Caesar Frazier - Hail Ceasar! / '75

Size: 155,3 MB
Time: 66:23
File: MP3 @ 320K/s
Released: 1999/2018
Styles: Jazz, Soul, Funk
Art: Front & Back

01. Hicky Burr (8:05)
02. Ellie's Love Theme (5:02)
03. See-F (4:44)
04. Hail Caesar! (6:25)
05. Make It With You (4:03)
06. Runnin' Away (4:56)
07. Mighty Mouse (5:18)
08. Summer Breeze (5:37)
09. Sweet Children (5:45)
10. Funk It Down (5:04)
11. Living For The City (6:17)
12. Walking On The Side (5:00)

Personnel:
Organ – Caesar Frazier
Guitar – Melvin Sparks
Bass [Fender] – Gordon Edwards
Congas – Buddy Caldwell
Drums – Idris Muhammad
Tenor Saxophone – Houston Person
Trumpet – Cecil Bridgewater

Hail Caesar! Originally released as Eastbound 9002, 1972
'75 Originally released as Westbound 206, 1975

Hailing from Indianapolis, Ceasar Frazier was a funky soul-jazz organist who recorded several albums for the Eastbound/Westbound label family during the '70s. First making his mark in 1972 with one of saxman Lou Donaldson's funkier bands, Frazier cut his first album Hail Ceasar! later that year, which featured musicians commonly associated with the Prestige label's jazz-funk outings -- Melvin Sparks (guitar), Houston Person (tenor), and Idris Muhammad (drums). The follow-up, Ceasar Frazier '75, featured the likes of guitarist Cornell Dupree and drummer Bernard "Pretty" Purdie; the album's key track, "Funk It Down," was later sampled by jazz-obsessed hip-hoppers Gang Starr for their "Ex-Girl to the Next Girl." In 1978, Frazier resurfaced as a smooth soul/disco vocalist with the LP Another Life, and while he showed some affinity for the idiom, it failed to reinvent him as a commercial force outside the jazz-funk marketplace. In addition to recording on his own, Frazier also played keyboards in Marvin Gaye's backing band. Thanks to the rare-groove revival, his rare original LPs now fetch generous sums on the collectors' market. ~ Steve Huey, All Music Guide

Hail Ceasar! / '75

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Natascha & The Spy Boys - ...That's the Hardest Part

Size: 129,1 MB
Time: 55:15
File: MP3 @ 320K/s
Released: 2018
Styles: Blues Jazz
Art: Front

01. Write A Song (3:34)
02. Bad Girl (3:37)
03. That Man (5:12)
04. It's Raining Again (4:11)
05. Somebody Fix Me (4:14)
06. Wasting My Love (4:08)
07. Remember Me (3:45)
08. Crazy About You (4:37)
09. Treme (3:40)
10. I Want A Little Sugar (4:33)
11. Fumblin' With The Blues (4:36)
12. I Want You (3:57)
13. Maybe (5:06)

Natascha & The Spy Boys play an eclectic mix of blues, jazz, soul, swing & pop.

Natascha, from Berlin, Germany, has a unique, soulful voice that covers a wide range of styles -- from sultry jazz ballads & snappy swing songs to belting out straight-up, full-on blues & soul tunes.

John "JT Blues" Thompson, award-winning piano player who's been playing for decades -- solo as well as in a number of local bands (Triple A, Maxwell Strait), Body and Soul) and national acts. He supplies the boogie, the woogie, and all other important KEY elements.

Robert Gardner is a bassist, conductor and composer who teaches at the Penn State School of Music. As a bassist, Robert has performed with many talented musicians (including Bobby McFerrin, DEVO, and members of WAR), and he has recorded original music in several genres. He joined the Spy Boys in the spring of 2016.

Doug McMinn has enjoyed a long career as both bandleader and sideman, starting with the Killer Bees Swing Band in 1980. He has played a dizzying array of musical styles ranging from reggae to modern jazz, but he always returns to the blues. Doug has jammed onstage with blues luminaries ranging from EG Kight to Lonnie Shields, and was privileged to play a set with Chicago blues master Bob Margolin. He backed up pianist Dave Keyes at the Billtown Blues Festival (one of 11 appearances at the BBF), and has appeared on 8 CDS, including EG Kight’s “Sugar” and his own “Doug McMinn Blues Band Live.” Most recently, he led a band to support upcoming blues star Vanessa Collier. He has been playing reeds since 1964, has amassed a thick songbook of compositions, and is a fine, shouting blues singer.

Last, but certainly not least is our very own drum machine, Mr. Stubby Stubbs, who never misses a beat.

...That's the Hardest Part

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Nick Colionne - Just Being Me

Size: 109,4 MB
Time: 47:02
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz: Smooth Jazz
Art: Front

01. Just Being Me (3:53)
02. How Sweet It Is (To Be Loved By You) (3:37)
03. Is This Love I'm Feeling (4:49)
04. Be Urself (4:10)
05. Spend The Night (3:46)
06. Latin Lover (4:24)
07. Nite Train (3:47)
08. Still Connected (4:45)
09. Go Nico Go (4:49)
10. Spend The Night (Extended Vocals) (3:45)
11. Back Down Evergreen (5:12)

Arguably one of the brightest stars in the Trippin N Rhythm constellation, Nick Colionne, (that most engaging of live performers and without doubt the best dressed man in smooth jazz) is back on the scene with ‘Just Being Me’, which will hit the streets April 27. With ten choice tunes and input from the likes of Chris ‘Big Dog’ Davis and the consistently superb James Lloyd it is a scintillating example of top notch contemporary jazz and already destined to be one of the best albums of the year.

There is a lovely symmetry about ‘Just Being Me’ that is created by the way compositions by Davis and Lloyd (plus one eye catching cover) are skillfully book-ended by two of Nick’s own songs. The first, the magically easy grooving title cut is textbook Colionne and later he closes out the collection with another of his own numbers, ‘Back Down Evergreen’. In doing so he connects back to his 2016 CD ‘The Journey’ that featured the spine tingling ‘East Evergreen Revisited’ a track that originally appeared on Nick’s 1994 debut recording ‘It’s My Turn’.

Elsewhere Nick takes a relaxed yet jazzy approach to Marvin Gaye’s seminal ‘How Sweet It Is’ while that ‘one man hit machine’ Chris ‘Big Dog’ Davis contributes four outstanding numbers. The first is the ultra urgent ‘Be Urself’ that, with Colionne’s wonderful playing and Davis’ imperious production, is a real gem and much the same can be said of the radio ready ‘Nite Train’ that might well get in your head and not go away. When the tempo eases a little the result is the delicious ‘Latin Lover’ for which the title says it all but arguably the best of the Chris Davis songs is the old school inclined ‘Spend The Nite’. Presented predominately as an instrumental then again with extended vocals courtesy of Buff Burnette, this soulfully sultry cut is a real winner.

That said, and in terms of personal favorites, the warmly inviting ‘Still Connected’ is right up there with the best that ‘Just Being Me’ has to offer. Penned by James Lloyd, who predictably comes up big on keys, it is in the good company of the decidedly chilled ‘Is This Love I’m Feeling’ that has a real Pieces Of A Dream vibe running right through it.

Lloyd also writes ‘Go Nico Go’ that proves to be a horn infused foot tapper of the highest order and entirely indicative of the chemistry that pulses between these two fine artists.

All things considered, the overwhelming impression of ‘Just Being Me’ is of an artist who, twenty-five years into a glittering career, just keeps on getting better.

Highly recommended ~Smooth Jazz Therapy

Just Being Me

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Sandy Patton - The Saga of Reflective Perspectives

Size: 97,2 MB
Time: 41:54
File: MP3 @ 320K/s
Released: 2018
Styles: Contemporary Jazz, Vocals
Art: Front

01. Fantaise Impromptu - I'm Always Chasing Rainbows (4:53)
02. My Reverie (7:59)
03. Apres Un Reve (5:08)
04. The Libertango (5:40)
05. Etude In E Major, Op. 10 - Tristesse - No Other Love (5:26)
06. Somewhere (4:34)
07. Pavane - The Lamp Is Low (6:08)
08. Danny Boy (2:01)

'The Saga of Reflective Perspectives' is a musical voyage through the 19th and 20th centuries reflecting on the evolution of popular music from classical music by composers such as Chopin, Ravel, Fauré, Debussy, Rachmaninov and Bernstein. Featured in the project are some of Switzerland's multicultural musical talents, savvy in both classical and jazz genres: Sandy Patton, Thomas Durst, Slawomir Plizga and The Amigern String Quartet.

On the album, Sandy Patton explores Chopin's Fantaisie Impromptu, Faure's Aprés Un Rêve, Piazolla's Libertango, Chopin's Etude in E Major Op. 10 Tristesse, Ravel's Pavane and Bernstein's 'Somewhere' from West Side Story.

