Silky Denims

Sunday, February 16, 2025

Dick Katz - Three Way Play

Styles: Piano Jazz
Year: 1993
Time: 62:26
File: MP3 @ 320K/s
Size: 144,2 MB
Art: Front

(5:14) 1. Three Little Words
(4:29) 2. Solar
(4:43) 3. You're My Thrill
(5:44) 4. Steepleechase
(4:01) 5. The Little Things That Mean So Much
(5:18) 6. Monk's Dream
(5:20) 7. Limehouse Blues
(3:15) 8. Star Crossed Lovers
(7:17) 9. Blues In My Heart
(5:57) 10. The Night Has A Thousand Eyes
(6:01) 11. Samburan
(5:02) 12. There Is No Greater Love

Dick Katz had a long career in jazz, though a relatively small discography as a leader. These 1992 sessions for Reservoir represent the next to last CD that he made under his own name, with the pianist joined by two veterans, bassist Steve LaSpina and drummer Ben Riley. While Katz has considerable chops, he is not an overly busy pianist on these selections, giving the music plenty of breathing space and room for the input of his sidemen.

His breezy take of Miles Davis' "Solar" is a playful affair, while the trio is in jaunty spirits throughout Charlie Parker's "Steeplechase," an imaginative reworking of "I Got Rhythm." There are also plenty of standards, including an intricate study of "There Is No Greater Love" that swings like mad, while his creative take of the old warhorse "Limehouse Blues"incorporates a bit of Claude Debussy's impressionism.

It's always great when a leader takes the time to put the spotlight on a contemporary's composition that isn't well-known. His adaptation of pianist/vocalist Daryl Sherman's "Samburan" is a sauntering affair that makes it seem like a perfect soundtrack for a detective show. Sadly, Dick Katz only made one more recording for Reservoir prior to his death in 2009, while this outing is easily one of his best. By Ken Dryden https://www.allmusic.com/album/3-way-play-mw0000105352#review

Personnel: Piano – Dick Katz; Bass – Steve LaSpina; Drums – Ben Riley

Three Way Play

Kellye Gray - And, They Call Us Cowboys

Styles: Vocal
Year: 2013
Time: 42:14
File: MP3 @ 320K/s
Size: 96,7 MB
Art: Front

(4:01) 1. Help Me Make It Through The Night
(4:15) 2. In The Ghetto
(4:03) 3. If I Needed You
(4:36) 4. Dang Me
(5:15) 5. Deep In The West
(5:24) 6. Sailing
(4:09) 7. Only The Lonely
(6:47) 8. Always On My Mind
(3:40) 9. Night's Lullaby

Kellye Gray is a modern day jazz singer who has been active in the recording studio and on the road since the early 1990s. She has a voice that is made for jazz and has carved out a nice little career for herself. Now, she has done what many musicians refuse to do and that is taking a chance with her music and career, which she has done on her latest album, And, They Call Us Cowboys.

Up until this point in her career, her music has never embraced her Texas heritage. She has now issued an album of well-known songs written by Texans or songwriters who have a connection to the state. She has covered compositions by such artists such as Kris Kristofferson, Mac Davis, Roger Miller, Christopher Cross, Roy Orbison, Lyle Lovett, and more. She is not shy about tackling signature songs. “Help Me Make It Through The Night,” “In The Ghetto,” “Dang Me,” “Sailing,” “Only The Lonely,” “Always On My Mind,” and “Night’s Lullaby” are all vehicles for her vocal prowess.

While jazz remains the foundation of her approach, she leaves it behind at times and transforms the songs into gospel, bossa nova, boogaloo, and blues. Her approach moves many of the songs out of their accepted norms and, which allows her to add some new textures to these old war horses.

Given her approach, she wisely kept it simple in the recording studio. Sessions were recorded live and most of the songs have no over-dubbing. What she recorded is what you hear. The sound is full but there is spontaneity, which serves her well.

