Philip Dizack - End Of An Era

Bitrate: MP3@320K/s
Time: 46:20
Size: 106.1 MB
Styles: Trumpet jazz
Year: 2012
Art: Front

[5:30] 1. End Of An Era
[3:51] 2. Grow
[5:14] 3. Forest Walker
[3:01] 4. Thuja Nigra
[5:32] 5. What If
[7:04] 6. Book Of Stones
[7:05] 7. Yéle
[5:43] 8. Mirror, Mirror
[3:17] 9. Torch

Philip Dizack: trumpet; Jake Saslow: tenor saxophone (1, 2, 5, 6, 8); Aaron Parks: piano (1-3, 5, 7); Sam Harris: Fender Rhodes (5, 6, 8); Linda Oh: bass (1-3, 5, 7); Joe Sanders: bass (4, 6, 8); Kendrick Scott: drums (1-3, 5,7); Justin Brown: drums (4, 6, 8); Reinaldo DeJesus: percussion (4); Maria Jeffers: strings (1, 5, 7); Matt Aronoff: strings (1, 5, 7); Nora Krohn: strings (1, 5, 7); Brooke Quiggins Saulnier: strings (1, 5, 7).

Philip Dizack's End of an Era is a resounding album that is solidified by fine ensemble work and composition that breathes emotion and thoughtfulness. Since his 2005 debut, Beyond a Dream on Fresh Sound Records, Dizack has crafted his skill as a trumpeter and composer. This sophomore release is a statement of maturity that is born out of personal life experiences. The music's sweeping and heartfelt themes are realized through two different lineups that include the likes of up-and-comers such as bassists Joe Sanders, Linda May Han Oh, drummer Kendrick Scott, and pianist Aaron Parks, as well as the incorporation of luxuriant strings that further enhance Dizack's verdant compositions. The nine tracks form soundscapes that blend the freedom of jazz with meticulous composition witnessed in title's cinematic depth or the jubilant circuitous vamp in "Growth," where the trumpeter fervently spars and harmonizes with yet another bright horn player, saxophonist Jake Saslow.

Dizack's pens all about one piece, but it's probably the most haunting—a touching rendition of Coldplay's "What If" where the trumpet's mute pours out emotion as lush strings color the British rock group's hit melody. The writing's emotional fervor is another factor—the resonant horn-play in "Book of Stones" or the playful banter between percussion and bass in "Thuja Nigra" ---as each track is imbued with a sense of purpose and hopeful sentiment.

The contemporary jazz trumpet is in very good hands with a growing roster of emerging players such as Ambrose Akinmusire, Nate Woolley, and Jonathan Finlayson. Named by Downbeat Magazine as one of 25"Trumpet Players for the Future," Philip Dizack's End of an Era is proof that he should be counted in that number. ~Mark F. Turner

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Delvon Lamarr Organ Trio - Live At KEXP!

Bitrate: MP3@320K/s
Time: 38:45
Size: 88.7 MB
Styles: B3 Organ soul/jazz
Year: 2018
Art: Front

[5:00] 1. Move On Up
[6:58] 2. Memphis
[5:58] 3. South Leo St. Stomp
[4:27] 4. Concussion
[5:14] 5. I Don't Want To Play That
[4:14] 6. Tacoma Black Party
[6:50] 7. Top Going Down, Bottom Going Up

The Seattle soul trio Delvon Lamar Organ Trio (a.k.a. DLO3) speaks volumes without a singer. The warm chemistry of Lamarr's organ, Jimmy James' slick guitar, and David McGraw's tight, reflexive drumming is a joy to behold on this session from the Upstream.

