J.J. Johnson, Kai Winding - The Great Kai And J.J.

Bitrate: MP3@320K/s
Time: 41:43
Size: 95.5 MB
Styles: Bop, Trombone jazz
Year: 1960/1997
Art: Front

[3:09] 1. This Could Be The Start Of Something Big
[3:48] 2. Georgia On My Mind
[4:28] 3. Blue Monk
[4:03] 4. Judy
[3:34] 5. Alone Together
[3:02] 6. Side By Side
[3:59] 7. I Concentrate On You
[4:01] 8. Theme From Picnic
[5:07] 9. Trixie
[3:08] 10. Going Going Gong
[3:18] 11. Just For A Thrill

Bass – Paul Chambers (3) (tracks: 1, 3 ,6, 7), Tommy Williams (3) (tracks: 2, 4, 5, 8 to 11); Drums – Art Taylor (tracks: 2, 4, 5, 8 to 11), Roy Haynes (tracks: 1, 3 ,6, 7); Piano – Bill Evans; Trombone – J.J. Johnson, Kai Winding. Recorded in 1961. Digitally remastered at MCA Music Media Studios, using 20-Bit Super Mapping.

This lively Impulse! set was the first recorded reunion of trombonists J.J. Johnson and Kai Winding. With pianist Bill Evans, either Paul Chambers or Tommy Williams on bass, and Roy Haynes or Art Taylor on drums, the two trombonists are in melodic and witty form on such tunes as "This Could Be the Start of Something Big," "Blue Monk," "Side by Side," and "Theme from Picnic." Recommended. ~Scott Yanow

The Great Kai And J.J. mc
The Great Kai And J.J. zippy

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Laurent Marode Nonet - This Way Please

Bitrate: MP3@320K/s
Time: 39:16
Size: 89.9 MB
Styles: Big band
Year: 2017
Art: Front

[4:53] 1. Sacha's Mood
[5:35] 2. Wives And Lovers
[5:01] 3. The Adventure On Kleber 452
[3:22] 4. Start Stop
[9:04] 5. The Reason Why I Love You
[3:47] 6. Penny Lane
[5:43] 7. Very Last Round
[1:47] 8. This Way Please

This Way Please is a project that brings together exceptional musicians! FABIEN MARY. DAVID SAUZAY. FRANK BASIL. LUIGI GRASSO. JERRY EDWARDS, NIHOLAS THOMAS. LAURENT MARODE. FABIEN MARCOZ. MOURAD BENHAMMOU. This configuration allows Laurent Marode to use a prior arrangement techniques far apart from each other: the Big Band but also those of the great quintets and sextets of the history of jazz, as well as techniques related to classical music.

Passionate about film music and beautiful melodies, the compositions and selected pieces awaken and rehabilitate a forgotten jazz: popular, dreamlike and unifying, far from the elitist shackles of complex compositions intended for the discerning ears or the jazz ambulatory of fanfare. In this intermediate space of creation, This Way Please brings back to life a universalising jazz, demanding and offers a vast playground dedicated to the tribute and the creation. (Translated from French.)

This Way Please mc
This Way Please zippy

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Indra Rios-Moore - Heartland

Bitrate: MP3@320K/s
Time: 47:15
Size: 108.2 MB
Styles: Jazz vocals
Year: 2015
Art: Front

[3:27] 1. Little Black Train
[3:19] 2. Azure
[4:09] 3. Money
[5:08] 4. What Becomes Of The Broken Hearted
[3:53] 5. From Silence
[4:35] 6. Blue Railroad Train
[6:55] 7. Heroes
[4:17] 8. Hacia Donde
[4:03] 9. Your Long Journey
[4:33] 10. Oshun
[2:52] 11. Solitude

If you’ve ever had to witness a parent or loved one suffer with cancer, you know the profound darkness that can engender. Especially in the late evenings, when you’re left all alone with your thoughts. For solace, some turn to literature, others to prayer, still others to things that numb the senses. And luckily for us, some, like Indra Rios-Moore, turn to music.

