Johnny Hodges - Triple Play

Bitrate: MP3@320K/s
Time: 47:47
Size: 109.4 MB
Styles: Saxophone jazz
Year: 1967/2015
Art: Front

[3:38] 1. Take 'em Off, Take 'em Off, Pt. 1
[2:55] 2. Take 'em Off, Take 'em Off, Pt. 2
[3:45] 3. The Nearness Of You
[3:52] 4. Monkey On A Limb
[4:53] 5. A Tiny Bit Of Blues
[3:01] 6. For Jammers Only (A.K.A. Wild Onions)
[2:51] 7. On The Way Up
[3:19] 8. Big Boy Blues
[2:48] 9. The Very Thought Of You
[6:21] 10. Fur Piece
[3:18] 11. Sir John
[2:38] 12. Figurine
[4:20] 13. C-Jam Blues

Baritone Saxophone – Harry Carney; Bass – Aaron Bell, Joe Benjamin, Milt Hinton; Cornet – Ray Nance; Drums – Gus Johnson, Oliver Jackson, Rufus Jones; Guitar – Billy Butler, Les Spann, Tiny Grimes; Leader, Alto Saxophone – Johnny Hodges; Piano – Hank Jones, Jimmy Jones, Nat Pierce; Piano – Jimmy Jones; Tenor Saxophone – Jimmy Hamilton, Paul Gonsalves; Trombone – Benny Powell, Buster Cooper, Lawrence Brown; Trumpet – Cat Anderson, Roy Eldridge; Vibraphone – Bill Berry.

Altoist Johnny Hodges is heard in three different settings on this reissue CD. Such top swing stars as trumpeters Ray Nance, Cat Anderson and Roy Eldridge, trombonists Buster Cooper, Lawrence Brown and Benny Powell, tenors Paul Gonsalves and Jimmy Hamilton, baritonist Harry Carney, pianists Hank Jones and Jimmy Jones (the latter two sometimes together), guitarists Tiny Grimes, Les Spann and Billy Butler, bassists Milt Hinton, Aaron Bell and Joe Benjamin and drummers Gus Johnson, Rufus Jones and Oliver Jackson are heard in nonets with the great altoist. Despite the many changes in personnel, the music is pretty consistent, with basic swinging originals, blues and ballads all heard in equal proportion. As usual, Johnny Hodges ends up as the main star. ~Scott Yanow

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Donald Harrison - The Burners

Bitrate: MP3@320K/s
Time: 113:09
Size: 259.0 MB
Styles: New Orleans jazz, Saxophone jazz
Year: 2009
Art: Front

[5:18] 1. Playa Haters
[4:17] 2. Oleo
[5:43] 3. Keep The Faith
[5:54] 4. One Of A Kind
[7:59] 5. Double Trouble
[4:41] 6. Free Style
[6:04] 7. Get Your Swerve
[6:43] 8. So What
[8:01] 9. Well You Needn't
[7:03] 10. Free To Be
[8:46] 11. The Survivor
[9:05] 12. The Hook Up
[7:39] 13. Nouveau Swing
[6:58] 14. Mr. PC
[6:00] 15. Drum Line
[8:46] 16. I'm The Big Chief Of Congo Square
[4:02] 17. Two Of A Kind

Donald Harrison - alto sax; Christian Scott - trumpet; Mulgrew Miller - piano; Eric Reed - piano; Ron Carter - bass; Billy Cobham - drums.

Donald Harrison is being called one of the most important musicians of the new millennium by CBS Sunday Morning. The boundary leaping New Orleans alto saxophonist’s distinctive broad toned sound is immediately recognizable as his own, regardless of the environment in which it is being heard, be it bebop, hardbop, swing, New Orleans R & B or funk. Harrison has managed to forge his variegated influences and extensive experience into a uniquely personal style. Through talent and perseverance, Harrison has developed into one of the most significant artist to emerge in the last twenty years! The question with Harrison is not what he can do, but is there anything he can’t do? So far he has mastered and influenced everything he has touched.

The son of late great Big Chief Donald Harrison, Sr. began working with Roy Haynes at age 19 and Jack McDuff at age 20. He joined Art Blakey's Jazz Messengers at age 21. A few years later, he co-led a band with Terence Blanchard that had an enormous impact on the development of the "neo-conservative" movement.

