The Modern Jazz Quartet - Topsy: This One's For Basie

Bitrate: MP3@320K/s
Time: 52:59
Size: 121.3 MB
Styles: Contemporary jazz
Year: 1985/2002
Art: Front

[4:09] 1. Reunion Blues
[5:03] 2. Nature Boy
[4:40] 3. Topsy Ii
[8:27] 4. D And E (Retake 1, Master)
[6:46] 5. Valeria
[5:51] 6. Milano
[8:16] 7. Le Cannet
[9:44] 8. D And E (Alternate Take)

Bass – Percy Heath; Drums – Connie Kay;Piano – John Lewis; Vibraphone – Milt Jackson. Recorded at RCA Recording Studios, New York City, June 3rd & 4th 1985.

Despite the title of this CD, the music on this 1985 studio set from The Modern Jazz Quartet is not a program of Count Basie tunes (with the exception of "Topsy") although Basie apparently liked the John Lewis composition "D and E." The other unrelated music is highlighted by an unaccompanied feature for vibraphonist Milt Jackson ("Nature Boy"), "Reunion Blues" and three more complex pieces from pianist John Lewis. Overall this CD gives listeners a fine example of the music of The MJQ during the 1980s. ~Scott Yanow

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Femi Kuti - One People One World

Bitrate: MP3@320K/s
Time: 50:23
Size: 115.3 MB
Styles: Afro beat
Year: 2018
Art: Front

[4:44] 1. Africa Will Be Great Again
[5:13] 2. Best To Live On The Good Side
[3:33] 3. One People One World
[3:38] 4. Na Their Way Be That
[2:28] 5. How Many
[3:19] 6. Evil People
[4:48] 7. Equal Opportunity
[3:50] 8. E Get As E Be
[6:25] 9. Corruption Na Stealing
[4:10] 10. Dem Don Come Again
[4:31] 11. Dem Militarize Democracy
[3:40] 12. The Way Our Lives Go

In the five years between Femi Kuti's Grammy-nominated No Place for My Dream and One People One World, he's been a busy man. He regularly performs at The Shrine, the performance space he built as a memorial to his late father Fela Kuti, he's a touring musician, and he also serves as a traveling ambassador for Amnesty International. (He also found time in 2017 to break the Guinness world record for the longest-held single note on a saxophone -- 51 minutes and 35 seconds.)

One People One World is Kuti's tenth album with his longstanding band Positive Force and its musical director and guitarist Opeyemi Awomolo. Unlike the righteous anger that inspired almost all of his previous recordings, One People One World is by contrast more affirmative; it's celebratory without sacrificing its activism. While Afrobeat is at the core of these 12 songs, Kuti picks up on the mosaic he began weaving on No Place for My Dream by incorporating the harmonies and rhythms of reggae, highlife, soul, R&B, hip-hop, and other global sounds into its mix, adding depth and complexity without sacrificing immediacy and accessibility. The title-track single commences with driving Afrobeat horns, but the rest of the band erupts into calypso and highlife celebration as Kuti and his backing singers deny racism, greed, and hatred the power to conquer the earth. With an infectious, swinging organ, "Africa Will Be Great Again" is a protest jam that details the corruption and greed that hold her back as a continent, but its pulsing wave of salsa, soca, and highlife makes it an irresistible anthem as Kuti posits the reclamation of the continent as the cradle of civilization and the heartbeat of the world. The D'Angelo-esque soul in "It's Best to Live on the Good Side" is carried by slinky, bubbling basslines, vamping R&B guitars, and a swirling organ. When the horns enter, thunder cracks as circular drumming and percussion thread in Afro-Cuban (Yoruban) rhythms. Second single "Na Their Way Be That" opens with cooking reggae before Femi's soulful saxophone solo and an Afrobeat chant cut in from the margin. "Evil People" is stomping, funky R&B, fueled by J.B.'s-style horns, layers of breakbeat drums, chunky wah-wah guitar, and congas. Immediately following is "Equal Opportunity," where Kuti and his backing chorus evoke the celebratory vibe of Curtis Mayfield's "Move on Up," and add jazzy Rhodes piano and Afrobeat horns and rhythms. Even straight-up Afro-funk jams like "Dem Militarize Democracy" open to embrace driving son rhythms, popping R&B basslines, and souled-out vocal and guitar choruses. The dubwise soul of closer "The Way Our Lives Go" is the set's most poetic and inspiring track. Kuti and Positive Force don't let up at all during One People One World. Impeccably sequenced, it runs from strength to strength, dazzling with expansive sonic textures, killer arrangements, and a musical genre palette that exists seemingly without boundaries. As a recording artist, Kuti has been reliably consistent, but this date is his masterpiece. ~Thom Jurek

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Maxine Sullivan - We Just Couldn't Say Goodbye

