Friday, January 10, 2025

Peter Leitch - From Another Perspective

Styles: Guitar Jazz
Year: 1992
Time: 66:20
File: MP3 @ 320K/s
Size: 154,3 MB
Art: Front

(6:25) 1. For Elmo, Sonny and Freddie
(6:45) 2. 91-1
(6:15) 3. If You Could See Me Now
(8:14) 4. Con Alma
(7:16) 5. Somewhere in the Night
(8:07) 6. Yemenja
(6:51) 7. Ruby, My Dear
(6:22) 8. Elda
(3:35) 9. Embraceable You
(6:26) 10. Blues for Ivan Symonds

Peter Leitch is a New York Based jazz guitarist and composer. He performs in such popular rooms as Sweet Basil, Sweet Rhythm, Jazz Standard, Dizzy's Club Coca-Cola, The Blue Note, Bradley's, Zinno, Visiones and Birdland and has placed several times in the DownBeat International Jazz Critics Poll. He has been profiled in numerous magazine articles.

A tour favorite, Peter and his groups have appeared at festivals and clubs in the U.S., Canada, Europe and Australia. Versatile in a broad range of jazz artistry, he has worked/recorded with some of his profession's greatest performers: Oscar Peterson, Ron Carter, Milt Jackson, Woody Shaw, Pepper Adams, Jaki Byard, Jack McDuff, Kenny Wheeler, Al Grey, and John Hicks.

Peter is also an accomplished black and white photographer and has mounted several solo shows of his work, including of fellow musicians, New York street scenes, Mississippi and the South, and the newest New York to New Orleans. In addition, he has co-created several videos for which he has composed music. This has led to an exploration of new (and old) areas of music. Click on the icons above to see!

In 1997, Peter initiated his Sunday Nights at Walker's, one of New York City's longest running jazz engagements. Still playing more than ten years later, each weekly engagement features a duo performance with a guest artist. Gary Bartz, Ray Drummond, Bobby Watson, Sean Smith, Harvie S, Dwayne Burno, Steve Wilson, Jed Levy and Charles Davis have all shared Sunday's spotlight in this enduring jazz tradition.

During 1993-94, Peter was the Musical Director of "Guitars Play Mingus," the 5-guitar and rhythm section ensemble performing the music of Charles Mingus.

In 1991, Peter was artist-in-residence at Western Australia Academy of the Performing Arts, Perth and Elder Conservatorium, Adelaide.

Peter has been an adjunct professor at Long Island University and has taught at the National Guitar Workshop and the Vermont Jazz Center, the Summer Guitar Workshop at New York University and the Berkeley College of Music. He conducts workshops, master classes and clinics in jazz guitar and improvisation in the United States, Europe, Canada and Australia
. Peter's recordings are available on the Reservoir, Concord and Criss Cross Jazz labels.

Peter Leitch is available with his New York-based quintet, quartet, trio or duo, or as soloist with your rhythm section.From http://peterleitch.com https://www.jazzmusicarchives.com/artist/peter-leitch

Personnel: Guitar – Peter Leitch; Bass, Guest – Ray Drummond; Drums, Guest – Marvin "Smitty" Smith; Flute [Alto], Soprano Saxophone, Tenor Saxophone – Jed Levy Guest, Alto Saxophone – Gary Bartz; Piano, Guest – John Hicks

From Another Perspective

Carmen Lundy - Jazz And The New Songbook - Live At The Madrid Disc 1 And Disc 2

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 60:04 (Disc 1)
Size: 137,7 MB (Disc 1)
Time: 64:30 (Disc 2)
Size: 147,8 MB (Disc 2)
Art: Front

Disc 1

(4:50)  1. In Love Again
(7:50)  2. One More River To Cross
(5:56)  3. Something To Believe In
(5:58)  4. Better Days
(8:00)  5. Where'd It Go
(5:57)  6. Wild Child
(8:55)  7. Afrasia!
(6:34)  8. Happy New Year
(6:01)  9. Long Journey Home


Disc 2

( 5:35)  1. You're Not In Love
( 5:58)  2. All Day, All Night
( 7:59)  3. Walking Code Blue
( 6:34)  4. Send Me Somebody To Love
( 7:36)  5. Old Friend
(14:44)  6. (I Dream) In Living Color
( 5:40)  7. Firefly
( 4:40)  8. Vu Ja De
( 5:41)  9. Good Morning Kiss

Listening to Carmen Lundy "live" on Jazz and the New Songbook: Live at the Madrid is truly a remarkable experience and solidifies the adage that she is in a class all her own. On this exceptional two-disc set, the multi-talented vocalist performs 18 of her original compositions accompanied by some of the music world's most talented musicians. Recorded February 18, 2005, at the Madrid Theatre in Los Angeles, CA, the concert opens with the hit song "In Love Again," the optimistic ode to romance that was previously released on Something to Believe In. Lundy's multi-octave range is fluid, sensuous, and sexy. It is captivating as it floats with seductive nuance and swinging rhythms. "Better Days," originally heard on Carmen's Self Portrait CD, opens with Curtis Lundy laying down an alluring bassline, anchored by Victor Lewis' drums and great comping by David Roitstein's keyboards, Phil Upchurch's guitar, and the Los Angeles String Quartet. With a range from soprano to contralto, the tones of her voice flow like the fluid strokes of a paintbrush on a canvas as listeners are treated to the pure ambience of Lundy's potent lyricism, delivered with a powerful voice that urges you to just hang in there. "Wild Child" is another passionate masterwork that features the high-powered upper registers and full bottom registers of Lundy's great voice. A double trio, impeccably complementing her inspired rendition, backs her. 

Mark Shim's soprano sax solo and the great improvisations by the double trio definitely take this song to another level. Steve Turre's conch shell work on "Afrasia" is truly a crowd-pleaser as he introduces the exotic vocals of Lundy and Krystal Davis Williams, who invoke the myriad names given to God in many different cultures. This beautiful prayer is truly indicative of Lundy's exceptional prowess and spiritual connections. Disc two features several songs from This Is Carmen Lundy, including "All Day, All Night," "Send Me Somebody to Love," and "I Dream in Living Color." Bonus tracks include three highly popular Lundy songs whose "official" 48-track concert recordings were lost due to a power surge on that rainy night in Los Angeles. Overall, this double-disc set houses a great mix of ballads, straight-ahead jazz, Latin, fusion, and funk that showcases Carmen Lundy's amazing voice and compositional integrity. Highly recommended.          ~ Paula Edelstein  http://www.allmusic.com/album/jazz-and-the-new-songbook-live-at-the-madrid-mw0000479880

Personnel: Albert Romero, Michelina Wright, Alberto Romero (violin); Rachel Arnold (cello); Bobby Ray Watson, Bobby Watson (alto saxophone); Billy Childs, Billy Childs Trio (piano, keyboards); David Roitstein, David Roitstien (piano); Mayra Casales (percussion); Krystal Davis Williams (vocals, background vocals); Phil Upchurch (guitar); Catherine Lamb (viola); Steve Turre (conch shell, trombone); Mark Shim (soprano saxophone, tenor saxophone); Robert Glasper (piano, keyboards); Curtis Lundy (acoustic bass); Kenny Davis , Nathan East (electric bass); Marvin "Smitty" Smith, Victor Lewis (drums).

