Joni Mitchell - Both Sides Now

Bitrate: MP3@320K/s
Time: 51:23
Size: 117.6 MB
Styles: Jazz vocals
Year: 2000
Art: Front

[3:51] 1. You're My Thrill
[4:25] 2. At Last
[4:27] 3. Comes Love
[5:00] 4. You've Changed
[3:22] 5. Answer Me, My Love
[5:52] 6. A Case Of You
[4:09] 7. Don't Go To Strangers
[3:58] 8. Sometimes I'm Happy
[3:48] 9. Don't Worry 'bout Me
[3:06] 10. Stormy Weather
[3:34] 11. I Wish I Were In Love Again
[5:45] 12. Both Sides Now

Joni Mitchell has long dabbled in the jazz world, forging alliances with the likes of Charles Mingus, Jaco Pastorius, and Wayne Shorter, while incorporating elements of fusion into her more intrepid recordings. Both Sides Now, however, comes at jazz from a different angle than the experimental likes of Mingus and The Hissing of Summer Lawns. Here is Joni the chanteuse, tackling smoky standards such as "At Last," "Sometimes I'm Happy," and "Stormy Weather" in the embrace of lush pop arrangements that owe a debt to Nelson Riddle and Gordon Jenkins, though some stray over the line from stately into staid. The focus here is on Mitchell the vocalist, and she displays a real commitment to the music. She has the chops and the smarts to tackle these staples, but at times she seems intimidated by their illustrious pedigrees. Two of Mitchell's own songs are revived here--"A Case of You" and the title track. The results are mixed: the former takes on a new weight while the latter seems adolescent in such mature company. Ultimately, Both Sides Now is more a valentine to classic pop by a woman who can--and should--be off making more touchstones of her own. ~Steven Stolder

Both Sides Now

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Sir Simon Rattle - Duke Ellington Album

Bitrate: MP3@320K/s
Time: 78:58
Size: 180.8 MB
Styles: Big band, Contemporary jazz
Year: 2000
Art: Front

[ 9:05] 1. Take The 'A' Train
[ 2:56] 2. You're The One (with Joshua Redman)
[ 5:12] 3. Sophisticated Lady (With Bobby Watson)
[14:09] 4. Harlem (A Tone Parallel To Harlem)
[ 4:50] 5. Isfahan (With Peter Walden)
[ 8:56] 6. Ad Lib On Nippon (Part 2) (With Colin Parr)
[ 9:04] 7. That Doo-Wah Thing From 'it Don't Mean A Thing If It Ain't Got That Swing' Part 2, Duet Fugue (With Joe Lovano)
[ 4:33] 8. Something To Live For
[ 5:30] 9. Come Sunday (With Regina Carter)
[ 4:38] 10. Solitude In Transblucency (With Richard Simpson)
[ 2:44] 11. Maybe
[ 7:15] 12. Things Ain't What They Used To Be (With Regina Carter)

Clark Terry, John Barclay, Simon Gardner- trumpet; Joshua Redman, Joe Lovano- tenor saxophone; Bobby Watson- alto saxophone; Regina Carter- violin; Andrew Barnell- bassoon; Colin Parr- clarinet; Peter Walden- English horn; Richard Simpson- oboe; Geri Allen, Mike Renzi- piano; Peter Washington, Mark Goodchild- double bass; Lewis Nash- drums; Lena Horne- vocals; City of Birmingham [England] Symphony Orchestra.

Sir Simon Rattle conducts the City of Birmingham Symphony Orchestra in a celebration of Duke Ellington’s music. Each impressive orchestration has been reworked by Luther Henderson to provide a full sound. The orchestra performs admirably with accurate interpretations of classic Ellington songs. Along the way, we find Clark Terry, Bobby Watson, Joe Lovano, Regina Carter, Lewis Nash and Josh Redman trading solos with the ensemble. They work together on three tracks, recalling the personal spirit of Ellington’s music and how it was created to fit his individual band members.

Some time ago, Duke Ellington and Luther Henderson discussed what would some day become this particular project. Ellington asked Henderson to arrange “Harlem” (from “Far East Suite”) for performance by a symphony orchestra, combined with his band in concerto grosso form. The two gentlemen agreed that it would represent a blending of two cultural traditions: Western European and African.

