Dexter Goldberg Trio - Tell Me Something New

Bitrate: MP3@320K/s
Time: 49:36
Size: 113.5 MB
Styles: Piano jazz
Year: 2018
Art: Front

[6:09] 1. Tell Me Something New
[5:29] 2. A Chord Into Me
[4:15] 3. Rer B
[7:13] 4. Rainbow
[6:16] 5. Osmose
[2:31] 6. Nostalgia
[5:48] 7. Smart Tone
[5:58] 8. Wave Of Sand
[5:53] 9. I'll Be Ok

Dexter Goldberg (piano); Bertrand Beruard (contrebasse); Kevin Lucchetti (batterie).

With such a name, could this brilliant pianist escape a jazzman's destiny? Phrasé alert, joyous virtuosity and relaxed gesture, Dexter Goldberg has jazz under the fingers. From rhythmic appointments to spunky sequences, from catchy grooves to sudden changes, his first album "Tell Me Something New" sounds like the playful manifesto of a trio who manages to expand a formula established by the grace of his writing and pleasure. constantly renewed the game. A jazzman is born: his name is Dexter Goldberg.

Tell Me Something New mc
Tell Me Something New zippy

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Joe Williams - Songs About That Kind Of Woman

Bitrate: MP3@320K/s
Time: 34:34
Size: 79.1 MB
Styles: Vocal jazz
Year: 1960/2012
Art: Front

[2:44] 1. That Kind Of Woman
[2:40] 2. Candy
[3:38] 3. You Think Of Everything
[3:21] 4. Stella By Starlight
[2:16] 5. Louise
[2:59] 6. It's Easy To Remember
[2:56] 7. I Only Want To Love You
[3:17] 8. Cherry
[3:06] 9. Why Can't You Behave
[2:59] 10. Here's To My Lady
[2:30] 11. When A Woman Loves A Man
[2:02] 12. Have You Met Miss Jones

This release presents the great Joe Williams’ complete original LP "That Kind of Woman" (Roulette SR52039), which appears here on CD for the first time ever. On this album, which showcases the singer on a variety of standards related to romantic love, Williams is backed by a big band conducted by pianist Jimmy Jones.

Songs About That Kind Of Woman mc
Songs About That Kind Of Woman zippy

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Amanda Brecker - Blossom

Bitrate: MP3@320K/s
Time: 40:28
Size: 92.7 MB
Styles: Jazz-pop vocals
Year: 2012
Art: Front

[2:25] 1. Blossom
[4:27] 2. So Far Away
[2:33] 3. You Can Close Your Eyes
[2:58] 4. Will You Love Me Tomorrow
[3:09] 5. Sweet Baby James
[3:56] 6. It's Too Late
[2:56] 7. Don't Let Me Be Lonely Tonight
[3:08] 8. Long Ago And Far Away
[3:45] 9. Something In The Way He Moves
[3:20] 10. (You Make Me Feel Like A) Natural Woman
[4:51] 11. You've Got A Friend
[2:54] 12. You Were Mine

Over a decade ago, Brit boy wonder Jamie Cullum chose to call his breakthrough album Pointless Nostalgic, a title that would be ideal for this sincere but rather senseless exercise in backward glancing from Amanda Brecker. A 27-year-old vocalist of impressive jazz lineage-she is the daughter of Randy Brecker and Eliane Elias-her intent, at least in part, was to mark the 40th anniversary of Carole King’s landmark Tapestry. Eagle-eyed King fans might note a mathematical discrepancy-Tapestry was released in 1971-but Brecker’s album actually debuted two years ago in Japan, where she has a sizeable following, and is only now surfacing Stateside.

Actually, just five of Blossom‘s dozen tracks are culled from Tapestry. Others, including the title tune, derive from various James Taylor albums of roughly the same vintage. Backing Brecker are drummer Russ Kunkel, from the original King sessions; bassist Lee Sklar, who accompanied King and Taylor on their Troubadour Reunion Tour; and keyboardist Larry Goldings, whose rich history includes work alongside Taylor. Their support is understatedly lovely.