Jack Walrath - Out Of The Tradition

Styles: Trumpet Jazz
Year: 1990
File: MP3@320K/s
Time: 58:46
Size: 135,2 MB
Art: Front

(9:22)  1. Clear Out Of This World
(7:11)  2. So Long Eric
(6:46)  3. Stardust
(7:12)  4. Wake Up And Wash It Off!
(7:11)  5. Come Sunday
(7:43)  6. Brother, Can You Spare A Dime?
(7:24)  7. Cabin In The Sky
(5:57)  8. I'm Getting Sentimental Over You

Jack Walrath’s talents have been utilized by Charles Mingus, Ray Charles, Muhal Richard Abrams, Ricky Ford, Sam Rivers, Joe Morello, Mike Clark, Charli Persip, Miles Davis, Quincey Jones, Ray Anderson, Craig Harris, Pete LaRoca, Mike Longo, Elvis Costello, Motown, Larry Willis, George Gruntz, Paul Jeffrey, Gunther Schuller, Hal Galper, the Monk Tentet, Bobby Watson, et al. He has appeared in films, TV and Radio both as a sideman and leader since 1965. He has released 22 record albums as a leader. In addition he has appeared on countless albums with others (Mingus-14, Abrams-3,and others such as Persip, Davis, Lou Rawls, Richie Cole, Ricky Ford, the Jazz Tribe, Joe Lovano, the WDR Big Band, Jamaaladeen Tacuma and Gruntz to name a few). He has written liner notes and articles for DOWNBEAT and the MUSIC REVIEW and for 1 and 1/2 years was a columnist for the INTERNATIONAL MUSICIAN AND RECORDING WORLD. He has been the subject of feature articles in virtually every major jazz trade magazine including. JAZZIZ, DOWNBEAT, MUSIC REVIEW, JAZZTIMES, CADENCE, MUSIC PAPER, HOTHOUSE, JAZZ EMPORIUM, JAZZ FORUM, et al. He has had reviews and appeared in many of the major newspapers around the world. In addition he has biographies and reviews in many books and record guides.

He has written compositions and arrangements for Mingus, Red Rodney, Ira Sullivan, Cecil Brooks III, the Brooklyn Symphony Orchestra, WDR, NDR, UMO Orchestra, Catania City Jazz Orchestra, Charli Persip Superband, Upper Austrian Jazz Orchestra, et al. He has also appeared as a featured artist with most of the above. He was the featured artist with the radio broadcast of the 50th anniversary of the NDR. He has written soundtrack music for “Homicide: Life On The Street” and the Bill Cosby NBC Mystery Movie.In addition to leading his own jazz groups, THE JACK WALRATH GROUP, WHOLLY TRINITY, HARD CORPS, THE MASTERS OF SUSPENSE, and a quintet (which, along with master drummer Mike Clark and master bassist Paul Jackson experimented with rhythms that were to be explored further when Jackson and Clark joined Herbie Hancock’s Headhunters), he was also leader of the MINGUS DYNASTY and THE CHARLES MINGUS BIG BAND. In addition, he has conducted the aforementioned European orchestras and conducted the Mingus work “Epitaph” with the TUCSON JAZZ SOCIETY. In later years he has been touring with the Masters of Suspense, Ray Anderson, Larry Willis, George Gruntz and Sam Rivers. In addition he has been doing special projects around Europe and the US.

He has received composition grants from the National Endowment For The Arts, the Aaron Copland Composition Grant and from the Mary Flagler Cary Trust. He has received performance grants from the NEA and Quad City Arts. He has had compositions/arrangements commissioned for virtually every instrumental combination from symphony orchestra to solo piano. He has written an instruction book that has been published by Advance Music. He has conducted seminars in Italy, Spain, Portugal, Japan, Israel, Finland, the LaGuardia High School and the US. In addition, he has conducted Master Classes and Clinics in many US states and countries at Conservatories all over the world. In New York City he conducted Master classes and/or adult education classes at the Manhattan School of Music, NYU and the New School for Social Research. He has conducted classes from ages 3 to adult and Post-Graduate education through the Quad City Arts, LaGuardia High School of the Performing Arts, and the Myrna Loy Arts Center.

In recent years he has toured/recorded with the Jazz Tribe, George Gruntz, the Mingus Big Band, Mingus Epitaph and the Masters of Suspense. He has repeated many of the aforementioned teaching experiences in addition to conducting seminars in Portugal, Spain and Italy. He has most recently worked through the Litchfield Jazz Camp and the New School (NY). He has continued his recording career as both sideman and leader. His recent records have been some collaborations and co-leaderships with the UAJO, Ze’ Eduardo (Portugal), Bill Moring, Lindsay Horner, the Mingus Big Band; to mention a few. He has another recent album “Invasion of the Booty Shakers” which was released on Savant Records. In January 2008, he led/toured Italy with a quintet stressing “The Spirit of Mingus” which was very, very positively received. He has another upcoming release on Steeplechase Records, called, “Heavy Mirth” "Ballroom" was recently released on SteepleChase. He has been on the faculty twice for the Litchfield Jazz Camp and done seminars in Italy for the New School. In 2009, he was a featured performer/instructor at Siena Jazz in Tuscany. He is currently writing a book of his experiences with Mingus and others and about influential recordings and the “music business.” His Blue Note album, "Master of Suspense" was nominated for a Grammy. Jack Walrath started playing the trumpet at the age of 9 in 1955 while living in Edgar, Montana, a bustling metropolis with the population of 100 (It has since become virtually a ghost town!). He developed a healthy perception of music from lack of negative peer pressure which so often happens in cities. In, 1964 after graduating from Joliet, MT. Highschool, he attended the Berklee College of Music graduating in 1968 with a composition diploma. The diploma program was chosen over that of the degree in order to have classes only of music, therefore actually learning more about music than if he went for a degree! Also he considers his 40 years of major professional experience as the best education of all! http://www.jackwalrath.net/bio/

Personnel:  Jack Walrath – trumpet;  Larry Coryell – guitar;  Benny Green – piano;  Anthony Cox – bass;  Ronnie Burrage – drums

Out Of The Tradition

Wednesday, January 8, 2025

Ann Hampton Callaway - From Sassy To Divine: The Sarah Vaughan Project

Styles: Vocal Jazz
Year: 2014
Time: 65:08
File: MP3 @ 320K/s
Size: 152,0 MB
Art: Front

(2:35) 1. Introduction
(2:26) 2. I'm Gonna Live 'till I Die
(5:03) 3. A Night In Tunisia (Interlude)
(5:33) 4. Misty
(4:47) 5. In A Mellow Tone
(6:53) 6. Chelsea Bridge
(3:24) 7. Whatever Lola Wants
(6:14) 8. Someone To Watch Over Me
(3:48) 9. Mean To Me
(6:34) 10. Wave
(6:23) 11. Send In The Clowns
(4:47) 12. I Can't Give You Anything But Love/That's All
(6:36) 13. Un Bel Di/Poor Butterfly

Among vocal jazz’s female holy trinity, Billie Holiday and Ella Fitzgerald have been lionized most but Sarah Vaughan has been feted best, via such fine salutes as Carmen McRae’s Sarah: Dedicated to You and Dianne Reeves’ The Calling. What, then, can an artist like Ann Hampton Callaway add? Plenty, it turns out.

Like Vaughan, who was equally comfortable, at least during her formative years, in the pop and jazz spheres, Callaway is an impressively fluid musician. Vaughan understood showmanship better than Holiday or Fitzgerald, and was exceedingly skilled at shaping the arc of a set. Thanks to her firm cabaret grounding, Callaway is similarly expert. By extension, Callaway is, as Vaughan was, best heard live, drawing on the audience’s energy to up her game and texturing the performance accordingly. How wise, then, to capture this recording at Jazz at Lincoln Center’s Dizzy’s Club Coca-Cola before a clearly appreciative crowd. (Interestingly, Vaughan’s late-career habit of being overly mannered-her too-flourished technique often obscured her emotional sincerity-is one aspect that Callaway sidesteps.)

