Betty Carter, Ray Bryant - Meet Betty Carter And Ray Bryant

Bitrate: MP3@320K/s

Time: 57:34

Size: 131.8 MB

Styles: Bop, Vocal jazz

Year: 1955/1996

Art: Front

[1:57] 1. Let's Fall In Love

[2:36] 2. Social Call

[2:28] 3. Run Away

[2:31] 4. Frenesi

[3:23] 5. Moonlight In Vermont

[1:40] 6. Thou Swell

[2:37] 7. I Could Write A Book

[4:11] 8. Gone With The Wind

[2:42] 9. The Way You Look Tonight

[2:33] 10. Tell Him I Said Hello

[2:26] 11. Can't We Be Friends

[3:16] 12. Sneaking Around

[3:58] 13. Old Devil Moon

[3:34] 14. Willow Weep For Me

[2:51] 15. What Is This Thing Called Love

[2:44] 16. Threesome

[2:51] 17. No Moon At All

[4:49] 18. Bryant's Folly

[4:19] 19. Get Happy

This LP featured singer Betty Carter and pianist Ray Bryant at the beginning of their careers. Carter's 25-year-old voice was already quite recognizable, although the improvising style on her 11 titles here is much more conservative than it would be from the 1970s on. However, Carter's scatting on "Frenesi" (which sounds like a wigged-out Carmen McRae) shows individuality, and her renditions of "Social Call," "I Could Write a Book," and "Moonlight in Vermont" are memorable. A historic and enjoyable set. ~Scott Yanow

Meet Betty Carter And Ray Bryant

---

The Quincy Jones-Sammy Nestico Orchestra - Basie And Beyond

Bitrate: MP3@320K/s
Time: 64:07
Size: 146.8 MB
Styles: Mainstream jazz
Year: 2000
Art: Front

[5:38] 1. Ya Gotta Try ... Harder!
[5:14] 2. Belly Roll
[5:19] 3. Grace
[6:23] 4. The Joy Of Cookin'
[4:46] 5. Quintesssence
[7:21] 6. How Sweet It Is
[4:21] 7. Hard Sock Dance
[5:16] 8. The Witching Hour
[4:18] 9. For Lena And Lennie
[5:29] 10. No Time Like The Present
[4:08] 11. Lisette
[5:49] 12. Out Of The Night

Saxophone [Soprano & Tenor] – Kirk Whalum; Saxophone, Woodwind – Dan Higgins, Ernie Watts, Gary Foster, Gerald Albright, Jack Nimitz, Pete Christlieb; Trombone – Bill Reichenbach, Bill Watrous, Charlie Loper, George Bohannon, Reggie Young; Trumpet – Gary Grant, Jerry Hey, Oscar Brashear, Rick Baptist, Warren Luening, Wayne Bergeron; Tuba – Tommy Johnson; Vibraphone [Vibes], Percussion – Emil Richards; Piano – Randy Kerber; Bass [Electric] – Jimmy Johnson;), Neil Stubenhaus; Percussion [Additional] – Paulinho Da Costa; Double Bass – Chuck Berghofer; Drums – Vinnie Colaiuta; Drums [Additional] – Harold Jones; Electric Guitar – Paul Jackson, Jr.; Electric Piano – Greg Phillinganes; Flute – Hubert Laws; French Horn – Brad Warnaar, Greg Williams, Jerry Folsom.

Jones arranged and conducted for Count Basie in the late 1950s and early 60s. Nestico was the prolific workhorse of the Basie arranging staff during the final decade and a half of Basie's life. Their set of old and new arrangements is generally in the style of Basie's New Testament band, with even more of the smoothness and bottom-to-top power that some of his devotees admired and others disdained. Jones expands three of his classic pieces, "Quintessence," "Hard Sock Dance" and "For Lena and Lennie." He adds new versions of "The Witching Hour" and "Belly Roll" and uses an orchestration of "Grace" from his previous album, Q's Juke Joint. "Hard Sock Dance" begins with a conversation between drums and talking guitar that seems to have little to do with what follows, a superior piece of big band writing in the spirit and close to the letter of Jones' original arrangement. Vibraharpist Emil Richards is the featured soloist.

Other soloists are trumpeter Warren Luening reprising Harry "Sweets" Edison, and Hubert Laws on flute in Nestico's "How Sweet It Is;" tenor saxophonist Pete Christlieb, brief and stunning in "The Witching Hour;" Ernie Watts on tenor in "Belly Roll;" saxophonists Dan Higgins and Kirk Whalum in several spots; and Bill Watrous, wild on trombone in "Ya Gotta Try...Harder" and "No Time Like The Present." Whether the electric bass, funk guitar and percussion augmentation in Nestico's "Out of the Night," "The Joy of Cookin'" and a few of his other pieces constitute improvements to the Basie tradition or trendy updates will depend on the listener's perception. In any case, they justify the Beyond of the album title.

The big news here is that Quincy Jones has made his first straightahead jazz album in decades. Maybe he's coming back. ~Doug Ramsey

Basie And Beyond

---

Bobbie Gentry - The Very Best Of Bobbie Gentry

Bitrate: MP3@320K/s
Time: 57:45
Size: 132.2 MB
Styles: Country-pop
Year: 2005
Art: Front

[2:50] 1. I'll Never Fall In Love Again
[2:32] 2. Something In The Way He Moves
[3:03] 3. Raindrops Keep Falling On My Head
[2:31] 4. All I Have To Do Is Dream
[2:16] 5. Walk Right Back
[2:49] 6. Seasons Come, Seasons Go
[2:04] 7. Son Of A Preacher Man
[3:17] 8. You've Made Me So Very Happy
[3:03] 9. Mississippi Delta
[4:12] 10. Ode To Billie Joe
[2:47] 11. Tobacco Road
[3:44] 12. The Fool On The Hill
[2:27] 13. Eleanor Rigby
[2:29] 14. Here, There And Everywhere
[2:29] 15. Where's The Playground, Johnny
[3:07] 16. Gentle On My Mind
[2:45] 17. In The Ghetto
[3:12] 18. Little Green Apples
[3:09] 19. My Elusive Dreams
[2:50] 20. Mornin' Glory

Bobbie Gentry did not record many albums but several compilations have been released. Because Bobbie only had a few big hits that have to be included, the remainder of each compilation often differs significantly. This UK compilation includes plenty of cover versions, some of which were duets with Glen Campbell. Of course, this compilation includes 'Ode To Billie Joe' & 'I'll Never Fall In Love Again' (a British number one hit). The covers include 'Raindrops Keep Falling On My Head' (B J Thomas), four Beatles classics, 'Son Of A Preacher Man' (Dusty Springfield), 'You've Made Me So Very Happy' (Blood Sweat & Tears), 'In The Ghetto' (Elvis Presley) and two Everly Brothers covers, which account for half of the Glen Campbell duets

The Very Best Of Bobbie Gentry

---

Joe Cohn - Two Funky People

Bitrate: MP3@320K/s

Time: 59:00

Size: 135.1 MB

Styles: Guitar jazz

Year: 1997

Art: Front

[4:51] 1. Solar

[7:07] 2. But Not For Me

[4:23] 3. Quite Sip

[4:23] 4. Two Funky People

[5:19] 5. Mr. George

[4:51] 6. Serenata

[6:55] 7. Ask Me Now

[4:48] 8. High On You

[6:09] 9. Days Of Wine And Roses

[4:18] 10. Motion

[5:51] 11. You And Me

Guitarist Joe Cohn is the prodigiously talented son of famed tenor saxophonist Al Cohn. Some may find it odd that on his debut recording fellow guitarist Doug Raney appears alongside him on many of the tracks. The two-guitar format is somewhat reminiscent of Joe Pass's recordings with rhythm guitarist John Pisano, although here Raney is quite prominent throughout as a solo voice. Telling the two guitarists apart will in fact require a good deal of concentration on the part of most listeners. In general, Cohn is the faster and more rhythmically adventurous of the two; his tone is brighter and more dry than Raney's. One would have hoped for more of a Joe Cohn showcase rather than a date on which another guitarist, a second "funky person," practically shares top billing. That said, both Cohn and Raney are fantastic straight-ahead players and they make beautiful music together, aided by Dennis Irwin on bass and Barry Ries on drums. Four of the tracks are seldom-played gems by Al Cohn, including the title track. Another, "Motion," is by Doug Raney's famous father, Jimmy Raney. (Perhaps it is the famous dads connection that brought these two together.) Other tracks include the classics "But Not for Me," "Solar," "Days of Wine and Roses," "Ask Me Now," and "Serenata." Thad Jones's mid-tempo burner "Quite Sip" is Cohn's one trio feature, and a great one. ~David R. Adler

Two Funky People

---

Trudy Kerr - Day Dream

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 63:22
Size: 145,6 MB
Art: Front

(5:53)  1. Polkadots & Moonbeams
(3:49)  2. That Old Black Magic
(5:10)  3. I've Got the World On a String
(5:19)  4. Day Dream
(4:56)  5. Small Day Tomorrow
(5:33)  6. You Don't Know What Love Is
(3:59)  7. I've Got Just About Everything
(6:54)  8. The Masquerade Is Over
(7:25)  9. Mad About the Boy
(4:47) 10. Star Eyes
(4:56) 11. Glad to Be Unhappy
(4:36) 12. I Get Along Without You Very Well

Always in possession of impressive technique and a powerful voice, singer Trudy Kerr brings to her third album greater assurance, more sophisticated phrasing and interpretative qualities gained through experience. She has also moved away from that Chaka Khan approach to singing which characterized earlier recordings. Despite her strong voice, she doesn't overdo it as she moves from up tempo enthusiasm to husky torch singing. Listen to "That Old Black Magic" which starts out just above a whisper but throughout moves up and down the dynamics scale. 

