Tal Farlow - The Complete Verve Sessions (Discs 6 & 7 of 7)

Album: The Complete Verve Sessions (Disc 6)
Bitrate: MP3@320K/s
Time: 59:50
Size: 137.0 MB
Styles: Guitar jazz
Year: 2011
Art: Front

[4:10] 1. Lean On Me
[4:51] 2. Wonder Why
[4:20] 3. Night And Day
[3:31] 4. Stella By Starlight
[4:48] 5. The More I See You
[4:21] 6. All The Things You Are
[4:11] 7. How Long Has This Been Going On
[3:36] 8. Topsy
[3:27] 9. 'deed I Do
[3:23] 10. We'll Be Together Again (Take 3)
[4:29] 11. We'll Be Together Again (Take 1)
[3:17] 12. We'll Be Together Again (Take 2)
[3:52] 13. The More I See You
[5:24] 14. 'deed I Do
[2:03] 15. We'll Be Together Again

The Complete Verve Sessions (Disc 6)

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Album: The Complete Verve Sessions (Disc 7)

Bitrate: MP3@320K/s
Time: 74:05
Size: 169.6 MB
Styles: Guitar jazz
Year: 2011
Art: Front

[3:20] 1. A Foggy Day
[4:45] 2. The Man In My Life
[5:25] 3. Sweet Lorraine
[4:36] 4. Wess Side
[6:26] 5. Telefunky
[7:39] 6. Blue Funk
[5:12] 7. Saratoga
[6:47] 8. Blues In The Night
[4:54] 9. Hit The Road To Dreamland
[4:22] 10. For Every Man There's A Woman
[6:31] 11. As Long As I Live
[3:04] 12. Between The Devil And The Deep Blue Sea
[4:38] 13. Petticoat High
[3:09] 14. One Step-Two Step
[3:11] 15. Lessons In Love

The Complete Verve Sessions (Disc 7)

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Glaucia Nahsser - Vambora

Bitrate: MP3@320K/s
Time: 52:47
Size: 120.9 MB
Styles: Latin jazz vocals
Year: 2010
Art: Front

[4:03] 1. Cento, Logo Existo
[4:28] 2. Malandra
[4:08] 3. Olhar De Prata (Libano)
[3:42] 4. Quebradeira
[3:44] 5. Pensando Em Voce
[3:55] 6. Vambora
[4:34] 7. Daquifra Frente
[3:37] 8. Roda
[4:12] 9. Le Le O
[4:22] 10. O Comeco Do Infinito
[3:52] 11. Quem Falou
[3:50] 12. Mais Uma Vez
[4:15] 13. Malandra

Vejam aqui a crítica de Kiko Ferreira, no Caderno de Cultura do Estado de Minas, sobre o novo CD de Glaucia Nasser, Vambora. A artista chegou com uma proposta diferente de pop popular brasileiro que tem sido reconhecida como "um caminho certo".

Vambora

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Gary Burton, Paul Bley - Right Time, Right Place

Bitrate: MP3@320K/s
Time: 67:30
Size: 154.5 MB
Styles: Post bop, Vibraphone jazz, Piano jazz
Year: 1990
Art: Front

[9:08] 1. Ida Lupino
[5:59] 2. Isn't It Romantic
[6:56] 3. Laura's Dream
[5:12] 4. Carla
[9:19] 5. Olhos De Gato
[3:32] 6. Alcazar
[3:30] 7. Rightly So
[3:14] 8. Nothing To Declare
[8:44] 9. You Don't Know What Love Is
[5:28] 10. Eidertown
[6:24] 11. Turn Out The Stars

Although they have utilized the talents of some of the same musicians through the years (most notably Steve Swallow) and both recorded for ECM, vibraphonist Gary Burton and pianist Paul Bley had not recorded before this 1990 Copenhagen session. The combination generally works, with some of Burton's romanticism and melodic approach rubbing off on Bley during the date (the usually somber pianist actually sounds a little lighthearted during "Isn't It Romantic") while the vibist sometimes emulates Bley's emphasis on space. On their six duets, Burton and Bley do not take turns soloing per se as much as alternate being the lead voice. Their unaccompanied features (three apiece) are generally in the same introspective but exploratory mood, making this a quiet program of thought-provoking if occasionally sleepy music. ~Scott Yanow

Right Time, Right Place

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Temple Of Soul - Brothers In Arms

Bitrate: MP3@320K/s
Time: 54:37
Size: 125.1 MB
Styles: R&B, Funk, Pop/Rock/Jazz
Year: 2008
Art: Front

[ 4:50] 1. Anna
[ 4:27] 2. Seeking Further
[ 4:40] 3. Diamond Girl
[ 4:57] 4. Temple Of Soul
[ 6:32] 5. Ode To China
[ 4:34] 6. Sunshine In Your Smile
[ 3:48] 7. Purple Haze
[ 3:41] 8. Salty!
[ 4:11] 9. Love Me Tonight
[12:53] 10. Jazzy Outtake

Temple of Soul is a sort of American equivalent of Tackhead, featuring top session players stretching out in search of their own thang – or rather, James Brown's, Jimi Hendrix's and Herbie Hancock's thangs, judging by the jazz-funk indulgence that is Brothers in Arms.

