David Kikoski - Details

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 67:51
Size: 155,5 MB
Art: Front

(12:13)  1. In Your Own Sweet Way
( 7:35)  2. Detachment
( 9:09)  3. 7/4 Ballad
( 6:17)  4. Inner Urge
( 6:00)  5. Juriki
( 6:45)  6. Adorable You
( 5:45)  7. K's Blues
( 6:52)  8. Presage
( 7:09)  9. Tag Blues

David Kikoski has earned his chops backing everyone from legends like Roy Haynes (two decades and counting) to young gun David Sanchez. Though he can commandeer a set when he wants (an astoundingly fractured, nearly chaotic barrelhouse blues piano solo is all that remains in memory of the last Pat Martino gig I caught), by nature he's a team player: gently tenacious exploration and ethereal post-bop empathy are this Berklee grad's true bread and butter. Thus Details , as you might expect from its title, is loaded with both. It's a trio disc, and for this kind of patient investigation, Kikoski could scarcely have filled out the group better. Bass man Larry Grenadier and drummer Bill Stewart provide the pianist with a near-telepathic unity that lifts the disc immediately above the ordinary. (Stewart, whose extensive trio forays with keyboardist Larry Goldings have prepared him magnificently for this kind of work, seems particularly alert.) From the group's leisurely twelve-minute stroll through Dave Brubeck's "In Your Own Sweet Way," to its thoughtful, intense work on Joe Henderson's great "Inner Urge," and through the host of tricky Kikoski originals that comprise the remainder of the material, ideas flow free and quick and no subtle shift goes unnoticed. (Even Kikoski's single-track detour on electric keyboard, "K's Blues," comes off.) Short on flash but loaded with exquisite three-way rapport, Details is a dreamy, first-rate disc from a player deserving more attention. ~ AAJ Staff https://www.allaboutjazz.com/details-dave-kikoski-criss-cross-review-by-aaj-staff.php

Personnel: Dave Kikoski: Piano;  Larry Grenadier: Bass;  Bill Stewart: Drums. 

Details

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Swing Out Sister - Live in Tokyo

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 78:41
Size: 180,6 MB
Art: Front

(5:49)  1. Surrender/World Out Of Control
(6:47)  2. Get in Touch with Yourself
(5:18)  3. La La Means I Love You
(5:17)  4. Sugarfree
(4:51)  5. Stoned Soul Picnic
(7:40)  6. Closer than the Sun/Forever Blue
(6:08)  7. Heaven Only Knows
(6:34)  8. Filth & Dreams
(6:31)  9. Now You're Not Here/No Scrubs
(8:08) 10. Am I the Same Girl
(7:57) 11. Breakout/When Morning Comes
(7:36) 12. Twilight World

This trend-setting act with a cult like following returns with LIVE  beautifully crafted new live arrangements of some of their biggest hits ever! Included are completely new and revamped versions of the 1980s worldwide hits 'Breakout' and 'Am I the Same Girl', each with a completely new and fresh approach and arrangement. Also included are many of their other greatest US hits like 'La La Means I Love You' and 'Stoned Soul Picnic', each classic cover executed in a refreshing new way! Recorded live in Tokyo, the 10 piece Swing Out band includes incredible vocalists, multiple keyboard players, funky rhythm and jazz guitars, tight drums and auxiliary percussion. Shanachie. 2005.~ Editorial Reviews

Personnel:  Bass Guitar – Juneroy Johnson;  Congas, Percussion, Kalimba – Jody Linscott;  Drums – Chris Bailey ;  Guitar, Backing Vocals – Tim Cansfield;  Lead Vocals – Corinne Drewery ;  Vocals [Additional] – Delores Clay

Live in Tokyo

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Naoko Terai - The Standard

Styles: Violin Jazz
Year: 2017
File: MP3@320K/s
Time: 72:07
Size: 166,3 MB
Art: Front

(4:27)  1. Night And Day
(6:16)  2. Fly Me To The Moon
(3:59)  3. Devil May Care
(6:28)  4. What Are You Doing The Rest Of Your Life
(6:08)  5. It's All Right With Me
(6:42)  6. Soul Eyes
(4:46)  7. Samba de Uma Nota Só
(6:38)  8. Yesterdays
(5:31)  9. Bluesette
(5:47) 10. Golden Earrings
(4:33) 11. Les Feuilles mortes
(5:17) 12. Nardis
(5:29) 13. Blue Velvet

