Silky Denims: September 2018

Sunday, September 30, 2018

Joe Farrell - Farrell's Inferno

Styles: Saxophone And Flute Jazz
Year: 1980
File: MP3@320K/s
Time: 44:01
Size: 101,2 MB
Art: Front

(5:47) 1. Let's Go Dancing
(6:08) 2. Autumn Leaves
(5:58) 3. Dreams
(5:38) 4. Whip It Up
(7:17) 5. Invitation
(6:46) 6. Flamingo
(6:24) 7. Moon Germs

Joe Farrell's CTI albums of 1970-1976, which combined together his hard bop style with some pop and fusion elements, made him briefly popular among listeners not familiar with his earlier work. Farrell began playing clarinet when he was 11 and, after graduating from the University of Illinois in 1959, he moved to New York where he worked with the Maynard Ferguson Big Band (1960-1961) and Slide Hampton (1962), and recorded with Charles Mingus, Dizzy Reece, and a notable series with Jaki Byard (1965). A member of both the Thad Jones/Mel Lewis Orchestra (1966-1969) and Elvin Jones' combo (1967-1970), Farrell's distinctive sound on tenor and general versatility were assets. A member of the original version of Return to Forever (1971-1972), Farrell was fairly prosperous during the 1970s when his solo CTI records sold well, but a drug problem gradually caught up with him. After performing with Mingus Dynasty in the late '70s and recording with Louis Hayes in 1983, he moved to Los Angeles where he scuffled during his last couple of years. Farrell died from bone cancer in 1986 at age 48. In addition to CTI, Farrell recorded as a leader for Warner Bros., Xanadu, Contemporary, RealTime, Timeless, and (with Airto and Flora Purim) Reference. ~ Scott Yanow https://www.allmusic.com/artist/joe-farrell-mn0000125160/biography

Personnel: Joe Farrell (Tenor sax, soprano sax, flute); Victor Feldman (Piano); John Guerin (Drums); Bob Magnusson (Bass).

Farrell's Inferno

Danny Moss, Roy Williams Quintet - Steamers!

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 75:09
Size: 173,0 MB
Art: Front

(6:17) 1. Just In Time
(7:39) 2. It's Allright With Me
(5:40) 3. Them There Eyes
(4:57) 4. Too Late Now
(4:36) 5. It's A Wonderful World
(5:58) 6. Li'l Darlin'
(5:24) 7. You're My Everything
(3:46) 8. Isn't It Romantic
(6:48) 9. There Is No Greater Love
(4:38) 10. Mood Indigo
(6:06) 11. Hiya
(8:15) 12. Blues To Be There
(4:58) 13. I've Found A New Baby

Britisher Danny Moss and long time side kick, Roy Williams, with their group carry on in the tradition of small group swing recalling those great combos led by John Kirby, Charlie Shavers, Benny Carter, Buck Clayton and many, many others. The Moss/Williams quintet takes us on a stroll through 13 tunes, all but two of them oft-heard standards. The other two tracks, Johnny Hodges' "Hiya" and Duke Ellington's "Blues to Be". The Ellington tune is from his and Billy Strayhorn's "Newport Suite" which they prepared for the 1958 edition of that festival. Moss, until he retired, was a mainstay of the British jazz scene since the 1950's and has performed with many US jazzers when they visited that part of the world. His approach to the tenor sax has been influenced by the likes of Coleman Hawkins, Zoot Sims and Al Cohn. The co-leader of the Quintet, trombonist, Roy Williams, is also a jazz veteran starting his professional career in 1960, and over the years has developed a reputation as an unsurpassed sight reader. His trombone recalls the great ones, Carl Fontana, Frank Rosolino and Lawrence Brown. The other members of the quintet, John Pearce on piano, Len Skeat on bass and Charly Antolini on drums have the task of backing Moss and Williams, which they do with fervor and skill. There's nothing earth shattering on this disk, nor do I suspect was there any intention that there should be.

The album features comfortable and versatile playing in slow, medium and up tempos for the ensemble work and for Moss' and Williams' solos. Pearce and Skeat are given the opportunity to showcase their wares on a pleasant medium tempo "You're My Everything". "Isn't It Romantic" features Williams playing trombone in the style of Frank Rosolino. Danny Moss' tenor turns sultry and the Williams trombone assumes a languid tone on a very slowly navigated "L'il Darlin'". "Just in Time"," I've Found a New Baby" and "There Is No Greater Love" are given a spirited, but not frantic, reading. Moss and Williams combine for a moving version of "Mood Indigo". They kick off the tune together and then each takes an extended solo with some knowledgeable and sophisticated improvisions on the theme of this lovely tune. Steamers! is an album you'll pull out after a hard day at the office, on the freeway or when entertaining in an intimate setting. This one is recommended. ~ Dave Nathan https://www.allaboutjazz.com/steamers-danny-moss-review-by-dave-nathan.php

Personnel: Danny Moss - Tenor Saxophone; Roy Williams - Trombone; John Pearce - Piano; Len Skeat - Bass; Charly Antolini - Drums

Steamers!

Ketil Bjornstad - New Life

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 60:08
Size: 138,0 MB
Art: Front

( 6:12) 1. Blue Man
( 3:51) 2. The Night
( 3:53) 3. Song for the Sun
( 3:39) 4. By the Fjord
( 3:48) 5. Ophelia's Arrival
( 4:35) 6. The Token
( 4:22) 7. Sara
( 6:48) 8. Late Summer
( 3:06) 9. Turning Around
( 4:56) 10. Days in Paris
(10:55) 11. When Sleep Brings Us Apart
( 3:56) 12. New Life

A classically trained jazz pianist with a bent toward avant-garde improvised music, Ketil Bjørnstad is a well-known musician and writer in Europe. With his cerebral, atmospheric style that belies a palpable inner passion and an inclination toward genre-crossing compositions, Bjørnstad helped develop and popularize the "European jazz" aesthetic. He is also a writer and poet and has published over 30 works beginning with his 1972 poetry collection Alone. Born in Oslo, Norway, Bjørnstad studied classical piano in London and Paris before making his debut in 1969 at age 16 with the Oslo Philharmonic Orchestra playing Béla Bartók's third piano concerto. Surrounded by the vibrant arts scene in Oslo during the '70s, Bjørnstad became interested in jazz and developing his own style of music. Citing an array of influences from Bach and Ravel to Thelonious Monk and Miles Davis, Bjørnstad began working in an improvised idiom. In 1973, he released his debut album Åpning featuring what would become a core group of longtime associates in drummer Jon Christensen, guitarist Terje Rypdal, and bassist Arild Andersen. The album would be the first of several outings Bjørnstad would record for Phillips. Over the years, Bjørnstad's particular mix of jazz, classical, folk, and rock music would become highly influential in the development of what became known as "European jazz." Although he has become well-associated with the premier European jazz label ECM, he did not record for the label until later in his career with 1993's Water Stories, 1994's The Sea, 1997's The River, and 1998's The Sea II.

In 2000, Bjørnstad released the duo album Epigraphs with cellist David Darling on ECM. That same year, he composed the millennium oratorio "Himmel Rand," featuring the texts of the poet Stein Mehren. In 2002, he released the cinematic soundscape album Before the Light on Universal. In 2004, Bjørnstad released the rock-oriented Seafarer's Song featuring his ensemble with vocalist Kristin Asbjornsen. Four years later, he returned to ECM for the concert album Live in Leipzig with guitarist Rypdal. In 2008, Bjørnstad once again worked with drummer Christensen as well as tenor saxophonist Tore Brunborg for the ECM release Remembrance. In 2011, Bjørnstad delivered the duo album Night Song with cellist Svante Henryson on ECM. The pianist, who is also a published poet, novelist, and essayist, has stated that the Italian filmmaker Michelangelo Antonioni was one of his greatest influences; to that end, he composed a series of works meant to act as "a soundtrack to an inner film." Recording with bassist Arild Andersen percussionist Marilyn Mazur, cellist Anja Lechner, Eivind Aarset on guitar and electronics, and saxophonist Andy Sheppard, Bjørnstad released the live suite La Notte in the late spring of 2013. 2014 proved prolific for the composer and pianist. His first release of the year, appearing in March, was a 2012 recording entitled Sunrise: A Cantata on Texts by Edward Munch, performed by the pianist, his quartet, vocal soloist Kari Bremnes, and the Oslo Chamber Choir under the direction of conductor Egil Fossum. The musical work was set to surviving written texts by the famous painter. In October of that year, ECM also released the 2012 premier performance of Bjørnstad's A Passion for John Donne, a work based on the poet's life, commissioned by the Oslo International Church Festival, and performed live with the pianist's group the Oslo Chamber Choir under the direction of Hakon Daniel Nystedt. Interestingly, it featured the saxophonist Hakon Kornstad in a dual role, not only playing his horn but as a vocal soloist. ~ Matt Collar & Thom Jurek https://itunes.apple.com/ie/album/new-life/1207167576

