Sunao Wada Quartet - Blues, Blues, Blues

Size: 99,0 MB
Time: 43:14
File: MP3 @ 320K/s
Released: 1977/1989
Styles: Jazz Blues
Art: Full

01. Nothing But The Tonic ( 6:56)
02. Ocha-Ocha ( 7:33)
03. Local Men's Blues ( 6:47)
04. Blues Men ( 4:38)
05. Blues In The Closet ( 6:17)
06. A Good Deal Of The Blues (11:00)

Personnel:
Electric Guitar - Sunao Wada
Bass - Isao Suzuki
Drums - TetsujiroObara
Organ/Piano - Masaru Imada

Self-taught musician, Sunao Wada began playing the guitar at the age of 11, and at an early stage of his career decided to become the "No. 1 blues guitarist in Japan." Now he says that there's no "No. 1" in music, but many people in Japan agree that he did become just that.

Blues, Blues, Blues

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Laura Walls - Olori Live At The North Sea Jazz Festival

Size: 130,3 MB
Time: 55:55
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz/Blues Vocals
Art: Front

01. Summertime (Live) (6:24)
02. It Might As Well Be Spring (Live) (6:21)
03. Nature Boy (Live) (6:30)
04. Killing Me Softly With His Song (Live) (5:11)
05. Foggy Day (Live) (4:05)
06. Fall, Again (Live) (4:57)
07. Call It Stormy Monday (But Tuesday Is Just As Bad) [Live] (5:58)
08. Carnival (Black Orpheus Theme) [Live] (6:45)
09. Quiet Storm (Live) (4:52)
10. Watch What Happens (Live) (4:53)

Vocalist, Laura Walls under the artistic pseudonym, “Olori” performed at the prestigious North Sea Jazz Festival in Den Haag, Holland on Friday, July 8, 1994 and Saturday July 9, 1994 inspiring two-standing ovations each night to sold out crowds. This recording is from the second night’s performance. An All-star band led by Robert Irving III (pianist/arranger/nine-year Miles Davis collaborator) actually featured two prominent drummers: Terri- Lyne Carrington (on the first night) and Perry Wilson (The Crusaders and Sonny Rollins) on the second, trumpeter/Flugel-Horn player, Walter Henderson (Jack McDuff, Buddy Guy, Steve Coleman’s Inner Drive) Canadian saxophonist/flutist/film actor, Doug Richardson who played the opening theme for the Bill Cosby Show.

In the dark quiet room, Irving’s gentle piano intro set up the entrance of an unseen, beautifully melodic sounding voice breaking through the loud silence. A glimmer of light revealed Walls (Olori) on a cordless microphone behind the audience. The spotlight followed, embellishing her face, growing into a fiery ball of light that created the illusion of magnetically thrusting her towards the stage while the audience gasped, clapped and cheered. Ms. Walls majestically sauntered onto that massive stage, interacting with the audience as if they were old friends.

It was a hot summery night in Holland as Wall’s sweet and passionate delivery of the rubato intro of George Gershwin’s classic “…hush little baby, don’t cry little baby because your mama and daddy are standing by,” crescendoed into a festive gospel groove with Musical Director Robert Irving III’s spirited-funky jazz arrangement of “Summertime”. The connection between the artist and audience felt purely electrifying as Ms. Walls energetically took them to church. A memorable musical journey ensued that clearly marked the arrival of a special world-class artist onto an important international stage. At one point Ms. Walls sat on the edge of the stage creating a heartfelt intimacy with the audience who were predominantly Dutch, German, Austrian with a contingency of French, Swiss and Scandinavian. If music is considered the “universal language” crossing all barriers regardless of color or creed, Ms. Walls had mastered that theme and connected with them thoroughly. She recalls, “They were filled with joy, smiles, and tears; it was enchanting and their honest, open appreciation was felt deeply in my Core…it was like love at first sight.”

Her performances at Mondriann Zaal Auditorium rated par-excellence as her voice loomed large with full-bodied soul and hints of classical phrasing. Although, she remained virtually unknown to American audiences outside of her hometown Chicago in 1994, Walls was not an absolute stranger to European connoisseurs of North American artistry. Three months prior to this performance, Rod Echlos of WHBK Jazz Radio in Chicago wrote; after hearing a demo of her studio album, ‘Free As A Child’ “I feel that this project rates as one of the top two vocal projects I’ve heard this year.—-It stands along-side of Dee Dee Bridgewater's’ new CD…it’s refreshing to hear some new vocal repertoire.” March 1994 . But, after such high accolades and the magnanimous European performances, why would the release of this music be delayed for some 24-long years? Every great back-story starts from the beginning.

