Jose James - Blackmagic

Bitrate: MP3@320K/s
Time: 67:14
Size: 153.9 MB
Styles: Neo Soul
Year: 2010
Art: Front

[ 4:54] 1. Code
[ 4:18] 2. Touch
[ 5:06] 3. Lay You Down
[ 4:35] 4. Promise In Love
[ 5:55] 5. Warrior
[ 3:50] 6. Made For Love
[ 3:32] 7. Save Your Love For Me
[ 4:19] 8. The Greater Good
[ 4:03] 9. Blackmagic
[ 4:01] 10. Detroit Lovelette
[ 5:16] 11. Love Conversation
[ 4:10] 12. Beauty
[ 2:40] 13. No Tellin'-I Need You
[10:29] 14. The Light

When Gilles Peterson's Brownswood imprint released American vocalist and composer José James' debut album Dreamer, the effect in club culture and throughout the jazz communities in New York, Japan, and Europe was immediate. Jazz Times selected it as one of its albums of the year in 2008. James' voice echoed the social consciousness of Gil Scott-Heron, the hipness of Babs Gonzales, the sophistication of Jon Lucien, and the soulfulness of Terry Callier, whether he was improvising over a piano trio playing Mingus, or singing his own lyrics over electronic beats. On Blackmagic, James forges deeper into 21st century soul and experimental territory, without giving up his jazz chops. Enlisting Flying Lotus and a number of other producers, this is a late-night, groove record that allows hip-hop, club jazz, and lithe funk to accent -- rather than drive -- his smooth, sultry baritone. His approach, while more innovative this time out, feels no less organic. The set kicks off with “Code,” produced by Flying Lotus. A Rhodes piano, congas, languid bassline, the sounds of scratchy vinyl, backing vocals, and ambient sounds underscore James’ vocal; phrasing only a few words at a time as hip hop beats and skittering loops permeate his lines. Likewise, the ethereal title track shivers with sensual invitation via a mercurial groove created by Flying Lotus with guitars, elegantly caressed snares, and James answering his more declamatory sung lines with crooning improvisations. “Lay You Down” is a neo-soul babymaker, with a handclap à la D’Angelo as the basis for its pulse. James’ airy delivery is the melodic instrument as horns, Rhodes, bass, and drums fill the space dimensionally. “Warrior” is an uptempo groover using Benga's “Emotions” dubstep rhythm as its ground before kit drum breaks, basses, and the woven textures of acoustic and electric pianos push from underneath; James chants/sings in call and response with himself. “Detroit Loveletter” is a telltale Moodymann production. It’s an utterly seductive soul-by-cut-groove ballad, with a funky shimmering bassline, dreamy backing vocals, and wistful keys; James' vocal hovers above this mix. The grain in his voice beckons the listener to pleasures unnamed but unmistakable. As a whole, Blackmagic is skillfully sequenced and intelligently arranged to avoid neo-soul or jazz clichés -- there isn’t a hint of artifice on it. This is 21st century jazzed-out soul at its best; and in the spirit of both traditions, it creates something new from traces of the familiar. ~Thom Jurek

Blackmagic

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Frank Catalano, Jimmy Chamberlin, David Sanborn - Bye Bye Blackbird

Bitrate: MP3@320K/s
Time: 31:15
Size: 71.6 MB
Styles: Saxophone jazz
Year: 2016
Art: Front

[4:32] 1. Chicago Eddie
[4:12] 2. Bye Bye Blackbird
[6:21] 3. Sugar
[4:59] 4. All Blues
[4:58] 5. At Last
[6:10] 6. Shakin'

Frank Catalano - Tenor Saxophone; Jimmy Chamberlin - Drums; David Sanborn - Alto Saxophone (Tracks 2 & 3); Nir Felder - Guitar; Demos Petropoulos - Hammond B3 Organ.

Catalano’s instantly recognizable, powerful and dynamic tenor playing — yet at the same time nimble and thoughtful — is on full display on Bye Bye Blackbird. To stay true to his Chicago roots, the album pays homage to his heroes and mentors Von Freeman — affectionately known throughout Chicago as Vonski — and Eddie Harris.

