Eddie Harris - The Lost Album Plus The Better Half

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 56:18
Size: 130,3 MB
Art: Front

( 6:10)  1. The Dancing Bull
( 4:33)  2. Antidote
(14:55)  3. Cuttin' Out
(15:24)  4. Shakey Jake
( 2:33)  5. Half & Half
( 2:24)  6. K.C. Blues
( 4:03)  7. Lawrence Of Arabia
( 6:13)  8. Yea, Yea, Yea

Eight cuts culled from early-'60s Vee Jay dates. The first four blend soul-jazz and straight bop, with Ira Sullivan sparkling on trumpet and Harris dueling with alto saxophonist Bunky Green. The other two feature Harris wailing the blues alongside organist Melvin Rhyne, Sullivan, Green and guitarist Joe D'Orio. They recall the glory days of steamy, funky organ combos, with drummer Gerald Donovan keeping the backbeat steadily in the groove. ~ Ron Wynn https://www.allmusic.com/album/the-lost-album-plus-the-better-half-mw0000660476

The Lost Album Plus The Better Half

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Andy Laverne - Spot On

Style: Piano Jazz
Size: 150,6 MB
Time: 65:35
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. Tune For Tyner (8:50)
2. Wistful Thinking (5:36)
3. Bassline (8:41)
4. Solace (7:25)
5. Spot On (5:46)
6. Interlude (8:41)
7. Flipside (7:11)
8. Prelude For Chick (6:35)
9. Corean (6:47)

Jazz pianist, composer, and arranger Andy LaVerne studied at Juilliard, Berklee, and the New England Conservatory, and took private lessons from legendary jazz pianist Bill Evans. The list of musicians with whom LaVerne has worked reads like a Who's Who in jazz: Frank Sinatra, Stan Getz, Woody Herman, Dizzy Gillespie, Chick Corea, Lionel Hampton, Michael Brecker, Elvin Jones, and numerous others.

A prolific recording artist, his projects as a leader number over 50, the most recent are: Intuition, a duo with saxophonist Jerry Bergonzi (SteepleChase), and Epiphany, a collection of Andy’s newest compositions (ClaveBop).

LaVerne is also a prominent jazz educator, having released a series of instructional videos, Guide to Modern Jazz Piano, Vols. 1 &, 2, and Jazz Piano Standards (Homespun Tapes), featuring the Yamaha Disklavier, as well as the video, In Concert (Homespun Tapes), with guitarist John Abercrombie. He is the author of Handbook of Chord Substitutions, Tons of Runs (Ekay), Bill Evans Compositions 19 Solo Piano Arrangements, and is the pianist on The Chick Corea Play-Along Collection (Hal Leonard).

The Music Of Andy LaVerne (SteepleChase Publications) has recently been published. Forthcoming are Keyboard’s Jazz Piano Compendium (BackBeat Books), and Jazz Bach, and Jazz Chopin (Mel Bay). Countdown To Giant Steps (Aebersold Jazz) is a two CD play-a-long with companion book, of which LaVerne served as player/producer/writer, and Tunes You Thought You Knew (Aebersold Jazz) is a LaVerne play-a-long CD/book set. Secret of the Andes, a collection of LaVerne originals, is Andy’s newest offering from Aebersold Jazz.

Andy is a frequent contributor (since 1986) to Keyboard Magazine, and Piano Today Magazine. His articles have also appeared in Down Beat, Jazz Improv, Piano Quarterly, Jazz and Keyboard Workshop, and JazzOne.

Andy is the recipient of five Jazz Fellowships from the National Endowment for the Arts, and winner of the 2000 John Lennon Songwriting contest for his tune Shania. He has appeared at concerts, festivals, and clubs throughout the world, and has also given clinics and Master classes at universities, colleges, and conservatories worldwide. Recently he has toured and recorded with legendary singer/songwriter Neil Sedaka. LaVerne is Professor of Jazz Piano at The Hartt School (University of Hartford), and on the faculty of the Aebersold Summer Jazz Workshops.
https://www.allaboutjazz.com/musicians/andy-laverne/

Spot On

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Bob Baldwin - It's Okay to Dream

Styles: Smooth Jazz
Size: 154,2 MB
Time: 66:44
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. Cape Town At Night (7:33)
2. Turn Up the Positive (5:30)
3. That One (6:48)
4. My Will (4:44)
5. Malema, Pt. 1 (6:56)
6. Malema, Pt. 2 (2:31)
7. Dreamin the Dream (6:13)
8. I'm Good (Thanks for Asking) (5:39)
9. Get the Love (5:46)
10. Complicit (5:53)
11. It's Okay to Dream (5:17)
12. 'Til We Meet Again (3:51)

The second album that jazz keyboard player Bob Baldwin released on June 28 is a contemporary album. Baldwin describes “It’s Okay to Dream” as “a contemporary playlist of thoughts and dreams.”

Crafted from a toolbox of R&B, soul, funk, jazz, house music, Latin American and South African rhythms and melodies, the album was previewed earlier this year with the invigorating single 'I'm Good (Thanks for Asking)'.

The second single, 'Turn Up The Positive', followed on June 17, collecting playlist additions. Baldwin wrote the entire album, revisiting one of his 1980s songs, ‘Get the Love’, and finding inspiration from his wife (‘That One’) and Dr. Martin Luther King Jr. ('Dreamin' the Dream'). He offers authentic South African culture on 'Malema' and 'Cape Town at Night', which were co-written by Mozambican artist Jimmy Dludlu and performed by Dludlu's band members.

“Some of the music for the album was written in a dream. I hope the playlist takes you to a peaceful place where you can hear your beautiful voice, beyond the busy hustle and bustle of your own existence. This music is exactly what you need at the perfect time,” said Baldwin who just completed a concert tour of Johannesburg, South Africa. 'Til We Meet Again' appears in instrumental and vocal versions on 'Songs My Father Would Dig' and instrumentally on this album. The song was written for Baldwin's late brother William, who tragically died in a car accident in 1991 at the age of nineteen.

“It's a constant reminder, even 33 years later, that you never forget that day, the moment the phone rings and you hear the pain coming over the phone from my sister, who was visited by a local police officer who delivered that horrific news. I had just seen William twelve hours earlier at a family event. That day my heart was torn to shreds. I will never forget him and his spirit. This song is a repeat of a great man. We always ask, “What if…what if he was alive today?” Baldwin said.