There's no doubting the pedigrees of drummer (and producer of 56 No 1 hits) Narada Michael Walden, E Street Band saxist Clarence Clemons, former JBs bassist TM Stevens and Vernon Ice Black, veteran guitarist with Aretha, Whitney, Mariah and Stevie; but – as ever when musos get together – the results tend to sound like themes from American cop series.

The lack of a proper vocalist dulls the edge, with limp Barry White pastiches and Family Stone-style line-swapping failing to disguise their shortcomings. Black, who has played with Mitch Mitchell and Noel Redding, essays a suitably heavy, FX-drenched "Purple Haze". The most interesting piece is "Ode to China", on which Clemons adopts a raspy tone akin to Gato Barbieri for a collaboration involving Chinese violin and harp; there are more sensitive cross-cultural experiments around, but in these surroundings it sounds positively alien. ~Andy Gill

Brothers In Arms

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Roy Haynes - When It Haynes It Roars

Bitrate: MP3@320K/s
Time: 54:28
Size: 124.7 MB
Styles: Bop, Straight ahead jazz
Year: 1995
Art: Front

[7:34] 1. Brown Skin Girl
[7:14] 2. Steps
[6:33] 3. Easy Living, Never Let Me Go
[6:47] 4. Summer Nights
[8:15] 5. Sippin' At Bells
[5:26] 6. Bye-Ya
[5:27] 7. I Thought About You
[7:09] 8. Anniversary Song

This is undoubtedly one of the best straightahead jazz records of the 1990s. It is a crowning achievement for drum legend Roy Haynes, who emerged as a bandleader relatively late in his career. Together with tenor saxophonist Craig Handy, pianist David Kikoski, and bassist Ed Howard, Haynes explores time-honored standards as well as bop and post-bop classics. The truly outstanding tracks are Chick Corea's awe-inspiring "Steps," Thelonious Monk's catchy "Bye Ya," the Miles Davis bop vehicle "Sippin' at Bells," and a greasy, in-the-pocket reading of "I Thought About You."

Bookending the album are two traditional tunes: "Brown Skin Girl," made famous by Harry Belafonte, and "Anniversary," a traditional melody associated with Al Jolson. Both tracks feature Kikoski on electric piano, an unexpected touch that makes for delicious icing on the cake. An unforgettable record. ~David R. Adler

When It Haynes It Roars

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Bud Shank - This Bud's For You

Styles: Saxophone Jazz
Year: 1984
File: MP3@320K/s
Time: 33:33
Size: 77,7 MB
Art: Front

(4:57)  1. I'll Be Seeing You
(5:04)  2. Nica's Dream
(5:38)  3. Never Never Land
(3:30)  4. Space Maker
(5:28)  5. Visa
(4:44)  6. Cotton Blossom
(4:10)  7. Bouncing With Bud

Originally known as a cool-toned altoist and occasional flutist, Bud Shank's playing from this recording forward surprised many listeners. There was a forcefulness and a passion to his alto solos (he had given up the flute) that had not been heard that much from him previously. Assisted by pianist Kenny Barron, bassist Ron Carter, and drummer Al Foster, Shank rips into five bop standards, his own "Cotton Blossom," and Walter Norris' "Space Maker" with plenty of intensity, stretching himself and inspiring his sidemen. Highly recommended. ~ Scott Yanow http://www.allmusic.com/album/this-buds-for-you-mw0000078385

Personnel:  Bud Shank - Alto saxophone;  Kenny Barron – Piano;  Ron Carter – Bass;  Al Foster - Drums

This Bud's For You

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Melinda Whitaker - The Touch Of Your Lips

Styles: Vocal Jazz

Year: 2005

File: MP3@320K/s

Time: 49:46

Size: 114,4 MB

Art: Front

(2:54)  1. I'm Old Fashioned

(2:28)  2. The Touch of Your Lips

(4:33)  3. The Way You Look Tonight

(3:55)  4. Someone to Watch Over Me

(5:09)  5. Save Your Love for Me

(3:42)  6. As Long As I Live

(4:01)  7. What a Diff'rence a Day Makes

(3:18)  8. There Will Never Be Another You

(3:32)  9. I Remember Clifford

(4:38) 10. Besame Mucho

(3:40) 11. I Didn't Know What Time It Was

(3:09) 12. It Could Happen to You

(4:40) 13. We'll Be Together Again

“The first time I saw Melinda Whitaker I was knocked off my feet by the sheer warmth of her personality and presence. Anyone who has heard Melinda’s voice knows its smoky brilliance, the seductive, electrical charge that this wonderful performer can bring to a song.” ~ Dr. Peter Gouzouasis, Music Director, Jazz90/Wrti (1983-1988)