New Life

Jack Lee - Pray

Styles: Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 70:54
Size: 163,1 MB
Art: Front

(6:02) 1. Seoulman
(5:50) 2. Pray
(5:15) 3. Happy
(5:39) 4. First Snow
(5:48) 5. Love 2 Love
(5:07) 6. Pangyo Blues
(4:58) 7. Unity Village
(5:11) 8. Transformation
(5:34) 9. La Antigua
(4:46) 10. 6-8 Logic
(5:25) 11. Aqui O
(5:52) 12. Close to Home
(5:21) 13. Tikal Walk

A shadowy but important figure in American power pop and the earliest days of punk, Jack Lee was a member of the Nerves, a wildly influential trio that also included Peter Case (later of the Plimsouls) and Paul Collins (who went on to front the Beat). Lee also wrote the group's best-known tune, "Hanging on the Telephone," which went on to be a hit for Blondie and became a pop perennial covered by many artists. Jack Lee was born in Alaska on March 25, 1952. In the early '70s, Lee left home and traveled to San Francisco, California in hopes of making a career out of music. Initially, Lee had trouble getting gigs, and he busked for change along Fisherman's Wharf. There he met fellow street musician Peter Case, who was also an aspiring singer and songwriter. Lee and Case liked each other's songs, and soon they teamed up with New Jersey exile Paul Collins, another tunesmith looking to form an upbeat rock band. In 1974, they started playing out as the Nerves, with Lee on guitar, Case on bass, and Collins on drums. In 1976, the Nerves relocated to Los Angeles, and self-released a four-song EP that featured two songs from Lee, "Hanging on the Telephone" and "Give Me Some Time." The group set out to spread the word with a nationwide tour they booked themselves, and when they came home to Los Angeles they started booking independent shows for themselves and other L.A. bands. While the Nerves' sound was lean but hooky pop with a British Invasion influence, they admired the spunk and D.I.Y. attitude of the burgeoning punk scene in Los Angeles; dubbing their practice space the Hollywood Punk Palace, they began hosting shows with bands such as the Weirdos, the Screamers, the Zeros, and the Dils. The Nerves were building momentum, but came to an abrupt halt in 1977 when Lee quit the band; Case and Collins briefly continued as the Breakaways, but by year's end that band had also broken up. Initially, Lee laid low and was barely visible on the music scene, but in 1978, just as his phone and electricity were about to be shut off for nonpayment, he was contacted by Deborah Harry, asking if he would mind if Blondie recorded a version of "Hanging on the Telephone" for their third album.

Lee gave them his blessing, and Blondie's cover of "Hanging on the Telephone" rose to number five on the U.K. singles charts, and hit the Top 20 in Ireland, Belgium, and the Netherlands. The song was included on Blondie's 1978 album Parallel Lines, which went on to sell over a million copies in the United States alone. Later on, Def Leppard and L7 would also cover the song, and Cat Power cut a version for a television commercial. "Hanging on the Telephone" proved to be a lucrative copyright for Lee, and in 1979, Suzi Quatro recorded another of his tunes, "You Are My Love," for the album Suzi … and Other Four Letter Words. And in 1983, Paul Young cut Lee's "Come Back and Stay" for his debut album, No Parlez; the single became a major international hit, going Top Ten in ten countries, while two other songs by Lee, "Sex" and "Oh Women," were also featured on the album. Lee was doing quite well as a songwriter, but that didn't translate into a successful recording career. Lee released his first album, Jack Lee's Greatest Hits, Vol. One, in 1981, through his own Maiden America label. Sales were modest, and it was 1985 before Lee issued his self-titled sophomore effort, which appeared on the French label Lolita Records. That same year, Lee left for London, where he would spend two years working with other artists before he came back to Los Angeles. After spending some time working in the film industry, Lee seemed to drop out of show business, though in the 21st century he played a handful of shows with a band called the Jack Lee Inferno, and said he was recording a new album. That LP has yet to appear, but in 2016, Lee's two out-of-print albums from the '80s were reissued by Alive Naturalsound Records (which released a Nerves anthology, One Way Ticket, in 2008) in a collection titled Bigger Than Life. https://itunes.apple.com/us/album/pray/1179519878

Personnel: Jack Lee (Electric and Acoustic guitars, Guitar Synth, keyboards); Charles Blenzig (Piano and keyboards); Hogyu Hwang (Acoustic Bass); Harvey Mason (Drums); Annekei, Nathan East (Vocals); Melvin Lee Davis (Bass); Norihito Sumitomo (Keyboards, Sax); Lewis Pragasam, Billy Kilson (Drums).

Pray

Tia Brazda - Daydream

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 26:43
Size: 62,5 MB
Art: Front

(3:29) 1. Right on Time
(2:48) 2. Moondust Baby
(3:16) 3. Daydream
(3:40) 4. Un amour boheme
(4:22) 5. Perfect Distraction
(3:20) 6. Irreplaceable
(2:50) 7. Livin' Easy
(2:54) 8. Brand New Day

Tia Brazda's jazz-pop gems and retro style have established her as a sparkling presence on the jazz scene at home and abroad, paying homage to the golden era while adding a modern twist. Having honed her cutting-edge sound in the clubs of Toronto, she burst onto the scene in 2012, hitting #1 on the iTunes Canada Jazz Chart as well as receiving play on BBC Radio 6, CBC Radio, Jazz FM 91.1 in Toronto and college radio stations across Canada. This debut brought her to Paris and Amsterdam as well as cities around the UK in support, in addition to performing at major festivals at home across Canada. In 2015 Tia followed up with her debut full-length album 'Bandshell', which also debuted at #1 on the iTunes Jazz Chart and #3 on the Nielsen Soundscan Chart in Canada. It was also ranked the #5 best Canadian jazz release of 2015 by Jazz FM 91 in Toronto. The album also hit #24 on the CMJ national radio chart in the U.S. after being added to over 35 stations nationwide. In support of 'Bandshell', Tia toured Canada, the U.S. and Spain in 2015 and 2016, performing at such major festivals such as the Festival International de Jazz de Montreal (main stage), Xerox Rochester International Jazz Festival (front cover of festival program), TD Toronto International Jazz Festival, Jazz Sudbury Festival, All-Canadian Jazz Festival and Iboga Summer Festival (Spain). In 2016 she also released an electro-swing collection of remixes titled 'Bandshell Remixed', featuring prominent DJs from around the globe, including Wolfgang Lohr and Sound Nomaden. Tracks from this release continue to be featured on BBC6 Radio in the UK and Rai Radio 1 in Italy and the album made the Best of 2016 list by the Craig Charles Funk and Soul Show on BBC6 Radio in the UK. In 2017 Tia performed at the Montreux Jazz Festival as well as the San Jose Jazz Summer Fest (rated "Best of the Fest") as part of her European and North American touring. In September 2018, Tia releases her new all original album, 'Daydream', which finds her irresistible voice cradled in a rich and varied atmosphere of strings, horns, and backing vocals, in service of her positive outlook on various states of romance. She moves effortlessly from the bossa nova of the title track, to the pure jazz balladry of “Irreplaceable,” to the tango-infused French chanson of “Un amour bohème” with the songs sounding as strong as if they’ve been around forever. Brazda strides confidently on a brave new musical path as well, with her most pop-oriented recordings to date: among them, the soulful “Right On Time,” the big, brassy chorus (and synthesizer solo!) of “Moondust Baby,” and the optimistic, can’t-miss, enthusiasm of the pure-pop “Brand New Day” a song that would sound entirely at home as Michael Bublé’s next single. The album also features a who’s who of Juno-nominated players including Larnell Lewis of Snarky Puppy on drums, Shirantha Beddage on saxophone, William Sperandei on trumpet, Adrean Farrugia on piano, William Carn on trombone and Marc Rogers on bass. The funky track “Livin’ Easy” also features a songwriting collaboration and genre-bending piano solo by Marc Pelli of Billboard #1 group, MAGIC!, whose song “Rude” continues to be a global phenomenon. http://www.tiabrazda.com/about.html

Daydream

Saturday, September 29, 2018

Marlene VerPlanck - Marlene VerPlanck Sings Alec Wilder

Size: 141,0 MB
Time: 59:37
File: MP3 @ 320K/s
Released: 1986
Styles: Jazz Vocals
Art: Front & Back

01. Where Is The One (3:19)
02. Crazy In The Heart (4:07)
03. Love Among The Young (3:09)
04. I'm Alone Again (4:03)
05. Please Stay With Me (2:51)
06. The Lady Sings The Blues (2:41)
07. I Like It Here (2:03)
08. Lovers And Losers (2:05)
09. Remember, My Child (1:54)
10. Give Me Time (3:20)
11. That's My Guy (1:49)
12. (So You've Had A) Change Of Heart (4:44)
13. I Wish I Had The Blues Again (3:39)
14. No One Ever Told Me (1:51)
15. I'll Be Around (2:32)
16. Blackberry Winter (3:37)
17. The Wrong Blues (4:28)
18. I Like It Here (And This Is Where I'll Stay) (2:44)
19. Be A Child (2:19)
20. Where Is The One (2:10)

He's been called "the Quincy Jones of Gospel," and besides being one of the best-selling instrumentalists in Christian music, keyboard player Ben Tankard has justified his tag, producing many stellar gospel projects as well as serving as an executive vice-president at Tribute Records, for which he has recorded extensively. Born in Florida to a minister father and a missionary mother, he began playing drums in church at the age of three. He later graduated to tuba and was offered several music scholarships to college, though he eventually accepted a basketball scholarship instead.

