Jim Hall - Concierto

Bitrate: MP3@320K/s
Time: 65:34
Size: 150.1 MB
Styles: Guitar jazz
Year: 1975/2011
Art: Front

[ 7:04] 1. You'd Be So Nice To Come Home To
[ 3:48] 2. Two's Blues
[ 7:37] 3. The Answer Is Yes
[19:19] 4. Concierto De Aranjuez
[ 6:09] 5. Rock Skippin'
[ 2:34] 6. Unfinished Business
[ 7:25] 7. You'd Be So Nice To Come Home To
[ 5:33] 8. The Answer Is Yes
[ 6:02] 9. Rock Skippin'

Guitarist Jim Hall is the sort of musician who displays such technical expertise, imaginative conception, and elegance of line and phrase that almost any recording of his is worth hearing. Still, Concierto ranks among the best albums of his superb catalog. For starters, the personnel here is a jazz lover's dream come true. Paul Desmond (saxophone), Chet Baker (trumpet), Roland Hanna (piano), Ron Carter (bass), and Steve Gadd (drums) are on board, creating -- along with Hall -- one of the highest profile lineups ever put to tape. Yet Concierto is not about star power and showboating. As subtle, nuanced, and considered as any of Hall's output, the ensemble playing here demonstrates great group sensitivity and interplay, giving precedence to mood and atmosphere over powerhouse soloing. Conductor and arranger Don Sebesky evinces a chamber ambience from the sextet on "You'd Be So Nice to Come Home To," the smoky "The Answer Is Yes," and the Hall centerpiece "Concierto de Aranjuez." ~Anthony Tognazzini

Concierto

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Don Redman & His Orchestra - The Very Best Of Don Redman & His Orchestra

Bitrate: MP3@320K/s
Time: 47:47
Size: 109.4 MB
Styles: Big band
Year: 2011
Art: Front

[2:51] 1. Puddin' Head Jones
[3:02] 2. I Found A New Way To Go To Town
[3:02] 3. My Old Man
[2:49] 4. Keep On Doin' What You're Doin'
[2:45] 5. Shuffle Your Feet Bandanna Babies
[3:13] 6. Chant Of The Weed
[2:57] 7. How Ya Feelin'
[2:53] 8. She's Not Bad
[3:13] 9. Underneath The Harlem Moon
[2:51] 10. It's A Great World After All
[3:21] 11. Got The South In My Soul
[2:54] 12. After Sundown
[2:52] 13. Our Big Love Scene
[2:57] 14. Try Getting A Good Night's Sleep
[2:55] 15. Two Time Man
[3:04] 16. Tired Of It All

Redman was born in Piedmont, Mineral County, West Virginia. His father was a music teacher, his mother was a singer. Don began playing the trumpet at the age of three, joined his first band at the age of six and by the age of 12 was proficient on all wind instruments ranging from trumpet to oboe as well as piano. He studied at Storer College in Harper's Ferry and at the Boston Conservatory, then joined Billy Page's Broadway Syncopaters in New York City. (He was the uncle of saxophonist Dewey Redman, and thus great-uncle of saxophonist Joshua Redman and trumpeter Carlos Redman.)
Career

In 1923, Redman joined the Fletcher Henderson orchestra, mostly playing clarinet and saxophones. He soon began writing arrangements, and Redman did much to formulate the sound that was to become swing. A trademark of Redman's arrangements was that he harmonized melody lines and pseudo-solos within separate sections; for example, clarinet, sax, or brass trios. He played these sections off each other, having one section punctuate the figures of another, or moving the melody around different orchestral sections and soloists. His use of this technique was sophisticated, highly innovative, and formed the basis of much big band jazz writing in the following decades.

In 1927 Jean Goldkette convinced Redman to join the Detroit, Michigan-based band McKinney's Cotton Pickers as their musical director and leader. He was responsible for their great success and arranged over half of their music (splitting the arranging duties with John Nesbitt through 1931). Redman was occasionally featured as their vocalist, displaying a charming, humorous vocal style.

Redman then formed his own band in 1931, which got a residency at the famous Manhattan jazz club Connie's Inn. Redman signed with Brunswick Records and also did a series of radio broadcasts. Redman and his Orchestra also provided music for the animated short I Heard, part of the Betty Boop series produced by Fleischer Studios and distributed by Paramount. Redman composed original music for the short, which was released on September 1, 1933. The Brunswick records Redman made between 1931–1934 were some of the most complex pre-swing hot jazz arrangements of popular tunes. Redman's band didn't rely on just a driving rhythm or great soloists, but it had an overall level of arranging sophistication that was seldom heard by other black bands of the period. The popular vocalist, Harlan Lattimore, provided about half of the vocals during this period.

The Very Best Of Don Redman & His Orchestra

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Dinah Shore - 16 Most Requested Songs

Bitrate: MP3@320K/s
Time: 46:47
Size: 107.1 MB
Styles: Vocal
Year: 1991
Art: Front

[2:00] 1. Buttons And Bows
[3:21] 2. Georgia On My Mind
[3:08] 3. Two Silhouettes
[2:39] 4. Dear Hearts And Gentle People
[3:12] 5. Willow Weep For Me
[2:40] 6. There'll Be Some Changes Made
[2:51] 7. Shoo Fly Pie And Apple Pan Dowdy
[3:00] 8. Tess' Torch Song (I Had A Man)
[3:08] 9. Doin' What Comes Natur'lly
[2:56] 10. Taking A Chance On Love
[3:08] 11. Mad About The Boy
[2:59] 12. Lavender Blue (Dilly Dilly)
[2:54] 13. It's De-Lovely
[3:16] 14. I'm Yours
[3:09] 15. They Didn't Believe Me
[2:19] 16. Baby, It's Cold Outside

Dinah may now be remembered more as a TV star, but she was one of the most successful female pop singers of the 1940's. This collection and it's companion volume, 16 greatest hits Encore!, contain all the essential hits that Dinah recorded for Columbia from 1946 to 1950. Some lesser hits have been omitted to allow the inclusion of some high quality recordings (like Willow weep for me) that were not hits - perhaps they were B-sides.

Dinah's biggest hit, the lightweight but brilliant Buttons and bows (#1 for ten weeks), opens this collection, which includes the major hits Shoo fly pie and apple pan dowdy (#6), The gypsy (#1), Doin' what comes naturally (#3), Dear hearts and gentle people (#2) and Baby it's cold outside (with Buddy Clark) (#4). Some of these songs faced stiff competition from other versions of the same song and it wasn't always Dinah's version that charted highest, but Dinah's versions are all of a high quality. The 1940's were a particularly strong decade for female singers, but Dinah was certainly among the best of them. This CD and it's companion provide a wonderful introduction to her music. ~ Peter Durward Harris

16 Most Requested Songs

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Jack Teagarden - Think Well Of Me

Bitrate: MP3@320K/s

Time: 36:13

Size: 82.9 MB

Styles: Trombone jazz

Year: 1962/2016

Art: Front

[2:53] 1. Where Are You

[3:49] 2. Cottage For Sale

[3:35] 3. Guess I'll Go Back Home This Summer

[3:36] 4. I'm A Fool About My Mama

[3:22] 5. Don't Smoke In Bed

[3:53] 6. In A Little Waterfront Cafe

[2:44] 7. Think Well Of Me

[2:48] 8. Old Folks

[3:43] 9. Country Boy Blues

[2:40] 10. Tain't So Honey, Tain't So

[3:04] 11. Round The Old Deserted Farm

In the years between leaving Louis Armstrong's All-Stars and his death (1952-1963), the great trombonist and singer Jack Teagarden led a Dixieland-oriented sextet. Most of his recordings during that time period, while quite worthy, featured the usual standards and swing songs that had been associated with Teagarden since the '30s. But this particular project, which in 1998 was reissued as a limited-edition CD, was something quite different. Willard Robison was an unusual composer whose nostalgic and wistful songs usually extolled the virtues of country life; best-known among his tunes are "Old Folks," "Cottage for Sale," and "Tain't So, Honey Tain't So." For what would be his next-to-last album in January, 1962, he recorded ten Robison songs (plus the slightly out of place non-Robison standard "Where Are You") while backed by a string orchestra that included both a harp and his trumpeter Don Goldie. Bob Brookmeyer and Russ Case contributed all but one arrangement, and although the strings were certainly not necessary (since they do not add much to the music), the prestigious setting must have pleased the trombonist. All of the songs except for "I'm a Fool About My Mama" have vocals by Teagarden, and he puts plenty of restrained feeling into such obscure tunes as "Guess I'll Go Back Home This Summer," "Think Well of Me," and "'Round My Old Deserted Farm." His short solos are often quite exquisite, and this often touching, somewhat rare date is one of the strongest of his final period. ~Scott Yanow

Think Well Of Me

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Nicholas Payton - Dear Louis

Styles: Trumpet Jazz
Year: 2001
File: MP3@320K/s
Time: 68:16
Size: 161,5 MB
Art: Front

