Coleman Hawkins - Supreme

Bitrate: MP3@320K/s
Time: 65:05
Size: 149.0 MB
Styles: Bop, Saxophone jazz
Year: 1995
Art: Front

[17:08] 1. Lover Come Back To Me
[10:09] 2. Body And Soul
[16:42] 3. In Walked Bud
[ 9:05] 4. Quintessence
[10:30] 5. Fine And Dandy
[ 1:27] 6. Ow!

Bass – Gene Taylor; Drums – Roy Brooks; Piano – Barry Harris; Tenor Saxophone – Coleman Hawkins. Recorded live on September 25, 1966 at Left Bank Jazz Society, Baltimore, MD.

Recorded live at the Left Bank Jazz Society in Baltimore, Maryland on September 25, 1966, this CD by tenor saxophonist and jazz icon Coleman Hawkins is a testament to both his skills at improvisation and his ability to convey deep emotions from music of several jazz genres. The Hawk is very ably supported by Barry Harris, a gifted pianist, Gene Taylor on bass, and Roy Brooks on drums (Brooks also served as the producer).The 6 tracks on this CD present a wide range of jazz styles, from the more traditional ballads popular in the 1930s and 1940s to a brief but delightful bit of bebop. ~Karlojazz

Supreme mc
Supreme zippy

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Renée Geyer - Renéessance

Bitrate: MP3@320K/s
Time: 50:25
Size: 115.4 MB
Styles: Soul, R&B
Year: 2009
Art: Front

[3:52] 1. Dedicated To The One I Love
[3:46] 2. Heading In The Right Direction
[3:52] 3. Say I Love You
[3:16] 4. Stares & Whispers
[4:22] 5. It Only Happens (When I Look At You)
[5:03] 6. It’s Too Late
[4:30] 7. If Loving You Is Wrong (I Don’t Wanna Be Right)
[3:35] 8. Standing On Shaky Ground
[3:52] 9. Difficult Woman
[3:47] 10. Baby I’ve Been Missing You
[4:27] 11. It’s A Man's Man's Man’s World
[5:56] 12. Sitting In Limbo

Renéessance (subtitled An Acoustic Journey, the Best of Renée Geyer) is the fourteenth studio album by Australian soul and R&B singer Renée Geyer. The album contains newly recorded acoustic versions of songs Geyer has previously recorded in addition to some new material.

Upon release, Geyer said “I’ve avoided doing this album for a long time for the simple reason that I’ve already done these songs. I finally said yes ’cause we agreed to do it live at my keyboard player’s house: just set up like an acoustic gig and play. People tend to like the intimacy of that. It has a certain energy and I think it works.” adding “A lot of these songs were not necessarily that easy to put into an acoustic form, some of them are there because I do them every night and I love them forever, some are on there because they’re important songs in my career. I’m just hoping I did justice to them all.”

Renéessance mc
Renéessance zippy

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Bruno Marini, Luca Boscagin, Paolo Mappa - 70 Steps To 60s

Bitrate: MP3@320K/s
Time: 55:46
Size: 127.7 MB
Styles: Pop-Jazz
Year: 2006
Art: Front

[4:22] 1. Green Onions
[5:05] 2. Behave Yourself
[3:54] 3. Comin' On Baby
[4:33] 4. Sundown
[5:17] 5. Hit The Road Jack
[7:46] 6. House Of The Risin' Sun
[6:08] 7. Lonely Avenue
[6:33] 8. Smoke On The Water
[5:02] 9. Scuttlin'
[2:54] 10. The B3 Alchemy
[4:08] 11. PDA

Bruno Marini is a Baritone saxophone and Hammond organ player. He has performed with: Jack McDuff, Shirley Scott, Steve Lacy, Gary Bartz, Anthony Braxton, Benny Golson, Joe Henderson, Sal Nistico, Hal Singer, Paul Jeffrey, John Tchicai, Joe Lovano, Clark Terry, Nat Adderley, Chet Baker, Bill Dixon, Kenny Burrell, Mal Waldron, Herbie Goins, Donald Garrett, Bobby Durham, Jimmy Cobb, Joe Chambers, Albert "Tookie" Heath, Han Bennink, Steve Ellington, Jimmy Carl Black...

Luca Boscagin is a guitarist and composer and arranger. He started playing on stage in 1989 with the big band "Jazzset orchestra". After studying with Dodo Castelli he developed his interest in improvvisation and took several lessons with two of the foremost italian guitarists Tolo Marton and Sandro Gibellini. What influenced luca the most was listening to vynil albums of many artists, not caring much about the genre, developing a taste for good music, crossing the borders of styles. Led Zeppelin, Genesis, E.L.P, King Crimson, Wishbone Ash, Jeff Beck, Jimi Hendrix, Albert king, Miles Davis, Wes Montgomery, Stravinsky, Ravel were among luca's favourite choices.

