Steve Lacy - Soprano Sax

Bitrate: MP3@320K/s
Time: 33:38
Size: 77.0 MB
Styles: Bop, Saxophone jazz
Year: 1958/1995
Art: Front

[4:24] 1. Day Dream
[6:45] 2. Alone Together
[5:24] 3. Work
[4:06] 4. Rockin' In Rhythm
[4:32] 5. Little Girl Your Daddy Is Calling You
[8:25] 6. Easy To Love

Bass – Buell Neidlinger; Drums – Dennis Charles; Piano – Wynton Kelly; Soprano Saxophone – Steve Lacy. Recorded in Hackensack, NJ; November 1, 1957.

This was the first of three recordings soprano saxophonist Steve Lacy made for Prestige and this 11/1/57 session was his first as a leader...There was a controlled tension to this date, like everybody's trying to play, carefully, to a common goal. It's almost as if someone were present to make sure everybody stayed within obvious perimeters. ~Bob Rusch

Soprano Sax

---

Etta Jones - The Oliver Nelson Orchestral Arrangements

Bitrate: MP3@320K/s
Time: 68:49
Size: 157.5 MB
Styles: Vocal jazz
Year: 2013
Art: Front

[4:19] 1. Unchained Melody
[3:43] 2. All My Life
[2:03] 3. I Wish I Didn't Love You So
[2:56] 4. The Masquerade Is Over
[2:26] 5. You Came A Long Way From St. Louis
[2:13] 6. By The End Of The River
[2:49] 7. Makin' Whoopee
[3:19] 8. There Goes My Heart
[3:04] 9. I'll Never Be Free
[2:25] 10. Look For The Silver Lining
[3:06] 11. Funny (Not Much)
[4:05] 12. I'm Through With Love
[2:59] 13. Just Friends
[3:34] 14. How Deep Is The Ocean
[2:49] 15. Can You Look Me In The Eyes
[3:35] 16. Hurry Home
[3:05] 17. And This Is My Beloved
[2:07] 18. They Can't Take That Away From Me
[1:59] 19. You Better Go Now
[3:34] 20. I Laughed At Love
[2:34] 21. Good Morning, Heartache
[2:44] 22. If You Were Mine
[3:09] 23. You Don't Know What Love Is

Etta Jones came to the public attention in the 1940s, but after she was revealed as a potentially important artist, nothing much happened commercially with her records. So, after a long period of obscurity, the arrival of Etta Jones in the LP best seller lists in 1961 was a stunning illustration of how suddenly an almost neglected artist could become a name vocalist with two albums: "So Warm" and "From the Heart" compiled here in one CD. Miss Jones' sense of drama was to lie about midway between Ethel Waters and Billie Holiday, but remained within hailing distance of Dinah Washington. That said, she was her own stylist. She had the ability to project a wide variety of moods, from anguish to exuberance. The arrangements on both albums, which include some handsome string writing, are by Oliver Nelson and were perhaps his most impressive achievement until then. Nelson had never written for strings before, and his only vocal-background arrangements had been for small combinations. "I wrote as though the voice were an instrument," he said. Because of this, he took several chances and got away with them. Nelson gave Miss Jones some of the most complex accompanying lines to sing over ever confronting anyone.

The Oliver Nelson Orchestral Arrangements

---

Eight To The Bar - You Call This Swing?

Bitrate: MP3@320K/s
Time: 45:06
Size: 103.3 MB
Styles: Swing, Jump blues
Year: 2003
Art: Front

[3:32] 1. Rock And Roll
[3:03] 2. Hello, I Love You
[3:22] 3. Living In The Usa
[3:57] 4. Rag Doll
[4:36] 5. Synchronicity Ii
[3:08] 6. White Rabbit
[3:41] 7. Ticket To Ride
[4:23] 8. Low Down
[3:23] 9. Satisfaction
[4:36] 10. Young Americans
[3:38] 11. Foxey Lady
[3:40] 12. I Want You

Drawing its musical influences from American roots music- swing, jump blues, and boogie woogie- Eight to the Bar is known for its outstanding instrumentalists and sophisticated musical and vocal arrangements, highlighted by 4-part male/female vocal harmonies. With the support of independently produced CDs and videos, Eight to the Bar has cultivated a large, enthusiastic following that has put them in clubs and festivals from London to L.A. Their rigorous performing schedule (approximately 200 dates per year) has included shows with Big Bad Voodoo Daddy, Manhattan Transfer, Robert Cray, Neil Young, the late Ray Charles, and a recent 5-country European tour.