And, They Call Us Cowboys is an interesting album propelled by Gray’s world-class pipes. If you are a vocal jazz aficionado but are in the mood for something a little different, then this may be a release for you.https://cashboxmusicreviews.wordpress.com/2013/10/04/and-they-call-us-cowboys-cd-by-kellye-gray/

Personnel: Kellye Gray (vocals), Jake Langley (guitar), Pamela York (keys), Kevin Lovejoy (keys), Chris Maresh (bass), Kyle Thompson (drums), John Mills (horns), Red Young (organ), Chris Lovejoy (percussion)

And, They Call Us Cowboys

Jessica Lalonde - Spinning Daydreams

Styles: Vocal

Year: 2009
File: MP3@320K/s
Time: 44:43
Size: 102,8 MB
Art: Front

(2:46) 1. Taking A Chance On Love
(3:58) 2. Imagine That
(4:34) 3. Until The Real Thing Comes Along
(4:05) 4. Isn't It Romantic
(3:42) 5. On A Slow Boat To China
(5:48) 6. It Might As Well Be Spring
(4:01) 7. Begin The Beguine
(4:21) 8. Whispering Grass
(4:09) 9. I'll Be Seeing You
(2:46) 10. Not A Care In The World
(4:26) 11. You Belong To Me

Jessica Lalonde has gone from singing since early childhood in local music festivals to making her dreams of a music career come true. With such a distinct voice, genuine natural talent and undeniable beauty, she is almost surprisingly down to earth for someone with such abilities. Leading up to the launch of her upcoming debut CD of jazz covers, she has been on a unique musical journey, making her an exceptional and already accomplished artist, who is very hard to label. A native of Midland, Ontario, Lalonde has spent her life following her passion for music, which has often led her in many different directions. She grew up with parents that listened to classic rock, yet she gravitated more towards her grandparent’s taste in music for the big band era. Soon Lalonde discovered Billie Holiday which was a very pivotal moment for her. “I literally became obsessed with her and then my musical voyage went from there,” she says. “Billie was a major influence for sheer emotional power for me.” She then also immersed herself in the music of other dynamic female artists such as Ella Fitzgerald, Jo Stafford, Helen Forrest and Nina Simone; and developed a love for opera and classical music along the way. “First and foremost, I just realized that I loved to sing,” she reflects. “Taking in a variety of genres and influences to this day keeps everything fresh for me.” While in high school an invitation from her music teacher to come do a song with the acclaimed Music Maker’s Big Band that he was part of, turned into much more than that, after the 15 year old Lalonde blew away the other skeptical band members to earn herself the permanent vocalist position. Performing with an actual big band was such a thrill and motivated her further into pursuing a life of music.

Over the years, Lalonde has been a featured soloist at various charity venues, galas and choral concerts. She was part of the world première broadcast of Craig Galbraith’s The Spell of the Rose on CBC Radio Two’s “New Hours” and in 2006, she was the winner of the Laurier Concerto Competition, the Stratford Civic Orchestra’s Concerto Competition and the recipient of the Keith Knights Memorial Award for Performance at Laurier.Lalonde completed her Bachelor of Music in Voice Performance and attained her Opera Diploma at Wilfrid Laurier University where she studied under the direction of mezzo-soprano, Kimberly Barber. In the summer of 2007, she even traveled to Italy and participated in the renowned Centro Studi Lirica opera programme, under the direction of Joan Patenaude-Yarnell. While at Laurier, she held the title role in Puccini’s Suor Angelica and performed La Princesse in Ravel’s L’enfant et les sortilèges, Lady Billows in Albert Herring and Sarah Good in The Crucible.“It occurred to me that by studying opera I could learn to sing better and develop a fuller vocal range,” comments Lalonde. “As well, I was always drawn to artists and songs that really told stories and the world of opera is built around understanding the roles you play and stories you tell. This has definitely made me a stronger performer and more emotionally in touch with the songs I am singing.” While at Laurier, she had the opportunity to create the role of ‘Rebecca Reid’ in the première of a new Canadian opera, To Daniel, by Glenn James. “The experience was so collaborative,” Lalonde enthuses.

“To actually be able to help develop the character was incredibly liberating. It made me want to have more creative input in what I was doing and brought me back to the jazz and crooner style of music that I always seemed to relate to the most.” In late 2007, when Lalonde made the decision to move to Toronto, she re-connected with life long family friend Rob Brooks and suddenly everything just fell into place. Brooks with over 36 years of music business experience, including 30 with international music giant EMI, was quick to sign her to his company, Bloo&Wite management. Soon after he arranged for her to meet with Bill King, one of Canada’s most respected jazz musicians. The two immediately hit it off and plans to record an album of jazz styled songs with a nostalgic feel began. “Bill King has really created a flourishing environment for many young artists to find their direction and their voice,” says Lalonde. “I feel so privileged to be developing a project I’m so passionate about with people that share a similar vision and know how to make it all happen.” This extends to the musicians that she got to work with on this album, which not only includes King (who is arranging and producing the album), but also some of Canada’s other most sought after players such as: Kevin Breit (Norah Jones, kd lang, Cassandra Wilson), Davide DiRenzo (Jacksoul, Sophie Milman, Tomi Swick), Duncan Hopkins (Diana Krall, Mark Murphy, Rob McConnell and the Boss Brass) and Ann Lindsay (Blue Rodeo, Dionne Warwick, The Chieftans). Never did Lalonde expect her first proper studio and album recording experience to involve such established artists. “It was surreal,” she admits.