Born in Kanagawa Prefecture. Began playing the violin at the age of 4 and appearing at the age of 6 at NHK Educational TV "Keiko no Violin". When I was 12 years old, I received an encouragement prize at "Student Music Competition East Japan Convention" sponsored by the Mainichi Newspaper Company. Received again at the age of 14. In 1988, he debuted professionally as a jazz / violinist. Since being co-starred with Kenny • Baron who came to Japan in 1995, he was invited to guests of his album "Things unseen" and recorded for the first time in NY. In 1998, the first leader work "Thinking of You" was announced. In the blink of an eye, it gets notice as a heroine of the jazz world. In January 2001, he won the Jazz Disc Grand Prize "New Star Award" sponsored by Swing Journal magazine. In August 2002, I participated in my 1st "Tokyo Jazz 2002" in my band. The overwhelming performance of becomes a topic. Herbie Hancock invited me to join his session. In February 2003, EMI (now Universal Music) first release "Anthem" was announced. Became a big best seller and received the Japan Gold Award Grand Prize . December, announced the second transfer "Jazz  Waltz" announcement. Jazz disc award "Jazz Award" won by swing journal magazine. In April 2004, in the swing journal magazine reader popularity vote, he won three divisions , . Become a top artist in the jazz world with both name and reality. From this year onwards until 2009, serve KINCHO mosquito coil TVCM character. (I will be in charge of music continuously after that) In January 2008, received the 33rd Nanri's Fumio Award. In March 2010, the Agency for Cultural Affairs received the Prize for Art Scholarship Minister Entry Science Minister's Newcomer Award (Grand Prize Division). From May, serve as the first regular personality in the BS - TBS program "Cinemagic Café" (~ 2012). In September 11th, "Tokyo Jazz" celebrating the 10th anniversary, she appeared on the stage entitled "Astor Piazzolla Project" with world accordionist Richard Galliano and performed again etc. The stage live record "Libertango in Tokyo" is also reputed. In January 15, the regular band was renewed for the first time in 12 years, and the latest work "Hot Jazz" was announced. (Translate by Google) https://www.universal-music.co.jp/terai-naoko/biography/

The Standard

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Caribbean Jazz Project - Afro Bop Alliance

Styles: Latin Jazz, World Fusion 
Year: 2008
File: MP3@320K/s
Time: 60:46
Size: 142,1 MB
Art: Front

(4:55)  1. Rendezvous
(6:11)  2. Naima
(8:45)  3. Five For Elvin
(5:20)  4. Soul Sauce
(6:30)  5. Picture Frame
(8:35)  6. Stolen Moments
(4:55)  7. Birds Of A Feather
(7:42)  8. Afro Green
(7:52)  9. Bemsha Swing

Lionel Hampton was one of the first "real" jazz vibraphonists. In more recent years, Gary Burton has been among those who have kept the instrument an integral part of the jazz scene. However, another name is also synonymous with the instrument. That is Dave Samuels. A longtime member of Spyro Gyra who occasionally reunites with the group, performing on a few songs here and there for recordings, Samuels is a master of both the vibraphone and the marimba. He also, when desiring a certain effect, has used a mallet-triggered synthesizer. After a brief solo career that included such recordings as Living Colors (MCA, 1988) and Ten Degrees North (MCA, 1989), Samuels joined forces with pals Paquito D'Rivera on alto sax and clarinet and Andy Narell on steel pans, to form the Caribbean Jazz Project. D'Rivera and Narell are no longer with the group, but Samuels is still its leader. Afro Bop Alliance revisits nine songs previously recorded by CJP, done this time with the Maryland-based Afro Bop Alliance, a big band with a Latin sound. The set begins with a dynamic offering of "Rendezvous," a track Samuels wrote for the Africa-themed Ten Degrees North and later appeared on CJP's Grammy-nominated Here and Now Live in Concert (Concord, 2005). While the first two recordings are exceptional, this one is equally engaging. 

With a heavy dose of horns, Joe McCarthy and Roberto Quintero splitting percussion duties, and Tim Stanley's trumpet solo, "Rendezvous" is more exciting than ever. John Coltrane's "Naima," which also was on Here and Now, is moderately paced. Samuels' vibraphone solo is the highlight, but the CJP rhythm section of McCarthy, Quintero and Max Murray on bass, complements the entire package. Steve Williams contributes an elegant soprano saxophone solo, underscored by soft horns. "Five for Elvin," another Samuels original, gives the percussionists plenty of room to stretch out. First, they underscore Samuels' marimba solo, complemented by Murray and pianist J.J. Wright. Later in the song, McCarthy and Quintero are out front, accompanied only by piano and bass, setting up the song's closing. Samuels and the rhythm section set up Oliver Nelson's "Stolen Moments." Luis Hernandez contributes a moving tenor sax solo, which gives way to Samuels on the marimba, punctuated by an amplified horn section. The horns then back off, leaving it to Samuels, pianist Harry Appelman and the rhythm section; Murray's bass stands out and the horns come back in to help close the song. Other tracks presented here are Dizzy Gillespie's "Soul Sauce," Thelonius Monk's "Bemsha Swing" and Samuels' "Picture Frame," "Birds of a Feather" and "Afro Green." Throughout, the Afro Bop horn section is strong but doesn't overpower CJP. Samuels, as he has done throughout his career, shows his versatility. Whether carrying the melody, stretching out on a solo or complementing the other musicians, he demonstrates why he is regarded as one of the world's leaders in jazz vibes and marimba. Afro Bop Alliance is an hour's worth of engaging music.~ Woodrow Wilkins https://www.allaboutjazz.com/afro-bop-alliance-dave-samuels-heads-up-international-review-by-woodrow-wilkins.php

