Bob Dylan - Highway 61 Revisited

Bitrate: MP3@320K/s
Time: 50:58
Size: 116.7 MB
Styles: Album rock, AM Pop
Year: 1965/2014
Art: Front

[ 6:07] 1. Like A Rolling Stone
[ 4:04] 2. It Takes A Lot To Laugh, It Takes A Train To Cry
[ 5:55] 3. Tombstone Blues
[ 3:15] 4. From A Buick 6
[ 5:56] 5. Ballad Of A Thin Man
[ 5:26] 6. Queen Jane Approximately
[ 3:26] 7. Highway 61 Revisited
[ 5:27] 8. Just Like Tom Thumb's Blues
[11:19] 9. Desolation Row

Taking the first, electric side of Bringing It All Back Home to its logical conclusion, Bob Dylan hired a full rock & roll band, featuring guitarist Michael Bloomfield, for Highway 61 Revisited. Opening with the epic "Like a Rolling Stone," Highway 61 Revisited careens through nine songs that range from reflective folk-rock ("Desolation Row") and blues ("It Takes a Lot to Laugh, It Takes a Train to Cry") to flat-out garage rock ("Tombstone Blues," "From a Buick 6," "Highway 61 Revisited"). Dylan had not only changed his sound, but his persona, trading the folk troubadour for a streetwise, cynical hipster. Throughout the album, he embraces druggy, surreal imagery, which can either have a sense of menace or beauty, and the music reflects that, jumping between soothing melodies to hard, bluesy rock. And that is the most revolutionary thing about Highway 61 Revisited -- it proved that rock & roll needn't be collegiate and tame in order to be literate, poetic, and complex. ~Stephen Thomas Erlewine

Highway 61 Revisited mc
Highway 61 Revisited zippy

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Dan Barrett - Harlem 2000

Bitrate: MP3@320K/s
Time: 77:48
Size: 178.1 MB
Styles: Trombone jazz
Year: 2009
Art: Front

[3:43] 1. Beyond The Blue Horizon
[7:39] 2. Four Or Five Times
[3:58] 3. Dreamy Mood
[4:14] 4. It's Been So Long
[4:41] 5. Solid Old Man
[4:17] 6. Angel's Idea
[4:22] 7. Echoes Of Harlem
[4:16] 8. Haven't Named It Yet
[6:20] 9. Drop Me Off In Harlem
[3:21] 10. Body And Soul
[5:29] 11. Harlem Sundown
[4:18] 12. I May Be Wrong
[5:04] 13. B-Flat Swing
[6:15] 14. Synthetic Love
[3:36] 15. A Lull At Dawn
[6:10] 16. Till Tom Special

Nothing pleases the straight-ahead jazz fan more than a long set of well-known and obscured classics played with integrity, soul, and swing by an ensemble of tight musicians, and this fills that bill in spades. Recorded over three days at a studio in Hamburg, the trumpeter and his merry men roll hard and brassy over the feisty rhythms of Christian Ramond (bass) and Oliver Mewes (drums) on such gems as "Beyond the Blue Horizon" and the Lionel Hampton-Charlie Christian classic "Haven't Named It Yet." There's lots of variety and joyful mood-swinging between the New Orleans-flavored "Four or Five Times" (with Engelbert Wrobel's whimsical clarinet) and the lighthearted, muted trumpet-driven romance "Dreamy Mood." The recording derives its name from its inclusion of two Duke Ellington classics, which give pianist Chris Hopkins (who wrote the colorful liner notes) some strong moments to shine: the mysterious "Echoes of Harlem" and the perky "Drop Me off in Harlem." You'll be glad you got off the bus. ~Jonathan Widran

Harlem 2000 

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Cris Delanno, Nelson Faria - Bossa Is Her Name

Bitrate: MP3@320K/s
Time: 35:49
Size: 82.0 MB
Styles: Brazilian jazz, Bossa Nova
Year: 2018
Art: Front

[4:04] 1. Cry Me A River
[3:34] 2. I Should Care
[3:21] 3. I'm In The Mood For Love
[1:56] 4. I'm Glad There Is You
[2:04] 5. Can't Help Lovin' That Man
[2:13] 6. I Love You
[2:34] 7. Say It Isn't So
[2:27] 8. It Never Entered My Mind
[2:32] 9. Easy Street
[2:02] 10. 's Wondeful
[2:54] 11. No Moon At All
[3:17] 12. Laura
[2:45] 13. Gone With The Wind

