Charles Davis & The Cedar Walton Trio - Blue Gardenia

Styles: Saxophone And Piano Jazz
Year: 2003
Time: 46:09
File: MP3 @ 320K/s
Size: 106,6 MB
Art: Front

(5:30) 1. A Beautiful Friendship
(6:29) 2. Texas Moon
(5:27) 3. Bossa Joe
(5:48) 4. Stranded
(6:11) 5. Shadow Of The Sunset
(5:57) 6. Sabia
(4:38) 7. Blues For Yahoo
(6:06) 8. Blue Gardenia

Charles Davis- baritone saxophone, tenor saxophone; Cedar Walton- piano; Peter Washington- bass; Joe Farnsworth- drums.

Baritone saxophonist Charles Davis started out with Sun Ra in the early 1950s. Along the way, he’s paid his dues in the big bands of Clark Terry, Thad Jones/Mel Lewis, Illinois Jacquet and Lionel Hampton. He first played “Blue Gardenia” with Dinah Washington in the late ‘50s. As a leader, he’s only issued a few recordings: Dedicated To Tadd (West 54, 1979), Super 80 (Nilva, 1982), and Reflections (Red, 1990).

Now 70, Davis continues to exercise his instrumental voice as soloist; this time out he employs a 50-50 balance between baritone and tenor. The leader’s solo saxophone voice stands sweet and melodic, but the session turns uneven in places due to a few slips of pitch control on baritone. Cedar Walton, Peter Washington and Joe Farnsworth do more than their share to make up for it with a hands-down rock-solid foundation for each piece. On tenor, Davis sends a lovely melodic message that calls upon his vast experience for flavor. “Texas Moon” recalls time he’s spent on the road with Hank Crawford, while “Blues for Yahoo” moves more in the hard bop direction of New York City. Yahoo is the producer’s dog, who must have inherited Charlie Parker’s up-tempo grit. Either that, or he simply reminded Davis of Bird’s unique soul. Blue Gardenia, a solid straight-ahead album, swings with tradition and a true, blues-based spirit.By Jim santella

Blue Gardenia

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Gary Bartz Quintet - West 42nd Street

Styles: Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 68:47
Size: 158,4 MB
Art: Front

( 8:51) 1. West 52nd Street
(19:10) 2. Speak Low
(11:45) 3. Its Easy to Remember
(10:02) 4. Cousins
(18:56) 5. The Night Has a Thousand Eyes

After a long period of indifferent recordings, altoist Gary Bartz started to fulfill his potential in the early '90s. Joined by a superb rhythm section (comprised of pianist John Hicks, bassist Ray Drummond, and drummer Al Foster) and trumpeter Claudio Roditi (whose restrained power complements rather than competes with Bartz), the altoist really stretches out, particularly on "Speak Low" and "The Night Has a Thousand Eyes" which both clock in at within seven seconds of 19 minutes apiece. Bartz is quite lyrical on a superior version of "It's Easy to Remember" and also takes inventive solos on his modal blues "Cousins" and Wilbur Harden's "West 42nd Street." A highly recommended.By Scott Yanow https://www.allmusic.com/album/west-42nd-street-mw0000073378

Personnel: Saxophone [Alto, Soprano] – Gary Bartz; Bass – Ray Drummond; Drums – Al Foster; Flugelhorn, Trumpet – Claudio Roditi; Piano – John Hicks

West 42nd Street

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Cecilia Coleman Big Band - Oh Boy!

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 59:08
Size: 135,8 MB
Art: Front

(5:19)  1. Liar, Liar
(5:25)  2. Dance
(5:09)  3. Pearl
(6:44)  4. Magpie
(4:08)  5. Walk Away
(9:52)  6. Lonesome Journey
(5:22)  7. Oh Boy!
(3:19)  8. Until Then
(4:44)  9. Princess
(4:03) 10. #1
(4:58) 11. Because

The phrase "Oh boy," can be a statement of excitement, an expression of an event that grabs your attention or, in this case, an appropriate reaction to the swinging orchestrations from the Cecilia Coleman Big Band. Oh Boy! is a powerful draw and the debut album from pianist/composer Coleman's new group, presenting thundering big band music of a contemporary nature. Best known for her various working quintet's that have produced five albums since 1992, Coleman formed the group in January 2010 after writing several big band charts for others which in turn, inspired a rehearsal band of her own. No novice to the large ensemble setting, the pianist previously recorded with the Mark Masters Ensemble of the American Jazz Institute. Though a longtime resident of New York City, Coleman is actually a native of Long Beach, CA, where she commutes regularly to teach at California State University at Long Beach. The Coleman band consists of friends and other musicians she has worked with since 1999, and boasts some of the finest players from the New York area. With renowned saxophonists Peter Brainin and Bobby Porcelli among the mix of musicians that also includes tenorist Stan Killian trombonists Matt McDonald, Sam Burtis and Broadway trumpeter Jeff Wilfore.

Playing a few simple bars and disguising what's to come, Coleman introduces "Liar, Liar," a truthfully explosive piece featuring Frank Basile' s blistering baritone saxophone solo, to brassy accompaniment. The enthralling "Dance" follows with the same electricity, delivering another forceful statement and readily affirming the album's muscular sound. "Magpie" is a sprawling, melody-rich sweet tune, with pronounced voices from the reeds and horns in a more mid-tempo arrangement. "Lonesome Journey" is the project's most sophisticated and ambitious piece, containing its share of twists and turns throughout the almost ten-minute duration. The title track reveals the swinging upbeat and lively texture that made it the disc's natural title choice. All is not swing however, as the balladic "Until Then" and the lightly-structured "Because" offer a departure from the main thrust of the album, as well as featuring brief but sparkling solo work from the pianist. Cecilia Coleman never set out to become a big band leader, stating that it was "never a dream of mine to have a big band," but the Cecilia Coleman Big Band is her new reality and Oh Boy!, what a swinging affair, this very first recording effort turns out to be. This is classic big band music infused with a bolt of raw energy and mounds of excitement.By Edward Blanco http://www.allaboutjazz.com/oh-boy-cecilia-coleman-self-produced-review-by-edward-blanco.php

Personnel: Cecilia Coleman: piano; Tim Givens: bass; Jeff Brillinger: drums; Peter Brainin: soprano saxophone; Bobby Porcelli: alto saxophone, flute; Stephan Kammerer: alto saxophone, flute; Geoff Vidal: tenor saxophone; Stan Killian: tenor saxophone; Frank Basile: baritone saxophone; Jeff Wilfore: trumpet; Hardin Butcher: trumpet; Kerry Mackillop: trumpet; John Eckert: trumpet; Don Sickler: trumpet (4); Matt McDonald: trombone; Mike Fahn: trombone; Sam Burtis: trombone; Joe Randazzo: trombone.