Baldwin's contemporary jazz is very beautiful and highly recommended!http://www.smooth-jazz.de/Patrick/Baldwin/ItsOkayToDream.htm

It's Okay to Dream

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Peter Erskine New Trio - Joy Luck

Styles: Jazz, Post Bop
Year: 2011
File: MP3@320K/s
Time: 60:59
Size: 146,5 MB
Art: Front

(6:00)  1. Joy Luck Club
(4:22)  2. On Land, On Sea
(6:43)  3. Man's Dream
(4:09)  4. Esperanca
(6:19)  5. Dr. Kildare
(3:58)  6. Iridesence
(4:49)  7. Something I Said
(6:57)  8. Dreaming Paris
(5:02)  9. I've Never Been In Love Before
(8:21) 10. Every Tomorrow
(4:13) 11. Song for Zoey

Texture is all on Joy Luck, a fine recording that introduces the versatile Vardan Ovsepian on keyboards and arrangements. Buttressed by Erskine’s nephew Damian on bass, this set sparkles, shimmers, provokes and delights. Each of the 11 tracks tells a story or at least implies one. Take the brooding “Dr. Kildare,” a Jerry Goldsmith tune that unfolds in stately fashion with Ovsepian at his most magisterial and Erskine at his bluesiest: Ovsepian weaves a mutable improvisation as Erskine fills, then drops back, and then takes over. Simultaneously relaxing and stimulating, this is music as conversation. While Erskine originals dominate, the choice of covers is judicious. Vince Mendoza’s “Esperança” gets a jaunty, martial treatment sparked by Ovsepian’s insidious synth and Erskine’s rimshots. Erskine plays resonant, sultry marimba on Bob James’ aptly titled “Iridescence,” and his brushwork, in sync with Ovsepian’s sturdy, dappled piano, brings fresh gravity to Frank Loesser’s “I’ve Never Been in Love Before.” Ovsepian’s “Every Tomorrow,” highlighted by Damian Erskine’s plummy bass, is a stunning showcase for a prodigious technique and a faintly mathematical harmonic sensibility. Ovsepian is one to watch, as is the younger Erskine, whose bittersweet “Song for Zoey” caps this subtle, thoughtful disc. ~ Carlo Wolff https://jazztimes.com/reviews/albums/peter-erskine-new-trio-joy-luck/

Personnel:  Drums, Marimba – Peter Erskine;  Bass – Damian Erskine;  Piano – Vardan Ovsepian

Joy Luck

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Dinah Washington - The Fabulous Miss 'D': The Keynote, Decca and Mercury Singles 1943-1953 (4-Disc Set)

A four-CD box set containing 107 tracks, The Fabulous Miss D! The Keynote, Decca and Mercury Singles 1943-1953 traces the first decade of Dinah Washington's recording career on 78s and 45s with a song on either side, starting with her stint with Lionel Hampton and continuing through the early years of her solo career. The album title implies an equivalence among the three labels for which Washington recorded in this period, but that is just a way of assuring the potential customer that those early Hampton sides -- the Keynote singles "Evil Gal Blues"/"Homeward Bound" and "Salty Papa Blues"/"I Know How to Do It" featuring a Hampton sextet, and Hampton's Decca single "Blow Top Blues" are included.

In fact, most of this material comes from Mercury, and that means her string of solo R&B hits starting with 1948's "Ain't Misbehavin'" and running through 1953's double-sided "TV Is the Thing (This Year)"/"Fat Daddy," with the chart toppers "Am I Asking Too Much" and "Baby Get Lost" in between, along with all the B-sides (some of which also charted) and plenty of non-chart items, all in chronological order. That sequencing allows an appreciation of Washington's development from the bluesy jazz and big-band efforts of the early recordings through jump blues to a mixture of ‘50s R&B and lush pop efforts. It's clear that Mercury hoped to cross Washington over to the pop charts, and every now and then, strings and a hearty backup chorus signal an attempt to push her toward the sound of Patti Page. But only "I Wanna Be Loved" made an impression on the pop chart in this period, and the poppier efforts tended to miss the R&B charts, where Washington otherwise scored consistently in the Top Ten. Sometimes, she did so by going gutbucket and gritty, such as on "Long John Blues," perhaps the most salacious song ever written about dentistry ("You thrill me when you drill me") and a number three hit in 1949. But Washington got to the same chart peak with her version of Hank Williams' "Cold Cold Heart," which suggests both her versatility and the range of Mercury's demands on her. Indeed, she was frequently called upon to cover pop hits for the R&B market during this period, and succeeded with such reverse crossover hits as "Harbor Lights," "My Heart Cries for You," "Wheel of Fortune," and "Tell Me Why," which, just earlier, had been pop chart entries for Sammy Kaye, Guy Mitchell, Kay Starr, and the Four Aces, respectively. And she occasionally undertook pop standards, such as "Embraceable You" and "How Deep Is the Ocean," or dipped into the Bing Crosby ("Just One More Chance") or Frank Sinatra ("I'm a Fool to Want You") catalogs, always with satisfying results. ~William Ruhlmann

Album: The Fabulous Miss 'D' (Disc 1)
Bitrate: MP3@320K/s
Time: 75:16
Size: 172.3 MB
Styles: Jazz vocals, R&B
Year: 2010

[2:51] 1. Evil Gal Blues
[2:46] 2. Homeward Bound
[3:01] 3. Salty Papa Blues
[3:09] 4. I Know How To Do It
[3:17] 5. Blow Top Blues
[2:43] 6. I Can't Get Started
[2:45] 7. Joy Juice
[2:52] 8. Embraceable You
[2:53] 9. When A Woman Loves A Man
[2:39] 10. Oo Wee Walkie Talkie
[2:38] 11. A Slick Chick (On The Mellow Side)
[2:51] 12. Postman Blues
[2:50] 13. That's Why A Woman Loves A Heel
[2:50] 14. I Wanna Be Loved
[2:58] 15. Stairway To The Stars
[2:46] 16. Mean And Evil Blues
[2:30] 17. Fool That I Am
[2:37] 18. Since I Fell For You
[2:40] 19. You Can Depend On Me
[2:32] 20. There's Got To Be A Change
[2:32] 21. Early In The Morning
[2:35] 22. I Love You, Yes I Do
[2:51] 23. Don't Come Knocking At My Door
[2:46] 24. Ain't Misbehavin'
[2:45] 25. No More Lonely Gal Blues
[2:55] 26. West Side Baby
[2:31] 27. Walkin' And Talkin'

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Album: The Fabulous Miss 'D' (Disc 2)
Bitrate: MP3@320K/s
Time: 72:26
Size: 165.8 MB
Styles: Jazz vocals, R&B
Year: 2010

