Nick Fraser - Starer (2016)

Label: Self Released

Source: Toronto Jazz

Genre: Free Jazz

In this exciting, two-night presentation (May 4 and 5), Nick Fraser celebrates the release of two CDs: Too Many Continents with the Nick Fraser Trio, and Starer with the Nick Fraser Quartet.
For his Quartet, Nick is joined by New York-based saxophonist Tony Malaby, Andrew Downing on cello and Rob Clutton on bass; his Trio features Mr. Malaby and New York-based pianist Kris Davis - two of the world’s best in the field of avant garde jazz. While the music of both the Nick Fraser Quartet and Trio is largely based in the tradition of “free" jazz, it also draws from the entire tradition of jazz and from the musicians' diverse experiences in improvised music, world music, folk, and notated music.
The Nick Fraser Quartet has been together since 2012, recording two albums (Towns and Villages and the forthcoming Starer), and touring in Canada and the United States. The Nick Fraser Trio is a newer group featuring compositions by the leader and improvised pieces by the trio; they released their debut, Too Many Continents on the Portuguese Clean Feed Records label in 2015.

Nick Fraser has been an active and engaging presence in the Toronto new jazz and improvised music community for over twenty years. He has performed with a veritable "who's who" of Canadian jazz and improvised music and with such international artists as Tony Malaby, Donny McCaslin, Marilyn Crispell, Anthony Braxton and David Binney. Nick's recorded works as a leader include Owls in Daylight (1997) and Nick Fraser and Justin Haynes are faking it (2004), Towns and Villages (2013) and Too Many Continents (2015). For ten years, he co-led the group Drumheller, who released four critically acclaimed recordings. Other projects that occupy Nick regularly are Peripheral Vision, the Ugly Beauties (with Marilyn Lerner and Matt Brubeck), and the Lina Allemano Four. "Fraser not so much plays the drums as hurls himself whole body and soul against skin and metal... truly talented." -Bill Stunt, CBC Radio.

1. minimalism/416-538-7149 04:59
2. Sketch #26 01:53
3. Starer 04:34
4. Sketch #29 04:37
5. Jupiter (Sketch #15) 04:45
6. Sketch #20/22 10:28
7. Sketch #21 05:17
   

 

Nick Fraser: drums, composition
Tony Malaby: saxophones
Andrew Downing: cello
Rob Clutton: double bass

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Brad Shepik Organ Trio - Top Down (2016)

Label: JLC Records 

Source: Brad Shepik

Shepik writes about Top Down- "These compositions (except Gary Peacock's Major Major) were written in the late spring/early summer of 2015. Friday evokes a wide open elation I feel working in my studio in Brooklyn. Sweet Suzy, written just a few days before the recording recalls the Meter's and the blues and was a highlight of the recording for me. There's more than a hint of one of my favorite guitarists, John Scofield, on this tune. Coincidentally, on the morning of the day of this album's second recording session, I had the honor to record a song with him along with Peter Bernstein and Adam Rogers as part of an New York University Guitar Ensemble record. Vampa has South American feel though I didn't have a specific regional rhythm in mind. The tune's harmonic/rhythmic structure leaves a lot of room for melodic invention and suggested a conversation in the trading choruses. Hall is dedicated to Jim Hall, the giant of the guitar whose influence is felt on every generation of guitarists that have come along since the the late 1950's. Something in the wide melodic intervals and fluid rhythm suggested his artistry. Top in the Middle is a bluesy AABC form however the chords deviate and suggest a somewhat difficult climb to the goal. The title refers to the inevitable mix of sweet and bitter as life unfolds. Major Major has been a favorite tune from Gary Peacock's "Tales of Another" for many years, I had the privilege of playing a session with him when I was 19. Aeolia is a circular tune with a 7/8 Balkan rhythm that reminds me of a friend who lives on a windy island. I was playing with harmonic colors and phrasing on Stumma Cake. The tune's title could be a dessert but the final two chords reflect a mild discomfort experienced occasionally by the very young."