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Neil Maya Quartet - Bread & Circuses

Bitrate: MP3@320K/s
Time: 69:37
Size: 159.4 MB
Styles: Contemporary jazz
Year: 2009
Art: Front

[5:14] 1. All Change Please
[7:18] 2. Time On My Hands
[6:01] 3. Greensleeves
[4:20] 4. Copshow Kapow
[9:12] 5. Welcome To The Circus
[4:55] 6. Big Girl Funk Machine
[5:14] 7. The Mists Of Time
[5:15] 8. Israel
[7:11] 9. King Tut
[6:35] 10. Big Sur
[8:16] 11. La Fiesta

The Neil Maya Quartet is one of the UK's most exciting and talented bands, whose aim is to find fresh, new sounds within the wide scope of jazz whilst staying accessible to the public at large. The Devon-based band plays its own compositions as well as playing innovative re-workings of jazz standards and material by other composers. As well as playing innovative re-workings of jazz standards and material by other composers, the band also plays its own compositions.

The Neil Maya Quartet is often rooted in the sounds of the cool jazz movement of the 50’s and 60’s, but loves playing other styles such as funk, samba, African and even folk rock. The quartet is always striving to find different ways to deliver jazz and although the soloing aspect is central to its approach, in a similar way to classical compositions, its music often tells a story which takes you on a journey across a wide and rich emotional landscape. The quartet’s music is crisp, colourful, sassy, smooth, atmospheric, intricate, cool, very imaginative and always highly entertaining!

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John Gorka - Land Of The Bottom Line

Bitrate: MP3@320K/s
Time: 59:23
Size: 136.0 MB
Styles: Folk
Year: 1990
Art: Front

[3:33] 1. Land Of The Bottom Line
[3:32] 2. Armed With A Broken Heart
[3:14] 3. Raven In The Storm
[3:46] 4. The One That Got Away
[3:13] 5. Full Of Life
[3:35] 6. Stranger In My Driver's Seat
[3:55] 7. The Sentinel
[3:12] 8. Dream Street
[2:31] 9. Mean Streak
[5:47] 10. Italian Girls
[3:54] 11. Jailbirds In The Bighouse
[5:21] 12. Promnight In Pigtown
[4:00] 13. I Saw A Stranger With Your Hair
[4:56] 14. Love Is Our Cross To Bear
[4:48] 15. That's How Legends Are Made

His rich baritone and literate songwriting are John Gorka's links to an urban folk tradition that belies his years, linking him more to early '60s troubadors than to the singer-songwriters of the '70s and '80s. Ranging from snapshots of modern life (as on the title song), to quietly devastating love songs ("Armed with a Broken Heart," "I Saw a Stranger with Your Hair") and funny, wistful meditations ("Italian Girls"), Gorka's songs are studded with dry wordplay, precise imagery, and sudden glimpses of deep feeling. Gorka and producer Bill Kollar resist more conventional commercial polish to keep the arrangements lean and largely acoustic, with Gorka's voice sparingly shadowed by occasional vocal harmonies from Shawn Colvin, among others. ~Sam Sutherland

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Leo Wright - Blues Shout

Bitrate: MP3@320K/s
Time: 40:34
Size: 92.9 MB
Styles: Bop, Saxophone jazz
Year: 1960/2006
Art: Front

[3:26] 1. Sigi
[5:13] 2. Angel Eyes
[3:49] 3. Autumn Leaves
[7:05] 4. Indian Summer
[5:02] 5. Blues Shout
[5:26] 6. A Night In Tunisia
[4:42] 7. The Wind
[5:48] 8. Two Moods

Leo Wright's Atlantic debut, Blues Shout, effectively summarizes his career as a sideman, embracing the expressionist sensibilities of longtime boss Dizzy Gillespie as well as the Latin inspirations of longtime bandmate Lalo Schifrin to create a fiercely modern and uncommonly impassioned sound all its own. Joined by pianist Junior Mance, trumpeter Richard Williams, bassist Art Davis, and drummer Charlie Persip, Wright divides his attention between his signature alto sax and flute, delivering a series of thoughtful and lyrical solos that positively radiate energy. The blues referenced in the title are more a feeling than a sound, underscoring the emotional intensity that bristles below the surface of every note. ~Jason Ankeny

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Roby Perissin & The Latin Jazz Ensemble - Jazz With Latin Spice

Bitrate: MP3@320K/s
Time: 58:59
Size: 135.0 MB
Styles: Latin jazz
Year: 2012
Art: Front

