Milt Buckner, Hal Singer - Milt & Hal

Bitrate: MP3@320K/s
Time: 62:08
Size: 142.2 MB
Styles: R&B-Jazz
Year: 2008
Art: Front

[7:00] 1. Milt & Hal
[6:14] 2. Time For Dreams
[3:52] 3. Ghost Of A Chance
[7:12] 4. There's A Small Hotel
[4:28] 5. Nancy With The Laughing Face
[8:19] 6. The Blues Is Mine
[7:57] 7. Milt & Hal (Take 3)
[4:33] 8. Pick Yourself Up
[4:26] 9. Little Miss Maudlin
[8:02] 10. There's A Small Hotel (Take 1)

This is really an album led by tenor saxophonist Hal Singer, which accounts for the generous amount of R&B in the music. Not that Milt Buckner was moving it in the other direction because Buckner was comfortable in a number of musical settings including jazz, jump blues, and R&B. The pairing of Singer and Buckner gives this album a nice flavor as evidenced by the sound samples.

Other members of the ensemble are John Letman on trumpet and Tiny Grimes on guitar. Letman was also a session leader because his album, A Funky Day In Paris, was also being recorded during the same sessions and the entire ensemble appears on both. Having the great Tiny Grimes on guitar is pure icing on a rather delicious cake. ~Mike Tarrani

Milt & Hal

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Sara Jones - Daydream A Little

Bitrate: MP3@320K/s
Time: 59:47
Size: 136.9 MB
Styles: Jazz vocals
Year: 2010
Art: Front

[3:49] 1. Garota De Ipanema
[2:43] 2. Aquarela Do Brazil
[4:38] 3. Overjoyed
[4:04] 4. I'll Take Romance
[5:12] 5. Les Feuilles Mortes
[4:58] 6. Some Other Time
[2:54] 7. Embraceable You
[3:30] 8. Only Trust Your Heart
[7:06] 9. The Look Of Love
[3:14] 10. Dream Dancing
[4:57] 11. Mona Lisa
[5:15] 12. At Seventeen
[4:01] 13. Tristeza
[3:20] 14. Chega De Saudade

Romero Lubambo, guitar; Nilson Matta, bass; Duduka Da Fonseca, drums; Paul Langosch, bass - tracks 4,6,7,10,12; Kevin Watt, flugelhorn - track 2,4,9;

From the first notes that Sara Jones sings on her debut CD, "Daydream A Little," it is obvious that a bright new vocalist is already making her mark on the music world. Her voice is very appealing, inviting and youthful. She revitalizes “The Girl From Ipanema” in a version that owes little to Astrud Gilberto--she swings, and her rendition is full of joy. In fact, one can easily imagine and even hear her smiling through her music.

The same qualities are heard throughout "Daydream A Little," a mixture of jazz and Brazilian standards that also includes a few superior pop songs. Teamed with guitarist Romero Lubambo, bassist-producer Paul Langosch, and the members of Trio da Paz, Sara Jones' debut is memorable, musical and infectious.

Born in Thailand and raised on the Eastern shore of Maryland, she began performing music as a pianist. “My Mom, grandmother and great aunt played piano so there was always a piano in the house,” remembers Sara. “I caught the bug when I was five. Although I mostly played classical music, I also listened to a lot of my grandparents' records and tapes of big bands.” Sara did not start singing seriously until she was in high school, winning the lead in the musical Anything Goes where she enjoying performing Cole Porter's music.

Daydream A Little

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The Rick Fines Trio - Riley Wants His Life Back

Bitrate: MP3@320K/s
Time: 47:02
Size: 107.7 MB
Styles: Contemporary blues
Year: 2006
Art: Front

[4:56] 1. Riley Wants His Life Back
[3:02] 2. Let Me Please You
[3:59] 3. Can You Forgive Me
[2:59] 4. Perfect Politician
[5:13] 5. Got To Get My Rest
[2:53] 6. What's Home To Me
[3:10] 7. Just A Little Kiss
[3:24] 8. Swingin' In The Trees
[4:33] 9. I Miss Her
[4:50] 10. You Can't Trust The River
[2:49] 11. I Just Had To Ask
[5:09] 12. Livin' Fast

The newest album, Riley Wants His Life Back, is an all- original collection. With Rob Phillips on piano and Richard Simpkins on upright bass, the Rick Fines Trio shines with a playfulness and level of comfort that shows their years of playing together. A small cast of guests compliment the recording. Al Webster joins in on drums for half the album. Chris Whiteley adds his trumpet or cornet to three songs.

