Zoot Sims, Henri Renaud - Zoot Sims Avec Henri Renaud Et Son Orchestre

Bitrate: MP3@320K/s
Time: 33:56
Size: 77.7 MB
Styles: Bop, Swing
Year: 1956/2002
Art: Front

[5:02] 1. Captain Jetter
[7:22] 2. Nuzzolese Blues
[4:18] 3. Everything I Love
[3:21] 4. Evening In Paris
[5:35] 5. On The Alamo
[3:23] 6. My Old Flame
[4:53] 7. Little Jon Special

Bass – Benoit Quersin; Drums – Charles Saudrais; Piano – Henri Renaud; Tenor Saxophone – Zoot Sims; Trumpet – Jon Eardley. Recorded in Paris, 15th & 16th March 1956.

Splendid japanese reissue of ultra rare french only jazz 10" LP from 1956 featuring Jon Eardley.

Zoot Sims Avec Henri Renaud Et Son Orchestre mc
Zoot Sims Avec Henri Renaud Et Son Orchestre zippy

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Bruce Barth Quartet - Where Eagles Fly

Bitrate: MP3@320K/s
Time: 58:16
Size: 133.4 MB
Styles: Post bop, Piano jazz
Year: 1999
Art: Front

[ 5:59] 1. Identity Crisis
[ 6:33] 2. San Francisco Holiday
[ 5:13] 3. Secret Name
[ 5:23] 4. Autum Leaves
[12:00] 5. Where Eagles Fly
[ 3:59] 6. For Mercedes
[ 7:19] 7. Transparency
[ 7:25] 8. 3 More Minors
[ 4:21] 9. You've Changed

Bass – Pat O'Leary; Drums – Adam Cruz; Piano – Bruce Barth; Soprano Saxophone – Sam Newsome. Recorded November 9,1998 At Moraleda Studios,Barcelona.

Bruce Barth, born September 7, 1958 in Pasadena, California, is a jazz pianist. He has played the piano since the age of five. Barth's career had included major work with ensembles, as well as solo work. He has recorded on the Enja, Fresh Sound, and MAXJAZZ labels.

Where Eagles Fly mc
Where Eagles Fly zippy

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Tom Harrell - Upswing

Bitrate: MP3@320K/s

Time: 71:02

Size: 162.6 MB

Styles: Bop, Trumpet jazz

Year: 1994

Art: Front

[ 8:57] 1. Upswing

[ 7:02] 2. Angela

[10:26] 3. Train Shuffle

[10:23] 4. Emergence

[ 7:34] 5. Time's Mirror

[ 6:36] 6. Blues Connotation

[10:55] 7. Procession

[ 9:04] 8. Tune-A-Tune

Alto Saxophone – Phil Woods; Bass – Peter Washington; Drums – Bill Goodwin; Piano – Danilo Perez; Tenor Saxophone – Joe Lovano; Trumpet, Flugelhorn, Composed By – Tom Harrell. Recorded June 11-12, 1993, in Queens NY.

An all-star frontline of Tom Harrell, Joe Lovano, and Phil Woods head this impressive sextet record on the Chesky label. The writing on Upswing is inspired throughout, as is generally the case on Harrell's albums. The addition of a third horn allows Harrell to create colors in his arrangements that weren't possible with the two-horn format of many of his previous recordings. The playing on the Upswing is uniformly exceptional. Harrell sticks to flugelhorn for most of the date, often favoring it in situations that would instinctively call for trumpet, and sounds marvelously lyrical throughout. Tenorist Joe Lovano also plays strongly, contributing a wonderfully aggressive and energetic solo on Harrell's "Train Shuffle." Fans of altoist Phil Woods will be delighted by his performance here, as he sounds in fine voice, bringing his idiosyncratic pitch bends and witty in-jokes to the session. Pianist Danilo Perez accompanies enthusiastically, raising the intensity of all those involved. Upswing should be considered an essential purchase for those interested in exploring the Harrell discography. ~Dan Cross

Upswing 

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Helen O'Connell - The Uncollected

Bitrate: MP3@320K/s
Time: 27:28
Size: 62.9 MB
Styles: Vocal jazz, Standards
Year: 1992/2014
Art: Front