Oh Boy!

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Carol Welsman - Inclined

Bitrate: 320K/s
Time: 48:33
Size: 111.2 MB
Styles: Vocal jazz
Year: 1997
Art: Front

[3:45] 1. Beyond The Sea
[4:58] 2. Samba De Uma Nota So
[4:56] 3. Fever
[6:27] 4. La Fiesta
[5:58] 5. Inclined
[5:30] 6. I'll Be Around
[4:19] 7. Fais Comme L'oiseau
[5:20] 8. Wings To Fly
[6:38] 9. New Day
[0:38] 10. Twinkle Twinkle Little Star

It's getting harder and harder to break into the overcrowded jazz recording scene, and for a young vocalist, the odds must seem especially daunting. With ingenue Diana Krall already making waves, and audiophile favorites Holly Cole and Cassandra Wilson selling recordings in great numbers, even a great talent such as Carol Welsman must have felt the odds against her. Through the formation of welcarmusic, she did what many fine and versatile musicians are turning to self-promotion. With the quality and presentation of her second album, Inclined, Carol Welsman has succeeded brilliantly.Carol has a beautiful and accurate voice which is sensitive to the various styles that she presents on her album. With the first track, Carol literally blows through the speakers, singing an up-tempo version of My Favorite Things. It sets a high standard of what is to follow. Other vocal highlights include Carol's gentle version of the One Note Samba - underlying her gorgeous vocal with unfailingly beautiful piano work. She sings a downright erotic version of Fever, with sophisticated changes that help erase some of the more unsavory covers I have heard. Also included is a stunning version of Alec Wilder's, I'll Be Around, and a particularly Spanish version of Chick Corea's, La Fiesta. Carol is fluent in French and Italian, and with her fluency in French, she beautifully interprets Fais Comme L'Oiseau. With all the performances, there are none of the feelings of embarrassment that come with the affectations of so many jazz singers. Carol's intuitive style suffers none of that nonsense. Her songs are very well chosen, showcasing her diction and exemplary breath control, and give the listener insight into the wonderful lyrics. This is the real power of a communicator, and Carol Welsman has it in spades.

Carol has surrounded herself with excellence. The accompaniment work, from Toronto jazz and session virtuosi, is wonderful. They support her throughout, with very tasteful solos and a rock-solid rhythmic foundation. The solos by sax-player Phil Dwyer and flugelhorn-master Guido Basso are, in turn, swinging, subtle, and beautiful. Listen to the amazing Basso and his perfectly chosen notes in I'll Be Around. It just doesn't get any better! The rhythm section, even with slight changes in personnel from song to song, is remarkably consistent. Their playing demonstrates a difficult and under-appreciated art, while complimenting the swing and subtlety of Carol's interpretations.

The recording is warm, yet punchy, and allows the rhythmic complexities to come through. Where it really shines is in capturing the true beauty of Carol Welsman's voice. Changes in tessitura, subtle inflections, and the honesty with which she sings the lyrics will not go unnoticed. The quality of the songs on the album speaks for itself. Unfortunately, Carol's three original numbers, while very pleasant, may not sustain interest on repeated hearings. What did grip, however, was her arrangement of Twinkle Twinkle Little Star - not a tune that readily comes to mind for a sophisticated jazz treatment! She does her great arrangement so beautifully that I predict your repeat button will get some serious wear. The "401 Singers" add the perfect backdrop to Carol's stunning vocal. With this song, "simple elegance" is the phrase that comes to mind. Rhythm is integral to the musical success of a jazz album, and, as producer, Gord Sheard allows rhythmic energy to invade the recording. With this conception, he does Carol Welsman (who also co-produces) and her colleagues proud. As listener, you will be touched by the beauty of Carol's voice, and as participant, your fingers will be snapping in all tempos. What more could you ask for? By Anthony Kershaw

Carol Welsman - Piano/Vocals; George Koller, Colin Barrett, Danny Columby - Bass; Mark Kelso - Drums; Rob Piltch, Kevin Breit, John Findlay - Guitars; Phil Dwyer - Soprano/Tenor Saxophones; Al Heatherington, Brian Leonard - Percussion; Synthesizers - Gordon Sheard.

Inclined

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Didier Lockwood - 'Round About Silence

Styles: Violin, Saxophone And Trumpet Jazz
Year: 1998
File: MP3@320K/s
Time: 56:05
Size: 130,1 MB
Art: Front

(4:32)  1. Remember Alby
(4:35)  2. La Javalseuse
(2:19); 3. Grenouille
(4:44) 4. Sao Luis
(5:46)  5. Madiva
(3:30)  6. Extrasystoles
(4:06)  7. 'Round About Silence
(4:56)  8. Bossa Pour Didier
(4:44)  9. Nicou
(4:22) 10. Epique Ou Rien
(3:11) 11. Hati
(4:17) 12. Rue De La Forêt
(2:39) 13. Ballade Des Fées
(2:18) 14. Jour De Pluie

Didier Lockwood (born February 11, 1956) is a French jazz violinist. He was born in Calais and studied classical violin and composition at the Calais Conservatory. However, his brother Francis made him receptive to forms of music other than the classical and he quit his studies in 1972. Didier was entranced by the improvisation of Jean-Luc Ponty on Frank Zappa's King Kong album and took up the amplified violin. He joined the progressive rock group Magma, touring and notable featured on their 1975 Live/Hhaï album. Lockwood was also influenced by Polish violinist Zbigniew Seifert and Stéphane Grappelli, whom he joined on tour. Didier Lockwood in concert (1992)He has also played with Quebecois fusion group Uzeb on their Absolutely Live album.

