Grant Green - Green Street (Bonus Track Version)

Size: 178,5 MB
Time: 77:08
File: MP3 @ 320K/s
Released: 1961/2016
Styles: Jazz: Guitar Jazz
Label: Down To The Beat Records
Art: Front

01. No. 1 Green Street ( 7:16)
02. 'Round Midnight ( 7:00)
03. Grant's Dimensions ( 7:52)
04. Green With Envy ( 9:42)
05. Alone Together ( 7:09)
06. Green With Envy (Alternate Take) ( 7:49)
07. Alone Together (Alternate Take) ( 6:53)
08. Falling In Love With Love ( 5:22)
09. Our Miss Brooks (Take 1) (10:10)
10. One For Elena (Take 4) ( 7:50)

As a trio, this edition of guitarist Grant Green's many ensembles has to rank with the best he had ever fronted. Recorded on April Fool's Day of 1961, the band and music are no joke, as bassist Ben Tucker and drummer Dave Bailey understand in the most innate sense how to support Green, lay back when needed, or strut their own stuff when called upon. Still emerging as an individualist, Green takes further steps ahead, without a pianist, saxophonist, or -- most importantly -- an organist. His willpower drives this music forward in a refined approach that definitely marks him as a distinctive, immediately recognizable player. It is also a session done in a period when Green was reeling in popular demand, as this remarkably is one of six recordings he cut for Blue Note as a leader in 1961, not to mention other projects as a sideman. To say his star was rising would be an understatement. The lean meatiness of this group allows all three musicians to play with little hesitation, no wasted notes, and plenty of soul. Another aspect of this studio date is the stereo separation of Green's guitar in one speaker, perhaps not prevalent in modern recordings, but very much in use then. Check out the atypical (for Green) ballad "'Round About Midnight," as the guitarist trims back embellishments to play this famous melody straight, with a slight vibrato, occasional trills, and a shuffled bridge. The trio cops an attitude similar to Dizzy Gillespie for the introduction to "Alone Together," with clipped melody notes and a bass filler from Tucker. Three of Green's originals stamp his personal mark on rising original soulful post-bop sounds, as "No. 1 Green Street" has basic B-flat, easy-grooving tenets similar to his previously recorded tune "Miss Ann's Tempo." Two interesting key changes and chord accents identify the outstanding "Grant's Dimensions" beyond its core bop bridge and jam configuration -- not the least of which contains a hefty bass solo from the criminally underrated Tucker and Bailey trading fours. "Green with Envy" should be familiar to fans of Horace Silver, as it is almost identically based on the changes of "Nica's Dream," a neat adaptation full of stop-starts and stretched-out improvising over ten minutes. (The alternate take of this one on the expanded CD reissue is a full two minutes shorter.) If this is not a definitive jazz guitar trio, they have not yet been born, and Green Street stands as one of Grant Green's best recordings of many he produced in the ten prolific years he was with the Blue Note label. ~by Michael G. Nastos

Green Street

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Ilana Charnelle - A Class Act

Size: 103,2 MB
Time: 40:12
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals, Cabaret
Art: Front

01. Working Out (3:58)
02. The Clown (5:09)
03. No No No (3:08)
04. I Did It For You (3:41)
05. The Good Guy (All Class Edition) (3:51)
06. Still Alive (5:34)
07. High (3:30)
08. Better That They Stay (2:59)
09. Move (3:47)
10. A Class Act (4:30)

Who is Ilana Charnelle? It might be sex, cigarettes, lingerie, gin and speakeasies – but it’s also pure class. Forget skinny jeans, autotune and iPhones. It’s time for vintage glamour and old fashioned romance from the golden age of entertainment.

After channelling Judy Garland and David Bowie for ACMI, amassing over 200,000 views on YouTube, and headlining a plethora of underground Melbourne institutions including Burlesque Bar, Speakeasy HQ, and Red Bennies, Ilana Charnelle premieres A Class Act – her debut solo cabaret.

Scored by a suite of enchanting original songs, and musical director savant dandy Ned Dixon, A Class Act is a heartbreaking, honest and ultimately empowering hour of cabaret.

