Thursday, September 7, 2017

The Western Swing Authority - Now Playing

Bitrate: MP3@320K/s
Time: 38:28
Size: 88.1 MB
Styles: Western Swing
Year: 2015
Art: Front

[2:32] 1. Sweet Harriet
[3:17] 2. One Of Us Is Lying
[2:21] 3. Swing Thing
[3:37] 4. Livin’ A Dream
[2:40] 5. Miss Molly
[2:29] 6. Old Dance Floor
[3:36] 7. Slow Boat To China
[3:58] 8. Rocket To The Moon
[2:01] 9. Bapadoodle
[2:55] 10. Cowtown Queen
[4:05] 11. Swingtime Lullaby
[4:51] 12. The Last Waltz

Paul Chapman/Guitarist, Vocalist; Shane Guse/Strings, Vocalist; Stacey Guse/Vocalist; Dan Howlett/Strings, Vocalist; Matthew Lima/Bassist; Ed Ringwald/Guitarist; Jim Boudreau/Drummer.

In Texas, Bob Wills is still the king. And so far, bands like The Time Jumpers and Asleep at the Wheel have been the big names spreading the gospel of Western Swing around the world. But Canadian supergroup, The Western Swing Authority has, for the past few years, been quietly been adding their name to the list of Western Swing greats. Not bad for a band from the town of Kitchener, Ontario.

The Western Swing Authority is a unique collaboration of some of Canadas top studio and touring musicians who share a common love for authentic Western Swing. A group of seasoned professionals whose individual bios include multiple Canadian Country Music Awards, Juno nominations, and resumes that span from Gordon Lightfoot, to Michelle Wright to George Canyon, to Kellylee Evans. Their self-titled, debut album arrived to critical acclaim, and brought their music to people all around the worldon over 100 radio stations in Canada, The United States, Australia, Northern Ireland, Republic of Ireland, Scotland, Uruguay, Netherlands, Germany, England, New Zealand, Sweden, Austria, France, Denmark and Belgium!

Now Playing

Ella Fitzgerald - 100 Songs For A Centennial (4 parts)

Blessed with an instantly recognizable voice full of youthful exuberance and a three-octave range, noted for its pristine and pure tone, the legendary jazz singer Ella Fitzgerald is, along with singer Billie Holiday, the most important singer of the 20th century. She has been called "The Undisputed Queen of Jazz Singing" or "The First Lady of Song" and these nicknames simply reflect the remarkable and inimitable vocal abilities she possessed. While her incredible technical abilities were pretty much evident, when she sang, Lady Ella radiated with pure joy and a heartfelt passion. Ella lived to sing and loved to perform. Even singer Frank Sinatra, the Chairman of the Board when he sang a duet with her in an interview in 1959 admitted to being unnerved and said: "Ella Fitzgerald is the only performer with whom I've ever worked who made me nervous because I try to work up to what she does. You know, try to pull myself up to that height—because I believe she is the greatest popular singer in the world, barring none, male or female."

To mark the 100 years after her birth, 100 Songs For A Centennial Collection celebrates her long and illustrious career with a beautiful selection of songs drawing from the singer's Decca and Verve years when she was in her prime. As a starting point to Fitzgerald's work, this collection is unmatched by any other "best ofs" or "gold collections" and is an almost perfect compilation in that all of her most noted tracks are here. Spread onto 4 CDs, 100 Songs For A Centennial celebrates the crème of Fitzgerald's illustrious career and the selection moves chronologically highlighting every chapter from earliest punches to those unforgettable, timeless classics. Over that period, Ella recorded and performed with big bands, jazz groups, and symphonic orchestras. The breadth of her repertoire included all kinds of songs from jazz songs, carols, blues, calypsos, bossa-nova to Latin music, show tunes and opera, and this collection gives an opportunity to have it all in one place.