Tankard endured a rough period of depression and homelessness when a knee injury prevented him from turning professional (though he was drafted by the NBA). A visit to a revival service put him on the right track, and almost overnight, he became a very talented keyboard/organ player. Tankard began his witness in song with 1990's Keynote Speaker, recorded for Tribute. He continued recording and soon moved into production and arranging as well, calling on his reserves of early musical training to provide impeccable jobs for Yolanda Adams, the Alabama State Mass Choir, and Michael Bruce. His albums were often light jazz works, offering soothing, reflective gospel instrumentals that were similar to mainstream efforts from George Benson and Kenny G. In addition to his numerous solo albums, Tankard has earned a plethora of Gold and Platinum records via his production work, collaborating with a host of Grammy-winning artists including Take 6, Fred Hammond, Kelly Price, John P. Kee, Shirley Murdock, Twinkie Clark, and Gerald Albright. ~by John Bush

Marlene VerPlanck Sings Alec Wilder

Belô Velloso - The Old Fashioned Way

Size: 59,8 MB
Time: 25:34
File: MP3 @ 320K/s
Released: 2018
Styles: Pop
Art: Front

01. My Love (4:12)
02. I'll Be Seeing You (2:41)
03. I Have You (3:18)
04. My Eyes Adored You (3:10)
05. All The Things You Are (3:16)
06. Someday (You'll Want Me To Want You) (2:21)
07. We'll Meet Again (3:12)
08. The Old Fashioned Way (3:21)

Belô Velloso has a supple, airy voice that can caress a melody even when it rides a swaggering sambareggae beat. (The New York Times — Jon Pareles)

Belô Velloso, brings a warm, guileless voice to immaculately graceful pop. (The New York Times — Jon Pareles)

Belô Velloso is something of a hybrid torch, show-tune singer: decidedly Brazilian. (The New York Times — Choire Sicha)

Belô Velloso caresses the melodies, making the songs seem to come straight from the heart. (The New York Times — Jon Pareles)

Belô Velloso has the merits of escaping from the dictatorship which ravages Brazilian pop music... has a beautiful timbre of voice and a good taste for repertory. (Billboard)

Belô Velloso. This young Brazilian singer brings a warm, guileless voice to immaculately graceful pop. The album's dozen pop songs touch on Brazilian styles like bossa nova, forro and pagode samba, and bring a Brazilian subtlety to borrowings from reggae, salsa, funk and nuevo flamenco. The arrangements maintain a light touch while Ms. Velloso caresses the melodies, making the songs seem to come straight from the heart. (The New York Times)

The Old Fashioned Way

Chad Lefkowitz-Brown - Standard Sessions

Size: 202,2 MB
Time: 86:59
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. This I Dig Of You (5:07)
02. Scrapple From The Apple (6:56)
03. Alone Together (6:05)
04. Green Dolphin Street (7:46)
05. Old Folks (7:16)
06. When Will The Blues Leave (6:57)
07. Almost Like Being In Love (8:27)
08. I’ll Remember April (8:41)
09. Out Of Nowhere (7:51)
10. What Is This Thing Called Love (6:14)
11. Yardbird Suite (8:42)
12. You Stepped Out Of A Dream (6:52)

Hailed as a "sax phenom" by The New York Daily News, Chad Lefkowitz-Brown is one of the first prominent jazz musicians to emerge out of the millennial generation. He has toured globally as a soloist, and with numerous jazz artists and pop icons ranging from Arturo O’Farrill to Taylor Swift. Chad is also a member of the multi-Grammy award winning Afro-Latin Jazz Orchestra, and he is on faculty at the San Francisco Conservatory as a visiting artist. Downbeat Magazine selected his latest release, “Onward” as an Editor’s Pick for 2017, commending his “technical abilities that mask the difficulty of his wondrously intricate lines.”

A native of Elmira, New York, Chad established himself as a jazz prodigy at age 11, performing throughout New York State under the mentorship of local jazz hero, George Reed, who was known for backing legends like Teddy Wilson, Buddy Tate, and Marian McPartland.

Chad went on to pursue a formal education in the arts at the Brubeck Institute, a prestigious fellowship program created by jazz legend Dave Brubeck. While studying at the institute, he performed regularly with Brubeck and was a member of the Brubeck Institute Jazz Quintet.

Chad received many accolades during his scholastic career, including 15 DownBeat Magazine Student Music Awards for categories such as "Best Jazz Soloist" and "Best Original Song."

Since graduating from the Brubeck Institute, Chad has performed throughout four continents, and has appeared at venues including Carnegie Hall, the Super Bowl, and Madison Square Garden. His debut album, Imagery Manifesto, was named “Debut Album of the Year” by jazz critic and author, Doug Ramsey, and his most recent recording as a leader, “Onward,” features jazz legend, Randy Brecker.

Standard Sessions

Katia Guerreiro - Sempre

Size: 102,8 MB
Time: 43:42
File: MP3 @ 320K/s
Released: 2018
Styles: Fado
Art: Front

01. Prologo A Minha Vida E (0:47)
02. De Ti Direi Apenas (3:07)
03. Quem Diria (2:11)
04. Tristeza Velha (3:18)
05. Deixar-te Um Dia (2:30)
06. Fora De Cena (3:44)
07. Distante (3:12)
08. Na Volta (2:23)
09. Vem (Cançao Para O Joao Mario) (3:03)
10. Rezando Pedi Por Ti (3:27)
11. Aqui (2:32)
12. Dia Nao (3:11)
13. Brado (3:43)
14. Fado Pessoa (2:34)
15. Sempre (3:13)
16. Epilogo A Minha Vida E (0:40)

It’s a gift. Katia Guerreiro both heals bruised souls and tends to wounded bodies. At thirty eight, this talented Portuguese woman pursues a dual career. By day she is a specialist doctor, by night a successful fado singer. Caught between two passions, the young woman, who grew up in the Azores, has chosen not to choose. For the last 12 years, since the success of her album “Fado Maior” revealed her talents to the world, Katia Guerreiro has captured, better than anyone, the true and original essence of fado. The demanding circle of fans have even gone as far as to compare her to the incomparable Amalia Rodrigues. She has captured both the words and spirit of this great star. Each line is filled with spirituality, whispered secrets and tradition. Love stories finish in heartbreak and blues resonates with the most subtle of echoes – the echoes of the restless Fernando Pessoa and the more contemporary António Lobo Antunes, two Lisbon poets that she visited. Eyes closed and hands interlaced behind her back, Katia Guerreiro offers us a version of fado that transcends clichés, daring to open new horizons by inviting artists such as sambista Martinho Da Vila and diva Amina Alaoui. Brazilian saudade and Moroccan tarab evoke fado’s tragic destiny with long timeless blues. All this serves to highlight the singer’s talent, faultless technique and also a sensitivity that holds us on a tightrope, on the edge of the abyss, and draws us into an intimate drama that becomes universal. Soul wrenching moments make hearts and bodies tremble, as they did at her concert on the mythic stage of the Olympia in Paris on 23 January 2012 or on January 30, 2016, during a memorable concert at the Opera Grande Hall in Lyon, when she became the first Portuguese artist to sing on this stage.

Katia as a captivating and sincere ambassador has performed on the biggest stages and in various countries such as Norway, Spain, France, Brazil, and Latin America for this fall of 2018.

In March 2017, Katia Guerreiro is invited to perform at the Al Bustan Festival in Beirut. In 2017, the prestigious Lebanese festival was titled “Queens and Empresses of the East”

Main awards :
Knight of the Order of Arts and Letters by the French Government
Ordem do Infante D. Henrique by the Portuguese Government
Mexican prize “Lunas del Auditorio”, for his concert at the Teatro de la Ciudad in October 2015.

