Javon Jackson - Me and Mr. Jones

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 57:16
Size: 131,4 MB
Art: Front

( 6:31)  1. Me and Mr. Jones
(11:11)  2. The Masquerade is Over
( 7:31)  3. Theme for Penny
( 8:31)  4. Opus One-Point-Five
( 8:04)  5. A Certain Attitude
( 8:54)  6. A Free Man?
( 6:31)  7. Buzz-At

Already possessing a very distinctive tenor sax sound, Javon Jackson's debut as a leader is an exceptional effort. Jackson, 26 at the time of the recording, joined forces with 40-year-old James Williams, 19-year-old Christian McBride and 64-year-old Elvin Jones to create a powerful musical statement that bridges the generations. "Mr. Jones" refers to the master drummer, whose presence and energy are felt throughout the recording, especially on the medium swingers "The Masquerade Is Over" and Williams' "A Certain Attitude," as well as on the title track and "Theme for Penny," two uptempo Jackson originals that begin with brief drum solos. Also making his presence felt is McBride, whose tone, time, and imagination belie his age. One of 1992's best releases. ~ Greg Turner https://www.allmusic.com/album/me-and-mr-jones-mw0000085280  

Personnel: Javon Jackson (tenor saxophone); James Williams (piano); Elvin Jones (drums, Christian McBride (bass).             

Me and Mr. Jones

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Carl Winther Quartet - Sonic Shapes

Styles: Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 53:37
Size: 122,9 MB
Art: Front

(4:51)  1. The Out Society
(9:41)  2. Threshold
(7:23)  3. The Prophet
(6:39)  4. Uranian Overtones
(5:59)  5. Yerevan Mama
(7:24)  6. The Falcon
(6:44)  7. James Moody
(4:53)  8. The Core

Danish jazz has experienced an explosive growth in talent over the past decades: A broad scope of young musicians, encompassing older idioms, hard-core, lyrical neo-cool and freeform. A group of original pianists threaten the monopoly on the international scene of the world-famous Danish bassists. One of the finest of these young talents is 26-year old Carl Winther, a graduate from the Rhythmic Conservatory in Copenhagen. While studying, he was already honing his chops on the jazz scene alongside many well-known musicians. He met the Swedish bassist Joel Illerhag at the conservatory, and they have played together for the past four years. The band’s drummer is 42-year old Anders Mogensen. Also a graduate from the Rhythmic Conservatory, Mogensen heard Winther and Illehag while serving as an external examiner at conservatory concerts in 2006/2007. He liked the energy and intensity of their approach, and before long they formed a trio, touring Europe and USA in 2010.

On Sonic Shapes the trio joins forces with Boston-based Jerry Bergonzi, one of the great saxophone influences over the last 35 years. In the 1970’s his apartment in New York was a practice room for like-minded sax-players such as Joe Lovano, Bob Berg and Michael Brecker. Over the years he has often played in Denmark, and his recordings include drummer Alex Riel’s The Riel Deal (Stunt, 1995) and Unriel (Stunt, 1997), on which Michael Brecker also played. Sonic Shapes was recorded in May 2011 following a successful club tour in Denmark and Sweden. The quartet is smoking, and there is already talk of a new tour. This is not your usual European trio borrowing a little stardust from an American legend. Bergonzi is very enthusiastic about the collaboration, and the inspiration goes both ways. The two bandleaders each contribute half of the compositions. The musicians represent three generations playing music rooted in sharp, no-non- sense, modern New York jazz. This music isn’t afraid to groove or flex its muscles. Carl Winther is the son of trumpeter Jens Winther, who died earlier this year, and this CD is dedicated to his memory.

Personnel:  Piano – Carl Winther; Tenor Saxophone – Jerry Bergonzi;  Bass – Joel Illerhag;  Drums – Anders Mogensen

Sonic Shapes

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Bodil Niska - Blue

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 55:14
Size: 126,9 MB
Art: Front

(5:50)  1. In the Wee Small Hours of the Morning
(4:58)  2. How About You
(4:31)  3. Et gammelt stykke Oslo
(6:09)  4. Taking a Chance on Love
(4:49)  5. Little Lulu
(3:23)  6. Vika mitt drommested
(5:27)  7. Sunday
(3:47)  8. Golden Earrings
(5:04)  9. For All We Know
(5:44) 10. Little Old Lady
(5:28) 11. Blues for Madeleine

Norwegian Bodil Niska is one of the few female tenor saxophone artists around to work in the tradition of jazz legends such as Ben Webster, Stan Getz, Zoot Sims or Coleman Hawkins. Her tone is soft, yet powerful and soulfully expressive. Her musical approach takes the legacy of the golden years of jazz into the 21st. century. Bodil was born in the arctic town of Hammerfest, located in northern Norway where she grew up playing in the school marching band. Her first musical memory is sitting on her father's lap while he played Misty for her. Aksel Niska , an accomplished engineer, painter and accordion player also introduced her to the saxophone sounds of Ben Webster and Stan Getz. When the school band managed to acquire their first saxophone, Bodil had to physically fight off the boys in the band to get her hands on the instrument. She won and she never looked back. Bodil quickly devloped her interest for jazz to the point that she became something of a jazz icon in her small home town. She played in numerous jazz band configurations, wrote jazz articles for the local newspaper, arranged concerts and festivals and managed the jazz club on her spare time.

After moving to the nation's capital Oslo in 1990, Bodil Niska effortlessly blended into the urban jazz scene. Mostly due to her mentor / jazz personality / journalist / photographer Randi Hultin . The fabulous Randi introduced Bodil to a veritable who's-who in national and international jazz. She sent private recordings of Bodil to many of her legendary jazz friends, including Sonny Rollins who promptly wrote back: "Damn! The woman can PLAY!" Encouraged by her friends and colleagues, Bodil formed all-girl group, aptly named Girl Talk in 1992. In addition to Bodil, this group consisted of Elizabeth Walker on piano and Tine Asmundsen on bass. The group recorded their acclaimed album Talkin 'Jazz in 1996. In 1998 Bodil embarked on a solo career with the help and support of jazz legend / piano player / composer / arranger Egil Kapstad . With the incredible bass player Bjørn Alterhaug and Swedish drummer par excellence Pelle Hultén their longtime musical friendship was instrumental in producing Bodil's first solo album First Song in 2000. First Song went on to become the best selling jazz album in its genre in 2000. The cover for First Song was inspired by Dexter Gordon's famous cover on Ballads and is a tribute to him, his music and his inspiration. Blue (2004) was a labor of love and took a long time to plan and put together. In her liner notes she says:

"In jazz, the melody is often used only as a tool for improvisation and invention. Freeing yourself from the confines of the melody is sometimes considered to be the very essence of jazzPersonally, I am always touched by a good melodic line, phrase or mood. So on this album I've tried to stay as true to the melody as I could, to clear away some of the musical dust - to find my way back. "

Night Time (2008) puts Bodil in a different musical context. The introduction of the brilliant Claes Crona Trio from Sweden, and swedish born norwegian resident guitarist / composer / arranger Staffan William-Olsson as well as a horn section makes for a more playful swingier musical approach. I put more emphasis on the melody, she expects to receive more than her share of critizism from the "jazz police" who seem to favor inprovisation and technique about musical sincerety. Between musical engagements Bodil Niska owns and runs the all-jazz music store and café Bare Jazz (Norwegian for Only Jazz ) in Oslo. She is often used by the media as a spokesperson for the art of jazz. In 2000, she presented the Norwegian version of the jazz Grammy awards, and she has appeared in numerous national and international radio and television shows. http://www.niska.no/index.php?option=com_content&view=article&id=67&Itemid=53

Blue

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London Grammar - If You Wait

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 43:05
Size: 99,4 MB
Art: Front

(3:21)  1. Hey Now
(3:04)  2. Stay Awake
(3:05)  3. Shyer
(3:20)  4. Wasting My Young Years
(4:13)  5. Sights
(4:34)  6. Strong
(4:28)  7. Nightcall
(3:28)  8. Metal & Dust
(3:59)  9. Interlude (Live)
(4:43) 10. Flickers
(4:46) 11. If You Wait

