Friday, September 23, 2016

Cannonball Adderley - Cannonball's Bossa Nova

Bitrate: MP3@320K/s
Time: 44:52
Size: 102.7 MB
Styles: Soul-jazz, Bossa Nova
Year: 1962/2000
Art: Front

[4:48] 1. Clouds
[2:19] 2. Minha Saudade
[6:40] 3. Corcovado (Quiet Nights)
[3:24] 4. Batida Diferente
[3:10] 5. Joyce's Samba
[4:56] 6. Groovy Samba
[7:45] 7. O Amor Em Paz
[3:31] 8. Sambop
[5:34] 9. Corcovado (Quiet Nights)
[2:40] 10. Clouds

A pleasant date recorded in late 1962 with South American musicians the Bossa Rio Sextet of Brazil. Cannonball is heard alongside Sergio Mendes on piano, future Weather Report percussionist Dom Um Romao, and featured on five cuts is Paulo Moura on alto saxophone with Pedro Paulo on trumpet. Unfortunately this release contains little fire, as Adderley didn't get much rehearsal time with these musicians. Combined with the repetitious nature of the Bossa Nova these proceedings can get tedious. This session was originally released on Riverside, but Adderley took several master tapes (including this one) when he made his move to Capitol. ~Al Campbell

Cannonball's Bossa Nova 

Gretchen Parlato - S/T

Bitrate: MP3@320K/s
Time: 38:56
Size: 89.1 MB
Styles: Jazz vocals
Year: 2005
Art: Front

[4:20] 1. Skylark
[6:23] 2. Flor De Lis
[5:20] 3. Come To Me
[4:23] 4. Nonvignon
[5:03] 5. Ela E Carioca
[3:13] 6. Chega De Saudade
[5:38] 7. Benny's Tune
[4:33] 8. Juju Footprints

Gretchen Parlato has always operated from the premise that a whisper can be more powerful than a scream. Since winning the Thelonious Monk Institute International Vocal Competition in 2004, Parlato has been spellbinding audiences with her unerring ability to draw the listener into her sultry and sensual world through deft manipulation of dynamic range, often turning in her most alluring performances by enforcing an intimacy between listener and singer.

For Parlato, it´s all about the phrasing, the nuance, and the manipulation of the moment in real time. Her repertoire is as eclectic as the day is long, but whatever she happens to be tackling at any given moment bears the unmistakable mark of her own individuality.

Gretchen Parlato

David Burns - Soledad

Bitrate: MP3@320K/s
Time: 39:43
Size: 90.9 MB
Styles: Guitar jazz
Year: 2016
Art: Front

[5:38] 1. As The Eye Can See
[4:51] 2. Overland Park
[3:34] 3. The Raver
[4:04] 4. A Harsh Reality
[2:44] 5. Three Sisters
[2:40] 6. Soledad
[5:23] 7. Rachel's Mom
[3:52] 8. Salad Days
[2:14] 9. Sermons In Steel
[1:52] 10. Sesquipedalia
[2:46] 11. One Small Voice

David Burns--Acoustic guitar; banjo on 'Sesquipedalia"; all voices on "Sermons in Steel.

A collection of finger-style acoustic guitar instrumentals composed and performed by Dave, designed to inspire and relax both the musician and the non-musician.

Soledad

Wanda Sá & Menescal - Eu E A Musica

Bitrate: MP3@320K/s
Time: 44:33
Size: 102.0 MB
Styles: Brazilian jazz
Year: 2015
Art: Front

[2:56] 1. Wave
[3:43] 2. Como Uma Onda
[5:36] 3. Vagamente Triste Vivo Sonhando Brigas Nunca Mais
[3:56] 4. Chega De Saudade
[5:43] 5. Sábado Em Copacabana Rio Valsa De Uma Cidade Ela é Carioca
[2:48] 6. O Barquinho
[2:18] 7. Vocé
[2:40] 8. Telefone
[3:50] 9. À Sorrir
[3:36] 10. Tá Oquei
[2:43] 11. So Danço Samba O Pato
[4:38] 12. Bye Bye Brasil Aquarelo Do Brasil Isto Aqui O Que É

