Rich Perry, George Mraz, Billy Hart - Doxy

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 61:02
Size: 140,4 MB
Art: Front

( 7:41)  1. Think of One
( 8:47)  2. Blue in Green
( 6:20)  3. The Wind and the Rain in Your Hair
( 6:46)  4. Your Lady
( 9:25)  5. You and the Night and the Music
(12:03)  6. How Deep Is the Ocean
( 9:57)  7. Doxy

You better have something to say if you’re a saxophonist and you intend to present yourself as a solo voice with just the backing of bass and drums. In the history of the music very few have carried this off successfully, one exception being Sonny Rollins. In recent times, Joe Lovano and Branford Marsalis have given it a try and Rich Perry made the trio scene in 1994 with his SteepleChase set Beautiful Love. Taking another stab at this modest grouping, Doxy pits this tenor man with master bassist George Mraz and drummer extraordinaire Billy Hart. If you’re not familiar with Rich Perry, then you’ve been missing out on a real talent who has spent the past decade working incognito with pianist Harold Danko’s quartet and recording for SteepleChase. The set of standards chosen for inclusion here are nothing out of the ordinary, yet they really only function as a starting point for the trio’s musical explorations anyway. Perry embraces the horn with a rich and full-bodied approach that keeps things engaging over the course of this hour set. He’s got some serious chops but chooses to go for the heart. Maybe that’s why he continues to be a shining star of the SteepleChase roster and Doxy gets the stamp of excellence without any reservations. ~ C.Andrew Hovan https://www.allaboutjazz.com/doxy-rich-perry-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Rich Perry - tenor saxophone; George Mraz - bass; Billy Hart - drums

Doxy

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Soesja Citroen - Collected Songs

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 65:25
Size: 151,3 MB
Art: Front

(4:52)  1. My Town and Me
(2:53)  2. The Samba Calls
(5:41)  3. Love In Vain
(4:54)  4. You'll Take Care of Me
(3:37)  5. Good Old Jazz
(5:20)  6. Song for Ma
(3:11)  7. Just Another Man
(3:18)  8. Wise Women Know
(5:12)  9. Give Love One More Chance
(4:58) 10. Place of Silence
(4:13) 11. Tell Me No Fortunes
(4:05) 12. Don't Cry Baby
(4:38) 13. Sweet Companions
(4:14) 14. Sun In the Morning
(4:13) 15. Lonely Street

This height is mainly shaped by the extremely personal way in which she exercises her profession. Would it be that she ever worked as a psychologist, that she dares to be so exposed? There are of course more female singers, also in the Netherlands, who give their personal findings in the field of love and of life to publicity. But none does that like Soesja Citroen. In her thirty year career it took until 1998, before the singer dared to release an album, with those personal findings expressed in music and text. That was the album 'Song For Ma'. Meanwhile there are three: 'Soesja Sings Citroen' and 'Do not Cry Baby' have been added. They are bestsellers, because Soesja Citroen's repertoire on the stage consists mainly of pieces from these three albums. That is why it seemed to the singer a good idea to make a compilation of those songs. They now form the content of these 'Collected Songs' and are a great occasion for those who do not yet know Soesja Citroen, to get to know her. Again: the singer goes deep, gives her inner life full price in words and thereby she also succeeds in giving her music even more depth. Because what to think of this, words from her mother, that Soesja Citroen remembers, after her father left the family: 'Do not cry baby, I can not give you much hope. Daddy's gone now, so we must learn how to cope '. Or this, a nicer declaration of love after a heavy disappointment, is hardly there: "The joy and the laughter we seem to have lost, we can find once again, if we try. So give love one more chance '.  Soesja Citroen creates ballads that can be classed as classic without reservation. She gives the initiative herself, other singers, both on national and international level, can and should further develop this status. Translate By Google http://www.jazzenzo.nl/?e=670

Personnel:  Soesja Citroen: vocals;  Berend van den Berg: piano;  Joep Lumey: bass;  Joost Kesselaar: drums

Collected Songs

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Eddie Gomez - Power Play

Styles: Jazz, Post Bop
Year: 1988
File: MP3@320K/s
Time: 43:31
Size: 100,1 MB
Art: Front

(5:39)  1. Power Play
(3:53)  2. Loco Motive
(5:15)  3. Spanish Flower
(5:04)  4. Mel
(5:46)  5. Amethyst
(5:02)  6. Mr. Go
(3:50)  7. Very Early
(3:58)  8. W. 110th St.
(4:59)  9. Forever