The album, currently scheduled for release late summer 2008, is all covers and includes such engaging classics as “Slow Boat To China,” “You Belong To Me,” and “It Might As Well Be Spring.” The approach to deciding the material comes back to great stories again for Lalonde. “These songs take you somewhere. They connect you with such universal themes and emotions of young love and longing for those who aren’t near,” she remarks. “These are stories that take you back to another time, but still very much resonate with the world we live in today.” The chance to take these songs and bring her ‘own flavour’ to them, with the help of her new creative/musical team, has been extremely inspiring. It is especially fitting for her to cover the Stafford classic “You Belong To Me” and make it her own, as Lalonde often garners similar accolades to the beloved American pop singer. She too is often admired for the purity of her voice and for being such a versatile vocalist, the way that Stafford was in her day. The studio experience itself has been an exciting new adventure for Lalonde. “It blew my mind!” she raves. “Being in the studio provides such freedom. To be able to approach things in a gentle and creative manner so that you can fully develop your own feel to a song and story is so powerful to an artist. I’m used to performing live where you’ve got only one shot to get it right.” Although now a fan of the studio, she ultimately can’t wait to take these songs on the road, as the stage is the home she knows and loves best.Lalonde is not one to just rest on her inherent talent. Her deep-rooted love and passion for music motivates her to constantly become better at her craft. Even with the launch of her debut CD still forthcoming, those that know her already can’t wait to see and hear what she will do next. Bio http://music.cbc.ca/#!/artists/Jessica-Lalonde

Spinning Daydreams

Randy Brecker - Toe to Toe

Styles: Trumpet Jazz
Year: 1990
File: MP3@320K/s
Time: 43:42
Size: 101,3 MB
Art: Front

(5:40) 1. Mr. Skinny
(5:13) 2. Trading Secrets
(4:55) 3. It Creeps Up on You
(6:07) 4. The Glider
(4:55) 5. Toe To Toe
(5:52) 6. It's Up to You
(4:42) 7. What Is The Answer
(6:14) 8. Lost 4 Words

Jazz trumpeter and composer Randy Brecker has helped shape the sound of jazz, R&B and rock for more than four decades. His trumpet and flugelhorn performances have graced hundreds of albums by a wide range of artists from James Taylor, Bruce Springsteen and Parliament/Funkadelic to Frank Sinatra, Steely Dan, Jaco Pastorius and Frank Zappa. Born in 1945 in Philadelphia to a musical family, Randy’s musical talent was nurtured from an early age. He attended Indiana University from 1963-66 studying with Bill Adam, David Baker and Jerry Coker and later moved to New York where he landed gigs with such prominent bands as Clark Terry’s Big Bad Band, the Duke Pearson Big Band and the Thad Jones Mel Lewis Jazz Orchestra. In 1967, Randy ventured into jazz-rock with the band Blood, Sweat and Tears, but left to join the Horace Silver Quintet. He recorded his first solo album, ‘Score’, in 1968, featuring a young, then unknown 19 year-old tenor saxophonist named Michael Brecker. After Horace Silver, Randy joined Art Blakey’s Jazz Messengers before teaming up with brother Michael, Barry Rogers, Billy Cobham, and John Abercrombie to form the seminal fusion group ‘Dreams’. The group recorded two adventurous and wildly acclaimed albums: ‘Dreams’ and ‘Imagine My Surprise’now collector’s items for Columbia Records before they disbanded in 1971. In the early 1970s, Randy performed live with many prominent artists including Larry Coryell’s Eleventh House, Stevie Wonder and Billy Cobham. He also recorded several classic albums with his brother under the leadership of the great pianist/composer Hal Galper. By 1975, Randy and Michael were ready to front their own group, the Brecker Brothers Band. A band of immeasurable impact and influence, they released six albums on Arista and garnered seven Grammy nominations between 1975 and 1981.