During a period in which her mother was battling the disease, and Indra herself was adjusting to new motherhood, she found comfort listening late nights to an eclectic collection of songs, previously recorded by other artists ranging from Duke Ellington to Doc Watson to David Bowie, that she would end up covering on Heartland under the guiding hand of producer Larry Klein, well known for his work with Joni Mitchell, Tracy Chapman and many other fine vocalists. Heartland was largely recorded over a 3-day period just a month after Indra’s mother had died, and what Indra, her band, and Larry have created in the aftermath of her passing is something quite beautiful.

Lest anyone get the wrong idea, Heartland is by no means a dark or “sad” album, nor do the songs themselves have anything directly to do with illness or loss; indeed, the album has its share of up-tempo tracks to complement the ballads and slower arrangements, most notably its opening track and compelling lead single, “Little Black Train,” which we recommended in a “First Listen” article in July. I mention the circumstances of Indra’s mother’s illness only to provide listeners with context that may help explain the depth and intensity of some of her vocal performances here, especially on the album’s emotional centerpiece, “From Silence,” a stunningly lovely track showcasing her warm upper register and spine tingling ability to hold a note for meaning, not just for affectation (listen at 2:45 to her extend the word “eyes” like no one quite has before).

Some readers may be skeptical regarding whether an album of covers of original jazz, rock and Americana compositions can hang together as a cohesive artistic expression, much less be of interest to soul music fans. The answer is that Indra, and Larry with his considerable feel for the heart of a composition, have taken the essence of these songs and reimagined them largely as a mélange of blues, soul and jazz that cuts across genres. Credit for the appealing soundscape here also must be given to the small ensemble of exceptional supporting musicians --Denmark-based bassist Thomas Sejthen, guitarist Uffe Steen, sax player Benjamin Traerup (also Indra’s husband), and drummer Jay Bellerose of Los Angeles -- who skillfully capture the spirit of the originals and unify the record stylistically but play with an elegant restraint that pushes Indra’s vocals to center stage. It’s the notes they don’t play, and the freedom they in turn give Indra, that in part make this work so well. ~Robb Patryk

Heartland mc
Heartland zippy

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Big Band Jazz Maresme - S/T

Bitrate: MP3@320K/s
Time: 72:09
Size: 165.2 MB
Styles: Big band
Year: 2011
Art: Front

[7:03] 1. Backrow Politics
[5:06] 2. A Beautiful Friendship
[9:10] 3. Tin Tin Deo
[2:19] 4. This Can't Be Love
[3:48] 5. Half The Fun
[4:44] 6. Love For Sale
[8:29] 7. The Blues Machine
[6:02] 8. Come Rain Or Come Shine
[6:02] 9. Pots & Pans
[5:13] 10. Solitude
[4:43] 11. In A Mellow Tone
[5:57] 12. Mercy, Mercy, Mercy
[3:27] 13. T'ain't What You Do

Saxo alt: FRANCESCO CAFISO; Piano i direcció: Gerard Nieto; Trompetes:Ivó Oller, Jaume Peña, Albert Cruz, Ignasi Franco: Trombons: Aram Montagut, Tom Johnson, Jordi Montasell i Pere Bono; Saxos: Nil Villà, Marc, Joan Moragas, Jaume Maristany Albert Comaleras: Base rítmica: Lluís Murillas (guitarra) Pep Rius (contrabaix) Xavi Hinojosa (bateria).

Big Band Jazz Maresme, it's been ten years ahead of this project ... how is it possible? with the bureaucratic "sticks on the wheels" and other things that we encounter. Also, of wanderings, little institutional support and programmers are disappointing. There is only one explanation: we are crazy to touch and suffer from anxiety if we spend too many hours without contact with music. At the same time we also believe that we do a pedagogical social function, defending and showing this music that we like so much, jazz.