Bye Bye Blackbird

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Anne Phillips - Born To Be Blue

Bitrate: MP3@320K/s
Time: 34:30
Size: 79.0 MB
Styles: Vocal jazz
Year: 1959/2000
Art: Front

[3:34] 1. Born To Be Blue
[1:53] 2. Saturday Night Is The Loneliest Night Of The Year
[3:22] 3. Easy Street
[2:46] 4. For Heaven Sake
[2:34] 5. It Could Happen To You
[2:46] 6. You Don't Know What Love Is
[2:47] 7. Lonelyville
[2:36] 8. I've Got To Pass Your House
[3:14] 9. A Stranger In Town
[3:55] 10. I Don't Want To Walk Without You
[1:51] 11. There Will Never Be Another You
[3:08] 12. When Sunny Gets Blue

b. Anne Latta Dinsmore, 17 February 1935, Philadelphia, Pennsylvania, USA. Growing up near Readong, Pennsylvania, Phillips ‘played piano by ear non-stop as a child’, later studying piano and voice. She attended Oberlin College, singing in her freshman year with the college big band. She had her own radio show, singing and playing on the college station, and sang with a college trio that was the supporting act on the occasion of Dave Brubeck’s famous Brubeck At Oberlin concert. After attending the New England Conservatory of Music, she relocated to New York City. There, she performed on a number of live television shows as a member of two of the best known choirs, the Ray Charles Singers and the Norman Luboff Choir. She also sang demonstrations for songwriters such as Burt Bacharach and Hal David, Carole King, Neil Diamond and Paul Simon.

After making her recording debut in 1959 for Roulette Records, with Born To Be Blue, the marked shift in popular music patterns resulted in a highly successful career in the studios. Phillips now became one of the most respected and in-demand studio performers in the music business in New York City. Throughout the 60s, she sang in backing groups on countless recording sessions, wrote, arranged and produced commercials for the American Gas Association, Kent Cigarettes, Campbell’s Soup, Sheraton Hotels and Pepsi Cola. Artists with whom she worked during these years include the Sammy Davis Jnr. , the Four Tops, Leslie Gore, Linda Ronstadt, Mahalia Jackson, Wilson Pickett and Martha And The Vandellas. She formed her own choir for recording and broadcasting, and became music director at St. Bartholomew’s Church on Park Avenue. She wrote book, lyrics and music for The Great Grey Ghost Of Old Spook Lane, a children’s show that has been produced by many theatrical groups and, with her husband, tenor saxophonist, Bob Kindred, created Bending Towards The Light … A Jazz Nativity, the Christmas story told through the medium of jazz. This work is produced annually in New York and elsewhere in America and has featured guests such as Brubeck, Al Grey, Lionel Hampton, Tito Puente and Clark Terry. She and her husband also operate a non-profit organization, the Kindred Spirit Foundation. Additionally, from the early 90s onwards, Phillips has been on the adjunct faculty of the Jazz and Contemporary Music Department at New York University, where she arranges for and directs the NYU Jazz Choir.

When she returned to an own-name recording session in 2000, it was her songs that demonstrated vividly how attuned she is to the great qualities of American popular song. All are gems, which deserve a place in the repertoires of all singers who admire music of quality. She has arranged and/or produced recording sessions by Kindred (That Kindred Spirit and Hidden Treasures). A fluid, melodious voice allied to intelligent reading of lyrics makes Phillips one of the outstanding performers of popular song of her day.

Born To Be Blue

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The Isley Brothers - 3+3

Bitrate: MP3@320K/s
Time: 77:05
Size: 176.5 MB
Styles: Soul, Pop, Funk
Year: 1973/2013
Art: Front

[5:34] 1. That Lady Pts. 1 & 2
[4:02] 2. Don't Let Me Be Lonely Tonight
[3:23] 3. If You Were There
[3:06] 4. You Walk Your Way
[4:05] 5. Listen To The Music
[3:53] 6. What It Comes Down To
[4:22] 7. Sunshine (Go Away Today)
[6:11] 8. Summer Breeze Pts 1 & 2
[4:18] 9. The Highways Of My Life
[3:13] 10. That Lady Pt. 1
[3:06] 11. Summer Breeze Pt. 1
[3:19] 12. The Highways Of My Life
[4:32] 13. Sunshine (Go Away Today)
[6:17] 14. Summer Breeze
[6:33] 15. That Lady (Interview Pt. 1)
[5:12] 16. Listen To the music (interview Pt. 2)
[2:26] 17. Summer Breeze (Interview Pt. 3)
[3:25] 18. The Highways Of My Life (Interview Pt. 4)

