TIERNEY SUTTON — After Blue (2013) FLAC (tracks+.cue), lossless

Tierney Sutton claims she had never really encountered Joni Mitchell until she heard the songwriter's 2000 album Both Sides Now, a collection mainly comprised of standards. (An album she holds in the same regard as Frank Sinatra's In the Wee Small Hours and Billie Holiday's Lady in Satin.) In 2011 she performed four of Mitchell's songs during a performance with the Turtle Island String Quartet; that gig set this project in motion. After Blue is Sutton's first offering that doesn’t include her regular band -- its members were involved with other projects at the time. Instead, her collaborators are a collection of jazz luminaries who include Peter Erskine, Larry Goldings, Ralph Humphrey, Hubert Laws, the TISQ, and Al Jarreau, who duets on "Be Cool" (the only track to feature one of Sutton's own musicians, bassist Kevin Axt). Sutton reads Mitchell by moving through the songwriter's various creative periods, embracing the singer/songwriter's jazz leanings in her phrasing, improvisation, and syncopation, and their shared love of the Great American Songbook. This last notion is evidenced by Sutton's version of "Don’t Go to Strangers" and "Answer Me My Love," both of which Mitchell poignantly delivered on Both Sides Now. She also seamlessly melds closer "Freeman in Paris" with "April in Paris." Other standouts include "Blue" and "Little Green" with TISQ, the fingerpopping "The Dry Cleaner from Des Moines" with Laws, Erskine, and Goldings, and the swinging, thoroughly re-envisioned "Big Yellow Taxi." On "Both Sides Now," she is accompanied only by Mark Summer's cello. For those accustomed to hearing Sutton re-interpreting standards from the golden era, After Blue retains her trademark gifts of phrasing, restraint, and emotional honesty. But as an album, it is just as remarkable as Herbie Hancock's The Joni Letters in its creative rapprochement of Mitchell's music with the jazz tradition, and reveals Sutton at a vocal and interpretive peak.
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Tracklist :
1     Blue 4:11
Joni Mitchell
2     All I Want 3:28
Joni Mitchell
3     Court and Spark 4:57
Joni Mitchell
4     Don't Go to Strangers 5:56
Redd Evans / Arthur Kent / Dave Mann
5     The Dry Cleaner from Des Moines 5:15
Charles Mingus / Joni Mitchell
6     Big Yellow Taxi 3:06
Joni Mitchell
7     Woodstock 6:08
Joni Mitchell
8     Little Green 4:53
Joni Mitchell
9     Be Cool 5:50
Joni Mitchell
10     Answer Me My Love 3:45
Fred Rauch / Carl Sigman / Gerhard Winkler
11     Both Sides Now 5:11
Joni Mitchell
12     April in Paris/Free Man in Paris 5:36
Vernon Duke / E.Y. "Yip" Harburg / Joni Mitchell
Credits :
Acoustic Bass – Kevin Axt (faixas: 4)
Arranged By – David Balakrishnan (faixas: 1), Julie Bernstein (faixas: 8), Kevin Axt (faixas: 9), Mark Summer (faixas: 2, 11), Serge Merlaud (faixas: 10), Tierney Sutton (faixas: 9, 12)
Cello – Mark Summer (faixas: 1, 8)
Drums – Peter Erskine (faixas: 5, 9), Ralph Humphrey (faixas: 6)
Flute – Hubert Laws (faixas: 5, 9)
Guest – Al Jarreau (faixas: 9)
Guitar – Serge Merlaud (faixas: 4, 10)
Organ [Hammond] – Larry Goldings (faixas: 3, 5, 7, 9, 12)
Piano – Larry Goldings (faixas: 3, 5, 7, 9, 12)
Viola – Benjamin von Gutzeit (faixas: 1, 8)
Violin – David Balakrishnan (faixas: 1, 8), Mateusz Smoczyński (faixas: 1, 8)
Vocals – Tierney Sutton

JACINTHA - Jacintha Goes to Hollywood (2007) SACD / APE (image+.cue), lossless

Let's face it: most people who are not seasoned jazz listeners aren't going to comprehend someone as challenging as the late Betty Carter. The best way to get people who are "jazzophobic" to start listening to vocal jazz is to expose them to artists who are quite accessible but still have taste and integrity -- people like Jacintha, whose Jacintha Goes to Hollywood is a perfect example of a jazz vocal disc that is very easy to absorb even if one isn't a seasoned jazz listener. This 2007 recording finds the Singapore native turning her attention to songs that were heard in well-known films, and her torchy, understated approach serves her well on material ranging from the Mamas & the Papas' "California Dreaming" (a '60s smash that was heard in the 1995 film Chung King Express) to the Doris Day-associated "Que Será Será" (which was used in Alfred Hitchcock's The Man Who Knew Too Much in 1956) to Michel Legrand's "The Summer Knows" (from the 1971 film The Summer of '42). Technically, the title Jacintha Goes to Hollywood is inaccurate, because not all of these songs are identified with Hollywood films; Chung King Express, for example, is a Chinese film, and one of the best things on this album is an English-language performance of the gorgeous theme from the 1966 French film A Man and a Woman (or, as it is known in France, Un Homme et une Femme). Perhaps a better title for this 47-minute CD would have been Jacintha Goes to the Movies. But in the grand scheme of things, that is only a minor point. What matters the most is that Jacintha has delivered a musical tribute to movies that is as memorable as it is rewarding. by Alex Henderson  
Tracklist :
1 On Days Like These 5:31
2 Raindrops Keep Falling On My Head 4:58
3 Alfie 4:43
4 Windmills Of Your Mind 6:13
5 California Dreaming 5:40
6 A Man And A Woman 5:18
7 Easy Living 4:17
8 Que Será Será 5:09
9 The Summer Knows 5:23
Credits :
Bass – Darek Oles
Drums – Joe LaBarbera
Guitar – Anthony Wilson
Keyboards [Hammond B-3] – Larry Goldings
Percussion – Aaron Serfaty
Piano – Iskandar Ismail
Saxophone – Ricky Woodard
Trumpet – Ron Stout
Vibraphone – John Campbell
Vocals – Jacintha
Whistling – Howlett Smith