Roberto Menescal, a pioneer composer and performer of Bossa Nova, and his long-time partner Wanda Sa, offer a delightful selection of classic Brazilian jazz selections including some of Menescal's well-known compositions and those of the "grand master", Antonio Carlos "Tom" Jobim. Their guitars and voices blend wonderfully and create the light, breezy familiar style that has become their trademark. I have had the privlege of seeing and hearing them live and meeting them personally and I have found that the genuine warmth, Brazilian passion and friendliness they showed to me is conveyed effectively through their music. Though well-known in Brazil, many international audiences, especially in the U.S., Europe and Asia are only now discovering one of Brazil's greatest musical national treasures. Listen once, and you too will know that you have found something very special. ~DrPerman

Eu E A Musica

Fred Wesley - New Friends

Bitrate: MP3@320K/s
Time: 65:53
Size: 150.8 MB
Styles: Jazz-Funk, Soul
Year: 1990
Art: Front

[5:25] 1. Rockin' In Rhythm
[2:24] 2. Honey Love
[5:57] 3. Bright Mississippi
[6:25] 4. The Love We Had (Stays On My Mind)
[9:53] 5. For The Elders
[6:23] 6. Plenty, Plenty Soul
[7:50] 7. Blue Monk
[5:59] 8. Peace Fugue
[5:49] 9. Eyes So Beautiful
[6:03] 10. Birk's Works
[3:39] 11. D-Cup And Up

Alto Saxophone, Percussion – Maceo Parker; Bass – Anthony Cox; Drums – Bill Stewart; Keyboards – Geri Allen; Tenor Saxophone, Soprano Saxophone, Percussion – Tim Green (3); Trombone – Fred Wesley, Robin Eubanks (tracks: 5, 8), Steve Turre (tracks: 5, 8); Trumpet, Flugelhorn – Stanton Davis; Vocals – Carmen Lundy (tracks: 4, 9).

Trombonist Fred Wesley, best-known for his long-term association with James Brown, has long expressed the desire to play jazz. This is mostly a jazz-oriented CD although he hedges his bets a little with "Honey Love" (which has a cute vocal by Wesley over a calypso groove), an R&B-ish Carmen Lundy vocal on "Love We Had Stays On My Mind," the ballad "Eyes So Beautiful" and the funky "D-Cup And Up." But on the other six numbers Wesley plays in a boppish style influenced most by J.J. Johnson and there is a suitable amount of solo space for altoist Maceo Parker (heard at his best when trying to emulate Hank Crawford), trumpeter Stanton Davis and a restrained but tasteful Geri Allen on piano. Highlights include "Rockin' In Rhythm," Thelonious Monk's "Bright Mississippi" and "Birks Works" on the mixed but generally enjoyable bag. ~Scott Yanow

New Friends

Mark Turner - Yam Yam

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 71:30
Size: 166,1 MB
Art: Front

( 9:00)  1. Tune Number One
( 7:17)  2. Cubism
(10:47)  3. Yam Yam I
( 6:10)  4. Moment's Notice
( 7:07)  5. Isolation
( 9:59)  6. Subtle Tragedy
( 7:49)  7. Zürich
( 5:58)  8. Blues
( 7:20)  9. Yam Yam II

