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

---

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

Compliments of the Mysterious Phantom (mp3 320)
Compliments of the Mysterious Phantom (FLAC)

---

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)
The Gospel Truth (FLAC)

---

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

---

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

---

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)

---

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

---

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

---

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

---

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

---

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)

---

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

---

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)

---

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

---

Eric Rasmussen - School Of Tristano 1, 2, 3

Album: School Of Tristano 1
Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 60:29
Size: 142,7 MB
Art: Front

(6:44) 1. Friendlee
(4:30) 2. I Can't Remember
(4:53) 3. Dixie's Dilemna
(6:58) 4. Backgroud Music
(4:38) 5. It's You
(6:18) 6. 317 E. 32nd Street
(5:52) 7. Marshmallow
(5:41) 8. Kary's Trance
(7:14) 9. Every Breath
(7:37) 10. Wow

Although he was far too young to have studied with Lennie Tristano, alto saxophonist Eric Rasmussen is a firm believer in the late pianist and teacher's approach to jazz, especially playing intricate reworkings of familiar chord changes. Guitarist Nate Radley is equally drenched in Tristano-school arrangements, so together with bassist Dave Ambrosio and in-demand drummer Matt Wilson (who seems like he takes part in hundreds of recording sessions every year), the group plays eight works created by Tristano and two of his earliest followers, Lee Konitz and Warne Marsh.

But the quartet takes the original recordings as a launching pad for improvisation, relishing the tricky unison lines and counterpoint of the creators while also putting their own stamp on them in the process. So attentive listeners are still able to pick out the songs which inspired each of these pieces, including Tristano's challenging "317 E. 32nd Street" (based on "Out of Nowhere"), Marsh's furious "Background Music" ("All of Me") and a spacy treatment of Konitz's "Kary's Trance" ("Angel Eyes"). Rasmussen reworked "I Remember You" into a new composition "I Can't Remember," while Bailey transforms rocker Sting's hit "Every Breath You Take" into a Tristano-flavored piece ("Every Breath") with great success.

While far too many people label Tristano's approach to jazz as "cold" and "unemotional" Rasmussen's quartet proves otherwise throughout this rewarding session, reviving the idea that musicians attentively listening to one another can produce more compelling results than simply playing it safe. By Ken Dryden
https://www.allmusic.com/album/school-of-tristano-mw0001906494

Personnel: Alto Saxophone – Eric Rasmussen; Bass – Dave Ambrosio; Drums – Matt Wilson; Guitar – Nate Radley

---

Album: School Of Tristano 2
Time: 57:49
Size: 133,3 MB

(4:06) 1. Earful
(6:00) 2. Sound Lee
(3:03) 3. Progression
(3:35) 4. Line Up
(5:27) 5. Victory Ball
(3:35) 6. April
(4:35) 7. Marionette
(6:02) 8. April Fool
(3:23) 9. Hi Beck
(5:04) 10. Tautology
(6:44) 11. Leave Me Alone
(6:07) 12. Smog Eyes

Alto saxophonist Eric Rasmussen recorded his first volume of compositions by Lennie Tristano and some of his most famous students in 2006. When producer Nils Winther discovered that this only represented a fraction of Rasmussen's repertoire of songs by Tristano and his disciples, he quickly suggested additional record dates. This volume, taped around the same time as volume three, features the same quartet with guitarist Nate Radley, bassist Dave Ambrosio, and the in-demand drummer Matt Wilson, all of whom excel in facing the challenges of the intricate reworking of familiar songs as envisioned by Tristano, Lee Konitz, Ronnie Ball, Billy Bauer, and Ted Brown.

Rasmussen avoided listening to the available recordings of the pieces the quartet performed, in order to guarantee fresh approaches to each song. As on the earlier session, the quartet dives headfirst into each of these demanding compositions, constantly challenging themselves as improvisers building upon the framework by their predecessors. Two of Tristano's pieces are based upon "I'll Remember April," "April," and "April Fool," though they are very different works. Rasmussen's unison playing with Radley in Konitz's fiendishly difficult "Sound Lee" is superb. Tristano fans will enjoy digging out the original recordings by the pianist, Konitz, Ball, Bauer, and Brown to compare them with the stunning interpretations on this highly recommended disc. By Ken Dryden
https://www.allmusic.com/album/school-of-tristano-2-mw0000793976

Personnel: Alto Saxophone – Eric Rasmussen; Bass – Dave Ambrosio; Drums – Matt Wilson; Guitar – Nate Radley

