Wednesday, February 7, 2018

Aruan Ortiz, Michael Janisch - Banned In London

Bitrate: MP3@320K/s
Time: 77:25
Size: 177.2 MB
Styles: Piano jazz
Year: 2011
Art: Front

[13:59] 1. Precisely Now
[15:49] 2. Jitterbug Waltz
[17:06] 3. Orbiting
[10:34] 4. Ask Me Now
[19:54] 5. The Maestro

It could turn out that the best live jazz album released in the U.S. this year will be one recorded at a British pizza joint in 2011. That was when pianist Aruán Ortiz and bassist Michael Janisch brought their co-led quintet-an international ensemble featuring established star Greg Osby on alto saxophone, Barcelona’s Raynald Colom on trumpet and versatile veteran Rudy Royston (Bill Frisell, JD Allen, et al.) on drums-to the Pizza Express Jazz Club for the London Jazz Festival. The quintet was wrapping up a two-week European tour, and their extended takes on the five compositions they served up in Soho were tight, fiery and creative.

The Wisconsin-raised, London-based Janisch calls things to order with a soulful two-minute bass intro to his own “Precisely Now,” punctuated by the occasional clinking of diners’ cutlery. Ortiz and Royston briefly set up the unison horn melody, which Colom and Osby follow with blistering solos. Osby, whose live album Banned in New York possibly inspired this one’s title, provides a masterly intro of the same length to Fats Waller’s “Jitterbug Waltz,” then returns after Colom’s quick read of the melody with a wide-ranging solo. Janisch’s bass quiets to a steady heartbeat as Ortiz begins his solo soft and slow, the piano then building in abstraction and intensity until Ortiz exits, as had Osby, with a snippet of Waller’s theme.

Ortiz introduces the fourth and most ballad-like song of the set, Thelonious Monk’s “Ask Me Now,” with Osby joining in for some exquisite duo action before the rest of the band steps in. The Cuban expatriate also contributes the set’s other two tunes, “Orbiting” (the title track of his fine 2012 quartet album) and “The Maestro.” Janisch and Royston provide exemplary support throughout. Let’s hope these busy, far-flung musicians have occasion to regroup and do it again soon. ~Bill Beauttler

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Chet Atkins - Teen Scene

Bitrate: MP3@320K/s
Time: 26:49
Size: 61.4 MB
Styles: Nashville country guitar
Year: 1963/2015
Art: Front

[2:22] 1. I Got A Woman
[2:03] 2. Rumpus
[2:00] 3. I Love How You Love Me
[2:20] 4. Alley Cat
[2:18] 5. Back Home In Indiana
[2:11] 6. Walk Right In
[2:20] 7. Sweetie Baby
[1:57] 8. Teen Scene
[1:58] 9. A Little Evil
[2:30] 10. I Will
[2:28] 11. Bye Bye Birdie
[2:16] 12. Susie-Q

RCA Victor's gimmicky "Dynagroove" title translates concretely into a recording process that really delivers the goods. Whether mastered by an "electronic brain" or no, there's phenomenal audio range and superior dynamics on their 1963 stereo LP, TEEN SCENE (LSP 2719). Each studio musician has "presence" and his own spot on the imaginary soundstage, with Chet Atkins' guitar naturally front and center.

On "I Got a Woman," Charlie McCoy's harmonica backing is at the right. He's joined on "Rumpus" by the honking baritone sax of Boots Randolph, and Floyd Cramer's left channel piano. Bottom bass notes on "I Love How You Love Me" are most impressive; a mixed chorus and vibes replace Charlie and Boots at right channel. Atkins takes the melody, Cramer the bass part on "Walk Right In." Tightly set bongos at the right and chorus in the center for this folk hit cover. Randolph joins in later. A really swingin' "Indiana" has Boots honking away on the right, with McCoy joining him later.

