Scott Hamilton & Andrea Pozza - I Could Write A Book

Bitrate: 320K/s
Time: 56:38
Size: 129.7 MB
Styles: Saxophone jazz, Piano jazz
Year: 2013
Art: Front

[6:43] 1. I Could Write A Book
[5:38] 2. We'll Be Together Again
[6:10] 3. No Moon At All
[7:12] 4. Isn't It Romantic
[6:08] 5. Boccaccio Blues
[7:14] 6. Everything I Love
[5:31] 7. Afternoon In Paris (4th October Take)
[5:38] 8. Limehouse Blues
[6:20] 9. Afternoon In Paris (3rd October Take)

“I have been wanting to record with Andrea Pozza for twenty years, so this was a great opportunity for me. In addition we recorded at home in Certaldo Alto so the atmosphere was very relaxed and friendly. I am look­ing forward to hearing how I sound without any effects - just the very good natural acoustics of the Castello.” ~Scott Hamilton

Few times in life one has the feeling to be in the right place at the right time. It happened to me in the cellar of Hotel Il Castello in Certaldo on the occasion of the recording of this CD. To record with Scott Hamilton, one of my all time favourite musicians, in an extraordinary place with invaluable microphones skillfully maneuvered by Giulio Cesare Ricci, a real “guru” of hifi recording, enjoying the hospitality Alfred Kramer (and his snare drum and brushes in a couple of takes) and the amazing food at Il Castello - what do you think, isn’t that enough? ~Andrea Pozza

I Could Write A Book

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Nina Simone - It Is Finished

Bitrate: 320K/s
Time: 59:41
Size: 136.7 MB
Styles: Vocal jazz
Year: 1974/2006
Art: Front

[5:13] 1. The Pusher
[5:51] 2. Com' By H'yere Good Lord
[5:20] 3. Funkier Than A Mosquito's Tweeter
[4:50] 4. Mr. Bojangles
[5:55] 5. I Want A Little Sugar In My Bowl
[6:52] 6. Dambala
[3:27] 7. Let It Be Me
[6:19] 8. Obeah Woman
[4:13] 9. Nina
[4:17] 10. Zungo
[7:20] 11. Thandewye

Wonderful work by Nina – the kind of record that once made purists turn up their noses, but which is now being rediscovered as a unique jazz/soul crossover album, filled with loads of nice moments! The instrumentation's pretty darn interesting – and includes sitar, harp, Spanish guitar, and other odd percussion instruments. Includes Nina's nice version of "Funkier Than a Mosquito's Tweeter", plus "I Want A Little Sugar In My Bowl", "Dambala", "Obeah Woman", and "The Pusher". ~Dusty Grooves

It Is Finished

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Amadeu Casas - Blue Machine

Bitrate: 320K/s
Time: 62:21
Size: 144.7 MB
Styles: Blues-jazz
Year: 2008
Art: Front

[5:26] 1. Gerard Viatja A Mart
[3:43] 2. Bad John
[5:13] 3. Blue Boogaloo
[7:07] 4. Je T'aime A La Folie
[4:52] 5. Wind Chill
[4:38] 6. Turtle Walk
[7:09] 7. Bluecifer
[4:41] 8. The Holy Ghost
[6:02] 9. El Lido
[6:34] 10. Le Pedalier
[6:51] 11. The Blue Machine

Amadeu Casas es un guitarrista autodidacta, especializado en Blues. Ha participado en muchos grupos con solera: Big Mamma and The Blues Messengers, Blues a Go Go, Lluís Coloma Blues All Stars, The Midnight Rockets, Max Sunyer, Tandoori Lenoir, y un largo etcétera de colaboraciones.

Blues expuesto con elegancia y moderado intimismo, pero con todo el swing y el boogie-woogie que hace falta. Estándars con feeling, interpretados con sobria sensibilidad.

Blue Machine

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Gene Ludwig - Hands On

Bitrate: 320K/s
Time: 64:13
Size: 147.0 MB
Styles: Hammond organ jazz
Year: 2003
Art: Front

[6:10] 1. Louie And Jazz
[4:49] 2. Unit 7
[6:12] 3. Groove Yard
[7:46] 4. Willow Weep For Me
[5:26] 5. Groove Merchant
[5:25] 6. Groovy Samba
[7:10] 7. Baby Don't Go Away Mad
[7:13] 8. Pete Kelly's Blues
[6:33] 9. Layin' Back
[4:23] 10. Have You Met Miss Jones
[3:02] 11. Spiritual

This is a very likeable B3 album, and notably for people who are not enamored of tenor sax-organ dates. Gene Ludwig, a longtime Pittsburgh musician with a history of 40 years of plugging away at this genre, has pulled out all the "stops." Ludwig has recorded seven sessions including one on Muse in 1979, all with local musicians, and on independent labels. You've got to hand it to someone who has consistently produced quality sessions and still comes back with more.