Bitrate: MP3@320K/s
Time: 74:04
Size: 169.6 MB
Styles: Vocal jazz, Standards
Year: 1995/2015
Art: Front

[2:44] 1. We Just Couldn't Say Goodbye
[2:24] 2. Someday Sweetheart
[2:50] 3. Exactly Like You
[2:49] 4. That Old Feeling
[2:34] 5. Miss Otis Regrets
[2:44] 6. I'm Gonna Sit Right Down And Write Myself A Letter
[3:58] 7. It's The Talk Of The Town
[2:44] 8. I Gotta Right To Sing The Blues
[2:48] 9. She's Funny That Way
[2:33] 10. St. Louis Blues
[2:53] 11. Between The Devil And The Deep Blue Sea
[2:09] 12. Legalize My Name
[2:22] 13. You Were Meant For Me
[3:29] 14. I'm Beginning To See The Light
[4:04] 15. I Thought About You
[2:36] 16. Between The Devil And The Deep Blue Sea #2
[4:11] 17. I Got It Bad, And That Ain't Good
[3:55] 18. Brother, Can You Spare A Dime
[4:14] 19. Georgia On My Mind
[3:22] 20. Don't Get Around Much Any More
[2:19] 21. Skylark
[2:57] 22. What Is There To Say
[3:33] 23. I Didn't Know About You
[3:42] 24. Just One Of Those Things

Two former LPs are combined on this single CD. The subtle but always swinging singer Maxine Sullivan is heard on a very pleasing 1983 session in which she is joined by trumpeter Doc Cheatham (who sounds quite lyrical), the underrated clarinetist Herb Hall, pianist Red Richards, bassist Ike Isaacs and drummer Tom Martin. But good as that date is, it is the first half of this CD that is most memorable. Sullivan sounds exuberant while being inspired by the great cornetist Ernie Carson, Spencer Clark on baritone, pianist Art Hodes, bassist Johnny Haynes and drummer Martin. Carson takes many heated solos; Hodes is often rollicking, and Sullivan's voice is heard throughout in prime form -- she even takes a valve trombone solo on one song. Highlights include definitive versions of "We Just Couldn't say Goodbye," "Someday Sweetheart," "That Old Feeling" and "Between the Devil and the Deep Blue Sea." In addition, there is a previously unreleased version of "It's the Talk of the Town" from Feb. 8, 1978, a very spontaneous performance with Hodes' band during an otherwise instrumental session. Highly recommended. ~Scott Yanow

We Just Couldn't Say Goodbye   

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Angelita Li - Caminhos Cruzados

Bitrate: MP3@320K/s
Time: 57:56
Size: 132.6 MB
Styles: Jazz-Pop vocals
Year: 2002
Art: Front

[5:22] 1. Close To You
[5:49] 2. Caminhos Cruzados
[5:42] 3. Good Morning Heartache
[4:11] 4. Uma Noite
[5:05] 5. He Loves You
[4:11] 6. Inutil Paizagem
[5:59] 7. Más Allá
[8:15] 8. 500 Miles High
[4:30] 9. So Far Away
[8:48] 10. Wishing On A Star

Bass – Anders Christensen; Drums – Mikkel Hess; Guitar [Guitars] – Eugene Pao; Keyboards – Nikolaj Torp; Percussion – Tira Skambye Madsen; Saxophone [Saxophones], Clarinet – Hans Ulrik; Vocals – Angelita Li. Recorded at Granny Studios, Copenhagen, June 28 - 30 2001.

In June 2001 Angelita Li went to Copenhagen to record a cd with Hans Ulrik and his closely-knit band. The result is delightful. Charming and highly sensual music, inter alia coloured by warm Brazilian rhythms, and interpreted by the enticing Chinese singer Angelita Li, who sings just as charmingly in English as she does in Portuguese. The music is sparkling, straightforward and perfect for any occasion. No new ground is broken, but there are plenty of contributions from highly professional musicians with their heart in the right place. We have invented a new genre - jazz-light. A cd for any occasion; catching, pleasant and sensual. Delicious jazz pop, here and in Hong Kong - and in the rest of the world!