Mathew Fines (Dobro) and Peter Andree (accordion) play on a song each. Alec Fraser steps up to the microphone several times in this, the third Fraser/Fines co-production. This new CD has quickly been hailed as Fines’ strongest yet. In addition to a busy touring schedule, Fines conducts classes and workshops. For several years now he has taught fingerstyle guitar at the Haliburton School of the Arts in Ontario and instructed at the Hornby Island Blues Workshop in British Columbia. Rick is part of the Blues In The Schools programs in both Ottawa and Toronto.

Riley Wants His Life Back

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James Hughes-Jimmy Smith Quintet - Ever Up And Onward

Bitrate: MP3@320K/s
Time: 65:03
Size: 148.9 MB
Styles: Post bop, Straight ahead jazz
Year: 2015
Art: Front

[5:48] 1. Audio Culture
[6:08] 2. Dots
[0:58] 3. Luca's Interlude
[5:56] 4. East Detroit
[7:57] 5. There Is A Balm In Gilead
[2:03] 6. Drum Intro
[6:04] 7. Viridian
[5:06] 8. Zebras, Penguins And Bunny Rabbits
[6:37] 9. Keepin' It Real
[4:18] 10. Transgender Fender Bender
[6:49] 11. I'll Remember April
[7:15] 12. I'll Close My Eyes

Jimmy Smith-trumpet; James Hughes-saxophones; Phil Kelly-piano; Takasi Iio-bass; Nate Winn-drums.

We play original tunes in a modern jazz setting with a Detroit edge. Our music has personality, is impressionistic and swings. We have ample space for solos and they are surrounded by fresh, intricate melodies. We draw on our travels and experiences for inspiration and try to tell stories through our instrumental music.

Ever Up And Onward

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Mary Coughlan - Love For Sale

Styles: Jazz, Vocal
Year: 1995
File: MP3@320K/s
Time: 51:17
Size: 119,9 MB
Art: Front

(4:58)  1. A Thrill's A Thrill
(4:50)  2. Moon Over Bourbon Street
(2:34)  3. Baby Plays Around
(3:44)  4. You Go To My Head
(4:59)  5. Love For Sale
(4:22)  6. A Fine Romance
(3:48)  7. Damn Your Eyes
(3:52)  8. To Love A Man
(4:08)  9. Drinking The Diamonds
(2:50) 10. Upon A Veil Of Midnight Blue
(4:54) 11. These Boots Are Made For Walking
(6:14) 12. You Send Me

Irish torch singer Mary Coughlan was born in Galway in 1956; after enduring a painful adolescence that included bouts with drugs and alcohol as well as a stay in a mental hospital, she relocated to London at the age of 19, living in a hippie squat. After several lean years of waitressing and sweeping streets, Coughlan returned to Ireland in 1974, where a chance encounter with Dutch musician Erik Visser helped point her towards a singing career; specializing in jazz and blues, she began slowly earning a reputation on the pub circuit, which resulted in a handful of television appearances. From there, she and Visser moved on to sold-out concert dates, and in 1985 Coughlan finally recorded her debut LP, Tired and Emotional, a major hit in her native land. A number of other records followed in the years to come, and she became a critical favorite throughout much of Europe; with 1997's After the Fall, Coughlan made her U.S. debut, soon earning a devoted following on American shores as well. Three years later, Coughlan issued the vibrant tribute album Sings Billie Holiday. Long Honeymoon appeared in spring 2001. 