He is famous for exploring new musical environments and for performing various sound imitations on his amplified violin, such as seagulls or trains.On July 23, 1982, in Montreux, Switzerland, he performed in concert with guitarist Allan Holdsworth, drummer Billy Cobham, bassist/vocalist Jack Bruce, and keyboardist David Sancious.Didier Lockwood created a string instruments improvisation school, CMDL (Centre des Musiques Didier Lockwood), in 2001.He is married to singer Caroline Casadesus Throughout 2006 Didier has been touring with Martin Taylor the Jazz guitarist. In these performances it is noticeable to see that he is very involved in improvisation. https://musicians.allaboutjazz.com/didierlockwood

Personnel: Didier Lockwood / violin, alto sax (10,13), trumpet (7,13), mandolin (5); Benoît Sourisse / piano;  Marc-Michel Le Bévillon / double bass; André Charlier / drums;  Caroline Casadesus / vocals (4,7); Biréli Lagrène / guitar (2,8); Marc Berthoumieux / accordion (4,11); Eric Séva / soprano (5,7) tenor (10) saxes; Dominique Marc / tenor sax (13); Damien Verherve / trombone (10); Claude Egéa / trumpet; fluegelhorn (10)

'Round About Silence

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Jeanie Lambe And The Danny Moss Quartet - Blue Noise Session

Styles: Vocal Jazz
Year: 1998
File: MP3@320K/s
Time: 69:54
Size: 160,8 MB
Art: Front

(4:02)  1. Long Ago And Far Away
(3:40)  2. Just Squeeze Me
(4:55)  3. Black Coffee
(2:32)  4. Saturday Night Is The Loneliest Night In The Week
(5:31)  5. I Get Along Without You
(2:41)  6. Don't Go Away Mad
(4:26)  7. Just One Of Those Things
(4:25)  8. Mad About The Boy
(4:08)  9. Love For Sale
(3:41) 10. Honeysuckle Rose
(4:31) 11. The Thrill Is Gone
(3:29) 12. Day In, Day Out
(3:27) 13. Here's That Rainy Day
(3:15) 14. A Foggy Day In London Town
(4:54) 15. It Never Entered My Mind
(3:13) 16. Come Rain Or Shine
(4:02) 17. Don't Worry 'Bout Me
(2:53) 18. Do I Love You

Born 23 December 1940, Scotland. Lambe sang at the age of 17 with the Clyde Valley Stompers and then for many years she worked in the London area with a variety of bands including Kenny Ball, Chris Barber, Acker Bilk and Alex Welsh. Gradually, her fame spread, partly owing to appearances at many international jazz festivals where she often sang with small groups led by her husband Danny Moss. With him, she spent time in Australia, residing there at the start of the 90s but continuing to tour annually either in America or Europe. During her career Lambe has sung with modern and mainstream jazz musicians including Monty Alexander, Ben Webster, Budd Johnson, Oscar Peterson, Wild Bill Davison, Kenny Davern, Joe Pass and Buddy Tate. Over the years, Lambe’s voice has subtly darkened, adding greater texture to an already fluid musical instrument.By Bio http://www.allmusic.com/artist/jeanie-lambe-mn0000232729.

Personnel: Jeanie Lambe, Danny Moss, John Pearce, Len Skeat, Phil Flanigan, Ed Metz, Jr., Charly Antolini.

Blue Noise Session

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Brian Lynch - Tribute to The Trumpet Masters

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 67:24
Size: 155,5 MB
Art: Front

( 7:12)  1. Woody Shaw
( 7:51)  2. Eclipse
( 7:27)  3. Bus Stop Serenade
( 7:49)  4. Tom Harrell
( 6:05)  5. Elusive
(10:48)  6. Search for The New Land
( 6:05)  7. Tribute to Blue
( 9:19)  8. Charles Tolliver
( 4:44)  9. Opening Statement

From stints with Horace Silver and Art Blakey to those with such Latin luminaries as Hector LaVoe and Eddie Palmieri, trumpeter Brian Lynch has learned his lessons well. First turning a few heads with his solid series of dates as a leader for Criss Cross, Lynch made the move to the fledgling Sharp Nine label in 1995. There he would record his first volume of quartet recordings, Keep Your Circle Small, to be followed two years later with the multifaceted Spheres of Influence. Spheres would prove to be a hard act to follow, owing to its elaborate and far-ranging implications, yet Lynch’s second set of quartet recordings as documented on the newly issued Tribute to the Trumpet Masters is far from being any kind of letdown. In fact, it not only acts as a solid homage but also testifies to Lynch’s talent as a lead voice. There have been relatively few records in the jazz annals sporting just a trumpeter with rhythmic backing (standouts for this reviewer would have to include Kenny Dorham’s Quiet Kenny and Ted Curson’s Fire Down Below ). The instrument is a demanding one and it’s often easier to include a saxophone in the front line to balance out the leadership chores. But as he did on Keep Your Circle Small, Lynch once again proves that the quartet setting can be a viable one for trumpet.

Lynch has also shrewdly avoided just picking out tunes by the trumpeters he’s chosen to spotlight. Out of the nine cuts on the disc, over half of them are Lynch originals and each one sports a title that lays claim to the artist being feted. The most impressive of these are the sprightly “Woody Shaw” and the propulsive bossa of “Tom Harrell,” which recalls such Harrell compositions as “Moon Alley” and “Sail Away.” Freddie Hubbard’s “Eclipse” provides a magnificent ballad forum for Lynch and both Booker Little’s “Opening Statement” and Lee Morgan’s “Search For the New Land” are valuable pieces seldom if ever done by modern day players. Lynch is extraordinary throughout in both lead and solo statements, with motivated backing coming from pianist Mulgrew Miller, bassist Essiet Essiet, and drummer Carl Allen. In fact, this may be Miller’s finest work of recent vintage; he absolutely tears it up on the aforementioned “Woody Shaw.” So while there may be a few years of delay between releases from Lynch, they’re always worth the wait and his recent Sharp Nine dates have yet to disappoint. ~ C.Andrew Hovan https://www.allaboutjazz.com/tribute-to-the-trumpet-masters-brian-lynch-sharp-nine-records-review-by-c-andrew-hovan.php

Personnel: Brian Lynch- trumpet, Mulgrew Miller- piano, Essiet Essiet- bass, Carl Allen- drums

Tribute to The Trumpet Masters

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Brooks Prumo Orchestra - This Year's Kisses

