Jazz Fans Will All Find Something To Enjoy About Matt Barber’s New Covers Set

Courtesy: MB Records

Late last month, jazz vocalist Matt Barber released his latest record, The Song Is You, through his independent label, MB Records.  The 12-song record is one more of so many covers compilations released so far this year and while its featured songs do not necessarily break any new ground in terms of the arrangements themselves or in the bigger picture of the year’s new covers sets, it does prove itself worth hearing at least once.  One of the most notable of the covers featured in this collection is that of ‘East of the Sun (and West of the Moon).’  This cover will be examined shortly.  The set’s penultimate entry, the Barber’s cover of the timeless ‘Moon River,’ is another piece worth examining.  It will be discussed a little later.  Barber’s take of ‘I Remember You’ is another piece worth examining and will also be discussed later.  Each composition noted here does its own part to make The Song Is You interesting.  When they are considered alongside the rest of the record’s entries, the whole makes the collection in whole worth hearing at least once.

The Song Is You, the recently released covers compilation from jazz vocalist Matt Barber, is not a groundbreaker among this year’s field of covers sets but is still worth hearing at least once.  Each of its featured covers makes that clear in its own way.  One of the songs that makes that clear is the early entry, ‘East of the Sun (and West of the Moon).’  Originally recorded in 1934 by Brooks Bowman and popularized by Hal Kemp, it has also been covered by the likes of Tommy Dorsey, Benny Goodman and Stan Getz.  The original composition recorded by Kemp and his orchestra is a wonderfully warm big band work from the earliest era of big band.  The trombone and muted trumpet work alongside what sounds like either a guitar or piano and clarinets to make the whole so rich and immersive even though it tops off at barely more than a minute in length.  Barber’s rendition meanwhile stretches out that run time to nearly six minutes and turns it on its ear with a much more symphonic approach in a gentler bossa nova style arrangement.  It is a stark contrast to the song made so popular all those decades ago by Kemp and company.  Barber’s vocals are so gentle and flowing here but thankfully never to the level of some schmaltzy lounge lizard.  The warmth and richness exhibited throughout the song — thanks to the string arrangement at its heart, and the flugelhorn that compliments the strings – makes the song just as immersive, engaging and entertaining as in the original composition.  It points out in its own way why the record is worth hearing.

Another song that shows what this collection has to offer comes much later in the record’s 47-minute run time in the form of the cover of ‘Moon River.’  Perhaps most well-known for its inclusion in the soundtrack to the 1961 Audrey Hepburn classic, Breakfast at Tiffany’s, it was originally recorded a year prior by Henry Mancini and Johnny Mercer.  Their rendition of the timeless song helped to revive Hepburn’s career at the time as she was the one who actually performed the song in the noted movie.  There was no lip synching involved.  The almost call and response of the strings against the other instruments and the choral style vocals was something that was so commonplace among movies of the era.  That included standard movies and musicals.  It’s that saccharine sweet style approach that is schmaltzy in its own right yet so endearing.  Barber’s rendition meanwhile is much more stripped down by comparison.  It is just the quartet of him, pianist Bradley Young (who also produced the compilation), bassist Brian Ward and drummer Greg Sadler.  Sadler’s gentle use of the brushes on the snare as he keeps time and Ward’s steady bass line works so fluidly with Young’s work on the keys to make the whole actually something of an improvement on the original, believe it or not.  The whole really lives up to the old adage that less truly is more.  What’s more it is just one more example of what makes this collection worth hearing, even if only once.  The cover of ‘I Remember You’ is yet another example of what makes the set worth hearing.

Originally composed in 1941 by Victor Schertzinger and Johnny Mercer, it was popularized the same year by Tommy Dorsey and featured shortly after in the hit 1942 movie, The Fleet’s In (which starred screen legend William Holden).  Since its premiere more than eight decades ago, it has gone on to be covered multiple times over by the likes of Ella Fitzgerald, Glen Campbell, and Tony Bennett just to name a handful of well-known figures.  The rendition made famous by Dorsey and his orchestra is a light, bouncy composition yet so controlled at its heart.  Listeners could argue there is something of a slight samba approach to the song even with its light ballroom swing fully audible.  It is a song that is sure to engage and entertain listeners.  Barber and company stay largely true to the source material in their take on the song, just in a much more minimalist approach once again.  Instead of the full big band presentation from Dorsey and his orchestra, Barber is accompanied here by Ward and Sadler once again on bass and drums respectively.  Tony Guerrero and Don Amarillo join the group on flugelhorn and guitar respectively to make the group a septet this time.  Even in their performances, the musicians are controlled in their presentations even as they make the most of their time in the proverbial limelight.  The result of each musician’s work is a composition that creates something of an easy listening style song yet is still engaging and entertaining in its own right as it creates its own identity.  It really is an interesting presentation in its own right even in comparison to other covers of the classic song.  It is just one more example of what makes The Song Is You listenable.  When it is considered along with the other songs examined here and with the rest of the record’s entries, the whole makes the set a compilation that is worth hearing at least once.

