Yoron Israel & Organic - Basic Traneing

Size: 135,3 MB
Time: 58:24
File: MP3 @ 320K/s
Released: 2003
Styles: Jazz: Hammond Organ
Art: Front

01. Basic Traneing (4:50)
02. Afro Blue (7:11)
03. Sayeeda's Song Flute (4:44)
04. Her All (6:18)
05. Impressions (6:08)
06. Better Days (5:28)
07. Tippin' (7:26)
08. Mr. Jc (4:44)
09. Like Sonny (3:33)
10. Lonnie's Lament (6:55)
11. Basic Traneing (Reprise) (1:01)

Yoron Israel, a native Chicagoan, is one of the most gifted and sought after musicians in the music industry today. Yoron's exciting and tasteful drumming, along with his compositional talents are spotlighted throughout his recordings; "VISIONS" - The Music of Stevie Wonder (Ronja Music), "Basic Traneing" (Ronja Music), "Chicago" (Double Time), "Live at the Blue Note" (Half Note) and "A Gift for You" (Ronja Music). All of these fine works have received enthusiastic praise from journalists, musical peers and fans alike. They represent the extensive depth of Yoron Israel's musicianship as he continues to evolve as a leader. He brings his unique influences and experiences in Jazz, World Styles, Gospel, Contemporary Christian, Funk, R & B and Orchestral idioms full circle with his compositions, arrangements, repertoire and ensemble concept: "Music to be enjoyed by all". As Jack DeJohnette quotes, "A Gift for You" is a sparkling musical offering from a drummer who has good taste. He has a sense of direction and a feeling of joy in his drumming, compositions and arrangements. Yoron Israel is an important voice you should listen to."

Yoron leads the Boston based quartet "High Standards", which is featured on his latest release "VISIONS" - The Music of Stevie Wonder. The quartet currently features; Laszlo Gardony - piano/keyboard, Lance Bryant - tenor & soprano saxophones and Henry Lugo - bass, along with special guests Larry Roland - spoken word and Thaddeus Hagarth - harmonica and guitar. This core foursome represents a depth of virtuosity and musical cohesiveness that is infectious. This ensemble is committed to forging ahead "new standards" for the 21st century; adding a personalized perspective to familiar performance, compositional and arrangement references that will become common repertoire of choice for future generations of jazz musicians.

"Basic Traneing", reached number three on the National Jazz chart in 2004. It features his organ trio "Organic" with organist Kyle Koehler, guitarist Ed Cherry, along with special guests Jay Hoggard (vibraphone/ marimba) and Billy Pierce (tenor and soprano saxophone). Yoron's "Organic", performs original compositions and works associated with the soulful musical legacies of Jimmy Smith, Jack McDuff, Jimmy McGriff, Charles Earland and Dr. Lonnie Smith while highlighting the versatility and virtuosity of the trio.

Basic Traneing

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Rachel Sorsa Band - Sisu

Size: 103,8 MB
Time: 44:30
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Blues/Soul Vocals
Art: Front

01. Old Man Devine (4:20)
02. Mamma's Song (5:30)
03. Miss Celie's Blues (3:22)
04. It's No Wonder (3:39)
05. Pretty Bonnie (2:58)
06. 'Round Midnight (7:10)
07. A Sleepin' Bee (3:57)
08. You And The Night And The Music (3:10)
09. Too Little (Too Late) (4:07)
10. Wild Is The Wind (6:12)

Personnel:
Andy Allen - Bass
Gus Duffy - Drums
Preston A. Gould - Trumpet
Serge Kasimoff - Piano
Rachel Sorsa - Vocals/Songwriter

Sisu is sheer delight for lovers of jazz, blues and soul. With a sound that is passionate and seductive, vocalist Rachel Sorsa's soft, high-pitched delivery is like that of a little girl...kittenish and erotic a la Eartha Kitt. Add great musicians Andy Allen on bass, Preston A. Gould on trumpet, Gus Duffy on drums and Serge Kasimoff at the piano, and what you come up with is one savory musical banquet.

