, creating a rhythmic flow which allows each musician to flourish in the various feels and styles. The ensemble creates a cohesive, explorative, and resonant sound with an overall essence of West Coast cool jazz.

Purcell's vocal delivery is a journey through the emotional landscapes of each track. Her rendition of "A Cottage for Sale" is a highlight as she confidently conveys the song in a heartfelt narrative. "You've Changed" is another song in which she displays those qualities, matching the lyrics with the coloring of her tone and inflections. In the title track, "Love's Got Me in a Lazy Mood," Purcell uses the lyrics to explore love's complex, layered emotions through her vocal inflections. Her vocal delicacies hint at an undercurrent of both contentment and longing, a duality often explored in the introspective nature of West Coast cool jazz, where the focus is often on expression and mood.

In "Estrada Branca (This Happy Madness)," Purcell's switch between Portuguese and English adds a unique storytelling dimension. Her nuanced and deliberate phrasing engages in both linguistic settings, creating a creative and universal performance. "Estate" has a moody and dark arrangement. The laid-back phrasing of Purcell's vocals makes the song's story come alive. This ability to tell a story through subtle vocal inflections is reminiscent of the West Coast jazz ethos, where less is often more.

Shawn Purcell's original, "Chatterbox," is one of the album's many highlights. The song has an exciting approach to the vocal, guitar, piano, and vibes possibilities to create varying orchestrative dialogues. Purcell's voice engages with the ensemble as an instrument which happens to be singing lyrics. This interplay is done with a command of jazz rhythms and articulations. Purcell's personal touch comes through in her lyric choices and vocal expression. By choosing both aspects, Purcell can give a performance that distinctly displays her jazz articulation and rhythm with excellent lyric writing.

Throughout Love's Got Me In A Lazy Mood, Purcell comprehends jazz's expressive potential. Her vocal delivery is built upon solid technical skills, but her artistry is about weaving a melody with stories and emotions.By Geannine Reid
https://www.allaboutjazz.com/loves-got-me-in-a-lazy-mood-darden-purcell-oa2-records

Love's Got Me in a Lazy Mood

Thursday, February 15, 2024

Angelina Jordan - Old Enough

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 17:08
Size: 39,6 MB
Art: Front

(2:57) 1. Love Don't Let Me Go
(3:07) 2. Now I'm The Fool
(2:36) 3. Fire And Rain
(2:24) 4. All My Fault
(3:27) 5. Good In Goodbyes
(2:35) 6. Diamond

Acclaimed songstress and vocal dynamo, Angelina Jordan has unveiled her brand-new EP, Old Enough today via Republic Records. To celebrate the project’s release, she also dropped the music video for the single “Now I’m The Fool.” Watch it now below.

On the track, her smoky vocals practically hover above jazz-y guitar and a simmering beat as she confesses in a smooth cadence, “I just called to let you know, you hurt my soul.” The simple, yet striking black-and-white visual channels a classic vibe as she rocks a retro hairdo and sings her heart out into a vintage microphone alone.

After years of wowing audiences with her phenomenal voice, Old Enough places Angelina Jordan’s songwriting in the spotlight, displaying her maturity as both an artist and woman.

Angelina first teased the project with “Love Don’t Let Me Go” earlier this year. Thus far, it has gathered north of 1.4 million Spotify streams and 2 million-plus views on accompanying visualizer. The last time we heard from Angelina was in 2021 with “7th Heaven.” The latter has amassed over 2.8 million Spotify streams in addition to 2.2 million YouTube views on the music video.https://preludepress.com/news/2023/07/21/angelina-jordan-old-enough/

Old Enough

Dave Pietro - Standard Wonder: The Music of Stevie Wonder

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 69:17
Size: 158,6 MB
Art: Front

(5:27) 1. Too High
(6:41) 2. All in Love Is Fair
(6:05) 3. Smile Please
(6:30) 4. Go Home
(4:34) 5. You and I (Interlude)
(7:47) 6. The Secret Life of Plants
(6:09) 7. Contusion
(5:22) 8. Happier Than the Morning Sun
(7:10) 9. Visions
(6:26) 10. Another Star
(3:34) 11. Overjoyed
(3:27) 12. Come Back as a Flower

A few of Stevie Wonder's songs have been performed by jazz musicians, but this CD by saxophonist Dave Pietro is one of the first extensive explorations of his work outside of pop. Pietro shifts between soprano, alto, and C-melody saxophones (the latter instrument hasn't been used very much in jazz since the '30s). Pietro's playing is very strong throughout the date, and his arrangements are first-rate, often contrasting sharply with the composer's original approaches.

"Another Star" features Pietro's superb C-melody sax in a modal setting that seems to occasionally hint at Miles Davis' "Nardis." His tasty soprano sax is a highlight of "The Secret Life of Plants," a song that could be overlooked by jazz fans who haven't heard Wonder's original record, because such a title might easily be mistaken for a typical new age release. The lively, Latin-flavored "Smile Please" and the lovely ballad "You and I-Interlude" are also highlights, but the dull electric piano keeps "All in Love Is Fair" (a favorite of pianist Marian McPartland, who has performed it many times) from reaching its full potential.

