Jerry H Band - Live 1

Size: 171,9 MB
Time: 74:15
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz/Blues Vocals
Art: Front

01. Softly As In A Morning Sunrise (5:40)
02. Bye Bye Blackbird (7:17)
03. Route 66 (8:41)
04. Nature Boy (7:28)
05. When You're Smiling (7:32)
06. Angel Eyes (8:37)
07. Caravan (8:07)
08. Both Sides Now (5:59)
09. You Don't Know What Love Is (7:55)
10. Your Mind Is On Vacation (6:54)

Recording artist Jerry Haglund has been an essential figure on the live music scene for the last 20 years, thrilling audiences with his firebrand guitar/vocal style everywhere from London, Las Vegas and Melbourne to Kathmandu, Cuba and Chicago, U.S and european tours.

Educated in jazz, he is also since his teens steeped in blues, rock and funk music and distills a little from all these into his brand new project a collection of insightful originals penned over the last year.

As Jerry explains "after touring as a sideman for two decades it feels like the right time to express myself fully as a singer, guitarist and most importantly a songwriter." By using handpicked and well trusted musicians Jerry has captured a rootsy traditional sound influenced by Tom Waits, The Band, Neil Young, Bob Dylan. ~Mark Brown (Robbie Williams Band)

Live 1

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Ken Peplowski - Enrapture

Size: 123,3 MB
Time: 53:03
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Straight-ahead/Mainstream
Art: Front

01. The Flaming Sword (6:35)
02. An Affair To Remember (5:15)
03. Oh, My Love (2:25)
04. Cheer Up Charlie (5:15)
05. I'll Follow My Secret Heart (4:02)
06. Enrapture (4:43)
07. Twelve (5:38)
08. Vertigo Scene D'amour (6:51)
09. When October Goes (4:40)
10. Willow Tree (7:35)

How on earth do you successfully bind the music of Duke Ellington, John Lennon and Yoko Ono, Fats Waller, Herbie Nichols, Bernard Herrmann, Peter Erskine, and Noël Coward into one coherent statement? The answer is simple: You don't, unless you're Ken Peplowski. Over the course of ten tracks from the aforementioned composers and other well-known tunesmiths, Peplowski manages to simultaneously express his love of myriad sounds and styles, a fondness for days gone by, and an ability to move ever onward. This much-heralded reed man wears his eclecticism like a badge of honor on Enrapture, an album that speaks to his ability to dig into the past while also addressing his outlook on the present.

In his liner essay for this project, Peplowski remarks on the true-to-self nature of this quartet recording, noting that "this is us, in as close to a live setting as one could ask for in a recording environment." In keeping with that statement, the majority of the performances captured here are first takes. The decision to work that way proves to be a smart play, as the band is able to capitalize on the energy, spontaneity, and attentiveness that can only exist on the first pass of a song. Peplowski also shows himself to be practiced in the art of sequencing songs, shrewdly playing to diverse tastes and the constant need for mood change-ups.

In lesser hands, the idea of knocking out a slew of songs in short order and moving all over the map could be disastrous, but it's a winning formula for this foursome—Peplowski's working quartet, with pianist Ehud Asherie, bassist Martin Wind, and drummer Matt Wilson. This band sounds like a million bucks all the way through, from the reveille-like kick-off at the top of "The Flaming Sword"—an adrenaline-fueled slice of tropically-infused Ellingtonian exotica—to the easy-does-it, bluesy send-off of "Willow Tree." And rest assured, there's plenty to enjoy and admire in between those bookends. Peplowski's inviting tenor pleasantly glides along on "An Affair To Remember," Wind's bass and Peplowski's clarinet engage in a slow and revealing pas de deux on "Oh, My Love," Erskine's "Twelve" gives the band a chance to pull at the threads of convention and take a looser and more interactive approach to group (inter)play, and the slowly unfolding beauty and drama of "Vertigo Scene D'Amour/Madeleine (Love Music From "Vertigo")" highlights the emotional experiences of the protagonist in Hitchcock's classic film. All the in-studio discussions, extra takes, and edits in the world couldn't produce a better outcome than what these four did in the heat of the moment(s) to create Enrapture.

Personnel: Ken Peplowski: Clarinet, Tenor Saxophone; Ehud Asherie: Piano; Martin Wind: Bass; Matt Wilson: Drums.

