Lorraina Marro’s Most Devoted Audiences Will “Love” Her New Covers Collection

Courtesy: Jazz Promo Services

Jazz vocalist Lorraina Marro is scheduled to release her latest record this week.  The record, a covers collection titled Love Is For All Time, is scheduled for release Thursday independently.  The collection is a presentation that audiences will find a good fit for any date night setting and even for those maybe going through the loss of their relationships.  That is due in no small part to its featured songs, which will be discussed shortly.  The sequencing of those songs adds its own touch to the collection’s presentation and will be discussed a little later.  The compilation’s production rounds out its most important items and will also be discussed later.  Each item noted here is important in its own way to the whole of the collection.  All things considered, they make this compilation a presentation that will, again, help set the mood for any couple’s date night.

Lorraina Marro’s forthcoming covers compilation is a presentation that will find select appeal among audiences.  That is due in no small part to its featured songs.  The 10 songs that make up the record’s 44-minute run time are all romantic compositions and are varied in style from one to the next.  This in itself is actually not the most important aspect of the songs.  The fact that they are less commonly covered songs is really their most important aspect.  The one song that people will likely most recognize is the Bob Merrill/Jule Styne song ‘People.’  The song gained much of its fame through the musical Funny Girl in 1964 and its big screen adaptation that debuted four years later in 1968.  On a different note, a song, such as ‘The Night Has a Thousand Eyes’ – co-written and composed by Jerry Brainin and Buddy Bernier – is a less commonly covered song among so many of today’s jazz acts.  Given, it has been performed by the likes of Bing Crosby, Sonny Rollins, and the Eddie Haywood Trio, but in the bigger picture, it is, again, not a song that is commonly presented in most jazz covers collections.  To that end, it is nice to have that “lesser known” standard, presented here, even being considered a standard.  The same can be said of, say, ‘My Baby Just Cares For Me,’ another of the songs featured as part of the collection.  Co-written and composed by Gus Kahn and Walter Donaldson in 1930, for the soundtrack to the movie Whoopee!, it has been covered by the likes of Nina Simone, Natalie Cole, and Gene Kelly (just to name a few), it is another song that jazz aficionados will be hard pressed to find in most of today’s jazz covers collections.  Between those two songs and most of the others featured in this collection, the songs overall prove so important, again, because they are not just the everyday standards that flesh out so many jazz covers collections.  It is refreshing to say the least to have that unique aspect in this presentation.  It is just one part of what makes the collection worth hearing.  The songs’ sequencing adds its own appeal to the record’s presentation.

The sequencing of the songs featured in Love Is For All Time is important to address because the stylistic approaches are aligned with their “sub-topics” (love gained and lost).  The record starts off on a light, relaxed note in ‘Stairway to the Stars.’  This mid-tempo composition is an easily danceable composition that celebrates that love gained.  Things pick up less than halfway through the album’s nearly 45-minute run time in Marro’s take of ‘The Night Has A Thousand Eyes,’ yet another song celebrating love gained.  ‘Rain Sometimes’ is one of those songs of love lost.  Its mood matches, too, being quite reserved throughout its nearly five minute presentation.  The mood changes once again in that song’s follow-up, ‘My Baby Just Cares For Me,’ yet another song of love gained.  Looking back through this first half of the record, it is clear that the sequencing takes into account the subtleties of each song’s mood and lyrical theme.  The result is that the sequencing ensures audiences’ maintained engagement and entertainment in its own way thus far.  ‘Viajera Del Rio’ (‘River Traveler’) pulls things back again, but in a positive fashion.  The mood here is relaxed, but happy, ensuring even more, that noted engagement and entertainment.  ‘When The World Turns Blue’ pulls things back even more as it translates so well the feeling that so many people go through in low times in life when love leaves their lives.  The subtleties in the songs continue in the record’s last group of songs, ensuring even more that things change just enough in that case, too.  All things considered, what audiences get throughout this collection in regards to their sequencing is subtle changes from one song to the next.  Those subtleties will be appreciated by those who take the time to immerse themselves in the record.  Keeping that in mind, the record’s sequencing proves just as important to its presentation as the songs that make up its body.  They are just one more part of what makes the collection worth hearing.  The songs’ production rounds out the record’s most important aspects.

The songs’ production is so important to examine because all 10 songs featured in this record are so subtle.  Each is subtle in its own way, but still subtle regardless.  As a result, the fullest attention had to be paid to each work to make sure that the subtleties in each arrangement were fully pronounced and balanced.  The painstaking time and effort in this case paid off well.  Marro’s gentle vocal deliveries are expertly balanced with the songs’ bass lines and even gentle brushwork on the drums in certain songs.  Simply put, each line within each song compliments its counterpart in each composition.  The end result is that the record’s songs prove just as worth hearing for their sound as for themselves and the impact of their sequencing.  All things considered, they make Love Is For All Time a presentation that the most devoted audiences will themselves love.