The LP's title piece starts with Floyd on left channel Hammond organ, Randolph at the right, with Chet providing phantom center support. Boots and Cramer play in tandem for the coda. Again, deep bass is what's most prominent on "A Little Evil" and "I Will." Randolph has a cool solo on the latter, with Floyd's tinkling chords most noticeable. Electric organ at left with centered chorus singing a bit of the film title to "Bye Bye Birdie." Boots joins in mid-way through. As with all previous cuts, Chet generously shares the spotlight on a cooly-percussive set-closer, "Suzie-Q." Hammond organ at left, Randolph's reed at right; the deepest bass ever heard backs them all. ~Annie Van Auken

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Bradley Walsh - Chasing Dreams

Bitrate: MP3@320K/s
Time: 46:06
Size: 105.5 MB
Styles: Vocal
Year: 2016
Art: Front

[1:41] 1. Almost Like Being In Love
[3:04] 2. That's Life
[2:42] 3. Our Love Is Here To Stay
[3:24] 4. Fly Me To The Moon
[3:20] 5. Mr. Bojangles
[3:31] 6. For Once In My Life
[3:25] 7. Amapola
[3:15] 8. Steppin' Out
[3:59] 9. How Do You Keep The Music Playing
[3:23] 10. What Kind Of Fool
[3:07] 11. Night And Day
[3:23] 12. Smile
[3:28] 13. Chasing Dreams
[4:17] 14. Chasing Dreams (Reprise)

2016 debut album release from Bradley Walsh. Bradley's diverse career has spanned across a wide range of mediums and genres, allowing him to become a well-respected and familiar figure in the entertainment industry. Although best known as a TV personality, Bradley has another string to his bow, as an old-school crooner. Personally picking his favorite swing classics, Bradley wants to pay homage to his musical heroes. Highlighting another of his talents, Bradley also co-wrote the title track, 'Chasing Dreams', a track that nods to the work of the legends of the genre. The album was recorded at Angel Studios in London and produced by Grammy Award winning producer, arranger and composer Steve Sidwell who has worked with everyone from George Michael, Take That, Stevie Wonder and Seal to Michael Buble, Paul McCartney, Amy Winehouse and of course Robbie Williams.

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MP's Jazzy Bunch Marco Postacchini Octet - Do You Agree

Bitrate: MP3@320K/s
Time: 62:41
Size: 143.5 MB
Styles: Saxophone jazz
Year: 2013
Art: Front

[6:20] 1. Do You Agree
[6:18] 2. Insonnia
[6:05] 3. Boring Days
[7:53] 4. But Not For You
[7:45] 5. Somewhere In The Sky
[5:21] 6. New Song
[7:59] 7. Lullaby Of Birdland
[7:49] 8. Stand Clear Of The Closing Doors, Please!
[7:06] 9. Next Step

Marco Postacchini's new album, "Do You Agree?", is a collection of his compositions and one arrangement that captivates the listener with its energetic grooves and luscious horn configurations. His original melodies are modern and memorable, orchestrated artfully with the combination of full-horn voicings, counterpoint lines and wonderful interludes, some of which give a little nod to the Brookmeyer sound. "Do You Agree?" is a delightful excursion that the listener will enjoy tremendously. In response, to Marco's album title, yes, I agree. ~ Ayn Inserto

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Kenny Dorham - Afrodisia (2 Parts)

Kenny Dorham had a deeply moving, pure tone on trumpet; his sound was clear, sharp, and piercing, especially during ballads. He could spin out phrases and lines, but when he slowly and sweetly played the melody it was an evocative event. Dorham was a gifted all-round trumpeter, but seldom showcased his complete skills, preferring an understated, subtle approach. Unfortunately, he never received much publicity, and though a highly intelligent, thoughtful individual who wrote insightful commentary on jazz, he's little more than a footnote to many fans.