A Class Act

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Dida Pelled - A Missing Shade Of Blue

Size: 131,9 MB
Time: 56:58
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz: Guitar Jazz, Hammond Organ
Art: Front

01. Sundown (5:35)
02. I Don't Need No Doctor (5:02)
03. When I Grow Too Old To Dream (4:14)
04. Take These Chains Off My Hearth (4:38)
05. Folsom Prison Blues (3:56)
06. It's A Shin To Tell A Lie (3:59)
07. Glide On (4:20)
08. A Little Walk On Jane Street (4:10)
09. A Missing Shade Of Blue (6:05)
10. Blue Moon (4:20)
11. Five Hundred Miles (5:18)
12. Ultramarine (3:22)
13. I'll See You In My Dreams (1:53)

Guitarist and vocalist Dida Pelled previous Red Records release, Dida Pelled: Plays and Sings (Red Records, 2011) was one of my pics for Best-of-the-Year in 2011). That recording was so refreshingly organic that it has remained in my listening rotation since that time. Pelled snuck in a self-produced Modern Love Songs (2015) between Plays and Sings and the present A Missing Shade of Blue. It is as exceptional as the first recording. That said, expectations for A Missing Shade of Blue are necessarily great.

Organic. I like to use the word to describe music made with a minimum of effects and sonic engineering. Music that is like the tomato you picked off the plant in your back yard in the middle of July that is acidy tart and sporting a "realness" that is light years away from what you get at the local Walmart. It is music that is tactically genuine and real. That is the music that Dida Pelled plays. It is robust, with a freshly scrubbed sound that is both basic and advanced. Pelled is not going to dazzle you with technique save for than which is valued for what not is played. She has a Miles Davis-Count Basie bluesy brevity to her playing that makes her music irresistible.

Pelled steps out on A Missing Shade of Blue, moving well beyond the comfort zone of most jazz guitarists. Bravo that she slays the Ashford/Simpson classic "I Don't Need No Doctor" (yes, that one that Humble Pie rode to fame on Performance Rockin' The Fillmore (A&M, 1971)). But that is only the beginning. She plays a plaintive slide guitar on "Take These Chains from My Heart" and "500 Miles." This is grandly cast music, even in a jazz organ trio made up of Pelled, organist Luke Carlos O'Realy and drummer Rodney Green. This is not the 21st Century anemic attempt to capture the greasy funk of 1960's organ jazz. No, this is Pelled claiming a stake while coloring in the lines better than Wes Montgomery and Jimmy Smith.

Provocatively, the CD sleeve notes, "Dida Pelled, Guitar," which seemed curious as she both plays and sings on her previous Red Records release. It is a bit of a teaser, but Pelled does sing on the two dream-related cuts, "When I Grow Too Old To Dream" and "I'll See You In My Dreams," both showing off Pelled's remarkably plaintive and stripped down voice, full of scrubbed simplicity and genuine pathos. on "I'll See You In My Dreams," Pelled accompanies herself with her full-voiced finger- picking to a stunning solo effect. Before hearing this, I was unsure she could out-do the over-the-top creativity of her take on Johnny Cash's "Folsom Prison Blues."

Pelled cameos trumpeter Fabio Morgera and flautist Ital Kriss on Morgera's "Ultramarine," the sole bebop piece on the recording that makes a great argument Pelled's bona fides as a grand bop interpreter. As for Kriss, the flute solo on "When I Grow Too Old to Dream" is a masters class in the blues that is spectacular. Pelled is a controlled and specific artist who focuses on the simplicity of her task at hand. She digs deep into the American Southern Vernacular, extracting the blues, gospel, and country notes that swirl together like smoke formed from a fire rising. C. Michael Bailey

Personnel: Dida Pelled: guitar; Luke Carlos O’Realy: Hamnond B3; Rodney Green: drums; Fabio Morgera: trumpet (3, 6. 8, 18); Itai Kriss: flute (3, 6, 12)

A Missing Shade Of Blue

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Janet Staley - Whisper To The Wind

Size: 101,9 MB
Time: 43:20
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz/Pop Vocals
Art: Front

01. The Nearness Of You (4:28)
02. Can't Help Lovin' That Man (3:07)
03. Blackbird - In My Life (4:31)
04. When October Goes (4:39)
05. (You're) Everything (3:43)
06. Till There Was You (2:51)
07. Here's To Life (3:47)
08. More Than You Know (3:41)
09. Superstar (3:41)
10. Garden In The Rain (4:17)
11. Willow Weep For Me (4:30)

Friends have asked over the years whether I'd considered recording an album. But not until our friend, Mike Kelly, suggested I collaborate with his brother, Pat, a renowned Cincinnati musician and producer, did I seriously commit to this challenge. Over several months, Pat and I agreed on this selection of our favorite tunes.