[6:47] 1. Brussels In The Rain
[4:16] 2. If Ever I Would Leave You
[6:29] 3. Love For Sale
[6:48] 4. A Portrait Of Jeannie
[6:34] 5. No More Blues (Chega De Saudade)
[6:04] 6. Samba For Carmen
[4:08] 7. Emily
[5:13] 8. Mambo Inn
[4:45] 9. Speak Low
[7:51] 10. Summertime (Guajira)

When I started thinking of this recording I imagined myself as a chef ready to prepare an appetizing meal, made of several courses, matching classic and essential contemporary ingredients to others, unusual and refined. This new CD, in fact, besides representing as always my enthusiasm and love for life, as well as my passion for jazz and Latin music, includes a set of servings to offer to the listener, made with the intention of stimulating the musical palate, the ear and the imagination, using tasty notes, an adequate dose of rhythm and some Latin-American spices.

To achieve this objective I started by selecting tunes from the repertoire of songs very dear to me, some well-known, others less popular, drawing from the standards of jazz and of Latin-American music. An initial absorbing mix, an infallible cooking base, that allowed me to achieve a rich, tasty menu, diverse and solar, only attainable with the professional contribution and friendship of those who represent the “heart” of the Latin Jazz Ensemble, the three great musicians that with whom I have been working for years and that I thank again, inseparable companions of many live performances in Italy and abroad: Angelo Bifezzi (Piano), Diego Ruvidotti (Trumpet and Flugelhorn) and Paolo Traino (Drums). I believe the best way to celebrate their musical skills is to listen to them. During my life, and while living the active music scene of Milan, I have had the chance to meet and get to know and appreciate numerous talented musicians. Three of these, Pino Bifano (Guitar), Gino Carravieri (Drums) and Luca Dell’ Anna (Piano), have excited and moved me with their skills, talent, professionalism and fun attitude as musicians. I could not restrain from asking them to participate as “special guests” on this recording, adding sonority, taste and personality to my recipe, unattainable otherwise. My sincere thanks to them for their contribution. Equally important to the project has been the participation to this CD of the Tenor Sax, Rudi Manzoli, a jazz player with a refined touch to be enjoyed. I was honored to be able to have his performance and thank Rudi for his priceless collaboration.

To garnish the meal, I could not do without enriching some servings with the basis of my musical roots, Latin-American percussions, adding here and there their accents and vitality. An exercise that never ceases to amuse me and that I hope will elicit the same results from you, the listener. On this CD (and it is the third) we have mixed, blended and cooked to perfection the whole meal using the well-equipped recording studio, Soluzioni Musicali in Milan of Stefano Spina, whose skillful and patient courtesy is essential to every well-made serving. With the hope of having managed to satisfy even the more demanding palates, I want to thank those who will find the way and the moment to savor this endeavor. Good music, simple, spontaneous, intense, joyful ……. wishing to all the best of appetites. Love & music! ~Roby Perissin

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Helen Merrill - American Songbook Series: Irving Berlin And Jerome Kern

Bitrate: MP3@320K/s
Time: 73:46
Size: 168.9 MB
Styles: Jazz vocals
Year: 2009
Art: Front

[4:15] 1. How Deep Is The Ocean
[3:21] 2. Remember
[3:20] 3. They Say It's Wonderful
[4:18] 4. White Christmas
[5:11] 5. Suppertime
[3:05] 6. Let 's Face The Music And Dance
[5:23] 7. Always/When I Lost You
[2:43] 8. I Used To Be Color Blind
[4:12] 9. Blue Skies
[2:27] 10. There 's No Business Like Show Business
[4:18] 11. In Love In Vain
[4:37] 12. Folks Who Live On The Hill
[5:21] 13. Remind Me
[4:21] 14. I'm Old Fashioned
[3:04] 15. Nobody Else But Me
[3:26] 16. The Song Is You/The Way You Look Tonight
[5:06] 17. Yesterdays/Till The Clouds Roll By
[2:28] 18. Look For The Silver Lining
[2:41] 19. All The Things You Are