In these 10 years, the Big Band has evolved, has compacted its sound and currently has the ability to reach the repertoires of the different projects, much faster than at the beginning. Also, individually, we have evolved, as musicians, because we had to be at the level of demand that the orchestra, directed by Gerard Nieto, asked. As the director said at the beginning "we have to be a professional jazz orchestra, capable of achieving any repertoire or project" (he said nothing of: "in a short time and few essays" that we usually do, because as in all the rest of the things of life it always goes away at the last moment: the scores arrive late or it is difficult to coordinate 17 people (worse still: 17 musicians !!) to find the time to try.

Finally, to acknowledge, we have to know previously and as we said before, humbly, we believe we can do this teaching role, presenting intitulating proposals to help you get to know this music a bit more. (Translated from Spanish.)

Big Band Jazz Maresme mc
Big Band Jazz Maresme zippy

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Jean-Philippe Bordier - Duke Celebration

Bitrate: MP3@320K/s
Time: 57:11
Size: 130.9 MB
Styles: Guitar jazz
Year: 2012
Art: Front

[4:42] 1. Searchin
[4:09] 2. Jeep Is Jumpin
[6:56] 3. Just Lucky So And So
[4:28] 4. All To Soon
[7:17] 5. Sunset With The Mocking Bird
[2:59] 6. Mainstem
[4:17] 7. Love You Madly
[6:22] 8. Ain't Got Nothing But The Blues
[5:06] 9. Warm Valley
[5:11] 10. Sucrier Velours
[5:39] 11. Caravan

Accompanied by his talented comedians, Jean-Philippe Bordier, in the tradition of Kenny Burrell and Georges Benson, plays a festive music full of swing tinged with various influences: jazz, caribbean, funky groove.

"What first strikes the listener is the disconcerting ease that this remarkable guitarist possesses because his music is full of inspiration, blues and swing at a hot temperature, and what touches me the most is the clarity and precision of his musical discourse that never uses gratuitous virtuosity or useless chatter.In all his compositions we find his innate sense of melody and all the elegance of his playing in the fluidity of each of his sentences. . " ~ Jean-Michel Reisser (Translated from French.)

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Duke Celebration zippy

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Johnny Sparrow - Sparrow's Flight

Bitrate: MP3@320K/s
Time: 41:55
Size: 96.0 MB
Styles: Saxophone jazz
Year: 1990/2006
Art: Front

[3:00] 1. Boudoir Boogie
[2:57] 2. When Your Lover Has Gone
[2:21] 3. Paradise Rock
[3:00] 4. What's New
[3:10] 5. Serenade To Satchmo
[3:22] 6. Always
[2:12] 7. Indiana
[2:44] 8. Jump Steady
[2:52] 9. Sparrow's Flight No. 2
[3:21] 10. Sparrow In The Barrel
[2:45] 11. I'll See You In My Dreams
[4:18] 12. Yesterdays
[2:46] 13. Am I Blue
[3:00] 14. What's New (Previously Unreleased Take)

Johnny Sparrow's sides for the Gotham label, including six previously unreleased numbers and six previously unissued outtakes. "Sparrow's Flight" isn't here, although "Sparrow's Flight No. 2" is on hand. "Sparrow In the Barrel," which he'd originally cut for National and turned up as the B-side of his Gotham debut "When Your Lover Has Gone," features a strikingly dark solo from Sparrow. "Sparrow's Flight No. 2" soars effortlessly. "Boudoir Blues" shows Sparrow doing a distinctly '40s brand of jump blues, which comes off extremely well -- with superbly aggressive playing on his part -- but could hardly have been commercially appealing at the time. And "Serenade to Satchmo" is a loving tribute to Sparrow's ex-boss, with both flute and tenor sax solos. ~ Bruce Eder

After playing with Louis Armstrong and Lionel Hampton's bands in the mid-'40s, sax player Johnny Sparrow formed his own band, Johnny Sparrow and His Bows and Arrows. The group was based in Philly in the early 1950s, and signed to Gotham Records in 1952. This selection features the best of his Philly years, when the band was enhanced with a trombone, flute, baritone sax, and vibraphone.