(5:59)  1. Potato Head Blues
(8:30)  2. Hello, Dolly
(4:35)  3. I'll Be Glad When You're Dead, You Rascal You
(7:07)  4. Tight Like This
(0:42)  5. Interlude (St. James Infirmary)
(4:04)  6. On The Sunny Side Of The Street
(6:03)  7. Dear Louis
(3:49)  8. Blues In The Night
(5:25)  9. The Peanut Vendor
(2:53) 10. Mack The Knife
(6:06) 11. Tiger Rag
(4:59) 12. I'll Never Be The Same
(7:58) 13. West End Blues

At the risk of stating the obvious, the best tribute albums involve musicians with their own personalities capable of interpreting the material in such a way as to bring something new and fresh to the table. That is exactly what Nicholas Payton does with Dear Louis. And things could have come out quite to the contrary considering that on the surface this has all the trappings of a major label concept album. You know how that works, a rotating cast of characters, including some big name vocalists. Not that Dr. John or Dianne Reeves add anything all that considerable to the whole, but they certainly don't distract from what has to be Payton's most ambitious work to date. On most of the numbers, Payton writes charts for a large ensemble that gets a major boost in the lower register by the addition of Bob Stewart's tuba. "Tiger Rag" makes the most of this, with Scott Robinson adding even more bottom end via his use of a contrabass saxophone. The same track is also one of several to feature Melvin Rhyne on B-3 organ. 

Not to be missed are the roles that Payton's regular band plays in this affair, namely the rock solid support of bassist Reuben Rogers and drummer Adonis Rose. "Hello, Dolly" escapes any degree of its kitsch quality, as Payton turns it into a bossa nova. The same goes for the approach to "I'll Never Be the Same," with the trumpeter flexing his own vocal chords (he does the same on "I'll Be Glad When You're Dead, You Rascal You," with jubilant results). Even the most overtly apparent nods to Satchmo, such as a verbatim introduction to "West End Blues" from Payton, give way to more modern territory. Again, this leads Payton to explore his own pastures on this greatly varied and immensely satisfying disc.~ C.Andrew Hovan https://www.allaboutjazz.com/dear-louis-nicholas-payton-verve-music-group-review-by-c-andrew-hovan.php

Personnel: Nicholas Payton: trumpet, flugelhorn, vocals, Fender Rhodes electric piano; Paul Stephens: trumpet, flugelhorn; Ray Vega: trumpet; Vincent Gardner: trombone; Bob Stewart: tuba; Bill Easley: clarinet, alto saxophone, flute; Scott Robinson: bass clarinet, baritone and contrabass saxophones, flute; Tim Warfield: tenor and soprano saxophones, flute; Peter Bernstein: guitar; Melvin Rhyne: organ; Anthony Wonsey: piano; Walter Payton: bass; Reuben Rogers: bass; Adonis Rose: drums; Kenyatta Simon: percussion; Dr. John: vocals; Dianne Reeves: vocals.

Dear Louis

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Jenny Evans - Nuages

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 51:07
Size: 117,4 MB
Art: Front

(5:05)  1. Mad About The Boy
(5:47)  2. Remember Me
(3:28)  3. Nuages
(4:29)  4. Our Revels Are Now Ended
(5:49)  5. Within You, Without You
(5:43)  6. Flow My Tears
(5:02)  7. I'm Alone After All
(3:08)  8. The Feeling Of You
(4:37)  9. Veris Leta Facies
(4:49) 10. No Love Without Tears
(3:04) 11. What Joy

Born in London, England, in the lowly outskirts of Beckenham, Jenny Evans is a talented master of many trades. She is an unforgettable jazz singer, but she has also been an actress and lyricist, and she has run a jazz club for five years called Jenny's Place. She has been in musicals such as Blood Brothers, her voice has been used in films, and she even has a M.A. degree in linguistics to fall back on (as if she would ever need to). Evans moved to Munich, Germany, in 1976 to study to be a teacher of music and English. While working toward her degree, she became the lead singer for a band called Old Socks New Shoes. The ragtime numbers she performed with the group slowly blended toward classic jazz. Though she appears comfortable and capable singing anything from Gershwin songs to numbers by the Beatles, her sultry voice seems made just for jazz. In 1997, Evans released her debut album for ENJA Records, Shiny Stockings. The album won her good reviews by many. Girl Talk hit the stores in 1999 with tracks like "Love for Sale," "Mr. Bojangles," and "I Wanna Be Near to You." Evans keeps busy between recordings, playing at many clubs and festivals, and touring in Europe, Germany, Australia, Russia, and Japan. ~ Charlotte Dillon  https://itunes.apple.com/us/artist/jenny-evans/id58282661#fullText

Nuages

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Jed Levy - Gateway

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 66:27
Size: 152,8 MB
Art: Front

(5:35)  1. Life of Riley
(8:24)  2. Irony
(9:23)  3. Gateway
(7:18)  4. Lost April
(8:44)  5. Positivity
(6:01)  6. Chorale
(8:01)  7. How Am I To Know
(6:43)  8. Afterthought Blues
(6:14)  9. Carillon

Some players seem to enjoy the adventure of not knowing with whom they are going to play with next, while others would rather develop the interpersonal communication that can only come with time. Since jazz is, at its core, an improvisational art, playing in the moment is the ideal, with different kinds of music requiring different musical reflexes. Jed Levy, as demonstrated on the most attractive Gateway, lives in the mainstream world, but one that is filled with unexpected twists and turns while bringing together musicians who had never played together as a quartet. However, the interpersonal chemistry which one might think would be lacking is more than balanced by the extremely high level of musicianship present at the session. What is clear from the music is that these players really listen to each other and are so quick of musical thought that they have more than enough time to negotiate the detours in the road while reacting to what is happening around them.

Levy's tunes cannot be called adventurous, but neither are they totally predictable. Odd phrase lengths abound, as do changes in meter, but they never sound overtly shocking for their own sake. In the notes, Levy actually speaks of his compositions as representing the natural outcome of what he is hearing at the moment and not any artificial constructs. As the tunes of Gateway each flow by, the record's pacing moves from the up tunes through ballads and back. Jazz that has that warm comfort level, which comes from recognizable structures, exists simultaneously with the excitement of players who are so facile that they can play around within Levy's music. This facility comes at a price however, since everyone makes it sound so easy. Someone who looks to jazz for the shock of the new or who wants to listen in the moment as the players play in that moment will not find it here. But, then again, that is not what Gateway is about, which is simply to present good music and to play it honestly and directly.~ Budd Kopman https://www.allaboutjazz.com/gateway-jed-levy-steeplechase-records-review-by-budd-kopman.php
 

Personnel: Jed Levy: tenor saxophone;  George Colligan: piano;  Ugonna Okegwo: bass;  Billy Drummond: drums.

Gateway

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Russell Gunn - Love Stories

Styles: Trumpet Jazz

Year: 2008

File: MP3@320K/s

Time: 56:20

Size: 129,4 MB

Art: Front

(5:08)  1. Love Requiem

(6:04)  2. All You Need Is Love

(5:52)  3. Because I Love You (The Stalker Song)

(6:31)  4. I'm in Love With a Stripper

(6:10)  5. Bitch, You Don't Love Me

(5:01)  6. Love Me in a Special Way

(5:09)  7. Love for Sale

(8:27)  8. Ghandi's Love

(6:25)  9. He Loves Me

(1:29) 10. The Stalker Song - Alternate Ending

Love is strange, all right, and Love Stories is stranger still. Hardly a bouquet of ballads, the album is inspired by “love in all its dysfunction,” as trumpeter Russell Gunn explains in David R. Adler’s revealing liner notes. But don’t leap to logical conclusions. Gunn also points out that “Because I Love You (The Stalker Song)” and “Bitch, You Don’t Love Me” aren’t the residue of some soured love affair. The former has more to do with Hitchcock-ian atmospherics than heartbreak, apparently, and the latter, notes Gunn, is “basically a song about being used. For me, more than anything it means the music business.” The album’s overarching theme and hip-hop-inspired production allows Gunn a lot of creative latitude. For openers, the trumpeter reinvents “Love Requiem,” a previously recorded original composition, before unveiling arrangements of pop tunes that reflect his broad musical tastes without sounding contrived or congested. A prime example of how deftly he juggles vintage and contemporary sounds is the go-go-triggered “Love for Sale,” featuring vocalist Heidi Martin. Primarily acting as conceptualist on this collection, Gunn nevertheless plays some fine trumpet and flugelhorn: blue-toned on “All You Need Is Love,” appropriately noir-ish on the aforementioned “Stalker.” Meanwhile, saxophonist Kirk Whalum, keyboardist Orrin Evans, bassist Carlos Henderson, drummer Montez Coleman, percussionist Kahlil Kwame Bell and others contribute to the album’s colorful textures and tangents. Perhaps more than a few fence-sitters out there on the jazz/hip-hop front may find themselves quickly falling for this imaginatively arranged and programmed session.~ Mike Joyce http://jazztimes.com/articles/21173-love-stories-russell-gunn

Personnel: Russell Gunn (trumpet, flugelhorn, keyboards, drum programming); Heidi Martin (vocals); Mike Scott (guitar); Brian Hogans (alto saxophone); Kirk Whalum (tenor saxophone); Orrin Evans (piano, keyboards); Carlos Henderson (acoustic bass, electric bass, bass guitar); Montez Coleman (drums); Kahlil Kwame Bell (percussion).