Recorded in 1973, 3 + 3 was a major turning point for the Isley Brothers. With this album, the Isleys moved their T-Neck label from Buddah to Epic/CBS (which became Epic/Sony in the early '90s), and it was at Epic that they unveiled their new lineup. Lead singer Ronald Isley and his siblings O'Kelly and Rudolph remained, but the Isleys became a sextet instead of a trio when cousin Chris Jasper and younger brothers Ernie and Marvin were added. This new lineup was called 3 + 3, and the addition of Jasper on keyboards, Ernie on guitar, and Marvin on bass added exciting new elements to the Isleys' sound. One of finest R&B bassists of the 1970s, the ever-so-funky Marvin is in a class with heavyweights like Larry Graham and Louis Johnson -- and Ernie is a stunning guitarist who is heavily influenced by Jimi Hendrix but has a distinctive style of his own. The Isleys had always been lovers of rock, but with the addition of Ernie, their sound became even more overtly rock-influenced. Nonetheless, the rock and pop elements didn't alienate R&B audiences, which ate this album up. The single "That Lady" (which is based on an Impressions-like gem they had recorded in 1964) was a major hit, and the Isleys are equally captivating on soul interpretations of Seals & Crofts' "Summer Breeze," James Taylor's "Don't Let Me Be Lonely Tonight," and the Doobie Brothers' "Listen to the Music." With this superb album, the Isley Brothers sounded better than ever -- and they gained a lot of new fans without sacrificing the old ones. ~Alex Henderson

3+3

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Arne Domnérus - Jazz At The Pawnshop

Bitrate: MP3@320K/s
Time: 69:29
Size: 159.1 MB
Styles: Contemporary jazz
Year: 1977
Art: Front

[10:13] 1. Limehouse Blues
[ 8:03] 2. Confessin' (That I Love You)
[ 7:11] 3. High Life
[ 7:04] 4. Jeep's Blues
[ 9:19] 5. Lady, Be Good!
[ 6:57] 6. Take 5 Take Five
[ 5:16] 7. Everything Happens To Me
[ 8:18] 8. Barbados
[ 7:05] 9. Stuffy

Bass – Georg Riedel; Drums – Egil Johansen; Piano – Bengt Hallberg; Saxophone, Clarinet – Arne Domnérus; Vibraphone – Lars Erstrand.

This is the first of four CD volumes that fully document a legendary engagement at the Pawnshop club in Stockholm, Sweden. Featured are Arne Domnerus (doubling on alto and clarinet), pianist Bengt Hallberg, vibraphonist Lars Erstrand, bassist Georg Riedel and drummer Egil Johansen. They mostly stick to swing standards, recalling the groups of Benny Goodman and Lionel Hampton. Highlights include a heated "Limehouse Blues," the African folk song "High Life," "Lady Be Good" and Coleman Hawkins's "Stuffy." All of the volumes in this series are well worth getting by straightahead jazz fans, particularly those not familiar with Arne Domnerus's excellent playing. ~Scott Yanow

Jazz At The Pawnshop

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Nicki Parrott - Fever: The Best Of Nicki Parrott

Size: 159,7 MB
Time: 68:14
File: MP3 @ 320K/s
Released: 2011
Styles: Jazz Vocals
Art: Full

01. Moon River (4:00)
02. You'd Be So Nice To Come Home To (3:38)
03. Getting Some Fun Out Of Life (4:41)
04. Bei Mir Bist Du Schoen (4:03)
05. Fly Me To The Moon (4:05)
06. I Love The Way You're Breakin' My Heart (4:03)
07. Black Coffee (5:36)
08. Dark Eyes (3:52)
09. Fever (4:14)
10. Like A Lover (5:01)
11. For No One (2:31)
12. How Could You Do A Thing Like That To Me (4:23)
13. Detour Ahead (5:32)
14. Somewhere Over The Rainbow (5:32)
15. Best Things In Life Are Free (3:18)
16. What Are You Doing The Rest Of Your Life (3:38)

Born in Newcastle, Australia, Nicki started her musical training at age four with the piano, followed by the flute, soon after. Nicki switched to double bass at the age of 15.

After graduating high school she moved to Sydney to study jazz at the New South Wales Conservatorium of Music where she began to play with Australian musicians such as Mike Nock, Dale Barlow, Paul Grabowsky, Bernie McGann, and Ten Part Invention. She also toured Australia with Russian musicians Daniel Kramer and Alexander Fischer and American trumpeters Bobby Shew and Chuck Findley. She continued her studies with various bassists including visiting artists Ray Brown and John Clayton.

Nicki was the recipient of two awards, a scholarship to Pan Pacific Music Camps at the age of 16, and first place in the 1992 Jazz Action Society’s Annual Song Competition for her composition “Come and Get It,” which is the opening track of Nicki and her sister Lisa’s debut CD, “Awabakal Suite”. She was also nominated for the annual Australian Young Achievers Award by the Arts Council of Australia who granted her the funds to come to New York to study with Rufus Reid. Nicki came to New York in May 1994.