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Manu Katché - Live In Concert

Bitrate: MP3@320K/s
Time: 65:57
Size: 151.0 MB
Styles: Contemporary jazz
Year: 2014
Art: Front

[6:16] 1. Pieces Of Emotion
[5:13] 2. Shine And Blue
[7:45] 3. Song For Her
[2:48] 4. Loving You
[9:45] 5. Clubbing
[5:17] 6. Springtime Dancing
[6:54] 7. Walking By Your Side
[7:56] 8. Beats And Bounce
[4:56] 9. Drum Solo
[9:03] 10. Snapshot

Manu Katché / drums; Luca Aquino / trumpet; Tore Brunborg / sax; Jim Watson / piano & Hammond organ. Recorded live at the New Morning, Paris, 16.06.2014.

June. Monday night. Inside the New Morning, the atmosphere is special: the faithful are here — all connoisseurs — and you can feel it. As soon as Manu Katché launches into his concert — with the snap of a snare, a rumble on the toms — you can sense this is going to be some journey and he's not holding back. His bass-drum thuds with authority, punctuated by flashing cymbals, and his sticks fly into the air before they drop softly: right from the start, they express the elegant dynamics which have come to characterize his style. They're his signature now. Beneath his beige cap, a broad grin lights up his immense desire to play. There's something in the air: an exceptional moment is coming. The quartet present on stage played some 130 concerts last year, which gives it impressive cohesion; the sound is superbly solid, sweeping all.

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Sarah Vaughan - Sassy Swings Again

Bitrate: MP3@320K/s
Time: 31:03
Size: 71.1 MB
Styles: Jazz vocals
Year: 1967/2006
Art: Front

[1:48] 1. Sweet Georgia Brown
[2:40] 2. Take The A Train
[4:06] 3. I Left My Heart In San Francisco
[3:08] 4. S'posin
[4:22] 5. Everyday I Have The Blues
[2:19] 6. I Want To Be Happy
[2:21] 7. All Alone
[4:26] 8. The Sweetest Sounds
[3:34] 9. On The Other Side Of The Tracks
[2:17] 10. I Had A Ball

Vaughan ended her longstanding and career-defining tenure at Mercury with this fine set from 1967. Entering her autumnal prime, Vaughan effortlessly ignites such chestnuts as "Take the 'A' Train" (one of the best interpretations of the Billy Strayhorn classic), "I Want to Be Happy," and "Sweet Georgia Brown." She also dips into some rarely heard gems like Richard Rodgers' "The Sweetest Sounds" and Cy Coleman's "On the Other Side of the Tracks." Uncharacteristically, Vaughan also digs into the B.B. King favorite "Everyday I Have the Blues," which, while impressively delivered, demonstrates why her forte was not the dirty lowdown side of the musical coin. Vaughan, however, does shine on a blues-tinged version of Irving Berlin's swinger "All Alone," showing she certainly could convey a dusky mood in the right setting. As usual, Vaughan rides in style throughout, compliments of some fine arrangements by Thad Jones, J.J. Johnson, Manny Albam, and a young Bob James. And with the likes of Clark Terry, Joe Newman, Freddie Hubbard, Kai Winding, Phil Woods, and Benny Golson sitting in, the backing band here is equally impressive. An often overlooked but essential session from that most divine of jazz chanteuses. ~Stephen Cook

Sassy Swings Again mc
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Cuban Jazz Train - Como Suena

Bitrate: MP3@320K/s
Time: 48:22
Size: 110.7 MB
Styles: Afro-Cuban jazz
Year: 2018
Art: Front

[3:45] 1. A Mi Aire
[3:33] 2. Sincopatres
[3:47] 3. Como Suena
[6:29] 4. Manteca
[5:15] 5. Why Am I Here
[4:23] 6. School Memories
[4:34] 7. Ill Tell You
[7:01] 8. Blue South
[5:45] 9. Descarga
[3:45] 10. Danza Naniga

Calixto Oviedo: production, drums, congas, güiro, timbales and chekere (1, 3, 6, 8, 9 & 10); Yosmel Montejo: production and bass; Joel Nuñez: saxophone (1 – 6 & 9); Christian Moraga: congas (2, 4, 6 & 7); Nathaniel Molina: piano (2 – 5, 9 & 10); Alex Rivas: piano (1, 6 – 8); Lily Hernandez: vocals (10); Rachel López: flute (1); Yosiel Pérez: trumpet (3); Richard Velzen: trombone (8).