Dorham studied and played trumpet, tenor sax, and piano. He was a bandmember in high school and college; a college bandmate was Wild Bill Davis. Dorham started during the swing era, but was recruited by Dizzy Gillespie and Billy Eckstine to join their bands in the mid-'40s. He even sang blues with Gillespie's band. He recorded with the Be Bop Boys on Savoy in 1946. After short periods with Lionel Hampton and Mercer Ellington, Dorham joined Charlie Parker's group in 1948, staying there until 1949. He did sessions in New York during the early and mid-'50s, making his recording debut as a leader on Charles Mingus and Max Roach's Debut label in 1953. He then cut Afro-Cuban for Blue Note with Cecil Payne, Hank Mobley, and Horace Silver in 1955. ~Ron Wynn

Album: Afrodisia (Part 1)
Bitrate: MP3@320K/s
Time: 93:21
Size: 213.7 MB
Styles: Trumpet jazz
Year: 2015
Art: Front

[ 5:01] 1. Afrodisia
[ 4:58] 2. Basheer's Dream
[ 8:02] 3. Blue Bossa
[11:00] 4. Mamacita
[ 4:38] 5. Autumn In New York (Live-Set #1)
[ 5:42] 6. Night Watch
[ 7:35] 7. Buffalo
[ 4:28] 8. Minors Holiday
[ 4:14] 9. Lotus Flower
[ 7:45] 10. 'round Midnight (Live-Set #3)
[ 5:34] 11. Philly Twist
[ 6:46] 12. Doodlin'
[ 5:24] 13. La Villa
[ 6:38] 14. Monaco (Live-Set #3)
[ 5:28] 15. K.D.'s Motion

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Album: Afrodisia (Part 2)
Bitrate: MP3@320K/s
Time: 105:05
Size: 240.5 MB
Styles: Trumpet jazz
Year: 2015
Art: Front

[6:22] 1. Who Cares (As Long As You Care For Me) (Live-Set #3)
[5:05] 2. If Ever I Would Leave You
[5:40] 3. N.Y. Theme (Live-Set #1)
[6:33] 4. Mexico City (Alternate Take) (Live-Set #4)
[6:07] 5. K.D.'s Cab Ride
[7:48] 6. My Heart Stood Still (Live-Set #3)
[7:16] 7. Sao Paulo
[8:55] 8. Straight Ahead
[8:39] 9. Royal Roost (Live-Set #2)
[1:07] 10. Dorham's Epitaph
[8:16] 11. Hill's Edge (Live-Set #2)
[6:18] 12. The Prophet (Live-Set #4)
[7:51] 13. Riffin' (Live-Set #4)
[9:30] 14. K.D's Blues (Live-Set #2)
[9:31] 15. A Night In Tunisia (Live-Set #2)

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Hot Club Of Cowtown - Midnight On The Trail

Styles: Retro Swing 
Year: 2016
File: MP3@320K/s
Time: 35:30
Size: 81,9 MB
Art: Front

(3:02)  1. Take Me Back To Tulsa
(3:10)  2. Call Of The Canyon
(2:52)  3. I've Got The Wonder Where She's Gone And When She's Comin' Back Again Blues
(2:54)  4. Next To The Soil
(2:40)  5. I'm An Old Cowhand (From The Rio Grande)
(3:12)  6. Cotton Eyed Joe
(3:36)  7. Oh, Mona
(2:40)  8. An Old Watermill By A Waterfall
(3:14)  9. Right Or Wrong
(2:37) 10. There's An Empty Cot In The Bunkhouse Tonight
(2:27) 11. Blue Bonnet Lane
(3:00) 12. Silver On The Sage

Western swing revivalists Hot Club of Cowtown formed in San Diego, CA in 1996; originally a duo pairing singer/violinist Elana Fremerman and singer/guitarist Whit Smith, a subsequent move to Austin, TX made room for the addition of bassist Billy Horton. Signing to Hightone, the trio issued its debut album, Swingin' Stampede!, in the fall of 1998; the follow-up, Tall Tales, appeared a year later. New bassist Matt Weiner joined Smith and Fremerman for 2000's Dev'lish Mary. Ghost Train came two years later in 2002, and it showed the group focusing more on original material and cutting back on the amount of covers. Continental Stomp followed in 2003, with Wishful Thinking arriving in 2009, and in 2011, the Hot Club finally surrendered to the obvious and released a tribute to Bob Wills, What Makes Bob Holler (the album was actually released in November of 2010 in the U.K.). ~ Jason Ankeny & Steve Leggett, Rovi https://itunes.apple.com/us/album/midnight-on-the-trail/1082467847

