Jimmy Scott - Moon Glow

Styles: Jazz
Year: 2003
Time: 53:38
File: MP3 @ 320K/s
Size: 123,3 MB
Art: Front

(3:51) 1. Moonglow
(4:43) 2. Since I Fell For You
(7:10) 3. Those Who Were
(4:12) 4. Yesterday
(7:29) 5. How Long Has This Been Going On?
(4:29) 6. I Thought About You
(6:14) 7. Time On My Hands (You In My Arms)
(3:39) 8. If I Should Lose You
(6:13) 9. Solitude
(5:32) 10. We'll Be Together Again

It took a long time in coming, but Jimmy Scott’s sure found his career groove with his series of “comeback” albums with Todd Barkan for the Milestone label. Barkan somehow knows how to set up Scott’s distinctive vocal presence an unparalleled dynamic between the performer's exquisite sense of jazz and blues timing, and the ravages of Kallmann’s Syndrome on his voice with simple perfection. On his fourth Milestone set, Scott burns like a classic torch singer through classic songs, except he seems to do more than sing these songs he seems to embody them, to give them their own life through his voice.

Scott discovers more shadow than light in “Since I Fell For You,” which pianist Larry Willis and saxophonist David “Fathead” Newman cook up to boiling, and his duet with Willis on “Those Who Were” runs so deep it seems to stop time. This tragic, mournful arrangement of “Solitude” makes the song sound written for Scott, again with Willis plus Grïgoire Maret on harmonica blues. Guitarist Joe Beck also offers soulful counterpart, jazzing up the feel to the opening “Moonglow,” in which Scott languidly bathes just behind the beat, and the nattily swinging “I Thought About You.” By Chris M. Slawecki https://www.allaboutjazz.com/moon-glow-jimmy-scott-fantasy-jazz-review-by-chris-m-slawecki

Personnel: Jimmy Scott - Vocal; Joe Beck--Guitar; Hank Crawford--Alto Sax; Renee Rosnes--Piano; Little Jimmy Scott--Vocals; Lew Soloff--Trumpet; Larry Willis--Piano; Grady Tate--Drums. Lewis Nash--Drums; Eric Alexander--Tenor Sax; Cyrus Chestnut--Piano; Bob Kindred--Tenor Sax; George Mraz--Bass; David "Fathead" Newman--Tenor Sax; Clarence Penn--Drums; Michael Kanan--Piano; Gregoire Maret--Harmonica.

Moon Glow

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Gato Barbieri - Standards Lost And Found 2

 

Styles: Jazz
Year: 2025
Time: 54:25
File: MP3 @ 320K/s
Size: 124,9 MB
Art: Front

(9:09) 1. Jayne
(6:24) 2. Anthropology
(6:07) 3. New Rhumba
(6:09) 4. 'Round About Midnight
(6:55) 5. Gato Blues
(5:43) 6. Epistrophy
(5:59) 7. In Search Of The Mystery
(7:56) 8. When Will The Blues Leave?

Standards Lost and Found 2, hosts two compositions by Ornette Coleman (Jayne and When Will The Blues Leave?) a clear homage to the composer, father of free jazz, and an overt demonstration of musical intent and fundamental aesthetic reference. Charlie Parker’s Anthropology is respectfully dedicated to a new interpretation of the more recent jazz tradition from which the four musicians descend, as are the two compositions by Thelonious Monk: ‘Round Midnight and Epistrophy, which, along with Jamal’s fresh New Rhumba however, testify to an already much-transformed tradition. Gato’s In Search of the Mystery and Gato Blues fit perfectly into the set list and reflect the significant role of the Argentine tenor player who in this way places his compositional signature on the record.(by Andrea Polinelli) https://redrecords.it/en/store/vinyls/standards-lost-and-found-2-gato-barbieri/

Personnel: Gato Barbieri, sax Franco D’Andrea, piano Giovanni Tommaso, bass Pepito Pignatelli, drums Recorded in Roma, Spring 1968 Remastered by Rinaldo Donati at Maxine Studio, Milano

Standards Lost And Found 2

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Gato Barbieri - Standards Lost And Found 1

Styles: Jazz
Year: 2024
Time: 62:28
File: MP3 @ 320K/s
Size: 143,3 MB
Art: Front

( 6:24) 1. Terre Lontane
(10:54) 2. So What
( 3:35) 3. Softly, As In A Morning Sunrise
(10:54) 4. All Blues
( 9:06) 5. Maiden Voyage
( 8:53) 6. Nardis
( 5:27) 7. Lush Life
( 7:11) 8. Tension

A rare and little-known session by Argentinian saxophonist Gato Barbieri playing standards as opposed to his widely known work within Latin and free form jazz. Among the highlights of this incredible album interpretations of Miles Davis's So What and All Blues, Herbie Hancock's Maiden Voyage, and Billy Strayhorn's Lush Life.

"This release fills a gap in Barbieri's discography. The artist we met in his first work as a single leader, 'In Search Of The Mystery' (1967), moved in the realm of pure improvisation, going in the direction of the spirituality of Albert Ayler and Pharoah Sanders. In the Roman sessions, however, Barbieri recovers his original matrix deeply rooted in the language of John Coltrane and, in part, in that of the early Ornette Coleman. To some extent it is a completely new Barbieri that emerges from these recordings." Marco Giorgi (from liner notes) https://www.jazzmessengers.com/en/102262/gato-barbieri/standars-lostandfound1

Personnel:

Gato Barbieri, sax
Franco D'Andrea, piano
Giovanni Tommaso, bass
Pepito Pignatelli, drums

Recorded in Roma, Spring 1968
Remastered by Rinaldo Donati at Maxine Studio, Milano

Standards Lost And Found 1

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Dan Moretti - Brazilia Live at the Pump House: Celebrating Wayne Shorter

Styles: Jazz
Year: 2024
Time: 51:09
File: MP3 @ 320K/s
Size: 117,8 MB
Art: Front

(5:51) 1. Black Nile (Live)
(5:52) 2. Fee Fi Fo Fum (Live)
(6:34) 3. Night Dreamer (Live)
(5:58) 4. Speak No Evil (Live)
(6:51) 5. Witch Hunt (Live)
(5:57) 6. Yes or No (Live)
(7:09) 7. Oriental Folk Song (Live)
(6:55) 8. Footprints (Live)

While everyone has ideas, some ideas are admittedly better than others. Saxophonist Dan Moretti and Brazilia's notion to salute the music of Wayne Shorter by reshaping and Latinizing eight of the legendary saxophonist's splendid compositions was a good idea. Doubters need only survey the finished product, recorded in front of an enthusiastic audience in December 2024 at The Pump House Music Works in Wakefield, Rhode Island. Shorter's unique and engaging melodies, several of which are now enshrined in the jazz canon, lend themselves readily to Brazilia's fresh interpretations, wherein the core elements are preserved even as they are enriched by Latin rhythms that add spirit and fire to an already handsome image. Moretti's razor-sharp and focused ensemble is clearly enjoying the moment and leaving no rhythmic stone unturned as it digs hard into every theme with awareness and gusto.

