Wednesday, April 19, 2017

Clifford Jordan Quartet - Spellbound

Bitrate: MP3@320K/s
Time: 40:10
Size: 92.0 MB
Styles: Bop, Saxophone jazz
Year: 1960/1992
Art: Front

[4:24] 1. Toy
[5:12] 2. Lush Life
[4:39] 3. Moon-A-Tic
[5:50] 4. Spellbound
[5:04] 5. Hot Water
[6:28] 6. Last Night When We Were Young
[8:31] 7. Au Privave

Bass – Spanky DeBrest; Drums – Albert "Tootie" Heath; Piano – Cedar Walton; Producer – Cannonball Adderley; Tenor Saxophone – Clifford Jordan. Recorded: New York City, August 10, 1960.

Tenor saxophonist Clifford Jordan was sponsored by Cannonball Adderley on this set for Riverside, reissued on CD under the OJC imprint. At this point, Jordan did not quite have the distinctive sound that he would develop in his period with Charles Mingus, but he was already a strong hard bop stylist. Assisted by pianist Cedar Walton, bassist Spanky DeBrest, and drummer Albert "Tootie" Heath, Jordan performs four originals ("Toy" is best known), an unusual waltz version of "Lush Life," the ballad "Last Night When We Were Young," and the romping Charlie Parker blues "Au Privave." It's an excellent straight-ahead outing. ~Scott Yanow

Spellbound

The New Gary Burton Quartet - Guided Tour

Bitrate: MP3@320K/s
Time: 64:31
Size: 147.7 MB
Styles: Vibraphone jazz
Year: 2013
Art: Front

[7:18] 1. Caminos
[5:51] 2. The Lookout
[6:22] 3. Jane Fonda Called Again
[6:31] 4. Jackalope
[6:43] 5. Once Upon A Summertime
[6:03] 6. Sunday's Uncle
[6:54] 7. Remembering Tano
[7:17] 8. Helena
[6:40] 9. Legacy
[4:47] 10. Monk Fish

Gary Burton: vibraphone; Julian Lage: guitar; Scott Colley: bass; Antonio Sanchez: drums.

For some, retirement means winding down and enjoying what life has to offer, after a lifetime spent with the daily grind of making a living. With most musicians, however, while making a living has been a not insignificant challenge, making music can hardly be called a daily grind; it's work, to be sure, but it's also play. Still, for those who have— either by choice, necessity or both—engaged in a career that's a mix of education, recording and gigging, retirement can mean clearing the plate of at least one of those responsibilities.

Such is the case with vibraphonist Gary Burton who, after retiring as Executive Vice President of Boston's Berklee College of Music, has done something he's not done for over three decades: put together a group that's released two consecutive recordings without a change in personnel. The last time he did that, with 1980's Easy as Pie and 1982's Picture This—two ECM recordings that remain on the list of recordings from the German label still awaiting release on CD—he had a sax-led quartet that, in addition to longtime musical partner Steve Swallow, included two young players he'd met through his association with Berklee.

Based on the captivating, bursting-out-of-the-speakers Guided Tour, which follows 2011's similarly impressive Common Ground—Burton's Mack Avenue debut and first recording with the New Gary Burton Quartet—the vibraphonist has brought these three musicians back because, as terrific an opportunity as it undoubtedly is for all of them to work with one of the living legends of the instrument, it's equally clear that they're giving something back, lighting a serious fire underneath Burton that he's not had in a steady band for a long, long time. ~John Kelman

Guided Tour

Louie Shelton - Jazz Cafe

Bitrate: MP3@320K/s
Time: 49:36
Size: 113.5 MB
Styles: Cool jazz, Guitar jazz
Year: 2015
Art: Front

[4:08] 1. Mandalay Sunset
[4:27] 2. Urban Culture
[4:56] 3. New Life
[5:00] 4. Reflections
[5:04] 5. Better Days (Feat. Lua Crofts)
[4:20] 6. Redlight
[4:34] 7. Uptown
[3:59] 8. Shirade
[4:03] 9. Street Walkin'
[5:10] 10. Inner City Blues
[3:49] 11. Pot Luck

Louie Shelton has been delighting the ears of devout music fans for over a half a century. From The Monkeys to John Lennon to Stevie Wonder-Louie Shelton's signature sound has added its own magic to endless records all over the world!

