Ray Bryant - Cry Me River

Size: 92,8 MB
Time: 40:07
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Piano Jazz
Art: Front

01. Cry Me A River (3:47)
02. In A Mellow Tone (4:18)
03. Pawn Ticket (2:44)
04. Off Shore (3:52)
05. You're My Thrill (4:17)
06. Night In Tunisia (2:36)
07. Cubano Chant (3:02)
08. Goodbye (3:52)
09. Philadelphia Bound (2:32)
10. The Breeze And I (3:24)
11. It's A Pity To Say Goodnight (2:21)
12. Well You Needn't (3:18)

Although he could always play bop, Ray Bryant's playing combined together older elements (including blues, boogie-woogie, gospel, and even stride) into a distinctive, soulful, and swinging style; no one played "After Hours" quite like him. The younger brother of bassist Tommy Bryant and the uncle of Kevin and Robin Eubanks (his sister is their mother), Bryant started his career playing with Tiny Grimes in the late '40s. He became the house pianist at The Blue Note in Philadelphia in 1953, where he backed classic jazz greats (including Charlie Parker, Miles Davis, and Lester Young) and made important contacts. He accompanied Carmen McRae (1956-1957), recorded with Coleman Hawkins and Roy Eldridge at the 1957 Newport Jazz Festival (taking a brilliant solo on an exciting version of "I Can't Believe That You're in Love with Me"), and played with Jo Jones' trio (1958). Bryant settled in New York in 1959; played with Sonny Rollins, Charlie Shavers, and Curtis Fuller; and soon had his own trio. He had a few funky commercial hits (including "Little Susie" and "Cubano Chant") that kept him working for decades. Bryant recorded often throughout his career (most notably for Epic, Prestige, Columbia, Sue, Cadet, Atlantic, Pablo, and Emarcy), and even his dates on electric piano in the '70s are generally rewarding. However, Bryant was heard at his best when playing the blues on unaccompanied acoustic piano. After a lengthy illness, Ray Bryant died in Queens, New York on June 2, 2011; he was 79 years old. ~by Scott Yanow

Cry Me River

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Steffi Denk - Accentuate The Positive

Size: 140,4 MB
Time: 60:21
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Route 66 (3:15)
02. Accentuate The Positive (4:24)
03. Livin' On A Prayer (3:28)
04. Meglio Stasera (3:25)
05. I've Got You Under My Skin (5:26)
06. All About That Bass (4:18)
07. Caught A Touch Of Your Love (3:31)
08. Shiny Stockings (3:45)
09. Water Under Bridges (3:56)
10. Line For Lyons (4:11)
11. Black Hole Sun (4:43)
12. When Your Life Was Low (6:05)
13. Deedles' Blues (3:22)
14. Puttin' On The Ritz (2:43)
15. For You, For Me, For Evermore (3:43)

On this musical journey to the Jazz, Swing and Bossa Nova roots of this formation, you'll be greeted by well-known classics from the American songbook's upbeat arrangements of contemporary hits such as "Livin'On A Prayer" by Jon Bon Jovi, "Black Hole Sun" by Chris Cornell and Meghan Trainor's "All About That Bass". Of course, ballads must not be missing. Steffi Denk interprets Gregory Porter's "Water Under Bridges", Joe Sample's "When Your Life Was Low" and Cole Porter's "I've Got Under My Skin" (here as Bossa Nova) heartbreaking! Another musical surprise is the bonus track "For You, For Me, For Evermore", which was recorded live in August 2017 at the Palazzo Festival in the Thon-Dittmer-Palais in Regensburg. In the style of jazz legend Ella Fitzgerald, Steffi Denk interpreted this George Gershwin classic extremely sensitively. She and her Flexible Friends were accompanied by jazz guitar, string pad and the "Flexible Friends" string quartet.

