James Williams - Jazz Dialogues, Focus - Disc 2

Styles: Jazz
Year: 2001
Time: 71:51
File: MP3 @ 320K/s
Size: 164,5 MB
Art: Front

(7:39) 1. Focus
(6:06) 2. Gee Baby Ain't I Good to You
(5:31) 3. Put On A Happy Face
(6:02) 4. I Know It's You
(4:19) 5. They Didn't Believe Me
(6:49) 6. Easy Living
(5:11) 7. Fourplay
(7:10) 8. For My Nephews
(4:33) 9. I've Got the World on A String
(4:13) 10. Groovin' High
(7:00) 11. These Foolish Things
(7:12) 12. DayDream

To celebrate his fiftieth birthday, James Williams gathered some of his favorites musicians to record an extensive four-volume series of CDs covering originals, timeless jazz compositions, originals, and more. It's hard to choose highlights from the second volume's 12 tracks, though the driving opener of the pianist's "Focus" with Peter Washington sets an immediately high standard.

But everyone else was also in a mood to celebrate with their host as well by playing at the top of their respective games. Houston Person shines on tenor sax in a loping, gospel-inflected setting of "Gee Baby, Ain't I Good to You," vocalist Mary Stallings offers a powerful version of "Easy Living," while guitarist Dave Stryker negotiates the pianist's inventive blues "Fourplay" with skill and imagination. Trumpeter Jon Faddis was a perfect choice to salute Dizzy Gillespie playing his landmark work "Groovin' High" and nearly stealing the show. Russell Malone, Loren Schoenberg, Ray Drummond, John Clayton, plus vocalists Miles Griffith, Steve Heck, and Roger Holland also join in the fun. It is sad that the four volumes in this series were James Williams' final releases prior to his untimely death from cancer in the summer of 2004.By Ken Dryden
https://www.allmusic.com/album/jazz-dialogues-vol-2-focus-mw0000305318#review

Jazz Dialogues, Disc 2

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Dara Tucker - Soul Said Yes

Styles: Vocal, Jazz Soul
Year: 2011
File: MP3@320K/s
Time: 54:50
Size: 125,7 MB
Art: Front

(3:38)  1. All That You Have Is Your Soul
(4:05)  2. Save Their Souls - Soul Said Yes
(4:07)  3. Tangerine
(4:59)  4. Easy To Love
(3:37)  5. Partly Cloudy
(4:06)  6. The Space
(5:31)  7. Body and Soul
(4:48)  8. Stronger Than Pride
(5:53)  9. Poinciana
(3:41) 10. Pure Imagination
(3:57) 11. (Our) Love Is Here To Stay
(5:00) 12. I Will Move On Up A Little Higher
(1:23) 13. Soul Says Yes

Jazz vocalist and songwriter Dara Tucker's third studio project, ‘The Sun Season’ is a celebration of life, energy and the human experiencer. Tucker's new project differs from her previous releases, ‘Soul Said Yes’ (2011) and ‘All Right Now’ (2009), in that ten of the twelve tracks that comprise ‘The Sun Season' (2014) are original tunes with memorable melodies, rich harmonies and strong rhythms. These sensibilities are immediately felt on such tunes as "Sometimes Love," "Beautiful Sun," "The Sun Suite" and "See It Always." Her gift of balladry, as evidenced on "Naïve", and "The Nearness of You," one of the albums two covers, reveal a mature singer with the wisdom to communicate the tender essence of love with a flair that is distinct and enveloping. “When I fall in love with a song, I fall in love with the melody first; then the lyrics," Tucker said. "If I can communicate the essence of that melody to the listener without relying on attention-grabbing melisma, and instead, focus on creating subtle yet effective embellishments that will draw the listener in, then I feel I’ve done my job.” Recorded over two days at David Stoller's Samurai Hotel Studios in Queens, New York, the project features pianist Helen Sung, drummer Donald Edwards, guitarist Peter Bernstein, bassist/producer Greg Bryant and horn men John Ellis and Alan Ferber. The resultant material is a joyful presentation with memorable contributions from the entire cast.

"The singer-songwriters of the 60’s, 70’s and 80’s were hugely influential on me, as were gospel and the Great American Songbook. What I end up producing as a writer is essentially an amalgam of all these genres. Couple those influences with one of the baddest New York jazz ensembles around, and you have the ingredients that came together to make up “The Sun Season”. During her brief career, Dara Tucker has already managed to catch the ear of some of the most significant figures in jazz such as vocalist Cassandra Wilson, organist Dr. Lonnie Smith and saxophonist Benny Golson. Within the last two years, Tucker has won audiences on such stages as The Blue Note (NYC), Smoke Jazz Club (NYC), Snug Harbor (New Orleans, LA), The San Jose Jazz Festival, Sculler’s in Boston, MA, Nighttown in Cleveland, OH and the Oklahoma Jazz Hall of Fame. Peeling away the layers of her diverse background sheds ample light on her unorthodox path to becoming a significant contemporary voice on the vocal jazz scene.

“I grew up singing gospel in church with my brothers and sisters. There were 7 of us, so my father (an accomplished music minister) and my mother (also a singer) had a built in choir. We traveled a lot, and we would back our parents up everywhere we went. I learned tons about harmony before I was even in the first grade. That provided me with amazing ear-training very early on. My father, a minister, didn’t allow secular music in the house. But eventually, when I began to come of age, I started to explore the sounds of big band music and the Great American Songbook. I spent many nights with my radio tucked under my pillow, surreptitiously soaking in artists like The Manhattan Transfer, The Hi-Lo’s, Rosemary Clooney, Ella Fitzgerald and Sarah Vaughn."

Tucker says writing the songs that make up “The Sun Season” was an organic process  mostly. After writing furiously for more than 7 years, she knew it was time to make her own statement. "The question in my manager’s mind was always, 'Where will your songs fit? You’re one of those in-between writers.' This was something I understood all too well. "I'm excited to share this project with everyone, and I look forward to performing the material in concert. It's my statement on what jazz is to me in the here and now. I am thankful to have been given the opportunity to shine a light on the particular Space that I choose to occupy in my singular Sun Season. ~ Bio http://www.daratucker.com/

Soul Said Yes

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Harry James - Best Of the Big Bands

Styles: Trumpet Jazz, Big Band
Year: 1990
Time: 49:15
File: MP3 @ 320K/s
Size: 112,8 MB
Art: Front

(2:56) 1. Strictly Instrumental
(3:01) 2. I've Heard That Song Before
(3:22) 3. The Man With The Horn
(3:26) 4. I Had The Craziest Dream
(2:57) 5. Sleepy Lagoon
(3:00) 6. I Can't Begin To Tell You
(3:00) 7. Trumpet Blues & Cantabile
(3:15) 8. You Made Me Love You
(3:26) 9. It's Been A Long, Long Time
(2:31) 10. Ciribiribin
(2:43) 11. I'll Get By (As Long As I Have You)
(2:54) 12. I Don't Want To Walk Without You
(3:16) 13. Carnival
(2:45) 14. The Devil Sat Down And Cried
(3:18) 15. Music Makers
(3:15) 16. I'm Beginning To See The Light

This is very much a hodgepodge set that does not live up to its clichéd title. The recording dates and personnel listing are not included in the chatty liner notes and, although there is some excellent music here (including "Strictly Instrumental," "I Had the Craziest Dream," "You Made Me Love You," "It's Been a Long, Long Time," and "Ciribiribin"), the programming is not in chronological order and almost seems random.