MICHAEL BRECKER - Time Is Of The Essence (1999) FLAC (tracks), lossless

Michael Brecker introduced a couple of new wrinkles to his sound on his sixth album, in the form of two new sidemen. Larry Goldings' organ makes for an unusual quartet -- also including Brecker on tenor sax, frequent guest Pat Metheny on guitar, and one of three different drummers -- in that there is no bass. As a result, Metheny often fills in that role when he isn' t soloing. Goldings' touch is light, in contrast to the more intense playing of Brecker and Metheny. But it is the second new sideman who makes a difference: Elvin Jones guests on drums on three tracks. Brecker had never shied away from announcing his influences, and with Jones behind the traps, especially on the opening track, "Arc of the Pendulum," and the closer, "Outrance" (both Brecker originals), he indulges his affection for John Coltrane, playing freely and aggressively across the rhythm. Jones, who gets a showcase solo in "Outrance," is unmistakable, and his support often makes Brecker sound like Coltrane. With Bill Stewart behind the drums, the group performs "Renaissance Man," a tribute to another major Brecker influence, Eddie Harris, and Brecker unabashedly recalls Harris there. The tunes, five by Brecker, two by Metheny, and one each by Goldings and producer George Whitty, are loosely structured and run from six to ten minutes each, so that the disc runs 70 minutes. Clearly, they could have gone longer: Several of them fade out, sometimes during a Brecker or Metheny solo, an oddity on a jazz album. by William Ruhlmann 

Tracklist:

1. Arc Of The Pendulum

2. Sound Off

3. Half Past Late

4. Timeline

5. The Morning Of This Night

6. Renaissance Man

7. Dr. Slate

8. As I Am

9. Outrance.

Credits:

Michael Brecker - tenor saxophone

Pat Metheny - guitar

Larry Goldings - organ

Elvin Jones, A. Stewart, Jeff "Tain" Watts, Bill Stewart – drums.

JESSICA MOLASKEY – Sitting in Limbo (2007) FLAC (tracks+.cue), lossless

Jessica Molaskey came up with a list of "limbo songs" for her fourth CD, describing them as pieces where someone is trying to figure out the difference between what seems to be taking place vs. what is actually going on. With a fine band that includes her husband, John Pizzarelli, on guitar, bassist Martin Pizzarelli, and drummer Tony Tedesco, with either Larry Goldings or Larry Fuller on piano, plus several appearances by saxophonist Harry Allen, she offers thoughtful interpretations of material drawn from the pop and rock of several decades, a few standards, and a pair of originals. She works magic with the unpromising soul hit "O-o-h Child" -- a simplistic ballad with a trite two-line lyric -- by slowing its tempo, accompanied solely by Goldings' thoughtful arrangement. Her humorous side comes out as she and her spouse interpolate "I Want to Be Happy" and "Sometimes I'm Happy" in a playful, sometimes conversational setting. They also jointly wrote the subtle but amusing ballad "Knowing You." This veteran Broadway singer/actress continues to shine in the spotlight, whether in the studio for a recording date or on-stage. Ken Dryden   
Tracklist :
1 Sitting in Limbo 3:58
Gully Bright / Jimmy Cliff
2 Heavy Cloud, No Rain 3:09
Jessica Molaskey
3 Summer, Highland Falls 4:16
Billy Joel
4 Ooh Child 3:00
Stan Vincent
5 I Want to Be Happy/Sometimes I'm Happy 2:13
Clifford Grey / Vincent Youmans
6 There Will Never Be Another You 3:12
Mack Gordon / Harry Warren
7 Knowing You 4:31
Jessica Molaskey / John Pizzarelli
8 I'm Gonna Sit Right Down and Write Myself a Letter 3:31
Fred E. Ahlert / Joe Young
9 The Circle Game/Waters of March 4:48
Joni Mitchell
10 Walkin' After Midnight 3:35
Don Hecht
11 Hearts and Bones 4:11
Paul Simon
12 Morning Has Broken/I Woke Up One Early Morning 4:26
Eleanor Farjeon / Jessica Molaskey / John Pizzarelli / Traditional
Credits :
Bass – Martin Pizzarelli
Drums – Tony Tedesco
Guitar – John Pizzarelli
Piano – Larry Fuller (tracks: 3, 5, 6, 7, 9, 10)
Piano, Organ – Larry Goldings (tracks: 1, 2, 4, 6, 8, 12)
Saxophone – Harry Allen