Love Stories

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Stan Getz - At The Shrine

Bitrate: MP3@320K/s
Time: 69:55
Size: 160.1 MB
Styles: Saxophone jazz
Year: 1954/2009
Art: Front

[8:33] 1. Flamingo
[5:25] 2. Lover Man
[6:45] 3. Pernod
[8:21] 4. Tasty Pudding
[7:31] 5. I'll Remember April
[4:37] 6. Polka Dots And Moonbeams
[5:47] 7. Open Country
[5:55] 8. It Don't Mean A Thing
[8:43] 9. We'll Be Together Again
[8:14] 10. Feather Merchant

Bass – Bill Anthony; Drums – Art Mardigan, Frank Isola; Piano – John Williams; Tenor Saxophone – Stan Getz; Valve Trombone – Bob Brookmeyer.

Tenor Stan Getz and valve-trombonist Bob Brookmeyer made a mutually beneficial team. Although they had not played together all that much in 1954 (Brookmeyer had left Getz's band earlier in the year to join the Gerry Mulligan Quartet), the strong musical communication between the two horns during this set is obvious. Eight of the ten selections are from a live concert (with pianist John Williams, bassist Bill Anthony, and drummer Art Mardigan) while the final two numbers (on what was originally a pair of LPs) were cut in the studio the following day with the same personnel except that Frank Isola was on drums. Highlights of this cool-toned bop music (which, in addition to the solos, has many exciting ensembles) include "Lover Man," "Pernod," "Tasty Pudding," and "It Don't Mean a Thing." ~Scott Yanow

At The Shrine

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Duke Jordan Trio - Wait And See

Bitrate: MP3@320K/s
Time: 56:14
Size: 128.8 MB
Styles: Piano jazz
Year: 1989
Art: Front

[7:27] 1. Love Train
[7:27] 2. Misty
[7:20] 3. My Heart Skips A Beat
[7:39] 4. Dancer's Call
[6:31] 5. The Bullet
[6:16] 6. Undecided Lady
[4:31] 7. Wait And See
[6:40] 8. Out Of Nowhere
[2:20] 9. Jordu

Bass – Wilbur Little; Drums – Dannie Richmond; Piano – Duke Jordan. Recorded (live) in Copenhagen, Denmark, November 16 & 17, 1978.

Recorded at the same Copenhagen session that resulted in "Tivoli One" and "Tivoli Two," this trio set -- reissued on CD with two additional selections -- features pianist Duke Jordan, bassist Wilbur Little and drummer Dannie Richmond on seven Jordan originals (including his famous "Jordu"), "Misty" and "Out of Nowhere." Another excellent bop-oriented Duke Jordan session, one of many for SteepleChase. ~Scott Yanow

Wait And See

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Karen Mason - Sweetest Of Nights

Bitrate: MP3@320K/s
Time: 44:52
Size: 102.7 MB
Styles: Easy Listening, Cabaret
Year: 2006
Art: Front

[2:58] 1. A Whole New World
[2:49] 2. You And I
[5:23] 3. Watch What Happens / I Will Wait For You
[2:17] 4. Almost Like Being In Love
[2:31] 5. My Foolish Heart
[3:20] 6. He's Got A Way
[4:18] 7. Now I Have Everything / Married
[4:18] 8. What's Wrong With This Picture
[3:23] 9. Cold Enough To Cross
[3:53] 10. The Winner Takes It All
[2:50] 11. Let's Face The Music And Dance
[3:32] 12. People
[3:14] 13. The Sweetest Of Nights And The Finest Of Days

Karen Mason has starred on Broadway, Off-Broadway, television, and recording: and "has few peers when it comes to ripping the roof off with her amazing voice that knows no bounds!" (TheatreScene.net) Karen is an nine time MAC Award winner and has won the MAC Award for Major Female Vocalist of the Year for six consecutive years. She has also won the 2006 Nightlife Award for Major Female Vocalist and three Bistro Awards.

Ms. Mason originated the role of Tanya on Broadway in Abba’s MAMMA MIA!, and was awarded a 2002 Drama Desk nomination as Best Actress. Her other leading roles include Norma Desmond in SUNSET BOULEVARD which she performed to critical acclaim and standing ovations on Broadway and in Los Angeles for three years; Mazeppa in JEROME ROBBIN’S BROADWAY; Rosalie in CARNIVAL (another Drama Desk nomination); plus featured roles in Broadway’s TORCH SONG TRILOGY; and PLAY ME A COUNTRY SONG.

Karen won the Outer Critics Circle Award for her performance in AND THE WORLD GOES ROUND, and starred Off-Broadway in her own show KAREN MASON SINGS BROADWAY, BEATLES AND BRIAN. Her television appearances include the hit dramas ED and LAW & ORDER SVU. Film credits include SLEEPING DOGS LIE and A CHORUS LINE.

Sweetest Of Nights

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Bobby Darin - The Ultimate Bobby Darin

Bitrate: MP3@320K/s
Time: 41:53
Size: 95.9 MB
Styles: Vocal, Traditional pop
Year: 1988/2004
Art: Front

[2:10] 1. Splish Splash
[2:11] 2. Queen Of The Hop
[1:54] 3. Plain Jane
[2:29] 4. Dream Lover
[3:02] 5. Mack The Knife
[3:12] 6. Clementine
[2:04] 7. Won't You Come Home Bill Bailey
[2:32] 8. Lazy River
[2:08] 9. You Must Have Been A Beautiful Baby
[2:32] 10. Irresistable You
[2:15] 11. Multiplication
[2:30] 12. Things
[2:11] 13. I'll Be There
[2:14] 14. Early In The Morning
[3:17] 15. Artificial Flowers
[2:10] 16. Somebody To Love
[2:54] 17. Beyond The Sea

At the time of its release in 1988, The Ultimate Bobby Darin was arguably the most thorough single-disc compilation available. And for range and selection it remains the most thorough single-disc retrospective of the legendary singer, effectively capturing the stunning range of his unique musical vision. Each of its 17 songs is a gem. Included are "Splish Splash," "Dream Lover," "Mack the Knife," and "Beyond the Sea," as well as "Somebody to Love" and "I'll Be There," which don't appear on The Hit Singles Collection. For sound quality, however, both this release and the early-'90s retrospectives Splish Splash: The Best of Bobby Darin, Vol. 1 and Mack the Knife: The Best of Bobby Darin, Vol. 2 have been supplanted by the more recent Hit Singles Collection and other post-2000 releases of his Atlantic catalog. ~Bruce Eder

The Ultimate Bobby Darin

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Jed Levy - Sleight of Hand

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 57:10
Size: 134,2 MB
Art: Front

(4:27)  1. Sleight Of Hand
(7:44)  2. Zinno
(8:12)  3. Three And Me
(5:27)  4. Bird's Mother
(9:18)  5. Desert Church
(5:34)  6. Did I Remember?
(5:06)  7. Bright Lights
(8:03)  8. Nice And Easy
(3:16)  9. Indigenous

Saxophonist Jed Levy has been a mainstay on the New York jazz scene for over 20 years. In addition to performing and recording as a leader, he has had long standing working relationships with such jazz luminaries as Jaki Byard (a musical mentor, 3 recordings and countless performances), Don Patterson, Jack McDuff (valuable road experience), Ron McClure (2 CDs and on going performances), and Headhunters drummer Mike Clark (2 CD's and new projects in the works.)  He has also been fortunate to have worked with, Junior Mance, Eddie Henderson, Jack Walrath,The Vanguard Jazz Orchestra, Shirley Scott, Kevin Mahogany, Gene Bertoncini,Don Friedman,Cedar Walton, Curtis Fuller, Chico O'Farrill, Attilla Zollar, Groove Holmes, Tom Harrell, and many others. Levy has toured Japan as a leader and appeared at several international jazz festivals as well as leading bands at such New York venues as Sweet Basil, Blue Note, Birdland, Visiones and Zinno. Diversity has been the key to Levy's success on the New York scene. A recent week found him moving from a concert with the Cab Calloway Orchestra to a night with Mike Clark and Charley Hunter at the Knitting Factory, to the Apollo Theater with the Temptations and the Four Tops, to Birdland with Chico O'Farill's Afro Cuban Orchestra. In his presentations as a leader, as well as in his compositions, Levy tries to incorporate these varied musical experiences. His compositions have been recorded by such artists as the Headhunters, Don Friedman, Eddie Henderson, and Mike Clark. http://www.jedlevy.com/

Personnel:  Jed Levy Tenor Sax;  George Colligan Piano;  Gerry Gibbs Drums;  Ron McClure Bass.