Lena Horne sings three songs. Her vocal lines, however, were prerecorded. Thus, there’s a distinct separation in sound between vocalist and accompaniment. Horne’s features appear cold and distant, while Lovano, Watson, Nash, Geri Allen and Peter Washington attempt to make things appear more convincing. Watson has a feature on “Isfahan” and Allen has a feature on “Ad Lib on Nippon,” while Carter and Terry take center stage for a lovely arrangement of “Come Sunday.” Much of the 80-minute album remains focused on celebrating Ellington’s music through full orchestral colors and carefully interwoven instrumental voices. As if to remind us of the balance achieved here between jazz and classical, Clark Terry takes over the closing number with a classic mumbles and wah-wah trumpet routine. The program makes a fine tribute to the music of Duke Ellington and presents these treasured pieces in a slightly different light. ~Jim Santella

Duke Ellington Album

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Abbey Lincoln - Abbey Sings Abbey

Bitrate: MP3@320K/s

Time: 59:03

Size: 135.2 MB

Styles: Jazz vocals

Year: 2007

Art: Front

[5:11] 1. Blue Monk

[5:16] 2. Throw It Away

[4:44] 3. And It's Supposed To Be Love

[5:25] 4. Should've Been

[3:37] 5. The World Is Falling Down

[4:53] 6. Bird Alone

[6:29] 7. Down Here Below

[3:50] 8. The Music Is The Magic

[4:35] 9. Learning How To Listen

[6:26] 10. The Merry Dancer

[4:37] 11. Love Has Gone Away

[3:54] 12. Being Me

Accordion – Gil Goldstein; Acoustic Guitar, Electric Guitar, Resonator Guitar [National], Steel Guitar, Mandolin – Larry Campbell; Bass – Scott Colley; Cello – Dave Eggar; Drums – Shawn Pelton; Performer, Lyrics By – Abbey Lincoln. Recorded on September 25-27 and November 17, 2006 at Avatar Studios, New York City.

Vocalist Abbey Lincoln's voice is the sound of the earth yearning for your soul. She is lust turned to wisdom. She is diva turned to soothsayer. In her mid-seventies at the time of this recording, Lincoln is the embodiment of a life lived as a performer and lover and now a storyteller through song. Abbey Sings Abbey finds the songstress revisiting a number of her own compositions from past albums. And while she remains a pre-eminent jazz singer, here she has surrounded herself with an eclectic and organic small group that imbues these tracks with a soft country-blues meets klezmer sound that rubs elegantly against Lincoln's burnished vocals. This is a beautifully raw and intimate album full of lament and the faint perfume of romance. As she sings on "Should've Been," "It's the sound of sorry/Looking yonder with regret. Sorry 'cause of what you got/And what you didn't get." These are enigmatic torch songs and playful blues, dark elegies and poignant ballads all featuring Lincoln's own devastatingly precise lyrics and melodies that hint at not just death and regret, but also a lingering passion for life. ~Matt Collar

Abbey Sings Abbey 

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Steve Miller Band - Anthology

Bitrate: MP3@320K/s
Time: 63:32
Size: 145.4 MB
Styles: Album rock
Year: 1972/2006
Art: Front

[2:44] 1. I Love You
[3:13] 2. Going To The Country
[8:05] 3. Baby's House
[4:24] 4. Kow Kow
[4:47] 5. Your Saving Grace
[2:27] 6. Going To Mexico
[4:55] 7. Space Cowboy
[4:04] 8. Living In The U.S.A
[6:23] 9. Journey From Eden
[3:52] 10. Seasons
[4:20] 11. Motherless Children
[2:43] 12. Never Kill Another Man
[2:27] 13. Don't Let Nobody Turn You Around
[3:22] 14. Little Girl
[2:30] 15. Celebration Song
[3:08] 16. My Dark Hour

Released in 1972, Anthology provides a 16-track summary of the Steve Miller Band's first five albums, distilling their uneven space blues into a tight, effective collection of highlights. These songs are hardly as tuneful or effortlessly catchy as the songs on 1978's Greatest Hits -- apart from "Living in the USA," "Space Cowboy," and "Going to Mexico," there's nothing particularly immediate here -- but they're first-rate period pieces, capturing Miller's space blues at its most effectively spacey. ~Stephen Thomas Erlewine