Midnight On The Trail

Annie Sellick - Stardust On My Sleeve

Styles: Vocal Jazz 
Year: 2000
File: MP3@320K/s
Time: 52:08
Size: 119,5 MB
Art: Front

(3:28)  1. Give Me the Simple Life
(5:49)  2. Lullaby of the Leaves
(3:10)  3. Gravy Waltz
(5:55)  4. Everything Happens To Me
(4:44)  5. My Heart Belongs to Daddy
(4:08)  6. How Insensitive
(4:29)  7. Midnight Sun
(3:56)  8. Just Your Smile
(1:59)  9. Twisted
(6:37) 10. You Go To My Head
(5:03) 11. Comes Loves
(2:46) 12. You'd Be So Nice To Come Home To

Annie Sellick may be compared to the greats - “Ella’s playfulness, Carmen’s attitude, Betty’s instincts and Anita’s flair…” (Greg Lee, WMOT jazz radio). But, she is unequivocally and undeniably an original.Don’t let her southern drawl, as sweet as biscuits n’ honey, cause you to make assumptions, because there is nothing shy or demure about Ms. Sellick’s control - of the stage, the music, her sound, and her audience. It’s quite obvious she is totally at home as a live performer, immediately engaging her audiences with an innate ability to make everyone in the room feel like she is performing just for them. But these special gifts aside, it’s Annie’s pure talent as a musician that is earning her rave reviews and a growing fan base around the world. Annie lives in Nashville, Tennessee; however, she is quick to tell you “growing up in ‘Music City’ I hated country music.”But Nashville is home base for some of the finest musicians in the world playing every genre of music."I have had the opportunity to play with a very talented pool of Nashville-based jazz players, and it has been a great place to cut my teeth and learn.  These days I am learning from Nashville musicians of all styles.There is such a high level of musicianship here, and the support of the community is unparalleled.”

At first, Annie had no intention of pursuing a career as a performer.  Then one evening in a “dive bar” near the college she attended in Middle Tennessee, Annie sat in with guitarist Roland Gresham. “The only standards I knew were ‘Fever’ and ‘Somewhere Over the Rainbow,” she remembers, laughing.“I sang ‘Fever’ and everybody went berserk.”The band hired her then and there. She recalls getting the names of jazz singers from a friend, tracking down their albums, learning the tunes a few at a time and then returning to the club to sing them.

Her sense of timing and interpretation of lyrics, her feel for the music these elements all came together during this time.While performing gigs at night, she studied her craft at the Nashville Jazz Workshop and was offered their first work/study opportunity.The Nashville jazz community and its fans spread the word about this young pixie-faced singer with the long dreads whose voice denied both her youth and looks - adding to her charm and appeal.

Today, Annie is a mainstay at the major jazz venues in Nashville, where she has performed with all of Music City’s jazz artists, including Beegie Adair, Jeff Coffin, Rod McGaha and Bela Fleck.She is the resident vocalist with the Nashville Jazz Orchestra, with whom she has recorded, and she gave a celebrated sold-out performance with the Nashville Symphony Pops Orchestra, “An Evening of Jazz.”She has won a large, devoted following in her home town that has garnered five consecutive “Best Jazz Artist” awards from the Nashville media and the #1 best selling local artist for two years at Tower Records Nashville. http://www.anniesellick.com/about/

Stardust On My Sleeve

David Sanborn - Taking Off

Styles: Saxophone Jazz
Year: 1975
File: MP3@320K/s
Time: 37:00
Size: 85,6 MB
Art: Front

(3:05)  1. Butterfat
(4:29)  2. 'Way 'Cross Georgia
(3:22)  3. Duck Ankles
(3:20)  4. Funky Banana
(4:53)  5. The Whisperer
(3:33)  6. It Took A Long Time
(6:25)  7. Black Light
(3:46)  8. Blue Night
(4:03)  9. Flight

Altoist David Sanborn has long been one of the leaders of what could be called rhythm & jazz (R&B-oriented jazz). His debut for Warner Brothers was a major commercial success and helped make him into a major name. The music is fairly commercial but certainly danceable and melodic. 

