Phil Woods-Lee Konitz 5et - Play Woods

Bitrate: MP3@320K/s
Time: 65:54
Size: 150.9 MB
Styles: Bop, Saxophone jazz
Year: 2004/2010
Art: Front

[ 9:44] 1. Squire's Parlor
[ 9:11] 2. Petite Chanson
[ 8:59] 3. My Man Benny
[ 7:52] 4. Summer Serenade
[ 7:21] 5. Johnny Hodges
[10:24] 6. Body And Soul
[ 6:02] 7. Ah Se Eu Pudesse
[ 6:18] 8. Fotografia

Phil Woods, Lee Konitz, saxophones; Andrea Pozza, piano; Massimo Moriconi, bass; Massimo Manzi, drums; Barbara Casini, vocal.

Phil Woods and Lee Konitz had a great time sharing the stage with a number of Italian musicians over a several-day stretch at the 2003 Umbria Jazz Festival. With the Philology label on-hand to tape the concerts, four volumes were put together, with this edition concentrating on Woods' considerable skill as a composer. The contrast between the two alto saxophonists makes for interesting interplay, meshing Woods' robust melodic approach with Konitz's dryer, more dissonant style, while consistently producing great music. The snappy "Squire's Parlor" is a terrific opener to introduce the band, which includes pianist Andrea Pozza, Massimo Moriconi, and drummer Massimo Manzi. The lush waltz "Petite Chanson" has a bittersweet air, followed by Woods' memorable tribute to the late Benny Carter (another master of great melodies and the alto sax), "My Man Benny." It was only natural to follow it with one of Carter's greatest works, the lush ballad "Summer Serenade," which is beautifully interpreted. This may very well mark the first occasion that Woods has recorded "Johnny Hodges" (another tribute to a legendary alto saxophonist) without also singing the lyrics. "Body and Soul" has been recorded so often, one would think it was in danger of becoming hackneyed, but that is impossible with two masters as experienced as Konitz (who kicks it off into fresh territory with his challenging reworking of the melody) and Woods. Barbara Casini joins them on the final track, in a lovely rendition of Antonio Carlos Jobim's "Fotografia." Like all Phil Woods or Lee Konitz CDs released by the small but prolific Philology label, this one is a very worthwhile investment. ~Ken Dryden

Play Woods

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Jackie Messina - Necessary Arrangements

Bitrate: MP3@320K/s
Time: 54:25
Size: 124.6 MB
Styles: Jazz vocals
Year: 2011
Art: Front

[3:38] 1. Inchworm
[4:12] 2. I Feel Pretty
[3:38] 3. Easy Street
[4:47] 4. Wild Is The Wind
[4:34] 5. Quiet Now
[4:19] 6. Little B's Poem
[3:46] 7. Surrey Wtih A Fringe On Top
[4:27] 8. I Believe In You
[4:17] 9. I'm A Fool To Want You
[4:25] 10. Baltimore Oriole
[4:46] 11. Alfie
[4:02] 12. Slow, Hot Wind
[3:27] 13. Show Me

Original arrangements breathe new life into an unusual choice of jazz standards sung with charm, wit, and authenticity. Vibrant solos by Bruce Barth, piano, Will Galison, harmonica, Paul Beaudry and Ed Howard, bass.

Jackie Messina breezes her way through thirteen songbook gems with sexy panache and a wink in her eye. Her tasteful re-imaginings of the melodies we know and love are both logical and magical. Backed by a stellar ensemble, Jackie swings lightly inside smart arrangements that perfectly highlight each story as well as her lovely voice. ~ Amy London

Necessary Arrangements mc
Necessary Arrangements zippy

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Peter Erskine, Bob Sheppard, Dave Carpenter - Lava Jazz

Bitrate: MP3@320K/s
Time: 56:44
Size: 129.9 MB
Styles: Bop
Year: 1997
Art: Front

[4:21] 1. Pesos
[5:50] 2. It Already Happened
[3:53] 3. Cats + Kittens
[3:24] 4. Jung At Heart
[5:13] 5. I Hear A Rap Cd
[4:29] 6. Pettwelve
[4:49] 7. You Stepped In
[3:03] 8. Journey To The Center Of Blues
[5:38] 9. Pretty Toes
[4:10] 10. Jazz Marines
[7:46] 11. Five Z's
[4:04] 12. Drizzle

When one thinks of lounge music, it is of atmospheric background sounds from the early '60s that are considered so worthless by late-'90s listeners that LPs of the style can often be located for 39 cents at used record stores. The Lounge Art Ensemble, a co-op trio consisting of tenor saxophonist Bob Sheppard, bassist Dave Carpenter, and drummer Peter Erskine, thinks of lounge music as jazz played in small clubs, but the "lounge" title does not really do their music justice. In reality, this "lounge art" is a quiet but fairly adventurous version of cool-toned bop. Erskine is heard playing a very small drum set; Carpenter often shares the melody and much of the solo space with Sheppard, and the dozen "originals" are all based on common chord changes (à la Lennie Tristano), mostly of bop standards. The versatile bassist is really the key to the trio, for he functions as both a second melody instrument and a second rhythm instrument, even sounding a bit like a rhythm guitar on the humorously titled "I Hear a Rap CD" (based on "I Hear a Rhapsody"). Throughout the date, the three musicians work together quite well (Bob Sheppard is an underrated great), and they create exciting music that makes one wish the group were more accurately titled "the Anti-Lounge Art Ensemble". ~Scott Yanow

Lava Jazz mc
Lava Jazz zippy

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Janet Seidel - The Way You Wear Your Hat

Bitrate: MP3@320K/s

Time: 95:08

Size: 217.8 MB

Styles: Cabaret, Jazz vocals

Year: 1998

Art: Front

[4:02] 1. Lazy River

[2:57] 2. Pick Yourself Up

[6:51] 3. My One And Only Love

[4:55] 4. Poor Butterfly

[5:53] 5. Corcovado (Quiet Nights)

[4:43] 6. My Foolish Heart

[3:35] 7. Tenderly

[5:59] 8. Manha De Carnival

[5:20] 9. Someone To Watch Over Me

[5:16] 10. They Can't Take That Away From Me

[5:14] 11. The Way You Look Tonight

[5:34] 12. Hymee A L'amour

[3:59] 13. Le Chateau De Ma Mere

[5:49] 14. I Love Paris

[8:35] 15. Secret Love

[6:06] 16. Them There Eyes

[4:56] 17. Comes Love

[5:13] 18. I Love Being Here With You

Born in Australia's bush country, Janet Seidel emerged as one of that country's leading cabaret and jazz vocalists. She appeared frequently at Australia's top jazz and hotel venues beginning in the early '80s, often working with bassist brother David Seidel. Janet Seidel also performed at jazz festivals in the U.S., working with such jazz notables as Harry Allen, Dan Barrett, Dave McKenna, and Michael Moore. Her first venture into cabaret came in 2000 when she put together and starred in Doris and Me, a tribute to Doris Day's singing career. Often working with saxophone player Tom Baker and with her brother, she has made numerous albums for the LaBrava label. Her double album The Way You Wear Your Hat was named vocal album of the year by Australia's national newspaper and was a finalist for the prestigious ARIA award. Her The Art of Lounge, Vol. 2 was similarly a finalist for that award for the AIRA Jazz Album of the Year.

The Way You Wear Your Heart                

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Emili Baleriola - Jazz-Rock Trio

Bitrate: MP3@320K/s
Time: 54:43
Size: 125.3 MB
Styles: Jazz/rock guitar
Year: 2011
Art: Front

[ 6:07] 1. No Problemo
[ 4:08] 2. Cold Duck Time
[ 4:03] 3. Song For My Father
[ 4:33] 4. All Blues
[ 5:31] 5. Sombra Y Luz
[ 4:52] 6. Blue Bossa
[ 1:37] 7. Erika
[ 3:30] 8. Dulces Sueños
[ 3:20] 9. Donna Lee
[ 2:56] 10. Infraganti
[14:01] 11. Zeleste

Emili Baleriola, guitar. Vicenç Mas, bass. Raimon Iniesta, drums.

I was born in Barcelona on April 4, 1952 and I went on stage with my guitar for the first time at age 13. Since then, music is my greatest passion. I consider myself a self-taught musician, because even though I had good teachers, I have always been guided by my ear and my intuition to learn, but I am honored to mention Manolo Bolao, Gabriel Rosales, John Scofield and Jack Wilkins.

Over time, many bands have passed through my life which has allowed me to experiment with blues, jazz, rock, pop, funk, latin, making my style a fusion of all these influences. With this power trio, my jazz proposal is expressed in a rock context. Besides my own compositions, I play my versions from some jazz classics as All blues, Song for my father and Donna Lee, among others.

