Gene Ammons - Red Top

Bitrate: MP3@320K/s
Time: 43:11
Size: 98.9 MB
Styles: Bop, Saxophone jazz
Year: 1994/2009
Art: Front

[3:10] 1. El Sino
[2:54] 2. Ineta
[2:56] 3. Wild Leo
[3:00] 4. Leaping Leo
[3:07] 5. Just Chips
[2:55] 6. Street Of Dreams
[2:58] 7. Good Time Blues
[2:54] 8. Travellin' Light
[3:07] 9. Red Top
[3:06] 10. Fuzzy
[2:44] 11. Stairway To The Stars
[3:01] 12. Jim Dawgs
[4:31] 13. Big Slam Part 1
[2:43] 14. Big Slam Part 2

Baritone Saxophone – Leo Parker; Bass – Ben Stuberville, Gene Wright; Drums – Chuck Williams, George Brown; Piano – John Houston, Junior Mance; Tenor Saxophone – Gene Ammons; Tenor Saxophone, Baritone Saxophone – Mack Easton; Trombone – Lino Murray; Trumpet – Howard McGhee, Johnny Coles. Recorded in Detroit, October 4, 1947. Recorded in Chicago November 18, 1952, April 15, 1953 (B2) or June 1953.

Tenor-saxophonist Gene Ammons is well-featured on this LP, playing as a sideman with baritonist Leo Parker's sextet on four numbers from 1947 and heading two sessions of his own from 1952-53. The latter performances (which also include trumpeter Johnny Coles and pianist John Houston in the octet) are highlighted by a remake of Ammons's hit "Red Top," warm ballad versions of "Street of Dreams," "Travellin' Light" and "Stairway to the Stars" and an extended tenor battle with Mack Easton on "Big Slam." ~Scott Yanow

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Katia Guerreiro - Até Ao Fim

Bitrate: MP3@320K/s
Time: 41:14
Size: 94.4 MB
Styles: Fado, Vocal
Year: 2014
Art: Front

[3:42] 1. 9 Amores
[2:36] 2. Mentiras
[4:00] 3. Até Ao Fim
[2:50] 4. Disse Ao Mar Que Te Amava
[2:13] 5. Janela Do Meu Peito
[2:45] 6. Fado Dos Contrários
[5:54] 7. Fado Da Noite Que Nos Fez
[3:58] 8. Quero Cantar Para Lua
[3:22] 9. Sei Que Estou Só
[3:24] 10. Nesta Noite
[2:21] 11. As 4 Operações
[4:03] 12. Eu Gosto Tanto De Ti-Canção Para A Mafalda

She was born in South Africa, grew up in the Azores and was discovered in Lisbon. She wanted to be a teacher, a veterinarian, and became a doctor. But fate found it. And she found Fado. Work of fate? It is her conviction that she exists and is attentive to it. So she does not make plans, she lets life happen to her. It was for this confidence that she waited for the right moment. The moment when all the elements were aligned, in the same rhythm, in the same poetry, in the same passion. She waited for the poems. She waited for the music. She waited for everyone with whom she wanted to go the long, long wished path, long prepared. The themes have been collected over the years. From inside the drawer that is her heart, they left to be sung with the emotion that characterizes it. There were many, the choice was difficult, but the 12 elected represent the new Katia Guerreiro, whom in recent years has prepared for this now. At her side, Tiago Bettencourt, "a passionate fado who besides being an excellent musician is also a friend", assured the production and musical direction of the project, but also wrote, solo and in partnership, some of the songs. Always with her, João Veiga, Pedro Castro, Luis Guerreiro and Francisco Gaspar, the musicians who have long been following his fado. To these were added other, bigger names of Portuguese music, such as Professor Joel Pina, Pedro Jóia, André Ramos, Artur Caldeira. In the authorship there are 20 names. Some in absolute debut, others in posthumous honor. All in harmony, Until the End. (Translated from Portuguese.)