Olori Live At The North Sea Jazz Festival

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Michael Richard Kelly - The Judy Garland Songbook

Size: 108,3 MB
Time: 46:22
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Get Happy (3:32)
02. Make Someone Happy (3:21)
03. Come Rain Or Shine (3:31)
04. The Boy Next Door (4:12)
05. Blues In The Night (4:20)
06. It's A New World (2:55)
07. The Man That Got Away (4:05)
08. I Wish I Were In Love Again (2:33)
09. Have Yourself A Merry Little Christmas (4:04)
10. Lucky Day (2:10)
11. I Could Go On Singing (3:33)
12. Over The Rainbow (4:23)
13. It's Time To Go To Dinos (Backstage) (3:37)

Michael has been singing professionally since he was 17, and doesn't ever remember NOT singing.

Self-described as a "crooner", he grew up listening to his father's 78rpm records (look it up if you have to), and learned from listening to what he heard. He was heavily influenced by the recordings of Judy Garland, Ella Fitzgerald, Bing Crosby, The Andrew Sisters, Sarah Vaughn, and Mel Torme, to name a few.

Michael did musical theater until he discovered the art form of "cabaret".. and he did his first cabaret show at Odette’s in New Hope, Pennsylvania in 1987, and he found that it was the perfect medium for him. He could talk, and sing whatever he wanted to sing; musical theater, jazz standards, anything he wanted to.
In 1995, Michael, was awarded Philadelphia magazine’s – “Best of Philly® – Cabaret Act-1995“.

Michael is also currently partners in the 1940's / 1950's throwback supper club in Glenside, Pennsylvania called, "Dino's Backstage"

He is joined in this project by The Tom Adams Trio, which includes musical director / arranger, / accompanist Tom Adams, on the bass, Steve Varner, and on the drums, Grant MacAvoy.

The Judy Garland Songbook

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Mariza - Mariza

Size: 125,4 MB
Time: 53:25
File: MP3 @ 320K/s
Released: 2018-05-25
Styles: Fado, World
Art: Front

01. Trigueirinha (2:39)
02. Quem Me Dera (4:16)
03. Amor Perfeito (3:41)
04. Oraçao (3:13)
05. Sou (Rochedo) (3:30)
06. E Mentira (2:57)
07. Semente Viva (Feat. Jaques Morelenbaum) (3:40)
08. Por Tanto Te Amar (4:20)
09. Nosso Tempo (4:39)
10. Verde Limao (3:06)
11. Quebranto (4:14)
12. Oi Nha Mae (3:56)
13. Fado Errado (Feat. Maria Da Fe) (3:25)
14. Fado Refugio (3:04)
15. Trigueirinha (Feat. Carolina Deslandes, Jorge Palma, Mafalda Veiga, Marisa Liz, Ricardo Ribeiro & Tim) (2:37)

In less than twelve years, Mariza has risen from a well hidden local phenomenon, known only to a small circle of admirers in Lisbon, to one of the most widely acclaimed stars of the World Music circuit.

No Portuguese artist since Amália Rodrigues has experienced such a triumphant international career, accumulating success after success on the most prestigious world stages, raving reviews from the most demanding music critics worldwide and countless international awards and distinctions. As usual, her musical partners are simply only the best: Jacques Morelenbaum and John Mauceri, José Merced and Miguel Poveda, Gilberto Gil and Ivan Lins, Lenny Kravitz and Sting, Cesária Évora and Tito Paris, Carlos do Carmo and Rui Veloso. An her repertoire, while firmly rooted in classical and contemporary Fado, has grown to include occasional Cape Verdean mornas, Rhythm and Blues classics or any other themes she holds dear to her heart.

In the past twelve years, Mariza has long passed the stage of a mere exotic episode in the World Music scene, ready to be replaced by whatever new colourful phenomenon appears in another geographic corner of the recording industry’s market. She proved to be a major international artist, strongly original and immensely gifted, from whom much is yet to be expected in the future. The young girl from Mozambique, raised in the popular Lisbon neighbourhood of Mouraria, has mastered the roots of her musical culture and developed into an universal artist who is able to open herself to the world without ever losing her heartfelt sense of Portuguese identity. And Portuguese audiences are the first to acknowledge this triumph and pay her back with unlimited love and gratitude. ~Rui Vieira Nery

Mariza

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Joshua Redman - Still Dreaming (Feat. Ron Miles, Scott Colley & Brian Blade)

Size: 93,0 MB
Time: 39:55
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. New Year (6:36)
02. Unanimity (5:08)
03. Haze And Aspirations (5:57)
04. It's Not The Same (2:44)
05. Blues For Charlie (6:50)
06. Playing (3:17)
07. Comme Il Faut (3:26)
08. The Rest (5:55)

Joshua Redman is one of the greatest saxophonists of our time. He has guested Norway on several occasions, collaborated with Norwegian musicians, and played sell-out concerts at Oslo Jazz Festival and at Victoria – most recently in 2013. This year you can see him here performing in several different line-ups during the festival season, but if you wish to see him playing on this particular project together with Brian Blade, Ron Miles and Scott Colley, you’ll need to look in at the Oslo Jazz Festival.

