Thursday, November 30, 2017

Javon Jackson - Me and Mr. Jones

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 57:16
Size: 131,4 MB
Art: Front

( 6:31)  1. Me and Mr. Jones
(11:11)  2. The Masquerade is Over
( 7:31)  3. Theme for Penny
( 8:31)  4. Opus One-Point-Five
( 8:04)  5. A Certain Attitude
( 8:54)  6. A Free Man?
( 6:31)  7. Buzz-At

Already possessing a very distinctive tenor sax sound, Javon Jackson's debut as a leader is an exceptional effort. Jackson, 26 at the time of the recording, joined forces with 40-year-old James Williams, 19-year-old Christian McBride and 64-year-old Elvin Jones to create a powerful musical statement that bridges the generations. "Mr. Jones" refers to the master drummer, whose presence and energy are felt throughout the recording, especially on the medium swingers "The Masquerade Is Over" and Williams' "A Certain Attitude," as well as on the title track and "Theme for Penny," two uptempo Jackson originals that begin with brief drum solos. Also making his presence felt is McBride, whose tone, time, and imagination belie his age. One of 1992's best releases. ~ Greg Turner https://www.allmusic.com/album/me-and-mr-jones-mw0000085280  

Personnel: Javon Jackson (tenor saxophone); James Williams (piano); Elvin Jones (drums, Christian McBride (bass).             

Me and Mr. Jones

Carl Winther Quartet - Sonic Shapes

Styles: Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 53:37
Size: 122,9 MB
Art: Front

(4:51)  1. The Out Society
(9:41)  2. Threshold
(7:23)  3. The Prophet
(6:39)  4. Uranian Overtones
(5:59)  5. Yerevan Mama
(7:24)  6. The Falcon
(6:44)  7. James Moody
(4:53)  8. The Core

Danish jazz has experienced an explosive growth in talent over the past decades: A broad scope of young musicians, encompassing older idioms, hard-core, lyrical neo-cool and freeform. A group of original pianists threaten the monopoly on the international scene of the world-famous Danish bassists. One of the finest of these young talents is 26-year old Carl Winther, a graduate from the Rhythmic Conservatory in Copenhagen. While studying, he was already honing his chops on the jazz scene alongside many well-known musicians. He met the Swedish bassist Joel Illerhag at the conservatory, and they have played together for the past four years. The band’s drummer is 42-year old Anders Mogensen. Also a graduate from the Rhythmic Conservatory, Mogensen heard Winther and Illehag while serving as an external examiner at conservatory concerts in 2006/2007. He liked the energy and intensity of their approach, and before long they formed a trio, touring Europe and USA in 2010.

On Sonic Shapes the trio joins forces with Boston-based Jerry Bergonzi, one of the great saxophone influences over the last 35 years. In the 1970’s his apartment in New York was a practice room for like-minded sax-players such as Joe Lovano, Bob Berg and Michael Brecker. Over the years he has often played in Denmark, and his recordings include drummer Alex Riel’s The Riel Deal (Stunt, 1995) and Unriel (Stunt, 1997), on which Michael Brecker also played. Sonic Shapes was recorded in May 2011 following a successful club tour in Denmark and Sweden. The quartet is smoking, and there is already talk of a new tour. This is not your usual European trio borrowing a little stardust from an American legend. Bergonzi is very enthusiastic about the collaboration, and the inspiration goes both ways. The two bandleaders each contribute half of the compositions. The musicians represent three generations playing music rooted in sharp, no-non- sense, modern New York jazz. This music isn’t afraid to groove or flex its muscles. Carl Winther is the son of trumpeter Jens Winther, who died earlier this year, and this CD is dedicated to his memory.

Personnel:  Piano – Carl Winther; Tenor Saxophone – Jerry Bergonzi;  Bass – Joel Illerhag;  Drums – Anders Mogensen

Sonic Shapes

Bodil Niska - Blue

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 55:14
Size: 126,9 MB
Art: Front

(5:50)  1. In the Wee Small Hours of the Morning
(4:58)  2. How About You
(4:31)  3. Et gammelt stykke Oslo
(6:09)  4. Taking a Chance on Love
(4:49)  5. Little Lulu
(3:23)  6. Vika mitt drommested
(5:27)  7. Sunday
(3:47)  8. Golden Earrings
(5:04)  9. For All We Know
(5:44) 10. Little Old Lady
(5:28) 11. Blues for Madeleine

Norwegian Bodil Niska is one of the few female tenor saxophone artists around to work in the tradition of jazz legends such as Ben Webster, Stan Getz, Zoot Sims or Coleman Hawkins. Her tone is soft, yet powerful and soulfully expressive. Her musical approach takes the legacy of the golden years of jazz into the 21st. century. Bodil was born in the arctic town of Hammerfest, located in northern Norway where she grew up playing in the school marching band. Her first musical memory is sitting on her father's lap while he played Misty for her. Aksel Niska , an accomplished engineer, painter and accordion player also introduced her to the saxophone sounds of Ben Webster and Stan Getz. When the school band managed to acquire their first saxophone, Bodil had to physically fight off the boys in the band to get her hands on the instrument. She won and she never looked back. Bodil quickly devloped her interest for jazz to the point that she became something of a jazz icon in her small home town. She played in numerous jazz band configurations, wrote jazz articles for the local newspaper, arranged concerts and festivals and managed the jazz club on her spare time.