The strong supporting cast includes keyboardist David Berkman, trumpeter and flugelhornist Scott Wendholt, trombonist Pete McGuinness, guitarist Pete McCann, bassist Scott Colley, and drummer Brian Blade. One can easily imagine many more jazz musicians following Dave Pietro's lead in putting together a Stevie Wonder songbook of their own.By Ken Dryden
https://www.allmusic.com/album/standard-wonder-the-music-of-stevie-wonder-mw0000591513

Personnel: Dave Pietro - Soprano/Alto & C-melody Sax; Scott Wendholt - Trumpet/Flugelhorn; Pete McGuinness - Trombone; Pete McCann - Guitar; David Berkman - Piano/ Organ/ Fender Rhodes; Scott Colley - Bass; Brian Blade - Drums

Standard Wonder: The Music of Stevie Wonder

Hazel Scott - Born Hazel Dorothy Scott

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 28:57
Size: 67,2 MB
Art: Front

(2:13) 1. Two Part Invention In 'A' Minor
(2:36) 2. Three Little Words
(2:28) 3. Fascinating Rhythm
(2:42) 4. You Gave Me The Go-by
(2:55) 5. Mighty Like The Blues
(2:50) 6. Blues In B Flat
(3:18) 7. Take Me In Your Arms
(2:55) 8. Country Gardens
(2:51) 9. Ritual Fire Dance
(4:05) 10. Honeysuckle Rose

Jazz pianist and singer Hazel Scott was not only the first African-American woman to host her own television show, but she also bravely stood up to the House Un-American Activities Committee and the Hollywood studio machine. The gifted and popular performer dazzled audiences in the U.S. and abroad with her jazzy renditions of classical works.

Hazel Dorothy Scott was born in Port of Spain, Trinidad on June 11, 1920. She was the only child of R. Thomas Scott, a West African scholar from England, and Alma Long Scott, a classically trained pianist and saxophonist. Scott displayed her talents for music at an early age and, by the age of three, Scott could play the piano by ear. When her mother’s music students would hit a wrong note, Scott would yelp with displeasure.

Scott’s parents separated and she moved with her mother and grandmother to New York City in 1924. Scott's mother played in several all-women bands to earn a living. Scott and her mother were extremely close, and Scott called her mother “the single biggest influence in my life.” Alma became friends with prominent African-American musicians, which gave Scott the opportunity to learn from a variety of musical greats, such as Art Tatum, Lester Young, and Fats Waller.

Her mother’s musical connections made it possible for Scott to audition for the prestigious Juilliard School of Music at the unheard-of age of eight (students were supposed to be 16). Scott’s rendition of Rachmaninoff’s “Prelude in C-Sharp Minor” convinced professor Oscar Wagner of Scott’s “genius” and he arranged a scholarship so that he could instruct her privately.

By the time she was a teenager, Scott was performing professionally throughout the city. At the age of 13, she joined her mother’s jazz band, Alma Long Scott’s American Creolians. At 15, Scott made her individual stage debut opposite Count Basie’s big band at the Roseland Ballroom in New York City. She won a local competition to host her own radio show and, in 1938, made her Broadway debut in the musical revue Sing Out the News. Despite her demanding musical career, Scott graduated high school with honors.

It was her 1939 performances at Café Society in Greenwich Village that pushed Scott’s career to the next level. Café Society was New York’s first fully integrated nightclub and the city’s hot spot for jazz. When singer Billie Holiday ended her standing engagement there three weeks early, she insisted on Scott as her replacement. When the run was up, Scott was the "Darling of Café Society” and the club’s new headliner. More.....https://www.womenshistory.org/education-resources/biographies/hazel-scott

Born Hazel Dorothy Scott

Jack Jones Feat. Joey Defrancesco - ArtWork

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 78:09
Size: 180,3 MB
Art: Front

(6:03) 1. Fever
(4:45) 2. Hello
(4:55) 3. At Last
(5:21) 4. If Love Is Overrated
(3:29) 5. Not While I'm Around
(5:08) 6. She's Funny That Way
(6:17) 7. This Masquerade
(5:55) 8. If You Go Away
(6:10) 9. Empty Chairs
(6:10) 10. Lush Life
(4:23) 11. Free Again
(5:03) 12. Is That All There Is
(5:50) 13. Here's To Life
(4:20) 14. This Is All I Ask
(4:15) 15. One Day

If a singer's reputation is so impressive that he or she is able to enlist a full orchestra (with bassist John Clayton conducting) and the late organ maestro Joey DeFrancesco as featured soloist, that is certainly enough to warrant attention. The singer in this instance is two-time Grammy winner Jack Jones, the orchestra an assemblage of some of the Los Angeles area's finest musicians, enlarged by a thirty-member string section.