The Song Is You, the new compilation from Matt Barber, does not break any new ground within this year’s field of new covers compilations.  That aside, it is still a presentation that most audiences will find interesting.  That is proven from the beginning to the end of the collection with each cover.  While the covers do not necessarily break a lot of new ground from their source material (or in comparison to other covers of the songs) they are still engaging and entertaining.  The songs examined here make that clear.  When they are considered along with the rest of the album’s entries, the whole of the record makes the set a presentation that jazz fans will find worth hearing at least once.

The Song is You is available now through Barber’s own independent label, MB Records.  More information on the compilation is available along with all of Barber’s latest news at:

Website: https://www.MattBarberExperience.com

Facebook: https://www.facebook.com/singermattbarber

Twitter: https://twitter.com/mattbarbermusic

To keep up with the latest entertainment reviews and news go online to https://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.   

Mercury Studios’ Ella Fitzgerald Montreux Show Re-Issue IsThe First Of 2023’s Top New Live CDs

Courtesy: Mercury Studios

Ella Fitzgerald is one of the most important, iconic figures in the jazz community.  That goes without saying.  The Montreux Jazz Festival is one of the most iconic music festivals for the music community.  So when Fitzgerald made her debut performance at the festival in what would have been only its third year in existence in 1969, the coming together of the two sides made perfect sense.  It was one of so many concerts that would help the festival go on to become one of the world’s premiered music festivals, too.  More than 30 years after that performance, in 2005, Fitzgerald’s fans and jazz fans in general finally got to experience it for the first time in full through a DVD presentation of her concert.  Released through Mercury Studios (then Eagle Rock Entertainment), it marked the first time ever that the 66-minute concert had seen the light of day in a full, official release.  Now more than 15 years after its release, the iconic concert will get new life in a new re-issue on CD and vinyl Friday through Mercury Studios.  The primary highlight comes in the form of its liner notes.  They will be discussed shortly.  The set list featured in the recording is its own highlight and will be discussed a little later.  The concert’s production rounds out its most important elements and will also be examined later.  Each item noted is important in its own right to the whole of the recording.  All things considered they make Mercury Studios’ new forthcoming re-issue of Ella Fitzgerald: Live at Montreux 1969 one of this year’s top new live CDs.

Mercury Studios’ forthcoming re-issue of Ella Fitzgerald: Live at Montreux 1969 is a presentation that Fitzgerald fans and jazz aficionados in general will find fully engaging and entertaining in its latest presentation on CD and vinyl.  Its appeal comes in part through its liner notes.  The liner notes, penned by writer Peter Gamble, fill a page and a half inside the booklet that accompanies the recording in its CD pressings.  Originally penned by Gamble in 2004 – meaning it is likely these liner notes were included in the concert’s 2005 DVD release. Anyone who has that release is welcome to inform this critic further on this matter – the notes point out that Fitzgerald performed at Montreux at least half a dozen times over her career and that when she made her debut at the festival in 1969, she was already a household name   in her own right around the world.  This is important to note because it really further serves to show why the pairing of Fitzgerald and the festival was a common sense move. This especially as Gamble points out early in the liner notes that in their fancy, so many jazz festivals needed big names for success because jazz was considered to have a “minority appeal” as a genre.  In other words, jazz was not the most popular music at the time.  There is no racial connotation here.

Understanding jazz festivals’ need for big names in order to be successful, audiences are immediately led at this point to wonder why it took three years for Montreux’s organizers to get Fitzgerald on board, considering her already established global notoriety.  That discussion in itself further shows the importance of the recording’s liner notes.

Gamble further points out in his notes, the set list that Fitzgerald performed at her debut Montreux performance was composed of songs taken from her then latest compilation record, Sunshine of Your Love, which included a take of the Cream classic by the same name.  He points out in the notes, the record’s overall presentation surprised many of her established audiences, and not necessarily in a good way.  That is because it mixed so much pop influence with her more well-known jazz leanings.  It took her in a decidedly new direction.  Gamble notes that Fitzgerald and her fellow musicians taking the majority of the record for the set list also surprised audiences at the festival because those audiences also were expecting the jazz standards she had made so popular early in her career.  This builds even more on the discussion on her performance and why organizers had waited as long as they had to bring her on board.  Perhaps had they brought her on earlier, those standards would have been more prominent, but that is now a story for another time.  Either way, it further shows the importance of the record’s liner notes.