Sisu is a Finnish word meaning determination, bravery and displaying courage in the face of adversity. With her varied assortment of original and traditional compositions, Sorsa hopes to inspire. As she advises: hold still, breath deeply and reach out! It's sage advice for anyone caught up in the turmoils of life, to simply relax and enjoy. Music has a strangely magical power over the way we feel, and the Rachel Sorsa Band delivers in spades.

Of the originals, I was smitten with "Mamma's Song" almost as much as :"Miss Celie's Blues" from The Color Purple, which enthralls me every time I hear it. Sorsa's unfettered, playful delivery on this is pure gold. Also appealing are the sexy "A Sleepin' Bee", and a glorious "round Midnight". The arrangement of "You & the Night & the Music" turns the song upside down, inside out, like you have never heard it before. Uniquely lush sounds are present in this one as well as in the captivating finale of the deliciously delirious "Wild is the Wind".

Sorsa is a sassy presence both onstage and on record. That acting style infuses her music, making it a truly special listen.
If you like jazz, blues and soul, Sisu is a must-have in your collection. Put it on the stereo, sit back, close your eyes and...savor the artistry of Rachel Sorsa and her band!

Sisu

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Byron Miller - Psycho Bass

Size: 123,1 MB
Time: 52:54
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz Soul, Jazz Funk
Art: Front

01. Psycho Bass (4:41)
02. Heart's Horizon (5:11)
03. Oh Really (5:53)
04. Psycho Management (3:57)
05. Higher Ground (4:43)
06. Spoken Funk (3:39)
07. We'er Strolling (2:54)
08. U Must Be Crazy (3:59)
09. Apple & Oranges (4:38)
10. Psycho Jazz Dance (4:36)
11. It's In Your Eyes (4:31)
12. Remember The Time (4:05)

A long respected sideman in R&B circles, Byron Miller has thus far only had a couple opportunities to lead his own record dates. Although he had started playing piano when he was five, Miller did not take music seriously until he had a football injury while a junior in high school. He soon taught himself bass and keyboards. Shortly after high school Miller joined Roy Ayers' Ubiquity for several years (with whom he recorded several dates). Other associations included Carlos Santana, George Duke (appearing on 14 of his albums), Herbie Hancock, the Crusaders, Chaka Khan, Marvin Gaye, Whitney Houston, Luther Vandross and Doc Powell. Byron Miller recorded a pair of CDs in the 1990's as a leader including Until for Discovery.

Psycho Bass

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Mary Coughlan & Erik Visser - Scars On The Calendar

Size: 102,9 MB
Time: 43:51
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Blues/Folk Vocals, Contemporary Jazz
Art: Front

01. Blood (3:25)
02. Chance Encounter (3:09)
03. This Is Not A Song (3:49)
04. Just In Time (3:12)
05. Too Soon (4:02)
06. Eoghanin (3:01)
07. In Another World (3:54)
08. What Can We Do (3:28)
09. A Girls Got To Eat (3:47)
10. I Miss You (3:45)
11. Good To Go (4:32)
12. Would You Do It All Again (3:41)

Reuniting with long-time collaborator Erik Visser ...It is the first album of new material since House Of Ill Repute (2008)
Scars On The Calendar features entirely new compositions from Coughlan, Hensey & Visser also 2 tracks from Mark Nevin (Fairground Attraction)

Mary Coughlan is an Irish jazz, blues and folk singer. She has received great critical acclaim for her emotional and heartfelt renditions. A lot has been written and a lot has been said, whispered, recounted, alleged, supposed and presumed. It’s all quite forgotten now and the songs remain the same, they remain a testament to Mary Coughlan’s seemingly timeless and endless talent. Her smoky, bluesy, boozy drawl has always been a seduction, no matter what the subject. The vocal marrying of sardonic wit, visceral rage, orgiastic between the sheets passion, the tenderest of sorrowful regrets- this is Mary’s talent. Regardless of the elements she chooses to manipulate with flawless ease, Mary’s voice has always been an unforeseen, sudden seduction. This is why she is so loved.

