New and Nifty: Sophie Milman, Margo Reymundo

Lots of searches come through this page, looking for free music downloads.  They’re out there - I run across nifty music all the time on MySpace and “All About Jazz,” a musical website.  Linus Entertainment manages a number of Canadian acts - they’ve got a whole webpage dedicated to downloads by their stable of artists.  It’s where you’ll find a freebie from one of this week’s featured artists, Sophie Milman.

Let’s get to it, then.


Sophie Milman - "Take Love Easy"Sophie Milman - Take Love Easy (Koch)
Released - May 5, 2009 (Canada)
June 2, 2009 (US)

There’s a lot to like about this third release from Sophie Milman, the Canadian singer whose steady rise through North America continues to gain momentum. Appearances at the Kennedy Center and the Hollywood Bowl last year; you can find her DVD “Live In Montreal” in the racks at “Best Buy,” for heaven’s sake.

This release should continue the upward trajectory for Ms. Milman. There’s everything to like about her delivery, which sits somewhere the intersection of swing and seduction. That requires not only good production (thanks, Steven MacKinnon), but also the talent to pull it all off. Ms. Millman continues to mature as an artist - and as much as I liked her earlier two discs, this one is her best yet.

“Take Love Easy” topped the iTunes Jazz chart in Canada right after its release last month, and there’s no reason that this one won’t take off in the US, as well. The title track is the one that’s pushed as the first single from this disc - Duke Ellington’s “Take Love Easy.” The disc is heavy on covers of pop tunes; yet Ms. Milman’s silky styling and the new arrangements put a slightly different point on many of these familiar tracks. Among them - Bruce Springsteen’s “I’m On Fire,” Bonnie Raitt’s “I Can’t Make You Love Me,” and Paul Simon’s “50 Ways To Leave Your Lover.”milman200-2a

I’d worry about the market for this kind of pop-tinged jazz; it seems to be shrinking a little, with the demise of so many “Smooth Jazz” radio outlets. On the other hand, I don’t get paid to worry about those things - I simply enjoy the music.

And there’s much to enjoy about this one. Highest recommendation.

Ms. Milman’s Canadian management company, Linus Entertainment has made one of the tracks from “Take Love Easy” available for download. It’s “That Is Love,” an original, penned by Ms. Milman’s pianist, Paul Shrofel. It’s available here.

Website - MySpace - Facebook


reymundo200-1Margo Reymundo - My Heart’s Desire (Organica Tunes)
Released - December 18, 2008

The note from the publicity guy came, inviting me to take a listen to Margo Reymundo’s music, which he said, “…combines, Jazz, Bossa, Pop, and the ethno-rhythmic sounds of world music together into what she calls ‘Organica.’”

Organica, he said, is “…an unorthodox hybrid of Pop that is deeply rooted in Jazz with thick, ethno-rhythmic beats created by humans not machines, textured with the lush vocals of Margo Reymundo and layered with ambient guitars and keys.”

Ethno-Rhythmic, Organica, hybrid, textured, ambient…okay, but as a wise man once said, “It don’t mean a thing if it ain’t got that swing.”  Can the woman sing?

The answer to that - is “you betcha.”

Thank goodness.

The title track opens the disc - a catchy, growly, infectious tune, that nicely sets the tone for what follows.  And what follows can perhaps be called a journey.  Each track is a part of the whole, and despite all the mumbo-jumbo in the press releases, I just started to float along, and enjoy the trip.reymundo200-2

And it’s quite a journey - most of the tracks are originals - you’ll find Bill Withers’ “Ain’t No Sunshine” and a bilingual version of the Carly Simon-Michael McDonald tune, “You Belong To Me” among the covers.

Production values are pop-flavored, but make no mistake.  Ms. Reymundo’s voice is the show here.  Whether Seductive, bouncy, or mesmerizing - it’s quite an instrument, itself.

And that’s what all those words were really trying to say.

The words get in the way.  Just go listen.  Very highly recommended.   

Website - MySpace - Facebook


I’m a sucker for big bands, and this past week, I’ve been listening to a lot of the US Air Force’s big band, the “Airmen of Note.”  Recent vocalists with the band include Paige Martin and Tracey Wright.  Some of those recordings are available free here.

And although the audio quality of this video recording is poor, it’ll give you an idea of the good stuff you can find from these guys and gals - free, if you poke around enough on line.

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Ooh, Canada! Irene Atman, Yvette Tollar

I have to be careful here.  Two guys, both now Facebook friends, but my bosses at the time, once accompanied me on a trip to visit a client in Windsor, Ontario.  It was an important visit.  The man was the General Manager of a network affiliated radio station we were in danger of losing.  Detroit was my home town, right across the river.  Anyway, we picked up the client, and were on our way to lunch.  On the way, we passed Tim Horton’s coffee shop/fast food joint, a Zeller’s department store, and a Petro-Canada gas station.

One of my guys said to the client, “Boy, you come over here, and it’s just like going to a foreign country.”

Silence.  I mean crickets.

Then the client said, frostily, “It is a foreign country. To you.