Ella began singing and dancing on the streets of Harlem for tips. Initially, her dream was to become a dancer and it was fate that one night while too intimidated to dance at a talent contest in 1934 at the Apollo Theatre instead she sang a song that simply silenced the dumbfounded audience and won her the first prize. Very soon she was invited to sing with the Chick Webb's Big Band, one of the hottest swing bands of the era that propelled dancers into orbit. Naturally, at the start she was unformed, but she had the ability to read music and to learn the songs in a second. While these songs are from another era and the sound quality is far from pristine, they still burst with joy and energy. There is something magical that is happening on each of these songs regardless of the era when these songs were recorded, arrangements is how Ella throws herself into the music. She invests herself thoroughly and her performances often transcend the material. It's her passion and joy that push any of these songs into the realm of greatness. This ability is what has always distinguished her from the lot or the ability to wring something out of any kind of song. Her biggest success came in June 1938, which eventually became the biggest hit of her career with "A-Tisket, A-Tasket" a bestselling record for three months at the time. Unfortunately, Webb suffered from tuberculosis and eventually died in 1939 with the orchestra continuing under her name up. When the orchestra broke in 1942 she pursued a career as a solo artist she became renowned for her virtuosity with the wordless vocals i.e. the scat singing. She wowed listeners on songs such as 'Oh Lady Be Good" with her vocal inventions that laid the foundation for her shift from a swing band singer to modern jazz diva.

Produced by Norman Granz, the Songbook series are one of Ella's career highlights and greatest achievements. Under his guidance, Ella firstly released Ella Fitzgerald Sings the Cole Porter Songbook and over the next decade, she would focus on the works of other composers such as George and Ira Gershwin, Richard Rodgers and Lorenz Hart, Irving Berlin, Duke Ellington, Harold Arlen, Jerome Kern, and Johnny Mercer. By 1964, she would record around 250 songs for this project. No other singer has surpassed the excellence of her delivery and interpretation. She elevated the works by these people to be recognized as art songs. Cole Porter who was mainly disinterested about how jazz performers have approached his work responded in exclaim to Fitzgerald's recordings of his music: "My, what marvelous diction that girl has." Even Ira Gershwin, upon hearing her interpretations, have said: "I didn't realize our songs were so good until Ella sang them." Further, the collection spreads to famed collaborations and material like the duet recordings with trumpeter and singer Louis Armstrong.

But the collection centers only on Ella's Decca and Verve years which really is her finest period. The compilation should have stretched further. After collapsing on stage in 1965 so began the decline of her health and change of fortune. Her contract with Verve was not renewed in 1966 and the quality of the material she released for Capitol was not Ella's most representative. Still, she performed with symphonic orchestras, she began working with pianist Tommy Flanagan, there are the famous duets with guitarist Joe Pass and the song book of Brazilian composer Antonio Carlos Jobim. Due to complications with diabetes, she had problems with her eyesight, heart problems but she still performed at least once a month to enthusiastic crowds until the '90s.

It's impossible to imagine today's music without Ella Fitzgerald. No singer can come close when Fitzgerald was in her prime when it comes to stylistic range, intonation, and stamina. Her performances often transcended the original material and the songs became a platform on which her voice could work miracles. Again, every song regardless of date of production in this collection is a masterclass in singing and many are considered standard jazz repertoire. She is able to sing these songs so effortlessly and to make them full of life and emotions. They are delivered in a sweet voice that could leap and glide with ease. Many singers who followed her in jazz cite her as an influence. But more remarkably, her influence has spread well beyond jazz. But, to be a lasting presence in jazz, one also has to have something to say that comes from your own life. As Charlie Parker said: "Music is your own experience, your thoughts, your wisdom. If you don't live it, it won't come out of your horn (or your singing)." What Ella had was a signature sound where from the first note it is evident who is telling the story, her story. Each song in this collection showcases that she was and still is the First Lady of Song. ~NENAD GEORGIEVSKI

Album: 100 Songs For A Centennial Part 1
Bitrate: MP3@320K/s
Time: 73:20
Size: 167.9 MB
Styles: Jazz vocals
Year: 2017