---

Album: School Of Tristano 3
Time: 57:13
Size: 132,1 MB

(4:02) 1. Sax Of A Kind
(9:15) 2. Leave Me Alone
(6:01) 3. Playa Del Ray
(7:34) 4. Requiem
(5:06) 5. Lennie-Bird
(4:14) 6. Just Way There You Are
(5:56) 7. Palo Alto
(2:27) 8. Lennie's Pennies
(5:20) 9. Sop Goes The Leasel
(3:35) 10. April (take1)
(3:39) 11. Line Up (take1)

Saxophonist/Composer Eric Rasmussen relocated to the Phoenix area in the summer of 2007. The California native spent the last ten years playing and teaching in New York City where he was a staple of the jazz community, performing regularly on the East Coast as well as throughout Europe. While in New York, he performed regularly with some of the most respected names in jazz and was the Director of Jazz Studies at the Center for Preparatory Studies in Music at Queens College.

Earning his Masters of Music degree in Jazz Performance at the New England Conservatory in Boston, Eric studied with Jerry Bergonzi, George Garzone, Danilo Perez and Paul Bley. He received his BFA in Jazz Performance from California Institute of the Arts in Los Angeles, where he studied with Charlie Haden, Joe Labarbera and Roscoe Mitchell. Eric leads the groups Guaranteed Swahili and the Eric Rasmussen Tristano Band, both of which have toured the United States on numerous occasions. Eric is an experienced educator and guest clinician with clinics at the University of Iowa, California Institute of the Arts, Wellesley College, Saddleback College, Arizona State University, Hartnell College, Portsmouth Music and Arts Center, as well as numerous high schools throughout the country and in the Phoenix area.

With his own groups, Eric has recorded for internationally acclaimed jazz labels Steeplechase and Fresh Sound Records. As a sideman, Eric has also recorded with Paul Bley, Danilo Perez, Billy Hart, Christophe Schweizer and the Jazz Composers Alliance Saxophone Quartet. He has played at some of the most prestigious venues in the Country including the Kennedy Center and a 2007 performance with the Lee Konitz Big Band as part of the JVC Jazz Festival at Carnegie Hall. Eric has served as adjunct faculty for Mesa Community College, Paradise Valley Community College and was the Music Director for Young Sounds of Arizona from 2010 – 2011. Currently, Eric is the Director of Instrumental Music at Scottsdale Community College.  https://directory.scottsdalecc.edu/rasmussen-eric

School Of Tristano 1,2,3

---

Benny Golson - Tune In, Turn on - To the Hippest Commercials of the Sixties

Styles: Jazz
Year: 1967
Time: 31:38
File: MP3 @ 320K/s
Size: 73,3 MB
Art: Front

(2:57) 1. Music To Watch Girls By
(2:46) 2. Wink
(2:22) 3. The Disadvantages Of You
(2:24) 4. No Matter What Shape ( Your Stomach's In )
(2:34) 5. Right Any Time Of The Day
(2:38) 6. Music To Think By
(2:38) 7. The Swinger
(2:52) 8. The Magnificent Seven
(2:37) 9. Cool Whip
(2:15) 10. The Golden Glow
(3:01) 11. Fried Bananas
(2:29) 12. Happiness Is

Musically speaking, the low rating for this CD is perfectly appropriate, because this album (originally titled Tune In, Turn On To the Hippest Commercials of the Sixties) is the kind of release that serious jazz listeners loathed. For sheer enjoyment, however, one can raise the rating by better than half-it is fun even if it isn't remotely the best jazz, or jazz at all. Benny Golson leads an orchestra featuring Art Farmer on trumpet and flugelhorn, Eric Gale on guitar, and Bernard Purdie at the drums, doing jazzed versions of the theme music from popular commercials. Some of it does work-Farmer and Gale have their moments-but a good deal of this recording (especially material like "The Swinger," for the Polaroid camera) comes off as jazz-muzak; it's doubtful that even Miles Davis could have done much more with the repertory here, and Golson wasn't being half as ambitious. Elliot Horne's original notes talk about Golson's credits and musical imagination, but here he even leaves the vocal choruses intact on several tracks, which ensures that listeners think of the original commercials and the products, not the music; in fact, next to this record, Verve's Count Basie Plays The Beatles is hot, swinging, and daring. Golson's own "The Golden Glow" is one of the better tracks here, and one of the oddities present is Elmer Bernstein's theme from The Magnificent Seven, because it was also the Marlboro cigarettes theme music of the period. The CD packaging includes a high quality reproduction of the original LP jacket, a comically ornate late '60s lay-out featuring a television set with a psychedelic test pattern, which made it a perennially popular '60s artifact among album art collectors. And for those who care about such things, it is interesting to learn the official names of some of the commercial themes here, such as "The Disadvantages of You" (Benson & Hedges 100 cigarettes), as well as their composer credits. And the CD (in excellent sound) is fun, and has just enough creativity to keep it diverting for the purists. 