Moretti's partners in Brazilia are pianist Maxim Lubarsky, bassist Oscar Stagnaro, drummer Steve Langone and percussionist Ernesto Diaz, each of whom punches above his weight to enhance what is truly a group endeavor. There is solo room for all, with Lubarsky especially impressive whenever his number is called. As for Moretti, he is eloquent on tenor sax (six numbers) or soprano ("Speak No Evil," "Yes or No)," while Diaz' heavy-duty percussion is an indispensable part of the equation.

The swaying "Black Nile" is first up, read here as a mambo, followed by a cha-cha version of "Fee Fi Fo Fum" and the reggae-infused "Night Dreamer." The ensemble slips easily into a samba-style rendition of "Speak No Evil," followed by the mambo "Witch Hunt," a rhythmically intense "Yes or No" and sauntering "Oriental Folk Song" before bowing out with one of Shorter's best-known and most-often covered compositions, "Footprints."

This is a very good concert by any measure, enfolding an ample reservoir of upbeat and pleasurable music while shedding new light on the impressive compositional skills of the renowned saxophonist Wayne Shorter.
By Jack Bowers https://www.allaboutjazz.com/live-at-the-pump-house-celebrating-wayne-shorter-dan-moretti-and-brazilia-self-produced

Brazilia Live at the Pump House: Celebrating Wayne Shorter

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Ute Lemper - Pirate Jenny

Styles: Vocal
Year: 2025
Time: 41:05
File: MP3 @ 320K/s
Size: 94,5 MB
Art: Front

(4:48) 1. Mack the Knife
(5:44) 2. Speak Low
(4:22) 3. Surabaya Johnny
(4:16) 4. My Ship
(5:53) 5. Pirate Jenny
(5:04) 6. Le Grand Lustucru
(6:05) 7. Die Ballade vom ertrunkenen Mädchen
(4:50) 8. Salomon Song

Germany's optimistic yet fragile Weimar Republic period was wedged between two brutal wars during the early 20th century. Extending from 1918 to 1933, it was proudly called the Jazz Age and the Golden Twenties and offered an abundance of free-flowing entertainment choices. It was also a time of inflation, chaos and conflict dominated by economic instability and political extremism.

Although German cabaret had its origins at the beginning of the century, its true glory days reigned during those heady years between the wars. A bawdy combination of music, dance, theater and comedy was originally presented in opulent venues but also migrated to seedy grottos and decadent clubs. Flashing from the marquees were the names of producers and composers, including Kurt Weill and Bertolt Brecht. Performers such as Lotte Lenya (Weill's wife) helped personify the characters. Other chanteuses included Marlene Dietrich, Germany's original queen of seduction, who got her start in clubs and went onto worldwide fame via song and cinema.

The mantra of the masses was grab a bottle of champagne and embrace the morbid humor, cynicism and sarcasm of the day. Although the republic was short lived, the sounds and stories successfully moved from sewers to streets to stages and endures to this day. The last few decades of the 20th century saw Marianne Faithfull, the 'Brit It' girl, fall under the spell of Weill and Brecht and an aging Lenya blessing the up-and-coming operatic soprano and actress Teresa Stratas.

Then there was German born Ute Lemper. She flirted with a jazz combo in the very late 1970s and embraced theater and dance in the 1980s and used her long, lean statuesque physique to its utmost advantage. She could be wide-eyed and animated like Fanny Brice or vamp things up like a regal Norma Desmond. There was always a sly nod and wink from Lemper to her audience. She eventually shimmied and sashayed her way through performances in Cats, Cabaret, Chicago and more. People noticed.

Marlene Dietrich befriended Lemper upon hearing about a Dietrich inspired Lemper performance soon followed by her full-length recording debut in the late 1980s. In keeping with the bittersweet lyrics of the 1920s and beyond, she wearily sang "I'm a poor relation," "I work my fingers to the bone," and "that's not living, that's just frustration" on the very first song of her first album. Two songs later, Lemper cooly mesmerized the listener with the macabre tale of "Mack the Knife" and revealed "there's a dead man lying on the shore," that "Jenny Towler was found with a knife in her chest" and concluded with "those in the dark cannot be seen."

With Dietrich's blessing of Lemper's presentations, the torch had passed. Although five of Lemper's first seven albums focused on Weill, she eventually recorded music affiliated with Edith Piaf plus works by Jacques Brel, Stephen Sondheim and more contemporary artists, such as Tom Waits. Lemper even began writing and recording her own material. Her 2025 release, Pirate Jenny, confirms that the addictive pull of Weill continues.

This disc is a 21st-century interpretation of Weill pieces sans a retro 1920s sound and style. The collection is a celebration of Weill's birth in 1900 and further confirms his enduring staying power. Although the black-and-white cover photo of Lemper with blood-red lipstick is as alluring as ever, a 2025 Lemper video draws us into a concrete quicksand of a decadent underground. She prowls through the streets as a slightly deranged back-alley Joker, complete with garishly smeared lipstick and a weary cat like swagger and sway. As for the album, it is a collection of only eight pieces (six sung in English plus one each in German and French) with Weill-Brecht collaborations featured on five selections, all from the 1920s.

It may only be eight songs but you will still meet a menagerie of nefarious characters. A decidedly eerie and cautious "Mack the Knife," opens the show. This hypnotic missive is more a dreary Bladerunner 2049 than a vibrant Berlin 1928 and it sets the tone for the evening. There is a pair of Weill songs from the early war years of the 1940s. "Speak Low" (lyrics by Ogden Nash) drifts on ethereal clouds of sound while "My Ship" (lyrics by Ira Gershwin) floats on understated ribbons of sound. Both are complemented by the brief appearance of a muted trumpet which returns during several other songs as well. Both "Speak Low" and "My Ship" went on to become jazz standards recorded by a seemingly endless A-list of top artists.

Then "Pirate Jenny" takes center stage at the album's midpoint. Whether pickpocket, prostitute or a tart combination of both, she commands our attention with a cynical growl that is more spoken than sung. The final track, the Weill-Brecht penned "Solomon Song," is a tortuous tale that maintains the same atmospheric aural drone that dominates the album from start to finish.

If you are in search of new interpretation with subtle twists and turns, welcome to tonight's cabaret since the liner notes remind the listener this is "Kurt Weill reimagined... " If you are seeking more traditional versions of these songs, rewind to any number of earlier Lemper releases and cherry-pick a collection of your choice. It ultimately comes down to 'different' instead of 'better or worse.' There are no garish klieg lights or bombastic orchestra at this venue, just low-key sounds with swirls of smoke lingeringand then dissipating into thin air. By Scott Gudell
https://www.allaboutjazz.com/pirate-jenny-ute-lemper-the-audiophile-society

Pirate Jenny

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Darius Brubeck & Dan Brubeck - Gathering Forces

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 43:17
Size: 99,2 MB
Art: Front

(10:14)  1. Earthrise
( 5:52)  2. Three Mile Island
( 6:09)  3. Kearsage Strut
( 2:49)  4. Just Think About WHat Happens
( 6:33)  5. Tugela Rail
( 4:55)  6. The Parrot
( 6:44)  7. I Say There's Hope

Brubeck majored in ethnomusicology and the history of religion at Wesleyan University, graduating cum laude. Brubeck holds an MPhil from Nottingham University. "He was awarded a Bellagio Project Residency (Rockefeller Foundation) as Composer in 2005 and received 'Outstanding Service to Jazz Education' awards in 1988, 1992, 1994, 1998, 2005 and 2006." Darius performed (with all three of his brothers) at the 2009 Kennedy Center Honors Gala when his father received a medal for his lifetime contribution to American culture. President Barack Obama and Mrs Michelle Obama were in the audience. Brubeck currently lives in the south of England in East Sussex.