Lorraina Marro’s forthcoming covers compilation, Love Is For All Time, is a presentation that will find a targeted appeal among Marro’s most devoted audiences.  That is due in part to the record’s featured songs.  While the songs are considered standards, they are for the most part, far less commonly featured in other jazz acts’ own covers collections.  It is a breath of fresh air for those audiences.  The sequencing of said songs adds its own appeal to the record.  That is because it takes into account the subtleties within each arrangement to keep audiences engaged and entertained throughout the record’s nearly 45-minute run time.  The songs’ production rounds out the most important of the record’s elements.  That is because it is responsible for balancing and bringing out those subtleties within each arrangement.  Each item examined here is important in its own way to the whole of the collection.  All things considered, they make Love Is For All Time a covers collection that Marro’s most devoted audiences will love.  Yes, that awful pun was intended.

Love Is For All Time is scheduled for release Thursday independently.  More information on the collection is available along with all of Lorraina Marro’s latest news and more at:

Website: https://www.lorrainamarro.com

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

Twitter: https://twitter.com/LorrainaMarro

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Real To Reel’s New Harold Land Live Recording Is One Of Record Store Day’s Standout Offerings

Courtesy: Reel To Real Recordings LTD

In yet another sign that America is turning the corner in the battle against the COVID-19 pandemic, music lovers’ biggest day makes its return Friday.  That big day is Record Store Day.  A year after being canceled as a result of the pandemic’s impact, Record Store Day makes its grand return this week, and with it will come a release featuring performances from one of the jazz community’s more underrated and underappreciated artists, tenor saxophone player Harold Land in the form of Westward Bound!  Land released 15 albums between 1958 and 2001, with the last coming only four months prior to his passing at the age of 72.Now thanks to the independent record label Reel to Real, Land and his work are getting renewed focus with the forthcoming live recording, Westward Bound.  The nine-song recording will release on a 2-LP 33-1/3 RPM 180-gram set as part of Record Store Day’s return.  A CD platform release will follow on June 18.  The recording proves a positive new presentation that any jazz purist will appreciate, regardless of their familiarity with Land.  The liner notes in the recording’s companion booklet are one part of what makes it successful.  They will be discussed shortly.  The production and editing used in bringing the performances back to life add to the recording’s presentation.  They will be discussed a little later.  The songs featured in the recording round out this presentation’s most important elements.  They will also be addressed later.  Each item noted is important in its own way to the whole of the presentation.  All things considered they make Westward Bound! an enjoyable tribute to Land and will hopefully start bringing him the attention and respect that he deserves.

Reel to Real’s forthcoming Harold Land live recording, Westward Bound! is a presentation that most jazz purists will find enjoyable.  That is due in part to the information that is provided in the recording’s rich liner notes.  The notes in question offer an in-depth profile of Land and his career.  The notes are not just third person meanderings, either.  They come from those closest to Land. For instance, Sonny Rollins provides insight in an interview featured in the booklet as to how he took Land’s place alongside Clifford Brown/Max Roach Quintet.  Rollins’ (a legend in his own right) explains how Land’s departure was his own.  Not to give away too much, but it was related to a family issue.  Audiences will be left to learn the whole story for themselves.  This is just one of the many points of interest in the liner notes.  Also featured in the liner notes is a brief introduction to the songs performed by Land and his fellow musicians in each performance.  As it turns out, most of the songs are those of others (E.g. Tony Bennett, Carmell Jones, Dizzy Gilespie).  There is at least one song featured in this presentation that is Land’s but many are performances of songs from other composers and musicians.  Most of the background on the songs is pushed to the back of the booklet.  It would have been nicer to have had that information earlier in the liner notes, but this is not enough to make this overall aspect a failure.  That it is discussed as part of the overall rich liner notes at all adds to the liner notes’ appeal even more, especially considering the depth of that background information.  When this information is considered with the other items pointed out here and everything else in the liner notes, the whole makes a solid foundation for the recording.  It is of course just one of the items that makes the recording successful.  The production and editing that went into the recording add their own layer of appeal to the presentation.