Though the slight-voiced Brecker, whose leanings are decidedly more pop than jazz, does echo Taylor’s fragility and hints at King’s earthiness, she lacks the emotional depth of either. Producer Jesse Harris, who steered Norah Jones to platinum success, fails to generate the same frisson here. Apart from Taylor’s “Long Ago and Far Away,” which perfectly suits Brecker’s gossamer style, these remain pale replicas-tepid reminiscences of an era that predates her birth by some two decades. This is her parents’ nostalgia, not hers, and its second-hand nature shows too clearly. ~Christopher Loudon

Blossom mc
Blossom zippy

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Brian Bromberg - It's About Time: The Acoustic Project

Bitrate: MP3@320K/s
Time: 57:48
Size: 132.3 MB
Styles: Bop, Fusion
Year: 1991
Art: Front

[4:58] 1. Dear John
[6:09] 2. Echoes
[4:58] 3. One For The Woofer
[5:50] 4. Waltz For Daphne
[7:12] 5. Yes Or No
[5:55] 6. If I Should Lose You
[7:47] 7. From Dust To Dessert
[5:40] 8. The Gnocchi
[9:15] 9. Buddha Belly

Drums – David Bromberg (2) (tracks: 1 to 7, 9); Piano – Mike Garson (tracks: 1 to 3, 6, 7, 9); Producer, Bass – Brian Bromberg; Saxophone – Ernie Watts (tracks: 2, 4, 5, 8, 9). Recorded live on May 21-22 1991 and mixed at: Garden Rake Studios Sherman Oaks CA.

After a few electric projects, bassist Brian Bromberg decided to record a purely acoustic project. With such sidemen as pianists Mike Garson and Mitch Forman, brother Dave Bromberg on drums, trumpeter Freddie Hubbard (on three songs), and tenors Ernie Watts (on five) and Doug Webb (on two), Bromberg holds his own with the fast company. Some of the selections on this CD are quite memorable, particularly Hubbard's "Dear John," Watts' interpretation of Wayne Shorter's "Yes or No," and the trumpeter's feature on "If I Should Lose You." Although the Nova label has since gone belly-up, this excellent CD might still be found and is certainly worth a search. ~Scott Yanow

It's About Time: The Acoustic Project mc
It's About Time: The Acoustic Project zippy

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King Curtis - Night Train

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 63:54
Size: 147,0 MB
Art: Front

(2:45)  1. Fever
(4:53)  2. Honky Tonk
(2:36)  3. So Rare
(2:33)  4. Tippin' In
(2:23)  5. You Came a Long Way from St. Louis
(3:00)  6. Tuxedo Junction
(2:48)  7. The Hucklebuck
(3:00)  8. Lean Baby
(3:57)  9. Harlem Nocturne
(3:00) 10. Night Train
(2:54) 11. Soft
(4:11) 12. Free for All
(3:53) 13. Easy Like
(2:17) 14. Hot Saxes
(2:18) 15. I'll Wait for You
(2:22) 16. The Party Time Twist
(2:36) 17. Low Down
(2:09) 18. Keep Movin'
(2:13) 19. (Let's Do) The Hully Gully Twist
(2:59) 20. Slow Motion
(2:31) 21. Firefly
(2:25) 22. Something Frantic

King Curtis, R&B's great tenor sax player, rides grooves like a cowboy does unruly steeds. Curtis blows ferociously but is always in control, unlike Junior Walker, whose sax seems to be cussing you out at times (which is Walker's charm). Accompanied by several noted jazz artists Jack McDuff (organ), Eric Gale (guitar), Willie Rodriguez (bongos, conga), and Ray Lucas (drums) Curtis serenades and balms on "Harlem Nocturne," bops-u-silly on "Honky Tonk," and boogies on "The Hucklebuck" and "(Let's Do) The Hully Gully Twist." But those are only a small part of the 22 tracks, all of which emphasize Curtis' patented groove and powerful exhortations. 

Engineer Rudy Van Gelder keeps the sound squeaky clean and the levels balanced. Excellent party or card game music. ~ Andrew Hamilton https://www.allmusic.com/album/night-train-mw0000644718  

Personnel: King Curtis (alto & tenor saxophones); Billy Butler, Eric Gale (guitar); Jack McDuff (organ); Bob Bushnell (bass); Ray Lucas (drums); Willie Rodriguez (bongoes, congas).