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Greg Cordez - Paper Crane

Bitrate: MP3@320K/s
Time: 56:03
Size: 128.3 MB
Styles: Contemporary jazz
Year: 2015
Art: Front

[7:31] 1. Brown Bear
[8:26] 2. 8.23
[3:12] 3. Real And Imagined
[7:21] 4. November
[4:32] 5. Schrodinger Vs. Cat
[5:38] 6. Up Quark
[2:52] 7. Black Bear
[5:53] 8. Camilla Rose
[4:17] 9. Ron Free
[6:16] 10. 1000 Paper Cranes

Greg Cordez has been one of the go-to bassists in Bristol over the last few years, and has enrolled four of the city’s best players in his quintet for this rather lovely album. He’s a fine player, too, but it’s the writing – all 10 tracks are his – that comes through most strongly here. There’s one unaccompanied bass intro, when the depth of his sound reverberates, but hardly any bass soloing as such. The leader’s reticence – which some, like Gary Giddins, think becoming for bass players – allows the others to shine. Nick Malcolm’s astringent lyricism on trumpet and Jake McMurchie’s rich, spirited tenor sax impress throughout, as does Mark Whitlam’s thoughtfully varied drumming. But for me pianist Jim Blomfield responds even more brilliantly to these pieces. I don’t think I’ve ever heard him play better. There’s a crystalline clarity to his sound when he is laying out the themes and a string of solos, some reflective, some tumultuous, that provide a succession of standout moments.

Cordez’s writing is most often gently song-like, although the longest track, 8.23 (the time it takes light to reach Earth from the Sun) takes a more upbeat, rock-inflected path and Schrodinger vs Cat does likewise with some scrunchy electronics and free blowing for good measure. Several of the other tunes have an attractively melancholic undertow, including one titled after the unsung drummer Ron Free (yes, it’s a real name) and the closing 1000 Paper Cranes. That title references origami, as does the CD’s cleverly folded sleeve, reflecting the care and attention to detail that characterises the whole set. There’s nothing thrown together here – memorable as the results of that can be in the right session. This is considered music-making, illuminated when the band play live by the stories Cordez tells about the inspiration for each piece. But the story-telling in the playing is sufficient to itself on the recording, one which contains pieces that reveal themselves to be pleasantly insinuating when you realise at the end you’d quite like to listen to them all again right away. ~Jon Turney

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John McNeil - Fortuity

Bitrate: MP3@320K/s
Time: 60:46
Size: 139.1 MB
Styles: Trumpet jazz
Year: 2001
Art: Front

[ 5:09] 1. Lose my number
[ 8:25] 2. Faun
[ 3:47] 3. Fortuity
[ 7:54] 4. ECM
[ 4:34] 5. The old standard
[ 0:31] 6. Midrange Interference
[11:27] 7. Fire and rain
[ 5:39] 8. Shy Nola
[ 5:48] 9. I will
[ 7:27] 10. Blewbo

Alto Saxophone, Baritone Saxophone – Allan Chase; Bass – John Sullivan; Drums – Eric Thompson (7); Flute – Derek Olphy (tracks: 4); Trumpet – John McNeil; Viola – Katherine Vincent (tracks: 4). Recorded September 1999.

This CD came about following a one-shot concert by trumpeter John McNeil and alto saxophonist Allan Chase, along with bassist John Sullivan and drummer Eric Thompson. The program of this studio session focuses on McNeil's writing, with plenty of solo space. McNeil's approach to trumpet is lyrical yet deliberately low key. The up-tempo "Lose My Number" is an adventurous blend of post-bop and avant-garde. Chase switches to baritone sax and violist Kate Vincent and flutist Derek Olphy (both guests are multi-tracked to create the sound of a larger group) are added for the lovely "Faun." "The Old Standard," a trio piece omitting Chase, was inspired by "My Shining Hour," though the chord changes of this old chestnut are fleeting at best. Two of the most surprising tracks are pop tunes, including a freewheeling take of James Taylor's "Fire and Rain" that only gives itself away as they settle down around the halfway mark; there's also the Beatles' "I Will" heard in a playful Latin arrangement. This superb date is well worth acquiring. ~Ken Dryden

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Teddi King - A Girl And Her Songs

Bitrate: MP3@320K/s

Time: 33:24

Size: 76.5 MB

Styles: Jazz vocals

Year: 1957/2010

Art: Front

[2:43] 1. A Sailboat In The Moonlight

[2:42] 2. Nothin' For Nothin'