During the 1970s and early '80s, pianist Brubeck led his own groups, played with Don McLean, Larry Coryell and toured the world with Two Generations of Brubeck and The New Brubeck Quartet (Dave, Darius, Chris and Dan Brubeck). Several albums were recorded along the way. Brubeck's focus changed to South Africa in 1983, when he initiated the first degree course in Jazz Studies offered by an African university. He taught at the University of KwaZulu-Natal (UKZN), Durban, South Africa, and was later appointed Director of the Centre for Jazz and Popular Music, where he remained until 2006. 

After leaving full-time teaching, he was made a Senior Research Associate of the School of Music. While based in London, he taught courses at the Guildhall School of Music and Drama and Brunel University. He has an M.Phil Degree from Nottingham University, where he also taught jazz history for a year. https://en.wikipedia.org/wiki/Darius_Brubeck

Personnel: Darius Brubeck (piano, keyboards); Chris Bishop (vocals); Nelson Bogart (guitar, trumpet, background vocals); Bob Hanlon (flute, alto saxophone, tenor saxophone, baritone saxophone, background vocals); Dan Brubeck (drums, percussion); Dave Weckl (drums).

Gathering Forces

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Phil Woods, Michel Legrand And Orchestra - Images

Styles: Saxophone,Piano Jazz
Year: 1975
Time: 40:55
File: MP3 @ 320K/s
Size: 93,7 MB
Art: Front

( 4:18) 1. The Windmills Of Your Mind
( 4:04) 2. A Song For You
( 3:33) 3. Nicole
( 3:01) 4. The Summer Knows
( 2:51) 5. We've Only Just Begun
( 3:27) 6. I Was Born In Love With You
( 4:50) 7. Clair de lune
(14:46) 8. Images

For this orchestra date, Phil Woods is backed by strings, brass, woodwinds and a rhythm section arranged and conducted by Michel Legrand (who also contributed three pieces). Altoist Woods is showcased throughout on some then-current pop tunes (including "The Windmills of Your Mind," "A Song for You" and a nice version of "We've Only Just Begun"), plus Debussy's "Clair de Lune" and Legrand's lengthy "Images." The overall results are not as essential as Woods' typical combo dates, but the altoist's tone does sound quite passionate at times.By Scott Yanow
https://www.allmusic.com/album/images-mw0000398732#review

Personnel: Phil Woods - alto saxophone; Michel Legrand - piano, arr.; Derek Watkins - lead trumpet; Don Lusher - lead trombone; Roy Willox - principal woodwinds; Armand Migiani - bass saxophone; Jud Proctor - lead guitar; Ron Mathewson - bass; Kenny Clarke - drums And Others...

Images

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Dan Gabel and his Orchestra - Let's Get Away From It All!

Styles: Big Band, Swing, Traditional Jazz
Year: 2025
Time: 50:22
File: MP3 @ 320K/s
Size: 116,4 MB
Art: Front

(3:25) 1. Boston Rocker
(4:59) 2. Let's Get Away From it All
(3:29) 3. On the Sunny Side of the Street
(2:29) 4. Mister Sandman
(3:37) 5. Dreamsville
(3:16) 6. Remember
(3:06) 7. How About You
(3:02) 8. Cruising Down the River
(3:13) 9. It's My Lazy Day
(3:47) 10. Harlem Nocturne
(3:52) 11. Alone Together
(2:28) 12. Swinging Down the Lane
(3:01) 13. The Trolley Song
(2:55) 14. Seems Like Old Times
(3:34) 15. Harlem Congo

"The real deal!"

"The champion of authentic Big Band and vintage jazz" -Syncopated Times

Hailed by the Boston Globe as "The read deal...[a band] that looks and sounds just like the 1940s" Dan Gabel and his Bands have entertained three Governors, a Four-Star General, sold-out concerts, and performed for countless dances, weddings, and fundraisers. Based in Central New England, Gabel's arrangements and compositions have been commissioned and performed across the U.S. by professional Orchestras, Big Bands, and also student ensembles.

Gabel Music features a roster of accomplished and internationally-acclaimed musicians who have performed in prestigious venues all over the world.

"See and hear the difference live music can make at your next event!"
https://gabelmusic.com/

Let's Get Away From It All!

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Darius Brubeck - Years Ago

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 55:11
Size: 127,2 MB
Art: Front

(6:02)  1. Autumn in Our Town
(6:53)  2. Years Ago
(5:43)  3. In the Spanish Mode
(5:31)  4. For Iola
(4:31)  5. The Rainbow
(5:07)  6. October
(4:46)  7. I Saw Your Father
(7:06)  8. Mamazala
(5:39)  9. More Than You Know
(3:48) 10. Caravan

The title track "Years Ago" by Duke Makasi implies reflection and moving on. We often play this worldly, wistful ballad and also “Mamazala”, written by Zim Ngqawana while still a student. My own South African tune “The Rainbow” was written in the 80’s when I was performing and teaching there. It celebrates the defiantly diverse jazz club of the same name. The tunes "October" and “In the Spanish Mode” are from the 70’s and Matt Ridley’s distinctive bass sound sets the mood for both. Further back in time are Dave Brubeck’s “Autumn in Our Town” and the standard, “More Than You Know” framing O’Higgins’ moving soliloquy. My father’s “For Iola” is a tribute to my mother and my new composition “I Saw Your Father” is dedicated to the many people who tell me they saw Dave ‘years ago’. This quartet has been on the road for 10 years, and the ‘caravan’ moves on with fine and fleet brushwork from Wesley Gibbens. Darius Brubeck October 2016 https://store.cdbaby.com/cd/dariusbrubeck6

Personnel: Darius Brubeck (piano); Dave O’Higgins (saxes); Matt Ridley (bass); Wesley Gibbens (drums)

Years Ago

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Andy Sheppard Quartet - Surrounded By Sea

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 53:25
Size: 123,4 MB
Art: Front

(6:16)  1. Tipping Point
(5:15)  2. I Want to Vanish
(4:17)  3. Aoidh, Na Dean Cadal Idir, Pt. 1
(5:06)  4. Origin of Species
(5:09)  5. They Aren't Perfect and Neither Am I
(5:02)  6. Medication
(1:14)  7. Aoidh, Na Dean Cadal Idir, Pt. 2
(6:18)  8. The Impossibility of Silence
(3:48)  9. I See Your Eyes Before Me
(4:18) 10. A Letter
(3:29) 11. Aoidh, Na Dean Cadal Idir, Pt. 3
(3:09) 12. Looking for Ornette