Their eponymous first record, which Randy wrote, arranged and produced, featured his now classic composition “Some Skunk Funk.”In 1992, exactly ten years after they parted ways to pursue solo careers, Randy and Michael reunited for a world tour and the triple-Grammy nominated GRP recording, ‘The Return of the Brecker Brothers’. The follow-up, 1994’s ‘Out of the Loop,’ was a double-Grammy winner.In 1997, ‘Into the Sun’ (Concord), a recording featuring Randy’s impressions of Brazil, garnered Randy his first Grammy as a solo artist.In 2001, Randy released ‘Hangin’ in the City’ (ESC), a solo project which introduced his alter-ego Randroid, a skirt chasing, cab driving ne’er do well, with lyrics and vocals by Randroid himself. This CD was especially well received in Europe, where Randy toured extensively with his own line-up.Randy’s next CD for ESC Records, ’34th n’ Lex,’ won him his third Grammy for ‘Best Contemporary Jazz Album’ in 2003. In May of that year he toured Europe with his Quintet in support of the CD, and in the summer went back to Europe yet again with the Randy Brecker/ Bill Evans Soulbop Band. The summer of 2003 culminated in the special headline appearance in Japan at the Mt. Fuji Jazz Festival of the reunited Brecker Brothers.2004 saw Randy touring Europe extensively as co-leader (with Bill Evans) of the band Soulbop. The WDR Big Band also celebrated Randy and his music that year in a performance at the Leverkusen Jazz Fest. The date was of special significance to Randy as it was the last time he played with his brother, who took ill shortly thereafter with a rare form of leukemia known as MDS. In 2005, with Mike unable to travel to Russia for Brecker Brothers gigs booked there, Randy’s wife Ada sat in for the first time. Randy’s active schedule continued apace with the Randy Brecker Band performing throughout Eastern Europe and across the globe. In 2007, Randy was awarded his fourth Grammy for “Randy Brecker Live with the WDR Big Band” (Telarc/BHM), the live recording (also available in DVD format) of his performance with Michael at the Leverkusen Jazz Fest in 2004.

Tragically, Michael passed away that same year on Jan 13th. 2007 also saw the release of a 2 CD set of live recordings of the band ‘Soulbop’ (BHM) featuring Dave Kikoski, Victor Bailey, Steve Smith or Rodney Holmes and the late great Hiram Bullock. Randy returned to his long-time love of Brazilian music in 2008 for the album ‘Randy in Brazil,’ which was recorded in Sao Paulo with a full complement of great Brazilian musicians and released on Summit Records. Chosen one of the top 10 CDs of 2008 by AllAboutJazz.com, the CD won the Grammy for “Best Contemporary Jazz Album,” bringing his Grammy total to five. A “Tribute to the Brecker Brothers” featuring Randy and recorded live at the Hamamatsu Jazz Festival in Japan with Yoichi Murata’s Solid Brass & Big Band was released by JVC Victor in Japan in late 2008. And in 2009, Randy’s roots were celebrated with the release of ‘Jazz Suite Tykocin,’ a project initiated and conceived by the Polish pianist and composer Wlodek Pawlik, featuring Randy as a soloist with members of the Bialystok Philharmonic. Tykocin is the area in Poland where Randy’s ancestors (mother’s maiden name: Tecosky) hail from, a fact that Pawlik discovered while helping to search for a bone marrow donor for Michael. 2011 saw the release of ‘The Jazz Ballad Song Book: Randy Brecker with the Danish Radio Big Band and The Danish National Chamber Orchestra,’ which garnered 4 Grammy nominations and enjoyed enthusiastic critical acclaim. And in 2012, Sony Legacy recaptured history with the long-awaited boxed set, “The Brecker Brothers – The Complete Arista Albums Collection.” A Brecker Brothers Band Reunion tour of European festivals in the summer of 2013 in support of Randy’s newest project, Randy Brecker’s “Brecker Brothers Band Reunion,” re-introduced the familiar faces of Brecker Brothers Band members from the past and their special brand of music to sell-out crowds.