[3:14] 3. After All It's Spring

[2:43] 4. My Future Just Passed

[3:23] 5. You Don't Know What Love Is

[2:37] 6. Indian Summer

[2:34] 7. Chicken Today And Feathers Tomorrow

[2:35] 8. Porgy

[2:50] 9. Laughing At Life

[3:43] 10. Autumn In New York

[2:02] 11. Why Shouldn't I

[2:12] 12. Alone Together

For whatever reasons Teddi King remains a largely overlooked if not underrated singer. This CD "A Girl and Her Song" finds Teddi at the very peak of her performing powers. In later years she suffered from poor health and her voice in the recordings before her untimely death had lost a lot in terms of timbre. Teddi King had all that a female vocalist could wish for. A beautiful instrument, perfect diction and that vital quality of knowing how to use them in order to convey a range of emotions.

"You Don't Know What Love Is" has been sung probably by all the greats and yet her version is a stand out with its compelling seriousness. Teddi King took her art seriously, excelling in both the dramatic song; listen to her in the almost unknown but marvellous Dorothy Fields version of "Porgy", as well as the the light hearted "A Sailboat in the Moonlight" or Richard Whiting's (Margaret's father) "My Future Just Passed". Those who may already be familiar with Teddi King would certainly do well in having what is in my opinion one one of her best albums while for those who do not know her, this makes a fine introduction to this worthy artist. ~Michael Sharp

A Girl And Her Songs 

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Eric Gale - The Essential Eric Gale (2-Disc Set)

A guitarist who was used for many R&B-oriented dates and occasionally played jazz, Eric Gale had an appealing sound and was best while performing lazy melodic blues. He was most significant to the jazz world in the early '70s, when he recorded often as a sideman for CTI, later on with the group Stuff, and on isolated tracks on his own sessions. Gale's fine 1987 EmArcy set In a Jazz Tradition shows what he could really do. ~ Scott Yanow

Album: The Essential Eric Gale (Disc 1)
Bitrate: MP3@320K/s
Time: 70:23
Size: 161.1 MB
Styles: Guitar jazz
Year: 2017
Art: Front

[7:46] 1. Forecast
[7:19] 2. Dindi
[4:15] 3. Tonsue Corte
[3:34] 4. Killing Me Softly With His Song
[6:10] 5. Sara Smile
[7:40] 6. Ginseng Woman
[3:51] 7. Red Ground
[6:07] 8. East End, West End
[6:10] 9. She Is My Lady
[6:16] 10. De Rabbit
[5:49] 11. Thumper
[5:21] 12. Multiplication

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Album: The Essential Eric Gale (Disc 2)
Bitrate: MP3@320K/s
Time: 57:50
Size: 132.4 MB
Styles: Guitar jazz
Year: 2017
Art: Front

[8:26] 1. Morning Glory
[4:49] 2. Gypsy Jello
[7:21] 3. Oh! Mary Don't You Weep
[6:17] 4. Part Of You
[7:00] 5. Lookin' Good
[5:21] 6. Let-Me-Slip-It-To-You
[4:44] 7. You Got My Life In Your Hands
[5:07] 8. Touch Of Silk
[8:43] 9. Au Private

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Freddie Redd - Freddie Redd In Sweden

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 68:08
Size: 158,1 MB
Art: Front

(2:55)  1. Dawn Mist
(3:18)  2. Beautiful Adela
(4:29)  3. I'll Remember April
(2:35)  4. Reminiscing
(2:11)  5. Get Happy
(3:02)  6. Bye Bye,Blackbird
(3:06)  7. Blues X
(3:45)  8. People's Park
(2:35)  9. A Night In Nalen
(3:38) 10. Blue Hour
(3:12) 11. Studio Blues
(3:58) 12. Farewell To Sweden
(4:17) 13. Debut (bonus track)
(5:20) 14. Lady J. Blues (bonus track)
(5:48) 15. Things We Did Last Summer (bonus track)
(4:52) 16. Ready Freddie (bonus track)
(5:19) 17. I'll Remeber April (bonus track)
(3:39) 18. These Foolish Things (bonus track)