The same is true for "I Get along without You Very Well" as Kerr works with the drummer who uses cymbals and rolls to underscore the musical message she is making with the lyrics. Nice job. It puts a burden on the listener to stay tuned in. Miss a measure or two and you'll miss an inflection, a slight change of tempo, an unusual accent. Kerr respects the words, turning to scatting infrequently. On those tunes when it seems she is about to launch into a scat, she teases and backs away. Another feature of the album are the unique arrangements. Unfortunately no credit for that good work is given. Nevertheless, because this is an album of practically all standards, it was important that the arrangements avoid well trod interpretative paths. 

This is accomplished through the interplay of Kerr with the musicians, for instance between her and Geoff Gascoyne's bass and Sebastiaan de Krom's drums on I've Got the World on a String". Kerr also engages with some clever vocal noodling to end the tune. But it's the presence of one of the top jazz pianist on today's scene, Mulgrew Miller, which is the icing that makes this CD especially appetizing. His dedication to the music and to Kerr's vocal phrasing is critical to the success of this album. This is a vocal set of constantly changing moods, expressions of fresh ideas and solid musicianship. Recommended. ~ Dave Nathan  http://www.allaboutjazz.com/day-dream-trudy-kerr-jazzizit-review-by-dave-nathan.php

Personnel: Trudy Kerr - Vocals; Mulgrew Miller - Piano; Geoff Gascoyne - Bass; Sebastian de Krom - Drums; Guy Barker - Trumpet

Day Dream

---

Roy Hargrove - Family

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 78:52
Size: 181,5 MB
Art: Front

(2:22)  1. Trilogy: Velera
(3:48)  2. Trilogy: Roy Allan
(4:56)  3. Trilogy: Brian's Bounce
(7:03)  4. The Nearness of You
(4:01)  5. Lament for Love
(6:23)  6. Another Level
(6:11)  7. A Dream of You
(8:39)  8. Pas de Trois
(5:36)  9. Polka Dots and Moonbeams
(3:46) 10. The Challenge
(3:36) 11. Ethiopia
(6:00) 12. Nostalgia
(5:57) 13. Thirteenth Floor
(6:51) 14. Firm Roots
(3:38) 15. The Trial

This well-rounded set not only features trumpeter Roy Hargrove with his mid-'90s quintet (tenor saxophonist Ron Blake, pianist Stephen Scott, bassist Rodney Whitaker, and drummer Gregory Hutchinson) but with two other rhythm sections and a few special guests. The first three selections (which includes the uptempo blues "Brian's Bounce") are called "Trilogy" and dedicated to various family members. Hargrove shows off his warm tone on "The Nearness of You" (a ballads with strings album was in the near future), and other highlights include the lyrical "Pas de Trois," a duet by Hargrove and bassist Walter Booker on Larry Willis' "Ethiopia," and a driving version of "Firm Roots." 

A meeting between Hargrove and Wynton Marsalis on the bop standard "Nostalgia" is disappointingly tame, but otherwise this is a high-quality modern hard bop release. ~ Scott Yanow  http://www.allmusic.com/album/family-mw0000173529

Personnel: Roy Hargrove (trumpet, flugelhorn); Ron Blake (soprano & tenor saxophones); Jesse Davis (alto saxophone); David "Fathead" Newman (tenor saxophone, flute); Wynton Marsalis (trumpet); Stephen Scott, John Hicks, Larry Willis, Ronnie Mathews (piano); Rodney Whitaker, Christian McBride, Walter Booker (bass); Gregory Hutchinson, Lewis Nash, Jimmy Cobb, Karriem Riggins (drums).

Family

---

Grady Tate - All Love

Styles: Hard Bop, Vocal
Year: 2007
File: MP3@320K/s
Time: 47:38
Size: 109,2 MB
Art: Front

(3:59)  1. Follow the Path
(6:30)  2. My One and Only Love
(4:17)  3. A Weaver of Dreams
(3:24)  4. What are You Doing the Rest of Your Life
(5:34)  5. Dream Love
(7:01)  6. Don't Misunderstand
(5:09)  7. In A Sentimental Mood
(5:05)  8. Estate
(6:34)  9. Sophisticated Lady

Grady Tate is best known as a top drummer, much in studio demand, with a long and impressive resumé. His singing talents are less widely documented, although he's released about a dozen vocal albums since 1968 and was nominated for a 1986 Best Jazz Vocal Grammy for his performance of "She's out of My Life." Tate is a fine singer in the Nat Cole/Johnny Hartman tradition: smooth and soulful, with naturalistic phrasing and a direct emotional message. While he doesn't have a big voice, it's affable and very pleasant, and the classic love songs on All Love are the perfect material to set it off. Two of the tunes are less familiar  "Follow the Path," a pretty melody by the late Bobby Scott with inspirational lyrics by Mort Goode, and Tate's own heartfelt "Dream Love." 

Tate enlists some stellar colleagues to enhance the mood and meaning of each track, including veterans Frank Wess, whose masterful flute blows cool and fresh, and pianist Kenny Barron, whose elegant solos are a delight (see, for example, his understated beauty on "My One and Only Love"). Tate plays drums on five of the nine tracks, with the legendary Jimmy Cobb on four. All told, All Love is a relaxed and engaging CD, refreshingly free of hype and fluff. ~ Judith Schlesinger  http://www.allmusic.com/album/all-love-mw0000316568

Personnel: Grady Tate (vocals, drums); Frank Wess (tenor saxophone, flute); Kenny Barron, Richard Wyands (piano); John Di Martino (Fender Rhodes piano); Ira Coleman (bass); Jimmy Cobb (drums).

All Love

---

New York Standards Quartet - Unstandard

Styles: Jazz
Year: 2011
File: MP3@320K/s
Time: 55:22
Size: 127,4 MB
Art: Front

(8:17)  1. How High The Moon
(0:57)  2. Polka Beamlet #1
(4:59)  3. All the Things You Are
(0:46)  4. Polka Beamlet #2
(7:07)  5. Stablemates
(4:19)  6. But Beautiful
(6:48)  7. Lunar
(5:48)  8. Interplay
(2:08)  9. Two Meetings
(6:22) 10. The Ballet Girl Stirs (by Starlight)
(0:34) 11. After Thought
(6:21) 12. Summer Night
(0:48) 13. Polka Beamlet #3

It's a pleasure when a group of great jazz players take American standards and reshape them with their own unique stamp. This happens on New York Standards Quartet's Unstandard, where the musical gambit the direction these musicians take the originals is often surprising. Pianist David Berkman leads the way, handling arrangements and contributing originals, all the while taking impeccable solos. This is a joint effort, and veteran drummer Gene Jackson is invaluable, impressively powering the pace, aided by bassist Yosuke Inoue. The spotlight shines brightest, though, on Tim Armacost, whose forceful soprano and tenor saxophones anchor most pieces. The clever adaptations begin with the opener, Morgan Lewis' "How High the Moon." 

On this, the soprano evokes an eerie, funereal feeling, before warming up; this is not the usual bright, bouncy treatment of this jazz staple.) Likewise, the quartet's version of Jerome Kern's "All the Things You Are" takes advantage of the exotic effects a soprano can provide; a bow, here, to John Coltrane's pioneering work on thie instrument. Berkman's "Lunar" is an intriguing deconstruction of Miles Davis' "Solar." After a brief exploration, it's possible to here the place in the late trumpet icon's jazz universe, with Berkman's probing piano the master guide. Armacost puts his brand on Benny Golson's classic "Stablemates," which owes much to Sonny Rollins' tenor imprint. The composition, largely unrecognizable at first, soon becomes familiar and goes its atonal way. Jimmy Van Heusen's ''But Beautiful," becomes pastoral here, with a rippling stream and waterfall effect created by flute, piano and cymbal.

The touchstone of the CD's creative excellence is in Berkman's rework of Victor Young's "Stella By Starlight," known here as "The Ballet Girl Stirs (By Starlight)." After a stunning tour de force opening on tenor, the piano comes to the fore. Near the end, Young's haunting melody asserts itself, which brings a satisfied recognition of what was previously felt subliminally. Three charming vignettes on "Polka Dots and Moonbeams," each less than an minute, divide the play list, further evidence that Unstandard is not a usual series of the familiar. ~ Larry Taylor  http://www.allaboutjazz.com/unstandard-challenge-records-review-by-larry-taylor.php
 

Personnel: David Berkman: piano; Tim Armacost; soprano and tenor saxophones, flute; Yosuke Inoue; bass; Gene Jackson; drums.