While successfully working within all facets of the music industry in Los Angeles for many years, which includes session guitarist, recording artist, record production, and composing and playing on countless movie scores and television shows, Louie had the opportunity of working closely with the great composers Henry Mancini, Dave Grusin, Quincy Jones and Lalo Schifron. Some of his film/T.V. credits include J.W. Coope, The World Around Us, The Changing World, Crocodile Man, Traveling South, Outlaw Josey Wales with Clint Eastwood, Klute with Jane Fonda & Donald Sutherland, Bloody Mama with Robert De Niro & Shelley Winters.

Jazz Cafe

Alexis Cole - Ain't We Got Fun

Bitrate: MP3@320K/s
Time: 44:45
Size: 102.5 MB
Styles: Jazz vocals
Year: 2016
Art: Front

[3:57] 1. Ain't We Got Fun
[3:45] 2. Do You Ever Think Of Me
[3:44] 3. Limehouse Blues
[3:14] 4. Chicago (That Toddlin' Town)
[4:59] 5. Bimini Bay
[2:46] 6. Nobody Knows You When You're Down And Out
[4:30] 7. There's A Broken Heart For Every Light On Broadway
[4:07] 8. Indian Summer
[2:33] 9. A Kiss In The Dark
[3:35] 10. Turn Back The Universe And Give Me Yesterday
[3:38] 11. Let The Rest Of The World Go By
[3:49] 12. Till We Meet Again

Vocalist Alexis Cole is an accomplished jazz performer with a sophisticated, urbane style and warm, resonant voice, well suited to traditional standards and swing. Cole has performed with the likes of Rufus Reid, Slide Hampton, Ron Affif, John Hébert, and Norma Winstone. Although based in N.Y.C., she has played and taught in locales worldwide, and holds the position of head of the jazz voice program at SUNY Purchase Born in Queens, New York, on January 28, 1976, Cole grew up in a family with a long history of musical endeavors. Her grandmother on her mother's side, who was a pianist and singer of jazz standards, initially taught Alexis "Pennies from Heaven" and other American popular songs. Her father, also a pianist, singer, and composer, gave her initial piano lessons, albeit briefly. Moving with the family to Florida, Cole was a member of the all-county, all-state, and high-school choirs, and attended the New World School of the Arts on a Young Arts Scholarship, graduating in 1994. In addition, she took private voice lessons, theater training, psychology, philosophy, writing, and history classes, all of which formed a basis for her world-view. She did her first professional engagements as a teenager at a hotel in South Beach. Initially enrolling at the University of Miami in their jazz studies program, Cole returned to the New York area, attaining her B.A. in music in 1996 at William Patterson University in New Jersey, tutored by Nancy Marano and Todd Coolman, and studied classical voice with Nan Guptil-Crain, who was also a big spiritual influence. In 1999, Cole released her independent debut album, Very Early, featuring accompaniment from pianist Harry Pickens. In 2005, Cole returned with her sophomore solo album, Nearer the Sun, with pianist Ben Stivers. The following year, she earned her M.A. from Queens College, and then taught privately at the 92nd Street YMCA in N.Y.C. before becoming a resident instructor at the University of San Francisco, the University of North Carolina, back at Queens College, and eventually at the Berklee School of Music satellite program in Quito, Ecuador. Also around this time, Cole attended the Jazz India Vocal Institute in Mumbai (where she trained in Indian classical singing). She also participated in the Art of Jazz in Toronto, and was the music director of the Jan Hus Presbyterian Church in N.Y.C. from 2004-2006. In 2007, she delivered her third full-length album, Zingaro, which found her shifting from piano accompaniment and working with bassist Jeff Eckels and guitarist Ron Affif. Two years later, she released her first holiday-themed album, The Greatest Gift. Since the late 2000s, Cole has continued to find intriguing ways to reinvestigate American popular standards, focusing on the theme of the innocence and beauty of youth for 2010's Someday My Prince Will Come, paying tribute to the late jazz baritone saxophonist Pepper Adams on 2012's I Carry Your Heart, and going for utter sultry romanticism with 2013's Close Your Eyes. In 2014, Cole released the quartet album of standards, A Kiss in the Dark, featuring guitarist Saul Rubin, saxophonist/clarinetist Dan Block, bassist Pat O'Leary, and drummer Phil Stewart. Beautiful Friendship arrived in 2015. ~ Michael G. Nastos