Sempre

Amy Baker - Get Happy

Size: 72,1 MB
Time: 30:07
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. You Make Me Feel So Young (2:03)
02. Witchcraft (2:15)
03. My Baby Just Cares For Me (2:01)
04. Blue Moon (3:18)
05. What A Difference A Day Makes (2:40)
06. Why Don't You Do Right (2:24)
07. Sentimental Journey (3:54)
08. Get Happy (2:39)
09. The More I See You (2:49)
10. He's A Tramp (2:34)
11. Too Darn Hot (3:25)

Amy Baker is a jazz and swing singer, who has performed at renowned festivals and venues all over the world including Ronnie Scotts, Glastonbury Festival, Edinburgh Fringe, The Tower of London, Montreux Jazz Festival, Goodwood Revival, Derry Jazz Festival, Cannes Yachting Festival, The Fort Lauderdale International Boat Show and The Miami Boat Show. Originally from Hampshire, Amy grew up listening to swing music, and admiring everything about the vintage period. When her uncle heard her singing he suggested she have some singing lessons. At the age of 10 she began lessons with John Atkins, an elderly man, almost blind, who could play anything on the piano. Amy began working through her grades in singing and was delighted to win The Arun Young Vocalist of the Year at the age of 12. When John was unable to carry on with her lessons, she started training with international bass concert singer, Martin Elliott. His wealth of experience gave her an excellent grounding in vocal technique and performance skills. Amy then moved to South Downs College to study classical singing and an A Level in music. It was a wonderful two years of study, but classical singing left her cold. She knew she had to find her own style, and find the music that would really feed her soul. At 20 she began working as an Adele tribute act, emulating Adeles warm vocal sound and presence on stage. She was soon getting booked in casinos, hotels and at corporate events. It was the perfect opening to gain experience of singing in larger venues, and to develop her performance style and confidence. She was getting to do what she loved, although there was still something missing, and she knew that jazz and swing music really made her feel alive. Amy is now in demand as a jazz and swing singer. As well as her many solo gigs, she performs with her own band, and regularly appears with the Jive Aces, the UKs leading jive / swing band.

Get Happy

Ben Tankard - Rise!

Size: 82,8 MB
Time: 35:27
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz: Smooth Jazz
Art: Front

01. Rise! (3:41)
02. More Rain (3:43)
03. It's Working (3:28)
04. Smooth Sunday (3:21)
05. Still Here (4:08)
06. Afternoon Nap (3:03)
07. George The Duke (3:23)
08. Passionfruit (3:24)
09. Unlisted Number (3:36)
10. Piano Hymn (3:36)

Rise!

Kristy Kruger - Fever Of Unknown Origin

Size: 109,0 MB
Time: 46:37
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz, Pop, Americana
Art: Front

01. What I Do (3:24)
02. Home Is Everywhere I Roam (3:07)
03. The Carpenter (2:52)
04. Folsom Prison Blues (4:26)
05. I Long For The Night All Day (2:41)
06. I Cried For All That Might Have Been (3:25)
07. Johnny And June (3:39)
08. It Hurts Most Of All When I'm Standing Still (3:22)
09. Goodbye Brother (3:53)
10. I Fell In Love With A Man Who Said He Loved Me (3:24)
11. Directions For A Sudden Death (4:36)
12. Johnny And June (Solo Piano) (3:46)
13. Come And Gone (3:57)

Singer/songwriter Kristy Kruger draws inspiration from varied sources -- including the catalogs of Tom Waits, Emmylou Harris, Bessie Smith, and Aimee Mann -- to create a diverse brand of Americana. Having played piano since the age of five, she began embracing composition as a high school student, winning several competitions in her native Texas and earning a music scholarship from the University of Southern California. Once enrolled, she assembled a band and hit the Los Angeles club circuit in support of her songs, several of which later found their way onto her debut album, 1998's Bachelor of Apathy. Kruger released the album on her own label, Do It Yerself Records, which also issued the follow-up effort The Noise I Make in 2000. While on the road in support her sophomore album, Kruger crossed paths with producer/engineer Andrew Gilchrist, who had previously worked with Ani DiFranco. Gilchrist agreed to produce Kruger's next release, and the songwriter relocated to New Orleans to record An Unauthorized Guide to the Human Anatomy, an anatomically themed album that paired the songwriter with a full band for the first time. Songs from a Dead Man's Couch followed in 2006. ~Andrew Leahey

Fever Of Unknown Origin

Ruby Braff - Linger Awhile

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 69:10
Size: 158,9 MB
Art: Front

( 9:19) 1. Sweet Sue
( 7:25) 2. Ghost of a Chance
( 3:17) 3. Wishing
( 8:29) 4. I Cover the Waterfront
( 5:52) 5. Keeping Out of Mischief Now
( 5:00) 6. Linger Awhile
( 5:50) 7. I'm in the Market for You
( 6:55) 8. Romance in the Dark
( 5:59) 9. When You Wish Upon a Star
(11:00) 10. I Can't Get Started

This compilation combines tracks from three separate early-'50s recording sessions. Braff, heard on trumpet rather than cornet, is in great form, and is joined by Vic Dickenson, Nat Pierce, and now-obscure tenor saxophonist Samuel Margolis on a swinging "Sweet Sue." Two tracks come from a Dickenson-led date; the best is a very relaxed take on "I Cover the Waterfront." Only one selection comes from a meeting of Braff and fellow trumpeter Buck Clayton, but it's a gem an extended look at "I Can't Get Started." As with many Vanguard reissues of recent vintage, the only complaint is that each of the record dates merited a separate re-release instead of this enjoyable but piecemeal anthology CD. ~ Ken Dryden https://www.allmusic.com/album/linger-awhile-mw0000258734

Personnel: Trumpet – Buck Clayton (tracks: 10), Ruby Braff; Bass – Aaron Bell (tracks: 10), Walter Page (tracks: 1 to 9); Clarinet – Edmond Hall (tracks: 4, 5); Drums – Bobby Donaldson (tracks: 10), Jo Jones (tracks: 1 to 3, 6 to 9), Les Erskine (tracks: 4, 5); Guitar – Steve Jordan (3) (tracks: 4, 5, 10); Piano – Jimmy Jones (3) (tracks: 10), Nat Pierce (tracks: 1 to 3, 6 to 9), Sir Charles Thompson (tracks: 4, 5); Saxophone – Buddy Tate (tracks: 10), Samuel Margolis (tracks: 1 to 3, 6 to 9); Trombone – Benny Morton (tracks: 10), Vic Dickenson (tracks: 1 to 9)

Linger Awhile

Pharoah Sanders - Ballads with Love

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 41:01
Size: 94,1 MB
Art: Front

(5:58) 1. Too Young to Go Steady
(7:15) 2. Feelin' Good
(6:23) 3. Light at the Edge of the World
(9:02) 4. Body and Soul
(5:46) 5. Misty
(6:35) 6. In a Sentimental Mood

Known for his harsh excursions into the avant-garde with John Coltrane in the late '60s, Pharoah Sanders is at his most appealing interpreting ballads, such as these 2002 sessions. Well accompanied by pianist William Henderson, bassist Charles Fambrough, and drummer Sherman Ferguson, Sanders offers a fluid interpretation of the nearly forgotten gem "Too Young to Go Steady," showcasing his warm tenor sax and Henderson's lush touch as well. His take of Anthony Newley's "Feelin' Good" shows Coltrane's influence on him, while Sanders gives this show tune a gospel flavor. One fascinating choice is Piero Piccioni's "Light at the Edge of the World," written for the film of the same name, a big-budget 1971 film starring Kirk Douglas that flopped at the box office; Sanders' decision to look for obscurities such as this gem pays off huge dividends, with his robust playing in a soft bossa nova setting and Henderson's shimmering piano glistening like the sun on the ocean. The arrangements of favorites like "Body and Soul," "In a Sentimental Mood," and "Misty" are also among Pharoah Sanders' best recorded performances. Recommended. ~ Ken Dryden https://www.allmusic.com/album/ballads-with-love-mw0000551448

Personnel: Tenor Saxophone – Pharoah Sanders; Bass – Charles Fambrough; Drums – Sherman Ferguson; Piano – William Henderson

Ballads with Love

Quadro Nuevo - Tango Bitter Sweet

Styles: Latin Jazz
Year: 2006
File: MP3@320K/s
Time: 70:00
Size: 163,7 MB
Art: Front

(4:53) 1. L' ete Indien
(4:32) 2. Swing Vagabond
(4:09) 3. Petite Fleur
(3:50) 4. Tango Bitter Sweet
(4:44) 5. Paroles, Paroles
(1:55) 6. The Windmills of Your Mind
(5:08) 7. Tango Jalousie
(4:13) 8. Avant De Mourir
(4:20) 9. Malafemmena
(4:43) 10. Milonga Tati
(5:11) 11. Et Maintenant
(3:28) 12. An Einem Winterabend
(4:35) 13. Mude Sonne
(2:02) 14. Isla De Las Mujeres
(4:06) 15. Gloomy Sunday
(1:31) 16. Afternoon
(2:55) 17. At Night
(3:35) 18. Sabre Dance