~ Bio  https://itunes.apple.com/gb/artist/mary-coughlan/id68546525#fullText

Personnel:  Richie Buckley – saxophone;  Robbie Casserly – drums;  Mary Coughlan – vocals;  James Delaney – keyboard;  Dick Farrelly – guitar;  Paul Moore – double bass

Love For Sale

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Ray Charles - Genius Loves Company (10th Anniversary Edition)

Styles: Vocal, R&B, Soul
Year: 2014
File: MP3@320K/s
Time: 61:01
Size: 141,0 MB
Art: Front

(3:59)  1. Ray Charles & Norah Jones - Here We Go Again
(3:47)  2. Ray Charles & James Taylor - Sweet Potato Pie
(3:56)  3. Ray Charles & Diana Krall - You Don't Know Me
(4:00)  4. Ray Charles & Elton John - Sorry Seems To Be The Hardest Word
(3:32)  5. Ray Charles & Natalie Cole - Fever
(4:35)  6. Ray Charles & Bonnie Raitt - Do I Ever Cross Your Mind?
(5:01)  7. Ray Charles & Willie Nelson - It Was A Very Good Year
(5:16)  8. Ray Charles & Michael McDonald - Hey Girl
(4:26)  9. Ray Charles & B.B. King - Sinner's Prayer
(4:33) 10. Ray Charles & Gladys Knight - Heaven Help Us All
(4:55) 11. Ray Charles & Johnny Mathis - Over The Rainbow
(3:44) 12. Ray Charles & Van Morrison - Crazy Love (Live)
(5:04) 13. Ray Charles & Poncho Sanchez - Mary Ann
(4:06) 14. Take 6 - Unchain My Heart

"The way these days just rip along, too fast to last, too vast, too strong..." ~ Jackson Browne

The final recording of Ray Charles, Genius Loves Company, enjoys its tenth anniversary. It is striking to consider that it has been over ten years since the death of Ray Charles, one of the most imposing figures in American music. The music made in the second half of the twentieth century has had a remarkable staying power owing partially to its revolutionary quality and the near frantic dedication of the Post-World War II Baby Boom generation. Charles' contributions to this music are without measure. It is useful to consider the role, or roles, played by Charles in American music. He deftly fused the blues with gospel music forming that offshoot of rhythm and blues: soul music. He then took this new eutectoid and mashed it up with jazz, creating an earthy humus. Once he had done this, he took on country and western music, infusing that mostly-white genre with the same soul music he previously created, resulting in the groundbreaking Modern Sounds in Country & Western Music (ABC, 1962). Charles' reach was long and deep. 

Genius Loves Company is Charles' valedictory. It was recorded between June 2003 and March 2004, with Charles passing away from liver disease on June 10, 2004. While Charles' health was certainly questionable during recording, there is no indication of diminished capacity. His singing is robust and vibrant, overt and assertive. Charles had to have his eye on the end but he was never going to let on. If anything can be said of Charles' singing voice, it is that he "became more himself" as he aged. If Johnny Cash's late voice and appearance were those of an Old Testament prophet, then Ray Charles in autumn was a dying Mozart composing his sunny Clarinet Concerto less in defiance than acceptance.

Duet recordings, pitting old masters with contemporary musicians, are nothing new. Tony Bennett has made a cottage industry of them (and not to any bad effect at that). Time was of the essence for Charles and what better a love letter to his mastery than for him to share the stage with so many like-minded musicians who admired him so. It was because of this programming, the chosen artists and some shrewd marketing that Genius Loves Company was Charles' first top ten recording in 40 years. One of the biggest criticisms of the Charles biopic Ray was that the story ended 40 years early. My argument would be, "what was there left for Ray Charles to do?" This is an album of artists' collaborative praise for a fellow artist. Programming for the original recording was superb as was duet partner and song choice. Norah Jones, a closet country queen masquerading as a jazz artist, is a perfect foil to Charles on "Here We Go Again." Broad country block chords and Jones' creamy voice properly accent Charles' sacred sandpaper tone. 