"You Call This Swing?", their 9th CD, was born from a need to take a fresh approach to making another swing CD. Taking 12 of their favorite classic rock tunes, they broke them down, spun them around, applied their swing and jazz sensibilities, and added some of their trademark wackiness, resulting in a lively, varied record that has captivated both swingers and rockers alike.

You Call This Swing?

---

Allan Vaché - One For My Baby

Bitrate: MP3@320K/s
Time: 62:47
Size: 143.7 MB
Styles: Clarinet jazz
Year: 1991
Art: Front

[4:42] 1. Shiny Stockings
[6:37] 2. If She Walked Into My Life
[5:38] 3. Just Friends
[4:44] 4. Autumn In New York
[4:12] 5. It's You Or No One
[5:52] 6. Lover Man
[3:20] 7. Drum Boogie
[5:48] 8. I'm All Better Now
[4:34] 9. Night In Tunisia
[5:53] 10. Willow Weep For Me
[4:38] 11. My Kind Of Town
[6:43] 12. One For My Baby

Allen Vache (cl, leader); John Sheridan (p); Howard Elkins (g); Jack Wyatt (sb, v).

Allan Vache remains a very underrated jazz clarinetist. This cd with John Sheridan on piano is a very good listen. The selection of songs is superb and the melodies are never lost. A gem. ~Frank G. Santy

One For My Baby

---

Lara Luppi & The Vintage Kings - Hot Cherries

Bitrate: MP3@320K/s
Time: 34:23
Size: 78.7 MB
Styles: Retro swing
Year: 2017
Art: Front

[2:06] 1. Tennessee Saturday Night
[2:49] 2. A Slip Of The Lip
[3:46] 3. Comes Love
[3:02] 4. My Babe
[2:55] 5. Bésame Mucho
[2:41] 6. Baby It's Cold Outside
[2:51] 7. Willie And The Hand Jive
[2:59] 8. Ain't That Good News
[3:11] 9. Blue Skies
[2:32] 10. Gee Baby Ain't I Good To You
[2:47] 11. Sixteen Tons
[2:37] 12. Swing Brother Swing

Welcome to an extraordinary artist proposing with Cose Sonore her album Hot Cherries. Lara Luppi, featuring The Vintage Kings sings in this album dedicated to Swing, Lindy-Hop and Retro-Vintage, twelve songs taken from the most significant repertoire of the genre: from Comes Love to Sixteen Tons passing through Blue Skies, from Willie and the Hand Jive to Baby It's Cold Outside sung in duet with Claudio "Greg" Gregori.

Hot Cherries

---

Martin Taylor - The Valley

Bitrate: MP3@320K/s
Time: 47:10
Size: 108.0 MB
Styles: Jazz guitar
Year: 2004
Art: Front

[3:49] 1. I Wish I Knew How It Would Feel To Be Free
[5:19] 2. The Fair Haired Child
[4:14] 3. The Valley
[3:30] 4. Bridge Over Troubled Water
[4:46] 5. God Bless The Child
[3:10] 6. Somewhere
[4:39] 7. Hymn
[4:24] 8. Don't Know Why
[3:14] 9. Bewitched, Bothered & Bewildered
[3:27] 10. I've Got You Under My Skin
[3:33] 11. Have You Met Miss Jones
[2:58] 12. Kwame