Noting the set list featured here, it clearly was controversial at the time.  Looking at the set list in the bigger picture of the presentation here, the set list is important because it is the full set list featured in the concert’s 2005 DVD presentation.  What’s more it is the same concert presented in the same order as that in the 2005 DVD release.  In other words, regardless of whether audiences already own that DVD presentation, they are getting the same set list in both platform’s presentation.  That means having the full historical/musical document even in this case.  Knowing that there are concerts out there whose track listings do in fact vary from one source to another, it makes this aspect of the recording all the more important.

Keeping in mind the importance of the set list featured here and the liner notes that accompany the recording, audiences clearly have plenty to appreciate from this record.  They are just part of what makes the record as engaging and entertaining as it is.  The production puts the finishing touch to the presentation.  The balance of Fitzgerald’s vocals and the performance of her accompanying musicians is expert.  That is especially as the collective makes its way through ‘Sunshine of Your Love.’  Fitzgerald almost sounds like Janis Joplin with her gritty vocal delivery here.  That delivery cuts through so clearly even as her fellow performers get increasingly energetic through the song.  No one performer overpowers the others at any point here.  On the exact opposite end, the production shines through just as much in the more subtle song, ‘A Place For Lovers.’  The subtle swing in the song is captured just as well both from Fitzgerald and pianist Tommy Flanagan.  The airy-ness of the venue brings out the richness of Fitzgerald’s performance here, too, again, thanks to the production.  Her vocals (and her companions’ performances) ring through the venue so clearly, virtually encompassing listeners in the concert as they close their eyes and take in the concert.  On yet another note, the group’s performance of ‘Well Alright Okay You Win’ further shows the impact of the concert’s positive production, really capturing the swing from the collective.  The way in which drummer Ed Thigpen’s snare drum cuts through as it keeps the beat and the power in Fitzgerald’s delivery comes through so clearly.  Flanagan’s performance on the piano gets just as much attention, again, thanks to the production.  The balance of each part continues to show the role that the production plays in this recording and is just one more example of its importance.  When the positive impact of the production is considered alongside the positives of the set list and the liner notes, the whole here becomes an early contender for a spot among this year’s top new live CDs.

Mercury Studios’ new, forthcoming CD and vinyl presentation of Ella Fitzgerald: Live at Montreux 1969 is not its first release, but it is one of the first great live CD recordings planned for release this year.  Its appeal comes in part through its featured liner notes.  Whether the liner notes featured here are also included in the concert’s 2005 DVD release is something those with the DVD will know.  Either way, they present an interesting background on the concert that is certain to generate plenty of discussion.  The set list featured in the recording is just as important here as the recording’s liner notes.  That is because it is the exact same set list in the exact same order as that featured in the recording’s 2005 DVD presentation.  It means audiences get the exact same concert here as that featured in the noted DVD presentation.  No one is being left out, in other words.  The record’s production rounds out its most important elements.  That is because it makes audiences feel like they are right there in the venue, taking in the concert, what with the expert balance in the sound quality.  Each item examined here is important in its own way to the whole of this presentation.  All things considered they make Mercury Studios’ new re-issue of Ella Fitzgerald: Live at Montreux 1969 the first of this year’s great new live CDs.

Ella Fitzgerald: Live at Montreux 1969 is scheduled for release Friday through Mercury Studios.  More information on this and other titles from Mercury Studios is available at:

Website: https://mercurystudios.com

Facebook: https://www.facebook.com/MercuryStudiosCo

Twitter: https://twitter.com/mercurystudios

To keep up with the latest entertainment news and reviews, go online to https://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Katriona Taylor’s Latest LP Will Find Appeal Among A Very Targeted Audience

Courtesy: DivaDoll Records

Early this month, singer Katriona Taylor released her new album, Blind Passion through DivaDoll Records. Running 12 songs deep, Blind Passion is Taylor’s fifth album and will appeal to a targeted audience group. That is due in large part to the musical arrangements featured throughout the album. They will be discussed shortly. The lyrical content that accompanies those arrangements add to the appeal to those specific listeners. It will be examined a little later. The record’s production rounds out its most important elements and will also be discussed later. Each item noted is important in its own way to the whole of the album. All things considered, they make Blind Passion a unique addition to this year’s field of new jazz albums.

Blind Passion, the latest studio recording from jazz singer Katriona Taylor, is a presentation that her established audiences will find engaging and entertaining. That is due in part to its featured musical arrangements. Even though the record is being marketed as a jazz presentation, the arrangements are more infused with Taylor’s familiar soul leanings than jazz. The only song featured in the record whose arrangement is jazz at its most basic level is her cover of Duke Ellington’s timeless song, ‘It Don’t Mean a Thing (If It Ain’t Got That Swing).’ Coming early in the record’s run, the song is a wonderful take on the beloved jazz standard, with Taylor’s scatting right up there with that of the legendary Ella Fitzgerald. Drummer Chris Nickolls’ work on the kit is just as notable. His ability to keep time solidly on the hi-hat as he works through his fills is impressive (coming from one drummer to another). No specific lineup is noted as to the songs anywhere in the album’s packaging (including its liner notes) so it is impossible to know which of the two pianists enlisted for the album — John Crawford and John Hammond — handled the keys on this performance. Whichever musician handled the responsibility is fully deserving of his own applause.