Working alongside pianist Ted Rosenthal, bassist Dean Johnson, drummer Tim Horner, saxophonist/flutist Dick Oatts and trumpeter/flugelhornist Randy Sandke, Callaway surveys the entirety of Vaughan’s multi-shaded career, from the pop fizz of “Whatever Lola Wants” and the Latin lilt of “Wave” to the boplicious curves of “In a Mellow Tone” and inky depths of “A Night in Tunisia.” She sounds nothing like Vaughan; yet, in shaping so attentive a narrative, she captures her both wisely and well. By Christopher Loudon https://jazztimes.com/reviews/albums/ann-hampton-callaway-from-sassy-to-divine-the-sarah-vaughan-project/

Personnel: Vocals – Ann Hampton Callaway; Alto Saxophone, Soprano Saxophone, Flute – Dick Oatts; Bass – Dean Johnson ; Drums – Tim Horner; Piano – Ted Rosenthal; Trumpet, Flugelhorn – Randy Sandke

From Sassy To Divine: The Sarah Vaughan Project

Jack Walrath - To Hellas And Back

Styles: Trumpet Jazz
Year: 2013
File: MP3@256K/s
Time: 69:52
Size: 128,2 MB
Art: Front

(7:20)  1. Leaving Santorini Blues
(6:30)  2. Bees
(7:43)  3. O' Mangas
(6:05)  4. Tsiknopempti
(5:52)  5. Grace
(7:47)  6. Blues For The Blind
(6:13)  7. Panopticon
(7:55)  8. Enter … Boris
(8:58)  9. Via Ia
(5:24) 10. Norris Junction

An often exciting, thoughtful trumpeter and good arranger, Jack Walrath has steadily gained attention and exposure through his contributions to outstanding sessions. Walrath began playing trumpet at nine, and studied at Berklee in the mid- and late '60s while working with other students and backing up R&B vocalists. He moved to the West Coast in 1969, and co-led the bands Change with Gary Peacock, and Revival with Glenn Ferris. Walrath also toured a year with Ray Charles. Walrath relocated to New York in the early 70s, and worked with Latin bands before playing with Charles Mingus from 1974 to 1979, an association that gave him a certain amount of recognition. Walrath contributed some arrangements and orchestrations to Mingus' final recordings. In the 1980s and '90s, he led his own bands, toured Europe with Dannie Richmond and the British group Spirit Level, worked with Charlie Persip's Superband and Richard Abrams, and helped keep the music of Charles Mingus alive by playing with Mingus Dynasty. Jack Walrath has recorded as a leader for Gatemouth, Stash, SteepleChase, Red, Muse, Spotlite, Blue Note, and Mapleshade; he is still improving with age. ~ Ron Wynn https://itunes.apple.com/us/artist/jack-walrath/id36602597#fullText

Personnel:  Jack Walrath – trumpet;  Abraham Burton - tenor sax;  George Burton – piano;  Boris Kozlov – bass;  Donald Edwards - drums

To Hellas And Back

Cecil Taylor - Live at the Cafe Montmartre

Styles: Piano Jazz
Year: 2023
Time: 87:52
File: MP3 @ 128K/s
Size: 81,9 MB
Art: Front

( 9:01) 1. Trance (Live)
( 8:49) 2. Call (Live)
( 6:58) 3. Lena (Live)
(21:29) 4. D Trad, That's What (Live)
( 9:15) 5. Nefertiti, the Beautiful One Has Come (Live)
(12:13) 6. What's New (Live)
(20:05) 7. Untitled Sample (Live)

Seminal material from Cecil Taylor an explosive album that was one of the first to show the world just how much his style had evolved since the late 50s! When Taylor first showed up on the scene, he was already a pianist that was going farther out than just about anyone but by the time of this 1962 performance in Copenhagen, he'd really taken off working in these massive flurries of keyboard intensity that were unlike anything anyone had ever heard before the full-blown Taylor aesthetic that's endured for decades, set up perfectly here in a trio with some brilliantly bracing alto sax by Jimmy Lyons, and equally free work on drums by Sunny Murray! All tracks are long, and titles include "Trance", "Call", "Lena", and "D Trad That's What". © 1996-2025, Dusty Groove, Inc. https://www.dustygroove.com/item/7337/Cecil-Taylor:Live-At-The-Cafe-Montmartre-Fantasy

Personnel: Alto Saxophone – Jimmy Lyons ; Bass – Kurt Lindstrom ; Drums – Sunny Murray; Piano – Cecil Taylor

Live at the Cafe Montmartre

Sunday, January 5, 2025

Polly Gibbons - Is It Me?

Styles: Vocal Jazz
Year: 2017
File: MP3@320K/s
Time: 59:57
Size: 137,9 MB
Art: Front

(5:47)  1. Ability To Swing
(4:06)  2. You Can't Just...
(5:24)  3. Sack Full Of Dreams
(4:15)  4. Wrap Your Troubles In Dreams
(5:58)  5. Wild Is The Wind
(5:46)  6. Basin St. Blues
(3:45)  7. Midnight Prayer
(4:57)  8. Is It Me...?
(5:41)  9. Pure Imgination
(5:09) 10. Dr. Feelgood
(4:38) 11. I Let A Song Go Out Of My Heart
(4:27) 12. Don't Be On The Outside (Bonus Track)

With half a dozen albums to her name, British vocalist Polly Gibbons has no need to prove her worth but that hasn't inhibited her from pulling out all the stops on her second album for Resonance following on from 2014's My Own Company. Thomas Dolby's "Ability To Swing" proves just that, courtesy of a first class powerhouse of an American horn section (the album was recorded in the States where Gibbons plays gigs with increasing frequency, such is her in-demand status). The brass also acts as a sonic turbo-charged engine on the funky "You Can't Just...," one of three songs penned by Gibbons and her pianist/arranger and fellow Brit, James Pearson. The pair also co-wrote the wistfully lyrical title track. "Basin Street Blues" is given an up-tempo makeover but there are sultry soul-infused numbers such as "Midnight Prayer" (another Gibbons/Pearson original) and Gary McFarland's "Sack Full Of Dreams." There are also quartet backed numbers like "Wrap Your Troubles In Dreams" and the ruminative ballad "Wild Is The Wind." 

The uncompromising soul/blues outing "Dr Feelgood" with the horn section in attendance contrasts with standards like Duke Ellington's "I Let A Song Go Out Of My Heart" which is afforded a straight-ahead treatment elevated by a touch of accelerando mid-way through. The final track, "Don't Be On The Outside" is denoted as a bonus track since it's the only live track on the album, setting it apart from the preceding 11 numbers. In 2016, Gibbons supported George Benson and Gladys Knight on their sell-out tours including two nights at London's Royal Albert Hall. Those prestigious concerts were just another sign that her star is rising. Possessed of a powerfully soulful voice, she is undoubtedly maturing into one of Britain's finest singing talents and this album, replete with stellar arrangements, is another testament to that fact. ~ Roger Farber https://www.allaboutjazz.com/is-it-me-polly-gibbons-resonance-records-review-by-roger-farbey.php

Personnel: Polly Gibbons: vocals; Tamir Hendelman: piano; James Pearson: piano; Shedrick Mitchell: Hammond Organ; Graham Dechter: guitar; Kevin Axt: bass; Ray Brinker: drums; Willie Murillo: trumpet; Vinny Dawson: trumpet; Bob McChesney: trombone; Andy Martin: trombone; Bob Sheppard: alto saxophone, tenor saxophone, clarinet, flute; Brian Scanlon: alto saxophone, tenor saxophone, flute; Keith Bishop: alto saxophone, tenor saxophone, clarinet, flute; Tom Peterson: baritone saxophone, tenor saxophone.