A dual-disc release, Randy’s newest project will be released on September 25th, 2013 on Piloo Records. Randy Brecker’s “Brecker Brothers Band Reunion” features a live DVD recorded at the Blue Note in NYC bundled with a new 11-song studio recording featuring members of the Brecker Brothers bands from throughout the years including Dave Sanborn, Mike Stern, Will Lee, and Dave Weckl. George Whitty is back in the production and keyboard chair, and Randy’s Italian wife Ada Rovatti is in the ‘hot saxophone’ seat, keeping it in the family on tenor and soprano saxophone. The new dual-disc recording will be released in North America by Magenta/E-One, in Europe by Moosicus Records in November and in Japan by JVC/Victor. A long time in the making, this project is very close to Randy Brecker’s heart. It is dedicated to his brother, Michael, and other departed Brecker Brothers Band members. As a composer, performer and in-demand Yamaha clinician, Randy Brecker continues to influence and inspire young musicians around the world. http://randybrecker.com/about/

Personnel: Randy Brecker - Electric Trumpet, Flugelhorn, Mixing, Producer, Trumpet, Vocals, Arranger; Jim Beard - Drum Machine, Drum Programming, Keyboards, Arranger, Producer; Michael Brecker - Sax (Tenor); Bob Mintzer - Clarinet (Bass); Jon Herington - Guitar; Victor Bailey - Bass (Electric); Darryl Jones – Bass; Dennis Chambers - Drums, Drums (Snare); Bashiri Johnson – Percussion; Regina Belle - Vocals (Background); Mark Ledford - Arranger, Vocals, Vocals (Background)

Toe to Toe

Saturday, February 15, 2025

Ian Shaw - Live At Ronnie Scott's: The Best Of Ian Shaw

Size: 136,5+195,8 MB
Time: 58:27+84:22
File: MP3 @ 320K/s
Released: 2012
Styles: Jazz Vocals/Pop
Art: Front

CD 1:
01. I Concentrate On You (3:37)
02. My Heart Is Haunted (4:42)
03. It Could Happen To You (4:02)
04. It's Easy To Remember (5:41)
05. Just Let Me Look At You (4:48)
06. The Echo Of A Song (5:38)
07. Change Partners (4:59)
08. You Are My Hearts Delight (4:21)
09. Time After Time (5:35)
10. You Stepped Out Of A Dream (3:54)
11. Taking A Chance On Love (3:26)
12. I'll Be Seeing You (3:26)
13. Goodnight Angel (4:14)

CD 2:
01. Danny Boy (Live) ( 3:53)
02. Spinning Wheel (Live) ( 4:16)
03. When Sassy Sings (Live) ( 5:16)
04. Broken Blue Heart (Live) ( 5:11)
05. Me, Myself, I (Live) ( 4:52)
06. Some Other Time - People Will Say We're In Love (Live) ( 7:10)
07. Lover Man (Live) ( 6:55)
08. Calling You (Live) ( 6:42)
09. Sophisticated Lady - I Got It Bad And That Ain't Good (Live) ( 7:45)
10. Somewhere (Live) ( 4:22)
11. Goodbye Pork Pie Hat (Live) (11:19)
12. Blame It On My Youth (Live) (11:12)
13. Lover Man (Live) ( 5:24)

Named Best Jazz Vocalist at the BBC Jazz Awards in 2007 and 2004, Ian Shaw is one of the UK's finest male jazz vocalists. His exciting, edgy and provocative style has made him a popular name both at home and in the States.

Shaw's career in performance began unusually for a jazz musician on the Alternative Cabaret Circuit, alongside such performers as Julian Clary, Rory Bremer and Jo Brand. Shaw was spotted by Dave Illic, jazz critic for City Limits and was described as "the voice of the decade." Shaw recorded an album with legendary English blues and rock artist Carol Grimes, Lazy Blue Eyes. Over the next two years Shaw moved from the singer-pianist format to working with his new band, Brave New World, co-formed with Adrian York. This band garnered a huge club and concert following playing such venues as the Hammersmith Odeon and Ronnie Scott's in the U.K.

His first solo album Ghostsongs, Live At Ronnie Scott's was described by The Wire magazine as "quite simply the year's finest release." Venturing boldly into jazz Shaw recorded a further two albums, Taking It To Hart (a tribute to Rodgers and Hart) and The Echo Of A Song (an album of love songs compiled by Shaw's mentor, Ronnie Scott.) Shaw toured extensively in the UK, Europe and the States, promoting these albums. His appearances on TV in the '90ss included guesting with Jools Holland, Pebble Mill, Top Of The Pops (Shaw wrote a song for the 1993 Children In Need), The Jack Dee Show, Christmas Night with the Stars (BBC), C4's The Happening, TVAM, BBC Breakfast Show, BBC 2's A Night of Love, BBC 2's Jazz at the 606 and, more recently, numerous appearances on the Performance and Artsworld channels. In the summer of 2002, Carlton/HTV made a documentary about Shaw.

