VA - The Blue Note Years Vol. 3: Organ And Soul 1956-1967

Size: 168,2+148,2 MB
Time: 72:54+64:06
File: MP3 @ 320K/s
Released: 1998
Styles: Jazz: Jazz Soul, Jazz Funk
Art: Front

CD 1:
01 Jimmy Smith - The Sermon (20:11)
02 Baby Face Willette Quartet - Somethin' Strange ( 6:40)
03 Fred Jackson - Southern Exposure ( 6:51)
04 Don Wilkerson - Sweet Cake (Digitally Remastered) ( 5:57)
05 Ike Quebec - Easy, Don't Hurt (1992 Digital Remaster) ( 6:08)
06 Freddy Roach - I.Q. Blues ( 5:18)
07 Big John Patton - Let 'em Roll (1992 Digital Remaster) ( 6:45)
08 Grant Green - Blues In Maude's Flat (15:01)

CD 2:
01 Kenny Burrell - Midnight Blue ( 3:58)
02 Lou Donaldson - Hog Maw (Digitally Remastered) ( 6:18)
03 Donald Byrd - Cristo Redentor ( 5:40)
04 Stanley Turrentine - River's Invitation ( 6:13)
05 Lee Morgan - The Sidewinder (10:22)
06 Wayne Shorter - Adam's Apple ( 6:43)
07 Hank Mobley - The Turnaround ( 8:14)
08 Donald Byrd - Slow Drag ( 9:43)
09 Lou Donaldson - Alligator Bogaloo ( 6:51)

This two CD collection was originally released as part of Blue Note's 60th Anniversary boxed set. Jimmy Smith, who was signed by Alfred Lion after he saw just one of Smith's shows, sets the pace for this chronicle of the organ fever of soul jazz. Other great organists featured include John Patton, Larry Young, and Freddie Roach. Aggressive and funky, this CD documents a sound that borrowed heavily from the blues and would influence jazz and rock well into the next decade. ~by Stacia Proefrock

The Blue Note Years Vol. 3: Organ And Soul 1956-1967 CD 1
The Blue Note Years Vol. 3: Organ And Soul 1956-1967 CD 2

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Josefine Lindstrand & Norrbotten Big Band - While We Sleep

Size: 136,9 MB
Time: 59:27
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals, Big Band
Art: Front

01. Send Out The Singers (4:51)
02. Winter Night Song (4:12)
03. There Will Be Stars (4:50)
04. Jewels (4:17)
05. Broadway (7:06)
06. Oh My Love (5:10)
07. Make My Day Tomorrow (5:43)
08. The Net (5:59)
09. In Spring (6:07)
10. The Mystery (5:53)
11. I Had Too Much To Think 'bout (5:15)

Josefine Lindstrand is a Swedish singer living in Stockholm, Sweden. She received the Jazz in Sweden award for 2009 from the government agency Rikskonserter, and her debut record There Will Be Stars was released soon afterwards. The album received a favourable review in Svenska Dagbladet. In 2012 her second album Clouds was released. Lindenstrand used her middle name Britah for this record, which a reviewer in Dagens Nyheter characterised as pop rather than jazz.

Lindstrand has also performed with artists such as Efterklang, Django Bates, Uri Caine, Petra Marklund, Veronica Maggio, Maia Hirasawa, Laleh, and Jonathan Johansson.

While We Sleep

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Jas Miller - Follow The Sun

Size: 114,9 MB
Time: 48:57
File: MP3 @ 320K/s
Released: 2016
Styles: Contemporary Jazz, Smooth Jazz
Art: Front

01. Follow The Sun (Feat. Gianni Vancini) (4:44)
02. Isle Of View (Feat. Rocco Venttrella) (3:50)
03. Room To Wriggle (3:49)
04. Steppin (Feat. Rick Parma) (4:01)
05. North Shore (3:58)
06. Jello Coconuts (Feat. Hans Solo Zermuehlen) (4:47)
07. Cheaper Buy The Dz (Feat. Alexx Daye) (4:35)
08. Mm Mm Mm (4:32)
09. Where R U (Feat. Michael Paulo) (3:27)
10. Espresso Yo Selfie (Feat. Elan Trotman) (4:09)
11. Steppin (Single Version) (Feat. Rick Parma) (3:30)
12. Follow The Sun (Single Version) (Feat. Gianni Vancini) (3:30)

After quite a bit of debilitating deliberating, receiving some great cover art from Blue Johnson (Al Jarreau, Seawind), after having done an initial release with my own cover art, and then re-listening to the album & radio editions of all the tracks; I found, In some cases the radio editions of the songs really flowed better. In others, it's the album edition that makes the vibe flow best. In this release are my choices for each.