Saxophonist/composer Andy Sheppard has found a home in ECM. It's maybe not the perfect home for an artist as eclectic as Sheppard, for it's hard to see some of his other projects notably the Scofield/Lovanoesque quartet Hotel Bristol fitting in with the ECM aesthetic. Still, Sheppard's melodic improvisational approach and the airy lyricism on Movements in Color (ECM, 2009) and Trio Libero (ECM, 2012) fitted the ECM blueprint beautifully and rank among his most seductive recordings. With Surrounded by Sea Sheppard expands the sonic palette of Trio Libero with the addition of guitarist/electronics musician Eivind Aarset, whose ambient craft adds profundity and simmering edge to the prevailing undertstaed lyricism. Surrounded by Sea trades some of Trio Libero's rubato grace for greater harmonic layers and rhythmic dynamics; on the stunning opener "Tipping Point," Michel Benita's deep bass ostinato and Sebastian Rochford's skipping grooves drive Sheppard's tenor siren, while Aarset's embedded drone and softly voiced, washing six-string textures add atmospheric ambient textures. Sheppard's trademark soprano melodicism is to the fore on Elvis Costello's "I Want to Vanish," a lulling ballad of folkloric charm where Rochford's brushes sigh like waves on a pebble beach.

Folk music has colored most of Sheppards' recorded output over the years and here the quartet addresses "Aoidh, Na Dean Cadal Idir," a traditional Scottish song. The tune blossomed into a twenty-minute improvisation in the studio, was subsequently pruned and woven through the album in three parts, conferring a suite-like continuity on the whole. Hauntingly atmospheric and abundantly lyrical, Sheppard's yearning soprano is lent buoyancy by the loose grooves on the first and third parts. Part two is a fleeting vignette whose feathery lyricism dissipates and vanishes like the lightest of breezes briefly felt. More of this improvised/studio-sculpted mini-suite embedded throughout the album wouldn't have gone amiss. 

Gentle eddies of bass and tenor saxophone color the poetic "Origin of the Species," with Aarset's orchestral waves subtly infusing the narrative; Rochford's presence is ghostly sensed rather than heard. A similar aesthetic imbues "The Impossibility of Silence," with brushes more prominent. Fractured rhythms and echoing guitar plot the course on "They Aren't Perfect and Neither Am I," a brooding quartet tale where sketchy composed lines and measured improvisation dovetail easily. The low-rumbling intensity of the intro to "I See Your Eyes before Me" gives way to Sheppard's tenor lead, searching and ruminative in turn. The simple architecture of the dreamy waltz "A Letter" foregrounds Sheppard's beautiful weighted soprano lines.

Sheppard revisits older material on the hypnotic "Medication," previously interpreted with the Bergen Big Band; Aarset shadows Sheppard's defining melody closely before the saxophonist peels away over Rochford's light, yet propulsive groove. On "Looking for Ornette," Sheppard is drawn once more to explore the nuances of his Ornette Coleman-inspired piece that appeared on Dancing Man and Woman (Provocateur Records, 2000), closing this album in quietly celebratory mode. Surrounded by Sea is an intimate statement whose chemistry belies the quartet's brief existence. There's a bold honesty in the music's refined contours and graceful adventure that invites and rewards the patient listener. There's the feeling too, that this quartet has plenty more to offer. 

~ Ian Patterson http://www.allaboutjazz.com/surrounded-by-sea-andy-sheppard-quartet-ecm-records-review-by-ian-patterson.php

Personnel: Andy Sheppard, tenor & soprano saxophones; Seb Rochford: drums, percussion; Eivind Aarset: electric guitars, electronics; Michel Benita: bass.

Surrounded By Sea

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Christian Escoudé - in L.A.

Styles: Guitar Jazz
Year: 1993
Time: 57:32
File: MP3 @ VBR ~297K/s
Size: 111,0 MB
Art: Front

(4:55) 1. Just One Of Those Things
(8:29) 2. With A Song In My Heart
(6:36) 3. I Didn't Know What Time It Was
(7:04) 4. Laura
(5:17) 5. I Won't Dance
(5:09) 6. A Foggy Day
(4:23) 7. Passarim
(5:05) 8. Moment's Notice
(7:21) 9. Twilight With You
(3:08) 10. When You Wish Upon A Star

Christian Escoudé is born in 1947. His father, gypsy and guitarist, plays in the popular dances of the region. His father has boundless passion for Django Reinhardt that he passes on to his son and introduces him to the guitar at the age 10. Five year later Christian begins a musician's career.

Christian Escoudé is part of a small jazz guitarist's familly coming out from the Manouche circle: Thus, he built up his own guitar style, a mix of be-bop approach widely tinged with Tzigane influence. He demonstrate a great melodic feeling, using "gypsy" inflexions , such as vibrato and portamento, hot runs and a large, profound sound. He distinguishes itself by the quite personal way it uses arpeggios on the systems semitone / tone.

At the Jazz In, where he plays «after Hours» in 1972, he met with the trio of Eddy Louiss, Bernard Lubat and Aldo Romano. Later on he join Didier Levallet's"Swing String System", and Michel Portal'sMichel Portal Unit. In 1976, l'Académie du jazz award him the Prix Django Reinhardt, meanwhile a new quartet take form with Michel Graillier, Aldo Romano, and Alby Cullaz the later soon replaced by Jean-François Jenny-Clark. He can also be heard (as free-lance) alongside Michel Portal or with Slide Hampton, Martial Solal and Jean-Claude Fohrenbach.

In 1978, the Festival de Nice offers him the opportunity to records with the quartet of John Lewis as well as to play with Stan Getz, Bill Evans, Philly Joe Jones, Freddie Hubbard, Lee Konitz, Shelly Manne, Elvin Jones... Starting in 1978, He participates almost every year to the Festival de Samois, organized in homage to Django Reinhardt.

In 1979, he perform at the Festival de Dakar, as guest of the René Urtreger's trio with Pierre Michelot and Daniel Humair. Summer 1980 : John McLaughlin invite him to tour in a duo setup, this take them to the United-States, Brazil and Japon.

In 1981, He become member of the Martial Solal's big band. The following year, he perform in quartet alongside Shelly Manne. Back in France, he create a quartet with Olivier Hutman (claviers), Nicolas Fitzman (b, bg) et Jean My Truong (perc) - the last two will be later replaced by Jean-Marc Jafet et Tony Rabeson.

In 1983, he start a duo with Didier Lockwood which turn into a trio in 1984 with the addition of Philip Catherine. In 1985, he perform with Capon and Carter then he creates the "Trio Gitan" with Boulou Ferré and Babik Reinhardt.

In 1987, he play's in duo with Michel Graillier, with John Thomas, continues playing with the "Trio Gitan", and again with Capon-Carter. A the start of 1988 a new quartet is born with Jean-Michel Pilc, François Moutin et Louis Moutin. The following year, he setup an octet composed of four guitars (Paul Challain Ferret, Jimmy Gourley, Frédéric Sylvestre), accordion (Marcel Azzola), cello (Vincent Courtois), bass (Alby Cullaz) and drum (Billy Hart).

