Karin Hammar Quartet- Everyday Magic

Size: 142,9 MB
Time: 61:45
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz
Art: Front

01. Everyday Magic (5:31)
02. Jumping The Gun (8:51)
03. Chris-Crossed (6:45)
04. Only Time Will Tell (6:53)
05. Holy Pony (5:48)
06. Fragments (5:19)
07. Haunted (6:30)
08. Signature (7:34)
09. Pyssling (5:20)
10. Out Of Reach (3:10)

Perrsonnel:
Trombone – Karin Hammar
Double Bass – Tony Overwater
Drums – Anders Kjellberg
Piano – Jonas Östholm


Sophisticated jazz played with virtuosity and at times with hypnotic beats and bass lines. The trombone player Karin Hammar herself convinces with a lush, often lyrical sound. Well arranged, tight and with strong melodies, all songs are written by Karin Hammar, who has developed to one of Sweden´s best trombone players, always with constant variation in her playing.
Karin Hammar's strength is her fluent, singingly melodic playing. It becomes wonderfully elegiac in a kind of controlled melancholy. Her music is light and melodic, with shimmering harmonies and softly driven rhythm. Latin moods mixing with a proud jazzy tone. This is definitely music for everyone who is curious of jazz in a new unique style.

Everyday Magic

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Champian Fulton - The Stylings Of Champian

Size: 194,2 MB
Time: 83:01
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Day By Day (7:19)
02. Lollipops And Roses (3:54)
03. I Only Have Eyes For You (5:34)
04. Blues Etude (6:33)
05. I Didn't Know What Time It Was (7:31)
06. Rodeo (6:17)
07. Darn That Dream (7:40)
08. Too Marvelous For Words (6:23)
09. Body And Soul (3:13)

CD 2:
01. Isn't It A Lovely Day (7:59)
02. You'd Be So Nice To Come Home To (5:09)
03. Martha's Prize (5:19)
04. Lonesome And Sorry (3:20)
05. All The Things You Are (6:42)

Champian’s 10th album, “The Stylings of Champian”, is a fabulous two disc set featuring 85+ minutes of non-stop swinging Jazz. Joined by her working New York Quartet - Hide Tanaka on bass, Fukushi Tainaka on drums, and Stephen Fulton on flugelhorn - “The Stylings of Champian” highlights compositions by Champian’s piano heroes: “Blues Etude” by Oscar Peterson and “Martha’s Prize” by Cedar Walton, in addition to a beautiful arrangement by legendary Jazz bassist Buster Williams on the Rogers and Hart standard “I Didn’t Know What Time It Was.” Named Female Jazz Vocalist of the year by Hot House Jazz Magazine, Champian’s vocal artistry is most apparent on “Body and Soul”, a duet performance with solo bass and voice. With this release, Champian has assured her place in the Jazz firmament.

The Stylings Of Champian

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The Brian Auger Piano Trio - Full Circle: Live At Bogie's

Size: 132,2 MB
Time: 57:12
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. A Night In Tunisia (Live) (5:11)
02. Creepin' (Live) (5:55)
03. For Dancers Only (Live) (4:17)
04. Little Sunflower (Live) (7:14)
05. It Ain't Necessarily So (Live) (6:26)
06. Chelsea Bridge (Live) (5:17)
07. All Blues (Live) (7:13)
08. There Is No Greater Love (Live) (3:51)
09. Victor's Delight (Live) (5:32)
10. Pools (Live) (6:12)

Considering he was a self taught pianist, Brian Auger's progress into the heart of the British modern jazz scene of the late 1950's and early 60's was particularly impressive. He gained invaluable experience the hard way, paying his dues at The Cottage Club, and the original Ronnie Scotts on Gerrard Street, working with renowned saxophonists Tommy Whittle, Dick Morrisey and Jimmy Skidmore - and sessions in smoky East End pubs with his friend, arguably Britain's greatest jazz saxophonist Tubby Hayes.

