Jeff Williams - Coalescence

Size: 155,6 MB
Time: 67:23
File: MP3 @ 320K/s
Released: 1992
Styles: Jazz
Art: Front & Back

01. Eyes Of Recognition ( 5:20)
02. Missing Link ( 8:11)
03. Skulduggery ( 6:14)
04. Dialogue Coalescence (10:29)
05. Wondering ( 7:47)
06. Debrosses Street ( 7:27)
07. Autonomy (12:10)
08. The Messenger ( 9:42)

This is the first leader recording by drummer Jeff Williams whose impressive list of credits includes Stan Getz, Bill Evans, Dave Liebman, Richie Beirach, Dizzy Gillespie among others.

“… The eight themes here are resoundingly free of hard bop cliché or empty rhetoric…throughout, Williams works to make the music unpredictable… Excellent sound .” (The Penguin Guide to Jazz).

Coalescence

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Louis Armstrong - The Nightclubs

Size: 153,2 MB
Time: 65:37
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz, Vocals
Art: Front

01. Royal Garden Blues (Feat. Jack Teagarden, Earl Hines, Barney Bigard, Arvell Shaw & Cozy Cole) (4:22)
02. My Monday Date (Feat. Jack Teagarden, Earl Hines, Barney Bigard, Arvell Shaw & Cozy Cole) (5:48)
03. West End Blues (Feat. Russ Phillips, Barney Bigard, Marty Napoleon, Dale Jones, Cozy Cole & Velma Middleton) (4:30)
04. Billie Holiday Introduction (0:42)
05. A Kiss To Build A Dream On (Feat. Russ Phillips, Barney Bigard, Dale Jones, Marty Napoleon, Cozy Cole & Velma Middleton) (4:01)
06. You're Just In Love (Feat. Russ Phillips, Barney Bigard, Marty Napoleon, Dale Jones, Cozy Cole & Velma Middleton) (3:28)
07. New Orleans Function (Feat. Trummy Young, Barney Bigard, Marty Napoleon, Milt Hinton & Cozy Cole) (6:37)
08. Muskrat Ramble (Feat. Trummy Young, Barney Bigard, Billy Kyle, Arvell Shaw, Barrett Deems & Velma Middleton) (5:56)
09. Pretty Miss Missy (Feat. Trummy Young, Barney Bigard, Billy Kyle, Arvell Shaw, Barrett Deems & Velma Middleton) (3:27)
10. Ko Ko Mo (Feat. Trummy Young, Barney Bigard, Billy Kyle, Arvell Shaw, Barrett Deems & Velma Middleton) (1:57)
11. Struttin’ With Some Barbecue (Feat. Trummy Young, Edmond Hall, Billy Kyle, Mort Herbert, Barrett Deems & Velma Middleton) (5:53)
12. Lazy River (Feat. Trummy Young, Edmond Hall, Billy Kyle, Mort Herbert, Barrett Deems & Velma Middleton) (4:14)
13. That's My Desire (Feat. Trummy Young, Edmond Hall, Billy Kyle, Mort Herbert, Barrett Deems & Velma Middleton) (4:06)
14. Someday You’ll Be Sorry (Feat. Trummy Young, Edmond Hall, Billy Kyle, Mort Herbert, Barrett Deems & Velma Middleton) (4:16)
15. Tin Roof Blues When The Saints Come Marching In (Feat. Trummy Young, Edmond Hall, Billy Kyle, Mort Herbert, Barrett Deems & Velma Middleton) (5:03)
16. When It's Sleepy Time Down South (Feat. Trummy Young, Edmond Hall, Billy Kyle, Mort Herbert, Barrett Deems & Velma Middleton) (1:10)

This recording contains selections from five different nightclub engagements—Bop City in New York in 1950, Club Hangover in San Francisco in 1952, Storyville in Boston in 1953, Basin Street in New York in 1955 and the Brant Inn in Ontario in 1958— featuring five different iterations of Armstrong’s All Stars, featuring top sidemen such as Jack Teagarden, Barney Bigard, Earl “Fatha” Hines, Arvell Shaw, Cozy Cole, Marty Napoleon, Milt Hinton, Barrett Deems, Edmond Hall and more. The exciting nightclub performances on this collection are not only being released for the first time, but every track is taken from the Research Collections of the Louis Armstrong House Museum, with the majority emanating from Armstrong's personal reel-to- reel tape collection. This important new release once again demonstrates with finality that Pops was always tops.