Styles: Swing
Year: 2020
Time: 55:19
File: MP3 @ 128K/s
Size: 53,6 MB
Art: Front

(3:29) 1. Castle Rock
(3:30) 2. Somebody Loves Me
(3:09) 3. Tain't Like That
(3:08) 4. Peek-A-Boo
(3:08) 5. This Year's Kisses
(3:43) 6. Jo Jo
(3:28) 7. Don't Be That Way
(3:07) 8. Armful O' Sweetness
(3:59) 9. Out Of Nowhere
(4:06) 10. The Theme
(3:50) 11. What's Your Name?
(3:31) 12. Blue Lester
(3:15) 13. Broadway
(4:45) 14. I'm Thru With Love
(5:05) 15. Jeep's Blues

The Brooks Prumo Orchestra was made for dancing. Featuring brand new arrangements of long-lost big band tunes, original compositions, and crowd favorites, the Brooks Prumo Orchestra aims to embody a big band dance orchestra of the Swing era. Filled with world-class musicians, the band will evoke thoughts of Count Basie, Earl Hines, Andy Kirk, and Billie Holiday. Dancing shoes advised! https://www.brooksprumoorchestra.com/about.html

The description reads: The Brooks Prumo Orchestra was made for dancing. Featuring brand new arrangements of long-lost big band tunes, original compositions, and crowd favorites, the Brooks Prumo Orchestra aims to embody a big band dance orchestra of the Swing era. Filled with world-class musicians, the band will evoke thoughts of Count Basie, Earl Hines, Andy Kirk, and Billie Holiday.https://jazzlives.wordpress.com/2020/10/28/irresistibly-swinging-the-brooks-prumo-orchestra-this-years-kisses/

The noble members of the BPO are Alice Spencer, vocals*; Mark Gonzales, trombone; Jonathan Doyle, tenor saxophone, clarinet; Lauryn Gould, alto saxophone; David Jellema, cornet; Oliver Steck, cornet; Hal Smith, drums; Ryan Gould, string bass; Kris Tokarski, piano; Brooks Prumo, guitar.

This Year's Kisses

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Doug Webb - Back East

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 60:00
Size: 138,2 MB
Art: Front

(3:34)  1. Back East
(3:58)  2. Sally's Song
(3:42)  3. Spiral
(4:43)  4. RDW Esq.
(5:05)  5. Vivo Sonhando
(4:38)  6. 254 West 82nd
(5:09)  7. Dreamsville
(6:52)  8. Stanley
(4:23)  9. Down East
(4:59) 10. Mr. Green
(3:27) 11. If Ever I Would Leave You
(4:59) 12. Snicker's Lament
(4:26) 13. Old Times

Back East, tenor saxophonist Doug Webb's second 2015 release for the Posi-Tone Records label, is not unlike a thirteen course meal in which every course is sublime, yet the portions are rather small and each dish is cleared quickly, leaving one with an intense desire for more of a particular flavor. Needless to say, there is a practical reason for the programming of short tracks on the part of independent labels attempting to release significant jazz recordings and generate enough black ink to survive. In an age when jazz radio is one route to what's left of the record buying public, a disc such as Webb's with only three cuts exceeding five minutes has a better shot at getting some airplay. Looking at it another way, perhaps we all can use a break from CDs filled with tracks exceeding ten minutes which feature players who sound as if they want to jam the sum total of their knowledge into every single solo.

As it turns out, wanting a little more of Webb isn't such a bad thing after all. Contrary to conventional wisdom, saxophone heroes don't have to be longwinded to make an impact. There's nothing artificial or contrived about Webb's relatively brief solos, and the record certainly doesn't sound like he was put in a position of making artistically unsatisfying compromises. Small doses of the leader's artistry help in finding common ground between a distanced, cerebral appreciation of his style and simply enjoying his offerings without subjecting them to excessive thought or analysis.

Webb's ability to engage with diverse material and express different facets of a singular identity are the defining characteristics of Back East. The record's success also hinges on the contributions of a band including pianist Peter Zak, bassist Ben Wolfe and drummer Rudy Royston, all of whom roll with the changes while maintaining their own identities as well.

The saxophonist's work on a number of tracks packs a decidedly visceral wallop. Early on during the up-tempo "254 West 82nd" (one of his seven original compositions) Webb generates acute tension in part by repeatedly cutting phrases short and rapidly grasping new ones while constantly driving forward. A sense of an almost unbearable urgency defines "Mr. Green," from the opening head through solos by the leader and Zak. Both of these tracks benefit from the constant presence of Wolfe's steadfast bass line, as well as intense, slippery, rapidly evolving time figures and fills by Royston. Loud, pointed and resolute, "Snicker's Lament" is slow-to-medium tempo blues with a serrated edge. Invoking heartache and fury in equal measure, Webb pounds out a virtual detonation of notes in a structure wound so tightly that the music denies indifference and doesn't offer a means of escape.


While these tracks sometimes bear the influence of the late 50s, early 60s John Coltrane, throughout the record Webb draws from a larger, more flexible palette. Spurred by Zak's active, full-bodied accompaniment, which frequently hovers over and crowds the saxophonist, Webb's lively, bossa-like interpretation of the standard "If Ever I Would Leave You" achieves parity between a loosening of inhibitions and honoring the tune's romantic promises. Throughout an original waltz, "Sally's Song," Webb treads with grace and grit, his rich, middleweight tone animating the solo as much as the thoughtful manner in which he dispenses ideas. Webb frontloads a turn on Jobim's "Vivo Sonhando" with a number of airy, graceful runs before inserting, brief, fanciful impressions between pieces of the tune's melody. 