In June 2000, Nicki began performing on Monday nights at the Iridium Jazz Club with the legendary guitarist and inventor, Les Paul. As part of the Les Paul Trio, Nicki worked side-by-side with guitar greats from Paul McCartney, Slash, Steve Miller to fellow Aussie, Tommy Emmanuel.

Since then she has performed with such notable musicians as Michel Legrand, Joe Wilder, Randy Brecker, Clark Terry, Jose Feliciano, Bucky Pizzarelli, John Pizzarelli, Dick Hyman, Patti Labelle & the New York Pops Orchestra, Harry Allen, Marlena Shaw, David Krakauer, Ken Peplowski, Ann Hampton Callaway, Bill Mays, Scott Hamilton, Lillian Boutte, Larry Carlton and Houston Person, just to name a few.

Nicki has also performed in several Broadway shows such as Avenue Q, Imaginary Friends, You’re a Good Man, Charlie Brown, Summer of ’42 and Jekyll and Hyde and has made several television and documentary appearances including The Gossip Girls, Chasing Sound and Thank You Les, which recently debuted on PBS.

In 2007 and 2008, Nicki received back to back honors for Swing Journal’s Best Jazz Vocal Album (Moon River and Fly Me to The Moon, respectively).

In 2010 her album Black Coffee (Venus) received Swing Journal’s Gold Disc award.

In 2012, Nicki headlined the Fujitsu Concorde Jazz festival after the release of her eighth CD from Venus Records, Sakura Sakura. She is currently recording her 16th release for the label.

Nicki has performed at most major festivals around the globe including the Mary Lou Williams Jazz Festival, Newport Jazz Festival, Jazz in July at the 92nd Street Y, Litchfield Jazz Festival, Detroit Jazz Festival, the Lionel Hampton Jazz Festival and the Newport Beach Jazz Party, Jazz Ascona and Bern Jazz Festival in Switzerland and many others.

Fever

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Dave Askren & Jeff Benedict - Come Together

Size: 139,7 MB
Time: 60:07
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. Cheese Grits (6:01)
02. Come Together (8:21)
03. Nardis (5:14)
04. Moments Notice (6:09)
05. Hear This (5:18)
06. On It (6:16)
07. Pineapple Head (5:19)
08. Willow Weep For Me (6:31)
09. Groove Merchant (6:01)
10. 'Deed I Bu (4:52)

Cheese Grits reflects my long-standing love for Stanley Turrentine, who was my inspiration for this recording. I saw Stanley when I was in high school – he was playing in Denver at a club called Ebbets Field and Paul Romaine and I weaseled our way in, even though we were under age. I was blown away by his great sound and impeccable time. I later discovered the recordings of Stanley with Shirley Scott and Jimmy Smith – and I fell in love with the sound of Tenor Sax, Guitar and Organ. I have had the good fortune to play in some organ groups, but I have always wanted to record with one. Come Together is Dave’s take on the Beatles’ classic. He put it in 7/4, which made it a real challenge. We were worried that we wouldn’t be able to pull it off in the studio – and we ended up getting it on the first take. Moment?s Notice is also Dave’s concept, and it is also in an odd meter. Paul and Joe really brought the groove alive on this tune – we struggled with it until we stopped trying to be the Coltrane quartet and we laid it back a bit – it locked right in with more of a cool feel to it. Hear This is an original by Dave, and he based the tune on the standard I Hear a Rhapsody. It’s a nice laid-back funk groove with a lot of space for everyone. On It is another original by Dave – an up-tempo groove. Pineapple Head is a tune I wrote some years back. I had a huge crush on a beautiful girl I met in college named Karen – one of the things I loved bout her was her unusually thick hair. Sometimes she would tie it up on the top of her head to get it out of her way, and she looked like a Pineapple –so she became Pineapple Head. I dug it out for this session because I knew Joe and Paul would find a nice groove on it. Willow Weep For Me is based on The Blood, Sweat and Tears version of God Bless the Child. BS&T was a huge influence on me. When I thought about doing a recording with an organ group, I knew we would have to have a shuffle. Groove Merchant reflects my love for the Thad Jones/Mel Lewis Jazz Orchestra – I heard them in Denver in 1976 and I was never the same. I was fortunate to get to play a lot of their music in college (I had a hip band director), and my favorite sax section soli was on Groove Merchant. As a nod to Thad, I wrote a soli for guitar and saxophone. Deed I Bu is Paul’s creation. It’s a tune that is based on a particular groove that Paul’s African Grey Parrot Bu gets into from time to time. Paul likes to say that it’s his Bird Transcription. The title stems from the fact that the tune is based on the changes to ‘Deed I Do.’ - Jeff Benedict