[1:47] 1. Stay As Sweet As You Are
[2:02] 2. The Nearness Of You
[1:57] 3. Pocketful Of Dreams
[1:57] 4. Deep In A Dream
[2:04] 5. Imagination
[1:35] 6. I Could Have Danced All Night
[2:13] 7. I'm Getting Sentimental Over You
[2:02] 8. Can't We Talk It Over
[1:38] 9. My Future Just Passed
[1:52] 10. Tennessee Fish Fry
[2:30] 11. Once In A While
[2:45] 12. I See Your Face Before Me
[1:24] 13. Zip-A-Dee-Doo-Dah
[1:36] 14. Thanks For The Memory

Helen O'Connell, who had a fairly long career, will always be best remembered for her squeals on "Green Eyes" and her work with Jimmy Dorsey. She originally left her native Toledo with Jimmy Richards' nine-piece group, gigging and touring for a year and a half. O'Connell appeared on a regular radio show in St. Louis until she agreed to tour with Larry Funk's band (which was billed as "Band of a Thousand Melodies"). After the outfit started working in New York, she was discovered and quickly signed up by Jimmy Dorsey in 1938. O'Connell soon had a hit rendition of "All of Me," which was followed by popular recordings of "Embraceable You," "Brazil," "Jim." and "When the Sun Comes Out" (which she introduced). However, it was in December 1940, when she started sharing recordings with ballad singer Bob Eberly, that O'Connell for a time became a household name. Eberly generally took a slow chorus, Jimmy Dorsey would have a brief instrumental interlude, and then O'Connell would finish up the record with a swinging chorus. This combination worked very well on hit versions of "Amapola," "Yours," "Green Eyes" and "Tangerine." After appearing in the 1943 movie I Dood It with Dorsey (singing "Star Eyes"), O'Connell retired to get married; she would eventually have four daughters. In 1950 she began a successful solo career, making occasional records, appearing regularly on television (she spent a period as co-host of The Today Show), toured as part of Four Girls Four (which also included Kay Starr, Rosemary Clooney and Rose Marie) and made guest appearances with the Jimmy Dorsey ghost band, singing in an unchanged style. Although her voice was limited, she made her deficiencies into assets and carved out her own place in musical history. Helen O'Connell was active up until shortly before her death from cancer. ~bio by Scott Yanow

The Uncollected mc
The Uncollected zippy

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Chris Soto - Guitar Expressions Vol. 1

Bitrate: MP3@320K/s
Time: 62:36
Size: 143.3 MB
Styles: Guitar jazz
Year: 2018
Art: Front

[6:22] 1. On The Boardwalk
[6:22] 2. Highway 1
[5:02] 3. Urban Express
[5:26] 4. Dreaming Of U
[6:28] 5. City Lights
[6:32] 6. Moonlight
[6:32] 7. Metropolitan
[6:43] 8. Night Moods
[6:06] 9. Night Lounge
[6:59] 10. On The Town

Chris Soto has created a diverse collection of original tunes that are rich with great emotion and amazing tone. His compositions are relaxed and inviting, true reflections of Chris' songwriting and well honed performance career. The full extent of his gift is that Chris composed all tunes, playing all instruments, and mixing the album project himself. Recorded at 128kHz, three times the normal sampling rate, the net result is a lush and warm sonic collection of incredibly fresh, deep emotion. Ultimately, the real reward is just listening to the musical tapestry that Chris deftly weaves, which includes a piano based track on the final cut. If you have enjoyed great fusion artists like Al DiMeola, George Benson, and Wes Montgomery then you will feel right at home with Chris Soto's Guitar Expressions. ~Mark Nemier

Guitar Expressions Vol. 1 mc
Guitar Expressions Vol. 1 zippy

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Mark Lewis - Of Hip Do I Sing

Bitrate: MP3@320K/s
Time: 72:44
Size: 166.5 MB
Styles: Modern creative jazz, Saxophone jazz
Year: 2010
Art: Front

[5:13] 1. Softly, As In A Morning Sunrise
[9:25] 2. Nature Boy
[3:50] 3. Sunlight Shines In
[5:37] 4. Going Away
[4:20] 5. Of Hip Do I Sing
[8:57] 6. Reverence
[3:51] 7. Nobody Knows The Trouble I've Seen
[2:50] 8. Love Doesn't Lie
[5:10] 9. Common Denominator
[5:22] 10. I Remember You
[6:19] 11. Song For Mom
[5:20] 12. The Ermitage
[2:01] 13. Haiku
[4:21] 14. What James Said