Is It Me?

Joan Chamorro - Terraza & friends - Joan Chamorro Presenta Andrea Motis

Styles: Vocal, Trumpet And Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 75:13
Size: 172,6 MB
Art: Front

(3:43)  1. Louisiana fairy tale
(4:38)  2. Basin street blues
(5:46)  3. Over the rainbow
(5:15)  4. It's a wonderful world
(4:51)  5. Enjoy yourself
(3:44)  6. Do you know what it means to miss N.O.
(5:17)  7. Manha de carnaval
(3:19)  8. Dream a little dream of me
(4:40)  9. I'm confessin' that I love you
(6:13) 10. No more blues (chega de saudade)
(3:27) 11. The nearness of you
(2:42) 12. L.O.V.E.
(4:28) 13. Smile
(4:13) 14. On the sunny side of the street
(4:42) 15. My one and only love
(5:02) 16. Sweet Lorraine
(3:05) 17. Bli-blip

Se formó musicalmente, a partir de los 7 años, en la Escola Municipal de Música de Sant Andreu, un barrio de Barcelona, como trompetista primero y saxofonista después. En 2007, con sólo 12 años, comenzó a colaborar con el grupo de jazz Sant Andreu Jazz Band, dirigido por el profesor de música y músico Joan Chamorro. Ha participado en numerosos conciertos del circuito catalán de jazz. Debido a su precocidad numerosos medios de comunicación la han entrevistado o han escrito reseñas de su actividad musical. Su voz se ha comparado con la de Norah Jones. En 2010, con solo 15 años, graba como cantante solista un disco de estándares de jazz titulado Joan Chamorro presenta Andrea Motis. 

Recientemente ofrece conciertos en el denominado "Andrea Motis & Joan Chamorro Group".Logró a estar entre los 10 finalistas de los premios "Català de l'any 2011" otorgados por "El Periódico de Catalunya". Pero rechazó seguir adelante, según declararon sus padres, porque esa candidatura llegaba "en una etapa inadecuada de su vida".Con 17 años pasó unas pruebas para una escuela de artísticos llamada Oriol Martorell, situada en Nou Barris, Barcelona. Allí terminó de formarse profesionalmente. Bio ~ http://es.wikipedia.org/wiki/Andrea_Motis

Featuring: Andrea Motis (tp, vcl), Joan Chamorro (bs), Bobby Gordon (cl), Eva Fernandez (ss, as), Iscle Datzira (ts), Dani Alonso (tb), Josep Traver (g, ukelele), David Mengual, Manel Alvarez (b), Steve Pi, Olivier Roque (d), Sant Andreu Jazz Band

Gil Evans - The Individualism Of Gil Evans

Styles: Piano Jazz
Year: 1964
Time: 68:18
File: MP3 @ 320K/s
Size: 167,0 MB
Art: Front

( 7:28) 1. Time of the Barracudas
(10:02) 2. The Barbara Song
( 6:38) 3. Las Vegas Tango
(12:32) 4. A. Flute Song, B. Hotel Me
( 3:30) 5. El Toreador
( 3:59) 6. Proclamation
( 2:40) 7. Nothing Like You
( 7:42) 8. Concorde
(13:45) 9. Spoonful

Although Gil Evans had gained a lot of acclaim for his three collaborations with Miles Davis in the 1950s and his own albums, this CD contains (with the exception of two tracks purposely left off), Evans's only dates as a leader during 1961-68. The personnel varies on the six sessions that comprise the CD (which adds five numbers including two previously unreleased to the original Lp) with such major soloists featured as tenorman Wayne Shorter, trombonist Jimmy Cleveland, trumpeter Johnny Coles and guitarist Kenny Burrell. Highlights include "Time of the Barracudas," "The Barbara Song," "Las Vegas Tango" and "Spoonful." Highly recommended to Gil Evans fans; it is a pity he did not record more during this era.By Scott Yanow
https://www.allmusic.com/album/the-individualism-of-gil-evans-mw0000194738#review

Personnel: Gil Evans – piano, arranger; Johnny Coles – trumpet (Solo); Thad Jones – trumpet; Ernie Royal – trumpet; Bernie Glow – trumpet; Louis Mucci – trumpet; Jimmy Knepper – trombone; Frank Rehak – trombone; Jimmy Cleveland – trombone (Solo); Tony Studd – trombone;Bill Barber – tuba; Wayne Shorter – tenor sax (Solo); Phil Woods – alto sax (Solo); Eric Dolphy – woodwinds (flute, bass clarinet, alto sax); Steve Lacy – soprano sax; Jerome Richardson – reeds, woodwinds; Bob Tricarico – reeds, woodwinds; Al Block – woodwinds (flute solo); Garvin Bushell – reeds, woodwinds; Andy Fitzgerald – reeds, woodwinds; George Marge – reeds, woodwinds; Julius Watkins – French horn; Gil Cohen – French horn; Don Corado – French horn; Bob Northern – French horn; Jimmy Buffington – French horn; mRay Alonge – French horn; Pete Levin – French Horn; Harry Lookofsky – tenor violin; Bob Maxwell – harp; Margaret Ross – harp; Kenny Burrell – guitar (Solo); Barry Galbraith – guitar; Gary Peacock – bass; Ron Carter – bass; Paul Chambers – bass; Richard Davis – bass; Ben Tucker – bass; Milt Hinton – bass; Elvin Jones – drums (Solo); Osie Johnson – drums.

The Individualism Of Gil Evans

Steve Kuhn Trio - Jazz'n (E)Motion

Styles: Piano Jazz
Year: 2000
Time: 63:39
File: MP3 @ 128K/s
Size: 60,1 MB
Art: Front

(3:42) 1. Once Upon A Time
(7:34) 2. Last Tango in Paris
(6:36) 3. Lonely Town
(6:57) 4. The Night Has A Thousand Eyes
(3:46) 5. Love Is For The Very Young
(6:46) 6. Emily
(6:03) 7. The Rain Forest
(5:53) 8. The Pawnbroker
(5:10) 9. This Is New
(7:27) 10. Invitation
(3:40) 11. Smile

Steve Kuhn (born March 24, 1938, Brooklyn, New York City) is an American jazz pianist, composer and trio leader.

He began studying piano at the age of five and studied under Boston piano teacher Margaret Chaloff, mother of jazz baritone saxophonist Serge Chaloff, who taught him the "Russian style" of piano playing. At an early age he began improvising classical music. As a teenager he appeared in jazz clubs in the Boston area, gigging with the likes of Coleman Hawkins, Vic Dickerson, Chet Baker, and Serge Chaloff.

He graduated from Harvard and attended the Lenox School of Music where he was associated with such other future jazz masters as Ornette Coleman, Don Cherry, and Gary McFarland, with a supportive faculty that included George Russell, Gunther Schuller, the Modern Jazz Quartet members, and Bill Evans. This allowed Kuhn to play, study, and create with some of the most forward-thinking innovators of jazz improvisation and composition, culminating with his joining trumpeter Kenny Dorham's group for an extended time and (briefly) John Coltrane's quartet at New York's Jazz Gallery club. He also has appeared with Stan Getz, Art Farmer, Oliver Nelson, Gary McFarland, Ron Carter, Scott LaFaro, Harvie Swartz, vocalist Shelia Jordan, Billy Drummond, David Finck, and Miroslav Vitous.

