Various - Cuban All Jazz

Bitrate: MP3@320K/s
Time: 74:59
Size: 171.6 MB
Styles: Latin jazz, Salsa
Year: 2004
Art: Front

[7:33] 1. Juan Pablo Torres - Moonlight Serenade
[6:46] 2. Michael Philip Mossman - Mambanita
[5:53] 3. Julio Barreto Cuban Quartet - Latineo
[5:52] 4. Tony Perez - Encanto
[6:36] 5. Frank Chastenier - Habana
[5:43] 6. Humberto Ramírez - El Ministro
[6:21] 7. Paoli Mejias - Asora
[6:55] 8. Humberto Ramírez - A Puerto Rico
[3:35] 9. Juan Pablo Torres - Ensalada De Mambo
[4:20] 10. Julio Barreto - Caravan
[8:50] 11. Jane Bunnett - Spirits Of Havana
[6:30] 12. Sebastian Schunke - Mi Sueño (My Spanish Dream)

The first compilation "CUBAN ALL JAZZ," took care of young gifted artists as Michael Philipp MOSSMAN, Jane BUNNETT, Sebastian SCHUNKE, Julio BARRETO and Humberto RAMIREZ. But don't forget the already established stars of Latin Music, as Paquito D'RIVERA, Chucho VALDES, Arturo SANDOVAL, Juan Pablo TORRES or Patato VALDES, who were a fixed component in any Cuban music repertoire.

Cuban All Jazz

---

Ahmad Jamal - In Search Of Momentum

Bitrate: MP3@320K/s
Time: 57:57
Size: 132.7 MB
Styles: Bop, Piano jazz
Year: 2003
Art: Front

[6:19] 1. In Search Of
[5:25] 2. Should I
[3:06] 3. Excerpts From I'll Take The 20
[6:34] 4. Whisperings
[4:37] 5. Island Fever
[6:12] 6. I've Never Been In Love Before
[7:00] 7. Where Are You
[6:55] 8. Where Are You Now
[6:46] 9. You Can See
[4:58] 10. I'll Always Be With You

A guy who Miles Davis called his favorite piano player, Ahmad Jamal has always earned respect among other musicians and critics for his consistent and innovative five-decade career, but the general public has never celebrated him. Why is anybody's guess, except that he's never been one for self-promotion; he's always been too busy making music to talk about it much. This trio date, featuring the greatest soul-jazz drummer of all time -- Idris Muhammad -- and bassist James Cammack, is one of the most fiery and inspired of Jamal's career. Kicking it off with "In Search Of," Jamal's more percussive style is in evidence, kicking it with ninths and even elevenths in shifting time signatures in a modern version of something that unites McCoy Tyner's Coltrane period with the barrelhouse. Jamal's trademark dissonances are juxtaposed against his whimsical lyric side in "Should I," a tune he has played live for decades. His right-hand legato phrasing and a near Monk-ish sense of harmony highlight his cascading arpeggios and enormous chord voicings. And harmony is the central motif of this album. Jamal's sense of melodic and harmonic development is under-recognized, even as he has used both Ellington and Oscar Peterson for starting points and built upon them via Monk's engagement with rhythm and "wrong" notes. His chords are unique among jazz pianists in that they can be incorporated wholesale as part of a rhythmic attack or in single- or double-note clusters to swing the tune into its lyric.

As a rhythm section, Muhammad and Cammack are perfectly suited to Jamal because the seemingly teetering shifts in time and pulse are never taken for granted and never merely followed, but executed according to the pianist's penchant for making his compositions swing in a songlike manner. A wonderful surprise here is the vocal of soul singer O.C. Smith on the Jamal/Aziza Miller tune "Whispering." Smith is best known as the singer of the soul hit "Little Green Apples," but his talent is far more diverse than that. Here are traces of Big Joe Williams, Lou Rawls, and Charles Brown caressed by the trio's shimmering accompaniment. His performance is flawless. While Jamal's compositions are the album's high points, there are no dead-dog tracks here at all: A reading of the Frank Loesser nugget "I've Never Been in Love Before" reflects in the trio's playing the vocal stylings of both Dinah Washington and Ella Fitzgerald. Also, Monty Alexander's "You Can See" is reinvented by the Jamal trio and comes off as a splashy, singing number suited for the stage as much as a jazz band. Jamal's ostinato and glissandi theatricality are dramatic but never showy. He punches the melodic invention in his solos and keeps the rhythm section moving, but never overshadows the body of the tune. This is a beautiful offering by one of the true jazz masters of our time. At 72, Jamal is even more of a pianistic enigma than he was as a young man. Highly recommended. ~Thom Jurek

In Search Of Momentum

---

Tessa Souter - Nights Of Key Largo

Bitrate: MP3@320K/s
Time: 63:05
Size: 144.4 MB
Styles: Jazz vocals
Year: 2008
Art: Front

[5:56] 1. The Island
[7:13] 2. Close Enough For Love
[4:15] 3. Moondance
[4:21] 4. So Many Stars
[4:01] 5. The Look Of Love
[4:47] 6. You Only Live Twice
[3:57] 7. Key Largo
[4:35] 8. Slow Hot Wind
[4:25] 9. Moon And Sand
[5:16] 10. I'm Glad There Is You
[4:50] 11. All Or Nothing At All
[4:42] 12. Morning Of The Carnival
[4:40] 13. Imagine

