Billy Eckstine - Momento Brasileiro

Styles: Vocal
Year: 1979
File: MP3@224K/s
Time: 34:22
Size: 55,4 MB
Art: Front

(4:07)  1. Cidade Maravilhosa
(3:11)  2. I Apologize
(3:19)  3. Corcovado
(3:05)  4. Where Or When
(3:42)  5. Dindi
(4:25)  6. Dora
(4:41)  7. Vivo Sonhando
(4:50)  8. Você e  Eu
(2:58)  9. Insensatez

One of the most distinctive of all ballad singers, Eckstine was both a pivotal figure in the history of jazz (because of his commitment to bebop) and the first black singer to achieve lasting success in the pop mainstream. After winning a talent contest in 1930 by imitating Cab Calloway, Eckstine sang briefly with Tommy Myles’ band, before returning to college.  On the recommendation of composer and tenor saxophonist Buddy Johnson he joined Earl Hines’ band in 1939 as singer and  occasionally  playing  trumpet  and in turn  encouraged  Hines to sign up Charlie Parker and Sarah Vaughan. Eckstine’s recordings with the band include ‘Stormy Monday Blues’ and his own ‘Jelly Jelly’. In 1943, he quit to go solo but in 1944 formed his own big band, a modern swing band committed almost exclusively to bebop, to the point where Eckstine’s stylized vocals regularly took second place to the playing of Dizzy Gillespie, Dexter Gordon, Art Blakey, Charlie Parker, Fats Navarro, Gene Ammons and Kenny Dorham, among others. 

The band was badly recorded and badly managed and in 1947 Eckstine folded it to go solo. However, the support Eckstine gave bop musicians at that time was crucial. Even before folding his band, Eckstine had recorded solo to support it, scoring two million-sellers in 1945 with ‘Cottage for Sale’ and a revival of ‘Prisoner of Love’. Far more successful than his band recordings, though more mannered and pompously sung, these prefigured Eckstine’s future career. Where before black bands had played ballads, jazz and dance music, in the immediate post-war years they had to choose. Lacking an interest in the blues and frustrated by the failure of his big band, Eckstine, at first reluctantly, turned to ballads. Henceforth his successes would be in the pop charts. 

In 1947, he was one of the first signings to the newly established MGM Records and had immediate hits with revivals of ‘Everything I Have Is Yours’ (1947), Richard Rodgers’ and Lorenz Hart’s ‘Blue Moon’ (1948), and Duke Ellington’s, Irving Mills and Juan Tizol’s ‘Caravan’ (1949). He had further success in 1950 with Victor Young’s theme song to ‘My Foolish Heart’ and a revival of the 1931 Bing Crosby hit, ‘I Apologize’. However, unlike Nat ‘King’ Cole who followed him into the pop charts, Eckstine’s singing, especially his exaggerated vibrato, sounded increasingly mannered and he was unable to sustain his recording success throughout the decade. His best record of the fifties was the thrilling duet with Sarah Vaughan, ‘Passing Strangers’, a minor hit in 1957. Eckstine later concentrated on live appearances, regularly crossing the world, and recorded only intermittently. In 1967, he briefly joined Motown and in 1981 recorded the impressive ‘Something More’. ~ Bio http://www.vervemusicgroup.com/billyeckstine

Momento Brasileiro

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Nicki Parrott - Sakura Sakura

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 65:09
Size: 150,3 MB
Art: Front

(4:18)  1. April In Paris
(4:55)  2. April Showers
(3:34)  3. Cherry Pink And Apple Blossam White
(5:39)  4. It Might As Well Be Spring
(3:24)  5. Sakura Sakura
(5:08)  6. Some Other Spring
(4:52)  7. I Love Paris
(4:53)  8. Spring Can Really Hang You Up The Most
(3:35)  9. Spring Is Here
(3:46) 10. Suddenly It's Spring
(5:24) 11. There'll Be Another Spring
(5:09) 12. They Say It's Spring
(5:53) 13. You Must Believe In Spring
(4:33) 14. I'll Remember April