Why hasn't Columbia ever released its many enjoyable and valuable Harry James recordings in complete and coherent fashion? By Scott Yanow https://www.allmusic.com/album/the-best-of-the-big-bands-mw0000308720#review

Personnel: Leader: Harry James (trumpet); Vocalists: Helen Forrest, Frank Sinatra, Johnny Mercer, Betty Grable; Trumpets: Ziggy Elman, Chris Griffin, Neal Hefti, Everett McDonald; Saxophones: Willie Smith (alto), Corky Corcoran (tenor), Sam Sachelle (tenor/baritone); Trombones: Juan Tizol, Chuck Preble, Carl "Ziggy" Elmer; Drums: Buddy Rich, Sonny Payne; Bass: Thurman Teague, John Simmons; Guitar: Jack Marshall, Tiny Timbrell

Best Of the Big Bands

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Dara Tucker - Dara Tucker Live

Size: 100,2 MB
Time: 39:38
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals
Art: Front

01. Intro (Live) (0:24)
02. On The Sunny Side Of The Street (Feat. Mason Embry) (Live) (2:38)
03. The Shadow Of Your Smile (Live) (2:39)
04. The Days Of Wine And Roses (Feat. Mason Embry) (Live) (2:17)
05. The Way I Am (Feat. Greg Bryant) (Live) (2:58)
06. I Can't Give You Anything But Love (Feat. Josh Hunt) (Live) (2:13)
07. Annie's Song (Feat. James Dasilva) (Live) (2:54)
08. I See Your Face Before Me (Feat. Greg Bryant) (Live) (4:37)
09. Until The Real Thing Comes Along (Live) (4:26)
10. Almost Like Being In Love (Feat. Mason Embry) (Live) (2:35)
11. Just In Time (Feat. James Dasilva & Mason Embry) (Live) (3:30)
12. But Beautiful (Live) (2:49)
13. Walk With Me (Live) (5:32)

Dara Tucker is an American jazz singer and composer. Tucker has released four studio albums; "All Right Now" (2009), "Soul Said Yes" (2011) "The Sun Season" (2014) and "Oklahoma Rain" (2017), as well as a limited-release, live performance album, "Dara Tucker Live" in 2013. Dara was named, "Jazz Vocalist of the Year" at the 2016 and 2017 Nashville Industry Music Awards. In 2017, the second single from "Oklahoma Rain, "Radio," was named, "Song of the Year" at Nashville Industry Music Awards, and "Oklahoma Rain" won "Jazz Album of the Year." Tucker has performed internationally with her jazz ensemble since 2009. Dara was featured on the Tavis Smiley Show in 2015, and opened for Gregory Porter in 2016. She won the silver medal in the "American Traditions Vocal Competition" in 2017.[3] She has shared the stage with jazz musicians such as organist Dr. Lonnie Smith,[4] 7-string guitarist Charlie Hunter, and pianist Johnny O'Neal at The Blue Note in New York City, The San Jose Jazz Festival, Smoke Jazz and Supper Club in NYC, Sculler's in Boston, MA, The Oklahoma Jazz Hall of Fame, and Snug Harbor in New Orleans, LA. In November 2016, she shared the stage with Vince Gill and the Time Jumpers. She has recorded with guitarist Peter Bernstein, guitarist Charlie Hunter, pianist Helen Sung, trombonist Alan Ferber, saxophonist John Ellis and drummer Donald Edwards.

Dara Tucker Live

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Martin Speake - Change Of Heart

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 52:50
Size: 121,3 MB
Art: Front

(6:53) 1. The Healing Power Of Intimacy
(4:43) 2. Change of Heart
(5:29) 3. Barefaced Thieves
(4:20) 4. Venn
(9:03) 5. Buried Somewhere
(5:16) 6. In The Moment
(8:21) 7. Three Hours
(8:40) 8. In Code

One of the more interesting extra-musical things to observe in jazz is how the connections between musicians happen, and then, of course, how those connections affect the music they produce.

In 1993, Martin Speake connected with Paul Motian, and they toured as a trio with bassist Mick Hutton, playing both Speake's and Motian's compositions. Fast forward seven years to 2000 and Speake added Bobo Stenson to the group, playing and composing music that was sensitive to both Motian's and Stenson's jazz conception. Stenson's Goodbye (ECM, 2005) is a direct result of Stenson and Motian playing together in Speake's band.

A delightful album, Change Of Heart has the perfect mix of understated playing and melodies that are direct, yet full of surprising turns of phrase and varied musical development. While it's entirely comprised of Speake compositions, it sounds at times very much like Motian's Garden of Eden (ECM, 2006) in the way the floating quality of Speake's phrasing is reinforced by Motian's drums and his very cool (meaning reserved, understated and thoughtful) sound, which evokes Chris Cheek's work on the Motian album.

Thus, Speake's response to Motian is clearly audible. Stenson is remarkably adept at fitting chameleon-like into any role, still being totally himself. While he might also be described as a cool player, the pianist always adds intensity to every note and phrase he plays.

Speake's alto tone is quite interesting, and if you close your eyes, it sounds at times like a trumpet with some kind of subtle mute. His phrasing has a strong vocal quality as he sings through his horn. The album's melodies take their time to unfold, and this quality is echoed in the way the tracks proceed and how each member of the group adds to the mix, yielding music with an organic wholeness.

For me, the essence of Change Of Heart is evident in the last track, "In Code." Introduced by Hutton alone on bass, an atmosphere of mystery and suspense is created, only to be intensified by the entrance of Motian and Stenson. As Speake plays the theme, supported mostly by a pedal tone, Stenson echoes and embellishes each phrase. The music washes upon the shores as Speake jumps into a higher range, as if to try to escape from the pedal anchor. Stenson replies with a magnificent solo that encapsulates his cool blue burning intensity and leads seamlessly to Speake's recap.Simple directness, overtly beautiful, cool and compact: just wonderful.
By Budd Kopman https://www.allaboutjazz.com/change-of-heart-martin-speake-ecm-records-review-by-budd-kopman

Personnel: Martin Speake: alto saxophone; Bobo Stenson: piano; Mick Hutton: bass; Paul Motian: drums.

Change Of Heart

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Benedikt Jahnel Trio - The Invariant

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 45:29
Size: 106,3 MB
Art: Front

(5:49)  1. Further Consequences
(5:10)  2. The Circuit
(9:31)  3. Mirrors
(3:48)  4. Mono Lake
(6:44)  5. Part Of The Game
(5:39)  6. For The Encore
(3:55)  7. Interpolation One
(4:50)  8. En passant

Sometimes there's no substitute for experience, as demonstrated by this trio as it celebrates its tenth anniversary as a working unit. Last heard on Equilibrium (ECM, 2012), it's an international group that met through a series of lucky coincidences: Berlin-based pianist/composer Benedikt Jahnel is joined by Spanish bassist Antonio Miguel and Canadian drummer Owen Howard. Jahnel has also appeared on ECM as a member of Cyminology, a jazz group with culturally and ethnically diverse influences which primarily performs with Persian lyrics sung by Cymin Samawatie. Opener "Further Consequences" starts things off in odd-metered, yet swinging fashion. "The Circuit" continues that feeling, with Howard again using brushes; the tune ends somewhat unconventionally, on a lyrical bass solo from Miguel. "Mirrors" is the longest track on the program. It features a long, monumental sounding theme that unwinds slowly. There is a striking breakdown section featuring an unaccompanied bass solo (with piano and drum commentary), before returning to the grand theme. It's a striking piece, full of both structure and a sense of freedom in the playing. "Part Of The Game" finds its energy in an insistent ostinato rhythm, initially set up by Howard's drums, which have an especially prominent role through the entire piece. 