From 1967 to 1971 Kuhn moved to Stockholm, Sweden where he worked with his own trio throughout Europe. In 1971 Kuhn moved back to New York and formed a quartet but continued doing European gigs, and appearing at the Newport Jazz Festival. In his early years, Kuhn was known as an 'avant-garde' pianist (but not "New Thing"). Kuhn was associated with bassist Steve Swallow and drummer Pete La Roca (Sims) during the 1960s for several notable recordings: Three Waves under Kuhn's leadership, Basra under La Roca's leadership which also featured Joe Henderson, and Sing Me Softly Of The Blues under the leadership of flugelhornist Art Farmer.

Also notable was Kuhn's inclusion in the quartet on the landmark recording Sound PIeces led by saxophonist, composer, and arranger Oliver Nelson and including Ron Carter on bass and Grady Tate on drums. Among other notable recordings which were also critically acclaimed was The October Suite composed by Gary McFarland or Kuhn and an ensemble which included strings, woodwinds, and reeds. A CD Promises Kept featuring Kuhn's compositions, piano, and strings. For decades, Steve Kuhn has led all-star trios that have included such players as bassists Ron Carter and David Finck, and drummers Al Foster, Jack DeJohnette, and Joey Baron.He has had several live recordings made in some of New York's leading jazz clubs.https://www.jazzmusicarchives.com/artist/steve-kuhn

Jazz'n (E)Motion

Wednesday, January 1, 2025

Merry Christmas And A Happy New Year


It's the most wonderful time of the year!

Have yourself a Merry little Christmas, let your heart be light.

May this Christmas season bring you closer to all those that you treasure in your heart.

Wishing you and your family health, happiness, peace and prosperity this Christmas and in the coming New Year.

Have a Merry Christmas and a Happy New year!

Giullia

Melissa Stylianou,Gene Bertoncini,Ike Sturm - Dream Dancing

Styles: Vocal Jazz
Year: 2022
Time: 47:15
File: MP3 @ 320K/s
Size: 110,0 MB
Art: Front

(3:57) 1. Sweet And Lovely
(4:50) 2. If You Never Come To Me
(5:17) 3. My Ideal
(3:20) 4. It Could Happen To You
(4:29) 5. For Chet
(3:30) 6. Perdido
(4:58) 7. Corcovado
(5:24) 8. Time's A-wastin'
(5:45) 9. My One And Only Love
(5:41) 10. It Might As Well Be Spring

Vocalist Melissa Stylianou, guitarist Gene Bertoncini, and bassist Ike Sturm make for a canorous combination. A working trio elevated by keen conversational rapport and an embrace of spur-of-the-moment suggestions, theirs is quite simply a perfect partnership.

With supreme skill and creative charm(s), these three turn old favorites into new treasures. Stylianou shines across opener “Sweet and Lovely,” the first of several pieces benefiting from bantering string dialogue and interplay. Voice and guitar glide together at the outset of “My Ideal,” which later surprises with the insertion of the bridge from “The Man I Love.” A perky “Perdido” makes a swinging case for this outfit’s lighthearted genius. The leader captivates with some pure-voiced Portuguese on “Corcovado.” And everybody operates with apt anticipation during “It Might as Well Be Spring.”

Though standards for trio are the obvious order of the day, there are notable exceptions in programming and performance that focus on the bonds behind and within the music. Bertoncini’s affecting “For Chet,” a composition paying tribute to Chet Baker, offers a glimpse into the guitarist’s rich past, which saw work with that storied trumpeter as well as many other legends of the music.

A pair of voice-and-bass beauties “It Could Happen to You” and a rightly bluesy “Time’s A-Wastin’” (a.k.a. “Things Ain’t What They Used to Be”) speak to a chemistry developed over the course of many years and shared experiences. Stylianou’s rendezvous with Bertoncini on “My One and Only Love” nods to that pair’s first musical encounter some 14 years ago, when mutual connection Sturm made the introduction. The music, of course, took care of the rest, as it does to this very day.
By Dan Bilawsky https://jazztimes.com/reviews/albums/melissa-stylianou-featuring-gene-bertoncini-ike-sturm-dream-dancing-anzic/

Dream Dancing

Hilary Gardner & Ehud Asherie - The Late Set

Styles: Vocal And Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 36:20
Size: 85,0 MB
Art: Front

(4:12)  1. Shadow Waltz
(4:58)  2. Sweet And Slow
(5:18)  3. A Ship Without A Sail
(4:04)  4. After You’ve Gone
(3:46)  5. I Never Has Seen Snow
(3:34)  6. I Used To Be Color Blind
(3:05)  7. Everything I’ve Got
(3:29)  8. Make Someone Happy
(3:52)  9. Seems Like Old Times

If you're looking for the definition of a class act, look no more. This is most certainly it. With The Late Set, kindred spirits Hilary Gardner and Ehud Asherie make us simultaneously pine for an era long gone and appreciate what's right in front of us. If you've followed either one of these artists, their simpatico sensibilities should come as no shock. Gardner delivered one of the most meaningful paeans to New York in recent memory with The Great City (Anzic Records, 2014), graced a Broadway stage to lend her voice to Twyla Tharp's Frank Sinatra-focused Come Fly With Me, continues to share the vocal spotlight with fellow charmer John Dokes in the George Gee Swing Orchestra, and matches wits with gal pals Melissa Stylianou and Amy Cervini in Duchess, a Boswell Sisters-inspired trio that's made its mark in the past few years. Asherie, having delved into days gone by with tenor saxophonist Harry Allen, multi-reedist Ken Peplowski's quartet, and all by his lonesome, has carved out his place as one of the finest pianistic purveyors of aged gems operating today. Both of these artists, while walking different paths, always stand out as old souls and valuable exponents of what the Great American Songbook can offer and teach us. That fact is magnified when they join forces. If you've been lucky enough to see this pair live, the magic needs no explanation. 

They put across a winning blend of casual expression and sophisticated artistry that's self-evident. Everything they create comes out as fine art without the slightest hint of artifice. This recording, presenting nine vintage numbers shaped with nuance and care, emphasizes that point and captures the spirit of their live shows. Most of the selections presented here are deep catalog chestnuts from our finest composers and songwriting teams, widely acknowledged or not. Al Dubin and Harry Warren make it onto the scorecard first with "Shadow Waltz," an album opener that gently glides along while referencing how old songs take on new meaning in love's hands, and "Sweet And Slow," a piece that musically mirrors its advice to get off the fast track and appreciate the simple pleasures of time spent with another. The former proves to be a perfect scene-setter for this pair while the latter remains as relevant today as it was eight decades ago. Those who prefer to take comfort in the familiar will likely connect with "After You've Gone," penned by Henry Creamer and Turner Layton; "Make Someone Happy," delivered unto us from Betty Comden, Adolph Green, and Jule Styne; and "Everything I've Got," written by Richard Rodgers and Lorenz Hart. But the majority of this material doesn't play toward popularity. Instead, Gardner and Asherie usually take the roads less traveled, covering those songs that we don't necessarily encounter very often. In many cases, it's those numbers that possess the stronger draw and deeper connective strengths. The depressive threads sewn into Rodgers and Hart rarity "A Ship Without A Sail," for example, can't help but appeal to the soul through sympathy. This is the kind of album that can both connect to modern times and hold high appeal as a throwback statement. ~ Dan Bilawsky https://www.allaboutjazz.com/the-late-set-hilary-gardner-anzic-records-review-by-dan-bilawsky.php

Personnel: Hilary Gardner: vocals; Ehud Asherie: piano.