A trio of Nottingham University graduates who only released their first music last December, London Grammar are so buzzy that there are expectations of a Mercury nomination, despite this album not being out until next week. Blame it on their trippy, translucent electronica, which outdoes even the xx in terms of veiled understatement this record is essentially comprised of slow-build digital clacks and sighs. There's a startling counterpoint in Hannah Reid's fleshy vocals; in full flight, as on Strong, she brings Evanescence-style emo to the hush, and she has the lung capacity of Sia Furler on Hey Now (whose intro is near-identical to Furler's Titanium). This pairing of the ethereal and the visceral makes for an interesting enough album, albeit one that sometimes begs for a kick in the backside the piano ballads Nightcall and Interlude strive for dramatic quiescence, but achieve that Adele B-side feeling. But the clattering Wasting My Young Years wisely recognises that "it takes some time to get it right" and time is on their side. https://www.theguardian.com/music/2013/sep/05/london-grammar-if-you-wait-review

If You Wait

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Carmen Gomes - Carmen Gomes Sings The Blues

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 51:58
Size: 119,5 MB
Art: Front

(3:47)  1. A Fool For You
(5:13)  2. Sinner's Prayer
(6:23)  3. In the Evenin' Mama
(6:00)  4. God Bless the Child
(3:29)  5. Mary Ann
(5:36)  6. Losing Hand
(5:25)  7. Hallelujah I Love Her So
(4:47)  8. The Way That I Feel
(4:42)  9. One For My Baby
(2:24) 10. Cotton Fields
(4:06) 11. Fare Thee Well

Carmen Gomes (vocals) is able to add her personal 'je ne sais quoi' to the pieces she sings in an inimitable way. She won several prizes, performed at the North Sea Jazz Festival and played with Louis van Dijk and the Metropole Orchestra. Folker Tettero (guitar) mingles jazz, blues and funk into his own unique blend. He promises to be one of the leading jazz guitarists of his generation. He plays with the New Standard Trio and the band Amsterdam Headliners.

Peter Bjornild (DK) (double bass) dedicates his musical genius and international experience to bring the sound of the band to the highest level. He has played with Ed Thigpen, Thad Jones and Bennie Wallace, among others. Marcel van Engelen (drums) has played with Mark Murphy, Lee Konitz and Toots Thielemans and sees to the rhythmic manoeuvrability of the ensemble in his own subtle way. The four musicians complement each other perfectly. Strong as soloists, yet continuously searching for unity, they are capable of picking up each musical theme and moulding it into the unique sound which is so typical of this band.http://www.mymusicbase.ru/PPB/ppb33/Bio_3328.htm

Carmen Gomes Sings The Blues

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Kenny Garrett - Happy People

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 61:28
Size: 140,8 MB
Art: Front

(5:25)  1. Song For DiFang
(5:12)  2. Happy People
(5:52)  3. Tango In 6
(5:11)  4. Ain't Nothing But The Blues
(3:41)  5. Song #8
(5:32)  6. Halima's Story
(4:41)  7. Monk-ing Around
(5:59)  8. A Hole in One
(4:49)  9. Thessalonika
(7:03) 10. Asian Medley
(7:59) 11. Brother B. Harper

Just going over the press material for this album, I got the distinct impression that there was a pretentious sense of crossover appeal in the mix with verbiage that in effect claimed Garrett was trying to bridge the gap between jazz, hip hop, and world music. As for the music itself, let's just say that too much of what constitutes this mixed bag is simply unbecoming to an artist of Garrett's stature. Co-producer Marcus Miller shares much of the responsibility for this cloying affair, with slap bass and banal vocals as part of the minefield, not to mention a pretentious dedication to Tiger Woods. Only when Bobby Hutcherson is present and on the cathartic "Brother B. Harper" do we really get a sense of Garrett's great talent, a talent that seems to have been sublimated for the most part since 1996's Pursuance. ~ C.Andrew Hovan https://www.allaboutjazz.com/happy-people-kenny-garrett-warner-bros-review-by-c-andrew-hovan.php

Personnel: Kenny Garrett (saxophones), Marcus Miller (bass), Charnett Moffett (bass), Vernon Brown (piano), Chris Dave (drums), Marcus Baylor (drums), Bobby Hutcherson (vibes), Jean Norris (vocals)

Happy People

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John Beasley - MONK'estra, Vol. 2

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 58:21
Size: 134,1 MB
Art: Front

(7:05)  1. Brake's Sake feat. Dontae Winslow
(3:54)  2. Played Twice
(4:30)  3. Crepuscule With Nellie
(7:20)  4. Evidence
(5:18)  5. Ugly Beauty/Pannonica
(6:22)  6. I Mean You
(5:24)  7. Light Blue
(6:10)  8. Dear Ruby
(6:20)  9. Criss Cross
(5:53) 10. Work

GRAMMY®- and Emmy-nominated recording artist John Beasley leads a smashing big band project MONK’estra. The feel and sound of MONK’estra captures the spirit of Thelonious Monk’s singular style with its off-beat melodies, humor, strange beauty and unbounded swing in fresh arrangements flavored with hints of New Orleans, hip-hop, Afro-Cuban, contemporary and atmospheric rhythms and colors. “Some of the most mesmerizing big band music of recent memory.” Beasley a far-ranging pianist, composer, and arranger who has performed with Miles Davis, Freddie Hubbard, Dianne Reeves, Steely Dan, Marcus Miller, Christian McBride is easily one of the most versatile musicians in jazz. He leads a sparkling career as a bandleader, a first-call keyboardist, composer and arranger for bands and film and television projects. He is the Music Director for the Thelonious Monk Institute, International Jazz Day concerts. In 2016, he earned an Emmy nomination for “Jazz at the White House” for Best Musical Direction on ABC TV. MONK’estra Vol. 2 was released in Sep 2017 to immediate critical acclaim earning 4.5/5 stars in DownBeat. Vol 1 was Beasley’s 11th recording which earned two 2017 GRAMMY nominations for Best Large Jazz Ensemble and Best Arrangement for “Ask Me Now”. MONK’estra re-imagines Monk’s compositions with an eye to the future with a killer contemporary big band that pays loving tribute to the master’s music while infusing it with contemporary harmonies, unstoppable grooves, and a contagious sense of fun. http://johnbeasleymusic.com/monkestra/

Personnel:  Conductor, Piano, Synthesizer – John Beasley;  Acoustic Bass, Electric Bass – Ben Shepherd;  Drums – Gene Coye, Terreon Gully;  Trombone – Francisco Torres ;  Trumpet – Bijon Watson , Brian Swartz , James Ford , Jamie Hovorka?;  Woodwind – Bob Sheppard, Danny Janklow, Tom Luer          

MONK'estra, Vol. 2

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George Garzone - The Fringe in New York

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 51:12
Size: 191,9 MB
Art: Front

(5:03)  1. Tribute To Trane
(6:06)  2. Between Two Cities
(6:29)  3. Slip + Slide
(7:45)  4. Anthony Goes To Mardi Gras
(4:50)  5. Plus One
(7:42)  6. A Fox In The Woods
(2:03)  7. Ultra Tempo
(5:23)  8. We Don't Know Why
(5:48)  9. Central Park West

Sometime after the death of John Coltrane and before the rise of the conservative button-down star as repertoire performer, the influence that Trane had over jazz waned. It’s not that he was forgotten, but that his music required such a commitment from a musician that it must have scared away most by sheer intimidation. Within the past twenty years, musicians like Joe Lovano, Dewey Redman, Pharoah Sanders, David S. Ware, Roy Campbell, Julius Hemphill, and George Garzone have taken up the challenge and beauty of Coltrane. In George Garzone’s case, Coltrane has never been far afield from his own voice. With his band (of 25 years), The Fringe, he exercised the more free improvisational aspects of Coltrane. As a sideman to Danilo Perez, Joe Lovano, George Russell, Gunther Schuller, Rachel Z, Jack DeJohnette, Billy Hart, and even Jamaaladeen Tacuma I always heard the Coltrane spirit in his playing. Garzone has always possessed an expansive warm tone that moves from inside to out-jazz with relative ease. Like Trane, his music resonates from what must be a warm and beautiful soul.

Garzone augments his Fringe trio with vibraphonist Mike Mainieri of Steps Ahead fame. Mainieri of late, has acted as producer and label chief for NYC Records and he recorded two glorious (Frisell-like) American Diary records which presents jazz as quasi-folk/classical music. Let’s talk about how this disc opens and closes, it is of course bookended by Trane. Garzone’s composition “Tribute To Trane” starts this affair and a six-minute (by my count way too short) “Central Park West” ends it. 

