Esther Beckman - Only You

Size: 158,1 MB
Time: 68:04
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz/Pop Vocals
Art: Front

01. Teach Me Tonight (3:28)
02. Since You Stayed Here (2:42)
03. Let Me Try Again (4:20)
04. Times To Remember (4:43)
05. Laughter In The Rain (3:33)
06. I Just Can't Stop Loving You (3:47)
07. Whatever Happened To Our Love (4:08)
08. You Can't Buy My Love (2:52)
09. Don't Misunderstand (4:57)
10. If I Never Sing Another Song (3:45)
11. Tell Me (3:49)
12. The Best Things Happen While You're Dancing (2:29)
13. I Wish I Knew (4:06)
14. It Could Happen To You (2:44)
15. Don't Let Love Make A Fool Of You (3:11)
16. Is There A Tomorrow For You And Me (4:28)
17. How Can It Be (4:40)
18. Only You (4:15)

Esther Beckman is one of a kind. The rich, vibrant texture that resonates from her voice permits her to vocalize any genre of traditional, popularmusic and she demonstratesthis ability in standards like, "Teach Me Tonight," "Let Me Try Again," and new ballads like, "times To remember," and, "Whatever Happened To Our Love?" as well as in the other fourteen memorable songs embodied in this album. Esther has been singing professionally most of her adult life. In 2007 she made her New York City cabaret debut with a show entitled, "Looking Glass Reflections from Mancini," for which she won the prestigious Manhattan Association of Cabaret Award for best show of its kind that year. That same year she made her jazz debut at the famous Iridium Club in Manhattan. Esther, notwithstanding her gigs in the New York metropolitan area, has been flying under the national radar much too long.

Only You

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Maria Schneider Orchestra - The Thompson Fields

Size: 178,7 MB
Time: 77:25
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Big Band
Art: Front

01. Walking By Flashlight (5:01)
02. The Monarch And The Milkweed (12:07)
03. Arbiters Of Evolution (13:59)
04. The Thompson Fields (10:00)
05. Home (7:46)
06. Nimbus (9:29)
07. A Potter's Song (5:29)
08. Lembrança (13:30)

There's a wealth of information to be found inside the beautiful packaging that accompanies this release, but a brief Theodore Roosevelt quote may be the most telling piece of text to be found there. It reads: "There is nothing more practical in the end than the preservation of beauty, than the preservation of anything that appeals to the higher emotions in mankind." That really says it all about this artist and her work, for there is nobody more capable of harnessing emotions in music and projecting and preserving the beauty and power of the natural world in sound than Maria Schneider. She's demonstrated that time and again, and she does it once more on this awe-inspiring release.

The Thompson Fields arrives after a lengthy gestation: eight years after the last Maria Schneider Orchestra album the stunning Sky Blue (ArtistShare, 2007). But if it takes Schneider that long to give proper birth to this quality of recorded music, so be it. You can't rush perfection, and this music is as close as you can get to that lofty and unattainable goal. Across these eight tracks, the Maria Schneider Orchestra puts ornithological ideals into play ("Arbiters Of Evolution"), works with nebulous themes and foreboding thoughts ("Nimbus"), takes a trip into Brazilian territory ("Lembranca"), pays tribute to one of its own dearly departed members ("A Potter's Song"), and bottles the attractively complex lingering scents of nostalgia and sentimentality.

As always, the singular personalities in this band help to elevate the music. Gary Versace's accordion wistfully traces its way across vast landscapes; Frank Kimbrough's piano is elemental, conjuring thoughts of gentle winds and the morning dew; Scott Robinson turns the alto clarinet into a thing of elegance and beauty ("Walking By Flashlight"); Marshall Gilkes' trombone and Greg Gisbert's fluegelhorn each balance the weighty and the wondrous in their expressions, eventually crossing paths while cresting the waves of the orchestra ("The Monarch And The Milkweed"); and guitarist Lage Lund draws on light and energy, spinning them both back out in controlled fashion. Those are just a few of the notable names, roles, and deeds, but those descriptions, admittedly, fall short. No words can properly convey the wonders embedded in this music.