Come Together

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Denise King & Massimo Farao Trio - Working With Music: No More Desperate Housewives

Size: 125,0 MB
Time: 53:17
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Pop Vocals
Art: Front

01. Another Star (3:22)
02. Think (2:35)
03. Falling In Love With Love (2:21)
04. I Wish (3:44)
05. (Simply) The Best (5:39)
06. I'm In The Mood For Love (2:57)
07. Our Love Is Here To Stay (2:15)
08. Desafinado (4:53)
09. Don't Play That Song (You Lied) (2:47)
10. Love For Sale (3:02)
11. Signed, Sealed, Delivered I'm Yours (2:39)
12. They Can't Take That Away From Me (2:56)
13. What'd I Say (2:53)
14. Lean On Me (3:15)
15. In The Midnight Hour (3:00)
16. Lovely Day (4:52)

Influenced by Nancy Wilson, Marlena Shaw and Sarah Vaughan, Denise King is an expressive, big-voiced singer who combines jazz with elements of R&B, blues and gospel. King was born and raised in Philadelphia, where she was exposed to R&B as a child and discovered jazz at 12 thanks to an uncle who was an avid record collector. After graduating from high school, the Philadelphian entered the medical field and earned her living as a technician and a family-planning counselor. King was in her early 30s when she started doing club gigs around Philly, and eventually, she became a full-time singer. Though she's no stranger to standards, one of King's strong points has been her ability to provide jazz interpretations of rock and soul hits -- in fact, she has turned everything from Santana's "Evil Ways" to Ruby & the Romantics' "Our Day Will Come" into swinging acoustic jazz. King started recording in the 1990s, offering Live In Japan: I Remember You in 1993, Now Ain't That Love in 1996 and Simply Mellow in 1997. ~ Alex Henderson

Working With Music

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The Brett Gold New York Jazz Orchestra - Dreaming Big

Size: 166,0 MB
Time: 71:36
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. Pumpkinhead, Pt. I ( 5:04)
02. Stella's Waltz ( 6:14)
03. Dream Moon ( 7:14)
04. Al-Andalus ( 6:42)
05. Lullaby For Lily ( 6:03)
06. Exit, Pursued By A Bear (Slow Drag Blues) ( 5:45)
07. Infinity Row ( 6:50)
08. Theme From An Unfinished Film ( 5:12)
09. That Latin Tinge ( 5:40)
10. Monkfish ( 5:18)
11. Nakba (11:30)

What's that you say? A New York-based Jazz Orchestra as admirable as this one whose recording debut was delayed for more than twenty-five years? There ought to be a law! Well, in this case it wasn't the law but a lawyer who sidetracked the orchestra's debut for so many years. His name is Brett Gold, and he set aside his trombone and dream of leading a band while in college, following instead his parents' wish that he pursue a more practical (and financially rewarding) career as an attorney.

Even as Gold flourished in the field of international and corporate tax law, however, the dream never died, and he decided at last to assemble an orchestra to perform a number of the songs he had written and arranged while looking forward to the "someday" in which his long-held aspiration might become a reality. The result is Dreaming Big, a bright and always engaging mosaic of prismatic colors, harmonies and rhythms that marks the arrival—better late than never—of a bold new voice on the big-band scene.

As for the music itself, Gold takes his cue from Ellington, Strayhorn, Gil Evans, Bill Holman, Don Ellis, Thelonious Monk and such film composers as Bernard Herrmann, David Raksin and Ennio Morricone, having studied composing and arranging with Mike Abene, Jim McNeely and Mike Holober at the BMI Jazz Composers Workshop. The opener, "Pumpkinhead, P.I." is one of two twelve-tone compositions (the other is "Infinity Row"). There's a stylish mambo ("That Latin Tinge"), a slow waltz ("Stella's") and a faster one ("Lullaby for Lily"), songs inspired by Thelonious (the playful "Monkfish," featuring Frank Basile's rumbling baritone sax), those Hollywood composers ("Theme from an Unfinished Film") and even Shakespeare ("Exit, Pursued by a Bear," a slow blues based on a stage direction from The Winter's Tale). The ambitious eleven-minute finale, written with Gold's Moroccan sister-in-law in mind, depicts in musical terms the Arab-Israeli war of 1948.