Enrapture

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Nancy Harms - Ellington At Night

Size: 119,1 MB
Time: 51:20
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Lush Life (3:39)
02. Rocks In My Bed (4:13)
03. Do Nothin' Till You Hear From Me (2:56)
04. Lost In Meditation (5:41)
05. Troubled Waters (3:24)
06. Prelude To A Kiss (5:31)
07. Long, Strong And Consecutive (4:56)
08. Strange Feeling (4:27)
09. Reflections (3:15)
10. I Got It Bad (And That Ain't Good) (4:37)
11. I'm Beginning To See The Light (3:25)
12. I Like The Sunrise (5:08)

“…What makes ‘Ellington at Night’ so remarkable is the way that Nancy Harms and chief collaborator Jeremy Siskind have found a whole new way to sing Ellington, one that's perfectly in keeping with the Ellington tradition, yet, at the same time, fresh and original. …..her vocal timbre might be characterized as "cool" – though there's an undeniable warmth to her singing as well. Her sound is understated, yet it doesn't hold anything back. She doesn't give us anything more than we need – no note is unnecessarily higher or longer than it should be – and yet her spirit and energy are giving, even generous beyond the cool of duty. She swings like crazy, but she never makes the rhythm more important than the narrative……there's no doubt as to exactly what she means.……Ellington's most familiar songs...sound anything but overdone when Nancy sings them…… I can only imagine that on whatever turquoise cloud (Ellington) might be reclining on, he couldn't help but love her madly.” ~WILL FRIEDWALD (music critic for the Wall Street Journal and celebrated author) had this to say about "Ellington At Night":

Ellington At Night

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Mads Tolling Quartet - Celebrating Svend Asmussen

Size: 149,4 MB
Time: 64:32
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

01. After You're Gone (3:00)
02. Libertango (6:57)
03. Take Off Blues (5:50)
04. Someone To Watch Over Me (6:12)
05. Latino (6:15)
06. June Night (6:46)
07. Honeysuckle Rose (6:11)
08. I Got Rhythm (5:52)
09. Hambo Om Bakfoten (4:55)
10. Nadja (8:02)
11. Scandinavian Shuffle (4:27)

Jazz violinist Svend Asmussen will celebrate his 100th birthday on 28 February and a tribute will be paid him at this concert featuring Mads Tolling and his Danish quartet – as well as the solo vocalist Sinne Eg.

The 99-year-old Asmussen has stopped making public appearances, but who is Mads Tolling?

For over 40 years, Mads Tolling has lived in USA and was educated at Berklee College of Music in Boston. His many years abroad have so far led to two Grammy Awards and several years’ collaboration with Turtle Island Quartet and the bass player Stanley Clarke. In San Francisco he leads his own group, the Mads Tolling Quartet, and their CD “The Playmaker” received fine reviews in, among others, Downbeat Magazine and Washington Post.

“Since at the age of 15 I had this burning desire to play jazz on a violin, I contacted Svend Asmussen; he was fortunately in the telephone directory. He told me that he did not teach, but that I should simply listen to Stuff Smith. Which I did, and Svend and I have kept in contact ever since. A few years ago, he gave me a large part of his collection of sheet music – included a lot of handwritten stuff – a fine gesture, I felt. He also wanted to pass on something of what he has stood for to the younger generation. Since that gesture, I have felt like paying a tribute to him and his wonderful music, Mads Tolling says.

When Mads at the age of 14 listened for the first time to Svend Asmussen at a concert in Hørsholm, the young guitarist Jacob Fisher was a part of Asmussen’s quartet. Now, almost twenty years later, Mads and Jacob have come together again and tour northern Europe in honour of their mentor.

The programme is a mix of Svend Asmussen’s collaboration with Ulrik Neumann and his recent quartet, and it naturally includes some of Svend’s signature tunes, such as ‘June Night’ and ‘Scandinavian Shuffle’. Also featured are a couple of Tolling’s and Fischer’s own compositions.

Mads Tolling Quartet:
Mads Tolling, violin
Jakob Fischer, guitar
Kasper Tagel, bass
Snorre Kirk, drums

Celebrating Svend Asmussen

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Sandy Jacobs - This Place In Our Dreams

Size: 124,4 MB
Time: 53:36
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. I've Just Seen A Face (6:03)
02. One Night (6:25)
03. Body And Soul (5:53)
04. Away (4:28)
05. Rhythm Of Life (5:16)
06. The Nearness Of You (5:28)
07. Ain't That Peculiar (7:48)
08. Never Ending (5:47)
09. You Go To My Head (6:25)

Unconstrained by notions of what a singer’s album is supposed to be, the whole group runs free creating a truly authentic jazz experience. This CD embodies the tone of jazz with imaginative arrangements of well-known tunes plus new originals that stand side by side with the other standards.

The stellar rhythm section comprised of Bob Rodriguez on piano, Steve LaSpina on bass and Matt Kane on drums creates a conversation much like a live performance with vocalist Sandy Jacobs.