[3:08] 1. I Want to Cry
[3:14] 2. Resolution Blues
[2:36] 3. Tell Me So
[2:52] 4. In the Rain
[2:47] 5. Am I Asking Too Much
[3:05] 6. I Sold My Heart to the Junkman
[2:40] 7. It's Too Soon to Know
[3:01] 8. I'll Wait
[2:47] 9. Why Can't You Behave
[2:34] 10. It's Funny
[2:46] 11. You Satisfy
[2:29] 12. Laughing Boy
[2:35] 13. (What Can I Say) After I Say I'm Sorry
[2:20] 14. Pete
[2:48] 15. Baby Get Lost
[3:07] 16. Long John Blues
[2:53] 17. Am I Really Sorry
[3:11] 18. I Challenge Your Kiss
[2:22] 19. Good Daddy Blues
[2:50] 20. Richest Guy in the Graveyard
[2:24] 21. I Only Know
[1:55] 22. New York, Chicago, and Los Angeles
[3:01] 23. It Isn't Fair
[3:07] 24. Journey's End
[2:47] 25. I Wanna Be Loved
[2:52] 26. Love (Me) With Misery

The Fabulous Miss 'D'(Disc 1) (Disc 2)

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Album: The Fabulous Miss 'D' (Disc 3)
Bitrate: MP3@320K/s
Time: 74:54
Size: 171.5 MB
Styles: Jazz vocals, R&B
Year: 2010

[2:42] 1. I'll Never Be Free
[2:39] 2. Big Deal
[2:59] 3. How Deep Is the Ocean
[2:28] 4. Why Don't You Think Things Over
[3:00] 5. Harbor Lights
[2:57] 6. I Cross My Fingers
[3:17] 7. Time Out for Tears
[2:54] 8. Only a Moment Ago
[3:21] 9. My Kind of Man
[2:24] 10. If I Loved You
[2:11] 11. Fast Movin' Mama
[2:40] 12. Juice Head Man of Mine
[2:43] 13. My Heart Cries for You
[3:19] 14. I Apologize
[3:20] 15. I Won't Cry Anymore
[3:13] 16. Don't Say You're Sorry Again
[3:01] 17. Please Send Me Someone to Love
[3:04] 18. Ain't Nobody's Business If I Do
[2:29] 19. Fine Fine Daddy
[3:08] 20. I'm So Lonely I Could Cry
[2:40] 21. If You Don't Believe I'm Leaving (Count the Days I'm Gone)
[2:37] 22. I'm a Fool to Want You
[3:18] 23. Cold, Cold Heart
[2:56] 24. Mixed Emotions
[2:54] 25. Be Fair to Me
[2:25] 26. Saturday Night

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Album: The Fabulous Miss 'D' (Disc 4)
Bitrate: MP3@320K/s
Time: 75:25
Size: 172.7 MB
Styles: Jazz vocals, R&B
Year: 2010
Art: Front

[3:09] 1. Out in the Cold Again
[2:41] 2. Hey, Good Looking
[2:50] 3. Just One More Chance
[3:02] 4. Baby Did You Hear
[2:15] 5. Wheel of Fortune
[2:56] 6. Tell Me Why
[2:48] 7. Trouble in Mind
[2:37] 8. New Blowtop Blues
[2:57] 9. Mad About the Boy
[2:45] 10. I Can't Face the Music (Without Singing the Blues)
[2:54] 11. Pillow Blues
[2:44] 12. Double Dealing Daddy
[2:54] 13. My Song
[2:31] 14. Half as Much
[3:00] 15. Stormy Weather
[2:56] 16. Make Believe Dreams
[2:25] 17. I Cried for You
[3:13] 18. Gambler's Blues
[2:54] 19. You Let My Love Grow Cold
[2:53] 20. Ain't Nothin' Good
[2:15] 21. Lean Baby
[2:13] 22. Never, Never
[2:24] 23. TV Is the Thing This Year
[2:25] 24. Fat Daddy
[2:20] 25. Silent Night
[2:40] 26. The Lord's Prayer
[2:30] 27. My Man's an Undertaker
[2:02] 28. Since My Man Has Gone and Went

The Fabulous Miss 'D'(Disc 3) (Disc 4)

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Claire Martin - Too Darn Hot!

Styles: Vocal Jazz
Year: 2002
File: MP3@320K/s
Time: 56:44
Size: 133,4 MB
Art: Front

(4:53)  1. Something's Coming
(3:51)  2. Love At Last
(4:14)  3. The Gentleman Is A Dope
(4:10)  4. These Foolish Things
(5:29)  5. It's Raining In My Heart
(3:52)  6. Too Darn Hot
(5:26)  7. Black Coffee
(4:13)  8. Noir
(4:40)  9. Love Is A Necessary Evil
(4:41) 10. When I Fall In Love
(3:43) 11. I Can Let Go Now
(5:28) 12. Four Walls
(1:58) 13. Blue Motel Room

Talented and hip beyond her years the most exciting jazz star to soar to my attention in a decade. By Rex Reed The New York Observer

Too Darn Hot! (Linn Records AKD 198) is Claire Martin’s ninth album for Linn Records. Claire makes a welcome return to her jazz roots with a "dream-team" line-up of UK jazz musicians. Visit http://www.linnrecords.com/ to download soundclips and find out more. This album features many songs from the Great American Song Book: Rogers and Hammerstein's The Gentleman is a Dope, Leonard Bernstein’s Something’s Coming from West Side Story, a superb arrangement of Cole Porter’s Too Darn Hot!, as well as luscious readings of When I Fall in Love and Black Coffee. These tracks are alongside new material by Joel Siegel (Noir) and Geoffrey Keezer (Four Walls) whilst Claire once again pays homage to one of her key influences Joni Mitchell with the final track Blue Motel Room, an a cappella duet with Ian Shaw. Collaborating with producer Richard Cottle, Too Darn Hot! features the cream of British talent and features Nigel Hitchcock, Gareth Williams, Laurence Cottle, Ian Thomas, Clark Tracey and Phil Robson. Special guest artists include the much-acclaimed pianist Geoff Keezer who is featured on his own composition Four Walls which was written for Claire.

The Tapestry String Quartet play on two arrangements by Sir Richard Rodney Bennett, again written especially for Claire, It’s Raining in my Heart and When I Fall in Love. Sir Richard has been a champion of Claire's work since her debut album The Waiting Game (Linn Records AKD 018) for which he wrote the liner notes.