The orchestra is razor-sharp, with impressive solos along the way by Basile; tenors Charles Pillow, Tim Ries and Dave Riekenberg; trumpeters Scott Wendholt and Jon Owens, soprano Mark Vinci, alto Matt Hong, trombonist Bruce Eidem, pianist Ted Kooshian, guitarist Sebastian Noelle, bassist Phil Palombi and drummer Scott Neumann. As debuts go, meticulously planned and superbly executed. Let's hope we don't have to wait twenty-five years for an encore. ~Jack Bowers

Personnel: Brett Gold: composer, arranger, leader; Jon Owens: trumpet, flugelhorn; James de la Garza: trumpet, flugelhorn; Dylan Schwab: trumpet, flugelhorn; Scott Wendholt: trumpet, flugelhorn; Mark Vinci: alto, soprano sax, clarinet, flute; Matt Hong: alto sax, clarinet, flute; Dave Riekenberg: tenor sax, clarinet; Tim Ries: tenor, soprano sax, flute, clarinet (3, 5-7, 11); Charles Pillow: tenor, soprano sax, clarinet (1, 2, 4, 8-10); Frank Basile: baritone sax, bass clarinet; Bruce Eidem: trombone; John Allred: trombone; Bob Suttmann: trombone; Jeff Nelson: bass trombone; Ted Kooshian: piano; Sebastian Noelle: guitar (3, 5, 6, 7); Phil Palombi: bass; Scott Neumann: drums.

Dreaming Big

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Lewis Franco & The Missing Cats - With Cousin Joe, Sonny Joe & Grampa Joe (Feat. The Brown Eyed Girls)

Size: 101,3 MB
Time: 38:16
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz: Retro Swing, Vocals
Art: Front

01. Follow The Golden Goose (2:08)
02. All Of These (2:22)
03. The Brill Hotel (3:45)
04. Don't Fix It (3:18)
05. Lost And Alone (3:08)
06. Cheating On Your Life (2:45)
07. What's Shakin' Now (2:48)
08. It Didn't Have To Be You (3:36)
09. You're The Best I've Got (3:16)
10. Settle Down (2:56)
11. All Shiny New (2:41)
12. Cuando El Rey Nimrod, Great Grandfather (5:29)

Lewis Franco and The Missing Cats, the group that Robert Resnik of Vermont Public Radio calls the “swinging band that plays dynamic music that’s always fun to listen to,” is proud to announce the release of their new disc, "With Cousin Joe, Sonny Joe, & Grampa Joe." The album is the third for the group and the fifth for Franco.

On their new CD, Lewis Franco and the Missing Cats build on their signature sound, creating memorable original tunes that blend improvisational styles such as swing, jive, bebop, Dixieland, western, jump blues, and jazz ballads. Vocal arrangements feature gorgeous three-part harmonies by The Brown Eyed Girls, and Franco’s well-crafted lyrics once again take us to fascinating and unexpected places, including the Island of Rhodes, where the cover photo of his great-grandfather was taken.

With Cousin Joe, Sonny Joe & Grampa Joe

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David Hazeltine Trio - Waltz for Debby

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 60:13
Size: 138,2 MB
Art: Front

(8:38)  1. Waltz for Debby
(6:07)  2. Peri's Scope
(5:29)  3. Time Remembered
(7:52)  4. Show Type Tune
(5:50)  5. Very Early
(4:32)  6. Bill at Peace
(6:26)  7. Funkallero
(7:11)  8. The Two Lonely People
(8:08)  9. Turn Out the Stars

David Hazeltine is one of New York City's busiest jazz pianists and he has also attracted attention overseas, having recorded for a number of European and Japanese labels in addition to this work in the U.S. Producer Tetsuo Hara became particularly enamored with Hazeltine and has recorded him on a regular basis for his Venus label; this outing is a tribute to the great pianist/composer Bill Evans, recorded in late 1998. It's a challenge to play Evans' compositions without a certain degree of his influence in a piano trio setting, but that doesn't really matter, as the three musicians keep the music fresh, even if there is nothing innovative about their approach. Vetran bassist George Mraz is a veteran of many sessions as a sideman for Venus, and drummer Billy Drummond is also a first-call player, while both fit the mold of musicians who would have complemented Evans himself. Hazeltine never attempts to outright copy Evans' playing style, beginning with a breezy "Waltz for Debby" that percolates with energy. Ballads are always an acid test for jazz musicians, and Hazeltine's treatment of the bittersweet "Time Remembered" brings out the lyricism of this beautiful work. Mraz is showcased in good light in the challenging "Funkallero." Hazeltine has one solo feature, the intricate original "Bill at Peace," in which the late pianist's influence is readily apparent. The audio throughout this enjoyable session is superb, giving the listener the feeling of sitting a few feet away from the trio in the studio. ~ Ken Dryden http://www.allmusic.com/album/waltz-for-debby-mw0000532791

