Jazz
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Singularity
CD$17.99$16.19Centaur Records
Apr 02, 2021CRC3858 -
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- Charles Strouse, Lee Adams: A Lot of Livin' to Do
- Lennon & McCartney: And I Love Him
- Bacharach: Alfie
- Burton Lane, Alan Jay Lerner: On a Clear Day
- Mel Mitchell, Stanley Applebaum, Rita Mann: Passing Strangers
- Erroll Garner, Johnny Burke: Misty
- Gus Arnheim, Abe Lyman, Arthur Freed: I Cried for You
- Rodgers, R: Babes in Arms: My Funny Valentine
- Gerald Marks, Seymour Simons: All of Me
- Walter Gross, Jack Lawrence: Tenderly
- Howard, B: Fly Me to the Moon
- Sammy Cahn, Jule Styne: Time After Time
- Martin, Hugh: The Trolley Song (from Meet Me in St Louis)
- Webb, Jimmy: By The Time I Get To Phoenix
- Rodgers, R: No Strings: The Sweetest Sounds
- Jimmy van Heusen, / Johnny Burke: Polka Dots and Moonbeams
- Rube Bloom, Johnny Mercer: Day in, Day Out
- Gilbert Bécaud, Pierre Delanoë, Carl Sigman: What Now, My Love
- Jack Lawrence, Stan Freeman: I Had a Ball
- Webb, Jimmy: Didn't We?
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GERSHWIN RARITIES (The 1953-1954 Walden Sessions)
Songs by Cole Porter & Rodgers & Hart: The 1953 Walden Sessi
Gulda: Sinfonie in G - Heidelberger Hazztage 1971
Gulda's “Symphony in G“, presented on this album, was discovered in the SWR archive in the course of research for the release of all the recordings the Austrian pianist made for the German Southwest Broadcasting Corporation (SWR). Until now nobody actually knew that this work existed for there are no indications of Gulda being commissioned or of a specific occasion for which he might have composed this symphony. Therefore, one listens here to the world première of a piece which – apart from being recorded in the studio on 20 November 1970 – has never been performed in public. At the beginning of the 1970s Gulda gave concerts that exclusively featured his own compositions. This also applies to his performance at the Heidelberger Jazztage in 1971, released here for the first time digitally and on album. Almost all of Gulda's jazz works, though often based on classical forms, cannot be played without knowledge of improvisation so as to “keep them away from bunglers” (as the pianist himself put it). One of Gulda’s few compositions without improvisation to be heard here is No. IV from the ten-part piano cycle “Play Piano Play”. “Prelude and Fugue" was probably Gulda’s favourite work and was the last piece of Gulda’s performance in Heidelberg. An exception on this album is Fritz Pauer's "Etude.” In 1966 Fritz Pauer won a prize in the jazz competition Gulda had initiated and so Gulda decided to include this work in the Heidelberg concert from 1971.
GREAT WOMEN OF SONG: SHIRLEY HORN
Singularity
“There's a certain nakedness to a jazz duo. Everything is out there and exposed - no crashing cymbals to hide behind, or bass lines to get lost in. It often brings out a different side of your playing, a brutal honesty that is left after everything else is stripped away. Here is where we ended up...” Kevin Jones recently joined the Florida State University College of Music faculty as Assistant Professor of Jazz Trombone in 2016 after previously holding teaching appointments at the University of Texas at Austin, the University of South Carolina, Lander University, and Presbyterian College. As a performing artist, Dr. Jones toured with James Brown, Kenny Loggins, the Ringling Bros. Circus, and Princess Cruise Lines. He has numerous performing credits with jazz and commercial artists including the Temptations, Bucky Pizzarelli, Aretha Franklin, Joshua Redman, David Sanborn, Bill Holman, Jeff “Tain” Watts, Jim McNeely, Burt Bacharach, and Barry Manilow. Bill Peterson began his career in Chicago as a pianist and conductor/arranger/contractor for many celebrity artists, sharing the stage with celebrity greats including Ramsey Lewis, Diane Schuur, Patti Labelle, Frankie Valli and The Four Seasons, Smokey Robinson, Red Buttons, Suzanne Somers, Steve Allen, Joan Rivers, Morey Amsterdam, Kathie Lee Gifford, Mary Hart, Bob Newhart, Tony Bennett, George Burns, Danny Thomas, and Las Vegas sensation, Danny Gans.
A Jazzman's Broadway
Before he was a noted composer of such shows as Little Me, Sweet Charity, Barnum and On the Twentieth Century, Cy Coleman was the favorite of the New York cabaret and supper club scene. Now, for the first time, Cy and his fellow musicians play the scores of Harold Arlen and E.Y. Harburg’s hit show Jamaica in addition to songs from the Rodgers and Hammerstein hits Flower Drum Song and South Pacific. The works from the latter production have been taken from rare transcription recordings, and are making their first debuts since being recorded in the early 1950s. While listening to this jazzy album, think of yourself sipping a Manhattan cocktail or a martini at the Shelburne or Park Sheraton hotels’ club while Cy Coleman and his fellow musicians regale you with a bevy of Broadway blockbuster tunes. It’s ‘50s jazz at its finest.
