Gerry Mulligan, Shelly Manne, Art Farmer - The Jazz Combo From 'I Want To Live!'

Styles: Jazz, Stage & Screen
Year: 1958
File: MP3@320K/s
Time: 29:23
Size: 81,6 MB
Art: Front

(3:39)  1. Black Nightgown
(4:44)  2. Theme From I Want To Live
(3:57)  3. Night Watch
(4:49)  4. Frisco Club
(6:59)  5. Barbara's Theme
(5:15)  6. Life's A Funny Thing

The most famous and probably greatest jazz baritonist of all time, Gerry Mulligan was a giant. A flexible soloist who was always ready to jam with anyone from Dixielanders to the most advanced boppers, Mulligan brought a somewhat revolutionary light sound to his potentially awkward and brutal horn and played with the speed and dexterity of an altoist. Mulligan started on the piano before learning clarinet and the various saxophones. His initial reputation was as an arranger. In 1944 he wrote charts for Johnny Warrington's radio band and soon was making contributions to the books of Tommy Tucker and George Paxton. He moved to New York in 1946 and joined Gene Krupa's Orchestra as a staff arranger; his most notable chart was "Disc Jockey Jump." The rare times he played with Krupa's band was on alto and the same situation existed when he was with Claude Thornhill in 1948. Gerry Mulligan's first notable recorded work on baritone was with Miles Davis' Birth of the Cool nonet (1948-50) but once again his arrangements ("Godchild," "Darn That Dream" and three of his originals "Jeru," "Rocker" and "Venus de Milo") were more significant than his short solos. Mulligan spent much of 1949 writing for Elliot Lawrence's orchestra and playing anonymously in the saxophone section. It was not until 1951 that he began to get a bit of attention for his work on baritone. Mulligan recorded with his own nonet for Prestige, displaying an already recognizable sound. After he traveled to Los Angeles, he wrote some arrangements for Stan Kenton (including "Youngblood," "Swing House" and "Walking Shoes"), worked at the Lighthouse and then gained a regular Monday night engagement at the Haig. Around this time Mulligan realized that he enjoyed the extra freedom of soloing without a pianist. He jammed with trumpeter Chet Baker and soon their magical rapport was featured in his piano-less quartet. The group caught on quickly in 1952 and made both Mulligan and Baker into stars. A drug bust put Mulligan out of action and ended that quartet but, when he was released from jail in 1954, Mulligan began a new musical partnership with valve trombonist Bob Brookmeyer that was just as successful. Trumpeter Jon Eardley and Zoot Sims on tenor occasionally made the group a sextet and in 1958 trumpeter Art Farmer was featured in Mulligan's Quartet. 

Being a very flexible player with respect for other stylists, Mulligan went out of his way to record with some of the great musicians he admired. At the 1958 Newport Jazz Festival he traded off with baritonist Harry Carney on "Prima Bara Dubla" while backed by the Duke Ellington Orchestra, and during 1957-60 he recorded separate albums with Thelonious Monk, Paul Desmond, Stan Getz, Ben Webster and Johnny Hodges. Mulligan played on the classic Sound of Jazz television special in 1958 and appeared in the movies I Want to Live and The Subterraneans. During 1960-64 Mulligan led his Concert Jazz Band which gave him an opportunity to write, play baritone and occasionally double on piano. The orchestra at times included Brookmeyer, Sims, Clark Terry and Mel Lewis. Mulligan was a little less active after the big band broke up but he toured extensively with the Dave Brubeck Quartet (1968-72), had a part-time big band in the 1970s (the Age of Steam), doubled on soprano for a period, led a mid-'70s sextet that included vibraphonist Dave Samuels, and in 1986 jammed on a record with Scott Hamilton. In the 1990s he toured the world with his excellent "no-name" quartet and led a "Rebirth of the Cool Band" that performed and recorded remakes of the Miles Davis Nonet classics. Up until the end, Gerry Mulligan was always eager to play. Among Mulligan's compositions were "Walkin' Shoes," "Line for Lyons," "Bark for Barksdale," "Nights at the Turntable," "Utter Chaos," "Soft Shoe," "Blueport," "Song for Strayhorn," "Song for an Unfinished Woman" and "I Never Was a Young Man" (which he often sang). He recorded extensively through the years for such labels as Prestige, Pacific Jazz, Capitol, Vogue, EmArcy, Columbia, Verve, Milestone, United Artists, Philips, Limelight, A&M, CTI, Chiaroscuro, Who's Who, DRG, Concord and GRP. ~ Scott Yanow https://itunes.apple.com/gb/artist/gerry-mulligan/id117287#fullText

Personnel:  Alto Saxophone, Flute – Bud Shank;  Baritone Saxophone – Gerry Mulligan;  Bass – Red Mitchell;  Drums – Shelly Manne;  Piano – Pete Jolly;  Trombone – Frank Rosolino;  Trumpet – Art Farmer

The Jazz Combo From 'I Want To Live!     

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Anita Baker - Rhythm Of Love

Styles: Vocal And Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 60:51
Size: 139,8 MB
Art: Front

(5:50)  1. Rhythm Of Love
(4:47)  2. The Look Of Love
(5:12)  3. Body And Soul
(4:26)  4. Baby
(4:56)  5. I Apologize
(4:57)  6. Plenty Of Room
(5:00)  7. It's Been You
(4:41)  8. You Belong To Me
(5:53)  9. Wrong Man
(5:19) 10. Only For A While
(4:38) 11. Sometimes I Wonder Why
(5:06) 12. My Funny Valentine

As the 1990s progressed, Anita Baker was sounding more and more contrived. One hoped that someone with so appealing a voice would challenge herself and try something different perhaps recording more standards or exploring straight-ahead jazz (which she's obviously quite capable of doing). But instead of gambling with inspiration and risking a decline in sales, Baker tends to play it safe and offers a disc that often sounds like formula at work. Though Rhythm of Love is a generally decent album and even contains a few gems (including the dusky "Wrong Man," the torchy "Sometimes I Wonder Why," and heartfelt interpretations of "My Funny Valentine" and "The Look of Love"), Baker is capable of a lot more. The diva gives the impression that she desperately needs to follow Natalie Cole's lead and get away from catering to radio.~Alex Henderson http://www.allmusic.com/album/rhythm-of-love-mw0000110199

Personnel : Anita Baker (vocals, piano, synthesizer); Michael Thompson, Dean Parks, Ira Siegel (guitar); Barry J. Eastmond (strings, piano, Fender Rhodes, keyboards, programming); Joe Mardin (strings, keyboards, drums, programming); Andy Snitzer (saxophone); Jerry Hey (trumpet); Louis Resto (piano, Fender Rhodes, synthesizers, programming); Nathan East, Anthony Jackson (bass); Steve Ferrone (drums); Bashiri Johnson (percussion); Gordon Chambers (background vocals).

Rhythm Of Love

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Herman Foster - The One And Only

Styles: Piano Jazz
Year: 1984
File: MP3@320K/s
Time: 42:27
Size: 97,9 MB
Art: Front

(7:45)  1. Softly As In A Morning Sunrise
(7:02)  2. The Shadow Of Your Smile
(7:23)  3. Smoke Gets In Your Eyes
(7:31)  4. Over The Rainbow
(3:26)  5. It's Only A Papermoon
(4:41)  6. Monsterbeach Blues
(4:35)  7. You'd Be So Nice To Come Home To

The one and only Herman Foster, indeed a pianist who only cut a handful of records, but always managed to leave his mark! You might know Foster from his wonderful work with Lou Donaldson in the early 60s Blue Note years, or his bluesy albums as a leader for Columbia around the same time but here, the pianist has this lyrical flow that's really amazing and quite a change from his style of the early years! As before, Foster really knows how to do a lot with a little make each note count, and in this way that's mighty powerful, even on the few mellow moments and he gets some strong accompaniment from the full, round bass of Jeff Fuller, and the drums of Victor Jones. Titles include "Monsterbeach Blues", "Softly As In A Morning Sunrise", "The Shadow Of Your Smile", and "You'd Be So Nice To Come Home To".https://www.dustygroove.com/item/749900

Personnel:  Herman Foster – piano;  Jeff Fuller – bass;  Victor Jones - drums

The One And Only

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Shelly Manne And His Men - Checkmate

Styles: Jazz, Straight-ahead/Mainstream
Year: 1961
File: MP3@320K/s
Time: 43:53
Size: 102,0 MB
Art: Front

(8:04)  1. Checkmate
(6:10)  2. The Isolated Pawn
(7:47)  3. Cyanide Touch
(5:34)  4. The King Swings
(5:46)  5. En Passant
(3:52)  6. Fireside Eyes
(6:37)  7. The Black Knight

Jazz and television were an easy match in the Sixties, especially in the context of the cop, spy and detective shows that were Hollywood’s bread and butter of the era. Noirish blues and angular tempoed chase themes fit the action on these shows perfectly, as did the Cool connotations of West Coast Jazz. Among the more successful composers for the studios was John Williams, a jazz pianist who would later become one of the industry’s big names scoring soundtracks to blockbusters like Star Wars and Jaws. Shelly Manne crossed paths with Williams while working on several productions and hatched upon the idea of adapting his selections from his score for the show Checkmate to his working quintet. 