Throughout the over 25 years of her quite extraordinary recording career Mary has drawn heavily from her legendary heroes; Billie Holiday’s grievous, teary outpourings, the husky flirtations of Peggy Lee, Van Morrison’s soulful wails, the defiant chanteusery of Edith Piaf. All are present and correct in her delivery. Even so, Mary, with her naked honesty makes every song her own; they belong to her and nobody else. Who else could possibly present “Double Cross” or “Magdalene Laundry” or “The Ice Cream Man” with such dedication and effortless zeal?

The casual listener may know something of “Ancient Rain”, “Invisible To You” or maybe “Man Of The World”. These may well be among the greatest of Mary’s many great hits, however there is so much more to the story. How about an entire double album dedicated to her love of Billie Holiday. Billie died at 44, the age at which Mary performed songs from the album to sold-out venues and enraptured audiences at her “Lady Sings The Blues” shows staged in Dublin and London.

How about “Live In Galway”, Mary’s triumphant, if anxious, return from the brink to the stage in 1995. At the time she pleaded the venue to host the gig, having to repent for previously letting them down a little too frequently. She had become the “no-show”. Mary sold out 8 gigs in a row. Or “Live At The Basement” recorded in Sydney among an intimate audience in 2003, this is the ultimate in down and dirty jazz club rendition. It’s hard to imagine a more succinct demonstration of both the raw and refined nature of Mary’s talents.

Scars On The Calendar

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Kenny Barron & Mark Sherman - Interplay

Size: 169,5 MB
Time: 73:26
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Piano Jazz
Art: Front

01. Afternoon In Paris (6:11)
02. Venture Within (7:43)
03. Dear Old Stockholm (4:53)
04. Darn That Dream (7:37)
05. Cheese Cake (9:04)
06. The Question Is (5:15)
07. Orange Was The Color Of Her Dress, Then Blue Silk (4:57)
08. Polka Dots And Moonbeams (7:14)
09. Royal Garden Blues (4:53)
10. Indian Summer (7:35)
11. Without A Song (8:02)

Personnel:
Kenny Barron, piano
Mark Sherman, vibes

Recorded at Hirsch Center, Brooklyn, NY on 2014 (11/28/2014).

A premiere duo binaural release featuring jazz aficionados Mark Sherman and Kenny Barron (the tenth in the illustrious career of Kenny Barron and Mark Sherman's second with Chesky Records), Interplay is the blending of two generations of musical practitioners of the highest caliber. Lending their own unique verve and ingenuity to nine jazz standards and two original pieces, Sherman and Barron, both professors at Juilliard, teach us all a thing or two about the genre we call Jazz.

Interplay

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Sarah Gerritsen & The Shadow Catchers - Angeline

Size: 100,1 MB
Time: 38:48
File: MP3 @ 320K/s
Released: 2015
Styles: Americana, Folky Jazz
Art: Front

01. Angeline (5:27)
02. Dreamer (4:58)
03. Funny Man (3:34)
04. Something Proud (5:17)
05. Ain't So Quiet (3:04)
06. No Good (3:57)
07. Cannery Row (3:17)
08. Sins Of The Father (4:56)
09. In Color (4:15)

Personnel:
Sarah Gerritsen (Lead Vocals, Piano, Guitar)
Natalie Vandeven (Violin, Harmony)
Aaron Fishburn (Upright Bass
Carina Lewis (Harmony)
Nick Kramer (Mandolin, Guitar, Dobro, Lap Steel)
Jacob Navarro (Mandolin, Guitar)

The music of Sarah Gerritsen is written with a stirring narrative quality that speaks of a life well lived; tinged with the depths of mournful grief, and colored by the zeal of joyfulness. With vibrant profundity, lush three part vocal harmonies, and powerful soulfulness they infuse compelling storytelling and take Folk/Americana to uncharted territory.