After the passing of Joe Pass, Britain's Martin Taylor has risen to become one of the premier jazz guitarists on the scene. Despite that, he's presented on a relatively small label here. The music is a mix of original compositions by Taylor (and compatriot Simon Dinnigan) and standards from around the jazz repertoire. Taylor has a relatively light touch, reminiscent, at times, of some new age players. Simultaneously though, he can pick his way through intricate passages akin to a piano player. At that however, not necessarily a jazz piano player. Taylor is admittedly influenced by the likes of Art Tatum, but his style is almost that of a classical pianist through much of the recording, and certainly on the order of a classical guitarist. Guest vocalists are present (opera singer Bryn Terfel and Sacha Distel in particular), though their talents don't quite fit with Simon & Garfunkel covers, truthfully. Overall, the covers are nice, though not always fitting. The originals are where Taylor really shines, letting his style flow as it will through the passages without worrying about remaining true to the original composers. Worth a listen for jazz guitar fans, though Taylor is likely not unheard of for those in the know anyway. ~Adam Greenberg

The Valley

---

Luis Perdomo - Links

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 69:36
Size: 160,8 MB
Art: Front

(6:13)  1. Percy's Delight
(6:13)  2. Waiting Time
(7:46)  3. Crossmind Dreams
(5:01)  4. Profundo
(7:17)  5. The 'A' List
(6:47)  6. The Organ Grinder
(5:52)  7. Enigma
(4:49)  8. Three Card Molly
(7:05)  9. Melisma
(8:04) 10. Paco
(4:24) 11. Elena

It's traditional in almost all genres of music that the innovators are always given the most attention. This holds true in jazz as right now as artists like Robert Glasper, Rudresh Mahanthappa, and Darcy James Argue's Secret Society are praised for being bold innovators in the world of jazz. While innovation and boundary- pushing are necessary in the development of jazz, there is also great value in doing something traditionally, but executing it perfectly. Especially in jazz, which is so focused on improvisation, just as much innovation can occur in the solos the artists play as in blending of styles or new instrument combinations.

For his 2013 release, Links, New York based pianist, Luis Perdomo, put together about as traditional an small ensemble as you can get. The saxophone quartet has been a standard group in the jazz world almost as long as the word jazz has been around. Despite the traditional setup, the group's playing is anything but, as they work their way through these eleven tunes, with originals contributed by everyone in the group and a couple off-the-beaten-path classics. Alto saxophonist, Miguel Zenon, is a longtime friend and colleague of Perdomo's and was an obvious choice for this quartet. Bassist Dwayne Burno and drummer Rodney Green have also collaborated with Perdomo in the past, so this is a quartet we can expect a lot from. The album starts off with "Percy's Delight," an up-tempo little tune written by drummer Rodney Green. The melody quickly gives way to Perdomo's solo where he demonstrates his subtly unique voice on the piano. His time feel and phrasing are both amazing and he gives Green and Burno plenty to work with rhythmically. They dutifully respond to his playing and follow his lead well. We got a quick listen to Zenon as he played the melody but following Perdomo's solo he shows off his unique sound, strong and confident, yet breathy and slightly reserved at the same time. This first tune alone shows Zenon to be a great foil for Perdomo and sets a great tone for the rest of the album.

"Waiting Time" is a very pretty swing tune written by Harold Danko who was one of Perdomo's piano teachers. Rodney Green really has fun on this tune playing with the time of the swing feel, first on brushes during the melody before switching to sticks for the solos. Once again Perdomo and Zenon display their great connection as Perdomo seamlessly passes the baton to Zenon for his solo. "Crossmind Dreams" is a little contrapuntal theme by Perdomo which quickly dissolves into a floaty, free-time feel as the group follows Zenon's lead. However Zenon quickly guides the rhythm section into a driving swing. The group takes the same approach for Perdomo's solo giving him some room to explore before taking off on that driving swing feel. "Profundo" starts out as a rubato ballad, showcasing Zenon's expressiveness and control of the alto. It soon develops into a relaxed straight-eighth groove that provides the perfect canvas for Zenon's and Perdomo's solos. 'The A List' is another Perdomo original and one of the catchiest tunes on the album. Zenon's solo starts out basic and gives the group plenty of room to build in his solo until he ends with the catchy riff from the melody. With plenty of room to stretch out Perdomo proves that he has a real talent for motivic playing in his solo as he also guides the rhythm section to a crescendo before finishing the tune. The album continues with "The Organ Grinder," an obscure Woody Shaw tune that Perdomo has re-arranged for this quartet. Perdomo takes the melody in the A sections, creating an interesting effect by letting Zenon double the repeated bass riff. The medium swing tempo of the song finds the rhythm section settling into a fantastic groove and Perdomo plays one of his most inspired solos on the album, showing off his skill both for playing deep in the pocket, and playing some impressive hemiolas and playing with the time. 'Enigma' is a beautiful and restrained sraight-eighth ballad. The floating melody dissolves into a bass solo that is most memorable for a "Girl From Ipanema" quote that can't help but elicit an eye-roll.