Anthology

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Don Friedman Trio - Flashback

Bitrate: MP3@320K/s
Time: 41:00
Size: 93.9 MB
Styles: Piano jazz
Year: 1963/1997
Art: Front

[4:38] 1. Alone Together
[6:26] 2. Ballade In C-Sharp Minor
[4:18] 3. Wait 'til You See Her
[5:02] 4. News Blues
[5:48] 5. How Deep Is The Ocean
[7:48] 6. Ochre
[6:58] 7. Flashback

Pianist Don Friedman's debt to Bill Evans was obvious in the early '60s, particularly on standards, but he also had his own creative spirit to offer. This 1997 CD reissue brings out Friedman's third of four Riverside dates, teaming him with the obscure bassist Dick Kniss and drummer Dick Berk. The pianist shows that he was developing an original voice and was familiar with the avant-garde of the period on such originals as "Ohcre" and "Flashback." In contrast, he swings conventionally but with subtle creativity on "Alone Together," "News Blues" and "How Deep Is the Ocean." A fine, well-rounded set from the underrated pianist. ~Scott Yanow

Flashback

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Lionel Hampton - Just One Of Those Things

Bitrate: MP3@320K/s
Time: 66:58
Size: 153.3 MB
Styles: Vibraphone jazz
Year: 1999
Art: Front

[ 7:41] 1. Just One Of Those Things
[ 6:09] 2. Midnight Sun
[ 7:34] 3. This Can't Be Love
[17:07] 4. Flying Home
[ 2:58] 5. It's A Blue World
[ 7:20] 6. Indiana
[ 3:08] 7. Hamp's Boogie Woogie
[14:57] 8. Body And Soul

Lionel Hampton (vibraphone); Oscar Peterson (piano); Buddy DeFranco (clarinet); Herb Ellis (guitar); Ray Brown (bass); Buddy Rich (drums).

Verve's Just One of Those Things contains a selection of eight highlights from Lionel Hampton's sessions with Oscar Peterson between 1953 and 1954. This may be just a sampler, but it's a highly enjoyable one, since Hampton and Peterson were at the top of their form during this era. The compilers have skillfully balanced familiar selections with slightly esoteric choices (including 78 rpm master takes of "It's a Blue World" and "Hamp's Boogie Woogie"), resulting in an informative, entertaining introduction to one of the great pairings of '50s jazz. ~Stephen Thomas Erlewine

Just One Of Those Things

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Friend 'N Fellow - Light My Fire: Axel Schulz My Best Of

Size: 147,7 MB
Time: 62:49
File: MP3 @ 320K/s
Released: 2006
Styles: Jazz/Pop Vocals
Art: Front

01. Light My Fire (3:10)
02. One More Day (4:50)
03. Kiss The Rain (4:51)
04. Crystal (3:54)
05. Fly Like An Eagle (3:12)
06. Naked In A Jacket (4:27)
07. This Love (2:04)
08. Fairy Godmother (3:19)
09. Friend Of Mine (4:53)
10. Taxi (4:01)
11. Home (3:55)
12. Forbidden Wine (3:28)
13. What A Wonderful World (3:43)
14. Elf (3:49)
15. Light My Fire (Axel Schulz Comeback Version) (4:54)
16. Bonus Taxi (Jannique Remix) (4:12)

"The music of FRIEND 'N FELLOW is calming. It picks you up when you're down - not the other way around! In 2005, they released their album Covered with the song »Light My Fire«. It's simply a uniquely positive song. If you asked me, I couldn't tell you exactly what it is. Then I started getting all these songs offered to me as entrance music. There were good and bad ones, but none of them had that one-of-a-kind feeling..."

The story began when Axel and his wife Patricia attended a Friend 'n Fellow concert simply to enjoy an evening of outstanding music. Axel was so taken with the duo's sound that one night, he decided to call Constanze Friend and ask her about supplying the entrance music for his upcoming fight. Completely surprised, Friend called her guitarist Thomas Fellow with the news. One thing led to another and eventually a friendship developed...