Personnel:  Piano – David Hazeltine;  Bass – George Mraz;  Drums – Billy Drummond

Waltz for Debby

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Lalah Hathaway - Lalah Hathaway

Styles: Vocal, Soul
Year: 1990
File: MP3@320K/s
Time: 45:04
Size: 103,9 MB
Art: Front

(3:38)  1. Somethin'
(5:17)  2. Heaven Knows
(4:04)  3. Baby Don't Cry
(4:55)  4. Smile
(3:28)  5. U-Godit Gowin' On
(5:37)  6. I'm Coming Back
(4:16)  7. Stay Home Tonight
(4:46)  8. I Gotta Move On
(3:42)  9. Sentimental
(5:16) 10. Obvious

When Lalah Hathaway's self-titled debut album came out in 1990, there was reason to believe that she might evolve into one of the top female R&B singers of the 1990s. Donny Hathaway's daughter certainly had a lot going for her not only a big vocal range, but also plenty of charisma, passion, and charm to go with it. The material on this CD ranges from excellent to routine, depending on who's writing and/or producing a particular song. Hathaway doesn't always have fantastic material to work with, but when she does, the results are quite memorable. The producers/songwriters who really do Hathaway justice include Angela Winbush on "Baby, Don't Cry" and "I Gotta Move On," and Andre Fisher on "Smile" and "Somethin'." While those selections come across as personal, Hathaway slips into a routine, less-than-memorable urban contemporary grind thanks to Chuckii Booker on "Sentimental," and Craig T. Cooper on "Obvious" and "U-Godit Gowin On." Again, not everything on the album is a gem. But when Hathaway had strong material to work with, it was clear that she had a lot of potential. ~ Alex Henderson http://www.allmusic.com/album/lalah-hathaway-mw0000689967

Lalah Hathaway

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Don Byas - Jazz In Paris: Laura

Styles: Saxophone Jazz
Year: 1952
File: MP3@320K/s
Time: 55:23
Size: 127,6 MB
Art: Front

(2:49)  1. Summertime
(2:36)  2. Night And Day
(2:58)  3. Easy To Love
(2:38)  4. Where Or When
(2:58)  5. Flamingo
(3:19)  6. Stardust
(2:50)  7. Old Man River
(2:45)  8. The Man I Love
(2:54)  9. Georgia On My Mind
(2:51) 10. Over The Rainbow
(4:16) 11. Laura
(2:54) 12. Somebody Loves Me
(3:20) 13. Old Folks At Home
(2:38) 14. Riviera Blues
(2:59) 15. Smoke Gets In Your Eyes
(4:07) 16. I Cover The Waterfront
(3:27) 17. It's The Talk Of The Town
(2:56) 18. A Pretty Girl Is Like A Melody

Don Byas was clearly a rising star when he walked away from fame. He was the first to hold the Lester Young chair in the Count Basie, before his 30th birthday. After two years with Basie he moved to New York City, where he played and recorded with the likes of Dizzy Gillespie and Coleman Hawkins. In 1946 Byas toured Europe and decided France was the place he wanted to live, and so he did.  Laura is a compilation of several recordings made by Byas between 1950 and 1952. This is Byas in a swing mode, playing slow to moderate tempo standards and ballads, and he is nothing short of magnificent. His playing is lavishly creative and sensual, with a background strain of melancholy. This is romantic swing music with Byas's sax front and center, singing out line after line of beautifully constructed tenor solos.  All three bands play capable, supportive roles, with the drummers consistently demonstrating a light touch. Occasionally, a pianist contributes a concise solo, with Art Simmons offering sensitive accompaniment and intelligent solo work throughout. But these are polite bands that graciously leave the spotlight to the saxophone. The gorgeous opener, "Summertime," sets the after-hours feel of the recording, and Byas never lets up. Laura is one of French label Gitane's Jazz in Paris series, notable not only for the quality of its releases but also for its handsome cover photos. Not since the old Blue Note covers from the 1950s and '60s has there been such an attractive presentation of jazz. Perhaps a few up-tempo tunes would have provided more variety to this recording, but for those in the mood for a master saxophonist playing some of the best laid back swing saxophone you're ever likely to hear, then Laura just might be the one. ~ Mike Neely https://www.allaboutjazz.com/laura-don-byas-gitanes-review-by-mike-neely.php
 

Personnel: Don Byas: tenor sax; Art Simmons: piano; Jean-Jacques Tiche: guitar; Roger Grasset: bass; Claude Marty: drums. (tracks 1,5,7,18). Don Byas: tenor sax; Maurice Vander: piano; Jean-Pierre Sasson: guitar; Jacques Medvedko: bass; Benny Bennett: drums. (tracks 2-4, 8-10). Don Byas: tenor sax; Art Simmons: piano; Joe Benjamin: bass; Bill Clark: drums. (tracks 11-18).