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Sparrow's Flight zippy

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Brian Lynch - Madera Latino: A Latin Jazz Perspective on the Music of Woody Shaw

Styles: Trumpet Jazz
Year: 2016
File: MP3@320K/s
Time: 109:28
Size: 251,3 MB
Art: Front

(10:25)  1. Zoltan
( 7:32)  2. Sweet Love of Mine
(11:17)  3. Time Is Right
( 8:28)  4. Just a Ballad for Woody
( 8:34)  5. In a Capricornian Way
( 9:08)  6. Blues for Woody and Khalid
( 9:06)  7. Tomorrow's Destiny
( 9:57)  8. Joshua C.
( 8:28)  9. On the New Ark
(11:11) 10. Song of Songs
(15:18) 11. Madera Latino Suite

The asymmetric rhythms belonging to the Afro-Cuban tradition substantiate this extraordinary double CD by Brian Lynch , who with Woody Shaw shares the sad destiny of being a great musician, but not very exposed to the light of the big stages. With the missing trumpet player, Lynch also shares a love for an all-round expressive dimension, capable of incorporating both a lyrical and nocturnal dimension, and a more energetic figure. The work in question is emblematic in this sense, which incorporates the polyrhythmic trend of Afro-Cuban percussion with the more canonical symmetric times of jazz. The result is a gripping work where everything works wonders and once again confirms the whole class of the leader. As a common denominator, Lynch's rare ability to infuse with his mobile solism what seems to be the essence of jazz: communicative, pathos, ability to transmit deep emotions contained in the unrepeatable and unique moment of jazz improvisation. His big band fully captures and manages to return all the expressive figure of Shaw, as oblique and irregular as lyric and peaceful. His compositions are here revisited with admirable intelligence and originality to give rise to a project of stringent consistency and rigor. An unmissable album that adequatamante pays homage to the masterful artistic figure of a complete and ductile musician, who made the most important business cards of refined refinement and technique. ~ Maurizio Zerbo https://www.allaboutjazz.com/a-latin-jazz-perspective-on-music-of-woody-shaw-bryan-lynch-hollistic-musicworks-review-by-maurizio-zerbo.php

Personnel: Brian Lynch, Sean Jones, Dave Douglas, Diego Urcola, Etienne Charles, Mike Rodriguez, Josh Evans, Philip Dizack, Bryan Davis: trumpet; Zaccai Curtis: piano; Luques Curtis: double bass; Obed Calvaire: battery; Pedrito Martinez, Little Johnny Rivero, Anthony Carrillo: percussion.

Madera Latino: A Latin Jazz Perspective on the Music of Woody Shaw

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Lady Kim - Autumn leaves

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 50:33
Size: 115,9 MB
Art: Front

(5:10)  1. Autumn Leaves
(2:16)  2. Bye Bye Blackbird
(5:01)  3. Willow Weep for Me
(4:26)  4. Tryin' Times
(3:32)  5. Corcovado
(4:48)  6. What a Difference a Day Made
(5:05)  7. In the Dark
(3:33)  8. Moanin'
(6:05)  9. Midnight Sun
(4:20) 10. Just the Two of Us
(6:10) 11. One for My Boby

I started singing in Boston as a young girl, inspired by Barbra Streisand and Diana Ross. My mom introduced me to the music of Billie Holiday, and I was hooked. My plans to become a pediatrician went out the window. Since then I’ve been described as “a musical jewel” with a repertoire that has included jazz standards, jazz-not-so-standards, the blues, funk, and reggae. Throughout my career I’ve been lucky enough to perform in a variety of great places : from The New York Jazz Session in Irkutsk, Siberia to the Blue Note in Fukuoka, Japan; from the Montreal’s International Jazz and Off Jazz Festivals to the Ginza Jazz Festival, Japan. And I have performed with a variety of stellar artists: from jazz bassist William Parker to the undeniable funk of George Clinton and Parliament Funkadelic; from Joe Hisaishi’s Japanese New World Philharmonic Orchestra to New Orleans’ Charles Neville. Originally from the States, I work with a fabulous group of Montreal musicians.  My vocal style has been called “warm as hot chocolate”, and the band and i swing with tunes from Thelonius Monk, make you cry with some of the best jazz standards, as well as open your ears with original songs! Montreal’s wonderful jazz critic, Len Dobbins, was also a fan and referred to me as a “great vocalist” he recommends listening to. I hope you enjoy what you hear. Singing is my deepest joy, is the place where I am my most real and best self. http://kimzombik.com/music/bio/