Since Schulz and the musicians were on the same wavelength, he quickly realized that only the music of Friend 'n Fellow possessed the power and the energy to motivate him for the fight of his life - his comeback fight on the so-called "Night of Answers" on November 25th.

Light My Fire

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Gary Williams - At The Movies

Size: 116,0 MB
Time: 49:18
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Spooky (2:44)
02. Almost In Love (3:38)
03. Both Sides Now (3:21)
04. Ev'rybody Wants To Be A Cat (3:16)
05. Puppet On A String (3:31)
06. He's A Tramp (3:07)
07. How Deep Is Your Love (3:13)
08. The Bare Necessities (3:09)
09. I Need Somebody To Lean On (3:21)
10. Baby Mine (4:22)
11. When She Loved Me (2:48)
12. (They Long To Be) Close To You (3:35)
13. Isn't This A Lovely Day (3:19)
14. Home Is Where The Heart Is (3:12)
15. Pocket Full Of Rainbows (2:39)

His style is somewhere between Michael Bublé and Frank Sinatra, but with his own inimitable twist. I am no big fan of Sinatra as I always feel that he isn’t really trying (especially in later recordings) as if he thought ‘It’s me Sinatra, they’ll buy it no matter what!’

Okay, so having deflected the rotten vegetables thrown at me from Sinatra fans, let me say that I would listen to Williams any day of the week.

He has such a beautiful voice – just like black velvet and, although the style is not completely to my liking (jazz-orientated) there is something about his voice that is completely mesmerising.

All the tracks on this new album are completely laid-back and are ideal for sitting in front of the fire sipping a nice long G&T.

It would be a bit unfair of me to pick out any track as being better than the others, but I have tell you that I have played ‘Home is Where the Heart Is’ about a dozen times since receiving the tracks to review and it just gets better and better on each listen.

Tracks are all from films (as the title of the album suggests) and they include: ‘Both Sides Now’, ‘Puppet On a String’, ‘He’s a Tramp’, ‘The Bare Necessities’, ‘Baby Mine’, ‘Isn’t This a Lovely Day’, ‘Pocketful of Rainbows’, and others.

Williams has a huge following worldwide and I am sure this album will increase that number by quite a few. Well worth a listen and to add to your collection. ~Nick Wakeham

At The Movies

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Jerry Weldon & Massimo Farao - What's New

Size: 118,7 MB
Time: 50:53
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. The Gypsy (5:18)
02. My Ship (5:55)
03. We Will Be Together Again (4:17)
04. They Can't Take That Away From Me (6:39)
05. What's New (5:44)
06. What A Difference A Day Made (3:43)
07. Indian Summer (4:09)
08. It's Easy To Remember (5:07)
09. Grace (4:35)
10. For All We Know (5:20)

One of the more beautiful, more subtle settings we've ever heard for the tenor of Jerry Weldon – a very relaxed ballad session cut with pianist Massimo Farao – done with crystal-clear sound, and a very late nite vibe! Over the years, Weldon's developed a really tremendous voice on the tenor – a mode that hearkens back to old giants of mid-century, but which also never does so in any sort of slavish, or easily-retro style – so that although Jerry's blowing at their level, he still really brings a lot of his own phrasing to the horn! This can be especially true on the mellower numbers, which can still have Weldon moving with the deft changes he brings to his work in a more driving setting – and while the piano of Massimo Farao is a perfect balance in terms of modesty and simple tone, it's really Jerry's work on the set that's blowing us away.

What's New

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Urban Jazz Coalition - XXII

Size: 115,5 MB
Time: 49:28
File: MP3 @ 320K/s
Released: 2017
Styles: Smooth Jazz
Art: Front

01. Roof Garden (4:51)
02. Let's Get It (4:45)
03. Soul Suite (6:06)
04. Passions (4:56)
05. Better Days Comin' (4:53)
06. Kenton's Swag (4:17)
07. Caribbean Sunset (3:56)
08. What Kind Of Man Would I Be (4:44)
09. Run For Cover (9:57)
10. The After Party (0:59)

Urban Jazz Coalition is one of the hottest new contemporary jazz groups to come onto the scene in some time, and they have created a major buzz on the national festival circuit over the past few years.