70 Steps To 60s mc
70 Steps To 60s zippy

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Denis Solee - All Of You

Bitrate: MP3@320K/s
Time: 42:18
Size: 96.9 MB
Styles: Smooth jazz
Year: 2009
Art: Front

[3:35] 1. Mack The Knife
[3:42] 2. All Of You
[3:10] 3. It Don't Mean A Thing (If It Ain't Got That Swing)
[4:24] 4. That Old Black Magic
[3:47] 5. I'm Beginning To See The Light
[2:55] 6. Exactly Like You
[3:23] 7. Lover
[3:24] 8. On A Clear Day (You Can See Forever)
[4:04] 9. Love For Sale
[2:59] 10. Thou Swell
[3:46] 11. I Let A Song Go Out Of My Heart
[3:04] 12. This Can't Be Love

Denis Solee has been around for some time and plays a great saxophone. This, along with the backup of the Beegie Adair Trio, makes for very pleasant listening.

All Of You mc
All Of You zippy

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Lee Konitz - Sometimes I'm Happy

Bitrate: MP3@320K/s
Time: 117:35
Size: 269.2 MB
Styles: Saxophone jazz
Year: 2018
Art: Front

[3:55] 1. I Can't Get Started
[2:16] 2. Sweet And Lovely
[4:26] 3. I Remember You
[3:03] 4. Easy Living
[6:14] 5. Donna Lee
[5:46] 6. Background Music
[2:58] 7. Skylark
[5:31] 8. Two Not One
[5:20] 9. Stairway To The Stars
[6:56] 10. Foolin' Myself
[5:25] 11. Topsy
[6:18] 12. You Go To My Head
[4:49] 13. There Will Never Be Another You
[6:09] 14. Billie's Bounce
[7:24] 15. Crazy She Calls Me
[3:12] 16. Nursery Rhyme
[6:01] 17. Still Foolin' Myself
[7:40] 18. All Of Me
[5:31] 19. Subconscious Lee
[8:07] 20. Sunflower
[7:17] 21. Don't Squawk
[3:06] 22. Ronnie's Line

One of the most individual of all altoists (and one of the few in the 1950s who did not sound like a cousin of Charlie Parker), the cool-toned Lee Konitz has always had a strong musical curiosity, leading him to consistently take chances and stretch himself, usually quite successfully. Early on he studied clarinet, switched to alto, and played with Jerry Wald. Konitz gained some attention for his solos with Claude Thornhill & His Orchestra (1947). He began studying with Lennie Tristano, who had a big influence on his conception and approach to improvising.

Konitz was with Miles Davis' Birth of the Cool Nonet during their one gig and their Capitol recordings (1948-1950) and recorded with Lennie Tristano's innovative sextet (1949), including the first two free improvisations ever documented. Konitz blended very well with Warne Marsh's tenor (their unisons on "Wow" are miraculous) and would have several reunions with both Tristano and Marsh through the years, but he was also interested in finding his own way; by the early '50s he started breaking away from the Tristano school. Konitz toured Scandinavia (1951), where his cool sound was influential, and he fit in surprisingly well with Stan Kenton & His Orchestra (1952-1954), being featured on many charts by Bill Holman and Bill Russo.

Konitz was primarily a leader from that point on. He almost retired from music in the early '60s but re-emerged a few years later. His recordings have ranged from cool bop to thoughtful free improvisations, and his Milestone set of Duets (1967) is a classic. In the '70s and '80s, Konitz increased his recorded output, issuing consistently stimulating sessions for such labels as SteepleChase, Philogy, Soul Note, and others.

Sometimes I'm Happy mc
Sometimes I'm Happy zippy

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Kirk Knuffke - Cherryco

Styles: Cornet Jazz
Year: 2017
File: MP3@320K/s
Time: 63:29
Size: 147,4 MB
Art: Front

(5:57)  1. Roland Alphonso
(5:52)  2. The Sphinx
(7:20)  3. Art Deco
(4:58)  4. Remembrance
(4:11)  5. Golden Heart
(2:55)  6. Lonely Woman
(6:58)  7. Jayne
(7:44)  8. Song in D
(4:28)  9. Paris Ambulance Song
(5:14) 10. Angel Voice
(3:46) 11. Mind and Time
(3:59) 12. Cherryco