Charles is most simpatico with his near contemporaries. "Fever" with Natalie Cole and "Heaven Help Us All" with Gladys Knight are love fests. Charles digs deep with BB King (and Lucille) on "Sinner's Prayer" and Bonnie Raitt on "Do I Ever Cross Your Mind." Raitt's signature slide guitar, ever influenced by Lowell George, is captured beautifully sonically. Ray Charles possessed a stylistic depth and breadth with few peers. When considering who could step in and accept the mantle from Charles after his death, I posited two names, both gratefully represented here. Willie Nelson has had as varied a career as Charles, sampling and then mastering every genre attempted. The two duet on a song closely associated with another such kindred spirit, Frank Sinatra. "It was a Very Good Year" is an unexpected luxury of artistic irony and grace). Van Morrison shares and ultimately offers his "Crazy Love" as a gift to Charles, the two crossing traditions with all we have in common.  The present Deluxe Edition sports a piquant "Mary Ann" with percussionist Poncho Sanchez and an awesome "Unchain My Heart" with Take 6. An hour-long DVD detailing the making of Genius Loves Company is a bit of gravy for this Fall class. Happy Birthday, Genius Loves Company... it has been a very good year. ~ C.Michael Bailey  http://www.allaboutjazz.com/ray-charles-genius-love-company--10th-anniversary-deluxe-edition-by-c-michael-bailey.php
 

Personnel: Ray Charles: vocals, keyboards; Ray Charles-vocals, piano; Norah Jones, James Taylor, Diana Krall, Elton John, Natalie Cole, Bonnie Raitt, Willie Nelson, Michael McDonald, Gladys Knight, Johnny Mathis, Van Morrison-vocal; B.B. King, guitar, vocal; Billy Preston-organ; Poncho Sanchez: percussion; Take 6; 63-piece orchestra; others.

Genius Loves Company (10th Anniversary Edition)

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Kirk Whalum - Promises Made : The Millennium Promise Jazz Project

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 62:37
Size: 143,8 MB
Art: Front

(4:07)  1. Stand By Me
(6:43)  2. Bridge Over Troubled Water
(4:46)  3. I Wish I Knew (How It Feels to Be Free)
(6:10)  4. A Day In The Life
(3:57)  5. The Fool on the Hill
(6:06)  6. People Get Ready
(3:39)  7. Eleanor Rigby
(8:39)  8. I'll Take You There
(4:33)  9. A Change Is Gonna Come
(5:36) 10. War
(6:15) 11. What's Going On
(2:00) 12. (Untitled)

With precious few exceptions, star-studded lineups on benefit recordings are usually a mixed bag at best particularly when it comes to the jazz arena. We tend to support these albums more as a way of showing solidarity than for their musical value. This set of stellar, contemporary jazz versions of socially conscious pop and soul songs is a clear exception. Promises Made is a benefit offering on Koch for the Millennium Project, an organization dedicated to the relief of hunger, disease prevention and economic development in Africa. This set is co-directed by saxophonist Kirk Whalum and pianist Takana Miyamoto. Some of those who signed on for this date include George Duke, David Sanchez, Marcus Printup, Russell Gunn, and Earl Klugh, who appear as soloists in different settings with a couple of different rhythm sections. The album was recorded in Nashville and produced by Miyamoto and Whalum with Norbert Simmons acting as executive producer.

This set is a treat: it's polished to be sure, but it's far from slick. The rhythms are all organic, there are no programmed beats, just drums and percussion instruments. Every selection is drenched in real emotion and, to quote Charles Mingus, "plenty, plenty soul." The opener is a great place to start: Whalum and Miyamoto front a septet performing Ben E. King's classic "Stand by Me," which becomes a hymn of solidarity underscoring this project. With a B-3, electric guitar, two bassists (upright and electric), drums, and percussion behind the soprano and piano, it is reminiscent of the Blue Note soul-jazz sound of the mid-'60s except that the production is pure 21st century, smooth and seamless. The melody is pronounced and there is a bridge for the soloists to move forward a bit before returning to it. It is groove conscious without being synthetic and is drenched with honest emotion. The songs of Lennon and McCartney are well represented here: "Eleanor Rigby," "A Day in the Life," and "The Fool on the Hill" are present. 