The inclusion of several of his rare, early 60's piano trio tracks on both volumes of 'Back To The Beginning - The Brian Auger Anthology' brought long overdue attention to Brian's early jazz career, which many were simply unaware of prior to their release. The enthusiastic reaction to those tracks stuck in Brian's mind, and later, fate intervened, as he himself explains; A couple of years later, Ken Greene, the Music Director of Bogie's, called and told me that he was starting a project, to whit, a week at Bogie's with a different jazz piano trio each night

This somewhat impromptu show was recorded, and these three tracks are taken from the resulting, forthcoming album 'Full Circle - The Brian Auger Piano Trio - Live At Bogie's' - surprisingly the very first piano trio album of Brian's long and award winning career.

Full Circle: Live At Bogie's

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Les McCann - A Time Les Christmas

Size: 79,5 MB
Time: 33:56
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Soul, Xmas
Art: Front

01. Merry Christmas Baby (4:15)
02. Let It Snow (2:57)
03. I'll Be Home For Christmas (3:09)
04. Baby It's Cold Outside (4:28)
05. The Christmas Song (4:05)
06. This Christmas (3:11)
07. Have Yourself A Merry Little Christmas (3:31)
08. The Gift (4:08)
09. My Christmas Heart (3:12)
10. Away In A Manger (0:54)

Les McCann reached the peak of his career at the 1969 Montreux Jazz Festival, recording "Compared to What" and "Cold Duck Time" for Atlantic (Swiss Movement) with Eddie Harris and Benny Bailey. Although he has done some worthwhile work since then, much of it has been anticlimactic.

McCann first gained some fame in 1956 when he won a talent contest in the Navy as a singer that resulted in an appearance on television on The Ed Sullivan Show. After being discharged, he formed a trio in Los Angeles. McCann turned down an invitation to join the Cannonball Adderley Quintet so he could work on his own music. He signed a contract with Pacific Jazz and in 1960 gained some fame with his albums Les McCann Plays the Truth and The Shout. His soulful, funk style on piano was influential and McCann's singing was largely secondary until the mid-'60s. He recorded many albums for Pacific Jazz during 1960-1964, mostly with his trio but also featuring Ben Webster, Richard "Groove" Holmes, Blue Mitchell, Stanley Turrentine, Joe Pass, the Jazz Crusaders, and the Gerald Wilson Orchestra.

McCann switched to Limelight during 1965-1967 and then signed with Atlantic in 1968. After the success of Swiss Movement, McCann emphasized his singing at the expense of his playing and he began to utilize electric keyboards, notably on 1972's Layers. His recordings became less interesting to traditional jazz fans from that point on, and after his Atlantic contract ran out in 1976, McCann appeared on records much less often. However, he stayed popular and a 1994 reunion tour with Eddie Harris was quite successful. A mid-'90s stroke put him out of action for a time and weakened his keyboard playing (his band began carrying an additional keyboardist) but Les McCann returned to a more active schedule during 1996 and was still a powerful singer. His comeback was solidified by 2002's Pump It Up, a guest-heavy celebration of funk and jazz released on ESC Records. ~by Scott Yanow

A Time Les Christmas

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The Cooltrane Quartet - Cocktails & Dreams

Size: 86,7 MB
Time: 37:19
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals, Cool Jazz
Art: Front

01. Back To Life (3:27)
02. Ain't Nobody (Loves Me Better) (4:08)
03. Groove Is In The Heart (3:54)
04. I Want It That Way (3:51)
05. White Flag (3:25)
06. Maybe I Lost You (3:11)
07. Your Song (4:15)
08. Supergirl (3:55)
09. Uptown Girl (2:53)
10. The Only Exception (4:15)

The Cooltrane Quartet is the creative band of successful series such as "Jazz and 80´s", "Jazz and ´90s" as well as "Vintage Café" and also the band chosen by Karen Souza to accompany her on her tours.

In this new album they bring us a fine, subtle show full of sensuality and glamor where the most remarkable pages of pop culture are tinged with the subtlety of jazz, in the voice of the beautiful Lila Frascara.