His collaborators over the years have included Guy Barker, Mari Wilson, Ruby Turner, Kenny Wheeler, John Taylor, Iain Ballamy, Mornington Lockett, Sarah Jane Morris, Tim Whitehead, Carol Grimes, Lol Coxhill, Phil Minton and Veryan Weston, Elton Dean, Fayaaz Virjii and Tony Remy (Jazz Warriors), Gail Thompson, Cleo Laine, John Dankworth, Cedar Walton, Joe Lovano, Joe Beck, Papa Vasquez, Lew Soloff, David Williams, Judi Silvano, Geoffrey Williams, Bobby Hutcherson and Ray Brown.

Shaw's ongoing and highly popular collaboration is a celebrated duet show with Claire Martin, the UK's finest female jazz singer. He guested on her album Too Darn Hot. Together they have toured the world in an intimate duo setting with Shaw playing piano or sometimes with the BBC Radio Big Band, a band with whom, over the last six years, Shaw has cemented a highly popular musical relationship. He has played the Harrogate International Festival with the Big Band along with concerts all over the UK including Stoke, BBC Leeds Live, to the Cork International Jazz Festival in 2002 where Shaw made his festival debut with this internationally acclaimed radio big band. His concert and festival appearances have been numerous.

In 2002 Shaw performed in Jerry Springer, the Opera, by Richard Thomas and Stewart Lee . Thomas created the part of the warm-up man/devil for Shaw. Shaw is a regular on BBC Radio 2, 3 and 4 as well as this year contributing to Behind the Mask with Alison Moyet, on Jazz FM (U.K.)

Nominated two years running for Best Jazz Vocalist at the BBC Jazz Awards, Ian Shaw has recorded 8 highly-acclaimed albums. This year, 2003, saw Ian on a national tour with the world-famous Brodsky String Quartet. The Brodsky Song Album features Ian alongside Sting, Elvis Costello, Bjørk, Paul McCartney and Jacqui Dankworth.

Named Best Jazz Vocalist at the BBC Jazz Awards in 2007 and 2004, Ian Shaw is one of the UK's finest male jazz vocalists. His exciting, edgy and provocative style has made him a popular name both at home and in the States.

Shaw's career in performance began unusually for a jazz musician on the Alternative Cabaret Circuit, alongside such performers as Julian Clary, Rory Bremer and Jo Brand. Shaw was spotted by Dave Illic, jazz critic for City Limits and was described as "the voice of the decade." Shaw recorded an album with legendary English blues and rock artist Carol Grimes, Lazy Blue Eyes. Over the next two years Shaw moved from the singer-pianist format to working with his new band, Brave New World, co-formed with Adrian York. This band garnered a huge club and concert following playing such venues as the Hammersmith Odeon and Ronnie Scott's in the U.K.

His first solo album Ghostsongs, Live At Ronnie Scott's was described by The Wire magazine as "quite simply the year's finest release." Venturing boldly into jazz Shaw recorded a further two albums, Taking It To Hart (a tribute to Rodgers and Hart) and The Echo Of A Song (an album of love songs compiled by Shaw's mentor, Ronnie Scott.) Shaw toured extensively in the UK, Europe and the States, promoting these albums. His appearances on TV in the '90ss included guesting with Jools Holland, Pebble Mill, Top Of The Pops (Shaw wrote a song for the 1993 Children In Need), The Jack Dee Show, Christmas Night with the Stars (BBC), C4's The Happening, TVAM, BBC Breakfast Show, BBC 2's A Night of Love, BBC 2's Jazz at the 606 and, more recently, numerous appearances on the Performance and Artsworld channels. In the summer of 2002, Carlton/HTV made a documentary about Shaw.

His collaborators over the years have included Guy Barker, Mari Wilson, Ruby Turner, Kenny Wheeler, John Taylor, Iain Ballamy, Mornington Lockett, Sarah Jane Morris, Tim Whitehead, Carol Grimes, Lol Coxhill, Phil Minton and Veryan Weston, Elton Dean, Fayaaz Virjii and Tony Remy (Jazz Warriors), Gail Thompson, Cleo Laine, John Dankworth, Cedar Walton, Joe Lovano, Joe Beck, Papa Vasquez, Lew Soloff, David Williams, Judi Silvano, Geoffrey Williams, Bobby Hutcherson and Ray Brown.