About Cris Delanno: Born in the U.S. but raised in Brazil, Cris Delano began singing in a children's chorus before becoming a backup vocalist for local numbers. In 1999, she published a book called Mais Nunca E Preciso Cantar (More Than Ever Is Necessary to Sing). Delano made her debut with Em Tom Maior, a tribute to local star Tom Jobim. The album was produced in 2000 by composer/arranger Roberto Menescal, founder of Brazilian label Albatroz. The independent Filha Da Pátria followed in 2001. ~ Drago Bonacich

Nelson Faria, one of the best guitarists of his generation, recorded and performed with some of Brazil's biggest artists, like Milton Nascimento, Edu Lobo, Cássia Eller, Nana Caymmi, Zélia Duncan, João Bosco, Wagner Tiso, and Toninho Horta, among others. Faria worked with Leila Pinheiro on the show Na Ponta da Língua, with Paulo Moura's septet on the show Rapsody in Bossa, and with Baby Do Brasil on her show Acústico. He released his first solo CD in 1993, Ioiô (Perfil Musical). With José Namen, Marcos Suzano, and Bororó, Faria recorded Beatles, Um Tributo Brasileiro. He recorded Janelas Abertas with Carol Saboya and Três/Three with Nico Assumpção and Lincoln Chieb. With Nico Assumpção, Carlos Malta, and Lincoln Cheib, he formed the group Ninho de Vespas. Faria studied at the Guitar Institute of Technology (Hollywood, CA) with Joe Diorio, Joe Pass, Scott Henderson, and Frank Gambale for one year, taking contemporary harmony and guitar classes with Ted Greene. He has developed music workshops throughout Brazil and the U.S., having recorded the first videoclass produced in Brazil for Giannini Instruments, Toque de Mestre, as well as the video Ginga Brasileira with Antônio Adolfo, released abroad as Secrets of Brazilian Music. Faria also wrote the books A Arte da Improvisação (Lumiar Editora) and The Brazilian Guitar Book (Sher Music Co.). ~Alvaro Neder

Bossa Is Her Name mc
Bossa Is Her Name zippy

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Brass Band Bürgermusik Luzern, Ludwig Wicki - Brazz

Bitrate: MP3@320K/s
Time: 65:32
Size: 150.0 MB
Styles: Brass band
Year: 1999
Art: Front

[ 9:51] 1. An Ellington Portrait
[ 5:05] 2. Here's That Rainy Day
[ 3:47] 3. Jersey Bounce
[ 9:56] 4. A Touch Of Mancini
[ 4:15] 5. Am I Blue
[ 3:02] 6. It Don't Mean An Thing
[ 3:27] 7. Three Kings Swing
[ 3:01] 8. Light Walk
[ 4:55] 9. Minuano
[12:01] 10. Journeys
[ 6:06] 11. Riverdance

Brassband Bürgermusik Luzern (BML) has its roots in the 19th Century, but was formed officially in 1922. Since 1967 BML have played in brass band formation. In recent years, the band has enjoyed continued success and achieved high placings in various competitions.

Brazz mc
Brazz zippy

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Bruce Barth - Somehow It's True

Bitrate: MP3@320K/s
Time: 57:31
Size: 131.7 MB
Styles: Bop, Piano jazz
Year: 2000
Art: Front

[ 0:34] 1. Criss Cross
[10:06] 2. Tom Tom Thing
[ 7:45] 3. Estate
[ 5:15] 4. Somehow It's True
[ 5:59] 5. Solitude
[ 0:32] 6. Criss Cross
[ 9:17] 7. Triste
[ 6:47] 8. Light Blue
[ 0:34] 9. Criss Cross
[ 6:16] 10. We See
[ 1:32] 11. Solitude
[ 2:50] 12. Criss Cross