There was a time when doing something experimental in tango could not only result in bad reviews from music critics who didn't understand what you were doing it could also result in bodily harm. The late Astor Piazzolla, often hailed as the Charlie Parker of tango, was literally beaten up in the streets of Buenos Aires by opponents who disliked his vision of tango (which was a major departure from the old-school tango of Carlos Gardel, Carlos Di Sarli, Aníbal Troilo and Hugo del Carril). But these days, Piazzolla-minded tango is very much the norm and tango enthusiasts are unlikely to resort to fisticuffs even if an artist does something expansive that they don't comprehend. The word "expansive" easily applies to Quadro Nuevo, a European tango-oriented quartet that takes a lot of chances on their 2006 recording Tango Bitter Sweet. This 69-minute CD has a strong Piazzolla influence, which is hardly unusual in the 21st century; the tiny, insignificant minority of people who still consider Piazzolla a musical heretic are like the tiny, insignificant minority of people who still believe that Dixieland is the only legitimate form of jazz. What makes Tango Bitter Sweet unusual is the way Quadro Nuevo combines that Piazzolla influence with so many non-tango influences; during the course of the album, elements of Piazzolla are blended with everything from Brazilian samba to French chanson to Italian and Mediterranean folk to jazz. One of the selections, in fact, is an intriguing arrangement of Sidney Bechet's "Petite Fleur"and there are plenty of other songs on this disc that originated outside of tango but receive a tango makeover, including Michel Legrand's "The Windmills of Your Mind" and Rezso Seress' "Gloomy Sunday" (a Hungarian gem that found its way to jazz after receiving English lyrics and being recorded by Artie Shaw and Billie Holiday in the early '40s). But Tango Bitter Sweet, for all its risk-taking, is ultimately a very charming and accessible album. The solos are quite lyrical, and Tango Bitter Sweet is happily recommended to anyone who is seeking something fresh from tango. ~ Alex Henderson https://www.allmusic.com/album/tango-bitter-sweet-mw0000559509

Personnel: Tenor Saxophone, Soprano Saxophone, Saxophone [C-Melody Sax], Clarinet, Bass Clarinet, Contrabass Clarinet, Mandolin, Vibraphone – Mulo Francel; Accordion, Melodica [Vibrandoneon], Piano – Andreas Hinterseher; Acoustic Bass, Percussion, Vocals – D.D. Lowka; Guitar – Robert Wolf

Tango Bitter Sweet

Joe Craven - Django Latino

Styles: Latin Jazz, World Fusion
Year: 2006
File: MP3@320K/s
Time: 65:00
Size: 149,0 MB
Art: Front

(4:00) 1. Minor Swing
(4:18) 2. Sweet Chorus
(4:09) 3. Hungaria
(4:05) 4. Nuages
(5:34) 5. Melodie au Crepuscule/Manoir de Mes Reves
(4:26) 6. Douce Ambiance
(4:13) 7. Babik/Festival.48/Micro
(4:40) 8. Anouman
(3:53) 9. Montagne Ste. Genevieve
(4:13) 10. Double Scotch/Artillerie Lourde
(3:28) 11. Swing 39
(5:02) 12. Swing 42
(4:18) 13. Tears
(8:34) 14. Djangology

In addition to demonstrating his talent on an impressive range of string and percussion instruments, Joe Craven, a longtime member of the David Grisman Quintet, uses his second solo album to show off his skills as a translator. Django Latino is the familiar music of gypsy guitarist Django Reinhardt and his Hot Club co-leader and musical soulmate, violinist Stéphane Grappelli, seen "through a musical lens of Latin America" festive and spicy where the originals are swinging and hot. Inspired? This project redefines the word. It is remarkable to hear "Hungaria" recast as a Brazilian choro samba complete with the exuberant squeals of the cuica, or "Minor Swing" twisted into a Puerto Rican plena. Like many of the tracks on Django Latino , both of these sound like group efforts, but they are in fact veritable one-man shows made possible through "Pro-Tools free" studio overdubs. In this way Craven is able to deliver rousing mandola and violin solos on "Minor Swing," and turn "Hungaria" into a celebratory carnaval tune with the assistance of only two other musicians, namely Rick Montgomery on steel drums and erstwhile DGQ bassist Sam Bevan. Reinhardt's famous "Nuages" becomes a Cuban danzón, revealing aspects of the original song, such as the dreamy, almost tropical languor, that make the transformation seem entirely natural. Bevan, flautist Matt Eakle, pianist John R. Burr and percussionist Kendrick Freeman are all part of the endeavor, making for one of the disc's larger studio ensembles, and the multifaceted Craven takes up multiple violins to create a rich but light and pillowy harmonic effect. Moving into the exotic genre of Nigerian-derived Haitian ibo, "Douce Ambiance" morphs into a moving, ambient chant sung by Freeman with original Creole lyrics. For songs like this one and the lesser-known ballad "Anouman," Reinhardt's last (arranged here as a Cuban bolero), the liner notes are invaluable. Burr and Eakle share the spotlight with Craven on "Anouman," and rightly so. Another track of note is "Double Scotch/Artillerie Lourde," in the Colombian cumbia style. It's more than a little zany, featuring excerpts from a basic Spanish vocabulary lesson and Craven's young daughter Hattie urging everyone along. If proof were needed of Craven's sense of lightheartedness and whimsy, this would be enough. "Swing 39" is superbly rendered as stirring nuevo flamenco, drawing on several gypsy musical influences and instruments, while the amusing vocal refrain of the following "Swing 42" is "Ésta canción gitana es de Django/Su ritmo es Cubano," or "This gypsy song is by Django; its rhythm is Cuban." What makes Django Latino so outstanding from start to finish, beyond its musicianship and originality, is the reverent humor of Craven and his equally ingenious collaborators. They subject Reinhardt and Grappelli's music to strange and playful mutations but never resort to mocking the original. Whether one is a Django obsessive or a casual fan of world music, this disc will not disappoint. ~ Eric J.Iannelli https://www.allaboutjazz.com/django-latino-joe-craven-crowart-review-by-eric-j-iannelli.php?width=1920

Personnel: Joe Craven (mandolin, mandola); Ara Anderson (trumpet, cornet); Sam Bevan (bass); John Burr (piano); Enrique Coria (guitar); Diane Craig (coro); Corey Craven (bells, bombo, coro);

Django Latino

Kandace Springs - Indigo

Styles: Vocal, Soul
Year: 2018
File: MP3@320K/s
Time: 48:26
Size: 119,1 MB
Art: Front

(3:26) 1. Don't Need The Real Thing
(3:19) 2. Breakdown
(4:34) 3. Fix Me
(0:33) 4. Indigo (Pt. 1)
(5:09) 5. Piece Of Me
(5:33) 6. 6 8
(0:33) 7. Indigo (Pt. 2)
(5:03) 8. People Make The World Go 'Round
(3:27) 9. Unsophisticated
(3:29) 10. Black Orchid
(3:55) 11. Love Sucks
(5:40) 12. The First Time Ever I Saw Your Face
(3:42) 13. Simple Things

Soul Eyes was a poised, no-frills introduction to an artist with obvious potential for merging soul and jazz conventions with modern style. Kandace Springs' second album is a measured advancement from that 2016 release. Produced almost exclusively by Karriem Riggins, who for 25 years has illuminated recordings that land everywhere on the traditional-to-progressive spectrum, Indigo evinces Springs' versatility with a little more color. As with Soul Eyes, the material blends interpretations and originals. Here, Springs is more directly involved, co-writing all but one of the new songs, including a touching finale with father Scat Springs and a handful with executive producers and earliest non-familial advocates Evan Rogers and Carl Sturken. The best of the four Rogers-Sturken collaborations is a tie between the two in which Springs sings of being killed slowly by a lover (a heartstruck sentiment felt elsewhere): "Piece of Me," liable to be confused for a dead-on Everything But the Girl or Sade cover, and "Fix Me," a graceful swoon with an embedded Prince reference. When admirer Prince hosted Springs at Paisley Park for the 30th anniversary of Purple Rain, he requested that she play "The First Time Ever I Saw Your Face," the Ewan MacColl ballad Roberta Flack took to another level. It's the earliest composition here, freshened with Springs' smoldering voice effectively cloaking the instrumentation instead of shooting through it. Another classic, Thom Bell and Linda Creed's "People Make the World Go 'Round," is freshened by Springs with help from Nicholas Payton on bass, electric piano, and slinky-subtle chord reharmonization. Springs still thrives with stark backdrops, most evident on covers of the contemporary "6 8" (Gabriel Garzón-Montano) and "Black Orchid" (Jesse Harris), both master classes in restraint. Indigo doesn't have a proper title track, but a pair of title interludes tantalize over a combined duration of one minute. Among the album's simplest and most fascinating moments, these segments of hip-hop noir with Springs accompanying herself on piano and Riggins the lone aid on drums and bass provide ample proof that the duo should continue to work together. ~ Andy Kellman https://www.allmusic.com/album/indigo-mw0003197073

Indigo

Friday, September 28, 2018

Oliver Nelson - Verve Jazz Masters 48

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 69:14
Size: 163,4 MB
Art: Front

(2:53) 1. Hoe Down
(6:13) 2. St. Louis Blues
(3:15) 3. Patterns For Orchestra
(6:29) 4. I Remember Bird
(4:47) 5. A Typical Day In New York
(3:10) 6. Penthouse Dawn
(5:28) 7. One For Duke
(8:10) 8. Complex City
(4:32) 9. You Love But One
(2:50) 10. Full Nelson
(2:35) 11. Ricardo's Dilemma
(2:57) 12. Paris Blues
(6:32) 13. The Sidewalks Of New York
(2:37) 14. Ballad For Benny
(2:30) 15. Greensleeves
(4:09) 16. Miss Fine