Nicki Parrott, an internationally acclaimed bassist, arrived in New York in May of 1994, the recipient of a grant from the Australia Council for the Arts allowing her travel to the US and study with her mentor, one of the world’s premiere double bassists, Rufus Reid. In the same year she was also nominated for the “Australian Young Achievers Award.”  Today, Nicki Parrott is a world-class double bassist and an emerging singer/songwriter. In her work with artists from around the globe she has brought a signature sound to every bass part she has played. She performs regularly at the world’s best Jazz Festivals and can be seen Monday’s at the Iridium Jazz Club in New York City with the legendary guitarist and inventor, Les Paul. Since June of 2000, this union has been an ideal showcase for her musical abilities, flair for improv, and gift for entertaining a crowd. Born in Newcastle, Australia, Nicki Parrott began her musical training on the piano at the age of four. She also took up the flute and continued to play both instruments throughout her school years. At the age of 15, Nicki switched her focus to the double bass, formed a band with her older sister Lisa (alto sax) and began composing instrumental pieces that they would eventually record for their premier CD release, The Awabakal Suite (2001).

After completing high school, Nicki moved to Sydney and attended the New South Wales Conservatorium of Music, where she graduated with an Associates degree in Jazz Studies. When bassists such as the legendary Ray Brown (Dizzy Gillespie, Ella Fitzgerald, Duke Ellington, Oscar Peterson) and John Clayton (Diana Krall, Whitney Houston) were playing in town, Nicki would find them, contact them and arrange lessons from them. She was awarded a scholarship to the prestigious Pan Pacific Music Camp, and soon after, took first place in the 1992 Jazz Action Society's Annual Song Competition for her composition, Come and Get It. In 1990, Nicki began touring Australia with Russian musicians Daniel Kramer and Alexander Fischer playing sold out shows across the country. This was followed by successful tours with American trumpeters Bobby Shew and Chuck Findley. When she was off the road, Nicki was consistently playing bass with other world-renowned jazz musicians like New Zealand’s Mike Nock (piano), Australia's Dale Barlow (tenor sax), Paul Grabowsky (piano), Bernie McGann (alto sax) and the explosive Ten Part Invention. In May of 2002, The Nicki and Lisa Parrott Quartet headlined the prestigious Mary Lou Williams Jazz Festival held at the Kennedy Center in Washington D.C. The show was broadcast on NPR and was well received by the press. She was also the resident bassist with the Kitchen House Blend, a house band that premiered and performed new music from local New York composers.

They would blend jazz, hip-hop, classical and rock in one evening...“It was a very creative experience”. Nicki expanded her musical repertoire and appeared on the Broadway stage in such shows as: Imaginary Friends, You're a Good Man Charlie Brown, Summer of '42, and Jekyll and Hyde. She is still active on Broadway today and regularly performs in the comedic musical, Avenue Q. Since coming to the United States Nicki Parrott has performed and/or recorded with such notable musicians as Randy Brecker, Skitch Henderson, Jose Feliciano, Rebecca Paris, Bucky Pizzarelli, John Pizzarelli, Warren Vache Jr., Clark Terry, Michel Legrand, Billy Taylor, Dick Hyman, Patti Labelle & the New York Pops Orchestra, Annie Ross, the Florida Pops Orchestra, Terri Thornton, Holly Hoffman, DIVA, Marlena Shaw, Monica Mancini, Patrice Rushen, Harry Allen, Red Holloway, Kenny Davern, Mike Stern, Bernard Purdie, John Tropea, David Krakauer, Howard Alden, Randy Sandke, Greg Osby, Jack Wilkins, Ken Peplowski, Johnny Frigo, Joe Wilder, Houston Person, Wycliffe Gordon, Rachel Z and Johnny Varro. 

Nicki has also performed at most of the world’s major jazz festivals. In the United States she’s appeared at the Newport Jazz Festival (2005), the Litchfield Jazz festival (2005), the Jazz in July concert series at the 92nd street Y (2003, 2004), the Detroit Jazz Festival (2005) and the Lionel Ha mpton Jazz Festival (2001). Outside the USA Nicki has appeared at the Cully Lavaux Festival (Switzerland - 1995), the Grimsby Jazz Festival (UK - 1996), Berlin Jazz Festival (Germany - 1998), the Ottawa Jazz Festival (2004), the Krakow Music Festival (Poland), JazzAscona (2005, 2006), Bern Jazz Festivals (Switzerland - 2005, 2006), Edinburgh Jazz & Blues Festival (UK - 2006) and of course, she has played at numerous music festivals across Australia. Nicki Parrott is committed to the continuing musical education women receive in order to further their careers and ultimately remain active as musicians past their teen years. In keeping with her sense of community, Nicki’s desire is to teach underprivileged kids to play instruments and learn to enjoy music. It is her belief t hat teaching music to children helps keep them interested in school and out of trouble.
http://musicians.allaboutjazz.com/nickiparrott