This Place In Our Dreams

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Chris Botti - The Best Tunes For Languid Evenings

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 78:35
Size: 183,0 MB
Art: Front

(3:59)  1. A Thousand Kisses Deep
(4:22)  2. When I Fall In Love
(5:10)  3. Lisa
(4:14)  4. Back Into My Heart
(5:08)  5. She Comes From Somewhere
(4:21)  6. The Look
(5:31)  7. La Belle Dame Sans Regrets
(4:06)  8. Estate
(5:00)  9. Irresistible Bliss
(4:33) 10. If I Could
(4:57) 11. Cinema Paradiso
(5:02) 12. The Look Of Love
(4:38) 13. To Love Again
(5:08) 14. Ever Since We Met
(5:03) 15. All Would Envy
(3:00) 16. Hallelujah
(4:16) 17. When I See You

Though best known as a contemporary jazz performer, trumpeter Chris Botti made his initial splash on the pop music scene. A native of Oregon, he started playing at the age of ten, and began performing professionally while still in high school. After studying in the prestigious Indiana University music program under noted jazz educator David Baker, Botti relocated to New York, where he served with saxophonist George Coleman and trumpet great Woody Shaw. In 1990, Botti was asked to join Paul Simon's band, where he remained for the next five years. Finally, in 1995, he recorded his solo debut, First Wish, a record combining the sounds of contemporary pop-jazz with the textures of art rock. After scoring the 1996 film Caught, Botti resurfaced in 1997 with his second LP, Midnight Without You, which was followed by Slowing Down the World in 1999. Two years later, he was a featured soloist on Sting's Brand New Day world tour, and that time allowed Botti to rediscover old musical passions and create new ones. Recorded in Los Angeles, 2001's Night Sessions captured such jazzy pop. That muse was explored further in 2003 with A Thousand Kisses Deep, and to a lesser extent on the more traditional orchestral jazz of 2004's When I Fall in Love. That record was his first Top 40 entry, and it was followed by the number 18 hit To Love Again: The Duets in 2005. Another Top 40 placement, Italia, followed in 2007, with the live album Chris Botti in Boston following in 2009. In 2012, Botti returned with the studio album Impressions. Focusing on his love of melody, Impressions features Botti collaborating with such artists as jazz pianist Herbie Hancock, guitarist Mark Knopfler, country singer Vince Gill, composer/pianist/producer David Foster, and more. http://www.allmusic.com/artist/chris-botti-mn0000105329/biography

The Best Tunes For Languid Evenings

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Solveig Slettahjell - Good Rain

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 46:13
Size: 106,4 MB
Art: Front

(5:27)  1. Where Do You Run To
(5:21)  2. Another Day
(5:28)  3. Don't Look Back
(2:18)  4. Colour Lullabye
(4:18)  5. Flawless
(4:25)  6. We Were Indians
(1:59)  7. Do Lord
(6:34)  8. My Oh My
(4:07)  9. Good Rain
(4:19) 10. Moon
(1:53) 11. PS I Love You

This fourth release by Norwegian vocalist Solveig Slettahjell and the Slow Motion Quintet offers another magical experience. On Good Rain, these creative and busy musicians expand the musical language that they began to explore on their previous release, Pixiedust (Curling Legs, 2005). In addition to Slettahjell, the group includes trumpeter Sjur Miljeteig, formerly of the jazz-pop-electronica outfit Jaga Jazzist and one of the leaders of the art-rock group Friko; keyboardist Morten Qvenild, who leads In The Country and Susanna and the Magical Orchestra; bassist Mats Eilertsen; and drummer Per Oddvar Johansen. The quintet flirts with pop and art-rock and even trip-hop, aiming to position the jazz vocalist as an artist again within a popular form, but avoiding banalities and without giving up its intelligent elitist aroma. Slettahjell is faithful to her "slow motion" concept, conscious of every detail and nuance of each phrase, and her natural, leisurely alto shines throughout the eleven songs. The sonic palette of the ensemble is much more varied, enveloping Slettahjell's warm vocals with sounds that recall productions by such art-rock sonic explorers as David Sylvian or Talk Talk. The sensitive playing of all players adds vibrant layers that caress and reinforce the massages of the poetic songs. 

All the songs revolve around the theme of belief, often an abstract and secular one in Slettahjell, empowering herself after a failed relationship, or in nature and they offer some consolation, quite often sounding melancholic. The goal? "To be lonely in a good way," as she sings in Qvenild's "Another Day." Slettahjell's innocent and modest narration of life happiness, despair, fate and hope succeeds in creating a peaceful intimacy capable of touching and melting even the greatest cynic. Slettahjell seeks some calmness and reconciliation in "Where Do You Run To," faith in her lone self in "Another Day." She trusts fate in "Don't Look Back," draws hope from dreams in "Colour Lullabye," and strongly convinces about the joys of lovemaking on "We Were Indians." Her beautiful a cappella version of V.O. Fossett's gospel song "Do Lord" serves as an introduction to the dark, anguished, modern gospelish "My Oh My," penned by Miljeteig. On the Peder Kjellsby-penned "Good Rain" she refers to "the rain washing the stains of / Another broken day." As on Pixiedust, Slettahjell beautifully interperts another poem by Emily Dickinson, "The Moon." The playful, minimalist version of Johnny Mercer's "P.S. I Love You," the last song on this release, offers some hopeful closure. Beautiful. 