Sandy Patton is the former Jazz Vocal Professor for the Jazz Department of the Hochschule der Künst in Bern, Switzerland. She studied voice at Howard University in Washington, D.C. and University of Miami, also touring with the University of Miami's Jazz Orchestra. Sandy performs worldwide and her discography reflects her experiences.

The Saga of Reflective Perspectives

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Karen Sharp - The Sun, The Moon And You

Size: 150,8 MB
Time: 65:26
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. Get Out Of Town (6:37)
02. The Sun, The Moon And You (6:03)
03. Pannonica (8:33)
04. The Ford (6:39)
05. Little Waltz (8:05)
06. All Of You (6:35)
07. Iris (5:06)
08. Quiet Now (5:53)
09. Night And Day (6:41)
10. Terminus (5:10)

Saxophonist Karen Sharp returns with a long awaited second album on Trio Records featuring her now well established British Jazz Award "All Winners" quartet of Dave Green (bass), Niki Iles (piano), and Steve Brown (drums) - a stella line-up indeed.

Since releasing their debut recording back in 2011 - 'Spirit', the quartet have been busy touring clubs and festivals across the UK, delighting audiences with their unique sound, group interplay and shared passion for strong, melodic material and the jazz tradition. The band's repertoire has evolved naturally over time and this album features familiar and lesser-known standards together with original pieces written by Karen and Nikki.

Highlights include a great version of Monk's "Pannonica" as well as the little heard, deceptively simple tune by bassist Ron Carter, "Little Waltz" but everyone will find their own delights within this album.

Far from being a horn with accompanying trio, Karen's quartet features each voice to its fullest without ever undermining the integrity of the group, with fine contributions by all.

The Sun, The Moon And You

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Quadro Nuevo - Impala (Parts 1 & 2)

Mulo Francel: Saxophone, Klarinetten; D.D. Lowka: Kontrabass, Perkussion; Andreas Hinterseher: Akkordeon, Vibrandoneon, Bandoneon; Evelyn Huber: Harfe, Salterio; Chris Gall: Piano.

Quadro Nuevo is the European answer to the Argentine Tango. Arabesques, Balkan swing, ballads, daring improvisations, melodies from the old Europe and Mediterranean lightness are condensed into fairytale sound fables. These tell of the vagabond life, the experiences and encounters on the great journey of life, the small coincidences and the great moments, delicacy and wild temperament, always driven between easterly and westerly winds, between consuming desire and enjoyable fulfillment - between the bitter and the sweet.


Quadro Nuevo has been touring the countries of the world since 1996, giving over 3000 concerts: Sydney, Montreal, Ottawa, Kuala Lumpur, Istanbul, New York, New Orleans, Mexico City, Beijing, Seoul, Singapore, Tunis, Tel Aviv. From contemplative Upper Bavaria over the Alps to Porto, from Denmark via the Balkans to Ukraine across Europe. Always on the road, the instrumental quartet has developed a very special language of sound poetry, apart from the usual genre-drawers. It is characterized by the passionate love for the instrument and the greatest joy of playing. The secret is dedication: Rarely has it been experienced that music is presented to foreign cultures with so much excitement, verve and empathy. The venues of the four musicians are as diverse as the roots of their music: Quadro Nuevo is not only a guest in concert halls and at festivals. The playful virtuosos also travel as street musicians through southern cities and demand dance as a nocturnal tango band, performing in jazz clubs and New York's Carnegie Hall. (Translated from German.)

Album: Impala Pt. 1
Bitrate: MP3@320K/s
Time: 76:58
Size: 176.2 MB
Styles: Swing
Year: 2012
Art: Front

[3:10] 1. Luna Rossa
[2:09] 2. Nature Boy
[3:08] 3. Kommissar Maigret
[4:03] 4. Te Reto A Ser Mi Amante
[4:50] 5. Für Pauline
[4:10] 6. Our Spanish Love Song
[4:22] 7. Tango
[3:27] 8. Valse Lento
[1:57] 9. Valse Vivace
[3:11] 10. Bonsoir Juliette
[3:54] 11. Bei Dir War Es Immer So Schön
[3:58] 12. Il Sorriso D'amor
[4:04] 13. Flor De La Noche
[2:33] 14. El Paño Moruno
[1:54] 15. Susannata
[3:11] 16. Gracias A La Vida
[3:35] 17. Allez, Glissez !
[3:11] 18. Roma Nun Fà La Stupida Stasera
[3:55] 19. Tu Vuo' Fa' L'americano
[4:29] 20. La Luna Si Veste D'argento
[4:11] 21. Chitarra Romana
[3:26] 22. Serenata Celeste

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Album: Impala Pt. 2
Bitrate: MP3@320K/s
Time: 100:11
Size: 229.4 MB
Styles: Swing
Year: 2012
Art: Front

[4:39] 1. Canzone Della Strada
[4:56] 2. Valzer Dottore
[3:46] 3. Tango Del Mare
[3:48] 4. Firenze Sogna
[4:26] 5. Arrivederci Roma
[4:47] 6. Tarantella
[4:23] 7. Per Il Mio Amore
[3:03] 8. Arriverderci
[4:41] 9. Miserlou
[4:08] 10. O Sarracino
[4:30] 11. El Choclo
[4:21] 12. Sultana
[5:15] 13. Mocca Swing
[5:45] 14. Giovanni Tranquillo
[4:06] 15. Penta
[4:48] 16. Quiereme
[5:58] 17. Bei Mir Bist Du Scheen
[4:44] 18. Jakob Elija
[5:29] 19. Tango Gosselin
[4:26] 20. Fiera Triste
[4:12] 21. Café Europa
[3:51] 22. El Sospiro Del Moro


Impala Part 1,Part 2

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Clea Bradford - ...Now

Bitrate: MP3@320K/s
Time: 33:09
Size: 75.9 MB
Styles: Jazz vocals
Year: 1965/2018
Art: Front

[2:45] 1. Row, Row, Row
[3:20] 2. Don't Let It Rain On My Parade
[2:35] 3. Hey Look Me Over
[3:43] 4. Once Upon A Time
[2:51] 5. The Other Half Of Me
[2:52] 6. All Around The World
[2:12] 7. I Had A Ball
[3:02] 8. Ol' Man River
[2:25] 9. Come Rain Or Shine
[2:16] 10. After You
[2:49] 11. What's A Poor Fool To Do
[2:12] 12. Little Boy Bad

Bass – George Duvivier, Milt Hinton; Cello – Alla Goldberg, Tony Sophos, Pete Makas; Drums – Osie Johnson; Flute, Clarinet – Joe Soldo, Leon Cohen; Flute, Clarinet, Tenor Saxophone, Alto Saxophone, Baritone Saxophone – Bob Tricarico, Romeo Penque, Sid Cooper, Stan Webb, Walter Levinsky; Trombone – Eddie Bert, John Messner, Tony Studd, Urbie Green; Viola – Alfred Brown, David Mankovitz, Emanuel Vardi; Violin – Anthony Zungolo, Ariana Bronne, Bernard Eichen, Fred Buldrini, Jack Zayde, Joe Cali, Norman Carr, Pete Buonconsiglio, Walter Legawiec; Vocals – Clea Bradford.

Exuberant jazz and blues vocalist who had series of good albums released in '60s, enjoyed some success with Cadet in late '60s, though these were more soul-oriented records arranged by Richard Evans. She had more straight jazz sessions with Clark Terry, Oliver Nelson and others on Mainstream, Tru-Sound. ~Ron Wynn

...Now mc
...Now zippy

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Stuff Smith Quartet, Svend Asmussen - Hot Stuff

Bitrate: MP3@320K/s
Time: 74:15
Size: 170.0 MB
Styles: Violin jazz
Year: 2004
Art: Front

[4:27] 1. Skip It
[4:26] 2. The Girl From Ipanema
[7:06] 3. Tenderly
[6:18] 4. Take The A Train
[4:35] 5. Bugle Blues
[4:53] 6. I Can't Get Started
[6:11] 7. Mack The Knife
[6:44] 8. Blues For Timme
[4:39] 9. Old Stinkin' Blues
[6:01] 10. The C Jam Blues
[8:55] 11. Caravan
[5:38] 12. Time's Blues
[4:15] 13. Oh, Lady Be Good