Unstandard

---

Carmen McRae - Diva

Bitrate: MP3@320K/s
Time: 50:41
Size: 116.0 MB
Styles: Standards, Vocal jazz
Year: 2003
Art: Front

[2:09] 1. Falling In Love With Love
[3:46] 2. I Only Have Eyes For You
[3:07] 3. Speak Low
[4:13] 4. Midnight Sun
[2:21] 5. I'm Putting All My Eggs In One Basket
[2:27] 6. (How Little It Matters) How Little We Know
[2:59] 7. Skylark
[4:13] 8. My Man's Gone Now
[2:42] 9. Comes Love
[2:23] 10. All The Things You Are
[3:15] 11. Ain't Misbehavin'
[2:50] 12. Do You Know Why
[3:24] 13. Bye Bye Blackbird
[3:07] 14. Any Old Time
[3:42] 15. That Old Devil Moon
[3:57] 16. I'm Glad There Is You

If you are making a shortlist of the best jazz singers, Carmen McRae had better be right at the top. She had a distinctive voice, able to do heartbreaking and lighthearted equally as thrillingly. She had an unerring sense of melody and her phrasing is a thing of beauty. This collection covers her work in the mid-'50s for Decca both with small groups and larger orchestras. She shines on swinging tracks like "Comes Love," "Falling in Love With Love," and "I'm Putting All My Eggs in One Basket" and won't leave a dry eye in the house with her deeply emotional ballad singing. "Do You Know Why," "Midnight Sun," and the achingly beautiful "I'm Glad There Is You" are prime examples of McRae's way with a ballad. Each of the 16 tracks here is like a primer on how to be a vocalist, jazz or otherwise. McRae's entry in Verve's Diva Series is a fine introduction to her 1950s recordings. ~Tim Sendra

Diva

---

Brazilian Jazz Quartet - Coffe And Jazz

Bitrate: MP3@320K/s
Time: 31:42
Size: 72.6 MB
Styles: Latin jazz
Year: 1958/2011
Art: Front

[2:11] 1. The Lonesome Road
[2:40] 2. When Your Lover Has Gone
[2:27] 3. Cop-Out
[2:40] 4. Black Satin
[3:12] 5. Making Whoopee
[3:06] 6. No Moon At All
[2:22] 7. Old Devil Moon
[2:25] 8. Don't Get Around Much Any More
[2:51] 9. You'd Be So Nice To Come Home To
[3:18] 10. I'll Close My Eyes
[2:29] 11. Alone
[1:56] 12. Too Marvelous For Words

The Brazilian Jazz Quartet was an underground Brazilian jazz quartet from the late 1950s featuring Moacyr Peixoto) (Piano), José Ferreira Godinho Filho "Casé" (Alto Sax), Rubens Alberto Barsotti "Rubinho" (Drums), and Luiz Chaves Oliveira da Paz "Luiz Chaves" (Bass). As a matter of fact, this group should be considered as a sort of embryo of the legendary Zimbo Trio.

The band released one album in 1958, called Coffee and Jazz.

Coffe And Jazz

---

Ben Webster, Buck Clayton - Ben & Buck

Bitrate: MP3@320K/s

Time: 65:04

Size: 149.0 MB

Styles: Bebop

Year: 1994/2008

Art: Front

[7:47] 1. The Hucklebuck

[5:48] 2. Satin Doll

[7:12] 3. Perdido

[6:51] 4. My Romance

[6:14] 5. In A Mellotone

[5:15] 6. That's All

[6:37] 7. Topsy

[4:53] 8. I Want A Little Girl

[7:48] 9. C Jam Blues

[6:35] 10. Sunday

"Ben and Buck" was recorded in Switzerland in 1967 during a period when Buck Clayton was touring Europe and performing with local small group talent--in this case, the Henry Chaix quartet. However, their regular sax player sat out so that Ben Webster, who settled in Europe permanently in 1964, could join Buck at Kantonsschule Baden for this session. The boys really cook for "Hucklebuck" and "Perdido". More Ellingtonia with "Satin Doll" and "C Jam Blues". Buck solos his signature number "I Want a Little Girl". Ben steps up for 2 soulful, slow tunes: "My Romance" and "That's All"-pure heaven.. an older Webster still retained that trademark rich tone. Ten lengthy traks in all. Arild Wideroe had the foresight to produce/record these concerts-fortunately for us-and Sackville Records of Toronto is the proud distributor of this series of historic concerts. ~ canuckteach Jazz Guy

Ben & Buck

---

David Becker & Joe Diorio - The Color Of Sound

Bitrate: MP3@320K/s
Time: 56:04
Size: 128.3 MB
Styles: Contemporary jazz, Guitar jazz
Year: 2010
Art: Front

[7:14] 1. Blues For Brother Bru
[5:38] 2. Beautiful Love
[4:08] 3. Waltz For Lavignia
[1:54] 4. Dance Of The Inner Valley
[6:59] 5. All The Things You Are
[2:41] 6. How Old Are You
[4:25] 7. The Color Of Sound
[2:42] 8. Reflections Of India
[9:10] 9. Stella By Starlight
[2:02] 10. How Old Do I Look
[6:44] 11. Summertime
[2:22] 12. In A Minute

David Becker's previous release, Euroland, was a multitracked affair where Becker himself played all the instruments to produce a layered sound that evoked different images through music.

On The Color of Sound, Becker plays duos with his mentor, Joe Diorio. For the most part, they both play standard electric guitar, but Becker throws in some synthesizer, a "tabla" guitar (a guitar with a playing card woven between the strings, plus an acoustic pickup to produce a pitched percussive sound), and a nine-string acoustic guitar (an open-tuned acoustic twelve-string with only nine strings). The two players perform live on the recording, except for some overdubbing of strings on "The Color of Sound" and "In A Minute," the sitar sound on "Reflections Of India," and brushes by Bruce Becker on the intro "Blues For Brother Bru."

In terms of actual guitar sound, the two players are similar, using "hot" pickups with a bit of drive and reverb that allows one to hear the pick touch the string. Stylistically Becker and Diorio are clearly related, as expected, and their music has an abstract quality marked by unique chord voicings and lines that are often miles away from standard boppish guitar. In the arrangements, Becker and Diorio have taken great care to maintain a distance from each other, so as to always present a clear picture to the listener. They stay out of each other's way and use different parts of the guitar's range. Also, Becker keeps to the left channel and Diorio to the right.

The tracks include a very nice mix of standards, Becker compositions, and extemporaneous compositions—a bit of something for everyone. On the standards, the emphasis is many times on the give and take of ideas, rather than merely trading places soloing and comping, thus providing much fascinating listening. The soloing does allow the listener to get a glimpse into each player's mind as they constantly flirt with the melody as well as the changes. Becker states that the compositions he brought were written with Diorio in mind. "The Color of Sound" is a beautiful ballad, full of emotion, while "Waltz for Lavignia" has fun with the 3/4 time as it dances and swings.

On the five fully improvised tracks the degree of musical ESP can be heard, along with the most "modern" playing and stretching out. On these tracks, Becker and Diorio embark on a number of musical expeditions into different colors of sound and manage to create coherent, albeit abstract music that is a joy to listen to. The Color of Sound is a very fine record that should appeal to more than just guitarists. Becker and Diorio clearly had fun in the studio, and the fact that Becker could finally record with his mentor inspired him greatly. If you don't know these players, this release might make you look into their catalogues. ~Budd Kopman

David Becker: electric guitar, tabla guitar, nine-string guitar, synthesizer; Joe Diorio: electric guitar

The Color Of Sound

---

The Mamas & The Papas - If You Can Believe Your Eyes And Ears

Bitrate: MP3@320K/s
Time: 34:16
Size: 78.5 MB
Styles: AM pop, Folk rock
Year: 1966/1992/2014
Art: Front

[3:24] 1. Monday Monday (Single Version)
[2:56] 2. Straight Shooter
[2:50] 3. Got A Feelin'
[2:35] 4. I Call Your Name
[2:57] 5. Do You Wanna Dance
[2:26] 6. Go Where You Wanna Go
[2:37] 7. California Dreamin' (Single Version)
[3:18] 8. Spanish Harlem
[3:13] 9. Somebody Groovy (Single Version)
[2:27] 10. Hey Girl
[2:19] 11. You Baby
[3:11] 12. The In Crowd

In the spring of 1966, If You Can Believe Your Eyes and Ears represented a genuinely new sound, as fresh to listeners as the songs on Meet the Beatles had seemed two years earlier. Released just as "California Dreaming" was ascending the charts by leaps and bounds, it was the product of months of rehearsal in the Virgin Islands and John Phillips' discovery of what one could do to build a polished recorded sound in the studio -- it embraced folk-rock, pop/rock, pop, and soul, and also reflected the kind of care that acts like the Beatles were putting into their records at the time. "Monday, Monday" and "California Dreamin'" are familiar enough to anyone who's ever listened to the radio, and "Go Where You Wanna Go" isn't far behind, in this version or the very similar rendition by the Fifth Dimension. But the rest is mighty compelling even to casual listeners, including the ethereal "Got a Feelin'," the rocking "Straight Shooter" and "Somebody Groovy," the jaunty, torch song-style version of "I Call Your Name," and the prettiest versions of "Do You Wanna Dance" and "Spanish Harlem" that anyone ever recorded.