1. Friday
2. Sweet Suzy
3. Vampa
4. Hall
5. Top in the Middle
6. Major Major
7. Aeolia
8. Stumma Cake

Brad Shepik - guitar
Gary Versace - organ
Mark Ferber - drums  

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George Coleman - A Master Speaks (2016)

Label: Smoke Sessions

Source: The Urban Music Scene

In 2015 the National Endowment for the Arts confirmed what countless listeners have known for the last six decades by naming tenor saxophonist George Coleman an NEA Jazz Master. A man of few words, Coleman nonetheless conveys his thoughts with unparalleled eloquence when he speaks through his instrument, as profoundly evidenced by the nine tracks on A Master Speaks, his long-overdue return to the studio.
Scheduled for release April 8 via Smoke Sessions Records, A Master Speaks is Coleman’s first release as a leader in nearly 20 years and first recording since the 2002 all-star live tribute album Four Generations of Miles. The rarity of the session is remarkable in itself; even more special is that fact that it grew out of a desire shared by Coleman and his son, drummer George Coleman Jr., to finally record together.
They’re joined by a stellar band featuring pianist Mike LeDonne and bassist Bob Cranshaw, with guitarist Peter Bernstein making a special guest appearance. This date was produced by Paul Stache and saxophonist Eric Alexander–a disciple of Coleman’s heartfelt, muscular style–who were able to realize a shared dream in documenting this master and his art they have loved for decades.
“I don’t really enjoy recording all that much these days,” Coleman admits, “but I was really happy to do this one with Smoke. I’m at the end game, you know, the twilight of my career, so maybe it was time.”
Like the pronouncements of a sage, A Master Speaks communicates both wisdom and wonder that bespeaks Coleman’s half century in music. From his roots in music-rich Memphis through his work with legends ranging from B.B. King who took Coleman to buy his first tenor to Max Roach to Slide Hampton and his renowned tenure with the Miles Davis Quintet, Coleman established himself as one of jazz’s most soulful and expressive voices. It’s there on the unforgettable melodies of Herbie Hancock’s landmark Maiden Voyage as it is 30 years later on the soundtrack of the Denzel Washington/Whitney Houston film The Preacher’s Wife.
Last year he joined the anointed ranks of NEA Jazz Masters in a class that also included fellow Memphian Charles Lloyd as well as pianist/composer/arranger Carla Bley and Chicago club owner Joe Segal. It was a well-deserved honor for a jazz legend who continues to let his music do the talking.

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Emi Ferguson plays the flute music of Kendall Durelle Briggs (2016)

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Katu Kaiku - Tokio / Kuopio (2016)

TOKYO/KUOPIO on Katu Kaiku -trion esikoislevy.

Yhtyeen eloisa musiikki syntyy erilaisten musiikillisten näkemysten rajun yhteentörmäyksen myötä avautuvassa yhteisessä tilassa, jossa muusikoiden vapaat tulkinnat pääsevät valloilleen. Saksofonitaiteilija Adele Sauroksen itsevarma ääni inspiroi energistä rumpalia Erik Fräkiä luomaan tekstuureja, joita kontrabasisti Mikael Saastamoinen värittää ja venyttää.

Katu Kaiku sai alkunsa kesällä 2013, kun kolme nuorta muusikkoa kantoi soittimensa Kaisaniemen puistoon Helsingissä. Kadulla löytynyt keskinäinen luottamus innosti kokeilemaan jazzstandardien sijaan oman materiaalin ja ilmaisun tuottamista. Sittemmin Katu Kaiku on esiintynyt muun muassa Pori Jazzeilla, Jazz-Espalla ja Tampere Jazz Happeningeilla Suomen Young Nordic Jazz Comets-edustajana ja tehnyt yhteistyötä suomalaisten jazztaiteilijoiden, kuten Verneri Pohjolan, Teemu Viinikaisen ja Seppo Kantosen kanssa.