This early quintet outing is a strong showcase for Mark Turner the composer. It's also an important chapter in the special relationship between Turner and guitarist Kurt Rosenwinkel. The two would later work mainly in piano-less settings, but here they are joined by pianist Brad Mehldau, who adds his advanced harmonic insight to the session. One could rightly bill the record as "Turner and Rosenwinkel with the Brad Mehldau Trio," as the rhythm section consists of bassist Larry Grenadier and drummer Jorge Rossy, Mehldau's longtime collaborators. The disc boasts five strong Turner originals, including "Zurich," which would resurface on 2001's Dharma Days. (This version features guest tenorists Seamus Blake and Terrence Dean.) Rosenwinkel weighs in with "Cubism," a similar version of which he included on 2000s The Enemies of Energy. The two remaining non-Turner pieces are Mehldau's hard-swinging "Subtle Tragedy" and a bright five/four rendition of John Coltrane's "Moment's Notice." Yam Yam reveals much about the evolution of all these players, and is therefore well worth the attention of serious fans. ~ David R.Adler http://www.allmusic.com/album/yam-yam-mw0000188498

Personnel : Mark Turner, Seamus Blake, Terence Dean (tenor saxophone);  Brad Mehldau (piano);  Kurt Rosenwinkel (guitar);  Larry Grenadier (bass);  Jorge Rossy (drums).

Yam Yam

Tierney Sutton - Unsung Heroes

Styles: Vocal
Year: 2000
File: MP3@320K/s
Time: 57:26
Size: 131,8 MB
Art: Front

(7:38)  1. Remember Me (Recordame)
(5:53)  2. Early Autumn
(7:17)  3. A Timeless Place (The Peacocks)
(3:26)  4. Bernie's Tune
(8:30)  5. Spring Is Here
(3:40)  6. Joy Spring
(6:22)  7. All for One (Speak No Evil)
(4:41)  8. Indiana / Donna Lee
(4:28)  9. When Lights Are Low
(5:29) 10. Con Alma

While jazz enthusiasts mourn the loss of many of the members of the first generation of female jazz vocalists, their enthuasiasm doesn't seem to extend to many of the vocalists struggling, and in some cases, succeeding on today's scene. Dee Dee Bridgewater, Dominique Eade, Dianne Reeves, Vanessa Rubin, Karrin Allyson, and Nnennon Freelon, among others, come to mind. More's the pity. Each of these vocalists is creating her own style, disparate though it may be, and her own presence, in today's jazz scene. Now along comes Tierney Sutton, head of the jazz vocal department at the University of Southern California and a favorite or Buddy Childers. Having stepped out into her own with her first CD, "Introducing Tierney Sutton," Tierney Sutton now needs no introduction. Instead, she is extending her interests and her range. On "Unsung Heroes," Sutton has chosen some of her favorite jazz compositions, many of which were not intended for singing but instead consisted of instrumental arrangements of distinctive soloing. Fortunately, she has discovered words to these jazz classics and added her own distinctive style to express them with class and emotion. 

A soprano, Sutton really doesn't conform to the classic jazz singer mold of a lower-voiced performer with bent notes and bluesy emoting. Instead, she takes her craft seriously and delivers bright and uncannily on-pitch interpretations involving finely crafted phrasing or wordless accompaniment to instrumental solos. The most notable example is her version of Jimmy Rowles' "The Peacocks" (renamed "A Timeless Place" for the vocal version.) With difficult intervallic repetitions imitating natural sounds and unconventional melodic lines, Sutton not only understands the interpretive demands of the piece, but also reveals in her own way its timeless beauty. Her singing backed by Childers, other horn men and guitar on some selections, her choice of pianist Christian Jacob elevates the CD to a level above "tribute" and to "interpretation." Jacob knows his Tyner, that's for sure, and his densely chorded accompaniment and fluidity in soloing completes the picture for perceiving the inherent meaning and complexity of each tune. Rather than following in the footsteps of other singers, Sutton has followed her instincts to develop a style of her own that leverages her inherent, and impressive, talent. 
~ AAJ Staff https://www.allaboutjazz.com/unsung-heroes-tierney-sutton-telarc-records-review-by-aaj-staff.php?width=1920

Personnel: Tierney Sutton, vocals; Christian Jacob, piano; Trey Henry, bass; Ken Wild, bass; Ray Brinker, drums; Gary Foster, alto flute, alto sax; Buddy Childers, flugelhorn; Alan Kaplan, trombone; Jamie Findlay, guitar