Eddie Gomez (born October 4, 1944) is a jazz bassist. He was born in Santurce, Puerto Rico; he emigrated with his family at a young age to the United States and grew up in New York. He started on double bass in the New York City school system at the age of eleven and at age thirteen went to the New York City High School of Music and Art. He went on to study with Fred Zimmerman. He played in the Marshall Brown-led Newport Festival Youth Band from 1959 to 1961, and was later educated at Juilliard.His impressive resumé includes performances with jazz giants such as Miles Davis, Dizzy Gillespie, Bill Evans, Gerry Mulligan, Benny Goodman, Buck Clayton, Marian McPartland, Paul Bley, Wayne Shorter, Jeremy Steig, Herbie Hancock, Tony Williams, Chick Corea and Carli Muñoz. Time Magazine lauded: “Eddie Gómez has the world on his strings”. Eddie Gómez would spend a total of eleven years with Bill Evans Trio which included performances throughout the United States, Europe, and the Orient, as well as dozens of recordings. Two of the Trio's recordings won Grammy awards. In addition, he was a member of the Manhattan Jazz Quintet.His career mainly consists of working as an accompanist, a position suited for his quick reflexes and flexibility.In addition to working as a studio musician for many famous jazz musicians, he has recorded as a leader for Columbia Records, Projazz and Stretch. Most of his recent recordings as a leader, are co-led by jazz pianist Mark Kramer. https://musicians.allaboutjazz.com/eddiegomez

Personnel:  Bass – Eddie Gomez; Drums – Steve Gadd,, Al Foster; Keyboards – LeeAnn Ledgerwood; Tenor Saxophone – Michael Brecker; Flute; Michael Cochrane - Soprano Saxophone – Dick Oatts; Flute – Jeremy Steig

Power Play

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Nick Finzer - No Arrival

Styles: Trombone Jazz
Year: 2018
File: MP3@320K/s
Time: 58:28
Size: 134,8 MB
Art: Front

(4:32)  1. Rinse And Repeat
(5:48)  2. Never Enough
(4:28)  3. Maria
(4:57)  4. Tomorrow Next Year
(5:40)  5. Soon
(5:10)  6. No Arrival
(5:36)  7. Pyramid
(7:34)  8. Only This, Only Now
(7:39)  9. The Greatest Romance Ever Sold
(6:59) 10. A Flower Is A Lovesome Thing

To say a musician has arrived is to create the ultimate paradox. For in that notion is the suggestion of reaching the upper echelon in the art form, but also an indication of the end of a journey and the start of stagnation. With the true seeker and master musician, there is no arrival; there's merely the act of moving forward, and trombonist Nick Finzer is keenly aware of that. While he's certainly come into his own over the past several years, Finzer isn't one to adopt such an idea as arrival. He's all about growth mindset, and that's why he continues to impress and evolve. On his first date for Posi-Tone, Finzer fronts a sextet of his peers on a program that showcases his chops, taste, pen, and panoramic outlook. He never repeats himself, yet everything seems to be of apiece. The opening coupling perfectly makes that point. "Rinse And Repeat" is all optimism, as Finzer creates a musical depiction of day by day life as the ultimate mulligan. Then, with "Never Enough," he subscribes to realism and reflection, addressing mortality with pensive purity. Both songs stand brilliantly on their own, but each also proves complementary to the other. As the album continues, Finzer adds more quality originals. But of greater note, he also finds a way to honor his influences without taking a step backward. With a personalized take on Leonard Bernstein's "Maria" he addresses the grip that West Side Story had on his heart strings from an early age, through a waltzing take on George Gershwin's "Soon" he honors trombone icon Curtis Fuller, on Duke Ellington's "Pyramid" he rides and glides atop a double-time bass line while shining light on his bandmates and this under-heralded gem, and in "The Greatest Romance Ever Sold" he tips his hat to the composer and the artist who's work introduced him to the song Prince and Maceo Parker, respectively. Then the curtain comes down down with an inflection-rich take on Billy Strayhorn's "A Flower Is A Lovesome Thing" that's as much about the man behind the music as it is about Ellingtonian trombone forebearers and mute masters like "Tricky Sam" Nanton. While Finzer most certainly deserves a good deal of praise for this one, it would be hard to understate the importance of the contributions from the rest of his crew. Lucas Pino's tenor saxophone and bass clarinet are stylishly indispensable, Victor Gould's piano glistens while getting to the heart of an idea, Alex Wintz's articulate guitar threads its way into all the right spaces, Dave Baron's bass bolsters this band from below, and Jimmy Macbride juices up the grooves, be they swinging or suggestive of other ideals. On No Arrival, man and band work off the same page. That sense of unity is but one of the many virtues of this date. ~ Dan Bilawsky https://www.allaboutjazz.com/no-arrival-nick-finzer-posi-tone-records-review-by-dan-bilawsky.php

Personnel: Nick Finzer: trombone; Lucas Pino: tenor saxophone, bass clarinet; Victor Gould: piano; Alex Wintz: guitar; Dave Baron: bass; Jimmy Macbride: drums.