Jazz-Rock Trio mc
Jazz-Rock Trio zippy

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Johnny Hartman - Songs From The Heart (Remastered)

Bitrate: MP3@320K/s
Time: 35:56
Size: 82.3 MB
Styles: Vocal jazz
Year: 2014
Art: Front

[2:49] 1. What Is There To Say
[2:48] 2. Ain't Misbehavin
[2:24] 3. I Fall In Love Too Easily
[3:00] 4. We'll Be Together Again
[2:57] 5. Down In The Depths
[2:34] 6. They Didn't Believe Me
[2:31] 7. I'm Glad There Is You
[3:09] 8. When Your Lover Has Gone
[3:09] 9. I'll Remember April
[3:32] 10. I See Your Face Before Me
[3:51] 11. September Song
[3:06] 12. Moonlight In Vermont

"This is Hartman's first album as a leader and it's a puzzle why he did not receive wider acclaim. If you listen to the sound samples on the MP3 version's page at Songs From The Heart you will hear not only his rich voice, but soulful ability to convey the meanings of each song. That's a rare gift and the sound samples clearly show he had it.

Not all tracks fit a coherent romantic theme (Ain't Misbehavin' is an example of one that does not), but all come across as romantic. Perhaps it's the sensual quality of Hartman's voice. For me Howard McGhee's trumpet added the perfect backing for Hartman's voice, and the rhythm section comprised of Ralph Sharon on piano, Jay Cave on bass and Christy Febbo on drums support Hartman (and McGhee) with sensitivity.

This album was recorded for Bethlehem at the Beltone Studios in NYC during October 1955. The original release in 1956 contained twelve tracks, so this CD version is definitely a gem for fans and collectors who want to hear the complete sessions, including the previously unissued alternate takes." ~Mike Tarrani/Amazon

Songs From The Heart (Remastered) mc
Songs From The Heart (Remastered) zippy

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Maria João & Mário Laginha - Chocolate

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 54:37
Size: 125,4 MB
Art: Front

( 5:49)  1. I Have a Heart Just Like Yours
( 4:28)  2. Goodbye Pork Pie Hat
( 5:00)  3. I've Grown Accustomed To Her Face
(11:47)  4. Sweet Suite
( 7:54)  5. This Time
( 3:39)  6. Modern Mode / I'm Old Fashioned
( 6:42)  7. If You Could See Me Now
( 6:37)  8. Mati Mati
( 2:37)  9. When You Wish Upon A Star

Maria João (born Maria João Monteiro Grancha June 27, 1956, Lisbon, Portugal) is a Portuguese jazz singer. She is known for her vocal flexibility and improvisational skills. Although considered a jazz singer, she incorporates folk music, avant-garde, and electronica. Her main musical partner is Portuguese pianist Mário Laginha. She has also worked with Aki Takase, Bobby McFerrin, David Linx, Dino Saluzzi, Gilberto Gil, Joe Zawinul, Kai Eckhardt, Lenine, Manu Katche, Ralph Towner, Trilok Gurtu, Wolfgang Muthspiel, and OGRE. https://en.wikipedia.org/wiki/Maria_Jo%C3%A3o

Chocolate

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Gigi Gryce - The Hap'nin's

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 39:51
Size: 91,6 MB
Art: Front

(7:37)  1. Frankie And Johnny
(5:40)  2. Lover Man
(6:36)  3. Minority
(8:06)  4. Summertime
(4:07)  5. Nica's Tempo
(7:43)  6. Don't Worry 'Bout Me

Altoist Gigi Gryce, who would retire from playing altogether within a couple of years, leads his promising 1960 quintet on this CD reissue. Trumpeter Richard Williams and pianist Richard Wyands take fine solos on the six jazz standards (two of which, "Minority" and "Nica's Tempo," were Gryce's best-known tunes) while bassist Julian Euell and drummer Mickey Roker are fine in support. The hard bop set has its strong moments even this group was largely forgotten after Gryce's retirement. Worth investigating.

~ Scott Yanow https://www.allmusic.com/album/the-hapnins-mw0000177199

Personnel:  Gigi Gryce (alto saxophone); Richard Williams (trumpet); Richard Wyands (piano); Julian Euell (bass); Mickey Roker (drums).

The Hap'nin's

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Ivo Perelman - Brazilian Watercolour

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 59:30
Size: 151,7 MB
Art: Front

(9:01)  1. Brazilian Watercolour
(5:27)  2. Ascendent
(7:03)  3. Desafinado
(2:52)  4. Traces
(8:50)  5. Summer Samba
(2:19)  6. Recitativo
(0:41)  7. Rimbotim
(5:55)  8. Explicativo
(6:35)  9. Pal Piteira
(1:11) 10. Flauting
(7:57) 11. The Boat
(1:34) 12. Pandeiros

Brazilian saxophonist Ivo Perelman cannot be accused of being lethargic or laid back. His energy level may rival that of American saxophonist David S. Ware; however, Perelman’s uniqueness lies within his South American roots and later day Trane or Albert Ayler modernistic approach. On “Brazilian Watercolour”, Perelman utilizes ex-Coltrane drummer Rashied Ali and long time David S. Ware associate, pianist (and solo artist) Matthew Shipp along with gifted percussionist’s Cyro Baptiste and Guilherme Franco. The title track “Brazilian Watercolour” is a well-known standard written by Ary Barroso yet Perelman’s interpretation goes way beyond standard samba or Brazilian national music. Along with Ali, Franco and Baptiste, Perelman whips this tune into submission with quick tempered, furious phrasing on top of the colorful rhythmic movements. This CD comprises a series of duets with pianist Matthew Shipp while the other cuts feature Perelman along with the aforementioned rhythm section. On “Ascendant”, Perelman’s phrasing is very animated as he takes extra measures to design or emphasize extended note patterns while Shipp hovers within the lower registers of his piano and mainly comps behind Perelman’s gutsy tenor sax work. Marco & Paulo Sergio Valle’s “Summer Samba” features the rhythm section as this traditional Brazilian samba is deconstructed and reassembled through Perelman’s relentless plethora of ideas and themes. Here, Perelman is like a child who strategically takes apart his brand new Christmas toy in order to see what makes it work. Perelman’s composition “Pal Piteira” is another duet with pianist Matthew Shipp. On this piece, Shipp once again supports Perelman in the lower register by skillfully utilizing giant block chords and a pulsating left hand for rhythmic purposes. Perelman blows rapid -fire notes while frequently hitting the high register as if he were crying for help or trying to plead his case. Ivo Perelman is a bona fide modern jazz stylist and in “Brazilian Watercolour”, he proves his case combining ethnic diversity with enterprising concepts which forms a near perfect union of dissimilar genres. ~ Glenn Astarita https://www.allaboutjazz.com/brazilian-watercolour-ivo-perelman-leo-records-review-by-glenn-astarita.php

Personnel: Ivo Perelman; Tenor Sax, Recorder, Piano: Matthew Shipp; Piano: Rashied Ali; Drums: Guilherme Franco; Percussion, Wooden Flute: Cyro Baptiste; Percussion, Wooden Flute

Brazilian Watercolour

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Michel Bisceglia & Carlo Nardozza - Eleven

Styles: Piano And Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 51:26
Size: 118,0 MB
Art: Front

(6:41)  1. Bosonic
(7:55)  2. Scriabin
(8:00)  3. Prova 42
(6:40)  4. Eleven
(3:48)  5. Loop It Or Leave It
(9:43)  6. Unknown
(8:36)  7. Tunisia

Two Italian-born Limburg, Belgian-Italian Belgian pianist Michel Bisceglia and trumpet blower Carlo Nardozza presented a piano / trumpet duet collaboration on an album titled Eleven. Worked closely, this release contains seven compositions that display the two instrument dialogues in detail. Beginning "Bosonic" through the prefix of a resitative piano which then plays the trumpet, the ballad number goes smoothly and the next is Vince Mendoza 's "Scriabin" of a similar nuance. On the title track "Eleven," Carlo becomes a spokesperson through an attractive blow, while Michel provides a coherent harmony structure. Playing duet formations without sexy rhythm is not an easy thing, it takes a high musical sensitivity to get rid of the risky boring spaces. But both seem to overcome, see "Unknown" which is full of spontaneity as well as the looping technique layer in "Loop It or Leave It," singly played by Carlo melting elements of Mediterranean sound, Balkans to New Orleans. The introduction of the virtuosic trumpet breaks the silence over the last numbered "Tunisian" dish even though its rhythm is quite energetic than any other track, by Michel's finger dance. Not to forget the album also lists a composition for a single piano, entitled "Prova 42" is silent, flowing smooth and poetic. http://www.wartajazz.com/review/2014/06/07/michel-bisceglia-carlo-nardozza-eleven

Personnel:  Michel Bisceglia : piano;  Carlo Nardozza : trumpet

Eleven

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Stan Getz, Cal Tjader Sextet - Stan Getz With Cal Tjader Sextet

Bitrate: MP3@320K/s
Time: 42:30
Size: 97.3 MB
Styles: Saxophone jazz, Vibraphone jazz
Year: 1958/2011
Art: Front

[10:58] 1. Ginza Samba
[ 3:57] 2. I've Grown Accustomed To Her Face
[ 5:42] 3. For All We Know
[ 8:18] 4. Crow's Nest
[ 3:46] 5. Liz-Anne
[ 4:32] 6. Big Bear
[ 5:15] 7. My Buddy

Stan Getz: tenor saxophone; Cal Tjader: vibraphone; Vince Guaraldi: piano; Eddie Duran: guitar; Scott LaFaro: bass; Billy Higgins: drums.