Sarah Gerritsen is bursting upon the Seattle singer/songwriter scene like a revelation: a vocalist with a strong and versatile instrument, a rocker’s nervy instincts, and a respect for alt country americana traditions that choreograph well with the Northwest’s current crop of songtellers, without following in their wake. What’s most remarkable is that Gerritsen has stayed in the shadows of the music scene for so many years, seldom showing her cards, quietly honing her writing skills, building a nationwide network of industry relationships, attending countless shows and becoming a genuine fan of Seattle’s finest new talent (many of whom lent their skills to her debut EP, Origin).

Angeline

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Anita O'Day - Let Me Off Uptown: The Best Of Anita O'Day

Bitrate: MP3@320K/s

Time: 74:17

Size: 170.0 MB

Styles: Swing, Vocal jazz

Year: 1999

Art: Front

[ 6:02] 1. Opus One

[ 3:07] 2. Skylark

[ 3:15] 3. Stop! The Red Light's On

[ 2:53] 4. Georgia On My Mind

[ 3:07] 5. Thanks For The Boogie Ride

[ 2:23] 6. Tea For Two

[ 8:55] 7. That's What You Think

[ 2:41] 8. Just A Little Bit South Of North Carolina

[ 3:05] 9. Barrelhouse Bessie From Basin Street

[ 2:36] 10. Green Eyes

[ 2:25] 11. Kick It

[ 3:10] 12. Slow Down

[15:18] 13. Watch The Birdie

[ 3:21] 14. Boogie Blues

[ 2:51] 15. Bolero At The Savoy

[ 3:13] 16. Massachusetts

[ 2:47] 17. Harlem On Parade

[ 3:00] 18. Let Me Off Uptown

If Gene Krupa's band needed a signature tune during Anita O'Day's tenure with the group, it was "Kick It!," track 11 of this collection, which includes her exhortation to "keep the rhythm moving." The 18 songs on this CD come primarily from O'Day's first stint with the band, when she was frequently paired with singer-trumpeter Roy Eldridge in one of the great ensembles of the last great years of the big band era. This collection starts with the name-dropping "Opus One" from her second stint with Krupa in 1945, which showed no slackening of her ability to twist a song with the best players. The earlier numbers, pairing her with Eldridge, are even better. In particular, "Thanks for the Boogie Ride" was the basis for a hot little soundie (which Columbia ought to find a way to re-release) featuring the two of them. "Barrelhouse Bessie From Basin Street" also features a duet between the two as well as Krupa in a featured spot that isn't played fast for a change. O'Day could also sound just plain sultry, as on her rendition of "Georgia on My Mind" from her earliest session with Krupa. This CD slots in perfectly as the complement to Columbia's earlier Drum Boogie CD, which covers the Krupa band's work during 1940 and early 1941. Let Me Off Uptown picks up where Drum Boogie leaves off, basically distilling the best cuts from Columbia's earlier Krupa double LP, processing them with a good amount of care to provide a level of fidelity that is a genuine pleasure to hear. ~Bruce Eder

Let Me Off Uptown: The Best Of Anita O'Day

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Eddie Henderson - So What

Bitrate: MP3@320K/s
Time: 56:12
Size: 128.6 MB
Styles: Post bop, Trumpet jazz
Year: 2002
Art: Front

[5:35] 1. Prince Of Darkness
[6:39] 2. On Green Dolphin Street
[8:10] 3. Footprints
[3:59] 4. Well, You Needn't
[6:16] 5. So What
[6:31] 6. Old Folks
[4:45] 7. Someday My Prince Will Come
[7:01] 8. All Blues
[7:11] 9. 'round Midnight