In New York, 1990 : He play's at the Village Vanguard with Pierre Michelot, Hank Jones and the drummer Kenny Washington. In 1991, surrounded by a string orchestra, he records eleven compositions from Django Reinhardt. In 1992, his "Gipsy Trio" (Challain Ferret, Sylvestre) growth with Babik Reinhardt or Bireli Lagrene, the following year, in Los Angeles, he records with Lou Levy, Bob Magnusson et Billy Higgins.

In 1998, He creates and records A Suite for Gypsies, a Jazz rock, fusion composition dedicated to the memory of gypsy's childrens dead in the nazi's camps. In 2003, year of the fiftieth birthday of DJANGO REINHARDT's death, he creates a big band (17 musicians) with whom he il explore the musical inheritance of Django while adding his own style and own harmonical and rythmical ideas.

In 2004 he setup « The New Gypsie Trio », a group of 3 guitarists with the necessary open mind to express a timely musical concept, without disavowing their own musical roots (with David Reinhardt and Martin Taylor orJean-Baptiste Laya).

In mars 2005 his last album, distributed byNocturne, "Ma ya. Ya" with his new sextet (Progressive Sextet) with : Marcel Azzola, Jean-Baptiste Laya, Sylvain Guillaume, Jean-Marc Jafet, Yoann Serra.

Under the label EmArcy, Verve's parisians office contract him for 7 albums from 1989 to 1994, : Gipsy Waltz / 1989 / Marcel Azzola / Live at the Village Vanguard / Plays Django Reinhardt / In L.A.-Standards Vol.1 / Cookin’in Hell’s Kitchen In 96 the album "Live at Duc des Lombards". In 98 : "A suite for Gypsies". As of now, Christian Escoudé has composed or participated to revording of over 50 albums. https://www.allaboutjazz.com/musicians/christian-escoude/

in L.A.

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Isabella Lundgren - Hit The Road To Dreamland

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 44:31
Size: 102,9 MB
Art: Front

(4:07)  1. Sentimental Journey
(5:37)  2. Far Away Places
(3:56)  3. A Lot Of Livin’ To Do
(3:43)  4. Slow Boat To China
(3:56)  5. Where Or When
(5:35)  6. Anyplace I Hang My Hat Is Home
(5:31)  7. I Wonder As I Wander
(3:25)  8. Trav'lin' Light
(4:40)  9. Come Fly With Me
(3:57) 10. Hit The Road To Dreamland

Isabella Gunhild Helén Lundgren , born 21 December 1987 in Karlstad , is a Swedish jazz singer . She grew up in Karlstad, studied and emerged in 2006-2010 in New York and began studying as a priest in Stockholm in 2010. Lundgren made his debut in 2012 and has since published several albums. Lundgren grew up in Karlstad, where she went on a musical line at high school. She moved to New York at the age of eighteen, studying at New York University in 2006–10 and performing with, among others, Gavin DeGraw , Moby and Woody Allen's band leader Eddy Davis. She returned to Sweden in 2010 and started studies at the Theological University in Stockholm. Lundgren's interest in philosophy and existential issues has also characterized her music creation. Isabella Lundgren made her debut in 2012 with the album It Had to Be You with music from the Great American Songbook . A second album, Somehow Life Got in the Way , was released in 2014. She sings in the band Isabella Lundgren & Carl Bagge Trio  and has been mentioned several times as one of Sweden's strongest jazz vocalists. https://sv.wikipedia.org/wiki/Isabella_Lundgren

Hit The Road To Dreamland

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Michael Dease - Grace

Bitrate: MP3@320K/s
Time: 68:42
Size: 157.3 MB
Styles: Trombone jazz
Year: 2010
Art: Front

[1:42] 1. Discussao
[6:31] 2. Blues On The Corner
[5:40] 3. In A Mist
[8:26] 4. I Talk To The Trees
[7:10] 5. Four
[4:09] 6. Tippin'
[5:30] 7. Setembro
[5:28] 8. 26-2
[5:56] 9. Toys
[5:56] 10. Love Dance
[6:16] 11. Grace
[5:53] 12. Salt Song

Michael Dease: trombone, valve trombone; Roger Squitero, Circle Rhythm: vocals, percussion; Mark Whitfield: guitar, acoustic guitar; Yotam: acoustic guitar, electric guitar; Sharel Cassity: alto flute, alto saxophone; Eric Alexander: tenor saxophone; Roy Hargrove: trumpet, flugelhorn; Claudio Roditi: flugelhorn; Steve Davis: trombone; Cyrus Chestnut: piano; Gene Jackson: drums.

Michael Dease is to the trombone what Harry Allen is to the tenor saxophone. Lyrical, traditional, well-studied and broad based, both artists can equally get their freak on when necessary. Dease's trombone style contains many influences, but like many conservatory-trained musicians, Dease has had the time and practice to develop is own potent voice. Emerging among a class of young musicians that include Sharel Cassity and Carol Morgan, Dease presents as a neo-traditionalist with pristine chops and a universal exposure (both bandstand and didactic) to music providing him a virtual library from which to draw. Technically, that is all well and good as a description; but what does Dease sound like? Dease's previous recordings, Dease Bones (Astrix Media, 2007) and Clarity (Blues Back Records, 2008) found Dease honing his already very capable craft. His voice and tone have become perfectly rounded with a rich and creamy timbre superbly captured on the Jobim opener, "Discussao."

Bix Beiderbecke's "In A Mist" is post-modern updated by Dease, making it both more densely impressionistic and swinging at the same time, proving that the two not need mutually exclusive. Dease allows himself ample room for exploration with a reigned-in rhythm section providing the propulsion without getting in the way. Dease approaches Miles Davis' "Four" where he doubles on trombone and tenor saxophone. More ballad than bebop, Dease's treatment is languid and moody like an opiate nod. Cyrus Chestnut holds the piece together with a concise solo before Dease does his best Scott Hamilton.

Dease does get his bebop on for Oscar Peterson's "Tippin'" playing J.J. Johnson fast, taking corners like Curtis Fuller. His fluid chops are on display on this song with a taut and effusive solo where he is able to exercise his considerable solo prowess. It is as a balladeer that Dease excels and where his true strength lies, as demonstrated on the two Ivan Lins compositions "Setembro" and "Love Dance." Dease's lone composition, the title piece, is a mid-tempo swinger that sums up well what Dease's finely crafted jazz is all about. C. Michael Bailey

Grace

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Don Sebesky - Giant Box

Styles: Piano Jazz
Year: 1973
File: MP3@320K/s
Time: 59:35
Size: 140,1 MB
Art: Front

(13:56)  1. Firebird/Bird Of Fire
( 5:50)  2. Song To A Seagull
( 8:15)  3. Free As A Bird
( 8:11)  4. Psalm 150
( 5:40)  5. Vocalise
( 9:48)  6. Fly/Circles
( 7:52)  7. Semi-tough

It's a bit bizarre to find an album called Giant Box in a small cardboard case, or as a download lacking physical form, but times change. When Don Sebesky's grand musical statement on CTI hit the marketplace in 1973, it came in a classical-type record box, befitting the stature of the music. Opinions vary as to whether Sebesky can be said to have been a savior of jazz in the '70s, or a jazz Judas who helped to commercialize the music. Truth be told, he's neither. Sebesky is simply a great arranger and talent who happened to thrive in this music during a period when the ideology of jazz was fractured in so many ways. Sebesky bore the brunt of critical attacks against this new offshoot, but he wasn't trying to reinvent the wheel. While his arrangements were occasionally excessive, many of his works are also masterful musical creations that create an entire universe of sound, in service of a particular artist's vision. While there may be reservations about the "Sebesky Sound," hindsight shows his arranging brilliance, as demonstrated on Giant Box.