Stellar performances turnt by Michael Paulo (sax, Where R U), Èlan Trotman (sax, Espresso Yo Selfie), Rocco Ventrella (sax, Isle Of View), Gianni Vancini (sax, Follow The Sun), Hans Zermuehlen (keyboards, drums, Cheaper Buy the Dz), Isha Love (keyboards, Isle of View), Marco Basci (keyboards, Room to Wriggle), Nate Harasim (drums & bass, Isle of View), Derrick Murdock (bass, Follow the Sun), Anthony Crawford (bass, Espresso Yo Selfie), Sergio Bellotti (Yamaha DTX drums, Follow The Sun), David "Fingers" Haynes (drums, Mm Mm Mm), Alexx Daye (vocals, Cheaper Buy the Dz). Jas Miller (guitars, basses, keyboards, horn & string arrangements, percussion, steel drums & add’l programming)

Follow The Sun

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Sidsel Storm - Closer

Size: 107,0 MB
Time: 46:05
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Walking Blindly (4:38)
02. April In Paris (5:26)
03. Get Out Of Bed (4:46)
04. That Old Black Magic (3:34)
05. Sadness (6:23)
06. Lead The Way (4:18)
07. Who Cares (3:18)
08. I've Got A Crush On You (4:42)
09. You Leave Me Low (4:34)
10. The Party's Over (4:22)

Prize winning Danish jazz singer Sidsel Storm in conjunction with the recording of the new album, Storm is enjoying a busy year of live performances – the discipline that first gained her enormous popularity both in Denmark and worldwide.

Sidsel Storm's new album remains true to the modern, airy vocal jazz for which she is known, presenting the listener once again with an ear catching, whimsical expression and vocal style combining the best of jazz and pop.

Despite her youth, Sidsel Storm is already sought after in the international music scene, where critics praise her ability to capture audiences with her warmth, engaging melodies and powerful voice. In increasing demand since the release of her debut album 'Sidsel Storm' in 2008 and 'Swedish Lullaby' in 2010, Storm has, among other things, appeared on the cover of the Japanese jazz magasine Jazz Perspective and performed to full houses in USA, Germany, Thailand and Sweden and most recently at the mini-festival 'Le Jazz Danois' in Paris, where an enthusiastic audience met The Sidsel Storm Quintet with a standing ovation. Success brings with it obligation, and life continues in full swing for Sidsel Storm, who from her base in Dragør is planning a longer Danish and international tour in conjunction with the release of the new album.

Closer

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Nina Baun - Human

Size: 101,0 MB
Time: 43:23
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals, Smooth Jazz
Art: Front

01. Wave Of Evergreen (4:39)
02. No Plans. Don't Ask (5:12)
03. Twisted (6:23)
04. Older Than I (4:27)
05. Cohabitant (4:49)
06. Implosive (4:31)
07. Stereo (4:41)
08. Tucked Away (3:49)
09. Life's Wiser (4:49)

“Nina is a very talented and conscientious singer with a totally professional attitude to music making. Refreshingly, Nina views herself as more than just a soloist; her contribution is always for the greater good of the music…” says Django Bates, musician and composer, about Nina Baun’s music.

“What I’m doing is organic and in constant development, and I do not let my compositions be limited by fixed types of music. This record (“Something is always moving”, debut album released in DK in 2011 red.) is an offer of me, and just like people skip around between what is easy and what is hard, so do my music”, she says.

The tune Something is Moving, which will be on Nina Baun’s second album, was written in a rehearsal room in New York. It didn’t take her many hours, as it all came flowing to her. Nina rented the room, which is in an old stone house in Brooklyn, for a couple of hours, and on an old piano she composed one of the tunes, which she is most proud of today.