Maria Schneider is truly fearless in her expression of self, creating grand statements and musical reveries built from intimate memories, thoughts, and feelings. Her willingness to share these experiences, her unparalleled skills at molding them into music, and the talents of the musicians who populate her orchestra all contribute to the success that is The Thompson Fields. ~´ Dan Bilawsky

Personnel: Steve Wilson: alto saxophone, soprano saxophone, clarinet, flute, alto flute; Dave Pietro: alto saxophone, soprano saxophone, clarinet, flute, alto flute, bass flute, piccolo; Rich Perry: tenor saxophone; Donny McCaslin: tenor saxophone, clarinet, flute; Scott Robinson: baritone saxophone, bass clarinet, alto clarinet, clarinet; Tony Kadleck: trumpet, fluegelhorn; Greg Gisbert: trumpet, fluegelhorn; Augie Haas: trumpet, fluegelhorn; Mike Rodriguez: trumpet, fluegelhorn; Keith O'Quinn,: trombone; Ryan Keberle: trombone; Marshall Gilkes: trombone; George Flynn: bass trombone; Gary Versace: accordion; Lage Lund: guitar; Frank Kimbrough: piano; Rogerio Boccato: percussion (8); Clarence Penn: drums; Jay Anderson: bass.

The Thompson Fields 

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Zosja - Around The Sun

Size: 106,6 MB
Time: 45:51
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Soul/Pop Vocals
Art: Front

01. Paint The World (4:12)
02. Nature's Gift (5:18)
03. Song About The Sun (3:23)
04. Special Kind Of Love (4:37)
05. Lidlish (5:22)
06. Nadia (5:24)
07. Dreams (4:17)
08. Set Your Mind Free (4:38)
09. Jump Around (3:15)
10. King Without A Crown (5:20)

Zosja brings the listener a new swinging sound. In their music they travel trough different styles such as Jazz, Soul, Funk and African. Melody, groove and virtuosity is what they carry along on this travel. They create their arrangements making use of mystic Arabic sounds to bouncing and highly danceable grooves. The whole sounds energetic, sparkling and optimistic.

On the debut album ''Around the Sun'' most compositions are written by drummer Daniel van Dalen. Along with Pieter Althuis on bass and Lucas Meijers on guitar, lead singer Zosja surprises the audience with their cross-over Jazz sound. On this album special appearances are made by Edison-prize-winner Bart Wirtz on saxophone and jazz-violin player Julia Phillippens.

About Zosja:
Even though the band is named after their singer Zosja, who is known with the Dutch audience because of her participance on the first 'Idols' edition, the quartet is not found solely around the singer.
Within Zosja every band member is an equal and essential component of the music. The players listen well to each other and their is a mutual joy while performing.
They are all raised in a musical environment and they have musical blood running through their veins. They bundle their years of experience in the music scene together and have been performing a lot in the Dutch Jazz scene.

Around The Sun

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Johannes Zetterberg - Equanimity

Size: 140,8 MB
Time: 59:58
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Jazz Fusion
Art: Front

01. Seismic (6:54)
02. Wide Travels (4:48)
03. What About The Lonely Ones (7:28)
04. Anthony Of The Desert (4:02)
05. The Listening Moon (Lullaby For Alicia) (4:07)
06. Vocation (8:11)
07. ...Like Wildfire (5:18)
08. Equanimity (7:51)
09. The Hopes And Fears (3:22)
10. 500 Miles To Heaven (2:04)
11. Second Nature (5:48)

Johannes Zetterberg returns in full force with Equanimity, his first offering in four years. Featuring an almost entirely new cast of characters, this is a brand new collection of original material that draws from a large palette of influences, and is certain to appeal to fusion aficionados around the globe.