The early '70s success of CTI afforded Creed Taylor the opportunity to give Sebesky some musical freedom on this project, and what he came up with is astonishing. Sebesky fuses Igor Stravinsky's "Firebird" and John McLaughlin's "Birds Of Fire" into a single work, featuring cinematic orchestral episodes and exciting solos from the likes of Hubert Laws and Freddie Hubbard. Joni Mitchell's "Song To A Seagull" becomes a feature for Paul Desmond's distant and lonely sounding alto saxophone, but Ron Carter's bass makes friends with him and the pair proves to be simpatico in its conversational work. The first of three Sebesky originals ("Free As A Bird") is also the first number that deals in hard swinging big band writing, and it also features some wonderful solo work from pianist Bob James, Freddie Hubbard now on flugelhorn and Grover Washington Jr. on soprano saxophone. Sebesky's take on Jimmy Webb's "Psalm 150" is the one number that doesn't stand up too well, as it comes off like a combination between solemn chanting, Donald Byrd's A New Perspective (Blue Note, 1963), standard-issue funk, and "Aquarius" from Hair (1967). Things get back on track with Desmond's sad-eyed saxophone work on "Vocalise," which also features vibraphonist Milt Jackson and Sebesky's superb string writing. The final pair of pieces on the album are representative of Sebesky's experimental side ("Fly/Circle") and understanding of popular, groove-based music ("Semi-Tough"). "Fly/Circle" is an episodic number that features Laws' effects-laden flute runs, Sebesky's pleasant vocals, an eerie Bernard Hermann-esque woodwind statement, solos over a small group setting, and more. "Semi-Tough" goes in a completely different direction, as Sebesky taps into raunchy, straight-up street funk that's part-Isaac Hayes and part Sanford And Son. While Giant Box is indicative of the bigger-is-better approach of the times, it also serves as a benchmark for creativity in arranging and composition, and helps to place Sebesky's talents in the proper light. ~ Dan Bilawsky https://www.allaboutjazz.com/giant-box-don-sebesky-cti-masterworks-review-by-dan-bilawsky.php

Personnel: Don Sebesky: piano (7), electric piano (1, 2, 3), organ (7), accordion (3, 6), clavinet (7), vocals (4, 6); Bob James: piano (3, 5, 6), organ (4, 7); Ron Carter: bass, electric bass, piccolo bass; Billy Cobham: drums (1, 4, 7); Jack DeJohnette: drums (2, 3, 5, 6); George Benson: guitar (7); Harry Leahey: guitar (1); Airto: percussion (1, 6, 7); Rubens Bassini: conga drums (4); Dave Friedman: percussion (4); Phil Kraus: percussion (4); Ralph MacDonald: percussion (4); Paul Desmond: alto saxophone (2, 5); Joe Farrell: soprano saxophone (6); Grover Washington, Jr.: alto saxophone (7), soprano saxophone (3); Milt Jackson: vibraphone (5); Freddie Hubbard: trumpet (1, 5), flugelhorn (3); Hubert Laws: flute (1, 6); Jackie Cain: vocals (4); Roy Kral: vocals (4); Randy Brecker: trumpet; Alan Rubin: trumpet; Joe Shepley: trumpet; Wayne Andre: trombone, baritone; Warren Covington: trombone, baritone; Garnett Brown: trombone; Paul Faulise: bass trombone, baritone; Alan Raph: bass trombone, baritone; Jim Biffington: french horn; Earl Chapin: french horn; Phil Bodner: flute, piccolo, clarinet, soprano saxophone, tenor saxophone, oboe, English horn; Jerry Dodgion: flute, piccolo, clarinet, soprano saxophone; Walt Levinsky: clarinet, tenor saxophone; George Marge: flute, clarinet, soprano saxophone, baritone saxophone, oboe, English horn; Romeo Penque: flute, piccolo, clarinet, soprano saxophone, oboe, English horn; Tony Price: tuba; Al Brown: violin; Harry Cykman: violin; Max Ellen: violin; Paul Gershman: violin; Harry Glickman: violin; Emanuuel Green: violin; Harold Kohon: violin; Charles Libove: violin; Harry Lookofsky: violin; Joe Malin: violin; David Nadien: violin; Gene Orloff: violin; Elliot Rosoff: violin; Irving Spice: violin; Seymour Barab: cello; Charles McCracken: cello; George Ricci: cello; Alan Shulman: cello; Margaret Ross: harp; Homer Mensch: concert string bass; Lani Groves: background vocals (7); Carl Caldwell: background vocals (7); Tasha Thomas: background vocals (7).

Giant Box

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Michela Lombardi - Live to Tell

Styles: Vocal Jazz
Year: 2017
Time: 81:13
File: MP3 @ 320K/s
Size: 187,8 MB
Art: Front

(3:38) 1. Burning Up
(5:32) 2. Lucky Star
(4:32) 3. Material Girl
(7:35) 4. Rain
(4:49) 5. Music
(5:18) 6. Frozen
(4:32) 7. True Blue
(5:51) 8. Live to Tell
(5:08) 9. Like a Virgin
(4:06) 10. Holiday
(5:48) 11. Papa Don't Preach
(5:24) 12. You'll See
(4:20) 13. Into the Groove (Tahwos)
(4:29) 14. Take a Bow
(3:32) 15. La Isla Bonita
(6:38) 16. Dear Jessie

The new album from Italian vocalist Michela Lombardi “Live To Tell” was recorded together with the Riccardo Fassi Trio and features a full set of re-imagined music first recorded by pop icon Madonna. Featuring special guests Steven Bernstein (trumpet) and Don Byron (clarinet), this album, firmly rooted in the jazz idiom, brings a new and unique vision to this repertoire that is rarely heard in an acoustic setting.https://www.dottimerecords.com/product/live-to-tell/

Personnel: Michela Lombardi – vocals; Steven Bernstein – trumpet; Don Byron – clarinet

Live to Tell

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Jaimee Paul - The Gershwin Songbook

Styles: Vocal Jazz
Year: 2025
Time: 42:27
File: MP3 @ 320K/s
Size: 97,7 MB
Art: Front

(3:03) 1. They Can't Take That Away From Me
(3:08) 2. I Got Rhythm
(5:15) 3. I've Got A Crush On You
(2:54) 4. A Foggy Day
(2:58) 5. Love Is Here To Stay
(5:12) 6. It Ain't Necessarily So
(3:51) 7. ‘S Wonderful
(4:49) 8. The Man I Love
(3:15) 9. Let's Call The Whole Thing Off
(4:38) 10. Embraceable You
(3:19) 11. But Not For Me

Celebrated international jazz vocalist Jaimee Paul returns with fresh takes on George Gershwin's timeless classics. The Gershwin Songbook album includes hits "The Man I Love," "Let's Call The Whole Thing Off," "But Not For Me," and "They Can't Take That Away From Me." Produced by Jack Jezzro, the album is releasing on Green Hill Music in partnership with Burton Avenue.