Violinist Stuff Smith's recording career was a bit erratic, so every new release is greeted with much anticipation by fans of the swinging violinist. But Hot Stuff is actually a compilation of two earlier, out of print Storyville CDs, containing all nine tracks from Smith's Live at the Montmartre and four duets with violinist Svend Asmussen taken from Hot Violins. Smith is joined by expatriate pianist Kenny Drew, the young virtuoso bassist Niels-Henning Ørsted Pedersen, and drummer Alex Riel at the Montmatre. Highlights include a blazing rendition of "Take the 'A' Train" and his own "Timme's Blues" (saluting the gadfly producer Baron Timme Rosenkrantz), the latter of which features the hottest solos of the evening. The songs from a year later feature violinist Svend Asmussen joining Smith in a live recording made for Danish radio, along with pianist Jorgen Borch, bassist Erik Molback, and drummer Bjarne Rostvold. There's quite a bit of vocal banter in "C Jam Blues," with Smith toying with the lyrics to "Duke's Place" and clearly taking his own path as Asmussen plays a pizzicato line behind him. "Caravan" is especially exotic, as Asmussen switches to a tenor violin, while their unusually slow introduction establishes a catchy vamp before they revert to a swinging mode. Asmussen is thrown by Smith's ad-libbed vocal introduction to "Oh, Lady Be Good," though he recovers quickly to trade scatted choruses with the American and even scats in unison with his violin. This CD should be considered essential for anyone who enjoys jazz violin. ~Ken Dryden

Hot Stuff mc
Hot Stuff zippy

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Joe Ascione Octet - My Buddy (A Tribute To Buddy Rich)

Bitrate: MP3@320K/s
Time: 74:20
Size: 170.2 MB
Styles: Bop, Mainstream jazz
Year: 1997
Art: Front

[ 6:01] 1. Cottontail
[ 5:35] 2. My Buddy
[ 4:57] 3. J & B's Bag
[ 5:06] 4. Here's That Rainy Day
[ 4:59] 5. Limehouse Blues
[ 6:29] 6. Hi Fly
[ 4:12] 7. Nica's Dream
[ 5:01] 8. Straight No Chaser
[ 5:54] 9. Soft Winds
[ 4:16] 10. I Want To Be Happy
[ 7:20] 11. Love For Sale
[14:24] 12. Blues No. 5 (Sad Songs Say So Much)

Drummer Joe Ascione's love for drummer Buddy Rich is no secret as he goes to town with the 12 tracks on this CD. He fronts an octet through these standards like a hot knife through butter, and the group could not be more en fuego. Veterans Randy Sandke, trumpet, Dan Barrett, trombone, the legendary tenor saxophonist Billy Mitchell, Bob Haggart, bass (since passed on) join multi-instrumentalist Brian Ogilvie, pianist Mark Shane, and guitarist James Chirillo for a hard driving, soulfully swinging tribute to Rich. Throughout the date, Ascione, 35 at the time of this recording, acquits himself well. He's not as brash as Rich (who could be?) but pushes the band without being pushy. Everyone in the combo contributes arrangements, most noticeable is Barrett's bouncy, sprightly "Limehouse Blues," ultra cool "Soft Winds," and Ogilvie's uppity chart on "I Want to Be Happy" where he takes an extroverted alto sax lead. Sandke's duet with Ascione on "Nica's Dream" is quite stripped down and daring, and the 14:19 "Blues #5 (Blues for Kurtchen)" is a downtrodden finale where everyone in the band gets blue for Rich. Mitchell's feature on "J & B's Bag" is the CD's highlight, and it's great to hear this icon still very much in the game, his original, bluesy legato sound intact and vibrant. Rich was short and snappy, and so are these tunes for the most part. At times you think their lamps are trimmed and burning, as if there's a prescribed cut-off point. There's a variance in tempo from up to down and back up, an interesting contrast in a tribute to a person who was generally pretty fiery. Kudos to Ascione and crew for a fine offering of pure, authentic, professional, mainstream jazz. Highly recommended for lovers of traditional, classic sounds. ~Michael G. Nastos

My Buddy (A Tribute To Buddy Rich) mc
My Buddy (A Tribute To Buddy Rich) zippy

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Oscar Peterson - In A Romantic Mood

Bitrate: MP3@320K/s
Time: 39:24
Size: 90.2 MB
Styles: Piano jazz
Year: 1998/2008
Art: Front

[3:11] 1. Ruby
[3:38] 2. Stars Fell On Alabama
[2:16] 3. Black Coffee
[6:27] 4. Laura
[2:17] 5. The Boy Next Door
[2:51] 6. Our Waltz
[3:52] 7. Tenderly
[2:19] 8. I Thought About You
[2:44] 9. I Only Have Eyes For You
[3:27] 10. Stella By Starlight
[2:33] 11. A Sunday Kind Of Love
[3:44] 12. It Could Happen To You

Oscar Peterson is one of the most recorded jazz artists in history. His brilliance at the keyboard has been an inspiration for countless pianists who heard him in their formative as well as later years. His abilities as both a band leader and an accompanist helped in creating his momentous recorded legacy but it is genius for getting inside a sing that makes his piano playing so special. If you listen to no other jazz pianist then listen to O.P.

Oscar Peterson truly was a jazz giant whose star is sometimes unjustly eclipsed by some players who have led shorter or more chaotic lives. His recorded legacy would take weeks to listen to if played continuously back-to-back, and among it you will be hard pressed to find anything that is not exemplary; most of it is brilliant. ~ Richard Havers

In A Romantic Mood 

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Hampton Hawes - Playin' In The Yard

Styles: Piano Jazz
Year: 1973
File: MP3@320K/s
Time: 41:07
Size: 96,4 MB
Art: Front

(10:56)  1. Playin' in the Yard
( 8:53)  2. Double Trouble
( 5:06)  3. Pink Peaches
( 8:35)  4. De De
( 7:36)  5. Stella by Starlight

This live LP (which has not yet been reissued on CD) mostly features Hampton Hawes on electric piano, performing at the 1973 Montreux Jazz Festival in a trio with electric bassist Bob Cranshaw and drummer Kenny Clarke. Hawes interprets three of his originals, Sonny Rollins' catchy "Playin' in the Yard," and "Stella by Starlight." 

Although well-played, little memorable occurs, and Hawes never did sound as distinctive on keyboards as he did on acoustic piano. ~ Scott Yanow https://www.allmusic.com/album/playin-in-the-yard-mw0001882935     

Personnel:  Hampton Hawes - piano, electric piano;  Bob Cranshaw - electric bass;  Kenny Clarke - drums

Playin' In The Yard

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Mary Kaye - Too much

Styles: Vocal, Guitar
Year: 1958
File: MP3@320K/s
Time: 29:42
Size: 68,4 MB
Art: Front

(2:08)  1. Can't get out of this mood
(3:01)  2. Lazy river
(3:00)  3. Don't blame me
(2:19)  4. Just one of those things
(2:34)  5. Lazy afternoon
(2:00)  6. Baby knows best
(2:20)  7. Hawaiian wedding song
(2:07)  8. In the still of the night
(2:46)  9. You are so beautiful
(2:52) 10. My heart belongs to daddy
(2:27) 11. Summertime
(2:03) 12. Invitation

Is a descendant of Queen Liliuokalani, Hawaii's last reigning monarch. She was the first person to ever have a guitar named after her the Fender Mary Kaye Stratocaster. Jazz singer/musician. Grandniece of Queen Liliuokalani. Children: Jeffrey, Donna, Jaye. She was a Hawaiian guitarist and singer who had her own trio; the other musicians were her older brother Norman Kaye and Frank Ross. They began playing at Las Vegas' Frontier casino-hotel in the 1950s. They recorded 13 albums, and played on four movie soundtracks. She and her brother originally played in their father's band. He was known as Johnny Ukulele. Musical differences split her from the group and she formed her first trio which included husband and bass player Jules Pursley. Mother died when she was 3. Released a dozen albums before the group broke up in 1966. Mary continued solo. Mary played guitar; brother Norman was on bass; and Frank Ross was the group's comedian and sometime accordionist. Vegas' first "lounge act", she introduced the word "lounge" into the lexicon of Las Vegas shows with her all-night, dusk-to-dawn performances on the strip's secondary stages. The trio worked an average 36 weeks a year, often at the Sahara and Tropicana hotels. https://www.imdb.com/name/nm0443355/bio

Too much

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Red Garland - Red Alone

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 43:03
Size: 98,9 MB
Art: Front

(6:45)  1. When Your Lover Has Gone
(5:08)  2. These Foolish Things
(3:39)  3. My Last Affair
(4:45)  4. You Are Too Beautiful
(7:09)  5. I Got It Bad (And That Ain't Good)
(5:04)  6. The Nearness of You
(5:25)  7. Nancy (With the Laughing Face)
(5:06)  8. When I Fall in Love

Red Garland recorded 16 ballads during this single 1960 session for Prestige's Moodsville subsidiary. Although these selections were intended as mood music for lovers, Garland's imaginative arrangements keep things interesting. The pianist's strolling tempo of "When Your Lover Has Gone" suggests nostalgic reflection rather than melancholy from the typically slow performances by singers. His playful side comes out in "These Foolish Things," while the graceful runs in the upper keyboard are complemented by his rich block chords in "My Last Affair." The subtlety of his interpretation of "You Are Too Beautiful" and the delicate rendition of "The Nearness of You" are also memorable. But the obvious high point of this release is his stunning exploration of Duke Ellington's "I Got It Bad (And That Ain't Good)," which succeeds in conveying the powerful emotions of this ballad without a singer. This remarkable collection of standards should appeal to any fan of jazz piano.~ Ken Dryden https://www.allmusic.com/album/red-alone-mw0000220452        

Personnel: Red Garland (piano).