On one hand, Jones remains a smooth and personable interpreter of American popular song; on the other, he was nearing his eighty- fifth birthday when ArtWork was recorded, and he is more a stylist and storyteller than a songbird here. If pressed for a description, it must be that he more or less talks in rhythm and always on-key, and can still reach the required notes when necessary, even with some difficulty. Think Rex Harrison without the British accent or Robert Preston with less power.

Those who remember Jones from his heyday in the '50s and '60s may either warm to those memories and embrace the album, or lament the loss of the phrasing, control and animation that made his early recordings so remarkable. Either response is perfectly understandable, as this is not the same Jack Jones. Period. He simply does the best he can with what he has. For some, that may be more than enough; for others, not nearly enough. Make no mistake, Jones can still sing, simply not the way he used to. While the voice is not close to what it once was, experience has taught him warmth and pacing, and he makes the most of those skills.

When all is said and done, when one is a singer that is what he or she does. And Jones has always been a singer, taking his cue from father Allan Jones who starred in a number of films, including the Marx Brothers classic, A Night at the Opera; he recorded the hit song "The Donkey Serenade," introduced in that film. The younger Jones has had a long and illustrious career, and he pours whatever is left in the tank into every note on ArtWork. Even so, he is no more than a shadow of his younger self, which must be considered and acknowledged. As for the rest, DeFrancesco is superb as always on organ, tenor sax or trumpet, the orchestra smooth and dependable. For diehard fans of Jack Jones, ArtWork could be one last treasure to embrace.By Jack Bowers
https://www.allaboutjazz.com/artwork-jack-jones-featuring-joey-defrancesco-self-produced

ArtWork

Tuesday, February 13, 2024

Wolfgang Muthspiel/Scott Colley/Brian Blade - Dance of the Elders

Styles: Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 45:32
Size: 105,4 MB
Art: Front

(10:47) 1. Invocation
( 4:15) 2. Prelude to Bach
( 5:56) 3. Dance of the Elders
( 7:40) 4. Liebeslied
( 4:57) 5. Folksong
( 4:52) 6. Cantus Bradus
( 7:02) 7. Amelia

Dance of the Elders is the third ECM trio album led by Austrian guitarist Wolfgang Muthspiel. It follows on from Angular Blues (2020), which had the same line-up of Scott Colley on double bass and Brian Blade on drums; and Driftwood (2014), on which the bassist was Larry Grenadier.

Of the first of these albums Muthspiel said, ‘I wanted to feature the liquidity and wide horizon of the guitar while also approaching the contrapuntal possibilities of a piano trio.’ Driftwood fully met this brief, Muthspiel’s classical and electric guitar ably supported by two highly sensitive and responsive conversationalists weaving an exquisite sonic filigree. And on the album Angular Blues, Muthspiel widened the horizon with techniques such as using delay to create intricate counterpoints.

But on Dance of the Elders the horizon feels even wider, especially on the first and longest piece, the hypnotic and aptly named Invocation. Electric guitar swells and tinkling bells are followed by a lullaby-like tune that drifts in and out of a hypnagogic soundscape of sparse bass solo, soft mallet rumblings and splashing cymbals, before concluding with a looped riff over which Muthspiel lays a sleepy, blues-tinged solo of heavily treated guitar.

So, broad in sonic palette but also mood, as the second piece attests. Prelude to Bach is played on classical guitar with a Ralph Towner-ish feel, supported by subtle splashes and scattered dabs from Brian Blade, and sawing arco bass from Scott Colley. It becomes vaguely baroque towards the end when bass and drums melt away to leave only solo guitar, but the track’s title is more evocative than descriptive. Muthspiel also plays classical guitar on the titular track Dance of the Elders, a graceful pas de deux between guitar and bass that kicks into an equally lovely pas de trois when the drums join in but perhaps flamenco is a better analogy than ballet, judging by the stop-time interlude of clapping and drums. Folksong has the sort of catchy melody Keith Jarrett might have penned; and Cantus Bradus (classical guitar again) is full of spirited arpeggiating.
https://londonjazznews.com/2023/11/20/wolfgang-muthspiel-dance-of-the-elders/

Featured Artists: Wolfgang Muthspiel - Guitars; Scott Colley - Double Bass; Brian Blade - Drums

Dance of the Elders

Julie Byrne - The Greater Wings

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 38:27
Size: 88,9 MB
Art: Front

(3:24) 1. The Greater Wings
(3:20) 2. Portrait Of A Clear Day
(3:46) 3. Moonless
(4:19) 4. Summer Glass
(2:55) 5. Summer's End
(4:00) 6. Lightning Comes Up From The Ground
(3:47) 7. Flare
(3:38) 8. Conversation Is A Flowstate
(4:04) 9. Hope's Return
(5:08) 10. Death Is The Diamond

The US singer-songwriter Julie Byrne recorded her third album amid a seismic life event: the death of her collaborator, friend and one-time lover Eric Littmann at the age of 31, while they were making The Greater Wings. With lyrics written before but the music finished after, its drifting, drumless songs seem to wander a bardo between this life and another.