Helen Merrill's long history in jazz began with her first album on the Mercury Emarcy label arranged and produced by Quincy Jones in 1954 up to her latest CD album released in early 2000. In between were more then 50 Jazz albums and countless concerts, club dates, festivals and other jazz activities. Ms. Merrill was born in New York City. Her parents were Croatian immigrants and her most recent recording is titled "Jelena Ana Milcetic, AKA Helen Merrill" tracing her musical experience. She started her career at the 845 club in the Bronx wile still in high school. The promoter at the club was noted for his ability to spot young future stars. Among these appearing with Helen at the time were Miles Davis, Dizzy Gillespie, Bud Powell, Oscar Pettiford, and numerous others. The name on the marquee was Helen Milcetic, her name which she later changed to Merrill.

Ms. Merrill entered the world of music just as the big band era was ending and the much more challenging field of working with small groups had begun. During these formative years she worked with Earl Hines, Charles Mingus, Thad Jones, Clifford Brown, Gil Evans, Charlie Byrd, Marian McPartland, Al Haig, Jim Hall, Elvin Jones, Ron Carter, Bill Evans, Stan Getz, and literally hundreds of other musicians. Although she has made a large number of jazz albums and knows her way around recording studios in the United States, Japan and Europe, Ms. Merrill's recording career began in a non-commercial atmosphere in the now famous Rudy Van Gelder studio in New Jersey. She was accompanied by Jimmy Rainey, Don Elliot and Red Mitchell. The result was a single that eventually led to a contract with Mercury. Without much fanfare, Mercury released a jazz album titled simply "Helen Merrill". It was an instant success and has remained so to this day, more then 45 years later. The album, including one of the most acclaimed versions of the song, "What's new?" has been reissued and repackaged scores of times on various labels around the world. Readers of the Japanese magazine FM radio voted the recording the best jazz album of the past 50 years.

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Erskine Hawkins & His Orchestra - Holiday For Swing

Bitrate: MP3@320K/s
Time: 49:56
Size: 114.3 MB
Styles: Swing, Jazz/Blues
Year: 2005
Art: Front

[3:26] 1. Holiday For Swing
[3:18] 2. Tippin’ In
[3:31] 3. Bicycle Bounce
[3:23] 4. Shipyard Ramble
[3:42] 5. Soft Winds
[2:51] 6. Caldonia
[3:17] 7. Blue Sea
[3:35] 8. Drifting Along
[3:25] 9. No Use Squawkin'
[3:00] 10. Good Dip
[2:56] 11. Lucky Seven
[3:27] 12. S’posin'
[3:36] 13. Uncle Bud
[3:01] 14. Riff Time
[3:22] 15. Country Boys

b. 26 July 1914, Birmingham, Alabama, USA, d. 11 November 1993, New Jersey, USA. By the time he began playing trumpet at the age of 13, Hawkins had already mastered drums and trombone. It was on trumpet, however, that he established his name as a flamboyant player with an astonishing range. Initially an imitator of Louis Armstrong, Hawkins became leader of the ’Bama State Collegians, an orchestra that he built up into an excellent big band. In the 30s, Hawkins rivalled much bigger names in engagements all across the USA, and in particular at prestigious New York venues such as Roseland and the Savoy. He hired good section men and front-rank soloists, not least trumpeters with whom he happily shared the spotlight. Billed as The Twentieth Century Gabriel, Hawkins made a number of very successful records, including ‘After Hours’ and ‘Tuxedo Junction’, the latter a composition by Hawkins and several members of the band which became their theme tune.

Hawkins continued to lead his big band throughout the 40s, surviving the winter of 1946/7 which saw the end of many name bands. In the 50s he compromised under financial pressure and reduced the band in size, but regularly reassembled the larger unit for special events. In the 60s and 70s he led small groups at New York hotels and clubs and also made occasional appearances at festivals, including a visit to Europe in 1979. In 1986 he was on board the SS Norway for the Fifth Annual Floating Jazz Festival. In much the same manner as his white contemporary Harry James, Hawkins succeeded in combining a spectacular technique and an acute awareness of commercial demands with an innate feeling for good jazz. ~AllMusic

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Billy Eckstine & Quincy Jones - At Basin Street East