No Arrival

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Allan Holdsworth - Velvet Darkness

Styles: Guitar Jazz
Year: 1976
File: MP3@320K/s
Time: 30:03
Size: 69,6 MB
Art: Front

(5:23)  1. Good Clean Filth
(2:46)  2. Floppy Hat
(4:21)  3. Wish
(3:06)  4. Kinder
(4:43)  5. Velvet Darkness
(3:10)  6. Karzie Key
(1:37)  7. Last May
(4:54)  8. Gattox

This debut solo release by Allan Holdsworth has an "in the raw," coarsely presented, jam-session quality complete with warts and all, as well as real gems of jazz fusion shining through. A first hearing of this release in its vinyl version might provoke laughter at how really bad it sounds compared to Holdsworth's other releases as well as his playing with other groups. As it turns out, Holdsworth himself abhors this release (considering it "a real terrible disaster"), and has taken legal action and had it removed from production for several reasons. The original label used rehearsal tapes to compile it, deeming it unnecessary to finance real sessions. During the recording session, Holdsworth had to hurry through each song and apparently never obtained the masters to go over before release. In essence, the original release was nothing more than a taped rehearsal, packaged by CTI as an album without Holdsworth's permission. This recording has been bootlegged by label after label, none of the musicians involved ever saw any royalties, and no legal paperwork exists. (The recording's known labels and release/re-release dates include CTI Records [1976], King Records [1976], Epic Associated Records [CD, 1990], King Records [Japanese-only CD, 1994], and CTI Records [Japanese-only CD, 1997]. Velvet Darkness was also released in 1997 on an unknown label in Japan as a bootleg CD; an original copy of the vinyl LP album had been transferred to the CD.) This 1990 release with alternate takes (just more pieces dredged up from the jam-session practice tapes) is indeed an interesting snapshot of young stellar musicians doing their thing in a laid-back but energetic fusion-funk-rock groove. It is for all the above reasons that this is indeed a completist/collectors item nowadays. Included are the now very rare recordings of Holdsworth playing acoustic guitar and violin, which he does very well. The alternate take of "Gattox" is a special treat, featuring Holdsworth soloing with an intensity and emotive power that echoes all the best dynamics jazz fusion could offer in the '70s. Obtaining this release second-hand is probably the only and most proper way to find it now. ~ John W.Patterson https://www.allmusic.com/album/velvet-darkness-mw0000204270

Personnel: Electric Guitar, Acoustic Guitar, Violin, Written-By – Allan Holdsworth;  Bass – Alphonse Johnson;  Drums – Narada Michael Walden;  Piano – Alan Pasqua

Velvet Darkness

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Johnny Griffin - The Kerry Dancers and Other Swinging Folk (Remastered)

Styles: Saxophone Jazz
Year: 1962 /2018
File: MP3@320K/s
Time: 39:02
Size: 90,9 MB
Art: Front

(4:45)  1. The Kerry Dancers
(6:15)  2. Black Is the Color of My True Love's Hair
(4:38)  3. Green Grow the Rushes
(4:56)  4. The Londonderry Air
(4:42)  5. 25 1/2 Daze
(5:11)  6. Oh, Now I See
(4:55)  7. Hush-A-Bye
(3:34)  8. Ballad for Monsieur

Many straight-ahead bop musicians would never consider recording traditional folk songs from the British Isles, but that's exactly what Johnny Griffin does on The Kerry Dancers and Other Swinging Folk and this Orrin Keepnews-produced album just happens to be one of his best releases of the 1960s. Joined by pianist Barry Harris, bassist Ron Carter, and drummer Ben Riley, the big-toned Chicago tenor man turns his attention to four traditional folk melodies: "The Londonderry Air" (also known as "Danny Boy"), "Green Grow the Rushes" (a Scottish favorite), "The Kerry Dancers" (an Irish piece), and "Black Is the Color of My True Love's Hair" all of which work perfectly well in an acoustic jazz setting. Not everything on this album (which was recorded in late 1961 and early 1962) is a folk song from the British Isles; the other half of the album ranges from Griffin's moody "Oh, Now I See" to the John Coltrane-influenced "25 1/2 Daze." On Riverside's original LP version of this album, Griffin's bop interpretations of folk songs were confined to side one while the other material was placed on side two. But when Fantasy reissued this album on CD in 2001 on its Original Jazz Classics imprint, there was no interruption between the folk and non-folk material you no longer had to get up and turn the record over. And that's just as well, because Griffin brings a jazz mentality to everything on the album; he is as hard-swinging and improvisatory on "The Londonderry Air" as he is on "25 1/2 Daze" and "Oh, Now I See." The Kerry Dancers and Other Swinging Folk is among the many Griffin releases that the Chicagoan can be proud of. ~ Alex Henderson https://www.allmusic.com/album/the-kerry-dancers-and-other-swinging-folk-mw0000016413