In between Garzone delivers music of varied Coltrane influence, like the Dolphy-esque “Plus One” and a taste for the outside on “We Don’t Know Why.” Mainieri’s influence harkens back to the Blue Note sound, both the bop and post-bop of Bobby Hutcherson, even sounding like the piano of McCoy Tyner. Garzone knows the calm and the fury. He quells the thunderous drumming Bob Lockwood on “A Fox In The Woods” with a pacific ‘Stellar Regions’ saxophone chant and runs the energy jams down on “Ultra Tempo” in an expected (and anticipated) Fringe fashion. Recorded in studio, this music begs for a live venue, extended soloing, and a voltage meter. ~ Mark Corroto https://www.allaboutjazz.com/the-fringe-in-new-york-george-garzone-nyc-records-review-by-mark-corroto.php

Personnel: George Garzone: tenor saxophone, soprano saxophone, alto saxophone; John Lockwood: bass; Bob Gullotti: drums; Mike Mainieri: vibraphone.

The Fringe in New York

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Jon Hendricks - A Good Git-Together

Styles: Vocal

Year: 1959

File: MP3@320K/s

Time: 38:00

Size: 89,3 MB

Art: Front

(1:03)  1. Everything Started In The House Of The Lord

(3:58)  2. Music In The Air

(3:50)  3. Feed Me

(2:22)  4. I'll Die Happy

(2:53)  5. Pretty Strange

(5:03)  6. The Shouter

(5:21)  7. Minor Catastrophe

(2:22)  8. Social Call

(4:55)  9. Out Of The Past

(3:41) 10. A Good Git-Together

(2:26) 11. I'm Gonna Shout (Everything Started In The House Of The Lord)

On various tracks, Jon Hendricks' first album as a leader, released in 1959, features such major sidemen as altoist Pony Poindexter, guitarist Wes Montgomery, and both Nat and Cannonball Adderley. Hendricks who was riding high in Lambert, Hendricks & Ross at the time is in superb form on such numbers as "I'm Gonna Shout (Everything Started in the House of the Lord)," a couple of songs that Hendricks had written for Louis Jordan, Randy Weston's "Pretty Strange," "Social Call," and the jubilant "A Good Git-Together." ~ Scott Yanow https://www.allmusic.com/album/a-good-git-together-mw0000551672

Personnel:  Jon Hendricks - vocal;  Ike Isaacs – double bass;  Monk Montgomery – bass;  Nat Adderley – cornet;  Walter Bolden – drums; Walter Tolgen – drums;  Wes Montgomery – guitar;  Gildo Mahones – piano;  Pony Poindexter – alto saxophone, vocals;  Cannonball Adderley – alto saxophone;  Bill Perkins – tambourine;  Buddy Montgomery – vibraphone

R.I.P.
Born: September 16, 1921
Died: November 22, 2017

A Good Git-Together

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Cecilia Dale - Christmas In Bossa

Size: 105,9 MB
Time: 45:19
File: MP3 @ 320K/s
Released: 2003/2017
Styles: Bossa Nova, Xmas
Art: Front

01. Let It Snow! Let It Snow! Let It Snow! (3:46)
02. Santa Claus Is Coming To Town (4:14)
03. White Christmas (3:29)
04. Have Yourself A Merry Little Christmas (4:43)
05. The Christmas Song (4:53)
06. Jingle Bell Rock (2:40)
07. When You Wish Upon A Star (4:27)
08. I'll Be Home For Christmas (3:32)
09. What A Wonderful World (4:15)
10. Jingle Bells (3:30)
11. Someday My Prince Will Come (2:54)
12. Um Novo Tempo (2:50)

O lado cantora é apenas mais uma das facetas desta empresária da decoração cheia de criatividade e bom gosto. Desde menina apaixonada por música, Cecilia soltou a voz pela primeira vez em público, durante uma excursão à Europa. Profissionalmente, contudo, o début ocorreu no Gallery.

Cecilia foi aluna de Wanda Sá e Roberto Menescal. Fã incondicional de bossa nova, incluiu em seu repertório também música americana, uma exigência do público da noite desde o tempo em que, de canja em canja, foi descoberta num ensaio por José Victor Oliva.

Já cantou com a banda de Hector Costita, Roberto Sion, Saba e Moacir Peixoto, entre outros. Como profissional, já realizou pocket shows na Casa Cor 2005, Passatempo, Baretto, no extinto Supremo Musical e na própria loja, onde lançou o primeiro CD numa apresentação para amigos mais próximos.

A gravação do primeiro CD foi um desafio que Cecilia queria e soube enfrentar. Acompanhada por uma banda competente, arranjada e produzida pelo maestro Roberto Menescal, o CD “Cecilia Dale - Standards in Bossa I” trouxe clássicos da música norte-americana como “I'm In The Mood For Love”, “Smile” e “Over the Rainbow”, interpretados com um swing de bossa todo particular. Os sucessos dos dois primeiros CDs renderam um belo show no Baretto em novembro de 2002, com a participação mais que especial de Roberto Menescal.

A partir do primeiro projeto, as idéias de novas musicas e para novos projetos foram surgindo, e foi criada a coletânea Standards in Bossa composta de 4 CDs, que conta com a participação de suas filhas e sobrinha em duetos muito especiais, além do projeto Christmas In Bossa, só com musicas natalinas, todos produzidos por Menescal..

Christmas In Bossa

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Peter Horsfall - Nighthawks

Size: 100,3 MB
Time: 38:14
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Nighthawks (4:27)
02. Then I Saw You (3:29)
03. Interlude, Pt. 1 (1:45)
04. Secretly (5:24)
05. Paradise (5:13)
06. Interlude, Pt. 2 (1:01)
07. Sunset And The Mockingbird (4:56)
08. Couldn't Stop Lovin' You (5:11)
09. Interlude, Pt. 3 (0:49)
10. This Is Goodbye (5:55)

The amazingly bittersweet voice of Peter Horsfall is front and centre in this tingling and focused collection of late night laments and atmosphere.

Horsfall is part of the swinging Kansas Smittys collective, lurking in their Hackney basement bar and emerging to present modern day takes on the swinging styles of vintage jazz. On their two CDs so far Horsfall has mainly featured as an accomplished trumpet soloist with occasional forays into song which revealed his voice to be spookily smooth, high and handsome. For this collection he chooses to set his horn aside completely and perform a set of mostly original songs with an unmistakeably small-hours vibe – Horsfall explicitly refers to Edward Hopper’s famous painting Nighthawks as an inspiration.

The opening title track Nighthawks starts with Horsfall’s voice an immediate and commanding presence – straight in and strong. We are immediately enfolded in a film noir aesthetic which carries through the 10 tracks, sparse backings and plaintive alto saxophone from Giacomo Smith. The band are all Kansas Smittys regulars who instantly gel with the vibe – Joe Webb gives sensitive support on piano and steps forward for solos on tracks like Then I Saw You where he takes a double-time bouncing feel to add variety.

Horsfall’s original songs which form the heart of the album all show a great appreciation for the nuances and harmonies of classic jazz. Similarly to Kansas Smittys, he manages to produce original work which is both highly compelling in itself as well as clearly drawing on, but not merely copying, the jazz traditions. Secretly moves around with confident modulations, while Couldn’t Stop Lovin’ You has controlled blues swagger, emphasised by the appearance of female backing vocals and taut 6/8 drumming from Pedro Segundo.

The album features two non-original tracks: piano legend Barry Harris’ Paradise provides delicious fodder for Horsfall and the band, while Duke Ellington’s Sunset & The Mockingbird is presented with a new lyric. That these tunes sit so easily within the overall album is a great tribute to Horsfall’s compositional skills. The closing track, fittingly entitled This Is Goodbye, makes room for a welcome double bass solo from Ferg Ireland. The album provides variety in three instrumental interludes, where the rhythm section trio gently introduce a new line or riff which floats past for a moment before the next song starts.