This is exactly how you would expect Afro-Cuban music to sound in this day and age; romantic but without an ounce of sentimentality, which, sadly, is the road that many Latin American artists go down. Either that or they try and reinvent the idiom, both of which seem to dilute the tradition to the extent that it turns into something not remotely like what it was intended to sound like. There is, however, nothing wrong with making the music danceable, but when the musicians (and I shall not name names) get too cute.

Cuban Jazz Train - Como Suena featuring Calixto Oviedo Cuban Jazz Train, as the short note suggests, attempts to redefine the relationship between the Afro-Cuban idiom and its doppelgänger – Jazz. Both come from the same root, and both are born of African polyrhythm. One is Spanish-inflected and the other is blues-inflected. And when you combine the two you get almost the same result. So in the hypothesis of Cuban Jazz Train, the musics are contiguous. While this may be so, the clave of Afro-Cuban music makes it distinct from the altered fifths of Jazz. And yet it can be – magically – combined to make both musics stronger. Even the AACM found this to be so when Art “Turk” Burton melded his congas with Henry Threadgill and the other musicians of that forward-thinking group of musicians.

The rhythm of the cha-cha-cha, the guaguancó and the danzón is ever present in this record which swings in clave and vice-versa. One has only to imbibe the music of “Manteca” to feel this uniqueness, this rhythmic crossover and bask in the ingenuity of this production that is shared between the men who make it happen, primarily Calixto Oviedo and Yosmel Montejo. This is an intelligent re-imagining of a song which brilliant rhythms were invented by the great Chano Pozo and realised by the ingenuity of Dizzy Gillespie. However this version by the Cuban Jazz Train, although leaning heavily on the original infuses it with funky rhythms.

That, of course, is not the only reason for the album. The repertoire is smartly laid out so that the energy of the record winds up like a coiled spring when the first beats are sounded and continues until the penultimate “Descarga,” that proverbial Cuban Jam that made its first appearance under the watchful eye of Cachao. Here these young musicians, mentored by the experienced Calixto Oviedo turn out the music of their lives. And what spectacular music it is. I would be remiss if I did not also mention that the ballad with Lily Hernández on vocals is played and sung with balletic grace; a perfect song to temper the heat of the rest of the music of this beautiful record.

Como Suena mc
Como Suena zippy

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Jimmy Smith - Organ Grinder Swing

Bitrate: MP3@320K/s
Time: 35:49
Size: 82.0 MB
Styles: Bop, Soul-jazz
Year: 1965/2012
Art: Front

[2:17] 1. Organ Grinder's Swing
[8:59] 2. Oh No, Babe
[5:19] 3. Blues For J
[8:50] 4. Greensleeves
[3:20] 5. I'll Close My Eyes
[7:01] 6. Satin Doll

Most of organist Jimmy Smith's recordings for Verve during the mid- to late '60s were with big bands, making this trio outing with guitarist Kenny Burrell and drummer Grady Tate a special treat. This outing is a throwback to Smith's Blue Note sets (which had concluded two years earlier) and gives the organist the opportunity to stretch out on three blues and three standards. This release shows that, even with all of his commercial success during the period, Smith was always a masterful jazz player.

Organ Grinder Swing

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Joe Farrell - Moon Germs

Styles: Saxophone Jazz
Year: 1973
File: MP3@320K/s
Time: 37:33
Size: 87,8 MB
Art: Front

(11:47)  1. Great Gorge
( 7:26)  2. Moon Germs
( 8:31)  3. Time's Lie
( 9:47)  4. Bass Folk Song

Moon Germs is one of the few true jazz albums put out by CTI, a label whose artists gravitated towards the commercial possibilities of soul jazz, primarily to put food on the table. It’s a jaw dropper, one of the truly classic albums from the era. 

Farrell, known primarily for his work with Elvin Jones in the sixties and Chick Corea in the early seventies, has wisely recruited three up and comers from the new fusion scene for a session that proves every bit as intriguing as the truly bizarre cover.~David Rickert  https://www.allaboutjazz.com/moon-germs-joe-farrell-cti-records-review-by-david-rickert.php

Personnel: Joe Farrell-soprano sax, flute; Herbie Hancock-keyboards; Stanley Clarke-bass; Jack DeJohnette-drums.