Since arriving in New York City, Tessa Souter has built a dedicated following. She was a relative latecomer to jazz, taking time out to raise a family at a young age and work as a journalist before studying at the Manhattan School of music and privately with vocal great Mark Murphy, though she has developed into a formidable singer in a relatively short time. Souter's gorgeous, natural vocals never show pretension or gimmickry, while her taste in songs is amazingly wide-ranging and occasionally risk-taking. For these 2008 sessions, her accompanists include the brilliant pianist Kenny Werner (who works especially well with vocalists), saxophonist Joel Frahm, Brazilian guitarist Romero Lubambo, veteran first-call bassist Jay Leonhart, and the in-demand drummer Billy Drummond. Souter's lush treatment of "Close Enough for Love" captures the essence of this beautiful standard (a favorite of the late Shirley Horn and many others). The haunting setting of "Morning of the Carnaval" opens with Werner's elegant piano and Leonhart's mournful arco bass, while Souter's spacious, lovely performance is also complemented by Frahm's moving soprano sax. The vocalist uncovered a gem in Benny Carter's neglected "Key Largo," which she casts in a setting that suggests a midnight stroll along the beach with her lover. But Souter is at her most stunning when she tackles songs that one doesn't normally hear in a jazz setting. Her infectious, slinky take of Van Morrison's "Moondance" opens with her sexy vocals over Leonhart's walking bass, with judicious use of reverb that is never overdone. John Lennon's "Imagine" has long been a pop standard, though jazz arrangements have been few and mostly disappointing, but Souter is buoyed by her imaginative rhythm section, though she takes few liberties with it until she is well into the song. Tessa Souter will win you over, as well, if you give her the opportunity. ~Ken Dryden

Nights Of Key Largo

---

Teddy Wilson - Of Thee I Swing

Bitrate: MP3@320K/s
Time: 62:18
Size: 142.6 MB
Styles: Swing, Piano jazz
Year: 1990/2004
Art: Front

[2:57] 1. You Turned The Tables On Me
[2:54] 2. Sing, Baby, Sing
[3:16] 3. Easy To Love
[3:21] 4. With Thee I Swing
[3:05] 5. The Way You Look Tonight
[3:17] 6. Who Loves You
[3:17] 7. Pennies From Heaven
[3:10] 8. That's Life I Guess
[2:51] 9. Sailin'
[3:28] 10. I Can't Give You Anything But Love
[3:26] 11. Right Or Wrong (I'm With You)
[2:52] 12. Where The Lazy River Goes By
[3:15] 13. Tea For Two
[2:42] 14. I'll See You In My Dreams
[2:55] 15. He Ain't Got Rhythm
[3:14] 16. This Year's Kisses
[2:56] 17. Why Was I Born
[3:02] 18. I Must Have That Man!
[3:06] 19. The Mood That I'm In
[3:04] 20. You Showed Me The Way

Hep's Teddy Wilson series sticks to his all-star band sides (skipping his solo piano performances), many of which feature the vocals of Billie Holiday. This entry starts with a pair of vocals by the long-forgotten Redd Harper ("You Turned the Tables on Me" and "Sing, Baby, Sing"), has two spots for the talented singer Midge Williams and also a couple of instrumentals; otherwise, the set is comprised of Holiday vocals that are readily available in more complete form elsewhere. The highlight is Lady Day's first recorded meeting with tenor saxophonist Lester Young and trumpeter Buck Clayton which resulted in "He Ain't Got Rhythm," "This Year's Kisses," "Why Was I Born," and "I Must Have That Man." ~Scott Yanow

Of Thee I Swing

---

Marty Robbins - Love Songs

Bitrate: MP3@320K/s
Time: 37:26
Size: 85.7 MB
Styles: Country, Ballads
Year: 2004
Art: Front

[3:08] 1. Have I Told You Lately That I Love You
[2:03] 2. Half As Much
[2:40] 3. Too Young
[2:31] 4. My Happiness
[3:02] 5. Love Me Tender
[2:11] 6. Can't Help Falling In Love
[2:18] 7. Unchained Melody
[3:25] 8. I'm In The Mood For Love
[3:22] 9. Misty
[2:56] 10. All The Way
[1:51] 11. To Each His Own
[2:22] 12. I Don't Know Why (I Just Do It)
[2:52] 13. Return To Me
[2:38] 14. Yours (Quiereme Mucho)

Outside of country music, Robbins is mostly recalled these days for his Western throw-back hit "El Paso," and for the occasional spin of 1957's "White Sports Coat." But this is the prototypical tip of his catalog's iceberg. As a Columbia artist for over 30 years, this collection has a tremendous range of material to draw upon, and sampling tracks from 1957 through 1977, it is a concise showcase of the variety that Robbins' brought to one of his strongest suits: ballads.