The presence of Latin and Afro-Cuban enthusiast, vibraphonist Cal Tjader, has created a widespread misconception that Sextet was the album which sparked tenor saxophonist Stan Getz's fascination with Brazilian music and, ultimately, bossa nova. The notion has, over the years, been reinforced by the inclusion of pianist Vince Guaraldi's "Ginza Samba," whose theme statements were played over a samba beat, and which, as plain "Ginza," was the third track on side one of the album's original LP release. During the Stateside bossa nova craze of the early-to-mid-1960s, "Samba" was added opportunistically to the tune's title, and was sequenced as track one, side one on a rerelease of Sextet. It remains in prime position on this 24-bit remastered edition.

The Getz/bossa-gestation idea is, however, fanciful. Aside from the theme statements of "Ginza Samba," Sextet is set in the sumptuously lyrical but altogether "hotter," and firmly US-centric style with which Getz, under the guidance of his manager, Norman Granz, had become a major star by the late 1950s. Getz's Damascene moment came a few years later, via guitarist Charlie Byrd. On a tour of Brazil in 1961, Byrd fell in love with bossa nova; once returned to the US, he sought out Getz, played him the LPs he had brought back from Brazil, and suggested they get together and record their own album in the style. Getz needed no persuading, instantly recognizing that he and bossa nova were made for each other. The result was Getz and Byrd's Jazz Samba (Verve, 1962), plus, in due course, its hit single "Desafinado" (and, over the years, Byrd's acrimonious, and finally successful, pursuit of Getz for a bigger slice of the royalties pie).

A case could, more credibly, be made for Sextet as an album which later reignited Getz's interest in recording with a vibraphonist, following Hamp And Getz (Clef), made with Lionel Hampton in 1955. In 1964, at the height of the bossa boom, Gary Burton joined Getz's band, with which he toured and, in 1964, recorded the album Nobody Else But Me (only released, on Verve, 30 years later). Video footage of Getz and Tjader together does not exist, but Sextet's vibraphone connection provides an excuse to enjoy some wonderfully cheesy US TV footage of the Getz/Burton group (see the second YouTube clip below).

Getz and Tjader had known each other since the early 1950s. Tjader, as a member of pianist George Shearing's group, had been on the February 12, 1954 tour bus journey from Portland to Seattle, at the conclusion of which Getz was arrested for trying to score some heroin by attempting to rob a drug store. The two had long planned to record together, but the opportunity did not arise until their separate touring schedules coincidentally had them both in San Francisco on February 8, 1958, when they recorded Sextet for the Fantasy label. Granz, normally highly protective of his artists, allowed Getz to make the date because, the year before, Fantasy had loaned alto saxophonist Paul Desmond to Granz's Clef label for a quartet record with baritone saxophonist Gerry Mulligan.

Getz and Tjader each brought two colleagues to the session. Tjader brought pianist Guaraldi and guitarist Eddie Duran. Getz brought two precociously talented 21 year olds, bassist Scott LaFaro and drummer Billy Higgins. Both were on the cusp on stardom; LaFaro with pianist Bill Evans' trio, Higgins as a member of alto saxophonist Ornette Coleman's iconoclastic "free" group.

With a lineup like that, you would expect Sextet to make for prime listening, and, indeed, it does. Most OJC reissues include additional material in the shape of unreleased tracks or alternate takes. Sextet does not, because the session went so swimmingly (it was completed in around three hours) that legend holds that second takes were not necessary. Intriguingly, however, critic Ralph Gleason, who was in the studio for the last hour or so, wrote that "no tune, except two, had more than one take and even then it was a tossup as to which to use."

If second takes of such quality were recorded and were still extant in 2011, OJC's remaster would, presumably, include them. The likelihood is that the tapes containing them have been long lost. But no matter. Over the course of its 43 minutes' playing time, Sextet—though not the prologue to Getz's bossa nova—proffers ample delights. ~Chris May

Stan Getz With Cal Tjader Sextet mc
Stan Getz With Cal Tjader Sextet zippy

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Hal Gaylor, Walter Morris, Billy Bean - The Trio

Bitrate: MP3@320K/s
Time: 37:38
Size: 86.2 MB
Styles: Contemporary jazz
Year: 1961/1999
Art: Front

[5:19] 1. Grooveyard
[4:57] 2. Smoke Gets In Your Eyes
[5:09] 3. The End Of A Love Affair
[3:22] 4. Scramble
[4:10] 5. Out Front
[4:07] 6. Che-Low
[5:28] 7. For Heaven's Sake
[5:03] 8. D. & D.

In the early 1960s, bassist Hal Gaylor founded a noteworthy but short-lived group that he called the Trio. With Gaylor on upright bass, Walter Norris on acoustic piano, and Billy Bean on electric guitar, the Trio favored a drumless format that recalled the Nat King Cole Trio of the 1940s. But anyone who listens to this bop-oriented 1961 session, which was produced by the ubiquitous Orrin Keepnews, will realize that the Trio never went out of its way to emulate Cole's group. While the Nat King Cole Trio is an influence, Norris is far from a Cole imitator — in 1961, the pianist was well aware of what everyone from Bill Evans to Lennie Tristano to Thelonious Monk had accomplished. Norris was only 29 when this album was recorded, and while The Trio isn't as adventurous as some of the albums that he recorded as a leader in the 1970s, 1980s, and 1990s, it is a pleasing bop date. Gaylor (who switches to cello on his lively "Che-Low") enjoys a strong rapport with Norris and Bean on original material as well as performances of "Smoke Gets in Your Eyes," "The End of a Love Affair" and "For Heaven's Sake." Regrettably, Gaylor and Bean both ended up leaving the music world; in fact, Gaylor gave up jazz to become a certified drug counselor. Norris, thankfully, never left jazz and was still recording when the 21st century arrived. And we can also be thankful that the Trio, although underexposed and short-lived, is documented on this enjoyable album. ~Alex Henderson

The Trio

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Nancy Wilson - Like In Love

Bitrate: MP3@320K/s
Time: 25:36
Size: 58.6 MB
Styles: Standards, Vocal
Year: 1960/2001
Art: Front

[1:39] 1. On The Street Where You Live
[2:31] 2. Night Mist
[2:24] 3. You Leave Me Breathless
[2:08] 4. The More I See You
[2:19] 5. I Wanna Be Loved
[1:43] 6. Almost Like Being In Love
[1:54] 7. People Will Say We're In Love
[2:23] 8. Passion Flower
[1:43] 9. Sometimes I'm Happy
[2:48] 10. Fly Me To The Moon (In Other Words)
[1:50] 11. All Of You
[2:08] 12. If It's The Last Thing I Do

Capitol Records was the place to be a jazz-pop vocalist in the 1950s and early '60s, and with this winning debut, Nancy Wilson proved herself to be up to the challenge of recording alongside such labelmates as Frank Sinatra, Nat "King" Cole, and Peggy Lee. Only 22 years old on her first recording date, Wilson's Sarah Vaughan-meets-Dinah Washington vocal style was already firmly in place and is perfectly in sync with star arranger Billy May's typically expert big band jazz charts. Many of May's backings, particularly the ballads such as "Fly Me to the Moon," have a subtle Duke Ellington and Billy Strayhorn luster to them. Not only does Duke's star alto saxophonist Willie Smith contribute some choice solos on this date, but Wilson gets to sing Strayhorn's sublime "Passion Flower." While this solid release had the swank Capitol house sound down, it was actually Wilson's two small-group jazz recordings with George Shearing and Cannonball Adderley that would break her to the general public and help turn her into the label's biggest-selling act of the early '60s. As good as those small group sessions were, Wilson would thankfully continue working with the gifted Billy May and their next recording together, 1960's Something Wonderful, somehow managed to improve on this winning debut and remains one of her all-time best albums. ~Nick Dedina