Mark Lewis is master of the alto sax, baritone sax, flute and piano; author of approximately 1,700 compositions; and has recorded and produced more than twenty albums on various labels. A well-traveled saxophonist and flutist, he’s been a part of jazz scenes from Seattle and San Francisco to Rotterdam and Paris. Rotterdam, the Netherlands was Mark's home base for many years. He toured and played in the better clubs throughout Europe, and taught jazz theory and improvised music classes in several music conservatories. Mark lived and performed for several years in San Francisco and Victoria, BC as well. Jazz musicians Mark has performed and recorded with include pianists George Cables, Willem Kühne, Mark Levine, Overton Berry and Ted Gioia; drummers Victor Lewis, Candy Finch, Frans van Grinsven and Eddie Moore; bassists James Long, Hein van de Geyn, David Friesen, Larry Grenadier and Chuck Metcalf; saxophonists Noah Howard and Art Foxall; trumpet player Randy Brecker; and vibraphonists Bobby Hutcherson and Lodewijk Bouwens. Mark often subbed for Stan Getz and John Handy during his time in San Francisco.

Of Hip Do I Sing mc
Of Hip Do I Sing zippy

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Ray Parker Jr. - After Dark

Styles: Vocal
Year: 1987
File: MP3@320K/s
Time: 43:07
Size: 99,0 MB
Art: Front

(4:15)  1. Don't Think That Man Should Sleep Alone
(4:40)  2. Over You (feat. Natalie Cole)
(4:10)  3. Lovin' You
(4:48)  4. You Shoulda Kept A Spare
(3:30)  5. The Past
(4:31)  6. You Make My Nature Dance
(4:52)  7. Perfect Lovers
(4:03)  8. After Midnite
(3:45)  9. I Love Your Daughter
(4:29) 10. After Dark

This was the closest Ray Parker Jr. ever came to doing adult soul. His debut for Geffen included the song "I Don't Think That Man Should Sleep Alone." This was his last big hit, and despite the title, said some serious things about male/female intimacy and relationships. Parker's voice sounded more somber, introspective, and varied than on anything before or since. ~ Ron Wynn https://www.allmusic.com/album/after-dark-mw0000197005               

Personnel:  Ray Parker, Jr. – all instruments, arrangements (1, 3, 4, 6-10);  Paul Jackson, Jr. – guitar;  Cornelius Mims, Nathan East, Neil Stubenhaus – bass;  Jeff Porcaro, Ollie E. Brown, Carlos Vega – drums;  J. Wayne Lindsey, Robbie Buchanan, Eric Daniels, Sylvester Rivers, Greg Phillinganes, Burt Bacharach – keyboards;  Larry Williams – synthesizer;  Kevin Toney – acoustic piano;  Gerald Albright – saxophone solo (2);  Dave Boroff – saxophone solo (4).
 

Background Vocalists:  Ray Parker, Jr., Kamaya Koepke, Karyn White, Arnell Carmichael, Keith Harrison, Candice Ghant, Kashif (also BGV arrangement on track 5), Julia Waters, Maxine Waters, Yogi Horton, Cornelius Mims, Monty Seward, Lynne Fiddmont, Philip Bailey, Greg Phillinganes, Anita Sherman.

After Dark

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Caterina Valente - A Briglio Sciolta

Styles: Vocal
Year: 1989
File: MP3@320K/s
Time: 59:39
Size: 136,8 MB
Art: Front

(5:08)  1. E la chiamano estate
(3:13)  2. Corcovado
(2:25)  3. Forse
(4:59)  4. Maybe This Summer
(4:47)  5. Sempre, Sempre, Sempre
(6:00)  6. Une guitare au clair de lune
(4:06)  7. Meditacao
(5:43)  8. Amerovole
(2:38)  9. Samba de Uma Nota Só
(6:13) 10. Il Tuo Amore
(3:42) 11. Baciami per domani
(3:21) 12. Melancolia
(4:32) 13. Se Tu Sapessi
(2:44) 14. Arrivederci