Robbins' was equally comfortable on a twangy, Hank Williams-styled remake of Gene Autry ("Have I Told You Lately That I Love You") as he was crooning a song actually covered by Williams ("Half as Much"). He covered pop hits ("Unchained Melody") and standards ("I'm in the Mood for Love" "Misty") that had strong associations with their hit versions and lent them an original feel. His cover of "All the Way" may not make you forget Sinatra's, but it will certainly command your attention. His 1970s takes on songs associated with Elvis ("My Happiness" "Love Me Tender" "Can't Help Falling in Love") show off a voice that's still strong, even if the arrangements are a bit soft. More successful is a lush Billy Sherrill production of "I Don't Know Why (I Just Do)" and the South of the border "Return to Me." Additional highlights including the Western harmonies of 1961's "To Each His Own" and Mexicali style of 1962's "Yours (Quiereme Mucho)." A recording career as vast as Robbins' could hardly be captured in 14 tracks; even his ballad singing is broader than a single disc. Still, this collection provides a nice sample of 20 years of work. ~Hyperbolium

Love Songs

---

Michael Brecker - Two Blocks From The Edge

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 55:44
Size: 127,9 MB
Art: Front

(5:19)  1. Madame Toulouse
(8:31)  2. Two Blocks from the Edge
(6:58)  3. Bye George
(7:40)  4. El Nino
(6:45)  5. Cat's Cradle
(7:13)  6. The Impaler
(7:39)  7. How Long 'Til the Sun
(5:36)  8. Delta City Blues

Two Blocks from the Edge is one of Michael Brecker's most impressive efforts. His tenor saxophone playing is at a peak of power and virtuosity. His band (pianist Joey Calderazzo, bassist James Genus, drummer Jeff "Tain" Watts and percussionist Don Alias) stays with him every step of the way. Two Blocks from the Edge is an example of contemporary jazz at its best: it isn't a pallid rehash of the archives, but it isn't tuneless and forbidding either. Of course, there are echoes. Brecker thanks John Coltrane, Joe Henderson, Sonny Rollins, Wayne Shorter, and Stanley Turrentine in the liner notes. That about sums it up, but the overall feel and arrangements here hark back to Pharoah Sanders' Journey to the One : accessible jazz tunes just tinged with a pop feel and played with passion and power. Brecker doesn't sound much like Pharoah, but they're mining similar territory. Pharoah's ghost appears on "El Ni'o," which is tricked out with an ostinato rhythm backing while Brecker wails away at his most Coltraneian ' and veers into Pharoahnic multiphonics at the climax. 

Brecker is, of course, his own man, and an deservedly influential voice in his own right. Check out the title tune, "Two Blocks from the Edge." Brecker alternates between full-bore high-energy passages and quiet moments of spontaneous and clich'-free lyricism. This tour de force is a marvelous example of the man's mastery of his instrument, but it is only one highlight of this album. The more relaxed and bouncy "Bye George" and the dusky ballad "Cat's Cradle" display Brecker's emotional versatility."The Impaler" may refer to the tricky harmonics of the tune, which of course Brecker navigates with confidence. "How Long 'Til the Sun" is tasty, leading into a long unaccompanied intro to "Delta City Blues." Brecker's wailing tenor recalls the best of the honking blues tenors, and he carries the pulse with Rollinsian precision, bringing a close to one of his best efforts. ~ Robert Spencer https://www.allaboutjazz.com/two-blocks-from-the-edge-michael-brecker-impulse-review-by-robert-spencer.php

Personnel: Michael Brecker (tenor saxophone); Joey Calderazzo (piano); James Genus (bass); Jeff "Tain" Watts (drums); Don Alias (percussion).

Two Blocks From The Edge

---

Richie Cole - Signature

Styles: Saxophone Jazz
Year: 1988
File: MP3@320K/s
Time: 44:54
Size: 103,1 MB
Art: Front

(7:27)  1. Sunday In New York
(6:02)  2. Trade Winds
(3:23)  3. Doing The Jungle Walk
(6:01)  4. An Occasional Man
(5:32)  5. Rainbow Lady
(3:08)  6. Take The Cole Train
(4:55)  7. If Ever I Would Leave You
(5:46)  8. Peggy's Blue Sky Light
(2:36)  9. America The Beautiful

There is a lot of variety on this Richie Cole set with such musicians as pianists Tee Carson, Ben Sidran and Dick Hindman, guitarist Vic Juris and steel drum wizard Andy Narell getting plenty of solo space. With the exception of a duet version of "America the Beautiful" with Hindman, the altoist/leader's repertoire is less off-the-wall than usual but he is in good form on such tunes as "Sunday in New York," Charles Mingus's "Peggy's Blue Skylight" and his own "Take the Cole Train." On two songs Cole overdubbed himself on six additional saxes, calling it the "Mega-Universal Saxophone Orchestra." 

~ Scott Yanow http://www.allmusic.com/album/signature-mw0000198518

Personnel: Richie Cole (alto saxophone, tenor saxophone, baritone saxophone); Vic Juris (guitar); Tee Carson (piano, maracas); Ben Sidran, Dick Hindman (piano); Keith Jones (electric bass); Mel Brown (drums); Andy Narell (steel drum); Babatunde (percussion).

Signature

---