[2:33] 1. Sing Me A Swing Song (And Let Me Dance)
[2:54] 2. If You Can't Sing It You'll Have To Swing It
[3:12] 3. Dedicated To You
[2:46] 4. Big Boy Blue
[3:18] 5. I Got A Guy
[2:36] 6. A-Tisket, A-Tasket
[2:34] 7. I Found My Yellow Basket
[3:05] 8. McPherson Is Rehearsin' (To Swing)
[2:49] 9. F.D.R. Jones
[3:17] 10. Undecided
[3:06] 11. I Want The Waiter (With The Water)
[2:55] 12. Imagination
[3:07] 13. Five O'clock Whistle
[2:52] 14. Cow Cow Boogie
[2:41] 15. When My Sugar Walks Down The Street
[3:09] 16. I'm Making Believe
[3:06] 17. Into Each Life Some Rain Must Fall
[3:13] 18. And Her Tears Flowed Like Wine
[2:42] 19. I'm Beginning To See The Light
[2:39] 20. It's Only A Paper Moon
[2:54] 21. You Won't Be Satisfied (Until You Break My Heart)
[2:37] 22. Stone Cold Dead In The Market
[3:07] 23. (I Love You) For Sentimental Reasons
[3:15] 24. My Happiness
[2:40] 25. Baby It's Cold Outside

100 Songs For A Centennial Part 1

Album: 100 Songs For A Centennial Part 2
Bitrate: MP3@320K/s
Time: 72:18
Size: 165.5 MB
Styles: Jazz vocals
Year: 2017

[3:13] 1. Oh Lady Be Good
[2:24] 2. That Old Feeling
[3:00] 3. I Hadn't Anyone Till You
[3:04] 4. Black Coffee
[2:43] 5. Soon
[2:46] 6. There Never Was A Baby Like My Baby
[2:25] 7. Walkin' By The River
[3:04] 8. Taking A Chance On Love
[2:55] 9. Until The Real Thing Comes Along
[3:04] 10. You Leave Me Breathless
[2:49] 11. Lullaby Of Birdland
[2:14] 12. Between The Devil And The Deep Blue Sea
[2:40] 13. It Might As Well Be Spring
[2:59] 14. Miss Otis Regrets (She's Unable To Lunch Today)
[2:20] 15. You Do Something To Me
[2:41] 16. I've Got You Under My Skin
[3:39] 17. Moonlight In Vermont
[5:51] 18. Cheek To Cheek
[2:48] 19. Manhattan
[2:02] 20. Thou Swell
[2:35] 21. I Wish I Were In Love Again
[3:10] 22. Blue Moon
[2:05] 23. Solitude
[2:24] 24. Comes Love
[3:10] 25. I've Got My Love To Keep Me Warm

100 Songs For A Centennial part 2

Album: 100 Songs For A CentennialPart 3
Bitrate: MP3@320K/s
Time: 77:39
Size: 177.8 MB
Styles: Jazz vocals
Year: 2017

[4:10] 1. Let's Call The Whole Thing Off
[5:11] 2. In A Mellow Tone
[2:43] 3. I Never Had A Chance
[3:26] 4. What Will I Tell My Heart
[4:59] 5. Summertime
[2:30] 6. Little White Lies
[2:45] 7. You Hit The Spot
[2:20] 8. You Brought A New Kind Of Love To Me
[2:56] 9. Let's Face The Music And Dance
[3:27] 10. Isn't This A Lovely Day
[2:14] 11. Puttin' On The Ritz
[2:19] 12. You Make Me Feel So Young
[3:08] 13. Moonlight Becomes You
[3:03] 14. Let's Fall In Love
[3:01] 15. My Old Flame
[3:02] 16. They All Laughed
[2:50] 17. I Can't Be Bothered Now
[2:35] 18. My One And Only
[3:06] 19. I Got Rhythm
[2:50] 20. Stairway To The Stars
[2:50] 21. Misty
[2:41] 22. Hooray For Love
[2:43] 23. Out Of This World
[3:23] 24. Come Rain Or Come Shine
[3:16] 25. Stella By Starlight