A homage to both past and future, Joshua Redman’s Still Dreaming is a tribute to this father, the saxophonist Dewey Redman. The songs are inspired by his father’s Old and New Dreams quartet featuring Don Cherry, Charlie Haden and Ed Blackwell. To perform these numbers Redman has put together a veritable dream team consisting of Brian Blade on drums, Scott Colley on bass and Ron Miles on trumpet.

Still Dreaming

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Somi - If The Rains Come First

Size: 117,9 MB
Time: 50:26
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz Soul
Art: Front

01. Hot Blue (4:27)
02. Prayer To The Saint Of The Brokenhearted (3:21)
03. Wallflower Blues (4:53)
04. Be Careful, Be Kind (5:12)
05. Enganjyani (5:19)
06. Rising (3:22)
07. Changing Inspiration (3:14)
08. Kuzunguka (4:46)
09. If The Rains Come First (5:09)
10. Jewel Of His Soul (4:31)
11. Maybe Then (6:08)

With a beautiful voice enhanced by overdubbing techniques, Somi joins the elite ranks of first-class world music jazz-influenced singers with this, her third CD. Joined by the likes of the fabulous electric and acoustic keyboardist Toru Dodo, among others, Somi employs an ethereal, surreal, distanced sound, coupled with earthiness and village ceremonial elements to create soulful tunes that by some standards approach pop music, and in other instances, pure romantic spirit songs. Most of the lyrics are in English (she was born in Illinois) and enunciated well, and embrace themes of home, the great outdoors, love, longing, belonging, and wistfully wondering why. But the underlying theme of Africa (her parents were from Rwanda and Uganda, and they lived in Zambia) is present in this music that borders on nu jazz, while employing an instrumental background of uptown metropolitan contemporary styles. Trumpeter Hugh Masakela is one of many guests, feeding Somi's repeated lyric lines during the low-key "Enganjyani," and guitarist David Gilmore works into the mix on the harder samba beat of "Rising," while the creative progressive plectrist Liberty Ellman tones down the light and airy "Changing Inspiration." Nigerian bassist and producer Michael Olatuja is the biggest influence alongside the virtuosic Dodo in shaping Somi's themes, whether on the sweet "Hot Blue" in 6/8 time, the Afro-pop-styled "Wallflower Blues" in a feature for the excellent Senegalese guitarist Hervé Samb, or the rain forest love song title track. A midtempo yodel-based tune, "Kuzunguka" showcases the nature girl in Somi, "Be Careful, Be Kind" is a pretty, introspective ballad, while "Prayer to the Saint of the Brokenhearted" is not so much an African blues as a faster-paced highlife plea loaded with percussion-driven beats. Alicia Olatuja and David Hunter overdub several vocal tracks alongside Somi, who also sings in Swahili and the Ugandan Rutooro dialect of her mother. This completely charming program of songs -- recorded in Paris -- is impossible to put in a specific category. It is heartfelt, conversely deep and light, and attractive in a way that Dido or Rhianna can kill softly with a smile or a whisper, yet Somi chooses to sing simply with little pretense or need for pyrotechnic affectation. ~by Michael G. Nastos

If The Rains Come First

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Hank Mobley, Lee Morgan - Peckin' Time

Bitrate: MP3@320K/s
Time: 62:04
Size: 142.1 MB
Styles: Bop, Saxophone jazz
Year: 1988/2008
Art: Front

[ 6:09] 1. High And Flighty
[ 7:08] 2. Speak Low
[ 6:48] 3. Peckin' Time
[ 9:00] 4. Stretchin' Out
[12:23] 5. Go Go Blurs
[ 6:33] 6. High And Flightty (Alt. Take)
[ 7:16] 7. Speak Low (Alt. Take)
[ 6:44] 8. Stretchin' Out (Alt. Take)

Bass – Paul Chambers; Drums – Charlie Persip; Piano – Wynton Kelly; Tenor Saxophone – Hank Mobley; Trumpet – Lee Morgan.

Tenor saxophonist Hank Mobley was overshadowed by more influential tenors such as Sonny Rollins and John Coltrane during his career, but although he wasn't deliberately flashy or particularly innovative, his concisely measured, round sax tone made him the perfect ensemble player and he was a fine writer, as well, a talent who has often been undervalued and overlooked. The Peckin' Time session was recorded February 9, 1958 (the LP was issued a year later) and came in the midst of what was a period of whirlwind creativity for Mobley, who recorded work for the Savoy and Prestige imprints as well as six full albums for Blue Note (two were never released -- it was not that uncommon for Blue Note to stockpile sessions at the time) in a little more than a year's time (later Blue Note albums like Soul Station and Roll Call were still well in the future). For this session, Mobley found himself working with a young Lee Morgan on trumpet and in front of a fluid rhythm section that included pianist Wynton Kelly, bassist Paul Chambers, and drummer Charlie Persip, and it's solid stuff, bright and always energetic. All but one of the tracks, a rendering of Kurt Weill's "Speak Low," were written by Mobley, and again, his hidden strength was always his writing, and it should probably come as no surprise that the best two tracks here, the title tune "Peckin' Time" and the wonderful "Stretchin' Out," were both penned by Mobley. It all adds up to a fine program, and if Mobley didn't push the envelope a whole lot, his lyrical and economical playing was always appropriate and graceful, and that's certainly the case here. ~Steve Leggett