~ Eyal Hareuveni   http://www.allaboutjazz.com/good-rain-solveig-slettahjell-curling-legs-review-by-eyal-hareuveni.php

Personnel: Solveig Slettahjell: vocals;  Sjur Miljeteig: trumpet;  Morten Qvenild: piano, keyboards;  Mats Eilertsen: bass;  Per Oddvar Johansen: drums.

Good Rain

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The Johnny Nocturne Band - Wild & Cool

Styles: Jazz, Swing, Big Band

Year: 1997

File: MP3@320K/s

Time: 44:50

Size: 104,6 MB

Art: Front

(3:03)  1. Lemon Twist

(3:12)  2. New Kind Of Mambo

(4:31)  3. Tu Ma Qui Te (Hey! Joli Blon)

(4:37)  4. Don't Get Around Much Anymore

(4:20)  5. Hey, Mister Jessie

(4:23)  6. A Pound Of Blues

(4:19)  7. At My Front Door

(3:26)  8. By The River Ste. Marie

(4:23)  9. Cha-bootie

(4:38) 10. After The Lights Go Down Low

(3:53) 11. Little Slam

With a solid four-horn frontline that reads and solo in the fine old-time tradition of the territory bands of yore, the Johnny Nocturne Band come to the plate with their third album full of jazz heavily laced with blues. Leader and saxophonist John Firmin keeps his troops swinging throughout this 11-song set, working like a fine, precise machine regardless of the musical setting. Swing, bop, and blues with strong attachments to melody are the signposts here, and the playing on Bobby Troup's "Lemon Twist," "Tu ma qui te (Hey! Joli Blon)," "After the Lights Go Down Low" and "Don't Get Around Much Anymore" are among the numerous highlights. ~ Cub Koda  http://www.allmusic.com/album/wild-and-cool-mw0000035541

Personnel:  John Firmin (tenor saxophone, clarinet);  Brenda Boykin (vocals);  Anthony Paule (guitar);  Rob Sudduth (baritone saxophone);  Bill Ortiz (trumpet);  Marty Wehner (trombone);  Henry Salvia (piano);  Alex Baum (bass);  Kent Bryson (drums).

Wild & Cool

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Lonnie Liston Smith & The Cosmic Echoes - Cosmic Funk

Styles:  Post-Bop, Jazz Fusion
Year: 1974
File: MP3@320K/s
Time: 36:10
Size: 85,4 MB
Art: Front

(5:39)  1. Cosmic Funk
(6:11)  2. Footprints
(6:58)  3. Beautiful Woman
(8:16)  4. Sais (Egypt)
(5:03)  5. Peaceful Ones
(4:01)  6. Naima

As Dean Rudland points out in Ace's 2014 reissue of Lonnie Liston Smith's 1974 set Cosmic Funk, Smith himself views this LP as a transitional effort, capturing him between his pioneering work with Miles Davis' electric group and the exploratory Expansions. This suggests it perhaps isn't a cohesive album and, true enough, it's a record where the good ideas are sometimes suggested rather than developed. Much of the record showcases the smooth vocal stylings of Smith's brother Donald, who leads on a vocal version of John Coltrane's "Naima," lends a bit of a supper club vibe to "Beautiful Woman," croons through "Peaceful Ones," and dives into the thick, overlapping grooves of the title track. That opening song is one of the few tracks that emphasizes funk, otherwise the cosmic reigns, as the group usually getting spacy all the while never quite leaving the earth. Although the group is quite lively on a relatively straight-ahead reading of Wayne Shorter's "Footprints," the album is distinguished by the spaces that lie between funk and bop, the periods where Smith and company start to float, then pull themselves back. ~ Thomas Erlewine  http://www.allmusic.com/album/cosmic-funk-mw0000172115

Personnel: Lonnie Liston Smith (piano, electric piano, percussion); Donald Smith (vocals, piano, flute); George Barron (soprano saxophone, flute, percussion); Al Anderson (electric bass); Art Gore (drums); Lawrence Killian (congas, percussion); Doug Hammond, Andrew Cyrille, Ron Bridgewater (percussion).

Cosmic Funk

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