Ludwig has smartly programmed this album with two originals, three standards and, on the remaining tracks, five "organ party anthems." Sam Jones' "Unit 7" ostensibly has no connection with the B3 but it was Cannonball Adderley's intro and outro theme for a long time and it fits the bill perfectly. Jerome Richardson's "Groove Merchant" (which came first, the song or the record label?) is a highly under-recorded bounce tempo from the late '60s with the Hammond filling in the horn riffs. "Baby Don't You Go Away Mad," which I remember quite distinctly as Illinois Jacquet's "Black Velvet," swings mightily, as when Sinatra had it in his repetoire.

Pianist Carl Perkins' "Groove Yard," popularized by the Montgomery Brothers, is a fine medium tempo blues. "Willow Weep for Me" is done as a boozy, crying-in-your-beer mode just as if Jimmy Smith and Hank Mobley were blowing it. Ludwig's own "Louie and Jazz" is a perfect '50s-'60s Blue Note hard bop melody line, and until I read the composer credits I was searching mentally for the tune's name and songwriter. I was only disappointed in the closer "Spiritual" which is a solo B3 recitation that you might hear as recessional music at Sunday morning services.

This combo is one that Ludwig has worked with consistently over the past few years. Ken Karsh, a good melody player on guitar, gets ample solo time and makes his point concisely. Tom Wendt, takes care of the percussion, keeps the album moving along nicely. Saxophonist Eric DeFade is the son of Ray DeFade, who played sax for Ludwig in the early '60s. He is a young follower of the organ-tenor sax stars who are no longer on the scene and provides the appropriate sermon when called upon. ~Michael p. Gladstone

Gene Ludwig,Hammond B-3 Organ; Ken Karsh,guitar; Tom Wendt,drums; Eric DeFade,sax

Hands On

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Gregory Porter - Be Good

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 62:09
Size: 142,6 MB
Art: Front

(4:45)  1. Painted on Canvas
(6:26)  2. Be Good (Lion's Song)
(7:40)  3. On My Way To Harlem
(4:51)  4. Real Good Hands
(4:24)  5. The Way You Want To Live
(4:19)  6. When Did You Learn
(3:00)  7. Imitation Of Life
(6:59)  8. Mother's Song
(3:31)  9. Our Love
(6:00) 10. Bling Bling
(6:34) 11. Work Song
(3:34) 12. God Bless The Child

Debut albums often serve as fine introductions to the work of fledgling artists with potential for greater things, but that wasn't the case with Gregory Porter's Water (Motéma, 2010). Porter's debut, which was nominated for a Grammy Award, presented a vocal soul-jazz juggernaut that seemingly materialized out of thin air as a fully matured musical entity. His early experiences working in small San Diego clubs and singing in Off-Broadway and Broadway productions in New York helped Porter to establish himself as a vocal talent who doesn't merely sing songs but, rather, inhabits different personae delivering messages through music.  On Water, Porter showed that he was capable of shifting from politically charged fire and brimstone ("1960 What?") to soothing serenades ("But Beautiful"), demonstrating an extraordinary range in style and sentiment.

He continues to branch out in various directions on Be Good, his highly anticipated sophomore effort. The album opens with the emotionally engaging "Painted On Canvas," and, on the title track, pianist Chip Crawford delivers dainty piano work, reflecting the "dancing" references in Porter's lyrics. Porter sings with Bill Withers-style bona fides on "Real Good Hands," as he convincingly explains to in-laws- to-be that he looks up to them and that their daughter will be taken care of. He exhibits a "flower power" attitude of peace and love as he marries jazz, soul and folk attributes on "Mother's Song," a tribute to his mother.  While the emphasis is squarely placed on Porter's own music he penned nine out of the twelve tunes the album ends with a double shot of classic jazz. 

Porter lets loose on a stirring version of Nat Adderley's "Work Song," which features strong solo spots from saxophonists Yosuke Sato and Tivon Pennicott. The album ends with a mellow, a cappella take of "God Bless The Child."  Porter presents various facets of his personality throughout the album, but the jubilant "On My Way To Harlem" best explains his artistry. In name checking the divine artistic triptych of Duke Ellington, Langston Hughes, and Marvin Gaye, Porter essentially outlines his own design as a soulful jazz poet. If Water heralded the arrival of the next big name in vocal jazz, then Be Good makes it clear that Porter still has plenty to say. Be Good is beyond great and he's here to stay. ~ Dan Bilawsky  http://www.allaboutjazz.com/be-good-gregory-porter-motema-music-review-by-dan-bilawsky.php#.U-_Zq2OumE4
 

Personnel: Gregory Porter: vocals; Chip Crawford: piano (1-11); Aaron James: bass (1-6, 8-11); Emanuel Harrold: drums (1-6, 8-11); Kamau Kenyatta: soprano saxophone (1); Keyon Harrold: trumpet (2-4, 8, 11), flugelhorn (3); Yosuke Sato: alto saxophone (2, 3, 6, 8-11); Tivon Pennicott: tenor saxophone (2-4, 8, 10, 11).