It is those kinds of moments that are significant to Nina Baun. Those moments are just as important as when she is on stage with Danish or international jazz musicians. It is the feeling of having a moment of pure and unrefined musicality, whether it’s bending over a grand piano in a rehearsal room in Brooklyn or on stage.

Nina Baun approaches her singing, compositions, and arrangements with great musical understanding and knowledge. It is not the role of figurehead that appeals to her. No, Nina is mainly a musician and a composer. And she’s been like that all through her career as performing artist and composer as well as student through four years in MGK at Sankt Annæ Gymnasium followed by five years in The Rhythmic Music Conservatory in Copenhagen, where in 2010 she earned her Master’s Degree in performing arts.

Many years before her time as a music student, Nina Baun made her first songs, when in the late 80’s she sat on the back of her father’s bike driving home from daycare.With her brother, Soren Baun, and her dad, who both are musicians as well, they wrote songs about what they saw and about things that meant something. Nina Baun sang about toys, candy, pets, and friends.

When Nina at the age of 11 began taking singing lessons, things started to speed up, and it was clear that she had an exceptional talent.

But it was especially when Nina Baun, at a four-year basic course in music (MGK), encountered a world that took music deadly seriously, that she realized she wanted to be a musician.

In the later years of the course, Nina Baun arrived at a feeling of being present in her own personal expression and sound. Next stop was the music conservatory, where five years shaped and challenged her.

Her own project, Nina Baun & GUMA, became a fundamentally creative source during the years at the music conservatory. With Jesper Thorn (bass),William Larsson (pia, Orpheus), Mads Emil Nielsen (dr, GRAF), Henrik Olsson (gui) and earlier Mathias Jørgensen (pia, Girls in airports) and Kevin Brow (dr, Canada) in the band, she had a place to convey the many impressions, ideas and new knowledge that the school offered her.

The band broke up in the spring of 2012. The time at the music conservatory was long gone and Nina Baun viewed the break-up as a natural result. Now she wanted to challenge herself in other constellations.

It is not only the schools that gave Nina Baun her training as a musician. It is on her journeys to New York and in her meetings with other artists that Nina Baun strikes the wild creativity and naturalness that characterize her music.

Age 28, Nina Baun is well on her way to establishing her name on the Danish jazz- and crossover scene. Even though she has played with many accomplished musicians in the business, such as Django Bates, Thomas Fonnesbaek, Jacob Christoffersen, and Jorgen Emborg, it is among other young, challenging, and promising artists she finds herself at home. ~by Sofie Tholl

Human

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Gerry Mulligan - Little Big Horn

Styles: Saxophone Jazz

Year: 2014

File: MP3@320K/s

Time: 36:21

Size: 91,2 MB

Art: Front

(6:03)  1. Little Big Horn

(6:54)  2. Under A Star

(6:46)  3. Sun On Stairs

(5:46)  4. Another Kind Of Sunday

(6:54)  5. Bright Angel Falls

(3:55)  6. I Never Was A Young Man

On one of the first relatively straightahead sessions for GRP, baritonist Gerry Mulligan (accompanied by a rhythm section led by Dave Grusin's keyboards with an occasional horn section) performs six of his then-recent compositions including the title cut. Strangely enough, the most memorable selection is "I Never Was a Young Man" which has a rare but very effective Mulligan vocal. Otherwise the music is good but not classic.~Scott Yanow http://www.allmusic.com/album/little-big-horn-mw0000649665

Personnel: Gerry Mulligan (baritone saxophone, vocals), Lou Marini (alto saxophone), Michael Brecker (tenor saxophone), Marvin Stamm, Alan Rubin (trumpet), Keith O'Quinn (trombone), Richard Tee (piano), Dave Grusin (keyboards, synthesizer), Anthony Jackson, Jay Leonhart (bass), Buddy Williams, Butch Miles (drums).