In today's overcrowded field of tenor saxophonists, most of whom possess an abundance of technique plus the desire to huff and puff till they blow the house down, Webb stands apart by virtue of the smart, logical manner in which he moves through every solo, taking heed of a crack rhythm section, and making a visceral impact that never goes over the top. Do good things come in small packages? In the case of Back East, the adage is true in spades.By David A.Orthmann http://www.allaboutjazz.com/back-east-by-david-a-orthmann.php

Personnel:  Doug Webb: saxophone;  Peter Zak: piano;  Ben Wolfe: bass;  Rudy Royston: drums

Back East

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Emilie-Claire Barlow - The Beat Goes On

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 54:38
Size: 126,4 MB
Art: Front

(4:14) 1. Raindrops Keep Falling On My Head
(3:37) 2. Sunshine Superman
(5:13) 3. Breaking Up Is Hard To Do
(4:41) 4. Don't Think Twice, It's Alright
(4:40) 5. He Thinks I Still Care
(4:22) 6. The Beat Goes On / Soul Bossanova
(5:21) 7. These Boots Were Made For Walkin'
(3:30) 8. Until It's Time For You To Go
(2:59) 9. Little Boat (O Barquinho)
(3:54) 10. Comme Je Crie, Comme Je Chante
(3:48) 11. Will You (Still) Love Me Tomorro
(4:46) 12. Yester-Me, Yester-You, Yesterday
(3:28) 13. T'es Pas Un Autre

With “The Beat Goes On” Toronto-based jazz singer Emilie-Claire Barlow has done what a few wise singers are doing these days, namely looking to more recent eras and songwriters for fresh material rather than the overdone American Songbook. This time out, Barlow has focused her considerable talents and jazz sensibilities on the 60s. The opening track sets the tone for the album as Kelly Jefferson provides nuanced sax fills on a swingy 6/8 version of Bacharach's Raindrops Keep Falling on My Head. Barlow has written all the arrangements herself and the stripped down instrumentation that predominates fits her light, pretty voice like a Pucci print dress. We feel transported to a Yorkville coffeehouse as just bass and congas (Ross MacIntyre and Davide Direnzo) accompany These Boots Were Made for Walkin'. Very groovy. Iconic sounds of the 60s bubble up in the woodwinds on Soul Bossa Nova as it's mashed up with the classic Sonny & Cher title track.

An exploration of the 60s wouldn't be complete without a journey to that hotbed of musical innovation, Rio de Janiero, and the cover of O Barquinho (My Little Boat) featuring Reg Schwager’s nylon string guitar skills perfectly evokes a carefree Brazilian day. Barlow’s specialty is bossa nova (do yourself a favour and find her version of O Pato on YouTube) so when she surprisingly imposes that style on Dylan’s Don’t Think Twice, It’s Alright it actually works. https://www.thewholenote.com/index.php/booksrecords2/jazzaimprovised/7643-the-beat-goes-on-emilie-claire-barlow

The Beat Goes On

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Harry Allen - The Bloody Happy Song

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 44:52
Size: 103,4 MB
Art: Front

(4:22) 1. The Bloody Happy Song
(3:13) 2. Sweet Little Things
(5:53) 3. I Got Lost in His Arms
(4:33) 4. Too Close for Comfort
(5:24) 5. The Summer Knows
(4:37) 6. More
(4:28) 7. Somebody I Just Met
(2:36) 8. Should I?
(5:59) 9. The Single Petal of a Rose
(3:44) 10. I Get Along Without You Very Well

Harry Allen is excited to announce the release of his latest CD, The Bloody Happy Song! Recorded exclusively during the pandemic lockdown, it is a totally new kind of recording for him and the one of which he is the most proud (of over 70 CDs as a leader). https://myemail.constantcontact.com/A-New-Kind-Of-CD-from-Harry-Allen.html?soid=1103577314899=iShI4H1q4qo

Stay healthy everyone!

"Harry Allen's playing is nothing less than perfect" - John Pizzarelli

The Bloody Happy Song

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Thomas Marriott - Urban Folklore

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 43:07
Size: 99,5 MB
Art: Front

(4:15)  1. Apophis
(4:03)  2. The Tale of Debauchery
(5:27)  3. Room 547
(3:32)  4. Mo-Joe
(6:23)  5. What Emptiness Can Do
(3:23)  6. Locked Up (Theme From "The Shot Caller")
(6:01)  7. Living on the Minimum
(3:44)  8. I'm Vibing You
(6:14)  9. Washington Generals

Nothing has hit quite as hard as recent music from the trio of pianist Orrin Evans, bassist Eric Revis and Drummer Donald Edwards. The three musicians seek out (or probably are sought by) collaborators of equal weight and energy. It is not surprising that this recording of nine compositions, led by trumpeter and Seattle native Thomas Marriott, is a knockout from the opening number. Urban Folklore is Marriott's ninth as leader, and follows Dialogue (Origin Records, 2012) a live date in which Evans was a guest artist. "Apophis" whirls with the trumpeter's gentle yet passionate tone, drawing the trio into the mix, only to open into a blistering post-bop run. Marriott draws upon the shared language the three exhibited on Evans' trio disc ..."It was beauty" (Criss Cross, 2013) and also Edwards Evolution Of An Influenced Mind (Criss Cross, 2014), which included saxophonist Walter Smith III and guitarist David Gilmore.  Fans of Evans' Captain Black and Tarbaby bands will have much to celebrate here. Marriott stands toe-to-toe on the burners, including the funk-laid foundation of "The Tale Of Debauchery," a Freddie Hubbard mid-sixties inspired "Mo-Joe," and the ever-so-hip bouncing of "Living On The Minimum." He also delivers on the tender ballad "What Emptiness Can Do," with a benevolent trumpet sound that could easily be mistaken for a flugelhorn. Marriott's trumpet pulls from both the classic Blue Note hard bop sound and the modern textures heard from Dave Douglas and Ron Miles. With Urban Folklore the West Coast-meets-East Coast sound is the new cool. By Mark Corroto https://www.allaboutjazz.com/urban-folklore-thomas-marriott-origin-records-review-by-mark-corroto.php

Personnel: Thomas Marriott: trumpet; Orrin Evans: piano; Eric Revis: bass; Donald Edwards: drums.

Urban Folklore

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Muriel Grossmann - The Light of the Mind

Styles: Contemporary Jazz
Year: 2024
Time: 46:22
File: MP3 @ 320K/s
Size: 107,8 MB
Art: Front

( 3:41) 1. Pointing Out - Part l
(12:00) 2. The Light of the Mind
( 6:35) 3. Unison Unveiled
(10:24) 4. Ultimate Awareness
( 8:12) 5. Eternal Laughter
( 5:28) 6. Pointing Out - Part II

Saxophonist Muriel Grossmann continues her transcendental journey with her 2024 release, The Light of the Mind. She reunites her quartet from her previous album, Devotion (Third Man Records, 2023), featuring guitarist Radomir Milojkovic, organist Abel Boquera, and drummer Uros Stamenkovic. That earlier album hinted at the direction taken here: a spiritually centered, unmistakably soulful exploration.