Even at that point in time, Sanborn's alto cries were immediately recognizable; the Brecker Brothers, guitarist Steve Khan and Howard Johnson on baritone and tuba are prominent in support. ~ Scott Yanow https://www.allmusic.com/album/taking-off-mw0000194893

Personnel:  Alto Saxophone – David Sanborn;  Baritone Saxophone, Tuba – Howard Johnson;  Bass – Will Lee;  Cello – Charles McCracken, George Ricci, Lucien Schmit;  Congas, Bongos, Percussion – Ralph MacDonald;  Double Bass – Bob Daugherty, John Beal;  Drums – Chris Parker, Rick Marotta, Steve Gadd;  Electric Guitar – Buzzy Feiten, Joe Beck;  Electric Guitar, Acoustic Guitar – Steve Khan;  French Horn – John Clark , Peter Gordon;  Keyboards [Fender Rhodes], Piano [Acoustic], Organ, Clavinet – Don Grolnick;  Percussion – José Madera, Warren Smith;  Tenor Saxophone – Mike Brecker;  Trombone – Tom Malone;  Trumpet – Randy Brecker;  Violin – Alfred Brown, Charles Libove, Emanuel Vardi, Gene Orloff, Guy Lumia, Harold Coletta, Harold Kohon, Harry Glickman, Leo Kahn, Lewis Eley, Matthew Raimondi, Max Pollikoff, Paul Gershman

Taking Off

John Patitucci - Now

Styles: Jazz, Post Bop
Year: 1998
File: MP3@320K/s
Time: 70:23
Size: 161,5 MB
Art: Front

(9:10)  1. Now
(8:55)  2. Grace
(6:16)  3. Out Of The Mouths Of Babes
(6:03)  4. Hope
(9:29)  5. Labor Day
(8:59)  6. Espresso
(7:39)  7. Forgotten But Not Gone
(5:26)  8. Search For Peace
(4:30)  9. Giant Steps
(3:51) 10. Miya

Bassist Patitucci's third release for Concord Jazz is essentially a quartet date with tenors Chris Potter (five tracks) and Michael Brecker (two) augmenting the rhythm section. The horns take a break on the last three tracks, McCoy Tyner's "Search for Peace" (a trio), Trane's "Giant Steps" (Patitucci, Stewart) and Patitucci alone on his own composition, "Miya." Patitucci, a proud parent, dedicated the album to his then two-month-old daughter, Sachi Grace, as several of the titles would indicate "Grace," "Out of the Mouths of Babes," "Labor Day," for example. Patitucci is a fine player; I wish his talents as a composer were more congenial. Of the tunes on Now, all but "Peace" and "Giant Steps" are his, and none leaves much of an impression. And so it is up to the improvisers, chiefly Potter, Brecker and Scofield, to carry the day (with Patitucci contributing the occasional chorus as well, especially on the last three selections). Brecker meanders through the slow-paced "Hope" without much purpose, and fares only marginally better on the opaque "Labor Day." Potter also appears to be going through the motions; we've heard him play with far more passion and resolve on other occasions - although the music isn't exactly fashioned to let him roam free. Scofield is a taste we've yet to acquire, and sharp as Patitucci is, a bass solo is still a bass solo. The quartet tracks sound excessively busy, and it's actually a relief when Patitucci pares things down for the last three numbers, on which he plays a Yamaha 6-string electric bass, which doesn't sound too far removed from the guitar. That's a good thing, as Patitucci must delineate the melody on "Giant Steps" (a tune that fairly begs for a horn) and the classical-sounding "Miya" (where overdubbing turns him into a duo). Some may find this largely subdued and elliptical session a pure delight; others (such as we) shall place it gently on a shelf and leave it there. ~ Jack Bowers https://www.allaboutjazz.com/now-john-patitucci-concord-music-group-review-by-jack-bowers.php

Personnel: John Patitucci, bass; Michael Brecker, Chris Potter, tenor saxophones; John Scofield, guitar; Bill Stewart, drums.

Now