Like In Love mc
Like In Love zippy

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Jon Lucien - A Time For Love

Bitrate: MP3@320K/s
Time: 63:22
Size: 145.1 MB
Styles: Jazz vocals
Year: 2005
Art: Front

[6:15] 1. A Time For Love
[5:45] 2. Angelina
[3:55] 3. I Believe In You
[4:46] 4. I Didn't Know What Time It Was
[2:56] 5. The Way You Look Tonight
[7:09] 6. Lazy Afternoon
[6:19] 7. Memory
[5:54] 8. Mi Bolero
[5:59] 9. Quiereme Mucho
[4:56] 10. People
[4:22] 11. Speak Low
[5:02] 12. This Is All I Ask

The launch of Jon's own Sugar Apple imprint in 2001 has made his music even better because he now has total creative and artistic control. A Time For Love is Jon's fourth release on Sugar Apple and yet another masterpiece. Musically Jon keeps his fans satisfied with the special blend of jazz, latin, and soul, a niche he has cared successfully for himself over the years. Except for one cut the songs are all cover versions, but there's no need to worry that you get the umpteenth version of songs you're tired of hearing because you have heard them too often. In fact, all songs get the Jon Lucien treatment that turns these songs into something special and makes you wonder if the songs haven't longed to be recorded this way all the time.

A Time For Love mc
A Time For Love zippy

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Krzysztof Popek - Fresh Air Project

Bitrate: MP3@320K/s
Time: 40:28
Size: 92.7 MB
Styles: Contemporary jazz
Year: 2016
Art: Front

[6:40] 1. Nicole's Soul
[6:27] 2. Assunta
[8:41] 3. Fresh Air
[4:59] 4. So It Seems
[7:19] 5. Letters And Leaves
[5:16] 6. Yes Or No
[1:03] 7. Outro

Krzysztof Popek: alto flute; Piotr Wojtasik: trumpet, flugelhorn; Nicolas Simion: tenor saxophone, bass clarinet; George Cables: piano; Cameron Brown: bass; Victor Lewis: drums.

Time has stamped Krzysztof Popek as a potent force on the Polish jazz scene. The flautist could have found a comfort zone in his native land given the accolades he accumulated there. Instead, he gathered a varied supporting cast of international musicians over the years,and built a strong edifice to his musical explorations. He stamps his credentials all over again on this recording. Popek explores through the senses of several composers including himself. His "Letters and Leaves" gets a luminous head from George Cables before the melody dances in. Popek flows in with languid lines, turning in a captivating conversation with the pianist. The edge comes from Piotr Wojtasik, the trumpet cutting in; the dynamic fleshing the whole with just the right intensity.

"Nicole's Soul" has a translucent beauty ushered in by the ebb and flow of the flute. Wojtasik, who has long been part of Popek's journey, is convoluting and flinty as he feeds into the permutations without fragmenting the mood. And when it comes to the ensemble, the playing is silky and emotive, the finesse shining. The bop driven "So It Seems" not only offers contrast but also shows the ability of the band to find its comfort zone in different settings. The heated swell of Nicolas Simion's tenor, the pulsing lines of Cameron Brown's bass, the rhythmic snap of Victor Lewis's drums propulse the groove are the glove to the inventive hand of the front line.

Popek is a craftsmen hewing both to the mainstream yet never shying from improvising with a vibrant sense of adventure. He has a fine band to go with these sensibilities. And he has an enjoyable record to go with it. ~Jerry D'Souza

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Charlie Byrd - Bossa Nova Pelos Passaros

Bitrate: MP3@320K/s
Time: 46:05
Size: 105.5 MB
Styles: Bossa Nova, Latin jazz
Year: 1963/1992
Art: Front

[1:56] 1. Yvone
[2:20] 2. Um Abraco No Bonfa
[3:10] 3. Meditation
[2:53] 4. Voce E Eu (You And I)
[2:38] 5. Coisa Mais Linda
[1:54] 6. O Barquinho (Little Boat)
[2:28] 7. Desafinado
[2:00] 8. Samba Triste
[1:49] 9. Bim-Bom
[2:11] 10. Ho-Ba La-La
[2:33] 11. Ela Me Deixou
[3:08] 12. O Passaro (The Bird)
[3:14] 13. Outra Vez
[3:26] 14. Presente De Natal (Christmas Gift)
[2:57] 15. Insensatez
[2:21] 16. Three Note Samba
[2:00] 17. Samba Da Minha Terra
[2:59] 18. Limehouse Blues

Having been a major part of Stan Getz's very popular Jazz Samba album, it was only fitting that guitarist Charlie Byrd would start recording his own bossa nova records. This CD reissue brings back the 12 songs originally on the Riverside LP Bossa Nova Pelos Passaros plus six of the 11 tunes from Once More! Bossa Nova. Byrd and his trio (which included bassist Keter Betts and drummer Bill Reichenbach) are augmented on some selections by strings, extra percussion, plus horns. In reality the background musicians are not needed since Byrd was at the top of his form in those days. Unlike some of his earlier sets, these pretty and melodic recordings are very concise (lacking a sense of adventure), clocking in between one-and-a-half and three-and-a-half minutes, and looking toward the guitarist's later Columbia dates. Highlights include "Meditation," "O Barquinho," "Desafinado," "Bim Bom," "O Passaro" and "Limehouse Blues." ~Scott Yanow

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Nicolas Folmer - Sphere

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 59:01
Size: 135,4 MB
Art: Front

( 7:13)  1. Stratosphere
(10:45)  2. Volcano
( 1:17)  3. Courant D'Air
( 9:13)  4. Tumulte Et Fracas
( 1:22)  5. Lunaire Part 1
( 1:11)  6. Lunaire Part 2
( 8:31)  7. Lunaire Part 3
( 8:09)  8. Bulles D'Amour
(11:15)  9. Boules De Neige

After the album " Lights " in which Nicolas Folmer inviting Daniel Humair had begun to explore a path where it was not expected, the trumpet player with this new album composes a music with forms even more open, more suggestive than frozen, still more mobile and flexible. The musicians who accompany Nicolas Folmer have an important role in this evolution, Daniel Humair, already present on the previous album has made him give up the comfort of a game too predictable, the guests of this new album did not to reinforce Nicolas Folmer's attraction to turbulent shores, Dave Liebman, Miles Davis' fellow-traveler with the spirit of Coltrane, and Michel Portal, European songwriter of improvisation. And for playgrounds at these beautiful meetings, the Opera de Lyon which for several days hosted Nicolas Folmer and his guests resulting in a superb concert / album which, once again, will leave us to think that jazz is always alive ...

What Vincent Bessières, journalist at Jazz News, says ..."It's the art of great artists not to be where we expect them. To give us to see, to hear, to read, to contemplate, works that we did not suspect they could create. Capable not in the sense of competence or technique, but in the sense of the disposition of mind, mental representations: those which make it possible to project oneself elsewhere, that one manages to draw from oneself something of new, unexpected, sometimes unexpected, a new form in which one reveals oneself to be different.

In jazz more than in any music, this ability to be in the becoming of oneself has become almost a categorical imperative since Miles Davis established the principle. Miles Davis, a musician who, with time, Nicolas Folmer seems to get closer insensibly. Not in sound, nor in style, but in attitude towards music, its nuances, its circulation, its provocation. It is likely that Sphere will be a surprise for those who have not heard Nicolas Folmer for a long time. A good surprise, that goes without saying. The brilliant instrumentalist, whose mastery earned him the esteem of colleagues of Wynton Marsalis' caliber, eclipsed it in front of the musician in search, on the lookout for new sensations. The talented conductor and arranger, a lover of slender melodies and funky spinners, gives way to a composer with open forms, more suggestive than fixed, mobile and modular, who does not matter what is noted on the score that this that his partners are doing in the moment of improvisation. We must salute this metamorphosis, which is not a radical revolution but the natural evolution of a musician who, after having assimilated a lot, feels ready to dispose of himself and his knowledge.