Despite its title, this Miles Davis tribute's focus is not on the classic unit that recorded the track after which the album is named, but on the style and music of the trumpeter's great ‘60s quintet with Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams. Eddie Henderson's mellifluous sound, meticulous choice of notes and atmospheric use of space clearly place him at the apex of the Miles continuum, and his working quartet with pianist Dave Kikoski and bassist Ed Howard (veterans of Roy Haynes' band) and alternating drummers Billy Hart and Victor Lewis (two players who have thoroughly assimilated Williams' liberated approach to "timekeeping"), augmented by former Davis sideman Bob Berg (in one of his last recordings), do more than justice to this music associated with the late great trumpeter.

The program of nine tunes includes Miles' two most famous compositions (the title track and "All Blues"); two by Shorter ("Prince of Darkness" and "Footprints"), two by Monk ("Round Midnight" and "Well You Needn't"); and three standards: two ballads Davis frequently performed ("Someday My Prince Will Come" and "Old Folks") and the ever-swinging "On Green Dolphin Street." Henderson, a fearless improviser whose sound can be either ethereal and enigmatic or exuberant and extroverted, dominates the proceedings without overshadowing the other members of the quintet’s considerable contributions.

Like Miles, he gives his sidemen plenty of space to express themselves and all rise to the occasion, particularly Kikoski, whose affection for Hancock and his predecessors Bill Evans and Wynton Kelly is dazzlingly displayed in one original improvisation after another. Berg's dark brooding tenor, heard on several tracks, impressively exhibits what Davis heard in him for many years. The unit reproduces the sound of the ‘60s quintet, but asserts each member's own personality while recreating the original compositions, with varying degrees of faithfulness, in their own image – thereby clearly demonstrating the difference between imitation and inspiration. ~Russ Musto

Bob Berg - tenor sax; Billy Hart - drums; Eddie Henderson - trumpet, flugelhorn; Dave Kikoski - piano; Victor Lewis - drums; Ed Howard - bass.

So What

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Barney Wilen - No Problem

Bitrate: MP3@320K/s
Time: 68:54
Size: 157.7 MB
Styles: Contemporary jazz
Year: 2012
Art: Front

[7:19] 1. No Problem, No. 1
[4:29] 2. Valmontana
[6:55] 3. Prelude In Blue
[2:51] 4. Au Bar Du Petit Bac
[2:55] 5. Témoin Dans La Ville
[3:12] 6. La Vie N'est Qu'une Lutte
[3:48] 7. Mélodie Pour Les Radio-Taxis
[4:16] 8. Vamp
[5:48] 9. Nuages
[3:44] 10. Minor Swing
[3:30] 11. Ménilmontant
[4:25] 12. Swingin' Parisian Rhythm (Jazz Sur Seine)
[2:43] 13. Que Reste-T-Il De Nos Amours
[2:42] 14. Epistrophy
[3:36] 15. John's Groove
[6:33] 16. B.B.B. (Bag's Barney Blues)

Thanks to the generous support of his son Patrick Wilen, we are currently digitizing over 200 tapes from the estate of French Jazzman Barney Wilen at Audiomoto studio Berlin. Prepare yourself for an unknown Donald Byrd & Barney Wilen soundtrack, entitled “Jazz In Camera”, produced 1958 in Paris and recently found on stocked away acetate records - available early next year. ~SonoramaBarney Wilen (March 4, 1937 – May 25, 1996) was a French tenor and soprano saxophonist and jazz composer. Wilen was born in Nice; his father was an American dentist turned inventor, and his mother was French. He began performing in clubs in Nice after being encouraged by Blaise Cendrars who was a friend of his mother. His career was boosted in 1957 when he worked with Miles Davis on the soundtrack Ascenseur pour l’Échafaud. In 1959, Wilen wrote his two soundtracks Un Témoin Dans la Ville and Jazz sur scène with Kenny Clarke. He wrote a soundtrack for Roger Vadim’s film Les Liaisons Dangeureuse two years later, working with Thelonious Monk. Wilen returned to composing for French films in the 1980s and 1990s. In the mid-to-late 1960s he became interested in rock, and recorded an album dedicated to Timothy Leary. He also worked with punk rockers before returning to jazz in the 1990s. Wilen played with modern jazz musicians until his death in 1996. He died of cancer in Paris at the age 59.