Jazz aficionado Jerry Roche, who heads the Legends Series for DTR, was in search of undiscovered gems by Armstrong and was stunned by what he found when researching in the Queen’s College Archives Department. “When I heard this music by Louis Armstrong", said Roche, “I was totally overwhelmed. Producing this music would mean people could connect with the greatness of Louis Armstrong with music never-before released commercially. I made it my mission to make the music available.”

The Nightclubs

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Noa Fort - No World Between Us

Size: 80,0 MB
Time: 34:18
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Now Is Our Time (3:23)
02. Traveling (In Time And Space) (3:32)
03. Variations On Longing (3:13)
04. Mirrors (3:47)
05. Unwritten Signs (2:34)
06. Empty Space (Halal Paur (3:07)
07. Winter Requiem (2:54)
08. No World Between Us (3:51)
09. The Guest House (3:32)
10. Just Wait (4:20)

Israeli born vocalist, pianist, songwriter, improviser, painter of sounds Noa Fort was recently regarded as “one of New York’s more interesting and original artists” (New York Music Daily). She draws inspiration from different musical worlds, integrating her background of classical and jazz piano, jazz singing, and free improvisation into her original music.

Fort has sang and played the piano from an early age; she started taking classical piano classes at age 5 and cannot remember a time when she did not sing. However, her life journey took her to other places (she earned her first bachelor degree in Biology, and researching birds in the Israeli desert is one of her most favorite moments out of that experience). Yet she knew that music was her true passion. It wasn’t until she travelled to India for a year, taking private lessons in tabla and playing with traveling musicians like her, that she decided to pursue this passion professionally. Upon her return to Israel she started her studies in the Jerusalem Academy of Music and Dance, both as a vocalist and a pianist. She started performing with various bands and projects in Israel and quickly gained a name as a versatile pianist/keyboardist/vocalist. She also led the Noa Fort Quintet which played her original compositions, written in her last year in the academy. She graduated in 2012 and moved to New York in 2013.

Since her arrival in New York in 2013, she has played in numerous venues such as The Stone, Cornelia Street Café, Roulette, Rockwood Music Hall, Spectrum, Pete’s Candy Store. She has collaborated and played with greats such as William Parker, Okkyung Lee, Rene Hart, Anat Fort. She recently participated in the Banff Jazz and Creative music workshop under the leadership of Vijay Iyer. Fort also holds an MA in music therapy from NYU; she uses music in her work with youth at risk, adults with developmental disabilities and people who suffer from mental illnesses and believes in the power of music to heal.

No World Between Us is Fort’s first release as a bandleader. The album is comprised of ten original songs, written, composed and arranged by Fort for a piano+voice trio, as well as a poem by Rumi that was composed by Noa and arranged by the band. A guest trumpet appears on three songs. The songs describe a personal journey of the current day; dealing with themes such as ‘being in the moment’, self-acceptance and appreciation, expectations society has on us and how we choose to deal with them, as well as songs about love and heartbreak. The band has been playing in NYC and performing these songs for some time before going into the studio. On the recording, Fort aimed to capture the feel of a live show; the recordings took place over two days in Tedesco studio, and Fort was singing and playing at the same time with no vocal overdubs, giving the performances a more natural and personal sound of connection between the artist, the songs and her instrument, along with the band interaction as a unit for a cohesive sound.

No World Between Us

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Alma Swing - Gypsy Wanderlust: Hot Jazz Around The World / Django En Italie

Album: Gypsy Wanderlust
Size: 119,4 MB
Time: 50:41
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz: Gipsy Jazz
Art: Front

01. Jungle's Jingles (3:20)
02. Evasione E Fuga In Re Minore (3:36)
03. Tanguera (4:40)
04. Bluesette (3:44)
05. Hong Kong Alley Cat (3:18)
06. The Philly Dog (4:21)
07. Waiting Room Harlem Station (3:33)
08. Fat Cat Express (3:17)
09. Sweet Suez (2:55)
10. Montgolfieres (4:07)
11. Around The City (3:21)
12. Gypsy Rondo (2:44)
13. Nuages (3:32)
14. Lino's Flight (4:06)

Gypsy Wanderlust

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Album: Django En Italie
Size: 108,6 MB
Time: 46:12
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz: Gipsy Jazz
Label: Cose Sonore
Art: Front

01. Tornerai (2:57)
02. Mille Lire Al Mese (3:00)
03. Amore Fermati (4:50)
04. Spaghetti A Detroit (4:25)
05. Canzone Da Due Soldi (4:00)
06. Baciami Piccina (3:38)
07. Tu Si 'na Cosa Grande (3:49)
08. Sono Ricco (3:51)
09. Parla Piu Piano (4:03)
10. Blues Stereophonique (3:49)
11. Donna (4:40)
12. Guarda Che Luna (3:05)