On a completely different note, Taylor and her fellow musicians take on The Doors’ classic song ‘Light My Fire’ as part of the album’s presentation complete with soprano saxophone and soul-tinged keyboards and bass. This rendition is intriguing to say the very least. Instead of the driving rocker that most audiences know, Taylor and company take the arrangement in a more lounge lizard type direction. It really is a stark contrast from the source material that is certain to divide audiences.

Even Taylor and company’s original composition, ‘Makes Me Wanna Stay’ is more soul-tinged than jazz. The jazz leaning is there. There is no denying this. It is evidenced throughout the arrangement. At the same time, Taylor’s soul leaning’s are just as present. Interestingly enough, the choruses here are such that they lend themselves to comparison to Lionel Richie’s timeless hit, ‘Easy (Like Sunday Morning).’ Digressing here, there is another comparison here in the lyrical themes of that song and Taylor’s song. Where Taylor’s song is about someone doing things so right that it makes the other person want to stay with that person, Richie’s song is the polar opposite, about someone leaving that other person. The matter of lyrical themes will be touched on a little more a little later. Getting back on the subject at hand, the comparisons between the arrangements is unavoidable, and again definitely shows how Taylor and company lean once again in a far less jazz-oriented direction in this record than soul and R&B. Taking this song and the others examined here into consideration along with the rest of the record’s entries, the whole makes clear why this record’s musical content is of such importance. It is such that audiences will either like it or dislike it. There is not a lot of wiggle room for middle of the road feelings.

The musical content featured in Taylor’s new album is just part of what makes the record very directed in its appeal. The lyrical content that accompanies the album’s musical arrangements adds to the targeted appeal. That is because by and large, the record’s lyrical content centers on the all too familiar topic of relationships. Save for the one Duke Ellington cover, nearly every song on this record centers on the matter. Even The Doors’ ‘Light My Fire’ finds itself in that arena because it is about someone who is “hot” for another person and letting that person know it. So again, audiences get little variance in the album’s lyrical content from one song to the next here. To that end, it is going to find its appeal, again, very limited. That limit is among, again, Taylor’s established audiences. More casual audiences might find some appeal, but it will be found far more among those established listeners.

Having touched on the musical and lyrical content featured in Katriona Taylor’s new album, there is still one more item to examine. That item is its production. The production is worthy of at least some applause because of its ability to bring out the warmth of Taylor’s performance and those of her fellow musicians in each song. That warmth creates a sense of heart in each song, too, in turn making for reason to hear the album at least once, even among more casual audiences. From one song to the next, each performer’s part is expertly balanced with that of the other musicians, leading each figure to bring out the best in one another. Thanks to the production, again, those performances each get equal attention, and in turn creating a positive general effect. When this is considered along with the impact of the album’s overall content, the whole makes the album worth hearing at least once.

Blind Passion, the fifth album from singer Katriona Taylor, is an intriguing addition to this year’s field of new jazz albums. That is due in part to its featured musical arrangements. The arrangements do exhibit some jazz leanings, but at the same time also present just as much soul influence if not more. That blend of influences is very likely to divide audiences, and in turn find most of its appeal among Taylor’s established audiences. The album’s lyrical content is just as likely to appeal to Taylor’s most devoted fans. That is because it is also limited. In the case of this album, it is limited primarily to the topic of romance; love found and lost. There is not a lot of variety in the themes here. The songs’ production rounds out the album’s most important elements. It brings out the best in each musician’s performance and balances those performances just as well with one another. Each item examined here is important in its own way to the whole of the album. All things considered, they make the album a unique presentation that audiences will find is worth hearing at least once.

Blind Passion is available now through DivaDoll Records. More information on the album is available along with all of Katriona Taylor’s latest news at:

Website: https://www.katrionataylor.com

Facebook: https://www.facebook.com/katriona.taylor.5

To keep up with the latest entertainment reviews and news, go online to https://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

Eagle Rock Entertainment Announces Digital Release Date For Fitzgerald, Basie Bios

Courtesy: Eagle Rock Entertainment/Eagle Vision

Eagle Rock Entertainment is bringing a pair of music documentaries to audiences at home.

Ella Fitzgerald: Just One Of Those Things and Count Basie: Through His Own Eyes are scheduled for digital release Sept. 11.  Ella Fitzgerald: Just One Of Those Things follows Fitzgerald on and off the stage, showing how she used her musical talents and her intelligence to break down barriers and overcome great odds throughout the course of her life.  It features never-before-seen footage of interviews with Smokey Robinson, Tony Bennett, Johnny Mathis, Norma Miller and Ray Brown Jr., Ella’s son. along with many other famous figures.