Unsung Heroes

Jeff Lorber - Private Passion

Styles: Guitar Jazz, Fusion
Year: 1986
File: MP3@320K/s
Time: 54:56
Size: 128,4 MB
Art: Front

(4:33)  1. Facts of love (with Karyn White)
(4:17)  2. True Confessions
(4:11)  3. Jamaica
(4:16)  4. Back In Love
(5:21)  5. Kristen
(4:20)  6. Private Passion
(5:36)  7. Sand castles
(5:04)  8. Keep On Lovin'
(5:21)  9. Midnight Snack
(6:50) 10. Facts of Love [Actuality Mix]
(5:02) 11. Facts of Love[Dub]

Jeff Lorber reached his commercial peak with Private Passion, an album that has more to do with urban contemporary singing than it does with instrumental pop-jazz. Because it features R&B singers so prominently, Private Passion is a perfect example of what Lorber meant when, in 1998, he complained that the mid-'80s found him becoming "a sideman on my own records." In the 1990s, the keyboardist would return to giving himself a lot of solo space, but on Private Passion, Lorber the soloist/instrumentalist isn't the main attraction. The main attraction is the R&B singing of Michael Jeffries and Karyn White, whose memorable performance on the single "Facts of Love" not only put her on the map in the R&B market, but also did a lot to make this album the big seller it was. Private Passion does contain a few pleasant, if unremarkable, pop-jazz/NAC instrumentals. Freddie Hubbard takes a melodic flügelhorn solo on "Kristen," while guitarist Larry Carlton is employed on the Caribbean-flavored "Jamaica." But on the whole, Private Passion leaves jazz fans out in the cold, although it's often impressive and rewarding from an urban contemporary standpoint. ~ Alex Henderson http://www.allmusic.com/album/private-passion-mw0000188465

Jeff Lorber (Guitar, Synthesizer); Robbie Buchanan (Synthesizer); Larry Carlton (Guitar); Howard "Buzz" Feiten, Dan Huff (Guitar); Freddie Hubbard (Flugelhorn); George Howard (Sax soprano); Bunny Hull (Vocals); Michael Jeffries (Vocals, Vocals Background); Evan Rogers, Carl Sturken (Vocals Background); Brock Walsh (Drum Programming); Karyn White (Vocals).

Private Passion

Wayne Shorter - Night Dreamer

Styles: Saxophone Jazz 
Year: 1964
File: MP3@320K/s
Time: 48:04
Size: 111,0 MB
Art: Front

(7:17)  1. Night Dreamer
(6:52)  2. Oriental Folk Song
(7:08)  3. Virgo
(6:27)  4. Black Nile
(6:54)  5. Charcoal Blues
(6:20)  6. Armageddon
(7:02)  7. Virgo (Alternate Take)

By the time he made this recording, a few short months before he was to join Miles Davis' groundbreaking second quintet, saxophonist Wayne Shorter had already earned a reputation as a player combining heady intellectualism with a more visceral approach as a member of Art Blakey's Jazz Messengers. He'd also released four records for the Vee-Jay label that demonstrated how, while he'd learned a great deal with Blakey, he was developing his own voice, albeit still in the hard bop mode of his bandleader. But by the time Shorter recorded Night Dreamer, his first date for Blue Note, he'd gone through something of a change. With compositions that were sparer, and an equally economical playing style in direct contrast to John Coltrane's, Night Dreamer signalled a change without completely neglecting his hard bop roots. Despite a more cerebral method, Night Dreamer still swings hard, something that would hardly be a constant when he joined up with Miles a few months later. 