Accentuate The Positive

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Sam Rucker - Redemption

Size: 109,2 MB
Time: 46:51
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz: Smooth Jazz
Art: Front

01. Down On The Inside (Intro) (0:54)
02. Down On The Inside (4:31)
03. True Love (6:59)
04. Overcomer (4:11)
05. Nothing's Too Hard (4:05)
06. Redemption (4:07)
07. Forever Forgiven (4:25)
08. Follow Me (4:52)
09. I Am With You (4:51)
10. Throwback (3:44)
11. Please Child (4:07)

When I last offered a review of Sam Rucker, the illustrious saxman who has that special mesmerizing style we all look for in our sax players to help them stand out in a sea of saxophonists, I said then that here was a huge prospective headliner and that his sophomore album Tell You Something was loaded from beginning to end with killer tracks. Well, here again, the suave saxman offers his third album Redemption with his own form of greased lightning and charm just as effective as before, if not more.

Providing a pure, unadulterated collection of original pleasantries that are simply inundated with magnetic melodies, hooks, and sweet, stirring vocals (offered by Joselyn Best, Wanda Jay, and J. Regina Blackwell), Rucker has shown musical consistency, if nothing else. He’s truly nailed the groove, the stride, and the swag needed to rise on the radar of anyone who’s anyone in this c-jazz business.

As noted in the last release, this one charms throughout — from the lead, sexy track “Down On The Inside” featuring the alluring vocals of Ms. Jay to the head-boppin’ “True Love” to the equally infectious “Overcomer” to “Nothing’s Too Hard” with its confident sway reminiscent of the Euge Groove style (Euge was very instrumental – pardon the pun – in the making of Rucker’s last album, having mixed and mastered the project in his Groove House) to the sultry mid-tempo title track to the gleamingly beautiful and inspirational “Forever Forgiven,” again featuring the vocals of Ms. Jay, to the riveting, soulfully sweet “Follow Me,” and other gems.

The Williamsburg, VA, Rucker is obviously a spiritual man whose faith and inspiration shines through in his top-tier compositions. He suffered a pair of tragedies that could have completely turned another man’s world on its head – the sudden deaths of two of the two guitarists featured on this album, his nephew Justin Taylor and John Calisto, within three days of each other. Needless to say, TSJR’s sincere condolences go out the families and friends of both of those fine musicians, including Rucker. I’m sure that Rucker’s faith has kept him strong and focused.

This album is chock full of c-jazz goodness and laced with the faith and spirituality that Rucker has kept near and dear to his heart and very being. Grab this one and let its pure satisfaction wash over you. AA++ effort. – Ronald Jackson

Redemption

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SWR Big Band - Live At Elbphilharmonie Hamburg (Feat. Fola Dada)

Size: 135,2 MB
Time: 57:45
File: MP3 @ 320K/s
Released: 2018
Styles: Big Band, Jazz Vocals
Art: Front & Back

01. Sing, Sing, Sing (5:32)
02. A-Tisket, A-Tasket (2:50)
03. (If You Can't Sing It) You'll Have To Swing It (Mr. Paganini) (4:31)
04. Please Don't Talk About Me When I'm Gone (3:43)
05. Almost Like Being In Love (2:04)
06. I'm Getting Sentimental Over You (3:58)
07. Opus No. 1 (2:44)
08. On The Sunny Side Of The Street (4:33)
09. Stardust (2:57)
10. Somebody Loves Me (2:33)
11. Why Don't You Do Right (3:31)
12. Poinciana (4:45)
13. Honeysuckle Rose (3:00)
14. One O'clock Jump (4:38)
15. What A Wonderful World (6:20)

Seventeen musicians- one sound. And a very convincing sound, at that. The SWR Big Band has so far been nominated four times for a Grammy. Also it received in 2015 a Jazz Award in Gold from the German music industry. They also enjoyed a great honor in 2011, when they were the first German band ever suggested for the “Premio da Musica Brasileira,” Brazil’s most important music award. In the face of so much fame, it seems almost modest to say that the SWR Big Band is one of the best big bands in the world. Jazz, fusion or world music, the repertoire is large. As is the list of recent guests and collaborators. On this release, the ensemble presents a live recording of a compilation of big band standards, recorded at the famous Elbphilharmonie Hamburg.