Moon Germs

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Monica Ramey - Make Someone Happy

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 46:27
Size: 107,4 MB
Art: Front

(3:33)  1. Hey John
(4:38)  2. Dream Dancing
(4:03)  3. Passion Flower
(2:53)  4. You Hit The Spot
(4:44)  5. I Didn't Know What Time It Was
(4:29)  6. Tenderly
(2:50)  7. Even In Paris
(2:59)  8. Give Him The Ooh-La-La
(3:40)  9. When The Sun Comes Out
(4:22) 10. Goodbye Is All That's Left To Say
(3:48) 11. You're The Top
(4:23) 12. Make Someone Happy

“I first heard Monica Ramey sing several years ago in a vocal class at The Nashville Jazz Workshop. I pulled her aside to encourage her to take her talent seriously. I soon realized that Monica didn’t really need to hear that from me. She was already well focused on building the skills she’d need as a student of standards and jazz music.  Monica has become quite a serious singer and fine interpreter of the Great American Songbook. I’m sure you’ll agree upon hearing her debut release, Make Someone Happy.” -Jim Ferguson, Bassist/Vocalist

"Midwest native Monica Ramey's intellect, sophistication, honesty are on full display on her debut CD, "Make Someone Happy." Ramey's voice floats on top of the music provided by some of Nashville's best including the Lori Mechem Trio, Denis Solee, Roy Agee, George Tidwell, James Hollihan and special guest Beegie Adair.

"Make Someone Happy" is sexy, smart, fresh and full of swing. Listening to this CD makes me happy, one listen and you'll be happy too." -Maxx Myrick, Myrick Media

"The American Songbook is truly the gift that keeps on giving, constantly reinventing itself with each new generation. It does my heart - and my ears! - so much good to hear Monica Ramey pick up the torch and run with it. Her theatrical roots combine with her obvious deep affection for the classic popular song to give us a freshly unique take on the material she's chosen for her debut. It's sassy, swinging and totally enjoyable. Looking forward to Volume II!"-Jeff Steinberg, Musician/Arranger/Composer

"Make Someone Happy" is like a meal that someone cooked for you with lots of love. You can taste the love."-Heather Brand, Photographer

"Let me say about Monica Ramey...
I have watched and listened to this woman grow by leaps and bounds over the last 4 years. She is now the consummate professional... talented, creative, energetic & commited. Anyone fortunate enough to hear this lovingly crafted album, her first solo effort, is in for a treat. You will be, as I was, totally enamoured by her charms. It is a pleasure and an honor to be a part of it. Way to go, Monica!" -Denis Solee, Musician/Arranger/Educator

This refreshing, highly-anticipated album features Monica Ramey's "Dream Team" including Lori Mechem, Roger Spencer, Chris Brown, Denis Solee, George Tidwell, Roy Agee, James Hollihan and special guest, Beegie Adair. https://store.cdbaby.com/cd/monicaramey

Make Someone Happy

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Ivo Perelman - Book Of Sound

Styles: Saxophone Jazz 
Year: 2014
File: MP3@320K/s
Time: 52:23
Size: 124,4 MB
Art: Front

( 7:22)  1. Damnant Quod Non Intelligunt
( 4:51)  2. Candor Dat Viribus Alas
( 8:30)  3. De Gustibus Non Est Disputandum
( 9:36)  4. Adsummum
( 8:24)  5. Adde Parvum Parvo Magnus Acervus Erit
(13:37)  6. Veritas Vos Liberabit

Brazilian tenor saxophonist Ivo Perelman is a remarkably productive recording artist known for combining simple Brazilian folk themes with the techniques of free jazz. While he plays well in the heavily distorted, abstract-expressionist vein first tapped in the '60s by the Albert Ayler, he also fits nicely alongside his similarly inclined contemporaries like Elliott Levin and Ken Simon. Born in Sao Paulo in 1961, Perelman played classical guitar, cello, clarinet, trombone, and piano while growing up. At the age of 19 he adopted the tenor saxophone as his primary instrument. After arriving in the U.S., he attended the Berklee School of Music in Boston for a semester before dropping out (Perelman is purportedly a mostly self-taught player). Perelman's travels took him to Los Angeles in 1986, where he studied privately and performed. His first album, Ivo from 1989, featured an all-star cast that included drummer Peter Erskine, bassist John Patitucci, percussionist Airto, and vocalist Flora Purim, among others. Also around this time, Perelman relocated to New York. During the '90s, he founded his own Ibeji label, releasing albums like Soccer Land and Tapeba Songs. Ever explorative, in 1997 Perelman combined Jewish music and avant-garde jazz, making En Adir: Traditional Jewish Songs for the Music & Arts label. Quite prolific, Perelman recorded often with players of the avant-garde; he's made albums with the bassist Dominic Duval, pianist Borah Bergman, drummers Rashied Ali and Jay Rosen, and pianists Marilyn Crispell and Matthew Shipp, to name just a few. In the 2000s, Perelman continued his busy recording schedule, pairing most often with pianist Shipp, as well as adventurous collaborators like violinist Mat Maneri, guitarist Joe Morris, drummer Gerald Cleaver, and others. Many of these efforts were issued via Leo Records including such albums as 2011's The Hour of the Star, 2012's Clairvoyant, 2014's Book of Sound, and 2016's Blue. Also in 2016, Perelman released six volumes of a series on Leo called The Art of the Improv Trio. A similar series detailing his partnership with Shipp, the seven-volume The Art of Perelman-Shipp, appeared in 2017. ~ Chris Kelsey https://itunes.apple.com/us/album/book-of-sound/1080202636