CD release that contains the complete 1956 LP Freddie Redd in Sweden plus the pianist's first trio session and the only two trio tracks from Redd's only recorded live performance in Sweden. Freddie Redd is a very talented yet obscure and underrated pianist. Despite enjoying a long life in which he never stopped playing, Redd has left behind a rather sparse body of recorded works. Although he played with such great Jazz names as Art Blakey, Coleman Hawkins, Tina Brooks, Sonny Rollins, Charles Mingus and Lou Donaldson, the quantity of his recordings is sorely lacking. The quality of these recordings, however, is of the highest order. When Swedish trumpeter Rolf Ericson was commissioned to find American musicians to travel to Stockholm for a series of modern Jazz concerts, Redd was chosen along with bassist Tommy Potter and drummer Joe Harris. All his trio recordings during that tour are included on this release. 18 tracks. Lone Hill Jazz. ~ Editorial Reviews https://www.amazon.com/Sweden-FREDDIE-REDD/dp/B000W7YX4U

Personnel: Piano – Freddie Redd;  Bass – John Ore, Tommy Potter;  Drums – Joe Harris , Ron Jefferson

Freddie Redd In Sweden

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Caro Josée - Turning Point

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 50:22
Size: 115,8 MB
Art: Front

(4:34)  1. La Terrazza
(5:48)  2. Paris
(6:53)  3. The Lawyer's Wife
(5:04)  4. Night Time
(2:16)  5. Bouillabaisse
(4:18)  6. Mona Lisa Liut
(4:32)  7. A Love Like This
(3:20)  8. No Stars in My Sky
(3:19)  9. Sos
(5:43) 10. It's Impossible
(4:29) 11. Mi Amor

“Turning Point, the title flies to me in Lingueglietta, an enchanting mountain village overlooking Lorenzo al Mare. I’m sitting in the sunshine and listening to my first mixes as I gaze at the sea and think back on the last few years. My mother’s death changed me, our wonderful daughter is becoming more grown-up, our son’s voice is changing and I’m in a phase of awakening, at a turning point in my life.” Caro Josée uses these words on her website to describe what’s special about the album being presented. Caro Josée goes her own way without relenting to the pressure from what is commonly known as a trend-oriented music business. Before she took her ‘family break’, as Caro she delivered 5 successful album productions to that very business and went on to become an icon with the legendary house band at “Onkel Pö’s”, once a famous club in Hamburg. In 1978 she was awarded the German Record Prize as “Up-and-Coming National Pop Artist” and promptly received labels such as ‘top-secret tip’ so typical of the industry. In a cover feature for the magazine Stern she was even designated a ‘Rock lady’, which brought effective publicity but had little to do with the music. Now outfitted with an enhanced musical understanding of herself and having matured by gaining lots of life’s experiences beyond the stage, in 2012 this singer with that ‘certain something’ in her voice has added her middle name and completed an album that is certainly one of the most expressive and emotion-packed productions by a German artist in the recent past. Not one note on it seems to be superfluous or lacking, whether played or sung: The tracks are to the point and staged as clear as glass. The fantastic soundtrack for a wonderful, mild summer evening when thoughts can run free.

Jazzier than ever is a good way to describe how Caro Josée sounds on “Turning Point”. On these recordings she is supported by first-rate musicians such as Jean Jacques Kravetz on the Fender Rhodes (Peter Maffay, Udo Lindenberg), as well as by the two co-producers Andreas Paulsen, piano (Ina Müller Band among others), and Martin Scheffler, guitar (Rosenstolz among others). Special moments with an extremely atmospheric touch are contributed by solos from guitarist Manusch Weiss, who comes from a renowned family of Sinti musicians, and trumpet-player Reiner Winterschladen (Nighthawks, NDR Bigband). An out-of-the-ordinary symbiosis of Blues-tinted Sinti Jazz and the coolness of laid-back trumpet riffs, all of which go to show once again that Caro Josée is an artst who doesn’t let herself be easily boxed in a category. Her album offers songs to dream to and others that merit listening attention: tales of life & loss, about major emotions. These tracks display a strong yet still vulnerable woman who has arrived at a turning point in her life full of passion, though without pathos: a woman with embraces life to the fullest. Caro Josée and her band are going to be appearing live, too, this time together with guest soloist Manusch Weiss. On April 28th at the Hamburg Town Hall (“Lange Nacht der Museen” event), on May 26th at the Elbjazz festival, at additional dates in the early summer and on tour in the fall of 2012, this vocalist will be touching audiences with sounds to relax to and reflect on.