"Three Card Molly" is an interesting Elvin Jones tune that this group interprets in their own way. It seems to almost be leaning more toward a Latin feel but then shifts into a hard driving swing. Appropriately (since it's an Elvin Jones tune) the centerpiece of this song is a tasteful drum solo from Green. 'Melisma' is a beautiful ballad written by Dwayne Burno and the melody is beautifully interpreted by Zenon, however the tune falls into the trap of sounding a little too similar to some of the earlier ballads on the record and ends up being fairly forgettable. Zenon and Perdomo both play great solos where the rhythm section plays around with some double-time feels that help save the tune from being average. Miguel Zenon's "Paco" has a nice easy swing to it and provides a bit of a new direction on the album with it's waltz feel. The 3/4 time signature proves to be an interesting addition for this group as Rodney Green gets creative with keeping the time. "Elena," the album closer, is a simple theme written by bassist Mimi Jones, who happens to be Perdomo's wife. The shortest song on the album, it serves as a sort of tag to end the performance. This is an album of modern jazz, but it's jazz with a lot of traditional influence and approach. It doesn't rely on any 'gimmicks' for its originality but instead relies on the strength of the improvisers and of the group as a whole to really bring innovation to the music. Perdomo and Zenon's special relationship shines through in their playing and this album is well worth listening to, just to hear how well these two play together. ~ Andrew Luhn https://www.allaboutjazz.com/luis-perdomo-links-by-andrew-luhn.php
 

Personnel: Luis Perdomo: piano; Miguel Zenon: saxophone; Dwayne Burno: bass; Rodney Green: drums.

Links

---

Janis Siegel - A Thousand Beautiful Things

Styles: Jazz, Vocal
Year: 2006
File: MP3@320K/s
Time: 60:04
Size: 137,9 MB
Art: Front

(7:42)  1. Hedden Place
(3:40)  2. The Suitcase Song
(6:01)  3. I Can't Help It
(5:31)  4. Caramel
(8:04)  5. A Thousand Beautiful Things
(4:35)  6. A Wish (Valentine)
(5:52)  7. Love
(4:59)  8. Make It Better
(1:41)  9. ...Till Then
(4:38) 10. Sweet Is the Air
(4:01) 11. Reflecting Light
(3:15) 12. Did You See the Moon Tonight?

The key word from the title of this latest release by singer Janis Siegel is beautiful. She interprets this lovely program of mainstream songs in such a way that we're able to sit back and reflect on the beauty that each one holds. Her message is sincere. Hers isn't some groove shop exercise where she entertains us with vocal acrobatics and whiz-bang instrumental technique. No, Siegel performs with genuine sincerity and delivers a message that reaches home, communicating with her audience and leaving a beautiful glow with each phrase. Edmar Casteneda's Colombian harp and the band's bright Latin jazz accompaniment gives Siegel a pleasant texture with which to sing songs of love and romantic pleasure. Caramel mambos into our hearts with a lightly dramatic flair; both Casteneda and pianist Edsel Gomez contribute stirring solo spots and suave accompaniment. Siegel sings this one with a romantic presence, multitracking the piece and filling it with positive thoughts. A Thousand Beautiful Things allows Siegel and her ensemble to bring a lovely mambo texture to the dance floor. The music simmers gently and she takes us for an exotic tour of far-off lands where the landscape is filled with nothing but spiritual pleasures, both wholesome and real. Paul Simon's "Love places the singer amid a chorus of voices that float gently over a syncopated Caribbean breeze. Here and elsewhere, Edsel Gomez adds considerable depth to Siegel's heartfelt interpretation. With Casteneda's harp as accompaniment, Siegel interprets "A Wish sincerely as a romantic Valentine's Day greeting. She closes the program with "Did You See the Moon Tonight? performed slowly with piano accompaniment: sweet, sincere and filled with the beauty that rest of her album delivers in abundance. ~ Jim Santella https://www.allaboutjazz.com/a-thousand-beautiful-things-janis-siegel-telarc-records-review-by-jim-santella.php
 