“UJC” has electrified audiences across North America performing their unique blend of urban jazz at many of the nation’s top smooth jazz festivals, including The Seabreeze Jazz Festival, The “V98.7” Detroit Smooth Jazz Fest, Jazz Fest West, The Las Vegas City of Lights Jazz and R&B Festival, The Jacksonville Jazz Festival, The Greater Hartford Festival of Jazz, “WJZZ” Atlanta’s Smooth Jazz Under The Stars Series,
and at a variety of concert venues around the country.

The UJC sound has been described by Jazz Time Magazine’s award winning smooth jazz columnist, Brian Soergel, as being “flush with rhythmic grooves, funky bass lines, and beautifully written melodies.”

Michael Schivo, producer of The Las Vegas City of Lights Festival, was quoted saying, “UJC is the best kept secret in smooth jazz…they rocked our festival into an absolute frenzy! With live performance, it’s all about the music and the energy on stage, and these guys really came to play.”

Urban Jazz Coalition has made a strong impression with radio as well, as their last three releases, “Contempo”, “Long Street”, and “Down To Get Up”, have all achieved “Top 50” status on the national smooth jazz airplay charts. The band’s music has been featured on the NBC Daytime Reality Series, “Starting Over”, as well as in the 2007 hit French film, “Le Verite Ou Presque, while another UJC album track has recently been licensed by Capitol/EMI Records as part of a Gospel/Jazz compilation project.

When asked why this group is generating so much excitement in smooth jazz circles, Carol Archer of Radio & Records was quoted as follows…“A lot of artists aspire to sound as tight and as funky as Urban Jazz Coalition, but these gentlemen can really
pull it off…and how!

With the success of the band’s latest studio project, “A New Day”, and the positive buzz generated by their energetic performances on the national smooth jazz festival circuit, Urban Jazz Coalition definitely has the momentum rolling as they prepare to hit the road during the summer of 2009.

You won’t want to miss an opportunity to hear the band that everyone in smooth jazz is talking about…Urban Jazz Coalition.

XXII

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Cida Moreira - Summertime

Size: 106,9 MB
Time: 45:44
File: MP3 @ 320K/s
Released: 1981/2017
Styles: Jazz/Blues/Pop Vocals
Art: Front

01. Summertime (2:44)
02. Stardust (3:18)
03. All Of Me (2:05)
04. Dream A Little Dream Of Me (2:05)
05. California Dreamin' (2:06)
06. She's Leaving Home (3:52)
07. Gota De Sangue (3:26)
08. Geni E O Zepelim (5:10)
09. Good Morning Heartache (4:23)
10. My Man (3:22)
11. Vapor Barato (3:52)
12. Mercedes Benz (2:23)
13. Kozmic Blues (3:36)
14. Summertime (3:15)

Owner of a powerful voice and a dramatic scenic personality, singer Cida Moreyra says she loves the silence and confesses that she has not yet understood her mission in this life.

Maria Aparecida Guimarães Campiolo was born in São Paulo, SP, on November 12, 1951, better known as Cida Moreyra, is a Brazilian singer, actress and pianist.

His first solo show was "Summertime" in the early 1980s, which would become his first record (with great success of audience and critic). The show, directed by José Possi Neto, was a tribute to the singer Janis Joplin and his time.

In his debut album, "Summertime" of 1981, recorded LIVE at the old Lira Paulistana in São Paulo. Cida Moreira has already started picking up heavy - dense and unique, she has reviewed great classics of blue and American jazz - in addition to singing, for the first time, the censored version of the song "Geni e o Zepelim" by Chico Buarque and "Drop of Blood," by Angela Ro Ro.