Personnel:
Lino Brotto - Lead Guitar
Mattia Martorano - Violin
Andrea Boschetti - Rhythm Guitar
Giuseppe Pilotto - Double Bass

Remarkable experience of musical research, Alma Swing follows a typical european tradition, which was (between the Thirties and the Forties, as still today) hot jazz. This genre was contaminated by the manouche culture of the North Europe gypsies, as well as by the parisian popular fashion and the afro-american swing craze. Apart from the US events, Alma Swing holds in the aesthetic bases of a string jazz with direct reference to Django Reinhardt's guitar style and Stéphane Grappelli's finesse. Those were certainly among the main heroes of french jazz. Thanks to a variety of program and show proposals, Alma Swing opens to the current time the most peculiar contents of this music, from the repertory and the executive procedures, carried out by means of the typical set of instruments and the melting pot of jazz and gypsy idioms. According to a rétro orchestra silhouette and to an acoustic line up, where the typical manouche guitars and the fiddle are protagonists, Alma Swing plays with personality the suggestions of an age impressed in the vinyl and in the grammophons voices, remarking the contemporary wide success of music.

Django En Italie

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Low-Fly Quintet - Stop For A While

Size: 99,9 MB
Time: 38:12
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Thank You (4:06)
02. Black And Blue (5:52)
03. But Beautiful (4:22)
04. A Sweeter Dream (2:47)
05. Stop For A While (3:13)
06. As I Love You (3:22)
07. After You´ve Gone (3:50)
08. I Want To Be Evil (3:08)
09. Black Coffee (4:27)
10. Madness (3:00)

Low-Fly Quintet will release their first album on the renowned Norwegian jazz label Losen Records. Their performance on the debut album ”Stop For A While” will give you a sense of being present in a smoky, underground, jazz club in New York.

LFQ composes Vivacious, Sexy, Elegant, Raw, & Genuine original songs inspired by vocal jazz from the early 30’s. They also impart their innovative interpretation of select familiar songs from the same era. Their modern approach to the classical sound of traditional vocal jazz will surprise and move you. Low-Fly Quintet transports you back in time to the music that incited emotionalism. The theme of thisdebut album is both raw everyday realism, and colourful daydream-like life. Some songs feature tender, embracing love that relieves tension, while other songs are about more complex and sometimes even dark aspects of life that leave the listener in a state of reflection. LFQ’s artistry will take you on a journey where you’ll experience a musical interlude that will be charming, fun, sensual, energetic and unique.

Stop For A While

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Maria Schafer - To Know Love

Size: 138,4 MB
Time: 58:54
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. You Don't Know What Love Is (4:26)
02. The More I See You (5:17)
03. Estrada Branca (3:46)
04. I Fall In Love Too Easily (5:02)
05. Bewitched, Bothered, And Bewildered (6:32)
06. In Summer (Estate) (5:43)
07. You'd Be So Nice To Come Home To - Alone Together (4:32)
08. Body And Soul (6:19)
09. It Could Happen To You (3:23)
10. Almost Like Being In Love (4:24)
11. Lush Life (4:32)
12. 'S Wonderful - They Can't Take That Away From Me (4:50)

With a "warm and sensuous vocal talent", charmingly straightforward delivery, spot-on pitch, and nuanced rhythmic sensibilities, young jazz singer Maria Schafer carries forward the vibrant jazz tradition with a musical aesthetic born in the Great American Songbook.

Her modern originals show influences from the romanticism of American folk music, the harmonic language and groove of neo-soul, and the adventurous curiosity of modern jazz and world music. Having performed for tens of thousands of music lovers across the United States, Canada, Australia, Latvia, and Japan, Schafer's honey-sweet tone, genuine articulation, and elegance on the stage speak well to all audiences, whether she's in front of a spectacular big band in an international concert hall or warmly nestled among her quartet in a Los Angeles jazz club.

Now, after spending 2 years mesmerizing fans worldwide as the touring vocalist with the swing era big band The Glenn Miller Orchestra, Schafer returns to her small group roots with her debut solo album, "To Know Love .. ." out with Marsch Music on 01/19/18. A studio date blending West Coast guitarist Shane Savala and New Orleans musicians Joe Butts, Kyle Sharamitaro, and Brad Black, the album is "an immensely polished collection of classic jazz standards with infinite subtleties of tonal shading (Hill Rag)."