Personnel:  Johnny Griffin — tenor saxophone; Barry Harris - piano; Ron Carter - bass; Ben Riley - drums

The Kerry Dancers and Other Swinging Folk (Remastered)

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Bernard Peiffer - Peiffer Interpreys

Styles: Piano Jazz
Year: 1960/2011
File: MP3@320K/s
Time: 32:03
Size: 74,6 MB
Art: Front

(3:32)  1. Come Along With Me
(4:37)  2. It's All Right With Me
(2:27)  3. Just One Of Those Things
(4:31)  4. You Do Something To Me
(5:32)  5. Let's Do It
(4:45)  6. I Love Paris
(2:25)  7. Montmartre
(4:11)  8. C'est Magnifique

Born 23 October 1922, Epinal, France, d. 7 September 1976, Philadelphia, Pennsylvania, USA. Following intensive training as a classical pianist, Peiffer began playing jazz in distinguished company. While still a young man he played with Django Reinhardt, Hubert Rostaing and other European jazzmen and also with visiting Americans such as Rex Stewart, Don Byas and Sidney Bechet. By the end of the 40s he had become very well known in his native land, leading small groups and also working alone. Persuaded to visit the USA, he moved there in the mid-50s and thereafter commuted between the USA and Europe. An exceptionally accomplished technician, Peiffer’s solo playing was rich and sometimes florid. He was forward-thinking in his style, despite the swing era resonances of his early associations. He also composed much of his repertoire. His son Stephan Jean-Bernard assembled an album of old home recordings that was released in 2006 under the title Formidable...! https://www.allmusic.com/artist/bernard-peiffer-mn0000760255/biography

Peiffer Interpreys

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Neville Dickie - Strut Miss Lizzie

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 77:44
Size: 181,5 MB
Art: Front

(3:54)  1. Strut Miss Lizzie
(4:59)  2. Two-Time Dan
(3:08)  3. Harlem Hotcha
(3:45)  4. All Muddled Up
(3:43)  5. Satanic Blues
(3:46)  6. It's Right Here for You (If You Don't Get It - Tain't No Fault O' Mine)
(4:08)  7. Cuddle Up Blues
(3:34)  8. Red Hot Mama
(3:42)  9. I've Got a Cross-Eyed Papa (But He Looks Straight to Me)
(3:22) 10. Candy Lips (I'm Stuck on You)
(3:27) 11. Dancin' Dan
(4:09) 12. Whisper Sweet
(3:30) 13. Gypsy Blues
(3:37) 14. Loose Feet
(3:59) 15. Cry Baby Blues
(2:46) 16. At the Jazz Band Ball
(2:44) 17. Home Again Blues
(3:22) 18. Weary Blues
(3:52) 19. Nobody Knows What a Red-Headed Mama Can Do
(4:01) 20. Virgina Blues
(4:07) 21. I Lost My Heart in Dixieland

Neville Dickie (born 1 January 1937 in Durham) is an English boogie-woogie and stride piano player. He has performed all over Europe and North America. After serving in the RAF, Dickie left Durham and moved to London, where he began playing piano for small wages in various pubs. It was only after Doreen Davies, who was head of BBC Radio 2, noticed him at a BBC audition that he took a notable stride in his musical career. He has played on hundreds of BBC Radio broadcasts. Dickie has produced scores of records and can be heard on hundreds of jazz recordings, as well as several recordings with the French pianist, Louis Mazetier. Dickie had a Top 40 UK hit single in 1969 with "Robin's Return" on the Major Minor Records label (MM 644). It reached number 33 on the UK Singles Chart. His album Back to Boogie (1975) has sold over 100,000 copies. Dickie formed a band called the Rhythmakers in 1985 and continues to perform with that group and with his trio. He appears regularly at festivals in the United States. https://en.wikipedia.org/wiki/Neville_Dickie

Strut Miss Lizzie

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Christine Tassan et les Imposteures - Django Belles

Styles: Vocal And Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 45:05
Size: 105,8 MB
Art: Front

(3:51)  1. La soirée du hockey / Hiver maudit
(4:05)  2. Mon pays
(3:44)  3. Fleurs de grésil
(4:50)  4. Oggi nevica (Reel Béatrice)
(3:41)  5. Tout l'monde a la grippe
(3:47)  6. Il est né le divin enfant / Joseph Joseph
(4:55)  7. L'hiver, Largo / Marie-Noël
(3:52)  8. Mele Kalikimaka
(4:01)  9. Marche de Casse-Noisette
(5:51) 10. Les neiges de Finlande / En tombant gentiment
(2:22) 11. Medley de Noël