Considering that he was the equal of such heralded arrangers as Quincy Jones, Gil Evans, and Tadd Dameron, it's a shame Oliver Nelson has, for the most part, gone unsung. Maybe Nelson's eventual TV and film work tainted him in the eyes of critics and purists; but, then again, most jazz arrangers made that move, often out of sheer financial necessity and let's not scold them if it was simply a matter of wanting to expand their horizons. Before his Hollywood switch, though, Nelson used several '60s dates to not only display those pen skills, but to reveal his considerable saxophone chops (tenor, alto, and soprano!), as well. The fruits can be found on many dates for OJC, Impulse (the classic Blues and the Abstract Truth), and Verve. It's his work for the latter label that is nicely showcased on this collection. Covering the years 1962-1967 and culled to a large extent from his Full Nelson album and various Leonard Feather-sponsored releases, the 16 tracks here find Nelson at the helm of various big band lineups, plying his always swinging yet often complex and distinct sound. The mix contains a dazzling array of treats, including some of the most sophisticated jazz charts ("Patterns for Orchestra"), a taste of his later soundtrack work ("A Typical Day in New York"), beautiful ballads ("Penthouse Dawn"), and even some contemporary R&B-tinged fare ("Full Nelson"). Along with these and several other original pieces, Nelson also does fine by Ellington ("Paris Blues") and W.C. Handy ("St. Louis Blues"). And it's Joe Newman's fine solo on this last cut that ably demonstrates how Nelson, like Mingus, had a knack for bringing out the best in his players. With an all-star cast of players and plenty of fine sides to go, this Nelson roundup offers the perfect way to familiarize yourself with one of the great jazz architects of the '60s. ~ Stephen Cook https://www.allmusic.com/album/verve-jazz-masters-48-mw0000176396

Verve Jazz Masters 48

Diane Schuur - Diane Schuur Collection

Styles: Vocal Jazz
Year: 1989
File: MP3@320K/s
Time: 50:12
Size: 115,1 MB
Art: Front

(5:35) 1. Love Dance
(2:57) 2. Easy To Love
(3:54) 3. By Design
(4:46) 4. The Very Thought Of You
(3:16) 5. Caught A Touch Of Your Love
(4:23) 6. How Long Has This Been Going On?
(4:53) 7. Louisana Sunday Afternoon
(4:56) 8. Come Rain Or Come Shine
(3:17) 9. Sure Thing
(3:54) 10. Teach Me Tonight
(3:53) 11. Funny (But I Still Love You)
(4:21) 12. I'll Close My Eyes

Released in 1989, Collection sums up Diane Schuur's first five GRP albums, a period when she achieved a level of acclaim that tailed off somewhat in the '90s. What has been gathered together here is often very impressive, her rich, full voice keening over carefully wrought, beautifully recorded lush backdrops (with real or electronic strings), swinging over some fine big bands, or coming to terms with '80s jazz funksters. Strangely, there is only one selection from her live-in-the-studio collaboration Diane Schuur & the Count Basie Orchestra, which is the best overall album from this period (it features guitarist Freddie Green's last recorded performance) while the other albums (Deedles, Schuur Thing, Timeless, Talkin' 'Bout You) get multiple representation. It's quite possible that Schuur has never topped the leadoff track, Ivan Lins' beguiling "Love Dance" with her sponsor Stan Getz weaving a magic spell, this is a great example of the right material meeting the right singer and the right backing. Dave Grusin, Johnny Mandel, Billy May, Pat Williams, and Jeremy Lubbock are the arrangers whose tracks were chosen and everything has the brilliant sonic sheen that turned on the audiophile crowd early in the CD era. ~ Richard S.Ginell https://www.allmusic.com/album/collection-mw0000200577

Personnel: Diane Schuur (vocals); Jose Feliciano (vocals); Howard Roberts , Steve Khan (electric guitar); Tom Scott (alto saxophone); Stan Getz (tenor saxophone); Dave Grusin (piano, Fender Rhodes piano, keyboards, synthesizer, percussion); Mitchel Forman (piano, synthesizer); Richard Tee (Fender Rhodes piano); Larry Williams (synthesizer); Dan Dean (electric bass); Carlos Vega (drums, percussion); Moyes Lucas, Steve Gadd (drums).

Diane Schuur Collection

Sofi Hellborg - Drumming Is Calling

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 49:36
Size: 114,4 MB
Art: Front

(5:21) 1. Government Lies
(5:10) 2. Mother Earth
(5:15) 3. Maybe I Was Dreaming
(5:00) 4. My Love
(6:33) 5. It's OK Now
(4:34) 6. All the Signs
(4:55) 7. Drumming Is Calling
(5:35) 8. Tell Your Mama
(5:07) 9. Cannot Stop to Play
(2:03) 10. Bottledance

When Sofi Hellborg is following To Give Is To Get , she does it without the help of Tony Allen . Jean-Francois Ludovicus who plays on all the songs this time has a smarter game style that is not very similar to Allen's loyal soft afrobeat. Now, this Drumming Is Calling Does not Stop Calling From Being Deeply Rotated In The Afrophunk's Mill. But a clear difference from the last is that Hellborg and her orchestra pull more on the afropop. It's a bit lighter and airy, at the same time in my ears a bit trickier. At best, I think it will be when the fun gets thick in the introductory Government Lies , Maybe I Was Dreaming and It's Ok Now . Then it's really good. But I can not help thinking that the peaks are a bit too few and that the lightjazzen got a little too much space ( Mother Earth , My Love and Can not Stop To Play are all examples of songs that make it crawl a little unpleasant in my body). Translate by Google http://dagensskiva.com/2008/03/26/sofi-hellborg-drumming-is-calling/

Personnel: Sofi Hellborg - alto& sopr. sax, flute, vocals & thumb piano; Ola Åkerman - tromb, b.vox.; Magnus Lindeberg - guitar.; Ola Hedén - key,b.vox.; Sal Dibba - perc.; Mats Ingvarsson - bass,b.vox.; Jean-francois Ludovicus - drums,; Ed Epstein - bariton sax

Drumming Is Calling

Yusef Lateef - The Gentle Giant

Styles: Saxophone And Flute Jazz
Year: 1972
File: MP3@320K/s
Time: 37:33
Size: 88,6 MB
Art: Front

(6:39) 1. Nubian Lady
(2:23) 2. Lowland Lullabye
(9:01) 3. Hey Jude
(4:33) 4. Jungle Plum
(3:41) 5. The Poor Fishermen
(3:50) 6. African Song
(2:13) 7. Queen of the Night
(5:10) 8. Below Yellow Bell

Yusef Lateef's music from the early '70s commands large doses of both appeal and skepticism. At a time when funk and fusion were merging with the intensely volatile and distrustful mood of the U.S., Lateef's brand of Detroit soul garnered new fans, and turned away those who preferred his earlier hard bop jazz or world music innovations. Thus The Gentle Giant is an appropriate title, as Lateef's levitational flute looms large over the rhythm & blues beats central to the equation. Kenny Barron's Fender Rhodes electric piano is also a sign of the times, an entry point introducing him to the contemporary jazz scene, and on that point alone is historically relevant. The post-Bitches Brew, pre-Weather Report/Headhunters time period is to be considered, and how this music put Lateef in many respects to the forefront of the movement. While inconsistent and at times uneven, there's more to praise than damn in the grooves and unique musicianship he offers with this small ensemble of focused and singular-minded players. At once funky and cool, Barron's "Nubian Lady" sets the tone out of the gate, the tune totally trumping Herbie Mann's Memphis Underground/Push Push style. The similar-sounding "Jungle Plum" is more danceable, simpler, and less attractive. While "Aftican Song" is also in this vein, it is less about the continent in the title as it is reflective of the era, and a slower number. Perhaps that actual title and the sleigh bell-driven "Below Yellow Bell" could have been reversed, for it is more Afrocentric, with Lateef's wordless vocal counterpoint closer to sounds of the savanna over a baroque rhythm & blues. "Hey Jude," under-produced to the point of inaudibility at the outset (the caveat given is "do not adjust the playback level on your audio equipment, readjust your mind"), busts out on the incessantly repeated "na na" chorus with the Sweet Inspirations doing the honors. The other tracks lay low, as Lateef and Al "Tootie" Heath's flutes and Kermit Moore's cello go into late-night mode for "Lowland Lullabye," "The Poor Fisherman" explores the leader's interest in Asian sounds with call and response, and "Queen of the Night" is a two-minute shortie with Eric Gale's modulated guitar mixing up meters of 4/4 and 3/4 in a slightly macabre way. This recording was produced in the middle of Lateef's commercial crossroads phase that started with the Atlantic label issue Yusef Lateef's Detroit in 1969 and ended in 1977 with the CTI release Autophysiopsychic. Though these tracks are potent reminders of how jazz was willfully being manipulated by the record companies Creed Taylor in particular this album is clear evidence of how great a musician Yusef Lateef was, but not in the context of his best music. ~ Michael G.Nastos https://www.allmusic.com/album/the-gentle-giant-mw0000193408