Bitrate: MP3@320K/s
Time: 31:55
Size: 73.1 MB
Styles: Big band, Jazz vocals
Year: 1961/2005
Art: Front

[ 2:46] 1. All Right Okay You Win
[ 8:00] 2. I'm Falling For You (Medley)
[ 3:49] 3. In The Still Of The Night
[10:35] 4. Don't Get Around Much Anymore (Medley)
[ 3:58] 5. Work Song
[ 2:45] 6. Ma (She's Making Eyes At Me)

At Basin Street East is a 1961 live album by Billy Eckstine, accompanied by a big band arranged and conducted by Quincy Jones. It was originally released on October 1, 1961 on the EmArcy label, but reissued in 1990 by Polygram. The album was recorded at the Basin Street East nightclub in New York City.

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Murray, Allen & Carrington Power Trio - Perfection

Styles: Clarinet, Piano, Post Bop
Year: 2015
File: MP3@320K/s
Time: 57:46
Size: 134,8 MB
Art: Front

(5:52)  1. Mirror Of Youth
(5:59)  2. Barbara Allen
(6:11)  3. Geri-Rigged
(8:16)  4. The David, Geri & Terri Show
(4:43)  5. The Nurturer
(6:06)  6. Perfection
(2:55)  7. D Special (Interlude)
(5:44)  8. Samsara (For Wayne)
(5:35)  9. For Fr. Peter O'Brien
(6:21) 10. Cycles And Seasons

As great as saxophonist David Murray, pianist Geri Allen and drummer Terri Lyne Carrington are separately, it’s truly difficult to remember the last time any of them sounded as good as they all do together on Perfection. The members of the jazz “power trio” share a chemistry that gives their music remarkable strength.That chemistry comes without any musician compromising or overtly accommodating the others. Murray’s coarseness of tone and lyricism-to-paroxysm developments remain intact, but nonetheless fuse with Allen’s warm surrealist fancies and Carrington’s restless reimagining of the beat. (Carrington often stands in for the bass, via subtle kick-drum; thus on “The Nurturer,” she singlehandedly brings the funk.) They use those signature techniques to brilliantly follow and respond to each other on “Barbara Allen” and “The David, Geri & Terri Show,” and to oppose each other with equal brilliance on “Samsara (For Wayne).” Only on Ornette Coleman’s “Perfection” do their styles reconfigure-so as to improvise in Coleman’s freeform image, with trombonist Craig Harris, bassist Charnett Moffett and trumpeter Wallace Roney along for the ride.

Their chemistry also produces a sense of humor that’s rarely seen in their solo projects, ranging from mere playfulness to dark comedy. How else but the latter to describe the off-kilter lurch of “Cycles and Seasons”? Carrington’s 7/4 rhythm makes it lopsided to begin with; Allen and Murray add their own angular parts (subsumed, momentarily, by 4/4 bridges that vanish as quickly as they arrive) that then dissolve into gleefully improvised dementia. The playfulness, whether by accident or design, comes primarily through in the two tunes on which Murray wields bass clarinet-“D Special (Interlude),” with its lively bounce, and “For Fr. Peter O’Brien,” a soft-shoe for Mary Lou Williams’ onetime spiritual/musical counsel. It’s a welcome byproduct of an already impressive chemical reaction. ~ Michael J.West https://jazztimes.com/reviews/albums/murray-allen-carrington-power-trio-perfection/

Personnel: David Murray (bass clarinet, tenor saxophone); Geri Allen (piano); Terri Lyne Carrington (drums).