https://www.allmusic.com/album/tune-in-turn-on-the-hippest-commercials-of-the-sixties-mw0000047280

Tune In, Turn On

---

Duke Ellington & Teresa Brewer - It Don't Mean A Thing If It Ain't Got That Swing

Styles: Vocal And Piano Jazz
Year: 1973
File: MP3@320K/s
Time: 29:02
Size: 68,9 MB
Art: Front

(2:05)  1. It Don't Mean A Thing If It Ain't Got That Swing
(3:18)  2. I Ain't Got Nothing' But The Blues
(2:27)  3. Satin Doll
(3:49)  4. Mood Indigo
(2:53)  5. Don't Get Around Much Anymore
(2:05)  6. I'm Beginning To See The Light
(2:37)  7. I've Got To Be A Rugcutter
(3:36)  8. I've Got It Bad And That Ain't Good
(1:55)  9. Tulip Or Turnip
(2:18) 10. It's Kind Of Lonesome Out Tonight
(1:53) 11. Poco Mucho

Edward Kennedy "Duke" Ellington (April 29, 1899 – May 24, 1974) was an American composer, pianist and bandleader of jazz orchestras. He led his orchestra from 1923 until his death, his career spanning over 50 years. Born in Washington, D.C., Ellington was based in New York City from the mid-1920s onward, and gained a national profile through his orchestra's appearances at the Cotton Club in Harlem. In the 1930s, his orchestra toured in Europe. Though widely considered to have been a pivotal figure in the history of jazz, Ellington embraced the phrase "beyond category" as a liberating principle, and referred to his music as part of the more general category of American Music, rather than to a musical genre such as jazz. Some of the musicians who were members of Ellington's orchestra, such as saxophonist Johnny Hodges, are considered to be among the best players in jazz. Ellington melded them into the best-known orchestral unit in the history of jazz. Some members stayed with the orchestra for several decades. 

A master at writing miniatures for the three-minute 78 rpm recording format, Ellington often composed specifically to feature the style and skills of his individual musicians.Often collaborating with others, Ellington wrote more than one thousand compositions; his extensive body of work is the largest recorded personal jazz legacy, with many of his extant works having become standards. Ellington also recorded songs written by his bandsmen, for example Juan Tizol's "Caravan", and "Perdido", which brought a Spanish tinge to big band jazz. After 1941, Ellington collaborated with composer-arranger-pianist Billy Strayhorn, whom he called his writing and arranging companion. With Strayhorn, he composed many extended compositions, or suites, as well as additional short pieces. Following an appearance at the Newport Jazz Festival, in July 1956, Ellington and his orchestra enjoyed a major career revival and embarked on world tours. Ellington recorded for most American record companies of his era, performed in several films, scoring several, and composed stage musicals. Due to his inventive use of the orchestra, or big band, and thanks to his eloquence and charisma, Ellington is generally considered to have elevated the perception of jazz to an art form on a par with other traditional musical genres. His reputation continued to rise after his death, and he was awarded a special Pulitzer Prize for music in 1999. https://en.wikipedia.org/wiki/Duke_Ellington

Teresa Brewer (May 7, 1931 – October 17, 2007) was an American pop singer whose style incorporated elements of country, jazz, R&B, musicals and novelty songs. She was one of the most prolific and popular female singers of the 1950s, recording nearly 600 songs.Theresa Veronica Breuer was born in Toledo, Ohio, the eldest of five siblings. Her father was a glass inspector for the Libbey Owens Company (now part of Pilkington Glass), and her mother was a housewife. When she was two years old, her mother entered her in an audition for a radio program, Uncle August's Kiddie Show on Toledo's WSPD. She performed for cookies and cupcakes donated by the sponsor. Although she never took singing lessons, she took tap dancing lessons. From age five to twelve, she sang and danced on the Major Bowes Amateur Hour, then a popular touring radio show. Her aunt Mary traveled with Theresa until 1949, when Theresa wed William Monahan.