Live At Elbphilharmonie Hamburg

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Ernest McCarty Jr. & Theresa Davis - I Remember Love

Size: 130,5 MB
Time: 55:57
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Good Old Time (3:38)
02. Dance With Me (5:45)
03. Love Wont Make Me Cry (8:41)
04. Let's Just Dance (4:24)
05. Back In The Day (4:13)
06. Baby, Baby (3:56)
07. I Remember Love (4:50)
08. No More (4:50)
09. Winter's Here (4:36)
10. Love Me Today (4:02)
11. Love Is Coming Easier (3:32)
12. Let's Get Married (3:25)

This is the second album for BluJazz pairing superb vocalist Theresa Davis with composer, guitarist, and keyboardist Ernest McCarty Jr. The first, “A Reunion Tribute to Erroll Garner” was done for McCarty’s mentor, with whom he played as a bassist for five years. Davis sings with such clarity and extraordinary high register range, that McCarty Jr. was determined to write songs especially for her smooth, emotive, ethereal voice. Thus, this project. The well-respected Davis is known as “Tee” to those in business. We’ll have more about each later but let’s first get to the music.

The accompanying musicians, besides McCarty Jr., are: Thomas Wendt – drums, Rich Strong -drums and percussion, Paul Thompson – bass, Paul Consentino – alto sax, tenor sax, clarinet; Tony Campbell – alto sax, soprano sax; and Chuck Austin – trumpet and flugelhorn.

As you listen, you may think this is an album of standards, but they are all romantic tunes composed by McCarty Jr. in the ballad, lyrical style that allows for terrific solos, especially from each of the horns. For example “Love Won’t Make Me Cry” is a showcase for the melodic Chuck Austin Both Consentino’s tenor and Campbell’s alto grace “Dance With Me.” Consentino’s rich tenor colors “Back in the Day” and “No More” while the up-tempo “Baby, Baby” features nice percussion from Wendt and contributions from all three horns. Consentino’s clarinet imbues “Love Is Coming Easier.” As strong as this supporting cast is, they realize that Davis has the main instrument; her voice soars majestically in every tune. Listen to the sheer beauty of her vocal on “Winter’s Here.” There just aren’t many vocalists capable of hitting those notes. The title track is, of course. a ballad as Davis begins accompanied by McCarty Jr.’s piano with the other band members providing subtle ensemble support.

Ernest McCarty Jr. is a mainstream composer and has served as musical director for Gloria Gaynor, Odetta, Neil Harrison, and has written 10 musicals and many songs. His score for the “Martin Luther King Suite” won NBC-TV an Emmy. He has recorded with Sonny Stitt, Dakota Staton, Eddie Harris, Oscar Brown Jr., and several others.

Theresa Davis is a former member of the Stax recording group the Emotions. Her work with that label, as well as her last album, “Love Take a Walk” show her diversity of styles, enabling her to also do commercial jingles and vocals for film. She has done considerable work outside of jazz, touring internationally with Otis Clay, Ramsey Lewis, Percy Sledge, and Dennis Edwards (Temptations). She’s also toured with the famous gospel group Sue Conway and The Victory singers. Currently she is performing with the West Coast group Tour de 4Force.