Sleight of Hand

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Lisa Bell - The Italian Project

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 41:33
Size: 97,0 MB
Art: Front

(3:29)  1. Bring the Love
(3:04)  2. I Can Be Anything
(4:02)  3. Set It Free (The Boomba, Boomba Song)
(4:33)  4. Come My Way
(4:12)  5. One Face, One Race
(3:59)  6. A Brighter Day
(3:17)  7. Walk With Me
(3:42)  8. Love Hurts
(3:24)  9. Quilt
(4:03) 10. From the Outside Looking In
(3:42) 11. The Best of Me

The Italian Project is the product of a beautiful dream come true; one that embodies love, hope, and the overriding positive message that we can truly achieve anything we set our minds to. In 2009, Lisa Marie Simmons and I, who both attended high school at the same time in Boulder, CO, reconnected by Facebook for the first time in more than 25 years. This synchronistic virtual meeting resulted in a four-year international music adventure that included performances in Italy and Colorado, and culminated with co-writing (along with Bob Story) the 11 songs on this CD. We wrote the songs largely via Skype over a two-year period, and recorded tracks both in Italy and Colorado. While the writing and recording process has been lengthy and challenging at times, the journey has been priceless. The Italian Project is a big departure for Lisa Bell and her band, with heavy roots rock, country, bluegrass, pop and blues influences. Throughout the writing process, we used a theme of positive messages and beautiful stories of change, manifestation and empowerment. Some of the songs are uplifting. Others share important stories such as the challenges of homelessness, racism and our societal fears. All are designed to make the listener take heart and take action. The music is fun, fresh, upbeat and thought provoking. http://lisabellmusic.com/discography/the-italian-project/

The Italian Project

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Ron McClure Sextet - Double Triangle

Styles: Jazz, Straight-ahead/Mainstream
Year: 1999
File: MP3@320K/s
Time: 72:43
Size: 167,1 MB
Art: Front

( 5:45)  1. In Flight
( 7:04)  2. Night Bird
( 5:20)  3. Con Alma
( 9:12)  4. Thunder
( 4:42)  5. More Than a Notion
( 4:20)  6. Let Freedom Ring
( 9:32)  7. Minor Spree
( 9:16)  8. Maya
(11:06)  9. April in Nimes
( 6:24) 10. We'll Be Together Again

As a vehicle for documenting his original compositions, veteran mainstream jazz bassist McClure envisions his sextet as a double triangle of rhythm section (he, pianist Marc Copland and drummer Billy Hart) and front line (Rich Perry on tenor sax, Tim Hagans on trumpet, Conrad Herwig on trombone) to work as one. With such outstanding musicianship present, and the interesting pieces they have to play with, listeners have a real treat involving themselves with this finely crafted project. There are two standards, the trombone-led ballad "We'll Be Together Again" and Dizzy Gillespie's easy swinger "Con Alma," on which Herwig is up first, Perry grabs the baton on the second and repeated first melody, and the whole group joins at the end. Leader's prerogative dictates that McClure solos frequently; he does on the known numbers, but takes more license on his own. He is dominant for "In Flight" in the intro and up front through the entire, even-tempo horn chart. "Night Bird" has him long-winded in the deliberately paced undertow of hushed melody he adapted from Herbie Hancock's "Speak Like a Child." McClure also modified Joe Henderson's "Gazelle" into "Thunder" with juggernaut trombone and bass; the rest of the horns stay on top of this well-swung melody, which is concluded with the band employing potent interplay. Swinging and especially blowing from Perry is emphasized on the Jazz Messenger-ish "Minor Spree"; a steady rhythm for "More Than a Notion" allows the horns to languish in multiple lines, while freer, darker structures and Hagans' tasteful solo inspires a pounding Hart in mid-flight during "Let Freedom Ring." Another feature for Perry, "April in Nimes," has "April in Paris" references during a wonderful tenor-bass-piano unison line, and "Maya," written for McClure's daughter, goes from waltz to 4/4 bridge time with darker trombone, clarion echoes, and Copland's always colorful piano inserts. McClure has long been underrecognized as a fine bassist, improviser, bandleader and writer. This very fine CD should start to wake the jazz world to his many gifts. Highly recommended.~ Michael G.Nastos http://www.allmusic.com/album/double-triangle-mw0000259830

Personnel:  Ron McClure: Bass, Tim Hagens: Trumpet; Conrad Herwig: Trombone; Rich Perry: Tenor Saxophone; Marc Copland: Piano; Billy Hart: Drums.

Double Triangle

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Chris Byars - Blue Lights

Styles: Flute And Saxophone Jazz
Year: 2009
File: MP3@256K/s
Time: 61:27
Size: 113,0 MB
Art: Front

( 7:04)  1. Luck Swing
( 6:17)  2. Sans Souci
(10:47)  3. Al-Ghashiyah
( 6:52)  4. The Infant Song
( 8:16)  5. Baba's Blues
( 8:09)  6. Shabozz
( 7:07)  7. Blue Lights
( 6:52)  8. Anne Marie

During a relatively brief career, alto saxophonist/composer Gigi Gryce was one of the promising contributors to hard bop, though he suddenly stopped playing and composing to take up music education. Though Gryce wrote a number of important works that have been frequently explored by other jazz artists, alto saxophonist Chris Byars chose to record seven of his lesser known works, in the process, discovering several previously unrecorded compositions, premiering one of them. Joined by two of his frequent collaborators, pianist Sacha Perry and bassist Ari Roland, plus trombonist John Mosca and drummer Stefan Schatz, Byars utilizes the composer's arrangements as written, though a bassline was not included in the charts. Gryce's enchanting "Al-Ghashiyah" is the undiscovered gem, blending a peppy opening and closing with an exotic central section. The leader switches to flute for the Latin-flavored introduction to "Sans Souci" (derived from the changes to "Out of Nowhere"), though the chart quickly shifts into a midtempo bop setting showcasing Perry, with the leader's father James Byars added on oboe in the ensemble sections. Byars is equally skilled on tenor in the driving blues "Blue Lights." Roland adds a taste of Paul Chambers with his solid arco technique on several tracks. This is an excellent tribute to an unjustly neglected jazz musician. ~ Ken Dryden http://www.allmusic.com/album/blue-lights-mw0000833156

Personnel: Chris Byars (flute, alto saxophone, tenor saxophone); John Mosca (trombone); Sacha Perry (piano); Stefan Schatz (drums).

Blue Lights

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Harry Allen - Christmas in Swingtime

Styles: Christmas
Year: 2007
File: MP3@320K/s
Time: 68:30
Size: 158,0 MB
Art: Front

(5:44)  1. O Christmas Tree
(6:22)  2. Santa Claus Is Coming to Town
(5:46)  3. Have Yourself a Merry Little Christmas
(5:52)  4. Let It Snow! Let It Snow! Let It Snow!
(6:10)  5. God Rest Ye Merry Gentlemen
(5:51)  6. White Christmas
(3:28)  7. Blue Christmas
(6:07)  8. We Wish You a Merry Christmas
(5:13)  9. Rudolph Red-Nosed Reindeer
(5:26) 10. I'll Be Home for Christmas
(3:01) 11. Ding! Dong! Merry on High
(5:20) 12. Winter Wonderland
(4:03) 13. A Christmas Love Song

Although it was recorded in New York City, the liner notes for this splendid holiday release by tenor saxophonist Harry Allen are in Japanese, an indication that it was not necessarily aimed at a domestic audience but one that is somewhat farther east. What’s more, the copy I have is on the BMG label while the accompanying press release is from Koch Jazz, which, presumably, obtained the distribution rights from BMG (and has provided an English translation of Dan Polletta’s notes). Are you following me so far? Good. There’ll be a pop quiz later. Allen, who turned thirty–five in October (happy birthday, Harry), is a throwback to an earlier era in which lyricism and a lovely sound reigned supreme, and his influences range from Coleman Hawkins, Lester Young and Ben Webster to Stan Getz, Zoot Sims, Al Cohn and, among his contemporaries, Scott Hamilton. To these ears, he sounds most like Getz with Zoot’s unerring sense of time. What’s important, of course, is that Allen swings under any and all conditions including seasonal. When it comes to Jazz, there’s little difference between Christmas songs and others; they’re all comprised of chord changes, and once one knows the changes he can treat them like any other number, which is what Allen and his talented colleagues do here. After stating the melody they take the song wherever it leads them, which is invariably along a most picturesque and agreeable byway. Larry Goldings, who’s also an excellent pianist, stays with the Hammond on this date. He and mellow guitarist Peter Bernstein obviate the need for a bassist, while drummer Jake Hanna is a model of taste and proficiency. The quartet is augmented on one number, “Blue Christmas,” by vocalist John Pizzarelli who sounds rather like a latter–day version of Chet Baker. Most of these tunes should be immediately familiar to anyone who’s not been sequestered in a cave, the possible exception being Johnny Mandel’s “Christmas Love Song,” which closes the album. There’s one bona fide “burner,” the traditional carol “Ding! Dong! Merry on High,” on which everyone is in an exuberant holiday mood. The rest is slow to medium but no less earnest. If you can envision Stan Getz playing carols and other seasonal fare you’ll have a reasonably accurate idea of what to expect from Christmas in Swingtime.