It has been ten years since Christine Tassan et les Imposteures started tending their craft in the gypsy jazz milieu and performing standards, and there is no doubt that they are definitely here to stay. Pioneers in a domain usually reserved for men and precursors of the gypsy wave that swept across Québec, this all-woman quartet continues to reinvent this timeless music while integrating new ideas and influences with an originality and flair we have become familiar with. From standards to original compositions, the Imposteures’ musical arrangements innovate, rejuvenate and leave room for unbridled creativity from four talented and accomplished young women. Since their inception in 2003 the group has solidified their reputation. With more than 400 concerts in various venues and festivals, including numerous appearances in major events and tours across Canada and France, they have cultivated the adoration and loyalty of an ever growing fan base. We have had the chance to see them at the Montreal International Jazz Festival, at the Lévis Jazz Festival, at the Guitar Festival in Rouyn-Noranda, at the April in Paris Vancouver festival and in St-Pierre-et-Miquelon. On two occasions, their show has been taped and broadcasted by CBC Radio as part of the Concerts on demand, in Montreal and Saskatoon. 

Over the years, the band has shared the stage with illustrious gypsy swing musicians, including John Jorgenson, Tchavolo Schmit, Angelo Debarre, Rodolphe Raffalli and David Reindhart. In June 2014, they had the great pleasure to be invited at the Django Reinhardt Festival of Samois-sur-Seine (France), one of the most prestigious gypsy jazz festivals since it takes place in the town where the great manouche guitarist lived his last years. In front of more than 2000 enthusiastic people, they stood out with their “finesse” and “joie de vivre” as the very first women and furthermore Québécois gypsy jazz band to perform on this famous stage ! Their first two albums, De bon matin (2007) and Pas manouche, c’est louche (2010), achieved rapid critical acclaim. Only a few weeks after it was released, De bon matin went to the top of Radio-Canada’s Coup de Coeur hit list and reached number one on the Radio Couleur Jazz top 4. In turn, Pas manouche, c’est louche was nominated for Best Jazz Album Creation at the ADISQ awards, alongside other great artists such as Jordan Officer, Julie Lamontagne and Christine Jensen. On stage, we bear witness to four musicians who have mastered their talents. They improvise with ease, interpret their repertoire with dynamism, and blend their voices together in refined harmonies. 

But it’s their communicative energy and the personal bond between them that hits home the most. Christine Tassan et les Imposteures, are first and foremost four friends who have harnessed their energies and their voices to give rise to, year after year, the fruit of their creativity. Their third album, released in October 2012, follows in the same lively spirit. Like its two predecessors, it weaves together a clever mix of original compositions and standards, songs and instrumental pieces. The album brims with a ripe confidence that clearly reveals the evolution of the group. C’est l’heure de l’apéro marks the beginning of a new chapter for Christine Tassan et les Imposteures, who are once again touring Québec, Canada and the world to showcase their new sparkling and savory show. http://www.christinetassanetlesimposteures.com/en/the-band/

Personnel:  Christine Tassan: lead guitar, rhythm guitar, vocal; Martine Gaumond: violin, podorhythm, back vocal; Lise-Anne Ross: rhythm guitar, back vocal; Blanche Baillargeon: double bass, back vocal; Karine Gordon: trombone; Justine Verreault-Fortin: trumpet

Django Belles

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Roy Eldridge - Swngin' on the Town

Styles: Trumpet Jazz
Year: 1960
File: MP3@320K/s
Time: 36:10
Size: 84,8 MB
Art: Front

(2:43)  1. Bossa Nova
(2:23)  2. The Way You Look Tonight
(2:25)  3. Sweet Sue, Just You
(2:23)  4. I've Got a Crush on You
(2:59)  5. When I Grow Too Old to Dream
(2:39)  6. Dreamy
(4:13)  7. Honeysuckle Rose
(3:27)  8. All the Things You Are
(3:46)  9. Easy Living
(3:16) 10. But Not for Me
(3:05) 11. Song of the Islands
(2:46) 12. Misty

Recorded in June 1960, Swingin' on the Town was a bit of a retro affair at the time, since swing was no longer popular dance music, nor the cutting edge of jazz. Still, Eldridge was one of the best swing trumpeters of any era, and his music continued to deepen over the years; there was no reason for him not to play swing standards if he could still make them sound fresh. Throughout Swingin' on the Town, he does make it sound fresh. It helps that he's supported by bassist Benny Moten, pianist Ronnie Ball and drummer Eddie Locke, who keep things lively, but Eldridge is the focus here, and his performances are supple, swinging and charming. He doesn't do anything out of the ordinary, but he delivers the expected with grace. Not a major album in his catalog, but certainly an enjoyable one. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/swingin-on-the-town-mw0000244272