Jazz In Paris: Laura

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Jack Teagarden Sextet - Jack Teagarden At The Roundtable

Styles: Trombone Jazz
Year: 1959
File: MP3@320K/s
Time: 39:51
Size: 91,8 MB
Art: Front

(6:04)  1. South Rampart Street Parade
(6:26)  2. St. James Infirmary
(3:33)  3. Big Noise From Winetka
(3:28)  4. When
(5:52)  5. St Louis Blues
(4:23)  6. Honeysuckle Rose
(3:15)  7. Stardust
(6:47)  8. When The Saints Go Marching In

Recorded at the Roundtable nightclub in New York City on July 1, 1959, this performance marked the beginning of a new, penultimate phase of Jack Teagarden's recording career. His Capitol Records contract having ended the previous spring, he then performed for the portable recording equipment of Roulette Records, which would release some of the sides recorded at this gig as a live album, and which would, for a time, revive his fortunes. Although he's a little less agile and powerful, having reached his late 50s after a career's worth of constant work, and some health problems (later resolved), the cohesiveness of the band makes this release well-worth hearing. The group, in a typical live set, plays seven Dixieland warhorses and the obscure "When" (which was written by the King of Thailand). Teagarden, trumpeter Don Goldie, clarinetist Henry Cuesta, the great stride pianist Don Ewell, bassist Stan Puls, and drummer Ronnie Greb put on a lively, crowd-pleasing show highlighted by "South Rampart Street Parade," "St. James Infirmary" (sung by Teagarden), "St. Louis Blues," and Ewell's feature on "Honeysuckle Rose." [Note: as of 2005, At the Roundtable has never been reissued on its own, but is part of Mosaic's Complete Roulette Jack Teagarden Sessions, augmented with a significant body of unreleased track from this same performance.] ~ Scott Yanow  http://www.allmusic.com/album/at-the-roundtable-mw0000908714

Personnel:  Jack Teagarden - trombone, vocals;  Don Goldie - trumpet, vocals;  Henry Cuesta – clarinet;  Don Ewell – piano;  Stan Puls – bass;  Ronnie Greb - drums

Jack Teagarden At The Roundtable

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Irene Schweizer - Many and One Direction

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 57:01
Size: 133,8 MB
Art: Front

(4:43)  1. Contours
(5:17)  2. Hüben wie drüben
(5:55)  3. May Day
(5:34)  4. Jungle Beats (dedicated to D. C.)
(5:00)  5. Nobile
(2:42)  6. Ictus
(2:34)  7. Last Call
(7:47)  8. Im Zwielicht
(3:56)  9. Sisyphos
(3:41) 10. Saitenpfade
(3:52) 11. Heat Flushes
(3:44) 12. Bleu foncé
(2:15) 13. Chordially

The great Swiss pianist Irene Schweizer goes it alone on her latest release, Piano Solo – Many and One Direction. Here, the critically acclaimed pianist pursues various angles via her noteworthy affinity for rhythmic movement and altogether penetrating execution as each piece is strikingly unique. On “Huben Wie Druben”, Ms Schweizer constructs Bill Evans-type harmonics and melodies while featuring her rhythmically active left hand, that at times conveys somewhat of a classical outlook. Here, the pianist creates enticing melodies along with shifting meter and acute improvisation, which equates to superb invention! The piece titled, “Jungle Beats. Dedicated to D.C.”, features themes performed in various octaves supplemented by furious right hand single note leads in tandem with a tempestuous pulse. Ms Schweizer is also a master at integrating sonorous themes and melodies with on-the-fly improvisation and rapid development. On “Last Call”, the pianist settles into some free-jazz motifs while delicately strumming the piano strings as she furthers that concept with an exhilarating rhythmic sequence on the piece titled, “Saitenpfade”. Ms Schweizer also performs a brief, yet playful rendition of Carla Bley’s “Ictus” as she closes out this diverse affair with a straightforward and affable version of Monk’s “Chordially”.Simply stated, Many And One Direction offers the listener a truly rousing glimpse of this remarkable musician. Don’t let this one slip by.......Highly recommended!

Personnel:  Irene Schweizer - Solo Piano

Many and One Direction

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