Cocktails & Dreams

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Bill Coleman - Jazz in Paris: From Boogie to Funk

Styles: Trumpet Jazz 
Year: 1960
File: MP3@320K/s
Time: 47:12
Size: 110,2 MB
Art: Front

(11:35)  1. From Boogie to Funk, Part 1 - The Blues
( 4:32)  2. From Boogie to Funk, Part 2 - The Boogie
( 9:40)  3. Bill, Budd and Butter
( 6:29)  4. Afromotive in Blue
( 5:09)  5. Colemanology
( 9:44)  6. Have Blues, Will Play 'em

From Boogie to Funk finds the somewhat undercelebrated swing trumpeter Bill Coleman at a late period in his career, nailing down this set of blues in Paris with a fine group in 1960. The set begins wonderfully with an extended journey through a 16-minute two-part piece entitled "From Boogie to Funk," with the first part subtitled "The Blues" and the second titled "The Boogie." The subtitles prove fitting as Coleman indeed picks up the pace a bit for the second part, and from there the album never really slows down much. It's this swinging feel that propels the later pieces "Bill, Budd and Butter," "Afromotive in Blue," "Colemanonlogy," and "Have Blues, Will Play 'Em" which were all composed by Coleman, as were the two parts of "From Boogie to Funk." Overall, this set never hits a lull and proves delightful throughout, making one wish Coleman would have recorded a few more sessions such as this while in Paris. Joining him here are Budd Johnson (tenor sax), Les Spann (guitar), Patti Bown (piano), Quentin Jackson (trombone), Buddy Catlett (bass), and Joe Harris (drums). ~ Jason Birchmeier https://www.allmusic.com/album/from-boogie-to-funk-mw0000225352

Personnel:  Bill Coleman - trumpet, composer;  Quentin Jackson - trombone;  Budd Johnson - tenor saxophone;  Patti Bown - piano;  Les Spann - guitar;  Buddy Catlett - bass;  Joe Harris - drums

Jazz in Paris: From Boogie to Funk

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Bobbie Gentry - Patchwork

Styles: Vocal 
Year: 1971
File: MP3@320K/s
Time: 47:11
Size: 116,2 MB
Art: Front

(4:21)  1. Benjamin
(2:43)  2. Marigolds And Tangerines
(2:40)  3. Billy The Kid
(3:48)  4. Beverly
(4:42)  5. Miss Clara / Azusa Sue
(3:34)  6. But I Can't Get Back
(6:14)  7. Jeremiah
(4:05)  8. Belinda
(3:57)  9. Mean Stepmama Blues
(2:54) 10. Your Number One Fan
(4:07) 11. Somebody Like Me
(4:00) 12. Lookin' In

While Patchwork is not Bobbie Gentry at the peak of her powers, it's nonetheless mysterious that this would be her last album, although a few singles did follow in the 1970s. For the singer/songwriter obviously seemed to have much left to give, composing or co-composing all dozen tracks as well as producing the record herself. Like many another long-playing record in the late '60s and early '70s, it's given a quasi-concept aura via the device of half-minute "interludes" that link seven of the tracks. There doesn't seem to be a definite thematic concept at work here, however, other than quite a few of the songs being character sketches not that this was anything new for Gentry. It's not among her more rootsy records, however, and is arguably too slick and heavy on the orchestration from the production end. Sometimes it sounds kind of like Nancy Sinatra might have had that star begun writing material under the influence of her producer, Lee Hazlewood. Sometimes it sounds a little closer to the kind of jaunty, slyly tongue-in-cheek observational style of singer/songwriters like Harry Nilsson or Randy Newman than it does to Bobbie Gentry. 