Caminhos Cruzados

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Tommy Flanagan, Tommy Cecil, Billy Hart, Paul Bollenback, Gary Bartz, Cyro Baptista - Samba For Felix

Bitrate: MP3@320K/s
Time: 60:47
Size: 139.1 MB
Styles: Bop, Piano jazz
Year: 1999
Art: Front

[8:25] 1. Samba For Felix
[5:52] 2. Don't Get Around Much Anymore
[6:03] 3. You're So Retro
[9:01] 4. Ce
[7:27] 5. Cavalier
[8:17] 6. The Heather On The Hill
[6:56] 7. Perspective Changes
[8:43] 8. Pastorale

Though headlined by Tommy Flanagan, Samba for Felix is truly Tommy Cecil's recording session. Cecil serves as the bandleader, principle songwriter (writing five of the album's eight tracks), and outstanding bassist on this valuable set. For his part, Flanagan is masterful on piano and is expertly joined by Billy Hart (drums), Gary Bartz (alto sax), Paul Bollenback (guitar), and Cyro Baptista (percussion). This all-star cast would be expected to put forth a great effort and they do not disappoint. The title track is a wailing samba, highlighted by Bollenback's intense guitar attack. "Don't Get Around Much Anymore" stays true to Ellington's simple and evocative melody. "Ce" takes on a distinctive Latin flavor and is notable for Baptista's sensitive accompaniment. "The Heather on the Hill" is a lovely ballad on which Bartz makes the alto sing. "Pastorale," a Cecil original, closes the set with understated brilliance. Throughout Samba for Felix, Billy Hart and Cecil lay down a deep, pronounced groove and Flanagan displays the confidence of a genuine master with nothing more to prove. This album is highly recommended. ~Brian Bartolini

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Kenny Kirkland - Kenny Kirkland

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 62:37
Size: 143,6 MB
Art: Front

(8:07)  1. Mr. J.C.
(3:32)  2. Midnight Silence
(1:35)  3. El Rey
(6:02)  4. Steepian Faith
(6:49)  5. Celia
(6:01)  6. Chance
(5:39)  7. When Will the Blues Leave
(8:36)  8. Ana Maria
(7:48)  9. Revelations
(5:19) 10. Criss Cross
(3:04) 11. Blasphemy

Keyboardist Kenny Kirkland's long-overdue debut as a leader really stretches his talents and is occasionally unpredictable. Virtually each of the performances has its own personality and the personnel and instrumentation differ throughout the release. Among the highlights is "Mr. J.C." (which features some stormy Branford Marsalis tenor), an electric Latin but still boppish update of Bud Powell's "Celia" (taken as a duet with percussionist Don Alias), the struttin' "Steepian Faith," a driving rendition of Ornette Coleman's "When Will the Blues Leave" that has some free bop alto from Roderick Ward, and Latin versions (with percussionist Jerry Gonzalez) of two standards not normally thought of as belonging to that idiom: Wayne Shorter's "Ana Maria" and Thelonious Monk's "Criss Cross." This highly recommended CD has more than its share of brilliant moments. ~ Scott Yanow https://www.allmusic.com/album/kenny-kirkland-mw0000676542

Personnel: Kenny Kirkland (piano, keyboards); Branford Marsalis (soprano & tenor saxophones); Charnett Moffet, Robert Hurst, Christian McBride (bass); Steve Berrios (drums, percussion); Jeff "Tain" Watts (drums); Don Alias (bongos, percussion); Jerry Gonzalez (congas, percussion).

Kenny Kirkland

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Aga Zaryan - Remembering Nina & Abbey

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 61:45
Size: 141,8 MB
Art: Front

(5:45)  1. Don't Let Me Be Misunderstood
(4:25)  2. Wild Is The Wind
(4:40)  3. My Baby Just Cares For
(4:23)  4. When Love Was You And Me
(4:31)  5. Long As You're Living
(3:40)  6. I Want A Little Sugar In My Bo
(5:20)  7. Lilac Wine
(5:05)  8. I Got Thunder (And It Rings)
(3:17)  9. Bird Alone
(4:43) 10. Avec Les Temps
(8:25) 11. Strange Fruit
(5:34) 12. Who Knows Where The Time Goes
(1:52) 13. Beautiful Land

The latest album by Agnieszka Czulak (known as Aga Zaryan ) entitled Remembering Nina & Abbey is a direct reference to the work of Nina Simone and Abbey Lincoln , black female singers who have been distinguished in history as women struggling to abolish racial discrimination. Until now, Zaryan only performed single songs from the repertoire of these personalities (eg Suzanne Niny Simone or Throw it Away Abbey Lincoln). This time, however, the album is completely covered by the covers of the two mentioned jazz music.  http://allaboutmusic.pl/aga-zaryan-remembering-nina-abbey-2013-recenzja-szymona-jaremy/

Remembering Nina & Abbey

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Dave Stryker - Big Room

Styles: Guitar Jazz
Year: 1998
File: MP3@320K/s
Time: 56:10
Size: 128,7 MB
Art: Front

( 9:00)  1. Big Room
( 7:41)  2. Nascimento
( 8:15)  3. Hymn
( 8:35)  4. Jabali
(10:30)  5. Mood
( 9:15)  6. Arrival
( 2:51)  7. Hymn(Reprise)