Sakura Sakura

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Red Rodney - Essential Jazz Quintets

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 131:05
Size: 301,9 MB
Art: Front

( 5:33)  1. You Better Go Now
( 3:49)  2. Daddy-O
( 6:37)  3. Shaw Nuff
( 3:17)  4. Dig This
( 6:02)  5. Stella By Starlight
( 6:14)  6. Jordu
( 5:11)  7. Red Arrow
( 3:14)  8. I Love The Rhythm In A Riff
( 4:22)  9. You And The Night And The Music
( 6:10) 10. I Remember You
( 3:11) 11. Taking A Chance On Love
( 3:42) 12. Hale To Dale
( 4:55) 13. Ubas
( 4:24) 14. 5709
( 2:57) 15. Clap Hands, Hered Comes Charlie
( 4:28) 16. Two By Two
( 3:41) 17. Jeffie
( 5:52) 18. Red Is Blue
( 6:06) 19. Red Hot And Blue
( 3:59) 20. The Song Is You
( 5:32) 21. Shelley
( 4:15) 22. On Mike
( 4:44) 23. Laura
( 6:01) 24. Box 2000
( 5:45) 25. Whirlwind
(10:52) 26. Star Eyes

Red Rodney's comeback in the late '70s was quite inspiring and found the veteran bebop trumpeter playing even better than he had during his legendary period with Charlie Parker. He started his professional career by performing with Jerry Wald's orchestra when he was 15, and he passed through a lot of big bands, including those of Jimmy Dorsey (during which Rodney closely emulated his early idol Harry James), Elliot Lawrence, Georgie Auld, Benny Goodman, and Les Brown. He totally changed his style after hearing Dizzy Gillespie and Charlie Parker, becoming one of the brighter young voices in bebop. Rodney made strong contributions to the bands of Gene Krupa (1946), Claude Thornhill, and Woody Herman's Second Herd (1948-1949).

Off and on during 1949-1951, Rodney was a regular member of the Charlie Parker Quintet, playing brilliantly at Bird's recorded Carnegie Hall concert of 1949. But drugs cut short that association, and Rodney spent most of the 1950s in and out of jail. After he kicked heroin, almost as damaging to his jazz chops was a long period playing for shows in Las Vegas. When he returned to New York in 1972, it took Rodney several years to regain his former form. However, he hooked up with multi-instrumentalist Ira Sullivan in 1980 and the musical partnership benefited both of the veterans; Sullivan's inquisitive style inspired Rodney to play post-bop music (rather than continually stick to bop) and sometimes their quintet (which also featured Garry Dial) sounded like the Ornette Coleman Quartet, amazingly. After Sullivan went back to Florida a few years later, Rodney continued leading his own quintet which in later years featured the talented young saxophonist Chris Potter. Red Rodney, who was portrayed quite sympathetically in the Clint Eastwood film Bird (during which he played his own solos), stands as proof that for the most open-minded veterans there is life beyond bop.By Scott Yanow https://www.allmusic.com/artist/red-rodney-mn0000883694/biography

Essential Jazz Quintets

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Rolf Ericson & Johnny Griffin - Sincerely Ours

Styles: Trumpet Jazz
Year: 2009
File: MP3@320K/s
Time: 38:36
Size: 89,6 MB
Art: Front

(5:53)  1. Double Digit
(8:02)  2. Fragrance
(6:06)  3. Oblivion
(5:53)  4. Taboo
(4:42)  5. Sweet And Handsome
(7:58)  6. Korn Blues