Summertime

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Sonny Stitt - In Brazil With Zimbo Trio

Styles: Saxophone Jazz
Year: 1979
File: MP3@320K/s
Time: 41:06
Size: 94,5 MB
Art: Front

(4:41)  1. Hope's Blues
(5:17)  2. Corcovado (Quiet Night)
(5:10)  3. There You'll Never Be Another You
(5:25)  4. Little Suede Shoes
(6:00)  5. Autumn Leaves
(5:20)  6. Samba Do Orfeu
(6:22)  7. Blues For Gaby
(2:48)  8. Assim Esta Certo

Charlie Parker has had many admirers and his influence can be detected in numerous styles, but few have been as avid a disciple as Sonny Stitt. There was almost note-for-note imitation in several early Stitt solos, and the closeness remained until Stitt began de-emphasizing the alto in favor of the tenor, on which he artfully combined the influences of Parker and Lester Young. Stitt gradually developed his own sound and style, though he was never far from Parker on any alto solo. A wonderful blues and ballad player whose approach influenced John Coltrane, Stitt could rip through an up-tempo bebop stanza, then turn around and play a shivering, captivating ballad. He was an alto saxophonist in Tiny Bradshaw's band during the early '40s, then joined Billy Eckstine's seminal big band in 1945, playing alongside other emerging bebop stars like Gene Ammons and Dexter Gordon. Stitt later played in Dizzy Gillespie's big band and sextet. He began on tenor and baritone in 1949, and at times was in a two-tenor unit with Ammons. He recorded with Bud Powell and J.J. Johnson for Prestige in 1949, then did several albums on Prestige, Argo, and Verve in the '50s and '60s. 

Stitt led many combos in the '50s, and re-joined Gillespie for a short period in the late '50s. After a brief stint with Miles Davis in 1960, he reunited with Ammons and for a while was in a three-tenor lineup with James Moody. During the '60s, Stitt also recorded for Atlantic, cutting the transcendent Stitt Plays Bird, which finally addressed the Parker question in epic fashion. He continued heading bands, though he joined the Giants of Jazz in the early '70s. This group included Gillespie, Art Blakey, Kai Winding, Thelonious Monk, and Al McKibbon. Stitt did more sessions in the '70s for Cobblestone, Muse, and others, among them another definitive date, Tune Up. He continued playing and recording in the early '80s, recording for Muse, Sonet, and Who's Who in Jazz. He suffered a heart attack and died in 1982. ~ Ron Wynn http://www.allmusic.com/artist/sonny-stitt-mn0000044290/biography

Personnel: Sonny Stitt (alto saxophone, tenor saxophone); Amilton Godoy (piano); Rubens Barsotti (drums).

In Brazil With Zimbo Trio

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Miss Tess - Darling, oh Darling

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 48:09
Size: 129,1 MB
Art: Front

(4:21)  1. Riding Home
(2:22)  2. That oo oo oo
(3:34)  3. Darling, oh Darling
(3:30)  4. Thinking of Shore
(3:26)  5. Saving All My Love
(3:26)  6. Train Ride to Caroline
(3:13)  7. I Just Wanna Make Love Again
(4:13)  8. Time Can Take the Pain Away
(3:45)  9. Oh No
(3:10) 10. Love
(4:45) 11. Awake
(3:08) 12. I Don't Wanna See You Anymore
(5:09) 13. Darling, oh Darling (unedited)

Equipped with her 1920s Weymann guitar, a satchel full of new songs and joined by a stellar band that includes upright bass, saxophone & clarinet, and drums, Miss Tess is ready to make sweet music for your ears with her fifth release Darling, Oh Darling. The Boston-based singer-songwriter is best known for her ability to invoke the sounds of Classic Jazz and Roots Americana circa the 1930s-50s with a distinctive spunk and imagination that shows that she is much more than a tribute act. She springs a new life into some of the best styles of yesteryear with the dozen original compositions on her latest record. The hallmark of Miss Tess’ music is her breathy and unpretentious alto voice. From the first sultry note of Darling, Oh Darling she evokes memories of greats such as Sarah Vaughan or Bessie Smith. 