Bruce Barth's third Double-Time release features Terell Stafford on trumpet and flugel, Adam Kolker on tenor and soprano sax (and alto clarinet), Ugonna Okegwo on bass, Duduka DaFonseca on percussion, and Billy Hart on drums. In a rather ingenious move, Barth intersperses three 30-second solo piano takes of Monk's "Criss Cross" throughout the program, finally giving us a nearly full-length take as the finale. Furthering the Monk theme, he also offers a trio rendition of "We See" and a full-band version of "Light Blue." Two standard bossas also appear: a mellow trio reading of "Estate" and a lively take on Jobim's "Triste" in seven. There are only three Barth originals, but they range widely, from the 6/8 modal fury of "Tom Tom Thing" to the melodic solo piano feature "Somehow It's True" to the quasi-free-form "Solitude," the last of which is reprised toward the end of the program. The consistently stellar playing and the uncommon conceptual moves make this one of Barth's most refreshing efforts to date. ~David R. Adler

Somehow It's True mc
Somehow It's True zippy

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Various - Best Of The Soul Jazz From The Groove Merchant Vault Vol. 1

Bitrate: MP3@320K/s
Time: 68:21
Size: 156.5 MB
Styles: Soul jazz
Year: 2012
Art: Front

[6:48] 1. B. Baker Chocolate Company - Snowblower
[5:01] 2. Dr. Lonnie Smith - Dreamer
[5:40] 3. Dr. Lonnie Smith - Carousel
[6:38] 4. Joe Thomas - Plato's Retreat
[5:47] 5. Joe Thomas - Masada
[4:38] 6. Joe Thomas - Poinciana
[4:44] 7. Joe Thomas - Gemini Flyin' High
[2:32] 8. O'Donel Levy - Where Is The Love
[4:40] 9. O'Donel Levy - People Make The World Go Round
[3:42] 10. O'Donel Levy - I Want To Make It With You
[6:04] 11. Dr. Lonnie Smith - Keep On Lovin
[6:07] 12. Dr. Lonnie Smith - Sweet Honey Wine
[5:54] 13. Dr. Lonnie Smith - Journey To Within

Soul-Jazz, which was the most popular jazz style of the 1960s, differs from bebop and hard bop (from which it originally developed) in that the emphasis is on the rhythmic groove. Although soloists follow the chords as in bop, the basslines (often played by an organist if not a string bassist) dance rather than stick strictly to a four-to-the bar walking pattern. The musicians build their accompaniment around the bassline and, although there are often strong melodies, it is the catchiness of the groove and the amount of heat generated by the soloists that determine whether the performance is successful. Soul-jazz's roots trace back to pianist Horace Silver, whose funky style infused bop with the influence of church and gospel music, along with the blues. Other pianists who followed and used similar approaches were Bobby Timmons, Junior Mance, Les McCann, Gene Harris (with his Three Sounds), and Ramsey Lewis. With the emergence of organist Jimmy Smith in 1956 (who has dominated his instrument ever since), soul-jazz organ combos (usually also including a tenor, guitarist, drummer, and an occasional bassist) caught on, and soulful players became stars, including Brother Jack McDuff, Shirley Scott, Jimmy McGriff, Charles Earland, and Richard "Groove" Holmes, along with such other musicians as guitarists Grant Green, George Benson and Kenny Burrell; tenors Stanley Turrentine, Willis "Gator" Jackson, Eddie "Lockjaw" Davis, David "Fathead" Newman, Gene "Jug" Ammons, Houston Person, Jimmy Forrest, King Curtis, Red Holloway, and Eddie Harris; and altoist Hank Crawford. Despite its eclipse by fusion and synthesizers in the 1970s, soul-jazz has stayed alive and made a healthy comeback in recent years. ~AMG

Best Of The Soul Jazz From The Groove Merchant Vault Vol. 1 mc
Best Of The Soul Jazz From The Groove Merchant Vault Vol. 1 zippy

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Bob Dorough - Live at the Deer Head Inn

Styles: Vocal And Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 59:13
Size: 136,1 MB
Art: Front

(0:18)  1. Announcement by Denny Carrig
(5:58)  2. The Touch of Your Lips
(7:50)  3. Flamingo
(5:45)  4. Learnin' the Blues
(4:47)  5. Casanova's Lament
(5:48)  6. Wily Wily Woman
(2:59)  7. Alfie
(6:28)  8. It's Bound to End in Tears
(8:07)  9. The Sweetest Sounds
(5:38) 10. Summer Solstice
(5:30) 11. Devil May Care