TOKYO/KUOPIO-julkaisu koostuu yhtyeen originaalisävellyksistä.

Adele Sauros – tenor and sopranp sax

Mikael Saastamoinen – double bass

Erik Fräki – drums

Armas

My First Hit Song

Well Well Wells

WAYNE WAS HERE

Supernova

Our Argument

Last Minute at the Disco

Cherry Blossom

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JAVI

Gonzalo Rubalcaba - Charlie (2015)

Nació el 27 de mayo de 1963 en La Habana, Cuba. Compositor y pianista cubano, considerado una de las principales figuras del jazz afro-cubano.

Julio Gonzalo González Fonseca, estudió música en el conservatorio de su ciudad natal desde 1971 a 1983 y ya en los años ochenta salió de gira por Europa y algunos países africanos formando parte de la Orquesta Aragón, una de las más importantes de su país.

Su carrera profesional dio un giro de 180 grados cuando el contrabajista Charlie Haden, que ya lo había escuchado con anterioridad en Cuba, lo llamó para que se incorporara a su grupo. Así fue que con él, Rubalcaba debutó en el Festival de Jazz de Cuba en 1986 y posteriormente en el Festival de Jazz de Montreux en 1990.

Aquel debut fue grabado y publicado en el álbum Discovery, lo que supuso el espaldarazo definitivo para Rubalcaba. Su perfecto conocimiento del trío de jazz quedó de manifiesto y tanto la critica como el público, vieron en él a uno de los grandes pianistas del jazz contemporáneo.

En 1987 graba su primer disco a su nombre para el sello Messidor, titulado Mi Gran Pasión, un auténtico éxito de crítica y público. El disco le abre las puertas del sello Blue Note con el que firma un contrato que le permite grabar su primer disco en vivo desde el Festival de Montreux (1990), donde volvió en trío junto a Paul Motian a la batería y Charlie Haden al contrabajo.

Con una sólida educación musical y un gran talento, Gonzalo Rubalcaba produce en 1999 su disco Inner Voyage (Blue Note), posiblemente el disco de jazz más importante de su amplia discografía. Encuadrado en la era post-bop, es un virtuoso instrumentista que está considerado como una de las principales figuras del jazz afro-cubano.

En su repertorio encontramos standards, clásicos del jazz, como Caravan, donde demuestra el dominio de la estética formalista y las acariciadas influencias de la música de su origen, la cubana, creando una versión llena de jazz tradicional y el sentimiento de la música afroantillana aprovechada al máximo por sus conocimientos de la materia e instrucción académica.

El éxito de ese disco, hizo posible que Rubalcaba fuera elegido ese mismo año por la prestigiosa revista Piano & Keyboard entre los 60 pianistas más importantes del Siglo XX, compartiendo ese honor con Duke Ellington, entre otros.

Actualmente reside en la localidad de Coral Springs, Florida, y su actividad musical es, además de intensa, extraordinariamente buena. Ha editado junto a su amigo Charlie Haden, un disco de boleros titulado Nocturne con la participación, entre otros, de Pat Metheny.

Rubalcaba ha declarado que sus mayores influencias han sido su primer maestro, Pedro Hernández, Dizzy Gillespie, que lo colocó en el mapa mundial de la música, y el bajista Charlie Haden que batalló para vencer las restricciones del embargo estadounidense y le facilitó la conquista de auditorios mayores. Charlie (el disco) es un homenaje bellísimo de Rubalcaba a la música de su amigo, el inolvidable Charlie Haden. Rubalcaba deja de lado el calor caribeño y con su piano tiñe de nocturnidad, emoción, buen gusto y elegante virtuosismo las composiciones de Haden, junto a los miembros de su habitual trío, Matt Brewer (contrabajo) y Marcus Gilmore (batería), y los invitados Adam Rogers en guitarras y Will Vinson en saxofones. Para escuchar y mirar al infinito por la ventana.