 ~ Jack Bowers https://www.allaboutjazz.com/christmas-in-swingtime-harry-allen-koch-international-jazz-review-by-jack-bowers.php
 

Personnel: Harry Allen, tenor saxophone; Larry Goldings, organ; Peter Bernstein, guitar; Jake Hanna, drums; John Pizzarelli, vocal

Christmas in Swingtime

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Junior Mance Trio +1 - Yesterdays

Bitrate: MP3@320K/s
Time: 64:48
Size: 148.4 MB
Styles: Soul jazz, Mainstream jazz
Year: 2001
Art: Front

[ 7:16] 1. Willow Weep For Me
[ 8:06] 2. Yesterdays
[ 7:48] 3. Georgia On My Mind
[ 4:52] 4. C Jam Blues
[10:12] 5. Summertime
[ 4:12] 6. Something
[ 8:04] 7. Cry Me A River
[ 9:02] 8. Blue Monk
[ 5:13] 9. What Are You Doing The Rest Of Your Life

Junior Mance (piano); Chip Jackson (bass); Jackie Williams (drums); Eric Alexander (tenor sax). Recorded on December 10, 2000 at The Studio, NYC, by Katherine Miller.

Jazz legend Junior Mance remains very popular among Japanese jazz fans, and has been making quite a few important albums for Japanese labels. Yesterdays, recorded in 2000 for M&I, is one of them. It's special appeal, in addition to the great, bluesy pianism by the leader and the wonderful performance by bassist Chip Jackson and drummer Jackie Willaims, is the appearance of the young tenor titan Eric Alexander on five tunes.

Both firmly rooted in the tradition of jazz, and with the "heavy" sound that relies on the midrange of their respective instruments, Mance and Alexander show great rapport with one another. Recorded in New York by Katherine Miller, the sound of this CD is also very good! Strongly recommended!

Yesterdays

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Barbara Cook & Michael Feinstein - Cheek To Cheek

Bitrate: MP3@320K/s
Time: 57:17
Size: 131.1 MB
Styles: Vocal, Standards, Show tunes
Year: 2014
Art: Front

[3:04] 1. I’ve Got The World On A String
[3:23] 2. Cheek To Cheek
[3:43] 3. I’ve Got You Under My Skin
[3:21] 4. The World Keeps Changing/There’ll Be Some Changes Made
[6:05] 5. The Very Thought Of You Tea For Two
[3:36] 6. Ac-Cent-Tchuate The Positive
[3:35] 7. Ever After
[3:26] 8. Where Do You Start
[3:25] 9. You Could Drive A Person Crazy
[4:49] 10. Without A Song
[4:59] 11. Here's To Life
[5:03] 12. You're Gonna Hear From Me
[3:14] 13. Give Me The Simple Life
[5:27] 14. Shine On Harvest Moon

Bass – David Finck; Drums – Warren Odze; Piano – John Oddo, Lee Musiker, Michael Feinstein, Zina Goldrich; Reeds – Aaron Heick; Trumpet – George Rabbai. Recorded live September 30 to October 2, 2010 at Feinstein's at Loews Regency.

Michael Feinstein hosts Barbara Cook, the reigning queen of New York cabaret, at his own club, Feinstein's at Loews Regency, in this album recorded during their joint appearance in the fall of 2010. Feinstein may count himself a nightclub veteran of a quarter-century's standing by now, but of course he has nothing on the octogenarian Cook, who remains in excellent voice and was vigorous enough to have made her return to Broadway earlier in the year in the musical revue Sondheim on Sondheim. From that show, she borrows the duet arrangement of "You Could Drive a Person Crazy" to give her and Feinstein something to joust about here. Most of the time, however, they are of like minds and in warm harmony when they sing together. The set has no particular theme, simply consisting of a batch of quality songs and standards. If there is any overall message, it seems to be a celebratory and upbeat one, with songs such as "Ac-Cent-Tchu-Ate the Positive" and "Here's to Life" (Cook solos) and "Without a Song" and "You're Gonna Hear from Me" (Feinstein solos), as well as joint efforts like "Give Me the Simple Life." Different accompanists (including Feinstein himself) slide onto the piano stool at different times, and sometimes a reed (Aaron Heick) and a horn (George Rabbai) join a rhythm section (David Finck, bass, and Warren Odze, drums) for a Dixieland flavor. Cook and Feinstein turn out to be complementary performers, both capable of belting or burning a torch by turn, and displaying considerable rapport that makes the age difference between them disappear. ~William Ruhlmann

Cheek To Cheek

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The Band - The Band (Remastered)

Bitrate: MP3@320K/s
Time: 71:03
Size: 162.7 MB
Styles: Country rock
Year: 1969/2000
Art: Front

[2:52] 1. Across The Great Divide
[3:00] 2. Rag Mama Rag
[3:30] 3. The Night They Drove Old Dixie Down
[3:10] 4. When You Awake
[4:28] 5. Up On Cripple Creek
[3:55] 6. Whispering Pines
[3:29] 7. Jemima Surrender
[3:40] 8. Rockin' Chair
[3:07] 9. Look Out Cleveland
[4:18] 10. Jawbone
[4:14] 11. Unfaithful Servant
[3:35] 12. King Harvest (Has Surely Come)
[2:15] 13. Get Up Jake
[3:02] 14. Rag Mama Rag
[4:13] 15. The Night They Drove Old Dixie Down
[4:51] 16. Up On Cripple Creek
[5:03] 17. Whispering Pines
[3:45] 18. Jemima Surrender
[4:28] 19. King Harvest (Has Surely Come)

Robertson and his mates had the songs and the sound to make an all-time classic with their second LP. This hit #9 in '69; this reissue has two versions each of The Night They Drove Old Dixie Down; Rag Mama Rag , and Up on Cripple Creek plus more bonus tracks!

Popularly known as the "Brown Album," this is the collection people first think of when this august outfit's name is mentioned. The four-parts Canadian, one-part Arkansan quintet's sophomore effort boasts more soon-to-be-staples than any other Band studio recording, what with the likes of the Joan Baez hit "The Night They Drove Old Dixie Down," "Across the Great Divide," and "Up on Cripple Creek" standing out among the dozen uniformly memorable tracks. Lesser-known group originals such as the achingly lovely "Whispering Pines" and the cryptic "Unfaithful Servant," however, play crucial roles in giving this 1969 classic its unique flavor. Given the high standard established by The Band and its better-still 1968 predecessor, Music from Big Pink, it's not surprising the Band peaked early as a recording group. As with all the 2000 Band reissues, this remastered reissue boasts a number of bonus tracks, though all but "Get Up Jake" are alternate takes of album selections. --Steven Stolder

The Band (Remastered)

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Earl Hines - The Mighty Fatha

Bitrate: MP3@320K/s
Time: 68:40
Size: 157.2 MB
Styles: Piano jazz
Year: 1973/2016
Art: Front

[3:46] 1. Save It Pretty Mama
[2:55] 2. Bye Bye Baby
[4:20] 3. Smoke Rings
[8:00] 4. Shoe Shine Boy
[3:42] 5. Stanley Steamer
[4:15] 6. Bernie's Tune
[4:15] 7. Dream Of You
[4:05] 8. Undecided
[5:13] 9. Fatha's Blues
[4:19] 10. A Sunday Kind Of Love
[3:25] 11. I've Found A New Baby
[4:22] 12. Squeeze Me
[3:22] 13. Tosca's Dance
[3:36] 14. Jim
[5:21] 15. Black Coffee
[3:35] 16. You Always Hurt The One You Love

Bass – Richard Davis; Drums – Elvin Jones; Piano – Earl Hines.