At its most middle of the road, it seems like there might be some Jimmy Webb worming its way into her approach as well; "Somebody Like Me" even sounds a bit like the Fifth Dimension. None of these songs really rank among her very best (or certainly her earthiest), and it's more something to be enjoyed by committed fans than recommended as the first or second stop for someone who wants more than a best-of collection. Still, some of the charms particular to Gentry her husky voice, and her fusion of country, folk, and pop remain in force, the most serious and intimate portraits ("Beverly," "Belinda," "Lookin' In," and "Marigolds and Tangerines") being the most impressive. ~ Richie Unterberger https://www.allmusic.com/album/patchwork-mw0000957407

Patchwork

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Jakob Bro - Bay Of Rainbows

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 47:11
Size: 110,2 MB
Art: Front

( 8:42)  1. Mild
( 8:35)  2. Red Hook
( 5:16)  3. Copenhagen
( 8:29)  4. Dug
( 4:51)  5. Evening Song
(11:17)  6. Mild  (Var.)

Danish guitarist Jakob Bro returns with another album made by his working trio with double bassist Thomas Morgan and drummer Joey Baron, previously heard on Streams (ECM, 2016). Recorded live at Jazz Standard in New York in July, 2017, it is also Bro's first live recording for the label. The repertoire mainly documents Bro originals that the trio has been playing for years, most of them predating his ECM albums as leader. Opener "Mild" was first recorded on Bro/Knak (Loveland Records, 2012). Bro begins it with gentle fingerstyle rubato playing, appropriate for the title. Bass and drums enter gradually, and the arrangement builds to looped guitar halfway through. It may be mild, but it crackles with creative energy, and the sound of a band with experience and chemistry. "Red Hook" was titled "Red Hook Railroad" when Bro recorded it on Pearl River (Loveland Records, 2007). One of his earliest compositions, it is named for the Red Hook section of Brooklyn where he shared an apartment during his time in New York. Baron's melodic tom-toms open the tune, and he takes an active role in the free for all of the climax. "Copenhagen" is reprised from Gefion (ECM, 2015), Bro's ECM debut as a leader, with Morgan and drummer Jon Christensen. It features a beautiful unaccompanied bass solo which ends the performance. "Dug" (the only track with no prior recording history) continues with bass (and drums). Bro goes for a big reverberant sound, with energetic overdriven guitar taking the energy level up to maximum. "Evening Song" comes from Balladeering (Loveland Records, 2009), perhaps the best known of his pre-ECM recordings. "Mild (var.)" is a very different version of the opening tune, demonstrating the open approach taken by the trio. If anything it is even more rubato and slower building, and Morgan's bass takes a more prominent role. Bay of Rainbows is a fine addition to Bro's already extensive discography. His ECM albums have featured a classic production sound, everything taking place in a large, reverberant virtual space. It is satisfying to hear this music played in a club, coming to life in front of an audience and a potent demonstration of this trio's experienced, inspired music-making. ~ Mark Sullivan https://www.allaboutjazz.com/bay-of-rainbows-jakob-bro-ecm-records-review-by-mark-sullivan.php

Personnel: Jakob Bro: guitar; Thomas Morgan: double bass; Joey Baron: drums.

Bay Of Rainbows

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Jazmin Ghent - The Story of Jaz

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 38:44
Size: 90,7 MB
Art: Front

(4:47)  1. Funk Junk (feat. James P Lloyd)
(4:21)  2. Heat (feat. Phillippe Saisse & Kim Scott)
(3:24)  3. Amends (feat. Jeff Lorber)
(4:15)  4. Work Wit' It
(4:01)  5. Love Is
(4:52)  6. Real World
(4:05)  7. Self Love
(3:16)  8. (You Make Me Feel Like) A Natural Woman
(5:38)  9. Great Is Thy Faithfulness

“Heat” features Jazmin Ghent’s bright, rich and soulful tone. She is joined by special guests, Smooth Jazz flutist, Kim Scott and Grammy Nominated multi-instrumentalist, Philippe Saisse. “Heat” will leave listeners feeling uplifted and regenerated. It has a rhythmic beat and jazz styling that sets your body and your feet in motion. https://store.cdbaby.com/cd/jazminghent8

The Story of Jaz

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