The musicians who accompany Nicolas Folmer in this adventure are not for nothing in this evolution. Daniel Humair, drummer with whom he laid the foundation of the group, strongly encouraged this desire for change, breaking his last reluctance to release the bridle, encouraging him to give up the comfort of a game too predictable and engage in these new directions for which his attraction was growing. Waves that did not cause that the two guests of this real fake "live" disc (recorded on several days but mounted like a single concert, without false connection), David Liebman and Michel Portal, which are like the poles of this Sphere to which the album owes its title. On the one hand, Liebman, companion of Miles Davis, saxophonist marked by the spirit of John Coltrane, and who carries in him all the legacy of modern jazz, even in its innermost depths; on the other, Portal, which for several decades has been the instigator of another way of apprehending the gesture of improvisation, attentive to what the urgency of the moment can bring forth as spontaneous sources of music. . Between them, basically, less differences than kinship and, above all, a way of being constantly on the brink, to bend to the demands of the interaction, without false pretense, which gives to this album a part of its coherence and his inspiration. Faced with such partners, Nicolas Folmer has rebuffed the cards of his game to give free rein to his expression but also to reposition himself inside the music and match with those he invited to explore with him. In this configuration, Emil Spanyi at the piano and Laurent Vernerey at the double bass find their place brilliantly, whether they contribute to defining the perimeter of evolution of the music or that they intervene directly in his heart. With a success that will bluff more than one, Nicolas Folmer wins on a territory where we did not expect, shaking our prejudices, sweeping our certainties. Sovereign of his instrument, as formerly, but rising to the challenge of music, collective play, endangering. What, once again, invite us to consider jazz as the space of all reinvivations. " http://nicolasfolmer.com/js_albums/sphere

Personnel:  Trumpet, Composed By – Nicolas Folmer;  Bass Clarinet, Soprano Saxophone – Michel Portal;  Double Bass – Laurent Vernerey;  Drums – Daniel Humair;  Piano – Emil Spanyi;  Tenor Saxophone, Soprano Saxophone, Flute – David Liebman

Sphere

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Pamala Stanley - It's All In The Game

Styles: Vocal 
Year: 2001
File: MP3@320K/s
Time: 56:31
Size: 129,8 MB
Art: Front

(3:58)  1. Bye Bye Blackbird
(5:28)  2. Do You Know What I Means To Miss New Orleans
(4:50)  3. We Are In Love
(4:47)  4. Someone To Watch Over Me
(2:46)  5. Where Or When
(4:44)  6. Moonlight In Vermont
(5:11)  7. Saturday Night Fish Fry
(6:19)  8. Summertime
(4:17)  9. Too Darn Hot
(5:01) 10. It's All In The Game
(3:50) 11. It Had To Be You
(5:15) 12. What A Wonderful World

A fresh and intimate approach to great jazz classics. An exciting vocalist with wonderful musicians. Easy and pleasurable to listen too. This is one of Pamala's best...Easy style jazz classics. Her voice glides through the classics with ease and sensuality. The musicians are among the best in the country...Eddie Higgins on piano, Eric Allison on sax, Danny Berger on Drums. They meld together in a beautiful musical love affair. https://store.cdbaby.com/cd/pamalastanley

Pamala Stanley was never well known in the pop or R&B markets, but in dance music, the singer was held in high regard in the late '70s and early to mid-'80s. A native and resident of Dallas, Stanley first grabbed the attention of dance/club DJs in 1979, when she recorded her debut album, This Is Hot, for EMI. The LP fared well in Latin and gay clubs, both of which proved to be equally receptive to three singles she recorded in the '80s: "I Don't Want to Talk About It" in 1983, "Coming Out of Hiding" in 1984, and the rock-influenced "If Looks Could Kill" in 1985. The latter was recorded that same year by Heart, who approached the song as arena rock instead of dance-pop. After that, Stanley retired from music to be a full-time mother, much to the dismay of her fans. In 1990, Beachwood released Coming Out of Hiding: The Sequel, a CD containing remixes of Stanley's club hits, and in the mid-'90s, "Coming Out of Hiding" received a folk-rock makeover from the New York-based female group Her Sister. ~ Alex Henderson https://itunes.apple.com/us/album/its-all-in-the-game/48822323

It's All In The Game

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Jan Harbeck Quartet - Variations in Blue

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 48:25
Size: 111,4 MB
Art: Front

(5:15)  1. East St. Louis Toodle-Oo (feat. Walter Smith III)
(7:24)  2. Nordic Echoes (feat. Walter Smith III)
(6:49)  3. Don't Let the Sun Catch You Cryin' (feat. Walter Smith III)
(4:17)  4. Salvation (feat. Walter Smith III)
(8:22)  5. Blues in the Night (feat. Walter Smith III)
(5:25)  6. Oblivion (feat. Walter Smith III)
(6:53)  7. Third Time to Tango (feat. Walter Smith III)
(3:57)  8. May Each Day (feat. Walter Smith III)

Jan Harbeck lives and breathes for his music and to tell a story with his saxophone. Jan was born in Aarhus, Denmark in 1975 and has been playing music most of his life. He studied at the Royal Academy of Music in Aalborg as well as New School in New York. Besides his two orchestras Jan Harbeck Quartet and Live Jive Jungle, Jan plays with numerous other orchestras (see the list here). In 2011, Jan was presented with the prestigious Danish award Bent Jædig Prize as well as Walter Klæbel Prize in 2006. Not least, Jan won a Grammy in 2009 for the best album of the year.

In 2015, Jan Harbeck Quartet released the album ‘Variations in Blue’ with Walter Smith III and the world’s leading jazz magazine DownBeat wrote the following:

‘Danish saxist Jan Harbeck has put together a gorgeous set of bluesy standards, tangos and originals. Since the tracks are all unhurried recorded live with no cuts or overdubs the whole program slips down like a vintage port. Despite the familiarity of “Don’t Let the Sun…” and “Blues In the Night”, Harbeck’s originals fit the rundown like silk stockings, slowly unfurling.’

– 4 of 5 stars ~ Michael Jackson, DownBeat Magazine, March 2015.

Danish newspaper ‘Politiken’ furthermore described Jan Harbeck Quartet’s show at Copenhagen Jazz Festival, in a review by music editor Thomas Michelsen: “Harbeck demonstrated, that nobody can put their soul into a jazz ballad like he can”, and previously in the same newspaper, he also wrote: “the tenor saxophone is the essential sound of jazz. The soul of the genre. Once upon a time we had Ben Webster in Copenhagen to put the soul to life again. Today we have Jan Harbeck.”  http://www.janharbeck.com/

Personnel:  Tenor Saxophone – Jan Harbeck, Walter Smith III;  Bass – Eske Nørrelykke;  Drums – Anders Holm ;  Piano – Hendrik Gunde

Variations in Blue

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Frank Morgan - City Nights

Styles: Saxophone Jazz

Year: 2003

File: MP3@320K/s

Time: 65:24

Size: 150,3 MB

Art: Front

( 5:16)  1. Georgia On My Mind

(10:26)  2. Cherokee

( 7:45)  3. Summertime

( 7:27)  4. All Blues

( 7:41)  5. I Mean You

( 6:20)  6. Round Midnight

(12:09)  7. Equinox

( 8:17)  8. Impressions

Jazz careers are predictably unpredictable. Some musicians shine young, some are late bloomers, and others maintain a steady flame for decades. Then there's that intriguing handful who come back after years of obscurity; contemporary examples include Henry Grimes, Sonny Simmons, and alto saxophonist Frank Morgan. Born in 1930, Morgan was fortunate to be part of the legendary 1940s Central Avenue scene in Los Angeles. In his early years, Morgan played with Bird, Miles, and West Coast mainstays such as Wardell Gray, but due to jail stays and personal problems, he was absent from the jazz scene almost entirely after the mid-fifties. In 1985 he made a much-heralded comeback, and now in 2004 he's still going strong; witness City Nights. Recorded live at the Jazz Standard in November, 2003, the CD features compositions by Miles ("All Blues"), Monk ("I Mean You" and "Round Midnight"), and Coltrane ("Equinox" and "Impressions"), plus "Cherokee," "Georgia on My Mind" and "Summertime." Morgan has a rich, clear tone, and he swings with deep expression. Certainly it helps to have good support, and you can't ask for a better rhythm section than bassist Curtis Lundy and drummer Billy Hart. Plus pianist George Cables has been playing with Morgan almost 25 years, and they have that magical telepathy so wonderful to witness in jazz. The quartet shines on all the songs, but particularly enjoyable are a buoyant "All Blues" and a warm, shimmering "Equinox."Despite his stature in the jazz world, Morgan still considers himself a student of the music; as he says in the liner notes, "I'm on a Monk journey." This fresh approach combined with years of experience gives City Nights a wonderful vitality. It's 64 minutes of pure delight, jazz at its classic best played by a living master. ~ Florence Wetzel https://www.allaboutjazz.com/city-nights-frank-morgan-review-by-florence-wetzel.php?width=1920