Once called "the first modern jazz pianist," Earl Hines differed from the stride pianists of the 1920s by breaking up the stride rhythms with unusual accents from his left hand. While his right hand often played octaves so as to ring clearly over ensembles, Hines had the trickiest left hand in the business, often suspending time recklessly but without ever losing the beat. One of the all-time great pianists, Hines was a major influence on Teddy Wilson, Jess Stacy, Joe Sullivan, Nat King Cole, and even to an extent on Art Tatum. He was also an underrated composer responsible for "Rosetta," "My Monday Date," and "You Can Depend on Me," among others. ~Scott Yanow

The Mighty Fatha

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Various - Capitol Records From The Vaults: Capitol Goes To The Movies

Bitrate: MP3@320K/s
Time: 73:07
Size: 167.4 MB
Styles: Vocal, Stage & Screen, Standards
Year: 2000
Art: Front

[3:02] 1. Johnny Mercer - On The Atchison, Topeka & The Sante Fe
[3:10] 2. Jo Stafford - It Could Happen To You
[2:54] 3. Johnny Mercer - San Fernando Valle
[2:57] 4. Margaret Whiting - In Love In Vain
[2:38] 5. Paul Weston And His Orchestra - Ole Buttermilk Sky
[2:51] 6. Johnny Mercer - Baby, It's Cold Outside
[2:55] 7. The Dinning Sisters - Buttons And Bows
[3:15] 8. Jo Stafford - Blues In The Night
[2:58] 9. The Pied Pipers - The Trolley Song
[3:03] 10. Johnny Mercer - If I Had A Talking Picture Of You
[2:59] 11. Gordon Macrae - It's Magic
[2:55] 12. Mel Blanc - I Taut I Taw A Puddy Tat
[3:08] 13. Mel Tormé - Again
[2:48] 14. Bob Hope - Home Cookin'
[2:30] 15. Sammy Davis Jr. - Laura
[3:03] 16. Peggy Lee - Where Are You
[3:17] 17. Nat King Cole - Mona Lisa
[2:52] 18. Les Baxter - Ruby
[2:43] 19. Tex Ritter - High Noon (Do Not Forsake Me)
[2:59] 20. Jane Froman - I'll Walk Alone
[2:39] 21. Bob Hope - Wing-Ding Tonight
[2:51] 22. Hoagy Carmichael - When Love Goes Wrong
[2:31] 23. Tennessee Ernie Ford - River Of No Return
[3:14] 24. June Hutton - Never In A Million Years
[2:43] 25. Les Baxter - The High And The Mighty

It's a no-brainer that the Capitol From the Vaults series would dedicate a volume to their affluent association with the cinematic side of Hollywood. This is especially true since label co-founder Buddy de Sylva was previously the head of production for Paramount Pictures. As pop music artist and scholar Billy Vera points out in his liner notes essay, the label's first hit -- "Cow Cow Boogie" by Ella Mae Morse -- was featured in the all-star propaganda film Reveille With Beverly (1943). The tradition served Capitol well throughout their first decade and there are over two dozen examples -- which Vera also notes as being nowhere near complete -- on this single CD compilation. Many of these sides not only scored big at the box office, but held their own on the national pop and country & western charts as well. Included are a bevy of Top Ten hits such as "The High and the Mighty" (Les Baxter), "It Could Happen to You" (Jo Stafford), "Buttons and Bows" (Dinning Sisters), and even the animated antics of "I Taut I Taw a Puddy Tat" (Mel Blanc). This collection also features a couple of chart-toppers -- "On the Atchison, Topeka & the Santa Fe" (Johnny Mercer) as well as "Mona Lisa," the latter of which was also given an Oscar as "Best Song" in 1950 for its use in Captain Carey U.S.A. As an obvious labor of love, the audio in the Capitol From the Vaults series is unsurpassed -- rising to the occasion of such memorable pop music. ~Lindsay Planer

Capitol Records From The Vaults: Capitol Goes To The Movies

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Grant Stewart - More Urban Tones

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 59:17
Size: 142,8 MB
Art: Front

(6:40)  1. Nica's Tempo
(8:42)  2. I Should Care
(7:21)  3. You Go To My Head
(7:26)  4. Rabbitron
(6:45)  5. All Through The Night
(8:04)  6. You Sweet And Fancy Lady
(7:06)  7. Manhattan Bridge
(7:12)  8. Pie-Eye Blues

Born in Toronto, Canada on June 4, 1971, Grant Stewart was exposed to the music of Charlie Parker, Wardell Gray and Coleman Hawkins by his father, a high-school English teacher and semiprofessional guitarist. Father and son often played together for hours on end. It was through these early experiences and his father's encouragement that Stewart first developed a strong ear for melody, style, and improvisation. He began with the alto saxophone at age 10, and when he was 14 his first teacher, noted Toronto bandleader Pete Schofield, invited him to play professionally in Schofield's Big Band. At 17 he switched to the tenor saxophone and was soon playing with such master saxophonists as Pat Labarbara and Bob Mover. Stewart considers Mover to be one of his greatest teachers and among his strongest influences along with Sonny Rollins, John Coltrane, Don Byas, and Lester Young.

Since moving to New York City at the age of 19, Stewart has studied with such masters as Donald Byrd, Barry Harris, and Joe Lovano, and performed with Curtis Fuller, John Hendricks, Clark Terry, Etta Jones, Bill Charlap, Frank Gant, Dan Barrett, Bob Mover, Brad Mehldau, Russell Malone, Larry Goldings, Peter Bernstein, Jimmy Cobb, Harry Connick , Harold Mabern, Mickey Roker, Arthur Harper, Jimmy Lovelace, Cecil Payne, Dick Hyman, Herb Geller and was a member of the last Al Grey Sextet. Stewart can be found playing at such clubs in NY as, Birdland, Smoke, The Ketano, The Jazz Standard, Fat Cat and can be heard every Tuesday night at Smalls Jazz Club. Stewart has performed all over North America and Europe as well as Japan, Brazil, Taiwan and was one of the first jazz artists to be invited to play at the historical Hermitage Museum in St.Petersberg Russia. Grant was also a featured artist at the Guggenheim Museums' Jazz series with his trio-featuring Jimmy Cobb. Stewart has two releases as a leader out on Criss Cross, Downtown Sounds and More Urban Tones, as well as a third on the Fresh Sounds label entitled Buen Rollo. Downtown Sounds, heralded by critics in the U.S., Canada and Europe, was recorded in 1992 and includes Brad Mehldau, piano, Kenny Washington, drums, Peter Washington, bass and Joe Magnarelli, trumpet. Geoff Chapman, of the Toronto Star selected Downtown Sounds as one of the Top Five Jazz Albums of 1994. More Urban Tones features Peter Bernstein, guitar, Peter Washington, bass, and Billy Drummond, drums. You can also hear Grant on Ryan Kisors' recent Quintet release The Awakening on Criss Cross Jazz. One of his latest projects is a two-tenor group co-led with Eric Alexander. The C.D.is called Wailin' and is available on Criss Cross. Grant's latest quintet release Estate featuring Bill Charlap and Joe Cohn is available on Criss Cross as well. https://musicians.allaboutjazz.com/grantstewart

Personnel:  Grant Stewart (Ts);  Peter Bernstein (G);  Peter Washington (B);  Billy Drummond (D);  Chris Byars (Ts);  Jay Collins (Ts).

More Urban Tones

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Alexia Gardner - Jammin': Live in Shanghai

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 65:17
Size: 149,8 MB
Art: Front

(1:30)  1. The Moon Shines On My Heart
(3:45)  2. Cheek To Cheek
(4:57)  3. Let There Be Love
(5:14)  4. The Man I Love
(5:46)  5. Even As We Speak
(3:36)  6. I Hear Music
(4:15)  7. Change The World
(4:44)  8. Girl Talk
(4:18)  9. Jammin'
(4:21) 10. Mean To Me
(5:32) 11. Help Me Make It Through The Night
(7:10) 12. Fool On A Hill
(4:17) 13. To Be Free
(5:46) 14. Refrain. The Moon Shines On My Heart

Alexia's second Album - 'Jammin' Alexia Gardner, Live in Shanghai' - is a wonderful follow-up to her debut album -'The Rest Of Your Life'. Once again it was recorded in a "Live" setting which captures Alexia's unique command of a "Live" audience. She interacts easily with her listeners and has the abilty to keep them 'spellbound'! This cd has a strong audience participation and a fun, in-the-moment, feel to it! It is the culmination of a 6 month residency at JC Mandarin - a luxury five star hotel - in the middle of down-town Shanghai! There is a warmth and ease of playing between the band members. A together-ness that came from their Thursday - Saturday feature at the Hotel. The Room - The Wine Bar and Grill - was a warm, dark, intimate setting, hues of red decour making it a fitting, late night jazz concert! Dr Dwight Dickerson is on piano. He is from Los Angeles, California. A master on the piano. A Professor of music as well as a truely outstanding musician. You will hear his strong, distinct style throughout the cd. Alexia feels she is very fortunate to have him play on her second album.