The revelation in this collection, though, is Horsfall’s voice and song writing. For this young man to produce and carry this stream of desolation, regret and contemplation is remarkable. He surely has a career as a singer with a wide appeal if he wishes to pursue it. Move over Curtis Stigers? ~by Mark McKergow

Nighthawks

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Sarah Elizabeth Combs - A Step Beyond The Rain

Size: 100,8 MB
Time: 39:57
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. It Might As Well Be Spring (4:03)
02. Manha De Carnaval (A Day In The Life Of A Fool) (4:16)
03. All The Things You Are (3:09)
04. These Foolish Things - My One And Only Love (Feat. Chadwick Johnson) (5:09)
05. Call Me Irresponsible (2:58)
06. Sophisticated Lady (2:25)
07. The Shadow Of Your Smile (4:14)
08. Joy Spring (2:35)
09. Over The Rainbow (5:33)
10. My Favorite Things (5:30)

Sarah has always felt at home on the stage, and ever since she could remember she has loved to perform. Even as a toddler, she thrived on expressing her talents through music and dance. Her parents, who shared her love of the arts, introduced the young Sarah to old Hollywood Musicals as well as an eclectic assortment of music. Sarah would act out all of the ingénue roles, and her family would oblige her insistence to, “Sit down, I’m gonna do a show!” Growing up in Southern California, Sarah had access to the music, film, and theatrical arts prevalent to the area. Sarah began formal vocal training at the young age of nine. She began her theatrical work as a child in several regional and community theatre productions as well as film/tv commercials in Los Angeles. At age seventeen, she was awarded a scholarship to attend the Idyllwild Arts Academy where she studied musical theatre as well as classical voice. Upon completion, she was accepted to the prestigious Eastman School of Music in New York as a Vocal Performance Major. After attending Eastman, Sarah moved back to Southern California to pursue a lifetime career in musical theatre. She has performed for regional theatre companies across the LA and San Diego areas, including: Musical Theatre West, CLO of South Bay Cities, Reprise, Candlelight Pavillion, Performance Riverside, San Bernardino CLO, The Welk Resort Theatre, Moonlight Stage Productions and Starlight Theatre. Beginning in 2010, Sarah spent over two years in Phantom of The Opera in Las Vegas where she had the honor of playing Christine Daee. She then spent another couple of years honing her comedy chops in the company of I Love Lucy Live On Stage, performing nightly as Woman One and understudy to the iconic role of Lucy Ricardo. Some of Sarah’s most treasured roles include: the title role of Mary Poppins, Maria in The Sound of Music, Laurey in Oklahoma, Cosette in Les Miserables, Johanna in Sweeney Todd (which earned her an Ovation Nomination), Christine in Yeston/Kopit’s Phantom, Dorothy in The Wizard of Oz, Cinderella in Into The Woods, and Miss Dorothy in Thoroughly Modern Millie. Currently, Sarah has the great pleasure of sailing the high seas as the lead female vocalist aboard six-star luxury liner, Crystal Serenity.

A Step Beyond The Rain

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Tony Desare & Edward Decker - One For My Baby

Size: 138 MB
Time: 31:27
File: FLAC
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Angel Eyes (3:13)
02. You Go To My Head (2:55)
03. When She Loved Me (3:35)
04. A Cottage For Sale (3:05)
05. Memories Of You (Feat. Bucky Pizzarelli) (3:46)
06. Deep In A Dream (3:19)
07. I'll Get You Through The Night (2:41)
08. One For My Baby (4:45)
09. She's Always A Woman (4:03)

One for My Baby is an intimate set of songs featuring Edward Decker on solo seven-string guitar and Tony on vocals. The inspiration for the album came from the great Sinatra concept albums of the 50’s, such as In the Wee Small Hours and Sinatra Sings for Only the Lonely. The result is a song cycle that is a meditation on love gone wrong mixed with equal parts heartbreak and the notion that even through the pain, you can be “glad to be unhappy.”

Highlights on the album feature a uniquely dark take on Angel Eyes, with Tony’s baritone supported by the warmth and beauty of the seven string guitar, allowing an accompaniment that can sometimes sound more harp-like. The low A string allows for a much wider range of frequencies and expression.

When She Loved Me, by Randy Newman and from the animated Pixar film, Toy Story 2, is a rarely covered song that proves that the song can work outside it’s narrative purpose in the film and function as a moving song of love and loss.

Special guest, legendary 91 year old seven string guitarist, Bucky Pizzarelli, joins on Memories of You with his unique single line solo playing around Tony’s vocals while Edward accompanies in a slow stride piano-like style.

The record ends on a slightly different and hopeful note with Billy Joel’s classic from his Stranger album, She’s Always a Woman, featuring a small string section as well.

The album contains two solo guitar pieces, the classic standard A Cottage for Sale and a new Tony DeSare original called I’ll Get You Through the Night.

The album was recorded at Tony’s home studio in upstate New York and he also engineered, mixed and mastered the recording.

Named a Rising Star Male Vocalist in Downbeat magazine, DeSare has won critical and popular acclaim for his concert performances throughout North America and abroad. From jazz clubs to Carnegie Hall to Las Vegas headlining with Don Rickles and major symphony orchestras, DeSare brings his fresh take on old school classics around the globe. DeSare has three top ten Billboard jazz albums under his belt and has been featured on the CBS Early Show, NPR, A Prairie Home Companion, and The Today Show.

Notwithstanding his critically acclaimed turns as a singer/pianist, DeSare is also an accomplished award-winning composer. He won first place in the USA Songwriting Contest, and has written the theme song for the motion picture, My Date with Drew, along with several broadcast commercials.

DeSare’s recent and upcoming appearances include the Ravinia Festival with the Chicago Symphony, The Philly Pops, The Seattle Symphony, Vail Jazz, The Smith Center in Las Vegas and the Cincinnati Pops Orchestra.

Edward Decker names early influences as Wes Montgomery, Bucky Pizzarelli, Nat King Cole, and Andre’ Previn. Several years ago, the National Endowment of the arts recognized Decker’s prowess on the seven string guitar and awarded him a grant study with Bucky Pizzarelli. Decker has also recorded a solo 7 string guitar CD entitled “Dear Mr. Pizzarelli”.

One For My Baby

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Rachel Tucker - On The Road

Size: 161,6 MB
Time: 68:59
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals, West End
Art: Front

01. Miss. Otis Regrets (She's Unable To Lunch Today) (2:38)
02. The Candy Man (3:20)
03. Waving Through A Window (4:00)
04. When She Loved Me (2:57)
05. Where Is Love (3:34)
06. Another Life (4:56)
07. You Matter To Me (4:00)
08. I Can't Make You Love Me (4:15)
09. The Man That Got Away (4:52)
10. She Moved Through The Fair (3:22)
11. Hand In Hand (3:16)
12. I'm Falling (3:34)
13. I Can Cook Too (2:42)
14. That's Life (3:33)
15. She Used To Be Mine (4:19)
16. No Good Deed (4:05)
17. Goodbye Yellow Brick Road (4:53)
18. Castle On The Hill (4:33)

With phenomenal West End and Broadway credits, Rachel Tucker is a star most commonly known for her tremendous performance as Elphaba both in London and New York. Teaming up with Kris Rawlinson from Parallel Productions, Rachel has taken her new album On The Road on tour.

Only popping up as a live music venue in the last few months, Pizza Express Live in Brindley Place is a fantastic space where you can enjoy food, drink and incredible music. Upstairs a large room is set up with a stage surrounded by tables, where you are encouraged to have a bite to eat before the show begins and enjoy a few drinks whilst basking in all the musical theatre glory Rachel Tucker has to offer.

Rachel herself not only has a sensational voice but a phenomenal stage presence. She brings character and charisma to the stage as she talks about her life and her experience in the musical theatre industry.

Highlights included Rachel’s beautiful performance of Dear Evan Hansen’s Waving Through A Window, Disney’s When She Loved Me, and a jazzed up performance of Oliver’s Where Is Love. Rachel took us right back to her childhood, recalling her childhood memories of singing with her dad at the age of just nine.

Interacting with the audience members, Rachel really knows how to work the crowd and consuming every person in the room. Alongside some Broadway and West End classics, Rachel delved into some older and more unknown numbers that were refreshing to hear. I was particularly impressed with her performance of If You Ever See Me Talking To a Sailor from The Last Ship which made me keen to listen to the rest of the numbers from the production. ~Amy

Showcasing her outstanding versatility, Rachel impressed with the breadth of her material. With slow emotional ballads such as Waitress’ She Used To Be Mine, to an amazing rendition of Tina Turner classics – I wondered, is there anything she can’t do? She throws herself into each number with every inch of her body, whether it is rolling her jumpsuit up to whack out her Tina Turner moves or really immersing herself in the role of Roxie Hart in Chicago’s Roxie, Rachel pulls out all of the stops and it’s obvious she doesn’t need the huge production values of a musical to entirely become a character.

Finishing of course with the iconic Defying Gravity from the musical Wicked, Rachel Tucker gave her absolute all to this production. Her stellar vocals are strong, and whilst other ex-Elphabas tend to stick to a more stripped back version of the song, Rachel stuck to her powerful rendition of the song.