Red Alone

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Ronnie Cuber - Ronnie's Trio

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 72:43
Size: 167,1 MB
Art: Front

(5:49)  1. Silver's Serenade
(4:17)  2. What Is This Thing Called Love
(5:22)  3. St. Thomas
(7:09)  4. Jean-Marie
(5:21)  5. Body and Soul
(6:32)  6. The Jody Grind
(7:45)  7. Just Squeeze Me
(4:52)  8. Bernie's Tune
(5:17)  9. So Danço Samba
(7:44) 10. Honeysuckle Rose
(7:57) 11. All the Things You Are
(4:30) 12. Lover Come Back to Me

Ronnie Cuber (b. Dec. 25, 1941 in Brooklyn, New York), recognized as one of the most important baritone saxophonists in jazz today, has been composing, arranging and leading his own groups since 1959. His powerful command of the instrument led him to perform and record with amazing array of influential artists in almost all thinkable range of musical spectrum. Yet, this is the very first of basic jazz trio album by Ronnie Cuber, which should have a special place in his discography. "There is not one of his records that contains any half-hearted playing or musical skating. When he plays, it's serious creative business and he tells a story. If you pick up anything under Cuber's name, you're guaranteed a winner...This recording is one of the most vivid and personal saxophone playing ever done on a baritone saxophone...a shining example of Cuber's big, beefy baritone sax tone and a fluent technique that is a one of a kind match between the gritty, down-home feeling of R&B and the advanced harmonies of bebop." ~ JazzTimes on 'Ronnie' (SCCD31680)

Personnel:  Ronnie Cuber (baritone saxophone);  Jay Anderson (bass);  Adam Nussbaum (drums)

Ronnie's Trio

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Cedar Walton - Manhattan Afternoon

Bitrate: MP3@320K/s
Time: 55:30
Size: 127.1 MB
Styles: Bop, Piano jazz
Year: 1993
Art: Front

[8:58] 1. There Is No Greater Love
[7:29] 2. St. Thomas
[7:55] 3. Skylark
[7:47] 4. The Newest Blues
[6:57] 5. When Love Is New
[5:36] 6. I Mean You
[6:58] 7. Afternoon In Paris
[3:46] 8. The Theme

Cedar Walton (P); David Williams (B); Billy Higgins (D). Recorded December 26, 1992 in New York City, NY, USA by Max Bolleman.

One of the most valued of all hard bop accompanists, Cedar Walton was a versatile pianist whose funky touch and cogent melodic sense graced the recordings of many of jazz's greatest players. He was also one of the music's more underrated composers; although he was always a first-rate interpreter of standards, Walton wrote a number of excellent tunes ("Mosaic," "Ugetsu," and "Bolivia," to name a few) that found their way into Art Blakey's book during the pianist's early-'60s stint with the Jazz Messengers. In addition to his many quantifiable accomplishments, Walton is less well known as the first pianist to record, in April 1959 with John Coltrane, the tenorist's daunting "Giant Steps" — unlike the unfortunate Tommy Flanagan a month later, Walton wasn't required to solo, though he does comp magnificently.

Walton was first taught piano by his mother. After attending the University of Denver, he moved to New York in 1955, ostensibly to play music. Instead, he was drafted into the Army. Stationed in Germany, Walton played with American musicians Leo Wright, Don Ellis, and Eddie Harris. After his discharge, Walton moved back to New York, where he began his career in earnest. From 1958-1961, Walton played with Kenny Dorham, J.J. Johnson, and Art Farmer's Jazztet, among others. Walton joined Blakey in 1961, with whom he remained until 1964. This was perhaps Blakey's most influential group, with Freddie Hubbard and Wayne Shorter. Walton served time as Abbey Lincoln's accompanist from 1965-1966 and made records with Lee Morgan from 1966-1968; from 1967-1969, Walton served as a sideman on many Prestige albums as well. Walton played in a band with Hank Mobley in the early '70s and returned to Blakey for a 1973 tour of Japan.

Walton's own band of the period was called Eastern Rebellion, and was comprised of a rotating cast that included saxophonists Clifford Jordan, George Coleman, and Bob Berg; bassist Sam Jones; and drummer Billy Higgins. From the '80s onward, Walton continued to lead his own fine bands, releasing numerous albums including The Maestro in 1980, Cedar Walton Plays in 1986, and Composer in 1996, followed a year later by Roots, featuring trumpeter Terence Blanchard and saxophonist Joshua Redman. In 2001 Walton released The Promise Land, his debut for Highnote, which was followed by Latin Tinge in 2002, Underground Memoirs in 2005, and Seasoned Wood with trumpeter Jeremy Pelt in 2008. Walton was joined by saxophonist Vincent Herring on Voices Deep Within in 2009. Herring was also featured along with trombonist Steve Turre on The Bouncer in 2011. Cedar Walton died at his home in Brooklyn on August 19, 2013; he was 79 years old.

Manhattan Afternoon mc
Manhattan Afternoon zippy

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John Mellencamp - The Best That I Could Do 1978-1988

Bitrate: MP3@320K/s
Time: 58:29
Size: 133.9 MB
Styles: Heartland rock
Year: 1997
Art: Front

[5:37] 1. I Need A Lover
[4:35] 2. Ain't Even Done With The Night
[3:38] 3. Hurts So Good
[4:13] 4. Jack & Diane
[3:33] 5. Crumblin' Down
[4:43] 6. Pink Houses
[3:47] 7. Authority Song
[3:44] 8. Lonely Ol' Night
[3:40] 9. Small Town
[2:53] 10. R.O.C.K. In The U.S.A. (A Salute To 60's Rock)
[3:50] 11. Paper In Fire
[4:47] 12. Cherry Bomb
[4:18] 13. Check It Out
[5:04] 14. Without Expression

The Best That I Could Do is an appropriately self-deprecating title for John Mellencamp's greatest-hits collection, considering that the heartland rocker never seemed too convinced of his own worth. Of course, he had to struggle to get any respect after he was saddled with the stage name Johnny Cougar early in his career, but this 14-track collection proves that he was one of the best, unabashed straight-ahead rockers of the '80s. The 14 tracks here actually turn out to be a little too short to contain all of his great singles -- songs like "Rain on the Scarecrow," "Rumbleseat," "Pop Singer," "Again Tonight," and "What If I Came Knocking" are left off the collection (there's nothing from 1988's Big Daddy at all) -- but it's hard to argue with what's here. Over the course of the collection, such classic rock hits as "I Need a Lover," "Hurts So Good," "Jack and Diane," "Crumblin' Down," "Pink Houses," "Lonely Ol' Night," "Small Town," "Paper in Fire," "Cherry Bomb," and "Check It Out" are chronicled, with a new cover of Terry Reid's "Without Expression" added for good measure. It may fall short of being definitive, but only by a small margin, and it remains an excellent overview and introduction to Mellencamp's remarkably consistent body of work. ~Stephen Thomas Erlewine

The Best That I Could Do 1978-1988 mc
The Best That I Could Do 1978-1988 zippy

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Sophie Wegener, Zona Sul - Tem Mais Samba

Bitrate: MP3@320K/s
Time: 48:14
Size: 110.4 MB
Styles: Bossa Nova
Year: 2013
Art: Front

[4:28] 1. Le Tourbillon
[4:26] 2. Saudade Da Bahia/Samba Da Minha Terra/Rosa Morena A Falsa Baiana
[4:04] 3. Tem Mais Samba
[3:43] 4. Michelle
[4:55] 5. La Vie En Rose
[5:39] 6. Chanson Pour L'auvergnat
[1:44] 7. Interlude
[4:05] 8. Berimbau
[4:04] 9. Clareou
[4:23] 10. A Rã
[3:35] 11. Un Homme Et Une Femme
[3:00] 12. Canto Da Liberdade

Founded in 1999 by Sophie Wegener, ZONA SUL is a band dedicated to playing bossa nova, the music “invented” in the late 1950s by Brazilians João Gilberto and Antonio Carlos Jobim. Inspired by the legendary Zimbo Trio and singer Elis Regina, the band ZONA SUL stays true to the Brazilian tradition, while having developed an original style by opening up their repertoire to French chansons and pop songs that have been arranged with a distinctly Brazilian flavor.

In 2003 the band recorded their critically acclaimed first CD: PURE LOVE – um amor tão puro. With “Dans mon île“ by Henri Salvador they made it onto the compilation “The finest in female vocal jazz“ alongside Diana Krall, Cassandra Wilson and Sade. The song was also played nationwide in Germany on Klassik Radio. Upon its release in Germany in May 2006, ZONA SUL’s second album BEIRA made it to the top 20 in the German jazz charts. ZONA SUL’s music has received airplay on various radio stations in Europe and the band has given TV performances on German television. In October 2013, their third CD, TEM MAIS SAMBA, was released.