Album Personnel: Maria Schafer -vocals, Shane Savala - guitar, Joe Butts -bass, Kyle Sharamitaro - drums, Brad Black - trumpet.

To Know Love

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Sebastian Chames - Pick Up The Phone

Bitrate: MP3@320K/s
Time: 50:12
Size: 114.9 MB
Styles: Saxophone jazz
Year: 2015
Art: Front

[6:45] 1. Pianist At The Park
[7:52] 2. Dwayne Deserves
[5:51] 3. Pick Up The Phone
[3:18] 4. Cambio De Planes
[6:12] 5. Inspirado Aspirado
[5:53] 6. Nice Bop
[4:21] 7. Moonlight In Vermont
[4:41] 8. Captain Furillo
[5:15] 9. Dear Old Stockholm

Bass – Gerarld Cannon; Drums – Willie Jones III; Piano – Sebastián Chames; Tenor Saxophone – Greg Tardy; Trumpet – Jeremy Pelt.

The third album of the Spanish-Argentinean pianist Sebastián Chames, entitled 'Pick up the phone', confirms, in case there was any doubt, what in his two previous works was clearly made clear; his radical and seamless bid for a very classical and orthodox jazz (via hard bop).

The above has several advantages for both the musician and the listener; among them you already know what you can hear more or less, that the level of the musicians will be very high and that everything will sound with an unmistakable flavor of jazz of a lifetime.But that musical bet also has risks, among them, and not less, that we compare the pianist with the wild beasts of the 50's and 60's of the last century; and that if you do not take care that everything ends up sounding like a permanent 'deja vu'.

Sebastián Chames manages, to a large extent, to overcome these dangers, thanks to two very important factors; good compositions, fruit of his knowledge of the terrain in which he moves; and the band that accompanies him, composed of musicians who know and know very well what they have to do. Among those who accompany him we must highlight the work of trumpeter Jeremy Pelt, who already played with Chames on his previous album 'Reconstrucción' (2013); and that of drummer Willie Jones III who was also on that record. And there is nothing like working with well-known musicians and with whom you understand well. If in this jazz you want to be sure to listen to a current album but loaded with classicism, then 'Pick up the phone' is, I dare say, your record. (Translated from Spanish.)

Pick Up The Phone mc
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Bachman-Turner Overdrive - Gold (2-Disc Set)

The expansive Gold series that Universal has been reissuing keeps on trucking along, this time making a pit stop in the Great White North to celebrate Canada's finest rock exports. While there have been dozens of greatest-hits compilations featuring Bachman-Turner Overdrive, they have all had minor flaws, glaring omissions, or even the most heinous of crimes: the re-recording of classics. Gold remedies that by featuring 35 tracks of hard-rocking goodness spanning the prime years of the band's career. All of the recognizable radio hits are nestled in between lesser-known album rock tracks, digitally remastered and carefully packaged with extensive liner notes detailing the band's every moment of glory. It has everything the diehard could want on two discs, and while its length may be overwhelming for listeners just being introduced to the band, it is most likely all the BTO they would ever need in their collections. ~Rob Theakston

Album: Gold (Disc 1)
Bitrate: MP3@320K/s
Time: 78:05
Size: 178.7 MB
Styles: Album Oriented rock
Year: 2005
Art: Front

[4:39] 1. Gimme Your Money Please
[5:04] 2. Hold Back The Water
[6:09] 3. Blue Collar
[4:21] 4. Little Gandy Dancer
[4:04] 5. Stayed Awake All Night
[4:53] 6. Don't Get Yourself In Trouble
[4:06] 7. Thank You For The Feelin'
[4:46] 8. Takin' Care Of Business
[5:40] 9. Give It Time
[5:29] 10. Welcome Home
[4:23] 11. Let It Ride
[3:54] 12. You Ain't Seen Nothing Yet
[4:05] 13. Not Fragile
[5:01] 14. Rock Is My Life, And This Is My Song
[3:57] 15. Roll On Down The Highway
[3:44] 16. Free Wheelin
[3:43] 17. Blue Moanin'

Gold (Disc 1) mc
Gold (Disc 1) zippy

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Album: Gold (Disc 2)
Bitrate: MP3@320K/s
Time: 75:57
Size: 173.9 MB
Styles: Album Oriented rock
Year: 2005
Art: Front