Introducing Claire Martin.....Claire Martin achieved instant recognition with her 1992 debut album, The Waiting Game, which was chosen as one of The Times (London)records of the year. Sir Richard Rodney Bennett concluded his liner notes for the album with the unabashed exclamation: 'This record knocks me out!' Tony Bennett was equally enthusiastic when he appeared on the same bill as Claire at the Glasgow Jazz Festival and has since had the pleasure of sketching Claire during a recent awards ceremony. Claire has a keen interest in all areas of popular music from jazz to pop. On her recordings, songs by Harold Arlen and Irving Berlin rub shoulders with Stevie Wonder, Phoebe Snow and Milton Nascimento, reflecting her eclectic roots. Claire counts Shirley Horn, Joni Mitchell, Betty Carter and Ella Fitzgerald among her stylistic influences. In January 1995 Claire made her American debut with four sell-out shows at The Nest in Washington DC to great acclaim from the Washington Post and The Village Voice. Later that year Claire won the Best British Vocalist category at the British Jazz Awards, and took her group to Ronnie Scott's to make her first live album, entitled Offbeat (Linn Records AKD 046), which includes an outstanding interpretation of Phoebe Snow's Something Real. New York Times contributor James Gavin, author of The History of New York Cabaret wrote: 'In an era when young jazz singers tend to sound far too much like their idols there's no mistaking the voice of Claire Martin who combines a cool, burnished tone with the ear of a born musician.' Following enthusiastic reviews for her appearances in the United States, Claire recorded Make This City Ours (Linn Records AKD 066) in New York, her fifth album for Linn and featuring an international line-up including American saxophonist Antonio Hart.

In March 1996 Claire appeared as guest vocalist on Years Apart (Linn Records AKD 058) with guitarist Martin Taylor recreating the 1934 Hot Club of France. Claire recorded Undecided, originally sung by Beryl Davis.

Claire also provided the lyrics for the title track and had the pleasure of recording in Paris alongside the legendary violinist Stephane Grappelli, who described her as ‘a wonderful artist, who swings and has such warmth to her voice.' The sixth album to be released was Take My Heart (Linn Records AKD 093). This was a change of direction for Claire she started to explore other genres including soul, R&B, folk, and rock. For example, Claire was joined by Noel Gallagher (Oasis) on the track Help and she also covered a Nick Drake track, Riverman. Following on from these explorations Claire released her seventh album Perfect Alibi (Linn Records AKD 122), in April 2000, this time with an appearance by guest artist John Martyn. Every Now and Then the Very Best of Claire Martin (Linn Records AKD 177) is a collection of the best tracks from the first seven albums. Too Darn Hot! is a welcome return to jazz for Claire Martin. It also heralds her first new material for 2 years.  Claire has performed throughout Europe and North America at festivals in Germany, France, the Netherlands, Norway, Denmark, Canada and the United Kingdom including the Edinburgh, Glasgow and Harrogate International Festivals and with many of the world's great orchestras including the BBC Big Band and the RIAS Big Band in Berlin. In 2001 Claire toured the Far East, Europe, and Australia. In addition to her busy concert schedule Claire Martin presents 'Jazz Line-up' on BBC Radio 3. Claire will be performing songs from Too Darn Hot at Ronnie Scott’s Jazz club, London, November 4th 9th 2002. http://www.jazzreview.com/jazz-news/news-story/vocalist-claire-martin-is-too-darn-hot.html


Personnel: Claire Martin (vocals); Ian Shaw (vocals); Phil Robson (guitar); Tapestry Quartet (strings); Nigel Hitchcock (saxophone); Geoffrey Keezer (piano, electric piano); Gareth Williams (piano); Richard Cottle (organ, keyboards); Geoff Gascoyne (double bass); Laurence Cottle (bass guitar); Clark Tracey, Ian Thomas (drums); Miles Bould (percussion).

Too Darn Hot!

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Vince Mendoza, London Symphony Orchestra – Epiphany

Styles: Post Bop
Year: 2002
Time: 62:18
File: MP3 @ 320K/s
Size: 142,6 MB
Art: Front

( 7:16) 1. Impromptu
(10:20) 2. Wheaten Sky
( 8:12) 3. Esperanza
( 6:03) 4. Ambivalence
( 9:06) 5. Sanctus
( 8:56) 6. Epiphany
( 7:44) 7. Barcelona
( 4:39) 8. Deep Song

In and out of print since its initial release in '99, composer/arranger Vince Mendoza's Epiphany represents one of the finest examples of orchestration in a jazz setting. While there have been other fine examples of large-scale blending, they have often simply retrofitted existing material, as was the case with last year's Promises Kept, where pianist Steve Kuhn's compositions were lushly interpreted by arranger Carlos Franzetti.

Mendoza is a composer in his own right who may not be known to a broader audience, but has been a favourite source for artists including Gary Burton, John Abercrombie and Charlie Haden since he emerged on the scene in the mid-'80s. He's also a well-respected arranger, having worn that mantle for artists as diverse as Joe Zawinul, Joni Mitchell and Bjork. So it's a good thing that Michael Watts Productions has seen fit to reissue this significant disc so that it can be revisited by a fresh audience.

Unlike some jazz ensemble-with-orchestra collaborations where clumsy transitions between the two do nothing more than highlight their stylistic disparities, this effort reflects Mendoza's views that all the instruments available to him are part of a larger palette. Consequently the entire affair feels completely organic and unforced. There are times when the focus is on the orchestra, other times where the ensemble is in the forefront, and still other occasions where the two meet on common ground. The integration is so seamless that one is often unaware of the remarkable way in which Mendoza shifts the emphasis.

Mendoza has used sequencers as part of the writing process in the past, something that remains evident even on his more recent compositions, where repetition of complex passages act as a backdrop for themes that are occasionally convoluted yet always memorable. But with the broader textures available from the orchestra, he is able to construct subtle rubato passages. On the title track, where the strings gently introduce the piece, drummer Peter Erskine finally and delicately establishes time as the ensemble gradually inserts itself and pianist John Taylor takes a well-constructed solo that seems to intuitively ebb and flow with the support of the orchestra.

And yet as complex as Mendoza's charts can clearly be, even when the meter is irregular, they feature nothing jarring or angular. The overall ambience is lush without being saccharine, tender without being overly sentimental, easy on the ears without losing the challenge that bears new experiences on repeated listens. A broader dramatic arc imbues the entire cycle; one might listen to individual tracks, but taken as a whole Epiphany yields an altogether richer experience. With only six albums to his name, Epiphany is an all-too-rare opportunity to hear Mendoza in his own element, focusing on his own compositions with the broadest possible range of available textures and an all-star cast of improvisers. A classic. By John Kelman
https://www.allaboutjazz.com/epiphany-vince-mendoza-michael-watts-production-review-by-john-kelman

Personnel: Vince Mendoza (composer, arranger, conductor), London Symphony Orchestra, John Abercrombie (guitar), Michael Brecker (tenor saxophone), Peter Erskine (drums), Marc Johnson (bass), Joe Lovano (tenor saxophone), John Taylor (piano), Kenny Wheeler (trumpet, flugelhorn)

Epiphany

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Joe Venuti, Lino Patruno - Joe Venuti in Milan with Lino Patruno & His Friends

Styles: Big Band
Year: 2017
Time: 69:22
File: MP3 @ 320K/s
Size: 158,8 MB
Art: Front

(69:22) 1. Full Album

Joe Venuti in Milan with Lino Patruno & His Friends

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Tommy Dorsey and His Clambake Seven - The Music Goes Round And Round