Cherry-co was the title of a tune by Don Cherry which first appeared on the 1966 album The Avant Garde, a revolutionary piece of work jointly authored by Cherry and John Coltrane. The title, was in part a punning reference to the jazz standard Cherokee, in part a conflation of Cherry and Co(ltrane). Kirk Knuffke, the virtuosic NYC-based cornetist, has a new album CherryCo consisting of tunes by Cherry and Ornette Coleman seven by Cherry and five by Coleman, and is in the company of two experienced master craftsmen of rhythm, bassist Jay Anderson and drummer Adam Nussbaum, working with both of them for the first time. With a strong musical sensibility, both melodic and rhythmic, the trio plunges deep into the progressive universe of these composers, taking the opportunity to innovate as well while re-shaping the tunes with a tweak of their own. With a full-bodied acoustic sound and an infallible understanding of one another’s movements, the band begins this journey to the past with the reggae-ish Roland Alphonso by Cherry, who composed it for the Jamaican tenorist referred to in the title. After blowing the theme’s deep-seated melody with crisp delicacy, Knuffke embarks on a trippy improvisation that will keep you engaged and enthralled, at the same time that stimulates his peers to push forward. After Anderson’s loping bass solo and the reinstatement of the theme, the final vamp briefly allows Nussbaum to intensify his unostentatious brushed attacks.

Coleman’s shape-shifting The Sphinx is obstinate and animated in equal measure. The drummer's  percussive intro has the feel of a march throughout, preparing the ground for the brisk melody that erupts from Knuffke’s cornet. Well accompanied by Anderson’s playful game, he engages in a funk rock backbeat when the time to improvise arrives, but just until they decide to make another adjustment toward a hasty swinging flow. When Knuffke regains the spotlight again, Nussbaum throws in lots of cymbal and snare drum whisks. In the same vivid spirit, Cherry’s Paris Ambulance Song stands out through gracious coordination. By the end, we have Knuffke and Anderson trading fours with the drummer which they also do on Coleman’s Jayne, but this time expanding it into eight bars. This last tune, delivered with strong Latin accents, swings aplomb, propelled by a rhythm section that moves constantly in the pocket. Mood variations are constant throughout the recording. If Art Deco feels like a gentle jazz standard and grooves along with sweet-sounding solos, Remembrance, a blues-based piece packed with Latin touches, funk, and swing, gains a stimulating African pulse whenever Nussbaum operates with mallets. In contrast, Golden Heart displays bouncing unisons uttered by cornet and bass on top of a fluid rhythm, carrying an inherent Arabic feel attached. The session ends with the title track, which is made of three different layers juxtaposed with as much elegance as freedom. The cornetist pours out multiple creative ideas taken from the freebop compendium and beyond, and the tune gradually decelerates toward the finale. Cherryco, a collection of classic jazz tunes given a passionate and tasteful contemporary treatment, is a treat for the ears. http://www.londonjazznews.com/2017/06/cd-review-kirk-knuffke-cherryco.html

Personnel:  Kirk Knuffke (Cornet); Jay Anderson (Bass); Adam Nussbaum (Drums).

Cherryco

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Sandi Patty & Kathy Troccoli - Together

Styles: Vocal
Year: 1999
File: MP3@320K/s
Time: 54:20
Size: 124,8 MB
Art: Front

(2:38)  1. Together (Wherever We Go)
(3:53)  2. The Last Day
(5:07)  3. Embraccable You
(3:47)  4. A Foggy Day
(3:55)  5. Come Rain Or Come Shine
(4:36)  6. Summertime
(6:12)  7. You Made Me Love You
(4:27)  8. I Remember
(4:52)  9. They Can't Take That Away From Me
(3:07) 10. The Trolley Song
(4:25) 11. The Man I Love
(4:36) 12. Somewhere Over The Rainbow
(2:38) 13. Get Happy/Happy Days Are Here Again

Best known for their popularity in the Christian music market, these two singing dynamos create a nearly religious experience combining Troccoli's love for Judy Garland's legendary performances and Patty's attachment to Gershwin, and then meeting in the middle for two brand new odes to nostalgia, the passion ballad "The Last Day" and the lush, almost tearful "I Remember." These two new numbers were produced and arranged by Robbie Buchanan, and while they are nice tunes covering the theme of looking back, they pale in comparison to the standards. Their performances are exquisite, but some of the credit needs to go to the slew of arrangers and musical settings they work with. Orchestra Indianapolis, which backs the snappy, big band brassy explosion of Gypsy's "Together (Wherever We Go")" and tener but dramatic renditions of "Summertime," "The Man I Love" and "Over The Rainbow," is arranged by Bob Krogstad. Mark Gasbarro works wonders with both The Crown Project (small band) on "They Can't Take That Away From Me" and "Embraceable You" as well as the Project's big band with snazzy arrangements of "Come Rain or Come Shine," "A Foggy Day," and the sly, spunky brassy percussiveness of "The Trolley Song." This labor of love's tag line "A Celebration of Classic Popular Songs from Garland To Gershwin" says it all. It's hard to miss with such fine material, but even harder when those singing it have felt the passion of every note. ~ Jonathan Widran     https://www.allmusic.com/album/together-mw0000244558 