If the material here has a certain glow that the Mamas & the Papas' subsequent LPs lacked, that may be due in part to the extensive rehearsal and the exhilaration of their first experience in the studio, but also a result of the fact that it was recorded before the members' personal conflicts began interfering with their ability to work together. The work was all spontaneous and unforced here, as opposed to the emotional complications that had to be overcome before their next sessions. ~Bruce Eder

If You Can Believe Your Eyes And Ears

---

Julia Rich - If I Spoke French

Bitrate: MP3@320K/s
Time: 56:58
Size: 130.4 MB
Styles: Vocal, Traditional pop
Year: 2003/2007
Art: Front

[4:06] 1. If I Spoke French
[3:53] 2. La Vie En Rose
[2:38] 3. I Will
[3:10] 4. What A Difference A Day Made
[3:26] 5. Boyfriends
[3:26] 6. My First Love
[5:17] 7. Don't Blame Me
[2:17] 8. Hula Girls And Sea Shells
[2:05] 9. Ding Dong! The Witch Is Dead
[3:07] 10. Teach Me Tonight
[4:15] 11. Working Girls
[5:32] 12. The Tennessee Waltz
[2:32] 13. Matching Rings
[3:25] 14. All The Cats Join In
[4:13] 15. I Know Why
[3:30] 16. You're Nobody Till Somebody Loves You

Recording Date:December 26, 2002 - January 3, 2003.

Julia Rich has a warm singing voice, a style that falls between swinging jazz and cabaret, and the ability to sing a wide variety of material. She is best-known for singing with the Glenn Miller "ghost orchestra" but has the ability to stretch herself far beyond nostalgia swing. On If I Spoke French, her second CD as a leader, the repertoire ranges from "La Vie en Rose" to the Beatles' "I Will"; from a few of her witty and at-times wistful originals to "The Tennessee Waltz" and "All the Cats Join In." In addition to a rhythm section with either Tony Migliore or Gary Weaver on piano, she is joined by a combo that includes trombonist Larry O'Brien (from the Glenn Miller Band) and tenor-saxophonist Rickey Woodard. All in all, this is an entertaining and very musical outing. ~Scott Yanow

If I Spoke French

---

Bud Powell - Time Waits

Bitrate: MP3@320K/s
Time: 41:40
Size: 95.4 MB
Styles: Piano jazz, Bop
Year: 1958/1999
Art: Front

[5:29] 1. Buster Rides Again
[4:32] 2. Sub City
[5:05] 3. Some Soul
[4:28] 4. Blue Pearl
[4:47] 5. Monopoly
[5:36] 6. John's Abbey
[6:41] 7. Blue Pearl
[2:35] 8. Sub City
[2:23] 9. John's Abbey

This set from pianist Bud Powell (which has been reissued on CD in a "complete" four-CD set) is most notable for having the debut versions of seven of Powell's compositions; most memorable are "Time Waits," "Monopoly" and especially "John's Abbey." With bassist Sam Jones and drummer Philly Joe Jones completing the trio, Powell is in surprisingly fine form throughout the enjoyable session, creating music that is far superior to his later Verve recordings. ~Scott Yanow

Time Waits

---

Karen Edwards, Jarek Smietana - Everything Ice

Styles: Vocal And Guitar Jazz
Year: 2010
File: MP3@320K/s
Time: 54:57
Size: 126,6 MB
Art: Front

(4:30)  1. Everything Ice
(7:34)  2. Summertime
(5:44)  3. Don't Let Me Be Lonely Tonight
(5:43)  4. I Loves You Porgy / Bess You Is My Woman
(4:25)  5. Samba Carrera
(6:36)  6. Tuxido Blues
(5:42)  7. Mr.Soul
(4:15)  8. I Will Trust In The Lord
(4:45)  9. The Face I Love
(5:38) 10. Skylark

Plate at the highest level recorded ten years ago in Krakow is great. After exhausting effort of the first edition of the album, album re-released in a new attractive layout in a digipack. You might as well treat this record as recorded today, because after ten years of making records is still very fresh. After the rhythmic title track being one of the three original compositions Karen Edwards posted on the board opening -First pearl album: quite unusual and wonderfully sung version of 'Summertime' 'George Gershwin. It would seem that the standard is implemented in all sorts of so many interpretations of the world's greatest artists can no longer sound creatively. Meanwhile, Jarek version Cream and Karen Edwards is simply stunning; wieloglosy appear as background vocals Karen bring great association with Manhattan Transfer vocal arrangements and guitar Cream perfectly complements the whole. 

Perfectly sound '' Do not Let Me Be Lonely Tonight '' J.Taylora, decorated with magnificent solo guitarist, whose vocal 'przyspiewujacy' guitar during the game makes it one of the best parts of the disc. Edwards's voice seems to have unlimited possibilities when it passes freely singer with a deep low even girlish vocals, flickering manner of a singer. Great glory to Jarek Cream for the discovery of the Polish listeners this unique musical personality that is undoubtedly talented Karen Edwards! Masterpiece is another topic of Gershwin's' Porgy And Bess' ':' 'I Loves You Porgy / Bess, You Is My Woman' '-great this time thanks to Karen for convincing Jarek to sing a duet of this beautiful theme. Sound vocal lines perfectly straight against Cracovia Symfonietta Wojtek Karolak arrangement. I have a collection of records many different versions of this subject in the execution of Major (even R.Charles-C.Laine or L.Armstrong-E.Fitzgerald) and I have no doubt as to the inclusion of this version of the most beautiful I've ever heard, and among recorded in the last years is simply the best! Another theme is '' Samba Carrera '' kompozycja Cream and W.Sendeckiego. 

Here Karen sings wordless vocals unusual in the hot rhythms of samba -mistrzostwo! Edwards second composition on the album is great '' Tuxido Blues '' decorated with an outstanding solo blues Cream. Maybe a little tease in this piece added electronic background, but the sound of several guitars Cream, cool bass solo (T.Kupiec) and famously sounding drums (A.Czerwinski) are '' cherries' 'to the blues'' cake '. '' Mr. Soul '' Cream is another piece decorated with wordless vocals doskonaly climate jazz traditions Novi Singers caring whether some of the best achievements of Urszula Dudziak.

Karen Edwards is an extremely versatile singer and composer kolejnym proof of this is the gospel song by her: 'I Will Trust In The Lord' ', referring to the famous'' Amazing Grace '' J.Newtona. Karen performs the song solo accompanying himself on the piano only. Listening to 'The Face I Love' 'heard a similar style of vocal interpretation which popularized Basia. Hard hitting piano keys Karen sings vocals to at some point give way to another great solo guitar Cream. It is extremely rare to piano and guitar as a wonderful complement for this album; one instrument accompanies another, and after a while seamlessly swap roles. This really excellent second album ends with posted recordings with the orchestra arrangement Symfonietta W.Karolaka Cracovia. 

This time it is a beautiful theme Carmichael: '' Skylark ', during which it would appear that nothing has vocals Karen does not surprise us after a few minutes of listening to a disc. However, it is otherwise; beautiful voice reveals its further areas unless an unlimited scale, while the cream treats us to the next solos in his only unique and recognizable style. Against the background of the orchestra sounds great. The end of the album? No, I listen again ... from the beginning! Translate by google  http://longplayrecenzje.blox.pl/2011/07/KAREN-EDWARDS-JAREK-SMIETANA-Everything-Ice-CD.html

Personnel:  Acoustic Bass – Tomasz Kupiec;  Drums – Adam Czerwinski;  Guitar – Jaroslaw Smietana;  Piano – Karen Edwards; Vocals – Jaroslaw Smietana, Karen Edwards

Everything Ice

---

Milton Banana - Ao Meu Amigo Tom

Styles: Brazilian Jazz, Bossa Nova
Year: 1979
File: MP3@320K/s
Time: 34:43
Size: 80,0 MB
Art: Front

(1:56)  1. Chega de Saudade / Desafinado / Corcovado
(2:43)  2. O Morro Nao Tem Vez / A Felicidade
(2:48)  3. Dindi / Demais
(2:07)  4. Ela é Carioca / Garota de Ipanema
(2:39)  5. Estrada Do Sol / Estrada Branca
(2:09)  6. Samba Do Avião / Só Tinha que Ser Com Você
(2:16)  7. Água de Beber / Águas de Março
(2:36)  8. Ligia / Wave / Triste (Vou Te Contar)
(2:18)  9. Brigas, Nunca Mais / Discussão
(1:55) 10. Foi a Noite / Eu Sei que Vou Te Amar
(1:29) 11. Samba de Uma Nota Só / Só Danço Samba
(2:32) 12. Meditação / Amor em Paz
(2:26) 13. Chovendo Na Roseira / Se Todos Fossem Iguais a Você
(2:20) 14. Insensatez / Inútil Paisagem
(2:22) 15. Este Seu Olhar / Só Em Teus Braços