No Problem

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Joe Williams - Prez & Joe: Prez Conference (In Celebration Of Lester Young)

Bitrate: MP3@320K/s
Time: 58:11
Size: 133.2 MB
Styles: Traditional vocal jazz-pop
Year: 1979/1987
Art: Front

[3:38] 1. You Can Depend On Me
[2:28] 2. When You're Smiling
[4:51] 3. I Never Knew
[3:41] 4. Fooling Myself
[3:34] 5. Lester Leaps In
[4:26] 6. Sometimes I'm Happy
[3:09] 7. Boogie Woogie (I May Be Wrong)
[3:54] 8. If Dreams Come True
[4:14] 9. Jumpin' At The Woodside
[3:46] 10. Getting Some Fun Out Of Life
[4:04] 11. How High The Moon
[4:25] 12. Just You, Just Me
[3:24] 13. If I Could Be With You
[3:47] 14. Jumpin' With Symphony Sid
[4:44] 15. Lester Leaps Again

Dave Pell's Prez Conference was to Lester Young what Supersax is to Charlie Parker. Pell's short-lived group featured harmonized Lester Young solos recreated by three tenors and a baritone; their matchup with singer Joe Williams is quite enjoyable. Since Young was in Count Basie's orchestra when Jimmy Rushing was the vocalist, Joe Williams has a rare opportunity to give his own interpretation to Rushing and Billie Holiday classics like "I May Be Wrong," "You Can Depend on Me," "If Dreams Come True" and "Easy Living." A delightful and swinging date. ~Scott Yanow

Prez & Joe: Prez Conference (In Celebration Of Lester Young)

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Curtis Stigers - Secret Heart

Styles: Vocal Jazz
Year: 2002
File: MP3@320K/s
Time: 55:55
Size: 128,4 MB
Art: Front

(4:12)  1. How Could A Man Take Such A Fall
(4:53)  2. It's So Hard Living Without You
(4:45)  3. Days Of Wine And Roses
(3:20)  4. Hometown Blues
(6:57)  5. My Foolish Heart
(4:01)  6. You're Driving Me Crazy
(5:00)  7. Secret Heart
(3:29)  8. Down With Love
(5:53)  9. Swingin' Down At 10th & Main
(4:39) 10. Sweet Kentucky Ham
(3:12) 11. You'd Be So Nice To Come Home To
(5:28) 12. Body And Soul

Some people mistake being jazzy for actually singing jazz. Van Morrison, Anita Baker, Sade, and Sting are all jazzy, but they aren't hardcore jazz singers (which isn't to say that they are not capable of singing straight-ahead jazz Baker, in fact, has done it on occasion). In the early '90s, Curtis Stigers embraced jazzy pop/rock. But when his first Concord Jazz release, Baby Plays Around, came out in 2001, it was clear that he was capable of being more than just jazzy Baby Plays Around was definitely an album of straight-ahead acoustic jazz. And the singer continues in that direction on Secret Heart, his second Concord release. Naturally, some elitist bop snobs will view this album with suspicion their attitude is "once a pop singer, always a pop singer." But such thinking is silly. Stigers once again proves that he is quite capable of singing straight-ahead jazz and he demonstrates that having a pop/rock background doesn't mean that you have to stick to pop/rock all your life. As a jazz singer, Stigers isn't mind-blowing. 