While certainly not just a drum feature, it does put a special focus on rhythm. The energy never lets up, but the group finds plenty of variety in the development. "For The Encore" is perversely not placed at the end of the program but it has a deliberate calm that would work very well for a quiet encore after an energetic set. "Interpolation One" is built upon a slow ostinato, from which the thematic material emerges. The encore feeling is revisited in the ballad "En Passant" (named for a chess move) that ends the album. Among the many ECM piano trios Jahnel's trio leans more toward the compositional side of the composition/improvisation spectrum. But it's still very much a jazz band, with all of the players making a significant contribution to the sound. ~ Mark Sullivan https://www.allaboutjazz.com/the-invariant-benedikt-jahnel-ecm-records-review-by-mark-sullivan.php

Personnel: Benedikt Jahnel: piano; Antonio Miguel: bass; Owen Howard: drums.

The Invariant

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Al Di Meola, John McLaughlin, Paco De Lucia - Friday Night In San Francisco

Styles: Guitar, Bop
Year: 1981
File: MP3@320K/s
Time: 41:13
Size: 94,7 MB
Art: Front

(11:35) 1. Mediterranean Sundance · Rio Ancho
( 8:44) 2. Short Tales of the Black Forest
( 7:57) 3. Frevo Rasgado
( 8:54) 4. Fantasia Suite
( 4:01) 5. Guardian Angel

On 5th December, 1980, Al Di Meola, John McLaughlin, and Paco de Lucia were two months into what had so far been an extremely successful and creative tour. Even just the concept itself was intriguing three guitarists, and acoustic to boot! With not a drummer, percussionist, or bassist in sight. The sheer novelty of it all. Recorded at the Warfield Theatre, California, Friday Night in San Francisco manages to capture this triumvirate trio of instrumentalists at the apex of their abilities.

Now Paco, although he wasn't all that well known outside of Spain, was already something of a super star of Flamenco, and whose virtuosity on guitar was as much respected as it was unmatched. McLaughlin was undoubtedly the most renowned, having played with Miles Davis, Chick Corea, Tony Williams, Jimi Hendrix, Santana, along with pretty much the who's who of jazz-rock and everyone else in between. Di Meola was probably somewhere in the middle of the other two. His career began officially when he became a member of Return to Forever, before releasing a series of highly acclaimed solo albums, and was also voted best jazz guitarist four times in Guitar Player Magazine (in other words, the bloke had a following).

Now some Flamenco purists might turn their noses up at the fact that Di Meola and McLaughlin are using a plectrum, when Paco wasn't. But that shouldn't bother the listener one bit. All that matters is the music itself; and plectrum or no, this is unquestionably some of the hottest acoustic guitar ever to have been performed in front of a live audience.

The performance opens with a dazzling duet between Al and Paco on "Mediterranean Sunset," a Di Meola composition first released on his second solo album Elegant Gypsy in 1977. Al's signature light-speed riffs are everywhere, while Paco plays some ferocious Flamenco. Both are in perfect simpatico throughout, right to the scintillating and exciting climax at the end. Exhilarating for both players and audience alike I'm sure.

Next we have Chick Corea's "Short Tales of the Black Forest," where Di Meola and McLaughlin really do pull out all the stops as performers, like two gunslingers attempting to prove who can shoot the furthest and fastest. There is even a brief reference to Henry Mancini's "Pink Panther" thrown in for good measure, something which elicits much laughter from the audience. They also throw in a little 12 bar blues before finishing with a fiery crescendo.

"Frevo Rasgado, a song written by Egberto Gismonti, begins side two, where this time we have McLaughlin and Paco locked together in mortal six string combat. Personally the money's on Paco, but McLaughlin's not too far behind. Both manage to give as good as the other, as far as this listener's concerned, and while it's Paco who probably has the edge, their exchange is purely magical all the same.

Di Meola's "Fantasia Suite" finds all three on stage exchanging notes at an ever complicated rate. One can hear occasionally an audience member cry out during the quieter moments, but even on LP the listener is simply overwhelmed by the sheer synergy and power on display here. It's as if they had of had a dose of speed about an hour before the show. And that's what must have impressed people at the time, no matter how sophisticated they might have been.

Oddly, the final track is a studio recording made in White Plains, New York. Written by McLaughlin, "Guardian Angel" finds the trio managing to capture not only the complexity of their playing, but also the camaraderie between all three men. It is a relationship which lasted for many years, as attested to by the numerous reunions that took place over the proceeding decades. Paco De Lucia was Spain's equivalent to Jimi Hendrix. And it was this album, more than anything he had done before, which really put him on the map, thus exposing a multitude of people for the first time to the genius of Flamenco, almost in the way that Carmen Amaya had some forty-years before. Yet this was the record which proved that guitars didn't need to be electric in order to be exciting. Because from this a new sense of sophistication had arisen, inspiring a whole new generation of guitarists in the process. And for that at least you have to give them credit where it's due.
https://www.allaboutjazz.com/friday-night-in-san-francisco-john-mclaughlin-al-dimeola-paco-delucia-columbia-records-review-by-sacha-ogrady

Personnel: Al Di Meola: acoustic guitar; John McLaughlin: acoustic guitar; Paco de Lucía: acoustic guitar

Friday Night In San Francisco

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Claude Thornhill & His Orchestra - Play The Jazz Arrangements Of Gil Evans, Gerry Mulligan & Ralph Aldrich

Bitrate: MP3@320K/s
Time: 73:42
Size: 168.7 MB
Styles: Big band
Year: 2010
Art: Front

[2:52] 1. Buster's Last Stand
[3:04] 2. Under The Willow Tree
[4:22] 3. Arab Dance
[4:26] 4. La Paloma
[2:59] 5. Anthropology
[2:47] 6. Sorta Kinda
[3:15] 7. Robbins' Nest
[3:22] 8. Lover Man
[3:13] 9. Polka Dots And Moonbeams
[2:59] 10. Donna Lee
[3:17] 11. Yardbird Suite
[3:06] 12. Poor Little Rich Girl
[2:32] 13. Sometimes I'm Happy
[2:51] 14. Someone To Watch Over Me
[3:06] 15. Godchild
[2:58] 16. The Song Is You
[2:34] 17. To Each His Own
[2:51] 18. Elevation
[3:01] 19. Jeru
[2:54] 20. Rose Of The Rio Grande
[2:33] 21. Poor Little Rich Girl
[2:55] 22. Family Affair
[2:56] 23. Five Brothers
[2:41] 24. Mambo Nothing

This edition presents the historic 1942-1953 recordings of the lively sound of Claude Thornhill & His Orchestra at it's best.

For many years, Claude Thornhill's orchestra of the Forties and early Fifties was frequently referred to as a musicians orchestra, as it focused as much on the musicians as the music itself. Thornhill's music was clearly way ahead of its time, yet today his sumptuous, mellow jazz sound remains one of the biggest influences for many contemporary big band jazz arrangers. He worked to extend the range of a popular dance orchestra by continually adding new harmonies and voices. In the truest sense of the word, the Thornhill orchestra was an experimental group and this experimentation made mostly exciting and provocative listening. As the respected music critic George T. Simon stated: "One of the many charms of Claude Thornhill's music has always been his amazing ability to mingle seemingly opposite forms of dance music with one another, setting one against the other so delicately and so delightfully that each benefits by comparison, and yet never losing its own identity of that of a Thornhill orchestra." The richness of the Thornhill sound ranged from the delicate treatment of ballads to imaginative instrumentals that exploited the full sonorities of the group. The reed section was the most outstanding part of the band. This was more than just a five-man sax team, for a great deal of the material was written with two French horns, then scored right along with the reeds.