Personnel:  Janis Siegel: vocals, background vocals;  Edsel Gomez: piano, background vocals;  Edmar Casteneda: Columbian harp;  John Benitez: bass, background vocals;  Steve Hass: drums, background vocals;  Luisito Quintero: drums, percussion, background vocals;  Brian Lynch: trumpet, flugelhorn;  Marlon Saunders, Silvia Ramirez, Silvia Rodriques, Silvia Maria Romero, Silvia Rosario: background vocals.

A Thousand Beautiful Things

---

Harold Danko Quartet - Nightscapes

Styles: Piano Jazz
Year: 2001
File: MP3@256K/s
Time: 59:41
Size: 109,4 MB
Art: Front

( 1:44)  1. Prologue and Episodes
( 7:53)  2. Night Space
( 8:05)  3. First Dream
( 5:43)  4. The Idea Loop
( 6:51)  5. Fourth Hour
( 8:43)  6. Insominique
( 8:59)  7. Weightless
(11:38)  8. Times' Irony

This intriguing set features nine originals by pianist Harold Danko, all of which have something to do with his impressions of night. The titles which include "Night Space," "Fourth Hour," "Insomnique," and "Times' Irony" are often quite impressionistic and melancholy, floating along as if in a dreamlike state, although sometimes displaying bits of explosive fire. Danko is joined by tenor saxophonist Rich Perry (a highly underrated and talented player), bassist Scott Colley, and drummer Jeff Hirshfield for the program, which grows in interest (due to its often eerie moods) with each listen. ~ Scott Yanow http://www.allmusic.com/album/nightscapes-mw0001179836

Personnel: Harold Danko (piano); Rich Perry (tenor saxophone); Jeff Hirshfield (drums); Scott Colley (bass).

Nightscapes

---

Rick Braun - All It Takes

Styles: Trumpet And Flugelhorn Jazz  

Year: 2009

File: MP3@320K/s

Time: 47:59

Size: 111,0 MB

Art: Front

(5:30)  1. Tijuana Dance?

(5:40)  2. Puerto Allegre Jam

(4:45)  3. Christiane

(4:59)  4. All It Takes

(4:09)  5. She's The One

(4:32)  6. I Got Your Back

(5:04)  7. Ever Changing World

(4:33)  8. Sleeveless In Seattle

(3:43)  9. Berlin

(5:00) 10. Freddie Was Here

Rick Braun has built his career as a contemporary trumpeter based on the basic concepts of predecessors like Herb Alpert, Chuck Mangione, and Tom Browne. Dependent on urban R&B beats, Braun can only marginally be called jazz, but does own an appeal to the smooth music crowd that this produced recording will only reinforce. Teamed with keyboardist and producer Philippe Saisse, Braun follows a path of least resistance in terms of the calculated nature of his music and the simplicity of his melodies. Saisse adds synthesized sounds for the most part alongside Braun's overdubbed flügelhorn and muted trumpet to create soundscapes made of clear plastic and reflecting some prismatic colors. There's not much to distinguish one track from another except slight midtempo changes and some Latin rhythms. "Christiane" uses the two-horn approach effectively in a fairly lyrical setting, "She's the One" is easy-beat funk with plain synths and percussion, "Sleeveless in Seattle" sports a retro sound with handclaps, and "I Got Your Back" offers assimilated horn backing in more substantive ways. On the salsa side, "Tijuana Dance?" is a romp-and-stomp funk with some elegant acoustic and electric guitar, while "Puerto Allegre Jam" is a Latin disco number. "Freddie Was Here" might be appropriate for a film score in a slowed late-night dramatic or perhaps romantic theme. Perhaps the most interesting music crops up during the heavier "Ever Changing World," with Braun's two horns stretching ever so slightly from his lyrically urbane sound. Fond of fluttery notes in introductions, Braun's self-absorbed, passive playing speaks to an urban crowd seeking predictable music, and in this regard he succeeds, remaining in the so-called pocket, not as syrupy as most, but sugary sweet like cotton candy.~ Michael G.Nastos http://www.allmusic.com/album/all-it-takes-mw0000820435