This to-the-letter release is intended to be a tribute to Tom Jobim, a friend and an important influence in Milton's career; Milton debuted as a drummer in João Gilberto's Chega de Saudade under Jobim's arrangements and conducting and performed/recorded together with him several times.  A low-profile album, Milton's very style, this reissue in CD format has no surprises for those who have been following the bossa movement. Here, the classic Jobim tunes ("Chega de Saudade," "Desafinado," "Corcovado," "A Felicidade," "Dindi," "Girl From Ipanema," "Plane Samba," "Waters of March," "Wave," "One Note Samba," etc.) are performed with no stretches whatsoever, but the musicians (under arrangements and conducting by José Alves) keep a stable, competent approach to interpreting bossa's delicacy and tenderness. A trio with orchestra release, it has no instrumental improvisation, just straightforward theme expositions in short-spanned tracks (to the total of 15, all being medleys, covering 32 songs), plenty of timbre choices, and some short apparitions of Milton's singing (very reminiscent of the very Jobim's own limited vocal expression and timbre). ~ Alvaro Neder  http://www.allmusic.com/album/ao-meu-amigo-tom-mw0000535483

Ao Meu Amigo Tom

---

Cherry Poppin' Daddies - Zoot Suit Riot

Styles: Retro Swing
Year: 1997
File: MP3@320K/s
Time: 51:27
Size: 118,4 MB
Art: Front

(3:52)  1. Zoot Suit Riot
(3:31)  2. Ding-Dong Daddy Of The D-Car Line
(2:28)  3. When I Change Your Mind
(3:16)  4. Here Comes The Snake
(3:08)  5. Mister White Keys
(2:39)  6. Come Back To Me
(2:57)  7. Brown Derby Jump
(3:35)  8. Dr. Bones
(3:41)  9. Pink Elephant
(4:07) 10. Master And Slave
(5:09) 11. Drunk Daddy
(4:00) 12. No Mercy For Swine
(3:04) 13. Cherry Poppin' Daddy Strut
(5:53) 14. Shake You Lovemaker

Somewhat conspicuously following the novelty success of Squirrel Nut Zippers, the Cherry Poppin' Daddies released the album Zoot Suit Riot, culling the best "straight" swing tracks from their first three albums, instead of the rock- and ska-influenced songs that inform much of those LPs. Unlike the Zippers, the Daddies don't seem to have much affection for the genre they're aping, so Zoot Suit Riot comes across as a smirking hipster joke, only without any humor and very little music. There are a few cuts that have a catchy hook and are reasonably infectious, yet the album suffers from its own condescending Gen-X attitude, as well as a lack of understanding about what made swing fun. ~ Stephen Thomas Erlewine  http://www.allmusic.com/album/zoot-suit-riot-mw0000025140

Zoot Suit Riot

---

SFJazz Collective - 10th Anniversary: Best of Live at the Sfjazz Center, October 10 - 13, 2013

Styles: Jazz, Big Band
Year: 2014
File: MP3@320K/s
Time: 78:36
Size: 180,3 MB
Art: Front

( 5:22)  1. And What If I Don't
( 5:57)  2. Alcatraz
(12:20)  3. Frosted Evils
( 4:14)  4. Moment's Notice
( 7:39)  5. Visions
( 4:48)  6. San Francisco Holiday
(12:18)  7. Union
(12:07)  8. Lingala
( 4:07)  9. When Will the Blues Leave
( 9:39) 10. More Than Meets the Ear

Led by tenor saxophonist Joshua Redman, the SFJAZZ Collective  "SF" as in San Francisco  is a forward-thinking big band featuring a stellar lineup of musicians both young and old. Besides Redman, the octet includes vibraphonist Bobby Hutcherson, pianist Renee Rosnes, trumpeter Nicholas Payton, alto saxophonist Miguel Zenón, trombonist Josh Roseman, bassist Robert Hurst, and drummer Brian Blade. The collective released its debut album on Nonesuch in 2005. SF Jazz Collective, Vol. 2 followed a year later. ~ Bio  https://itunes.apple.com/us/artist/sfjazz-collective/id65125005#fullText

10th Anniversary: Best of Live at the Sfjazz Center, October 10 - 13, 2013

---

Dena DeRose - Live At Jazz Standard Vol. 2

Size: 144,2 MB
Time: 62:17
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz Vocals
Art: Front

01. The Ruby And The Pearl (5:38)
02. When Lights Are Low (8:54)
03. Detour Ahead (11:01)
04. Anchors Aweigh/I Fall In Love Too Easily (6:58)
05. In Your Own Sweet Way (8:38)
06. I Can't Escape From You (4:29)
07. Laughing At Life (9:30)
08. We'll Be Together Again (7:07)

Dena DeRose is one of a handful of jazz artists who is equally talented as both a vocalist and pianist. Live at Jazz Standard, Vol. 2 is drawn from the same 2007 shows as the first volume, with the capable rhythm section of bassist Martin Wind and drummer Matt Wilson (who have worked together a good bit, especially with pianist Bill Mays). Right away she sets herself apart from many vocalists by tackling the subtle ballad "The Ruby and the Pearl," delivering a heartfelt vocal with simmering piano. She adds a bit of playful scat to her jaunty performance of Benny Carter's "When Light Are Low," while tackling Johnny Frigo's "Detour Ahead" as a breezy bossa nova. DeRose omits the piano entirely from her moving take of the bittersweet standard "I Fall in Love Too Easily," backed solely by Wind. DeRose gets a bit tickled in several places during"Laughing at Life," while her strident piano provides the perfect complement to her swinging vocal. Her sole instrumental is a lively trio setting of Dave Brubeck's "In Your Own Sweet Way." Highly recommended. ~Review by Ken Dryden

Live At Jazz Standard Vol. 2

---

Billy Cobham - Mirror's Image / Reflected Journey

Album: Mirror's Image (Live)
Size: 167,2 MB
Time: 72:31
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz, Post Bop, Fusion, Funk/Soul
Art: Front

01. Layed Back Lifestyle (Live) (14:54)
02. Mirror Crack'd (Live) ( 9:12)
03. Leeward Winds (Live) (11:20)
04. Kinky Dee (Live) (13:00)
05. Street Urchin (Live) ( 7:01)
06. Mirror's Image (Live) (17:03)

An amazing rhythmic portrait of arguably the greatest drummer of all time! ~Brent Black/criticaljazz.com

Billy Cobham's musical resume is well known to most fans, including time spent with Miles Davis and of course John McLaughlin and the Mahavishnu Orchestra yet his solo efforts are where his creativity begins to take on new dimensions and a three dimensional sonic depth of field that his contemporaries can only dream of. Mirror's Image is drawn from a 1992 show in Japan where both the crowd and Cobham feed off the energy of the other.

Cobham shows are long known for fresh arrangements of old favorites and the free harmonic reign to allow his musical co-conspirators to attempt to work a melodic tightrope without a net. Tunes such as "Street Urchin" and "Kinky Dee" are old school fusion kicked up a notch while the somewhat blues infused funk of "Leeward Winds" shows a different side to this rhythmic chameleon and what may be considered to be the apex of his creative muse.

This is classic Billy Cobham, a tour de force of sonic fury and finesse, the perfect storm!

5 Stars!

Personnel: Billy Cobham: Drums; Ira Coleman: Bass; Joe Chindamo: Keyboards.

Mirror's Image

---

Album: Reflected Journey (Live)
Size: 101,9 MB
Time: 42:49
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Fusion, Funk/Soul
Art: Front

01. Prime Time (Live) ( 9:53)
02. Key Jane (Live) (11:10)
03. Reflected Journey (Live) (11:25)
04. Crescent Sun (Live) ( 5:10)
05. Shabaz (Live) ( 1:30)
06. Improvisation (Live) ( 3:38)

Much to the excitement of drummers and jazz aficionados worldwide, drum legend Billy Cobham will be releasing two live albums on Cleopatra Records. The first is ‘Mirror’s Image‘ on February 17 (CD & VINYL), followed by ‘Reflected Journey‘ on April 28 (CD). The albums are 2 parts of the same show recorded in Tokyo on February 15, 1992.

February 1992 saw Cobham, Coleman and Chindamo arrive in Japan, and it was there, in Tokyo on February 15, that they performed the breathtaking show from which these two albums have been drawn. Japanese audiences, says Cobham, are among his favorite in the world, and the feeling was clearly mutual. The audience’s enthusiasm never lapses, and he rewarded them with a selection of songs that traveled back across his entire career – “Crescent Sun,” reaching all the way back to 1974’s sophomore effort, ‘Total Eclipse'; “Shabazz,” from the 1975 album of the same name.

The evening also looked towards the future – “Reflected Journey,” a magnificent piece that would later title one of Chindamo’s own solo albums; “Prime Time,” “Key Jane”…. And all of them reworked and rearranged for the demands of the night, and the skills of the three piece. On record, Cobham habitually introduced fresh players, fresh instrumentation, and allowed their interpretations to flavor the individual compositions. In concert, whole new rearrangements were called for, and it was a mark of the talents with which he surrounded himself that every fresh revision felt somehow definitive; every one opened new doors through which the improvisations could stroll. Tonight in Tokyo, those doors were open as wide as they have ever been.