Personnel:  Roy Eldridge - trumpet; Ronnie Ball - piano; Benny Moten - bass; Eddie Locke - drums

Swngin' on the Town

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Ilonka - Holding On

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 26:23
Size: 61,4 MB
Art: Front

(3:09)  1. Holding On
(3:13)  2. His Love
(3:16)  3. Bigger Than Words Can Say
(3:17)  4. Good Day
(3:58)  5. Free to Live
(4:21)  6. My Second Chance
(5:06)  7. Safe

Growing up in South Africa, Ilonka journey led her to the U.S. to devote her life and voice to ministry. ilonka encourages women with the love of Jesus Christ by reminding them that their stories matter. Ilonka has performed worldwide as well as collaborating and performing on projects with Michael W. Smith, Rebecca St. James, Paul Coleman and Phil Keaggy, just to name a few. She has also served as a member of the Worship Team at Christ Community Church in Franklin, Tennessee for the past 7 years; has five albums: Fly, Holding On, Jesus Joy of Life, Ever & Ever, Classic Christmas, and her latest single Wash.  Ilonka is a member of The American Association of Christian Counselors and graduated in 2013 from Light Universities Biblical Counseling Degree Program. In 2012 she and her husband Bill opened a free Counseling Center in the Franklin area for women, serving those whom are often overlooked and under-resourced. For the past several years ilonka has worked with organizations such as World Vision, Women At Risk, Int. (WAR), Crisis Aid International and Bethany Christian Services as an artist and speaker. ilonka has also publicly shared the power and love of Jesus Christ on multiple Christian Television Programs with her testimony and music. https://store.cdbaby.com/artist/Ilonka1

Holding On

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Michel Legrand - Paris Was Made for Lovers

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 35:16
Size: 82,1 MB
Art: Front

(3:37)  1. The Windmills of the Mind
(2:44)  2. The Summer of '42
(2:51) 3. I Still See You (Theme From "The Go Between")
(2:15)  4. Sea and Sky
(0:51)  5. Concerto for Cabs
(1:29)  6. The Street Where They Lived
(1:36)  7. Where Love Begins
(2:49)  8. In Love in Normandy
(2:30)  9. A Place in Paris
(2:38) 10. Old Lovers Never Die
(2:25) 11. On the Road (From the Film "The Lady in the Car")
(1:12) 12. Do You Come Here Often
(2:16) 13. They Simply Fade Away
(1:34) 14. Where Love Ends
(1:46) 15. Pavanne for People
(2:36) 16. Paris Was Made for Lovers

This Michel Legrand release contains his original soundtrack for the 1970 movie Paris Was Made for Lovers and updated versions of two of his best known celluloid themes, "Windmills of Your Mind" and "Summer of '42." These new takes on already well-tread material are pleasant at best, while the original soundtrack material is quite good. Particularly impressive are the vocal numbers "Paris Was Made for Lovers" (Legrand in decent vocal form), "A Place in Paris" (Matt Monro sounding like Tony Bennett), and "Sand and Sea" (Dusty Springfield at her best). There are some fine instrumentals, too, like the dramatic themes "Where Love Begins" and "Where Love Ends" and the Ravel-esque ballads "In Love in Normandy" and "They Simply Fade Away" (the latter two are based on the "Sand and Sea" melody). To break up the soundtrack's predominately melancholy mood, Legrand includes some respectable Dixieland jazz ("Concerto for Cabs") and bit of circus music ("Do You Come Here Often?"). Like '60s-era soundtracks by Mancini and Bacharach, Paris Was Made for Lovers succeeds with a winning mix of strong melodies, provocative arrangements, and a variety of styles; and even though it doesn't match the quality of top Legrand releases like The Thomas Crown Affair, it still is worth seeking out. ~ Stephen Cook https://www.allmusic.com/album/paris-was-made-for-lovers-mw0000239004

R.I.P.
Born: February 24, 1932, Bécon les Bruyères, France
Died: January 26, 2019, Paris, France

Paris Was Made for Lovers

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Nate Najar Trio - Aquarela Do Brasil

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 57:50
Size: 133,4 MB
Art: Front

(4:27)  1. Canto De Ossanha
(5:10)  2. Carinhoso
(5:47)  3. Ligia
(5:30)  4. Aquarela Do Brasil (Brazil)
(4:14)  5. Amparo (Olha Maria)
(6:59)  6. Chovendo No Roseira (Double Rainbow)
(5:57)  7. Fotografia
(6:02)  8. Samba for Felix
(4:54)  9. Charlotte's Fancy
(8:45) 10. Canto De Ossanha (Extended Version)