Personnel: Frank Morgan (alto saxophone); Curtis Lundy (bass); Billy Hart (drums); George Cables (piano)

City Nights

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Vanessa Mae - The Violin Player

Styles: Violin Classical
Year: 1995
File: MP3@320K/s
Time: 46:38
Size: 107,0 MB
Art: Front

(7:49)  1. Toccata And Fugue In D Minor
(3:52)  2. Contradanza
(3:24)  3. Classical Gas
(5:08)  4. Theme From 'Caravans'
(3:41)  5. Warm Air
(3:33)  6. Jazz Will Eat Itself
(4:00)  7. Widescreen
(3:29)  8. Tequila Mockingbird
(4:35)  9. City Theme
(3:18) 10. Red Hot
(3:45) 11. Classical Gas (Reggae Version)

?Vanessa-Mae was just a teenager when her major-label debut, The Violin Player, was released. This may account for her ability to successfully fuse old-world classical styles with a contemporary new age sensibility. She comes out scorching on the Bach classic "Toccata and Fugue in D Minor," showing off her world-class talent as a revolutionary violinist. The new arrangements by producer Mike Batt add a flavorful world music appeal that both compliments and showcases her masterful skill. While all ten tracks are performed as instrumentals, Vanessa-Mae manages to squeeze every ounce of passion out of a note, transcending the necessity for lyrics. Her ability to play off of other instruments is brought to the forefront on the final track "Red Hot." She goes toe to toe with a forceful electric guitar and her four-string violin leaves the challenging six-string in the dust. This record will delight those who are bold enough to challenge themselves by listening to a collection of songs that defy standard genre classifications. ~ Erik Crawford https://www.allmusic.com/album/the-violin-player-mw0000173198

Personnel: Vanessa-Mae (programming); Dave "Clem" Clempson, Martin Bliss (guitar); Vasko Vassilev (violin, viola); Dick Morgan (oboe); Philip Todd (saxophone); Murphy , Maurice Murphy (trumpet); Mike Batt, Ian Wherry (keyboards, programming); Gareth Cousins (programming) Violin Player .

The Violin Player

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Barry Harris Trio - The Last Time I Saw Paris

Bitrate: MP3@320K/s
Time: 53:26
Size: 122.3 MB
Styles: Bop, Avant garde jazz
Year: 2001/2015
Art: Front

[4:40] 1. Bag's Groove
[5:54] 2. The Last Time I Saw Paris
[5:30] 3. Dancing In The Dark
[3:57] 4. I Want To Be Happy
[7:02] 5. Once In A While
[5:47] 6. Tea For Two
[8:16] 7. 'round Midnight
[5:46] 8. Oblivion
[6:30] 9. Remember

Bass – George Mraz; Drums – Leroy Williams; Piano – Barry Harris. Recorded on June 2, 2000 in New York.

One of the major hard bop pianists of the last half of the 20th century, Barry Harris has long had the ability to sound very close to Bud Powell, yet he can also do convincing impressions of Thelonious Monk, and has his own style within the bop idiom. He was an important part of the Detroit jazz scene of the 1950s, and has been a jazz educator since that era. Harris recorded his first set as a leader in 1958, and moved to New York in 1960, where he spent a short period with Cannonball Adderley's Quintet. He also recorded with Dexter Gordon, Illinois Jacquet, Yusef Lateef, and Hank Mobley, and was with Coleman Hawkins off and on throughout the decade (including Hawk's declining years). In the '70s, Harris was on two of Sonny Stitt's finest records (Tune Up and Constellation), and made many recordings in a variety of settings for Xanadu. Harris has mostly worked with his trio since the mid-'70s, and has recorded as a leader for Argo (1958), Riverside, Prestige, MPS, Xanadu, and Red.

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David Kikoski - Inner Trust

Bitrate: MP3@320K/s
Time: 68:02
Size: 155.7 MB
Styles: Bop, Piano jazz
Year: 1998
Art: Front

[7:08] 1. Some Other Blues
[7:42] 2. Softly, As In A Morning Sunrise
[5:36] 3. Mirical
[6:59] 4. Inner Trust
[8:14] 5. You Don't What Love Is
[8:47] 6. Two Lonely People
[3:18] 7. Once Upon A Summertime
[4:16] 8. We See
[8:14] 9. Old Folks
[7:44] 10. Winnie's Garden

David Kikoski (P); Ed Howard (B); Leon Parker (D). Recorded December 19, 1997 in New York City, NY, USA by Max Bolleman.

One of David Kikoski's strongest offerings, Inner Trust is a departure in that it focuses primarily on non-original material. Three of the ten tracks are by the pianist, but the rest are standards and jazz classics. Joined by Leon Parker on drums and fellow Roy Haynes sideman Ed Howard on bass, Kikoski reaches consistently grand heights of harmonic invention on burning numbers like "Softly, as in a Morning Sunrise" and John Coltrane's "Some Other Blues." "Winnie's Garden," a Kikoski-penned workout over the chord changes to "Sweet Georgia Brown," practically overflows with energy. And Thelonius Monk's "We See" swings with almost comic cleverness. On the softer side are "You Don't Know What Love Is," "Old Folks," and the unaccompanied "Once Upon a Summertime." "Two Lonely People," a little-known song composed by master pianist Bill Evans and once sung by Tony Bennett, is also noteworthy. Of the two remaining originals, "Mirical" is mannered, but the title track is one of Kikoski's finest achievements -- a simple, stately melody that serves as a launching pad for bold and impassioned improvisation. (A version for quintet can be heard on Roy Haynes's Praise.) ~David R. Adler

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Chad & Jeremy - Before And After

Bitrate: MP3@320K/s
Time: 27:39
Size: 63.3 MB
Styles: AM pop, Sunshine pop
Year: 1965/2016
Art: Front

[2:37] 1. Before And After
[2:42] 2. Why Should I Care
[2:14] 3. For Lovin' Me
[2:34] 4. I'm In Love Again
[2:55] 5. Little Does She Know
[3:20] 6. Tell Me Baby
[2:54] 7. What Do You Want With Me
[1:59] 8. Say It Isn't True
[2:08] 9. Fare Thee Well (I Must Be Gone)
[2:12] 10. Evil-Hearted Me
[1:59] 11. Can't Get Used To Losing You

Chad & Jeremy's first Columbia album was similar to their previous material (recorded for Ember in the U.K. and licensed by World Artists in the U.S.) in its light British Invasion pop/rock style with folky overtones. There wasn't anything here quite on the level of their previous big hits, "Yesterday's Gone" and "A Summer Song," though the orchestrated ballad "Before and After" would be their final Top 20 single. As a whole the album's a bit of a variety show, the pair proving modestly enjoyable to mediocre at a range of approaches on both originals and outside material. There's the nearly straight folk of "Fare Thee Well (I Must Be Gone)" and Gordon Lightfoot's "For Lovin' Me," more orchestrated pop/rock ballads ("I'm in Love Again," "Tell Me Baby," and a slightly inferior remake of "What Do You Want With Me," which they had already done for Ember), bouncy British Invasion pop ("Little Does She Know," "Say It Isn't True"), the Andy Williams hit "Can't Get Used to Losing You," and even a strained attempt at a British Invasion R&B rave-up ("Evil-Hearted You"). "Why Should I Care" is about the best of the original tunes, though at one point it blatantly rips off a riff from the Zombies' "She's Not There." The 2002 CD reissue on Sundazed doubles the length with an assortment of rare singles, outtakes, and alternate versions. None of these are astounding, but some of the more interesting extras include their B-side-only cover of Dino Valenti's "Pennies," which makes its CD debut; the previously unissued version of the obscure Zombies song "Sometimes"; the Italian-sung "Adesso Si" and "Nessuno Piu Di Me," a Europe-only single in 1966; and both sides of the rare 1966 Chad and Jill Stuart single (Jill Stuart was Chad Stuart's wife), which paired covers of Peter, Paul & Mary's "The Cruel War" and Bob Lind's "I Can't Talk to You." ~Richie Unterberger

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Alice Fredenham - Under The Covers

Bitrate: MP3@320K/s
Time: 34:29
Size: 79.0 MB
Styles: Jazz vocals
Year: 2017
Art: Front

[3:50] 1. Wishing On A Star
[4:12] 2. Bluebird
[2:49] 3. Coconut Grove
[3:07] 4. Doctor My Eyes
[5:16] 5. Feelin' Alright
[2:30] 6. My Funny Valentine
[3:32] 7. Feel Like Makin' Love
[3:26] 8. Wild Wood
[3:13] 9. Sunshine Of Your Love
[2:29] 10. Hushabye Mountain