One of Sweden's finest trumpeters, Rolf Ericson played in the U.S. often enough to gain a strong reputation. He started on trumpet when he was eight and, after hearing Louis Armstrong play in Stockholm in 1933, he switched to jazz. Ericson recorded in Sweden with Alice Babs and others starting in 1945, moved to New York in 1947, and played with Charlie Barnet (1949) and Woody Herman (1950). After returning to Sweden in 1950, he recorded as a leader and with Arne Domnérus and Leonard Feather's Swinging Swedes. He also toured and recorded with Charlie Parker. Back in the U.S. during 1953-1956, Ericson played with the big bands of Charlie Spivak, Harry James, the Dorsey Brothers, and Les Brown and was with the Lighthouse All-Stars. In 1956, he toured Sweden and played with Ernestine Anderson and Lars Gullin. During 1956-1965 in the U.S., Ericson was with Dexter Gordon, Harold Land, Stan Kenton, Woody Herman, Maynard Ferguson (1960-1961), Buddy Rich, Benny Goodman, Gerry Mulligan, and Charles Mingus, among others. There were also occasional tours with Duke Ellington during 1963-1971 and plenty of freelance jobs. In 1971, he settled in Germany as a studio musician, but Ericson returned to the U.S. several times over the next couple of decades. His warm tone and creative yet melodic style were always considered an asset. ~ Scott Yanow https://itunes.apple.com/us/album/sincerely-ours/id305133628

Personnel:  Trumpet – Rolf Ericson;  Tenor Saxophone – Johnny Griffin;  Piano – Fritz Pauer;  Bass – Lukas Lindholm;  Drums – Ronnie Stephenson;  Flugelhorn – Rolf Ericson

Sincerely Ours

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Carol Welsman - Memories Of You

Styles: Vocal Jazz
Year: 2009
Time: 60:51
File: MP3 @ 320K/s
Size: 139,3 MB
Art: Front

(3:49) 1. Don't Be That Way
(2:45) 2. Why Don't You Do Right
(3:28) 3. Moonglow
(3:10) 4. Stompin' At The Savoy
(5:47) 5. As Time Goes By
(4:49) 6. When You're Smiling
(4:10) 7. Johnny Guitar
(4:02) 8. Fever
(2:53) 9. Goody Goody
(3:08) 10. The Very Thought Of You
(2:39) 11. On A Slow Boat To China
(4:50) 12. Memories Of You
(3:03) 13. Sing Sing Sing
(3:50) 14. Where Or When
(4:15) 15. More Than You Know
(4:06) 16. The Glory Of Love

Internationally acclaimed vocalist/pianist Carol Welsman is a 6-time Juno Award Nominee (Canadian Grammy). She captivates audiences the world round with her unique ability to story tell and spread her infectious warmth and energy through music. Carol has 13 albums to her credit. Her 2016 solo piano/vocal album “FOR YOU” was the #1 selling album at retail in Japan for 6 months following its release, and it reached number 4 on the jazz charts. Volume 2, This is Carol Jazz Beauties, a trio album, was released in 2019 in Japan and it too was the #1 selling album of the year at retail. Carol’s 2020 Latin Jazz release, “Dance with me”, features a duet with Latin superstar Juan Luis Guerra, and the duet recording was added to a Spotify Latin playlist with 900,000 listeners.

Welsman has a brand new album entitled “14”, her fourteenth recording which will be released September 9, 2022 on Justin Time Records, with four singles that will be pre-released over the Spring and Summer. It is truly a jazz album co-produced by internationally renowned producer and composer/arranger, Romano Musumarra. It features Carol’s intimate piano/vocal accompaniment along with guitar and bass (and a few tracks with drums), featuring.

Carol is the granddaughter of Frank Welsman, founder and first conductor of the Toronto Symphony Orchestra. Her album “I LIKE MEN- Reflections of Miss Peggy Lee”, was voted Top 5 album of the year in USA Today (all genres) in 2010. Carol has performed for such luminaries as Stevie Wonder, Gordon Lightfoot, Herbie Hancock (duet) and President Bill Clinton. She speaks English, French, Spanish and Italian fluently and also records in these language

While she has internationally, performing from trio to big band to Pops symphony orchestra concerts, Carol has enjoyed much of her career success in Japan and Canada. A “Distinguished Alumnus” of Berklee College of Music, Welsman is also a prolific songwriter and her songs have been recorded by such artists as Celine Dion, Ray Charles and Chrissy Hinde.