Pat assembled some of Ohio's finest musicians to record his fabulous arrangements under the skillful engineering of Mark Santangelo in Cincinnati, while I recorded the vocals in Omaha under the generous guidance and support of many talented friends, especially Susie Thorne, who meticulously and creatively helped me better understand my natural voice and how to approach each arrangement. Jackie Allen contributed much from her extensive knowledge of studio work and jazz vocals, and Kerry Barrett's cover photo captured the "Whisper" mood. Omaha's premier jazz guitarist, Ron Cooley, graciously added a guitar part to our final song, "Willow Weep for Me". Tom "the Wizard" Ware masterfully engineered the vocals at his studio in Omaha. With the help and encouragement of these great friends and others, and with the hard work and unequaled talent of the project's mastermind, Pat Kelly, and his collection of stellar musicians, this truly became a labor of love.

Whisper To The Wind

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Nesia Ardi - Freedoms Jazz Festival 2016

Size: 142,0 MB
Time: 61:18
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. A Tisket A Tasket ( 5:10)
02. Undefined ( 8:32)
03. I Can Be Your Lover ( 6:14)
04. So Long Goodbye ( 5:42)
05. Don't Put Sugar In My Coffee (11:04)
06. It Don't Mean A Thing ( 7:34)
07. Minya ( 5:35)
08. Don't Worry Be Happy ( 4:07)
09. Honeysuckle Rose ( 7:16)

Having born in a music family, NESIA ARDI has interested in painting / scratches and music, especially singing in a very young age. Her father was pianist who passed away before Nesia could learn music from him. However, his collection of CDs and Cassettes from Bob James, Nick Mamahit, Laura Fygi, Tania Maria, Ermi Kullit has made Nesia attracted to Jazz.
Nesia studied vocal at Institut Daya Indonesia guided by Tjut Nyak Deviana and . She has won many sing competition and band. She collaborate with many musician such as Sri Hanuraga, Oele Pattiselano, Glen Dauna, Nial Djuliarso , Andy Gomez, etc.. Nesia has produced 1 (one) album duet with Robert Mulyarahadja.

Freedoms Jazz Festival 2016

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Jason Palmer - Places

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 72:23
Size: 166,3 MB
Art: Front

( 9:48)  1. Urban Renewal (For High Point)
( 9:22)  2. Falling In (For Guimaraes)
( 8:49)  3. Berlin
(10:51)  4. Bern
( 9:01)  5. Rising Sign (For Paris)
( 2:10)  6. Silver (For Xalapa)
( 7:55)  7. American Deceptionalism Part I (For DC)
( 8:49)  8. Sprit Song (For Rozzy)
( 5:34)  9. American Deceptionalism Part II

Apart from Mark Turner, none of the musicians on this recording, including the leader, are known to me but I am more than happy to make their acquaintance through the medium of what is another fine release from Steeplechase Records. And what a superb record it is; one that will caress the discerning ear and repay hours of repeated listening being a refined post-modern extension of timeless hard-bop conventions that will stimulate the palate, jaded by too much exposure to so called `cutting edge` eclecticism. Palmer, if you don’t already know, is a top drawer trumpeter whose plangent clarion call is an elegant summation of much that has gone before but whose fervent chromaticism pushes at the boundaries of conventional expression, marking out new territory  without risking the listeners’ alienation. His middle register lyricism occasionally boils over into a higher register but without ever sounding strident or histrionic.