Alice Fredenham first hit the public eye in 2013 as a contestant on Britain's Got Talent where she absolutely wowed both the audience and the panel in her first performance singing 'My Funny Valentine'. Simon Cowell's quote was she had a voice like "liquid gold". Although Alice, to most people's surprise, didn't progress beyond the semi-finals, she built up a loyal, avid fanbase with her sultry powerful vocals and cool classic look and to date her BGT initial appearance has had over 40,000,000 hits on YouTube. Alice is a particular favorite with the American market. In 2015 Alice secured funding via Kickstarter, to a significant level, to record an album. Under the Covers was recorded at Real World and is a covers album with Alice's personal take on a mix of classic tracks, both contemporary and standards and recorded with professional musicians. The album features special guest on sax and flute Theo Travis

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Derek Nash - Joyriding

Bitrate: MP3@320K/s
Time: 67:54
Size: 155.4 MB
Styles: Saxophone jazz
Year: 2011
Art: Front

[7:39] 1. Joyriding
[5:41] 2. Waltz For My Father
[5:23] 3. All The Things You Are
[6:28] 4. Cinema Paradiso (Love Theme)
[4:32] 5. The Time Of Your Life
[5:05] 6. Be My Valentine
[5:16] 7. Majolica
[8:06] 8. Love At First Sound
[7:10] 9. Voodoo Rex
[8:43] 10. Haunting Me
[3:47] 11. Be My Valentine (Vocal Version)

Derek Nash: saxophones, percussion; Dave Newton: piano; Geoff Gascoyne: bass; Sebastiaan de Krom: drums; Martin Shaw: trumpet; Winston Rollins: trombone (9); Beverley Vaughan: vocals, percussion (11).

One of the strengths of the current British jazz scene comes from its core of mainstream, straight-ahead musicians, who focus their creative abilities on drawing fresh nuances from established musical styles; saxophonist Derek Nash is one of them. Joyriding features what he refers to as his "regular quartet," although that phrase does scant justice to the quality of the musicianship. Nash is a member of Jools Holland's Rhythm And Blues Orchestra, a regular presence on BBC TV where Holland has his own music show, Later. Pianist Dave Newton is a winner of nine British Jazz Awards, while bassist Geoff Gascoyne and drummer Sebastiaan de Krom are long-term members of Jamie Cullum's band.

Nash displays engagingly eclectic taste. He co-wrote three tunes with his father, Pat, a respected arranger. "Waltz For My Father" is a particular standout, for its lilting, optimistic melody and for Nash's lyrical playing. The other compositions encompass the hard-bop-meets-blues of "Joyriding"—a tune that conjures images of groovy '60s TV shows like Rowan And Martin's Laugh-In—and the cool swing of Phil Phillips' "Be My Valentine," later reprised in a vocal version featuring singer Beverly Vaughan. "Love At First Sound" is a gentle, slightly melancholy, ballad, with Nash's rich, warm, saxophone lent understated support by Newton, Gascoyne and de Krom. "Voodoo Rex," which Nash dedicates to his alto saxophone, is a terrific ensemble number. The core quartet is joined by Winston Rollins' funky trombone, creating a really full-blooded sound. Nash's take on songbook standards is similarly fresh. Jerome Kern's "All The Things You Are" has the feel of a Dave Brubeck arrangement, Nash taking the lead as the rhythm section drives him on, before Newton and Gascoyne deliver strong, emphatic solos of their own. Ennio Morricone's "Cinema Paradiso (Love Theme)," with its slinky Latin sensuality, is gorgeously romantic; bass and drums are, once again, central to the creation its mood, and there's some lovely interplay between Nash and Newton.

Joyriding is an album full of good vibes and upbeat grooves, tempered by the occasional reflective and romantic interlude. The playing is superb, the sound quality is exceptional (thanks to Nash's production at Clowns Pocket Studio) and the tunes are very definitely a joy. ~Bruce Lindsay

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Steve Kuhn Trio - Plays Standards

Bitrate: MP3@320K/s
Time: 71:01
Size: 162.6 MB
Styles: Piano jazz
Year: 2007
Art: Front

[7:16] 1. Alone Together
[5:31] 2. Golden Earrings
[5:59] 3. I Wish I Knew
[4:07] 4. Left Alone
[6:25] 5. Blue Bossa
[6:34] 6. Nature Boy
[6:32] 7. Softly As In A Morning Sunrise
[5:20] 8. You Leave Me Breathless
[6:23] 9. Oceans In The Sky
[5:28] 10. I See Your Face Before Me
[6:50] 11. Love Letters
[4:35] 12. Beautiful Love

Bass – Buster Williams; Drums – Al Foster; Piano – Steve Kuhn. Recorded at The Studio in New York on August 30/31, 2006.

Veteran jazz pianist Steve Kuhn has proved to be a popular artist in Japan, recording a series of CDs for the Japanese label Venus. On these 2006 sessions, Kuhn is joined by bassist Buster Williams and drummer Al Foster, two artists who also have extensive résumés. While the CD is titled Plays Standards, Kuhn doesn't stick exclusively to well-known works. In addition to Victor Young's widely recognized "Beautiful Love" (a favorite of pianist Bill Evans), the pianist offers a seductive take of the composer's "Golden Earrings" and a lighthearted, breezy setting of "Love Letters" as well. Kuhn's intense workout of "Alone Together" includes an amusing detour into Thelonious Monk's "Locomotive," while his revamping of "Softly, as in a Morning Sunrise" disguises the tune rather well. Kuhn also revisits his original "Oceans in the Sky," a brilliant piece evocative of a coming storm. Highly recommended. ~Ken Dryden

Plays Standards mc
Plays Standards zippy

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Buddy Tate - Swinging Like Tate

Styles: Saxophone And Clarinet Jazz
Year: 1958
File: MP3@320K/s
Time: 40:48
Size: 94,0 MB
Art: Front

(6:03)  1. Bottle
(8:36)  2. Walk That Walk
(5:59)  3. Miss Sadie Brown
(7:40)  4. Moon Eyes
(7:02)  5. Rockin' Steve
(5:25)  6. Rompin' With Buck

For this CD reissue, which brings back material originally recorded by Stanley Dance for the Felsted label, veteran swing tenor Buddy Tate is heard at the head of two different groups for three obscure songs apiece. The first half has Tate leading his Celebrity Club Orchestra, a four-horn octet that lacked any big names but worked regularly throughout the era. For the second half, Tate is teamed with some of the Count Basie alumni including trumpeter Buck Clayton, trombonist Dicky Wells, altoist Earle Warren and drummer Jo Jones. The music overall is fine mainstream jazz of the 1950's that is easily recommended to straightahead jazz fans although little unexpected or all that memorable occurs. ~ Scott Yanow https://www.allmusic.com/album/swinging-like-tate-mw0000200603 

Personnel: Buddy Tate (tenor sax, clarinet); Pat Jenkins (trumpet); Eli Robinson (trombone); Ben Richardson (alto sax, clarinet); Skip Hall (piano); Everett Barksdale (guitar); Joe Benjamin (bass); Herbie Lovelle (drums); Buck Clayton (trumpet); Dicky Wells (trombone); Earle Warren (alto sax, baritone sax); Lord Westbrook (guitar); Aaron Bell (bass); Jo Jones (drums).

Swinging Like Tate

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Ruby Braff - Our Love Is Here To Stay

Styles: Cornet Jazz
Year: 2010
File: MP3@320K/s
Time: 64:52
Size: 151,2 MB
Art: Front

(8:03)  1. Linger Awhile
(6:00)  2. All My Life
(3:54)  3. Day In Day Out
(7:21)  4. I'm Coming Virginia
(8:42)  5. I Know That You Know
(8:25)  6. Deed I Do
(6:15)  7. Clear Water
(9:36)  8. Medley: What Is There To Say? /  Our Love Is Here To Stay
(6:33)  9. The Darktown Strutter's Ball