1. First Song (5:58)

2. Sandino (11:48)

3. La Pasionaria (9:58)

4. Hermitage (9:20)

5. Bay City (8:55)

6. Blue In Green (4:36)

7. Nightfall (9:07)

8. Transparence (6:03)

9. Silence (6:51)

Gonzalo Rubalcaba: piano

Will Vinson: saxophones

Adam Rogers: guitars

Matt Brewer: bass

Marcus Gilmore: drums

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AGENOR

Stephanie Wagners Quinsch - Shapes & Colours (2016)

Stephanie Wagners Quinsch presents their new album “Shapes & Colours” on Personality Recordings. It is one of the rare jazz recordings, on which the flute is used as the lead instrument. Rhythmical finesse and a huge dynamic range display the successful interplay of Stephanie Wagners Quinsch.

Stephanie Wagner: Flute

Steffen Weber: Tenor sax, Soprano sax

Steffen Stütz: Piano, Fender Rhodes

Udo Brenner: Double Bass

Jens Biehl: Drums

Flying High

Kangaroo

Mccoy

Lost

Shapes and Colours

White Landscape

Salsa Torcida

Von Fremden Ländern und Menschen

Airy

All That Blues

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Domi

Claude Tchamitchian Sextet - Traces (2016)

Source & Label: Emouvance

C’est une vision poétique de ce «dernier refuge» que j’ai voulu exprimer dans ce projet, manière de célébrer musicalement l’espoir en la vie toujours renaissante. Comme beaucoup d’Arméniens, mes grands-parents ont fui leur pays natal après le déclenchement du génocide perpétré par les Turcs en avril 1915. C’est ainsi que mon père, puis mes frères et moi-même, sommes nés en France, une des principales destinations de ces expatriés. L’envie de retrouver la paix, les situations géo-politiques et familiales m’ont fait grandir loin de la culture arménienne (je ne parle pas la langue), dans le but d’obtenir une intégration sans faille. C’est absolument seul que j’ai retrouvé, presque recréé, mon rapport à la culture arménienne, et ce, principalement grâce à la musique. L’histoire de l’orchestre «Lousadzak» et la rencontre avec Gaguik Mouradian en sont les exemples les plus forts.
L’année 2015 a marqué le centenaire du génocide arménien.
Evidemment concerné, cet évènement cristallise une réflexion que je mène depuis longtemps, sur l’interaction entre mes origines et ce qui me construit au quotidien, source de richesses mais aussi de décalages. Si cette situation a toujours été porteuse d’imaginaire, et si elle a toujours nourri mon domaine artistique, je n’ai jamais eu la sensation qu’elle intervenait plus que cela dans ma vie personnelle. Read more...

Poussières d'Anatolie
Vergine
La Route De Damas
Lumière De L'Euphrate
Antika
Le Cieux D'Erzeroum

Géraldine Keller, voix
Daniel Erdmann, saxophone ténor et soprano
François Corneloup, saxophone baryton et soprano
Philippe Deschepper, guitare électrique
Christophe Marguet, batterie
Claude Tchamitchian, contrebasse et compositions

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Werner Acker - R6ots (2016)

Der Gitarrist und Hochschuldozent Werner Acker war bereits in jungen Jahren als Studio- und Livemusiker aktiv und hat sich in den vergangenen vier Jahrzehnten als vielseitiger Sideman in unzähligen musikalischen Projekten präsentieren können. In seinem Debutalbum Roots, welches am 23. Februar 2016 auf dem Mannheimer Label Personality Records erscheint, beruft er sich nun auf seine musikalischen Wurzeln – Rhythm & Blues, Soul, Jazz – und verarbeitet sie innovativ. Zu hören sind erdige Soulbeats, „straight ahead“ Shufflegrooves wie auch relaxte Balladen- und Swingfeelings. Der Roots Sound ist geprägt durch bluesige, jazzige und funky Gitarren, begleitet von Hammond B3, Wurlitzer- und Rhodes-Piano, Flügel, Bass, bzw. Kontrabass, Drumset und einem kernigem Bläsersatz bestehend aus Altsax, Posaune und Tenor, bzw. Baritonsaxophon.