These are beautiful songs that McCarty Jr. wrote for Davis to sing. And, wow! She sings them so purely. Rarely will you hear a such a pristine voice. ~Jim Hynes

I Remember Love

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Freddie Hubbard - Life Flight

Styles: Trumpet Jazz
Year: 1987
File: MP3@320K/s
Time: 41:47
Size: 97,1 MB
Art: Front

( 8:10)  1. Battlescar Galorica
(11:17)  2. A Saint's Homecoming Song
( 9:11)  3. The Melting Pot
(13:08)  4. Life Flight

This CD captures the great trumpeter Freddie Hubbard at the age of 48 just before he began to decline. Hubbard is heard in excellent shape on two selections apiece with two separate bands. One group, a sextet with tenor-saxophonist Stanley Turrentine and guitarist George Benson, recalls the trumpeter's glory days on CTI although the material ("Battlescar Galorica" and "A Saint's Homecoming Song") was of recent vintage. The other band, a quintet with tenor-saxophonist Ralph Moore, looks back toward his earlier Blue Note and Atlantic days; they perform two Hubbard originals ("The Melting Pot" and "Life Flight"). Overall this set (from an era when the veteran trumpeter was being overshadowed by Wynton Marsalis) gives listeners one of the last opportunities to hear Freddie Hubbard in peak form. ~ Scott Yanow https://www.allmusic.com/album/life-flight-mw0000649572

Personnel:  Trumpet – Freddie Hubbard;  Bass – Rufus Reid;  Drums – Carl Allen;  Drums, Tambourine – Idris Muhammad;  Electric Bass – Wayne Braithwaite;  Electric Piano, Synthesizer – Larry Willis;  Guitar – George Benson;  Piano – Larry Willis;  Tenor Saxophone – Ralph Moore, Stanley Turrentine 

Life Flight    

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Jimmy Smith - Root Down - Live !

Styles: Jazz, Post Bop
Year: 1972
File: MP3@320K/s
Time: 41:51
Size: 96,2 MB
Art: Front

(7:09)  1. Sagg Shootin' His Arrow
(5:56)  2. For Everyone Under The Sun
(7:47)  3. After Hours
(7:44)  4. Root Down (And Get It)
(6:30)  5. Let's Stay Together
(6:42)  6. Slow Down Sagg

Toward the end of his stint with Blue Note, Jimmy Smith's albums became predictable. Moving to Verve in the mid-'60s helped matters considerably, since he started playing with new musicians (most notably nice duets with Wes Montgomery) and new settings, but he never really got loose, as he did on select early Blue Note sessions. Part of the problem was that Smith's soul-jazz was organic and laid-back, relaxed and funky instead of down and dirty. For latter-day listeners, aware of his reputation as the godfather of modern soul-jazz organ (and certainly aware of the Beastie Boys' name drop), that may mean that Smith's actual albums all seem a bit tame and restrained, classy, not funky. That's true of the bulk of Smith's catalog, with the notable exception of Root Down. Not coincidentally, the title track is the song the Beasties sampled on their 1994 song of the same name, since this is one of the only sessions that Smith cut where his playing his raw, vital, and earthy. Recorded live in Los Angeles in February 1972, the album captures a performance Smith gave with a relatively young supporting band who were clearly influenced by modern funk and rock. They push Smith to playing low-down grooves that truly cook: "Sagg Shootin' His Arrow" and "Root Down (And Get It)" are among the hottest tracks he ever cut, especially in the restored full-length versions showcased on the 2000 Verve By Request reissue. There are times where the pace slows, but the tension never sags, and the result is one of the finest, most exciting records in Smith's catalog. If you think you know everything about Jimmy Smith, this is the album for you. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/root-down-mw0000609570

Personnel:  Jimmy Smith - Hammond B3 organ;  Paul Humphrey - drums;  Wilton Felder - bass guitar;  Buck Clarke - congas, percussion;  Arthur Adams - guitar;  Steve Williams - harmonica

Root Down - Live !