Ain't We Got Fun

Al Grey, Isauro Hernández, Wallace Davenport - Jam Session Goes Latin

Bitrate: MP3@320K/s
Time: 32:23
Size: 74.2 MB
Styles: Latin jazz
Year: 2014
Art: Front

[6:38] 1. Manteca
[4:55] 2. The Girl From Ipanema
[4:34] 3. Makin' Whoopee
[3:31] 4. What A Difference A Day Makes
[3:05] 5. What Kind Of Fool Am I
[6:27] 6. Lover Man
[3:10] 7. Miami Latin Beat

Bass: Wyatt Ruther; Conga Drums: Isauro Hernández; Drums : Rufus Jones; Piano: Noahwell Cruz; Sax & Flute: Bobby Platter; Singer: Ricardo Reyes; Trombone: Al Grey; Trumpet: Wallace Davenport.

Al Gray served in some of the most renowned jazz formations of the 40s and 50s, from Bennie Carter, Jimmie Lunceford, and Lionel Hampton to the energetic orchestras of Dizzy Gillespie or Count Basie. Al Gray also led some adventures, along with saxophonists Bruce Mitchell and Jimmy Forrest, and in recent years appeared alongside venerable musicians such as Buddy Tate or endorsing his son Mike, trombonist like him.

The laughing Al Gray was fundamental to the gestation of the bebop in the 40, endowing the rigid trombone with the energy and vividness that had imposed Charlie Parker with his style. Al Gray is undoubtedly one of the best trombonists of the "middle ages" of jazz, both because of the strong vibrations that bring his instrument, and because of the wealth of musical ideas, always very concentrated in the essential, exempt phrasing Of rhetoric. In fact, Al Gray made his debut with the Benny Carter Orchestra in 1945, and this circumstance allowed him to demonstrate from the beginning his qualities as a soloist, thanks to Carter who granted much space to the musicians of his band. This made certain natural qualities in Gray were refined, which together with his strong attack and an innate rhythmic sensitivity in the field of "swing" made him a very interesting musician. With Carter he used the excellent arrangements of this one. (Translated from Spanish.)

Jam Session Goes Latin

Lucky Thompson - Tricotism

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 66:00
Size: 151,5 MB
Art: Front

(3:57)  1. Bo-Bi My Boy
(3:51)  2. OP Meets LT
(4:34)  3. Tricotism
(4:31)  4. Deep Passion
(4:03)  5. Old Reliable
(4:02)  6. Translation
(5:01)  7. Tom-Kattin'
(5:11)  8. A Lady's Vanity
(3:09)  9. Dancing Sunbeam
(3:32) 10. Mister Man
(4:45) 11. The Plain But the Simple Truth
(2:49) 12. Little Tenderfoot
(4:03) 13. Once There Was
(4:38) 14. N R #1
(3:11) 15. N R #2
(4:33) 16. Good Luck

Lucky Thompson creates a host of spectacular improvisations on the 16 songs on this wonderful CD reissue. It is comprised of two 1956 sessions; one features Thompson heading a trio backed by bassist Oscar Pettiford and guitarist Skeeter Best, and the other has him heading either a quartet or quintet including the great trombonist Jimmy Cleveland. Cleveland's smooth, superbly articulated phrases and statements rank alongside Thompson's gliding lines in their brilliance, and pianist Hank Jones (on three cuts) also sparkles with some marvelous solos. 

But Thompson is the star on this date, his elegant yet robust and exuberant playing demonstrating again what a loss his voluntary departure from the scene has constituted. ~ Ron Wynn http://www.allmusic.com/album/tricotism-mw0000105728

Personnel:  Lucky Thompson - tenor sax;  Jimmy Cleveland – trombone;  Hank Jones, Don Abney – piano;  Skeeter Best – guitar;  Oscar Pettiford – bass;  Osie Johnson - drums

Tricotism

Louise Rogers - Come Ready and See Me

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 46:49
Size: 107,4 MB
Art: Front

(4:52)  1. Be My Baby
(6:54)  2. Islands
(5:43)  3. Conjunction
(3:11)  4. Come Ready and See Me
(5:13)  5. Shadows of Yesterday
(5:42)  6. The Song Is You
(5:35)  7. Poetic Song
(3:30)  8. Louise
(6:04)  9. Lass from the Low Countree