Personnel: Ivo Perelman: tenor saxophone; Matthew Shipp: piano; William Parker: bass.

Book Of Sound

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Richard Elliot - In The Zone

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 46:06
Size: 106,6 MB
Art: Front

(5:19)  1. Island Style
(4:17)  2. Boom Town
(4:11)  3. Metropolis
(5:02)  4. Inner City Blues (Makes Me Wanna Holler)
(4:22)  5. The Lower Road
(4:36)  6. Bring It!
(4:18)  7. Just A Taste
(4:35)  8. In The Zone
(4:24)  9. Panamera
(4:58) 10. Golden Triangle

Richard Elliot's In the Zone picks up where 2009's Rock Steady left off. Where that album paid tribute to the saxophonist's R&B heroes, In the Zone, which marks Elliot's 25th anniversary as a recording artist, offers a thank-you to the influences of his predecessors in the smooth jazz genre: namely Grover Washington Jr., David Sanborn, and Bob James. Co-produced with Jeff Lorber, with horn charts and horns by David Mann, Elliot composed eight of the ten tracks on the set, co-wrote one with Lorber (who appears on keyboards and guitar), and offers a fine cover of Marvin Gaye's "Inner City Blues (Makes Me Wanna Holler)" as a nod to Washington's stellar version in the early '70s. Things kick off breezily enough with "Island Style"; its Caribbean groove recalls Creed Taylor's production of Washington's Kudu Records output. That said, the phrasing is pure Elliot. "Boom Town," the single, is funkier, and features fine guitar work by Dwight Sills and Lorber. Elliot's sense of time when soloing is deadly. The melody is as infectious and celebratory as it is sexy. "Metropolis" almost cops a "Mister Magic" vibe when it commences, but it's more songlike than vamp-oriented. 

It's possessed of a delightful lyricism. "The Lower Road" is almost a country melody played contemporary jazz style. It too is comprised of a gorgeous melody played on and around by Elliot with fine guitar work by Michael Thompson and Lorber  this is a clear nod to James and his gift for elegant melodies. "Bring It!" is deeply funky and inspired by R&B, and its emotive blowing recalls Sanborn. While "Just a Taste" is simply pleasant and lithe, it contrasts sharply with the title track, a hard, funky strutter with excellent guitar interplay and additional layers of horns by Mann. "Panamera" is slick dancefloor glide but the rhythmic palette shifts in interesting ways. The set closes with the graceful lyricism of "Golden Triangle," another songlike piece that reflects Elliot's love of compact harmonies. Lil' John Roberts is exceptional on the drum kit, using brushes to provide unexpected breaks as Thompson and Tony Maiden exchange open, nearly jangly guitar interplay. In the Zone is a fine companion to Rock Steady, but perhaps even more to Metro Blue. Ultimately, it proves beyond doubt that there is plenty of life and possibility in the contemporary jazz genre. ~ Thom Jurek https://www.allmusic.com/album/in-the-zone-mw0002211124

Personnel:  Richard Elliot (Saxophone); Jeff Lorber (Keyboards, Guitar); David Mann (Horns); Stan Fromin (Synthesizer); Michael Thompson, Tony Maiden, Dwight Sills (Guitar); Alex Al, Nate Phillips (Bass); Tony Moore, Lil' John Roberts (Drums); Lenny Castro (Percussion); Bobby Colombo (Shaker).

In The Zone

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