Attuned to sun, moon and sky as she moves, Byrne deeply communes with herself and others. Whether singing about Littmann or any other human connection she’s made, she vividly conjures the vestigial feeling of someone gone, either to death or mere departure a sense-memory so strong it becomes a physical encounter. “You are the family that I chose”, “Be with me now as the sun rises its flare” these and so many others are heart-stopping statements of love. Sexual desire, itself a state of need and loss, suffuses the album, too: “That night at the old hotel / I’d been learning you by heart” is erotic and romantic all at once.

Accompanied by a small ensemble (including Littmann at times) on piano, strings, harp, guitar and gorgeously subtle and organic-feeling analogue synth, Byrne’s vocal melodies have the kind of clarity that comes in the wake of a loss, an ending or a personal epiphany. Lightning Comes Up from the Ground and Summer Glass create that sense of sitting outside time through the very timelessness of their robust melodies. Best of all is Hope’s Return (a rearrangement of her song with Jefre Cantu-Ledesma, Love’s Refrain) a secular hymn and modern classic.

Sufjan Stevens’ Carrie & Lowell is perhaps the closest comparison in terms of musical and emotional tenor, but Byrne’s album is ultimately as singular as the woman singing it, and as unforgettable as a departed friend.
https://www.theguardian.com/music/2023/jul/07/julie-byrne-the-greater-wings-review-ghostly-international

The Greater Wings

Joni Mitchell - Joni Mitchell at Newport (Live)

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 61:31
Size: 142,2 MB
Art: Front

(2:41) 1. Introduction By Brandi Carlile
(2:40) 2. Big Yellow Taxi (Feat. Lucius)
(4:51) 3. A Case Of You (Feat. Marcus Mumford
(7:59) 4. Amelia (Feat. Taylor Goldsmith)
(5:40) 5. Both Sides Now
(3:31) 6. Just Like This Train
(5:52) 7. Summertime
(3:37) 8. Carey (Feat. Brandi Carlile)
(5:20) 9. Help Me (Feat. Celisse)
(7:34) 10. Come In From The Cold
(5:44) 11. Shine (Feat. Brandi Carlile)
(5:55) 12. The Circle Game

Joni Mitchell stunned the Newport Folk Festival audience last summer when she gave a surprise performance her first in 20 years delivering a heartfelt set filled with some of her greatest songs. Mitchell's triumphant return to the stage on July 24, 2022, will be featured on a new live album from Rhino, AT NEWPORT, available on July 28, 2023 on CD and 2-LP black vinyl. Produced by close collaborator Brandi Carlile, along with Mitchell, the music will also be released the same day on digital and streaming services and Dolby Atmos. https://www.amazon.ca/Joni-Mitchell-At-Newport/dp/B0C3MSW2VK

Joni Mitchell at Newport (Live)

Chie Ayado - Chain of Life

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 73:02
Size: 169,8 MB
Art: Front

(3:56) 1. Georgia On My Mind
(3:46) 2. Fever
(5:32) 3. Mr. Bojangles
(4:16) 4. Stormy Monday
(4:04) 5. Spinning Wheel
(4:35) 6. Trouble In Mind
(6:02) 7. Goodbye Pork Pie Hat
(4:16) 8. God Bless America
(3:50) 9. I Can't Stop Loving You
(2:30) 10. Blue Skies
(1:40) 11. Oleo
(4:06) 12. Caravan
(5:39) 13. With a Little Help From My Friends
(4:50) 14. Wonderful Tonight
(4:20) 15. Get Into My Life
(5:54) 16. Take Me Home, Country Roads
(3:39) 17. The Way We Were

Influenced by her parents' hobbies, Chie has been surrounded by jazz and Hollywood movies from an early age. She first studied classical piano but soon began to swing, and grew up as a kid that always preferred gospel to psalms. When she was 17 years old, she scraped together all money she had saved with part-time jobs, and left for the land of dreams: the US West Coast.

After moving her bases to NYC, Chie was invited by a record store owner to "visit a church and listen to some gospel". She agreed, and became a member of church's choir on the spot. She married a fellow choir member and gave a birth to a baby , but later she got divorced.

In 1991, the mother and the son returned to Japan, she began to sing in a jazz club in Osaka, and thanks to the quickly spreading rumors of her vocal performance she soon made a name for herself in the local jazz scene.

The June 1998 release "For All We Know" marked Chie's debut as a professional jazz musician at the age of 40. Since then Chie has been touring regularly across Japan in fall and winter, and with the help of fans spreading the word via the Internet
managed to establish a reputation as an outstanding female singer. Soon her concerts were sold out as soon as they were announced. Also her third album "Life" made a big hit in 1999, this her 'standard' album has been sold over 250,000 copies.

In March 2001 Chie received the 51st Ministry of Education and Science Cultural Promotional Award. Harboring an aversion against settling for one thing, Chie has been exploring territories outside the realm of jazz. Her repertory extends 20's swing
jazz to the rock, pop standards.