Night Train

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Deborah Cox - Ultimate

Styles: Vocal
Year: 2004
File: MP3@320K/s
Time: 73:55
Size: 170,5 MB
Art: Front

(4:26)  1. Sentimental
(4:21)  2. Who Do U Love
(4:15)  3. It Could've Been You (Mass Ave Hip Hop Remix)
(4:16)  4. Where Do We Go From Here
(5:47)  5. Just Be Good To Me
(4:11)  6. Things Just Ain't The Same (Dance Mix)
(4:08)  7. September (Radio Edit)
(4:41)  8. We Can't Be Friends (Duet With R.L.)
(3:42)  9. Nobody's Supposed To Be Here (Special Slow-To-Fast Version)
(4:04) 10. I Never Knew (Hani Remix)
(3:34) 11. Absolutely Not
(4:49) 12. Up & Down (In & Out) (Godson Mix)
(4:25) 13. The Morning After
(4:00) 14. Play Your Part (Leading Role Radio Mix)
(4:04) 15. Mr. Lonely (Hex/Mac Mix)
(4:10) 16. Something Happened On The Way To Heaven (Valentin Mix Radio Edit)
(4:55) 17. Same Script, Different Cast (Duet Whitney Houston)

Released in 2003, Remixed was already a greatest-hits collection of sorts for Deborah Cox, even if it was more of a gift for fans of her dance diva persona. This makes the rapid 2004 appearance of Ultimate Deborah Cox a little weird. Still, the latter is a bit richer retrospectively, touching on all the facets of the Canadian vocalist, from her initial success in the contemporary R&B genre through the pop crossovers and her emergence as a dancefloor icon. It's remastered for sonic continuity, and is arranged more or less chronologically. The liners also provide extensive production and chart information. As it sticks almost exclusively to singles the ones helmed by powerhouse producers like Dallas Austin, Jimmy Jam & Terry Lewis, and Hex Hector Ultimate Deborah Cox is a strong set. This makes it a good pickup for the casual radio listener, who might be more interested in Cox's vocals than the club beats of Remixed. However, there's still the attempt to flash Ultimate up with remixes of its own, making it awkward and only half-rewarding. The same modern stylization of soul that permeated the Maxwell classic Urban Hang Suite guides "Sentimental" here, and "Who Do U Love" still holds up, even if its grooves have dulled a bit in the warm glow of lite FM. "It Could've Been You"'s spare hip-hop mix, too, is enjoyable, but the "Hani Remix" of "I Never Knew" is pretty darn close to the version on Remixed, and Morning After's "Play Your Part" needlessly becomes twittering club/dance generica. Likewise, "Things Just Ain't the Same" and Cox's club version of Phil Collins' "Something Happened On the Way to Heaven" seem to have been lifted whole from Remixed. Despite these missteps, the underrated title track from 2002's Morning After is left in duskily untouched, and Ultimate's "Up & Down (In & Out)" jettisons the Jadakiss contributions of After's original in favor of a breathy, more sharply cutting mix. The rub here is that Ultimate Deborah Cox tries to please everyone, as its name would suggest, and gets spread too thin in the process. It might content all the camps of Cox's audience for a little while, but it's problematic the morning after.~ Johnny Loftus https://www.allmusic.com/album/ultimate-deborah-cox-mw0000331242

Ultimate

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Esbjörn Svensson Trio - e.s.t. live in london

