Rahsaan Roland Kirk - Vibrations in the Village∶ Live at the Village Gate

Styles: Post Bop
Year: 2025
Time: 01:17:27
File: MP3 @ 0K/s
Size: 178 MB
Art: Front

(15:28) 1. Jump Up And Down - Fast
(5:50)   2. Ecclusiastics
(7:33)   3. All the Things You Are
(7:33)   4. Laura
(12:30) 5. Kirk's Delight
(10:16) 6. Oboe Blues
(6:36)   7. Blues Minor at the Gate
(5:48)   8. Falling In Love With Love
(5:53)   9. Three For the Festival

In November 2025, producers Zev Feldman and George Klabin's Resonance Records released two unissued live recordings by Rahsaan Roland Kirk. Vibrations in the Village: Live at the Village Gate is the first, captured live in 1963. The tapes were cut for a documentary soundtrack about Kirk's life, which was never made. The tapes survived for more than 60 years in the care of engineer Ivan Berger. When Feldman received them, he initially contacted saxophonist James Carter who, impressed, made the case for release. Feldman then contacted Kirk's indomitable widow Dorthaan Kirk (whose wonderful liner essay here is titled "My Life with Rahsaan"); she enthusiastically approved.

Recorded over two nights in November 1963, Kirk used three different pianists: Horace Parlan, Melvin Rhyne, and Jane Getz (no relation to Stan), bassist Henry Grimes, and drummer Sonny Brown. The program includes five original compositions, "Ecclusiasstics" by Charles Mingus, and three standards.

Kirk is introduced and opens the show with "Jump Up and Down - Fast." Over 15-minutes long, it's a stellar exercise in hard bop improvisation. Parlan is the pianist -- a welcome, hard-swinging foil for Kirk, he was already versed in modalism as his kinetic solo attests. Kirk plays tenor, stritch, and manzello simultaneously, soloing against himself and the sax section. The stritch is a straight alto saxophone with a bell end; the manzello is a variation on soprano sax with a straighter pipe and an upturned bell. He duets with himself near the end and pulls out a whistle. Grimes is the quartet's bridge, at once propulsive and suggestive. Mingus' deep blue "Ecclusiastics" from Oh Yeah (that featured Kirk in the line-up) finds Parlan laying out fat chords as Kirk plays the head on all the horns and sings. It winds through blues, gospel and bop.

"All the Things You Are" and "Laura" feature Rhyne. The latter is a ballad with Kirk playing flute. The interplay between Kirk and Grimes is remarkable, but the audio warbles a bit. Parlan returns on "Kirk's Delight" and "Oboe Blues," both over ten minutes, they reveal how locked in this quartet is. The former is a swinging hard bop jam, the latter a progressive jazz ballad. "Blues Minor at the Gate" is a fingerpopper, more bop than hard bop, with Grimes and Brown sprinting as Rhyne holds it down. Closer "Three for the Festival" features Jane Getz on piano. Kirk plays ringleader on flute, whistle, and horns in a furious progression that recalls Mingus and Tadd Dameron. Typical of Resonance releases, the booklet offers rare photos, deft and deep critical essays by Kirk biographer John Kruth and best-selling novelist/critic May Cobb -- who is writing her own book on Kirk. There is also an essay by Adam Dorn, son of Kirk's producer Joel Dorn, and reminiscences by Carter, Steve Turre, and Chico Freeman. Vibrations in the Village: Live at the Village Gate is a welcome addition to Kirk's discography, revealing that even early on, he was a true force of creativity, power, and innovation. (by Thom Jurek)

https://www.allmusic.com/album/vibrations-in-the-village-live-at-the-village-gate-mw0004635648

Vibrations in the Village∶ Live at the Village Gate (mp3 320)
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Rahsaan Roland Kirk - Seek & Listen: Live at the Penthouse

Styles: Post Bop
Year: 2025
Time: 86:33
File: MP3 @ 320K/s
Size: 199,5 MB
Art: Front

( 1:18) 1. The Jump Thing
( 5:22) 2. Alfie
(12:12) 3. Mingus-Griff Song
(14:31) 4. Medley: Ev’rytime We Say Goodbye, I've Got It Bad (And                    That Ain't Good), Sophisticated Lady, Satin Doll
( 8:14) 5. Medley: Blues for C & T, Happy Days Are Here Again, Down 

                By The Riverside
(12:23) 6. Ode to Billie Joe
( 7:50) 7. Prelude To A Kiss
( 4:59) 8. Funk Underneath
( 7:12) 9. Lovellevelliloqui
( 7:57) 10. Now Please Don't You Cry, Beautiful Edith
( 4:29) 11. Making Love After Hours

In November 2025, producers Zev Feldman and George Klabin's Resonance Records released two unissued live recordings by Rahsaan Roland Kirk. Seek & Listen: Live at the Penthouse is the second. A double disc, it was recorded in 1967. The package contains rare photos and essays by widow Dorthaan Kirk, biographer John Kruth, best-selling novelist and Kirk authority May Cobb, James Carter, Steve Turre, Chico Freeman, and Adam Dorn. Kirk’s band included pianist Ron Burton, bassist Steve Novosel, and drummer Jimmy Hopps in 11 selections.

The set opens at the tail-end of the rowdy "The Jump Thing,” then gives way to Burt Bacharach's and Hal David's "Alfie." Burton embellishes Kirk's gorgeous tenor lines with graceful elegance as the rhythm section walks behind him. "Mingus-Griff Song" is an original. At over 12 minutes, this band fires on all cylinders. Whether Kirk is playing tenor, manzello, stritch, flutes, or whistles, his creative intensity is total. Tenor sings first, but all three horns appear. Burton’s deft right-hand runs and chromatic chords provide the rhythm section with fuel. Two medleys close disc one, the first joins Cole Porter's "Ev'ry time We Say Goodbye" (introduced by gorgeous flute) to Duke Ellington's "Ev'rytime We Say Goodbye/I’ve Got It Bad/Sophisticated Lady/Satin Doll." Manzello enjoys the first Ellington number as Hopps’ brushes whisper to Burton and Novosel. Kirk sings on “I've Got It Bad," his tender flute providing innate, revelatory lyricism. "Satin Doll" has a quick tempo, layering soul-jazz, swing, and melodic hard bop. The set closer is Kirk's "Blues for C & T/Happy Days Are Here Again/Down by the Riverside." Introduced by freewheeling improv, it shapeshifts into Kirk's trademark "tent style” performance, threading gospel, blues, swing, soul, and avant jazz with shouts, chants, and riotous horns as the band swings like mad.