On his latest album Dave Stryker put together a superlative group featuring the New York scene’s most original tenor saxophonist Rick Perry. With his “ enormous technique, rock-hard swing, and a penchant for finely-sculpted solos ” (Chicago Weekly) and “ with a soulful, Grant Green tone and one of the most natural sense of melodic invention …”(The Seattle Times) Dave Stryker welcomes you to the Big Room

Personnel:  Tenor Saxophone – Rich Perry;  Bass – Ed Howard;  Drums – Billy Hart;  Guitar, Composed By – Dave Stryke

Big Room

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Cecil Brooks III - For Those Who Love to Groove

Styles: Jazz, Post Bop
Year: 1999
File: MP3@320K/s
Time: 67:10
Size: 154,7 MB
Art: Front

(4:06)  1. Get Lonely
(5:43)  2. Mother And Child
(4:53)  3. Stay One Step Ahead
(4:03)  4. Browne James
(3:31)  5. Sweet Summer Breeze
(5:06)  6. Can We Talk
(7:11)  7. Lakumbe's Theme
(6:06)  8. Adreena
(4:32)  9. Swamp Run
(4:19) 10. Yvette
(6:35) 11. Hill District
(2:32) 12. Body And Soul
(2:20) 13. I Gan't Get Started
(2:53) 14. Tenderly
(3:14) 15. Sanj's Smoke Shop

On drummer Cecil Brooks III's Savant debut he is joined by tenor saxophonist Don Braden, alto saxophonist Bruce Williams, trumpeter Riley Mullins, and organist Radam Schwartz to perform ten originals by the group members, two pop songs, and a ballad medley. While Brooks is a modern hard bop drummmer in the tradition of Art Blakey, he chooses to stay in the background for most of this recording, while Schwartz plays strong basslines that are essential to creating the groove that is this recording's focus. Favorites include the soulful finger poppin' grooves of "I Get Lonely," a pop hit for Janet Jackson; "Can We Talk," a pop hit for Tevin Campbell; the exotic grooves of "Browne James" and "Lakumbe's Theme"; and the up-tempo burning grooves of "Swamp Run" and "Hill District." This is different from the bop, blues, and ballads that most organ-based groups play, which makes it an enjoyable listening experience. ~ Greg Turner https://www.allmusic.com/album/for-those-who-love-to-groove-mw0000251490

Personnel: Cecil Brooks III (drums); Bruce Williams (alto saxophone); Don Braden (tenor saxophone); Riley Mullins (trumpet); Radam Schwartz (organ)

For Those Who Love to Groove

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Billy Hart - Oshumare

Styles: Jazz, Post Bop
Year: 1995
File: MP3@320K/s
Time: 54:59
Size: 125,9 MB
Art: Front

( 6:17)  1. Duchess
( 7:44)  2. Waiting Inside
( 5:56)  3. Chance
( 7:27)  4. Lorca
( 4:45)  5. Cosmosis
(10:20)  6. Idgaf Suite
( 6:09)  7. May Dance
( 6:17)  8. Mad Monkey

Billy Hart is a perfect example of a drummer who has an impressively long list of sideman credits but has only recorded sporadically as a leader. One of the few sessions that he led in the 1980s was 1985's Oshumare, a Gramavision date that has one foot in fusion and the other in straight-ahead post-bop. Hart oversees an interesting blend of acoustic and electric instruments; Dave Holland is on upright bass, while the electric contributions come from Kenny Kirkland or Mark Gray on keyboards and Bill Frisell or Kevin Eubanks on electric guitar. Rounding out the cast which could almost be described an all-star cast are Branford Marsalis on tenor sax, Steve Coleman on alto sax, Didier Lockwood on violin, and Manolo Badrena on percussion. However, the use of the term all-star would be a slight exaggeration because not all of the musicians became major names in jazz although most of them did. But it is no exaggeration to say that Hart leads an impressive cast of players on this CD or that the material is generally solid; that is true of Hart's Latin-flavored "Lorca" as well as Frisell's mysterious "Waiting Outside" and Eubank's abstract "IDGAF Suite." Parts of Oshumare are essentially straight-ahead, especially Holland's fast-paced "Cosmosis." But this album cannot honestly be described as the work of a jazz purist. One minute Hart is straight-ahead, and the next he encourages Eubanks or Kirkland to take things in more of a fusion direction. And that speaks well of the drummer (who was 44 or 45 when this album was recorded), because it demonstrates that he is willing to listen to what younger musicians have to say. Oshumare makes listeners wish that Hart had recorded more albums as a leader in the 1980s. ~ Alex Henderson https://www.allmusic.com/album/oshumare-mw0000188147

Personnel includes: Billy Hart (drums); Branford Marsalis, Steve Coleman (saxophone); Didier Lockwood (violin); Bill Frisell (guitar); Dave Holland (bass); Kevin Eubanks, Kenny Kirkland (piano).

Oshumare

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