Lineup:
Johannes Zetterberg - Fretted/fretless bass & keyboards
Jonathan Lundberg - Drums
Andreas Ekstedt - Percussion
Joel Lyssarides - Acoustic piano & synth
Carl Mörner Ringström - Acoustic/electric guitar
Björn Arkö - Soprano/tenor saxophone & EWI
Jonne Bentlöv - Flugelhorn
Accent & Göran Edman - Vocals
The Tom Walsh Horns:
Tom Walsh, George Hogg & Reuben Fowler - Trumpets
Tommy Laurence - Tenor saxophone

Equanimity

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Blossom Dearie - Once Upon A Summertime

Bitrate: MP3@320K/s

Time: 35:34

Size: 81.4 MB

Styles: Standards, Vocal jazz

Year: 1958/1992/2012

Art: Front

[3:19] 1. Tea For Two

[4:15] 2. The Surrey With The Fringe On Top

[1:58] 3. Moonlight Saving Time

[4:15] 4. It Amazes Me

[3:04] 5. If I Were A Bell

[2:01] 6. We're Together

[2:37] 7. Teach Me Tonight

[2:42] 8. Once Upon A Summertime

[1:38] 9. Down With Love

[4:15] 10. Manhattan

[2:15] 11. Doop-Doo-De-Doop (A Doodlin' Song)

[3:09] 12. Love Is Here To Stay

Vocalist Blossom Dearie's Summetime is a low-key collection of chamber-jazz arranged for a small trio. Working with guitarist Mundell Lowe, bassist Ray Brown, and drummer Ed Thigpen, Dearie sings the material with a gentle conviction; she may never sound passionate, but she never sounds like she doesn't care. The result is a pleasant record, that might never be a compelling listen, but it's never a bad one. ~Thom Owens

Once Upon A Summertime

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Charlie Byrd - The Guitar Artistry Of Charlie Byrd

Bitrate: MP3@320K/s
Time: 45:51
Size: 105.0 MB
Styles: Guitar jazz, Brazilian jazz
Year: 1960/1997
Art: Front

[1:54] 1. Taking A Chance On Love
[2:50] 2. Moonlight In Vermont
[3:42] 3. Speak Low
[3:00] 4. Nuages
[2:17] 5. Everything I've Got (Belongs To You)
[2:41] 6. Makin' Whoopee
[3:21] 7. Django
[1:44] 8. Nice Work If You Can Get It
[5:26] 9. The House Of The Rising Sun
[3:47] 10. Ring Them Harmonics
[9:40] 11. Taboo
[5:24] 12. To Ginny

Before he toured South America and discovered bossa nova, guitarist Charlie Byrd already had his recognizable sound formed. A master on the acoustic guitar who was well trained in classical music, Byrd performed regularly in Washington D.C. from 1958-1960, recording for the tiny Offbeat label. This CD reissue of a set originally on Offbeat and then put out by Riverside features Byrd and his regular trio (with bassist Keter Betts and drummer Buddy Deppenschmidt) performing concise versions of eight jazz standards, including two songs under two minutes, and longer versions of three obscurities, plus "The House of the Rising Sun." The melodic music is pleasing (if not too substantial), predictable and reasonably enjoyable, with the highlights including "Moonlight in Vermont," "Nuages," "Django," and the lengthy "Taboo." ~Scott Yanow

The Guitar Artistry Of Charlie Byrd

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Atsuko Hashimoto - Time After Time

Bitrate: MP3@320K/s
Time: 63:25
Size: 145.2 MB
Styles: Organ jazz
Year: 2008
Art: Front

[6:06] 1. Time After Time
[4:23] 2. Just One Of Those Things
[6:03] 3. I've Never Been In Love Before
[6:15] 4. Max
[6:28] 5. Estate
[5:56] 6. The End Of A Love Affair
[7:01] 7. Shiny Stockings
[7:03] 8. Love For Sale
[5:29] 9. Please Send Me Someone To Love
[4:20] 10. Little Suede Shoes
[4:16] 11. Summertime

Atsuko Hashimoto (organ); Yutaka Hashimoto (guitar); Jeff Hamilton (drums).

When Atsuko Hashimoto was brought to Southern California by Jeff Hamilton, the legendary drummer who fell in love with her music when he jammed with her in Osaka, Japan, she wowed and captured the heart of the discriminating audience. With her successful performances at the Monterrey Jazz Festival (2007) and the Lionel Hampton International Jazz Festival (2008), her fan base in the US is rapidly increasing.