Given that all the great jazz guitarists for many years have been plugged into the mains, with multiple results, it remains rare for a player to opt to be unamplified. There was Charlie Byrd, of course, and latterly our own very impressive Remi Harris. Now here’s another New Yorker Nate Najar. I had been aware of his skill from hearing his 2012 Candid release Blues For Night People, the latter composed by his inspiration, the brilliant Mr Byrd. This mixed set had a few Latin elements, but the new one is entirely devoted to the music and rhythms of Brazil not all classifiable under the ‘bossa nova’ heading. Nate’s actual power source is as before Tommy Cecil on bass and Chuck Redd on drums and vibes with the bonus on two tracks of sublime tenor from Harry Allen, evoking the early ‘fifties Getz innovations. Eight of the ten tracks are those enchanting melodies we’ve heard played or sung under varying titles four of them naturally by Tom Jobim himself. The jazz content is sometimes questionable, when Nate simply romps along on the tunes most deservedly on what must be the world’s best-known Latin song, the title track, which, in short, is Brazil. But on the three tracks where Chuck Redd moves on to the vibes, and the two with Allen’s tenor, the facile swing is there in abundance. This is a very useful CD for getting that party going.~  Les Tomkins – Jazz Rag Spring 2014 http://www.natenajar.com/reviews/

Personnel:  Acoustic Guitar [Unamplified Guitar], Leader – Nate Najar; Bass – Tommy Cecil; Drums – Chuck Redd, Duduka Da Fonseca; Tenor Saxophone – Harry Allen

Aquarela Do Brasil

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Will Downing - The Promise

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 44:23
Size: 102,4 MB
Art: Front

(4:09)  1. Take It To The Cross
(4:26)  2. Look At Yourself (In The Miirror)
(4:47)  3. I Hear A Voice
(3:58)  4. You Blessed My Life
(4:18)  5. He Will Be There
(4:40)  6. What Would I Do
(5:11)  7. God Is So Amazing
(4:10)  8. God Will Show You The Way
(3:47)  9. Shout (A Celebration Of Life)
(4:53) 10. Changed

2018 release, the first gospel album from Will Downing. The Promise is the crowning achievement of an amazing career, a lifelong dream fulfilled! Widely known as The Prince Of Sophisticated Soul, Will Downing is an icon in both the R&B and jazz worlds. Having sold more than four million albums in his brilliant 30-year career, Will is now poised to add the Gospel audience to his legions of dedicated fans. ~ Editorial Reviews https://www.amazon.com/Promise-WILL-DOWNING/dp/B07GVXDHPD

The Promise

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Bob James - Foxie

Styles: keyboards Jazz
Year: 1983
File: MP3@320K/s
Time: 33:18
Size: 77,1 MB
Art: Front

(6:46)  1. Ludwig
(2:50)  2. Calaban
(5:48)  3. Fireball
(6:09)  4. Zebra Man
(4:59)  5. Miranda
(6:44)  6. Marco Polo

Because so many of Bob James' albums have been devoid of integrity and epitomized musical prostitution at its most shameless, quite a few people in the jazz world (both fusionists and hard boppers) dismiss everything he's done since 1974. But it's best to judge the keyboardist on an album-by-album basis and not lump all of his releases together. Not a gem but certainly superior to Touchdown or Sign of the Times, Foxie has its moments. Some of the pop-jazz material is decent, including the delicate "Miranda," the reggae-influenced "Calaban," and the relaxed "Fireball." The playful "Zebra Man" employs David Sanborn on soprano sax; regrettably, he simply meanders and doesn't get a chance to stretch. None of the songs are brilliant, but with the exception of "Marco Polo," none of them are schlocky either. ~ Alex Henderson https://www.allmusic.com/album/foxie-mw0000645797

Personnel: Bob James - keyboards, synthesizer; David Sanborn - saxophone; Steve Khan - guitar; Marcus Miller, Will Lee - bass guitar; Peter Erskine, Steve Gadd - drums; Ralph MacDonald - percussion

Foxie

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Monique Thomas Voices Of Praise - It's Time

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 63:10
Size: 146,0 MB
Art: Front

( 5:14)  1. Don't Stop Believin'
( 5:07)  2. Ordinary Day
( 5:12)  3. Who ?
( 6:18)  4. It's Time
( 3:50)  5. Praise You
( 0:54)  6. WWYG Interlude
( 4:20)  7. Don't Be Shy
( 6:32)  8. Feel Better
( 5:47)  9. Take Me Higher
( 4:27) 10. God Said It
( 5:02) 11. Where Will You Go ?
(10:22) 12. All I Need