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Joanne Tatham - The Rings Of Saturn

Bitrate: MP3@320K/s
Time: 47:06
Size: 107.8 MB
Styles: Jazz vocals
Year: 2018
Art: Front

[3:42] 1. Love Me Or Leave Me
[5:19] 2. Summer In New York
[4:05] 3. Catch Me If You Can
[4:04] 4. Poetry Man
[5:02] 5. The Rings Of Saturn
[4:31] 6. Can We Still Be Friends
[5:39] 7. If You Never Come To Me
[4:45] 8. Anyone Can Whistle
[3:51] 9. Nice To Be Around
[2:12] 10. Jazz 'n' Samba
[3:53] 11. It Could Happen To You

Clear-voiced Joanne Tatham teams up with some of LA’s finest in Max Haymer/p, Lyman Medeiros/b, Larry Koonse-Marcel Camargo/, Bob Sheppard/sax, Brian Swartz/tp, Kevin Winard/perc and Dan Schnelle/dr on a mix of jazz standards and creative newer pieces. She’s warm and peppy with guitar and percussion on the bouncy “Jazz ‘n’ Samba” and is rich with Shepperd’s tenor on “It Could Happen to You.” Some clever ideas come about as she takes on Michael Frank’s “Summer in New York” with Koonse and goes intimate with Haymer on Phoebe Snow’s “Poetry Man.” Best of all is her going urgent on Mark Winkler’s hip “Catch Me If You Can” and gets cozy on Sondheim’s “Anyone Can Whistle.” Eager to please.

A cozy duo is created as Kate Voss sings and plays melodica and bells to Jason Goessl’s guitar and chimes. They are accompanied by Adrian Van Batenburg-Sam Esecson/dr-perc, sounding like vintage Les Paul and Mary Ford on swinging pieces like “Anytime” and “S’Wonderful” while Goessl gives hints of Dick Dale on the 60s groover “Bang Bang.” Voss and melodica bring a gypsy atmosphere to “Caravan” abd us cgukdkuje on “Bye Bye Blues” while sauntering on ”Perhaps” and cozy as a kitten during “When You’re Smiling.” Winning ways!

Pianist/vocalist Pauline Frechette creates a moody parlor atmosphere with a mix of cellos and violins along with bass, tenor sax and guest Stanley Clarke on this intimate collection. Her voice is fragile an ddelicate, getting eerie on “Come Away With Me” and deeply melancholic on “Follow Your Heart.” Clarke’s solo adds to a bohemian “Love in the Afternoon” while her instrumentals include a reflective Stewart Cole’s trumpet on a second “Follow My Heart” while her own piano serves well on “Song for Michael.” Long moon shadows. ~George W. Harris

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The Two O'Clock Jazz Band - A Salute To Benny Carter

Bitrate: MP3@320K/s
Time: 60:38
Size: 138.8 MB
Styles: Jazz
Year: 1999
Art: Front

[3:51] 1. Vine Street Rumble
[4:36] 2. Katy Do
[5:06] 3. Miss Missouri
[2:29] 4. Rompin' At The Reno
[2:39] 5. Sunset Glow
[3:46] 6. The Wiggle Walk
[3:19] 7. Meetin' Time
[3:28] 8. Paseo Promenade
[3:57] 9. Blue Five Jive
[2:36] 10. Jackson County Jubilee
[4:04] 11. To You
[5:43] 12. Silk Stockings All Of You All Of You
[4:25] 13. Who Me
[3:08] 14. The Bachelor This Could Be The Start Of Something Big
[3:10] 15. I Need's To Be Bee'd With You
[4:14] 16. Air Mail Special