Fitzgerald lost her mother when she [Fitzgerald] was 15 years old.  From there, she also endured mistreatment in reform schools.  in 1934, her life took a turn that would set her on the path of success from then on, winning a contest at the famed Apollo Theater.  She would eventually go on to work with jazz greats, such as Dizzy Gillespie, Frank Sinatra, Louis Armstrong and Benny Goodman.

While she had great success on stage, Fitzgerald was very different off-stage, wanting privacy for herself and her family.  Audiences will see that dichotomy throughout the course of this new documentary.

Fitzgerald earned a number of accolades during the course of her career. Among those honors were 13 Grammy awards, record sales exceeding 40 million records and an NAACP Equal Justice Award. She also received the American Black Achievement Award.

Count Basie: Through His Own Eyes tells his story through his own words.  Directed by Jeremy Marre, the biography uses home movies, interviews and photo albums to help tell the story.  Basie’s wife Catherine is also profiled in the documentary.  She was renowned for her work in the civil rights movement, which led her to work directly with the Rev. Dr. Martin Luther King Jr.

Additionally, Count Basie; Through His Own Eyes features performances of Basie alongside fellow jazz legends, such as Frank Sinatra, Billie Holiday, and Sammy Davis, Jr.

More information on Eagle Rock Entertainment’s documentaries is available online at:

 

Website: http://www.ellafitzgeraldmovie.com

Facebook: http://www.facebook.com/EllaFitzgerald

Twitter: http://twitter.com/ellafitzgerald

 

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

At Home Premiere Date Set For New Ella Fitzgerald Documentary

Courtesy: Eagle Rock Entertainment

Eagle Rock Entertainment announced the new premiere date this week for its Ella Fitzgerald documentary Just One Of Those Things.

The documentary is now scheduled to make its “theatrical” debut June 26.  Originally scheduled to make its premiere April 3, its debut was delayed due to the COVID-19 outbreak.  Since many theaters are still closed nationwide as a result of the virus’ outbreak, Eagle Rock Entertainment is working with theaters to let audiences view the documentary at home and support their local theaters at the same time.

Audiences can view the documentary by purchasing tickets through their local theaters here.  Audiences can watch the documentary from home through various resources, such as apps for Apple TV, Roku and AndroidTV.

Award-winning director Leslie Woodhead helmed the project, and Reggie Nadelson produced the presentation.

Just One Of Those Things follows Fitzgerald on and off the stage, showing how she used her musical talents and her intelligence to break down barriers and overcome great odds throughout the course of her life.  It features never-before-seen footage of interviews with Smokey Robinson, Tony Bennett, Johnny Mathis, Norma Miller and Ray Brown Jr., Ella’s son. along with many other famous figures.

Fitzgerald lost her mother when she [Fitzgerald] was 15 years old.  From there, she also endured mistreatment in reform schools.  in 1934, her life took a turn that would set her on the path of success from then on, winning a contest at the famed Apollo Theater.  She would eventually go on to work with jazz greats, such as Dizzy Gillespie, Frank Sinatra, Louis Armstrong and Benny Goodman.

While she had great success on stage, Fitzgerald was very different off-stage, wanting privacy for herself and her family.  Audiences will see that dichotomy throughout the course of this new documentary.

Fitzgerald earned a number of accolades during the course of her career. Among those honors were 13 Grammy awards, record sales exceeding 40 million records and an NAACP Equal Justice Award. She also received the American Black Achievement Award.

Eagle Rock Entertainment recently debuted two separate trailers for the documentary.  The first, streaming here, features clips of Fitzgerald performing with Duke Ellington and his orchestra, new interview footage with the likes of Tony Bennett and Jamie Cullum. The 90-second trailer also features vintage photos of Fitzgerald from early in her career and even footage of interviews that Fitzgerald herself conducted on television.

The other trailer, streaming here,  features discussions on Fitzgerald’s time on the road with Chick Webb and his orchestra.

More information on Eagle Rock Entertainment’s new Ella Fitzgerald documentary is available online at:

 

Website: http://www.ellafitzgeraldmovie.com

Facebook: http://www.facebook.com/EllaFitzgerald

Twitter: http://twitter.com/ellafitzgerald

 

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Eagle Rock Entertainment Debuts New Trailer For New Ella Fitzgerald Documentary

Courtesy: Eagle Rock Entertainment

Eagle Rock Entertainment released the first new trailer this week, for its forthcoming documentary, Ella Fitzgerald: Just One Of Those Things.

The new trailer, released Wednesday, features clips of Fitzgerald performing with Duke Ellington and his orchestra, new interview footage with the likes of Tony Bennett and Jamie Cullum.