The Gershwin Songbook

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Andy Sheppard Quartet - Romaria

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 48:07
Size: 110,7 MB
Art: Front

(8:06)  1. And A Day ...
(4:48)  2. Thirteen
(5:11)  3. Romaria
(4:21)  4. Pop
(5:56)  5. They Came From The North
(5:53)  6. With Every Flower That Falls
(7:07)  7. All Becomes Again
(6:42)  8. Forever ...

Where so much music treats silence as an exception, Andy Sheppard's recordings find it serving more as the rule. He's never been one for weaving flashy speed runs or feeling pressure to fill space. Even when his sax lines speed up from time to time through Romaria, they serve the mood with tasteful restraint, smoothly evoking the soothing coolness of its cover. Sheppard uses the term "dream band" to describe this quartet, which is appropriate in more ways than one. Dreaminess is the overarching quality of the session and the group's longstanding familiarity lets them trust each other wherever they drift. Sheppard had already explored the chordless trio format with Michel Benita on bass and Sebastian Rochford at the drumkit; the guitar and electronic tones of sometime collaborator Eivind Aarset made an excellent expansion on Surrounded by Sea (ECM, 2015). Their followup here is just a touch more active in comparison, keeping their identity while turning one more facet toward the light. The opening "And a Day..." could serve as the start of a proper ambient album if it wished, full of wide breathing space and gentle sweeps of guitar swaying like waves at low tide. It's not long before Sheppard steps into livelier territory with the mid-tempo lines through "Thirteen," though the album's pace never feels anywhere near rushed. Again Aarset provides an atmospheric backing framework while the other players keep the pulse at the most languid of lulls. The rhythm section is often here to provide shading more than actual rhythm throughout; when the pieces ebb, they judiciously choose their spots with tasteful strums and splashes rather than any recognizable beat. The leader's pieces generally alternate between these two modes to refreshingly tranquil effect. 

The groove builds to a light-floating cruise during "Pop" and "All Becomes Again," then an actual clatter in between with "They Came from the North." Open air takes prominence for the meditative ballad "Every Flower That Falls" and the finale of "Forever..." (bookended with that opener because they were two complementary takes of the same piece). In either mode it's an atmosphere to soak in at leisure. This quartet's easy chemistry creates a pretty soundscape both inviting and intriguing, and Romaria never loses the airy feel of a cozy reverie even at its busiest. ~ Geno Tackara https://www.allaboutjazz.com/romaria-andy-sheppard-ecm-records-review-by-geno-thackara.php

Personnel: Andy Sheppard: tenor and soprano saxophones; Eivind Aarset: guitar; Michel Benita: double bass; Sebastian Rochford: drums.

Romaria

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Alex Sipiagin - Generations: Dedicated To Woody Shaw

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 67:14
Size: 154,3 MB
Art: Front

(8:41)  1. Greenwood I
(5:48)  2. Obsequious
(5:49)  3. Cassandranite
(7:33)  4. Beyond All Limits
(8:35)  5. Windy Bahn
(7:11)  6. Katrina Ballerina
(7:12)  7. Chance
(8:13)  8. Blues For Wood
(8:07)  9. Greenwood II

Alex Sipiagin pays it forward with his eighth Criss Cross release, Generations, dedicated to the late Woody Shaw, a lesser celebrated but brilliant trumpeter who performed with artists including Anthony Braxton, Chick Corea, Eric Dolphy, Andrew Hill. A fiery stylist with perfect pitch and lyricism, Shaw was admired by peers and emulated by up-and-comers as Sipiagin confirms, "Even now, many years later, every time I listen to Woody, I always find something new and inspiring." Sipiagin is also a stylist himself; an exceptional player and leader whose clarion horn has been called upon by bassist Dave Holland and saxophonist Michael Brecker. The trumpeter's band members are also leaders who have appeared on many of his releases, and were all members of various Brecker groups over the years, including the rhythmic underpinning of bassist Boris Kozlov and drummer Antonio Sanchez. 

Adam Rogers, another leader in his own right, is the perfect complement to Sipiagin's warm tonality; a guitarist who continues to unveil his superlative skills on the similarly themed Due Reverence (Posi-Tone, 2010), saxophonist Ralph Bowen's tribute to other lesser-known but influential musicians. The trumpeter's group is convincing, with a persuasive mix of fresh Sipiagin originals and Shaw reworks that are pristine reflections and contrasts of both musicians. Rogers cooks up a funky riff throughout Sipiagin's "Greenwood I" and "Greenwood II" (an alternate take and a nod to older recordings), as the trumpeter throws down melodic notes with cool precision, shifting between multiple changes of swing. "Windy Bahn" is another original, initially sketched on the trumpeter's computer, a composition that features jagged tempo changes. The spirit of the great B3 organist Larry Young, with whom Shaw frequently performed, looms on three tracks Young's "Obsequious," as well as Shaw's "Cassandranite" and "Beyond All Limits." 

They're perfect examples of the elders' progressive ideas in structure and harmony, along with the keen arrangements with which Sipiagin highlights each musician the trumpeter's lucidity, Sanchez's detailed traps, Kozlov's meaty yet lithesome fingerings, and Rogers' liquid maneuvers. Referencing Shaw's biography and Sipiagin's liner notes, some historical points concerning these jazz musicians is noteworthy: First, Shaw felt an immediate connection to another forerunner, trumpeter Clifford Brown, who died in June 1956, the same month and year he started playing. Second, the first time Sipiagin heard Shaw was around 1985, while studying in Russia; four years before Shaw's untimely passing in 1989. From one impactful connection to the next; the music continues its vitality.By Mark F.Turner  http://www.allaboutjazz.com/generations-alex-sipiagin-criss-cross-review-by-mark-f-turner.php
 

Personnel: Alex Sipiagin: trumpet, flugelhorn; Adam Rogers: guitar; Boris Kozlov: bass; Antonio Sanchez: drums.

Generations: Dedicated To Woody Shaw

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Cyrille Aimée - à Fleur de Peau

Styles: Vocal
Year: 2024
Time: 35:15
File: MP3 @ 320K/s
Size: 85,9 MB
Art: Front

(3:47) 1. Beautiful Way
(3:28) 2. Again Again
(3:50) 3. For the Love f You
(4:18) 4. Inside and Out
(0:47) 5. Yo soy Diosa
(4:34) 6. Back to You
(2:44) 7. Feel What I Feel
(4:02) 8. Here
(3:36) 9. Ma Préférence
(4:03) 10. Historia de Amor

During the Covid-19 pandemic, she returned to the Costa Rican jungle and bought a plot of land in an eco-community inhabited mainly by expatriates. She spent time there during the lockdown, camping out at first, eventually designing and building her own off-the-grid homestead. After the fact, she describes the songs she wrote in Costa Rica as a kind of "journal" of the process. She declares in her lyric to "Inside and Out," the seed for the album, that "I will build a house so steady for you to come back to." At the time she wrote it, she had no real plans to build. In retrospect, she sees the house in the lyric as the real jungle dwelling she was to construct and the "you" as the music she was to create in it. The official video of the piece was shot on her Costa Rican property and in her home, a fantastic idiosyncratic colorful abode with charmingly primitive plumbing. It shows her singing and dancing on her porch and frolicking in the village swimming hole (YouTube, bottom of this page).