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Ketil Bjørnstad - The Shadow

Styles: Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 55:14
Size: 127,0 MB
Art: Front

(5:55)  1. Sweetest Love
(4:52)  2. A Lecture Upon the Shadow
(6:46)  3. The Shadow
(4:10)  4. The Good-morrow
(4:30)  5. Go, and Catch a Falling Star
(4:03)  6. The Dream
(4:02)  7. The Token
(3:23)  8. The Paradox
(4:54)  9. His Picture
(4:53) 10. Love's Exchange
(4:55) 11. The Silence
(2:47) 12. Hymn

A classically trained jazz pianist with a bent toward avant-garde improvised music, Ketil Bjørnstad is a well-known musician and writer in Europe. With his cerebral, atmospheric style that belies a palpable inner passion and an inclination toward genre-crossing compositions, Bjørnstad helped develop and popularize the "European jazz" aesthetic. He is also a writer and poet and has published over 30 works beginning with his 1972 poetry collection Alone. Born in Oslo, Norway, Bjørnstad studied classical piano in London and Paris before making his debut in 1969 at age 16 with the Oslo Philharmonic Orchestra playing Béla Bartók's third piano concerto. Surrounded by the vibrant arts scene in Oslo during the '70s, Bjørnstad became interested in jazz and developing his own style of music. Citing an array of influences from Bach and Ravel to Thelonious Monk and Miles Davis, Bjørnstad began working in an improvised idiom. In 1973, he released his debut album Åpning featuring what would become a core group of longtime associates in drummer Jon Christensen, guitarist Terje Rypdal, and bassist Arild Andersen. The album would be the first of several outings Bjørnstad would record for Phillips. Over the years, Bjørnstad's particular mix of jazz, classical, folk, and rock music would become highly influential in the development of what became known as "European jazz." Although he has become well-associated with the premier European jazz label ECM, he did not record for the label until later in his career with 1993's Water Stories, 1994's The Sea, 1997's The River, and 1998's The Sea II. In 2000, Bjørnstad released the duo album Epigraphs with cellist David Darling on ECM. That same year, he composed the millennium oratorio "Himmel Rand," featuring the texts of the poet Stein Mehren. In 2002, he released the cinematic soundscape album Before the Light on Universal. In 2004, Bjørnstad released the rock-oriented Seafarer's Song featuring his ensemble with vocalist Kristin Asbjornsen. Four years later, he returned to ECM for the concert album Live in Leipzig with guitarist Rypdal. In 2008, Bjørnstad once again worked with drummer Christensen as well as tenor saxophonist Tore Brunborg for the ECM release Remembrance. In 2011, Bjørnstad delivered the duo album Night Song with cellist Svante Henryson on ECM. The pianist, who is also a published poet, novelist, and essayist, has stated that the Italian filmmaker Michelangelo Antonioni was one of his greatest influences; to that end, he composed a series of works meant to act as "a soundtrack to an inner film." Recording with bassist Arild Andersen percussionist Marilyn Mazur, cellist Anja Lechner, Eivind Aarset on guitar and electronics, and saxophonist Andy Sheppard, Bjørnstad released the live suite La Notte in the late spring of 2013. 

2014 proved prolific for the composer and pianist. His first release of the year, appearing in March, was a 2012 recording entitled Sunrise: A Cantata on Texts by Edward Munch, performed by the pianist, his quartet, vocal soloist Kari Bremnes, and the Oslo Chamber Choir under the direction of conductor Egil Fossum. The musical work was set to surviving written texts by the famous painter. In October of that year, ECM also released the 2012 premier performance of Bjørnstad's A Passion for John Donne, a work based on the poet's life, commissioned by the Oslo International Church Festival, and performed live with the pianist's group the Oslo Chamber Choir under the direction of Hakon Daniel Nystedt. Interestingly, it featured the saxophonist Hakon Kornstad in a dual role, not only playing his horn but as a vocal soloist. ~ Matt Collar & Thom Jurek https://itunes.apple.com/us/album/the-shadow/297170891

Personnel:  Ketil Bjørnstad - piano;  Randi Stene - vocals;  Lars Anders Tomter - viola;  Frode Alnæs - guitar;  Arild Andersen - bass;  Jon Christensen - drums

The Shadow

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John Scofield - Combo 66

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 60:34
Size: 139,8 MB
Art: Front