Claude, like very few other leaders, always displayed a rare talent for organizing and encouraging adventurous musicians, for uncovering budding talent and giving it the opportunity to grow. In this compilation we can hear the most outstanding jazz arrangements that Gil Evans and Gerry Mulligan penned for the orchestra right before these gifted musicians achieved fame as two of the most talented, creative and progressive arrangers in the modern jazz language. Both were major voices in forcing and shaping the sound of the historic 1949 recordings of the Miles Davis Nonet for the Capitol label. They added both form and depth to Thornhill's style and what is loosely termed as jazz feeling. What started out as the greatest sweet band in the land became one of the finest modern jazz aggregations of them all. In addition, it continued to play the prettiest, most mood-provoking ballads in the history of the dance band idiom.

Play The Jazz Arrangements Of Gil Evans, Gerry Mulligan & Ralph Aldrich

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Harry Allen's All Star New York Saxophone Band - The Candy Men

Styles: Jazz
Year: 2016
Time: 66:29
File: MP3 @ 320K/s
Size: 154,2 MB
Art: Front

(4:00) 1. Four Brothers
(7:52) 2. The One For You
(3:04) 3. How Are Things In Glocca Morra'
(9:04) 4. After You've Gone
(8:11) 5. I Wished On The Moon
(8:57) 6. Blues In The Morning
(4:51) 7. I Can See Forever
(4:33) 8. The Red Door
(4:42) 9. The Cany Man
(3:48) 10. So There
(4:12) 11. Nobody's Heart
(3:09) 12. The Party's Over

The legendary Four Brothers reed section of Woody Herman's famous "Second Herd" big band of 1947, (Herbie Steward, Zoot Sims, Stan Getz and Serge Chaloff) is reimagined and reinvigorated by jazz icons Harry Allen, Eric Alexander, Grant Stewart and Gary Smulyan on the exciting, swinging and audacious recording of The Candy Men by Harry Allen's All Star New York Saxophone Band. Offering a sensational set of twelve bop-infused tunes containing some hard-driving, mid-tempo swing pieces to breathy and bossa-styled ballads, one sampling of this disc is just not enough. The material and the musicianship is so outstanding, that the late, great bandleader Woody Herman himself, would be proud of the way this group of jazz icons, has so elegantly represented the original Brothers section.

Three tenors and one baritone saxophone produce a powerful sound especially when joining forces to harmonize melodies as so often demonstrated here. The foursome is accompanied by Rossano Sportiello on piano, Joel Forbes on bass and Kevin Kanner on the drums—all forming one vibrant septet that shine on every note. The music opens up in swinging fashion on Jimmy Giuffre's "Four Brothers" tribute piece using Al Cohn's arrangement of the classic which bring out each sax man's distinctive voice. The tenor men take on a slinky, mid-tempo swinger on Allen's "The One for You" featuring a burning solo from Smulyan followed by a little tenor madness from Allen and the others.

While there's a lot of swing on this album, Allen and crew do present a softer side with such warm ballads as the brief "How are Things in Glocca Morra?," Dorothy Parker's "I Wished On the Moon," the Rodgers and Hart classic "Nobody's Heart" and the delicate bossa-tinged "I Can See Forever," one of the show pieces of the recording. But, of course, the group gets back to the meat of the set on the Gerry Mulligan / Zoot Sims composition "Red Door" where the group lets it all hang out on one torrid power play after another featuring the tenors and Smulyan sounding off in dynamic style.

Offering the inspiration for the title of the album, the Leslie Bricusse / Anthony Newley pop standard "The Candy Man," best remembered as a 1972 hit by Sammy Davis Jr., takes on an Allen arrangement that highlights the leader on the main solo. Rounding out the music, is a lively, up tempo swinger "So There," an Allen original penned for a previous recording perfect for a saxophone summit, followed by the appropriately titled, "The Party's Over" as the finale piece.

Leader Harry Allen and the rest of the high-powered reed section featured on The Candy Men, capture well the magic of the original Four Brothers section and set themselves apart by providing a few tricks of their own that make their sound, distinctive and mesmerizing. By Edward Blanco https://www.allaboutjazz.com/the-candy-men-harry-allens-all-star-new-york-saxophone-band-arbor-records-review-by-edward-blanco

Personnel: Harry Allen: tenor saxophone; Eric Alexander: tenor saxophone; Grant Stewart: tenor saxophone; Gary Smulyan: baritone saxophone; Rossano Sportiello: piano; Joel Forbes: bass; Kevin Kanner: drums.

The Candy Men

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Gretchen Parlato & Lionel Loueke - Lean In

Styles: Vocal, Guitar
Year: 2023
File: MP3@320K/s
Time: 38:51
Size: 94,7 MB
Art: Front

(4:58) 1. Akwê
(5:03) 2. I Miss You
(4:27) 3. If I Knew (feat. Burniss Travis & Mark Guiliana)
(1:19) 4. Okagbé Interlude
(4:54) 5. Astronauta
(0:57) 6. Mi Wa Sé Interlude (feat. Marley Guiliana, Burniss Travis, Mark Guiliana)
(4:47) 7. Muse
(3:53) 8. Nonvignon
(4:49) 9. Lean in (feat. Mark Guiliana)
(4:16) 10. Painful Joy
(1:12) 11. Dù Wé Interlude (feat. Burniss Travis & Mark Guiliana)
(4:30) 12. Walking After You

With a voice as sweet and cool as a spring breeze, Gretchen Parlato would sound at home in any cozy jazz club from Paris to Sao Paulo. The sound of Lionel Loueke's voice and guitar is at least 60 percent rhythm, with his plucking and crooning having an innate percussive pulse running through it. Two decades of collaboration and close friendship are on display with Parlato and Loueke's first full duo-recording; Lean In shows the breadth of their globe-spanning interests and dazzling versatility, but most important is the heartfelt warmth through every moment.

The closeness is on display from the first minute, where the duo weave a catchy lead melody and begin scatting their way through the opener in flighty but clearly honed unison. They continue swooping and dipping up and down the scales through pop covers and eloquent originals alike. Loueke's guitar lines and vocal pops make the sound feel as full as that of a whole band already, but a delightfully simpatico rhythm section fills things out that much more in some well-chosen spots, percolating through wandering interludes and fetchingly slinky funk grooves alike.

The group makes a sunny whirl across practically the whole globe, bridging Benin with Brazil and singing in languages from three continents. Parlato's croon stays dreamy and appealing, even when singing of lost loves and ended relationships. Loueke coasts in step with equally fluid melodicism and unreserved cheer. It's a work all about connection, discovery and the simple joy of exploring together. By Geno Thackara https://www.allaboutjazz.com/lean-in-gretchen-parlato-edition-records

Personnel: Gretchen Parlato: voice / vocals; Lionel Loueke: guitar, acoustic.

Additional Instrumentation: Burniss Travis: bass; Mark Guiliana: drums.