Personnel: Yusef Lateef - tenor saxophone, flute, bamboo flute, pneumatic bamboo flute, oboe, bells, tambourine; Eric Gale - guitar (tracks 3 & 7); Neal Boyar - vibraphone, chimes (track 3); Chuck Rainey - electric bass (tracks 3 & 7); Albert Heath - drums, flute (tracks 1, 2, 4-6 & 8); Jimmy Johnson - drums (tracks 3 & 7); The Sweet Inspirations - backing vocals (track 3); Kermit Moore - cello (track 2); Kenny Barron, Ray Bryant - piano, electric piano (tracks 1, 4, 6 & 8); Bob Cunningham, Sam Jones - bass (tracks 1, 4, 6 & 8); Bill Salter - electric bass (tracks 1, 4, 6 & 8); Ladji Camara - African percussion (track 1, 4, 6 & 8)

The Gentle Giant

Vincent Peirani - Living Being II (Night Walker)

Styles: Accordion Jazz
Year: 2018
File: MP3@320K/s
Time: 51:09
Size: 132,8 MB
Art: Front

(3:26) 1. Bang Bang
(4:29) 2. Enzo
(2:43) 3. Le clown sauveur de la fe^te foraine.mp3
(5:55) 4. What Power Art Thou
(3:52) 5. Kashmir To Heaven: Opening
(5:41) 6. Kashmir To Heaven: Kashmir
(3:26) 7. Kashmir To Heaven: Stairway To Heaven
(6:55) 8. Night Walker
(1:43) 9. K2000
(4:40) 10. Falling
(6:16) 11. Unknown Chemistry
(4:42) 12. Smoke & Mirrors

On Living Being II: Night Walker, French accordionist Vincent Peirani reassembles the lineup from 2015’s original Living Being, juxtaposing the reedy, intimate sound of his instrument and Emile Parisien’s soprano saxophone with the electric haze of Tony Paeleman’s Rhodes piano and keyboards. With Julien Herné on electric bass and guitar, and Yoann Serra on drums, the group assumes an identity somewhere between a rock band, a jazz combo, and a chamber ensemble. Peirani’s writing for this tight, unorthodox unit can be as delicate as “Falling” or as startlingly intricate as “Le clown sauveur de la fête foraine.” He also reinterprets music by Henry Purcell (“What Power Art Thou”), Sonny Bono (“Bang Bang”), and Led Zeppelin (the highly effective “Kashmir to Heaven” suite). Valentin Liechti’s electronics on “Smoke & Mirrors” provide an ideal surprise to close out the set. ~ Editors' Notes https://itunes.apple.com/us/album/living-being-ii-night-walker/1405224136

Personnel: Accordion, Voice – Vincent Peirani; Drums – Yoann Serra; Electric Bass, Electric Guitar – Julien Herné; Electronics – Valentin Liechti; Keyboards – Tony Paeleman; Soprano Saxophone – Emile Parisien

Living Being II (Night Walker)

Thursday, September 27, 2018

Bob Baldwin - Bob Baldwin Presents The American Spirit

Size: 122,6 MB
Time: 52:40
File: MP3 @ 320K/s
Released: 2002
Styles: Jazz: Smooth Jazz
Art: Front & Back

01. God Bless America (4:54)
02. Bridge Over Troubled Water (5:36)
03. My Country Tis Of Thee (3:58)
04. Shower The People (5:33)
05. America The Beautiful (2:34)
06. Follow Your Dream (5:15)
07. Lift Every Voice - Count The Ways (5:45)
08. Color Blind (5:35)
09. Let's Roll! (5:18)
10. The Star Spangled Banner (4:55)
11. God Bless The Usa (3:14)

Considering how much popular smooth jazz artists love to play on each other's projects, and especially for a good cause -- in this case, the victims' assistance program Safe Horizon -- it's surprising that it took its musical community almost a year to emerge with its first tribute to America post 9/11. Bob Baldwin is hardly a household name in the genre, but he's been faithfully cranking out some of its funkiest keyboard projects over the past decade. Even if he's a little too synth-and-drum-machine reliant, this is still a fun project which captures the joyful spirit of America in the wake of a troubled time. He bookends the set with two classics on which he plays all the instruments. His lively "God Bless America" offers the Jeff Lorber/ Fender Rhodes retro-keyboard approach, while "God Bless the USA" features the same in a more restrained setting. The overall success of the project is due to his collaborations with saxophonist Kim Waters. There's an easy funk reading of "Bridge Over Troubled Water," the original, gospel-flavored "Lift Every Voice/Count The Ways," Marion Meadows on the shuffling original "Let's Roll!" and Dean James -- who did a few solid genre albums in the mid-'90s -- on the joyful anthem "Color Blind." Phil Perry's powerful falsetto is utilized to powerful emotional effect on "My Country Tis of Thee," but the staid arrangement throughout most of "Shower the People" doesn't give him room to strut his stuff; the best part of this tune is Chuck Loeb's crisp soloing throughout. ~by Jonathan Widran

Bob Baldwin Presents The American Spirit

Rene Taylor - Jingle Bell Jazz

Size: 134,1 MB
Time: 56:59
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Pop Vocals, Xmas
Art: Front

01. The Christmas Song (3:02)
02. Let It Snow (2:28)
03. Do You Hear What I Hear (4:16)
04. Joy To The World (2:48)
05. Santa Claus Is Coming To Town (2:16)
06. Have Yourself A Merry Little Christmas (3:22)
07. Mr. Santa (1:54)
08. Winter Wonderland (3:04)
09. This Christmas (3:14)
10. Hark The Herald Angels Sing (3:20)
11. Mary Did You Know (3:30)
12. Santa Baby (3:05)
13. God Rest Ye Merry Gentlemen (3:04)
14. Hallelujah (3:05)
15. Frosty The Snowman (2:40)
16. Grown Up Christmas List (5:00)
17. White Christmas (3:28)
18. What Are You Doing New Year's Eve (3:13)

Vocalist Rene Taylor is a true treasure. She has captivated audiences locally as well as nationally and internationally. She has performed in a variety of venues ranging from concert settings, headlining at galas, enamoring audiences on cruise ships to charming private party-goers. In her twenty plus years of performing she has been referred to as a true artist with a sultry voice, amazing talent and a classic style. Rene’s love for jazz started at an early age listening to Peggy Lee, Sarah Vaughn, Rosemary Clooney and Ella Fitzgerald. Rene's rich and sultry voice has been compared to Diana Krall and Nina Simone. On her first full-length Christmas album, vocalist Rene Taylor delivers with her smoky and sophisticated voice with fresh arrangements of Christmas favorites. That magical combination of rhythmic poise, immaculate phrasing and her slightly husky voice will raise your spirits now and for several Christmases to come!

Jingle Bell Jazz

The Jelly Roll Jazz Band - Indoors At Last

Size: 86,0 MB
Time: 36:34
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. I Wan'na Be Like You (4:21)
02. Bill Bailey, Won't You Please Come Home (3:53)
03. Sweet Sue, Just You (3:43)
04. My Sweetie Went Away (4:19)
05. After You've Gone (3:22)
06. Under The Sea (2:21)
07. Hiding Under The Bubble Wrap With You (3:23)
08. Les Oignons (2:22)
09. Sweet Georgia Brown (4:12)
10. On The Sunny Side Of The Street (4:33)

The Jelly Roll Jazz Band was originally formed in 2010 by Laurence Marshall, and first performed as a quartet of clarinet, tenor saxophone, banjo and tuba. According to Laurence,

Since those early days the band has developed considerably, and today it usually takes the form of a trio, with clarinet, banjo (or guitar) and double bass (or sousaphone). The band draws its musicians from a pool of around seven regular members depending on who is available, and this fluidity creates a constant stream of fresh inspiration and ideas.

One of the band’s greatest strengths is its flexibility. Much of the music is improvised around a core melody and chord progression, and therefore it is very easy to change or add instruments depending on the occasion and which players are free.

The musicians all originate from Scarborough, and the band still performs regularly in this area. However many of the members now live further afield, and they are available for bookings across the country. Recent performances have taken them as far afield as London, Darlington and Warwick.

Repertoire and Influences:
The style of music they play is traditional (‘Dixieland’) jazz, and they have a repertoire of around 100 songs so are able to play for hours without repeating themselves. Furthermore, they are capable of playing for hours without repeating themselves. They cover a range of standards from the 1900s to the 1930s, including such favourites as ‘Down By the Riverside’, ‘When the Saints’ and ‘The Sheik of Araby’. Their repertoire also features more recent hits like ‘The Bare Necessities’ and ‘Moon River’, and they have even branched out into ‘90s pop with versions of ‘My Heart Will Go On’ and ‘…Baby One More Time’. Always keen to broaden their horizons, the band have recently begun writing original material, and they are currently working on a trad. jazz version of Stravinsky’s ‘The Rite of Spring’.