At the age of 12, Brewer returned to Toledo and ceased touring in order to have a normal school life. She continued to perform on local radio. In January 1948, the 16-year-old won a local competition, and (with three other winners) was sent to New York to appear on a talent show called Stairway to the Stars, featuring Eddie Dowling. It was at about that time that she changed the spelling of her name from Theresa Breuer to Teresa Brewer. She won a number of talent shows and played night clubs in New York (including the Latin Quarter) https://en.wikipedia.org/wiki/Teresa_Brewer

It Don't Mean A Thing If It Ain't Got That Swing

---

Shutaro Matsui - Danse Macabre/Fragments/Steps of the Blue

Trumpet player Shutaro Matsui has been gaining attention as a rising star in the jazz world. Her debut album "Steps of the Blue," recorded at the young age of 22, is receiving a great response, including the Music Pen Club Music Award New Artist Award. In her second album, Danse Macabre, produced by her mentor Makoto Ozone, and recorded in New York, consists mainly of her own compositions. She is accompanied by some of the world’s most talented musicians, including Jonathan Blake, known as the pinnacle of modern jazz drumming! Her overwhelming musicality and natural jazz spirit have inspired a passionate sympathy among the members, resulting in a spectacular session of high concentration. This is the birth of the album that will attract the most attention in the jazz world in 2024!  

Born in 1999, she graduated with honors from the Kunitachi College of Music, majoring in jazz. She received the Yatabe Award. She majored in classical music in high school and played trumpet with the Japan Mozart Youth Orchestra. Upon entering university, she switched to jazz and studied under Makoto Ozone, Eric Miyashiro, and Akira Okumura orientation. While still a student, she began her professional career, performing her own jazz concerts and participating in the BLUE NOTE TOKYO ALL STAR JAZZ ORCHESTRA. In addition to her solo performances, she has also performed classical concerts with orchestras and wind orchestras, toured with brass ensembles, participated in Makoto Ozone's No Name Horses, performed the music of Kenshi Yonezu, and toured with King Gnu. Her multi-faceted talents have garnered attention for their transcending genres. She has also been featured in the media, including on TV Asahi's "Untitled Concert" and MBS/TBS's "Jonetsu Tairiku," garnering a lot of attention.

To date, she has released the albums "STEPS OF THE BLUE" (2023), "DANSE MACABRE" (2024), and "FRAGMENTS - CONCERT HALL LIVE 2025" (October 2025).

https://avex.jp/shutaro-matsui/profile

---

John Patitucci & Andy James - An Evening with John Patitucci & Andy James

Styles: Jazz, Post Bop
File: MP3@256K/s
Time: 82:48
Size: 152,2 MB
Art: Front

(4:23) 1. Autumn In New York
(7:08) 2. Besame Mucho
(3:08) 3. I Love You And Dont You Forget It
(5:07) 4. To Dream As One
(4:41) 5. Moonlight In Vermont
(5:09) 6. Day Dream
(5:46) 7. Blackbird
(3:19) 8. When I'm With You
(6:05) 9. Will You Still Love Me Tomorrow
(4:12) 10. Unchain My Heart
(6:22) 11. Fire Rain
(4:19) 12. Burn For Love
(5:30) 13. Some Other Time
(4:26) 14. Laura
(4:00) 15. More Than You Know
(5:02) 16. My Heart Belongs To Daddy
(4:03) 17. Angel Eyes

On An Evening with John Patitucci & Andy James, two gifted performers join forces to conjure an intimate evening of captivating music. At a time when jazz aficionados around the world have been starved for musical experiences, the album recreates the sultry atmosphere of a candlelight nightclub as some of the most revered musicians in modern jazz perform classic standards. Due out November 5 via Le Coq Records, An Evening with John Patitucci & Andy James features nearly 90 minutes of scintillating music featuring an incomparable ensemble. In addition to James’ mesmerizing vocals and Patitucci’s bass mastery, the album boasts arrangements by piano great Bill Cunliffe for an ensemble that includes saxophonists Chris Potter and Rick Margitza, trumpeter Terell Stafford, guitarists Chico Pinheiro and Jake Langley, keyboardists John Beasley and Jon Cowherd, percussionist Alex Acuña, drummers Vinnie Colaiuta, Marcus Gilmore and Marvin “Smitty” Smith, along with powerful horn and string sections.

“I wanted people to just sit back and enjoy a listening experience of serene pleasure,” declares James. “John and I tried to create something easy to listen to that would leave people feeling good afterwards. I recorded the album in anticipation that people wouldn’t something too complicated at this time we all find ourselves in.” Jazz singing and Flamenco dance have been parallel passions throughout Andy James’ life. Flamenco took prominence during what she now refers to as “act one” of her artistic life. She became renowned as a world-class Flamenco dancer, enjoying a successful career dancing with husband and partner Piero Pata in Madrid. For “act two,” James relocated to the U.S. and focused on her singing career, renewing collaborations with the great jazz musicians who had crossed her path while they traveled through Europe. She and Pata launched Le Coq Records, releasing a series of albums ranging in style from the elegance of the female jazz swing tradition to vintage R&B to the post-bop urgency of the classic Blue Note era.