Lean In

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Milt Jackson - That's The Way It Is

Styles: Vibraphone Jazz 
Year: 1969
File: MP3@320K/s
Time: 42:24
Size: 97,4 MB
Art: Front

(6:43)  1. Frankie And Johnny
(7:45)  2. Here's That Rainy Day
(4:32)  3. Wheelin' And Dealin'
(7:15)  4. Blues In The Bassment
(8:44)  5. Tenderly
(7:22)  6. That's The Way It Is

As the story goes, Milt Jackson and Ray Brown would meet up once a year for a run of gigs at Shelly's Manne-Hole, not because they couldn't find work elsewhere, but rather (as the liner notes put it) for "the pleasure of making music". That's The Way It Is comes from a pair of 1969 shows with a stellar quintet that featured three jazz masters (Teddy Edwards and the two headliners) along with the young up-and-comer Monty Alexander, who would go on to have an impressively long and varied career that is still going strong today. The somewhat obscure Dick Berk manned the drummer's chair, admirably laying down the tempo for this set of hard bop jazz that not surprisingly harkens back to a simpler time of blues-based jazz music. Jackson and Brown's friendship went way back, they first played together in the rhythm section of Dizzy Gillespie's band from 1946 to 1951. The other members of the rhythm section, not coincidently, were John Lewis and Kenny Clarke, who would soon thereafter go on to form The Modern Jazz Quartet with Jackson, the group for which he is most often associated with.

Brown is best known for his enduring work with the Oscar Peterson Trio, whom he played with for nearly fifteen years from 1951 until 1966. Apparently the two men remained close throughout the years, resulting in their yearly meetings at the famous Hollywood jazz club. In addition to this live LP, they would also record a couple of big band albums together for Impulse!, both of which remain pretty obscure. That's The Way It Is finds the pair playing a jazz style that by 1969 had fallen out of favor with the listeners of popular music (at least in terms of record sales), but that's the reason I love a record like this: it gives a sense of what you would find in smaller jazz clubs during this period when this music was supposedly a dying art form. This was a time when post bop, electric jazz and fusion were the stylistic watchwords of the day, so it's nice to see that Impulse! had the sense to record Jackson and Brown playing in a modern jazz style that they once helped to popularize. Even though the record is fairly mellow, the musician's love of the classic jazz sound shines through, and the subtle nature of the music seems a conscious choice against the more in-your-face electric jazz that was gaining momentum all around them. One can imagine the audience members kicking back with their cocktails, nodding their heads in appreciation at the calm and collected grooves being laid down in front of them.

No need to extoll the great talents of Jackson and Brown here, if you are unfamiliar with their work go check out the Modern Jazz Quartet and Oscar Peterson Trio, but a few quick words on Teddy Edwards seem appropriate. By the time of That's The Way It Is he had certainly fallen out of favor with the jazz mainstream, but in the late 1940s he was considered one of the best (if not the most influential) tenor saxophone players along with Dexter Gordon and Wardell Gray. In 1947 Edwards and Dexter Gordon released the "The Duel", a recording that would cement both men's legendary status in the jazz world. It seems Edwards didn't achieve the same level of fame as his counterparts from the '40s due to his decision to remain in Los Angeles rather than head east, but that would explain Jackson and Brown tapping him to play in their quintet at a Hollywood jazz club, and what better choice for this set of music than a cat like Edwards who by this time had presumably seen and played it all. While the quieter tracks on the album feature some outstanding bass work from Brown (particularly his solo work on "Tenderly"), I'm certainly more partial to the upbeat tracks, in particular "Wheelin' And Dealin'" and the title track that closes out the record. The band swings and there is an instant delight in the interplay between the musicians. Nothing fancy, just some great jazz music.

I'll quote Morgan Ames' liner notes again, as he sums up the recording quite well: "This is not experimental jazz. It's beyond that, or as they say in New York, outside that. This is solid, rooted, sweet-smelling earth of an enduring style, as played by masters." Well said, and even if the record labels had already begun to abandon this "enduring style", it's reassuring in hindsight to know that it was still out there, almost underground perhaps, but like the best that art has to offer it was simply biding it's time until the world would be once again ready to embrace it. The Details: An original 1969 pressing on the first version of the "Impulse! ABC Records" label. It is easily dated as pre-1972 by "A Product of ABC Records, Inc. New York, N.Y. 10019 • Made in USA" along the bottom (this would be shortened to differing lengths starting in 1972 until the next label change in 1974). This label version is often considered to be the last if the "audiophile" sounding pressings, although I own some later "neon" and "green bullseye" repressed titles and they sound pretty darn good to my ears (especially at the nice price you can snag em at). http://www.thejazzrecord.com/records/2016/5/29/milt-jackson-quintet-featuring-ray-brown-thats-the-way-it-is

Milt Jackson - Vibes; Ray Brown - Bass; Teddy Edwards - Tenor Sax; Monty Alexander - Piano; Dick Berk - Drums

That's The Way It Is

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Judith and Dave O’Higgins - Omicron

Styles: Jazz
Year: 2022
Time: 17:18
File: MP3 @ 128K/s
Size: 16,1 MB
Art: Front

(6:40) 1. Omicron
(5:05) 2. Mister Magic
(5:32) 3. Calypso Collapso

Ubuntu Music is delighted to announce the second release from Judith and Dave O’Higgins with a digital EP that features the ‘His’n’Hers frontline tenor saxes doing battle in straight-ahead, full-on jazz. Omicron consists of three ‘bonus’ tracks which follow their highly successful debut album from 2020.

His’n’Hers affectionately pits Mr & Mrs O’Higgins against each other as in the movie, Mr & Mrs Smith. In reality, this is a swinging “tough tenors” band in the good humoured tradition of the great Johnny Griffin - Eddie Lockjaw Davis group, who made nine albums together between 1960 and 1962. But what Griffin and Davis did together was not a competition, however apparently combative. It was collaboration, mutual inspiration and special because of both the similarity and contrast of the two protagonists.

Judith and Dave describe the project: “The debut album was created days before the first lockdown, and the EP is a bookend, hence the aptness of ‘Omicron’. We were always working on expanding our repertoire and wrote the song ‘Calypso Collapso’ in this period. ‘Mister Magic’ was a playful suggestion that just seemed to work out. We can’t wait to get out on the road with this stuff!”

The recording was made with a “new meets old” aesthetic: inspired by the 50s and 60s Rudy Van Gelder recordings in terms of transparency and natural fidelity, but also with a nod to contemporary sonic developments. The O’Higgins have been on a mission for over 10 years to create a jazz friendly, ribbon mics, spill-and-all recording environment and JVG Studio gets better all the time.

Concerning their ongoing relationship with Ubuntu Music, the couple commented, saying, “It’s great to know Martin Hummel is always on your team, and it’s exciting to be a part of this continued relationship with the ever growing and eclectic label that is Ubuntu.”

Martin Hummel, Director of Ubuntu Music concludes: “We’re thrilled to continue our relationship with Judith and Dave. Their eponymous debut album was a runaway success and ‘Omicron’ is the logical extension to this. It’s a joy to have His’n’Hers as a part of the Ubuntu Family. ”https://www.weareubuntumusic.com/hisnhers-omspotify-copy

Personnel: Judith O’Higgins, tenor sax, Dave O’Higgins, tenor sax, Graham Harvey, piano, Jeremy Brown, bass

Omicron

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Plas Johnson - This Must Be The Plas!/Mood For The Blues

Bitrate: 320K/s
Time: 75:38
Size: 173.2 MB
Styles: Saxophone jazz
Year: 2014
Art: Front