Many of the pieces make innovative use of modal structures and Manne’s band relishes in the rhythmic freedom. Such is particularly true of the leader whose signature style of emphasizing finesse over bombast is given ample opportunity to shine. Check out his crisp cymbal accents on the undulating tempo of the title track opener as the horns riff the unison theme. Kamuca charges out of the starting gate soon after blowing a furious spate of choruses that never shirk their underlying swing. Candoli’s card comes up next as a series of cleanly articulated brass phrases skate across the sound floor. Berghofer and Freeman engage in a breakneck race of walking bass and comping keys goaded even further by Manne’s bustling brushes. Freeman lays out leaving drummer and bassist to a floating, almost free form exchange of ideas. Then it’s Manne alone on the toms making elastic use of time and pitch before the requisite return to theme. All this in the first cut alone. “The Isolated Pawn” treads more modal waters on the buoyancy of Berghofer’s highly melodic bass, Freeman’s lush piano chords and Candoli’s tightly muted trumpet. “En Passant” builds from a similar winning formula ripe for modal invention with Kamuca taking the lead as stand out soloist. Other tracks prove equally effective, shaping the album into one that demands to be replayed over and over, if only to fully capture the wealth of nuance and creativity that went into its conception. Manne’s Men were arguably the most accomplished small group plying the jazz trade in Los Angeles and this record adds plenty of credence to the claim.~Derek Taylor http://www.allaboutjazz.com/checkmate-contemporary-review-by-derek-taylor.php

Personnel: Shelly Manne- drums; Conte Candoli- trumpet; Richie Kamuca- tenor saxophone; Russ Freeman- piano; Chuck Berghofer- bass.

Checkmate

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Joan Regan - If I Give My Heart to You

Styles: Vocal
Year: 2006
File: MP3@256K/s
Time: 56:04
Size: 103,6 MB
Art: Front

(2:45)  1. Till I Waltz Again with You
(2:39)  2. Ricochet
(2:28)  3. Till They've All Gone Home
(2:15)  4. I Know for Sure
(2:48)  5. If I Give My Heart to You
(2:24)  6. This Ole House
(2:16)  7. Someone Else's Roses
(2:02)  8. Jilted
(2:46)  9. Cleo and Me-O
(2:35) 10. Merry Go Round and Swings
(1:56) 11. Wait for Me Darling
(2:37) 12. The Love I Have for You
(2:18) 13. I'll Travel with You
(2:25) 14. Prize of Gold
(2:22) 15. Two Kinds of Tears
(2:13) 16. Faded Flowers
(2:26) 17. When You're in Love
(2:15) 18. The Bluebells of Broadway Are Ringing Tonight
(2:19) 19. Don't Be Afraid of Love
(2:07) 20. Pinetree, Pine Over Me
(2:36) 21. The Shepherd Boy
(2:48) 22. The Rose and the Flame
(2:32) 23. Love and Marriage

Joan Regan was born in Romford, Essex on the 19th January 1928. While working as a photographer's re-toucher, she cut a couple of discs, versions of the songs Too Young and I'll Walk Alone which after coming to the attention of Bernard Delfont, earned her a recording contract with Decca Records. As virtually all of her British contemporaries at that time, she was presented with American songs to cover, her first being Till I Waltz Again With You and I'll Always Be Thinking Of You, but neither of these were strong enough to break into the charts. 

On her third song, Ricochet, she was backed by the vocal group The Squadronaires which just reached the top 10 at the end of 1953 and led to her regular appearances on the TV series Quite Contrary, which was followed later by four series of her own show, Be My Guest. During 1954 and 1955 she had several hits with further covers, Someone Else's Roses, If I Give My Heart To You, Prize Of Gold and Wait For Me Darling on which she was backed by The Johnson Brothers. She developed her act to include impressions of Gracie Fields, Judy Garland and actress Anna Neagle and in the late 1950s, she appeared several times at the London Palladium including The Royal Command performance and also in the show Stars In Your Eyes with her long term friend, Russ Conway who had been her rehearsal pianist during the early days. Leaving Decca in 1958, she signed with EMI's HMV label and had one final top 10 hit in the summer of 1959 and four minor hits during 1960 with yet another company Pye, Happy Anniversary, Papa Loves Mambo, One Of The Lucky Ones and It Must Be Santa. She married Harry Claff in 1957 who had worked at the Palladium but they divorced in 1963 after he was jailed for five years for fraud. By this time, the hits had completely dried up and she suffered a nervous breakdown, and relocated to Florida, marrying Martin Cowan. 

She suffered a brain haemorrhage in 1984 and was left paralysed but recovered enough to appear on stage again with Russ Conway. She signed a new deal with Nectar records in 1992 and continues to make occasions appearances on stage. ~ Sharon Mawer https://itunes.apple.com/gb/artist/joan-regan/id15482708

If I Give My Heart to You

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Herman Foster - Explosive piano of/ Have you heard

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 75:22
Size: 173,1 MB
Art: Front

(4:04)  1. Yesterdays
(5:48)  2. Like Someone In Love
(5:52)  3. Carol
(4:19)  4. Dancing In The Dark
(6:33)  5. Goodbye
(5:57)  6. Dream
(4:48)  7. Herman's Blues
(9:21)  8. Volare
(7:22)  9. Lover Man
(6:45) 10. When I Fall In Love
(4:49) 11. Strange
(9:38) 12. Angel Eyes

A longtime sideman, primarily to Lou Donaldson, blind pianist Herman Foster only made three albums as a leader, the two combined on this discount-priced two-fer CD, recorded and released by Epic Records in 1960-1961, and Ready and Willing for Argo in 1963. Although Have You Heard and the inappropriately named The Explosive Piano Of (placed in reverse chronological order on this disc) are both agreeable collections that demonstrate Foster's distinctive piano technique, you can tell why he remained mainly a backup musician for most of his career. Foster has a locked-hands approach, with which he plays the same chords in different keys, sometimes precisely, sometimes in slightly jagged fashion to create a rolling, rhythmic effect. 

Then he will break off and play single-note runs, though "runs" is not the right word "ambles" would be more like it. He is respectful of the melodies of what are usually standards, at least when playing the head, and he enjoys tossing in quotations from other well-known tunes here and there. Accompanied on each LP only by bass (Earl May) and drums (Grassella Oliphant or Frankie Dunlop), he is given plenty of room to shine, and he takes it to create interpretations that are consistently engaging without ever being disturbing. Other jazz musicians of the early '60s may have been exploring the uses of dissonance and extreme freedom, but Foster still had a lot left to say in the bop idiom. He may not have been a virtuoso like his heroes, especially Bud Powell, but he could find new approaches to traditional melodies that illuminated them, and his albums remain highly listenable.~William Ruhlmann http://www.allmusic.com/album/the-explosive-piano-of-herman-foster-have-you-heard-mw0000659366

Personnel: Herman Foster (piano); Earl May (bass); Grassella Oliphant, Drnkie Dunlop (drums).

Explosive piano of/ Have you heard

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Tsuyoshi Yamamoto Trio - Blues To East

Styles: Piano Jazz
Year: 1978
File: MP3@320K/s
Time: 33:07
Size: 76,9 MB
Art: Front

(4:40)  1. Our Delight
(9:27)  2. Love Theme From Spartacus
(2:27)  3. All In Love Is Fair
(5:45)  4. Love For Sale
(5:12)  5. My Old Flame
(5:33)  6. Blues To East

Tsuyoshi Yamamoto is a drummer, percussionist, composer, arranger, and educator from Nagoya, Japan. He began playing drums in Japan as a teenager, excelling in rock, and funk. In college, he began to play Jazz and had many live performances with various big bands, small bands, and funk bands while continuing to play rock. His band released a CD on an independent label in March 2004, and toured in Japan around Tokyo and Osaka. He graduated from Nagoya University with a Bachelor of Science Degree in Biological Science in 2006. In 2006 Tsuyoshi received a scholarship to attend the Berklee College of Music where he majored in jazz composition and performance, winning the Louie Bellson Award, as well as a Berklee achievement-based scholarship. He graduated Magna cum laude with a Bachelor of Music in 2011. In 2011 Tsuyoshi moved to New York City to attend Rutgers University, where as a part of the Rutgers Jazz Ensemble, he had the honor of performing at the famous Blue Note in May 2013. Since graduating with a Master of Music Degree in Jazz Studies from Rutgers, Tsuyoshi has been performing and teaching extensively in New York in the genres of jazz, fusion, salsa, and rock. Besides drum set, he also plays timbales, cajon, and djembe.http://www.tsuyoshiyamamoto.com/biography/

Personnel:  Tsuyoshi Yamamoto (piano);  Tsutomu Okada (bass);  Hiroshi Murakami (drums)

Blues To East

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Friend 'N Fellow - Purple Rose / Taxi

Album: Purple Rose
Size: 107,3 MB
Time: 45:40
File: MP3 @ 320K/s
Released: 1999
Styles: Jazz/Pop Vocals
Art: Front