The sincerity of her vocals and lyrics are immediately personal and inviting. The approachable nature of her sound makes the record feel as if it is being performed just for you and a group of close friends. Miss Tess’ adaptability as a musician and a writer is also striking. On the record she tackles genres ranging from the classic swing of “That oo oo oo” and “I Just Want to Make Love Again,” to slow county-tinged ballads like “Darling, Oh Darling” and “Awake,” or even rockabilly as in “I Don’t Wanna See You Anymore.” Throughout the album her band performs the retro styles with spotless nuance and subtlety, capturing the true spirit of the music much as it must have been performed in its own era. Many people have already taken notice to Miss Tess’ modern vintage flair. The Boston Globe selected her as the 2008 Local On The Verge artist and she was awarded Outstanding Folk Artist of the Year at The Boston Music Awards. She spends much of her time on the road as Miss Tess & The Bon Ton Parade with current members Alec Spiegelman on sax & clarinet, Ben Davis on upright bass, and Matt Meyer on drums - bringing her songs to locations all around the country and performing at venues large and small. https://store.cdbaby.com/cd/misstess4

Personnel:  Miss Tess: vocals & rhythm guitar;  Alec Spiegelman: clarinet, sax, horn arrangements; Paul Dilley: upright bass; Gillian DeLear: drums, recording engineer; Lyle Brewer: guitar on tracks 3, 6, 9, 10, 12; Jerry Miller: pedal steel on tracks 3, 9; James Rohr: piano on 1, 2, 5, 7; Jeff Galindo: trombone on 1, 5, 8Scott Aruda: trumpet on 1, 5, 8; Matt Boucher: tuba on 5, 8; Charlie Rose: banjo on 11; Rachael Price: vocals on 3; Avi & Celia: vocals on 7

Darling, oh Darling

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Donny McCaslin - Declaration

Styles: Saxophone Jazz 
Year: 2009
File: MP3@320K/s
Time: 63:44
Size: 146,2 MB
Art: Front

(9:30)  1. M
(9:14)  2. Fat Cat
(7:42)  3. Declaration
(6:59)  4. Uppercut
(7:20)  5. Rock Me
(8:20)  6. Jeanina
(6:40)  7. 2nd Hour
(7:57)  8. Last Night Gospel

Venturing into unexplored territory, New York-based tenor saxophonist Donny McCaslin's third recording for Sunnyside Records is a marked departure from his previous release, the stripped-down trio session Recommended Tools (Greenleaf, 2008). Augmenting his working ensemble with an understated brass section, Declaration showcases McCaslin's stellar skills as an improviser while demonstrating his mettle as a burgeoning writer and arranger. Renowned for his Olympian tenor solos, McCaslin's facile interpretive abilities were honed under the tutelage of George Garzone and Billy Pierce at Berklee, and documented as a sideman in the company of such luminaries as David Binney, Dave Douglas, Danilo Pérez and Maria Schneider. McCaslin comes into his own as a composer on this panoramic session, which highlights his creative virtuosity as soloist and writer in a variety of settings. Joined by pianist Edward Simon and a four-piece brass choir, McCaslin's augmented quintet interprets these multi-hued compositions with brio. As veterans of McCaslin's previous Sunnyside dates, In Pursuit (2007) and Soar (2006), guitarist Ben Monder, bassist Scott Colley, drummer Antonio Sanchez and percussionist Pernell Saturnino lend this session a congenial sensibility filled with lyrical panache.


New to this longstanding core line-up, Simon proves as valuable a foil for McCaslin as Monder. Restrained and economical, Simon delivers billowy narrative soliloquies on "M" and "2nd Hour," offering serene contrast to the leader's fervid cadences. Whether amplifying McCaslin's muscular phrasing with scorching fretwork on the appropriately titled "Rock Me," or unveiling gossamer filigrees on the lush ballad "Jeanina," Monder's chameleonic versatility is peerless. Embracing a wealth of genres and styles, the anthem-like opener "M" showcases the leader's pneumatic tenor, while "Fat Cat" demonstrates McCaslin and Simon's expertise navigating percolating Latin rhythms. The opulent harmonies of "Jeanina" and the plaintive Americana of the title track are the inverse of "Uppercut" and "2nd Hour" labyrinthine post-bop excursions fraught with oblique angles and ingenious arrangements. Indicative of their titles, "Rock Me" is an electrified rave-up, with "Late Night Gospel" one of McCaslin's most compelling tunes an ascending blues meditation featuring Simon and Monder's silver-toned lyricism buoyed by soulful brass accompaniment. Considered one of the reigning mainstream tenor stylists of the post-Michael Brecker generation, Declaration is a bold new step for McCaslin, proving his abilities as a developing composer and arranger of note and opening new vistas on an already promising career. ~ Troy Collins https://www.allaboutjazz.com/declaration-donny-mccaslin-sunnyside-records-review-by-troy-collins.php