[3:03] 1. Too Close For Comfort
[3:34] 2. I Hadn't Anyone Till You
[2:41] 3. Heart And Soul
[3:38] 4. Poor Butterfly
[3:15] 5. Memories Of You
[2:17] 6. Just One Of Those Things
[2:59] 7. There Is No Greater Love
[3:13] 8. If I Had You
[3:10] 9. My Silent Love
[3:20] 10. Day In, Day Out
[2:55] 11. My Old Flame
[3:27] 12. S'il Vous Plait
[3:21] 13. Don't Let The Sun Catch You Cryin'
[2:55] 14. One Mint Julep
[2:49] 15. How Long Has This Been Going On
[2:21] 16. Blues In My Heart
[2:59] 17. I've Got A Right To Cry
[2:27] 18. Please Send Me Someone To Love
[2:56] 19. Tanya
[2:40] 20. Fool That I Am
[2:44] 21. Chloe (Song Of The Swamp)
[3:09] 22. Since I Fell For You
[2:25] 23. A Mood For The Blues
[2:19] 24. I Wanna Be Loved
[2:27] 25. The Big Twist
[2:21] 26. Come Rain Or Come Shine

During the late Fifties and early Sixties in the US the saxophone of Plas Johnson was a ubiquitous sound on radio. Known as the horn behind the hits , he was famous as the tenor sax on the celebrated 1963 Pink Panther main theme recording. Born near New Orleans, he moved to the west coast at a very young age and there launched a career that made him one of the most sought-after studio musicians on the Los Angeles scene, with a great reputation built largely on his remarkable ability to play any style of music with taste and restraint.

The two Capitol albums here epitomize this. On This Must Be the Plas! (1959), he is accompanied by three small groups with slight personnel changes, and although Plas is the main voice on tenor, baritone and alto sax everybody else in the group has his own solo space. Mood for the Blues (1960) features Plas on tenor with strings and rhythm, the tasteful arrangements of Gerald Wilson and René Hall forming a fine background for his solo work. Also included here is his first single for Capitol, including his smash hit The Big Twist and Come Rain or Come Shine. His warm tone and naturally easy style is as greatly admired by other musicians as it is by jazz and pop music fans. It resulted in the kind of soulful, pretty and well-controlled sound that gave universal enjoyment.

This Must Be The Plas!/Mood For The Blues

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Marlene VerPlanck - Sings Alec Wilder

Styles: Vocal Jazz
Year: 2013
Time: 59:27
File: Flac
Size: 61,7 MB
Art: Front

(3:19) 1. Where Is the One?
(4:07) 2. Crazy in the Heart
(3:09) 3. Love Among the Young
(4:03) 4. I'm Alone Again
(2:52) 5. Please Stay with Me
(2:41) 6. The Lady Sings the Blues
(2:03) 7. I Like It Here
(2:05) 8. Lovers and Losers
(1:56) 9. Remember, My Child
(3:19) 10. Give Me Time
(1:48) 11. That's My Guy
(4:44) 12. (So You've Had A) Change of Heart
(3:41) 13. I Wish I Had the Blues Again
(1:50) 14. No One Ever Told Me
(2:32) 15. I'll Be Around
(3:38) 16. Blackberry Winter
(4:28) 17. The Wrong Blues
(2:42) 18. I Like It Here (And This Is Where I'll Stay)
(2:19) 19. Be a Child
(2:10) 20. Where Is the One?

Alec Wilder wrote some of the most sophisticated and obscure songs. Best-known is "I'll Be Around" but most of his other compositions have been somewhat forgotten except by top cabaret singers. On this set, Marlene Ver Planck performs 20 of Wilder's best works (including the verses). 13 of the tunes were originally cut in 1986 but, for the CD reissue, seven more were recorded in 1991.

Backed by pianist Loonis McGlohon, either Rick Petrone or Doug Burns on bass and Mel Lewis or Bill Stowe on drums (with Billy Ver Planck contributing the arrangements), Marlene Ver Planck sounds in prime form and gives each lyric the proper amount of sincere feeling and sensitivity. A highlight is "The Lady Sings The Blues" which Wilder wrote for Billie Holiday but which had never been previously recorded.By Scott Yanow https://www.allmusic.com/album/sings-alec-wilder-mw0000616432#review

Personnel: Marlene VerPlanck: Vocals; Loonis McGlohon: Piano; Rick Petrone: Bass; Doug Burns: Bass; Mel Lewis: Drums; Bill Stowe: Drums

Marlene VerPlanck Sings Alec Wilder

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Melanie Scholtz - Seven

Styles: Vocal Jazz
Year: 2024
Time: 31:15
File: MP3 @ 320K/s
Size: 72,9 MB
Art: Front

(0:39) 1. As Is / This Is Me (interlude)
(3:03) 2. New Skin
(3:15) 3. Remedy
(3:58) 4. Music is the Man of My Dreams
(1:02) 5. Thread (interlude)
(4:51) 6. With Me
(3:00) 7. Same Black Magic
(0:56) 8. Open Heart (interlude)
(4:59) 9. Love Again
(1:11) 10. Very Soon (electronic interlude)
(3:04) 11. Benjamin
(1:12) 12. Very Soon (acoustic)

Seven years is both an eternity and the blink of an eye. Enough of a stretch for individual circumstances to turn on countless dimes, it's also just a brief moment in the sea of existence and the greater, grander scheme. Seven is life itself...yet it's also one of its component cycles. South African-born vocalist Melanie Scholtz is well aware of these contradictions and truths, and, more importantly, the spiritual charge, gifts toward personal growth, well-placed challenges and overall wonder embedded within the number. And she uses that knowledge to outstanding effect.

Seven Scholtz's first release for Ropeadope's AfricArise imprint draws inspiration, stories and strength from the years spent building a new life in New York. Working closely with pianist/producer/co-writer Bokani Dyer, this world-wise artist crafts a compelling program that touches on her experiences, optimism, personal anchors and true sense of self. Opening on a vocal vignette that flat-out states an embrace of identity without filter, Scholtz quickly goes on to address rebirth and renewal on the easy flowing "New Skin." The slick, upbeat soul of love song "Remedy" and slow-grooving "Music is the Man of My Dreams" follow, benefitting from sharp lyrics and polished delivery while highlighting Scholtz's magnetic vocals. Additionally, they draw welcome attention to a tight core unit featuring Dyer, bassist Benjamin Jephta and drummer Marlon Witbooi, and introduce important guests in the mix, like saxophonist Paul Carlon, trumpeter Mark Collins and guitarist Al Du Toit.

"Thread," where Scholtz expands the art of the interlude, uses an African-accented, neo-doo-wop slant to thank the line that pulls her home; and "With Me," similarly appreciative, travels the path of the sophisticated power-pop ballad. "Same Black Magic" sings to an unspoken sisterhood and latches onto the ears with irresistible melodic/lyrical hooks. Miniature "Open Heart" quickly bares itself through name and requests the same before it departs and draws attention to the mellow, contemporary-leaning "Love Again." And two different takes on dream-catching nugget "Very Soon" one electro-enhanced, the other acoustic bookend talks of money matters and materialism on hundred-dollar happening "Benjamin." Seven years in The City That Never Sleeps have clearly been transformative for Melanie Scholtz, and this music, detailing or drawing on that metamorphosis, carries its own life-altering impact. By Dan Bilawsky
https://www.allaboutjazz.com/seven-melanie-scholtz-africarise-ropeadope

Personnel: Melanie Scholtz - main and backing vocals; Bokani Dyer - keys; Benjamin Jephta - bass; Marlon Witbooi - drums

Special guests: Paul Carlon - saxophones; Mark Collins - trumpet; Al Du Toit - Guitar

Seven

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Ollie Usiskin - Trio Zone

Styles: Jazz
Year: 2023
Time: 45:11
File: MP3 @ 320K/s
Size: 104,3 MB
Art: Front

(6:28) 1. Steady Eddie
(3:08) 2. Stand Alone
(4:29) 3. Slow Dance
(7:48) 4. Return Of The Jazz Police
(5:14) 5. Messin'
(5:08) 6. Crossing The Ocean
(6:09) 7. Corner Pocket
(6:44) 8. Blue Shift

Leader Ollie Usiskin is originally from London, UK. He studied at Berklee College of Music in Boston & The Drummers Collective in New York. He recently has been on recordings with Mike Stern, Bob Franceschini, John Etheridge (Softmachine), Bassist Antoine Fafard & Paul Wertico. His past credits include Actor Sir Christopher Lee, Supertramp Saxman John Helliwell, ELO Cellist Hugh McDowell, Singer Ian Shaw.