Styles: Swing
Year: 2007
Time: 54:17
File: MP3 @ 320K/s
Size: 124,4 MB
Art: Front

(54:17) 1. Full Album

The Music Goes Round And Round

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Melissa Errico - Sondheim In The City

Styles: Jazz
Year: 2024
Time: 54:49
File: MP3 @ 320K/s
Size: 126,8 MB
Art: Front

(4:39) 1. Dawn
(3:23) 2. Another Hundred People
(3:52) 3. Opening Doors / What More Do I Need?
(3:26) 4. Take Me To The World
(3:30) 5. Can That Boy Foxtrot!
(5:02) 6. Anyone Can Whistle
(2:47) 7. Everybody Says Don't
(4:10) 8. Good Thing Going
(3:27) 9. Broadway Baby
(4:15) 10. Uptown, Downtown
(3:53) 11. It Wasn't Meant To Happen
(2:57) 12. Little Things You Do Together
(4:55) 13. Sorry-Grateful
(4:26) 14. Being Alive

Tony-nominated Broadway favorite Melissa Errico has recorded another album of Sondheim songs. Sondheim in the City releases via Concord Theatricals Recordings February 16.

The album is her second dedicated to the late composer-lyricist, following 2018's Sondheim Sublime. The new release focuses on Sondheim's songs about New York City and its myriad of characters, with songs including "Another Hundred People," "What More Do I Need?," "Everybody Says Don't," "Broadway Baby," and more.

“Sondheim is my New York, and his is the city of my dreams,” says Errico in a statement. “I used all these songs to make a Sondheim musical for myself partly my life, partly his mind. He is one of the enduring poets of this complex city, and I walked into one poem after another.”

Errico is also in the midst of a 10-performance residency at Birdland Jazz that began February 14. Shows on February 16 and 17 will celebrate the release of Sondheim in the City.

The album is produced by Rob Mathes and features arranger Tedd Firth on piano, David Finck on bass, Lewis Nash on drums, and Matt Munisteri on guitar. Alex Venguer handled recording, editing, and mixing, while mastering is by Scott Hull.
https://playbill.com/article/melissa-erricos-new-album-sondheim-in-the-city-releases-february-16

Sondheim In The City

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Ken Peplowski - At Mezzrow

Styles: Clarinet And Saxophone Jazz
Year: 2024
Time: 60:06
File: MP3 @ 320K/s
Size: 138,3 MB
Art: Front

(7:21) 1. Vignette
(4:39) 2. Prisoner Of Love
(9:26) 3. Beautiful Love
(6:23) 4. All The Things You Are
(8:12) 5. Like Young
(3:54) 6. The Shadow Of Your Smile
(5:21) 7. Cabin In The Sky
(5:01) 8. Bright Mississippi
(4:18) 9. Here's To Life
(5:26) 10. Who Knows

Ken Peplowski is an extraordinary jazzman with over 70 personal recordings to his name and prestigious collaborations with a wide range of artists, including Charlie Byrd, Mel Tormé, Hank Jones, Peggy Lee, Woody Allen, Benny Goodman, and Madonna. Needless to say, this album, modestly titled Live at Mezzrow, is a true gem that your ears will quickly embrace, as Ken Peplowski’s melodic sense and saxophone playing are so commanding. On this recording, the band leader is accompanied by Ted Rosenthal on piano, Martin Wind on double bass, and Willie Jones III on drums, offering a captivating performance captured during two one-hour sets. We particularly appreciate the simplicity of this setup, which guarantees a very “club” sound, with Ken Peplowski’s playing alone bringing a form of modernity through his propositions. So, we sit down quietly, a glass in hand, and listen, captivated by the beauty of the moment.

In his own words, Peplowski shares the journey behind the album: “Like most musicians, when the dreaded Covid, along with the accompanying lockdown, struck in 2020, it was the end of work. As a sort of very dark cosmic joke, not only did I have a severe case of Covid in March 2020, but my beloved dog Honeypie had to be euthanized in April 2021. In June of that year, I was diagnosed with multiple myeloma.”

So, this is a very special album with a unique story. Indeed, SmallsLIVE owner and pianist Spike Wilner proposed the idea of this live album to Peplowski, who immediately accepted. The acclaimed multi-instrumentalist said, “This is my favorite way to record I like to work on musical material for a year or two, find interesting pieces that are less often played, revive a few pieces that I haven’t played in years, and simply go into the studio with friends and record like a band on stage, playing the music, with its imperfections, and that’s exactly what we did.”

We crave more of such imperfections because a ten-track live album seems a bit short once we’ve immersed ourselves in this ambiance. Ken Peplowski Live at Mezzrow includes unique interpretations of jazz classics as well as lesser-known gems, all delivered with an authority and nuance that only Peplowski and his colleagues can achieve. Each selection tells a story of Peplowski’s fruitful musical adventures with the architects of this art. The live performance is a true masterclass in interaction, with Peplowski’s melodic refrains soaring above Rosenthal’s harmonic reflections, supported by the rhythmic section of Willie Jones III and Martin Wind, themselves talented melodic musicians.

Needless to say, this album can quickly go on repeat, creating an honest and warm ambiance. Although they are covers, they are arranged with such talent that they can be considered recompositions, and this is probably why this album slips surreptitiously into our “Essentials”. By Thierry De Clemensat https://www.paris-move.com/reviews/ken-peplowski-live-at-mezzrow-eng-review/

Personnel: Ken Peplowski - Clarinet & Tenor Saxophone; Ted Rosenthal - Piano; Martin Wind - Bass; Willie Jones III - Drums

At Mezzrow

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Ben Haugland - A Million Dreams

Styles: Piano Jazz
Year: 2015
Time: 52:02
File: MP3 @ 320K/s
Size: 119,4 MB
Art: Front

(7:51) 1. When Day Met Night
(6:19) 2. Birds Of a Feather
(8:20) 3. Here's That Rainy Day
(6:52) 4. Dreamscape
(5:32) 5. Second Sight
(5:20) 6. A Weaver Of Dreams
(7:17) 7. Dedicated To You
(4:27) 8. Big Foot

During the course of A Million Dreams, pianist Ben Haugland's second date as a leader, most of the trappings of a typical mainstream jazz record are present and easy to identify. Not unlike a lot of young leaders who are fusing their own creative aspirations with an allegiance to the tradition, Haugland penned four of the disc's eight tracks, and chose three American Standards and a Charlie Parker tune to round out the program. Another recognizable element is the presence of a propulsive, flexible, sensitive rhythm section comprised of Haugland, bassist Jay Anderson and drummer Chris Smith. Haugland, tenor saxophonist Stephen Jones, and trumpeter Scott Wendholt are capable soloists with stimulating things to say, excellent organizational skills, and ample technique.