Her latest release from Japan, Time After Time, was recorded in 2006 and 2007 when she was touring Los Angeles with Jeff Hamilton and Yutaka Hashimoto, her husband and talented guitarist. What is most obvious from the start is the sympathetic, locked-in rhythmic feel between Atsuko and Hamilton. Together they create a wonderful groove and swing feel that surround you like a comfortable blanket.

The three musicians complement each other perfectly, providing well-timed comments and often finishing one another's musical sentences. Atsuko shows her comprehensive approach to jazz organ and complete mastery of the instrument. Hamilton showcases his masterful drumming, utilizing his sticks, brushes and hands to the fullest extent.

Time After Time

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Cal Tjader - Sweeter Than Sweetness: Summer Passion

Bitrate: MP3@320K/s
Time: 74:50
Size: 171.3 MB
Styles: Latin jazz, Vibraphone jazz
Year: 2015
Art: Front

[5:26] 1. On Green Dolphin Street
[3:02] 2. Paunetto's Point
[2:48] 3. Misty
[2:56] 4. Speak Low
[6:53] 5. Summertime
[4:55] 6. Noonie's Groove
[4:08] 7. Triste
[2:42] 8. Mambo In Miami
[2:25] 9. Ben-Hur
[4:39] 10. Half And Half
[5:26] 11. Stompin' At The Savoy
[2:35] 12. Davito
[6:52] 13. Weep
[4:34] 14. This Can't Be Love
[2:31] 15. Ecstacy
[4:24] 16. Two Hundred Twenty Two Time
[3:52] 17. Fred's Ahead
[4:34] 18. Stablemates

Twofer: Tracks 1, 2, 3, 4, 7, 8, 9, 10, 12, 15 from "In A Latin Bag". Tracks 5, 6, 11,13,14, 16, 17, 18 from "Saturday Night/Sunday Night At The Blackhawk, San Francisco".

Cal Tjader (July 16, 1925–May 5, 1982) was an American Latin jazz musician. Unlike other American jazz musicians who experimented with the music from Cuba, the Caribbean, and Latin America, he never abandoned it, performing it until his death.

Tjader (pronounced “chay-der”) primarily played the vibraphone. He was also accomplished on the drums, bongos, congas, timpani, and the piano. He worked with numerous musicians from several cultures. He is often linked to the development of Latin rock and acid jazz. Although fusing jazz with Latin music is often categorized as “Latin jazz” (or, earlier, “Afro-Cuban jazz”), Tjader’s output swung freely between both styles.

Sweeter Than Sweetness: Summer Passion

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Eugenie Jones - Black Lace Blue Tears

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 52:17
Size: 120,8 MB
Art: Front

(5:06)  1. A Good Day
(4:38)  2. Can You Dance?
(5:01)  3. Take 5
(6:02)  4. All the King's Men
(3:45)  5. So Hard to Find
(4:24)  6. Black Lace Blue Tears
(4:41)  7. Perfect
(4:51)  8. I Want One
(4:42)  9. In a Shot of Tequila or Two
(5:10) 10. My Funny Valentine
(3:52) 11. Sat'day Night Blues

Seattle-based vocalist/composer/arranger Eugenie Jones didn't start out as such. A business and marketing major in college, Jones graduated and went on to be a business owner, consultant and all-around marketing roustabout. But life is never so simple and after her mother's death, Jones decided that it was time to pursue music as a vocation. On her debut Black Lace Blue Tears Jones flexes all of her creative muscles assembling nine originals and interpreting two standards, all at a high level. Jones taps the talent pool of the Seattle area for her support, snaring pianist Bill Anschell, bassist Clipper Anderson, drummer Mark Ivester and guitarist Michael Powers (all ubiquitous at Origin Arts). How she avoided the gravitational pull of the label is a modern marvel. That said, Jones proves she can compose in any vocal idiom infused with jazz, as shown on the Bacharach/David-tinged "A Good Day" or the Stevie Wonder-inspired "Can You Dance." "All The Kings Men" possesses an "Angel Eyes" quality, minor key and smoky, while the title cut reflects Linda Ronstadt. Clipper Anderson's deft bass seamlessly transforms the traditional jazz orientation into a crossover mode where nothing is lost in the translation.