The oldest continuously running jazz club in America isn’t in New York, Chicago or New Orleans but in the Delaware Water Gap of Pennsylvania, where for nearly seven decades the Deer Head Inn has hosted everyone from Stan Getz to Keith Jarrett. If the Deer Head can claim a resident headliner, it is surely Bob Dorough, who, nearing 94, still makes regular appearances. This particular set, featuring trio-mates Steve Berger (guitar) and Pat O’Leary (bass), plus two special guests, was captured on Dec. 12, 2015, Dorough’s 92nd birthday. Dorough’s rank among the sharpest songwriters of his (or any) generation is beyond question, as is his prowess as a pianist. As a singer he is utterly unique, a peerless blend of grit and charm, imps dancing with angels. And Dorough is superb at shaping set lists, as evidenced here with a marvellous intermingling of Richard Rodgers, Bacharach and David, Ray Noble, Jack Teagarden and originals familiar (“Devil May Care”), new (the beautifully contemplative “Summer Solstice”), witty (“Wily Wily Woman”) and sly (“It’s Bound to End in Tears,” co-written with the equally crafty Fran Landesman). Ever the gentleman, Dorough leaves plenty of room for laudable contributions from across the bandstand, including daughter Aralee’s keenly navigated, three-and-a-half-minute flute intro to “Flamingo,” thoughtful solos from O’Leary and Berger on Rodgers’ wishful “The Sweetest Sounds” and, on harmonica, Larry Fink’s bluesy, mischievous propulsion of “Wily Wily Woman.”~ Christopher Loudon https://jazztimes.com/reviews/vox/bob-dorough-live-deer-head/

Personnel:  Bob Dorough - piano, vocals;  Steve Berger - guitar;  Pat O'Leary - bass;  Aralee Dorough - flute;  Larry Fink - harmonica.

Live at the Deer Head Inn

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Polly Gibbons - Many Faces of Love

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 66:04
Size: 152,2 MB
Art: Front

(6:05)  1. Please Send Me Someone To Love
(6:09)  2. Love Me Like A Song
(4:51)  3. So Good
(4:06)  4. Make It Last
(4:49)  5. That's Enough For Me
(6:11)  6. Not Like This
(5:39)  7. City Lights
(4:47)  8. After Hours
(4:43)  9. Since I Fell For You
(5:12) 10. Company
(7:11) 11. I Have the Feeling I've Been Here Before
(6:17) 12. Love Comes and Goes

Polly Gibbons is hardly the first female vocalist to bend an album to the arc of a love affair, but her navigation of an infatuation-to-rebound storyline is among the smartest. Though new to American audiences, the 30-year-old Gibbons, whose dusky style hints at the great Cleo Laine, has deservedly earned hearty kudos in her native England. And she attracts all-star accompanists, including two from the Tierney Sutton Band, drummer Ray Brinker and bassist Kevin Axt; longtime Diana Krall guitarist Anthony Wilson; violinist Christian Howes; and, as leader and sole arranger, pianist Tamir Hendelman. Gibbons is also a gifted songwriter, but here opts for an eclectic assortment of pop, jazz and soul covers. Her romantic loop begins with an Axt-propelled reading of Percy Mayfield’s “Please Send Me Someone to Love,” progressing to the laidback contentment of Al Jarreau’s “So Good” and Bob Haymes’ “Make It Last” and the sensuous fulfillment of Patti Austin’s “That’s Enough for Me.” Breakup ensues, defined by the Jarreau-associated tearjerker “Not Like This” and Dr. John’s drown-your-sorrows “City Lights.” Regret follows, the ebony dejection of “Since I Fell for You” paired with Rickie Lee Jones’ ruminative “Company.” Finally, rounding remorse’s curve, comes the discernment of Roger Kellaway and Alan and Marilyn Bergman’s “I Have the Feeling I’ve Been Here Before” and clear-eyed wisdom of British songwriter Carroll Coates’ “Love Comes and Goes.”~ Christopher Loudon https://jazztimes.com/reviews/albums/polly-gibbons-many-faces-of-love/

Many Faces of Love

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Pasadena Roof Orchestra - Breakaway