100 Songs For A Centennial Part 3

Album: 100 Songs For A Centennial Part 4
Bitrate: MP3@320K/s
Time: 77:14
Size: 176.8 MB
Styles: Jazz vocals
Year: 2017
Art: Front

[2:18] 1. I Hear Music
[2:49] 2. Love Me Or Leave Me
[2:33] 3. Hallelujah, I Love Him So
[2:45] 4. The Very Thought Of You
[2:44] 5. Warm All Over
[3:01] 6. Almost Like Being In Love
[3:14] 7. All The Things You Are
[3:37] 8. A Fine Romance
[2:49] 9. Yesterdays
[2:40] 10. Honeysuckle Rose
[3:03] 11. On The Sunny Side Of The Street
[3:14] 12. Tea For Two
[3:31] 13. Trouble In Mind
[2:41] 14. See, See Rider
[2:36] 15. Can't Buy Me Love
[2:05] 16. The Sweetest Sounds
[3:10] 17. Skylark
[2:32] 18. Something's Gotta Give
[2:59] 29. Dream (When You’re Feeling Blue)
[3:42] 20. Cottontail
[4:12] 21. Duke's Place
[3:33] 22. Something To Live For
[3:00] 23. Whisper Not
[3:27] 24. Time After Time
[4:47] 25. Mack The Knife (Live In Berlin 1960)

100 Songs For A Centennial Part 4

Monty Alexander - The Good Life: The Music Of Tony Bennett

Bitrate: MP3@320K/s
Time: 58:09
Size: 133.1 MB
Styles: Piano jazz
Year: 2001
Art: Front

[5:31] 1. That Old Devil Moon
[5:07] 2. The Good Life
[7:09] 3. Smile
[6:10] 4. Maybe September
[6:40] 5. The Way You Look Tonight
[3:38] 6. Just A Little Street
[4:19] 7. Just In Time
[3:06] 8. Emily
[6:05] 9. Put On A Happy Face
[4:39] 10. I Wanna Be Around
[3:17] 11. Once Upon A Time
[2:27] 12. Because Of You

Monty Alexander has always been a fine jazz pianist, but in recent years he has received more popular acclaim for interpreting the reggae music of his native Jamaica. While his reggae efforts are well done, straight-ahead jazz and interpreting standards are really his forte. For The Good Life, Alexander has chosen to riff on tunes from the repertoire of Tony Bennett -- not the most popular or well-known, or even written by the singer -- but a good cross section of his set list over the decades. The Chicago-based rhythm team of veteran drummer George Fludas and up-and-coming bassist Lorin Cohen (cousin and bandmate of pianist Ryan Cohan) gives Alexander all the supple support and equal dynamism his playing demands. It's safe to say that listeners will enjoy the more refined, easy swinging numbers such as "Smile," the light bossa treatment of "Maybe September," and the tender ballad "Emily." This is what the elegant Alexander does best, playing 'round midnight affirmations, romantic advances, and subtle harmonies. But as the CD hums along, the pianist becomes more assertive -- the kind of animation Alexander is always capable of but rarely shows -- as on "Just in Time," where he trades phrases with Fludas, displays energy, and digs in. The trio does "Put on a Happy Face" in a loping, crafted manner, seasoned by the years, and presents a doleful blues on "I Wanna Be Around," which is the tune most identified with Bennett. A little Latin spice bumps up the traipsing "That Old Devil Moon," and a horse-trot rhythm courtesy of Fludas inspires "The Good Life." As in the tradition of Chesky Records, this session was recorded with a single 360-degree microphone, done at St. Peter's Episcopal Church in N.Y.C., and the sound is pristine. Turn up the volume a few notches to hear the precious, full, rich, bountiful sound Alexander and his group are putting down. ~Michael G. Nastos

The Good Life: The Music Of Tony Bennett

Phoebe Snow - It Looks Like Snow

Bitrate: MP3@320K/s
Time: 49:17
Size: 112.8 MB
Styles: Adult contemporary, Soft rock
Year: 1976/2011
Art: Front