Chie has released 14 albums, 2 compiled "BEST" albums and 5 DVD-Videos. The number of total sale reaches almost 2,000,000 copies. https://www.hdtracks.com/index.php?file=artistdetail&id=9283

Chain of Life

Monday, February 12, 2024

Martha Tilton - Sway & Swing - Martha Tilton's Relaxing Jazz Grooves

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 30:43
Size: 71,0 MB
Art: Front

(2:50) 1. I Should Care
(2:53) 2. That's My Desire
(2:23) 3. Don't Sit Under The Apple Tree
(2:46) 4. Blow, Gabriel, Blow
(3:13) 5. And The Angels Sing
(2:50) 6. G'bye Now
(2:17) 7. All Of Me
(2:44) 8. A Fine Romance
(2:39) 9. Coming Through The Rye
(2:47) 10. I Wonder, I Wonder, I Wonder
(3:16) 11. I'll Walk Alone

Big-band songbird "Liltin'" Martha Tilton enjoyed her greatest renown during her two-year stint with the Benny Goodman Orchestra. Featured on Goodman's smash rendition of the swing-era classic "And the Angels Sing," she was also the first non-classical vocalist to perform at Carnegie Hall. Born November 14, 1915, in Corpus Christi, TX, Tilton spent the majority of her adolescence in Los Angeles, where as a high school student she began moonlighting with bandleader Sid Lippman on the radio show Coconut Grove. A three-year stint with the Hal Grayson Band followed before Tilton joined the vocal quartet Three Hits and a Miss in 1936.

A year later, she joined the Jimmy Dorsey Band, and appeared as a lounge singer in the classic Hollywood comedy Topper. Soon after Goodman arrived in Tinseltown to film Hollywood Hotel and conduct auditions to replace his previous vocalist Helen Ward, and within days of landing the gig, Tilton joined the band on tour, not returning to L.A. for two years. Acclaimed for her clear, lovely vocals and straightforward interpretive style, Tilton's performance was a highlight of the Goodman Orchestra's landmark January 16, 1938, appearance at New York's Carnegie Hall, the first showcase of its kind awarded to a swing group. Her rendition of "Lock Lomond" earned the longest ovation of the evening, and her growing fame was further solidified via the 1939 Johnny Mercer composition "And the Angels Sing," the biggest hit of her 80-odd Goodman recordings.

When Goodman dissolved the group in April 1939, Tilton signed on with bandleader Paul Whiteman's Philco-sponsored series on NBC radio. For a brief spell during the early '40s, she hosted her own NBC show, Liltin' Martha Tilton Time, as well. During a now-infamous ASCAP strike, she made her first solo recordings for Standard Transcriptions before signing to the fledgling Capitol Records in 1942. A series of releases including "I'll Walk Alone," "A Fine Romance," and "I'll Remember April" followed, and during World War II Tilton was also a fixture of the USO tour circuit, traveling with headliner Jack Benny to military outposts in the Atlantic and Pacific theaters.

After her Capitol tenure ended in 1949, she recorded for independent labels including Coral and Crown, and with singer Curt Massey spent seven years co-hosting a 15-minute daily syndicated radio show sponsored by Alka-Seltzer. In 1955 Tilton played herself in the Hollywood biopic The Benny Goodman Story, appearing in a re-creation of the Carnegie Hall performance. That same year she gave birth to her third child, and in the years to follow gradually receded from the spotlight to focus on raising her family. Tilton resurfaced decades later in a series of swing-era revival tour packages, including a mid-'80s trek through Australia as part of a Goodman tribute showcase spearheaded by pianist/arranger Al Lerner. Tilton died of natural causes at her Brentwood, CA, home on December 8, 2006; she was 91 years old. By Jason Ankeny
https://www.amazon.com/Sway-Swing-Tiltons-Relaxing-Grooves/dp/B0CBNLBQPK

Sway & Swing - Martha Tilton's Relaxing Jazz Grooves

Carl Winther - Swingin'

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 19:49
Size: 45,7 MB
Art: Front

(3:27) 1. Bye Bye Blackbird
(3:45) 2. Black Narcissus
(4:05) 3. All of You
(4:48) 4. Darn That Dream
(3:42) 5. There Is No Great Love

Carl Winther is known as one of Denmark's best piano players. Son of the world famous composer and trumpet player, Jens Winther, he started touring at an early age. The Award Winning vituoso, has been performing with the likes of Billy Hart, Jerry Bergonzi, Bill Evans,, Daniel Humiar, Adam Nussbaum, James Genus, Till Broenner, Markus Strickland, Dick Oats, Dejan Terzic, Eliel Lazo, Moussa Diallo, Mads Vinding, Hugo Rasmussen, Mikkel Nords, Al Campos, Tomas Franck, Doug Raney, Frederik Kronkvist, and Afonso Corea, to name some. His performance is breathtaking and virtuous.