He has toured with Jack Bruce Son Malcolm Bruce & 80's Band The Woodentops in Europe & the UK. Other Artists he's worked with include Producer Trevor Horn, Singer LuLu & members of Alice Cooper, Uriah Heep, Sting, Judas Priest & YES. His Duo Album release With Cellist Max Oliver was given 3.5 stars in Jazz Journal & was assisted by Executive Producer Jimmy Haslip. Ollie and The Trio have been influenced by John Scofield, Bill Frisell, Jaco Pastorius, Jack DeJohnette and Tony Williams. From this, they have created original Modern Jazz and have performed around the London Jazz Circuit.Carl Orr is an Australian jazz guitarist and composer.

He has been based in London since the 1990s, recording and performing with Billy Cobham, George Duke, Bennie Maupin, Eric Bibb, Ernie Watts, Nigel Kennedy, Eric Krasno, T. M. Stevens, Randy Brecker, Gary Husband, Ettienne M'Bappe, Marcus Miller, Mike Stern, Larry Coryell, Ric Fierabracci and Don Grusin. He also performed with Sting on the UK tour of "THE LAST SHIP".Rob teaches bass at BIMM Institute London. For over 25 years, Rob has recorded and performed with Mike Stern, John Etheridge, Jim Mullen, Keith Emerson, Ian Carr's Nucleus, Dick Heckstall-Smith, Mojo Buford, Ruby Turner, and Dana Gillespie. He has been a member of John Etheridge tribute to Frank Zappa " Zappatistas". By Editorial Evaluations
https://www.amazon.com/Trio-Zone-Ollie-Usiskin/dp/B0C32ZZ59F

Personnel: Ollie Usiskin - Drums; Carl Orr - Guitar; Rob Statham - Bass

Trio Zone

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Alex Mendham and His Orchestra - On With the Show

Styles: Big Band
Year: 2017
File: MP3@320K/s
Time: 42:48
Size: 99,0 MB
Art: Front

(2:50) 1. Shall We Dance
(2:25) 2. Let Yourself Go
(3:44) 3. Cheek to Cheek
(2:44) 4. Night and Day
(2:30) 5. Caravan
(2:58) 6. I'm No Angel
(2:32) 7. Jeepers Creepers
(3:20) 8. What Is This Thing Called Love?
(2:54) 9. Anything Goes
(2:54) 10. Nobody Cares If I'm Blue
(3:06) 11. Broken Record
(2:23) 12. Hot Lips
(2:39) 13. The Way You Look Tonight
(3:09) 14. Blue Moments
(2:33) 15. Prelude in C# Minor

Mesmerised from a young age by the music of a forgotten time, Essex-born musician, singer, and lyricist Alex Mendham made a name for himself, having burst onto the scene by forming his own orchestra at the tender age of just 20 (and refusing to slow down ever since!). Alex Mendham spent his youth studying the saxophone and meeting the last surviving dance band musicians from the golden era, living links to the past, including the virtuoso Al Gallodoro, a star of 1920s Paul Whiteman fame. He also spent several years as protégé to Bob Wilber, himself a student of Sidney Bechet. After the initial performances with his Orchestra, Alex soon realised what was needed was an authentic vocalist and frontman. He exchanged the saxophone for a conductor's baton and the rest as they say is history.

Alex Mendham and His Orchestra was founded by the debonair, white-tie-and-tails wearing bandleader, to sweep audiences away with the high style and musical glory of the 20’s and 30’s. He and his Orchestra have turned the music of a golden age into a worldwide concert touring show. Initially, Alex Mendham pitched his wild idea to the owners of London's Savoy Hotel, and the Orchestra embarked a long-standing residency in the hotel's hallowed ballroom. Request performances soon followed at many iconic venues around the capital, including the world-famous Ritz Hotel. This vital early period allowed the Orchestra to hone it’s signature style and sound, playing together each night. Soon, the allure of taking their music to the world-stage became too great for Alex and His Orchestra to resist. Beginning with the now legendary sell out show at the Kursaal Concert Hall in Belgium, Alex Mendham has taken his orchestra to new heights internationally performing everywhere from the lush art-deco Cicada Club of Downtown L.A to open-air concerts in the gothic palaces of Russia, via grand scale events upon the romantic canals of Venice. Outside of their live performances, the Orchestra is a mainstay of BBC Radio, and has lent it's talents to productions for film and television. https://www.alexmendham.com/biography

On With the Show

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Cleo Laine - Once Upon a Time

Styles: Vocal Jazz
Year: 2005
Time: 55:58
File: MP3 @ 320K/s
Size: 130,5 MB
Art: Front

(2:55) 1. Where the Bee Sucks (William Shakespeare)
(3:38) 2. Live With Me and Be My Love (William Shakespeare)
(3:47) 3. Hey Nonny Nonny (William Shakespeare)
(2:17) 4. Blow Blow Thou Winter Wind (William Shakespeare)
(2:29) 5. Under The Greenwood Tree (William Shakespeare)
(3:55) 6. As An Unperfect Actor (William Shakespeare)
(4:11) 7. Over Hill, Over Dale (William Shakespeare)
(3:42) 8. Time, You Old Gypsy Man (Ralph Hodgson)
(1:53) 9. Stupidity Street (Ralph Hodgson)
(3:34) 10. The House Across the Way (Ralph Hodgson)
(2:30) 11. The Ousel Cock (Ralph Hodgson)
(2:39) 12. Love Among the Haycocks (Ralph Hodgson)
(3:48) 13. Drink to Me Only
(1:27) 14. Mesthuselah
(3:31) 15. Sinner's Rue
(2:12) 16. When I Was One and Twenty
(2:56) 17. We Are the Music Makers
(4:28) 18. Once Upon a Time

Dame Cleo Laine, Lady Dankworth, DBE (born 28 October 1927) is an English jazz and pop singer and an actress, noted for her scat singing and for her vocal range. Though her natural range is that of a contralto, she is able to produce a "G above high C", giving her an overall compass of well over three octaves.

Laine is the only female performer to have received Grammy nominations in the jazz, popular and classical music categories. She is the widow of jazz composer Sir John Dankworth.

Laine was born Clementine Dinah Bullock in Uxbridge, Middlesex, to unmarried parents Alexander Sylvan Campbell, a black Jamaican father who worked as a building labourer and regularly busked, and Minnie Bullock, a white English mother, a farmer's daughter from Swindon, Wiltshire. The family moved round constantly, but most of Laine's childhood was spent in Southall. She attended the Board School there on Featherstone Road (later known as Featherstone Primary School) and was sent by her mother for singing and dancing lessons at an early age. She went on to attend Mellow Lane Senior School in Hayes before going on to work as an apprentice hairdresser, a hat-trimmer, a librarian and in a pawnbroker's shop.

