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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