Personnel:  Vocals – Caro Josée;  Rhythm Guitar – Enzo Weiss;  Trumpet – Reiner Winterschladen; Violin – Zwetelina Hauboldt; Piano – Andreas Paulsen; Guitar – Manusch Weiss, Martin Scheffler

Turning Point

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George Russell - New York, New York

Styles: Big Band, Bop
Year: 1959
File: MP3@320K/s
Time: 45:26
Size: 104,3 MB
Art: Front

(10:33)  1. Manhatten
(11:41)  2. Big City Blues
(10:10)  3. Manhatten - Rico
( 8:00)  4. East Side Medley
( 5:00)  5. A Helluva town

George Russell was one of the most forward-thinking composers and arrangers on the jazz scene during the 1950s, but his work was generally more appreciated by musicians than the jazz-buying public. New York, New York represents one of many high points in his career. He assembled an all-star orchestra, including pianist Bill Evans (a frequent participant on Russell's recordings), Art Farmer, Bob Brookmeyer, John Coltrane, and Milt Hinton, among others.

In Rodgers & Hart's "Manhattan," Russell has the soloists playing over the orchestra's vamp, while he also creates an imaginative "East Side Medley" combining the standards "Autumn in New York" and "How About You." His original material is just as striking as his arrangements, while vocalist Jon Hendricks serves as narrator between orchestra segments. While this release has been reissued several times, it rarely remains in print for long, so don't miss the opportunity to acquire this elusive CD. ~ Ken Dryden https://www.allmusic.com/album/new-york-ny-mw0000309054 

Personnel: George Russell (leader, arranger, chromatic drums); Jon Hendricks (spoken vocals); Hal McKusick, Phil Woods (alto saxophone, flute, clarinet); John Coltrane, Benny Golson, Al Cohn (tenor saxophone); Gene Allen, Sol Schlinger (baritone saxophone); Art Farmer, Doc Severinsen, Ernie Royal, Joe Wilder, Joe Ferrante (trumpet); Bob Brookmeyer, Frank Rehak, Tom Mitchell, Jimmy Cleveland (trombone); Bill Evans (piano); Barry Galbraith (guitar); Milt Hinton, George Duvivier (bass); Charlie Persip, Max Roach, Don Lamond (drums); Al Epstein (bongos).             

New York, New York

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Jimmy Cliff - Brave Warrior

Styles: Vocal, Reggae
Year: 1978
File: MP3@320K/s
Time: 37:21
Size: 86,3 MB
Art: Front

(3:37)  1. My People
(4:24)  2. Bandwagon
(3:56)  3. Every Tub
(4:33)  4. Don't Let It Die
(3:46)  5. Actions Speaks Louder Than Words
(3:40)  6. A Million Teardrops
(4:24)  7. Brave Warrior
(5:21)  8. Save A LIttle Loving
(3:36)  9. My People

It's one of the music industry's great ironies that today, outside of reggae circles, Jimmy Cliff is perhaps better known for his film appearances than his music. Even after a string of hits, the singer never quite managed to break into the mainstream, although he seemed poised for international stardom during the late '60s/early '70s. The singer was born in St. James, Jamaica, on April 1, 1948, with the less prosaic name James Chambers. His talent was evident from childhood, and he began his career appearing at local shows and parish fairs. Feeling ready for the big time at the age of 14, he moved to Kingston and took the surname Cliff to express the heights he intended on reaching. Cliff recorded two unsuccessful singles before he was spotted by Derrick Morgan, who brought him to Leslie Kong. His first single for the budding producer, "Hurricane Hattie," was an instant hit. Unusually, Cliff remained with Kong until the producer's death; most Jamaican artists flit from studio to studio. The singer's loyalty was rewarded, however, by a string of follow-up hits. In the early years, the pair helped set the ska scene alight, both in Jamaica and in Britain, where the singer's singles were picked up by Island Records. "Miss Jamaica," "King of Kings," "One Eyed Jacks," and "Pride and Passion" have since become classics of the original ska era.