The production and editing that went into Westward Bound! is important to address because audiences must take into account the age of the performances featured in the presentation.  The performances in question were captured at The Penthouse in Seattle, WA between December 1962 and August 1965.  The actual dates of the three performances are noted on the back of the packaging.  The more important thing here is that the captured performances are each more than 50 years old.  The earliest is 58 years old and will turn 59 in December.  The August 1965 performance is 55 years old.  Considering that more than half a century has passed since each performance was recorded, the recordings have obviously stood the test of time well.  That and those responsible for remastering the recorded performances obviously went to painstaking lengths to make the recordings sound so impressive.  The sound quality of each performance is such that it sounds like it could have been recorded now in the 21st century.  To that end, the work of those responsible for resurrecting the recordings is to be applauded.  On a related note, the transitions between performances are just as enjoyable as the recordings’ sound.  Considering that the performances were separate, it would be easy to assume that there would be fade outs and fade-ins, which are so commonly used for live recordings that present various performances.  That does not happen here.  Instead, audiences get clean, smooth transitions between each song.  That may be a simple aspect on the surface.  However, its aesthetic value unquestionably adds to the importance of the editing and production.  Keeping that in mind, this part of the recording’s presentation adds even more to its appeal.  It is only one more part of the recording’s success, too.  The songs themselves are important in their own right, too.

The songs featured in Westward Bound! are, as already noted, mostly from composers other than Harold Land.  There is at least one that is from Land, though.  Some of the compositions were crafted by Land’s fellow musicians who performed with him in the recording’s concerts.  Yes, it would have been nice to have had more of Land’s own compositions, considering that he is one of the lesser-known and appreciated musicians out there in the jazz community.  That aside, the songs show Land’s influences and the reach of his talent in their own way.  When they are considered along with the background information provided about them in the liner notes, the appreciation for those songs increases.  Keeping that in mind, the songs featured here round out the recording’s presentation.  Together with the liner notes and production/editing, the whole makes Westward Bound! a proper tribute to a jazz musician who deserves more credit than he has ever gotten.

Reel to Real’s Harold Land live recording, Westward Bound!, is a presentation that most jazz purists will find appealing.  That is proven in part through the rich content featured in the recording’s companion booklet.  The liner notes provide a thorough background on Land and his career while also addressing the songs featured in the featured performances, and much more.  The production and editing that went into resurrecting the featured performances add their own appeal to the recording in whole.  That is because of the clarity of the sound and transitions.  The songs themselves add their own layer of appeal.  That is because they serve to show Land’s influences and talents.  Each item noted is important in its own way to the recording’s presentation.  All things considered, they make the recording a great live recording that any jazz purist will appreciate.  The recording is scheduled for release Friday on vinyl for Record Store Day.  A CD release is scheduled to follow June 18.  More information on this and other titles from Reel to Real is available at:

Website: https://cellarlive.com

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

Twitter: https://twitter.com/cellarlive

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MVD Entertainment Group Re-Issuing Sonny Rollins Live Concert Documentary

Courtesy: MVD Entertainment Group

MVD Entertainment Group will re-issue another one of documentarian Robert Mugge’s music-based docs this summer.

The independent entertainment company will re-issue Sonny Rollins: Saxophone Colossus Aug. 4 on DVD and Blu-ray.  The program, which has been released at least twice already on DVD since 1999 by two other independent companies, focuses on two key performances by Rollins – May 18, 1986 performance at Tokyo Koseinenken Hall and Aug. 24, 1986 at Opus 40 Sculpture Park in New York.

The first performance was actually the second performance by Rollins and the Yomiuri Nippon Symphony Orchestra at the famed Tokyo concert hall on the same day.  The first concert on the day was recorded by a local Japanese television station.  A local Japanese radio station recorded the second concert alongside Mugge and his limited film crew.

The second performance was recorded in a more laid back setting with Rollins joined by a much smaller group of musicians—Bob Crenshaw (bass), Clifton Anderson (saxophone), Mark Soskin (piano) and Marvin “Smitty” Smith (drums)—in the public park.  Mugge’s film crew for this concert was larger than that used to record his performance earlier in the year in Japan.

Four 16-mm cameras were used for Rollins’ New York performance along with a 24-track recording truck.  The sound recorded at the Tokyo performance was taken from the Japanese radio station that recorded that concert alongside Mugge and company, while the show was captured on film by only two camera operators.

Along with the primary concert footage, Saxophone Colossus also features in-depth discussions by Rollins himself on a variety of topics including his own development as an artist and his wife Lucille’s role as his manager, producer and wife among many other topics.

Audiences can view a trailer for the upcoming re-issue online now here and can pre-order the program online via the MVD Shop and Amazon.  Both the DVD and Blu-ray are listed as retailing for MSRP of $19.95 on both sites.

More information on this and other titles from MVD Entertainment Group is available online now at:

 

 

 

Website: http://mvdentertainment.com

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

Twitter: http://twitter.com/mvdentgroup

 

 

 

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