Be Good

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Dee Dee Lavell - Sounds Of Love

Styles: Jazz, Vocal
Year: 2014
File: MP3@320K/s
Time: 50:33
Size: 115,9 MB
Art: Front

(3:23)  1. You're Everywhere
(4:40)  2. Bird Of Beauty
(5:14)  3. Why We Are Here
(4:21)  4. Don't Explain
(5:53)  5. Celebrate
(3:35)  6. Creepin'
(4:04)  7. Big Yellow Taxi
(4:02)  8. Dindi
(4:29)  9. Supernatural (Song For Maliq)
(5:49) 10. Diamonds & Pearls
(4:57) 11. Sounds Of Love

Sounds of Love is a collective of love. Created with love, about the people we love, have loved, the things we love and the music we love. The love that came from making this album runs deep and eternal, from the friendships forged, to the passion of a new romance, to reminders of our loved ones by the special sounds that spark memories of them. The title track of the album was inspired by the memory of my late mother who was my best friend. When I was growing up, every morning she would bring me a cup of tea and I would wake up to the sound of a teaspoon stirring in the tea cup like a gentle, loving alarm clock. She was the epitome of love and I miss her everyday.I sing, write & listen to music because I LOVE music. I need music, I would be incomplete without it and so would many others.

This album evolved, it took on a life of it's own and my hope is that u feel and hear the love inside of every note sung and every note played. I want 2 thank: Craig White 4 having, the patience, encouragement and a beautiful studio. It was absolute bliss singing with that very special Neumann microphone that u bought especially 2 record Ms Patti Labelle . Thank u 4 your creative contributions & care. Helen Bruner & Terry Jones 4 your creative marketing and also 4 your amazing background vocal arrangements & voices. The incredibly gifted musicians from Philly & NY. It was a pleasure to create music with you. Miguelli from Avocado Studios, Los Angeles. Thank's for your melodies, chords , beautiful string arrangements & for teaching me more about songwriting. Liza Ohlback for your inspiration, encouragement and your beautiful song. You started all this. 

My forever friend, I love you so very much. Kellie Knight at Mango Tree Media for your fantastic creative graphic artwork and your friendship. I love you. Doc Gibbs. We have been connected for many years and God makes no mistakes when He puts people together. Not only are you an incredibly gifted talent, but your encouragement, creativity and passion for your craft is inspiring. Your commitment to keeping the African American cultural heritage alive through education of our young is highly commendable. What an amazing journey we are on and continue to be on. U are a precious, joyful spirit and u are my forever friend. I love u on so many different levels. Who lives like us? We do ! http://www.cdbaby.com/cd/deedeelavell2

Sounds Of Love

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Doug Webb - Renovations

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 75:38
Size: 173,5 MB
Art: Front

(7:01)  1. Satin Doll
(7:25)  2. Feliscia
(7:48)  3. Moose The Mooche
(6:43)  4. Then I'll Be Tired Of You
(4:02)  5. I Can't Get Started
(6:44)  6. I've Never Been In Love Before
(8:00)  7. You've Changed
(3:57)  8. They Can't Take That Away From Me
(7:10)  9. Blusette
(8:11) 10. Slow Hot Wind
(8:30) 11. Once I Loved

April 24, 2009 was a busy day for saxophonist Doug Webb, his fellow musicians and the production team at North Hollywood's Entourage Studios. Recordings from that day have already been released on the excellent Midnight (Posi-Tone 2010): now Renovations delivers more music from the session, and very welcome it is too.  As with the previous recording Renovations features the core trio of Webb, bassist Stanley Clarke and drummer Gerry Gibbs on a collection of jazz standards, joined on each track by one of three guest pianist. Larry Goldings had equal credit on the sleeve of Midnight, appearing on five tunes, but on this album he shares the piano work more equally with Joe Bagg and Mahesh Balasooriya. The tunes, as before, are familiar overly so, perhaps but the band is so stylish and inventive that each tune seems more like an old friend from way back than a relative who's overstayed a welcome. The band is tight, melodic and richly-toned, treating these standards with respect, but also with an almost boyish enthusiasm. 