Styles: Piano Jazz

Year: 2018

File: MP3@320K/s

Time: 105:55

Size: 244,8 MB

Art: Front

( 9:50)  1. Tide of Trepidation

(10:17)  2. Eighty-Eight Days in My Veins

( 6:55)  3. Viaticum

(14:22)  4. Mingle in the Mincing-Machine

( 7:13)  5. In the Tail of Her Eye

(12:55)  6. The Unstable Table & the Infamous Fable

( 8:53)  7. When God Created the Coffeebreak

(17:32)  8. Behind the Yashmak

( 7:24)  9. Believe, Beleft, Below

(10:30) 10. Spunky Sprawl

In the ten years since the Esbjörn Svensson Trio came to a tragic end, a handful of piano trios have shown a trace of promise in becoming successors to the eclectic pianist's group. Capturing the raw energy that coalesced jazz, classical, rock, and technique in their unique way has been elusive. Since Svensson's accidental death in 2008 ACT Music has released Leucocyte (2008) and 301 (2012). The latter of the two consists of tracks that were recorded during the Leucocyte sessions but did not make the final cut. They were hardly throwaways however, as both recordings indicated that e.s.t.'s improvisational revolution was still a work in progress. Both of those albums represented the most powerful and open music they had recorded to that point. ACT also released E.S.T. Symphony (2017), a fine tribute-recording with Royal Stockholm Philharmonic Orchestra and various artists including e.s.t. bassist Dan Berglund and drummer Magnus Ostrom. Now the label has issued e.s.t. live in london. e.s.t. live in london was recorded at the Barbican Centre in 2005.

The double CD set also available as a two-LP vinyl release updates pieces from Strange Place for Snow (2002), Seven Days of Falling (2003) and Viaticum (2005). From the latter of those three albums, Disc 1 seamlessly segues across "Tide of Trepidation," "Eighty-Eight Days in My Veins" and the title track, all patiently building in tension. Svensson's crystalline piano moves in and out of focus and then with the help of Berglund's arco and plucked bass brings this particular portion of the program to a beautifully-rendered conclusion. The live versions of "Mingle in the Mincing-Machine" from Strange Place for Snow and "The Unstable Table & the Infamous Fable" ( Viaticum ) are indicators of where the group would end up musically. With a rock-sensibility woven around Berglund's classic bass line, Svensson's tight choreography and Öström's highly analytical improvisations, these pieces would be at home on Leucocyte. If there is a "classic" e.s.t. track, it is "Behind The Yashmak" and here, at nearly half the length of the second disc, it is a true masterpiece of modern jazz. e.s.t. live in london asks that we once again consider the magnitude of this trio. Their body of work has helped to broaden the definition of jazz, as it has not been redefined again in the passing ten years. As a composer and improviser, Svensson ranks among the finest of a generation; Öström employs hard-hitting undulation and intriguing embellishments as he intertwines the rumble of progressive rock with the spray of nuanced inflections; Berglund's bottomless, woody tone and brilliant bowed bass-work both drive and color the music. It is a trio that, a decade on, seems to be a once-in-a-lifetime experience. e.s.t. live in london is highly recommended and an essential for collectors who believe that jazz is meant to be a fluid, shifting genre.~ Karl Ackermann https://www.allaboutjazz.com/est-live-in-london-esbjorn-svensson-act-music-review-by-karl-ackermann.php

Personnel: Esbjörn Svensson: piano; Dan Berglund: bass; Magnus Öström: drums.

e.s.t. live in london

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Larry Coryell - The Restful Mind

Styles: Guitar Jazz
Year: 1975
File: MP3@320K/s
Time: 36:26
Size: 83,7 MB
Art: Front

(8:14)  1. Improvisation On Robert De Visee's Menuet II
(5:01)  2. Ann Arbor
(5:39)  3. Pavane For A Dead Princess
(5:20)  4. Improvisation On Robert De Visee's Sarabande
(3:15)  5. Song For Jim Webb
(5:46)  6. Julie La Belle
(3:09)  7. The Restful Mind

Guitarist Larry Coryell recorded several sessions for the Vanguard label during the '70s with varying results. He did manage two classics, Spaces, and this one, The Restful Mind. It is no small coincidence that the better the personnel he surrounded himself with, the better he played. On Spaces, the presence of John McLaughlin and Chick Corea raised his playing to another level. Here, with the backing of the group Oregon (with the exception of Paul McCandless), who were also signed to Vanguard at this time), bring out a more reflective and relaxed Coryell. His tendency to fall back on his chops was always a weak spot in his playing, but it is thankfully absent here. Both of the "Improvisation" pieces are highlights in Coryell's career, which along with the other beaufitul selections, make this one of his best, and certainly most overlooked, recordings.~ Robert Taylor https://www.allmusic.com/album/restful-mind-mw0000215215 

Personnel: Larry Coryell (acoustic & electric guitars); Ralph Towner (guitar); Glen Moore (acoustic bass); Colin Walcott (congas, tabla).

The Restful Mind

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