After moving to the nation's capital Oslo in 1990, Bodil Niska effortlessly blended into the urban jazz scene. Mostly due to her mentor / jazz personality / journalist / photographer Randi Hultin . The fabulous Randi introduced Bodil to a veritable who's-who in national and international jazz. She sent private recordings of Bodil to many of her legendary jazz friends, including Sonny Rollins who promptly wrote back: "Damn! The woman can PLAY!" Encouraged by her friends and colleagues, Bodil formed all-girl group, aptly named Girl Talk in 1992. In addition to Bodil, this group consisted of Elizabeth Walker on piano and Tine Asmundsen on bass. The group recorded their acclaimed album Talkin 'Jazz in 1996. In 1998 Bodil embarked on a solo career with the help and support of jazz legend / piano player / composer / arranger Egil Kapstad . With the incredible bass player Bjørn Alterhaug and Swedish drummer par excellence Pelle Hultén their longtime musical friendship was instrumental in producing Bodil's first solo album First Song in 2000. First Song went on to become the best selling jazz album in its genre in 2000. The cover for First Song was inspired by Dexter Gordon's famous cover on Ballads and is a tribute to him, his music and his inspiration. Blue (2004) was a labor of love and took a long time to plan and put together. In her liner notes she says:

"In jazz, the melody is often used only as a tool for improvisation and invention. Freeing yourself from the confines of the melody is sometimes considered to be the very essence of jazzPersonally, I am always touched by a good melodic line, phrase or mood. So on this album I've tried to stay as true to the melody as I could, to clear away some of the musical dust - to find my way back. "

Night Time (2008) puts Bodil in a different musical context. The introduction of the brilliant Claes Crona Trio from Sweden, and swedish born norwegian resident guitarist / composer / arranger Staffan William-Olsson as well as a horn section makes for a more playful swingier musical approach. I put more emphasis on the melody, she expects to receive more than her share of critizism from the "jazz police" who seem to favor inprovisation and technique about musical sincerety. Between musical engagements Bodil Niska owns and runs the all-jazz music store and café Bare Jazz (Norwegian for Only Jazz ) in Oslo. She is often used by the media as a spokesperson for the art of jazz. In 2000, she presented the Norwegian version of the jazz Grammy awards, and she has appeared in numerous national and international radio and television shows. http://www.niska.no/index.php?option=com_content&view=article&id=67&Itemid=53

Blue

London Grammar - If You Wait

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 43:05
Size: 99,4 MB
Art: Front

(3:21)  1. Hey Now
(3:04)  2. Stay Awake
(3:05)  3. Shyer
(3:20)  4. Wasting My Young Years
(4:13)  5. Sights
(4:34)  6. Strong
(4:28)  7. Nightcall
(3:28)  8. Metal & Dust
(3:59)  9. Interlude (Live)
(4:43) 10. Flickers
(4:46) 11. If You Wait

A trio of Nottingham University graduates who only released their first music last December, London Grammar are so buzzy that there are expectations of a Mercury nomination, despite this album not being out until next week. Blame it on their trippy, translucent electronica, which outdoes even the xx in terms of veiled understatement this record is essentially comprised of slow-build digital clacks and sighs. There's a startling counterpoint in Hannah Reid's fleshy vocals; in full flight, as on Strong, she brings Evanescence-style emo to the hush, and she has the lung capacity of Sia Furler on Hey Now (whose intro is near-identical to Furler's Titanium). This pairing of the ethereal and the visceral makes for an interesting enough album, albeit one that sometimes begs for a kick in the backside the piano ballads Nightcall and Interlude strive for dramatic quiescence, but achieve that Adele B-side feeling. But the clattering Wasting My Young Years wisely recognises that "it takes some time to get it right" and time is on their side. https://www.theguardian.com/music/2013/sep/05/london-grammar-if-you-wait-review

If You Wait

Carmen Gomes - Carmen Gomes Sings The Blues

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 51:58
Size: 119,5 MB
Art: Front

(3:47)  1. A Fool For You
(5:13)  2. Sinner's Prayer
(6:23)  3. In the Evenin' Mama
(6:00)  4. God Bless the Child
(3:29)  5. Mary Ann
(5:36)  6. Losing Hand
(5:25)  7. Hallelujah I Love Her So
(4:47)  8. The Way That I Feel
(4:42)  9. One For My Baby
(2:24) 10. Cotton Fields
(4:06) 11. Fare Thee Well

Carmen Gomes (vocals) is able to add her personal 'je ne sais quoi' to the pieces she sings in an inimitable way. She won several prizes, performed at the North Sea Jazz Festival and played with Louis van Dijk and the Metropole Orchestra. Folker Tettero (guitar) mingles jazz, blues and funk into his own unique blend. He promises to be one of the leading jazz guitarists of his generation. He plays with the New Standard Trio and the band Amsterdam Headliners.

Peter Bjornild (DK) (double bass) dedicates his musical genius and international experience to bring the sound of the band to the highest level. He has played with Ed Thigpen, Thad Jones and Bennie Wallace, among others. Marcel van Engelen (drums) has played with Mark Murphy, Lee Konitz and Toots Thielemans and sees to the rhythmic manoeuvrability of the ensemble in his own subtle way. The four musicians complement each other perfectly. Strong as soloists, yet continuously searching for unity, they are capable of picking up each musical theme and moulding it into the unique sound which is so typical of this band.http://www.mymusicbase.ru/PPB/ppb33/Bio_3328.htm

Carmen Gomes Sings The Blues