The Late Set

The Las Vegas Boneheads - Attack Of The Wind Driven Pitch Approximators

Bitrate: MP3@320K/s
Time: 74:09
Size: 169.8 MB
Styles: Big band, Swing
Year: 2017
Art: Front

[3:15] 1. Springsville
[6:30] 2. If I Only Had A Brain
[3:20] 3. Attack Of The Wind Driven Pitch Approximators
[7:12] 4. Antoine
[4:51] 5. Limehouse Blues
[4:41] 6. Airegin
[7:53] 7. Groove Merchant
[5:36] 8. Jeannine
[4:42] 9. I Loves You Porgy
[7:26] 10. Caravan
[7:13] 11. Gaea
[6:54] 12. The Healer
[4:30] 13. Crooked Smile

Curt Miller - Trombone - Leader; Matt Johnson - Trombone; Nathan Tanouye - Trombone; Nate Kimball - Trombone; Sonny Hernandez - Bass Trombone; Ralph Pressler - Bass Trombone; Andrew Boostrom - Trombone (on "Attack of the WDPA"); Uli Geissendoerfer - Piano; Steve Flora - Bass; Larry Aberman - Drums.

The Boneheads—originally founded by Abe Nole in the early 1960’s—had six trombones and three rhythm players (piano, bass, and drums). The founding members were professional trombone players in the Las Vegas showrooms and consisted of Abe Nole, Charlie Loper, Archie LeCoque, Tommy Hodges, Pat Thompson and Bill Smiley. They rehearsed on the second floor of the old Silver Slipper on The Las Vegas Strip and occasionally at Abe’s home.

By the early 1970's (Generation 2) the group typically rehearsed backstage at the Frontier Hotel, or the at the Village Pub, and had changed personnel. At that time the tenor trombones were Bill Booth, Jim Huntzinger, Ed Morgan and the legendary Carl Fontana. The bass trombones were Bill Rogers and Ralph Pressler. The musicians would work two shows per night, six or seven nights a week, and then get together after hours for their own enjoyment. They would perform with every star on the strip, from Sinatra’s Rat Pack to Elvis and numerous production shows.

Other trombone players that were members of the group during the late 70’s and early 80’s (Generation 3) were Curt Miller, Dick McGee, Bob Scann, Ron Sprouse, Jimmy Trimble, Marty Harrell, Dick “Stretch” McQuary, Dwight Davis and “Hoot” Peterson. “Stretch” arranged a number of Bobby Brookmeyer compositions in the early 1970’s that eventually became the foundation of the “new” Boneheads’ book.

The group and the book disappeared sometime in the mid 1980’s and was not heard from again until 2011 when Curt Miller decided to reconstruct the nearly fifty-year-old ensemble. Such notable composers/arrangers as Gary Anderson, Jim Belk , Steve Flora, Nate Kimball, Curt Miller, and Barry Ross have contributed new charts to the book and updated the concept of the group.

The group has become known as the “ultimate trombone band” – the players always jump at the chance to play with the group. Curt Miller is the leader and coordinator of the group, and the players that routinely play with the group are Matt Johnson, Nate Kimball, Nathan Tanouye, Sonny Hernandez, Ralph Pressler, and Andrew Boostrom. The rhythm section is comprised of Uli Geissendoerfer on piano, Steve Flora on bass and Larry Aberman on drums.. With the exception of a few live recordings, the group had never formally recorded anything, so we decided to take on the first CD project - 55 years after the inception of the group! I am humbled to be the current curator of a group so rich in history!
Curt Miller

Attack Of The Wind Driven Pitch Approximators

Jacky Terrasson - Moving On

Styles: Jazz
Year: 2024
Time: 53:33
File: MP3 @ 320K/s
Size: 123,3 MB
Art: Front

(4:45) 1. Besame Mucho
(3:30) 2. Est-ce que tu me suis ?
(2:45) 3. Moving On
(4:02) 4. Misty (NYC Take)
(2:57) 5. R&B
(4:01) 6. Happy
(3:36) 7. Solar
(4:55) 8. Love Light
(3:12) 9. My Baby Just Cares for Me (Pompignan Take)
(4:34) 10. Enfin
(3:30) 11. I Will Wait for You
(2:16) 12. Go Round
(4:12) 13. Af006
(4:19) 14. Edit (piaf)
(0:53) 15. Theme from New York, New York

Jacky Terrasson’s music has always been a marvelous melding of the complex and the understated. Moving On, his latest album, demonstrates both sides of this equation with fantastic results. There’s so much going on here. The theme of this recording comes from the pianist’s move back to France after spending a good portion of his career in New York City. The music demonstrates his love for both the push and pull of life. And the 15 songs on this set add to that yin–yang dichotomy, with two trios playing the tunes.

Bassist Sylvain Romano and drummer Lukmil Perez, the French trio, join Terrasson for six tunes. Bassist Kenny Davis and Alvester join him as the American trio. The music is complex, but in the pocket. His pianism serves both trios well, as Terrasson plays challenging passages with such ease that the listener can just sit back and feel a rush of sound wash over them. Terrasson kicks off the album with his French trio’s total and impressive reimagining of “Beseme Mucho,” the classic bolero written by Consuelo Velázquez.

Terrasson, Romano and Perez take the tune at a heartbreaking adagio, giving it an almost classical reverence. On the flip side, the American trio delivers the album’s title track as a fast-paced, raise-the-roof, feel-good jam demonstrating all the excitement that a new chapter in one’s life can offer. It’s a Terrasson original that flows with positive vibes, as do many of his compositions, like “R&B” or the slow-burning “Edit (Piaf)” from the album. Terrasson also treats us to some really great guest spots and standards.

Grégoire Maret joins in on truly fun version of the mega-hit “Happy,” complete with vocal spots by Camille Bertault and Karen Guiock Thuram. Drummer Billy Hart steps in for a turn on “Misty (NYC Take).” Other treats include “My Baby Just Cares For Me” with a terrific guest vocal by Guiock-Thuram; Est-ce que tu me suis?” with another terrific vocal by Bertault; and “Enfin,” a Terrasson original with Maret guesting. Hart also takes the drum chair for the album’s outro, “Theme From New York, New York.” It’s a fitting 53-second ditty to wrap up a thoughtful set that says “goodbye and thanks” to one home and “hello, can’t wait to see you” to a new one Terrasson’s love letter is beautifully delivered to both.By Frank Alkyer
https://downbeat.com/reviews/detail/moving-on

Moving On

Scott Hamilton, Paolo Birro, Alfred Kramer, Aldo Zunino - Cinerama

Styles: Saxophone Jazz
Year: 2024
Time: 64:10
File: MP3 @ 320K/s
Size: 147,8 MB
Art: Front

(6:44) 1. Three coins in the fountain
(8:53) 2. I will wait for you
(5:35) 3. Love theme from Point Blank
(6:41) 4. Wives and lovers
(7:38) 5. On Green Dolphin street
(7:03) 6. Two for the road
(8:50) 7. Close enuogh for love
(5:25) 8. I love you, Samantha
(7:18) 9. Manha de Carnaval

A swinging tenor saxophonist with a warm tone and supple feel, Scott Hamilton first emerged in the '70s playing a style that hearkened back to the pre-bebop sound of artists like Ben Webster and Zoot Sims. It was a style that helped Hamilton stand out from his contemporaries, especially during the electrified era of fusion jazz. Signed to Concord, he issued a string of celebrated albums for the label, like 1977's Swinging Young Scott, 1979's Tenorshoes, and 1986's The Right Time, all of which showcased his knack for acoustic jazz, blues, and standards. He gained respect from both contemporary players and veterans, famously touring as a member of legendary clarinetist and bandleader Benny Goodman's small group. Along with contemporaries like cornetist Warren Vache, saxophonist Harry Allen, and saxophonist Scott Robinson, he has continued to keep older jazz traditions alive, playing with swing veterans like guitarist Bucky Pizzarelli, as he did on 1998's Red Door: Remember Zoot Sims, and issuing elegant sessions from his adopted home of Italy, like 2019's Danish Ballads & More.