In seiner ausdrucksstarken Art, Gitarre zu spielen, ist hörbar, dass Werner Acker sich in all den Jahren die Leidenschaft und Spielfreude bewahrt hat. Sound, Groove, Improvisationsfreude und das Zusammenspiel mit langjährigen, musikalischen Weggefährten sind die Fundamente des Projekts. Dem Künstler und seiner Band gelingt der Brückenschlag zwischen Rhythm & Blues, Soul und Jazz, ohne dass dabei das einheitliche Groove- und Soundkonzept verloren geht.

Werner Acker (g)

Rainer Scheithauer (p, keys)

Andreas Francke (as)

Matthias Dörsam (ts, bs)

Uli Gutscher (tmb)

Hansi Schuller (b)

Herbert Wachter (dr)

01. One More

02. Lipa

03. Roots

04. Another Five

05. Easy Going

06. In a Sentimental Mood

07. Johnson Road

08. Output

09. Eternal E

10. You Don't Know What Love Is

11. Fifteen Seconds

12. Done

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Domi

Tobias Becker Bigband - Atomic B. (2016)

Die Eigenkompositionen des neuen Albums ATOMIC B. werden größtenteils von Tobias Becker und Alexander Bühl beigesteuert und schärfen das eigenständige Profil des Jazzorchesters. Daneben gehört die Pflege des „klassischen“ Bigband Repertoires ebenfalls zu den künstlerischen Ambitionen. Damit etabliert der Klangkörper nicht nur zeitgenössischen Bigbandjazz sondern macht sich auch um die Aufführung großer Jazzkompositionen der vergangenen Jahrzehnte verdient.

ATOMIC B. ist nicht nur eine Hommage an eine der bekanntesten Platten der Count Basie Bigband sondern auch das selbstbewusste Bekenntnis zur eigenen Musik.

Die Tobias Becker Bigband schart einige der besten jungen Jazz Musiker aus ganz Deutschland um sich und präsentiert „Bigband Jazz in Perfektion“ (Belgischer Rundfunk – BRF). Mit den versierten Musikern, die sonst in diversen Rundfunkbigbands und Musicalproduktionen spielen, hat Tobias Becker ein eingespieltes Jazzorchester zusammengestellt und so schreibt CriticalJazz: „his big band is one of the two finest large ensembles coming out of Eastern Europe.“

Piano: Tobias Becker

Reeds: Markus Harm (as/ss/fl/cl); Markus Land (as/ss/fl); Alexander Bühl (ts/ss/fl/cl); Toni Bechthold (ts/ss/fl/cl); Christoph Beck (bs/ss/fl/cl)

Trumpet: Christian Mück (tp/flgh); Christian Mehler (tp/flgh); Steffen Mathes (tp/flgh); Johannes Stange (tp/flgh)

Trombone: Lukas Jochner; Florian Seeger; Marc Roos; Sven Götz (b-tromb.)

Vocals: Verena Nübel

Rhythm Section: Christoph Neuhaus (git); Frank Kuruc (git); Judith Goldbach (db); Martin Grünenwald (dr); Tobias Becker (p/cond.)

01. Drip Drop

02. Atomic B.

03. Sketches of a Nightmare

04. Harmonie

05. Joaquin

06. A Nightingale Sang in Berkeley Square

07. Big Cat Shuffle

08. Swanee

09. Brotherhood of Man

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SONIA

The Tony Lustig Quintet - Taking Flight (2016)

IMMEDIATE RELEASE

Critics, Listings, Features

Tony Lustig 

Taking Flight

CLICK HERE

“Tony is an exceptional talent. He has a big, beautiful sound 

with just the right amount of edge.” 

-Joe Temperley Baritone Saxophone, Jazz @ Lincoln Center Orchestra

“The world is ready for Tony Lustig. He’s the baritone 

saxophonist I’ve been waiting for all my life.”