Autumn leaves

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Maceo Parker - It's All About Love

Styles: Vocal And Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 45:46
Size: 106,0 MB
Art: Front

( 5:52)  1. Who's Making Love
( 6:33)  2. I'm In Love
(11:23)  3. Gonna Put Your Lovin' In The Lay Away
( 6:18)  4. Love The One You're With
( 4:15)  5. Love Won't Let Me Wait
( 5:34)  6. Isn't She Lovely
( 5:48)  7. I Love You A Bushel And A Peck

One of the key sonic architects of funk, Maceo Parker first became a legend for his work with James Brown, whose impassioned shouts for a sax solo ("Maceo! Blow your horn!") would make Parker the Godfather of Soul's most famous sideman, though Parker would continue to enjoy a successful career long after leaving Brown's employ. Maceo Parker was born on February 14, 1943 in Kinston, North Carolina. Parker's mother and father both had an appreciation for music and sang in their church's choir, but it was his uncle who had the strongest influence on the youngster's musical development. Parker's uncle led a local jazz and R&B band called the Blue Notes, and Maceo would sometime watch them rehearse; in time, Maceo would take up the saxophone, while his brothers Melvin and Kellis respectively learned to play the drums and trombone. Their uncle was impressed enough with the youngsters' abilities that he dubbed them "the Junior Blue Notes" and had them perform between sets at Blue Notes shows. The Parker brothers were seasoned professionals by the time they enrolled at North Carolina A&T, where they studied music. In 1963, Melvin Parker had graduated and was offered an audition with James Brown, who was looking for a new drummer; Melvin landed the gig, and when he asked if Brown could use a new sax player as well, Maceo was also offered a spot in the band.

Originally playing baritone sax, Maceo eventually switched over to tenor, and his style on the instrument was ideal for the band rich, rhythmic, and full of sharp, staccato lines that meshed with Brown's taut and funky sound. After lending an inspired solo to Brown's 1965 smash "Papa's Got a Brand New Bag," Maceo became of the key members of Brown's recording and touring band, and his solos were an integral part of some of Brown's best-known songs, including "I Got You (I Feel Good)," "Mother Popcorn," "Sex Machine," and "Cold Sweat." However, Brown's well-documented reluctance to part with a dollar and firm hand over his sidemen led most of Brown's band to quit en masse in 1970; Maceo was one of the musicians who walked, and he soon formed his own group, Maceo & All the King's Men, with his brother Melvin on drums. Maceo & All the King's Men had released an album by the year was out, titled Doin' Their Own Thing, but despite the strength of their live show, they didn't fare as well as they had hoped commercially. In 1973, Maceo rejoined Brown's touring band, though he found time to cut a solo album, Us, in 1974. The following year saw another revolt sweep through the ranks of Brown's group, and Maceo, trombonist Fred Wesley, and bassist Bootsy Collins all jumped ship to work with George Clinton's various projects, including Parliament and Funkadelic. By 1984, Clinton's Parliament-Funkadelic empire was in tatters, and Maceo signed back on with James Brown for another four years, though he appeared as a guest on several of Clinton's solo albums from this period, and when Clinton produced the Red Hot Chili Peppers' sophomore album, Freaky Styley, Maceo stopped by to contribute some trademark sax solos. In 1988, Keith Richards invited Maceo to perform on his debut solo album, Talk Is Cheap, and as hip-hop acts began recycling James Brown's potent grooves, Parker found himself in demand with contemporary acts such as Deee-Lite, Living Colour, and Material, all of whom brought him in to play on their sessions.