In this recording he has assembled a band of contemporaries, some of whom he first encountered at college and others during subsequent assignments, to perform a suite of pieces that take their inspiration from various cities he has visited during the course of his career. They aren’t strictly jazz impressions in the Brubeck sense of being musical tone poems but rather more personal visions that unite a place and time with the feelings they engender. Many open with extended cadenzas either for solo instrument or two part counterpoint before segueing into either a knotty hard –bop theme or a legato wistfulness reminiscent of `Birth of the Cool` introspection. Ensemble writing is carefully balanced with solo interpretatation and in this context the contribution made by Mark Turner is particularly valuable; his rigorous and sinuous variations recall the almost academic dedication of the Tristano alumni, Warne Marsh and Lee Konitz, but couched in expressive, personal and more contemporary terms All involved ensure music making of the highest quality: there is some superlative bass playing; guitar that moves between scintillating arpeggios and dense vamping and what drumming! Kendrick Scott’s cymbal work is pure sonic poetry almost stealing the show in the way he makes his entries behind the respective soloists, building and releasing tension, judiciously applying accents to gather and drive the forward momentum. If you are a true believer in the power of jazz to renew and build upon its deeply ingrained conventions in a way that doesn’t compromise its core values then this is a record you will what to hear and own. ~ Euan Dixon http://www.jazzviews.net/jason-palmer-sextet---places.html

Personnel: Jason Palmer (trumpet) Godwin Louis (alto sax) Mark Turner (tenor sax) Mike Moreno (guitar) Edward Perez (bass) Kendrick Scott (drums)

Places

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Annekei - Touch

Styles: Vocal, Pop
Year: 2009
File: MP3@320K/s
Time: 66:14
Size: 152,6 MB
Art: Front

(4:08)  1. AnnEmotion
(4:50)  2. Keep Playing
(4:46)  3. Melt
(4:30)  4. Days Like This
(4:01)  5. In Those Eyes
(4:32)  6. Song For Ida Marie
(3:57)  7. Garbage Blues
(5:27)  8. Suga' Babe
(4:31)  9. Take A Stab
(5:40) 10. Chills
(5:41) 11. Touch
(5:16) 12. Inspired
(4:13) 13. I Can See
(4:36) 14. White Striped Bus

Annekei grew up in a family of music. Her parents were both jazz musicians and her 4 brothers - just like herself - mastered their instruments at a very young age.  She sings, plays the piano and guitar in addition to writing and arranging her own material. At 19-years-old, Annekei moved from her home country, Denmark, to pursue her musical ambitions in New York City. Since her arrival in 2002, the young singer has been performing venues as varied as Joe's Pub, Pianos, The Metropolitan Cafe, Rockwood Music Hall, The Living Room, Bowery Poetry Club, Suite 16, The Cutting Room, Blue Note, The Bitter End and Fez under Time Cafe. In 2003 she made it to the finals of the amateur night competition on the TV show, "Showtime at The Apollo", performing her original song "Close Your Eyes". 2 years later, her single "More Of Your Love" broke on the club scene in the UK. In 2006 she signed with a Japanese label and released her self-titled debut album in September the same year. The single "Brother" made it to #4 on the Japanese charts within 2 weeks of release, rose to #1 vocal album on Japanese iTunes and landed her the title: "Best New Foreign Artist" at the AD LIB AWARDS 2006. Her second solo album "Tsuki" dropped only 9 months after the debut, followed up by the collaboration project "Letter" with Korean guitarist Jack Lee. In June this year Annekei released her 3rd solo album "Touch" produced by legendary guitarist Lee Ritenour and featuring a prolific group of musicians from Los Angeles. She is currently touring Asia in support of the record, as well as bi-coastal'y writing and recording for her 4th album. http://annekei.com/files/html/bio.html

Touch

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Gary Versace - Many Places

Styles: Jazz
Year: 2005
File: MP3@256K/s
Time: 69:38
Size: 128,8 MB
Art: Front

(8:44)  1. Spring Can Really Hang You Up The Most
(6:39)  2. Seen From Above
(6:04)  3. 16 By 12
(6:47)  4. Many Places
(8:39)  5. I Wished On The Mood
(7:34)  6. One Year from Today
(7:42)  7. September In The rain
(8:08)  8. Home
(9:17)  9. Love For Sale