-Wessell “Warmdaddy” Anderson Alto Saxophone 

“Tony is one of the most talented, dedicated, and hardest working people I have ever had the opportunity to work with. When he picks up his horn you know it’s Tony Lustig. With his strong character, integrity, and determination 

the sky is the limit to what he can achieve.”

-Rodney Whitaker Bass, Director of Jazz Studies

Michigan State University

BIOGRAPHY BRIEF

Originally hailing from Detroit, Michigan, Tony Lustig is a dynamic saxophonist who believes strongly in warmth and groove. Taking Flight is a manifestation of those beliefs. Tony began playing violin in grade school. Learning to play the saxophone was almost an accident. Being as there wasn’t a strings program in his school, Tony needed to find an alternate means of expression. His parents offered an alto saxophone left in a dusty corner, abandoned by his older sister. As soon as the horn met his lips he felt that was it – that is what he had been looking for. He spent his childhood years playing around Detroit where he had the opportunity to play with and learn from such Detroit greats as: Marcus Belgrave and Rodney Whitaker. These experiences would lead Tony to further his quest for musical knowledge at both Michigan State University and the prestigious Juilliard School in New York City.

Upon making New York City his home, Tony has performed with some of the biggest names in the country - appearing with: Wynton Marsalis and the Lincoln Center Jazz Orchestra, The Christian McBride Big Band, Arturo O’Farrill and the Afro-Latin Jazz Orchestra, Gerald Wilson Orchestra, Birdland Big Band, George Gee Swing Orchestra, Patti Austin Big Band, Cab Calloway Orchestra, even Gloria Gaynor, amongst others. His playing has brought him all across the United States, France, England, Japan, Colombia, Brazil, Panama, and elsewhere. Tony is a fiery character who attacks his music fiercely and passionately. He writes with the intention of stirring the soul. His melodies are memorable and his sound is moving. He strives to inspire all who listen and bring a smile to everyone he meets.

CD DESCRIPTION 

I believe in creating music that people of all musical interests and backgrounds would enjoy listening to. For this album, it was my goal to write 8 incredibly different tunes that represent what jazz music means, while still making it enjoyable for someone who has never listened to jazz before. I wanted this album to feel good above all else. The players for the band were easy to decide on because they are all incredible musicians who believe in the same thing - creating music at the highest level possible while still keeping the mainstream ear interested. I believe bridging the gap between musical styles is very possible, and this album is the first step in my journey to make that happen. I believe in inclusion, warmth, and groove. This project is the manifestation of those beliefs.

Track Time & Times

Change is Comin’ 5:49

Fraytown 8:47

Prometheus 8:33

For Wayne 5:56

Taking Flight 6:22

Serving it Up 6:18

On the Wings of Icarus 9:46

Burnin’ Grease 4:31

All compositions by Tony Lustig 

Player and instrument:

Tony Lustig – bari sax, bass clarinet

Mike Dease – trombone

Samora Pinderhughes – piano

Ben Williams – bass

Ulysses Owens – drums

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ROJ TEAM

Playlist for TOM OSSANA / DANE BREWER – The Thin Edge – March 30, 2016 MST 7:00 to 9:00 p.m.

http://www.kzmu.org/listen.m3u ~ Use this link to access the show online

"Watermelon Man" was Herbie Hancock's first major hit. Can you think of anyone better to cover than the Tasmanian tubist, Tim Jones? He gets help from Australia's finest: Stephen Magnusson, Frank Di Sario and Niko Schauble - guitar, bass and drums. Next we get two versions "Kattorna" by Poland's most famous jazz/movie composer, Krzysztof Komeda. The first, from the 2005 Tomasz Stanko Quartet live at JazzBaltica-Festival, featuring Stanko on trumpet and the blazing piano of Marcin Wasilewski with his usual trio mates. Then Germany's premiere jazz pianist, Joachim Kühn, and his trio perform Komeda's tune from his new ACT release, Beauty & Truth. Frequently heard pianist, Marc Copland, completes this set with his quartet's take on Duke Ellington's "Mystery Song" from his 2016 Innervoice Jazz Zenith featuring the trumpet of Ralph Alessi.