Personnel: Dave Samuels: vibes, marimba; Steve Williams: lead alto, soprano saxophone, solo (2); Andy Axelrad: alto saxophone; Luis Hernandez: tenor saxophone, solos; Vince Norman: tenor saxophone; Rob Holmes: baritone saxophone; Chris Walter: lead trumpet; Nick Cooper: trumpet; Greg Reese: trumpet; Tim Stanley: trumpet, solo; Dan Drew: lead trombone; Jim McFalls: trombone; Mark Morgan: bass trombone; Harry Appelman: piano; J.J. Wright: piano (3); Max Murray: bass; Joe McCarthy: drums, percussion (bells, timbale, clave, chekere, shakers); Robert Quintero: percussion (congas, bongos, maracas).

Afro Bop Alliance

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Mary Lou Williams - Lady Piano

Styles: Piano Jazz
Year: 1955
File: MP3@320K/s
Time: 44:41
Size: 104,4 MB
Art: Front

(2:06)  1. Fandangle
(3:26)  2. Mama, Pin a Rose On Me
(3:36)  3. Roll' em
(3:32)  4. Sweet Sue
(5:15)  5. Lullaby of the Leaves
(2:17)  6. Taurus
(3:30)  7. Jericho
(4:44)  8. I Love Him
(4:00)  9. Amy
(4:40) 10. Talk of the Tawn
(3:30) 11. I Love You
(4:00) 12. Easy Blues

To say that Mary Lou Williams had a long and productive career is an understatement. Although for decades she was often called jazz's greatest female musician (and one has to admire what must have been a nonstop battle against sexism), she would have been considered a major artist no matter what her sex. Just the fact that Williams and Duke Ellington were virtually the only stride pianists to modernize their style through the years would have been enough to guarantee her a place in jazz history books. Williams managed to always sound modern during a half-century career without forgetting her roots or how to play in the older styles. Born Mary Elfrieda Scruggs (although she soon took the name of her stepfather and was known as Mary Lou Burley), she taught herself the piano by ear and was playing in public at the age of six. Growing up in Pittsburgh, Williams' life was always filled with music. When she was 13, she started working in vaudeville, and three years later married saxophonist John Williams. They moved to Memphis, and she made her debut on records with Synco Jazzers. John soon joined Andy Kirk's orchestra, which was based in Kansas City, in 1929. Williams wrote arrangements for the band, filled in for an absent pianist on Kirk's first recording session, and eventually became a member of the orchestra herself. Her arrangements were largely responsible for the band's distinctive sound and eventual success. Williams was soon recognized as Kirk's top soloist, a stride pianist who impressed everyone (even Jelly Roll Morton). In addition, she wrote such songs such as "Roll 'Em" (a killer hit for Benny Goodman) and "What's Your Story Morning Glory" and contributed arrangements to other big bands, including those of Goodman, Earl Hines, and Tommy Dorsey. Mary Lou Williams stayed with Kirk until 1942, by which time she had divorced John Williams and married trumpeter Harold "Shorty" Baker. She co-led a combo with Baker before he joined Duke Ellington. 

Williams did some writing for Duke (most notably her rearrangement of "Blue Skies" into a horn battle called "Trumpets No End") and played briefly with Benny Goodman's bebop group in 1948. She had gradually modernized her style and by the early to mid-'40s was actively encouraging the young modernists who would lead the bebop revolution, including Thelonious Monk, Bud Powell, Tadd Dameron, and Dizzy Gillespie. Williams' "Zodiac Suite" showed off some of her modern ideas, and her "In the Land of Oo-Bla-Dee" was a bebop fable recorded by Gillespie.  Williams lived in Europe from 1952-1954 and then became very involved in the Catholic religion. She retired from music for a few years before appearing as a guest with Dizzy Gillespie's orchestra at the 1957 Newport Jazz Festival. Williams returned to jazz and by the early '70s sounded more like a young modal player (clearly she was familiar with McCoy Tyner) than a survivor of the 1920s. Although she did not care for the avant-garde, she occasionally played quite freely, although a 1977 duo concert with Cecil Taylor was a complete fiasco. Williams wrote three masses and a cantana, was a star at Benny Goodman's 40th-anniversary Carnegie Hall concert in 1978, taught at Duke University, and often planned her later concerts as a history of jazz recital. By the time she passed away at the age of 71, she had a list of accomplishments that could have filled three lifetimes.  

Mary Lou Williams recorded through the years as a leader for many labels including Brunswick (a pair of piano solos in 1930), Decca (1938), Columbia, Savoy, extensively for Asch and Folkways during 1944-1947, Victor, King (1949), Atlantic, Circle, Vogue, Prestige, Blue Star, Jazztone, her own Mary label (1970-1974), Chiaroscuro, SteepleChase, and finally Pablo (1977-1978).~ Scott Yanow https://www.allmusic.com/artist/mary-lou-williams-mn0000859820/biography

Lady Piano

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