01. Fly Like An Eagle (3:33)
02. Forbidden Wine (3:28)
03. Snow Is Gleamin' Red (4:05)
04. Wind Calls Me (3:21)
05. Colours (4:13)
06. Friend Of Mine (4:53)
07. Forever Young (3:27)
08. Don't Run Away (2:22)
09. Father's Home (3:58)
10. Blind Man (4:31)
11. Babble (2:15)
12. Return To Love (3:10)
13. Godlike Grace (2:19)

On Purple Rose, Friend 'n Fellow -- lyricist/vocalist Constanze Friend and composer Thomas Fellow -- pay tribute to the spirit of the late Luther Allison with a selection of mostly original pieces, although there are a couple of rock covers in Bob Dylan's "Forever Young" and Steve Miller's "Fly like an Eagle." The ensemble's instrumentation is mostly acoustic -- highlighted by the organ and drum work of brothers Mathias and Alexander Bätzel, respectively -- and the music often roams the middle ground between jazz and blues. ~by Steve Huey

Purple Rose

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Album: Taxi
Size: 102,1 MB
Time: 43:18
File: MP3 @ 320K/s
Released: 2002
Styles: Jazz/Pop Vocals
Art: Front

01. Blue In You (3:31)
02. I Still Haven't Found What I'm Looking For (4:10)
03. Mountains (2:41)
04. House With 6 Rooms (2:55)
05. Grandma's Hands (3:31)
06. Naked In A Jacket (4:27)
07. Little Doll (3:19)
08. Taxi (4:01)
09. Unknown (3:16)
10. Kiss The Rain (4:51)
11. Purple Haze (3:01)
12. Overjoyed (3:30)

On their CD Taxi, Friend 'n Fellow reveals the latest progress they have made on a long journey, which we can only hope will have many more miles.

This new double portion of magical voice and rich guitar-grooves follows their debut at Ruf- Records with the CD Home (1997) and the following album Purple Rose (1998). They see their music as 'acoustic soul', but beware: you won't be spared any surprising excursions into other musical fields!

Friend n' Fellow are a lively counterpoint in the American-dominated music market. They are perfectly comfortable in the company of the best musicians of their genre, and have been recognised with respect by stars like Ray Charles, Al Jarreau or Keb 'Mo. The great legend of the Blues, Luther Allison, was their mentor and supporter, teacher and enthusiastic fan, to which he "outed" himself during their common European tour in 1997.

It is hard to resist the connectedness of these extraordinary musicians. Virtuosity and absolute control over their means of expression make Friend 'n Fellow a perfect live performance.

Taxi

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Don Baraka - Retro-Groove

Size: 148,6 MB
Time: 64:07
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Soul Jazz
Art: Front

01. Let's Straighten It Out (3:31)
02. Searching For My Love (3:20)
03. Sweetest Taboo (4:06)
04. Blue Horn (2:03)
05. Cry My Heart Out (4:19)
06. Ooh Baby Baby (3:35)
07. I Do Love You (3:55)
08. Ire'ne Means Peace (4:02)
09. Colours (2:46)
10. Blue Moon (6:07)
11. Blue Bossa (3:03)
12. Chain Of Fools, Pt. 1 (5:47)
13. Chain Of Fools, Pt. 2 (3:53)
14. Start It Up (3:55)
15. Mustang Sally (4:18)
16. Rain Keep Falling (5:18)

Don Baraka has been playing and singing contemporary music since 1955. A very young 72 years old, his tenor sax, alto and flute work appears on many CDs. Equally comfortable with fronting or singing background, his voice ranges from a modest baritone to a smooth falsetto. Growing up with rock and roll as it transitioned from its R&B roots, Don went from custom cars and hall dances through the San Francisco scene of the 60s. Influenced by artists he backed up (Bobby Freeman, Freddie King, Drifters, Coasters, Joe Turner) hung out with (Gatemouth Brown, Paul Revere, Teddy Neely, Janis Joplin, Doug Sahm) and gigged with (Jimmy Soul Strickland, Dick Jensen, Murphy Brock, Sam Johnson, Gene Washington), Don also assimilated elements of soul and inflection from the greats he witnessed live at the Fillmore West: Chicago, Sly Stone, Otis Redding, Howlin' Wolf, Chuck Berry, and of course the Grateful Dead, Moby Grape, Quicksilver Messenger Service, Big Bro & the Holding Co, Jefferson Airplane, Blue Cheer, Grand Funk, Iron Butterfly and great SF Bay Area horn bands like The Loading Zone (with Linda Tillery), Sons of Champlin and Cold Blood. He worked with 10 piece Home Sweet Home, cross-bay rivals of Tower of Power, and more recently a 6-year stint with Red Archibald and the Internationals, and the Bingtones with their 5 horn modern R&B sound. Maintaining the early ethic of the Soul era - it's got to be real, you got ta feel it - Don brings honesty, musicianship and respect for the tradition to every note he plays. But the evidence is in the listening. Please enjoy this first offering from his own Profunk record label, and tell your friends!

Retro-Groove

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Big Joe Kennedy - 504-Tified

Size: 165,9 MB
Time: 69:55
File: MP3 @ 320K/s
Released: 2016
Styles: New Orleans Jazz/Blues Vocals
Art: Front

01. Junco Partner (4:11)
02. Keep On Gwine (3:31)
03. New Orleans Party (3:39)
04. Makin' Whoopee (5:45)
05. Let's Make A Better World (4:10)
06. Tain't No Sin (2:26)
07. Runnin' Wild (3:16)
08. Ma, She's Making Eyes At Me (2:25)
09. The Proposal (3:02)
10. Take Me To The Land Of Jazz (4:15)
11. 50 Ways To Leave Your Lover (4:05)
12. Darktown Strutters Ball (2:25)
13. Come By Me (3:42)
14. Stayin' Alive (3:58)
15. Doctor Jazz (3:06)
16. Sugar Blues (3:01)
17. Stayin' Alive (3:58)
18. The Curse Of An Aching Heart (3:22)
19. Sea Cruise (2:29)
20. What A Little Moonlight Can Do (3:00)

Joe Kennedy’s musical artistry is a welcome change to the stale environment in today’s vocoder-worshipping music industry. His dexterous combinations of Blues and Jazz recall classic performers while boldly paving a new path that is entirely his own.

Kennedy knew he was destined for greatness the day he placed his fingers on a piano at age eight. He began studying Jazz at age 15 and, at 16, was attending local Blues jams where the performers took him under his wing and invited him on tour when he turned 18 where he learned the ropes of performance, showmanship and crowd interaction in his home state of Wisconsin and in Illinois.

After years of working with other artists, he released his solo debut album, Submerged, in 2004. The album’s combination of Blues and Jazz was a critical hit and an underground sensation that earned him the “Best Blues Pianist” award the same year in a statewide competition. He continued his success with The Straight Ahead EP in 2006 and 2008’s No Turning Back.

His style has been compared to that of Harry Connick Jr., James Taylor and Ray Charles and draws influence from a wide pool of influential artists such as Paul Simon, Richard Tee, Debussy and Satie. Piano fanatics will notice shades of Gene Harris, Ramsey Lewis, Herbie Hancock and other piano masters.

Kennedy fully embraces the praise (and criticism) that his distinct style receives. “My style is too jazzy for blues and too bluesy for jazz,” he says, “so I have been told. I like to take a jazz song and make it dirty,” he explains, “or take a rough blues tune and clean it up just enough to get the story across on the piano instead of guitar.”

Kennedy, a University of Wisconsin-Parkside alumnus, received his Master’s of Music Degree in Jazz Performance from the University of Las Vegas where he studied with Dave Loeb, Bruce Paulson and Tom Warrington. He was also the Graduate Assistant for the school’s Jazz department where he coordinated all student performances as the Jazz Event Coordinator.

After finishing the Masters Program at UNLV, Joe was a full time faculty member for the 2009 and 2010 academic years at the Louisiana Academy of Performing Arts in New Orleans, teaching jazz and traditional piano. He also held long term engagements at clubs in the French Quarter playing 3+ nights a week solo piano, with his Jazz Trio, and his 7 piece funky blues band.

In December of 2010 Joe was recruited to be the band leader and pianist in lounges on cruise ships. He has traveled to Aruba, Bonaire, Curaçau, Mexico, Turks and Caicos Islands, Puerto Rico, British Virgin Islands, US Virgin Islands, Antigua, St. Kitts, St. Nevis, Dominica, Martinique, St. Lucia, Barbados, Grenada, St. Vincent, Belize, Nicaragua, Honduras, Guatamala, Panama, Costa Rica, and Alaska. After a 2 year run on cruise ships, Joe joined forces with Felix & Fingers Dueling Piano's in Chicago, IL. He traveled with them all around the midwest performing private parties, corporate events, weddings and more from late 2012 until the fall of 2013.

New Orleans' own DUKES of Dixieland invited Joe to perform with them for a weekend in the Spring of 2013, and it turned out to be the beginning of a new friendship. Joe officially joined the DUKES of Dixieland in Sept. 2013 as the full time pianist and performs with them nightly in New Orleans.

Joe Kennedy continues to grace audiences with his music, and perform his brand of funky jazzy blues wherever the music takes him.