By 1964, Cliff's star was so bright that he was selected as one of Jamaica's representatives at the World's Fair. A successful residency in Paris followed, and Island head Chris Blackwell eventually convinced the singer to relocate to Britain. The label itself was in the process of shifting away from Jamaican music and into progressive rock, and thus Cliff began composing songs with an eye to cross over into that market.  It was a risky plan, but ultimately a successful one. In 1968, Cliff released his debut album, the excellent Hard Road, and won the International Song Festival with "Waterfall," a song that became a smash hit in Brazil. He swiftly moved to that country to take advantage of his success, but even greater heights were in the offing. The following year, "Wonderful World, Beautiful People" proved to be his international breakthrough. The single soared to number six on the British charts, and charmed its way into the Top 25 in the States. The song's anti-war follow-up, "Vietnam," proved to be less popular, even if Bob Dylan called it the best protest song he'd ever heard. Regardless, Cliff's new album, 1969's Wonderful World, was critically acclaimed, and saw the singer starting to build a following amongst the AOR crowd. The title track, a cover of Cat Steven's "Wild World," was another smash in 1970, and Desmond Dekker took Cliff's own "You Can Get It if You Really Want" to number two in Britain. And then tragedy struck. Leslie Kong, who had continued to oversee Cliff's career during this entire period, died unexpectedly of a heart attack in August 1971. The singer was at a loss, as he'd grown up under the producer's wing and was abruptly forced to fend for himself. Another Cycle, which arrived later that year, was proof that Cliff was beginning to get his career back on track. One of the last projects Kong had undertaken was overseeing the soundtrack to the movie The Harder They Come. Produced and written by Perry Henzell, this powerful film featured Cliff in the leading role, and upon its release swiftly became an underground classic. The soundtrack, which boasted a clutch of Cliff's own compositions, was an equally seminal record.                

This should have pushed the singer into the mainstream, but Island dropped the ball and turned their attention to Bob Marley instead. The timing was also off in the U.S., where the movie didn't see release until 1975. Cliff left Island's roster and signed to Reprise in the U.S. and EMI in the U.K., but fared no better on either label. 1973's Unlimited, 1974's Struggling Man, and the following year's Brave Warrior were unable to sustain the success of Another Cycle, never mind improve upon it. During this time, Cliff converted to Islam and traveled to Africa in search of his roots, and his newfound religious devotion began to heavily influence his music. In 1975, with the release of The Harder They Come in the U.S., Cliff's second album for the year, Follow My Mind, immediately grabbed America's attention and became his first album to reach into the bottom of the chart. Reprise then decided it was time for a greatest-hits collection, although this would be accomplished via a live album. Rolling Stones' producer Andrew Loog Oldham was brought in to oversee the project, and Cliff was sent out on the road to tour and record. What the label received was one of Cliff's most ferocious albums to date, Live: In Concert. The singer was not ready to wallow in nostalgia, and throughout the rest of the decade he continued releasing albums that were thoroughly modern in sound and fierce in delivery.                

Cliff ended his relationship with Reprise in the new decade with 1981's "Give the People What They Want, and moved to Columbia. He formed a new backing band, Oneness, and embarked on a tour of the U.S. with Peter Tosh; there was also a fabulous performance at Reggae Sunsplash that year. 1983's The Power and the Glory inaugurated his partnership with Kool & the Gang, and the album was nominated for a Grammy. Its follow-up, Cliff Hanger, would win the award in 1985. However, 1989's Hanging Fire became his last effort for Columbia, although the singer continued to release material in both Jamaica and the U.K. During this period, Cliff also co-starred in the movie Club Paradise. He returned to the American charts in 1993 with his cover of "I Can See Clearly Now," from the soundtrack for Cool Runnings, which glided into the Top 20. More singles and albums followed, and the singer remained a potent musical force. A comeback album of sorts, Black Magic, which featured duets with high profile stars like Sting, Joe Strummer, Wyclef Jean and others, appeared from Artemis Records in 2004. In 2012 he partnered with Rancid frontman Tim Armstrong for Rebirth, a nostalgic return to form. ~ Jo Ann Greene https://www.allmusic.com/artist/jimmy-cliff-mn0000295276/biography

Brave Warrior

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