He has a fluent ability to improvise He is an educated Jazz and Classic musicians, with a true love for Latin and African rhythms. His own composition are inspired by all this, and also includes the funky styles of Herbie Hancock's 70s music and avangardistic ideas. Winther has been awarded for his precise and extravagant compositions and his amazing performance skills.
https://www.jazzmusicarchives.com/artist/carl-winther

Swingin'

Courtney Pine - Journey To The Urge Within

Styles: Saxophone Jazz
Year: 1986
File: MP3@320K/s
Time: 50:14
Size: 116,3 MB
Art: Front

(4:19) 1. Miss-Interpret
(4:42) 2. I Believe
(5:24) 3. Peace
(3:31) 4. Dolores
(3:24) 5. As We Would Say
(7:06) 6. Children Of The Ghetto
(5:25) 7. When, Where, How And Why
(3:30) 8. C.G.C.
(4:33) 9. Seen
(1:28) 10. Sunday Song
(3:45) 11. E.F.P. (Bonus Track)
(3:00) 12. Big Nick (Bonus Track)

This early Courtney Pine recording (the tenor saxophonist was 22 at the time) features some of the most promising black English jazz musicians of the time, including Pine (who also plays some bass clarinet and soprano), singer Cleveland Watkiss (who often is reminiscent of Bobby McFerrin), vibraphonist Orphy Robinson, and pianist Julian Joseph.

While most of these players have not yet lived up to their potential (Pine remains an expert Coltrane imitator), this disc has its share of strong music. The emphasis is on Courtney Pine's originals which cover a wide span of emotions and grooves.By Scott Yanow https://www.allmusic.com/album/journey-to-the-urge-within-mw0000652798

Journey To The Urge Within

Chie Ayado & Junior Mance - Chie Ayado Meets Junior Mance Trio Live

Size: 102,9 MB
Time: 44:26
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz/Pop/Blues Vocals, Standards
Art: Front

01. Stormy Monday (Live) (6:54)
02. I'm Walkin' (Live) (3:53)
03. Gee Baby, Ain't I Good To You (Live) (4:48)
04. Sunny (Live) (3:58)
05. Summertime (Live) (5:04)
06. Autumn Leaves (Live) (4:06)
07. Route 66 (Live) (5:28)
08. It Don't Mean A Thing (Live) (3:22)
09. Georgia On My Mind (Live) (5:51)
10. Happy Birthday (Live) (0:57)

Chie Ayado Meets Junior Mance Trio Live

Sunday, February 11, 2024

Sophie Alour - Le Temps Virtuose

Styles: Avant-garde Jazz
Year: 2023
File: MP3@320K/s
Time: 44:01
Size: 103,0 MB
Art: Front

(4:31) 1. Des lendemains qui chantent
(5:04) 2. Musique pour Messieurs
(5:06) 3. Sous tous les toits du monde
(3:56) 4. Musique pour Dames
(2:55) 5. Roulotte
(3:11) 6. Haunted
(4:26) 7. Tout nu
(4:05) 8. Vent debout
(3:19) 9. Ici et maintenant
(5:05) 10. Petite anatomie d'un présent qui passe
(2:17) 11. Le temps cannibale

For years, we have been trying to obtain Sophie Alour’s albums without success, due to distribution quirks. This time, however, this album was offered to us, allowing us to introduce you to this excellent saxophonist and composer. In addition to her successful solo career, she is also a part of the outstanding team of musicians surrounding the elegant Rhoda Scott and her Lady All Starr, who impress just about everyone.

“Le Temps virtuose” is a delightful and poetic blend that transports you through folk, jazz, and a rich tapestry of classical music influences. There’s an evident aesthetic pursuit here, where the beauty of art and intelligence interweave. The gentle sounds, sumptuous arrangements, and the opportunity for attentive listening make this album shine, without any artifice. It’s as if a storyteller is whispering the most beautiful adventures into your ear.

This is a delicate, sensitive, and touching musical universe that will surely appeal to our American readers. Each piece on this album is like a postcard from a city or a place, much like the way magazines depict the landscapes of France. It’s quite different from our friend, the composer and saxophonist Céline Bonacina, as it possesses a distinct culture. Here, you’ll be treated to beautiful moments with the flute, cello, guitar, and many other captivating elements, much like a museum to explore.

Yes, one can’t help but be charmed by an album like this, which carries the clear intentions of its creator. It plays with balance, offering its sensitivities, a touch of Africanness, and hints of Celtic influences that reinforce the melodic mysteries. You’ll have fun trying to decipher the origins of these images, and you’ll willingly lose yourself in them, much like exploring a city in an unknown country. If Sophie keeps winning awards, it’s no accident. She belongs to the small circle of remarkable artists in Europe, genuine and inspiring, with an impressive discography, and this album is particularly endearing.

If you’re in search of an authentic album, the editors of Bayou Blue and Paris-Move were immediately captivated by this work, bestowing upon it the “Indispensables” label. So, why not you? If your sensibilities lean toward romanticism, poetry, and travel, “Le Temps virtuose” will be your destiny…By Thierry De Clemensat https://www.paris-move.com/reviews/sophie-alour-le-temps-virtuose-eng-review/

Personnel: Sophie Alour. saxophone, Pierre Perchaud. guitar, Guillaume Latil. cello, Fabrice Moreau. drums.