504-Tified

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Zeeteah Massiah - Maybe Tomorrow

Size: 171 MB
Time: 40:53
File: FLAC
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Cry Me A River (3:59)
02. Fever (4:24)
03. One For My Baby (4:00)
04. What A Difference A Day Made (3:56)
05. Here In You (3:50)
06. Mona Lisa (3:53)
07. Under My Skin (4:46)
08. Butterfly (3:33)
09. Never Never Never (5:09)
10. Every Time We Say Goodbye (3:19)

Born in Barbados, raised in London, Zeeteah Silveta Massiah has spent her life exploring every avenue of musical expression.

Since 2012, Zeeteah has lived in London with her husband, songwriter and producer Paul Caplin. Together they have explored a fresh new approach to classic jazz, and released two albums: Juice (2014) and Maybe Tomorrow (2016).

Maybe Tomorrow

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Sonny Fortune - In the Spirit of John Coltrane

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 50:53
Size: 117,1 MB
Art: Front

(5:39)  1. Trane and Things
(3:45)  2. Hangin' Out with JC
(6:23)  3. Africa
(7:16)  4. In the Spirit
(5:33)  5. Mr. Jones
(4:23)  6. Hangin' Out with JC Again
(5:48)  7. Ole
(5:20)  8. Say What
(6:42)  9. For John

It is not surprising to see Sonny Fortune pay tribute to John Coltrane. After all, perhaps more than anyone else, Fortune is carrying the torch that was handed off when Coltrane died -- his style owes a lot to the sax player, and some of his best work has been with others who contributed to the Coltrane legacy, namely the great McCoy Tyner and Elvin Jones. Fortune doesn't just rehash Coltrane's work on this album, however; instead, In the Spirit of John Coltrane features Fortune's original compositions, inspired by Coltrane but with Fortune's unique stamp as well. A fine return to recording after a three-year hiatus, In the Spirit of Coltrane shows that Fortune still has a few tricks up his sleeve.~Stacia Proefrock http://www.allmusic.com/album/in-the-spirit-of-john-coltrane-mw0000672792

Personnel: Sonny Fortune (soprano, alto & tenor saxophones); John Hicks (piano); Santi Debriano, Reggie Workman (bass); Ronnie Burrage, Rashied Ali (drums); Steve Berrios, Julio Collazo (bata drums).

In the Spirit of John Coltrane

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Diana Krall - When I Look In Your Eyes

Styles: Vocal And Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 54:52
Size: 126,0 MB
Art: Front

(5:19)  1. Let's Face The Music And Dance
(3:20)  2. Devil May Care
(4:19)  3. Let's Fall In Love
(4:31)  4. When I Look In Your Eyes
(4:28)  5. Popsicle Toes
(6:10)  6. I've Got You Under My Skin
(2:33)  7. I Can't Give You Anything But Love
(4:45)  8. I'll String Along With You
(4:56)  9. East Of The Sun (And West Of The Moon)
(3:01) 10. Pick Yourself Up
(2:36) 11. The Best Thing For You
(4:45) 12. Do It Again
(4:03) 13. Why Should I Care

With this CD, the young Canadian singer/pianist/arranger joins forces with producer Tommy LiPuma, who places his orchestral stamp on eight of the 13 tracks. It is the latest attempt to push Krall to an even wider pop/smooth jazz audience than she already enjoys. After all, Nat Cole, Wes Montgomery, and George Benson, among others, went this route. Wonder if she'd agree the cuts sans strings were more fun and challenging? Krall does get to it with central help from bassists John Clayton and Ben Wolfe, drummers Jeff Hamilton and Lewis Nash, and guitarist Russell Malone, all stellar players. Krall's voice is sweet and sexy. She's also flexible within her range and at times a bit kitschy, mostly the hopeless romantic. On this CD of love songs, it's clear she's cool but very much in love with this music. Bob Dorough's "Devil May Care" and the insistent "Best Thing for You" really click. Favorites are a decent Shearing-esque "Let's Fall in Love" with vibist Larry Bunker; a suave slow bossa on the opening number, "Let's Face the Music"; the lusher-than-lush title track; and especially an incredible horn-fired fanfare intro/outro on the hip "Pick Yourself Up." Some might call this fluff or mush, but it depends solely on your personal taste. This will certainly appeal to Krall's fans, lovers, and lovers at heart.~Michael G.Nastos http://www.allmusic.com/album/when-i-look-in-your-eyes-mw0000238826

Personnel: Diana Krall (vocals, piano); Russell Malone (guitar); Pete Christlieb (saxophone); Alan Broadbent (piano); Larry Bunker (vibraphone); Jeff Hamilton , Lewis Nash (drums).

When I Look In Your Eyes

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Frank Sinatra - Francis A. & Edward K.

Styles: Vocal
Year: 1967
File: MP3@320K/s
Time: 35:10
Size: 81,0 MB
Art: Front

(3:55)  1. Follow Me
(4:12)  2. Sunny
(5:00)  3. All I Need Is the Girl
(4:12)  4. Indian Summer
(5:00)  5. I Like the Sunrise
(4:57)  6. Yellow Days
(4:27)  7. Poor Butterfly
(3:23)  8. Come Back to Me

The much-anticipated collaboration between Frank Sinatra and Duke Ellington, Francis A. & Edward K., didn't quite match its high expectations. At the time of recording, the Ellington band was no longer at its peak, and Sinatra was concentrating on contemporary pop material, not standards. It was decided that the record would be a mixture of standards and new material; as it happened, only one Ellington number, "I Like the Sunrise," was included. Due to a mild cold, Sinatra was not at his best during the sessions, and his performance is consequently uneven on the record, varying between robust, expressive performances and thin singing. Similarly, Ellington and his band are hot and cold, occasionally turning in inspired performances and just as frequently walking through the numbers. But that doesn't mean there is nothing to recommend on Francis A. & Edward K. On the contrary, the best moments on the album fulfill all of the duo's promise. All eight songs are slow numbers, which brings out Sinatra's romantic side. "Indian Summer" is a particular standout, with a sensual vocal and a breathtaking solo from saxophonist Johnny Hodges. Much of the material on the album doesn't gel quite as well, but devoted Sinatra and Ellington fans will find enough to treasure on the record to make it a worthwhile listen.~Stephen Thomas Erlewine http://www.allmusic.com/album/francis-a-edward-k-mw0000198867

Personnel : Frank Sinatra (vocals); Duke Ellington (piano); Jimmy Hamilton (clarinet); Russell Procope, Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Harry Carney (baritone saxophone); Rev. Francis A. & Edward K.; Cootie Williams, Cat Anderson (trumpet); Lawrence Brown (trombone); Sam Woodyard (drums, percussion).

Francis A. & Edward K.

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Sir Roland Hanna - Tributaries

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 64:53
Size: 148,9 MB
Art: Front

(4:22)  1. Sea Changes
(6:50)  2. A Child Is Born
(8:28)  3. Body And Soul
(4:43)  4. Soon
(5:29)  5. Things Ain't What They Used To Be
(7:00)  6. Never Let Me Go
(7:26)  7. The Cup Bearers
(4:34)  8. 'Tis
(6:37)  9. I Concentrate On You
(4:03) 10. Robin's Nest
(5:18) 11. Delarna

Recorded in June 2002, Sir Roland Hanna’s solo piano tribute to the memory of Tommy Flanagan brings a message of love. They both came up through Detroit, and they shared similar career paths. Good friends, one had served as Ella Fitzgerald’s music director, while the other accompanied Sarah Vaughan as her musical director. Hanna recorded this tribute to his old friend, who had passed away on November 16, 2001. Several months after this recording had been finished, however, Hanna became ill from a viral infection of the heart, and passed away on November 13, 2002. This tragic coincidence leaves us with a farewell tribute to both piano giants. Hanna expresses lyrical ballads with effortless ease. His motions flow smoothly, and his use of rich harmonic textures places each piece on a pedestal. The pianist’s walking keyboard rhythms annotate the performance with swing. The variety that he attaches to this set of well-known standards gives the performance a lift. Two of Flanagan’s compositions are represented, to open and close the session. Both pieces exhibit serenity and deep feeling. Hanna interprets them with passion, slowly and deliberately. His agile fingers turn the keys over with a vocal-like presence. Lyricism reigns throughout this fine tribute, as it did throughout two fruitful and unforgettable careers.~Jim Santella http://www.allaboutjazz.com/tributaries-reflections-on-tommy-flanagan-sir-roland-hanna-ipo-recordings-review-by-jim-santella.php

Personnel: Sir Roland Hanna- piano.