After more than half a century, the tradition of excellence continues at the University of North Texas in Denton with this splendid new release by the school’s Two O’Clock Jazz Band (the various UNT ensembles are named after their daily rehearsal times). While the famed One O’Clock Band is the best known and most widely recorded of the several UNT ensembles, the Two O’Clock Band proves on this earnest salute to celebrated composer / saxophonist / trumpeter / bandleader Benny Carter that it’s much less than an hour removed from its more frequently acclaimed running–mate. Here’s what Benny himself wrote after hearing the album: “I was pleased by the performance by the UNT Two O’Clock Lab Band of Kansas City Suite. The musicians played each piece as though it were written for them. I was personally gratified by the enthusiasm shown by the members of the Two O’Clock in the performance of my compositions and arrangements. The entire achievement was totally professional and my hat goes off to [transcriber] Vaughn Roberts, the soloists and especially to [director] Jim Riggs.” The first ten selections on the disc (which together comprise the aforementioned Kansas City Suite) were written by Carter (and transcribed by the ’98 band’s Jazz trumpeter, Roberts); the others are by Thad Jones (“To You,” which was dedicated to Carter), Cole Porter (“All of You”), Frank Foster (‘Who Me?”), Steve Allen (“This Could Be the Start of Something”), Quincy Jones (“I Needs to be Bee’d with You”) and Benny Goodman / Jimmy Mundy / Charlie Christian (“Air Mail Special,” arranged by Al Cohn). It’s clear from the outset that the Two O’Clock Band is resolutely tuned to Carter’s wavelength, as these are colorful portrayals of his buoyantly swinging Kansas City–style compositions, and those who appreciate big–band Jazz in general, and the Swing Era in particular, should derive great pleasure from hearing them again. Also worth hearing and admiring are Jones’s ardent ballad, Porter’s elegant standard, the seductive swingers by Foster and Jones, and the flag–waving twosome, “Air Mail Special” and “This Could be the Start of Something.” The ensemble is sharp and perceptive, the soloists bold and assertive. A well–played and consistently stylish session from end to end. ~Jack Bowers

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Leo Wright - Suddenly The Blues

Bitrate: MP3@320K/s
Time: 34:06
Size: 78.1 MB
Styles: Bop, Saxophone jazz
Year: 1962/2006
Art: Front

[2:36] 1. A Felicidad (Happiness)
[2:44] 2. Greensleeves
[4:10] 3. Gensel's Message
[2:54] 4. The Wiggler
[4:42] 5. Tali
[3:07] 6. Dionysos
[4:24] 7. Sassy Lady
[4:22] 8. Willow Weep For Me
[5:04] 9. Suddenly The Blues

Leo Wright (saxophone), Kenny Burrell (guitar), Ron Carter (bass), Rudy Collins (drums),

Leo Nash Wright was born on December 14, 1933 in Wichita Falls, Texas. He took up the saxophone in the early 1940s under the tutelage of his father Mel, who taught him, “Don’t forget what came before.” He was influenced early on by blues greats Louis Jordan and fellow Texan Eddie “Cleanhead” Vinson. As Wright told one reporter, “People in the South know the blues.” His first alto idol, however, was Johnny Hodges whom Wright called the “father of the alto saxophone.” It was also inevitable that a young altoist in the fifties would fall under the spell of Charlie Parker. “Whatever Bird was doing, in all his music,” Wright said of his predecessor, “he retained the idea of the blues.” Wright could never have imagined that just a few years out of college he would play Bird’s former role as the foil to Dizzy Gillespie.

Drafted into the army in 1956, Wright began what would eventually be a long relationship with Europe. While stationed in Stuttgart, Germany, he played in a variety of bands that included Eddie Harris, Cedar Walton, Don Ellis, and Houston Person—young musicians, like Wright, ready to break onto the American jazz scene when they returned.

After a brief stint with Charles Mingus, which included an appearance at the 1959 Newport Festival, Wright joined company with Dizzy Gillespie, in whose band he would play for the next three years. Whatever he might have learned in college, Wright attended finishing school during his three years with Diz. “Dizzy is a giant,” Wright said at the time. “And when you’re working with the giants, you’ve got to improve. . . . You’ve got to learn discipline, get down to business. I’m still in school.” It was at the University of Dizzy that Wright’s playing gained its full range. The expanding world musical consciousness of his leader and their globe spanning travels added to Wright’s bop and blues vocabulary the musical idioms of Latin America, the Near East, and Africa.

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Jairo - Jazziro

Bitrate: MP3@320K/s
Time: 54:05
Size: 123.8 MB
Styles: Chanson, Smooth jazz
Year: 2018
Art: Front

[4:53] 1. Le Métèque
[5:04] 2. Nada
[6:10] 3. Avec Le Temps
[4:40] 4. Qui
[4:26] 5. Les Paradis Perdus
[4:50] 6. Alfonsina Y El Mar
[3:21] 7. La Foule (Amor De Mis Amores)
[3:50] 8. Que Reste-T-Il De Nos Amours
[3:35] 9. Et Maintenant
[5:10] 10. Balderrama
[2:54] 11. Elisa
[5:07] 12. Ne Me Quitte Pas

Contrabass – Carlos “El Tero” Buschini; Guitar – Leonardo Sanchez; Percussion – Minino Garay; Piano – Baptiste Trotignon; Vocals – Jairo.