While all of these things are significant in themselves, the factors that make A Million Dreams qualitatively different than a slew other recent recordings with a similar conception and instrumentation aren't quite as easy to delineate. A careless listener might contend that the disc is, stylistically and spiritually, just another knockoff of any number of Blue Note, Prestige, or perhaps, Contemporary sides from the 50s or 60s. However, a hasty, facile verdict doesn't come close to telling the whole tale. Though the disc can be listened to casually and enjoyed as such, only repeat visits, close attention, and a willingness to focus on the work from different perspectives reveals the full extent of the band's virtues, as well as delivering some very large rewards.

The overall sound of Haugland's group surpasses the individual contributions. These guys play the leader's genuinely original compositions and the rest of the material with absolute conviction, as well as a great deal of skill and precision. No one sounds anxious to rush through the heads in order to seize an opportunity to blow. For example, the band navigates the twists and turns of Haugland's lively, extended "When Day Met Night," with élan. In lesser hands the composition might not sound nearly as convincing. The same can be said for his lovely, pensive "Dreamscape," in which the group underscores the composition's lyrical quality, and delivers just the right degree of assertiveness.

Haugland, Anderson, and Smith find a number of ways to spur the band while sharing the same sonic space. The pianist's bright, poetic comping during the heads and amidst the soloists is rhythmically incisive as well as utterly sympathetic to each of the songs. He brings so much to the table without overstepping boundaries or clashing with his cohort. For instance, the chords and single notes during Jones' melody statement and the solos on "Here's That Rainy Day" add another dimension to the track, while often ringing out joyously like bells.

Anderson and Smith are a prime example of a bass and drums team who function effectively and add spice to a largely straight-ahead context. Regardless of the tempo, rhythmic feel, and their willingness to shake things up in the spur of the moment, the center always holds and the music maintains an unwavering certainty. Check out Anderson's firm placement of the beat and the inspired note choices of his walking line on Jones' first two choruses of "Big Foot." Or, his ingenious, utterly assured broken line throughout "Dreamscape."

Smith is ready to take his place in the crowded, intensely competitive field of New York City trapsters. On up tempo tracks such as "When Day Met Night" he often plays straight, relatively unadorned time for long stretches before executing stealth buzz strokes, or leaves the ride cymbal to play expertly timed phrases of different lengths on various combinations of drums. The head of "Big Foot" exemplifies Smith's ability to tailor a number of snare drum strokes to key points of Charlie Parker's composition. He seasons the conclusion of "Dreamscape" with a few soft, spread out, rolls to the tom toms and the snare drum with the snares off. Generally speaking, regardless of how busy or inventive he gets, Smith is never assertive to a fault and, in conjunction with Anderson, the pulse always remains firm and true.

Haugland is a mature, substantive improviser who, on a track-by-track basis, offers ample helpings of different aspects of his artistry. He always gives the impression that his mindset and creative impulses encompass the song and the goings on of the bass and drums. The pianist's turn on "Dreamscape" germinates from the head, carefully filling in Anderson's and Smith's nuanced, barebones accompaniment, and evincing a patient, balanced vibe even as the lines become more fleet and complex.

"Second Sight" constitutes one long, thrill ride, in part because of his firm, incisive touch. Exhibiting fervor and calculation in equal measure, Haugland pits punchy, unrelenting, Tyner-like chords against hard, biting single note lines and, uncharacteristically, grabs ahold of the bass and drums and yanks them into his orbit. He achieves a purity of expression while playing less than a couple of dozen notes in the first eight bars of a haunting and deeply satisfying "A Weaver Of Dreams" solo. Each note is carefully paced and bears a precise amount of weight in relation to the middling tempo swing of Anderson and Smith.

Apart from their invaluable contributions to Haugland's compositions and arrangements, Jones' and Wendholt's solos are another essential component of the recording. Haugland lays out for the first two choruses of Jones' turn on "When Day Met Night," making it easy to savor the tenor man's medium weight tone, and the manner in which his phrases playfully dart in and around Anderson's and Smith's firm foundation. Taken in its entirety, the solo entails the accumulation of telling details, a persistence that never sounds hectic or unwieldy, and the occasional sustained note that serves as a soulful transition between ideas. Wendholt's single chorus on "A Weaver Of Dreams" begins on an even keel. His rounded tone and smart, melodically rich phrases gradually, almost imperceptibly, build momentum before he unleashes weighty, bravado phrases in the last eight bars.

A Million Dreams is a confluence of excellent original compositions, empathetic ensemble playing and group interplay, as well as memorable solo statements.Highly recommended.
By David A. Orthmann https://www.allaboutjazz.com/a-million-dreams-by-david-a-orthmann

Personnel: Ben Haugland: piano; Scott Wendholt: trumpet; Stephen Jones: tenor saxophone; ; Jay Anderson: bass; Chris Smith: drums.

A Million Dreams

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Lou Donaldson - Rough House Blues

Bitrate: MP3@320K/s
Time: 34:01
Size: 77.9 MB
Styles: Bop, Soul-jazz
Year: 1964/2010
Art: Front

[5:22] 1. Tippin' In
[3:12] 2. L.D. Blues
[4:24] 3. Days Of Wine And Roses
[4:57] 4. Ignant Oil
[6:33] 5. Rough House Blues
[4:00] 6. Back Talk
[5:30] 7. Huffin' 'n' Puffin'

Lou Donaldson - alto saxophone; Dave Burns, Ernie Royal - trumpet; Phil Woods - alto saxophone; Bob Ashton - tenor saxophone; Danny Bank - baritone saxophone; Lloyd Mayers Jr. - organ; Richard Davis - bass; Grady Tate - drums; Oliver Nelson - conductor, arranger.

Lou Donaldson has long been an excellent bop altoist influenced by Charlie Parker, but with a more blues-based style of his own. His distinctive tone has been heard in a variety of small-group settings, and he has recorded dozens of worthy and spirited (if somewhat predictable) sets throughout the years.

Donaldson started playing clarinet when he was 15, soon switching to the alto. He attended college and performed in a Navy band while in the military. Donaldson first gained attention when he moved to New York and in 1952 started recording for Blue Note as a leader. At the age of 25, his style was fully formed, and although it would continue growing in depth through the years, Donaldson had already found his sound. In 1954, he participated in a notable gig with Art Blakey, Clifford Brown, Horace Silver, and Tommy Potter that was extensively documented by Blue Note and that directly predated the Jazz Messengers. However, Donaldson was never a member of the Messengers, and although he recorded as a sideman in the '50s and occasionally afterwards with Thelonious Monk, Milt Jackson, and Jimmy Smith, among others, he has been a bandleader from the mid-'50s up until the present.