Cobham remembers the night, hot and tight before one of his favorite audiences in the world. His latest album, ‘By Design’, was still fresh on the shelves and of course it would dominate the show, the epic “Mirror’s Image,” the raucous “Street Urchin” and the playful “Kinky Dee” taking off from the CD for fresh destinations unknown. On record, Ernie Watts’ sax was an integral part of the show; on stage, the trio moved in fresh directions and the music soared accordingly.

Reflected Journey

---

Lia Pale - My Poet's Love

Size: 139,6 MB
Time: 60:07
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocals
Art: Front & Back

01. Dear Heinrich (4:05)
02. The Better Ones (3:57)
03. Everything Has Already Happened To Me (3:38)
04. All Those Tears I Drank (3:30)
05. Even If My Song Is Simple (3:51)
06. One Who For The First Time Loves (3:40)
07. The Stowaway (3:07)
08. Diamonds & Pearls (3:38)
09. You Don’t Have To Understand Existence (4:51)
10. Only The Girls (4:22)
11. Seven Pages Of Loneliness (3:21)
12. Earnest Hour (3:58)
13. Am I A Falcon, A Storm Or A Great Song (3:38)
14. Between Day & Dream (4:00)
15. Where Begins The Night (4:14)
16. Dear Rainer Maria, (2:12)

After Lia Pale's debut album Gone Too Far (Universal) came out, there was a lot of encouraging feedback and general agreement in the international music field that she had not "gone too far" with this adaptation of Schubert's Winterreise. The question was then, where should she go to continue her journey? After thinking it over carefully, she decided to venture on from where she had left off in her first excursion, namely, far away from familiar turf .

In her self-imposed exile, Lia Pale has an encounter with two young men who evolve over the course of their relationship into accomplished poets. She soon falls in love with both of them and goes on to experience all the highs and lows in a trio serenade. Adding to the difficulty, the two young men would go on to become the famous poets Heinrich Heine and Rainer Maria Rilke.
Seven verses from each of the two poets were set to music by mathias rüegg, former mastermind of theVienna Art Orchestra. In the two pieces by Lia Pale, texts are juxtaposed in which she talks about her relationships with the two poets for the first time.

Lia is accompanied by her mentor mathias ruegg on piano, plus a trio featuring two former Vienna Art Orchestra musicians, Ingrid Oberkanins and Hans Strasser, and 24-year-old Mario Rom, a shooting star of the European trumpet scene.
For the my poet’s love cd, three crack shot musicians from the trumpet section of the former Vienna Art Orchestra, Thomas Gansch, Juraj Bartos and Matthieu Michel, were enlisted, along with newcomers, Richard Köster, Dominik Fuss and Mario Rom.

Line up:
Lia Pale – voice & flute
Ingrid Oberkanins - percussions
Hans Strasser - bass
mathias rüegg – piano, melodica & Hammond
Mario Rom – trumpet, flugelhorn

My Poet's Love

---

Michael Valeanu - Hard To Cook

Size: 90,1 MB
Time: 38:23
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Guitar Jazz, Hammond Organ
Art: Front

01. Intro (0:38)
02. Floating Island (Feat. Jake Sherman & Jake Goldbas) (5:19)
03. Hard To Cook (Feat. Jake Sherman & Jake Goldbas) (4:48)
04. 20 Years (Feat. Cyrille Aimee, Jake Sherman & Jake Goldbas) (3:14)
05. Norwegian Omelette (Feat. Jake Sherman & Jake Goldbas) (4:00)
06. Blood Count (Feat. Jake Sherman & Jake Goldbas) (5:48)
07. Thousand Leaves (Feat. Jake Sherman & Jake Goldbas) (3:50)
08. How Deep Is The Ocean (4:41)
09. Firm Roots (Feat. Cyrille Aimee, Jake Sherman & Jake Goldbas) (4:25)
10. Palermo Seaport (1:35)

From Paul Bocuse to Julia Child, France has been known to spawn many of the world's culinary greats over the years. However, Parisian guitarist Michael Valeanu gives new meaning to the word gourmet with Hard To Cook, his sophomore effort as composer and bandleader. A wordplay on French expression Dur á Cuire, meaning tough cookie, Hard To Cook is meant to please the most demanding musical tastemakers. The ingredients of the feast come from everywhere: a pinch of folk, a sprinkle of impressionism, a generous spoonful of groove, and a minute knowledge of jazz guitar tradition.

Following in the footsteps of Wes Montgomery and Jimmy Smith, John Scofield and Larry Goldings, and fed by the eclecticism of the New York scene, Valeanu chose the Hammond organ, guitar and drums trio to present the music on this record. Purists will admire the matchless mastery of this trio featuring Jake Sherman on organ and Jake Goldbas on drums, while curious music lovers will savor a compelling blend of love songs, groove anthems and short acoustic poems.

Hard To Cook is a dream come true for Valeanu who learned jazz listening to Wes Montgomery records. "I fell in love with the Hammond, it has the sonic breath of a whole orchestra, and complements the guitar most beautifully." To realize his idea, Valeanu led a triumphant Kickstarter campaign that allowed him to have complete artistic independence.

Much like Valeanu himself, both members of his trio are also jacks-of-all-trades, masters of many, with groove as the common denominator. On the organ, Sherman's playing can resemble Ellington's sax section on the gripping "Blood Count," or the fiercest of bass players on "Norwegian Omelette." Goldbas is another force to be heard: with hard driving swing on "Firm Roots," irresistible groove on "Hard to Cook," and subtle percussion work on "Floating Island."

The icing on the proverbial the cake is none other than France's freshest diva, vocalist Cyrille Aimée, for whom Valeanu plays guitar and collaborates. She is a featured vocalist and lyricist on the savory "20 Years," which manages to appear as a simple bucolic folk song despite its rhythmic complexity, and continues to dazzle with a virtuosic scat lesson on the odd metered "How Deep Is the Ocean." We also owe Aimée the blossoming of Valeanu as a producer, which gives Hard To Cook its unique flavor in contemporary jazz.

The originals that Valeanu brings to the table are true to his eclecticism: a thoughtful introduction calling classical composer Leo Brouwer to mind, an exuberant groove of the title track, and the country scene conjured by Aimée's lyrics on the purely melodic "20 Years." Like the best of chefs, Valeanu aims to please, and with Hard To Cook, leaves listeners craving for more.

Hard To Cook

---

Julia Vari - Adoro

Size: 110,5 MB
Time: 47:32
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Vocal, Latin Jazz
Art: Front

01. Adoro (Feat. Armando Manzanero) (4:48)
02. Voy A Apagar La Luz (5:23)
03. Llegando A Ti (4:58)
04. Contigo Aprendí (5:01)
05. Por Debajo De La Mesa (5:41)
06. Yo Se Que Volveras (3:48)
07. Como Yo Te Ame (5:15)
08. Un Mundo Raro (Feat. Rafael Negrete) (5:21)
09. Media Vuelta (3:06)
10. Se Fue (4:06)

Recognized by the pubic for her extraordinary interpretation, elegance, and outstanding vocal technique and stage presence, Julia Vari is a multicultural and multilingual singer, pianist and composer based in Mexico and the USA. Currently one of the most active and sought-after vocalists in the Mexican and international jazz scene, Julia has performed at top-level festivals, theaters, cultural events, and other important forums throughout Mexico and abroad. Her most recent CD, “Lumea: songs of the world in jazz” by Prodisc Records (in which Julia sings in seven different languages), soared to the “Top 5” on the jazz charts in Mexican and online music stores during its first week, competing with artists such as Diana Krall and Michael Buble. Julia is currently preparing her next album, in collaboration with the famous Mexican composer Armando Manzanero.

Julia was born with music in her blood, as her mother is a pianist and her father plays the guitar. Julia began to sing, play the piano, and star in musical theater productions as a small child, and studied voice and composition at the renowned Eastman School of Music, as well as New York University and Univerisdad Panamericana de Guadalajara.

Julia has traveled around the world participating in different concerts and musical events, and her contact with such a wide variety of cultures and languages has encouraged her to blend music from different countries, languages and genres in new and innovative ways. Julia interprets her music in different languages (Spanish, English, Portuguese, French, Italian, Romanian, German and Hebrew), and her current new project is an innovative fusion of jazz, bossa nova, bolero, and swing, offering her listeners a chance to enjoy traditional Mexican and world music in a whole different light.

Adoro

---

Jesse Cook - One World

Size: 101,1 MB
Time: 43:01
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz, World, Flamenco
Art: Front

01. Shake (3:37)
02. Taxi Brazil (2:49)
03. Once (5:01)
04. Bombay Slam (3:35)
05. To Your Shore (3:35)
06. Three Days (3:56)
07. Tommy And Me (4:08)
08. When Night Falls (3:31)
09. Steampunk Rickshaw (5:21)
10. Beneath Your Skin (4:34)
11. Breath (2:46)

For his new album, Canadian flamenco guitar virtuoso Jesse Cook wanted to reflect on the different places and cultures he’s experienced as a musician. The result is One World.