But he's enjoyably swinging on familiar standards like "You'd Be So Nice to Come Home" and "My Foolish Heart." These songs definitely fall into the warhorse category they've been beaten to death over the years. But to his credit, Stigers doesn't limit himself to warhorses. He pleasantly surprises listeners by picking Dave Frishberg's "Sweet Kentucky Ham" and he successfully finds the jazz potential in Steve Earle's "Hometown Blues" and Randy Newman's "It's So Hard Living Without You." Secret Heart won't go down in history as the best vocal jazz album of 2002, but it's a respectable effort that makes one glad to see Stigers traveling in a jazz-oriented direction. ~ Alex Henderson  http://www.allmusic.com/album/secret-heart-mw0000217885

Personnel: Curtis Stigers (vocals, tenor saxophone); Anthony Wilson (guitar); Gilbert Castellanos (trumpet); Larry Goldings (piano); Jeff Hamilton (drums).

Secret Heart

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Lee Konitz & Albert Mangelsdorff - Art Of The Duo

Styles: Trombone And Saxophone Jazz
Year: 1983
File: MP3@224K/s
Time: 40:31
Size: 65,4 MB
Art: Front

(4:05)  1. Hot Hut
(3:17)  2. She's As Wild As Springtime
(5:03)  3. Inclination
(2:04)  4. I Wonder What She's Doing Righ
(4:05)  5. Creole Love Call
(1:55)  6. About Time We Looked At This
(3:16)  7. A-Minor Blues In F
(7:43)  8. Matti's Matter
(2:55)  9. Cher Ami
(2:27) 10. En Passant
(3:39) 11. Bloas

No one has worked harder to elevate the art of the jazz duo than Lee Konitz. His 1967 session, The Lee Konitz Duets, was a seminal statement. This much-later duet session with trombone master Albert Mangelsdorff pales in comparison. Konitz has long espoused the belief that horn players can swing without a rhythm section, yet much of the time Mangelsdorff insists on serving as a faux bass really, tuba player. And when he uses his patented technique of singing into his horn while creating chords, he functions as a very simple guitar player. That said, anything with these two masters on it has its pleasures. Konitz creates tasty lines with souffle-like lightness, and when Mangelsdorff breaks free he provides some gruff, complementary solos. His use of mute on "Creole Love Call" offers a break from the session's monochromaticism. Konitz also brings some fetching originals to the session, notably "A Minor Blues in F" and "Cher Ami," which feature the kind of freewheeling counterpoint that would have been welcomed throughout The Lee Konitz Duets. ~ David Dupont  http://www.allmusic.com/album/art-of-the-duo-mw0000173955

Personnel: Albert Mangelsdorff (trombone), Lee Konitz (alto saxophone).

Art Of The Duo

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Peter Cincotti - Peter Cincotti

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 52:55
Size: 122,6 MB
Art: Front

(5:18)  1. I Changed the Rules
(4:20)  2. Comes Love
(3:58)  3. Are You the One?
(4:14)  4. Sway
(4:18)  5. Miss Brown
(3:47)  6. Lovers, Secrets, Lies
(3:49)  7. The Fool on the Hill/Nature Boy
(3:45)  8. Ain't Misbehavin'
(4:48)  9. Come Live Your Life With Me
(3:12) 10. Spinning Wheel
(3:20) 11. You Stepped Out of a Dream
(4:07) 12. Rainbow Connection
(3:53) 13. Sal's blues

Inevitably, on his debut album, Peter Cincotti is still in the phenomenon stage of his career. The wonder is that a 19-year-old can play jazz piano and sing at such a professional level, and the issue of how distinctively he does it is one largely to be tabled for the present. Even so, the charm of his work lies in its stylistic openness, which might not be expected of a jazz performer who is older. Cincotti makes no distinction between the kind of pop songs adopted for jazz interpretation in the past and more contemporary pop songs that have not been much used for such treatment. In his liner notes, he says he's always wondered what Blood, Sweat & Tears' hit "Spinning Wheel" would sound like as an instrumental played by Erroll Garner, and so he tries to do it that way, and the answer is it doesn't sound bad at all.