(7:32)  1. Can’t Dance
(7:21)  2. Combo Theme
(5:32)  3. Icons At The Fair
(7:59)  4. Willa Jean
(5:39)  5. Uncle Southern
(6:08)  6. Dang Swing
(8:52)  7. New Waltzo
(5:04)  8. I’m Sleeping In
(6:23)  9. King Of Belgium

John Scofield is one of today’s most versatile guitarists, accumulating accolades and prestigious awards in contemporary jazz, jam band, and popular music. Heck, he’s even made an excellent gospel album. For Combo 66, coinciding with his 66th birthday on September 28 he enlists the support of long-time drummer Bill Stewart, bassist Vincente Archer and pianist/organist Gerald Clayton. Together, in typical Scofield fashion, they imbue jazz with elements from other genres imaginatively and unpredictably. Scofield is on a creative roll, having won two Grammys for 2016’s Country for Old Men and last year’s stellar effort Hudson with good friends Jack DeJohnette, Larry Grenadier, and John Medeski. As you probably know, he often collaborates with Gov’ Mule and with Medeski, Martin, and Wood too. He’ll unexpectedly appear on albums from Americana artists too, such as his guest appearance on multi-instrumentalist Phil Madeira’s Providence. The well-liked and respected Scofield gets and accepts lots of invitations. These are all Scofield originals. He credits the album title to both his birthday and as he says, “And 66 is the coolest jazz number you can get because if you hit 66 you’re doing ok. Remember all the great records from the 60s? Brasil 66. “Route 66.” It hit me that it would be poetic to use that title.” One part groove, one part melody, one part improvisation, the interaction amongst the musicians defies the fact that this is the first time this unit has recorded together. Drummer Bill Stewart is the anchor, having been with Scofield since 1992’s What We Do. Upright bassist Vincente Archer is a regular in Robert Glasper’s Trio while the keyboardist Clayton is the son of bassist John Clayton of the Clayton-Hamilton Jazz Orchestra. Scofield indicates that is often difficult to match piano and guitar because both instruments are percussive in nature. He admires Clayton for his ability to marry a contemporary approach with the old school touch and feel of Tommy Flanagan or Hank Jones. 

The opener “Can’t Dance” is a swinging tune, titled by the witty Scofield because “I can’t dance.” “Combo Theme” bears a Henry Mancini kind of soundtrack melody offset by Scofield’s solo which is by turns melodic and dissonant. His “Icons at the Fair” brings in recognizable sounds. It’s purposely reminiscent of Herbie Hancock’s arrangement of Simon and Garfunkel’s “Scarborough Fair” on The New Standard, on which Scofield played. His chord structures and progressions for this tune nod to Hancock and Miles. As he moves into “Willa Jean,” “Uncle Southern” and “Dang Swing” you’ll hear touches of country and blues before “New Waltzo” brings in some blaring rock, especially in the power chords, as Clayton provides a swirling B3 in support. Then, to calm it down, we get the rare Scofield ballad, “I’m Sleepin’ In,” titled, as are most by John’s wife, Susan. This, and the bonus track “Ringing Out” (if you’re lucky enough to get digitally) is the epitome of Clayton’s delicate touch on piano as he softly plays behind Scofield’s lead on the former while soloing on the latter. The closer, “King of Belgium” is dedicated to the iconic jazz harmonica wizard Toots Thielemans, also known to have a great sense of humor, reflected in Scofield’s witty guitar lines.  This is a light, fun, completely accessible outing that will leave you smiling. It fits beautifully with Scofield’s self-described approach that goes like this, “I am so deadly serious about jazz, but the fact of the matter is jazz only works if you are relaxed and don’t give a shit. If you try too hard it doesn’t work. Humor really helps me get to a better place with music.”  Scofield’s place is one that we can enjoy too. https://glidemagazine.com/214022/john-scofield-returns-with-imaginative-bold-combo-66-album-review/

Personnel: John Scofield (guitar); Gerald Clayton (piano,/organ); Vicente Archer (bass); Bill Stewart (drums).

Combo 66

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