Almost three years ago, we wondered what was happening to JAIRO. Well, it's in an intimate setting, both jazz and powerfully rooted in his land in Argentina, that JAIRO legendary singer revealed in Paris in the 70s, will make his comeback. "Jazziro" will take back the biggest French songs, reorchestrées by the musicians Minino GARAY on the percussions, Baptiste TROTIGNON on the piano, Carlos "El tero" BUSCHINI on the bass, and Leonardo SANCHEZ on the guitar. From "What's left of our love?" from Charles TRÉNET (recently taken over by Julien DORÉ) to "And now" by Gilbert BÉCAUD, via "Elisa" by Serge GAINSBOURG, "Do not leave me" by Jacques BREL, "Lost paradises" by CHRISTOPHE (recently taken by CHRISTINE AND THE QUEENS), "With the time" by Léo FERRÉ, "Le métèque" by Georges MOUSTAKI or "La foule" by Edith PIAF - here in its Spanish version "Amor de mis amores" (popularized by PACO in 1988) . "Do not forget to share it with all your friends, by email, on social networks, such as streams to flood the internet with this wonderful news of the return to France of a legendary singer with an album both unexpected and wonderful to all points of view "can you read on his official Facebook page. "See you soon to hear it, listen to it loop on your sonos, in your digital portable players, and share a jazz evening with all your loved ones, thank you for your loyalty".

Remember in 1980 "Gardens of Heaven", it was him. Mario GONZALEZ, of his patronymic (in Aramaic, the inspired faithful), Argentine singer born on June 16, 1949, decides at the end of the 70s (during the military dictatorship in Argentina) to try his luck in Europe. Direction Spain first, then France. After a few 45 laps signed at RCA, from 1977 to 1980, it is finally the consecration that year with the French adaptation of a hit of the German group Goombay Dance Band, which will rank No. 1 in the Rhine for nine weeks in 1979. "Sun Of Jamaica" becomes "The Gardens of Heaven", and offers JAIRO, in the spring of 1980, its biggest success - with over a million and a half copies sold over the summer period. (Translated from French.)

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Paul Whiteman & His Orchestra - The Complete Capitol Recordings

Bitrate: MP3@320K/s
Time: 66:19
Size: 151.8 MB
Styles: Classic big bsnd
Year: 1995
Art: Front

[ 3:17] 1. I Found A New Baby
[ 3:20] 2. Serenade In Blue
[ 3:18] 3. The General Jumped At Dawn
[ 3:09] 4. I've Got A Gal In Kalamazoo
[ 3:14] 5. Trav'lin' Light
[ 2:56] 6. The Old Music Master
[ 3:17] 7. I'm Old Fashioned
[ 3:17] 8. You Were Never Lovelier
[ 3:22] 9. San
[ 3:03] 10. Wang Wang Blues
[18:13] 11. An American In Paris
[15:49] 12. Rhapsody In Blue

These Capital recordings are the last that Whiteman made with his own orchestra. They are a cross section of themes ranging from the swingy and dazzling, "I found a new baby," featuring the finger-busting keyboard work of the brilliant, Earl Wild; through a plaintive, whispy vocalization of "Trav'lin' Light" by the great Billie Holiday; to heavy, dull and uninspired orchestral interpretations of "American in Paris," and "Rhapsody in blue." By this time, "Rhapsody" has lost most traces of the score that was to be performed by a "jazz orchestra" and one senses that Whiteman was just going through the motions and conducting this piece out of contractual obligation to Capitol rather than engaging in a continuing dialogue with American popular music forms.

The dance orchestral recordings on this CD are played by superior musicians who provided peak performances of well-orchestrated compositions - Whiteman never settled for second-best work at any time in his long career - and these recordings reflect his continuing drive for excellence. However, there are no musical statements in these recordings which had not already been made before. Glenn Miller, the Dorseys, Benny Goodman, Count Basie, Duke Ellington, etc., were now at the forefront of the big band age and these recordings do not provide the same level of "excitement" as that of the new leaders.

Although I believe that Whiteman represented the highest form of popular music from 1920-1930, these Capitol recordings only indicate how the trailblazer of one decade can devolve to being a derivative follower of the next. ~Steven Phillips

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Bob Mintzer - Source

Styles: Clarinet, Saxophone  Jazz
Year: 1982
File: MP3@320K/s
Time: 38:02
Size: 88,0 MB
Art: Front

(4:19)  1. Late Night With You
(5:55)  2. Don't Lock The Door
(4:23)  3. The Source
(5:12)  4. I Don't Know
(7:09)  5. Mr. Fone Bone
(4:12)  6. Centering
(6:50)  7. Spiral