In 1946, under the name Clementina Dinah Campbell, Laine married George Langridge, a roof tiler, with whom she had a son, Stuart. The couple divorced in 1957. It was not until 1953, when she was 26 and applying for a passport for a forthcoming tour of Germany that Laine found out her real birth name, due to her parents not being married at the time and her mother registering her under her own name.

Laine did not take up singing professionally until her mid-twenties. She auditioned successfully, at the age of 24, for the Johnny Dankworth Seven band, led by musician John Dankworth (1927–2010), with which she performed until 1958, when she married Dankworth in secret at Hampstead Register Office. The only witnesses were the couple's friend, pianist Ken Moule, and his arranger, David Lindup. The couple had two children, Alec who lives in the USA and Jacqui, a British singer who has released a number of albums. Both became successful musicians in their own right.

Laine began her career as a singer and actress. She played the lead in a new play at London's Royal Court Theatre, home of the new wave of playwrights of the 1950s such as John Osborne and Harold Pinter. This led to other stage performances, such as the musicalValmouth in 1959, the play A Time to Laugh (with Robert Morley and Ruth Gordon) in 1962, Boots With Strawberry Jam (with John Neville) in 1968, and eventually to her role as show-stopping Julie La Verne in Wendy Toye's production of Show Boat at the Adelphi Theatre in London in 1971. Show Boat had its longest run to date in that London season with 910 performances staged.

During this period, she had two major recording successes. "You'll Answer to Me" reached the British Top 10 while Laine was "prima donna" in the 1961 Edinburgh Festival production of Kurt Weill's opera/ballet The Seven Deadly Sins, directed and choreographed by Sir Kenneth MacMillan. In 1964 her Shakespeare and All that Jazz album with Dankworth received widespread critical acclaim.

Laine's international activities began in 1972, with a successful first tour of Australia. Shortly afterwards, her career in the United States was launched with a concert at New York's Lincoln Center, followed in 1973 by the first of many Carnegie Hall appearances. Coast-to-coast tours of the U.S. and Canada soon followed, and with them a succession of record albums and television appearances, including The Muppet Show in 1977. This led, after several nominations, to her first Grammy award, in recognition of the live recording of her 1983 Carnegie concert. She has continued to tour periodically, including in Australia in 2005.

She has collaborated with many well-known classical musicians including James Galway, Nigel Kennedy, Julian Lloyd Webber and John Williams.

Other important recordings during that time were duet albums with Ray Charles (Porgy and Bess) as well as Arnold Schoenberg'sPierrot Lunaire, which won Laine a classical Grammy nomination.More......https://www.tumblr.com/blackkudos/131861060297/cleo-laine-dame-cleo-laine-lady-dankworth-dbe

Personnel: Cleo Laine: Vocals; John Dankworth: Composer of the poems set to music

Once Upon a Time

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Joan Fort - So Far, So Good

Styles: Avantgarde jazz, Contemporary jazz, Free jazz
Year: 2025
Time: 57:02
File: Flac
Size: 131,6 MB
Art: Front

(4:21) 1. So Far, So Good
(3:55) 2. Fly With The Wind
(6:09) 3. So Nice
(6:40) 4. Bush Baby
(4:34) 5. Hocus Pocus
(7:27) 6. Escapade
(4:26) 7. Where's The Plunger
(7:34) 8. You Taught My Heart To Sing
(5:32) 9. Book's Bossa
(6:20) 10. With A Song In My Heart

When I heard the first bars of the opening tune, “So Far, So Good”, I thought, “Wow! The Poll Winners are back”, recalling that famous trio from the ‘50s featuring Barney Kessel, Ray Brown, and Shelly Manne. But the comparison quickly fades as Joan Fort, Philip Lewin and David Puime are definitely having their own sound and are able to take the music to another direction.

Lucky Thompson’s composition “Fly With The Wind” lives up to its name as the band truly takes flight. It swings hard and the interaction between the guitar and the drums is great. “So Nice”, written by the legendary bebop piano player Elmo Hope, has a great feel with Fort playing beautiful lines in his solo and supported by Lewin’s warm bass sound and Puime’s nice fat swinging brushes. Fort’s own composition, “Bush Baby”, begins with a beautiful guitar intro which leads to the melody in a relaxed medium tempo and I hear the phrasing and melodic influence of Jim Hall and Jimmy Raney which is very rare these days. Lee Morgan’s “Hocus Pocus” sounds really swinging in this great trio arrangement and the chase choruses between Puime and Lewin are an example of musicality.

The trio expands into a quartet for the next few tunes with the addition of the excellent pianist Timothy Banchet. “Escapade”, written by the great Kenny Dorham, has a very relaxed and warm feel. Fort’s “Where’s The Plunger?” is a fast swinger with great solos from Fort and Banchet and nice, clear phrasing from Puime. Timothy’s beautiful piano intro is the beginning of awonderful duo performance of the ballad “You Thought My Heart To Sing”, with Fort on guitar. The samba “Book’s Bossa”, written by bassist Walter Booker is played which such a groovy feel that it is impossible not to dance.

The closing tune of this remarkable debut album is the Richard Rogers and Lorenz Hart’s standard “With A Song InMy Heart”. This could not be a better ending, starting with a gorgeous rendition of the seldom heard verse by Fort and the beautiful voice of guest singer Sanna van Vliet. The tune ends in up-tempo with a wonderful trumpet solo from Paolo Petrecca another surprising guest. 

This is a remarkable debut album of three great inventive and swinging musicians who are making music on a very high level with the guest soloists as an extra plus. They know the language and have the tradition solid in their pockets. The future of Jazz is definitely safe in their hands. I can’t wait to hear their next album! — Eric Ineke

Personnel: Joan Fort (guitar), Philip Lewin (double bass), David Puime (drums). Guest: Timothy Banchet (piano, on #6, 7, 8 & 9), Sanna van Vliet (voice on #10), Paolo Petrecca (trumpet on #10). Recorded at Studio Conservatorium van Amsterdam, October 4 & 5, 2023

So Far, So Good

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Ann Burton - It Might As Well Be Love

Styles: Vocal
Year: 2023
Time: 33:04
File: MP3 @ 320K/s
Size: 76,6 MB
Art: Front

(3:55) 1. Sooner Or Later
(2:41) 2. This Is New
(4:50) 3. Nobody's Heart
(2:04) 4. What'll Do
(3:50) 5. I Like You, You're Nice
(3:35) 6. Humpty Dumpty Heart
(4:43) 7. After You
(3:24) 8. You Fascinate Me So
(3:59) 9. It Might As Well Be Spring

Ann Burton (March 4, 1933 - November 29, 1989, Amsterdam) is the pseudonym of Johanna Rafalowicz (between 1938 and 1971: Johanna de Paauw), a Dutch jazz singer.

Ann Burton started her career as a singer in a quintet in Luxembourg and she started off by singing in the Doris Day style. Records of Billy Holiday drastically changed her style. Back in Holland she performed in a jazz repertoire with the trio of Frans Elsen. When Ramses Chaffy founded his “Shaffy Chantant” , Ann Burton was one of the first whom he contracted as a singer. In a long engagement in this group Ann became known at a larger audience.

Her breakthrough came in 1968, working with John J. Vis with whom she made her debute as Blue Burton, accompanied by the trio of Louis van Dijk. With John Vis she also made the albums Ballads and Burton and Ann Burton sings for lovers and other strangers. Further success had to wait till 1973, when she went to Japan, which was the land of the rising sun for her, because in Tokio, Ann Burton became the second most loved Jazz-singer, next to Ella Fitzgerald.https://www.last.fm/music/Ann+Burton/+wiki

It Might As Well Be Love

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