The 90-second trailer also features vintage photos of Fitzgerald from early in her career and even footage of interviews that Fitzgerald herself conducted on television.

The trailer is streaming here.  Eagle Rock unveiled a clip from the documentary last month, that featured discussions on Fitzgerald’s time on the road with Chick Webb and his orchestra.  It is available to watch here.

Ella Fitzgerald: Just One Of Those Things is scheduled to make its theatrical debut April 3 in select theaters nationwide.  Award-winning director Leslie Woodhead helmed the project, and Reggie Nadelson produced the presentation.

Just One Of Those Things follows Fitzgerald on and off the stage, showing how she used her musical talents and her intelligence to break down barriers and overcome great odds throughout the course of her life.  It features never-before-seen footage of interviews with Smokey Robinson, Tony Bennett, Johnny Mathis, Norma Miller and Ray Brown Jr., Ella’s son. along with many other famous figures.

Fitzgerald lost her mother when she [Fitzgerald] was 15 years old.  From there, she also endured mistreatment in reform schools.  in 1934, her life took a turn that would set her on the path of success from then on, winning a contest at the famed Apollo Theater.  She would eventually go on to work with jazz greats, such as Dizzy Gillespie, Frank Sinatra, Louis Armstrong and Benny Goodman.

While she had great success on stage, Fitzgerald was very different off-stage, wanting privacy for herself and her family.  Audiences will see that dichotomy throughout the course of this new documentary.

Fitzgerald earned a number of accolades during the course of her career. Among those honors were 13 Grammy awards, record sales exceeding 40 million records and an NAACP Equal Justice Award. She also received the American Black Achievement Award.

More information on Eagle Rock Entertainment’s new Ella Fitzgerald documentary is available online at:

 

Website: http://www.ellafitzgeraldmovie.com

Facebook: http://www.facebook.com/EllaFitzgerald

Twitter: http://twitter.com/ellafitzgerald

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Eagle Rock Entertainment Bringing New Ella Fitzgerald Documentary To Theaters

Courtesy: Eagle Rock Entertainment

Eagle Rock Entertainment will release a new documentary feature about Ella Fitzgerald in theaters this spring.

The documentary, titled Ella Fitzgerald: Just One Of Those Things is scheduled to make its theatrical debut April 3 in select theaters nationwide.  Award-winning director Leslie Woodhead helmed the project, and Reggie Nadelson produced the presentation.

Just One Of Those Things follows Fitzgerald on and off the stage, showing how she used her musical talents and her intelligence to break down barriers and overcome great odds throughout the course of her life.  It features never-before-seen footage of interviews with Smokey Robinson, Tony Bennett, Johnny Mathis, Norma Miller and Ray Brown Jr., Ella’s son. along with many other famous figures.

Fitzgerald lost her mother when she [Fitzgerald] was 15 years old.  From there, she also endured mistreatment in reform schools.  in 1934, her life took a turn that would set her on the path of success from then on, winning a contest at the famed Apollo Theater.  She would eventually go on to work with jazz greats, such as Dizzy Gillespie, Frank Sinatra, Louis Armstrong and Benny Goodman.

While she had great success on stage, Fitzgerald was very different off-stage, wanting privacy for herself and her family.  Audiences will see that dichotomy throughout the course of this new documentary.

Audiences can view a clip from the documentary here.  The clip focuses on discussions about Fitzgerald’s time with Chick Webb and his band.

Fitzgerald earned a number of accolades during the course of her career. Among those honors were 13 Grammy awards, record sales exceeding 40 million records and an NAACP Equal Justice Award. She also received the American Black Achievement Award.

More information on Eagle Rock Entertainment’s new Ella Fitzgerald documentary is available online at:

 

Website: http://www.ellafitzgeraldmovie.com

Facebook: http://www.facebook.com/EllaFitzgerald

Twitter: http://twitter.com/ellafitzgerald

 

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

‘You & I’ Domestic Release Is A Must Have For Any Purist Jazz Fan

Courtesy: Missing Piece Records

Jazz artist Ala.Ni’s debut album You & I is one of this year’s best new offerings in the Jazz & Blues community and overall.  Originally released overseas last June, it was released domestically June 9 via Missing Piece Records.  The 12-song record wastes no time taking audiences back to the golden age of jazz thanks to the pairing of its musical arrangements and lyrical themes.  That is proven in part right off the top in the album’s opener ‘Cherry Blossom.’  It will be discussed shortly.  ‘Old Fashioned Kiss’ supports that statement just as much as ‘Cherry Blossom.’  It will be discussed later.  ‘I’ll Remember’ is yet another of the album’s offerings that takes listeners back to that shining age.  When those compositions are joined with the songs not noted here, the whole of the record proves to be, again one of the year’s top new Jazz & Blues albums and one of the year’s top new albums overall.