“Over the years, I’ve taken my music and tried to cross-pollinate it with music from different parts of the world,” the Juno-Award-winning musician says in a press note to accompany the album. “For the (2003) album Nomad, I went to Cairo and recorded with musicians there. On my (2009) record The Rumba Foundation, I went to Colombia, and worked with musicians from Cuba as well. On (1998’s) Vertigo, I went down to Lafayette, La., and recorded with Buckwheat Zydeco. For me, the question has always been: Where did you go? Where did you take your guitar?”

That reflection, however, brought him to a new conclusion: that “it’s not really about going someplace.” Hence One World, Cook’s most diverse album to date that explores the idea that everything is connected. It’s why sitars blend with synths, electronic and acoustic textures become one, all while Cook’s guitar anchors it at the centre.

“The Constantinople of sound,” he says, making comparisons to the ancient city where Eastern and Western culture famously meet. For a musician whose built a career off travelling the globe and soaking in the sounds and cultures, it seems like the most logical place to end up.

One World

---

Jerry Lawson - Just A Mortal Man

Size: 110,8 MB
Time: 47:44
File: MP3 @ 320K/s
Released: 2015
Styles: R&B, Soul, Country
Art: Front

01. Peace Like A River (3:38)
02. Time And Water (4:46)
03. I'm Just A Mortal Man (2:56)
04. Wine (3:35)
05. Never Been To Memphis (3:19)
06. In The Dark (4:02)
07. Down On My Knees (3:57)
08. Members Only (3:39)
09. I Hope That Love Always Knows Your Name (3:09)
10. Woman In White (4:15)
11. Once In A While (3:47)
12. Loving Arms (4:05)
13. I'll Come Running Back To You (Live) (2:31)

Long before there was Chris Borland or Patrick Willis or Jason Worilds, Jerry Lawson could tell you a thing or two about the risks that came with playing American tackle football. The Florida native who grew up singing in church and listening to R&B and pop singers on the jukebox in his uncle’s night club, moved to Philadelphia and then New York in hopes of finding stardom in the music business.

Lawson came to the Big Apple to sing, and a vocal group with which he sang actually won the talent contest at the Apollo, but he had other talents. Lawson played wide receiver for a semi-pro football team and had drawn the attention of the New York Jets. If Lawson had stuck with football he could have caught passes from Joe Namath, and he definitely would have been an upgrade over whomever the team used as lead singer for the singing group the Jets formed after they won Super Bowl III. But Lawson went across the middle in an era when talking about concussion protocols and unprotected wide receivers would have gotten a player laughed out the league, and he made what players call “a business decision”: Singing with the a cappella group The Persuasions might just be a better career option. “I’m gonna sing. I said to myself. You can’t get hurt singing.”

Football’s loss has been vocal music’s gain. The Persuasions became a soul music staple of the 70s and beyond; never achieving broad stardom, but amassing a passionate audience – including stars like Frank Zappa – and resurrecting and then redefining a cappella music. The band reimagined the music of singer-songwriters such as Bob Dylan, bands such as The Grateful Dead and Zappa. If you want to hear The Persuasions in all of their power, grab a copy of their Grateful Dead tribute, Persuasions of the Dead.

Lawson left the Persuasions a decade ago and joined another vocal ensemble, Talk of the Town, and that group managed to make it onto the television program The Sing Off. So more than four decades after he started singing on street corners in Brooklyn, Lawson still had it.

As he reached his 70th birthday, what Lawson really wanted to do was record a solo album while backed by musicians, and he receives his chance with the release of his much delayed solo debut, Just a Mortal Man -- and he’s still got it. The album features Lawson doing his interpretation of pop, southern soul, country and R&B songs made famous by artists ranging from Paul Simon to Ayo.

Actually, his rendition of Ayo’s “Down On My Knees” has been around for a while. I saw him perform that tune on YouTube about five or six years ago, and the one thing we learn from that performance, as well as the others on this record, is that years of being a member of a vocal ensemble that featured a group of strong and distinct voices taught Lawson how to work in harmony with other players. After all, the voice is simply another instrument.

Lawson can bring a conversational and intimate style to a number such as “I’ll Come Running To You,” a gospel infused number that finds him backed by an acoustic guitar and background singers who add accents to the chorus. He brings a trace of jazz and gospel to “Down On My Knees,” and actually the soft rasp in his baritone endows the track with a convergence of masculinity and vulnerability.

The ease in which he slides into the blues/rock of “Never Been to Memphis” will prompt the listener to wonder if Lawson had really never performed with a band. However, that and the rest of the output on Just a Mortal Man marks Lawson as the consummate professional who is adept at using a vocal instrument that he has taken great care of over the course of five plus decades.

Guess you can say that, a half century into his music career, Lawson proves that there is life after football. Now, if only Maurice Jones Drew can carry a tune as well as he carried a football... Solidly Recommended. ~By Howard Dukes

Just A Mortal Man

---

Art Farmer - Yesterday's Thoughts

Bitrate: MP3@320K/s
Time: 44:40
Size: 102.2 MB
Styles: Trumpet jazz, Mainstream jazz
Year: 1976/2005
Art: Front

[9:50] 1. What Are You Doing The Rest Of Your Life
[6:31] 2. How Insensitive
[5:54] 3. Namely You
[9:28] 4. Alone Together
[7:58] 5. Yesterday's Thoughts
[4:57] 6. Firm Roots

Recording Date: July 16, 1975 & July, 1975. Piano – Cedar Walton; Bass – Sam Jones; Drums – Billy Higgins; Flugelhorn – Art Farmer.

With Art Farmer's phenomenal output of recordings as a leader during his long career, it isn't surprising to run across obscure gems such as this pair of 1975 studio sessions recorded in New York for release in Japan by Eastwind. Joined by frequent collaborator Cedar Walton on piano, as well as bassist Sam Jones and drummer Billy Higgins, the mellow flugelhornist excels on the ballads that make up the majority of the album. "What Are You Doing the Rest of Your Life" begins slowly, with the rhythm section slowly pushing the tempo, as if to push for an answer to the title of the song. "Namely You" is played as a brisk waltz, while the snappy approach to "Alone Together" finds the leader at the top of his game. A reworking of ex-partner Benny Golson's "Yesterday's Thoughts" is followed by the only up-tempo tune present, Walton's invigorating "Firm Roots." Both Jones and Higgins provide the solid support that they delivered on numerous dates throughout their respective careers. Don't expect to find this long-unavailable LP quickly or at a bargain price, but it is well worth the effort to acquire it. ~Ken Dryden

Yesterday's Thoughts

---

John McLaughlin, Elvin Jones, Joey deFrancesco - After The Rain

Bitrate: MP3@320K/s
Time: 50:55
Size: 116.6 MB
Styles: Fusion, Guitar jazz
Year: 1995
Art: Front

[6:13] 1. My Favorite Things
[6:31] 2. Sing Me Softly of the Blues
[7:30] 3. Encuentros
[4:44] 4. Naima
[6:32] 5. Tones for Elvin Jones
[7:39] 6. Crescent
[6:51] 7. Afro Blue
[4:52] 8. After the Rain

Recording Date; October 4 - 5, 1994 at Clinton Studios, New York City. Drums – Elvin Jones; Guitar, Producer – John McLaughlin; Organ – Joey DeFrancesco.

After the Rain received much praise in 1994 from many critics who usually consider McLaughlin's approach to music a bit too cosmic. The feelings among McLaughlin devotees were more mixed, however—there was some talk that McLaughlin may be running out of ideas. After all, this was the second tribute album he had released in the last couple of years. There were even some complaints about his guitar tone. To be sure, it is a bit too warm. But when all is said and done, After the Rain is an outstanding recording.

This isn't to say it is the best or the most influential of McLaughlin’s albums, but it may be the most beautiful of his electric releases. It attains this status through its melodic textures, driving rhythms and overall musicality. And there is more to it than that. The beauty inherent in any recording can in some part be attributed to its spirituality. (Don’t worry; we are not going into Sri Chinmoy mode here.) The spirit that thrives on this album is rooted in its inspiration—and that spirit is of John Coltrane. The beauty of this album emanates from McLaughlin's heartfelt purpose to honor the great musician who opened the door for him and many others.

After The Rain features several tunes associated with Coltrane. Two of McLaughlin’s compositions are included. The trio also covers Carla Bley’s “Sing Me Softly of the Blues”. McLaughlin decided to showcase these compositions in a traditional Hammond B-3 trio format. Former Coltrane sideman Elvin Jones' drumming evokes memories and emotions that can only be described as reassuring. His accents, bangs, thuds and grunts give great credibility to the affair. Jones' personal homage to Coltrane becomes clear through his brilliant playing; he provides a more than stable foundation for McLaughlin and organist DeFrancesco to build upon. Joey DeFrancesco, who like most B-3 players, has a tendency to meander somewhat during solos, meanders not a wit. His playing emerges as purposeful and understated. However, when the need arises for driving power, he delivers.