[4:23] 1. Four Wheel Drive
[3:33] 2. Hey You
[3:55] 3. Flat Broke Love
[4:09] 4. She's Keepin Time
[3:17] 5. Quick Change Artist
[4:11] 6. Don't Let The Blues Get You Down
[4:40] 7. Find Out About Love
[3:20] 8. It's Over
[3:39] 9. Take It Like A Man
[5:22] 10. Lookin' Out For #1
[4:31] 11. Away From Home
[4:01] 12. Down To The Line
[3:56] 13. Life Still Goes On (I'm Lonely)
[5:18] 14. Shotgun Rider
[5:20] 15. My Wheels Won't Turn
[4:18] 16. Down Down
[4:02] 17. Down The Road
[3:51] 18. Heartaches

Gold (Disc 2) mc
Gold (Disc 2) zippy

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Rhoda Scott - Beyond The Sea

Bitrate: MP3@320K/s
Time: 74:12
Size: 169.9 MB
Styles: B3 Organ jazz
Year: 2010
Art: Front

[ 7:14] 1. Half Moon Bay
[ 9:31] 2. My One And Only Love
[ 5:42] 3. Falling In Love With Love/By The River Saint Marie
[10:11] 4. Beyond The Sea
[ 5:56] 5. Green Dolphin Street
[ 8:16] 6. Beyond The Sea
[ 7:00] 7. Roll'em Pete
[10:26] 8. Secret Love
[ 9:51] 9. Blue Bossa

This is Rhoda Scott’s second release for Doodlin’ Records and her first live recording in the United States in many years. Hear how she thrills the audience with her patented organ style and how saxophonist Ricky Woodard and drummer Akira Tana move her forward with their energy. Vocalist Kim Nalley adds extra spice with three vocals straight from the duo performances that she and Rhoda have been known for in the Bay Area.

"For her second album, it was decided to return Rhoda to her original format of organ, tenor sax and drums. Ricky Woodard was an inspired choice and his playing here is some of the best he has put on record. Woodard has been one of the major voices on his instrument for almost thirty years and has worked with Ray Charles, the Capp-Pierce Juggernaut, the Clayton-Hamilton Jazz Orchestra, Jimmy Smith and Jeannie Cheatham’s Sweet Baby Blues Band.

Drummer Akira Tana completes the cast. He had originally been inspired by Kenny Clarke and Art Blakey and, after studying with Alan Dawson, had worked with almost everyone of note in the New York area, including bassist Rufus Reid, with whom he co-led his own combo. He returned to his native California in 1999 and has continued his active free-lance work." ~Bob Porter

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Demis Roussos - Collected (3-Disc Set)

Demis Roussos was born on June 15, 1946 in Alexandria, Egypt as Artemios Ventouris Roussos. He was raised in Egypt until his parents moved to Greece in the early 1960s after losing their possessions during the Suez Crisis.

He was best known for his solo hits in the 1970s and 80s, including Forever and Ever, Goodbye and Quand je t'aime. He was also a member of progressive rock group Aphrodite's Child. He was caught up in a plane hijacking when flight TWA 847 from Athens to Rome was hijacked by members of Hezbollah and Islamic Jihad in 1985. He and his third wife were held at gunpoint for five days before they were released. Some of his fellow passengers endured 17 days in captivity. For Demis the only way to get over this rather traumatic experience was to make music again. For that reason he went to Holland and recorded the single “Island Of Love”, which can be considered a comeback, in the spring of 1986. In 2010, Demis Roussos is back in Greece where he realizes one of his oldest dreams by performing at the antic theatre “Erodion”, a memorable concert for his country. He had not sang there since 1974 and the emotion between Demis and the Greek crowd is in its height.

His tour in South Africa in 2012 was memorable for all South Africans, as much as it was for Demis Roussos who realized how much people had not forgotten him there, since his latest appearance there during the Apartheid, in 1977.

Album: Collected (Disc 1)
Bitrate: MP3@320K/s
Time: 77:44
Size: 178.0 MB
Styles: Pop/Rock/Easy Listening
Year: 2015

[ 3:11] 1. Rain And Tears
[ 3:13] 2. End Of The World
[ 3:50] 3. I Want To Live
[ 4:36] 4. Marie Jolie
[ 3:28] 5. It's Five O'clock
[ 4:30] 6. Such A Funny Night
[ 4:52] 7. Spring, Summer, Winter And Fall
[ 2:49] 8. Babylon
[ 5:52] 9. The Four Horsemen
[ 2:53] 10. Hic And Nunc
[ 3:30] 11. We Shall Dance
[ 3:25] 12. She Came Up From The North
[ 3:43] 13. Good Days Have Gone
[ 2:46] 14. I Know I'll Do It Again
[ 4:32] 15. Fire And Ice
[ 3:46] 16. My Blue Ship's A Sailing (A-Sailing)
[ 4:45] 17. O My Friends You've Been Untrue To Me
[11:54] 18. Ulysses