With an encore of Ed Sheeran’s Castle on a Hill, she had everybody up singing and dancing. It truly was a night to remember. With it being the last night on the UK tour, Rachel now heads over to perform in New York. I hope to see her return to the UK for another spectacular night again soon.

On The Road

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Ralph Sutton - The Second Set

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 64:31
Size: 170,5 MB
Art: Front

(5:53)  1. Sleep
(5:23)  2. Moonglow
(5:38)  3. Basin Street Blues
(5:24)  4. Perdido
(2:04)  5. Love Me
(6:15)  6. Always
(5:11)  7. Love Lies
(6:52)  8. Gone With The Wind
(5:10)  9. Tea For Two
(6:33) 10. Sweet & Lovely
(7:31) 11. If Dreams Come True
(2:33) 12. Honky Tink Trein Blues

Ralph Sutton was one of the few living masters of stride piano by the time this night club engagement was recorded in St. Louis. This is the second volume of music recorded during his March, 1999, gig at the Backstage Bistro, but it is by no means inferior to the earlier Gaslight CD. Accompanied by two seasoned veterans, bassist Jack Lesberg and drummer Frank Capp, Sutton is in top form. One doesn't normally think of "Moonglow" as part of a stride pianist's repertoire, but Sutton's jaunty interpretation should prompt other practitioners to include it in their books. "Basin Street Blues" features a delightful call-and-response between the artist and Lesberg in its introduction before the leader takes over to work his magic with this jazz standard. The pianist also is featured on several delightful solos, including an alternate take of "Love Me" (a tune all but forgotten by most jazz musicians), a tantalizing performance of "Love Lies," a jubilant "Tea for Two," plus the added bonus of a private recording made in 1950, in a fan's home, of Sutton's romp through the boogie woogie classic "Honky Tonk Train Blues." Highly recommended! ~ Ken Dryden https://www.allmusic.com/album/the-second-set-mw0000015355

Personnel: Ralph Sutton (piano); Jack Lesberg (bass); Frank Capp (drums).               

The Second Set

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Katharine Mcphee - Unbroken

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 47:27
Size: 109,0 MB
Art: Front

(3:54)  1. It's Not Right
(3:06)  2. Had It All
(3:58)  3. Keep Drivin'
(3:20)  4. Last Letter
(3:43)  5. Surrender
(3:57)  6. Terrified
(3:32)  7. How
(3:47)  8. Say Goodbye
(4:14)  9. Faultline
(3:21) 10. Anybody's Heart
(3:11) 11. Lifetime
(4:17) 12. Unbroken
(3:00) 13. Brand New Key

Throwing the baby out with the bleach water, Katharine McPhee ditches dance-pop and her long brunette locks for her second album, Unbroken, upgrading to AAA crossover pop and a short blonde crop. The sudden departure was necessary, driven by the general disregard for her 2007 debut, which in typical post-American Idol fashion, chased after big hit singles at the expense of her show persona. On Idol, McPhee always favored middle of the road over modern, and Unbroken returns her to that course, bringing her somewhere within the vicinity of Paula Cole (who co-writes the title track), Rachael Yamagata (who co-writes “Keep Drivin’”) and Mandy Moore’s stylized ‘70s throwback, flavored with the slightest traces of modern sounds, including a vague borrowing of Beyoncé phrasing. The vibe fits McPhee, feeling like a deliberate blend of her “Over the Rainbow” and KT Tunstall tribute, but its cautious, careful crawl creeps right into the marrow of the album, slowing its heartbeat to a murmur. Professional that she is, McPhee sings to the contours of the song, fading into their supple formlessness and never investing them with personality. The only time Unbroken awakens from its deep slumber is at the end, when she rolls around to Melanie’s “Brand New Key” for a bonus track; it’s the only song with a melody that hooks, the only song that gives McPhee a stage where she can strut and, tellingly and sadly, its status as a golden oldie offers a reminder that she was better on Idol than she has been on record. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/unbroken-mw0000823407               

Unbroken

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George Garzone & Trio Da Paz - Night of My Beloved

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 58:55
Size: 135,3 MB
Art: Front

(7:30)  1. Felicidade
(5:56)  2. Gentle Rain
(4:11)  3. Choro
(5:59)  4. Pra Dizer Adeus
(5:50)  5. Alone
(6:10)  6. A Noite do Meu Bem (Night of My Beloved)
(5:48)  7. Falando de Amor
(6:06)  8. Ballad for Lana
(5:35)  9. The Shadow of Your Smile
(5:50) 10. Fotografia

George Garzone is a marvelous tenor saxophonist who is also known as a highly regarded educator. Some of people he has taught includes Branford Marsalis, Mark Turner, Joshua Redman, and many more. Garzone's debut album arrived fairly late in 1995 with the main influences coming from Stan Getz and John Coltrane. For this exceptional release, Garzone tapped into his love of Getz as he was paired with Trio da Paz, a superlative Brazillian trio led by the prominent guitarist, Romero Lubambo. In addition, piano expert Kenny Werner also joins this outstanding group of musicians. The casual listener might mistake this album as background music but that would be wrong. A sharp listener will pick up and savor the music being played by these masters. Each musician is tuned in to each other and aware of the right moment to play each note. This is an album that rewards deep listening.

Personnel:  George Garzone (tenor sax); Kenny Werner (piano); Romero Lubambo (guitar); Nilson Matta (bass); Duduka Da Fonseca (drums).

Night of My Beloved

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John Beasley - MONK'estra, Vol. 1

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 54:16
Size: 125,5 MB
Art: Front

(6:21)  1. Epistrophy
(8:03)  2. Skippy
(8:16)  3. Oska T
(2:50)  4. Monk's Processional (Medley)
(3:43)  5. 'Round Midnight
(6:46)  6. Ask Me Now
(3:14)  7. Gallop's Gallop
(9:13)  8. Little Rootie Tootie
(5:47)  9. Coming on the Hudson

Since the 1950s, composer-arrangers have made orchestral versions of Thelonious Monk’s music. I have so far heard none that have been quite so bold as John Beasley in recasting what he calls the “architecture” of these dauntingly angular piano pieces for a jazz orchestra. He lifts Monk’s melodies away from their native idiom of bebop and replants them in the musically cosmopolitan 21st century. Monk’s insistent, almost manic worrying at single phrases is replaced by sudden surprises and changes of direction. The variety of orchestral textures seems endless too. There’s a lot to take in, and a lot of conventional ideas to set aside, but through it all Monk’s themes emerge as strong as ever. https://www.theguardian.com/music/2016/aug/21/john-beasley-monkestra-vol-1-review-thelonious-monk

Personnel:  Piano – John Beasley;  Vibraphone – Gary Burton;  Alto Saxophone, Soprano Saxophone – Bob Sheppard, Danny Janklow, Tom Luer;  Trumpet – Bijon Watson, Brian Swartz;  Trombone – Francisco Torres ;  Trumpet – Brian Swartz, Gabriel Johnson;  Drums – Terreon Gully;  Bass Clarinet – Tom Peterson;  Trombone – Ryan Dragon

MONK'estra, Vol. 1

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London Grammar - Truth Is A Beautiful Thing

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 79:22
Size: 182,8 MB
Art: Front

(4:29)  1. Rooting For You
(4:41)  2. Big Picture
(4:28)  3. Wild Eyed
(4:35)  4. Oh Woman Oh Man
(6:04)  5. Hell To The Liars
(4:05)  6. Everyone Else
(4:17)  7. Non Believer
(4:34)  8. Bones Of Ribbon
(4:22)  9. Who Am I
(5:04) 10. Leave The War With Me
(5:07) 11. Truth Is A Beautiful Thing
(4:54) 12. What A Day
(3:30) 13. Different Breeds
(3:05) 14. Control
(3:42) 15. Trials (Demo)
(4:09) 16. May The Best (Church Mix)
(4:13) 17. Rooting For You (Demo)
(3:53) 18. Bitter Sweet Symphony (Live At Maida Vale Studios, London / 2017)