Little Big Horn

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Barbara Lynn - Here Is Barbara Lynn

Styles: Vocal
Year: 1968
File: MP3@320K/s
Time: 30:19
Size: 69,9 MB
Art: Front

(3:04)  1. You'll Lose A Good Thing
(2:55)  2. Take Your Love And Run
(2:15)  3. Maybe We Can Slip Away
(2:11)  4. Sure Is Worth It
(2:15)  5. Only You Know How To Love Me
(3:05)  6. I'll Suffer
(2:20)  7. You're Losing Me
(2:31)  8. Sufferin' City
(2:42)  9. Multiplying Pain
(2:33) 10. Why Can't You Love Me
(1:59) 11. Mix It Up Baby
(2:24) 12. This Is The Thanks I Get

To be a woman singing your own blues and soul songs in 1960s Texas was a rare thing. To do so while brandishing a left-handed Stratocaster and bashing out hard-edged licks was even rarer. Yet that's just what Barbara Lynn did, inspired by Guitar Slim, Jimmy Reed, Elvis Presley and Brenda Lee. And it was a hit: her 1962 debut single, You'll Lose A Good Thing, recorded with session musicians including Dr. John, gave her an R&B chart Number One and a Billboard chart Top 10 hit. It was a path that Lynn chose at elementary school in 1940s Beaumont, Texas, when she told her mother she wanted to play guitar. ''I decided that playing piano was a little bit too common, you know what I mean?'' says Lynn in the new liner notes. ''You'd always see a lady or a little girl sitting at a piano. I decided I wanted to play something more unexpected, so that's when I got interested in learning to play the guitar.'' Self-taught, first on the ukulele and then on a guitar, Lynn formed her first group, Barbara Lynn and Her Idols, while still at school and soon took the local scene by storm. Hers was a powerful talent in a petite package, a performer who could stand up against the best - even as a teenager.

Spotted while performing, underage, in Louisiana, she was offered the chance to record her own material, songs that filtered the experience of being a black Texan teen with power, feel, and guts. Ten of the twelve tracks on her debut album were her own compositions. ''It took a lot of time,'' Lynn remembers of the recording process, ''but we got Good Thing, we got our hit. I loved it. I loved meeting the new musicians; a lot of the guys who played on that record became friends. And seeing how the engineers worked and how they produced the sounds, all of that was really interesting to me.'' The success of that single took Lynn out on the road with the likes of Stevie Wonder, Gladys Knight, BB King, The Supremes, Chuck Berry, Guitar Slim, and The Temptations. BB King even wrote a letter to Lynn's mother to tell her what a talented daughter she'd raised. She appeared at the Apollo Theater, she was twice on American Bandstand, and one of her songs, Oh Baby (We've Got A Good Thing Goin') was covered by The Rolling Stones.

Though she was a precocious performer, hers is a talent that came to full bloom on Here Is Barbara Lynn, her 1968 album produced by Huey P. Meaux and originally released on Atlantic Records. The record was conceived as an introduction to Lynn's prodigious talents: her deeply felt guitar playing, her gutsy soulful singing skills, and her songwriting prowess. It combined her early hit with a raft of new songs, each packed with Lynn's passion and fire. Yet the introduction to her world - now reissued by Light In The Attic - largely proved to be her swansong. She married in 1970, aged 28, had three children, and largely retired from the music industry for most of the '70s and '80s. Now touring again, she's amused to think of her 46 year-old album gaining new fans. ''I hear this album, and it seems like... it seems like the old times to me,'' she says. ''I don't know, it's strange to know it's coming out again. It is going to be a wild, first time thing for me, like going back in time. But I'm excited to see what happens.''~Editorial Reviews http://www.amazon.com/Here-Barbara-Lynn-Gram-Vinyl/dp/B00NWFE9KM

Here Is Barbara Lynn

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Kirk Whalum - The Babyface Songbook

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 57:19
Size: 131,6 MB
Art: Front

(4:42)  1. Exhale (Shoop Shoop)
(4:22)  2. I'll Make Love To You
(4:36)  3. Ca We Talk
(4:47)  4. When Can I See You
(4:44)  5. For The Cool In You
(4:27)  6. Breathe Again
(5:00)  7. Betcha Never
(5:17)  8. Someon To Love
(4:50)  9. Not Goin' Cry
(5:25) 10. Whip Appeal
(4:07) 11. I Said I Love You
(4:57) 12. Wey U