ZONA SUL is enjoying a large fan base in their hometown of Munich and their concerts at the local jazz club, the Unterfahrt, are always sold out. (Unterfahrt was voted one of the 10 best jazz clubs worldwide by Down Beat magazine). So far, the band has given performances in Germany, Italy, Poland and South Korea. Now the band members would like to go further, broaden their horizons and bring the joy of their music to many other places.

Tem Mais Samba mc
Tem Mais Samba zippy

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Chico Freeman, The Elvin Jones Project - Elvin

Bitrate: MP3@320K/s
Time: 58:56
Size: 134.9 MB
Styles: Contemporary jazz
Year: 2012
Art: Front

[5:31] 1. Elvin (Feat. Joe Lovano)
[7:07] 2. Inner Urge
[5:16] 3. E.J.'s Blues
[5:59] 4. The Pied Piper
[5:40] 5. After The Rain
[7:05] 6. Night Dreamer
[7:13] 7. Think On Me (Feat. Joe Lovano)
[7:27] 8. Lonnie's Lament
[7:35] 9. Mahjong

Chico Freeman - Tenor and Soprano Saxes; George Cables - Piano; Lonnie Plaxico - Bass; Winard Harper - Drums; Special guest: Joe Lovano - Tenor Sax.

The idea for this project is to pay tribute to one of the world’s greatest drummers, Elvin Ray Jones. All of the songs on this recording were compositions that Elvin Jones actually played on, wrote and/or were written for him by some of the most influential musicians of our time. Additionally, all of the musicians playing on this CD have either played with and/or recorded with Mr. Jones.

My personal relationship with Elvin also plays an important role here as well. It was my years with his band “The Elvin Jones Jazz Machine”, the fact that my first record date as a leader was given to me by Elvin and my first tours of Europe and the USA were with him. I had the great fortune of playing some of the most well known and historical jazz clubs in the world with him, The Keystone Korner in San Francisco, The Lighthouse in Hermosa Beach, The Village Vanguard in New York, The Jazz Workshop in Boston and Ronnie Scott’s in London to name a few. Not to mention the fact that I was having the opportunity to play with the drummer of the historical “John Coltrane Quartet”, a dream of quantum proportions and a great blessing received.

When Elvin passed away a great gap was left for us to ponder. He is and will always be missed. Every musician, let alone every drummer, owes him a great debt. I will ever be grateful for my time spent touring and recording with him, a great master and a beautiful, warm and giving person.

Elvin mc
Elvin zippy

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The Lao Tizer Band - Songs From The Swinghouse

Bitrate: MP3@320K/s
Time: 94:19
Size: 215.9 MB
Styles: Fusion, Funk/Jazz
Year: 2018
Art: Front

[ 8:02] 1. The Source
[ 8:17] 2. 16th Heaven
[ 8:14] 3. Forever Searching
[ 7:33] 4. Pride (In The Name Of Love)
[ 8:55] 5. A Prayer For Unity
[ 9:42] 6. Metropolis
[ 8:21] 7. Ramble On
[11:42] 8. To Touch The Sky
[ 6:40] 9. Sad Lisa
[ 8:14] 10. Codes
[ 8:35] 11. Forever Searchomg-Duet

Karen Briggs – violin (Yanni, Diana Ross); Eric Marienthal – sax (Grammy winner, Chick Corea, Rippingtons); Chieli Minucci – guitar (Grammy nominee & Emmy winner, Special EFX); Munyungo Jackson – percussion (Stevie Wonder, Miles Davis); Ric Fierabracci – bass (Grammy nominee, Bill Cobham, Blood Sweat & Tears); Tita Hutchison – vocals (Foreigner, Rick Rubin); Jeff Marshall – guitar (Bo Bice); Gene Coye – drums (Grammy nominee, Larry Carlton, Terrence Blanchard);Steve Nieves – sax (Loggins & Messina, Olivia Newton John); Cheikh N’Doye – bass (Mike Stern, Baaba Maal); Lao Tizer – piano & keys, bandleader-composer, producer (former “Best New Jazz Artist” nominee, Down To The Bone).

This has been an EPIC undertaking as we recorded the entire album LIVE at famed Conway Studios (Dave Matthews Band, Stevie Wonder, Alicia Keys) in Hollywood while simultaneously filming the entire recording in a LIVE 7-camera video shoot, directed by acclaimed music-film director, Andy LaViolette (Snarky Puppy, David Crosby).

I am honored to lead a band that features an cast of all-star musicians on the forthcoming album & film. The project was recorded and mixed by Grammy-nominated engineer, Paul Wickliffe (Kevin Eubanks, Branford Marsalis) and includes 8 new, original instrumentals and, for the first time, 3 carefully selected vocal cover arrangements. Let’s just say we’ve injected a bit of rock n’ roll into our jazz fusion ensemble.

Songs From The Swinghouse mc
Songs From The Swinghouse zippy

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Kevin Mahogany - The Vienna Affair

Bitrate: MP3@320K/s
Time: 45:36
Size: 104.4 MB
Styles: Vocal jazz
Year: 2016
Art: Front

[4:16] 1. Beautiful Fight
[5:18] 2. Sneak Thief
[3:44] 3. Michael Buble (My New Friend)
[3:55] 4. Pretty Blue
[3:49] 5. It's Too Late
[7:18] 6. Old Men Sing The Blues
[4:59] 7. Tilly's Waltz
[2:54] 8. Steamin Greens
[4:10] 9. Joanne Julia
[5:09] 10. The Nearness Of You

Kevin Mahogany: voce; Erwin Schmidt: pianoforte; Martin Spitzer: chitarra; Joschi Schneeberger: contrabbasso; Mario Gonzi: batteria.

The US baritone crooner scores for decades as an interpreter of standards, for example with a particularly successful Johnny Hartman - Tribute. Here he is on his own songs that come over directly, humorous and sympathetic for the first time. Even the scat trips are great. Vienna Location and address of the patents backing band. There is room for a waltz, but generally prevails American classic ago. A small legend in great shape.

The Vienna Affair mc
The Vienna Affair zippy

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Andy Laverne - Three's Not A Crowd

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 76:03
Size: 174,3 MB
Art: Front

( 9:48)  1. Fourth Right
( 9:56)  2. Three's Not A Crowd
( 9:11)  3. Bird Song
( 7:56)  4. As Always
(10:48)  5. Flashback
( 8:00)  6. Embrace
(10:52)  7. Leave The Blues Behind
( 9:30)  8. Destiny

The "Three" of "The Three Is Not A Crowd" goes way back to 1977 when Andy LaVerne, Mike Richmond and Billy Hart comprised the rhythm section for the great Stan Getz quartet. Andy LaVerne cut his debut album with Richmond and Hart that year in Copenhagen which was released as "Another World" on SteepleChase. 35 years later the "Three" convened in a NJ studio to record. The result here is not just a reunion but a new world of creative outpouring by the three mature artists. Recorded December 2011.  https://www.propermusic.com/product-details/Andy-LaVerne-Threes-Not-a-Crowd-146948

Personnel: Andy Laverne (piano), Mike Richmond (bass), Billy Hart (drums)

Three's Not A Crowd

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David Murray Quartet - Black & Black

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 56:14
Size: 128,9 MB
Art: Front

(10:12)  1. Anti - Calypso
(11:16)  2. Duke's Place
(11:13)  3. Cool
(10:47)  4. Black And Black
(12:45)  5. Head Out

In general, tenor saxophonist David Murray's Red Baron recordings are not on the same level of his Black Saints albums; the settings tended to be more conservative and the material not as strong. This outing with pianist Kirk Lightsey, bassist Santi Debriano, drummer Roy Haynes and trumpeter Marcus Belgrave is better than most of his Red Baron releases. The material is fairly basic (including "Duke's Place" and the two-note "C Jam Blues" theme, which is listed as being composed by four people), Murray tends to play fairly freely despite the boppish rhythm section, and the closing "Head Out" (the longest of the five lengthy jams) has plenty of fiery intensity. Not essential but worth picking up by David Murray fans. ~ Scott Yanow https://www.allmusic.com/album/black-and-black-mw0000073349 

Personnel:  David Murray - tenor saxophone;  Marcus Belgrave - trumpet;  Kirk Lightsey - piano;  Santi Debriano - bass;  Roy Haynes - drums.