Disc two opens with a Latinized soul-jazz version of "Ode to Billy Joe" that recalls Mingus, Horace Silver, and Ray Barretto’s boogaloo. At over 12 minutes, everybody gets to solo as Burton quotes from "Wade in the Water" with a punchy groove. Kirk's read of Ellington’s "Prelude to a Kiss” offers a slightly dissonant head. Novosel adds a driving bassline as a guide. Kirk’s manzello solo rings out, joining blues, swing, and gritty improvisation. The remaining four tunes are originals. “Funk Underneath” is a blues with Kirk playing flutes. It’s loose, wooly, and joyful, combining bop and blues with killer solos from Kirk and Burton. The iconic “Now Don’t You Cry, Beautiful Edith” is rendered with resonant emotion, dissonance, joy, and infectious grooves. His solo melds sweet melody and gutbucket blues. “Love After Hours” uses boogie woogie with Hopps leading the charge. Kirk, amid the entire horn section, solos on flute and shouts the blues over fat soulful piano chords, a walking bassline, and a cut-time kit shuffle. Seek & Listen: Live at the Penthouse adds a new dimension to Kirk’s catalog in showcasing him at a true creative and musical peak. (by Thom Jurek)

https://www.allmusic.com/album/seek-listen-live-at-the-penthouse-mw0004635646

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Brian Lynch & Emmet Cohen - Questioned Answer

Styles: Post Bop

Year: 2014

Time: 79:42

File: MP3 @ 320K/s

Size: 183,0 MB

Art: Front

( 7:39) 1. Cambios
( 7:33) 2. Dark Passenger
( 8:25) 3. How Deep Is the Ocean
( 9:08) 4. Buddy
( 8:33) 5. Distant Hallow
( 7:20) 6. I Wish I Knew
(11:21) 7. Petty Theft
( 6:06) 8. Just in Time
( 7:43) 9. Questioned Answer
( 5:50) 10. Blues by Four

Four highly regarded musicians from three different age groups come together for a two-leader session resulting in one terrific album. That's Questioned Answer by the numbers, but there's a lot more to the story than basic numerics.

The partnership between veteran trumpeter Brian Lynch and rising star pianist Emmet Cohen was born out of serendipity and mutual appreciation. Lynch first heard Cohen when they were both working the 2011 Jazz Cruise—the former as a featured soloist and the latter with his trio from the University of Miami's Frost School of Music. Not too long after, Lynch took on the title of Professor of Jazz Trumpet at that fine institution, putting him in a position to work with Cohen—then finishing his undergraduate work—on a regular basis. That's when the seeds of this album were sown.

The album itself is split between duo and quartet performance. The six originals—three from each leader—feature the quartet of Lynch, Cohen, bassist Boris Kozlov, and drummer Billy Hart. Together, that group makes its way through uncertain scenarios ("Petty Theft"), lets a simple and hip groove carry the day ("Buddy"), and swings along with aplomb. Hart always keeps things interesting, alternately adding sounds of stability and surprise; Kozlov provides pointed bass lines that provide architectural undergirding; Cohen comps, locks riffs in with Kozlov, and tosses off imaginative solo statements; and Lynch floats, flies, and bounds along.

The three classics on the program—"How Deep Is The Ocean," "I Wish I Knew," and "Just In Time"—provide a clear look at the musical relationship between Cohen and Lynch as they deliver personalized interpretations of the material sans drums and bass. A wonderful sense of urgency develops during "How Deep Is The Ocean," "Just In Time" proves to be highly playful in nature, and "I Wish I Knew" shows Lynch at his most melodious. Cohen and Lynch may be decades removed from one another, but this album is firm proof that they're on the same page when it comes to music. ~Dan Bilawsky

Personnel: Brian Lynch: trumpet; Emmet Cohen: piano; Boris Kozlov: bass; Billy Hart: drums

Questioned Answer (mp3 320)
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Jeff Hackworth - Night Owl

Styles: Jazz
Year: 2011
Time: 56:38
File: MP3 @ 320K/s
Size: 130,4 MB
Art: Front

(6:08) 1. The Man
(7:14) 2. Innuendo
(5:23) 3. Love Me Two Times
(4:24) 4. Little Blue
(5:33) 5. Night Owl
(4:32) 6. Sideswipe
(5:46) 7. I'm Your Puppet
(5:48) 8. That Lucky Old Sun
(5:36) 9. We Kiss In A Shadow
(6:09) 10. You'd Better Love Me

New York saxophonist Jeff Hackworth—who performs in the style of jazz greats like Gene Ammons, David "Fathead" Newman and Stanley Turrentine—keeps the tradition alive on Night Owl. Leaving the standard piano trio behind, Hackworth recaptures the saxophone/organ blend made so popular by Lou Donaldson and takes it a step further by adding vibraphone to the mix. With organ master Radam Schwartz and vibraphonist Jay Hoggard replacing the standard piano/guitar combo, the quartet shuffles to a distinctly new groove.

A powerful tenor player, Hackworth begins blowing hard and steamy on the opening "The Man," leaving no question that this is his album, despite the splendid contribution of the new rhythm section format. Taking a page from The Doors, the group turns "Love Me Two Times" into a hard-driving jazz number propelled by forceful tenor phrases. In stark contrast, "Little Blue" calms the music, and features both Schwartz and Hoggard.

Inspired by Lee Morgan's "The Sidewinder," the Hackworth rendition "Sideswipe" turns on a 16-bar boogaloo, exacting a high-octane hard-bop sound from the group. The rock melody of the popular 1960s tune "I'm Your Puppet," receives a transformation into a soft jazz ballad, while the Rogers and Hammerstein ballad "We Kiss in a Shadow" presents Hackworth's most memorable moments of the disc.

A rousing "You'd Better Love Me," where the saxophonist and crew let it all hang out, concludes an entertaining and creative set that calls for more; the music is that invigorating. Exploring uncommon territory, full of sparkling solos and graced with first-rate musicianship, Night Owl may just be Jeff Hackworth's best production to date.

https://www.allaboutjazz.com/night-owl-jeff-hackworth-big-bridge-music-review-by-edward-blanco

Night Owl (mp3 320)
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EMMET COHEN

Multifaceted American jazz pianist and composer Emmet Cohen is in the vanguard of his generation's advancement of music and the related arts. A recognized prodigy, Cohen began Suzuki method piano instruction at age three, and his playing quickly became a mature melding of musicality, technique, and concept. Downbeat observed that his "nimble touch, measured stride and warm harmonic vocabulary indicate he's above any convoluted technical showmanship." Cohen notes that performing jazz is "about communicating the deepest levels of humanity and individuality; it's essentially about connections," both among musicians and with audiences. He leads his namesake ensemble, the "Emmet Cohen Trio," is a vibrant solo performer, and is in constant demand as a sideman. Possessing a fluid technique, an innovative tonal palette, and an extensive repertoire, Cohen plays with the command and passion of an artist fully devoted to his medium.