Clarke's bass playing seems especially strong and inventive, whether driving hard on Toots Thielemans' "Bluesette" or taking a more measured and gentle approach on Henry Mancini's romantic "Slow Hot Wind." Duke Ellington and Billy Strayhorn's "Satin Doll" is taken at a terrific pace, its usual seductiveness replaced with excitement and verve, both of which are epitomised by outstanding solos from Bagg and Clarke. Arthur Schwartz' "Then I'll Be Tired Of You" swings gently thanks to Clarke and Gibbs: Goldings' piano and Webb's alto saxophone share the lead line, both playing with a delicate grace. Frank Loesser's "I've Never Been In Love Before" is introduced by Goldings' Monk-like piano. Underpinned by Gibbs' brushed shuffle beat, it features another rich bass solo from Clarke as well as lyrical and flowing solos from Webb and Goldings. Renovations closes with "Slow Hot Wind," Webb's saxophone and Goldings' piano both lending the tune a late-night feel. It's a stylish end to the second set of tunes from that April day. ~ Bruce Lindsay  http://www.allaboutjazz.com/renovations-doug-webb-posi-tone-records-review-by-bruce-lindsay.php#.U-95cWNryKI

Personnel: Doug Webb: saxophones; Stanley Clarke: bass; Gerry Gibbs: drums; Joe Bagg: piano (1, 5, 6); Mahesh Balasooriya: piano (3, 7); Larry Goldings: piano (2, 4, 8).

Renovations

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Graham Dechter - Takin' It There

Styles: Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 66:22
Size: 151,9 MB
Art: Front

(6:20)  1. Road Song
(6:22)  2. Be Deedle Dee do
(6:42)  3. Chega de Saudade (No More Blues)
(7:30)  4. Together & Apart
(7:09)  5. Takin' It There
(6:54)  6. Father
(5:42)  7. Grease for Graham
(4:57)  8. Hocus Pocus
(5:43)  9. Come Rain or Come Shine
(8:57) 10. Amanda / Every Time We Say Goodbye

A quartet is usually a self-contained collection of four, but sometimes these groupings serve as part of a greater whole; guitarist Graham Dechter's foursome does both. Dechter, drummer Jeff Hamilton, bassist John Clayton and pianist Tamir Hendelman serve as the rhythmic power source for the Clayton-Hamilton Jazz Orchestra but they can also stand on their own in fine, grooving fashion. Dechter, in his mid twenties at the time of this recording, has been keeping company with Clayton and Hamilton since he joined the rhythm section of their illustrious orchestra when he was only nineteen. He played the hell out the guitar back then and he's continued to mature at a rapid pace ever since. Right On Time (Capri, 2009) gave him an opportunity to spread his wings and fly as a leader for the first time, fronting the very same rhythm unit that gave him his first big break, and Takin' It There is round two from this team. 

These guys have all made their individual and collective reputations on the fact that they keep better time than a Rolex, so this fact isn't really worth an at-length discussion. The leader's style, direction and vision, however, deserve comment. Dechter may be operating in the present, but it doesn't seem to be his favorite time. The young guitarist is a '50s and '60s jazz devotee and it comes through in every way. His song choices, which reference guitar greats like Wes Montgomery ("Road Song") and Barney Kessel ("Be Deedle Dee Do"), bossa nova kingpin Antonio Carlos Jobim ("Chega De Saudade") and trumpeter Lee Morgan ("Hocus Pocus") are the first indication. His playing, which is rooted in the Montgomery, Kessel and Herb Ellis schools, is the second signpost. Smoking single note lines, blues-based rejoinders and clean-toned melodies, which nod to those three guitar greats at different times, sing forth from Dechter's axe. Familiar material is around every corner on this disc, but that doesn't mean it's run of the mill in execution. "Chega De Saudade" carries a certain degree of intensity in its being that's rarely encountered in other takes on this classic and "Come Rain Or Come Shine" is given a winning makeover. When Dechter and company put the classics aside, they prove equally capable of creating down-home feels and/or musical finery. 

"Together & Apart" is a mellow original from the leader which opens on some beautiful, cello-like arco work from Clayton, Josh Nelson's title track takes a little while to catch fire, but Dechter and Hendelman eventually fan the flames with some fine soloing, and Clayton's "Grease For Graham," powered by Hamilton's shuffling stick work, is a gas. While some of the positive feedback for this recording will likely be focused on the established veterans, Dechter deserves his due. He may have the luxury of playing with the cream of the crop, but they don't carry him. Graham Dechter's playing is capable, confident and charismatic in every way. ~ Dan Bilaswsky  http://www.allaboutjazz.com/takin-it-there-graham-dechter-capri-records-review-by-dan-bilawsky.php#.U-_UlGOumE4

Personnel: Graham Dechter: guitar; Tamir Hendelman: piano; John Clayton: bass; Jeff Hamilton: drums.

Takin' It There

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