Source is Bob Mintzer's second album as a leader. Recorded in 1982 for the Cheetah label, it was previously released only in Japan. Source was recorded with an alternating larger ensemble that includes in various places keyboardists Don Grolnick and Mark Gray, guitarist Hugh McCracken, bassists Jaco Pastorius (with whom Mintzer had tenured on the Word of Mouth big band LP), and Will Lee, drummers Peter Erskine and Brian Brake, and horn players Lew Soloff, Randy Brecker, and Alan Rubin, among others. In many ways this foreshadows the work that Mintzer would do with the Yellowjackets eight years later. It's sheeny studio jazz-funk and contemporary knotty big band work. This set contains a number of vocal performances by Carter Cathcart, on the soulful opener "Late Night with You," and the now dated funk of the title cut it's the vocoders, the compressed saxophone sound and particularly, the flat drums. This isn't a stellar date by any stretch of the imagination, but hearing Pastorius on the title cut redeems it somewhat. There is also the Afro-Latin groove on "I Don't Know" which has teeth and a killer arrangement, but the production is a little sterile. "Mr. Fone Bone" fares far better with Pastorius and a melody that could have been written by him and performed by Weather Report. Grolnick's B-3 underneath all those horns is particularly wonderful. Mintzer begins a solo only to interrupt it with a knotty horn arrangement that changes the color of the tune while it cooks on the strength of the rhythm section. It's the album's best moment. "Centering" is a small group ballad with a lovely solo from Mintzer on tenor. The final cut, "Spiral," begins almost classically with the winds and horns playing delicately before opening into a funky jazz romp, again with Pastorius' bass leading the charge. But the tune doesn't stay there; it's nuanced, with an assortment of textures and dynamics that make it one of the great exercises of restraint in Mintzer's career. It's a fine finish. Musically, there is a lot to enjoy here, and if the '80s over-production doesn't get in your way as a listener, it's easy to recommend this. ~ Thom Jurek  https://www.allmusic.com/album/source-mw0000575700  

Personnel: Bob Mintzer (vocals, piccolo, clarinet, bass clarinet, tenor saxophone, drums, background vocals); Bob Mintzer; Randy Brecker (horns); Don Grolnick (keyboards); Will Lee (electric bass); Frank Malabe, Manolo Badrena, Frank Malabé (percussion); Corey Davidson (programming); Carter Cathcarte (background vocals); Hugh McCracken, Bill Washer (guitar); Carl Poole (flute); Tom "Bones" Malone, Alan Raph (trombone); Alan Rubin, Lew Soloff (horns); Mark Gray (keyboards); Tom Barney (electric bass); Peter Erskine, Brian Brake (drums); Chuggy Carter (percussion); Lillias White (background vocals).

Source

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Barbara Casini & Renato Sellani - Gershwin & More

Styles: Vocal And Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 54:27
Size: 124,9 MB
Art: Front

(5:10)  1. The Man I Love
(3:36)  2. But Not For Me
(5:48)  3. Lover Man
(3:59)  4. Our Love Is Here To Stay
(4:14)  5. All Of Me
(4:41)  6. The Nearness Of You
(4:47)  7. A Foggy Day
(2:51)  8. Soon
(4:14)  9. You Go To My Head
(4:58) 10. You Don't Know What Love Is
(4:15) 11. They Can't Take Away From Me
(5:48) 12. Summertime

Barbara Casini (born 1954 in Florence) is an Italian vocalist and guitar player. Studying piano from her youth, she was exposed to Bossa Nova at the age of 15, which had a marked influence on her musical life. After graduating in psychology from the University of Padova, she moved on to become an important voice for Brazilian music and jazz in particular in Italy and beyond after first performing in 1979. She has since recorded and performed with Lee Konitz, Phil Woods, Leo Walls, Francisco Petreni, Stefano Bollani, Enrico Rava, amongst others and with her own group, Outro Lado. https://en.wikipedia.org/wiki/Barbara_Casini

Gershwin & More

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Jerry Bergonzi - Tenor Talk

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 52:44
Size: 121,5 MB
Art: Front

(6:49)  1. Who Cares?
(8:02)  2. Hank
(9:14)  3. Girl Idlig
(7:11)  4. Soul Mission
(6:04)  5. Splurge
(8:30)  6. Wippin' And Waulpin'
(6:51)  7. Left of Memory

Talking about the tenor. Talking about the giants. Talking about Coleman Hawkins, Lester Young, John Coltrane, Joe Henderson, Hank Mobley, Sonny Rollins and Pharoah Sanders. Talking about the people who blew the night into day and the day into night. They were swinging, singing, shouting always searching deeper into the music.To play the tenor is to carry the load of tradition, and nobody carries this load more gracefully than Jerry Bergonzi who, like George Garzone, belongs to the category of the unsung giants of our time. However, fame or fortune does not seem to bother Bergonzi; since his shift to the label Savant, the saxophonist is in a period where he is arguably making the best music of his life.The latest proof of Bergonzi's improvisational genius is Tenor Talk. Backed brilliantly by Dave Santoro (bass), Andrea Michelutti (drums) and Renato Chico (piano), he settles into a program of six originals and a standard. Gershwin's "Who Cares?" heats things up from the start. Bergonzi caresses the tune with warm velvety tones, occasionally throwing in some raspy breaks, while the rest of the group keep a solid sense of swing that goes straight into the feet. After establishing the link with the tradition of the standards, the group breaks new ground with six originals by the leader. Highlights include the smoky tribute to Hank Mobley, "Hank," where Mobley's glowing sense of the blues is conveyed truthfully. "Splurge" finds Santoro introducing a sophisticated groove reminiscent of Joe Henderson's "Inner Urge," and Chico takes some inspirational flights, inspired by Bergonzi's free flowing lines. Bergonzi's melodic compositions are the perfect vehicle for the group's interaction. Together they master all moods, from relaxed swinging and soft ballads to heated workouts. There is a wonderful sense of ease which, of course, is not easy at all. One previous reservation about Bergonzi's playing was that it felt too intellectual. He could play so much that he almost played too much. Now, the awe-inspiring inventiveness is grounded in a bodily sense of groove that combines the head and the heart into a kind of storytelling, encompassing the great tradition of the tenor. Bergonzi is truly at a stage in his career where he doesn't need to prove anything at all. It is sufficient, to quote the title, to let the tenor do the talking. ~ Jakob Baekgaard https://www.allaboutjazz.com/tenor-talk-jerry-bergonzi-savant-records-review-by-jakob-baekgaard.php