Jones' interpretation of Paul Desmond's "Take Five" uses the lyrics written by Dave and Iola Brubeck. She removes the odd meter element, smoothing the piece with a warm and liquid delivery. "My Funny Valentine" holds up well to her interpretation, surely the trillionth performance of such. Jones is both daring and naive to cover the time honored ballad, but capably pulls it off because of her sheer and fearless talent. It is difficult to hear Black Lace Blue Tears as a debut recording because of its refinement. It should be interesting to see how Jones develops from here. ~ C.Michael Bailey  http://www.allaboutjazz.com/black-lace-blue-tears-eugenie-jones-self-produced-review-by-c-michael-bailey.php

Personnel: Eugenie Jones: vocals; Bill Anschell: piano; Clipper Anderson: bass; Mark Ivester: drums; Michael Powers: guitar.

Black Lace Blue Tears

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Kenny Burrell - Moon And Sand

Styles: Guitar Jazz
Year: 1979
File: MP3@320K/s
Time: 39:33
Size: 90,9 MB
Art: Front

(6:26)  1. Moon and Sand
(6:33)  2. My Ship
(4:19)  3. For Once in My Life
(2:57)  4. U.M.M.G.
(4:10)  5. Blue Bossa
(7:55)  6. Stolen Moments
(3:49)  7. Love for Sale
(3:21)  8. Lost in the Stars

This is a surprising release from Kenny Burrell, for the veteran guitarist plays half of the selections on acoustic guitar and does a very effective job giving a bossa nova rhythm (a la Laurindo Almeida and Charlie Byrd) to some of the tunes. The CD reissue, which also features bassist John Heard, drummer Roy McCurdy and percussionist Kenneth Nash, is mostly laidback, although the renditions of Billy Strayhorn's "U.M.M.G." and "Stolen Moments" swing. Best are the more lyrical pieces (such as "My Ship" and an unaccompanied "Lost In the Stars"), which allow Burrell to show off his pretty tone. ~ Scott Yanow  http://www.allmusic.com/album/moon-and-sand-mw0000611944

Personnel: Kenny Burrell (guitar); John Heard (bass); Ron McCurdy (drums); Kenneth Nash (percussion).

Moon And Sand

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Al Di Meola - Elysium

Styles: Guitar Jazz,  Fusion
Year: 2015
File: MP3@320K/s
Time: 65:54
Size: 151,5 MB
Art: Front

(6:49)  1. Adour
(5:06)  2. Cascade
(4:11)  3. Babylon
(6:04)  4. Purple and Gold
(4:37)  5. Esmeralda
(4:23)  6. Elysium
(5:17)  7. Amanjena
(4:44)  8. Sierra
(1:26)  9. Etcetera in E-major (Intro)
(5:18) 10. Etcetera in E-minor
(3:35) 11. Tangier
(6:32) 12. Stephanie
(3:15) 13. Monsters
(4:30) 14. La Lluvia

On Elysium Al Di Meola is playing both electric and acoustic guitar, in the style that is uniquely Al Di Meola's. Elysium features many new originals from one of the world's greatest guitarists. He came from the 'Land Of The Midnight Sun', sparkled on the jazz-rock stage as an 'Elegant Gypsy', came up trumps in the 'Casino' with all the right chords and melodies, and his 'Splendido Hotel' was the number one address for fusion fans around the globe. He finally achieved immortality together with John McLaughlin and Paco de Lucia on 'Friday Night In San Francisco'. For guitar lovers, the name Al Di Meola carries the same guarantee of quality that Ferrari does for sports car enthusiasts or Chateau Mouton-Rothschild for wine connoisseurs.