[5:14] 1. Autobiography (Shine, Shine,, Shine)
[4:29] 2. Teach Me Tonight
[3:55] 3. Stand Up The Rock
[4:46] 4. In My Girlish Days
[6:04] 5. Mercy On Those
[5:49] 6. Don't Let Me Down
[5:50] 7. Drink Up The Melody (Bite The Dust, Blues)
[2:56] 8. Fat Change
[5:52] 9. My Faith Is Blind
[4:18] 10. Shakey Ground

David Rubinson's production of Phoebe Snow on the 1976 release It Looks Like Snow is an overpowering collection of pop-jazz-funk-folk that puts this amazing vocalist's talents in a beautiful light. Whether it's the Bowen/Bond/Hazel blues classic "Shakey Ground," which Elton John, Etta James, and so many others have explored, or her exquisite interpretation of the Beatles' "Don't Let Me Down," there is no doubt the material here should have ruled on the airwaves the year after her Top Five smash, "Poetry Man." How could Columbia Records not have this material saturating radio across America is the question. There are string arrangements by Sonny Burke and horn arrangements by Kurt McGettrick; the guests galore -- from David Bromberg and Ray Parker, Jr. on guitars (along with Snow, Greg Poree, and Steve Burgh) to David Pomeranz on keys -- make the Snow/Pomeranz co-write "Mercy on Those" into a majestic and extra-special showstopper. The singer's solo composition "Drink Up the Melody (Bite the Dust, Blues)" has her dipping into Maria Muldaur territory, and a duet between the two divas here would've been sensational. "My Faith Is Blind," soaked in gospel introspection, takes the album to another level with its soul searching and sense of spiritual discovery. It Looks Like Snow is a major work from a fabulous performer traversing styles and genres with ease and elegance. The loving mom appears with her daughter on the back cover in a photo by collaborator Phil Kearns. ~Joe Viglione

It Looks Like Snow

Cannonball Adderley - Money In The Pocket

Bitrate: MP3@320K/s
Time: 62:59
Size: 144.2 MB
Styles: Bop, Saxophone jazz
Year: 2005
Art: Front

[10:25] 1. Money In The Pocket
[ 9:09] 2. Stardust
[ 7:23] 3. Introduction To A Samba
[ 7:44] 4. Hear Me Talkin' To Ya
[10:32] 5. Requiem For A Jazz Musician
[ 3:07] 6. Cannon's Theme
[ 4:06] 7. The Sticks
[10:29] 8. Fiddler On The Roof

Cannonball Adderley's mega-successful album Mercy, Mercy, Mercy!, released in August of 1966, was supposedly recorded "live" at a venue in Chicago called The Club, but it was actually recorded in the studio of Capitol Records with a specially assembled audience. For those who wonder what they really sounded like at that venue, Money in the Pocket contains unreleased live recordings of the Cannonball Adderley Quintet at The Club in Chicago on March 19 and 20, 1966. The only pieces officially released were edited 45-rpm single versions of "The Sticks," "Money in the Pocket," "Hear Me Talkin' to Ya," and "Cannon's Theme." This 2005 reissue restores those tracks to their original full lengths while adding "Introduction to a Samba," "Requiem for a Jazz Musician," "Fiddler on the Roof," and a nice version of "Stardust." Cannonball employed the same excellent band as heard on the Mercy, Mercy, Mercy! album -- cornetist Nat Adderley, keyboardist Joe Zawinul, drummer Roy McCurdy -- with the exception of bassist Herbie Lewis, who replaced Victor Gaskin. Any Cannonball Adderley fan will want to own this. ~Al Campbell

Money In The Pocket

Jake Shimabukuro - Dragon

Styles: Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 45:15
Size: 104,2 MB
Art: Front

(2:59)  1. Shake It Up!
(4:06)  2. Dragon
(3:15)  3. Circle Of Friends
(3:39)  4. Me And Shirley T.
(2:21)  5. Floaters
(5:09)  6. 3rd Stream
(3:34)  7. Touch
(5:03)  8. En Aranjuez Con Tu Amor (feat. DJ QBert)
(3:35)  9. Toastmanland
(2:24) 10. Making A Perfect Yesterday
(5:19) 11. Looking Back
(3:45) 12. With U Always

