New York Tina 26 lu

In the dawn of the 21st century, pianist Bill Charlap took the jazz world by storm with a series of rewarding albums for labels both in the U.S. and abroad. On Blues in the Night, he leads his New York Trio in a recording made for the Japanese label Venus, with veteran bassist Jay Leonhart and fellow young gun Bill Stewart joining him. Right away Charlap signals that he can take an old chestnut into a new direction. His stretched-out, blues-drenched "Blues in the Night" makes effective use of space and showcases his sidemen as well. Leonhart's buoyant bassline brings to mind the late Milt Hinton in the brisk rendition of "I Could Have Danced All Night." Charlap's intense workout of "Blue Skies" is a virtual jazz history lesson, showing the influence of a number of legendary pianists, while achieving a sound distinctly his own…

You have to admire New York Voices' diversity – this is a jazz vocal group that has embraced everything from modal post-bop and Brazilian jazz to Stevie Wonder pearls. And how many artists have devoted an entire album to jazz interpretations of Paul Simon tunes? Not everything the Voices have recorded is great, but more often than not, their sense of adventure and open-mindedness have served them well. After paying tribute to pop-rocker Simon in 1997, the Voices make big band music the main focus of Sing, Sing, Sing. This time, they are backed by a big band and turn their attention to gems associated with swing icons like Benny Goodman ("Sing, Sing, Sing," "Don't Be That Way"), Duke Ellington ("In A Mellow Tone"), Woody Herman ("Early Autumn"), and Artie Shaw ("Stardust"). Although many of these classics came out of the Swing Era, Sing, Sing, Sing also has its share of post-World War II gems. Ralph Burns' lovely "Early Autumn" is a gem that Herman recorded in 1948, when he was exploring bop with his Second Herd and the Four Brothers. And "Orange Colored Sky," which was a major hit for Nat "King" Cole in 1950, is quite relevant to the CD's big band theme because Cole recorded it with the Stan Kenton Orchestra.

For their third and certainly best record the classically inspired New York Rock And Roll Ensemble recruited Greek composer and songwriter Manos Hadjidakis. The resulting Reflections plays like a film score–not surprisingly, given Hadjidakis's experience as a composer of just such works–with epic instrumental sweeps and passages of quiet melancholy. Many of the tracks, such as "Orpheus," "The Day," and "Kemal," incorporate the folk melodies of Hadjidakis's homeland while maintaining a baroque psychedelic touch.