Emmet Cohen is committed to the intergenerational transfer of the knowledge, history, and traditions of jazz. His signature professional undertaking is the "Masters Legacy Series," a celebratory set of recordings and interviews honoring legendary jazz musicians. He serves as both producer and pianist for each album in the series. This landmark, ongoing project provides musicians of multiple generations the means to share the unwritten folklore that is America's unique artistic idiom. Cohen has observed that jazz "is enriched immeasurably by connecting and studying with jazz masters, forging backward to the very creation of the art form." Four volumes of the "Masters Legacy Series" have been released, spotlighting Cohen's collaborations with Jimmy Cobb, Ron Carter, Benny Golson, Tootie Heath, and George Coleman.

Emmet Cohen is the winner of the 2019 American Pianists Awards and the Cole Porter Fellow of the American Pianists Association, and Artist-in-Residence at the University of Indianapolis.

He placed first in both the 2014 American Jazz Pianists Competition and the 2011 Phillips Piano Competition at the University of West Florida and, as a finalist in the 2011 Thelonious Monk International Piano Competition, he was received in the Oval Office by President Obama.

Cohen has appeared in varied international jazz events, including the Newport, Monterey, Detroit, North Sea, Bern, Edinburgh, and Jerusalem jazz festivals, as well as the New Orleans Jazz and Heritage Festival and the 2014 Sochi Winter Olympics in Russia. He has also performed at the Village Vanguard, the Blue Note, Dizzy's Club Coca-Cola, Birdland, Jazz Standard, London's Ronnie Scott's, Jazzhaus Montmartre in Copenhagen, Lincoln Center's Rose Hall, the Cotton Club in Tokyo, and Washington's Kennedy Center. For many years he was Hammond B-3 organist-in-residence at Harlem's SMOKE jazz club.  (https://www.allaboutjazz.com/musicians/emmet-cohen/)

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Emmet Cohen - Uptown in Orbit

Styles: Piano Jazz
Year: 2022
File: MP3@320K/s
Time: 56:55
Size: 131,1 MB
Art: Front

(4:11) 1. Finger Buster
(8:13) 2. Uptown In Orbit
(5:36) 3. My Love Will Come Again
(7:05) 4. Spillin' The Tea
(7:13) 5. Li'l Darlin'
(5:23) 6. The Loneliest
(1:19) 7. Uptown In Orbit (Reprise)
(7:18) 8. Distant Hallow
(3:46) 9. Mosaic
(3:03) 10. Venus De Milo
(3:43) 11. Braggin' In Brass

Emmet Cohen’s time has come. Since his debut Mack Avenue release, "Future Stride," Cohen has toured the world consistently bringing the joy of music to people in need during a global pandemic all while hosting weekly livestream concerts from his home in Harlem, NY. These livestreams provided a sense of community and a home to the displaced musicians of New York, reminiscent of the 1920s rent parties.

On "Uptown in Orbit," his sophomore release for Mack Avenue, Cohen brings the tradition of jazz to the forefront while providing the modern twist needed for the current times. Featured on this release is trumpeter/educator Sean Jones, saxophonist Patrick Bartley, bassist Russell Hall and drummer Kyle Poole. https://emmetcohen.bandcamp.com/album/uptown-in-orbit

Personnel: Emmet Cohen — piano (all tracks); Russell Hall — acoustic bass (all tracks);Kyle Poole — drums (all tracks); Patrick Bartley — alto sax (2, 3, 6, 7, 8); Sean Jones — trumpet (2, 3, 6, 7, 8)

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Sammy Davis Jr at The Coconut Grove 1962:Live in Concert

Styles: Swing
Year: 1963/2014
Time: 70:41
File: MP3 @ 320K/s
Size: 162,4 MB
Art: Front

( 0:44) 1. Introduction
( 2:19) 2. Once In A Lifetime
( 3:48) 3. In The Still Of The Night
( 3:00) 4. What Kind Of Fool Am I
( 1:50) 5. Talk
( 4:11) 6. Falling In Love Again
( 6:38) 7. I've Got You Under My Skin,Big Bad John,Night and Day
( 3:12) 8. Meeting The President
( 4:54) 9. West Side Story Medley
( 3:56) 10. River Stay Away From My Door
( 2:36) 11. Me And My Shadow
( 2:48) 12. Hound Dog ,What'd I Say Medley
(11:20) 13. Rock-A-Bye Your Baby With A Dixie Melody
( 4:58) 14. Sammy Looks At Old Movies
(14:21) 15. Finale

The Ambassador Hotel was opened in 1921, designed to provide then-booming Los Angeles with a truly world-class hotel, and it remained an LA landmark (even after its closure in 1989) until its demolition in 2005. Soon after opening, its ballroom was converted into an opulent nightclub named the Cocoanut Grove, intended to attract the glitterati of nearby Hollywood. The Grove quickly became the place in LA to see and be seen, and hosted the Academy Awards six times before 1943.

In late 1962, when this album was recorded, the nightclub was still a sight to behold, placing you in the midst of an Arabian oasis with faux palms trees and a roof with twinkling stars. Everyone who was anyone had performed there, and it was a fitting location for Reprise Records to record its first live album, which would become its first double LP set. For Sammy, this was his second live record, following Sammy Davis, Jr. At Town Hall in 1958.

The LP finds Sammy Davis, Jr. at the zenith of his powers as an entertainer – he is in good voice, he is in total command of the audience, and he exhibits his full range of talents: singing, impressions, comedy, dancing, and finishing with a jam session in which he plays both drums and vibraphone. It gives you an excellent sense of what made him such a dynamic live performer – who else could provide this variety to a nightclub audience? For a good sense of Sammy Davis, Jr.’s talents as a singer, however, this wouldn’t be the first place to go looking: of the 70 minutes, Sammy spends only about 30 actually singing.

The rest of the runtime is spent delighting his audience on a range of fronts. He does a virtual stand-up routine on old movies for five minutes, does a Sinatra impression on “River Stay ’Way From My Door”, his full range of impressions on “Rock-a-bye Your Baby With A Dixie Melody”, breaks out some soft-shoe as well (although no tapping) and jives to “Hound Dog” and “What’d I Say”.

Over the course of the record, Sammy makes special note to spotlight the supporting musicians who form part of his travelling entourage – in particular he does two medleys, one with the sole accompaniment of Michael Silva on drums, and the other with Johnny Mendoza on bongos. Also featured is Terry Rosen on guitar and Reunald Jones on trumpet; Sammy’s musical director George Rhodes conducts the Cocoanut Grove house band, the Dick Stabile Orchestra, which provides Sammy with excellent support.