Donaldson's early Blue Note recordings were pure bop. In 1958, he began often utilizing a conga player, and starting in 1961, his bands often had an organist rather than a pianist. His bluesy style was easily transferable to soul-jazz, and he sounded most original in that context. His association with Blue Note (1952-1963) was succeeded by some excellent (if now-scarce) sets for Cadet and Argo (1963-1966). The altoist returned to Blue Note in 1967 and soon became caught up in the increasingly commercial leanings of the label. For a time, he utilized an electronic Varitone sax, which completely watered down his sound. The success of "Alligator Boogaloo" in 1967 led to a series of less interesting funk recordings that were instantly dated and not worthy of his talent.

Rough House Blues

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Ray Charles & Milt Jackson - Soul Brothers, Soul Meeting Disc 1 And Disc 2

Styles: Soul Jazz
Year: 1989
File: MP3@320K/s
Time: 47:50 (Disc 1)
Size: 111,6 MB (Disc 1)
Time: 46:10 (Disc 2)
Size: 107,8 MB (Disc 2)
Art: Front

Disc 1

(9:15)  1. How Long Blues
(5:23)  2. Cosmic Ray
(5:25)  3. The Genius After Hours
(4:57)  4. Charlesville
(8:50)  5. Bags Of Blues
(5:51)  6. Deed I Do
(8:05)  7. Blue Funk

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Disc 2

(9:34)  1. Soul Brothers
(6:27)  2. Bag's Guitar Blues
(6:04)  3. Soul Meeting
(5:29)  4. Hallelujah I Love Her So
(6:40)  5. Blue Genius
(8:11)  6. X-Ray Blues
(3:42)  7. Love on my Mind

This brings together all of the extant takes recorded for two albums that Milt Jackson made with Ray Charles for Atlantic in 1957 and 1958. With Oscar Pettiford, Connie Kay, and Kenny Burrell in the various lineups, this is bluesy jazz in a laid-back manner; it surprised many hardcore R&B fans when these albums were originally issued. Jackson moves from vibes to piano, and even guitar (on "Bag's Guitar Blues"), while Ray jumps between piano and alto sax on these sessions. A rare glimpse of Charles' jazz soul coming up for air.      ~ Cub Koda   http://www.allmusic.com/album/soul-brothers-soul-meeting-mw0000653204.

Personnel: Skeeter Best, Kenny Burrell (guitar); Ray Charles (alto saxophone, acoustic & electric pianos); Billy Mitchell (tenor saxophone); Milt Jackson (piano, vibraphone); Oscar Pettiford (bass); Connie Kay (drums)

Soul Brothers, Soul Meeting Disc 1, Disc 2

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Helen Merrill - Great Women Of Song: Helen Merrill

Styles: Vocal
Year: 2024
Time: 43:38
File: MP3 @ 320K/s
Size: 100,6 MB
Art: Front

(3:07) 1. Anything Goes
(4:19) 2. You'd Be So Nice To Come Home To
(3:21) 3. When I Fall In Love
(3:25) 4. By Myself
(3:20) 5. Blue Gardenia
(3:54) 6. Falling In Love With Love
(3:01) 7. Comes Love
(2:46) 8. Where Flamingos Fly
(3:30) 9. You've Got A Date With The Blues
(5:11) 10. Don't Explain
(3:15) 11. 'S Wonderful
(4:24) 12. Lilac Wine

With her cool, expressive singing style and carefully crafted song selection, Helen Merrill has secured a special place in the hearts of fans and other musicians. From intimate ballads to full-band swingers, this collection, drawn from her 1950s recordings, provides solid evidence of the unparalleled artistry of one of the must-hear voices in jazz.By Editorial Reviews
https://www.amazon.com/Great-Women-Song-Helen-Merrill/dp/B0D2DT8Z7W

Great Women Of Song: Helen Merrill

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The Syd Lawrence Orchestra - Remember Glenn Miller

Styles: Big Band
Year: 1989
Time: 65:53
File: MP3 @ 320K/s
Size: 152,8 MB
Art: Front

(4:00) 1. Moonlight Serenade
(3:03) 2. Little Brown Jug
(3:19) 3. String Of Pearls
(4:25) 4. At Last
(4:14) 5. I Ve Got A Gal In Kalamazoo
(3:39) 6. American Patrol
(3:34) 7. Perfidia
(2:53) 8. Elmer S Tune
(3:59) 9. St. Louis Blues
(3:34) 10. In The Mood
(3:42) 11. Stardust
(4:50) 12. Serenade In Blues
(2:50) 13. Pennsylvania -65000
(2:40) 14. Caribbean Clipper
(4:26) 15. Tuxedo Juntion
(3:43) 16. Chattanooga Choo Choo
(3:42) 17. Frenesi
(3:13) 18. Adios

In 1967 Syd Lawrence, an established trumpet player with the BBC Northern Dance Orchestra realised that he was not alone amongst his colleagues in being disillusioned with having to play uninteresting arrangements of hit songs from the sixties pop scene. Syd had served his musical apprenticeship working with such bands leaders as Geraldo, Teddy Foster, Nat Temple, Sidney Lipton and Cyril Stapleton and had come to believe that audiences were being denied the live sound of the music they loved and had grown up with. He also believed that the music and songs of the swing era would become, in time, the classic music of the 20th century and continue to appeal to people of all ages.

Keen to revive the music that had inspired him and others of his generation he took it upon himself to establish a rehearsal band of like minded musicians to get together once a week for their own pleasure and play the kind of music they really enjoyed – Big Band Swing!


This gathering began in an upstairs room of the Wellington Hotel in Didsbury Manchester, where after a few short weeks the numbers attending the rehearsal sessions had swollen from just the musicians to the wives, families, friends and locals. So great was the support that the band had to move to larger premises three times in eighteen months. In 1969, Syd decided to take the music to which he was so dedicated to a wider audience. He severed his connections with the BBC and took the Syd Lawrence Orchestra on the road.

The first public concert in Sheffield was a sell out and was closely followed by appearances on Granada and Yorkshire T.V. This in turn led to the first recording session for Philips at Strawberry Studios from which an album of Miller classics was produced which quickly hit the 100,000 sales mark. In January 1970 they released “More Miller and Other Big Band Magic”. Soon after these albums were released, Alan Dell, the BBC’s own ‘Mr Big Band’, played the “American Patrol” track on national radio and demand for the Syd Lawrence Orchestra to perform in every major venue across the kingdom hit fever pitch. Within months the orchestra had visited every corner of the U.K. and performed in all London’s major venues, The Royal Albert Hall, Royal Festival Hall, and a Royal command performance at The London Palladium

In 1996 Syd retired, having spent 30 years continually touring with his band, and handed the responsibility of leading the orchestra over to his former lead trombonist Chris Dean.