Le temps virtuose

Art Themen - Hanky Panky

Styles: Jazz Contemporary
Year: 2022
File: MP3@320K/s
Time: 52:17
Size: 120,1 MB
Art: Front

(6:20) 1. The Night Has a Thousand Eyes
(7:19) 2. Hanky Panky
(4:38) 3. Black Narcissus
(6:55) 4. Prelude to a Kiss
(6:24) 5. I Mean You
(6:26) 6. Without a Song
(8:19) 7. Invitation
(5:54) 8. Solid

Barry says a session was cancelled so instead he corralled Themen, Williams and Green, all of whom were available at short notice. And thank heaven, for this is a very classy affair indeed. ‘The Night Has A Thousand Eyes’ opens as a free-flowing tenor exposé, Themen shuffling his ideas as only he can, Barry laying down a tidal wave of drum effects. Williams, as ever, is not to be outdone, his improvisations like a cascade of unexpected twists and turns, Themen back in to finish.

Dexter Gordon's title track with its parade ground strut is immediately engaging, Green's purposeful walk allowing Williams to fly, occasional funky figures punctuating the flow, before Themen casts his spell, sinuous and mystical, with Rollins like an unseen guest, Green and Barry playing games.

‘Black Narcissus’ is a soprano feature, the tone a tad peevish, Williams thoughtful and pertinent, a mood that continues with ‘Prelude To A Kiss’, Themen back on tenor, almost reverential as he explores its time-honoured outline, Williams markedly un-Duke-like, as Green takes over. Themen's final solo is of the highest quality; Paul Gonsalves would have approved, I'm sure. Monk's ‘I Mean You’ is a stompier affair and all the more welcome for it.

‘Without A Song’ has Williams in imperious form, Themen tip-toeing around the melody, Green powerful in solo and support, Williams taking the chordal route home. Rollins’ ‘Solid’ is the toe-tapping closer to an impromptu four-star collaboration but its five-stars to label boss Andy Cleyndert for his production, design and photography. A shiny digipack to savour: good to look at and great to play. https://www.jazzwise.com/review/art-themen-dave-barry-quartet-hanky-panky

Hanky Panky

Gerry Beaudoin Trio - Minor Swing

Bitrate: MP3@320K/s
Time: 46:14
Size: 105.9 MB
Styles: Guitar jazz
Year: 1992/2013
Art: Front

[5:17] 1. Swing With Dr Jake
[5:29] 2. Annouman
[3:50] 3. Baby Boy Blues
[3:36] 4. Ain't No Sunshine
[5:54] 5. Django's Castle
[3:24] 6. Minor Swing
[4:08] 7. In A Mellow Tone
[3:54] 8. So Long Ebony
[3:46] 9. Airola
[6:51] 10. Jackie's Serenade

“… Gerry Beaudoin is a fine guitarist, composer and arranger. I am looking forward to more musical adventures with Gerry and his trio in the future.” - David Grisman

The all acoustic, no amps allowed, recordings by the Gerry Beaudoin Trio were a watershed mark in Gerry’s’ career. His special guest, mandolinist David Grisman, had a huge impact on on the way Gerry looked at music and the setting he presented it in. ” When I first heard the David Grisman Quintet I was very aware after a few songs that David was not just a jazz player but had allowed all of his experiences in music and all the genres he played or listened to to come out in his music. I also noticed, like all great jazz musicians, he used the Quintet as an instrument. One other thing that wasn’t lost on me was that instead of playing jazz standards he was presenting his original compositions and crossing genres and grooves effortlessly. This had a huge impact on me. I started writing more of my own material that wasn’t solely based on the jazz lexicon and listening to a broader spectrum of music.” One other important fact wasn’t lost on Gerry,” I learned from seeing The David Grisman Quintet that all acoustic instruments performing with out amplification is such a great, pure musical sound. Each instrument has it’s own unique voice acoustically that has to be brought out by the player. His technique and control of the instrument helps create the sound not amplification which can change the sound drastically. ” After jamming in the dressing room with David one night at Cambridge Massachusetts now defunct club, Night Stage, Gerry knew what he wanted to do for his next recording. He invited David in as his guest with his new band that included two or three acoustic guitars, Gerry, Larry Baione and Duke Robillard, his regular rhythm section of Bob Nieske on acoustic bass, Chuck Laire on drums and Matt Glaser on fiddle. The result was his fourth recording as a leader, the all acoustic Minor Swing. The rapport between David and Gerry was instant as well as the rest of the band. The ten song CD, running the gamut from Django Rheinhart, Bill Withers, Duke Ellington and five Beaudoin originals has been hailed as one of Gerry’s finest recordings. David’s appearance on seven songs is stunning in it’s virtuosity. ”Through out the session David was into it like it was his own project and his wealth of experience in the recording studio as well as in performing totally acoustic music contributed immensely to the success of the recording. ”Gerry knew when he walked out of the studio he had recorded a winner. ” It was one of the best times I ever had in the studio. Everyone contributed to make the music the best we could. Stand out memories are Bob’s solo on Jackie’s Serenade and Dukes solo break on Swing with Dr. Jake and of course playing with David. Everyone was hot and playing in the pocket.” says Gerry almost twenty years later.