Personnel: Donny McCaslin: tenor saxophone, alto flute (1, 8); Edward Simon: acoustic piano, organ (5); Ben Monder: guitar; Scott Colley: bass; Antonio Sanchez: drums; Pernell Saturnino: percussion (2); Alex "Sasha" Sipiagin: trumpet, flugelhorn (1, 2, 3, 5, 7); Chris Komer: French horn (1, 2, 3, 5); Marshall Gilkes: trombone (1, 2, 3, 5, 7, 8); Marcus Rojas: tuba (3, 5, 7, 8), bass trombone (1); Tatum Greenblatt: trumpet (1).

Declaration

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Peter Erskine - Transition

Styles: Jazz, Post-Bop 
Year: 1986
File: MP3@320K/s
Time: 63:50
Size: 146,6 MB
Art: Front

(6:50)  1. Osaka Castle
(1:21)  2. The Rabbit in the Moon
(5:07)  3. Corazon
(1:31)  4. Suite: King Richard II - Introduction
(7:17)  5. Suite: King Richard II - Music Plays
(2:34)  6. Suite: King Richard II - Sonnet
(8:05)  7. Suite: King Richard II - Transition
(2:42)  8. Suite: King Richard II - End Hymn
(3:00)  9. Lions and Tigers and Bears
(8:06) 10. The Hand Speaks Hold
(5:07) 11. Smart Shoppers
(5:17) 12. My Foolish Heart
(0:55) 13. Orson Welles (Intro)
(5:51) 14. Orson Welles

The music on Peter Erskine's second recording as a leader (all but two songs are by either the drummer-leader or Vince Mendoza) is disappointingly forgettable, including Erskine's five-part, 22-minute "Suite: Music from Shakespeare's 'King Richard II'." With such fine players as Joe Lovano and Bob Mintzer on tenors, guitarist John Abercrombie, keyboardists Kenny Werner and Don Grolnick, bassist Marc Johnson and Peter Gordon on french horn, the solos are generally quite good, but the lack of any memorable melodies and the dated-sounding synthesizers largely sink the effort. ~ Scott Yanow http://www.allmusic.com/album/transition-mw0000649495

Personnel: Peter Erskine (synthesizer, drums, percussion, gong, computer); John Abercrombie (guitar, guitar synthesizer); Joe Lovano (saxophone, soprano saxophone, tenor saxophone); Bob Mintzer (saxophone, tenor saxophone); Peter Gordon (French horn, horns); Kenny Werner (piano, synthesizer); Don Grolnick (synthesizer); Marc Johnson (acoustic bass).

Transition

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Chris Standring - Live in London

Styles: Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 80:00
Size: 184,5 MB
Art: Front

(4:38)  1. Pandora's Box (Live)
(3:42)  2. Almost September (Live)
(7:38)  3. Magic Carpet Ride (Live)
(5:53)  4. Scatterfunk (Live)
(5:09)  5. Carousel (Live)
(4:52)  6. My One Temptation (Live)
(3:55)  7. Love & Paragraphs (Live)
(7:57)  8. Please Mind the Gap (Live)
(5:40)  9. Bossa Blue (Live)
(5:01) 10. Ready Steady Flow (Live)
(6:00) 11. Liquid Soul (Live)
(4:04) 12. I Put a Spell on You (Live)
(4:35) 13. Fast Train to Everywhere (Live)
(5:09) 14. Oliver's Twist (Live)
(5:39) 15. Like This, Like That (Live) (Bonus Track)

Hot on the heels of his smash hit album 'Ten', Chris Standring presents 'Live In London' featuring special guest star Mica Paris. Recorded live at Cadogan Hall in Chelsea on March 5th 2017, this 14 track album beautifully captures the energy, edge and finesse from that one night in London. ~ Editorial Reviews https://www.amazon.com/Live-London-Chris-Standring/dp/B074H4JCMW

Live in London

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