English trio London Grammar combine sparse electronic pop in the model of the xx with dramatic, big-voiced lead singer Hannah Reid's vocals, which evoke Annie Lennox and contemporaries like Florence Welch and Natasha Khan of Bat for Lashes. Reid and guitarist Dan Rothman met in the dorms of Nottingham University, where they began writing music together in 2009 and later added multi-instrumentalist Dot Major to complete the lineup. The following years saw them refine their sound with atmospheric electronics and subtle percussion, and they often played to rooms of no more than ten people. Their popularity rose with the 2012 release of "Hey Now," which they uploaded to the Internet, instantly finding a digital cult following. Their fans were not just in the U.K., but also on the other side of the world in Australia, where their self-released 2013 debut EP, Metal & Dust, reached the top of the digital charts. The same year they signed to Ministry of Sound and the single "Wasting My Young Years" appeared as their first release on the label. The year 2013 also saw them play a sold-out show at the Islington Assembly Hall and make an appearance at the Great Escape Festival in Brighton. In September 2013, London Grammar released their eagerly awaited debut album, If You Wait, with the album debuting on the U.K. album chart at number two and hitting the Top 20 in Australia, New Zealand, France, and Ireland. With the album receiving positive reviews, the trio headed out in support of the release in 2014, culminating in two sell-out shows at London's Brixton Academy. That same year they also picked up two Ivor Novello awards for the single "Strong," as well as two AIM awards for Breakthrough of the Year and Most Played Independent Act. After a whirlwind 2014, the trio retreated into their normal lives, rekindling friendships and writing new music. At the beginning of 2017 the group released the first fruits of those sessions: the single "Rooting for You," followed a month later by the Jon Hopkins-produced "Big Picture." Two more singles followed  "Truth Is a Beautiful Thing" and "Oh Woman Oh Man" before their sophomore album, Truth Is a Beautiful Thing, was released. Working with the likes of Paul Epworth, Youth, and Hopkins, the album saw the trio taking their sparse electronic pop into more cinematic territory. ~ Scott Kerr https://www.allmusic.com/artist/london-grammar-mn0003066904/biography

Truth Is A Beautiful Thing

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Javon Jackson - For One Who Knows

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 49:59
Size: 114,6 MB
Art: Front

(8:02)  1. For One Who Knows
(5:46)  2. Etcetera
(5:33)  3. Angola
(7:25)  4. Notes in Three
(6:23)  5. Jane's Theme
(6:40)  6. Paradox
(5:48)  7. Useless Landscape
(4:19)  8. Formosa (Gorgeous)

This CD only has one fault, but it is a major one. It seems that no matter what he plays (whether it be an obscure song by Wayne Shorter, Herbie Hancock, Sonny Rollins, or Antonio Carlos Jobim, or one of his two originals), Javon Jackson sounds too close to comfort to Joe Henderson; in fact there are times when the tenor-saxophonist sounds identical. That is a real pity, for Jackson consistently shows the ability to take chances successfully, and his supporting cast (particularly pianist Jacky Terrasson and acoustic guitarist Fareed Haque), is quite strong. The music, essentially advanced hard bop with hints of the avant-garde, is stimulating and generally unpredictable. Now, if only Javon Jackson would put away his Joe Henderson records for a few years. ~ Scott Yanow https://www.allmusic.com/album/for-one-who-knows-mw0000176785

Personnel: Javon Jackson (tenor saxophone); Jacky Terrasson (piano); Fareed Haque (acoustic guitar); Peter Washington (bass); Billy Drummond (drums); Cyro Baptiste (percussion).      

For One Who Knows

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Barbra Lica - Love Songs

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 35:03
Size: 81,1 MB
Art: Front

(3:14)  1. So In Love
(3:45)  2. Coffee Shop
(3:15)  3. That's What I Hate
(2:37)  4. Waking Up
(3:41)  5. Lovefool
(4:29)  6. How Insensitive
(3:34)  7. Did I Just Say That
(3:39)  8. I Get A Kick Out Of You
(3:30)  9. Don't Get Around Much Anymore
(3:14) 10. Secret Heart

Barbra Lica (vocalist) was born and raised in Toronto, Ontario. She grew up surrounded by musicians and she was constantly encouraged to broaden her musical horizons. She discovered jazz at the age of six and immediately began to sing along to the music of Doris Day, Ella Fitzgerald and Peggy Lee. Barbra has already amassed an impressive list of performing credits including collaborations with Dave Young, Peter Appleyard and The Brian Barlow Big Band as well as having a featured track on Paul Novotny and Joe Sealy’s album, Songs. 

In May 2012 her debut album entitled, That's What I Do, was released with a live-to-air concert celebration on JAZZ.FM91 hosted by Ross Porter, President and CEO of JAZZ.FM91. She continues to perform regularly in the Greater Toronto Area, presenting a wide repertoire of both jazz standards and original music. Her thoughts on pursuing a career as a jazz musician: “Nice work if you can get it. And you can get it  if you try.” 

In November 2013, Barbra was named first runner-up at the Sarah Vaughan International Jazz Vocal Competition. http://www.canadianjazzarchive.org/en/musicians/barbra-lica.html

Love Songs

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George Garzone - Quintonic

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 44:25
Size: 101,8 MB
Art: Front

(4:54)  1. Gargonzola
(7:41)  2. Crystal Ball
(6:28)  3. Idiosyncrasies
(5:49)  4. Restless
(7:46)  5. Ellwood
(6:07)  6. Abeid from Zanzibar
(5:37)  7. The Gargoyle Returns

"Gargonzi", "Berzone" call em whatcha like, the tenor sax duo of George  Garzone and Jerry Bergonzi from "Beantown" (Boston, Mass) quite excite on this 2014 disc. This CD appears to  be have been sponsored by the Danish Music Publishers Society and features a more than able rhythm section of pianist Carl Winther (who not only produced the date but penned four of the tracks) Johnny Aman on bass, and Anders Mogensen on drums. The front line hornmen sport an "obbledeygobbeldy" manneristic which refers to a post-Coltrane technique (also developed by Dave Liebman, Steve Grossman, Bill Evans,et al) which involves  a pumping off of the lower notes in order to get a ricochet-like effect escalating vertically to higher registers of the horn. Mind you this might be an anorakian pursuit of interest for saxophonists, but it is difficult to pull off and does have a distinctive and rather emotional, fiery edge to it. It sits well with both Garz and Gonz possessing dark and somewhat hollow, echoey tonal qualities which offer a refreshing contrast to the plethora of brighter, shimmery and brittle sounds that so many contemporary saxists have today. Winther's "Crystal Ball" has a gentle medium bluesy groove with a pensive and moody horn line that  leads to heroic solos all round. Bergonzi contributed two pieces, the melodic "Idiosyncrasies" and the brisk 12 bar burner, "Ellwood" which offset Winther's repertoire nicely. Everything is well controlled throughout with squeaks, squeals and even the odd honk. Quality stuff indeed. ~  Frank Griffith http://www.jazzviews.net/george-garzonejerry-bergonzi---quintonic.html

Personnel:  George Garzone, Jerry Bergonzi- tenor sax; Carl Winther- piano; Johnny Aman- bass; Anders Morgensen- Drums

Quintonic

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Carl Winther & Jerry Bergonzi - Inner Journey

Styles: Piano And Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 60:35
Size: 139,8 MB
Art: Front

( 8:09)  1. Talisman
( 4:40)  2. Requiem for Jw
( 3:59)  3. Inner Journey
( 4:46)  4. Kma
( 8:33)  5. Bar None
(11:24)  6. Triton
( 6:05)  7. Wheel of Fortune
( 3:47)  8. Long Gone
( 4:16)  9. Golem
( 4:51) 10. Medusa (Bonus Track)

A really great pairing, and one we're not sure we've ever heard before the tenor of Jerry Bergonzi and the piano of Carl Winther coming together here in an album that sparkles especially strongly on its big number of original tunes by Winther! Winther's got a round, rolling approach to his music that's also greatly supported by the bass of Johnny Aman in the quartet and while Bergonzi retains some of his sharper edges on tenor, he also seems to hit this lyrical beauty that we might not always associate with his music not mellowing out, but maybe opening more emotionally in ways that really illuminate his longstanding genius on his horn. The quartet also features Anders Mogensen on drums who often seems to kick back a little bit, and let the bass and piano really shape the tunes on titles that include "Triton", "Bar None", "KMA", "Inner Journey", "Requiem For JW", "Talisman", "Golem", and "Long Gone".  © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/847332/Carl-Winther-Jerry-Bergonzi:Inner-Journey

Personnel:  Carl Winther (piano); Jerry Bergonzi (tenor saxophone);  Johnny Aman (bass);  Anders Mogensen (drums).