Personnel: Rick Braun (trumpet, flugelhorn, drums, programming); Vanessa Falabella Donada (vocals); Dwight Sills, Marc Antoine (guitar); Richard Elliot (saxophone); Nick Lane (trombone); Philippe Saisse (keyboards, drums, programming, drum programming); Tim Gant (keyboards, drums, programming); Jeff Lorber (keyboards, programming); Ricky Lawson, Simon Phillips (drums); Luis Conte (percussion).

All It Takes

---

Richard Davis - Total Package

Styles: Jazz, Hard Bop, Post-Bop 
Year: 1997
File: MP3@320K/s
Time: 65:11
Size: 149,6 MB
Art: Front

(12:12)  1. Pam/Total PKG
( 9:29)  2. 7-10 Lombard
( 5:09)  3. Sweet'n
( 9:08)  4. Dealing
( 8:54)  5. Clean Jeans (Genes)
( 5:43)  6. Another
( 7:20)  7. Spooky Conversations
( 7:12)  8. Front Winder

A superb bass technician who doesn't have as extensive a recorded legacy as expected, Richard Davis has a wonderful tone, is excellent with either the bow or fingers, and stands out in any situation. He has been a remarkable free, bebop, and hard bop player, served in world-class symphony orchestras, backed vocalists, and engaged in stunning duets with fellow bassists. He does any and everything well in terms of bass playing: accompaniment, soloing, working with others in the rhythm section, responding to soloists, or playing unison passages. He combines upper-register notes with low sounds coaxed through the use of open strings. Davis studied privately nearly ten years in the '40s and '50s, while also playing with Chicago orchestras. He played with Ahmad Jamal, Charlie Ventura, and Don Shirley in the early and mid-'50s, then worked with Sarah Vaughan in the late '50s and early '60s, as well as Kenny Burrell. Davis divided his duties in the '60s between recording and performing sessions with jazz musicians and freelance work with symphony orchestras conducted by Leonard Bernstein and Igor Stravinsky. He recorded often with Eric Dolphy, including the unforgettable dates at the Five Spot. He also worked with Booker Ervin, Andrew Hill, Ben Webster, Stan Getz, Earl Hines, and the Creative Construction Company. Davis teamed with Jaki Byard and Alan Dawson on sessions with Ervin, and others like Rahsaan Roland Kirk. He also played with Van Morrison. During the '70s Davis worked with Hank Jones and Billy Cobham, and he was a member of the Thad Jones/Mel Lewis Orchestra in the '60s and '70s. Davis left New York in 1977 to teach at the University of Wisconsin in Madison, where he has remained as a professor into the 21st century. Concurrent with his life as an educator, he continued making intermittent appearances as a performer, including at the Aurex Jazz Festival in Tokyo in 1982, playing in a jam session led by trombonists J.J. Johnson and Kai Winding, and at the 1984 Chicago Jazz Festival. Davis was featured in the 1982 film Jazz in Exile. He's done relatively few recordings as a leader, though three Muse sessions are available on CD. The superb The Philosophy of the Spiritual, which matched Davis and fellow bassist Bill Lee, is not in print or on CD. Notable Richard Davis recordings during the 21st century include The Bassist: Homage to Diversity (a duo recording with John Hicks) issued by Palmetto in 2001, as well as two Japanese releases on the King label, So in Love in 2001 and Blue Monk (with pianist Junior Mance) in 2008. ~ Ron Wynn http://www.allmusic.com/artist/richard-davis-mn0000851653/biography

Personnel:  Acoustic Bass – Richard Davis ;  Drums – Andrew Cyrille;  Piano – Curtis Clark;  Tenor Saxophone – Ricky Ford

Total Package

---