Mixing the Beatles' "Fool on the Hill" with Nat King Cole's "Nature Boy" may not have been his idea, but it is typical of the eclectic approach he takes to music, and it works. And then there's the closing track, "Rainbow Connection," a Muppets theme that winks good-naturedly at Cincotti's youth. His originals are not particularly impressive, and the acknowledged influence of his mentor, Harry Connick, Jr., is obvious, especially vocally, but Cincotti, supported by a good rhythm section (David Finck, bass, and Kenny Washington, drums) and the tenor saxophone of Scott Kreitzer on three tracks, is a promising pianist with a good feel for ensemble playing, and that may assure him a career even after the crowds attracted by his prodigy status and publicity machine subside. ~ William Ruhlmann  

http://www.allmusic.com/album/peter-cincotti-mw0000021508

Personnel: Peter Cincotti (vocals, arranger, piano);Scott Kreitzer (tenor saxophone); David Finck (bass); Kenny Washington (drums).

Peter Cincotti

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Sherman Irby - Big Mama's Biscuits

Styles: Post-Bop, Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 58:29
Size: 134,3 MB
Art: Front

(5:18)  1. Conversing with Cannon
(3:57)  2. 'Bama
(4:59)  3. Lake Tuscaloosa
(4:50)  4. Big Mamma's Biscuits
(6:12)  5. Passage of Time
(3:57)  6. Too High
(6:02)  7. Aunt Dorothy
(7:03)  8. Take the 'A' Train
(4:34)  9. Call to Order
(6:57) 10. Away from Home
(4:35) 11. We're Gonna Be Alright

Redux. AAJ 's John Sharpe opined a brief and sharp-creased assessment of this record in the November issue. I am chiming in to add some observations, not to try and improve on Mr. Sharpe's commentary. The Heart of the Matter. Irby's performances with Ed Cherry on acoustic guitar reminds me of the Frank Morgan Collaboration Listen to the Dawn. Irby certainly lacks Morgan's "wounded" tone and phrasing, but their approaches with guitar accompaniment are parallel. He transverses the universe of Post Bop using the sextet ("Big Mama's Biscuits"), trio ("Conversing with Cannon"), and duo ("Take the 'A' Train") formats much in the same way that Joe Henderson has on his most recent recordings. This makes for a diverse mix of presentations. This disc never gets boring. 

~ C. Michael Bailey  http://www.allaboutjazz.com/big-mamas-biscuits-sherman-irby-blue-note-records-review-by-c-michael-bailey.php

Personnel: Sherman Irby: Alto Saxophone; Gerald Cannon: Bass, Clifford Barbado: Drums; Ed Cherry: Guitar; Dana Murray: Drums; James Hurt: Piano; Roy Hargrove: Trumpet.

Big Mama's Biscuits

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Lea Salonga - Inspired

Styles: Vocal, Stage & Screen
Year: 2007
File: MP3@320K/s
Time: 56:01
Size: 128,9 MB
Art: Front

(5:55)  1. Who Are You
(4:45)  2. To Hear You Say You Love Me
(3:52)  3. Two Words
(3:59)  4. Sing
(4:40)  5. Waiting For Love
(5:02)  6. My Foolish Heart
(4:01)  7. Do You Hear It
(4:06)  8. Brian's Song
(4:22)  9. When The Winter's Gone
(5:15) 10. When October Goes
(5:11) 11. Land Of The Loving
(4:47) 12. Promise Me

Inspired is a collection of Lea Salonga's personal favorites, including "To Hear You Say You Love Me" (Jim Brickman), "Do You Hear It" (Lani Macaraeg), "Who Are You" (Bill Cantos), and her official wedding song, "Two Words" (Louie Ocampo). http://en.wikipedia.org/wiki/Inspired

Inspired

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