The album opens with "Pointing Out -Part I," which begins with a wash of vibrational atmospheres from organ and Moog. Stamenkovic's mallet work, reminiscent of Elvin Jones's drumming on "Psalm," sets a meditative tone, providing a foundation for Grossmann's commanding tenor saxophone. This bold opener establishes the quartet's mission: to affirm faith and music's power as a healing force.

The title track deepens this theme with a groove-oriented swing propelled by organ, drums, and Grossmann's expressive tenor saxophone, followed by a bluesy, fluid guitar solo from Milojkovic. The sound evokes the soulful energy of Brother Jack McDuff and George Benson. The funky R'n'B groove of "Unison Unveiled" conjures the spirit of groovy 1970s TV themes like Taxi and Barney Miller. Here, Grossmann switches to soprano saxophone, soaring over heavy, psychedelic grooves that pulse with life. On "Ultimate Awareness," Boquera's hypnotic, pulsing bass line anchors a rich tapestry of harp and percussion. Grossmann remains on soprano saxophone, joined by Milojkovic's blues-soaked guitar and Boquera's vibrant Hammond B3 organ. At just over 10 minutes, the track's infectious groove feels like it could easily extend into an hour-long rhapsody in a live performance. "Eternal Laughter" begins with a single bell strike, ushering in Grossmann on flute before a second bell signals the launch into a thrilling sprint. Switching to alto saxophone, Grossmann leads the charge, supported by organ, guitar, and drums in a joyous, energetic display.

The set concludes with "Pointing Out -Part II," serving as an apt coda. The quartet locks into a steady, marching beat, with organ and guitar providing sturdy support for Grossmann's verdant tenor saxophone tones. Together, they bring the album to a fittingly profound close, reinforcing the spiritual and soulful themes that define The Light of the Mind. By Mark Corroto
https://www.allaboutjazz.com/the-light-of-the-mind-muriel-grossmann-dreamlandrecords

Personnel: Muriel Grossmann - saxophone; Radomir Milojkovic - guitar, electric; Abel Boquera - organ, Hammond B3; Uros Stamenkovic - drums

The Light of the Mind

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Deborah J. Carter - Girl-Talking! Live in Concert

Styles: Vocal
Year: 2003
File: MP3@320K/s
Time: 68:17
Size: 157,8 MB
Art: Front

(6:39) 1. My Favourite Things
(3:14) 2. Sister Sadie
(5:57) 3. New York State Of Mind
(6:24) 4. Yesterday
(5:09) 5. Red Top
(4:47) 6. Girl talk
(4:11) 7. Perfect Stranger
(4:14) 8. The Whistle Man
(5:40) 9. Ten Minutes Till The Savages Come
(3:48) 10. Between The Raindrops
(5:15) 11. Ahmad's Blues
(5:32) 12. You've Proven Your Point (Bongo Beep)
(3:43) 13. Ten Minutes In Paris
(3:38) 14. Sabado (Barri Sa Coma)

Deborah J. Carter is the epitome of a world class jazz singer. Born in the U.S. with ties in Hawaii and Japan, her home now is in Europe. Her current concert schedule agenda is a global itinerary of performances from Cristofori, Amsterdam to Madrid Spain. Her new recording, Girl-Talking!, highlights one of her live performances at the Pannonica jazz club in Hague, Holland in 2003. The concert features Carter with her working trio performing a variety of popular covers and jazz influenced songs. From her first note it's evident that Carter is a pro. With a polished and elegant voice and diva-like skills, Carter gives the audience an entertaining performance. The first set begins with a version of the classic "My Favorite Thing," which gives light to Carter's panache as she sings with playful exuberance while the band delivers equally engaging music. She's in total control when she scats, chats, and vocalizes on Horace Silver's "Sister Sadie." The modern classic "New York State of Mind" is refreshingly smooth as the trio swings along with Carter's lithe lyrics.

Other gems include a moving version of John Lennon's timeless "Yesterday" where Carter soulfully expresses the haunting melody. The second set begins with the colorful "Whistle Man" as Carter's range stretches boundaries with ease. The trio aptly accentuates the singer with solid playing that leaves ample room for discovery on each tune. On the blues-themed "Ten Minute Till the Savage Comes," pianist Colen Molenaar and bassist Mark Zandvald share impressive solos and drummer Enrique Firpi displays crisp rhythmic skills on the bonus track "Sabado (Barr Si Coma)." With captivating vocals, good music, and the right atmosphere, Girl-Talking! is yet another entertaining glimpse of a jazz songstress who deserves a wider audience. It's easy to hear why Deborah Carter is popular with our fellow jazz fans across the ocean.By Mark F. Turner https://www.allaboutjazz.com/girl-talking-deborah-j-carter-timeless-records-review-by-mark-f-turner.php

Girl-Talking! Live in Concert

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The Full Circle Quartet and The South Downs Ensemble with Mandy Pannett - Meanders In The South Downs

Styles: Jazz
Year: 2023
Time: 130:30
File: MP3 @ 128K/s
Size: 120,1 MB
Art: Front

(35:32) 1. Part 1 - Meanders In The South Downs
(33:06) 2. Part 2 - Meanders In The South Downs
(27:14) 3. Part 3 - Meanders In The South Downs
(34:38) 4. Part 4 - Meanders In The South Downs

With over 2 hours of content in 4 parts of around 30 minutes each (download); 38 tracks (Double-CD), this album includes twelve new arrangements for Quartet with The South Downs Ensemble alongside ten of the original pieces recorded by The Full Circle Quartet on their album “The South Downs Suite”, all put into context by Mandy Pannett's recordings of her poems from the book of the same name and field recordings of the sounds of the South Downs.

The titles of the new pieces refer to the poems by Mandy Pannett and to the paintings of Polly Dutton that are also featured in the book. Book available separately on The South Downs Suite page.

The collaboration comes full circle.

The South Downs Ensemble has The Full Circle Quartet at its core, with additional parts written for flutes, clarinets, cornets, flugelhorns, trombones, euphoniums and percussion, both tuned and untuned.