Collected (Disc 1) mc
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Album: Collected (Disc 2)
Bitrate: MP3@320K/s
Time: 69:56
Size: 160.1 MB
Styles: Pop/Rock/Easy Listening
Year: 2015

[3:57] 1. My Reason
[3:16] 2. When I Am A Kid
[3:37] 3. Forever And Ever
[3:37] 4. Velvet Mornings
[3:54] 5. Goodbye My Love Goodbye
[3:51] 6. My Friend The Wind
[3:22] 7. Lovely Lady Of Arcadia
[3:02] 8. Someday Somewhere
[3:42] 9. My Only Fascination
[3:00] 10. When Forever Has Gone
[2:34] 11. From Souvenirs To Souvenirs
[3:09] 12. Happy To Be On An Island In The Sun
[2:45] 13. Far Away
[4:16] 14. Mourir Auprès De Mon Amour
[3:20] 15. Lost In Love
[7:24] 16. Follow Me
[3:42] 17. Island Of Love
[3:44] 18. Quand Je T'aime
[3:34] 19. On Ecrit Sur Les Murs

Collected (Disc 2) mc
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Album: Collected (Disc 3)
Bitrate: MP3@320K/s
Time: 76:20
Size: 174.7 MB
Styles: Pop/Rock/Easy Listening
Year: 2015
Art: Front

[5:15] 1. A Flower's All You Need
[5:04] 2. Margarita
[4:07] 3. I Dig You
[2:49] 4. Loving Arms
[3:46] 5. Sometimes When We Touch
[2:35] 6. If You Remember Me
[4:24] 7. Man Of The World
[3:54] 8. Miss You Nights
[3:42] 9. Race To The End
[3:09] 10. Lament
[4:12] 11. Love Me Tender
[5:45] 12. Planet Earth Is Blue
[7:50] 13. House Of The Rising Sun
[4:23] 14. Nature Boy
[4:12] 15. Prier
[4:09] 16. Mamy Blue
[2:52] 17. On My Own
[4:03] 18. Una Furtiva Lagrima

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Tom Harrell - Roman Nights

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 62:37
Size: 143,7 MB
Art: Front

(5:13)  1. Storm Approaching
(6:46)  2. Let the Children Play
(7:53)  3. Roman Nights
(7:35)  4. Study in Sound
(5:26)  5. Agua
(6:02)  6. Obsession
(8:22)  7. Harvest Song
(9:19)  8. Bird in Flight
(5:58)  9. Year of the Ox

Since coming back from hiatus following the superb Wise Children (Bluebird, 2003), Tom Harrell's been on a roll. On a new label (HighNote) and with a new working quartet, the trumpeter has gone from success to success, from the undeniably fine Light On (2007), to the even better Prana Dance (2009). Whether Roman Dances is even better still is a tough call; Harrell's writing and quintet are so uniformly excellent that comparisons empirical or otherwise are rendered moot. There's plenty that resonates on Roman Nights, where the one thing that is certain is that the chemistry amongst the members of Harrell's quintet continues to refine and grow even more empathic with each passing year. The short but completely to the point solos on the aptly titled opener, "Storm Approaching," not only demonstrate the exhilarating interplay between accompanists and soloists, but amongst the accompanists themselves, as drummer Johnathan Blake, in particular, accomplishes the remarkably multi-tasked challenge of responding simultaneously to both pianist Danny Grissett and Wayne Escoffery, during the saxophonist's fiery solo. But he's not the only one who's clearly listening. Again on the disc opener, as solos are passed first from Harrell to Escoffery, and then on to Grissett it's as if the transitions were scored; except, of course, they're not. A final barnstorming solo from Blake, over a driving ostinato, amply explains why the increasingly busy drummer, in addition to his tenure with Harrell, has been finding employment with artists ranging from vibraphonist Joe Locke to septuagenarian saxophonist Oliver Lake. Bassist Ugonna Okegwo, another busy player with modern mainstreamers like Jacky Terrasson, Ari Ambrose and D.D. Jackson, anchors the entire disc with firm but pliant support. Soloing rarely, when he does it's a treat; his extended workout on "Study in Sound," one of Harrell's more complicated charts, is a combination of lithe lyricism and compositional intent.