Tributaries

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Jan Lundgren - Conclusion

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 61:01
Size: 140,0 MB
Art: Front

(5:14)  1. Olivia
(6:55)  2. Conclusion
(6:07)  3. My Ideal
(4:49)  4. Flip Top Girl
(3:13)  5. Oleo
(6:26)  6. Short Life
(6:30)  7. PMS
(5:42)  8. So Nice
(5:02)  9. There Is No Greater Love
(5:30) 10. I See Your Face Before Me
(5:28) 11. Temptation

Conclusion, recorded in 1994, marked not an end but the beginning as leader of his own trio for pianist Jan Lundgren (which must be Swedish for “spectacular”). Lundgren, who turned 33 last month, has since verified his position as one of the most accomplished young pianists on the Jazz scene, in Sweden or anywhere else. Lundgren seems to have sprung fully formed from his cocoon, as Conclusion shows not the least trace of immaturity, and is in almost every respect as smooth and tasteful an excursion as one can envision. That he was 28 when it was recorded makes Lundgren’s firm command of the pianistic vocabulary that much more impressive. He shows great promise as a writer too, contributing five well crafted originals “Olivia,” “Conclusion,” “Flip Top Girl,” “Short Life” and “PMS.” Completing the program are fellow pianist Elmo Hope’s charming but seldom recorded “So Nice,” Sonny Rollins’ familiar “Oleo” and the standards “My Ideal,” “There Is No Greater Love,” “I See Your Face Before Me” and “Temptation,” the last of which may seem an unusual choice for a Jazz album but not when unraveled so masterfully by Lundgren, Lundgaard and Riel. Lundgren, said to be a student of the evolution of Jazz, seems to have learned his lessons well, using a variety of styles in which to frame his individual voice. 

While his technique is prodigious, he never allows it to get the upper hand, preferring instead to simply shape a credible musical narrative, which he does about as well as anyone (in that respect, he reminds me of another superlative story–teller, Kenny Barron listen, for example, to “There Is No Greater Love” or “My Ideal”). Lundgren also appreciates the importance of nimble and responsive sidemen, having chosen two of the best in Lundgaard and Riel as companions on his maiden voyage, and they confirm his appraisal every step of the way. It would be hard to put together a more capable piano trio than this.~Jack Bowers http://www.allaboutjazz.com/conclusion-jan-lundgren-four-leaf-clover-records-review-by-jack-bowers.php 
 

Personnel: Jan Lundgren, piano; Jesper Lundgaard, bass; Alex Riel, drums.

Conclusion

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Rhoda Scott - Frame For The Blues

Styles: Jazz
Year: 1992
File: MP3@256K/s
Time: 54:27
Size: 100,3 MB
Art: Front

(6:33)  1. So What
(4:51)  2. Frame For The Blues
(4:39)  3. Little Girl Blue
(5:09)  4. Save your love For Me
(5:32)  5. Short Night Blues
(5:18)  6. Song For Philippe
(4:29)  7. Blue Law
(7:45)  8. Whose Side Are You On
(6:00)  9. My Romance
(4:07) 10. A Child Is Born

Rhoda Scott (b. July 3, 1938, Dorothy, New Jersey) an African-American hard bop and soul jazz organist.The daughter of an AME minister, Scott spent much of her childhood in New Jersey, where she learned to play organ in the churches where her father served. Soon she herself was serving frequently as organist for youth and gospel choirs at her father's and other churches. Scott later studied classical piano, but she concentrated on the organ, eventually earning a Master's degree in music theory from the Manhattan School of Music.By this time she had been asked by a choir member to fill in with a small band as a jazz pianist. Enjoying the music, she agreed to stay on with the band on condition that she be allowed to play organ instead of piano. Choosing as her instrument the Hammond organ, she soon became a preeminent jazz musician and is considered by many to be the top female jazz organist. Scott was first attracted to the organ in her father’s church at age seven. "It's really the most beautiful instrument in the world," she stated in a recent interview. "The first thing I did was take my shoes off and work the pedals." From then on she always played her church organ in her bare feet, and to this date she has continued the practice. In 1967 Scott moved to France, where she has since spent most of her career and earned recognition far greater than that accorded to her in the United States, though she often performs in the latter country as well.She has many famous standards in her repertoire, like In the Mood, Theme from New York, New York, Summertime, Mack the Knife, Take Five, Hit the Road Jack, Greensleeves, Tico-Tico no Fubá, Let it Snow, and Delilah. In May 2011 in a context of Versailles Jazz Festival she gave a significant performance together with a classical organist Francis Vidil, combining sonic palettes of classical organs with jazz and Hammond organs.~https://en.wikipedia.org/wiki/Rhoda_Scott

Personnel:  Victor Jones - Drums; Rhoda Scott - Hammond XB-2, Hammond B3000.

Frame For The Blues

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Sonny Fortune - Four in One

Styles: Saxophone And Flute Jazz
Year: 1994
File: MP3@320K/s
Time: 60:12
Size: 138,2 MB
Art: Front

(6:05)  1. Four in One
(5:06)  2. Criss Cross
(6:47)  3. Reflections
(7:42)  4. Monk's Dream
(6:24)  5. Hornin' In
(4:02)  6. Coming on the Hudson
(5:40)  7. Trinkle Tinkle
(4:16)  8. Pannonica
(7:21)  9. Hackensack
(6:47) 10. Ask Me Now

After years of erratic albums (other than two obscure efforts for the European Konnex label), altoist Sonny Fortune finally made a great recording with this release. Most selections feature Fortune (who plays flute on "Pannonica") joined by pianist Kirk Lightsey, bassist Buster Williams, and drummer Billy Hart; "Reflections" is a duet with Lightsey. Fortune, who admitted that he had not been very familiar with Thelonious Monk's music until 1990, performs ten of Monk's more complex compositions, including "Criss Cross," "Trinkle Tinkle," and the beautiful "Ask Me Now." Fortune plays quite passionately and really digs into the material, creating one of the finest recordings of his career.~Scott Yanow http://www.allmusic.com/album/four-in-one-mw0000120964

Personnel: Sonny Fortune (alto saxophone, flute); Kirk Lightsey (piano), Buster Williams, Santi Debriano (bass); Billy Hart, Ronnie Burrage (drums).

Four in One

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Nick Moran Trio - The Messenger

Size: 136,7 MB
Time: 59:01
File: MP3 @ 320K/s
Released: 2006
Styles: Jazz Fusion, Hammond Organ
Art: Front

01. Papa George (6:08)
02. The Messenger (5:37)
03. Indigo City (7:38)
04. Sensory Awakening (4:58)
05. The Secret Life (6:34)
06. That Greasy Stuff (5:37)
07. The Black Rose (7:17)
08. Perfect Moment (7:10)
09. Shorter Steps (7:58)

Nick Moran is a guitarist with an extraordinary touch and compositional sensibility. This project reveals Nick’s terrific understanding of melody and harmony, and more so, how to explore all of the colors of sound in the organ trio. Together with sidemen Ed Withrington on organ and Andy Watson on drums the band develops some very original contemporary themes and motifs.

This exciting set features nine original tunes by Moran that demonstrate a broad range of styles, from the down-home funkiness of Papa George to the lyrical introspection of Indigo City. The title track offers a contemporary sound coupled with a driving hard-bop swing section. On the high-energy Sensory Awakening, the trio burns with finesse. The Secret Life begins mysteriously, evoking a 60’s-era spy thriller soundtrack that eventually eases into a gentle mid-tempo bossa. The crackling drum intro to That Greasy Stuff sets off the in-the-pocket groove of this funky, 18-bar minor blues. Everyone takes sizzling solos here. The Black Rose is utterly poetic, driven by Watson’s beautiful mallet work. Like many tunes on this CD, Perfect Moment is a mix of the modern and the classic: the spacious opening pushes the boundaries of the classic organ trio sound both aurally and harmonically before settling into a samba groove. The CD closes with the rock-tinged Shorter Steps, a tribute to the compositions of Wayne Shorter which also recalls Pat Martino’s Joyous Lake-period. Moran’s sound here is unlike anything else on the CD, betraying his rock roots and his way of incorporating them into a jazz setting.

The Messenger

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Black Olive Jazz - Exotica

Size: 169,5 MB
Time: 73:03
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Bali Hai (5:44)
02. A Night In Tunisia (9:54)
03. Enchantment (6:14)
04. Surrey With The Fringe On Top (6:21)
05. Medley: Slow Hot Wind (Lujon)/Key Largo (6:11)
06. Never Never Land (4:46)
07. Wisteria (7:26)
08. Lotus Land (6:47)
09. Caravan (4:33)
10. Passion Flower (5:26)
11. Cleopatra And The Viper (5:45)
12. Out Of This World (3:50)

“EXOTICA” was an idea generated by myself, jazz legend Noel Jewkes, and piano genius, Grant Levin. I was looking for something unique, my own voice, where I could incorporate my full vocal range and theater background, my Mediterranean musical heritage, with polyrhythms and unusual scales, and my passion for jazz. One afternoon as we met for a session at my home in San Francisco, we brainstormed on ideas--Grant came up with “Slow Hot Wind”, and Noel remembered he had arranged a medley of that with Key Largo. Then Noel suggested a Ray Brown feel on “A Night in Tunisia”, and a Miles Davis chordal progression for “Surrey with the Fringe on Top”, incorporating abrupt tempo changes. The ideas were bursting forth--Grant tried them out on my piano, Noel played tenor, and I sang and recorded. Over the next year, I kept offering ideas--and Grant and Noel supported me and added their own artistry to each thought. Inspiration came from other sources: Drummer Akira Tana introduced me to “Never Never Land”. I added in my own lyrics to Horace Silver’s “Enchantment”, (from Larry Vuckovich’s beautiful album with Noel, “Something Special”.) “Bali Hai” came out of my love for Broadway, and “Lotus Land” was a reflection of Noel’s and my taste for the extraordinary and exotic, with influences from John Coltrane and Yma Sumac. Noel’s beautiful playing evokes Johnny Hodges on Billy Strayhorn’s “Passion Flower”.