When she had written enough material for an album, she reconnected with Sherman, saying, "Hey, I have some fun, trendy songs. Let's finish what we started." The two of them realized the project together. The tunes on À Fleur de Peau are as described: they have a breezy pop flavor, gentle grooves, lovely melodies and lyrics that are sweet and personal. Aimée, accompanying herself simply on guitar or ukulele, is at the core of the production, with the other lines and instruments superimposed.

After more than a dozen well-received recordings of standards as a leader, including a Grammy nomination for her arrangement of Stephen Sondheim's "Marry Me a Little" (Move On: A Sondheim Adventure, Mack Avenue, 2019), this is Aimée's first album to feature original material. She intended for it to be "accessible" and it is. Situated among her pop confections are versions of "Ma Préférence" by French singer-songwriter Julien Clerc (Pathé, 1978) and The Isley Brothers' "For the Love of You" (The Heat is On, Epic, 1975), which is described in the album notes as "an unabashed, gloriously uplifting slice of sophisticated Yacht-Pop." By Katchie Cartwright https://www.allaboutjazz.com/a-fleur-de-peau-cyrille-aimee-whirlwind-recordings

Personnel: Cyrille Aimee – vocals, acoustic guitar, baritone ukelele | Jake Sherman – various instruments | Abe Rounds – drums & percussion | Jorge Roeder – bass (2) | Duncan Wickel – violin, cello (2, 6, 7) | Naseem Alatrash – cello (2, 7) | Jay Rattman – clarinet (2, 7) | Wayne Tucker – trumpet (1, 3) | Maria Cardona – vocals (5) | Jamison Ross – drums (6) | Chloe Rowlands – trumpet, flugelhorn (6, 8) | Andy Clausen – trombone (6, 8) | The Williamsburg School of Music Chorus – vocals (8) | Armando Young – additional drum production

à Fleur de Peau

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Isabella Lundgren - Songs To Watch The Moon

Styles: Vocal
Year: 2017
Time: 50:07
File: MP3 @ 320K/s
Size: 115,4 MB
Art: Front

(5:40) 1. I Wished On The Moon
(4:30) 2. Moon River
(4:27) 3. Isn't It Romantic
(5:30) 4. For Heavens Sake
(4:08) 5. Dream A Little Dream Of Me
(5:14) 6. I'm Old Fashioned
(4:48) 7. Moonlight In Vermont
(4:40) 8. When Lights Are Low
(4:02) 9. I'll Be Tired Of You
(5:12) 10. Pennies From Heaven
(1:51) 11. Blueberry Hill

I am sitting at a wooden table in the basement of the Scala theater in Stockholm. I am watching Isabella Lundgren from afar. Everywhere around us the party is swirling and swaying back and forth. Her party. An after party if you will, after her concert at the Stockholm Concert hall, which she sold out entirely on her own. Last time I was at the concert hall was when Patti Smith held a concert there after receiving the Polar Music Prize, it was not sold out. An hour ago Isabella held a somewhat sacred and rather magical concert with her own material, backed by a full classical orchestra. The seated audience applauded enthusiastically but politely. They were dressed up the way middle age people dress up for the theater. In Scala’s basement the mood in inverted. A wild band is blowing Dixie as underage girls spill Jack and Coke over their music-school-attending boyfriends and the in Sweden mandatory thick winter coats are trampled on the floor. In front of the stage the sweat is dripping down from the ceiling.

It is crowded and rowdy and hot. Isabella has a smile on her face and her adopted Romanian street dog in her arms. She is standing a little to the side, watching the party with mild amusement. She is drinking a non alcoholic cider. Out of the sea of people Rigmor Gustafsson emerges to thank Isabella. The Swedish jazz queen Rigmor has stars in her eyes. She gives Isabella, what seems to be, at least from where I am sitting, an overwhelming review. As they are holding each others arms I think of a moment I have only read about. When Johnny Cash made his way over to Bob Dylan after a concert in the late sixties, to give to him his finest acoustic guitar. I think of that and I think of this. An equivalent of that moment. A passing of the torch if you will. There it is, torch passed. They even hail from the same town.

I first heard Isabella Lundgren sing in a music high school practice room in that town. Karlstad in rural Sweden. As I recall her voice then it sounded just like it does now. And I think she was only fifteen years old at the time. She already had that voice. An old voice. With a tear in it. A voice that had seen the bottom of the glass and the top of the world.

A voice that had laughed its way through the night in a taxi with it’s fingers in a strangers hair. A voice that had thrown it all away and had to face its gaze in the mirror the morning after. A voice that had felt love. And seen hate. Though it was, at that time, a voice like a bird in a cage. That mostly had been secluded to a teenage girls bedroom, with her mothers jazz records, in an apartment building opposite a gas station and a McDonalds restaurant. A voice that had been singing for thousands of hours accompanied by her Cd-Walkman underneath black and white posters of the Manhattan skyline. A voice that maybe hadn’t lived but had longed to live. I started talking to that voice on the phone for hours on end. For we longed for the same things. We talked and talked, like only teenagers can, about our restless longing. About Bob Dylan and about old movies. About everything that had to happened and about everything that mustn’t. We longed to live and we longed to leave. She left before me. On a full scholarship to the New School University for Jazz and Contemporary Music in New York City.

She ended up in New Jersey at first, at some remote relatives house, but she told a lie about having found another place to stay, in the city with a classmate, and again she did leave. A white lie from someone who had been longing. Longing to throw herself out from safety and into life with no safety net. And from what I heard, it was a hard fall. As hard as falls can become for someone who’s been longing. Longing for the night and the stage and the love. Longing for friendship and avenues and smoky clubs and bars. Longing for laughter and random encounters and booze and sex and dope. When she finally came back to Europe she was another. Wise somehow, beyond her years. She was still only twenty five but she had, it seemed, lived five lifetimes. She had found her faith and lost it. Dealt with her longing and her limitlessness. And it took time but she did start to sing again. To use the voice. Harness it. She had so many things to tell. And she now knew that music had to mean more. More than entertainment. It had to mean something real. She started writing her own material. Political, raw, and absolutely beautiful. With that same voice. Sometimes the girl have to catch up to the voice. Sometimes the woman first must live what the voice long have told.https://www.allaboutjazz.com/musicians/isabella-lundgren/

Personnel: Vocals – Isabella Lundgren; Bass – Niklas Fernqvist; Drums – Daniel Fredriksson; Piano – Carl Bagge

Songs To Watch The Moon

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