The Cocoanut Grove nightclub had an interesting relationship with Sammy Davis, Jr. He performed at it several times throughout his career, and following his close friend Robert F. Kennedy’s assassination there (in the kitchen of the Ambassador Hotel in 1968), Sammy invested heavily in the club and remodelled it, re-opening it in 1970 as the ‘Now Grove’. The relaunch was a commercial failure (hardly the only venture of Sammy’s to end in such a way during the 1970s).

The album Sammy Davis, Jr. At The Cocoanut Grove is anything but a failure, however; it gives you a ringside seat for a performance by the world’s greatest entertainer at the peak of his popularity.

https://sammydavisjr.info/music/releases/original-albums/at-the-cocoanut-grove/

Sammy Davis Jr at The Coconut Grove 1962:Live in Concert(mp3 320)
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Rahsaan Roland Kirk - Compliments of the Mysterious Phantom

Styles: Post Bop
Year: 2016
Time: 51:46
File: MP3 @ 320K/s
Size: 125,4 MB
Art: Front

(4:42) 1. Passion Dance
(9:43) 2. My One and Only Love
(1:58) 3. Rahspeak #1
(5:49) 4. Fly Town Nose Blues
(7:16) 5. Volunteered Slavery
(1:30) 6. Rahspeak #2
(7:45) 7. Bright Moments
(3:54) 8. Old Rugged Cross
(4:51) 9. Blacknuss
(3:56) 10. Franks for the Festival
(0:18) 11. Rahspeak #3

If Sun Ra was jazz music's Timothy Leary, then Rahsaan Roland Kirk was its Elijah.

Kirk, jazz music's most iconoclastic character, was also one of its most gifted. Once dismissed as a circus sideshow, he has seen his popularity, as well as his influence, steadily increase over the past twenty years. Kirk has been called many things'shaman, sage, charlatan, sideshow barker. But Rahsaan Roland Kirk represents the free spirit of jazz. He was a fearless improviser who invented his own instruments and played them all at once. He was most effective when playing tenor and flute, but made a good argument for his approach when he worked up a gale force, blowing four reeds at once (I note his last Hyena release, The Man Who Cried Fire and his variations on Paganini's 24th Caprice in Am, "Multi-Horn Variations.")

Compliments includes previously unknown and unreleased Rahsaan Roland Kirk. It is a collection of fragments and complete performances from his November 5, 1974 show at the Backdoor in San Diego, California. This appearance took place about nine months after Kirk recorded his landmark live recording Bright Moments.

In keeping with the artist's prophet status, these recordings, as well as those on The Man Who Cried Fire, can be thought of as the Dead Sea Scrolls of jazz. Kirk and company fade in on a hot "Passion Dance," only to cool down with a beautiful tenor rendition of "My One and Only Love." A superb juxtaposition of style and genre that characterized Kirk shows of the period (or any period). "Fly Town Nose Blues" is a flute blues that is very effective and swinging, albeit weird. Early '70s funk is in attendance with "Volunteer Slavery" and "Blacknuss," peppered with Kirk standards "Old Rugged Cross" and "Bright Moments."

Kirk's support is very good, but as in any Rahsaan Roland Kirk performance, the man himself is the center around which all revolves. He passionately referred to jazz as "black classic music" and never considered it anything less. Like Beethoven, Kirk elbowed his way to the front of the line and never acted as if he did not belong there. Kirk allegedly passed away December 5, 1977. That is certainly not true. https://www.allaboutjazz.com/compliments-of-the-mysterious-phantom-rahsaan-roland-kirk-hyena-records-review-by-c-michael-bailey

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Ida Sand - The Gospel Truth

Styles: Jazz
Year: 2011
Time: 48:29
File: MP3 @ 320K/s
Size: 111,6 MB
Art: Front

(3:33) 1. Eyes On The Prize
(3:45) 2. Ain't No Sunshine
(4:12) 3. He Ain't Heavy, He's My Brother
(4:32) 4. A Change Is Gonna Come
(3:37) 5. Have A Talk With God
(4:50) 6. I Wanna Know What Love Is
(3:15) 7. Until The End
(4:14) 8. I Wish I Would Know How
(4:21) 9. Have A Little Faith In Me
(3:49) 10. It Is to Know
(4:00) 11. Like a Prayer
(4:16) 12. God Only Knows

Whilst Ida Sand's second ACT album True Love was to some extent a family affair - an homage to her husband Ola Gustafsson and new born daughter - her third ACT CD "The Gospel Truth", signals a return to her roots and a unique combination of European and American soul. Released two years after True Love, The Gospel Truth presents the Swedish singer following on musically from her 2007 ACT debut, Meet Me Around Midnight", which captivated listeners with a sound which was "distinctively earthy, soaked with the blood of the blues, saturated by gospel, weathered by jazz and infected by soul" (Jazzthing).

Ida Sand's career began with the church choir. Her father was a well known Swedish opera singer and her mother is still a church organist. As such, Ida learnt to play not only the cello and piano but also sang in several choirs from the age of eight. It was not only Scandinavian choir music that influenced her but also America's gospel choirs. With the world hit "Oh Happy Day" by the Edwin Hawkins Singers, a gospel craze swept across Sweden in the early seventies which in turn led to gospel queen Mahalia Jackson becoming one of Ida's very earliest influences alongside the Swedish gospel pianist Per-Erik Hallin. Captivated by this music, Ida soon discovered the world of soul and fell in love with its masters, such as Ray Charles and Aretha Franklin.

"I grew up with a clear idea of religion," says Ida Sand. "This has changed a bit now that I'm an adult but I still carry the belief with me, deep in my heart." Her latest album, The Gospel Truth, is the musical expression of this sentiment and many of the songs on it have been with the singer for a long time. "For example, I have never sung Nina Simone's I Wish I Knew How It Would Feel to Be Free before but it is one of the songs of my childhood." However, the album doesn't only feature the soul heroes of her childhood like Sam Cooke, Donnie Hathaway and Stevie Wonder (with a brilliant version of Have a Talk With God). Genuine surprises are also included, such as Madonna's Like A Prayer, John Hiatt's Have A Little Faith and I Wanna Know What Love Is by the band Foreigner, which were part of her teenage years and twenties. "It was a challenge to transfer also these songs from my wilder teenage years to the soul cosmos," explains Sand. "And, of course, I didn't want it to be solely a gospel album which would have been too one-sided."

Vitality, suspense and considerable musical scope are provided not only by Sand's earthy and variable piano playing but also by select guest stars - in particular Nils Landgren who produced the album together with Siggi Loch, and who plays not only the trombone but also the trumpet. As Landgren has also been a member of the famous US band Jazz Crusaders for some time, he was also able to get Joe Sample to join in with his grooving, murmuring playing of the Fender Rhodes, and the great drummer Steve Gadd on A Change Is Gonna Come. Sand's husband, Ola Gustafsson, is also featured on the lap steel guitar as is her friend of many years, woodwind player Magnus Lindgren.