Inner Journey

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Branford Marsalis - Random Abstract

Styles: Saxophone  Jazz
Year: 1988
File: MP3@320K/s
Time: 74:09
Size: 170,3 MB
Art: Front

( 6:46)  1. Yes And No
(11:05)  2. Cresent City
( 9:57)  3. Broadway Fools
( 8:13)  4. LonJellis
( 5:42)  5. I Thought About You
(16:25)  6. Lonely Woman
( 0:34)  7. Steep's Theme
(11:03)  8. Yesterday's
( 4:20)  9. Crepuscule With Nellie

Branford Marsalis (on tenor and soprano) and his 1987 quartet (which also includes pianist Kenny Kirkland, bassist Delbert Felix and drummer Lewis Nash) stretch out on a wide repertoire during this generally fascinating set. Very much a chameleon for the date, Marsalis does close impressions of Wayne Shorter on "Yes and No," John Coltrane ("Crescent City"), Ben Webster (a warm version of "I Thought About You"), Ornette Coleman ("Broadway Falls") and even Jan Garbarek (on a long rendition of Coleman's "Lonely Woman"). Random Abstract also includes a jam on Kirkland's "LonJellis," a piece without chord changes. This is one of Branford Marsalis' most interesting (and somewhat unusual) recordings. ~ Scott Yanow https://www.allmusic.com/album/random-abstract-mw0000195820

Personnel: Branford Marsalis (Saxophone); Kenny Kirkland (piano); Delbert Felix (bass); Lewis Nash (drums).           

Random Abstract

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Betty Carter - Look What I Got!

Styles: Vocal Jazz
Year: 1988
File: MP3@320K/s
Time: 48:33
Size: 111,2 MB
Art: Front

(5:43)  1. Look What I Got
(4:56)  2. That Sunday, That Summer
(7:40)  3. The Man I Love
(4:41)  4. All I Got
(4:20)  5. Just Like The Movies (Time)
(4:55)  6. Imagination
(2:41)  7. Mr. Gentleman
(6:35)  8. Make It Last
(6:57)  9. The Good Life

This well-rounded set gives listeners a good look at the adventurous music of Betty Carter. For this CD, she is joined by one of two rhythm sections (with either Benny Green or Stephen Scott on piano) and, on four of the nine songs, tenor saxophonist Don Braden. Carter twists and turns some familiar songs (such as "The Man I Love," "Imagination" and "The Good Life") along with a variety of lesser-known material including two songs of her own. Consistently unpredictable (whether scatting or stretching out ballads) Betty Carter's recordings are always quite stimulating. ~ Scott Yanow https://www.allmusic.com/album/look-what-i-got-mw0000195894

Look What I Got!

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Harry Connick, Jr. - Oh, My Nola

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 66:38
Size: 152,9 MB
Art: Front

(3:39)  1. Working In The Coal Mine
(3:58)  2. Won't You Come Home, Bill Bailey?
(3:26)  3. Something You Got
(5:03)  4. Let Them Talk
(3:41)  5. Jambalaya (On The Bayou)
(4:16)  6. Careless Love
(4:14)  7. All These People
(4:32)  8. Yes We Can Can
(2:41)  9. Someday
(3:59) 10. Oh, My Nola
(4:45) 11. Elijah Rock
(4:59) 12. Sheik Of Araby
(3:50) 13. Lazy Bones
(3:31) 14. We Make A Lot Of Love
(4:26) 15. Hello Dolly
(5:32) 16. Do Dat Thing

After Hurricane Katrina devastated New Orleans in the summer of 2005, musician Harry Connick, Jr. was one of the first people to lend not only his celebrity, but also his own two hands in aid to the survivors of the catastrophe. Connick brought a television crew with him as he traveled through his damaged hometown and shot footage to help draw attention to the situation. Soon after, he organized the benefit telethon A Concert for Hurricane Relief on NBC to raise money for the beleaguered residents of New Orleans. It was clear through all of this that Connick truly loved his hometown and perhaps even felt he owed the city a debt for all it had given to him. In that light, though he tastefully underplays his feelings about the tragedy, Connick's Oh, My Nola is clearly his response to Hurricane Katrina. But rather than making a one-note album filled with anger and sadness though he expresses those emotions here, too Oh, My Nola feels at once like a party-driven celebration of all that is New Orleans and a love letter to the city he almost lost. Featuring songs from, of, and about New Orleans, Oh, My Nola touches on almost every musical style that has come from the city and, in a similar sense, every style Connick has delved into over the years. For that reason it's both his most expansive and personal album to date, and finally finds the pianist/vocalist/arranger coalescing his eclectic tastes in jazz standards, stride piano, funk, Cajun, gospel, and contemporary pop under a unified vision that not surprisingly takes him back to the roots of New Orleans music.

To these ends, he turns Allen Toussaint and Lee Dorsey's classic R&B cut "Working in the Coal Mine" into a swaggeringly funky big-band workout. Similarly inventive, he does Hughie Cannon's traditional "Won't You Come Home, Bill Bailey?" as a second-line-inspired big-band swing number reminiscent of his own When Harry Met Sally soundtrack. But while these numbers showcase Connick's obvious talent for arranging and crafting large ensemble numbers, other cuts such as the traditional "Careless Love" reveal his more laid-back, country-inflected barroom piano style that recalls his early solo albums 20 and 25. Mixing this approach, Connick once again returns to Toussaint with the spiritual and motivational "Yes We Can" in a loping and funky, large-ensemble style. Always a student of American popular song, it's no surprise that Connick's original compositions stand up next to the classic tracks here; however, it's also on these originals that he moves toward expressing his anger over what happened to the city. On the half-improvised, stark, and funky "All These People" Connick sings, "I was so damn scared I held hands and wandered with the crazy man, but he wasn't crazy and I wasn't scared/We were just brothers that stood there and stared at all those people waiting there." 

It's one of the few moments of outright protest on the album and deftly conveys Connick's first-hand account of post-hurricane New Orleans. However, listening to the whole of Oh, My Nola, it becomes clear that the true protest Connick is concerned with is a protest of the soul against events that conspire to erase all that we hold dear. This is best expressed in Connick's own title track. Set to a simple midtempo traditional New Orleans jazz beat, he sings, "How proud would Louie and Mahalia be, to know that their memory was safe with me?/Oh, my Nola, old and true and strong just like a tall magnolia tree/Sit me in the shade and I'm right where I belong/Oh, my New Orleans, wait for me." ~ Matt Collar https://www.allmusic.com/album/oh-my-nola-mw0000554122                 

Oh, My Nola

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Michal Urbaniak - Fusion III

Styles: Violin Jazz
Year: 1975
File: MP3@320K/s
Time: 49:54
Size: 114,6 MB
Art: Front

(5:29)  1. Chinatown (Part I)
(6:15)  2. Kuyaviak Goes Funky
(5:48)  3. Roksana
(2:41)  4. Crazy Kid
(5:21)  5. Prehistoric Bird
(4:22)  6. Bloody Kishka
(4:44)  7. Cameo
(6:22)  8. Stretch
(4:46)  9. Metroliner
(4:00) 10. Chinatown (Part II)

With song structures similar to Mahavishnu Orchestra and electric-era Return to Forever, Michal Urbaniak's Fusion III appealed to the same fusion-buying clientele. What most distinguishes this music from that of its contemporaries was the unique vocalizing of Urbaniak's wife, Ursula Dudziak. She could sound at times like a Polish Flora Purim, at other times like a synthesized presence from another world. On this recording, Urbaniak's playing is fresh and engaging, and his compositions occasionally sound like Frank Zappa's instrumental work from this same era. John Abercrombie and Larry Coryell turn in blistering guitar passages, and bassist Anthony Jackson and drummer Steve Gadd provide a funkified rhythmic foundation. ~ Jim Newson https://www.allmusic.com/album/fusion-iii-mw0000917962

Personnel: Michal Urbaniak (violin); Urszula Dudziak (vocals, synthesizer, percussion, electronic percussion); John Abercrombie (guitar); Wlodek Gulgowski (electric piano, electric organ, Moog synthesizer); Anthony Jackson (bass guitar); Steve Gadd (drums).              