Their influences include jazz greats such as Benny Goodman, Louis Armstrong, Fats Waller, Jelly Roll Morton and Chris Barber. The eccentric humour of The Bonzo Dog Doo-Dah Band plays a big part in their performance style as well, often lending a slightly surreal edge to proceedings.

Indoors At Last

7th Ave. - Collab

Size: 103,3 MB
Time: 43:54
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Pop/Rock Vocals
Art: Front

01. This Is Me (3:27)
02. Route 66 (3:22)
03. Havana Nights (4:10)
04. Ashes (3:17)
05. Feelin Good (3:50)
06. There's Nothing Holding Me Back (3:19)
07. I Wanna Dance With Somebody (3:36)
08. Straight Up And Down (3:18)
09. I Kissed A Girl In The House Of The Rising Sun (3:43)
10. Genie In A Bottle (3:15)
11. Change The World (4:41)
12. Bring Him Home (3:51)

From the mind of Chris Rupp, founder of Home Free and the “Chris Rupp Project,” comes a brand new vocal quartet that is ready to forge a new identity in the music world. Each member has a unique musical and performance background, allowing for exciting possibilities. Combining elements of pop, swing, rockabilly, country, and much more, 7th Ave is aiming to reinvent and uproot the standard definitions of all of those genres through our innovative arrangements and fun music videos.

Collab

Andy Fusco - Whirlwind

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 62:55
Size: 144,6 MB
Art: Front

( 6:22) 1. Acceptance
( 7:49) 2. Count's The Thing
( 7:13) 3. Waltz For Judy
(10:27) 4. Django
( 6:35) 5. The Touch of Your Lips
( 8:33) 6. Whirlwind
( 7:55) 7. How About Me
( 7:56) 8. In Dominic's Time

The opportunity to listen to six recently released discs on the venerable SteepleChase label (and the SteepleChase LookOut branch) is a little like reading an anthology of short stories by distinguished authors from a particular year or period. You get a hearty helping of vital, mature voices, most of whom operate somewhere in the jazz mainstream, without too much of an overlap of the artists' values, proclivities, and preferences. By and large, each leader and his cohort make a legitimate claim to the listener's attention. Founder/producer Nils Winther should be given credit for continuing to present memorable work, mostly by veteran artists who otherwise might remain undocumented. From the perspective of a longtime fan of alto saxophonist Andy Fusco (and of each member of his band as well), it's difficult to comprehend why Whirlwind wasn't issued for over twelve years after it was initially recorded. The briefest of back-stories is that trombonist John Mosca of the Vanguard Jazz Orchestra brought the original tape to Nils Winther, who recognized the music's value and took care of the business of getting it out and available to the public. Whirlwind is one of those rare releases that exceeds craft and competence, and establishes its own reasons for being. Among other things, it's a bottomless well of a jazz record. The more you play it, the more discoveries you make. The music offers multiple perspectives and can be enjoyed in a number of ways.

The chemistry between members of the quintet and their collective wisdom is on a level seldom attained on contemporary mainstream jazz recordings. In terms of personnel and execution the recording is a prequel of sorts to Sight To Sound (Criss Cross), Walt Weiskopf's magnum opus recorded just a few months after, which featured Fusco who once mentored Weiskopf in the reed section of Buddy Rich's Big Band Mosca, pianist Joel Weiskopf (Walt's brother), and drummer Billy Drummond. The late Dennis Irwin is the bassist in Fusco's group. Walt Weiskopf's fingerprints are also on Whirlwind, in the form of two of his compositions, the title track and "Waltz For Judy." It simply doesn't pay to make any blanket statements about the efforts of the record's primary soloists. Fusco, Mosca, and Weiskopf all have a knack for adapting their styles to the material at hand. Fusco's tone keening, tightly wound, sometimes sounding as if he's yanking notes out of the horn conditions much of what he plays. His phrases throughout "Count's The Thing" are measured, balanced, and contain a sense of urgency. A treatment of Irving Berlin's "How About Me" patient, romantic, and searching is a brilliant example of bebop balladry. Particularly on "Count's The Thing," Mosca manages to be everywhere at once, slippery and direct within the space of a couple of bars, without ever sounding particularly notey or busy. Throughout "In Dominic's Time" the trombonist creates something new and consistently breaks ground while clearly staying inside of the tune's parameters. Joel Weiskopf's virtues include a medium weight touch and the ability to swing with authority (he's so simpatico with Irwin and Drummond) without playing a lot of notes. Check out the title track for an example of a turn that's more effusive and emphatic then some of his other efforts on the record. It's enjoyable to isolate some of the couplings within the ensemble. Joel Weiskopf's sensitive, knowing comping amidst Fusco's solos often anticipates or inspires the saxophonist's next move.

Fusco's "Count's The Thing" improv and his turn on "How About Me" are good examples of their rapport. Contrary to conventional wisdom regarding the necessity of a drummer's diminished role behind a piano soloist, some of Drummond's most aggressive and effective playing on the record is behind Weiskopf. For instance, during John Lewis' "Django," accents to the snare and toms carry just the right amount of weight and spread out a bit, giving the music a slightly agitated vibe that never turns excessive. In other instances, such as the title track, he executes extended, contrapuntal lines behind the pianist. The widely imitated Coltrane/Jones saxophone and drum segments are given a new lease on life during a part of the head and some of Fusco's solo during "Whirlwind." In particular, the duo creates a long percussive rush, as Drummond chews on and spits out Fusco's litany of brief, agitated phrases. It was indeed an exceptionally fine day in the studio. Many thanks to Nils Winther for enabling Whirlwind to escape the dustbin of history. ~ David A.Orthmann https://www.allaboutjazz.com/six-recent-steeplechase-releases-by-david-a-orthmann.php

Personnel: Andy Fusco - alto saxophone; John Mosca - trombone; Joel Weiskopf - piano; Dennis Irwin - bass; Billy Drummond - drums

Whirlwind

Charito - Watch What Happens: Charito Meets Michel Legrand

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 62:14
Size: 143,1 MB
Art: Front

(4:03) 1. Watch What Happens
(5:08) 2. Summer Me, Winter Me
(5:40) 3. The First Time
(3:19) 4. Pieces Of Dreams
(4:23) 5. Once Upon A Summer Time
(5:49) 6. How Do You Keep The Music Playing?
(6:48) 7. What Are You Doing The Best Of Your Life?
(3:45) 8. Quand On S'Aime
(3:01) 9. Ask Yourself Why
(6:05) 10. You Must Believe In Spring
(4:22) 11. I Will Wait For You
(3:41) 12. The Windmills Of Your Mind
(6:05) 13. The Summer Knows

Recognized as a prominent jazz singer in Japan, Philippine-born songbird Charito has been a vocal force in Asia and Europe since the early 1990s, and now presents perhaps her most ambitious project to date on Watch What Happens, a delightful collaboration with Grammy Award-winning French composer Michel Legrand. Stating that "This album has become one of my biggest accomplishments ever," Charito does, indeed, deliver a classy performance with her distinctive interpretation of love songs from Legrand's songbook. The singer embarks on an American tour of a project, recorded in France and originally released in Europe in 2008. Gifted with a beautiful, velvet voice, Charito's calm, laidback approach to the music serves her quite well. When Legrand accepted a request from the singer to perform a tune or two with the diva, the project shifted, from the original plan of a series of French love songs played by French musicians, to a collection of Legrand compositions sung exclusively, of course, with the maestro.

Legrand plays piano as part of the jazz combo, scats on several pieces, and performs a duet with the singer on "Summer Me, Winter Me," "Pieces Of Dreams," and "Quand On S'Aime," where both artists sing in French and seem to have fun with the lyrics. With Alain Mayeras sharing piano duties and providing the musical arrangements, Charito is simply mesmerizing on the title piece, "The First Time," and beautiful "What Are You Doing The Rest of Your Life," from the 1969 movie The Happy Ending all accompanied by a full orchestra and string section (unfortunately, neither the orchestra or many of the key players are listed). Charito lends stylish interpretations to a couple of other Legrand compositions associated with film classics like "The Windmills of Your Mind," from The Thomas Crown Affair (1968) and "The Summer Knows," from the 1971 flick Summer of '42 (1971).

Though their meeting in Paris was not truly by chance, this recording was never really in the plans and, as luck would have it, Watch What Happens turns out to be a musical invitation that embraces the talents of a legend and the vocal energy of a very special singer. On Watch What Happens, Charito meets Michel Legrand, and the results is a wonderful album of mature light jazz. ~ Edward Blanco https://www.allaboutjazz.com/watch-what-happens-charito-ct-music-review-by-edward-blanco.php

Personnel: Charito: vocals; Michel Legrand: piano, vocals; Alain Mayeras: piano, arranger; orchestra and other players unlisted.

Watch What Happens: Charito Meets Michel Legrand