With a lush, rich voice that shifts effortlessly from smoke to silk, Melinda will captivate you from the very first song. ‘The Touch of Your Lips’ features fresh, joyful, swinging standards drawn from the classic American songbook. Inspired and infused by the magic of the spanish language during her sojourn in Costa Rica, Melinda’s lyrical ballads “Besame Mucho” and “What A Diff’rence A Day Makes” will transport you to a world of breezy palm trees and velvet warm nights.

Melinda is accompanied on this recording by a formidable Canadian trio featuring Miles Black on piano, Tommy Doran on drums, and Rick Kilburn on bass. Together, their musical chemistry is pure, smooth and magical. “The Touch of Your Lips” will resonate with you long after the last note has sounded. http://vancouverjazz.com/2005/02/melinda-whitaker.html

Personnel:  Melinda Whitaker – vocals;  Miles Black – piano;  Tommy Doran – drums;  Rick Kilburn – bass

The Touch Of Your Lips

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Houston Person - The Melody Lingers On

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 56:59
Size: 130,8 MB
Art: Front

(6:24)  1. My Funny Valentine
(4:42)  2. Gone Again
(4:31)  3. You're Nearer
(4:35)  4. Minton's
(6:00)  5. Bewitched
(7:21)  6. Only Trust Your Heart
(4:39)  7. They All Laughed
(5:47)  8. Try A Little Tenderness
(5:14)  9. The Song Is Ended
(7:43) 10. You Can't Lose With The Blues

Houston Person's 2014 effort, The Melody Lingers On, is a romantic, laid-back set of songs showcasing the septuagenarian saxophonist. A journeyman artist with a bent toward swinging soul-jazz, Person has developed into something of an American treasure over the past 30 years. Since the '90s, Person has released a steady stream of standards albums, heavy on lyrical and blues-based songs that perfectly exploit his distinctive, burnished tenor drawl. The Melody Lingers On is no exception, featuring a set of songs heavily weighted toward an intimate, afterglow vibe centered on the warm sound of Person's saxophone. Backing the South Carolina-born tenor man this time is an equally superb handful of artists, including vibraphonist Steve Nelson, pianist Lafayette Harris, bassist Ray Drummond, and drummer Lewis Nash. 

Included here are such standards as "My Funny Valentine," "Gone Again," "Bewitched," and "They All Laughed." Person also digs deep into the R&B end of his career with a slow, vibrant take on the Otis Redding classic "Try a Little Tenderness." At 79 years young, with The Melody Lingers On Person continues his reign as one of the titans of the lush jazz tenor sound.~ Matt Collar http://www.allmusic.com/album/the-melody-lingers-on-mw0002734295

Personnel: Houston Person (tenor saxophone); Lafayette Harris (piano); Steve Nelson (vibraphone); Lewis Nash (drums).

 

The Melody Lingers On

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Mary Cleere Haran, Richard Rodney Bennett - The Memory Of All That: Gershwin On Broadway & In Hollywood

Styles: Vocal, Cabaret
Year: 1999
File: MP3@256K/s
Time: 49:42
Size: 91,1 MB
Art: Front

(2:39)  1. The Real American Folk Song
(2:55)  2. 'S Wonderful
(4:05)  3. Do It Again
(2:35)  4. Nashville Nightingale
(4:07)  5. The Man I Love
(2:16)  6. I'll Build A Stairway To Paradise
(2:00)  7. I'd Rather Charleston
(3:08)  8. Funny Face
(4:03)  9. Sweet & Low Down / Fidgety Feet / Fascinatin' Rhythm
(5:34) 10. Someone To Watch Over Me
(4:06) 11. Boy, What Love Has Done To Me
(2:15) 12. They All Laughed
(3:28) 13. Love Walked In
(3:35) 14. Who Cares?
(2:49) 15. Lady, Be Good / Somebody Loves Me

The Memory of All That: Gershwin on Broadways and in Hollywood showcases timeless Gershwin classics such as 'S Wonderful, Funny Face, Fascinatin'Rhythm, and Lady, Be Good, as well as rarely performed material from the rich Gershwin songbook. The result is pure Gershwin and it's Haran and Bennett at their best, from their saucy rendition of I'd Rather Charleston and the delightfully whimsical They All Laughed to the soulful yearning of The Man I Love and the ragtime-inspired The Real American Folk Song. This studio recording captures the magic of Mary Cleere Haran and Sir Richard Rodney Bennett's critically acclaimed Gershwin Centenary Celebration performance at New York's legendary Algonquin Hotel.