Louise Rogers proves absolutely infectious with her delightful vocals. Her expressive voice, playful scatting, and crystal-clear intonation strike the listener right off the bat. Her core group includes Rick Strong (her husband) on bass and Mathias Kunzli on drums, with pianist Matthew Fries, guitarist Paul Meyers, and saxophonist Gottfired Stoger added on a few tracks. Rogers and Strong wrote a hip tune to accompany poet Nikki Giovanni's "Be My Baby," with Kunzli's hand percussion initially serving as her sole accompaniment, adding the bass after the first chorus and scatting up a storm with it in octave unison. Jerry Bergonzi's melancholy "Conjunction" benefits from her hopeful lyrics. Rogers wrote both the words and music to the soft bossa nova "Shadows of Yesterday." Stoger's tense "Poetic Song" features demanding unison lines by the singer and saxophonist. Rogers also finds a fresh approach to the standard "The Song Is You" (adding Stoger on soprano sax) and a playful duet with Strong of the forgotten chestnut "Louise." But the biggest surprise is her setting of a traditional Celtic song, "Lass from the Low Countree," a haunting duet with Strong on electric bass. Highly recommended. ~ Ken Dryden http://www.allmusic.com/album/come-ready-and-see-me-mw0001169217

Personnel:  Louise Rogers – vocals;  Gottfried Stoger – saxophones;  Paul Meyers – guitar;  Matthew Fries – piano;  Rick Strong – bass;  Mathias Kunzli - percussion, drums

Come Ready and See Me

Delfeayo Marsalis - Sweet Thunder

Styles: Trombone Jazz
Year: 2011
File: MP3@320K/s
Time: 71:28
Size: 164,2 MB
Art: Front

(6:07)  1. Such Sweet Thunder
(2:38)  2. Sonnet for Sister Kate
(4:48)  3. Sonnet to Hank Cinq
(9:24)  4. Half the Fun
(3:09)  5. Up & Down, Up & Down
(5:07)  6. Madness in Great Ones
(6:30)  7. Star-Crossed Lovers
(8:11)  8. Sonnet in Search of a Moor
(5:37)  9. The Telecasters
(7:53) 10. Sonnet for Caesar
(3:39) 11. Lady Mac
(8:19) 12. Circle of Fourths

Acclaimed trombonist and member of the first family of jazz, Delfeayo Marsalis launches Sweet Thunder: Duke & Shak, an original theatrical jazz production culled from live performances in thirty-six locations across the country. The play was born from Marsalis' affinity for the music of Duke Ellington and the poetry of Shakespeare: first brought to the musical stage in the 1957 production of Such Sweet Thunder at the Shakespeare Festival I Stratford, Canada. Both Ellington and Billy Strayhorn were invited to compose music in tribute to The Bard, and came up with 15 compositions for that date. Sweet Thunder streamlines Ellington and Strayhorn's original charts into a 12-movement suite, bringing an all-star list of players, including brothers Branford Marsalis and Jason Marsalis. for the recording. Staying true to Ellington's original compositions for an octet, the majority of the pieces employ an eight-man ensemble, featuring a solid horn section including soprano saxophonist Victor Goines (when Branford is not playing), altoist Mark Gross, trumpeter Tiger Okoshi, and baritone saxophonist Jason W. Marshall. When Jason Marsalis is not doing the honors, renowned drummer Winard Harper steps in, while piano great Mulgrew Miller rounds out the rhythm section.