The humble ukulele needed a man like Jake Shimabukuro, the 28-year-old string virtuoso determined to turn all your “Tiptoe Through the Tulips” preconceptions on their ear. Shimabukuro’s unconventional approach to the instrument produces a sound and a complexity more akin to a mandolin or a lead guitar than what you might recognize as a uke. Revered in Japan and in his native home of Hawaii, Shimabukuro has enjoyed little fame elsewhere, but with Dragon, his fourth LP (and the first to be aggressively marketed in the continental U.S.), that seems likely to change. Dragon finds Shimabukuro in an adventurous, expansive state; there’s considerably less novelty and bravado than in his previous, folksier releases. Instead, the focus of the album rests on Shimabukuro’s songwriting, and the results are generally positive: “Toastmanland” and “Me & Shirley T” are light and sweet, “Shake It Up” and “Circle of Friends” are rousing anthemic power ballads, and “El Aranjuez Con Tu Amor” (an unconventional take on Joaquin Rodrigo’s “Concierto de Aranjuez,” featuring a drum loop from superstar turntablist DJ Q-Bert) is, if not triumphant, at least always interesting. The album’s greatest fault is its sentimentality; much of the CD is drenched with treacly orchestration that threatens to obscure Shimabukuro. While I would have preferred a more stripped-down set, Dragon is an impressive effort and a thoroughly enjoyable listen. ~ John Seroff https://jazztimes.com/reviews/albums/jake-shimabukuro-dragon/ 
 
Personnel: Jake Shimabukuro (acoustic guitar, electric guitar, ukulele, piano, keyboards, programming); Jake Shimabukuro (guitar); Ignace Jang, Claire Hazzard, Hung Wu, Judy Barrett (violin); Sandra Wong, Anna Womack (viola); Karen Fujimoto, Karen Bechtel (cello); Daniel Pardo, Dean Taba (bass instrument); Noel Okimoto (drums).

Dragon

Stanton Moore - All Kooked Out!

Styles: Jazz, Post Bop
Year: 1998
File: MP3@320K/s
Time: 62:54
Size: 145,0 MB
Art: Front

(4:16)  1. Tchfunkta
(6:01)  2. Common Ground
(6:15)  3. Green Chimneys
(4:59)  4. Blues For Ben
(3:11)  5. Kooks On Parade
(5:23)  6. Nalgas
(5:03)  7. Witch Doctor
(4:58)  8. Boogaloo Boogie
(4:24)  9. Nobody's Blues
(3:21) 10. Stanton Hits The Bottle
(2:33) 11. Farmstead Antiques
(7:29) 12. Angel Nemali
(4:56) 13. Honey Island

It takes a special kind of drummer to be a leader. Maybe a nervy one. There's the temptation to grandstand with showy over-domination or remain buried in a rhythm section and let someone else take the honors. The most successful drummer-leaders are either innovative melodists like Art Blakey, Shelly Manne and Tony Williams. Or they're artful percussionists like Louis Bellson, Chico Hamilton or Leon Parker. Then there's Stanton Moore. As a New Orleans native, he's grown up on the Mardi Gras gumbo of the Meters and Professor Longhair. But as a drummer, he digs deep into the boogaloo bayou of James Brown and Lou Donaldson. He clearly does not believe drumming merely keeps time. When Moore motivates, you'll start moving. Actually, he makes it seem inhuman to sit still. In other interesting spheres, Moore ignites the New Orleans Klezmer All Stars and scales the charts as a founding member of the popular funk band, Galactic. With All Kooked Out, the young drummer steps out on his own. This excellent debut offers Moore entrance to the funk pantheon (your hosts, Melvin Parker, Bernard Purdie, Idris Muhammad and Harvey Mason) and places him firmly in the same contemporary league of royalty heretofore occupied only by MMW's highly esteemed Billy Martin.