Shaw's ongoing and highly popular collaboration is a celebrated duet show with Claire Martin, the UK's finest female jazz singer. He guested on her album Too Darn Hot. Together they have toured the world in an intimate duo setting with Shaw playing piano or sometimes with the BBC Radio Big Band, a band with whom, over the last six years, Shaw has cemented a highly popular musical relationship. He has played the Harrogate International Festival with the Big Band along with concerts all over the UK including Stoke, BBC Leeds Live, to the Cork International Jazz Festival in 2002 where Shaw made his festival debut with this internationally acclaimed radio big band. His concert and festival appearances have been numerous.

In 2002 Shaw performed in Jerry Springer, the Opera, by Richard Thomas and Stewart Lee . Thomas created the part of the warm-up man/devil for Shaw. Shaw is a regular on BBC Radio 2, 3 and 4 as well as this year contributing to Behind the Mask with Alison Moyet, on Jazz FM (U.K.)

Nominated two years running for Best Jazz Vocalist at the BBC Jazz Awards, Ian Shaw has recorded 8 highly-acclaimed albums. This year, 2003, saw Ian on a national tour with the world-famous Brodsky String Quartet. The Brodsky Song Album features Ian alongside Sting, Elvis Costello, Bjørk, Paul McCartney and Jacqui Dankworth.

Live At Ronnie Scott's: The Best Of Ian Shaw CD 1

Friday, February 14, 2025

Angela Hagenbach - Come Fly With Me

Styles: Vocal And Brazilian Jazz
Year: 1994
File: MP3@320K/s
Time: 63:34
Size: 146,3 MB
Art: Front

(2:58) 1. My One and Only
(5:58) 2. Tenderly
(5:04) 3. The Sweetest Sounds
(5:54) 4. Lazy Afternoons
(5:43) 5. 'Round Midnight
(5:16) 6. Berimbau
(4:34) 7. Come Fly With Me
(4:39) 8. Get Out of Town
(4:58) 9. Solitude
(3:58) 10. Agua de Beber
(3:19) 11. Yesterdays
(5:42) 12. Lush Life
(5:24) 13. Felicidade

It seems as if each major city has its great jazz singers. Kansas City in the 1990s is blessed with at least three: Kevin Mahogany, Karrin Allyson and the least-known, Angela Hagenbach. On her debut CD, Hagenbach (who has an immediately appealing voice) goes out of her way to show off her versatility. Although all 13 songs she interprets are standards, the treatments are sometimes unusual. To name a few examples, "Tenderly" is mostly taken doubletime, "Lazy Afternoon" is made funky, "'Round Midnight" becomes a duet with bassist Bob Bowman, a sensitive but not predictable "Lush Life" finds Hagenbach just backed by Joe Cartwright's piano and two numbers feature her singing in Portuguese. There are other highlights (particularly the excellent solos of Kim Park on tenor, alto and flute) but the main quality that sticks in one's mind after hearing this recording is an appreciation of Angela Hagenbach's willingness to take chances. This is a strong beginning to what should be a very productive career. By Scott Yanow

http://www.allmusic.com/album/come-fly-with-me-mw0000664055

Come Fly With Me

Cecilia Coleman - Words of Wisdom

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 60:36
Size: 149,9 MB
Art: Front

(9:14) 1. Speak No Evil
(5:22) 2. Alma
(8:06) 3. Words of Wisdom
(6:28) 4. Polka Dots and Moonbeams
(4:51) 5. I'll Get By
(4:55) 6. Hallucinations
(8:18) 7. Posie
(8:00) 8. Nature Boy
(5:19) 9. Well You Needn't

This obscure set has the debut of pianist/composer Cecilia Coleman, an excellent improviser based in Los Angeles during the first half of the 1990s. Most of the music, recorded in 1990 and 1992, showcases Coleman in a trio with bassist Eric Von Essen and drummer Kendall Kay, including such songs as Wayne Shorter's "Speak No Evil," "Polka Dots and Moonbeams," Bud Powell's "Hallucinations," and "Well You Needn't." Trumpeter Oscar Brashear is featured on "I'll Get By," while Brashear and tenor saxophonist Benn Clatworthy make the band a quintet on "Alma," one of three Coleman originals on the disc. But overall, the main purpose of this obscure disc was to introduce Cecilia Coleman, particularly as a pianist, and she rises to the occasion, displaying a great deal of potential.