Ala.Ni’s debut album You & I is one of this year’s top new Jazz & Blues records, and one of the year’s best new albums overall.  That is proven right from the album’s outset in the gentle, flowing opener ‘Cherry Blossom.’  This gentle, flowing song, which is highlighted by Ala.Ni’s beautifully angelic vocal delivery and an expertly placed guitar, is a wonderful way to start the album.  The combination of those elements together creates a dreamy musical environment that is truly powerful in its own right because of its gentility.  Considering this, it is only one part of what makes this song stand out in the album’s overall presentation.  Its lyrical theme is just as important to note as its musical arrangement.

The lyrical theme presented in ‘Cherry Blossom’ is that of romance.  The song’s subject sings here to her love interest to stay with her.  She sings to her love interest in the song’s lead verse, “If you see me somewhere down the river/Come and stand beside me/It’s alright.”  She goes on to sing, “Come to me/Stay with me/Say you’ll be a friend to me/Love/An everlasting love/Is forever and a day/Catch some cherry blossoms by the river/Flowing through the flowing of my heart/I will meet you somewhere down that river/Come and stand beside me/It’s alright.”  There is no pleading here.  One could almost argue that it is a gentle, almost coy flirting the way in which these lines are delivered.  The song’s production adds to that feeling, making Ala.Ni’s vocal delivery sound like it came right out of the 1930s or 40s.  Considering this, the clearly romantic theme and the arrangement, this song is a solid starting point for You & I, and a clear example of what makes the album stand out among its counterparts this year.  ‘Old Fashioned Kiss’ serves to make the album stand out just as much as its opener.

‘Cherry Blossom,’ with its gentle flowing arrangement, which includes Ala.Ni’s vocal delivery, and its classic romantic theme, is a solid start for You & I and a clear example of what makes this record stand out among its counterparts.  It is not the record’s only notable songs.  ‘Old Fashioned Kiss’ is just as notable as ‘Cherry Blossom.’  As with ‘Cherry Blossom,’ that is due in part to its musical arrangement.  Yet again, the song’s arrangement is centered on Ala.Ni’s gentle vocal delivery and the soft, simple guitar line that accompanies her singing.  Speaking of her delivery, listeners familiar with their music history will instantly make a comparison between her singing style to that of a young Aretha Franklin.  The simplicity in that delivery and of the song’s guitar line couples with the finger snapping to make the song’s overall arrangement infectious in its own right, proving true the old adage that sometimes big things really do come in small packages.  It is, of course, just one of the song’s key elements.  Its lyrical theme is just as important to note as its musical arrangement.

The lyrical theme presented in this song is, like that of ‘Cherry Blossom,’ centered on romance.  What is interesting about the theme here is the way in which Ala.Ni delivers the lines.  She is gentle yet somewhat playful in her delivery, going so far as to start off with some scat a la Mrs. Fitzgerald.  She sings here, “Just an old-fashioned kiss…How can I resist/Oh how you tease me/Simple kiss upon the cheek/Makes my knees a little weak/Your lips are like spring/Morning dew on a red rose.”  The playful vibe doesn’t stop here.  The song’s subject goes on singing just as happily about being kissed by her love interest with plenty of positive vibes along the way.  That upbeat vibe and equally upbeat lyrics couple with the song’s happy-go-lucky arrangement to create yet another distinct emotion and moment in this rich musical experience.  Considering this, the song proves in the end to be yet another example of what makes You & I a standout offering from Ala.Ni.  It is not the last of the songs that shows what makes the album stand out.  ‘I’ll Remember’ serves to make the album stand out just as much as the previously discussed works.

‘Cherry Blossom’ and ‘Old Fashioned Kiss’ are both key examples of what makes You & I stand out in this year’s field of new Jazz & Blues records as well as overall records. They are just two of the songs that show what makes this record stand out, too.  ‘I’ll Remember’ serves to show how much this album stands out in a way completely unlike the other noted works.  That is due in no small part to the record’s deeply moving musical arrangement.  Unlike the arrangements presented in ‘Cherry Blossom’ and ‘Old Fashioned Kiss,’ this song’s musical arrangement is a very subdued composition.  It evokes a bittersweet emotion that is sure to move any listener with its genuine approach.  That is again thanks to the pairing of Ala.Ni’s vocal delivery and the song’s companion guitar line.  The very real mix of sadness and hopefulness creates an emotional impact that cannot be ignored or denied.  Keeping that in mind, it is only one part of what makes the song stand out.  It couples with the song’s lyrical content to add even more emotional depth to the work.