An estimable professional family has quickly found a home at the label, with Patitucci, Acuña and Cunliffe playing key roles on a number of releases and several musicians making recurring appearances from one recording to the next. On An Evening With…, Patitucci proves an ideal partner for James, bringing his revered tone and musical vision to the project and convening the ideal musicians for each piece.“When choosing personnel for any project,” Patitucci explains, “I try to find the greatest musicians that I have longstanding relationships with, in order to have the opportunity to get more deeply into the music at hand.” Over the course of a career lasting four decades, Patitucci has forged essential collaborations with some of the most acclaimed artists in jazz and beyond, most notably long-lasting partnerships with iconic saxophonist Wayne Shorter and the late Chick Corea.

Speaking of James, Patitucci says, “Andy is a very generous and flexible collaborator. She has a great love for the Great American Songbook. When she sings, her phrasing is reminiscent of so many of the great singers that I grew up listening to. The style that she sings in provides the opportunity to write arrangements for larger orchestrations.”James returns the compliment. “John is very important to my whole performance. Without John’s playing I would have been restricted in the way I could sing and approach every song in the album. John Patitucci brings a deep sound that allows me the freedom to sing with a lot of mood or feeling in my voice. He gives me a lot of space to create a meaningful performance.”

From the intoxicatingly lush opener “Autumn in New York,” with Patitucci’s robust bass matched by a fervent tenor solo by Potter, to the last-call balladry of “Angel Eyes” that closes the set, An Evening with John Patitucci & Andy James features countless classic songs along with a few surprises, including the smoldering James and Pata-penned love song “Burn for Love.”As she did on her previous release, Tu Amor, James reaches into her Latin influences on “Besame Mucho.” In addition to a number of well-known jazz standards James stretches the American Songbook to encompass great pop and rock classics like The Beatles’ “Blackbird” and James Taylor’s “Fire and Rain.”

The choices certainly inspire passionate playing from James and Patitucci’s guests, with standouts including Rick Margitza’s soaring solo on “Fire and Rain,” Terell Stafford’s heart-wrenching take on “Moonlight in Vermont,” and the soulful playing of Potter and John Beasley on the Gerry Goffin/Carole King favorite “Will You Still Love Me Tomorrow.” “The songs came naturally,” James explains. “I just wanted to sing some beautiful songs. The mood I had in mind when choosing these songs was one of love I just wanted people to find love with each other again after the era of Covid!” https://bassmagazine.com/artists/john-patitucci-announces-new-album-an-evening-with-john-patitucci-andy-james

An Evening with Andy James & John Patitucci

---

Bill Evans & Shelly Manne - Empathy

Styles: Jazz
Label: Wax Time
Year: 2007
File: MP3@320K/s
Time: 34:43
Size: 79,5 MB
Art: Front

(6:26)  1. The Washington Twist
(3:42)  2. Danny Boy
(4:32)  3. Let's Go Back To The Waltz
(9:09)  4. With A Song In My Heart
(5:07)  5. Goodbye
(5:46)  6. I Believe In You

This album came about through a fortuitous convergence of circumstances. Shelly Manne & His Men were appearing at New York's Village Vanguard, sharing the bill with the Bill Evans Trio. Getting Riverside's permission to let the pianist participate, Creed Taylor set up a session at Rudy Van Gelder's studio with Evans and Manne sharing top billing. Manne's bass player, Monty Budwig, made up the trio. This was a busman's holiday for Evans, who was freed from the musical parameters he had set for his then-current trio. The result is that his playing seemed lighter, freer, and more relaxed than it had for a while. The album kicks off with a jaunty version of Irving Berlin's "The Washington Twist" from the unsuccessful Mr. President with Budwig sharing the honors with Evans as much as Manne. Manne spends most of his time driving Evans into more diminished and sharper playing than was usually Evans' wont. Another relatively unfamiliar Berlin work, "Let's Go Back to the Waltz," gives full reign to Evans' lyricism. The longest tune on the set is an audacious, almost lampooned version of "With a Song in My Heart" with light chordal phrasing that pretty much characterized much of the tone coming from this session. Listening to these three, it's clear that everyone was having a good time and simply enjoying being relieved of their duties with their regular combos, even if for just one day. Empathy has been reissued by Verve as a CD that also includes another Evans' goody, A Simple Matter of Conviction.~Dave Nathan (http://www.allmusic.com/album/empathy-mw0000531139).

Empathy

---