Together

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Red Garland, Ron Carter, Philly Joe Jones - Crossings

Styles: Piano Jazz
Year: 1977
File: MP3@320K/s
Time: 39:38
Size: 91,0 MB
Art: Front

( 5:10)  1. Solar
( 5:23)  2. Railroad Crossing
( 5:18)  3. Never Let Me Go
( 5:17)  4. Oleo
( 7:02)  5. But Not for Me
(11:26)  6. Love for Sale

Amazingly enough, this set (reissued on CD) was the first time that pianist Red Garland and drummer Philly Joe Jones recorded together in a trio setting, even though they had both been a part of Miles Davis' first classic quintet. With bassist Ron Carter completing the group, they perform five standards and the bassist's "Railoroad Crossing." This is one of Garland's best later dates (Philly Joe often pushes him), and the highlights include "Solar," "Oleo" and "Love for Sale." ~ Scott Yanow https://www.allmusic.com/album/crossings-mw0000309769

Personnel: Red Garland (piano); Philly Joe Jones (drums);  Ron Carter (bass).

Crossings

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Houston Person - The Opening Round

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 55:20
Size: 127,1 MB
Art: Front

(9:03)  1. Sweet Sucker
(6:25)  2. Let's Stay Together
(7:07)  3. Can't Help Lovin' That Man
(6:33)  4. What's Going On?
(4:37)  5. When A Man Loves A Woman
(8:33)  6. Blue Spring
(8:07)  7. Song For A Rainbow
(4:55)  8. Shenandoah

A fun and personable mix of jazz and soul classics plus a couple of originals by guitarist Rodney Jones, Houston Person's The Opening Round: Groove Masters Series, Vol. 1 isn't a jazz album for the ages, but it's start-to-finish entertaining. It's a straight-up groove album, with Person in front of a four-piece organ combo anchored by the legendary Bernard "Pretty" Purdie on drums next to ex-Waitresses-bassist-turned-session-star Tracy Wormworth. Joey DeFrancesco, a disciple of the late Jimmy McGriff, adds funky Hammond B-3 throughout, and the song selection seems to have been chosen specifically to highlight his interplay with Person. Heavy on the '70s soul classics, it features effective though hardly groundbreaking takes on classics like "What's Going On," "Let's Stay Together," and "When a Man Loves a Woman," staying close to the original melody lines but thankfully not replicating the original vocal parts on sax the way that so many smooth jazz lamers do. Moving back a bit, Person essays both the Showboat standard "Can't Help Lovin' That Man" and, surprisingly, the old folk tune "Shenandoah," which he and the group transform into a bittersweet, elegiac theme. ~ Stewart Mason https://www.allmusic.com/album/the-opening-round-groove-masters-series-vol-1-mw0000599160

Personnel: Houston Person (tenor saxophone); Rodney Jones (guitar); Joey DeFrancesco (Hammond b-3 organ); Tracy Wormworth (electric bass); Bernard "Pretty" Purdie (drums).

The Opening Round

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Donald Brown - Cause and Effect

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 68:03
Size: 156,2 MB
Art: Front

(6:03)  1. The Power of the Drums
(6:25)  2. I Should Care
(7:45)  3. A Free Man?
(8:08)  4. Cause and Effect
(6:58)  5. Theme for Mandela
(7:09)  6. Black Narcissus
(7:14)  7. Daddy's Girl Cynthia
(7:12)  8. The Smile of the Snake
(6:23)  9. Man in a State of Nature (Part 1)
(4:44) 10. Man in a State of Nature (Part 2)

A really wonderful little album from pianist Donald Brown deeply soulful, and in ways that go beyond just his work on piano! There's some great higher-concept ideas going on here bits of culture and philosophy folded into the music, courtesy of recitations by Marlon Saunders on a handful of tracks the oft-overlooked legacy of soul jazz that extended well past the 70s, at a time when this sort of music was often an expression for deeper thoughts in the years before hip hop dominated such territory too strongly. 

Brown's got some great help on the date too tenor from Joe Henderson, flute from James Spaulding, and vibes from Steve Nelson plus bass from Ron Carter and drums from either Kenny Washington or Carl Allen, both the kind of players who get the rhythmic pulse of the record right. Titles include "A Free Man","The Power Of The Drums", "Black Narcissus", "Man In A State Of Nature", "Daddy's Girl Cynthia", and "Cause & Effect". (Out of print.)  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/497070

Personnel: Donald Brown (piano), Marlon Saunders (vocals, narration), Joe Henderson (tenor saxophone), James Spaulding (flute), Steve Nelson (vibraphone, marimba), Ron Carter (bass), Carl Allen, Kenny Washington (drums), Rudy Bird, Donald Eaton (percussion), Lenora Helm (background vocals).

Cause and Effect

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