Born in 1954 in Providence, Rhode Island, Hamilton first became interested in jazz while listening to his father's record collection. Initially starting out on drums at age five, he also played piano, harmonica, and clarinet before settling on tenor saxophone at around age 16. Influenced by players like Johnny Hodges, Ben Webster, Coleman Hawkins, and Zoot Sims, he progressed quickly and by the time he graduated high school, was already playing gigs and sitting in at clubs. It was during these early years that he met and sat in with legendary swing trumpeter Roy Eldridge at a club in Boston. Eldridge encouraged the up-and-coming saxophonist to move to New York, which Hamilton did in 1976 at the age of 22. There, he picked up a six-week stint playing at Michael's Pub, and was able to meet and work with other veteran jazz luminaries like Hank Jones, Vic Dickenson, Anita O'Day, and Illinois Jacquet, among others.

In 1977, he made his recorded debut for Concord with Scott Hamilton Is a Good Wind Who Is Blowing Us No Ill, featuring trumpeter Bill Berry, pianist Nat Pierce, bassist Monty Budwig, and drummer Jake Hanna. More albums followed on the label, including Scott II, Scott Hamilton and Warren Vache (With Scott's Band in New York), and 1979's Tenorshoes. Also during this period, he joined Benny Goodman's small group, playing with the legendary bandleader as well as Vache, guitarist Chris Flory, and others throughout the late '70s and early '80s. Hamilton kept the traditional jazz torch burning through the '80s, issuing albums like 1982's Close Up, 1985's First Up with cornetist Ruby Braff, and 1986's Major League with Jake Hanna and Dave McKenna. There were also dates with Flip Phillips, Benny Carter, and the Concord All-Stars. In 1986, he earned a Grammy nomination for his contribution to Gerry Mulligan's album Soft Lights & Sweet Music.

In the '90s, Hamilton moved to England, settling in London and forming a quartet with pianist John Pearce, bassist Dave Green, and drummer Steve Brown. Nonetheless, he remained connected to Concord, releasing albums like 1993's East of the Sun, 1995's My Romance, and 1997's After Hours. He also paired for albums with guitarist Bucky Pizzarelli, guitarist Jimmy Bruno, and vocalist Rosemary Clooney. Jazz Signatures arrived in 2001 and featured songs by some of Hamilton's favorite artists like Illinois Jacquet, Benny Carter, and Don Byas. He paired with fellow saxophonist Harry Allen for 2004's Heavy Juice and joined pianist Bill Charlap, bassist Peter Washington, and drummer Kenny Washington for 2005's Back in New York.

Sometime in the late 2000s, Hamilton moved to the Tuscany region of Italy where he remained active touring. He also rounded out his long association with Concord by releasing 2006's Nocturnes & Serenades and 2008's Across the Tracks. Following his move to Italy, Hamilton issued a string of albums on smaller labels including 2010's Midnight at NOLA's Penthouse with pianist Rossano Sportiello, 2011's A Splendid Trio with guitarist Howard Alden, and 2012's 'Round Midnight with saxophonist Harry Allen. He also recorded projects with Jan Lundgren, Karin Krog, and Andrea Pozza. He collaborated with pianist/vocalist Champian Fulton for 2017's Things We Did Last Summer, and returned the following year with the quartet date Moon Mist, featuring pianist Dena DeRose, bassist Ignasi Gonzalez, and drummer Jo Krause. Another quartet date, Danish Ballads & More, arrived in 2019. By Matt Collar https://www.amazon.com/Two-for-the-road/dp/B0DJRN1SHW

Personnel: Scott Hamilton (sax), Paolo Birro (piano), Aldo Zunino (double bass) and Alfred Kramer (drums).

Cinerama

Tuesday, December 24, 2024

Jacky Terrasson and Stephane Belmondo - Mother

Styles: Piano And Trumpet Jazz
Year: 2016
File: MP3@320K/s
Time: 44:31
Size: 102,7 MB
Art: Front

(4:39)  1. Hand In Hand
(4:49)  2. Lover Man
(3:45)  3. La chanson d'Hélène
(5:19)  4. In Your Own Sweet Way
(0:39)  5. Pic Saint-Loup
(5:27)  6. Mother
(2:26)  7. Fun Keys
(1:14)  8. Les valseuses (BOF "Les valseuses")
(3:44)  9. Souvenirs
(4:34) 10. You Don't Know What Love Is
(0:53) 11. Pompignan
(4:49) 12. You Are The Sunshine Of My Life
(2:06) 13. Que reste-t-il de nos amours ?

The album "Mother" is a collaboration with pianist Jacky Terrasson and trumpeter Stéphane Belmondo. Of the fourteen securities has an intimate atmosphere to the Impressionist musicality. The inspired dialogue of these two accomplices musicians brings a calm breathing conducive to peace. The collaboration of Jacky Terrasson and Stéphane Belmondo back to their beginnings in the world of jazz, there are nearly thirty years. A time when they already maintained a special musical relationship. They met six years ago for a concert in duo in the southwest of France in Festival of Saint-Emilion. Since they had the opportunity to cultivate their complicity and give birth to a world that belongs to them. "Mother" (Impulse! / Universal) whose output is announced for September 2, is the logical outcome of their reunion. Originally, Jacky Terrasson and Stéphane Belmondo recorded thirty titles to Recall Studios. After listening, they "realized that the ballads sounded beautifully," says the pianist. They therefore decided to keep the "slower songs" for "Mother".  More...translate by google http://www.latins-de-jazz.com/mother-par-jacky-terrasson-et-stephane-belmondo/

Mother

Nancy Wilson - The Early Years: 2 Complete Albums Plus Bonus Singles

Size: 158,0 MB
Time: 65:54
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. On The Street Where You Live (1:43)
02. Night Mist (2:36)
03. You Leave Me Breathless (2:29)
04. The More I See You (2:10)
05. I Want To Be Loved (2:17)
06. Almost Like Being In Love (1:44)
07. People Will Say We're In Love (1:58)
08. Passion Flower (2:21)
09. Sometimes I'm Happy (Sometimes I'm Blue) (1:49)
10. In Other Words (Fly Me To The Moon) (2:52)
11. All Of You (1:50)
12. If It's The Last Thing I Do (2:05)
13. Teach Me Tonight (2:52)
14. This Time The Dream's On Me (2:17)
15. I'm Gonna Laugh You Out Of My Life (2:38)
16. I Wish You Love (2:00)
17. Guess Who I Saw Today (3:23)
18. If Dreams Come True (1:46)
19. What A Little Moonlight Can Do (2:25)
20. The Great City (2:44)
21. He's My Guy (2:29)
22. Something Happens To Me (1:59)
23. Call It Stormy Monday (2:24)
24. Something Wonderful Happens (2:47)
25. The Seventh Son (2:22)
26. My Foolish Heart (2:32)
27. Next Time You See Me (2:40)
28. The Verdict (2:28)

Nancy Wilson was one of the most prolific singers of the 1960s. Her style was all encompassing, taking in ballads, jazz, R&B, show tunes and pop music, making her classification as a singer hard to define but that is part of her charm and a key element in her seemingly endless career which continues today. Collected here are her first two albums 'Like In Love' and 'Something Wonderful' plus four bonus tracks which include "My Foolish Heart", which was her first taste of chart success. Although this collection of Nancy's early material may lack charting hits, it is chock full of great songs including a wonderful version of T-Bone Walker's "Call It Stormy Monday".