McLaughlin's approach on After the Rain is more straight-ahead than it has ever been. At the same time, you know it is still JOHN MCLAUGHLIN. While a little more guitar bite would have been helpful, he does attain a light swing, a somber tone, and a lilting flow...words are lacking. Every single tune stands as a highlight, but pay special attention to "My Favorite Things" because this is soon to be what this album will be to you. ~Walter Kolosky

After The Rain

---

Kayla Taylor Jazz - A Night At Pacific And Vine

Bitrate: MP3@320K/s
Time: 60:13
Size: 137.8 MB
Styles: Vocal jazz
Year: 2005
Art: Front

[ 6:03] 1. Sugar
[ 7:43] 2. The Nearness Of You
[ 4:04] 3. Diamonds Are A Girl's Best Friend
[12:01] 4. Fever
[ 5:32] 5. Cry Me A River
[ 5:46] 6. On The Street Where You Live
[ 9:03] 7. The Look Of Love
[ 4:29] 8. Is You Is Or Is You Ain't My Baby
[ 5:27] 9. At Last

Jazz & Standards from the 40's & 50's is the focus of KTJ, who primarily works as a quintet. Vocalist, Kayla Taylor is joined by long-time music partner & guitarist, Steve Moore; drummer, Mike Zimmerman; upright Bassist - Patrick Cowan; and saxophonist - Will Scruggs.

Taylor & Moore made their way through the 90's in rock bands "A Fine Line" (also with Zimmerman) and "OneWithout" and in an acoustic duo affectionately known as "The Adventures of Kayla & Steve". The team formed a jazz & standards combo 3 years ago and developed a very loyal following at a favorite haunt - "Pacific & Vine". The album was recorded in the middle of dinner rush on Saturday, November 6, 2004. "Pacific & Vine" was a great place for us to play. The food was great, the staff was great, the bartenders & servers totally rocked and the people we met there - well, at the rate of sounding 'hokey' - it was just a magical time," says Kayla.

Sadly, a corporate decision led to the closure of Pacific & Vine on April 25, 2005. The fun and good times linger on with Kayla Taylor Jazz's "A Night at Pacific & Vine". The album is truly live and will definately transport you to the venue - bar sounds, audience chatter, orders being placed - and there amidst the clatter - a jazz band plays and sells us a piece of themselves to hold in our hearts.

A Night At Pacific And Vine

---

Tony Williams Trio - Young At Heart

Bitrate: MP3@320K/s
Time: 69:18
Size: 158.7 MB
Styles: Contemporary jazz
Year: 1996
Art: Front

[4:05] 1. Promethean
[5:49] 2. Young At Heart
[8:54] 3. On Green Dolphin Street
[5:51] 4. Farewell To Dogma
[6:15] 5. How My Heart Sings
[6:22] 6. The Fool On The Hill
[6:11] 7. Neptune-Fear Not
[6:46] 8. You And The Night And The Music
[6:40] 9. Body And Soul
[7:34] 10. This Here
[4:48] 11. Summer Me, Winter Me

Recorded at Sony Music Shinanomachi Studio in Tokyo, Japan on September 24 and 25, 1996. Piano – Mulgrew Miller; Bass – Ira Coleman; Drums – Tony Williams.

The subject of today's sermon is our dearly departed elder, Tony Williams. Brother Tony never lost his joy of swing, nor his belief that in helping others to reach their potential, he in turn would be lifted. From the Miles Davis Quintet to Lifetime to the last Trio, this humble jazz soul went full circle-all the while waging a quiet revolution that has forever re-defined the drummer's role in the jazz ensemble.

Young at Heart is that last whisper, my brethren. Inspired in the circle of longtime spars pianist Mulgrew Miller and Ira Coleman on bass, TW revisited/reinvented the classics of his youth, gaining in the process what the Zen Buddhists call satori. Whether seductively re-paving "Green Dolphin Street" or cymbal-spashing/snare-tom tomming the Beatles' fluffy "Fool on the Hill" into an tempestuous latin waltz, Young At Heart is Tony Williams' musical spirit miraculously made flesh in 11 superlative tracks. Hallelujah. ~Tom Terrell

Young At Heart

---

Grady Tate - After The Long Drive Home

Bitrate: MP3@320K/s
Time: 33:02
Size: 75.6 MB
Styles: Funk-soul-jazz
Year: 1969/2012
Art: Front

[0:57] 1. Prologue
[3:43] 2. After The Long Drive Home
[3:19] 3. Follow The Path
[3:20] 4. I Can Deliver
[4:56] 5. I Think It's Gonna Rain Today
[3:53] 6. There's Nothing Between Us Now
[2:57] 7. In My Time
[0:46] 8. Interlude
[3:17] 9. Bridges
[2:42] 10. I'll Try Again
[3:07] 11. Suicide Is Painless

Easily our favorite album ever by Grady Tate – a complex suite of tracks about adult love, loss, and redemption – put together with a focus and clarity that even surpasses his classic Windmills Of My Mind record! The whole thing was arranged and conducted by Harold Wheeler – who sets Grady up in a batch of tunes that are easily some of the best from that late 60s era when writers like Burt Bacharach and Jimmy Webb had inspired countless others to spin mature tales of human interaction – in a style that's far from pop, and beautifully mature all the way through. If you've always dug the tune "Sack Full Of Dreams" from Tate's Windmills album, this whole set is done in a similar mode – with cuts that include "I'll Try Again", "I Can Deliver", "Follow The Path", "Bridges", and "There's Nothing Between Us Now" – as well as the completely sublime title track! ~Dusty Groove

After The Long Drive Home

---

John Stein - Green Street

Bitrate: MP3@320K/s
Time: 66:19
Size: 151.8 MB
Styles: Guitar jazz
Year: 2013
Art: Front

[5:28] 1. Booga Lou
[6:12] 2. Hotcakes
[4:18] 3. Jack's Back
[5:19] 4. Our Love Will See Us Through
[5:45] 5. Sultry
[7:54] 6. Green Street
[4:38] 7. Greyhound
[5:31] 8. Do Nothin' Till You Hear From Me
[3:42] 9. Culebra
[5:42] 10. Digits
[4:45] 11. Be Ooo Ba
[7:00] 12. You Stepped Out Of A Dream

John Stein; Guitar: Ken Clark; Organ: Dave Hurst; Drums and Percussion. Special Guest; David 'Fathead' Newman

Many jazz enthusiasts have received the resurgence of the “Organ Combo” with welcome arms. On Green Street, guitarist John Stein along with organist Ken Clark and drummer Dave Hurst pursue turf that originated in the 1950’s & 60’s following the traditional approaches of Jimmy Smith, Brother Jack McDuff and others. The John Stein Trio along with guest star David “Fathead” Newman incite the listener’s imagination with an aggregate of toe-tapping, invigorating Stein originals and Ellington’s “Do Nothing ‘Till You Hear From Me”.

John Stein possesses a guitar technique which is firmly rooted in the Wes Montgomery and Grant Green school as Stein’s warm, sonorous sound coupled with an inventive, fluid attack is pleasantly persuasive, distinctive and endearing. The opener, “Jack’s Back” sets the upcoming pace through smooth, skillful execution, panache’ and plain old foot stomping’ fun. The legendary saxophonist David “Fathead” Newman picks up the flute on “Hotcakes” and even quotes a few lines from The Beatles’ “Eleanor Rigby”. “Hotcakes” is an affable yet determined swing number as organist Ken Clark does a commendable job on those Hammond B-3 foot pedals. On “When I’m Away”. Newman lends a hand with his signature husky Texas-Tenor blues sound. Vivid images of being in a roadhouse somewhere in the heart of Texas come to mind. Here and throughout, Stein’s multi-colored, subtle and delicate phrasing is a sheer delight. The title track, “Green Street” is a bluesy-swing as organist Ken Clark trades sprightly choruses with tenorist David “Fathead” Newman’s raucous and rollicking style of play. Stein proceeds to settle things down just a bit via poignant and well crafted soloing as he intelligently plays with the memorable and melodic theme. “Greyhound” is a true organ cooker as they proverbially “give the drummer some”! Dave Hurst gets his moment in the sun as he sticks and jabs behind the kit, complimenting the rapid thematic movements from Clark and Stein. David “Fathead” Newman rejoins on alto sax as the band performs Ellington’s “Do Nothing “Till You Hear From Me”. Stein and company restate the recurring theme in alternating fashion through spirited choruses and solos. The final track, “Digits” is a medium tempo swing piece as Stein shines with sleek, elegant phrasing and impressive single note soloing. Stein presents a flurry of ideas through his ax as Ken Clark answers with some cool, jazzy Hammond B-3 riffs.

Green Street is loads of fun and a breath of fresh air. The John Stein Trio along with David “Fathead” Newman represent the organ combo concept in prominent fashion. The performances are top notch as the overall craftsmanship is meticulous, skillful and heartfelt. Green Street is guaranteed to rejuvenate one’s spirits. ~Glenn Astarita

Green Street

---