In 1990, Maceo Parker stepped out as a solo act, releasing a jazz-oriented album called Roots Revisited through Verve Records and hitting the road in support. With funk back in fashion, Parker found he had a ready audience for his new music, and another jazz-flavored set, Mo' Roots, appeared in 1991. Parker upped the funk factor on the 1992 live set Life on Planet Groove, which featured fellow James Brown alumni Fred Wesley and Pee Wee Ellis, and it documented the powerful show Maceo and his band were playing up to 150 nights a year. Through the 1990s, Parker released a steady stream of solo records and made guest appearances on albums by De La Soul and Brooklyn Funk Essentials, as well as less likely collaborations with 10,000 Maniacs and Bryan Ferry. In 1999, noted funk enthusiast Prince recruited Maceo to play on his album Rave Un2 the Joy Fantastic, and he would be a regular contributor to Prince's studio projects over the next decade, as well as performing with his live ensemble. Alternative folk diva Ani DiFranco also persuaded Maceo to sit in with her, with the sax man contributing to the albums To the Teeth and Reveling: Reckoning. And in 1998, Maceo and his band were the opening act on a concert tour by the Dave Matthews Band; Maceo would often join in with the headliners, and one of the shows from that tour was belatedly released in 2001 as Live in Chicago 12.19.98 at the United Center. In 2004, Parker's impressive live show was documented on film for the documentary My First Name Is Maceo, which featured interviews with Maceo discussing his life and music along with extensive footage of him and his group in full flight. In 2007, Parker performed a series of concerts in Europe with the German ensemble the WDR Big Band; highlights from the tour appeared on the album Roots & Grooves, including a set of tunes made famous by Ray Charles, one of Parker's early influences. And Parker paid homage to a handful of other R&B greats on another collaboration with the WDR Big Band, 2012's Soul Classics, with Maceo putting his stamp on classic numbers by Stevie Wonder, Aretha Franklin, Isaac Hayes, and his former employer James Brown. ~ Mark Deming https://itunes.apple.com/au/album/its-all-about-love/1341066625

Personnel:  Alto Saxophone, Vocals – Maceo Parker.

It's All About Love

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Russell Malone - Wholly Cats

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 63:45
Size: 146,3 MB
Art: Front

( 7:56)  1. Wholly Cats
(10:20)  2. I Concentrate On You
( 6:54)  3. Carousel
( 2:33)  4. Swing Low, Sweet Chariot
(10:33)  5. Off The Top
( 7:43)  6. Four In One
( 6:13)  7. After All
( 7:40)  8. Chitlin Blues
( 3:52)  9. Yesterdays

Russell Malone recording this studio date for Venus in 1995, though it was several years before the Japanese label got around to issuing it. Joined by an excellent rhythm section consisting of Larry Willis, Rodney Whitaker, and Yoron Israel, Malone is not afraid to go into lengthy exploration of an old favorite like "I Concentrate on You." Malone delves into jazz compositions of several generations, including a furious take of Benny Goodman's "Wholly Cats," an easygoing interpretation of Mulgrew Miller's wistful ballad "Carousel," and a virtuoso performance of Thelonious Monk's challenging "Four in One." 

His one original is the strident "Chitlin Blues," a duo track with a delicious exchange between the guitarist and Whitaker's humorous arco bass. Among his unaccompanied selections are a spacious yet subtle rendition of the spiritual "Swing Low, Sweet Chariot" and an intricate treatment of "Yesterdays." Recommended. ~ Ken Dryden https://www.allmusic.com/album/wholly-cats-mw0000533023

Personnel:  Electric Guitar – Russell Malone;  Bass – Rodney Whittaker; Drums – Yoron Israel;  Piano – Larry Willis

Wholly Cats

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