We tried the songs with Noel’s amazing arrangements in his studio and out at our gigs, with wonderful feedback from the educated jazz audience of the San Francisco Bay Area. This album is the result of those experiences-- adding in the fine playing of my long time female jazz colleague, Carla Kaufman on bass and cello; and David Rokeach, one of the most sensitive and creative drummers I’ve ever heard. I am forever indebted to my band-- their generosity is unsurpassed. I love them so much, they are a dream team! Added also to this mix are recordings from earlier sessions which have the “Exotica” feel. “Caravan” and “Out of This World” include piano master, Larry Vuckovich, Bill Douglass, bass; and Eddie Marshall, drums. “Wisteria”, and “Cleopatra and the Viper”, two original songs written by Noel and myself, feature Grant Levin, piano; Adam Gay, bass; and Jake Shandling, drums. Thank you, everyone!

Exotica

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Misha Tsiganov - Spring Feelings

Size: 148,7 MB
Time: 63:59
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front & Back

01. You And The Night And The Music (7:56)
02. Jed's Place (7:08)
03. October In Kiev (5:52)
04. Yes Or No (7:15)
05. Jumping Michael (6:49)
06. Infant Eyes (8:40)
07. The Night Has A Thousand Eyes (7:07)
08. Blues For Gerry (6:33)
09. Spring Feelings (6:34)

Those who appreciate and follow the art of arranging and orchestration in jazz often point to big band and large ensemble arrangements as examples of excellence, while the art of arranging jazz for the small ensemble is frequently overlooked. Horace Silver, Wayne Shorter, and Andrew Hill are a few who have achieved recognition for their intelligent small-group arrangements, and with his newest release, Spring Feelings, pianist Misha Tsiganov brings his talent to this under-appreciated art.

For his second release on the Criss Cross label, Tsiganov's choice of sidemen to interpret his music is reminiscent of his 2014 release, The Artistry of the Standard. Returning are trumpet virtuoso Alex Sipiagin, tenor veteran Seamus Blake, and rising star drummer Donald Edwards, all common collaborators in the Opus 5 group. Seasoned bassist Hans Glawischnig fills in for Boris Kozlov on bass. Whereas Tsiganov's first Criss Cross release featured only his imaginative reworkings of standards, Spring Feelings mixes in five Tsiganov originals.

Throughout the hour long set, both the original material and the standards unmistakably bear Tsiganov's distinctive stamp. Tsiganov's melodies drift fluidly through constantly shifting meters and are punctuated by skipping, syncopated basslines that fit smartly with Tsiganov's colorful reharmonizations. The opening track, "You and the Night and The Music" exemplifies these characteristics and the band navigates Tsiganov's complex arrangement with ease. Donald Edwards in particular deserves a standing ovation for his graceful navigation of the band through the maze of ever-changing meters. "The Night Has a Thousand Eyes" takes a similar approach with the band alternating between straight-eighth 9/4 feel and a up-tempo swing.

Tsiganov also tips his hat to one of jazz's master small group composers, Wayne Shorter, with reworkings of two Shorter tunes. "Infant Eyes" keeps its slow ballad feel but is given a new time feel that switches between 7/4 and 4/4. "Yes or No" also moves through a variety of time signatures with an energetic and attention-grabbing undercurrent from the rhythm section, which leads into some of the best solos in the album. Sipiagin leads things off with fiery solo over the band's tight swing until they switch to a floating 7 feel for the beginning of Blake's melodically driven tenor solo. The band switches back to swing for Tsiganov's excellent solo which builds impressively in intensity to an exciting pyrotechnic conclusion.

For Tsiganov's original tunes he focuses less on complex time signatures and more on memorable melodies. "Jumping Michael" maintains a 4/4 time signature but it's spacious, syncopated melody gives it a distinctively Latin feel. "Jed's Place" is taken at a medium swing and follows a fairly traditional form, allowing the soloists and interplay of the group to really shine. Blake's tenor solo on this tune is particularly memorable as he thoroughly explores and expands upon his melodic ideas. The title track closes out the album on a bright note with an "A" section that is composed entirely of major and suspended chords. Tsiganov's triumphant piano solo on this track serves as a fitting finale to the album.

With "Spring Feelings," Tsiganov explores a new approach to quintet orchestration and in the process, provides a challenging canvas for the musicians to navigate. They succeed admirably and create really remarkable music. The strength of the music is especially remarkable considering the short amount of time the band spent rehearsing (three hours) and in the studio (seven hours). From conception to execution, this music succeeds on all fronts. ~by Andrew Luhn

Personnel: Alex Sipiagin: Trumpet, Flugelhorn; Seamus Blake: Tenor Sax; Misha Tsiganov: Piano; Hans Glawischnig: Bass; Donald Edwards: Drums

Spring Feelings

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FatsO - On Tape

Size: 108,0 MB
Time: 46:08
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Blues Vocals
Art: Front

01. Hello (4:39)
2. It`s Getting Bad (3:27)
03. Snake Eyes (4:06)
04. Crying Out (5:09)
05. Brain Candy (7:00)
06. Out Of Control (4:40)
07. Pimp (3:04)
08. Movie Star (3:58)
09. Oye Pelao (4:20)
10. I'll Be Fine (5:42)

The Blues of Bogotá is on the rise in our latitudes? Sounds a bit crazy, and it is. Direct from the Colombian capital penetrates – amongst all the salsa, rock and electronic sounds – a raspy voice, that causes the ground to tremble. Daniel Restrepo causes with his combo fatsO a leverage of Latin clichés, and offsets the Andes to the middle of the southern continent. Celebrated in their home country, the exciting septet is preparing to make their leap to Europe.

Amongst the few true trends that the world music scene has brought forth in recent years, is the topic of Colombia piercing through lively and turbulent. In a topographically rich country, with the Pacific and Atlantic coasts, the Andean mountains and tropical jungle, is an equally multi-faceted music scene: Salsa, Cumbia, Latin Rock, Afro-Caribbean roots, the hip electro-trend – the wealth seems inexhaustible. Colombia hides amongst this richness completely unexpected sounds, which, when first listening to them seem to have nothing to do with South America. One of these surprising treasures is Daniel Restrepo from Bogotá: a singer/songwriter and bass player who so convincingly steps into the scene with Blues, Jazz and Soul, one might think he absorbed them in his mother’s milk. A guy, who with his scratchy, inspirational voice can bring the audience to throb in rows, and we aren’t just referring to the female part of his audience.

Daniel Restrepo has titled his band project fatsO – the affectionate name derives from the fattest “band member”, his double bass. Daniel is bound by a lot of passion to the deep sounder. He found it while travelling in Havana, Cuba. Yet, when he had it shipped home it arrived broken into three separate pieces. With dedication, sensitivity and months of work, Daniel repaired his wooden pal. He then went into seclusion in an apartment in the district of La Macarena, and wrote songs and arrangements with the help of the restored fatsO.

The fact that they drew their inspiration from Colombian vices as well as from overseas, of course, has its reason. Considering that Daniel Restrepo is a jack of all trades: first of all he spent many of his formative years in the United States. He then molted in Colombia into a much talked about sheet in the music business. After his composition degree at the University of Javeriana, he founded the label REEF Records, which dedicated itself to the preservation of intangible cultural heritage of Colombia. He also helped the publishing company ¡BULLA! along the way, which specializes in independent bands. As a musician Restrepo himself played a role in the bands Tekeyé, Asdubal and Seis Peatones.

Until he found his ultimate calling with fatsO, thanks to his fat companion. After the emergence of the songs Daniel gathered six colleagues around him, who are among the leading musicians from the capital city scene, all belonging to very different worlds of sound. There is the clarinetist and saxophonist Daniel Linero, who already blew with the cult band La Mojara Elétrica, his instrumental colleague Cesar Caicedo has however a classical background and has earned numerous awards in his field. The fat fatsO horn section is completed with the saxophonists Pablo Beltrán and Elkin Hernández, whose playing is nourished from the Afro-Pacific tradition. Guitarist Santiago Jiménez has played the stages from New York to Tokyo, coming from a classical training he veered electrified into Salsa and Cumbian realms. Drummer Cesar Morales grew up swimming the seas of all styles.

After six months of polishing, the debut album was a hit amongst the Colombians when Restrepo and his men presented it at the Bogotá Jazz in the Park festival. The nine songs in English plus a Spanish interlude on the debut album encloses rattling Blues, old Jazz and hard-edge Rock, bringing up for split seconds memories of Tom Waits, Joe Cocker or Leonard Cohen – and yet it was all filtered through the pulsing climate of the Andean metropolis.

In “Out Of Control” a leaden rebellious Blues Rock breaks through the fence, with “Hello” one is given a merry, cross beat, approachable serenade. “Brain Candy” evokes with uncanny chromaticism the sultry atmosphere of a South American hole in the wall, and “Pimp” leads with rumbling drums even deeper into the musical den of iniquity, somewhere between archaic Swing Explosion and Proto-Rap. In the melancholy of “Crying Out”, one genuinely worries about the vocal chords of Restrepo’s desperately bellowing voice, while a clarinet, one of the national instruments of Colombia, exultingly fights its way to the forefront. All the while in “It’s Getting Bad”, the ballad of a couple drunk on love, the electric guitar has its moment of glory. With “Oye Pelao” the combo finally appoaches in the mother tongue the unmistakably traditional Cumbia and Vallenato colorations. And on the foundation of all these hymns of outlaws, outcasts or possessed is “fatsO”, Restrepo’s inseperable companion with his boastful, bone dry grooves.