Minor Swing

Friday, February 9, 2024

The Cedar Walton Sextet - Bambino: Plays the Music of Art Blakey

Styles: Hard Bop
Year: 1993
File: MP3@320K/s
Time: 49:47
Size: 114,4 MB
Art: Front

(10:09) 1. Arabia
( 8:12) 2. Wee Dot
( 7:20) 3. If I Had You
(16:06) 4. Blues March
( 7:58) 5. Along Came Betty

Cedar Walton's sextet recorded this session before an appreciative audience at Sweet Basil in New York in 1993. Joining the pianist for this date were trumpeter Philip Harper, tenor saxophonist Javon Jackson, trombonist Steve Turre, bassist David Williams and drummer Billy Higgins. The recording was taped during two August nights at the club; alto saxophonist Lou Donaldson appears on "Wee Dot" and "If I Had You."

Four of the sextet are alumni of Art Blakey's Jazz Messengers; moreover, Lou Donaldson's work experience with Blakey predates the founding of his Jazz Messengers. Horace Silver was with the ensemble at that time (the early 1950s) and likes to refer to The Jazz Messengers as "the Art Blakey College of Musical Education." Blakey's working unit remained at the vanguard of hard bop for 36 years, and included well-known jazz artists such as Benny Golson, Jackie McLean, Curtis Fuller, Lee Morgan, Cedar Walton, Freddie Hubbard, Keith Jarrett, Wayne Shorter, Chick Corea, and Wynton Marsalis (Blakey, who passed away in October 1990, used to introduce himself to audiences as "Mrs. Blakey's bambino, Arturo").

Curtis Fuller's "Arabia" features Turre's expressive trombone. J.J. Johnson's "Wee Dot" includes Walton's exciting hard bop piano work and fours from the ever-tasteful Billy Higgins. "If I Had You" is a gentle ballad that features Donaldson. Benny Golson's "Blues March" and "Along Came Betty" provide the most excitement, as each soloist pushes the envelope. Harper and Jackson are particularly creative in their solo spots, weaving quiet mouse-like lines together and building them into uproarious shouts. Art Blakey taught them well.By Jim Santella
https://www.allaboutjazz.com/bambino-cedar-walton-evidence-music-review-by-jim-santella

Personnel: Piano – Cedar Walton; Alto Saxophone, Guest – Lou Donaldson (tracks: 2, 3); Bass – David Williams (2); Drums – Billy Higgins; Tenor Saxophone – Javon Jackson; Trombone – Steve Turre; Trumpet – Philip Harper

Bambino: Plays the Music of Art Blakey

Kayla Waters - Coevolve

Styles: Smooth Jazz
Year: 2018
File: MP3@320K/s
Time: 54:39
Size: 125,1 MB
Art: Front

(4:53) 1. Zephyr
(4:21) 2. Black Cove
(5:01) 3. Lil' Mustard Seed
(4:07) 4. Obsidian Rain
(5:06) 5. Heaven Said So
(4:46) 6. Eden's Gold
(4:29) 7. Cocoa Earth
(6:02) 8. Sweet Agape
(3:14) 9. Signs and Wonders
(4:55) 10. Kiss Away
(4:09) 11. Full Bloom
(3:30) 12. Coevolve

With Apogee pianist and composer Kayla Waters, introduced by her famous dad saxophonist Kim Waters, had her first surprise success. This year we can admire her following album Coevolve.

As on the previous album Kayla was supported by her father. Further artists on the new album are guitarists Freddie Fox and Nick Colionne, bassist Mel Brown, and vocalist Shacara Rogers

Kayla's perfectly developed sense for fine harmonies finds its expression in the starting tune Zephyr. It's the name of the Greek god of the west winds. The lightness of the wind can be discovered in Kayla's emotional keystrokes.

Those who have associated Black Cove with rum or pirates will achieve with this tune an attractive and elegant alternative. Lil' Mustard Seed has in the small sharpness and taste. This is a true musical equivalent.

With Obsidian Rain we approaches the lovely shores of New Age. Heaven Said So reflects a multitude of Kayla's qualities like outstanding mastery of the instruments, compositional skill and perfect arrangement, but also an enchanting voice, which she uses superiorly.

Eden's Gold allures with a compelling peaceful piano melody embedded in rich keyboard harmonies. Cocoa Earth brings the flute into the forefront with timeless grace accompanied by Kayla's radiant keyboard chords.

Agape is considered to be the love originating from God or Christ for mankind. With Sweet Agape Kayla is hollering this divine relationship. Further treasures of this exquisite album are Signs and Wonders, Kiss Away, Full Bloom and Coevolve.

Kayla Waters arrives with a rich and expensive collection of catchy melodies and harmonies and makes it clear that the future of smooth jazz belongs to the young generation. http://www.smooth-jazz.de/starportrait/Waters/Coevolve.htm

Coevolve