Caterina Valente (b. January 14, 1931, Paris, France) was born into an Italian circus family. Her mother was a clown and her father was an accordion player; as a child she worked in the circus as well. She performed in Europe as a singer for several years, but her career as an internationally known vocalist began in 1953 when she joined Kurt Edelhagen's band in Germany. She was soon signed to Polydor and made her recording debut for the label the same year. Her first big hits came soon after that. Two songs written by Cuban composer Ernesto Lecuona charted in Europe and eventually England and the U.S. "Malagueña" was her first big hit, followed by "Andalucia," which, when re-released in an English version as "The Breeze and I," became a Top Ten hit in both the U.K. and the U.S. By this time, Valente had become a truly multilingual artist, performing her cabaret act and issuing recordings in six languages: French, German, Italian, English, Spanish, and Swedish. During the '50s and '60s she notched hits in the charts of many countries, including Italy ("Till," "Personalita," "Nessuno al Mondo"), Germany ("Ganza Paris Träumt von der Liebe," "Wo Meine Sonne Scheint," "Steig in das Traumboot der Liebe"), and France ("Bimbombey," "39 Fievere," "Saitôn-Jamais"). Her version of "La Golondrina" appeared on one of the first charity albums, 1963's All Star Festival. The proceeds from that album went to aid refugees. In the mid-'70s, Valente married her musical director, British jazz pianist Roy Budd, although the marriage was short-lived. She continued recording into the mid-'80s, issuing Caterina 86, a recording made with the Count Basie Orchestra. ~ Stacia Proefrock https://itunes.apple.com/ca/album/valente-caterina-briglio-sciolta/id392675601

A Briglio Sciolta

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Dan Siegel - Indigo

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 47:31
Size: 109,7 MB
Art: Front

(5:12)  1. To Be Continued
(5:29)  2. By Chance
(4:16)  3. Indigo
(3:51)  4. Beyond
(4:44)  5. Far And Away
(5:00)  6. If Ever
(4:30)  7. Spur Of The Moment
(4:33)  8. First Light
(4:48)  9. Consider This
(5:04) 10. Endless

Pianist and composer Dan Siegel is an adventurer. After his breakout smooth jazz hits in the 1980s he successfully experimented with genres ranging from new age to film and TV scores and back. Indigo, his 20th album and first in half a decade features ten new compositions which have been painstakingly arranged and performed by a crack cast of players that includes bassist and co-producer Brian Bromberg, saxophonist Bob Sheppard, guitarist Allen Hinds (and Mike Miller on two tracks), Yellowjackets' drummer Will Kennedy, vibist Craig Fundyga, and percussionist Lenny Castro on percussion. Two different brass sections alternate on five cuts. Immediately striking is Indigo's sound. Tracked live in Bromberg's home studio, it is warm, immediate, and full. These are some of Siegel's most imaginative tunes to date: contemporary jazz played in straight-ahead fashion. They are boundary-less, ecompassing elements from several popular genres in a jazz context. Opener "To Be Continued" contains elements of contemporary classical crossover, pop, and even Siegel's film music the brass section utilizes euphonium, French horn, and flügelhorns. But there is a palpable, syncopated groove in the pianist's harmonically inventive solo. The title cut begins with resonator and electric guitars in a blues groove, as Siegel's piano evokes a Ray Charles-like R&B, but as it unfolds with bright brass and a country-funk backbeat, the tune moves in several directions simultaneously and could only be encompassed by jazz. The guitar in "Beyond" actually evokes a pedal steel, but the interplay between piano, upright bass, and acoustic guitars is elegant, graceful, and emotionally deep. 

"If Ever" contains a lithe Latin tinge and a rich, expansive brass chart; its melody is impeccably crafted and contains excellent solos by Siegel and Sheppard on soprano. The R&B flavor in "Spur of the Moment" is offset by intricate counterpoint and lyric exchanges, the soloists atop the brassy, funky groove. "Consider This" is smoother and sweeter; it's soulful and cosmopolitan with Siegel adding a B-3 in support of his piano; Castro's percussion adds a Caribbean flavor. Closer "Endless" is positively euphoric, it's one of the finest moments here, due in no small part to Bromberg's knockout, fleet-fingered, woody pizzicato solo. Indigo is holistic and seamless in its articulation of contemporary jazz an extension in popular music and jazz's Big Tent tradition. More than this, though, it is a glorious, personal, panoramic statement from an artist who, after 35 years, is at the height of his creative powers. ~ Thom Jurek https://www.allmusic.com/album/indigo-mw0002820191

Personnel:  Piano, Keyboards, Composed By, Arranged By, Executive Producer – Dan Siegel;  Bass – Brian Bromberg;  Drums – Will Kennedy;  Flugelhorn – Stan Martin;  Guitar – Allen Hinds, Mike Miller;  Horn – Stephanie O'Keefe;  Percussion – Lenny Castro;  Saxophone – Bob Sheppard;  Tenor Saxophone – Steve Torok ; Trumpet, Valve Trombone – Lee Thornburg;  Vibraphone – Craig Fundyga