Artemis
Jazz supergroup Artemis is composed of pianist/musical director Renee Rosnes, clarinetist Anat Cohen, tenor saxophonist Melissa Aldana, trumpeter Ingrid Jensen, bassist Noriko Ueda, drummer Allison Miller, and vocalist Cécile McLorin Salvant, who collectively conjure a powerful, multi-generational, globe-spanning voice. This 9-track debut project features material composed/arranged by the members that unfurls with a dynamic flow, stunningly eclectic yet entirely cohesive.
Woven / Jeremy Pelt
Live
Stable Mable
Suite For Chocolate
Time On My Hands
Speechless
Live On Tour In The Far East, Vol. 1
Song For Biko
Falling In Love With Paul Desmond
-- Stephen Thomas Erlewine, AllMusic.com
Personnel includes: Paul Desmond (alto saxophone); Albert Richman (French horn); Gene Bianco, Gloria Agostini (harp); Jim Hall (guitar); Eugene Wright, Gene Cherico, Milt Hinton (bass); Robert Thomas (drums, percussion); Connie Kay (drums).
Recorded at Webster Hall and RCA Studio A in New York, New York between 1962 and 1964. Includes liner notes by Joshua Sherman.
Digitally remastered by James Nichols (BMG Studios, New York, New York).
This is part of RCA Victor's Falling In Love With series.
Personnel: Paul Desmond (alto saxophone); Jim Hall (guitar); Gene Bianco, Gloria Agostini (harp); Al Richman (French horn); Robert Thomas (snare drum, percussion); Connie Kay (snare drum).
Liner Note Author: Joshua Sherman.
Recording information: RCA Studio A, New York, NY (1962-1964); Webster Hall, New York, NY (1962-1964).
The Duke at Fargo 1940 (60th Anniversary Edition)
BRAZEN HEART LIVE AT JAZZ STANDARD - COMPLETE
QUINTESSENCE: S. ROLLINS 1953-
REMEMBERING JACO
Joy Alone
Volker Mainz - Mainz Studio Recordings (1963-1969)
When the Darmstadt teenager Volker Kriegel (1943-2003) officially debuted his first chords in the late 1950s, the guitar was still an outsider instrument in jazz. It could boast a few luminaries, but actually everything was still open when, in 1963 and 1964, the autodidact from Hessen won first prizes as guitarist and soloist at the amateur jazz festival in Düsseldorf. The debut recordings in 1963, which Südwestfunk (SWF) recorded with the nineteen-year-old guitarist in trio at the Deutschhaus in Mainz, and the 1969 studio sessions in the Kammersaal Studio, are worlds apart. For one thing, the guitar itself had carved out a career. On top of this, Kriegel had gained in self-confidence. But above all, he had found a counterpart in Claudio Szenkar, who opened up perspectives not only in terms of communication and composition but also through Kriegel’s own instrument. The combination of vibraphone and guitar was then still fairly new. In 1968, Kriegel decided to make music his main profession. Thanks to "With A Little Help from My Friends" and an appearance at the German Jazz Festival in Frankfurt, he achieved the breakthrough into public recognition. Together with the vibraphonist Dave Pike, the bassist Hans Rettenbacher and the drummer Peter Baumeister, he founded the Dave Pike Set, which became for four years his artistic center and a beacon combo of European jazz rock. And for the SWF (Südwestfunk, today SWR) he went twice into the sound studio. With the exceptions of The Beatles’s anthem "Norwegian Wood" and "Mother People" by the young guitar berserker Frank Zappa, hardly any pieces by other musicians are still to be heard in these recordings.
Big Bands Live: Quincy Jones & His Orchestra
Live at the Berlin Philharmonie 1969 / Sarah Vaughan
Never before entirely released concert recorded on 9 November 1969 at the Berlin Philharmonie. These emotionally intense concerts are all the more remarkable because of the artists high wire act, a balance constantly maintained throughout between her professional savoir faire (a vocal technique at the apex of her art and her interpretive skills) and her emotional abandonment to the moment as she gives her all. The entire performance, with Vaughan pouring out her heart, seems in hindsight at once perfectly timeless in terms of its formal classicism yet thoroughly in the fleeting moment. At the end of the day, these recordings are invaluable. As Vaughan explores the most lyrical, emotional aspects of her art, she overwhelms her listeners as she bares her soul. Her virtuosity in using her imagination to deploy all her technical skills and the extraordinary range of her tessitura are restrained rather than ostentatious. She literally reaches the stars and gives us a unique lesson in music as a form of the art of living.
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