New arrangements for the Ensemble expand the music already composed and recorded by the Quartet creating companion pieces for many of the Quartet tunes. Each arrangement contains elements borrowed and/or adapted from the music on the Quartet album. The sound of the Ensemble refers back, nostalgically, to the many village silver bands heard growing up in Sussex in the 1960s and 1970s.

The Full Circle Quartet:

Josephine Davies - soprano and tenor saxophones
Joss Peach - piano, keyboards, percussion, voice
Terry Pack - acoustic and electric basses, voice
Angus Bishop - drums and percussion

The South Downs Ensemble:

Kate Hogg - concert and alto flutes
Michelle Andrews - clarinet and bass clarinet
Mike Hext - trombone, flugelbone and euphonium
Nick Trish - cornet, flugelhorn, soprano cornet and piccolo trumpet
Richard Horne - glockenspiel, vibraphone, xylophone, marimba, timpani, tenor drum, tambourines
Mike Saunders - sound design

Meanders In The South Downs

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Thomas Marriott - Constraints & Liberations

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 54:12
Size: 124,4 MB
Art: Front

( 4:14)  1. Diagram
(10:46)  2. Up From Under
( 7:33)  3. Constraints and Liberations
( 6:56)  4. Waking Dream
( 9:35)  5. Early Riser
(10:43)  6. Clues
( 4:22)  7. Treadstone

Trumpeter Thomas Marriott keeps growing as an artist. He has released CDs at a healthy pace since 2005: an introduction for many perhaps unwary jazz fans to some warped country western flavor on Crazy: The Music of Willie Nelson (Origin Records, 2008); cranking an all-star quintet up in a modern mainstream mode on Flexicon (Origin Records, 2009); and letting it rip on a two-trumpet blow fest with fellow brass man Ray Vega on East-West Trumpet Summit (Origin Records, 2010). Constraints and Liberations ups his output to two releases in 2010. Spontaneity has always been a big part of Marriott's jazz game, but with Constraints and Liberations, it seems he has gone deeper into that mode. The set opens with his original "Diagram." A bright splendor of two-horn harmony introduces the tune with a teaming of the leader's open horn and Hans Teuber's haunting tenor saxophone, leading to a shift into brass/reed conversation, with Teuber telepathically finishing Marriott's opening statement. Here, and throughout the set, the rhythm team pianist Gary Versace; bassist Jeff Johnson, and drummer John Bishop maintains a low key tumult that keeps things on edge.

The sound of Constraints and Liberations is often moody and atmospheric, giving the impression of a soundtrack from a movie dealing with impending danger. Marriott is in excellent form, his tone by turns bright or dark, clean or murky, and sometimes anguished, always telling an eloquent story.

Teuber's tenor has a distinctive sound, cool and hollow, and somehow diaphanous, like a saxophone played by a disconcerted ghost, while the versatile Versace who has contributed brilliantly to Maria Schneider's orchestra on accordion, and on organ, piano and accordion on numerous sideman dates including drummers John Hollenbeck and Matt Wilson, well as his own discs as leader slips into any accompanist/soloist task at hand, with a fluid sparkle on the title tune, or a quirky solo aside on "Diagram." "Waking Dream" opens with piano teardrops accompanied by a gorgeously introspective muted trumpet. Johnson's bass looms in and lies low, adding, with Bishop's whispering drums, a foundation to the abstraction. "Clues" introduces, in its inception, a late night, foreboding dark alley feeling, bass and drums lurking in the shadows, Marriott and Versace trying to shine a light. Thomas Marriott keeps moving the art forward. Constraints and Liberations may be his best so far.
By Dan McClenaghan https://www.allaboutjazz.com/constraints-and-liberations-thomas-marriott-origin-records-review-By-Dan-Mcclenaghan.php


Personnel: Thomas Marriott: trumpet;  Hans Teuber: tenor saxophone;  Gary Versace: piano;  Jeff Johnson: bass;  John Bishop: drums.

Constraints & Liberations

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Art Farmer & Donald Byrd - 2 Trumpets

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 41:42
Size: 98,1 MB
Art: Front

( 7:42) 1. The Third
( 7:38) 2. Contour
( 5:13) 3. When Your Lover Has Gone
(14:29) 4. Dig
( 6:39) 5. Round Midnight

2 Trumpets is an album by trumpeters Art Farmer and Donald Byrd, recorded in 1956 and released on the Prestige label. They are joined by Jackie McLean in the front line for the uptempo pieces but have a ballad quartet track apiece. In a contemporaneous review, Billboard was positive, commenting that it is a "very enjoyable LP for the modern jazz customer".

In Ron Wynn's review for Allmusic, he stated: "This nice date puts two top trumpets together".The Penguin Guide to Jazz gave it two-and-a-half stars out of four, describing it as "capable but routine".https://en.wikipedia.org/wiki/2_Trumpets

Personnel: Art Farmer – trumpet; Donald Byrd - trumpet; Jackie McLean – alto saxophone; Barry Harris – piano; Doug Watkins – bass; Art Taylor – drums

2 Trumpets

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Aga Zaryan - My Lullaby

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 52:29
Size: 120,2 MB
Art: Front

( 3:13)  1. To See A World
( 5:18)  2. Waltz For Debby
( 4:23)  3. I've Got The World On A String
( 5:22)  4. My Lullaby
( 5:13)  5. You And The Night And The Music
( 3:41)  6. I Put A Spell On You
(12:01)  7. Never Said (Chan's Song) / Trust Me
( 4:46)  8. Still We Dream (Ugly Beauty)
( 3:53)  9. I Hear Music
( 4:35) 10. Polka Dots And Moonbeams

This is the debut album by the undeniable present-day diva of Polish Jazz, vocalist Aga Zaryan. Recorded over a decade ago, when Zaryan was completely anonymous, it exhibits for the first time an outstanding talent, fresh and innocent on one hand and remarkably mature and daring on the other. Backed up by a classic Jazz quartet, Zaryan performs ten standards, which were arranged by pianist Michal Tokaj. The other quartet members are veteran Polish Jazz saxophonist Tomasz Szukalski, bassist extraordinaire Darek Oleszkiewicz and drummer Lukasz Zyta.  The fact that Zaryan received her primary school education in UK enables her to sing in English, free from a foreign accent, which often annoys English-speaking audiences. But the lack of a foreign accent is by far not what is so remarkable about this album. It is the choice of material and the highly personal interpretation of the songs, which is strikingly original and aesthetically pleasing.