Mary Cleere Haran has built a well-deserved reputation as a top-notch interpreter of the classic American songbook, a minimalist stylist wonderfully in tune with her material. On this Gershwin collection, she and pianist Bennett balance classics ("The Man I Love", "Someone to Watch over Me") and obscure nuggets such as "Nashville Nightingale" and especially "I'd Rather Charleston," on which Haran wickedly mimicks Adele Astaire's no-nonsense nasal tones. While it's hard to single out any particular number, "Funny Face" might represent the singer at her best, her voice a silken thread delicately, lovingly wrapped around each word. Unfortunately the recording doesn't include Haran's funny, erudite between-songs patter, which those lucky enough to attend one of her shows delight in almost as much as in her flawless interpretations. ~ Elisabeth Vincentelli -  Editorial Reviews http://www.amazon.com/The-Memory-All-That-Hollywood/dp/B00000JI71

Personnel: Mary Cleere Haran (vocals); Richard Rodney Bennett (vocals, piano); Linc Milliman (bass).

The Memory Of All That: Gershwin On Broadway...

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Cory Weeds Quartet - Big Weeds

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 67:30
Size: 154,8 MB
Art: Front

( 7:35)  1. Darben the redd foxx
( 8:31)  2. Corrupted Mango
( 9:29)  3. For Fathead
( 6:29)  4. Blossoms In May
( 7:55)  5. It's Only a Paper Moon
( 9:07)  6. Simply Said
(10:41)  7. No Bull
( 7:39)  8. Modal Issue

Big Weeds could well herald the return of the big, bad saxophone. Its protagonist, Cory Weeds, blazes his masterful way through a monstrous set, alternating on tenor and alto. And in one fell swoop, Weeds joins the ranks of the instrument's great storytellers. On tenor he is as bold and dramatic as Dexter Gordon and Sonny Rollins. On the smaller and more sensuous alto, he is a younger version of (when he is racy) David "Fathead" Newman or, at times, as wry and ironic as Lee Konitz even puckish like Paul Desmond. And so, in acquitting himself with aplomb on tenor and alto, Weeds gives notice that he has a soulful understanding of both horns no mean achievement, by any saxophonist's standards.

Now here is another thing: Not only does Weeds play two horns so subtly different from each other unlike, say, tenor and soprano but he can make each horn bend to his will. So if he is playing a ballad, as he does so memorably on this record, or if he is roaring through a racy straight-ahead bop-ish tune, he simply 'becomes' the horn he is playing. His innate ability to inhabit the soul of a song is near perfect and this leads him to an exquisite sense of phrasing and pace. For instance Ol' Blue Eyes, Frank Sinatra, can almost be heard as Weeds 'sings' his way through "Blossoms in May," a tender chart dedicated to his wife. On "For Fathead," a more obvious tribute to Newman, he is shy and respectful as he dances around his homage; it's almost possible to see the saxophonist approach an idol with great diffidence.

That Weeds wrote both the above charts is a testament to his prowess as a songwriter as well. It is not, after all, about form, but more so about subtlety and nuance. And here Weeds is in great company as well. The mighty Mike LeDonne joins Weeds on Hammond B3, Peter Bernstein is added on guitar and Joe Farnsworth holds down the drum chair. Together this is a band that locks tight on James Moody's relatively little-known classic, "Darben the Redd Foxx." And their interpretation of "It's Only a Paper Moon" is wonderfully exhilarating. LeDonne, better known for his piano work for Benny Golson, is often spare yet wholesome on B3 especially on "Corrupted Mango," that oblique reference to the chord changes on Sonny Rollins' "St Thomas," while on "Simply Said," he opens up the organ in heartfelt wails and moans like no other B3 organist does not even the great Joey DeFrancesco. Farnsworth plays with wonderful taste and lyricism throughout.

It is hard to believe that this is Cory Weeds' first record as a leader. This is real old school 'saxophonism' at its very best by a saxophonist about whom much will be heard in the years to come. And it features music that will echo in a room long after the notes of the last bar fades. ~ Raul D’Gama Rose http://www.allaboutjazz.com/big-weeds-cory-weeds-cellar-live-review-by-raul-dgama-rose.php

Personnel: Cory Weeds: alto and tenor saxophone; Mike LeDonne: Hammond B3; Peter Bernstein: guitar; Joe Farnsworth: drums.

Big Weeds

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