By Scott Yanow http://www.allmusic.com/album/words-of-wisdom-mw0000118442

Personnel: Cecilia Coleman (piano); Benn Clatworthy (tenor saxophone); Oscar Brashear (trumpet); Kendall Kay (drums).

Words of Wisdom

Bill O'Connell/Billy Hart/Santi Debriano - Touch (Deluxe Version)

Styles: Contemporary Jazz
Year: 2025
Time: 71:17
File: MP3 @ 320K/s
Size: 163,7 MB
Art: Front

(5:41) 1. Touch
(6:24) 2. Maiden Voyage
(5:40) 3. Around And Around
(4:49) 4. Cay-Man
(6:27) 5. 85th Street
(6:57) 6. So Beautiful, So Sad
(8:22) 7. Three Little Words
(7:01) 8. El Junque
(6:46) 9. Sea Glass
(5:43) 10. I Hear A Rhapsody
(7:23) 11. Billy's Blues

On November 26, the audience had the privilege of attending the launch concert for this album at the renowned Lincoln Center, marking Bill O’Connell’s return to the trio format his first since his debut album Searching in the late 1970s. Joined by longtime collaborators, bassist Santi Debriano and drummer Billy Hart, the album features mostly original compositions by O’Connell, alongside notable pieces such as Herbie Hancock’s Maiden Voyage, a contribution by Santi Debriano, and selections by H. Ruby & B. Kalmar, as well as J. Baker, G. Fragos & D. Gasparre.

Bill O’Connell’s compositional style is dazzling, characterized by rhythmic depth and a warm aesthetic. Despite the intricate nature of the compositions and arrangements, the album remains remarkably accessible. In a city where jazz is both a passion and a tradition, O’Connell shines as a true “musician’s musician.” Renowned for his harmonic brilliance, the clarity of his phrasing, and evocative melodies, he plays with a depth that embodies the very essence of the album’s title, Touch. For pianists, “touch” refers to the nuance and mastery with which they engage with their instrument a quality that O’Connell imbues into every track with exquisite finesse and emotional clarity.

The album evokes an atmosphere of ease and wonder. One is invited to sit back, listen, and be charmed by the harmonious interplay of the trio, whose synergy resonates widely and joyously. This vibrant music, with its uplifting energy, perfectly heralds the end of winter, bringing with it radiant glimpses of spring sunshine.

Bill O’Connell’s career in jazz spans more than four decades, beginning with Mongo Santamaria’s Latin jazz ensemble in 1977 and encompassing collaborations with legends such as Chet Baker, Sonny Rollins, and Gato Barbieri. His previous studio album, A Change is Gonna Come, an emotional response to social unrest, was lauded by critics. In 2021, he earned a GRAMMYⓇ nomination for his Latin arrangement of Chopsticks on Richard Baratta’s Music in Film: The Reel Deal. With Touch, his seventeenth album as a leader, O’Connell once again proves his versatility, blending technical mastery with the exploratory spirit of an innovator in an intimate and dynamic trio format.

This is undoubtedly one of the finest trio albums I’ve ever encountered. Throughout Touch, O’Connell crafts a language uniquely his own a style so distinctive it has undoubtedly contributed to his acclaim. The album offers nods to the artists he admires, most notably in his rendition of Three Little Words, which includes a touch of Monk a tribute to his reverence for Thelonious Monk’s harmonic genius. “It took me time to truly hear Monk,” O’Connell reflects. “I started as a more lyrical player, but eventually, everyone is captivated by his harmonic mastery.”

Likewise, it takes time to fully appreciate the richness of this album. Its dense artistry delivers unrelenting pleasure from start to finish, earning its place among our collection of “Essential” albums.https://www.paris-move.com/reviews/bill-oconnell-touch-feat-billy-hart-santi-debriano/

Personnel: Bill O’Connell, Piano; Santi Debriano, Bass; Billy Hart, Drums

Touch (Deluxe Version)

Wednesday, February 12, 2025

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

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

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!

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

Monday, February 10, 2025

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

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

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

Saturday, February 8, 2025

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

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

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

Tuesday, February 4, 2025

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

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