She is able to twist and turn the familiar tunes around her small finger so to speak, with ease and elegance which is simply charming and highly sophisticated.  Another forte of the album is Zaryan´s extraordinary rapport with the quartet members, especially with bass player Darek Oleszkiewicz. Several of the tunes are by and large duets between the vocals and the bass and those are simply breathtaking. Szukalski is an ideal partner as well, constructing concise but wonderfully structured solos, always brilliantly complimenting the music. The entire quartet does a truly beautiful job, supporting the singer without overshadowing her for even a single moment. Such wonderful balance between a vocalist and her group is extremely rare and contributes immensely to the overall success of this recording. In retrospect one can easily hear all the elements, which over time amalgamated into present day Aga Zaryan and her outstanding abilities. This debut album remains a timeless beauty and a favorite album, which I intend to revisit time and again. Extraordinary!By Adam Baruch http://www.adambaruch.com/reviews_item.asp?item=104071

My Lullaby

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Eddie Higgins Trio - Speaking Of Jobim

Styles: Piano Jazz

Label: Sunny Side

Year: 1998

File: MP3@320K/s

Time: 58:02

Size: 132,9 MB

Art: Front

(5:40)  1. O Morro Nao Tem Vez

(6:51)  2. I Was Just One More For You

(4:38)  3. Brigas, Nunca Mais

(4:35)  4. Falando de Amor

(3:53)  5. Two Kites

(4:16)  6. Bonita

(5:21)  7. Voce e Eu

(6:32)  8. Choro

(6:26)  9. Felicidade

(3:17) 10. So Tinha De Ser Com Voce

(3:52) 11. Caminhos Cuzados

(2:34) 12. Inutil Paisagem

By now everyone has heard at least one of Antonio Carlos Jobim's beautiful compositions, if only his most famous ones, "Girl From Ipanema" or "Desafinado," playing poppishly in an elevator or mall somewhere. His work has been recorded by every combination of instrument and voice, including Sinatra's. What distinguishes this CD from hundreds of others is its inclusion of 11 relatively obscure Jobim tunes, and the way this classy trio succeeds in communicating the essence of his special gifts with a minimum of fuss and feathers. (One track is a Carlos Lyra composition, "Voce e Eu," which blends in nicely.) The arrangements are elegant, combining jazz and Brazilian rhythms to gently swing the melodies and highlight Jobim's lush harmonies. The under-recognized pianist Eddie Higgins is a delight: Straightforward, relaxed, and varied, he sizzles on the up-tempo "Two Kites" and does a gorgeous rubato turn on "Inutil Pasagem" (Useless Landscape), one of Jobim's most heartbreaking songs.

The always melodic bassist Jay Leonhart has some wonderfully warm solos, and demonstrates his superb bowing technique on several tracks, including the lovely "Bonita," while drummer Terry Clarke is consistently sensitive and vital, whether lofting a samba or swaying a ballad. It's difficult to pick highlights from this collection of sparkling gems, but it's easy to recommend it. An excellent introduction to Jobim's unique beauty, it will also appeal to long-term fans who already have an extensive collection of his work. Highly recommended.By Judith Schlesinger http://www.allmusic.com/album/speaking-of-jobim-mw0000620445.

Personnel: Eddie Higgins (piano); Jay Leonhart (bass); Terry Clarke (drums).

Speaking Of Jobim

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Shaynee Rainbolt - Charmed Life: Shaynee Rainbolt Sings Russell Garcia

Styles: Jazz, Vocal
Year: 2008
File: MP3@320K/s
Time: 56:40
Size: 130,5 MB
Art: Front

(2:13)  1. When I First Saw You
(4:06)  2. Flyin Free
(4:13)  3. I Remember
(3:34)  4. Soft Warm Lips
(3:14)  5. Come Home Again
(4:12)  6. Sounds in the Night
(2:08)  7. What to Do
(3:25)  8. After Winter
(3:19)  9. Go Slow
(4:11) 10. When I Go I Go All the Way
(2:31) 11. Haunted by Desire
(3:36) 12. Livin' in Harmony
(5:13) 13. Warm and Wonderful
(3:51) 14. Five A.M.
(3:23) 15. The Time Traveler
(3:24) 16. Charmed Life

One of the tracks included on this great vocal tribute to the music of Russell Garcia (and Gina Garcia, his wife of more than a half-century, who wrote the majority of the lyrics) is entitled “Warm and Wonderful.” As we learn from Don Heckman’s impressively edifying liner notes, the song’s beautiful, central chord was inspired by a street address. But it also provides an ideal description of Shaynee Rainbolt’s voice, sweet as jasmine and honeysuckle, bold as brass and yet as seductive as a candlelit boudoir.

As Heckman tells the story, after two widely praised platters of standards, Rainbolt wanted to take a new tack for her third release. Serendipitously, a friend introduced her to Julie London’s sultry recording of Garcia’s “Go Slow.” Determined to seek out more of the legendary composer-arranger’s work, Rainbolt traced the 92-year-old Garcia to New Zealand (where he now lives), then to Sherman Oaks (where he spends most summers). They met, Rainbolt began digging through a trunk full of Garcia songs, then convinced Garcia to not only arrange and conduct the ensuing album, but to also add his Four Trombone Band to the mix and himself play vibes.

The resultant 16 tracks embrace the immense breadth of Garcia’s talents, extending from the noirish propulsion of “Sounds in the Night” and enigmatic mistiness of “Five A.M.” to the sweeping, heartbroken grandeur of “Come Home Again” and swingin’ ebullience of “Flyin’ Free” (written as a birthday present for Count Basie). But ears alone aren’t enough to fully appreciate Charmed Life. You’ll need your eyes, too, to follow along with Heckman’s notes, for the stories behind the songs are as enticing as the tunes themselves.By Christopher Loudon; http://jazztimes.com/articles/21202-charmed-life-shaynee-rainbolt-sings-russell-garcia-shaynee-rainbolt

Charmed Life: Shaynee Rainbolt Sings Russell Garcia

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