A very special track is the magnificent vocal duet with blind singer and guitarist Raul Midón, who is extremely prominent back home in the USA. "During the Christmas tour with Nils, I saw a video of one of his performances and was completely spellbound. Nils knew him and so I ventured to ask Raul if he would like to accompany me on Bobby Scott's "He Ain't Heavy, He's My Brother". I didn't expect anything which was why I was even happier when it worked out," says Sand.

The choir, without which the The Gospel Truth could hardly have been realised, remained as the last building block. "A normal gospel choir seemed too flat," says Sand. "Then Siggi Loch had the idea to simply ask our Swedish colleagues." This was how the ACT Jubilee Singers were born, with Jeanette Köhn, Sharon Dyall, Rigmor Gustafsson and Jessica Pilnäs. This unparalleled combination of voices can be heard on four tracks and goes far beyond the usual description of a just 'backing singers'. Yet despite all the famous music names supporting on this new recording, none of them ever force themselves into the limelight. On The Gospel Truth it is Ida Sand who remains solely and justifiably at the fore - possibly the best European soul voice in recent years.  https://www.actmusic.com/en/Artists/Ida-Sand/The-Gospel-Truth/The-Gospel-Truth-CD/Produktinformation

The Gospel Truth (mp3 320)
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Ida Sand - Young At Heart

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 50:49
Size: 116,9 MB
Art: Front

(3:32)  1. Cinnamon Girl
(3:13)  2. Hey Hey, My My
(4:24)  3. Don't Let It Bring You Down
(4:45)  4. Harvest Moon
(3:23)  5. Woodstock
(3:30)  6. Birds
(3:47)  7. Only Love Can Break Your Heart
(4:01)  8. Ohio
(3:28)  9. Old Man
(4:32) 10. Helpless
(4:16) 11. War of Man
(4:21) 12. One of These Days
(3:30) 13. Sea of Madness

The Swedish jazz singer Ida Sand comes from a musical family, her father was a famous opera singer, her mother made sacred music. Ida himself learned cello, before she began training as a singer. Meanwhile, the Swedish part of the leading group of Scandinavian jazz vocalists that have been discovered by the famous producer and trombonist Nils Landgren. Heidi Eichenberg presents our CD of the week. ~ Heidi Eichenberg

The Pensive, Moody is in the dark timbre of Ida Sands voice, already with their debut album, "Meet Me Around Midnight" was provided by the Swedish 2007 enthusiasm, because they stood out from the girly pop-jazz their Scandinavian colleagues Silje Nergaard or Rigmor Gustafsson. With gospel and soul she sat from the beginning to the black tradition of Nina Simone and Aretha Franklin, and on the other hand saw everything else as pale. Why born in 1977 as Ida Kristina sand Lund in Stockholm singer and pianist has now picked just the repertoire of Neil Young for their fourth album, she explains: "His music had something to tell me, I have heard a lot from him in recent years. It must have something to do with the mood of the songs that I also saw in me, but which you do not normally hear in my music. So I took his lyrics and his music before, and tried to take over this mood and still interpret the songs in my own way. I do not know if there are so many Neil Young fans among jazz-lovers - and as part of the plan was to bring the jazz listeners the music of Neil Young closer ". ~ Ida Sand 

The weather is supposed to be in Canada similar to "humble" as in Sweden, which could explain the melancholy which is sometimes the case with both cultures. The plan to take the spiritual minimalist songs of Neil Young as a template for an acoustic jazz album, but is bold. Neil Young's indestructible classics like "Cinnamon Girl" or "Harvest Moon" learn one way or another harmony in addition, chords and melodies to be reorganized by the double bass, keyboard, piano and drums and take the originals of the Canadian folk and rock singer / songwriter yet none of its melancholy magic.

"Young at Heart" - the title of the album is a love letter in a double pun and a celebration of melancholy. A melancholy in the Ida Sand recognize themselves and which gives the ageless songs by Neil Young not only with her voice an additional depth. Translate by google  http://www.mdr.de/mdr-figaro/musik/cd-der-woche-ida-sand-young-at-heart100.html

Young At Heart

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Judy Niemack - Jazz Singers' Practice Session

Styles: Jazz, Brazilian Jazz
Label: Gam
Year: 2003
File: MP3@320K/s
Time: 50:09
Size: 116,3 MB
Art: Front

(4:12)  1. Bye Bye Blackbird
(4:47)  2. Misty
(4:10)  3. Lullaby at Birdland
(3:10)  4. How High the Moon
(5:10)  5. Wave
(3:17)  6. You’d Be So Nice to Come Home to
(5:11)  7. All of Me
(3:38)  8. My Funny Valentine
(3:15)  9. Teach me Tonight
(2:59) 10. One Note Samba
(3:28) 11. Summertime
(3:44) 12. Lover Man
(3:03) 13. I Got Rhythm

A talented and adventurous jazz singer, Judy Niemack has long had an underground reputation in jazz, although she finally began to receive more recognition for her abilities. She sang regularly in school, starting at age seven in a church choir, and at 17 decided to become a professional singer. After meeting Warne Marsh the following year, Niemack became dedicated to jazz. She attended Pasadena City College, had several years of classical study, and also attended the New England Conservatory in Boston and the Cleveland Institute of Music, in addition to private lessons with Marsh. In 1977, she moved to New York and the following year made her recording debut for Sea Breeze. Since that time, Niemack has freelanced with many top advanced musicians, including Toots Thielemans, James Moody, Lee Konitz, Clark Terry, Kenny Barron, Fred Hersch, Kenny Werner, Joe Lovano, and Eddie Gomez, among others, written lyrics to other musicians' compositions (in addition to writing songs of her own), and has toured Europe regularly. In addition, she has been a top jazz educator, teaching throughout Europe. Judy Niemack, a colorful improviser, has recorded as a leader for Sea Breeze, Stash, and Freelance. ~ Scott Yanow, Rovi  http://www.artistdirect.com/artist/bio/judy-niemack/473472 .