Black & Black

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Bobby Previte's Latin For Travellers - My Man in Sydney

Styles: Jazz, Post Bop
Year: 1997
File: MP3@320K/s
Time: 52:12
Size: 134,4 MB
Art: Front

( 9:09)  1. Albuquerque Bar Band
(12:16)  2. My Man in Sydney
( 8:10)  3. London Duty Free
( 5:33)  4. Bear Right at Burma
( 8:52)  5. Deep Dish Chicago
( 8:08)  6. Love Cry New York

Drummer Bobby Previte's Latin for Travelers quartet burns up the track on this compilation of live dates done at the Basement Club in Sydney, Australia. Their endless summer, rockish sound is tempered by jazz improvisation and taken to lofty heights by the raw power of the participants, including double-plus keyboardist Jamie Saft, electric guitarist Marc Ducret, and electric bass guitarist Jerome Harris. All six of these extended jams are composed by Previte, where the identity and sound of the band are quickly established in the hip 6/8 funk with organ from Saft and "Telstar"-type guitar via Ducret on "Albuquerque Bar Band." Floating guitar and bass hand off to Previte's drum solo, free rock running into an R&B shuffle, with a grooving bridge during the title cut. Twangy and galloping introductory guitars by both Harris and Ducret develop into more driven organ-fired funk as "London Duty Free" shows a bundle of intensity and purpose, while an indirect ethnocentric core lurks under distinct African tom-tom beats in the process of "Bear Right at Burma." The coolest track is the urgent, hip swing of the neo-boppish head-nodding "Deep Dish Chicago," using a thin but not flimsy, bluesy guitar melody with insistent two-note organ incursions whose combined themes cement this total out-and-out jam. The closer starts as a choogling, very long drum solo in repeated rhythms, bordering on tedium, before Saft's Fender Rhodes improv breaks Previte out into rockish, raucous swing. A one-note guitar riff, another drum solo, and a small bass insert leads back to Saft's pungent organ for one final swoop. This is the first of two volumes planned from these performances, and where these set excerpts are plenty potent, subsequent issues may or may not be better, but one would expect consistency between this and the next CD. Thing is, this band has a sound all its own, best heard live and well documented on this surface-scratching effort. ~ Michael G.Nastos https://www.allmusic.com/album/my-man-in-sydney-mw0000030995

Personnel:  Bobby Previte :: drums, voice;  Marc Ducret :: electric guitar; Jerome Harris :: electric guitar, electric bass, voice;  Jamie Saft :: organ, fender rhodes electric piano, mini moog

My Man in Sydney

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Gil Evans - Out of the Cool

Styles: Piano Jazz
Year: 1960
File: MP3@320K/s
Time: 37:29
Size: 89,1 MB
Art: Front

(15:38)  1. La Nevada
( 5:15)  2. Where Flamingos Fly
( 4:13)  3. Bilbao Song
( 8:04)  4. Stratusphunk
( 4:17)  5. Sunken Treasure

Out of the Cool, released in 1960, was the first recording Gil Evans issued after three straight albums with Miles Davis Sketches of Spain being the final one before this. Evans had learned much from Davis about improvisation, instinct, and space (the trumpeter learned plenty, too, especially about color, texture, and dynamic tension). Evans orchestrates less here, instead concentrating on the rhythm section built around Elvin Jones, Charlie Persip, bassist Ron Carter, and guitarist Ray Crawford. The maestro in the piano chair also assembled a crack horn section for this date, with Ray Beckinstein, Budd Johnson, and Eddie Caine on saxophones, trombonists Jimmy Knepper, Keg Johnson, and bass trombonist Tony Studd, with Johnny Coles and Phil Sunkel on trumpet, Bill Barber on tuba, and Bob Tricarico on flute, bassoon, and piccolo. The music here is of a wondrous variety, bookended by two stellar Evans compositions in "La Nevada," and "Sunken Treasure." The middle of the record is filled out by the lovely standard "Where Flamingos Fly," Kurt Weill-Bertolt Brecht's "Bilbao Song," and George Russell's classic "Stratusphunk." The sonics are alternately warm, breezy, and nocturnal, especially on the 15-plus-minute opener which captures the laid-back West Coast cool jazz feel juxtaposed by the percolating, even bubbling hot rhythmic pulse of the tough streets of Las Vegas. The horns are held back for long periods in the mix and the drums pop right up front, Crawford's solo drenched in funky blues is smoking. When the trombones re-enter, they are slow and moaning, and the piccolo digs in for an in the pocket, pulsing break. Whoa.

Things are brought back to the lyrical impressionism Evans is most well known for at the beginning of "Where Flamingos Fly." Following a four-note theme on guitar, flute, tuba, and trombone, it comes out dramatic and blue, but utterly spacious and warm. The melancholy feels like the tune "Summertime" in the trombone melody, but shifts toward something less impressionistic and more expressionist entirely by the use of gentle dissonance by the second verse as the horns begin to ratchet things up just a bit, allowing Persip and Jones to play in the middle on a variety of percussion instruments before the tune takes on a New Orleans feel, and indeed traces much of orchestral jazz history over the course of its five minutes without breaking a sweat. "Stratusphunk" is the most angular tune here, but Evans and company lend such an element of swing to the tune that its edges are barely experienced by the listener. For all his seriousness, there was a great deal of warmth and humor in Evans' approach to arranging. His use of the bassoon as a sound effects instrument at the beginning is one such moment emerging right out of the bass trombone. At first, the walking bassline played by Carter feels at odds with the lithe and limber horn lines which begin to assert themselves in full finger popping swing etiquette, but Carter seamlessly blends in. Again, Crawford's guitar solo in the midst of all that brass is the voice of song itself, but it's funky before Johnny Coles' fine trumpet solo ushers in an entirely new chart for the brass. The final cut, "Sunken Treasure," is a moody piece of noir that keeps its pulse inside the role of bass trombone and tuba. Percussion here, with maracas, is more of a coloration device, and the blues emerge from the trumpets and from Carter. It's an odd way to close a record, but its deep-night feel is something that may echo the "cool" yet looks toward something deeper and hotter which is exactly what followed later with Into the Hot. This set is not only brilliant, it's fun. ~ Thom Jurek https://www.allmusic.com/album/out-of-the-cool-mw0000649500

Gil Evans Orchestra: Gil Evans (arranger, conductor, piano); Budd Johnson (soprano & tenor saxophones); Eddie Caine, Ray Beckenstein (alto saxophone, flute, piccolo); Johnny Coles, Phil Sunkel (trumpet); Keg Johnson, Jimmy Knepper (trombone); Tony Studd (bass trombone); Bill Barber (tuba); Bob Tricarico (flute, piccolo, bassoon); Ray Crawford (guitar); Ron Carter (bass); Charlie Persip, Elvin Jones (drums, percussion).

Out of the Cool

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Ligia Piro - Baby!

Bitrate: MP3@320K/s
Time: 46:46
Size: 107.1 MB
Styles: Latin jazz vocals
Year: 2006
Art: Front

[2:24] 1. Love Me Or Leave Me
[4:26] 2. You Don´t Know What Love Is
[4:41] 3. Pra Machucar Meu Coracao
[2:47] 4. Call Me Irresponsible
[6:03] 5. P. S. I Love You
[3:05] 6. About A Girl
[5:06] 7. Round Midnight
[4:10] 8. At Last
[6:26] 9. Put Your Head On My Shoulder
[3:45] 10. The Man I Love
[3:48] 11. Samba De Orly

Ligia Piro was born in Buenos Aires, Argentina. She studied at the national music conservatory López Buchardo. As an actress, she trained at the theater school of Agustín Alezzo. She worked in different plays and musicals such as "Vino de Ciruela" (directed by Rubén Pires) "Nine" (directed by David Leveaux), "Gotán" and "The Romance of Romeo and Juliet" (directed by Manuel Gonzáles Gil) among others, those that earned her the nominations for the ACE award in 1996, -revelation- for Gotán and in 2003, -better actress- for Vino de Plum.

Avocado to jazz and bossa nova in its beginnings, Piro today is considered one of the best artists of popular music and the voices of Argentina. Under her own label GatoPop, she edits his albums "LP", "Baby!" And "Trece canciones de amor", also released in Japan and the album "Strange Fruit", recorded with Juan Cruz de Urquiza and orchestra. With a presentation in 2010/11, the show "As Passing Years" at the Maipo theater, gives rise to a new live album that goes to the bateas together with its first Latin American music label "Las Flores Buenas".

Ligia Piro, Konex 2005 merit award, has an immense versatility when it comes to tackling different genres and continues her artistic career with her performances in the great theaters of Buenos Aires, Argentina and abroad. (Translated from Spanish.)