Ruby Braff's career spanned from the 1940s until months before his death in early 2003. This 2011 release comes from two previously unissued sessions in the spring of 1998, not that they were substandard in any way, but just set aside as other projects were completed. The veteran cornetist was a master of subtlety and a consistently inspired improviser, while he sought to surround himself with a similar caliber of players. Guitarist Howard Alden (a frequent collaborator), alto saxophonist Chuck Wilson, rhythm guitarist Jon Wheatley, bassist Marshall Wood, and drummer Jim Gwin make up the main group. The performances feel like they came together with little more than a brief discussion, though there were some on-the-spot charts created by Braff with Alden's help. The delightful interplay is a constant factor throughout the sessions. The satisfying "Linger Awhile" showcases Braff's rich cornet, yet there is plenty of space to feature Wilson and Alden as well. "I'm Comin' Virginia" fell out of fashion by the time bop started dominating jazz, though in Braff's mind, good melodies never grew stale, as he proves in this loping, lyrical performance. "I Know That You Know" swings like mad with the addition of Scott Robinson on tenor sax (he joins Wilson in playing harmony to accompany Braff's opening solo), while Robinson's warm solo combines the influences of all of the great swing tenor saxophonists. The last four tracks add Robinson and trumpeter Jon-Erik Kellso (another gifted player somewhat in Braff's mold), providing a perfect foil for the leader in a snappy take of "'Deed I Do" and Braff's melancholy blues "Clear Water" (based on the changes to "Love Me or Love Me"). Wilson switches to clarinet for the deliberate, foot-tapping exploration of the old chestnut "The Darktown Strutters' Ball," in which the group avoids stating the melody outright and works its way around its chord progression in a superb Dixieland setting. Fans of Ruby Braff can only hope that more unissued treasures by the late great cornetist are revealed on future Arbors CDs to follow this top-drawer collection. ~ Ken Dryden https://www.allmusic.com/album/our-love-is-here-to-stay-mw0002099731

Personnel: Ruby Braff (cornet); Howard Alden, Jon Wheatley (guitar); Chuck Wilson (alto saxophone); Jim Gwin (drums).

Our Love Is Here To Stay

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Dave Valentin - Jungle Garden

Styles: Flute Jazz
Year: 1985
File: MP3@320K/s
Time: 42:56
Size: 98,7 MB
Art: Front

(2:05)  1. Awakening
(6:21)  2. Oasis
(4:57)  3. Bones (A Lion Who Lived and Died in the Kalahari)
(5:00)  4. Love Light in Flight
(4:41)  5. Jungle Garden
(3:51)  6. Very Nice Indeed
(5:42)  7. I Loves You Porgy
(4:55)  8. Eighty-One
(5:19)  9. Tabasco

?Dave Valentin, who recorded over 15 albums for GRP, combined together the influence of pop, R&B, and Brazilian music with Latin jazz to create a slick and accessible form of crossover jazz. At age nine, Valentin enjoyed playing bongos and congas. He gigged at Latin clubs in New York from age 12 and it was not until he was 18 that he seriously started studying flute. Valentin's teacher, Hubert Laws, suggested that he not double on saxophone because of his attractive sound on the flute. In 1977, he made his recording debut with Ricardo Marrero's group, and he was also on a Noel Pointer album. Discovered by Dave Grusin and Larry Rosen, Valentin was the first artist signed to GRP and he was a popular attraction for years to follow. After the mid-2000s, Valentin was signed to Highnote Records, releasing World on a String in 2005, Come Fly with Me in 2006, and Pure Imagination in 2011. Valentin suffered a debilitating stroke in 2012 and a second stroke three years later; he died in 2017 at the age of 64. ~ Scott Yanow https://www.allmusic.com/artist/dave-valentin-mn0000625994/biography

Personnel:  Flute, Percussion, Synthesizer, Producer – Dave Valentin;  Bass – Lincoln Goines;  Congas, Percussion – Frank Malabé;  Drums – Robert Ameen;  Piano, Electric Piano, Synthesizer – Bill O'Connell

Jungle Garden

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Bruce Barth - East & West

Bitrate: MP3@320K/s
Time: 58:46
Size: 134.5 MB
Styles: Piano jazz
Year: 2001
Art: Front

[6:19] 1. At The Ranch
[5:42] 2. I'm Old Fashioned
[5:17] 3. Riding Off..
[6:37] 4. Sundown Time
[7:04] 5. The Lexter
[3:51] 6. Ask Me Now
[5:30] 7. The Dude
[7:48] 8. A Joyful Noise (For Jw)
[4:00] 9. My Shining Hour
[6:33] 10. Let's Call This

Alto Saxophone, Soprano Saxophone, Clarinet – Steve Wilson; Bass – Ugonna Okegwo; Drums – Al Foster; Piano, Producer – Bruce Barth; Soprano Saxophone – Sam Newsome; Tenor Saxophone, Bass Clarinet – Adam Kolker; Trumpet, Flugelhorn – Terell Stafford. Recorded December 3-4, 2000.

Pianist Bruce Barth is a producer for MAXJAZZ. He has been instrumental in producing the highly successful Vocal Series for the label. He now steps halfway out of the sound booth and gets behind his piano to produce, with the help of an all-star cast, jazz of great complexity, thoughtfulness and sensitivity. I don't know if Mr. Barth is doing anything different, but the refinement in this music seems to elevate it to a level somewhere well-beyond what usually crosses my desk. That is saying a lot because I have listened to precious little bad music.

Barth's compositions have an old time feel while remaining strictly contemporary. "At The Ranch" evokes a "Hot Fives and Sevens" temperament in the head and middle Miles feel in the solos. This duplex philosophy is further explored in the standards "I'm Old Fashioned" and "My Shining Hour". The disc is saxophone heavy, with all but the baritone represented. Adam Kolker, who spends most of his time in the tenor chair, pulls out the bass clarinet to provide a Harry Carney/Eric Dolphy ambience. Likewise soprano saxophonist Sam Newsome adds a Coltrane flair to the whole affair. Newcomer Terell Stafford, hot off his recent Nagel Heyer release Fields of Gold proves why he is the new next-best-thing-to-sliced-bread. ~C. Michael Bailey

East & West mc
East & West zippy

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Nikoletta Szöke - Moonglow

Bitrate: MP3@320K/s
Time: 55:15
Size: 126.5 MB
Styles: Jazz vocals
Year: 2017
Art: Front

[3:40] 1. I Wish You Love
[3:24] 2. My Baby Just Cares For Me
[3:40] 3. Moon Glow
[4:56] 4. Eu Sei Que Vou Te Amar
[5:16] 5. So Many Stars
[6:52] 6. What Are You Doing The Rest Of Your Life
[5:20] 7. Smile
[4:35] 8. Someone To Watch Over Me
[5:36] 9. All The Good Life
[4:20] 10. Day In Day Out
[4:06] 11. Teach Me Tonight
[3:25] 12. Let There Be Love

I was born in the city of Zalaegerszeg, on 8 May, 1983. I was only four years old when we moved to Budapest and I started my studies there. From my musician family, to my cimbalom player father since my birth I was surrounded with music and my talent showed in a very early age,however my life went to a different direction. Yet in Zalaegerszeg, I begun to go to kindergarten music but because of moving I had considerably long break, fourteen years. Thereafter at age eighteen after my high-school graduation exam it defined in me that I would like to learn to sing. At my first significant performance I met my future husband bassist József Barcza Horváth and thankfully through him I found the genre of music were I can express most of all my self: that is Jazz. He was the person who introduced me to my later singing teacher,the known and acclaimed Gábor Winand. Finishing Economy Technical College and External Trade Administration Department Qualification achievement I wanted entirely devote my self to singing. In this there was interference, I was studying at the Study of Music Art School and also at the same time at Loránd Eötvös University of Science Liberal Arts English and Russian department, nevertheless when I had to choose the decision was obvious. From thereon nothing could hampered that I want to spend my day to days with singing jazz and in big part because when I was learning singing I begun to perform as well. At first with Robert Szakcsi Lakatos trio and after with more and more combos. After three and a half years of study and continuous performances I applied to the Famous Monteux Jazz festival were they held the third voice competition in 2005 called Shure Montreux Jazz voice Competition were from all around the world under 30 years of age singers could apply. To my big joy I was invited to the only 8 semifinalist, where I came out as the first prize winner and also as the winner of the audience award. For me this achievement is not only important because it comes with prestige but because such artists (Barbara Hendricks, Randy Crawford among others) were judging me that I look up professionally with out any condition. In January 2006 I took part on Conference of International Associaton for Jazz Education (IAJE Conference) in New York, and I performed in Hilton New York Hotel and in the club of Lincoln Center, Dizzy's Club. My partners were: Gilad Hekselman, Israel (2005 Montreux Guitar Competition Winner), Harold Lopez Nussa-Torres, Cuba (2005 Montreux Piano Competition Winner) and Geoff Newman and Anthony Pinciotti from USA. In 2006 I won a scholarship, which can be given to three young Hungarian musicians every year. I am very proud of this scholarship, because the jury consisted of very recognized Hungarian musicians, Béla Sa-chi and Kalman Olah amongst others. I returned to Montreux as a performer with my beloved band - Róbert, József and András - and we made a concert on 30 June 2006 before Paolo Conte.

Moonglow mc
Moonglow zippy

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