The electric bass, in this ensemble, brings a strong, fat, bass sound throughout. It provides a superb contrast to the accoustic bass of the first album. Nicholas McBride an Australian is a master on the drums. He adds his gentle brushes for the soft ballads and mid-tempo feels and a funky or reggae or swing rhythm when needed. All three musicians furnish Alexia's light, warm jazz side as well as her swinging, up-tempo, fun songs. Alexia Gardner is a British girl of Jamaican parents, currently based in the art city of Basel, Switzerland. Her tours and concerts have brought her to this fascinating recording. This Global exposure is particularly reflected in Alexia's second album. She chose to open and close her cd with a glimpse of a traditional Chinese Song -'The Moon Shines On My Heart'. A beautiful ballad which then slides effortlessly into the traditional jazz feel of the next track - 'Cheek to Cheek'.  This is a really groovy cd! An enjoyable cd! A "must have" in your collection of Live recordings. http://www.cdbaby.com/cd/alexiagardner2

Jammin':  Live in Shanghai

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Ron McClure - Dream Team

Styles: Jazz, Straight-ahead/Mainstream
Year: 1998
File: MP3@320K/s
Time: 72:25
Size: 165,9 MB
Art: Front

( 7:02)  1. Denial's Goat
(10:59)  2. Dream Team
( 9:35)  3. One Of Us
(12:41)  4. Darius Dance
( 7:20)  5. A Song Of Love
( 7:28)  6. Tango
( 7:39)  7. Gaijin
( 9:36)  8. Aftermath

It would be hard to argue with bassist and leader Ron McClure when he assesses the musicians assembled here as being a “dream team”. Drummer Billy Hart alone guarantees the success of just about any record date he is a part of, while pianist Marc Copland has recently been turning heads with his own acclaimed series of Savoy dates. The ringer here is likely to be tenor saxophonist Rich Perry, at long last getting his due thanks to a viable gig with bandleader Maria Schneider and his own superlative SteepleChase discs. What we have here are eight modern originals penned by McClure (albeit one cut written by Copland) that have been tailor-made for the ensemble on deck. Perry’s virile and ingenious solo work is of great interest throughout, as are Copland’s expansive forays. McClure judiciously spreads his solo time throughout the set, while Hart colors each composition with a style that is marked by his innovative use of cymbal colors and textures. No need here to go into boundless track-by-track detail, except to say that fans of McClure’s mainstream fare will no doubt revel in this latest set to see an American release.~ C.Andrew Hovan https://www.allaboutjazz.com/dream-team-ron-mcclure-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Ron McClure- bass, Rich Perry- tenor saxophone, Marc Copland- piano, Billy Hart- drums

Dream Team

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Chihiro Yamanaka - The Spheres : Live In Osaka!!

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 61:14
Size: 140,7 MB
Art: Front

( 7:05)  1. Rain, Rain And Rain
( 6:59)  2. Living Time: Event V
(10:34)  3. Yagibushi
( 6:23)  4. Bemsha Swing
( 3:52)  5. Himawari Musume
( 6:28)  6. Taxi
( 8:20)  7. The Entertainer
( 5:38)  8. Evidence
( 5:51)  9. Insight Foresight

Everyone in the world knows who Hiromi is - Japanese pianist Hiromi Uehara was played with Chick Corea in Tokyo when she was 17 and after graduation in Berklee College in Boston (under Ahmad Jamal) she took the world by storm playing high energy technical fusion influenced by Return To Forever legacy. Hiromi is most probably most popular internationally Japanese jazz artist of today. Much less people outside of her homeland Japan know who is Chihiro Yamanaka, and it's a shame. She is Beklee graduated pianist who leads her own bands (usually trios as Hiromi does) from early 00's. Chihiro released her first album in 2001, two years prior to Hiromi, and in 2015 came with her first ever live release (and her 18th album at all). Being celebrity of sort in home country, she is relatively unknown in Western world. During last decade some her albums have been reissued in US and Europe though. The main difference between two is Hiromi is a piano power trio leader,playing technical high energy fusion, oriented first of all on neo jazz-rock fans. She started with playing tuneful contemporary chamber jazz, but it was fusion that made her a true star. Each success has its price trying to continue once reached success Hiromi for some years changes nothing in her music,which with every her new album becomes moreand more repetitive and predictable.

Chihiro Yamanaka played contemporary jazz for years - not polished anemic European chamber jazz,but groovy American one, closer to good pop-jazz.Her roots are all in bop, and there are no album where this influence isn't obvious. During last some years Chihiro turns more and more towards modern post bop, adding all her pop and rock legacy to it as well. The Sphere is are electro-acoustic trio with electric bassist Dana Roth and drummer Karen Teperberg. Chihiro herself plays piano and some analog keyboards, their music varies from pop-ballads to chamber tuneful songs to groovy post bop and fusion with analog keyboards passages. Played live in club in Osaka, all music is playful, shining, tuneful and full of joy.There are no really new things here, but the way how it is played will make you smiling. Nothing is repetitive or boring and that feeling recalls times when jazz was not a demonstration of techniques or ambitions,but the source of fan. http://www.jazzmusicarchives.com/review/the-spheres-live-in-osaka(live)/251925

Personnel:  Chihiro Yamanaka - Piano, Keyboards; Dana Roth - Electric Bass; Karen Teperberg - Drums.

The Spheres : Live In Osaka!!

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Bonfa & Burrows - Brazil

Styles: Guitar And Saxophone Jazz, Brazilian Jazz
Year: 1978
File: MP3@224K/s
Time: 50:45
Size: 85,4 MB
Art: Front

(3:51)  1. The Shade Of The Mango Tree
(3:22)  2. Sofisticada
(6:06)  3. Enchanted Sea
(2:33)  4. Batucada
(5:28)  5. Menina Flor
(2:36)  6. Giselle
(3:09)  7. Prelude
(2:04)  8. Passeio No Rio
(4:21)  9. Morning Of The Carnival
(2:50) 10. Amoroso
(2:06) 11. Indian Dance
(3:08) 12. Himalaia
(9:05) 13. The Gentle Rain

Although overshadowed by the towering figure of Antonio Carlos Jobim and to a lesser extent by João Gilberto, Luiz Bonfá was right there at the birth of bossa nova as well. In fact, at least two of his songs, the haunting "Manha de Carnaval" and equally evocative "Samba de Orpheus" swept the world at least three years before Jobim's songs began to make a global impact, paving the way for the first Brazilian wave. In addition, Bonfá cultivated a delicate, precise classical guitar style, though more attuned to the traditional samba rhythm than the Gilberto/Jobim bossa nova lilt. Born near the bay of Guanabara in Rio his father was an Italian immigrant Bonfá took up the guitar at eleven and studied classical guitar with the Uruguayan master Isaias Savio. He began to work Rio's clubs as a singer with the Quitandinha Serenaders, and by 1946, he was appearing on Brazil's Radio Nacional. By 1957, Bonfa was beginning to split his time between New York City and Rio, touring the U.S. with singer Mary Martin, as well as writing and recording Brazilian film scores. The turning point in his career came in 1959 when film director Marcel Camus asked Bonfá to contribute some songs to his film version of the play Orfeo do Carnaval (to be renamed Black Orpheus on the screen). The director originally rejected "Manha de Carnaval" as the film's main theme, but after coming up with what he felt was an inferior second effort, Bonfá fought for his first tune and got his way, and "Manha de Carnaval" became a global pop/jazz/folk standard. In the late '50s and '60s, Bonfá began recording several albums for the American market on EMI Odeon (Capitol), Dot, Atlantic, Cook, Philips, Epic, and Verve, and he and his songs appeared prominently on the Jazz Samba Encore album with Jobim and Stan Getz. His songwriting skills were in demand in the most unpredictable places; for example, he wrote the schmaltzy "Almost in Love" for Elvis Presley (included in the forgettable 1968 film Live a Little, Love a Little). 

Bonfá's profile in America virtually disappeared after the '60s, although he continued to tour and write, eventually cutting over 50 albums. But he resurfaced in U.S. CD shops after a 15-year gap in 1989 with Non-Stop to Brazil for Chesky, followed by the ravishing The Bonfá Magic in 1991 (released domestically on Milestone) and 1993's Moods on GSP. Also, the original soundtrack for Black Orpheus is available on a Verve CD, a firsthand snapshot of Bonfá and Jobim lighting the fuse for the world-wide Brazilian music explosion. On January 12, 2001, Luiz Bonfá died of cancer in Rio de Janeiro. ~ Richard S. Ginell https://itunes.apple.com/us/artist/luiz-bonfa/id281115#fullText

Personnel:  Acoustic Guitar, Ovation Guitar – Luiz Bonfá;  Bass – George André;  Drums – Josè Boto;  Flute, Alto Saxophone – Don Burrows

Brazil

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Barbara Hendricks, Magnus Lindgren Quartet - Barbara Sings The Blues

Bitrate: MP3@320K/s
Time: 55:44
Size: 127.6 MB
Styles: Vocal
Year: 2008
Art: Front

[5:23] 1. Lady Sings The Blues
[4:42] 2. Tell Me More And More (And Then Some)
[4:16] 3. Trouble In Mind
[4:16] 4. Don’t Explain
[4:01] 5. My Man
[3:26] 6. You’ve Been A Good Old Wagon
[5:48] 7. God Bless The Child
[4:29] 8. What A Little Moonlight Can Do
[4:48] 9. Billie's Blues-I Love My Man
[4:33] 10. Mood Indigo
[4:46] 11. Downhearted Blues
[2:44] 12. Allhelgonablues
[2:25] 13. Strange Fruit