In addition, there as are excellent readings of Curtis Mayfield's standard, "People Get Ready," Barrett Strong's and Norman Whitfield's "War," Marvin Gaye's "What's Goin' On," Sam Cooke's "A Change Is Gonna Come," Paul Simon's "Bridge Over Troubled Water," Alvertis Isbell's "I'll Take You There," (so closely associated with the Staple Singers), and the civil rights-era classic, "I Wish I Knew (What It Means to Be Free)" immortalized byNina Simone. As fine as this set is as a whole, there are some clear standouts: "A Day in the Life" with Klugh's warm but funky acoustic guitar and gorgeous piano work by Miyamoto, the long improv that introduces the Mayfield tune with Whalum at his soloing best on soprano and a nice koto part woven in by Junko Takeo; Sanchez's lyrical tenor paired with Printup's trumpet on "Fool on the Hill"; and the five-horn front line of the Common Ground Collective on "War," with talking drum, wah-wah guitars, and smoking breakbeats. This is not only a benefit record worth supporting, it's a musical statement that stands on its own; it is worth celebrating as one of contemporary jazz's shining lights in 2008. ~ Thom Jurek  http://www.allmusic.com/album/promises-made-the-millennium-promise-jazz-project-mw0000796603

Personnel: Kirk Whalum (soprano saxophone, tenor saxophone); Kevin Whalum (vocals, background vocals); Paige Lackey Martin, JIVA Singers, Alex Lattimore, Chanda McKnight, Lizz Wright (vocals); Kevin Turner, Earl Klugh, Kevin Turner (guitar); Junko Takeo (koto); Takana Miyamoto (melodica, piano, Fender Rhodes piano); Kenton Bostick (alto saxophone, drums); Darryl Reeves (alto saxophone); David Sanchez , Jorga Mesfin, Kenneth Whalum, Kebbi Williams (tenor saxophone); Alex Lowe (baritone saxophone); Dallas Smith & the Boys From Shiloh, Marcus Printup, Russell Gunn (trumpet); Mausiki Scales (Fender Rhodes piano, percussion); George Duke (Fender Rhodes piano); Ralph Lofton (Hammond b-3 organ); Chris Kent, Zack Pride (bass instrument); Terreon Gully (drums, drum, tambourine); J.D. Blair (drums, drum, percussion); Chris Burroughs (drums); Adebisi Adeleke (talking drum); Juan Carlos Santos, Rafael Pereira (percussion); Joey Kibble, Mark Kibble (background vocals).

Promises Made : The Millennium Promise Jazz Project

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Sheena Davis Group - Matchmaker

Styles: Jazz, Vocal
Year: 2007
File: MP3@320K/s
Time: 52:26
Size: 121,2 MB
Art: Front

(4:02)  1. Jamie's Grin
(5:09)  2. You Don't Know Me
(4:34)  3. Close Your Eyes
(3:31)  4. Matchmaker, Matchmaker
(3:50)  5. Cheek To Cheek
(3:45)  6. At the Start
(5:24)  7. Just For A Thrill
(4:45)  8. Almost Like Being in Love
(4:12)  9. Let's Face the Music
(4:40) 10. Perfidia
(3:35) 11. Spring In My Step
(4:52) 12. Shboom

Vocalist Sheena Davis is one of the UK's leading jazz vocalists and her band, the Sheena Davis Group, has become established as one of Britain's most exciting jazz ensembles. Davis first came to the attention of the jazz world as vocalists with the National Youth Jazz Orchestra. Since leaving NYJO in 1998 she has impressed with her stunning vocal ability, her musicality and sheer energy, and her innate sense of swing and dynamic voice.

Davis's new CD is based around the jazz standards to which she has added three original compositions, as well as re-workings of songs associated with the modern popular songbook. http://www.amazon.co.uk/Matchmaker-Sheena-Davis-Group/dp/B000BHAO3U

Personnel: Sheena Davis - vocals, Robert Rickenberg - bass, Tom Pilling - piano, keyboard, Stephen Rushton – drums, Nigel Price - guitar, Derek Nash - tenor saxophone, Steve Vintner - vibes.

Matchmaker

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Louis Durra - Dreaming

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 57:19
Size: 131,7 MB
Art: Front

(7:18)  1. Falling In Love With Love
(6:08)  2. Honeysuckle Rose
(4:17)  3. 35 Bar Waltz
(4:20)  4. Dreaming
(3:53)  5. Stella By Starlight
(5:21)  6. It's Easy To Remember
(4:31)  7. 18 Bars
(4:48)  8. Ballad For Bonnie
(4:10)  9. Too Many Times
(6:58) 10. Blues For Tomorrow
(5:30) 11. The Nearness Of You

"Jerry, Darek and I had a steady gig for a year before I booked the session that comprises most of Dreaming. We had great communication in that group and I wanted to document some of those moments on tape. We recorded "live to two track" one night a few days after my son's birth. It seemed like a door opened as we played. The music felt fluid and fluent. I decided to release this session years later because the music still moves me. Three of the tunes come from different sessions, yet felt right for the CD. We had a great time recording this music; may the listening be as rewarding!" http://www.cdbaby.com/cd/louisdurra2

Personnel:  Louis Durra – piano;  Darek Oles – bass;  Jerry Kalaf – drums with Don Kasper - bass tracks 3 & 5, Trey Henry - bass on track 7.