“Blessed with so many musical gifts taste, time, projection and a rhythmic sense of when to change chords Carol’s piano is beyond reproach, warm yet rhythmically sharp, giving her voice a perfect hammock of support to swing in.” I’m not an easy pushover, but she’s got what it takes to take me. By Rex Reed https://carolwelsman.com/bio/

Memories Of You

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Jacob Wendt - Silver Street

Styles: Jazz
Year: 2024
Time: 40:08
File: MP3 @ 128K/s
Size: 37,5 MB
Art: Front

(4:36) 1. Silver Street
(5:29) 2. New Groove
(4:55) 3. Park Bench Dream
(5:17) 4. No Shortcuts
(5:52) 5. Sycamore Stomp
(4:04) 6. Gin & Platonic
(5:11) 7. Before You Go
(4:41) 8. Cretaceous

When it comes to making jazz records, Jacob Wendt is a jack-of-all-trades. Not only did he assemble the band for Silver Street and play the drums, he also did all the composing and arranging for the eight songs on the record. He made key recording and mixing decisions alongside engineer Paul Tavenner, who has over 30 years in the industry (previously holding positions at Capitol Records and CBS) and has been the owner of Big City Recording in Los Angeles since 1999.

Born in the Bay Area, Wendt relocated to Southern California at 18 years old to begin studying jazz in earnest. He quickly developed a passion for learning how all his favorite albums were made, which eventually led him to take a more active role in the technical aspects of producing Silver Street. Specifically, he was inspired by the legend of jazz recordist Rudy Van Gelder’s home studio in Hackensack, New Jersey, which was active in the 1950s during hard bop’s golden era. In the spirit of his favorite albums made there, Wendt elected to have his band play together in one room at Big City while opting for minimalist miking techniques. Using a classic stereo spread that has horns and drums flanking the piano and bass in the center, each instrument cuts through the mix with refreshing clarity. And where the recording of piano tends to suffer on numerous classic jazz albums, here it has been exceptionally recorded. Wendt and Tavenner have succeeded at creating an intimate sonic portrait of a small jazz combo swinging into the wee hours of the night at a crowded metropolitan club.

Silver Street gets off to a swift start with the album’s title track, the name of which aptly cites one of Wendt’s main influences. Horace Silver was known to write uptempo, winding melodies in the spirit of bebop, and fans of the pianist might find “Silver Street” tastefully reminiscent of his composing and arranging style. Full of hits, breaks, and stop-time, this uptempo piece features a unison melody line that splits into call and response phrases at the bridge. The whole group really shines on this number. Trumpeter Harry Ostrander is first, coming straight out of the break with two fiery choruses. Jimmy Emerzian follows on tenor sax, crafting his solo with zig-zagging lines and intrepid bursts of energy. Pianist Doug Carter delivers a dazzling solo, stretching out to make use of the entire keyboard while throwing in some surprising rhythmic variations that will keep the listener on their toes. The whole piece ramps up to a shout chorus that puts the spotlight on the drums, highlighting Wendt's understated yet very slick playing.

In addition to Silver, Wendt readily admits that the Blue Note Records catalog has served as a broader source of inspiration. Beginning with the release of Lee Morgan’s “The Sidewinder” in 1964, the “boogaloo” became a staple of numerous classic Blue Note albums that followed. “New Groove'' comes from that boogaloo school, but adds a twist: While the piece follows a standard A-A-B-A structure, Wendt spices things up by using a changing time signature for the A sections that alternates between 4/4 and 3/4. It’s a real treat to follow along with bassist David Reynoso’s soulful, varied basslines throughout. Tap your foot and get lost in Wendt’s funky house of mirrors!

“Park Bench Dream” is another of the album’s Silver-inspired tunes. The song’s laid-back melody came to Wendt in a dream where he and Silver sat together on a park bench poring over sheet music. You can almost feel the breeze while listening. “No Shortcuts” evokes a different kind of mood. The song’s darker modal theme and waltz feel reference another of Wendt's chief inspirations, Wayne Shorter. Pianist Carter sets things off with some triumphant block chords, then proceeds to fill the empty space left by the horns with pretty runs recalling Herbie Hancock backing Shorter on one of their legendary dates together. Careful listening will reveal how trumpet and tenor beautifully weave their solo together for one chorus, initially trading phrases before building and overlapping their lines. You’ll hear them take this approach a few times on the album.

“Sycamore Stomp” is a 24-bar blues written as an ode to the street of the same name that Wendt lived on in downtown Santa Ana. Surrounded by nightclubs and bars, Wendt imagined a lively crowd swarming the street below his window on a Saturday night during jazz’s golden age. Things begin with trumpeter Harry Ostrander letting off a warning shot before delivering his most inspired solo of the record. Emerzian follows, rising to the occasion with two rousing choruses full of groovy licks. Carter is next with an exuberant solo highlighted by periodic use of glissando which keeps the party going. The piece closes with a punchy shout chorus before returning to the melody.