The disc is a departure from the original Such Sweet Thunder in that Marsalis, the arranger, adds his own personal touch to the original music, injecting New Orlean-style melodic alterations along with some elements of blues, and the inclusion of poignant ballads like "Star-Crossed Lovers," "Sonnet for Caesar" and "Lady Mac." The opening title track come across a bit bluesy, with Branford leading the way on a sultry soprano march, as Delfeayo joins in with a little thunder of his own. "Sonnet to Hank Cinq" features swinging solos from each member of the horn section, providing the repertoire's first up-tempo burner. With Jason on percussions and Harper on drums, "Half the Fun" kicks in with percussive flair, as Okoshi and Branford drive music reminiscent of a snake charmer's chant. Sounding more like a traditional big band chart à la Ellington, "Sonnet In Search of A Moor" is perhaps the only classical big band pieces here, with Jason weighing in with a furious performance. A touch of New Orleans can be heard tracks including "The Telecasters" and "Up & Down, Up & Down," while the boppish, straight-ahead closer, "Circle of Fourths," highlights sizzling solos from both the Delfeayo and tenor saxophonist Mark Shim, with pianist Victor "Red" Atkins adding a closing statement to this remarkable session. The music of Sweet Thunder may not conjure up memorable phrases from the body of William Shakespeare's work, but the words "poetry in motion," seems more than adequate in describing the swing and power Delfeayo Marsalis provides, in this interpretation of a historic musical moment. 
~ Edward Blanco https://www.allaboutjazz.com/sweet-thunder-delfeayo-marsalis-troubadour-jass-review-by-edward-blanco.php
Personnel: Delfeayo Marsalis: trombone; Branford Marsalis: soprano saxophone; Jason Marsalis: drums (2, 6, 8-10, 12); Winard Harper: drums (1, 3-5, 7, 11); Tiger Okoshi: trumpet (1, 3, 5, 6, 10,11); Mark Gross: alto saxophone, tenor saxophone; Victor Goines: soprano saxophone (2, 5, 6, 8, 11,); Mark Shim: tenor saxophone (3,12); Jason Marshal: baritone saxophone; Mulgrew Miller: piano (1, 7, 9); Victor "Red" Atkins: piano (3-6, 8, 11, 12); Reginal Veal: bass (1); David Pulphus: bass (3, 4, 7, 9, 10); Charnett Moffet: bass (5, 6, 8, 11, 12).

Sweet Thunder

John Abercrombie & Andy LaVerne - Nosmo King

Styles: Guitar And Piano Jazz
Year: 1991
File: MP3@256K/s
Time: 72:12
Size: 132,3 MB
Art: Front

(6:37)  1. I Hear a Rhapsody
(6:16)  2. Waltz For Debby
(8:59)  3. I Loves You Porgy
(3:42)  4. Blue Cycle
(6:26)  5. Silver's Serenade
(5:37)  6. Jhon's New Waltz
(6:56)  7. Babes w-Babies
(7:56)  8. My Man's Gone Now
(5:49)  9. Nosmo King
(7:47) 10. Never Never Land
(6:02) 11. Softly As In a Morning Sunrise

" Harmony is what makes this duo album work so well. Harmony between the instruments of course, but also a personal harmony between the players…these two so often think like one, it leaves plenty of room for you to sit in and listen… " (Paul B. Matthews, Cadence)

Personnel:  John Abercrombie – guitar;  Andy LaVerne – piano

Nosmo King

Pat Martino - Live At Yoshi's

Styles: Guitar Jazz
Year: 2001
File: MP3@320K/s
Time: 76:26
Size: 177,3 MB
Art: Front

( 7:00)  1. Oleo
(12:02)  2. All Blues
(10:02)  3. Mac Tough
(10:30)  4. Welcome To A Prayer
(10:29)  5. El Hombre
( 7:57)  6. Recollection
( 7:18)  7. Blue In Green
(11:05)  8. Catch

Ever since Pat Martino signed with Blue Note, we've been waiting for the release that would break things wide open while harkening back to those ground-breaking Prestige sides that had every young guitarist at the time shaking in his boots. Live at Yoshi's is definitely that record. With no gimmicks, special guests on revolving tracks, or overdubbed extras, Martino is at his expansive best, remarkably supported by Joey DeFrancesco on B-3 organ and Billy Hart on drums. The twosome of DeFrancesco and Hart alone has notched up the frequent gigging miles going back to a 1997 SteepleChase date with Doug Raney. Adding Martino to the mix just makes things all the more electrifying. The trio kicks off "Oleo" and keeps the pots on throughout the last notes of the Martino original "Catch," goaded by a boisterous and supportive crowd. The most explosive moments come during "El Hombre," the title track from Martino's very first record back in the 1960s. The guitarist utilizes an unusual twang device, which then ushers in a heated period of suspension, his repeated off-the-beat- accents working up a froth as Hart crash and bangs in full support. "Mac Tough" comes on as a funky boogaloo, the kind without which this kind of record wouldn't want to be without. On the slower side, Martino is no less engaging, "Welcome to a Prayer" being especially solid. Not much more needs to be said, except that this particular trio needs to hang out like this more often! ~ C.Andrew Hovan https://www.allaboutjazz.com/live-at-yoshis-pat-martino-blue-note-records-review-by-c-andrew-hovan__20714.php
 
Personnel: Pat Martino (guitar), Joey DeFrancesco (organ), Billy Hart (drums)

Live At Yoshi's