My mistake that day (I think my only mistake) was in ordering a Molson, and not knowing that Labatt owned the radio station.  But I was new, and by that time, it didn’t matter.  The client was toast.

But thank goodness the US and Canada can both communicate in English.  I’ve found myself with a whole playlist of Canadian vocalists on the ‘pod lately.  Please let me tell you about two of them.


atman200-1Irene Atman - New York Rendezvous
Released - June 1, 2009

The last time I saw Irene Atman, we were both in New York. Me on business, she was working on a new album. Excited about it - something to the effect of, “I can’t believe we’re pulling together such a great bunch of cats to work on this!”  Most of that quote is as I remember it - but I’m absolutely accurate in her use of the word, “cats.”

Because I remember thinking - that’s sort of old school.

And very cool.

The result is this disc that’s reminiscent of those classic live recordings from the sixties…a small backing band, a little formal.  All that’s missing is the clinking of glasses and the smoke.

Ms. Atman writes that she wanted a “…distinctly New York sound” for the recording.  She recruited an old pal, Pianist Frank Kimbrough, who produced, and he grabbed some of his pals - the previously-mentioned “cats” - for the effort.  That’s what she was so excited about the day we met.

Well, the good news is that it all paid off.

Ms. Atman’s style is intimate and classy.  I listen a lot with an old pair of studio headphones, and it can sometimes sound like she’s about an inch away from my ear, as it did on “Somos Novios,” one of my favorite tracks from this disc of standards.  No scoops here, just spot-on intonation, power that’s very controlled - and range that’s eye-widening.  Listen and do your own comparisons - they’re easy to make.  If you’re not familiar with her work, you’ll still swear you’ve heard her voice before.  But Ms. Atman’s earlier (2007) disc is in such heavy rotation on my iPod that for me, she’s an original.atman200-2

Mr. Kimbrough has a light touch on the keyboard that never, ever overpowers - and is a perfect complement to Ms. Atman’s intimacy.  He takes a nice turn on “The Glory of Love.”  Joel Frahm on tenor sax, with solos on several stretches - but the one I liked best was on the track, “Why Did I choose You?”  Matt Wilson on Drums and Jay Anderson on Bass round out the group.  Top-notch.

This disc is a gem.  Classy stuff from a very classy woman and her cats.  Late at night, eyes closed, just floating along with the music.  You’re dressed up, it’s after dinner, and you’re waiting for the show.  If this all seems like a black-and-white photograph from the sixties - in that photo, the lights are dim, and the spotlight is on Ms. Atman.  The very best stuff.  Highest recommendation.

Website - MySpace

 


tollar200-1Yvette Tollar - Ima
Released - 2008

Not many who ask me to listen to their music send a three-page handwritten note along.  Yvette Tollar did.

She writes: “All my years in World Music ensembles has turned me into something other than a torch singer. (I do lots of standards gigs - making my living that way most of the time, in fact), but Toronto is such a multicultural place and the musicians in town reflect that, so…I’ve sung in a dozen languages and styles and am drawn to the traditional instruments I’ve been exposed to.”

This isn’t any kind of traditional jazz, except in the tradition that jazz is what different cultures make of it.  My experience with Toronto is that (besides being one of my three favorite cities in North America), it’s a city that wears its multiculturalism on its sleeve; a melting pot for sure, but maybe stirred not quite as much as counterparts in the US.

Ms. Tollar’s album reflects that, even in its title.  “Ima” (pronounced EE-mah) is the Hungarian word for “prayer,” she writes, “the title of my Uncle Joska’s song that I put into English and wrote music for.”  The appeal to Ms. Tollar’s voice lies in its (well, her) soul - world-aware, but not yet weary - still optimistic, as in “Prayer for HumanKindness,” with words written by Montreal drummer Jim Hillman.

tollar200-2I’ve rewritten this a half-dozen times now.  Here’s the problem I’m having: growing up where I did, also having lived in Canada (Sudbury) for a while as a kid, I’m overly sensitive to that patronizing tone that Americans sometimes (heck, often) take when talking about (or to) their neighbors.  For us in Detroit, those neighbors were right across the river.  On the other hand, I’m generally amused when Canadians dish it right back.  So.  Canadian friends, please understand.  I’m trying hard not to do that here.  If there’s a faux pas on my part, it’s one of ignorance, not of intent.

To my cynical US eye, it sometimes appears that all kinds of Canadian arts councils fund all kinds of projects.  Some of them are good, some bad, some are crap.  Art is like that.

But like all art, some of ‘em just take off and leave you breathless.

This disc - this disc - is one of those.  An eclectic mix of jazz, folk and world music - “Ima” is one of those out of the ordinary discs that, when the first play-through was complete, I went back to find the tracks I enjoyed most to savor again.  2009 Juno-nominated, “Ima” rates a highest recommendation.  Yes, it’s off the beaten path, especially for American (well, US) ears.  But like those weekend trips to Toronto, where its multiculturalism is part of the appeal, well worth the ride.

Website - MySpace


There may be more Canadian content to review coming up - Sophie Milman is also to release her new CD, “Take Love Easy” in the US on June 2.

Here’s the title track, from an appearance earlier this month, when that same disc was released in Canada.