The raspy bassist and his wild six want to take Europe by storm. With their raw Energy emerging from the midst of a cauldron of 8 million, it should be no problem. The first indications of this were at their concert at the trade fair Jazzahead in Bremen last spring, where the Latinos were celebrated with standing ovations.

On Tape

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Dynamic Les DeMerle Band - Comin' Home Baby

Size: 157,5 MB
Time: 66:19
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Shiny Stockings (4:44)
02. All That Jazz (2:30)
03. Steppin' Out With My Baby (3:03)
04. The Good Life, I Wanna Be Around (3:49)
05. High Fly (5:09)
06. Day In Day Out (3:41)
07. It's Only A Paper Moon (3:01)
08. The Girl From Ipanema (4:48)
09. The Nearness Of You (4:49)
10. All Right, Ok, You Win (3:16)
11. I Love Being Here With You (2:24)
12. Early In The Morning (3:22)
13. Meditation (4:13)
14. Frim Fram Sauce (3:37)
15. Peel Me A Grape (2:52)
16. Learnin' The Blues (5:26)
17. Comin' Home Baby (3:17)
18. Manteca (2:09)

“In the same way that, say, Art Blakey or Buddy Rich drove their bands, DeMerle establishes an undeniable presence...”-JAZZ REVIEW

Captured live in the jazz room of the Celebrity Eclipse Cruise Ship while sailing the Baltics, 'Comin' Home Baby' is the Dynamic Les DeMerle Band's ninth recording on Origin, and its tightest - grooving hard, the music hot and sweet, swinging and soulful. Featured beside Les DeMerle's fiery drumming are his and Bonnie Eisele's equally dynamic vocals, as they perform classics such as 'Steppin' Out With My Baby,' 'Learnin' The Blues,' 'Day In - Day Out,' 'High Fly,' and more. 'After hearing this quartet live for 12 nights with Les' tight group and the wonderful vocals of Bonnie Eisele, I can honestly say that I am truly a fan. . . ' - George Wein, Newport Jazz Festival'In the same way that, say, Art Blakey or Buddy Rich drove their bands, DeMerle establishes an undeniable presence. . . ' - Jazz Review

Comin' Home Baby

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Roy Eldridge Sextet - The Nifty Cat

Styles: Trumpet Jazz
Year: 1970
File: MP3@320K/s
Time: 39:26
Size: 90,6 MB
Art: Front

(9:45)  1. Jolly Hollis
(4:55)  2. Cotton
(6:02)  3. 5400 North
(3:59)  4. Ball Of Fire
(7:49)  5. Wineola
(6:53)  6. The Nifty Cat

One of only two Eldridge-led studio sessions from the 1961-1974 period, this CD reissue of a set originally recorded for Master Jazz matches the great swing trumpeter with Budd Johnson (who doubles on tenor and soprano), trombonist Benny Morton, pianist Nat Pierce, bassist Tommy Bryant, and drummer Oliver Jackson. All six of the jump tunes are by Eldridge with "5400 North" and "Ball of Fire" being the best-known. For this album, the veteran trumpeter had a very rare opportunity to call his own shots on a recording date, and the generally inspired playing makes this CD a fine example of small-group swing from the early '70s.~Scott Yanow http://www.allmusic.com/album/nifty-cat-mw0000188075

Personnel:  Roy Eldridge (vocals, trumpet);  Budd Johnson (soprano & tenor saxophones);  Benny Morton (trombone);  Nat Pierce (piano);  Tommy Bryant (bass);  Oliver Jackson (drums).

The Nifty Cat

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Shirley Horn - The Main Ingredient

Styles: Vocal And Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 53:58
Size: 124,1 MB
Art: Front

(4:18)  1. Blues For Sarge
(5:24)  2. The Look Of Love
(3:50)  3. Keepin' Out Of Mischief Now
(7:57)  4. The Meaning Of The Blues
(3:28)  5. Here's Looking At You!
(9:11)  6. You Go To My Head
(4:45)  7. Fever
(4:53)  8. Come In From The Rain
(2:58)  9. Peel Me A Grape
(7:10) 10. All Or Nothing At All

This Shirley Horn CD is a little unusual, as it was recorded at her home. The four sessions utilized some of her favorite musicians, including bassists Steve Novosel and Charles Ables; drummers Steve Williams, Elvin Jones, and Billy Hart; trumpeter Roy Hargrove (on "The Meaning of the Blues") and Joe Henderson; and Buck Hill on tenors. As usual, virtually all of the songs are taken at slow tempos, with "All or Nothing at All" given a definitive treatment. Other highlights include "The Look of Love," "Fever," and Henderson's playing on "You Go to My Head."~Scott Yanow http://www.allmusic.com/album/the-main-ingredient-mw0000180447

Personnel: Shirley Horn (vocals, piano, Roland electric piano); Buck Hill, Joe Henderson (tenor saxophone); Roy Hargrove (flugelhorn); Charles Ables (guitar, bass); Steve Novosel (bass); Steve Williams, Elvin Jones, Billy Hart (drums).

The Main Ingredient

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Willis Jackson - Bar Wars

Styles: Saxophone Jazz
Year: 1978
File: MP3@320K/s
Time: 45:34
Size: 104,7 MB
Art: Front

(5:56)  1. Later
(3:04)  2. Blue and Sentimental
(7:03)  3. Bar Wars
(4:55)  4. The Breeze and I
(5:05)  5. The Goose Is Loose
(7:13)  6. It's All Right With Me
(5:14)  7. The Breeze and I
(7:02)  8. It's All Right With Me

The late great Gator is back in this reissue by Joel Dorn's 32 Jazz of Willis "Gator" Jackson's 1978 Muse release, Bar Wars. The title is apt: W. A. Brower states it straightforwardly in his liner notes: "His music is my idea of popular music (not to be confused with pop musics which are a wholly different species), because wherever you go from Boston to Chicago and of course in Gator's favorite, Atlantic City there is a Club Harlem, a Baby Grand or a Showcase or an Ebony Inn where the music on this record is the music." Standrard R&B-flavored organ-tenor bar jazz it may be, but the late Mr. Jackson was one of its foremost exponents, and Bar Wars one of his most consistently pleasing products. His tone is gruff and grainy, in the tradition of all the booting R&B tenors in bars far and wide across this great land. He is joined here not only by the nimble Charlie Earland on organ, but by none other than Pat Martino, whose guitar is exuberant and strongly deployed. Then there’s Idris Muhammad on drums, so there's no doubt that the proceedings move along briskly from start to finish. Muhammad is propulsive without being flashy, yet on tracks like "The Breeze and I," he shows how much a jazz drummer differs from an ordinary R&B or rock and roll timekeeper (not that his timing isn't rock solid). Buddy Caldwell provides some congas for color.

Jackson adds two originals, the title track and "The Goose is Loose" to an otherwise fairly standard good-time music program. Brower observes, "He makes no pretenses and no matter the raised eyebrows of the highbrows there is nothing wrong with old favorites. With Gator what it is...is...what it is..." "What it is" is a fine lather worked up by Martino and Earland on "The Goose is Loose" before Gator steps up with his electric "a little bit louder now" routine. It's a breathy Willis (is he playing his long, straight Gator sax?) lovin you, baby, on "Blue and Sentimental." It's a sharper, brighter-toned Gator charging through Cole Porter's "It's All Right With Me" in a solo bound to remind the avants that ‘Trane himself played an awful lot of this kind of music, and never really lost the feel for it. After the organ solo he returns with just the sort of keening entrance ‘Trane used to such great effect in such different surroundings on Kind of Blue. These two had some common sources. Bar Wars is rounded out with alternate takes of "The Breeze and I" and "It's All Right with Me." It isn't as if Willis brings any radically different concept to these, but they are just as pleasant and straightforward as the masters. All in all, Bar Wars is very fine organ-tenor jazz / R&B. It's much more energetic and sincere than most of today's "smooth jazz" synthesized funk workouts. Willis Jackson is a first-rate "tennaman," surrounded here by first-rate sidemen commendation should not escape Martino, but check out Earland on "It's All Right with Me." New (old) meaning to the word electric.~Robert Spencer http://www.allaboutjazz.com/bar-wars-32-records-review-by-robert-spencer.php

Personnel:  Willis Jackson - tenor saxophone;  Charles Earland – organ;  Pat Martino – guitar;  Idris Muhammad – drums;  Buddy Caldwell – congas, percussion

Bar Wars

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Billy Paul - 360 Degrees Of Billy Paul

Styles: Vocal, Jazz Soul
Year: 1972
File: MP3@320K/s
Time: 53:45
Size: 123,2 MB
Art: Front