Al Di Meola was born in New Jersey in 1954 to an Italian-American family, and from his early days as a rising star in Chick Corea's legendary fusion combo Return To Forever right up to the present day, he has continually managed to refine his qualities: breathtakingly fast picking, skilful percussion effects the like of which had never been heard before, the effortlessness with which he can instantly switch from muscular axe-man rock to spinning gentle, romantic webs of melody. In the nineties, inspired by his love of the acoustic sounds of Latin America and the works of nuevo tango pioneer Astor Piazzolla, he made some delightful chamber music recordings with his group World Sinfonia. On more recent albums such as 'Consequence Of Chaos' (2006) and 'Pursuit Of Radical Rhapsody' (2011), all these penchants, influences and musical movements have fused into an unmistakeable sound: jazz rock meets world jazz. It's a stylistic aerobatics display, circling up to dizzying heights reminiscent of the boisterous solos Al used to play in his youth.

'Elysium' is the climax of this process so far. The artist has arrived where he always wanted to be. He himself thinks of Elysium as a 'place of perfect happiness'. A paradise where acoustic and electric components, triumphant rock and finely entwined jazz, delicate and pumping rhythms, guitars and keyboards, wide panoramas of rock and diaphanous carpets of sound come together in harmony. In this magical Elysium, everyone complements each other. Al Di Meola has brought together a five piece band with no bass. While he plays all the guitar parts himself, both acoustic and electric, including unbelievably fast and elegant riffs and effervescent rocking chords, three keyboard players and pianists provide shades of colour. This trio includes new recruit Philippe Saisse, who also contributes the composition 'La Lluvia'. The others have shared musical accomplishments with their band leader going back decades. Barry Miles has known Al since the seventies. Mario Parmisano can be heard on recordings such as 'Orange And Blue' (1994) and 'Flesh On Flesh' (2002). Two new rhythm players have now joined the team: percussionist Rhani Krija and drummer Peter Kaszas. Both of them are wide awake and always right up with the beat. The gates to paradise for guitar aficionados are open to everyone with 'Elysium'. ~ Editorial Reviews  http://www.amazon.com/Elysium-Al-Di-Meola/dp/B00P1YBEN2

Personnel: Al Di Meola (guitar); Mario Parmisano, Philippe Saisse, Barry Miles (keyboards); Péter Kaszás (drums); Rhani Krija (percussion).

Elysium

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Modern Jazz Quartet - Modern Jazz Quartet

Styles: Jazz, Bop, Cool
Year: 1952
File: MP3@320K/s
Time: 35:55
Size: 82,9 MB
Art: Front

(3:29)  1. Softly, As In A Morning Sunrise
(3:38)  2. Love Me Pretty Baby
(2:57)  3. Autumn Breeze
(3:08)  4. Milt Meets Sid
(3:15)  5. Moving Nicely
(2:56)  6. D. & E.
(2:31)  7. Heart And Soul
(3:01)  8. True Blues
(2:48)  9. Bluesology
(2:34) 10. Yesterdays
(2:58) 11. Round About Midnight
(2:34) 12. Between The Devil And The Deep Blue Sea

This album is certain to be placed in the MJQ section of any shop that carries it. In reality though, only four of the cuts here feature the permanent, stand-alone, 1952-vintage Modern Jazz Quartet; the other eight having been done in the summer and fall of 1951, when they were still known as the Milt Jackson Quartet, with Jackson providing all of the original material. The differences are so subtle as to be indistinguishable Milt Jackson and John Lewis are on every cut, while Al Johns subs for Kenny Clarke on drums, and Ray Brown precedes Percy Heath on four of the tracks. Clarke's drumming is more impressive in its quiet way, but Ray Brown's bass work is simpler and more forceful. The sound is fair, with some hints of distortion that's been repaired, on this otherwise nicely done reissue. [The 2003 reissue on Savoy Jazz changed the title of the original album to Beginnings and added two bonus tracks: a 1949 version of "Bluesology" by Milt Jackson, and a large group featuring Billy Mitchell on sax and Roy Haynes on drums, and a 1954 version of "Blues Mood" by Kenny Clarke with Milt Jackson and Percy Heath.] ~ Bruce Eder  http://www.allmusic.com/album/modern-jazz-quartet-1952-mw0001964305

Personnel:  Bass – Percy Heath;  Drums – Kenny Clarke;  Piano – John Lewis (2);  Vibraphone [Vibra-harp] – Milt Jackson

Modern Jazz Quartet

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