The mid-westerner drummer, Matt Kane, begins the second half with his sextet's cover of Pat Metheny's "Question and Answer" from his new Bounce-Step release Matt Kane & The Kansas City Generations Sextet ~ Acknowledgement. From Manfred Eicher's 2016 ECM we get Continuum from Nik Bartsch's Mobile improvising around Nik's penned "MODUL 4". Influential 1980/90s pianist, Anthony Davis, together with flautist James Newton and cellist Abdul Wadud give us an ethereal treatment of Charlie Mingus' "Eclipse" (We've heard the vocal version in a 50s Debut recording.) from their 1990 Gramvision release, Trio 2. Brian Haas, an American jazz pianist, composer, band leader, and producer, leads Nolatet, a quartet - piano, vibes, bass & drums - performing the Haas tune, "Dogs", a musical tribute to man's best friend. from his Royal Potato Family 2016 release of the same name.

Altoist Lee Konitz gets together with Swedish artists, notably pianist Bengt Halberg, in a performance of Lenny Tristano's oft covered "317 East 32nd St." - the address of a NYC jazz venue currently known as gallery café - from his 1951 Membran Audio recording Sax of a Kind. From their 2016 muzoic recording Defuser, The Giving Trio covers Tristano's tune featuring Konitz-sounding Alex Kerwin on alto. Brian Bromberg, sounding like a guitarist on his piccolo bass, gives us another cover of Michael Jackson's "Don't Stop 'Til You Get Enough" from his new Mack Avenue release, Full Circle. Jack DeJohnette's 1994 Blue Note Extra Special Edition concludes the third half-hour performing DeJohnette's "Seventh D" featuring the great Gary Thomas on tenor. Little-known Michael Cain is impressive on piano. Wiki explains: Most typically, minor seventh chord refers to where the "seventh" note is a minor seventh above the root (a fifth above the third note). Aren't you glad I checked?

Sweden's Rigmore Gustafsson's ACT 2005 On My Way to You kicks off the Romantic Half-Hour with a vocal treatment of Legrand/Alan & Marilyn Bergman's "How Do You Keep the Music Playing". Trombonist Nils Landgren solos and vocalizes as well. Nina Hoss does a curious take on Kurt Weil's "Speak Low" in which she sings from weak to convincing, to help her betrayer understand that she "knows." (The opening line "Speak low when you speak, love" is a play of words on a line in William Shakespeare's comedy Much Ado About Nothing (1600), in which Don Pedro says "Speak low if you speak love." ~ Wiki) After 2:38 the instrumental begins taking your breath away, especially if you had seen the German film Phoenix (A haunting portrait of identity, loss and the search for answers in post-WWII Berlin.). Mark Murphy, one of J. D.'s and my favorite male vocalists, is next with Till Bronner and Murphy's "Love Is What Stays" from Mark's 2007 Verve pressing of the same name. Till shows up on trumpet/flugelhorn. Bill Charlap Trio's Impulse 2016 Notes from New York is next with a cover of Harold Arlen and Truman Capote's "A Sleeping Bee", written for the 1954 musical House of Flowers. June Christy gets us ready for bed with her romantic spin on Duke Ellington's "Do Nothin' Till You Hear from Me" from her 1959 Ballads for Night People.

A special thanks to the troops @ RoJ for their help putting our shows together: Agenor (BRA), Chris do Brasil (BRA), Domi & Victor (SPA), GAB (BEL), JR (SPA), Javi (SPA), Jazzzz61 (SPA), Lira (BRA), Luisa, Menos Que un Perro (ARG), Marcos (BRA), Melokan (VEN), Raz (ISR) and Sonia (SPA)

TOM OSSANA