Cooling things down for a bit, “Gin and Platonic” is a contrafact of the jazz standard “Just Friends.” Parts of the melody here emphasize and harmonize chord extensions that give the piece a bit of an unresolved, teetering feeling. Piano is absent during the head and horn solo sections, which frees up the trumpet and tenor to forge a harmonic path forward with less restraints. Improvised in the style of legendary duo Lee Konitz and Warne Marsh, the frontline engages in some percolating counterpoint, and Carter perfectly complements the mellower vibe with a sparse, lyrical solo. Wendt holds down the background all along with tight, swinging brush work locked in with Reynoso’s driving pulse.

“Before You Go” is a tender ballad that fits into Silver Street’s tracklist like a glove. If I had to pick one word to describe the ambience here, it would have to be “classic.” The horn lines ooze mood, melding together then parting again in a seamless dance. Trumpeter Ostrander focuses on the melody while tenor Emerzian plays background lines, counterpoint ideas, and harmonized phrases. Also noteworthy is the longing, lyrical melodic line penned by Wendt, which has an especially satisfying cadence in the final stanza.

Closing things out is “Cretaceous.” Named after a period in Earth’s ancient history dominated by dinosaurs – specifically, the king of all the big lizards, Tyrannosaurus Rex – indeed there is something primeval about music that makes a break with more traditional harmonic ideas. “Cretaceous” begins with a foreboding unaccompanied solo by bassist Reynoso, which is masterfully recorded by engineer Tavenner. The band then joins Reynoso, and Ostrander’s choice of a mute for his trumpet gives the track’s otherwise menacing mood a touch of comic relief. After the head, the rhythm section breaks out into a lurking walk as pianist Carter channels a dissonant solo in the Monkian tradition. Finally, our humble bandleader returns to the spotlight mid-song, fastidiously working around his kit while the bass leads and horns interject.

In its own voice, Silver Street makes a unique contribution to a musical conversation that began many years ago in jazz’s hard bop era. And record collectors are starting to take notice of Jacob Wendt, who had a hand in every aspect of making this album: composing, performing, recording, graphic design, and pressing the vinyl. The finished product the very LP you are now holding is sure to make his passion for this entire process undeniable! By Richard Capeless

Personnel: Jacob Wendt (drums, compositions); Harry Ostrander (trumpet);Jimmy Emerzian (tenor sax);Doug Carter (piano); David Reynoso (bass)

Silver Street

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Nina Simone - High Priestess Of Soul

Styles: Jazz, Vocal
Year: 1967
File: MP3@320K/s
Time: 35:51
Size: 88,1 MB
Art: Front

(3:09)  1. Don't You Pay Them No Mind
(2:18)  2. I'm Gonna Leave You
(2:06)  3. Brown Eyed Handsome Man
(3:26)  4. Keeper Of The Flame
(2:48)  5. The Gal From Joe's
(2:49)  6. Take Me To The Water
(2:52)  7. I'm Going Back Home
(2:21)  8. I Hold No Grudge
(3:39)  9. Come Ye
(3:10) 10. He Ain't Comin' Home No More
(3:07) 11. Work Song
(4:01) 12. I Love My Baby

Perhaps a bit more conscious of contemporary soul trends than her previous Philips albums, this is still very characteristic of her mid-'60s work in its eclectic mix of jazz, pop, soul, and some blues and gospel. Hal Mooney directs some large band arrangements for the material on this LP without submerging Simone's essential strengths. The more serious and introspective material is more memorable than the good-natured pop selections here. 

The highlights are her energetic vocal rendition of the Oscar Brown/Nat Adderley composition "Work Song" and her spiritual composition "Come Ye," on which Simone's inspirational vocals are backed by nothing other than minimal percussion.By Richie Unterberger http://www.allmusic.com/album/high-priestess-of-soul-mw0000691461

High Priestess Of Soul

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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

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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

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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).

Live At The Madrid Disc 1, Disc 2

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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

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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

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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

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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

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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?

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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

Joan Chamorro Presenta Andrea Motis

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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

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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

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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

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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

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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

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