The Early Years

Diana Panton - Christmas Kiss

Styles: Vocal, Christmas
Year: 2012
File: MP3@320K/s
Time: 61:57
Size: 143,8 MB
Art: Front

(4:32)  1. Kissing By the Mistletoe
(4:44)  2. Baby It's Cold Outside
(4:00)  3. Christmas Kiss
(2:51)  4. Winter Weather
(3:27)  5. C'est Noel Cheri (M'ami)
(3:55)  6. Winter Wonderland
(5:18)  7. Have Yourself a Merry Little Christmas
(5:22)  8. December
(3:32)  9. Snowbound
(4:47) 10. Winter Warm
(3:52) 11. The Christmas Waltz
(4:34) 12. Christmas Time Is Here
(3:22) 13. Let It Snow! / C'est L'hiver
(4:43) 14. Images of Christmas
(2:50) 15. Douce Nuit / Silent Night

With a purr as smooth as whipped egg nog, Panton makes Christmas Kiss a sprig of audio mistletoe, backed by the light touch of jazz trio trumpeter Guido Basso, guitarist Reg Schwager and Don Thompson on bass, piano and vibraphone. ~ Editorial Reviews https://www.amazon.com/Christmas-Kiss-Diana-Panton/dp/B009E313Y6

Christmas Kiss

Sunday, December 22, 2024

Scott Hamilton - Looking Back

Styles: Contemporary Jazz
Year: 2024
Time: 63:53
File: MP3 @ 320K/s
Size: 158,8 MB
Art: Front

(6:24) 1. I've Grown Accustomed to her Face
(6:17) 2. The Maids of Cadiz
(7:18) 3. Beyond the Bluebird
(5:42) 4. Big Tate
(4:40) 5. Rockin' Chair
(6:46) 6. Noblesse
(6:10) 7. Tune Up
(7:24) 8. Hey There
(5:40) 9. Shadowland
(7:28) 10. On a Clear Day

In Looking Back, Scott Hamilton takes us on a journey through time, reflecting on a career forged by solo excellence and the bonds of collaboration. The seventy-year-old tenor saxophonist, known for his deep connection to the jazz tradition, has crafted a ten-track album reflecting his artistic journey and the many jazz giants and fellow musicians who have shaped his sound. Hamilton, alongside his Scandinavian quartet—Jan Lundgren on piano, Hans Backenroth on bass, and Kristian Leth on drums—delivers a set based on dialogue between musical friends. Their common jazz language allows the quartet to move as a unit, each player indispensable, each a flowing performance in the intricate hard-bop conversation.

The album opens with “I’ve Grown Accustomed to Her Face,” immediately, the ballad tempo shines with the atmosphere of collaboration that defines Looking Back. Hamilton’s tenor is smooth and lyrical, but the gentle brushwork from Leth and the rich harmonic bed laid by Backenroth and Lundgren support his playing’s elegance. This isn’t a one-man show; it’s a shared experience, a weaving together of individual voices that builds into something greater. Hamilton’s phrasing is poignant and deliberate, as Lundgren’s subtle piano voicings, Leth’s fluid brushes, and Backenroth’s steady bass interact and support his performance into a cohesive story.

In “The Maids of Cadiz,” the musical conversation deepens. Hamilton’s melodic lines are built with impeccable phrasing, creating an interplay that is about giving space between each phrase for breathing and ensemble interaction. When Backenroth and Leth follow these musical exhales, they frame Hamilton’s tenor, giving it the space and support to take flight. Lundgren’s accompaniment mirrors Hamilton’s harmonic playfulness, echoing his lines while adding subtle harmonic approaches that keep the listener engaged. There’s an undeniable sense of trust in this ensemble, a confidence allowing each musician to push and pull against the time without losing their sense of unity.

“Big Tate,” Hamilton’s original blues, showcases the band at its most expressive. Hamilton opens unaccompanied, his tenor saxophone filling the space with warmth and authority before the rest of the quartet eases into a medium swing groove. The entire ensemble moves with a sense of relaxed precision, letting the groove unfold naturally. The connection between Leth’s drumming and Backenroth’s bass is particularly evident here they create a rhythmic bedrock that gives Hamilton and Lundgren the freedom to explore without hesitation. Lundgren’s piano solo is full of rhythmic motifs and bluesy color, and as the piece develops, it becomes clear that each player knows exactly when to lead, when to follow, and when to simply listen.

In “Tune Up,” the quartet embraces a more up-tempo swing, but again, the emphasis is on how the musicians interact rather than individual virtuosity. Hamilton’s approach centers on the fluid language of hard bop, his lines moving effortlessly to emphasize chord tones with creative approach embellishments. The beauty of this track lies in Hamilton’s nimble phrasing and the way Leth, Lundgren, and Backenroth react to it—they are in constant dialogue, taking their cues from Hamilton’s improvisational melodic and rhythmic choices and adding their own voices to the conversation.

“Shadowland,” a waltz ballad, brings a different expression into the album. The 3/4 time signature allows the ensemble to explore a more expansive soundscape, with each player contributing thoughtfully to the overall texture. Hamilton’s tenor sings through the melody with gentle grace, while Lundgren’s piano lines provide a shimmering backdrop full of subtle harmonic shifts. Backenroth and Leth work together to create a rhythmic flow that is both steady and dynamic, giving the music a sense of movement that is deeply evocative. Hamilton and Lundgren’s solos focus on constructing clear, lyrical melodies, making “Shadowland” a highlight of the quartet’s shared sensitivity and musical maturity.

“On a Clear Day” shifts the mood to a Latin jazz feel. The rhythm section lays down a gentle sway, with Leth’s understated percussion providing a steady backdrop for Hamilton’s tenor. The ensemble switches to a swing feel for the solos. Backenroth’s bass anchors the harmony, while Lundgren’s delicate comping fills in the spaces, ensuring that Hamilton’s swinging solo lines are supported and developed. Hamilton shows off his lyrical phrasing, each note carefully shaped and articulated, delivering a performance that truly shines in its subtle interaction within the quartet.

Looking Back features a classic hard-bop chemistry that is undeniable and irresistible. The ensemble is skilled in shining as individuals and as parts of a greater whole, with each member enhancing the others’ contributions. Hamilton’s rich, warm tone and lyrical phrasing are at the forefront, but this is an album about the collective experience about how each member of this quartet brings something unique to the jazz expression. The album reflects Hamilton’s lifelong devotion to the classic virtues of jazz, while the Scandinavian quartet’s contributions ensure that the music remains vibrant, contemporary, and alive. The interplay, the shared breaths, and the moments of spontaneous creation make Looking Back standout as a love letter to jazz, collaboration, and the enduring legacy of their shared musical journey. By Nolan DeBuke
https://thejazzword.com/2024/11/scott-hamilton-looking-back-review/

Looking Back