African-American-Swedish soprano Barbara Hendricks formed her own label, Arte Verum, in the mid-2000s and has since been pursuing an impressive variety of adventurous projects. The spirit she has shown is exactly the ticket for classical music as it faces challenging times: the solution to its problems lies not in making the music more, or less, user-friendly, but in promoting musical enterprises that are personal, committed, and challenging to the artist involved in terms of pushing her or him into contact with new audiences. The last of these sounds like "crossover," but Hendricks insists that this is not a crossover release and has unkind things to say about the genre in the handsomely produced booklet (in English and French). It is instead, she says, a jazz release. That is somewhat contradicted elsewhere; although Hendricks' early training was in the African-American religious tradition, she sang little jazz during her early years and turned to it only in the 1990s. She says she approaches jazz as a "curious student...still learning so much." The bottom line is that this is a jazz album very much in the crossover vein attempted by other classical singers and it is an excellent example of the genre. The title Barbara Sings the Blues indicates not a special orientation toward blues material (indeed most of the pieces are not blues), but a program conceived as a tribute to Billie Holiday, from whose repertoire most of the music is taken. Hendricks is not Billie Holiday, but she does an extremely artful job of suggesting some of Holiday's vocal trademarks in a subtle way, and, as saxophonist Magnus Lindgren points out, she has a range greater than what most jazz vocalists can manage. The results range from intriguing to spectacular. Hendricks doesn't have the rhythmic control of a top-rank jazz singer, but her voice has entered a particularly rainbow-like phase in her middle age, and Lindgren's quartet adopts a particularly self-effacing stance in order to highlight it. And Hendricks adds something of her own to a few of the high points of Holiday's repertoire. The best comes last, and you could sample it or save it for hearing in its proper place: "Strange Fruit," with which Holiday ended her own shows, has a tragic operatic intensity here. It would be worth the purchase price even if nothing else on the album was, which is far from the case. ~James Manheim

Barbara Sings The Blues

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Ornette Coleman - The Best Of Ornette Coleman: The Blue Note Years

Bitrate: MP3@320K/s
Time: 56:59
Size: 130.5 MB
Styles: Avant Garde jazz, Saxophone jazz
Year: 1998
Art: Front

[ 8:40] 1. Broad Way Blues
[ 6:15] 2. Round Trip
[ 8:09] 3. Dawn
[10:25] 4. Dee Dee
[ 5:56] 5. Zig Zag
[ 6:50] 6. Good Old Days
[10:40] 7. Old Gospel

If there ever was an artist unsuited to a best-of compilation, it's Ornette Coleman. His music is about space and texture within a certain context, not only within the compositions themselves, but in how those songs relate to each other on a particular album or session. By selecting highlights from a series of albums, the songs themselves lose some of their power. That's the main problem with The Best of Ornette Coleman, an otherwise solid overview of his three years at Blue Note. Between 1965 and 1968, he recorded several terrific sessions for the label, and they're all worth hearing. Arguably, the seven songs here are among the best moments from those records, and they do give some sense of what his music is about, but neophytes would be better off with a full album, which will give a more accurate portrait of Coleman's music and its greatness. ~Stephen Thomas Erlewine

The Best Of Ornette Coleman: The Blue Note Years

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Yusef Lateef - Multi-Man (Discs 1 & 2)

Yusef Lateef long had an inquisitive spirit and he was never just a bop or hard bop soloist. Lateef, who did not care much for the term "jazz," consistently created music that stretched (and even broke through) boundaries. A superior tenor saxophonist with a soulful sound and impressive technique, by the 1950s Lateef was one of the top flutists around. He also developed into the best jazz soloist to date on oboe, was an occasional bassoonist, and introduced such instruments as the argol (a double clarinet that resembles a bassoon), shanai (a type of oboe), and different types of flutes. Lateef played "world music" before it had a name and his output was much more creative than much of the pop and folk music that passed under that label in the '90s. Yusef Lateef grew up in Detroit and began on tenor when he was 17. He played with Lucky Millinder (1946), Hot Lips Page, Roy Eldridge, and Dizzy Gillespie's big band (1949-1950). He was a fixture on the Detroit jazz scene of the '50s where he studied flute at Wayne State University. Lateef began recording as a leader in 1955 for Savoy (and later Riverside and Prestige) although he did not move to New York until 1959. By then he already had a strong reputation for his versatility and for his willingness to utilize "miscellaneous instruments." Lateef played with Charles Mingus in 1960, gigged with Donald Byrd, and was well-featured with the Cannonball Adderley Sextet (1962-1964). As a leader, his string of Impulse! recordings (1963-1966) was among the finest of his career, although Lateef's varied Atlantic sessions (1967-1976) also had some strong moments. He spent some time in the '80s teaching in Nigeria. His Atlantic records of the late '80s were closer to mood music (or new age) than jazz, but in the '90s (for his own YAL label) Lateef recorded a wide variety of music (all originals) including some strong improvised music with the likes of Ricky Ford, Archie Shepp, and Von Freeman. Lateef remained active as a composer, improviser, and educator (teaching at the University of Massachusetts, Amherst) into the 21st century, performing and recording as a leader and collaborator on such noteworthy recordings as Towards the Unknown with composer/percussionist Adam Rudolph (released in 2010, the same year Lateef was recognized as a Jazz Master by the National Endowment for the Arts). Yusef Lateef died at his home in Shutesbury, Massachusetts in December 2013; he was 93 years old. ~ bio by Scott Yanow

Album: Multi-Man (Disc 1)

Bitrate: MP3@320K/s

Time: 63:50

Size: 146.1 MB

Styles: Post bop, World fusion

Year: 2016

Art: Front

[ 4:43] 1. Road Runner

[ 5:02] 2. Psychicemotus

[ 9:39] 3. Number 7

[ 3:25] 4. First Gymnopedie

[ 2:34] 5. One Little Indian

[10:10] 6. Delilah

[ 7:40] 7. Nu-Bouk

[ 5:17] 8. The Magnolia Triangle

[ 3:15] 9. The Greatest Story Ever Told

[ 3:03] 10. Soul Sister

[ 4:30] 11. P. Bouk

[ 4:26] 12. Semiocto

Multi-Man (Disc 1) 

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Album: Multi-Man (Disc 2)

Bitrate: MP3@320K/s

Time: 63:21

Size: 145.0 MB

Styles: Post bop, World fusion

Year: 2016

Art: Front

[4:44] 1. Listen To The Wind

[9:10] 2. Brother John

[5:26] 3. Sister Mamie

[3:26] 4. Slippin' And Slidin'

[4:28] 5. I Loved

[4:23] 6. Oasis

[2:11] 7. Try Love

[3:51] 8. Rosetta

[6:14] 9. Yusef's Mood

[6:31] 10. Medula Sonata

[8:13] 11. 1984

[4:38] 12. I'll Always Be In Love With You

Multi-Man (Disc 2) 

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Gal Costa - Gal Bossa Tropical

Bitrate: MP3@320K/s
Time: 46:23
Size: 106.2 MB
Styles: Latin jazz, Brazilian rhythms
Year: 2002
Art: Front

[3:43] 1. Socorro
[4:07] 2. The Fool On The Hill
[3:46] 3. Onde Deus Possa Me Ouvir
[4:38] 4. Mulher (Sexo Frágil)
[3:58] 5. Quando Eu Fecho Os Olhos
[3:44] 6. Desde Que O Samba É Samba
[3:31] 7. Epitáfio
[3:58] 8. As Times Goes Be
[4:17] 9. Ovelha Negra
[3:08] 10. Marcianita
[4:24] 11. O Amor Em Paz
[3:03] 12. Cada Macaco No Seu Galho (Cho Chuá)

Gal bossa tropical is a music album that was nominated for Best MPB Album in the 2003 Latin Grammys.

Gal Costa is an awarded singer with an extensive solo discography and international experience. A fundamental presence in the Tropicalia movement, she has been in Brazil's leading team of singers for decades. Since very young, she has been involved with music as a singer and violão player; when her mother's business broke she became a record shop attendant, where she spent long hours listening to music, especially João Gilberto. She became acquainted with Caetano Veloso in 1963, and friendly disputed him as boyfriend with her girlfriend Dedé, who would later be Caetano's wife. In 1964, Caetano was invited to organize a Brazilian popular music show at the opening of Salvador's Teatro Vila Velha. The show, called Nós, por Exemplo, brought Caetano, his sister Maria Bethânia, Gilberto Gil, and Costa (still under her name Maria da Graça). The show was a success and was re-enacted two weeks later, with the addition of Tom Zé (still presented as Antônio José). The success was even bigger, and the group (without Tom) soon presented another show, Nova Bossa Velha, Velha Bossa Nova.

Costa continued to be a viable and active artist in the 21st century, issuing new recorded material even as repackaging of her previous work hit the market. Gal Boss Tropical was released in 2002 by Abril, followed by Hoje: 2005 from Trama Records three years later. 2006 saw the appearance of Gal Costa Live at the Blue Note from DRG.

Gal Bossa Tropical

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