Dreaming

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Stefano Battaglia - Pastorale

Styles: Piano, Avant-Garde
Year: 2010
File: MP3@320K/s
Time: 61:23
Size: 152,5 MB
Art: Front

(6:28)  1. Antifona Libera
(5:59)  2. Metaphysical Consolations
(3:55)  3. Monasterium
(2:28)  4. Oracle
(3:58)  5. Kursk Requiem
(8:05)  6. Cantar Del Alma
(4:50)  7. Spirits Of Myths
(7:00)  8. Pastorale
(5:50)  9. Sundance In Balkh
(9:48) 10. Tanztheater
(2:56) 11. Vessel Of Magic

In many ways, Italian piano explorer Stefano Battaglia's work with the German ECM label beginning with the opaque beauty and greater extremes of 2006's Raccolto, and continuing with 2007's more ambitious and stylistically far-reaching Re: Pasolini has been leading to this. Pastorale, unlike those previous releases, is a single disc, pared down in other ways as well. Instead of the trios on Raccolto and quintet/sextet of Pasolini, here Battaglia is back with only his longstanding percussionist, Michele Rabbia. The inherent flexibility and intimacy of the duo setting affords Battaglia the opportunity to explore a program of quiet, near-static landscapes and more florid terrain, combining natural acoustic sounds with subtle electronics and delicate prepared piano treatments. Battaglia is a pianist who, rather than straddling the classical and jazz worlds, finds his own meeting place where they come together in remarkable synchronicity. Battaglia also dissolves the line between form and freedom, drawing from the entire musical spectrum as he touches on the Middle East with "Sundance in Balkh." A sketch of a context joins with Rabbia's frame drum to develop a piece that also straddles the fence between minor key plaintiveness and major key celebration, building in intensity and intent over the course of six minutes. On the title track, Battaglia creates an unsettling juxtaposition between right handed lyricism and left-handed dissonance.

Battaglia's use of prepared piano and Rabbia's incorporation of electronic sound sources expands what might appear, on paper, to be a simple pairing of piano and percussion. The arc of Pastorale builds from the ground up, with the melancholy "Antifona Libera" founded on rich, repeated voicings that demonstrate Battaglia's versatile touch; soft, when necessary, strong when demanded. His part grows almost exponentially, as Rabbia's bowed cymbal and other devices create textural, near-lyrical lines that float above Battaglia's mid-register. The beauty of Rabbia's work on this disc is that, while Battaglia's playing could stand on its own, the percussionist's additions whether textural or gently rhythmic don't just enhance the sound, they expand it in significant and profound ways. That this duo builds eminently appealing soundscapes is all the more surprising when it turns more foreboding, as it does on "Spirits of Myths," or busier, as it does on "Oracle" which, with Battaglia's flittering lines and Rabbia's percussion filling the entire three-dimensional audioscape, is more about color and feel than melody and pulse. 

"Metaphysical Consolations" may, in its harmonic and rhythmic stasis, be closer to Morton Feldman territory than anything in the jazz sphere, but with Rabbia's soft brushwork driving the brooding "Cantar del Alma," Battaglia comes closer to the jazz vernacular, albeit impressionistically and imbued with an unmistakable melancholy classicism. An album of contrasting dark thoughts and brighter ideations, the masterful Pastorale strikes an almost immediate subconscious chord. Resonating on a deep level, it's Battaglia's purest, most vividly evocative and provocative album to date. ~ John Kelman  http://www.allaboutjazz.com/pastorale-stefano-battaglia-ecm-records-review-by-john-kelman.php

Personnel: Stefano Battaglia: piano, prepared piano; Michele Rabbia: percussion, electronics.

Pastorale

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