Jazz Singers' Practice Session

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Dr. John - Duke Elegant

Styles: Louisiana Blues, Bayou Funk
Year: 1999
Time: 66:41
File: MP3 @ 320K/s
Size: 154,2 MB
Art: Front

(5:42) 1. On the Wrong Side of the Railroad Tracks
(5:04) 2. I'm Gonna Go Fishin
(5:31) 3. It Don't Mean a Thing (If It Ain't Got That Swing)
(5:49) 4. Perdido
(3:37) 5. Don't Get Around Much Anymore
(5:05) 6. Solitude
(4:46) 7. Satin Doll
(6:55) 8. Mood Indigo
(5:30) 9. Do Nothing 'Til You Hear from Me
(6:25) 10. Things Ain't What They Used to Be
(6:24) 11. Caravan
(5:47) 12. The Flaming Sword

Duke Elegant certainly wasn't the only tribute to Duke Ellington put out in honor of the 100th anniversary of the legendary bandleader, nor was it even the first time Dr. John had tackled his material. But it would be hard to find a better homage than this one. 

Dr. John proves a surprisingly good match for Ellington's material, placing a tremendously funky foundation under the composer's tunes. The sound is dominated by the good doctor's incomparable New Orleans piano and organ, naturally, and the best tracks are those whose melodies are carried solely by his keyboard work, such as instrumentals "Caravan" and "Things Ain't What They Used to Be." The vocal cuts are fine his takes on the Ellington ballad "Solitude" and especially the dreamy, elegant "Mood Indigo" show off Dr. John's uniquely expressive voice as well as any of his early-era recordings though he occasionally tends to approach self-caricature, as on "It Don't Mean a Thing (If It Ain't Got That Swing)." Any weakness, however, is more than made up for by the closing rearrangement of "Flaming Sword," one of three Ellington rarities here. Dr. John transforms the instrumental into a luminous, gorgeously melodic display of Professor Longhair-style piano over an astonishingly sexy New Orleans funk rhythm. 

Ultimately, Duke Elegant holds up both as an innovative twist on the Ellington songbook and as a solid Dr. John album in its own right. (By Kenneth Bays https://www.allmusic.com/album/duke-elegant-mw0000603953#review)

Dr. John - Duke Elegant (mp3 320)
Dr. John - Duke Elegant (FLAC)

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Ida Sand - True Love

Bitrate: 320K/s
Time: 51:54
Size: 118.8 MB
Styles: Vocal jazz
Year: 2009
Art: Front

[4:49] 1. Ventura Highway
[4:26] 2. Notice Me
[4:12] 3. The Weight
[4:02] 4. My Biggest Fear
[4:15] 5. As Long As You Love Me
[4:42] 6. Devil's Game
[4:00] 7. Heart Of Gold
[3:22] 8. Manic Depression
[5:30] 9. Loverman
[3:50] 10. Who's Gonna Help Brother Get Further
[3:30] 11. Redemption Song
[5:10] 12. True Love

The debut release of a Scandinavian singer has seldom been as surprising as that of the Swedish vocalist Ida Sand two years ago with her album Meet Me Around Midnight (ACT 9716-2). It simply didn’t sound at all like a typical Scandinavian record. What the critics and the public heard was, “the most soulful white female singer to come along in some time” – earthy, tart, deep black, and authentically bound to gospel and blues. Beside this, another basic difference to a lot of other singers is that Ida Sand plays piano, and her singing and piano playing go hand in hand. And so with the help of the world-renowned Swedish groove masters and ACT regulars Nils Landgren and Ulf Wakenius, a timeless album with universal appeal was created.

Ida Sand - vocals, grand piano, wurlizer; Ola Gustafsson - guitars; Mattias Torell - guitars; Peter Forss - electric & upright bass, violin; Per Lindvall - drums, percussion.

True Love

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Judy Niemack With Cedar Walton Trio - Blue Bop

Styles: Vocal Jazz
Year: 1988
File: MP3@256K/s
Time: 64:04
Size: 118,0 MB
Art: Front

(5:26)  1. Bolivia
(5:38)  2. Gentle Rain
(4:31)  3. Gee Baby
(3:48)  4. Softly As In A Morning Sunrise
(2:59)  5. Dizzy Atmosphere
(4:26)  6. Parker's Mood
(3:50)  7. Wheelers And Dealers
(5:06)  8. Born To Be Blue
(2:52)  9. Love For Sale
(5:51) 10. Moanin'
(4:43) 11. Lover Man
(6:08) 12. Angel Eyes
(3:02) 13. The More I See You
(5:37) 14. You Are My Thrill

One does not usually encounter such songs as Cedar Walton's "Bolivia," "Dizzy Atmosphere" and "Moanin'" on vocal albums, but Judy Niemack has always been a very instrumental-oriented jazz singer. Whether scatting, stretching out words, or singing unexpected notes, Niemack (who should be much better-known) is consistently brilliant on this CD from the French Freelance label. She is assisted by Walton, bassist Ray Drummond, drummer Joey Baron and (on three of the 14 numbers) trombonist Curtis Fuller throughout the consistently swinging and often adventurous set. Recommended.By Scott Yanow http://www.allmusic.com/album/blue-bop-mw0000367856

Blue Bop

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Ida Sand with Stockholm Underground - My Soul Kitchen

Styles: Vocal, Piano, Soul 
Year: 2018
File: MP3@320K/s
Time: 44:16
Size: 101,7 MB
Art: Front

(3:26)  1. Take Me to the River
(3:32)  2. Where the Hell Are You
(3:02)  3. Crash & Burn
(3:42)  4. Please, Don't Hurt My Baby
(3:54)  5. I Believe to My Soul
(3:39)  6. Born on the Bayou
(4:34)  7. I Have Nothing Left for You
(3:55)  8. Just Kissed My Baby
(3:36)  9. Empty Bed Blues
(4:37) 10. If You Don't Love Me
(2:45) 11. It's Your Voodoo Working
(3:30) 12. Spooky

Soul music is such a broad genre. There’s funky soul, blue-eyed soul, neo soul, RnB, New Orleans soul, Motown-soul, etc. This album is a blend of those different types of soul music. And putting them together with my own songs, what we have made is a tasty musical stew. There is one composer/artist in particular who has had a huge impact on me and that is Ray Charles, so of course he is represented on this album. I heard Ray Charles as a kid, I think it was “Let the Good Times Roll” and I was dazzled right away. The way he treated the lyric, his rawness and that rhythmic piano really captured me. He has a way of singing from his heart, and that has been and still is my goal as a singer too. Always from the heart. In my opinion, soul music stands out as the genre that has the best voices on Earth: Stevie Wonder, Aretha Franklin, Donny Hathaway, Al Green... These voices, and others, have kept millions of people spellbound for many decades including me. When I was 17 I really wanted to go to Fasching jazz club in Stockholm to listen to Nils Landgren and his Funk Unit Henrik Janson, Lars DK Danielsson and Per Lindvall were in the band at the time (Jesper Nordenström also became part of the Funk Unit a few years later). I was excited because these were the very best musicians I knew about. But to my disappointment it turned out I was too young, and the door-man said he couldn’t let me in.