As impressive as the members of Harrell's quintet are individually and collectively it's never about acumen being an end. Instead, it's a clear and focused means for everyone, where rhythmic placement and weaving through Harrell's sometimes rapid, other times more languid changes is all about finding new ways to shape melody. Whether it's on the brief but incendiary modal workout of "Agua," the Latin esque "Obsession" or bass riff-driven "Let the Children Play," Escoffery his Wayne Shorter roots clear but equally subsumed as but one parameter of his own voice and Harrell make a potent frontline that's equally capable of gentle, almost folkloric tranquility on the deceptively simple sounding "Harvest Song," where there's clearly a lot more sophistication going on under the hood. With even great emphasis on Grissett's Fender Rhodes than ever before, there's an ethereal, dreamlike quality that imbues much of Roman Nights, even at brighter tempos like "Bird in Flight" Throughout, Harrell has never sounded better, his dulcet plangency a reminder that it's not necessary to be oblique in order to be progressive. As with his previous HighNote sets, Roman Nights is another fine entry from one of the contemporary mainstream's most memorable players and telepathically transcendent quintets. ~ John Kelman https://www.allaboutjazz.com/roman-nights-tom-harrell-highnote-records-review-by-john-kelman.php

Personnel: Tom Harrell: trumpet, flugelhorn; Wayne Escoffery: tenor saxophone; Danny Grissett: piano, Fender Rhodes; Ugonna Okegwo: bass; Johnathan Blake: drums.

Roman Nights

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Nancy Wilson - Forbidden Lover

Styles: Vocal Jazz
Year: 1987
File: MP3@320K/s
Time: 40:39
Size: 94,0 MB
Art: Front

(4:17)  1. Forbidden Lover
(3:18)  2. I Was Telling Him About You
(4:24)  3. If You Only Knew
(4:47)  4. Deeper
(3:40)  5. Puttin' My Trust
(4:23)  6. You Know
(4:21)  7. Too Good To Be True
(3:53)  8. I Never Held Your Heart
(3:32)  9. What Will It Take This Time
(4:00) 10. A Song For You

Billed as the 50th album by this 50-year-old singer, Nancy Wilson's Forbidden Lover is an attempt to contemporize her sound, with arrangements that recall Luther Vandross and the Earth, Wind & Fire horn section. The title track, a duet with Carl Anderson, seems intended to heat up the R&B charts and, if it did, there would be other tracks to follow. It's reasonable that Columbia Records, which signed Wilson up after her long tenure at Capitol, should try to get a return on its investment. But Wilson the jazz-R&B song stylist gets lost on most of these recordings. "I Was Telling Him About You" is a ballad that lets her get across her personality, and the string-filled closer, Leon Russell's "A Song About You," really gives her room to shine and probably will turn out to be the only keeper on this collection. Pop music performers almost always want to sound contemporary, but this is one singer who would be better off acting her age. ~ William Ruhlmann https://www.allmusic.com/album/forbidden-lover-mw0000192687

Personnel:  Alto Saxophone – Ernie Watts;  Electric Piano [Steinway Piano, Rhodes Piano], Synthesizer [Oberheim OB-8, DX-Z, Mini Moog] – Masahiko Satoh;  Backing Vocals – Desiree McAlpin, Jim Gilstrap, Marlena Jeter, Valeria Mayo;  Bass – Abraham Laboriel, Jimmy Johnson ;  Bass Trombone – Bill Reichenbach;  Cello – Armen Ksajikian, David Shamban, Raymond Kelley;  Concertmaster – Gerald Vinci;  Congas, Percussion – Paulinho Da Costa;  Drums – Ed Greene ;  French Horn – James A. Decker, Richard E. Perissi;  Guitar – Paul Jackson Jr.;  Harp – Ann M. Stockton;  Tenor Saxophone – Gerald Albright , Marc Russo;  Trombone – Bill Reichenbach, Charles Loper, Lew McCreary;  Trumpet, Flugelhorn – Gary Grant, Jerry Hey;  Viola – Harry Shirinian, Myer Bello, Roland Kato;  Violin – Assa Drori, Betty Moor, Robert Sanov, Irma Neumann, Mari Tsumura Botnick, Patricia Ann Johnson, Robert Sushel, Ronald Folsom, Sheldon Sanov

Forbidden Lover

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Lee Konitz & Michel Petrucciani - Toot Sweet

Styles: Saxophone And Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 48:19
Size: 111,6 MB
Art: Front