But, then again, how could any recording with the rhythm section of pianist McCoy Tyner, bassist Reggie Workman, and drummer Elvin Jones not swing? It's of particular note that the three had backed Coltrane as a unit until Workman was permanently replaced by Jimmy Garrison some time in '61. Coltrane would eventually push things so far out that Jones and Tyner would ultimately resign in '65, and it's clear by their performance on Night Dreamer that neither would have been comfortable in the freer style that Coltrane was moving towards. Meanwhile, Night Dreamer, which also features Blakey band mate Lee Morgan on trumpet, gives Shorter the opportunity to shift his focus away from the more straightforward hard bop of his early recordings, and towards a more open post bop sensibility. While harmonically challenging as most of Shorter's compositions were and still are to this day these six Shorter compositions adhered more rigidly to form than either his future work with Miles or his Blue Note recordings from later in the decade. And so, in a way, Night Dreamer is a transitional record, but a classic one nonetheless. While Shorter remained within more traditional boundaries, his sparer style, with every note considered and yet sounding unconsidered, was beginning to emerge. And while he would use the same rhythm section on the followup Ju-Ju, recorded four months later, by the end of '64 he would be using Miles bandmates pianist Herbie Hancock and bassist Ron Carter for Night Dreamer and, while continuing his approach towards even richer harmonic depth, would also begin a shift towards greater abstraction. As always, this Rudy van Gelder remaster edition brings greater life to the album, and it shows just how beautifully recorded it was in the first place, now that its nuances are more evident. While replacing one's entire collection with remasters is of questionable worth, these RVG Editions certainly make a strong case for doing so with one's Blue Note catalogue. ~ John Kelman https://www.allaboutjazz.com/night-dreamer-wayne-shorter-blue-note-records-review-by-john-kelman.php

Personnel: Lee Morgan (trumpet), Wayne Shorter (tenor saxophone), McCoy Tyner (piano), Reggie Workman (bass), Elvin Jones (drums)

Night Dreamer

Jeremy Pelt - # Jive Culture

Styles: Trumpet Jazz
Year: 2016
File: MP3@320K/s
Time: 53:16
Size: 123,7 MB
Art: Front

(3:30)  1. Baswald's Place
(7:30)  2. Einbahnstrasse
(7:04)  3. Dream Dancing
(5:37)  4. A Love Like Ours
(7:28)  5. The Haunting
(5:42)  6. Rhapsody
(7:40)  7. Akua
(8:42)  8. Desire

Taking a more stripped-down approach than the expansive electric path he's been pursuing since 2013's Water and Earth, trumpeter Jeremy Pelt's 2016 album, #Jiveculture, is a visceral exploration of small-group post-bop. It's also Pelt's first album featuring legendary bassist and Miles Davis associate Ron Carter. Also joining Pelt here are longtime bandmates pianist Danny Grissett and drummer Billy Drummond. While Pelt has never completely eschewed swinging, harmonically challenging, straight-ahead jazz, his previous efforts, Water and Earth, Face Forward, Jeremy, and Tales, Musings, and Other Reveries were notable for their more experimental flourishes that combined Pelt's love of hip-hop and electronic dance music with his reverence for '70s-era jazz fusion, à la Miles Davis' Bitches Brew. For much of his career though, Pelt has excelled at the kind of organic, modal-based jazz that Davis played in the mid-'60s. This is the approach he takes on #Jiveculture and one that works perfectly with the addition of Carter, whose languid, supple bass style helped to define modern jazz. Here, Pelt and company dive headlong into a set of originals and lesser-played standards, including a jaunty take on Carter's own "Einbahnstrasse." Similarly compelling is the relaxed midtempo swinger "Dream Dancing," which brings to mind both mid-'50s Miles and '80s Wynton Marsalis. Davis is also evoked on the angular "The Haunting" and the lyrical, sad-eyed ballad "Akua," with Pelt utilizing a plaintive Harmon mute. Ultimately, while #Jiveculture is a more stripped-down, traditional jazz production than Pelt's previous releases, it's also one of his more densely packed, flowing with harmonic and melodic ideas that are all the more striking when set against the straight-ahead framework of a quartet. ~ Matt Collar http://www.allmusic.com/album/jiveculture-mw0002903911

# Jive Culture