Baby! mc
Baby! zippy

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Teddy Wilson - Nice Work If You Can Get It

Bitrate: MP3@320K/s
Time: 54:41
Size: 125.2 MB
Styles: Piano jazz
Year: 1998/2009
Art: Front

[4:13] 1. Saint Louis Blues
[2:37] 2. Three Little Words
[4:04] 3. I've Got The World On A String
[3:03] 4. Don't Be That Way
[4:23] 5. You Go To My Head
[2:34] 6. My Heart Stood Still
[4:29] 7. Where Or When
[3:51] 8. Basin Street Blues
[3:32] 9. I've Got My Love To Keep Me Warm
[3:45] 10. Flyin' Home
[2:37] 11. Nice Work If You Can Get It
[3:12] 12. Body And Soul
[2:30] 13. If I Had You
[2:16] 14. On The Sunny Side Of The Street
[3:09] 15. Avalon
[4:17] 16. After You're Gone

This compilation is a bit frustrating for Teddy Wilson fans. The first ten tracks are a straight reissue of the Black & Blue LP Three Little Words, which has been reissued by the original label with four bonus tracks. It is an unusual session, recorded in an open air studio with bassist Milt Hinton and drummer Oliver Jackson, though the material represents standards that Wilson had played countless times by this point in his career. A breezy "Don't Be That Way" and a romp through "Flyin' Home" are obvious highlights, though every track is a winner. The last six tracks are listed as being from a 1982 Washington, D.C. concert in a quartet led by Benny Goodman, though the clarinet's discography doesn't list such a performance. In any case, it is a somewhat noisy concert with the audience in the immediate proximity of the outdoor stage, suggesting a venue like Ravinia. The recording quality is amateurish, with Goodman very clear, but Wilson sounding a bit distant and muddy. Some unidentified horns join at the conclusion of "If I Had You" and are also heard in "Avalaon." The performances are enjoyable, though hardly among the best work available of Goodman, so this compilation falls short of being essential. ~Ken Dryden

Nice Work If You Can Get It mc
Nice Work If You Can Get It zippy

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The Quiet Band - Lullabies & Dreams

Bitrate: MP3@320K/s
Time: 47:43
Size: 109.3 MB
Styles: Vocal jazz, Easy Listening
Year: 2014
Art: Front

[4:35] 1. Corcavado
[4:09] 2. When You Wish Upon A Star
[4:33] 3. Sleeping Bee
[2:44] 4. Hushabye Mountain
[3:47] 5. It's Only A Paper Moon
[4:29] 6. Moonlight In Vermont
[4:21] 7. Wave
[4:06] 8. Lullabies & Dreams
[4:56] 9. Stardust
[3:48] 10. Alice In Wonderland
[3:18] 11. I See The Moon
[2:53] 12. White Christmas

“I wanted to make a jazz album that could lull my baby girl to sleep.” That was the inspiration for band-leader Dom Sales when making the album Lullabies & Dreams. Featuring the sublime voice of Jennie-Marie Hammond Lullabies & Dreams is a collection of jazz standards and lullabies dedicated to the night and quiet times. Lullabies and Dreams marks a slight change of direction to the usual contemporary jazz that Jellymould releases. This is unapologetically mainstream and features some of the finest session players in the country.

Dom became a father for the first time last year. “After trawling the internet for music to play to my daughter to help her to sleep I couldn’t find any jazz that wasn’t the ghastly pre-programmed, computer-made commercial material. I wanted something with integrity, with great playing and a soothing vocal.” That soothing vocal comes from new vocalist Jennie Marie Hammond. Her beautiful naïve quality, reminiscent of Astrud Gilberto’s style flows effortlessly over the top of a rhythm section comprising Sean Miller – piano, Richard Hammond – bass and Dom on drums. Mark Chandler is a trumpet player of distinct pedigree. His sublime flugel playing on this album showcases a musician of extreme taste along with tenor saxophonist Mike Hope whose sensitive playing is featured on a number of tracks. The band is completed by Tim Gunnell on vibraphone and Stuart Worthy on percussion.

Lullabies & Dreams is a thoughtful collection of songs carefully arranged by Sean Miller and the band. The album features one original, the title track by Dom and his lyricist father Patrick. The band recorded the album in two days, all in the same room playing acoustically and it’s not all sleep inducing – the band could not help themselves – there are some fine swinging moments! This is an album to relax to, to be enjoyed with a glass of your favourite drink of choice in the quietest of surrounding.

Lullabies & Dreams mc
Lullabies & Dreams zippy

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Wynton Marsalis Septet - United We Swing: Best of The Jazz at Lincoln Center Galas

Bitrate: MP3@320K/s
Time: 70:27
Size: 161.3 MB
Styles: Standards, Straight ahead jazz
Year: 2018
Art: Front

[4:14] 1. The Last Time
[4:29] 2. It Takes A Lot To Laugh
[3:47] 3. I'm Gonna Move To The Outskirts Of Town
[3:01] 4. I'm Not Rough
[3:12] 5. Creole Love Call
[4:18] 6. Milk Cow Blues
[2:42] 7. I'm Gonna Find Another You
[3:44] 8. My Baby Don't Tolerate
[6:44] 9. The Worst Thing
[4:06] 10. Please Baby Don't
[3:28] 11. Mean Old Man
[7:35] 12. Are You Gonna Go My Way
[4:21] 13. Fool's Paradise
[4:04] 14. Empty Bed Blues
[5:33] 15. I Wish I Knew How It Would Feel To Be Free
[5:03] 16. What Have You Done

Recorded between 2003 and 2007, United We Swing: Best of the Jazz at Lincoln Center Galas finds an unparalleled array of music talent that collectively boasts 94 Grammy Awards joining Jazz at Lincoln Center Managing and Artistic Director Wynton Marsalis (a nine-time Grammy Award winner himself) and some of the world’s top jazz musicians to perform blues-inflected versions of iconic American repertoire.

Those one-night-only, live performances have never been released before. They include Lenny Kravitz performing Marsalis’s hypnotizing, New Orleans-inflected arrangement of Kravitz’s own song, “Are You Gonna Go My Way”; Susan Tedeschi and Derek Trucks uniting for a stirring, infectious take on Civil Rights anthem “I Wish I Knew How It Would Feel to Be Free”; Bob Dylan adding harmonica licks to a deeply felt, in-the-pocket rendition of “It Takes a Lot to Laugh, It Takes a Train to Cry”; and Ray Charles taking the stage for one of his final performances to play “I’m Gonna Move to the Outskirts of Town.” Together these artists raise their voices to highlight jazz’s importance to America’s cultural heritage and to remind us that, even in divided times, music can unite us all. All proceeds from the album will go toward Jazz at Lincoln Center’s education programs, which introduce thousands of children to jazz each year.

United We Swing mc
United We Swing zippy

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Dave Koz & Friends - Summer Horns

Bitrate: MP3@320K/s
Time: 55:11
Size: 126.3 MB
Styles: Saxophone jazz
Year: 2013
Art: Front

[4:03] 1. Always There
[5:37] 2. Got To Get You Into My Life
[5:06] 3. Rise
[4:37] 4. So Very Hard To Go
[4:26] 5. Hot Fun In The Summertime
[4:10] 6. Take 5
[4:46] 7. 25 Or 6 To 4
[4:44] 8. Reasons
[4:14] 9. I Got You (I Feel Good)
[3:44] 10. You Haven’t Done Nothin’
[5:43] 11. God Bless The Child
[3:56] 12. Summer Horns

Nine-time GRAMMY® nominee Dave Koz remembers a time when the summers lasted forever, and the most popular rock, R&B, soul and funk bands of the day were propelled by high-octane, richly arranged horn sections. Indeed, from the late 1960s through the ‘70s, bands like Sly & the Family Stone, Tower of Power, Earth Wind & Fire, Chicago, Blood Sweat & Tears and other brassy juggernauts of the era ruled the airwaves and opened his young ears to the saxophone’s limitless possibilities as a solo instrument as well as a collaborative voice with the trumpet and trombone.

Four decades later, Koz has assembled three of his most talented and trusted colleagues – Gerald Albright, Richard Elliot and Mindi Abair – to revisit this golden age with new arrangements of classic songs from this period in the history of popular music. Dave Koz and Friends Summer Horns, produced by Paul Brown (Al Jarreau, George Benson, June Tabor, Boney James), is a collaborative effort that throws the spotlight on four high-profile saxophonists, and augments the team with several other equally talented musicians and vocalists. Summer Horns, released on June 11, 2013 on Concord Records, turns up the heat just in time for the summer tour season.