( 4:44)  1. I Hear A Rhapsody
( 5:01)  2. To Erlinda
(15:59)  3. 'Round About Midnight
(15:34)  4. Lover Man
( 4:49)  5. Ode
( 2:11)  6. Lovelee

Judging from their frequent occurrence in his long discography, duet sessions are among Lee Konitz's favorites. These intimate settings have also encouraged some of his best work; for example, his 1967 album The Lee Konitz Duets (Milestone/OJC), on which he performed with several diverse partners in an astonishing range of styles. The mood is more focussed on Sunnyside's reissue of Toot Sweet, a 1982 session with Michel Petrucciani originally released on the now-defunct Owl label. At the time of the recording, the pianist was not yet 20 years old, and the marks of his acknowledged greatest influence, Bill Evans, are readily apparent. In fact, the opening track, a searching "I Hear A Rhapsody" readily brings to mind Evans' own duet version with Jim Hall from the classic Undercurrent (United Artists 1962; reissued on Blue Note). Petrucciani is his own man, however, even at this early stage; his lovely solo piece "To Erlinda" begins in a pensive Evans mode, but soon moves through sweeping runs, thunderous left-hand chords, and bluesy asides in a more original style.

Konitz, as usual, methodically explores every nook and cranny of each tune's melody, particularly on the 15-minute, abstract takes of "Round About Midnight" and "Lover Man" that form the centerpiece of the album. Although Konitz is often referred to as a "cool-toned" altoist, this is somewhat misleading; he sometimes produces a quite astringent sound, particularly in the upper register, with a bit of blues wail to it. This suits perfectly the pathos inherent in "Lover Man," which offers the best playing on the record. On this tune, Konitz continually dances in an angular fashion around the melody, never quite actually playing it through, but revealing its every facet by a kind of musical triangulation. Petrucciani alternately prods and follows his elder partner through the tune, here offerring a propulsive, bluesy foundation, there picking up phrases of Konitz's and dancing them around the rhythm. Throughout the album but especially in this setting, the interaction between the musicians is wonderful, as they play with an attentiveness and empathy that is a joy to hear. This is a great find, and kudos to Sunnyside for resurrecting it. Highly recommended. ~ Joshua Weiner https://www.allaboutjazz.com/toot-sweet-lee-konitz-sunnyside-records-review-by-joshua-weiner.php

Personnel: Lee Konitz, alto sax; Michel Petrucciani, piano

Toot Sweet

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Marilyn Crispell & Stefano Maltese - Red

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 58:30
Size: 134,5 MB
Art: Front

( 5:18)  1. Afternoon Whisper
( 5:12)  2. Across The Ocean
( 6:47)  3. Lost Skies
( 4:58)  4. For These Walls
(11:19)  5. A Star Or Two
( 4:38)  6. Towards Twilight
( 6:33)  7. Stellar Waves
( 7:04)  8. Come Slowly, Day
( 6:36)  9. Faces On Fire

Piano genius Marilyn Crispell teams for a set of duets with the relatively unknown though outrageously talented Sicilian saxophonist and clarinetist Stefano Maltese. This is an interesting mirror in and of itself. Way back in 1989, Anthony Braxton, one of Crispell's contemporary mentors, recorded an album of duets with the pianist, who, at that time, was relatively unknown -- though she was the steady rhythmic force propelling the longest last quartet, or any other band, of Braxton's career. This set is approached from the position of opposites attracting. Maltese has been deeply influenced by the phrasing and lyrical construction no matter which horn he plays by Steve Lacy. On the soprano, it is almost impossible to tell them apart, with the exception of Lacy's slightly longer line. Crispell, who plays percussively, was at the disadvantage here, or so it seemed. These duets are such a departure for her, her playing moves into a range of colors and emotions not usually associated with her. Her approach to counterpoint and harmonic invention here are both lyrical, favoring dynamic, to be experienced by persistence and caution rather than by forcing the music to bend to her will. Here, she is clearly its servant, which coaxes Maltese to look toward overtones as a way to engage the improvisation from within. The compositions are divided equally among them. Maltese provides a reasonable foil for Crispell. She, on the other hand, must have viewed him musically in a much different light because this is her most restrained, graceful, elegant improvising on record. There isn't a moment here that is not, while musically very sophisticated, emotionally very moving. Highly recommended. ~ Thom Jurek https://www.allmusic.com/album/red-mw0000419244

Personnel: Marilyn Crispell (piano); Stefano Maltese (bass clarinet, soprano saxophone, alto saxophone, tenor saxophone).

Red

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