Styles: Big Band
Year: 1991
File: MP3@320K/s
Time: 57:19
Size: 132,2 MB
Art: Front

(3:20)  1. Breakaway
(2:54)  2. Jeepers Creepers
(3:01)  3. Piccolo Pete
(3:32)  4. The Very Thought of You
(3:18)  5. The Continental
(3:27)  6. Temptation Rag
(3:11)  7. Sweet Georgia Brown
(5:01)  8. Ain't Misbehavin'
(3:02)  9. Play That Hot Guitar
(3:44) 10. Rockin' Chair
(3:04) 11. That's A Plenty
(2:55) 12. Zing! Went the Strings of My Heart
(3:51) 13. Tom Thumb's Drum
(3:09) 14. Love Is Good for Anything That Ails You
(3:21) 15. Stompin' at the Savoy
(3:40) 16. Just One More Chance
(2:38) 17. The Man From the South

The Pasadena Roof Orchestra was formed in Nov. 1969 by Johnny Arthy, a lover of 1920's jazz who sought to lead a dance-oriented jazz-influenced big band specializing in music from the 1923-37 period. The British band gained its name because Arthy liked the obscure song "Pasadena." The orchestra had its first gig in April 1970 and soon Arthy came across a windfall, 1, 500 original arrangements from the 1920's practically given away by an elderly lady whose father had been musical director of a dance band in the twenties. The P.R.O. started out playing once a week but, after the success of their first album in 1974, they turned professional and began working much more often. A European tour in 1975 added to the group's momentum and since then they have worked constantly and recorded fairly regularly (in the early days for Transatlantic and later on mostly for their own P.R.O. label). No famous soloists are among their alumni since the Pasadena Roof Orchestra is very much a dance band, but the group has long featured colorful ensembles, period vocals and brief individual spots, very much in the early pre-swing style which they treat with great respect. ~ Scott Yanow https://itunes.apple.com/us/album/breakaway/1190860175

Breakaway

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Vincent Ingala - Can't Stop Now

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 37:30
Size: 90,7 MB
Art: Front

(4:15)  1. Can't Stop Now
(4:16)  2. If I Could Fly
(4:22)  3. Read Between the Lines
(4:19)  4. Wish I Was There
(4:05)  5. Kimi Trick (feat. Jonathan Fritzen)
(3:38)  6. This Time Baby
(4:02)  7. Groovin' U (feat. Gregg Karukas)
(4:04)  8. Sexy Mama
(4:24)  9. Just Imagine

Though by the 2010s, the terrestrial smooth jazz radio format was long on the wane and most of the festivals and cruises were headlined by previously established A-listers, a batch of promising younger talents began popping up a new generation of funk-filled "smoothies" who could keep the grooves and melodies hopping, with the potential to attract younger fans. Among the most dynamic of these was Vincent Ingala, whose rise in the genre as an indie artist was probably destined from the time he was 16 and asked to open a show for genre superstar Dave Koz. His second album, Can't Stop Now, is full of infectious melodies, irresistible pocket grooves, and a sense of self-assurance that bodes well for the multi-talented saxophonist to create his own destiny as an artist, no matter the fortunes of the format itself. One of the ways new fans can tell when a young urban jazz artist is going places is his ability to get well-established genre artists to collaborate with him. In this case, he hits the trifecta of keyboardists Jonathan Fritzen (the elegantly soulful, midtempo duet "Kimi Trick") and Gregg Karukas (the soulful, eloquently tropical "Groovin' U"), and saxman/superproducer Darren Rahn, who lends his mixing expertise. Key tracks that dig deep enough to be emotional but are light enough for extensive radio play are the opening title track and the bouncy, danceable "Wish I Was There," both of which feature the extra sizzle of horn doubling on the hook. Another score for Ingala is his unique choice of R&B cover tunes (in a genre where most artists aim for the obvious when they do this). He mines funky jamming gold from the O'Jays' "This Time Baby" and gets gritty yet sexy on a fresh take on the Moments' "Sexy Mama" both of which define an era but could use some fresh appreciation by the likes of a hot young artist like Ingala. The title of the album says it all about the momentum he achieves with this solid set. ~ Jonathan Widran https://www.allmusic.com/album/cant-stop-now-mw0002404596

Can't Stop Now

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