The musical arrangement presented in ‘I’ll Remember’ tugs hard at listeners’ heart strings.  That is because of the genuine emotion exhibited in the song, including Ala.Ni’s own vocal delivery.  The lyrics that the song’s subject sings add even more to that emotional impact.  That is because the subject’s words come across as genuine as the emotion in the song’s arrangement.  She sings here, “And if we never ever meet again/I’ll remember kissing you/Will you remember kisses, too/If we never ever meet again/Then the memory of love will see us through/When you left/My heart was drowning tears/So much I cried/But then a little voice spoke to my heart and told me I will be just fine/For if we never ever meet again/I’ll remember kissing you/Will you remember kisses, too/And if we never ever meet again/Then I’ll remember/Will you remember/Oh, I’ll remember loving you.”  It’s a short statement, with the song clocking in at only two minutes, 23 seconds.  Even in that short time, the subject’s bittersweet adieu is such a powerful statement that could bring tears to anyone’s eyes.  That is especially the case when this heartfelt statement is set alongside the song’s equally moving musical arrangement.  When both elements are paired, the emotion exhibited in the song (and its story) sets it completely apart from the record’s other offerings, showing once more the diversity presented throughout the record in terms of its musical arrangements and moods.  When this is considered in the bigger picture of the album, the end result is a work that audiences will agree is one of the year’s top new domestic albums and one of the year’s top new domestic Jazz & Blues albums.

Missing Piece Records’ new domestic release of Ala.Ni’s 2016 album You & I is one of this year’s top new domestic albums and one of the year’s top new domestic Jazz & Blues albums.  That is due to the wide array of musical arrangements and moods exhibited throughout the course of the record.  From the coy, flirtatiousness of the album’s opener to the more playful, happiness of ‘Old Fashioned Kiss’ to the bittersweet, heart string-tugging emotion exhibited in ‘I’ll Remember’ to emotions and arrangements in-between, this record offers plenty for any purist jazz fan.  That is especially the case for fans of music from the golden age of Jazz.  The production of this record’s original tunes makes them sound like they were lifted right from the brightly lit ballrooms of the 1930s and 40s.  Considering this and the previously noted items, it should be fully evident why this record is such a surprise release. All things considered, this record is a work that this critic believes is one of the year’s top new domestic albums and top new domestic Jazz & Blues albums.  It is available now in store and online.  More information on You & I is available online now along with all of Ala.Ni’s latest news and more at:

 

 

 

Website: http://www.ala.ni

Facebook: http://www.facebook.com/alaniofficial

Twitter: http://twitter.com/alaniofficial

 

 

 

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ABKCO Records To Release “Joy” Soundtrack In Stores This Week

Courtesy: ABKCO Records

20^th Century Fox’s new movie Joy has only been in theaters a little more than a week and already much has been said of the movie, which stars Jennifer Lawrence (Silver Linings Playbook, The Hunger Games, American Hustle). It has been received a Golden Globe nomination for the year’s Best Motion Picture. And Lawrence has received a Golden Globe nomination in the category of “BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – MUSICAL OR COMEDY.” Now the soundtrack to Joy is being released in stores and online.

ABKCO Records will release Joy’s soundtrack in stores Friday, January 8^th. It was previously released digitally on December 18^th. Music from some of music’s greatest names is featured in this collection. Those names include the likes of: The Rolling Stones, Ella Fitzgerald, Nat King Cole, The Ronettes, Bee Gees, Cream, and a number of others. The complete track listing for Joy’s soundtrack is noted below.

 

Music From the Motion Picture JOY track listing:

1)   “I Feel Free” – Cream

2)   “Joy Romantic Theme” (score)

3)   “Aguas de Marzo” – Edgar Ramirez

4)   “The Sidewinder” – Lee Morgan

5)   “I Want to Be Happy” – Ella Fitzgerald, Chick Webb and His Orchestra

6)   “In the Bleak Mid-Winter – Thomas Bullard, Choir of King’s College, Benjamin Bayl, and Stephen Cleobury

7)   “Notre Pere, Op. 14” – Salzburg Bach Choir/Alois Glasser

8)   “Mama Told Me Not to Come” – Edgar Ramirez, Ray de la Paz & The Peditro Martinez Band

9)   “Something Stupid” – Jennifer Lawrence & Edgar Ramirez

10)                  “To Love Somebody” – Bee Gees

11)                  “I Am in Love” (score)

12)                  “Mop Drawing” (score)

13)                  “Racing in the Street” (score

14)                   “Sleigh Ride” – The Ronettes

15)                  “Stray Cat Blues” – The Rolling Stones

16)                  “Texas” (score)

17)                  “Markham” (score)

18)                  “A House With Love In It” – Nat King Cole

19)                  “Joy Theme” (score)

20)                  “I Feel Free” – Brittany Howard

21)                  “I Feel Free” (Bonus Track) – Brittany Howard

More information on this and other titles available from ABKCO Records is available online now at:

 

Website: http://www.abkco.com

Facebook: http://www.facebook.com/abkco

Twitter: http://twitter.com/abkco

 

To keep up with the latest sports and entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest sports and entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.