I started crying, and he felt so bad for me that he did let me in, on the condition that I promised not to drink. During the show, I remember saying to myself; “Imagine if I could play with these guys some day”... And now I do! There are no words to describe the joy and privilege that it is for me to have these fellas on my CD. They have an outstanding sound, and they are such great craftsmen at what they do that it sounds fantastic on the first take every time! We spent 3 days together at the legendary Atlantis Studio and let me just say it was a smooth ride. Not only did the band deliver some great live tracks, Magnus Lindgren also showed up with some fantastic horn arrangements. To see this genius at work is such a treat. He is by far one of the most inspiring musicians I know. His mind and his playfulness with music are one-of-a-kind. Together we “cooked” an album for you: “My Soul Kitchen”. Just put a casserole on, invite some friends over, and let soul music be the soundtrack for your evening. You will have a great time I’ll guarantee ya! ~ Ida Sand, May 2018

Personnel:
Ida Sand: vocals, piano
Stockholm Underground:
Jesper Nordenström: Hammond organ, keys
Henrik Janson: electric guitar
Lars DK Danielsson: electric bass
Per Lindvall: drums, percussion
Magnus Lindgren: saxophone, flutes

Guests:
Ola Gustafsson: electric, acoustic guitar
Paris Renita: background vocals
André de Lang: background vocals
André Dahlbäck: background vocals (11)
Nils Landgren: trombone, vocals (10)

My Soul Kitchen

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Lafayette Harris, Jr. - Hangin' with the Big Boys

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 56:50
Size: 131,8 MB
Art: Front

(3:18) 1. Blue Skies
(6:15) 2. In a Sentimental Mood
(3:32) 3. Hangin' with the Big Boys
(7:25) 4. We in the House
(0:54) 5. Don't Worry About It
(6:54) 6. The Zombie Blues
(6:30) 7. Little Kevin's Embrace
(5:42) 8. Drinking Wine Blues
(3:23) 9. The Wheelhouse
(7:40) 10. The Very Thought of You
(5:12) 11. They All Laughed

Harris is the Brooklyn-based pianist who came here with Max Roach nearly two decades ago, and is known for work with Roswell Rudd, Cindy Blackman, top-flight singers and Houston Person. It’s the saxophonist who is the highlight of several tracks here, including dead- slow versions of ‘In A Sentimental Mood’, ‘The Very Thought Of You’, and two of several creative blues tunes. I’m assuming the reputation of the other musicians hasn’t spread much beyond Brooklyn, but their straightahead savvy is demonstrable, and the unhurried work of Drye and Curtis is impressive. Singers Horn and Wippler have one feature each, though it was probably a mistake to open the programme with their less-than-top-flight jamming on the brief ‘Blue Skies’. But the original material elsewhere is worthy of attention, and this set recorded with an invited audience shows the depth of talent that’s around these days. https://www.jazzwise.com/review/lafayette-harris-jr-hangin-with-the-big-boys

Personnel:

Antoine Drye: Mastering, Mixing, Trumpet

Caleb Wheeler Curtis: Composer, Sax (Alto), Sax (Soprano)

George Delancey: Bass

Houston Person: Sax (Tenor)

Jazzmeia Horn: Vocals

Lafayette Harris, Jr.: Composer, Piano, Primary Artist, Producer

Noel Wippler: Vocals

Will Terrill: Drums

Hangin' with the Big Boys

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Happy Holidays!

We will be on vacation for the entire month of December, and we couldn't let it pass without publishing our Christmas message. 

This Christmas, and forevermore, you will be in our hearts. A big hug to everyone,

especially to those who have been with us from the beginning.

May your Christmas be filled with love and joy, and your New Year

prosperous and full of precious moments!!

Thank you for being an important part of our musical journey during this incredible year.

Giullia

Thelonious Monk - Misterioso (Recorded on Tour)

Styles: Jazz, Post-Bop
Year: 1965
Time: 52:07
File: MP3 @ 320K/s
Size: 119,5 MB
Art: Front

(7:44) 1. Well, You Needn't (Live at Brandeis University)
(9:40) 2. Misterioso (Live at Lincoln Center)
(5:35) 3. Light Blue (Live at Newport Jazz Festival)
(5:44) 4. I'm Gettin' Sentimental Over You (Live at Jazz Workshop)
(6:43) 5. All the Things You Are (Live at Jazz Workshop)
(4:37) 6. Honeysuckle Rose (Live at The Village Gate)
(4:06) 7. Bemsha Swing (Live at The Village Gate)
(7:54) 8. Evidence (Live in Tokyo)

Not to be confused with the Misterioso album which was recorded at the Five Spot, this Misterioso came a few years later and was recorded all over the place, some tunes from the Newport Jazz Festival (the aptly titled "Light Blue"), some stuff even came from Japan ("Evidence"). Maybe this was a statement. Monk was denied work in many clubs due to a petty drug conviction during the late fifties, and perhaps this album was a dedication to the first Misterioso album and the famous Five Spot, as here he was with an album recorded though various venues and taking in a few countries. All round the album is a cool and breezy collection of Monk in both lazy and vibrant form. Though when he is lazy he still produces a vivid ambient and blows with a quirky style. Among the eight cuts on the album there is little to get disappointed about, yet hardly an album to play every day, no, you'd just get sick of it. Sunday mornings, nice Autumn bleeding into Winter mornings flicking though the Sunday papers seems just about the perfect time to play Misterioso, Recorded On Tour, but then again, I seem to say that about every jazz album! What I find is the strength of the album, and can be said for Monk in General, is that when he starts to play in an almost esoteric, angular way it's when the band kick in and join the tune that it all fits into place with an ease, especially the saxophone of Charlie Rouse which blends seamlessly with Monk's piano but with very different and contrasting dynamics. Great production work from the patient Teo Macero who could really give a jazz album that special feeling, capturing the essence and mood of the musicians. https://rateyourmusic.com/release/album/thelonious-monk/misterioso-recorded-on-tour/

Personnel:

Bass – Butch Warren (tracks: A2, A3, B4), Larry Gales (tracks: A1, A4, B1 to B3)

Drums – Ben Riley (tracks: A1, A4, B1 to B3), Frank Dunlop* (tracks: A2, A3, B4)

Piano – Thelonious Monk

Tenor Saxophone – Charlie Rouse

Recorded on tour 1963-5. There is not much agreement about when exactly these tracks were recorded - and the location details on the sleeve (given below) are doubtful.

A1 - Brandeis University.