Fusion III

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Ahmad Jamal - Marseille

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 59:38
Size: 136,8 MB
Art: Front

(8:34)  1. Marseille (Instrumental)
(5:48)  2. Sometimes I Feel Like A Motherless Child
(8:30)  3. Pots en verre
(7:23)  4. Marseille (feat. Abd Al Malik)
(8:48)  5. Autumn Leaves
(5:55)  6. I Came To See You / You Were Not There
(6:23)  7. Baalbeck
(8:14)  8. Marseille (feat. Mina Agossi)

There are few true jazz legends left alive now let alone still recording albums of the calibre of Marseille. Ahmad Jamal is one such venerable figure and the octogenarian (born July 2, 1930) has recorded an album of consistent brilliance. Jamal prefers to refer to his playing as American classical music rather than jazz and he's been regarded as a "mainstream" pianist but to stylistically stereotype him in this fashion is to do him an injustice. The title track is afforded three different versions, the first being a mesmeric modally-inspired instrumental foray. The title is also a paean to a country that has enthusiastically supported Jamal throughout his long career culminating in the French government awarding him the prestigious Chevalier De L'Ordre Des Arts Et De Lettres in 2007. The album itself was recorded in Malakoff, a suburb on the outskirts of Paris. It's well-known that Miles Davis was a fan of Jamal's and admitted to being influenced by the pianist. Miles and Jamal became friends in the 1950s and Davis recorded Jamal's "Ahmad's Blues" on Workin' and "New Rhumba" on Miles Ahead. So on one level, it's not too surprising that on "Sometimes I Feel Like A Motherless Child" Jamal includes a funky quote from Davis's "Jean Pierre" from We Want Miles, released in 1982. But on another level the inclusion of this vamp, which bookends the track, demonstrates how versatile is Jamal's approach, and how a standard can be completely transformed so seamlessly.

The quoting continues on "Pots En Verre" with a repetition of two tantalisingly familiar chords from Lee Morgan's "The Sidewinder." The French rapper Abd Al Malik contributes tersely spoken words in French on the next beguiling version of "Marseille" on which Jamal evinces an alternative chordal interpretation. "Autumn Leaves" is given a rich makeover, with percussionist Manolo Badrena and drummer Herlin Riley adding a Latin-esque feel and all underpinned by James Cammack's resonant double bass. There's even a micro-quote from Oliver Nelson's "Stolen Moments" here too. The languid "I Came To See You / You Were Not There" and the more vibrant "Baalbeck" almost conclude this set but for the addition of a sumptuous third version of "Marseille," adorned by Mina Agossi's mellifluous vocals. It's undoubtedly Jamal's use of space and deft light and shade which characterise his playing and this proves that frenetic pyrotechnics are not necessary to make a huge impact on an audience. This extraordinarily beautiful album, simultaneously released on CD and double vinyl, demonstrates how age alone does not diminish an artist's musical ability and creativity. This superb album's appeal will be undoubtedly very wide indeed. ~ Roger Farbey https://www.allaboutjazz.com/marseille-ahmad-jamal-jazz-village-review-by-roger-farbey.php

Personnel: Ahmad Jamal: piano; James Cammack: double bass; Herlin Riley: drums; Manolo Badrena: percussion; Abd Al Malik (4), Mina Agossi (8): vocals.

Marseille

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Louis Prima Jr. and The Witnesses - Blow

Styles: Vocal And Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 40:44
Size: 94,0 MB
Art: Front

(2:40)  1. Blow
(4:19)  2. Go, Let's Go
(5:10)  3. New Orleans
(5:10)  4. Someday (feat. Leslie Spencer)
(3:21)  5. That's My Home (feat. Louis Prima)
(2:51)  6. Fame and Glory
(3:24)  7. Might Be Crazy (feat. Leslie Spencer)
(3:17)  8. Goody Two Shoes
(3:21)  9. I Just Wanna Have Fun (feat. Leslie Spencer)
(2:39) 10. Robin Hood
(4:27) 11. Those Million Things

For a while, Louis Prima Jr. resisted the call of the wild. The only son of the celebrated Vegas headliner, Prima Jr. fronted a locally successful rock outfit in his 20s and continued to dabble in music while building a career in Sin City’s food and beverage trade. It wasn’t until 1995 that the trumpeter and vocalist, then 30, decided to focus fulltime on recapturing the colossal showmanship of his late father. Seventeen years later, having formed his own band of Witnesses, he made his recording debut with Return of the Wildest!, comprising mostly covers from his dad’s repertoire. Blow is fresher, bolder and braver, its playlist dominated by sharp, rowdy originals. Prima Sr. was a master of controlled chaos. While Prima Jr. captures his old man’s frenetic, party-all-night ethos ably, his sound is more loosely explosive with distinct rock underpinnings. His voice barely hints at Sr.’s barbequed foghorn, remaining much closer in tone and timbre to Huey Lewis. Papa Prima had two secret weapons: Keely Smith and Sam Butera. In Marco Palos, Prima Jr. has a sax ace every bit as ferocious as Butera. Vocalist Leslie Spencer sounds nothing like Smith (who ever could?) but is an impressively soulful stylist, gutsy and powerful. Prima invades his father’s songbook just twice, for a rollicking “Robin Hood” and a blistering, from-the-grave duet with Louis Sr. on “That’s My Home.” Side-by-side with his father, Louis Jr. proves how worthy an heir he is to dad’s King of Cool mantle. ~Christopher Loudon https://jazztimes.com/reviews/albums/louis-prima-jr-the-witnesses-blow/

Personnel: Louis Prima Jr. (vocals, trumpet); Leslie Spencer (vocals); Ryan McKay (guitar); Marco Palos (saxophone); Ted Schumacher (trumpet); Steve Pandis (flugelhorn); Philip Clevinger (trombone); Gregg Fox (piano, organ); A.D. Adams (drums).

Blow

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John Driskell Hopkins & The Joe Gransden Big Band - You Better Watch Out!

Size: 102,5 MB
Time: 39:56
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Santa Claus Is Coming To Town (3:13)
02. Grandma Got Run Over By A Reindeer (Feat. Bela Fleck) (4:18)
03. Rudolph The Red Nosed Reindeer (3:29)
04. Santa Baby (Feat. Aoife O'Donovan) (3:43)
05. I Saw Mommy Kissing Santa Claus (Feat. Joe Gransden) (3:54)
06. Here Comes Santa Claus (Feat. Clay Cook) (2:56)
07. Happy Holiday - The Holiday Season (3:06)
08. Sing A Kris Kringle Jingle (2:43)
09. Donde Esta Santa Claus (Feat. Daniel De Los Reyes) (3:29)
10. Zat You, Santa Claus (2:43)
11. Jolly Old Saint Nicholas (2:56)
12. The Man With The Bag (3:22)

John Driskell Hopkins (founding member of the Zac Brown Band) has released his second holiday album, entitled You Better Watch Out, with The Joe Gransden Big Band. This follows the success of In the Spirit: A Celebration of the Holidays, released in 2015 with the Atlanta Pops Orchestra (and on vinyl in 2016).

Recorded and mixed at Hopkins’ new studio — Brighter Shade Studios — You Better Watch Out will feature appearances by musicians including Béla Fleck (“Grandma Got Run Over by a Reindeer”), Joe Gransden (“I Saw Mommy Kissing Santa Claus”), Aoife O’Donovan (“Santa Baby”), Daniel De Los Reyes (“Donde Esta Santa Claus?”) and Clay Cook (“Here Comes Santa Claus”).

You Better Watch Out!

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Karen Souza - Velvet Vault

Size: 100,4 MB
Time: 40:30
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Pop Vocals
Art: Front

01. I Fall In Love Too Easily (3:45)
02. Don't Let The Sun Go Down On Me (3:58)
03. I'm Beginning To See The Light (2:34)
04. Valerie (4:12)
05. I'm Not In Love (4:05)
06. You Got That Something (4:04)
07. In Between Days (3:20)
08. In The Blink Of An Eye (3:43)
09. Walk On The Wild Side (3:14)
10. Angel Eyes (4:17)
11. Kids (3:13)

Three years after the release of her successful Essentials II, jazz diva Karen Souza is back with her fourth studio album. Velvet Vault is the title of a collection that combine jazz standards with jazz reworks of pop classics plus two songs co-written by Karen herself. Japan's superstar Toku duets with Karen on the track "You Got That Something". Also part of the album are Amy Winehouse guitarist Robin Banerjee and the legendary Tom "Bones" Malone (Blues Brothers, Saturday Night Live Band). Vocals were recorded in New York at the Orchard studios and produced by Richard Gottehrer of Blondie, Richard Hell and Dr. Feelgood fame. Velvet Vault is without a doubt, Karen's most accomplished record to date and will definitely surpass the success of her previous efforts.

Velvet Vault

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