Summer Horns mc
Summer Horns zippy

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Tito Puente - Jazz

Bitrate: MP3@320K/s
Time: 39:20
Size: 90.1 MB
Styles: Afro-Cuban jazz
Year: 2009
Art: Front

[2:49] 1. Cochise
[2:37] 2. One Note Samba
[2:43] 3. 110th St And 5th Avenue
[3:09] 4. Picadillo
[5:23] 5. The Big Four
[3:51] 6. Timbales Solo
[3:25] 7. Autumn Leaves
[2:30] 8. Mambo Inn
[3:10] 9. A Noro Morales
[3:25] 10. Carnival In Harlem
[1:55] 11. Jumpin' With Symphony Sid
[4:19] 12. Ritual Fire Dance

"No one in the world has done more for Afro-Cuban music than Tito Puente.” This is what Mario Bauzá - creator of Afro-Cuban jazz and legendary musical director of Machito's Afro-Cubans, stated when talking about Puente. Born to Puerto Rican parents in NYC's Harlem Hospital on April 20, 1921, Ernest Anthony Puente Jr. (not Ernesto or Antonio, as has been incorrectly stated by many) was a towering figure who revolutionized the role of percussion and jazz arranging techniques in Afro-Cuban music. A product of his environment, Puente, who passed away in NYC on May 31, 2001, grew up in the East side enclave of Manhattan known as East Harlem, the Spanish Harlem or El Barrio. It was here that he grew up listening to the sounds of big band jazz (drummer Gene Krupa was his hero), Cuban and Puerto Rican music, and emulating movie stars such as James Cagney and Fred Astaire. At the time, East Harlem (Pleasant Avenue, 1st, 2nd , 3rd , Lexington, Madison, Park, and 5th Avenue's between 96th and 125th streets) was a thriving neighborhood populated by Italians, Jews, Germans, Cubans and a growing Puerto Rican community - all of them living side by side. "Little Ernie" or Ernestito, as he became known by his boyhood friends, absorbed everything this colorful environment had to offer. He took drum lessons with an African-American show drummer named Mr. Williams, piano lessons with Victoria Hernández (Rafael's sister), as well as dance lessons. All this would serve him well in his quest to become a virtuoso multi-instrumentalist (timbales, drums, piano, vibes, marimba, alto sax, and clarinet), arranger, composer and bandleader. His first recording experience was in 1939 with the Machito Afro-Cubans and Johnny Rodríguez's Stork Club Orchestra. After serving with honors in the U.S. Navy during WW II on the escort carrier Santee CVC 29 as a gunner’s mate and musician (he was the bugler and played alto saxophone and piano in the ship's big band), he would return to NYC and quickly establish himself as a bandleader. His first hit was the 1949 mambo, “Abaniquito,” featuring Vicentico Valdés on lead vocals, Mario Bauzá on trumpet and Graciela (Machito’s sister) on background vocals. A subsequent signing to the powerful RCA label yielded classic albums that demonstrated Puente's unique ability to compose and arrange jazz oriented Afro-Cuban music and established his renowned virtuosity on the timbales, vibes and marimba. His later years with Tico and Fania would yield much more dance-oriented music. But this compilation demonstrates that Puente could produce jazz-oriented music featuring both him and his musicians as world class soloists. Hard driving instrumental mambos like “Picadillo” and “A Noro Morales” feature him on marimba and vibes. His sensitivity and romanticism on the instrument is demonstrated on the classic jazz standard “Autumn Leaves.” Puente was a master of other styles as well. Just listen to the swing of Trinidadian calypso on “Carnaval en Harlem” and Brazilian bossa nova on “One Note Samba.” The power, swing and mastery of jazz harmony that he loved to employ in writing for his big band is demonstrated in full force on “Mambo Inn,” “110th St. & 5th Ave.,” “Jumpin' with Symphony Syd” and “Ritual Fire Dance.” But it is his virtuosity on the timbales that he is best known for, as demonstrated on “The Big Four,” where he is joined by Mongo Santamaría, Carlos "Patato" Valdés and Willie Bobo. There is also the “Timbales Solo,” where he takes an incredible improvisation with just the accompaniment of a cowbell. By its very nature, jazz is an art form that demonstrates the virtuosity of musicians as soloists. Enjoy it right here as Tito plays jazz. ~Bobby Sanabria

Jazz mc
Jazz zippy

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Geoff Keezer, Steve Nelson & Neil Swainson - Trio

Styles: Piano And Vibraphone Jazz
Year: 1993
File: MP3@320K/s
Time: 69:41
Size: 160,5 MB
Art: Front

(13:43)  1. Relaxin' At Camarillo
(10:35)  2. There Are Many Angels In Florence
(11:57)  3. On The Lam
( 5:55)  4. Solo Piano Medley
(13:24)  5. Epistrophy
(14:04)  6. Eternal Triangle

The music on this live CD is boppish but fresh, showcasing an exciting trio comprised of pianist Geoff Keezer, vibraphonist Steve Nelson, and bassist Neil Swainson. The drumless group swings lightly but with excitement on such numbers as "Relaxin' at Camarillo," "Eternal Triangle," and "Epistrophy," each of which is over 13 minutes long. In addition to an original apiece from Nelson and Swainson, Keezer takes a medley of "Darn That Dream" and "Sophisticated Lady" as his solo piano feature. Easily recommended. ~ Scott Yanow https://www.allmusic.com/album/trio-mw0000411039

Personnel: Geoff Keezer (piano); Steve Nelson (vibraphone); Neil Swainson (bass).

Trio

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Marie Bergman - But Beatiful

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 46:58
Size: 109,0 MB
Art: Front

(5:04)  1. You Don`t Know What Love Is
(3:49)  2. Invitation
(3:29)  3. All Of Me
(5:53)  4. Imagination
(3:41)  5. Like Someone In Love
(4:19)  6. Naima
(4:58)  7. Funny
(5:05)  8. Someone To Watch Over Me
(7:54)  9. But Beatiful
(2:41) 10. I Fall In Love Too Easily

I was born in Alberta then Shortly after, our family of five soon moved to Santa Clara, California. It was not until my early teens that we moved back to the Canadian prairies where we spent a number of years in southern Alberta. My travelling experiences brought me close with nature spending much of my time outdoors. One of the first paintings my parents bought back in 67 was “The Grand Tetons” by Robert Wood. I do believe that this painting was the start of a seed waiting to grow. While working as a live in care aide in Saskatoon SK. around 2004 I began to take my self up on painting. It is a chance for me to do what I have always wanted in life to be in touch with my creative side and explore the land that I walk on. (It was art and music I had taken in school).

In 2010 I began to study other artists, such as, Film Producer George Gallo,  Stephen Quiller, and Richard Schmid”s Alla Prima II , Katie Swatland’s book Companion, and  John F. Carlson, and many others to numerous to mention I  take their knowledge with me, and try to apply it in my own way. Painting is learned by doing as George Gallo, and many other artists say. The outdoors is something I have always loved, and the adventures of plein air painting is right my ally. I plan ahead so that my work will be thought of as a story a poetry of the land where I take the viewer in. In the future I can create a book or memoir. As a member of  the Federation of Canadian artist of Vancouver and the Okanagan. I have been busy entering shows , (though in 2017 I took a break from the shows ) and this has given me the time to think about where I want to go with it.  https://mariebergmanart.com/bio/.

But Beatiful

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Red Garland - Can't See for Lookin'

Styles: Piano Jazz
Year: 1958
File: MP3@320K/s
Time: 35:07
Size: 80,5 MB
Art: Front

(9:28)  1. I Can't See for Lookin'
(6:56)  2. Soon
(8:56)  3. Blackout
(9:45)  4. Castle Rock

Pianist Red Garland recorded many sets in the late 1950s and early '60s, often (as in this case) with bassist Paul Chambers and drummer Art Taylor. Despite the slight length of this LP (under 35 minutes), this is a particularly strong showcase of Garland's talents. His block chords are distinctive, as is his use of space, and the music always swings. The trio sounds in top form on "I Can't See for Looking," George Gershwin's "Soon," "Blackout," and a driving version of the classic blues "Castle Rock." Recommended.

~ Scott Yanow https://www.allmusic.com/album/cant-see-for-lookin-mw0000089212       

Personnel: Red Garland (piano); Paul Chambers (bass); Arthur Taylor (drums).

Can't See for Lookin'

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Lynne Arriale Trio - A Long Road Home

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 55:53
Size: 128,3 MB
Art: Front

(6:59)  1. Bye-Ya
(3:30)  2. Will o' the Wisp
(4:40)  3. A Night in Tunisia
(8:17)  4. Wouldn't It Be Loverly?
(5:48)  5. Letters from Mike O'Brien
(6:51)  6. Con Alma
(7:50)  7. I Wished on the Moon
(4:41)  8. The Dove
(7:12)  9. A Long Road Home

During the second half of the 1990s, pianist Lynne Arriale grew as an individual stylist from album to album. Although she is fine on the medium-tempo pieces of this CD, a trio outing with bassist John Patitucci and drummer Steve Davis, it is her work on the ballads (including her own "Will O' the Wisp" and the folky "The Dove") that is most impressive. 

Her impressionistic playing is full of creative subtleties, and the brilliant bassist Patitucci seems to consistently inspire her. Even the standards (such as a re-harmonized "A Night in Tunisia" and a floating "Wouldn't It Be Loverly") sound fresh and new. At this point in time, this was the pianist's strongest set to date; easily recommended.~ Scott Yanow https://www.allmusic.com/album/long-road-home-mw0000033019    

Personnel: Lynne Arriale (piano); John Patitucci (bass); Steve Davis (drums).

A Long Road Home

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