Mark Gardner’s liner notes open with the salvo, “Many jazz critics are sniffy about the organ.” While pleading guilty, I admit that Gary Versace is an uncommonly graceful, fluid organist. But sometimes it sounds like he is fighting a losing battle against the instrument’s natural tendencies. Many Places is not funky and greasy enough for most organ fans, yet its efforts to be tasteful and musical must overcome the Hammond B3’s unlovely, artificial, one-dimensional sound (to give it a sniffy description). The format is also limiting, an opinion supported by comparing Many Places to a contemporaneous SteepleChase album, Harold Danko’s Oatts and Perry. Both feature Dick Oattsthe Danko disc in a conventional quintet (and Oatts on his strongest instrument, alto saxophone), the Versace in a trio with drummer Matt Wilson (and Oatts on alto, tenor and soprano saxophones). The Danko album allows Oatts to create over a rich and varied musical and emotional range. The Versace CD is a two-trick pony. There are the light, bright grooves of the five Versace originals, and four clever transformations into jump tunes of standards usually taken as ballads (“Spring Can Really Hang You Up the Most,” “September in the Rain”). In the spirit of avoiding sniffiness, it must be noted that Dick Oatts is the real deal, even on his second- and third-best horns.  ~ Thomas Conrad http://jazztimes.com/articles/17365-many-places-gary-versace

Personnel: Gary Versace: organ; Dick Oatts: saxophones; Matt Wilson: drums.

Many Places

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Richard Davis - With Understanding

Styles: Jazz, Hard Bop, Post-Bop
Year: 1975
File: MP3@320K/s
Time: 37:56
Size: 88,0 MB
Art: Front

(5:36)  1. Dear Old Stockholm
(4:07)  2. Monica
(9:33)  3. Oh My God
(7:17)  4. The Rabbi
(6:15)  5. Baby Sweets
(5:05)  6. Juan Valdez

A superb bass technician who doesn't have as extensive a recorded legacy as expected, Richard Davis has a wonderful tone, is excellent with either the bow or fingers, and stands out in any situation. He has been a remarkable free, bebop, and hard bop player, served in world-class symphony orchestras, backed vocalists, and engaged in stunning duets with fellow bassists. He does any and everything well in terms of bass playing: accompaniment, soloing, working with others in the rhythm section, responding to soloists, or playing unison passages. He combines upper-register notes with low sounds coaxed through the use of open strings. Davis studied privately nearly ten years in the '40s and '50s, while also playing with Chicago orchestras. He played with Ahmad Jamal, Charlie Ventura, and Don Shirley in the early and mid-'50s, then worked with Sarah Vaughan in the late '50s and early '60s, as well as Kenny Burrell. Davis divided his duties in the '60s between recording and performing sessions with jazz musicians and freelance work with symphony orchestras conducted by Leonard Bernstein and Igor Stravinsky. He recorded often with Eric Dolphy, including the unforgettable dates at the Five Spot. He also worked with Booker Ervin, Andrew Hill, Ben Webster, Stan Getz, Earl Hines, and the Creative Construction Company. Davis teamed with Jaki Byard and Alan Dawson on sessions with Ervin, and others like Rahsaan Roland Kirk. 

He also played with Van Morrison. During the '70s Davis worked with Hank Jones and Billy Cobham, and he was a member of the Thad Jones/Mel Lewis Orchestra in the '60s and '70s. Davis left New York in 1977 to teach at the University of Wisconsin in Madison, where he has remained as a professor into the 21st century. Concurrent with his life as an educator, he continued making intermittent appearances as a performer, including at the Aurex Jazz Festival in Tokyo in 1982, playing in a jam session led by trombonists J.J. Johnson and Kai Winding, and at the 1984 Chicago Jazz Festival. Davis was featured in the 1982 film Jazz in Exile. He's done relatively few recordings as a leader, though three Muse sessions are available on CD. The superb The Philosophy of the Spiritual, which matched Davis and fellow bassist Bill Lee, is not in print or on CD. Notable Richard Davis recordings during the 21st century include The Bassist: Homage to Diversity (a duo recording with John Hicks) issued by Palmetto in 2001, as well as two Japanese releases on the King label, So in Love in 2001 and Blue Monk (with pianist Junior Mance) in 2008. ~ Ron Wynn http://www.allmusic.com/artist/richard-davis-mn0000851653/biography

Personnel:  Bass – Bill Lee, Richard Davis;  Drums – Sonny Brown;  Piano – Chick Corea

With Understanding

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