(4:35)  1. Brown Baby
(8:05)  2. I'm Just A Prisoner
(4:34)  3. It's Too Late
(4:45)  4. Me And Mrs. Jones
(5:16)  5. Am I Black Enough For You
(6:26)  6. Let's Stay Together
(6:32)  7. Your Song
(4:23)  8. I'm Gonna Make It This Time
(9:04)  9. Me And Mrs. Jones

Paul's first album for Philadelphia International was straight club jazz; sales were slow. This time, Gamble & Huff gave Paul material strong enough to make his sophomore release a viable commercial entity. "Brown Baby's" speaks of people of color making their parents and others proud. "I'm Just a Prisoner" is real, but would have been better served without the string section. It's a stark depiction about a man who has served five years and is contemplating his future. It is about the unsettling fact that he's just a prisoner. Its chilling chorus tells it all  "The cell is cold as hell, you'll never get use to the smell, my bed is hard as wood, I got to fight to keep my manhood," the riveting saga doesn't just end, the fade is lengthy, and features a dejected Paul woefully mourning the conditions, the situation, and the turmoil of prison life. He sounds believable and frustrated belting out "Me & Mrs. Jones," a classic that many relate to, and those who don't have no problem being down with the passionate singing and clawing lyrics describing the unapologetic infidelity. His "It's Too Late" is a fine rendition of Carole King's classic. You might not recognize "Let's Stay Together," popularized by Al Green. Paul does it it MOR/Jazz style, with a lot of improvising before crooning the original lyrics. It shows versatility, but it's unlikely that people who bought Green's "Jones" appreciated it. A version of Elton John's "Your Song" introduced the Brit to fans of soul music. Vince Montana's magical vibes punctuate the rhythm, which turns into a lightweight gospel revival. "Am I Black Enough for You" fit in with the times of overt black consciousness, a social message moved along by a perky bongo and clavinet-dominated beat, and well-spaced, brassy horn hits. A too staid "I'm Gonna Make It This Time," co-written by Bunny Sigler, marked Paul's second adventure in urban club jazz on 360 Degrees; this one has bite, and Billy sings it with fire.~Andrew Hamilton http://www.allmusic.com/album/360-degrees-of-billy-paul-mw0000318617

Personnel:  Billy Paul (vocals, arranger); Bobby Martin (arranger); David Bay, Bunny Sigler, Norman Harris, Roland Chambers, Bobby Eli (guitar); Eddie Green, Leon Huff (piano); Lenny Pakula (organ); Vince Montana (vibraphone); Anthony Jackson, Ronnie Baker (bass); Norman Farrington, Earl Young (drums); Larry Washington (congas).

R.I.P
Born: December 1, 1934 / Died: Died: April 24, 2016

360 Degrees Of Billy Paul

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Victor Feldman's Generation Band - High Visibility

Styles: Piano And Marimba Jazz
Year: 1985
File: MP3@320K/s
Time: 41:30
Size: 95,6 MB
Art: Front

(5:26)  1. Cafe Lido
(5:07)  2. High Visibility
(5:42)  3. Brazilia
(4:03)  4. Candy Dance
(5:31)  5. Low Visibility
(5:08)  6. Downtown Dallas
(5:35)  7. China Blues
(4:54)  8. Seven Steps to Heaven

Victor Stanley Feldman (April 7, 1934 – May 12, 1987) was an English jazz musician, best known as a pianist and percussionist. He began performing professionally during childhood, eventually earning acclaim in the UK jazz scene as an adult. Feldman immigrated to the United States in the mid-1950s, where he continued working in jazz and also as a session musician with a variety of pop and rock performers. Feldman caused a sensation as a musical prodigy when he was "discovered", aged seven. His family were all musical and his father founded the Feldman Swing Club in London in 1942 to showcase his talented sons.[1] Feldman's first professional appearance was playing drums at No. 1 Rhythm Club as a member of the Feldman Trio with brothers Robert on clarinet and Monty on piano accordion. He featured in the films King Arthur Was a Gentleman (1942) and Theatre Royal (1943). In 1944 he was featured at a concert with Glenn Miller's AAAF band, as "Kid Krupa" (in reference to drummer Gene Krupa). His drums teacher Carlo Krahmer encouraged Feldman to play the vibraphone which he did first in the Ralph Sharon Sextet and later in the Roy Fox band. He worked in India in 1952 and 1953 in a band led by pianist Eddie Carroll. His vibraphone and conga drum playing were notable, but it was as a pianist that he became best known.https://en.wikipedia.org/wiki/Victor_Feldman

Personnel: Bass – Max Bennett;  Drums – Trevor Feldman;  Lyricon, Soprano Saxophone, Tenor Saxophone – Tom Scott;  Producer – Josh Feldman, The Generation Band;  Rhodes Piano, Acoustic Piano, Percussion, Vibes, Marimba, Synthesizer – Victor Feldman; Synthesizer – Joseph Conlan

High Visibility

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Teresa Brewer - What A Wonderful World

Styles: Jazz, Vocal
Year: 1989
File: MP3@320K/s
Time: 39:23
Size: 91,0 MB
Art: Front

(3:04)  1. What A Wonderful World
(4:04)  2. June Night
(4:15)  3. I Dream Of You
(5:03)  4. Just Imagine
(3:22)  5. Isn't It A Lovely Day?
(3:45)  6. I've Got A Feeling
(2:55)  7. Live Is Just A Bowl Of Cherries
(3:46)  8. On The Road Again
(3:50)  9. Come And Drive Me Crazy
(5:18) 10. My Heart Belongs To Daddy

A 1989 release of Brewer singing and being backed by Stephane Grappelli and Ruby Braff. I'd rather hear them.~Ron Wynn http://www.allmusic.com/album/what-a-wonderful-world-mw0000201527

Personnel: Teresa Brewer (vocals); Bob Haggart (whistling); Bucky Pizzarelli (guitar, acoustic guitar, electric guitar); John Bertoncini (guitar); Diz Disley (acoustic guitar); Martin Taylor (electric guitar); Stéphane Grappelli, Svend Asmussen (violin); Bob Wilber (clarinet, saxophone); Bud Freeman (tenor saxophone); Yank Lawson (trumpet); Ruby Braff , Bobby Hackett (cornet); Vic Dickenson, Benny Morton (trombone); Derek Smith , Hank Jones , Ralph Sutton , Earl Hines (piano); Ron Traxler, Grady Tate, Gus Johnson , Oliver Jackson (drums)

What A Wonderful World

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Brian Charette - Music For Organ Sextette

Styles: Jazz
Year: 2012
File: MP3@320K/s
Time: 67:36
Size: 157,8 MB
Art: Front

( 5:52)  1. Computer God
( 5:25)  2. Fugue For Kathleen Annex/Ex Girlfriend Variation
( 8:50)  3. Risk
( 7:46)  4. The Elvira Pacifier
( 7:11)  5. Equal Opportunity
( 4:43)  6. Prayer For An Agnostic
( 5:17)  7. Late Night TV
( 6:01)  8. French Bird
(10:06)  9. Mode For Sean Wayland
( 6:21) 10. Tambourine

Finding an organ in a gathering of more than four in jazz seems to be taboo, yet no logic exists behind this unspoken truth. The organ is constantly making friends with guitars and drums, with the occasional singular horn dropping by to converse with them, but the possibility of a broader social circle always seems to elude this unwieldy instrument. Thankfully, organist Brian Charette is helping to rectify this issue. On Music For Organ Sextette, Charette weaves a unique and gripping aural tapestry together with a mélange of woodwinds serving as the thread. He channels his energy into creating constructs that benefit from the blending of multiple voices, yet remain flexible enough to allow for outspoken soloists to have their say. Charette's organ voice is prominent throughout as he cuts swaths through the sonic fields that lay before him and rides the tides of energy created by drummer Jochen Rueckert, but this outing is a true team effort.

The personnel list remains consistent from start to finish, but stylistic direction does not. Charette explores reggae ("Elvira Pacifier"), touches on churchy hymns with intentionally ironic titling ("Prayer For An Agnostic") and dabbles in outré modernism ("Mode For Sean Wayland"). His funky side comes out on occasion ("Late Night TV" and "Tambourine") and swing sneaks into the party ("Equal Opportunity"), but no single style reigns supreme on this tasting menu of music.

All four horns distinguish themselves as individuals, but they work even better as a unit. They move through the Baroque-influenced "Fugue For Kathleen Anne" with sensitivity and end up engaging in a raucous game of musical twister atop Rueckert's Tony Williams-meets-Clyde Stubblefield drumming when the music morphs into "Ex Girlfriend Variations." "Tambourine," likewise, benefits from their delightfully dovetailing lines, but they can also be found making magic with simple riffs in various places. Music For Organ Sextette is an anomaly in the world of organ-centric jazz, but not for the obvious reason. It's a recording that emphasizes the importance of textural exploration, multiple stylistic personalities, groove variations and the balance between group dynamics and solo statements. Charette challenges the status quo with this one and winds up the victor in every way.~Dan Bilawsky http://www.allaboutjazz.com/music-for-organ-sextette-brian-charette-steeplechase-records-review-by-dan-bilawsky.php 

Personnel: Brian Charette: organ; Jochen Rueckert: drums; Jay Collins: flute; Mike DiRubbo: alto saxophone; Joel Frahm: tenor saxophone; John Ellis: bass clarinet.

Music For Organ Sextette

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