Unlike Galactic's keyboard-driven groove and occasional vocals, Moore opts for an all-instrumental guitar-sax groove on All Kooked Out. As he does elsewhere, he keeps it pretty simple- riding the snare, bass and occasional cymbal - but always with engaging funk at the source. Drum solos are kept to a minimum. But, thankfully, they're always in the context rather at the expense of the music. Moore's real coup is recruiting guitarist Charlie Hunter for this party. Hunter adds the rhythmic kick and the melodic groove that gives Moore's beat real substance. Somehow, Hunter manages an eight-string guitar, giving him the ability to play bass and guitar parts at the same time. With a special attachment, he can even make his guitar sound like a Hammond B-3 organ. Hunter, who's paired less interestingly with Leon Parker on his latest Blue Note release, Duo, proffers a formidable partnership with Moore. The two like-minded hipsters display much interchange, well worth hearing: at least for those who think funk offers something of value. A basic trio (supplemented at times by a small cast of New Orleans all stars including Galactic Matt Pierce on tuba and former Sun Ra trumpeter Michael Ray) is rounded out by the wacky, yet appealing John Zorn saxophonics of Skerik (doin' the Harold Alexander thing).

It's an exceedingly winning combination too. Plenty of shining is heard throughout, notably on the brass band boogie of "Blues for Ben" (a great millennial party tune and a choice slice of Hunter in Wes-meets-Grant mode), John Patton's "Boogaloo Boogie" (an ideal showcase for Hunter's amazing, tuneful facility), the date's lone ballad , the beautiful "Honey Island," and the nice surprise of Dudu Pakwana's "Angel Nemali" (Skerik's best moment). All the while, the drummer puts out, completely in charge. No need to worry about giving this drummer some, he's earning every bit. Name check his influences as you grind through the Lou Donaldson rock of "Common Ground," Monk's clunky and chunky "Green Chimneys," and the James Brown jambalaya of "Nalgas," one of several memorable group originals/jams. Throughout, Moore keeps it funky. And since he keeps the environment limited to mostly just guitar-sax-drums - allowing truly excellent musicanship throughout - he winds up with something that ranks among the year's finer jazz releases. So does funk make for good jazz? Hard to say. Some people just don't want to have fun. They're the ones who think something catchy has nothing to say. Stanton Moore knows better. Those who hear him will surely agree. And those who groove to All Kooked Out will be all the richer for it. ~ Douglas Payne https://www.allaboutjazz.com/all-kooked-out-stanton-moore-fog-city-records-review-by-douglas-payne.php

Personnel:  Stanton Moore: drums & percussion; Charlie Hunter: eight-string guitar; Skerik: tenor and baritone saxophones: Matt Perrine: tuba: Brent Rose: tenor sax, soprano sax; Brian Seeger: guitar; Ben Ellman: tenor sax; Michael Ray: trumpet; Craig Klein: trombone.

All Kooked Out!

Jimmy McGriff & Groove Holmes - Giants of the Organ Come Together

Styles: Jazz, Post Bop
Year: 1973
File: MP3@320K/s
Time: 41:08
Size: 95,0 MB
Art: Front

(6:59)  1. Licks A' Plenty
(8:33)  2. Out of Nowhere
(5:24)  3. The Squirrel
(6:18)  4. Finger Lickin' Good
(7:03)  5. How High the Moon
(6:48)  6. Things Ain't What They Used to Be

Twin organs back to back and a heck of a hard-wailing set from Groove Holmes and Jimmy McGriff! The album cooks from the very first note and features long tunes that open up with the same sort of solo-heavy approach that you'd get on Holmes' Prestige albums of the 60s very stretched out, in a way that offers the keyboardists no cover at all, and forces them to keep thinking on their feet to come up with great notes! 