Till next time.



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Sunday Music: Barbara J. Hunt, Susie Meissner

It’s a quiet Sunday morning on this end, and time to tell you about a couple of discs I’ve been listening to recently that are worth talking about.  You’ll probably find neither at the retailer on the corner - but both of ‘em are worth looking for. 



hunt200-1

Barbara J. Hunt - Play My Heart (Two Fish)
Re-released 2009

There’s no biography at Barbara J. Junt’s website. Instead, there’s a tab for philosophy:

“I have deliberately omitted any biographical information,” she says, “in order to de-emphasise my story which is (after all), just a miniscule blip in the 14 billion year adventure of evolution.”

The comparison to Joni Mitchell is easy - an acrobatic, angelic voice that resides somewhere near the ceiling. Like smoke, it floats around, almost visible. The songs - all originals - are both simple, and intricate. I was surprised at the number of backing musicians. This is a multi-layered recording - I notice something new each time I listen.

Barbara J. HuntTwo tracks - “King Of My Heart,” and the title track, “Play My Heart” are featured in the motion picture, “Confetti,” and that motion picture is the reason for the re-release of this disc. Both of those songs are among my favorites from the disc, along with Ms. Hunt’s customized version of “Amazing Grace.” Her current (May, 2009) project includes the single, “Brilliant, Gorgeous, Talented and Fabulous.” It is downloadable at her website.

I gave up trying to find out more about her as a person. Philosophy is all I ran across. She writes, “I was once told by a friend who was quoting some ancient wisdom, that in order to become a perfect painter, first you become perfect and then you just paint.”

“Does it really matter,” she asks, “where I grew up, how many gigs I’ve played, who I’ve sung with, which films I’ve been in?”

Nope.

I finally learned to stop asking questions, sit back, and enjoy Ms. Hunt’s music. This disc is very highly recommended.

Website - MySpace


Susie MeissnerSusie Meissner - I’ll Remember April
(LydianJazz)
Released - June 1, 2009

Warm and winsome, this disc is largely a unpretentious, swingy romp through familiar territory. Ms. Meissner is a sweetly, straight-ahead alto - and a perfect fit for this group of straight-ahead standards. She’s doing more than singing notes - she’s a fine interpreter of the lyrics as well - making sure the story of the song is told.

She’s at her best with the ballads - the Rodgers-Hart classic “Little Girl Blue” was the standout track for me, and features a fine solo by Grammy-winning trumpeter Brian Lynch. Besides the title track, there’s a pair of Jobim tunes that I also liked a lot on this disc - “Dreamer,” along with “Meditiation.”

Besides Mr. Lynch, the backing group includes David Mann on Alto Sax, Greg Riley on Tenor Sax, John Shaddy on Piano, Rob Williams on Bass and Abe Speller on percussion.

“I’ll Remember April” is a comfortable presentation of familiar songs by a talented singer.

And it’s recommended.

Website


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Foreign Sounds: Abraham-Clements-Tellander

Zara TellanderAbraham/Clements/Tellander
Between Stops (Resa)
Released - March 17, 2009

Sometimes, serendipity just drops onto the desk.

One of the discs I took on this last trip came from the mailbox at the last minute - from a trio: Alex Clements, a Canadian pianist and composer; John Abraham, a Las Vegas drummer, and a Swedish singer, Zara Tellander.  Liner notes say the three met “…somewhere in North America, liked each other, played together, recorded together…ate doughnuts…”  They liken the disc to three strangers meeting on a train.

Ms. Tellander is something else again. The press blurb says, “Swedish traditional singing is her main style, along with jazz.”  And indeed, start at her website, and you’ll be three clicks away from hearing Ms. Tellander fully engaged with Swedish herding calls.  I’m serious.  So is she, apparently, about Swedish traditional singing.

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A Teardrop Of Sun: L’Tanya Mari’

This has been a long trip - Seoul, then Mongolia - and then on to Bangkok - and all of that in the first week.  Friday night in Bangkok, and I’m sure there must be a bunch of ways to get into trouble.

But there’s a girl singer in the hotel bar, and…well, it’s just easier to stay out of trouble.

Micki Murphy was the singer’s name.  She’s from Las Vegas.

Micki’s singing kept me out of trouble.


L'Tanya Mari'L’Tanya Mari’ - A Teardrop Of Sun (Falconeye)
Released - March 21, 2009

The first impression I get listening to L’Tanya Mari’ is of a young Ella - not only in the quality of her voice, but in how effortless she makes it all sound.  The Philadelphia native has been working along the east coast - she’s assembled a group of Washington, DC area veterans for this first disc, which includes nine familiar tracks; but not the same old bunch of standards.

The opening track, “Very Early” is one of those old/new tunes - a Bill Evans waltz about fresh love - with a challenging melody that Ms. Mari’ handles easily.  The track also allows drummer Tony Martucci and pianist Harry Appelman a chance to shine.  But all of the backing band - David Jernigan on bass, Paul Wingo on guitar, percussionist Alejandro Lucini, and saxophonist Lyle Link - do a fine job of framing Ms. Mari’s fine voice.

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