The title of saxophonist Kirk Whalum's 2005 album Kirk Whalum Performs the Babyface Songbook speaks for itself. You get smooth jazz icon Whalum taking on R&B icon Babyface's best songs of the past 15 years, including "Waiting to Exhale (Shoop Shoop)," "I'll Make Love to You," "When Can I See You," and others. Joining in the intimate and stylish proceedings are other smooth jazz notables, including trumpeter Rick Braun, who adds a boppish elan to "Can We Talk," soprano superstar Dave Koz, and guitarists Norman Brown and Chuck Loeb among others. Fans of Whalum and Babyface alike should find much to enjoy here.~Matt Collar http://www.allmusic.com/album/kirk-whalum-performs-the-babyface-songbook-mw0000174120

Personnel: Kirk Whalum (soprano saxophone, tenor saxophone); Kirk Whalum; John Stoddart (vocals, piano, Fender Rhodes piano); Norman Brown (guitar); Mark Portmann (strings, keyboards, programming); Takana Miyamoto (piano, Fender Rhodes piano); Ricky Peterson (Fender Rhodes piano, Hammond b-3 organ, keyboards); Andy Snitzer (keyboards, programming); Christian McBride (bass guitar); Bashiri Johnson (percussion); Kenneth "Babyface" Edmonds, Juan Winans, Melinda Doolittle, Babyface (background vocals); Chuck Loeb (acoustic guitar); Dave Koz (soprano saxophone); Rick Braun (trumpet, flugelhorn).

The Babyface Songbook

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Fred Wesley & The Horny Horns - A Blow For Me, A Toot To You

Styles: Trombone Jazz
Year: 1977
File: MP3@320K/s
Time: 58:27
Size: 137,5 MB
Art: Front

(9:15)  1. Up For The Down Stroke
(7:23)  2. A Blow For Me, A Toot To You
(4:24)  3. When In Doubt: Vamp
(6:52)  4. Between Two Sheets
(8:05)  5. Four Play
(6:02)  6. Peace Fugue
(7:12)  7. A Blow For Me, A Toot To You [remix]
(7:07)  8. Four Play [remix]
(2:03)  9. Interview

Having been in the employ of James Brown, who gave them a first-class education in funk and soul, Fred Wesley and Maceo Parker were obvious choices to contribute to George Clinton's P-Funk empire (the Godfather of Soul was a major influence on Clinton). In 1977, Clinton and Bootsy Collins produced A Blow for Me, A Toot for You, the debut album by Fred Wesley & the Horny Horns a group that boasted Wesley on trombone, Parker on tenor and alto sax, and Rick Gardner and Richard "Kush" Griffith on trumpet. Clinton and Collins did a lot of the writing, and not surprisingly, much of this vinyl LP is pure P-Funk. The album gets off to a gritty start with a remake of Parliament's "Up for the Down Stroke," and the Parliament influence is equally strong on "Between Two Sheets." As for the instrumentals, "Four Play" blends funk and jazz, while Wesley's moody "Peace Fugue" isn't unlike something you would have heard on a CTI recording in the 1970s. "Peace Fugue," in fact, is the least Clinton-sounding thing on the LP. A Blow for Me, A Toot for You may not be in the same class as Parliament's Mothership Connection, Collins' Ahh...The Name is Bootsy, Baby! or Funkadelic's One Nation Under a Groove, but not many LPs were. Overall, it's a likable record that anyone who loves P-Funk should be aware of.~Alex Henderson http://www.allmusic.com/album/a-blow-for-me-a-toot-to-you-mw0000602306

Personnel :  Fred Wesley (trombone, background vocals); Bootsy Collins (guitar, bass instrument, drums, drum, background vocals); Phelps "Catfish" Collins (guitar, background vocals); Mike Hampton "Kid Funkadelic", Garry Shider, Glen Goins (guitar); Maceo Parker (alto saxophone, tenor saxophone, background vocals); Richard "Kush" Griffith, Rick Gardner (trumpet, background vocals); The Brecker Brothers (horns); Bernie Worrell (keyboards, synthesizer, background vocals); Frankie "Kash" Waddy, Jerome Brailey (drums, drum).

A Blow For Me, A Toot To You

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