A2 - Lincoln Center, NYC

A3 - Newport Jazz Festival, RI

A4 & B1 - Jazz Workshop, San Francisco

B2 & B3 - The Village Gate

B4 - Tokyo, Japan

Misterioso (Recorded on Tour)

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Karla Harris - Twice As Nice

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 48:35
Size: 111,9 MB
Art: Front

(3:22)  1. I Can't Believe That You're In Love With Me
(3:10)  2. Lover Come Back To Me
(2:47)  3. You Are There
(4:00)  4. Wives And Lovers
(4:09)  5. The Look Of Love
(3:07)  6. On The Sunny Side Of The Street
(2:57)  7. I'm Gonna Laugh You Right Out Of My Life
(2:58)  8. Lover
(3:38)  9. Come Rain Or Come Shine
(3:35) 10. I Wish I Were In Love Again
(3:48) 11. Where Do You Start
(2:24) 12. Happy Talk
(3:49) 13. One For My Baby (And One More For The Road)
(4:46) 14. The Best Is Yest To Come

Twice As Nice, the new CD from Karla Harris and Tom Kennedy, is really two great stories !

~It's a tribute to some of the most memorable melodies and lyrics ever written songs from seven legendary composers of the great jazz and pop standards, with two classic tunes from each.

~It's also about the collaboration of two artists who share a deep appreciation for this music and a love for performing it.

Those artists, internationally acclaimed jazz bassist Tom Kennedy and popular vocalist Karla Harris, met in 2004. Tom was off the road and back in his native St. Louis, playing a gig in the city's celebrated Forest Park one evening when he met Karla, also on the engagement. Well-regarded locally, Karla had recently re-entered the jazz scene after several years away. Hearing her sing standards such as Good Morning Heartache and Moonglow that night, Tom recalls being impressed by a "refreshing lyricism and deep spirit emanating from the vocal mic." Karla, for her part, knew of Tom's reputation as "one of the best bass players on the planet," amazing on both the acoustic and electric bass. A first-call musician, Tom has worked with jazz greats such as James Moody, Freddie Hubbard, David Sanborn, Stan Kenton, Patti Austin, Maureen McGovern and Rosemary Clooney. 

s an integral part of the Dave Weckl Band, with whom he writes, records and tours, his fans are worldwide. LA Weekly writes that Tom's work is "nothing short of inspiring" and Downbeat Magazine calls him a "true virtuoso."  When Tom suggested Karla take part in a CD project he'd been planning, it was the right opportunity at the right time. Their musical rapport and shared vision for performing this music is evident in each track. Twice As Nice glides between jazz and sophisticated pop standards in a rich collection that includes works from composers such as Richard Rodgers, Cy Coleman, Burt Bacharach and Johnny Mandel. Tom performs with the best feel in the business on his 250-year-old acoustic bass, supplying both the emotive touches and acrobatic, horn-like solos for which he's known. Karla, with a clear, soul-tinged delivery that expresses the lyrics with strength, quiet vulnerability or refined fun, is a natural match with the music. Jazz radio host Ross Gentile describes her approach as "sassy and sensitive ... a singer for all seasons who makes every song memorable." Stylish arrangements, created by Tom, brush this varied collection with a fresh touch, making the standards anything but. Oscar Hammerstein's "Lover Come Back to Me," treats you to a prime performance of Tom's artistry, showcasing his artistic nuance, speed and wit in an amazing acoustic solo. 

The Grammy-winning "Wives and Lovers" from Bacharach is cool and swinging with soulful sax by Jason Swagler, while Rogers and Hart's "Lover" gets a rhythmic twist and scintillating sax solos from Gary Meek (of the Dave Weckl Band). "The Look of Love" turns haunting with Tom on electric bass and Karla's longing vocals, and Ray Kennedy (well-known pianist for jazz guitarist/vocalist John Pizarelli) makes you feel like you're there with his bluesy take on Harold Arlen's "One For My Baby." Johnny Mandel's wistful "You Are There" and "Where Do You Start" set a poignant mood; bass and vocal duets "On the Sunny Side of the Street" by Jimmy McHugh and another Rodgers composition, "Happy Talk," add a light touch ! and much more.

Young pianist Kara Baldus adds dynamic touches throughout while drummer Miles Vandiver provides a consistently supportive spirit and swing. With Twice As Nice, Tom and Karla celebrate a golden era of songwriting with all who appreciate the qualities that make this music unforgettable. Fans of acoustic bass, vocal jazz and the Great American songbook will love Twice As Nice.

Twice As Nice

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LM Pagano - Azalea (Unplugged) / Azalea

Styles: Jazz
Year: 2001
Time: 51:18
File: MP3 @ 320K/s
Size: 118,3 MB
Art: Front

(5:32) 1. Azalea
(3:26) 2. It's Love
(4:45) 3. When in Rome
(3:23) 4. This Can't Be Love
(2:47) 5. Love Came on Stealthy Fingers
(3:38) 6. Don't Explain
(4:56) 7. Until I Met You (Corner Pocket)
(5:38) 8. Touch Her Soft Lips and Part
(5:15) 9. Walkin' My Baby Back Home
(8:52) 10. Down with Love
(3:02) 11. Imagination

Azalea (Unplugged)

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Styles: Jazz
Year: 2003
Time: 48:05
File: MP3 @ 320K/s
Size: 113,8 MB
Art: Front

(3:36) 1. Until I Met You (Corner Pocket)
(5:29) 2. Azalea
(2:58) 3. It's Love
(2:46) 4. Love Came on Stealthy Fingers
(3:38) 5. Don't Explain
(3:58) 6. When in Rome
(5:32) 7. Touch Her Soft Lips and Part
(5:13) 8. Walkin' My Baby Back Home
(8:39) 9. Down with Love
(3:18) 10. This Can't Be Love
(2:55) 11. Imagination

California cabaret/jazz artist and Jessica Lange doppelganger LM Pagano (the LM stands for Lisa Marie), a sort of spicier Stacey Kent, evinces a pouty insouciance worthy of both Ann-Margret and Peggy Lee. Like Ann-Margret, she augments a somewhat limited range with plenty of purring chutzpah. Pagano fills Azalea, her sprightly debut for L.A.’s Bop City, with thoughtful choices like Bob Dorough’s pensive “Love Came on Stealthy Fingers,” Duke Ellington’s tender title track and the richly brocaded “Touch Her Soft Lips and Part,” lifted from classical composer SirWilliam Walton’s score for the 1944 film version of Henry V starring Laurence Olivier. Her “It’s Love” echoes the breathy enthusiasm of Blossom Dearie and her saucy reading of the Cy Coleman-Carolyn Leigh gem “When In Rome” sits nicely between the sophisticated ennui of Tony Bennett’s and the cosmopolitan esprit of Peggy Lee’s. Best, though, is a hepped-up arrangement of “Don’t Explain” that, at first blush, seems so wrong yet, bouncing with barely contained yearning, works incredibly well.

https://jazztimes.com/archives/lm-pagano-azalea/

Azalea

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