Syd passed away on 5th May 1998, but in the music library he created for the Syd Lawrence Orchestra he left behind a legacy which continues to benefit future generations of young musicians and music lovers alike.https://syd-lawrence-orchestra.com/syd-lawrence/

Remember Glenn Miller

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Alyssa Allgood - Lady Bird

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 26:03
Size: 60,2 MB
Art: Front

(4:47)  1. Yardbird Suite
(4:51)  2. If You Never Come To Me
(3:52)  3. Jaded
(5:49)  4. If I Should Lose You
(6:42)  5. Lady Bird

After two very promising vocalese offerings: Dorian Devin's The Procrastinator (Self Produced, 2013) and Angelica Matveeva's Vocalese (Self Produced, 2015), yet another traditional vocalese presents itself as an extended-play recording of what may be the most refined offering in the genre yet. Allgood's approach is superbly considered and delivered. Her command of the material has no peer.

Allgood's choice of an organ trio + tenor accompaniment is sheer genius. With this format, the singer's innate vocalese talent swings this a momentum not seen since Eddie Henderson's Letter From Home (Riverside, 1960). Her delivery of Charlie Parker's and Bob Dorough's "Yardbird Suite" salts the ground behind it. Allgood's articulation is perfect and unhurried, something that is an accomplishment when compared to past attempts.

He paces herself and her band to the most effective delivery point. Her original, "Jaded" melds perfectly with Jobim's "If You Never Come to Me" and Tadd Dameron's "Lady Bird," the latter which is sheer perfection. Bravo, girl-next-door Alyssa Allgood. Produce that full-recording offering.By C.Michael Bailey https://www.allaboutjazz.com/lady-bird-alyssa-allgood-self-produced-review-by-c-michael-bailey.php

Personnel: Alyssa Allgood: vocals; Don Chase: organ; Tim Fitzgerald: guitar; Alex Beltran: saxophone; Matt Plaskota: drums.

Lady Bird

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Larry Goldings, Kaveh Rastegar, Abe Rounds - Better

Styles: Jazz
Year: 2023
Time: 42:44
File: MP3 @ 320K/s
Size: 98,8 MB
Art: Front

(5:33) 1. Better
(4:00) 2. Yeah Yeah Yeah
(4:51) 3. Stockwell
(4:56) 4. Mary Lou
(5:30) 5. But Wait, There's Les
(4:19) 6. Bob James
(6:02) 7. Temple Bar
(3:37) 8. Reprise
(3:53) 9. I Want To Be Happy

I'm going to back to my roots for today's tip, so say hello to Larry Goldings, Kaveh Rastegar & Abe Rounds the funkiest trio that Daptone never signed, as they manage to put their own jazz juiced, soul soaked twist on those classic 20th grooves, ranging from sunny West coast smoothies, steamy organ menage a trois', reggae riddims & cinematic exotica for Ropeadope.
https://www.reddit.com/r/Jazz/comments/11snksp/larry_goldings_kaveh_rastegar_abe_rounds_better/

Personnel: Larry Goldings: Piano, Organ, Clavinet, Arp 2600, Arp String Ensemble, Prophet, Pocket Piano; Kaveh Rastegar: Fender Precision Bass, Fender Musicmaster Bass, Guitar on “Temple Bar”; Abe Rounds: Drums, Percussion, Oberheim RD-8 and Vermona DM-1 Drum Machines, Guitar on “Yeah Yeah Yeah” and “Les”, Arp 2600 on “Mary Lou”

Additional Musician: Bob Magnuson: Woodwinds on “Reprise” with parts arranged by John Sneider; Special thanks to Pete Min, John Sneider, Christine Kim, Sara Shirazi and Kirra Bennett.

Better

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Janis Siegel/Yaron Gershovsky - The Colors Of My Life

Styles: Vocal And Piano Jazz
Year: 2024
Time: 50:21
File: MP3 @ 320K/s
Size: 116,0 MB
Art: Front

(5:08) 1. I've Got Your Number
(5:00) 2. With Every Breath I Take
(4:27) 3. Playboy's Theme
(4:29) 4. Witchcraft
(5:09) 5. That's My Style
(5:33) 6. Being Without You
(4:34) 7. The Best is Yet to Come
(5:36) 8. I'm Gonna Laugh You Right Out of My Life
(4:50) 9. Why Try To Change Me Now
(5:29) 10. The Colors of My Life

CLUB44 RECORDS' The Colors of My Life: A Cy Coleman Songbook - the new album from ten-time Grammy Award-winning vocalist Janis Siegel and internationally recognized pianist, arranger, and composer Yaron Gershovsky will be released on CD and streaming and digital formats on Friday, June 7. This intensely personal and fresh musical homage delves deeply into the composer's jazz sensibilities and the work of his wonderful lyric partners.
https://www.amazon.ca/Colors-My-Life-Janis-Siegel/dp/B0D1N8NZBF

The Colors Of My Life

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New York Swing - The Music Of Jerome Kern

Styles: Piano And Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 55:20
Size: 127,2 MB
Art: Front

(5:15)  1. The Song Is You
(2:52)  2. Why Was I Born?
(4:20)  3. I'm Old Fashioned
(3:19)  4. All The Things You Are
(4:51)  5. Remind Me
(3:33)  6. Nobody Else But Me
(2:55)  7. I Dream Too Much
(4:04)  8. Why Do I Love You
(3:06)  9. Smoke Gets In Your Eyes
(4:35) 10. Can't Help Lovin' Dat Man
(4:11) 11. Sure Thing
(3:24) 12. Pick Yourself Up
(4:40) 13. Bill
(4:10) 14. Yesterdays

New York Swing consists of pianist John Bunch, guitarist Bucky Pizzarelli, and bassist Jay Leonhart, while the group worked with more than one drummer during their existence. On this 1993 session, Dennis Mackrel rounds out the group. The music is drawn exclusively from the Jerome Kern songbook, starting with a breezy, playful arrangement of "The Song Is You." But while the group plays a number of time-tested standards, including "Smoke Gets in Your Eyes," "Pick Yourself Up," "All the Things You Are," and "Yesterdays," all with a freshness that belies the vintage of these songs and the numerous times they have been recorded by jazz musicians, it is some of the less familiar tunes that especially stand out. The leisurely waltz "I Dream Too Much" and the shimmering ballad "Remind Me" are worthy of greater exploration, too. Pizzarelli's guitar is prominent throughout the date, though Bunch and Leonhart are capable soloists as well, with the veteran Mackrel focusing primarily on keeping time. This is one of the better releases in producer Sonny Lester's series of budget releases that have appeared on various labels.By Ken Dryden http://www.allmusic.com/album/plays-the-music-of-jerome-kern-mw0000234669

New York Swing: John Bunch (piano); Bucky Pizzarelli (guitar); Jay Leonhart (bass); Dennis Mackrel (drums).

The Music Of Jerome Kern

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