Indigo

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Ben Wendel - Frame

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 61:21
Size: 141,5 MB
Art: Front

(5:38)  1. Chorale
(7:25)  2. Clayland
(7:06)  3. Con Alma
(5:05)  4. Backbou
(5:56)  5. Jean and Renata
(8:09)  6. Blocks
(8:20)  7. Frame
(8:08)  8. Leaving
(5:29)  9. Julia

There is a beautiful and mysterious quality to multi-instrumentalist Ben Wendel's Frame. It is as if the hot breath from one of his horns has blown some ancient film away to reveal an iridescent object that begins to oscillate and spin, changing colors and hues, mesmerizing as it spins and swings with uncharacteristic swagger. All this seems both real and unreal as Wendel's singular, hypnotic voice unfurls. The saxophonist inhabits a sound as close to singing through the reed as is humanly possible. In so doing, he has perfected vocalizing in the manner of Nat "King" Cole combined with Ben Webster. Such is the velvet and whispering nature of Wendel's tone and texture. Of course, the colors that emerge from the bell of his horn are another matter. These come from a soulful palette that includes such a myriad of hues that they are difficult to count. His musical canvas is so filled with a riot of colors that a musical carnival ensues. Wendel is also a composer of considerable invention and ingenuity. This album is not called Frame for nothing. For here, the idiom of jazz forms the outer perimeter of the music. The material in the frame is an ever changing painting a moveable feast for the ear, heart and soul. Wendel paints with fey colors; his music has the effect of fluttering gently like a diaphanous water color work that is wet and dripping as it morphs from one legato passage to another. Thus the work here appears to form a suite of songs all with beginnings and middles and ends that are tantalizing and drive into the center of the heart. The music of "Chorale," for instance, is like a shimmering dart aimed at that sweet spot in the soul where every ache is unforgettable. 

Nothing describes that feeling better than Wendel's extraordinarily touching re-imagining of Dizzy Gillespie's classic missive, "Con Alma." The saxophonist/bassoonist is a fine writer of passionate portraits. Two of his finest are "Jean and Renata" and "Julia." The former paints a playful picture of two characters. Their differences are highlighted by Wendel's inner counterpoint, the two musical lines entwined like a DNA molecule that pirouettes magically to describe the two ladies in question. "Julia" is much more circumspect, as if the composer is portraying someone whom he has a deepening respect for. His melodic line here is more somber and upward-looking. The musicians on Frame have a marvelous sympathy for, and understanding of, the overall concept of the album. Thus, they play well within themselves while supporting the thesis that the music must swirl and swoop within the framework of an idiom that is constantly changing. In so doing, they create music that is as elastic as jazz will ever be. ~ Raul D'Gama Rose https://www.allaboutjazz.com/frame-ben-wendel-sunnyside-records-review-by-raul-dgama-rose.php

Personnel: Ben Wendel: saxophones, bassoon, melodica; Gerald Clayton: piano (1-3); Tigran Hamasyan: piano (4,6,7); Nir Felder: guitar; Adam Benjamin: piano (1,4,6,7), Fender Rhodes (8,9); Ben Street: bass; Nate Wood: drums.

Frame

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Wayne Escoffery - Vortex

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 60:03
Size: 138,8 MB
Art: Front

(5:00)  1. Vortex
(2:06)  2. Judgement
(8:04)  3. Acceptance
(8:29)  4. February
(9:16)  5. The Devil's Den
(8:17)  6. Tears for Carolyn
(7:12)  7. To the Ends of the Earth
(5:53)  8. In His Eyes
(5:44)  9. Baku

On this recording, jazz saxophonist Wayne Escoffery presents this great quartet on a number of original pieces, a standard and an original piece by the ensemble's brilliant drummer, Ralph Peterson, who Escoffery has worked alongside since Escoffery's arrival in New York in 2000. The rest of the band is equally pedigreed. Pianist David Kikoski has been a regular collaborator in the Mingus Big Band and with Eddie Henderson, and bassist Ugonna Okegwo has been driving the rhythm section of Tom Harrell's ensemble for the entirety of Escoffery's tenure. Escoffery's quartet is augmented by the percussion of Jaquelene Acevedo on a number of pieces.

Personnel:  Wayne Escoffery - tenor saxophone;  David Kikoski - piano;  Ugonna Okegwo - bass;  Ralph Peterson, Jr. - drums;  Jeremy Pelt - trumpet;  Kush Abadey - drums;  Jacquelene Acevedo - percussion

Vortex

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