Personnel: Jerry Bergonzi: tenor saxophone; Renato Chico: piano; Dave Santoro: bass; Andrea Michelutti: drums.

Tenor Talk

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Billy Taylor Quartet - Where've You Been

Styles: Piano Jazz
Year: 1981
File: MP3@320K/s
Time: 40:51
Size: 95,6 MB
Art: Front

(6:07)  1. Where've You Been?
(5:28)  2. Night Coming Tenderly
(3:18)  3. Ray's Tune
(7:03)  4. Antoinette
(4:31)  5. I'm In Love With You
(5:43)  6. All ALone
(5:07)  7. I Think Of You
(3:31)  8. Capricious

This Concord release is most notable for featuring the obscure but talented violinist Joe Kennedy, who spent the bulk of his career teaching music in the Richmond, VA area. Teamed with pianist Billy Taylor, bassist Victor Gaskin and drummer Keith Copeland, Kennedy is the lead voice on many of the eight straightahead Taylor originals and he plays at the peak of his powers; it is a real pity that he did not record more during his career. ~ Scott Yanow https://www.allmusic.com/album/whereve-you-been-mw0000648206

Personnel:  Billy Taylor - piano;  Joe Kennedy - violin;  Victor Gaskin - bass;  Keith Copeland-drums

Where've You Been

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Vincent Ingala - Personal Touch

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 39:33
Size: 90,7 MB
Art: Front

(3:44)  1. Personal Touch
(3:54)  2. My Kind of Day
(4:01)  3. Love Zone
(4:09)  4. Dream Girl
(4:38)  5. I Think I'm Falling In Love (With You)
(3:39)  6. If You Were Here Tonight
(3:38)  7. Feng Sway
(3:53)  8. Can't Stop The Rain From Falling
(3:48)  9. Snap Crackle Pop
(4:04) 10. Not Meant to Be

With eight of his own compositions, plus two top-notch reinventions, ‘Personal Touch’ from writer, producer and multi instrumentalist Vincent Ingala is the breath of fresh air that long time smooth jazz fans have been craving. Indeed it is arguably Vincent’s most complete album to date and affirms the meteoric progress he has made since 2011 when his debut recording ‘North End Soul’ first hit the streets. It was a collection that marked him out as one to watch and, since then, Smooth Jazz Therapy has watched his development with delighted interest.  ‘Personal Touch’ is Vincent’s fifth solo CD and right from the opening bars of the extremely edgy title cut there is little doubt he has lost none of his ability to effortlessly deliver a succession of joyously radio ready tunes. Much the same can be said of the rhyme drenched ‘Feng Sway’ for which Vincent’s work on guitar and keys is exemplary and later, when he eases down the tempo, the dazzling ‘Dream Girl’ gives him a platform to shine on both sax and keys in a way that is entirely mesmerizing. The mood stays decidedly romantic for the exceptionally easy grooving ‘I Think I’m Falling In Love (With You)’ (complete with stunning keyboard solo) while elsewhere Vincent affords a silky smooth makeover to the Alexander O’Neil blockbuster ‘If You Were Here Tonight’. Even better is his reworking of the title song from Billy Ocean’s 1986 release ‘Love Zone’ that already seems destined to make it into my list of the top ten cover versions for 2018.  However it is with his own compositions that Ingala repeatedly hits smooth jazz gold and a case in point is the big ballsy and totally infectious ‘Snap Crackle Pop’ that might just have the power to rejuvenate even the most tired of dancing feet.  In terms of personal favorites ‘My Kind Of Day’ is the sort of classic smooth jazz track for which Ingala has become famous and although ‘Cant Stop The Rain From Falling’ has a moody mid tempo vibe to die for it is when he again slows things down for the mellow guitar driven (and distinctly Russ Freeman sounding) ‘Not Meant To Be’ that magic really begins to happen.http://smoothjazztherapy.typepad.com/my_weblog/2018/04/vincent-ingala-personal-touch.html

Personal Touch

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