Bernard Purdie plays some nicely tight drums on the set, and guitar is by George Freeman and O'Donel Levy both of whom add some nice superdope touches to the set! A winner all the way through, with great solos and titles that include "Licks A Plenty", "The Squirrel", and "Finger Lickin' Good". © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/6135/Jimmy-McGriff-Richard-Groove-Holmes:Giants-Of-The-Organ-Come-Together

Personnel:  Organ – Jimmy McGriff,  Richard 'Groove' Holmes;  Congas – Kwasi Jayourba;  Drums – Bernard Purdie;  Guitar – George Freeman, O'Donel Levy

Giants of the Organ Come Together

Magnus Lindgren - Souls

Styles: Flute Jazz
Year: 2013
File: MP3@320K/s
Time: 44:51
Size: 103,6 MB
Art: Front

(3:06)  1. Souls
(3:42)  2. Change All The Time
(4:29)  3. Creepin'
(3:42)  4. Rainy Day
(4:26)  5. Dreaming In New York
(4:00)  6. Barcelona
(4:15)  7. Small Stuff
(3:07)  8. Broken Heart
(4:17)  9. On A Sunday
(4:45) 10. Walk This Earth
(4:56) 11. Wrapped Around Your Finger

The Sweden Magnus Lindgren, saxophonist, flutist, clarinetist, composer and musical traveler will have his new album "Souls" out Nave: The recording took place in New York in collaboration with the voices of Gregory Porter, Ivan Lins and beautiful young Swedish jazz star Anna Christoffersson, among others. It highlights the talent of this artist / composer admired, among others, by Quincy Jones.

Personnel:  Magnus Lindgren - tenor sax, flute, alto flute, clarinet, bass clarinet, Rhodes, Wulitzer, vocals;  Leonardo Amuedo – guitars;  Ira Coleman – bass;  Rhani Krija – percussion;  Gregory Porter - vocals on track 1, 7, 8;  Rigmor Gustafsson - vocals on track 5;  Anna Christoffersson - vocals on tracks 1, 2, 4, 7, 8;  Marie Fredriksson - vocals on track 9;  Mark Reilly - vocals on track 4;  Ivan Lins - vocals on track 10

Souls

Alma Micic - That Old Feeling

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 35:29
Size: 82,6 MB
Art: Front

(3:47)  1. That Old Feeling
(4:09)  2. Harvest Moon
(3:13)  3. Moonglow
(4:32)  4. Cry Me A River
(4:24)  5. Honeysuckle Rose
(2:35)  6. Ne zaboravi me
(4:04)  7. Estate
(3:55)  8. Blue Moon
(4:45)  9. Solnishko

Alma was born and raised in Belgrade, Serbia. She started performing with a local quartet at a time in which jazz was making a big comeback in Belgrade: it was 1992, and somehow, jazz clubs bloomed all across town like mushrooms. Alma was singing three nights a week then, while attending high school in the morning. At 17, she started performing and touring regularly with the Radio Big Band, then entered Law School a year later. However, in 1995, with great help and support from her parents and family, she applied and was awarded a generous scholarship to attend the prestigious Berklee College of Music in Boston, MA. Alma began her studies as a voice major in 1996, and graduated in 1999 with a BM in Jazz Performance. It was at Berklee that she started leading her own quartet and performing at various clubs such as Scullers, Jazz Standard as well as appearing at various festivals throughout East Coast and Europe. In 2000, Alma Micic relocated to New York City. While making her mark on the jazz scene, she met current members of her quartet.  She leads a cohesive, intuitive group that includes bassist Sean Conly, drummer Gregory Hutchinson, and pianist Brandon McCune. “Introducing Alma”, the first solo effort of this extraordinary new jazz vocalist received great critical acclaim. Featured articles included publications such as Jazzman (France), Swing Journal (Japan), All About Jazz (US), Il manifesto (Italy). Alma’s singing is steeped in tradition, her writing and lyrics completely fresh and original. It is described by Bob Young of the Boston Herald as “music that nods to the past and looks to the future.” Alma’s upcoming release “The Hours” features her originals, new takes on spirituals and a loving dedication to her ethnic heritage. https://www.last.fm/music/Alma+Micic/+wiki

That Old Feeling