Perfection

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Kari Bremnes - Norwegian Mood

Styles: Vocal
Year: 2000
File: MP3@320K/s
Time: 52:18
Size: 121,0 MB
Art: Front

(5:11)  1. A Lover In Berlin
(4:24)  2. Coastal Ship
(5:45)  3. Montreal
(3:23)  4. My Heart Is Pounding Like A Hammer
(5:00)  5. Birds
(5:34)  6. Day
(4:03)  7. Wave On Rock
(4:28)  8. The Copenhagen Cavern
(5:01)  9. Song To A Town
(5:40) 10. Riddle Beside Another Riddle
(3:44) 11. To Give You A Song

Norwegian born singer and songwriter Kari Bremnes was born in 1956 in Lofoten. Her career as a performer was delayed by her desire to finish university (she earned a Master's Degree) and a short stint as a journalist. Eventually, the call of the stage won out, and in 1987 she released her first album, Mitt Ville Hjerte. From there, Bremnes went on to release more than ten full-lengths over the next 20 years, as well as a number of successful  in Norway and in other European nations singles. In 2007, Bremnes released the album Reise or, "Journey," in English. ~ Chris True  https://itunes.apple.com/be/album/norwegian-mood/296133850

Norwegian Mood

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Al Casey - A Tribute To 'Fats'

Styles: Guitar Jazz
Year: 1994
File: MP3@320K/s
Time: 49:11
Size: 113,9 MB
Art: Front

(3:26)  1. It Don't Mean A Thing
(3:43)  2. Squeeze Me
(4:13)  3. Holey Moley
(3:57)  4. Jit It
(6:00)  5. Like It Ji's
(3:53)  6. Cute
(2:34)  7. After You've Gone
(4:24)  8. Just The Blues
(4:38)  9. Honeysuckle Rose
(5:07) 10. How Long Is This Been Going On
(7:07) 11. Cheek To Cheek

Guitarist Al Casey is still best-known for playing with pianist/composer Fats Waller on and off during 1934-42. Over a half-century later he recorded this CD which mixes together standards and original riff tunes with a couple of Waller compositions ("Squeeze Me" and "Honeysuckle Rose"). The 79-year old guitarist is assisted by pianist Red Richards (himself 82), bassist Jan Jankeje and drummer Imre Koszegi for this 1994 CD put out by the German Jazzpoint label. In addition to the Waller songs, highlights include "It Don't Mean a Thing," "After You've Gone" and "Cheek to Cheek." ~ Scott Yanow https://www.allmusic.com/album/a-tribute-to-fats-mw0000527213

A Tribute To 'Fats'

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Seal - 7

Styles: Vocal, Soul
Year: 2015
File: MP3@320K/s
Time: 49:22
Size: 113,5 MB
Art: Front

(4:50)  1. Daylight Saving
(4:31)  2. Every Time I'm With You
(5:14)  3. Life On The Dancefloor
(4:08)  4. Padded Cell
(4:36)  5. Do You Ever
(4:30)  6. The Big Love Has Died
(4:24)  7. Redzone Killer
(4:10)  8. Monascow
(3:54)  9. Half A Heart
(4:26) 10. Let Yourself
(4:35) 11. Love

Seal 7 followed the all-covers 2012 set Soul 2 and was the singer's first set of original material since the 2010 release Seal 6: Commitment. More significantly, it was his first originals-oriented collaboration with longtime creative partner and friend Trevor Horn since 2003's Seal 4, and it was made in the wake of the singer's divorce from Heidi Klum. The first single, "Every Time I'm with You," a grand and swirling ballad with an orchestral arrangement from Anne Dudley, showed that Seal had no desire to make his return all about romantic conflict, as it placed him in the setting of a new relationship, willfully abandoning caution: "I can lose it all, it won't be daunting." Another song that reached the public prior to the album, the Jamie Odell co-composition "Life on the Dancefloor," also dealt with being swept up, though in the club through a low-key groove. As with Seal's previous albums, however, Seal 7 does cover a range of emotions. The heavier songs, including the opening "Daylight Saving," the almost overblown "Padded Cell," and "The Big Love Has Died," with a title and scope worthy of Seal 4 are among the most resonant moments. While one could speculate how those songs and the remainder of Seal 7 relate directly to Seal's life, it's clear that the singer and Horn aimed, as they always have, for broad appeal; just about anyone can connect with the pain and elation they relate. They've stuck to the approach that has made them a successful duo since "Crazy," all the way down to the dark synthesized undercurrents. The spirit of Seal 7 proves that they had no reason to change course. ~ Andy Kellman https://www.allmusic.com/album/7-mw0002875382 

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