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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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Cat Coward - Out Of The Bag

Styles: Vocal Jazz
Year: 2007
File: MP3@320K/s
Time: 38:46
Size: 89,4 MB
Art: Front

(3:11)  1. My Love Is
(3:14)  2. Night and Day
(4:41)  3. I Can See Clearly Now
(2:52)  4. How High the Moon
(4:03)  5. Twisted
(4:36)  6. At Last
(3:41)  7. You'd Be So Nice to Come Home to
(2:06)  8. Let's Misbehave
(3:36)  9. Girl from Ipanema
(3:43) 10. Turn, Turn,Turn
(2:59) 11. More Than You Know

Cat Coward is a truly gifted jazz singer. Her style is all her own with echoes of Ella. "Cat Out of the Bag" is a real gem. From the opening notes, you know you're in on to something special. The phrasing and tone are silky smooth, lyrical, and full of life and talent. My favorite tunes are "My Love Is", "I Can See Clearly Now" (the jazz interpretation is a total treat), and "Twisted" - I love "Twisted" so much that I think I'm going to give it to my shrink! ~ Stephanie Kesler, Anchorage Concert Association

A new hot vocal soloist is currently melting the hearts of jazz aficionados across the cool North. Cat Coward, a sultry siren with jazz in her soul has assimilated a wide range of energy-driven masterpieces from Cole Porter's "Let's Misbehave" to the more familiar but brilliant rendition of Pete Seeger's "Turn, Turn, Turn". Her colorful tapestry of vocals embodies a style that is wonderfully woven with threads of improvisational lightness and a melodic expression that is frankly jaw-dropping. Cat's dizzying flair for jazz is fine wine that must now be tasted! ~ Roy Corral, musician  http://www.cdbaby.com/cd/catcoward

Out Of The Bag

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Mark Gross - Blackside

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 62:52
Size: 144,4 MB
Art: Front

(5:04)  1. On the Backside
(6:27)  2. Evocations
(3:33)  3. Choro Bandido
(5:21)  4. Volare
(4:20)  5. Bangalore
(5:41)  6. Sabe Você
(6:03)  7. Cherry Picker
(9:19)  8. Name Game
(6:44)  9. Straphangin'
(4:40) 10. Meadows
(5:36) 11. Knocks Me Off My Feet

Mark Gross is not a composer and hadn’t headlined an album for many years before Blackside. But the saxophonist does possess ample and esteemed experience in both big bands and small ensembles, and was thus able to assemble a top-notch band for this project. He is also creatively capable in myriad styles, ranging from bop through funk, calypso, R&B and Brazilian pop. All these circumstances made choosing the right material problematically open-ended, but Gross and producer/label owner John Lee resolved the issue by selecting songs they like and believe to be underexposed.

The result is a fascinating collection with a checkerboard sensibility. Tunes associated with Randy and Michael Brecker are prominent in the mix, but none are from the classic Brecker Brothers discs of the mid-’70s. Instead, Gross goes to the group’s final two records in the early ’90s for the brawny funk of “On the Backside” and then “Evocations” (co-written by Michael Brecker and Chris Botti), the latter boasting a creamy arrangement for a chorus of horns. He dips into Randy Brecker’s obscure 1969 disc, Score, for Hal Galper’s “Name Game” (a showcase for trumpeter Freddie Hendrix) and Brecker’s own “Bangalore,” which Gross galvanizes with a bounce and angularity akin to John Coltrane via Michael Brecker. And he reprises the groove-oriented “Straphangin’,” the title tune from a 1980 Brecker Brothers record. All good stuff, but even on the lesser-known material, it is hard to top the Brecker Brothers at their own game.

Ironically, pianist Cyrus Chestnut trumps all the Brecker covers with “Cherry Picker,” which opens like Ramsey Lewis sitting in with the Crusaders and then goes for some radio-friendly funky bop, with Gross growling on alto. Chestnut beautifully supports Gross’ voluptuous horn on “Sabe Você,” one of two pre-Tropicália Brazilian pop songs on Blackside. Another left-field delight is “Volare,” a musical piece of provolone that the superb band (bassist Dezron Douglas and drummer Greg Hutchinson round out the core quintet with Gross, Chestnut and Hendrix) dresses up for Broadway and then sidles into a sunny bop-swing swagger. The closer is Stevie Wonder’s “Knocks Me Off My Feet,” played straight and seductively. ~ Britt Robson  http://jazztimes.com/articles/97420-blackside-mark-gross

Personnel: Mark Gross (soprano saxophone, alto saxophone); Yotam (guitar); Freddie Hendrix (trumpet, flugelhorn); Cyrus Chestnut (piano, organ); Greg Hutchinson (drums); Vanderlei Pereira (percussion).

Blackside

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Joe Cohn - Fuego

Styles: Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 67:34
Size: 155,2 MB
Art: Front

(7:32)  1. Little Melonae
(6:04)  2. She
(6:13)  3. Bluish Grey
(5:56)  4. DeWey Square
(6:37)  5. The Underdog
(5:14)  6. Fuego De Roberto
(6:58)  7. Love For Sale
(6:23)  8. Call It Wachawana
(8:41)  9. Clockwise
(7:53) 10. Lady Luck

Joe Cohn's second Criss Cross outing is a swinging affair. Joined by Dutch master pianist Peter Beets, and New York A-Listers, bassist John Webber and drummer Kenny Washington, the young guitar veteran (who is the son of the iconic tenor saxophonist-composer Al Cohn) addresses a strong program of first-rate, less traveled jazz and songbook standards, uncorking a string of inspired solos that blend polish and vigor with a style that traverses a broad timeline of vocabulary on his instrument - he reaffirms his position as a major voice on today's playing field. ~ Editorial Reviews  http://www.amazon.com/Fuego-Joe-Cohn-Quartet/dp/B0059889VK

Personnel: Joe Cohn (guitar); Peter Beets (piano); Kenny Washington (drums).

Fuego

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Booker T. & The Mg's - That's The Way It Should Be

Styles: R&B
Year: 1994
File: MP3@192K/s
Time: 54:00
Size: 74,8 MB
Art: Front

(3:58)  1. Slip Slidin'
(5:38)  2. Mo' Greens
(4:24)  3. Gotta Serve Somebody
(3:43)  4. Let's Wait Awhile
(3:22)  5. That's The Way It Should Be
(4:39)  6. Just My Imagination (Running Away With Me)
(6:15)  7. Camel Ride
(4:31)  8. Have A Heart
(3:45)  9. Cruisin'
(5:07) 10. I Can't Stand The Rain
(4:00) 11. Sarasota Sunset
(4:32) 12. I Still Haven't Found What I'm Looking For

Booker T. & the MG's do what they do very well. What they do is present a spare, funky sound in which each instrument, drums (here played by Steve Jordan or James Gadson), bass, guitar, and organ, is heard distinctly, playing medium tempo melodies with slight variations. Precision is a key, and the result, while impressive, is anything but showy. Seventeen years since their last outing, the group exhibits the same qualities and the same limitations it did in its heyday. ~ William Ruhlmann  http://www.allmusic.com/album/thats-the-way-it-should-be-mw0000111745

Booker T. & The MG's: Booker T. Jones (vocals, guitar, piano, Hammond B-3 & M-3 organs, MiniMoog, synthesizer); Steve Cropper (vocals, guitar, baritone guitar); Donald "Duck" Dunn (vocals, baritone guitar, bass); Steve Jordan (vocals, guitar, drums, percussion, congas, bongos); James Gadson (drums).

That's The Way It Should Be

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