Creativity and tradition are not opposed. Originating from Black American religious chants, Gospel is the major artistic expression of the spiritual culture, and its musical influence has long since gone beyond its religious confines : although we cannot attribute it with the paternity of jazz, it had a strong influence on this music and is at the very root of soul music. Inspired by and rooted in tradition, Gospel defies trends and brings with it a universal profoundness. From Philadelphia, Pennsylvania (USA), Monique Thomas very early joined the chorals of her local Baptist churches and in many of them became lead singer. Immersed in both the radition of spirituals and in contemporary soul, she developed her own interpretation of Gospel. Living in France since 1998, she has finally found the opportunity to lay claim to her culture with an original project in the European Gospel landscape. Voices Of Praise is a thoroughly modern approach to Gospel, both in its respect for tradition and in its intention of faith, and, with a modern orchestration, is directly linked to the blues, funk and R'N'B cultures. https://store.cdbaby.com/cd/moniquethomas

It's Time

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David Murray Octet - Home

Styles: Saxophone, Clarinet Jazz
Year: 1982
File: MP3@320K/s
Time: 36:53
Size: 84,7 MB
Art: Front

(6:01)  1. Home
(6:51)  2. Santa Barbara And Crenshaw Follies
(6:11)  3. Choctaw Blues
(9:14)  4. Last Of The Hipmen
(8:35)  5. 3-D Family

Although David Murray has recorded in many different settings throughout his busy career, his octet has always been perfect for his talents. More disciplined than his big band, yet containing more tone colors than his smaller combos, the octet allowed Murray to be exploratory yet occasionally look backwards. This set, his second with the band, has quite an all-star lineup: Murray on tenor and bass clarinet, altoist Henry Threadgill, trumpeter Olu Dara, cornetist Butch Morris, trombonist George Lewis, pianist Anthony Davis, bassist Wilber Morris and drummer Steve McCall. All of the brilliant players have their opportunities to make strong contributions to Murray's five originals (best known of which is "3-D Family"), and the leader's writing is consistently colorful and unpredictable. Recommended. ~ Scott Yanow https://www.allmusic.com/album/home-mw0000649670

Personnel:  David Murray – tenor saxophone, bass clarinet; Henry Threadgill – alto saxophone, flute, alto flute; Olu Dara – trumpet; Lawrence "Butch" Morris – cornet; George Lewis – trombone; Anthony Davis – piano; Wilber Morris – bass; Steve McCall – drums

Home

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Cab Calloway & His Orchestra - Swinging 40s

Styles: Swing, Big Band 
Year: 2000
File: MP3@320K/s
Time: 43:57
Size: 101,5 MB
Art: Front

(3:17)  1. Russian Lullaby
(3:17)  2. 9:20 Special
(3:44)  3. The Very Thought Of You
(3:37)  4. Foo A Little Bally-Hoo
(2:28)  5. Is You Is Or Is You Ain't My Baby
(3:57)  6. Frantic In The Atlantic
(3:07)  7. Blue Skies
(1:15)  8. Bojangles Steps In
(2:36)  9. Easy Joe
(6:22) 10. Ain't That Something
(1:16) 11. Everybody Dance
(2:57) 12. The Honeydripper
(3:07) 13. Let's Go Joe
(2:50) 14. The Jumpin' Jive

One of the great entertainers, Cab Calloway was a household name by 1932, and never really declined in fame. A talented jazz singer and a superior scatter, Calloway's gyrations and showmanship on-stage at the Cotton Club sometimes overshadowed the quality of his always excellent bands. The younger brother of singer Blanche Calloway (who made some fine records before retiring in the mid-'30s), Cab grew up in Baltimore, attended law school briefly, and then quit to try to make it as a singer and a dancer. For a time, he headed the Alabamians, but the band was not strong enough to make it in New York. The Missourians, an excellent group that had previously recorded heated instrumentals but had fallen upon hard times, worked out much better. Calloway worked in the 1929 revue Hot Chocolates, started recording in 1930, and in 1931 hit it big with both "Minnie the Moocher" and his regular engagement at the Cotton Club. Calloway was soon (along with Bill Robinson, Ethel Waters, Louis Armstrong, and Duke Ellington) the best-known black entertainer of the era. He appeared in quite a few movies (including 1943's Stormy Weather), and "Minnie the Moocher" was followed by such recordings as "Kicking the Gong Around," "Reefer Man," "Minnie the Moocher's Wedding Day," "You Gotta Hi-De-Ho," "The Hi-De-Ho Miracle Man," and even "Mister Paganini, Swing for Minnie." Among Calloway's sidemen through the years (who received among the highest salaries in the business) were Walter "Foots" Thomas, Bennie Payne, Doc Cheatham, Eddie Barefield, Shad Collins, Cozy Cole, Danny Barker, Milt Hinton, Mario Bauza, Chu Berry, Dizzy Gillespie, Jonah Jones, Tyree Glenn, Panama Francis, and Ike Quebec. His 1942 recording of "Blues in the Night" was a big hit. With the end of the big band era, Calloway had to reluctantly break up his orchestra in 1948, although he continued to perform with his Cab Jivers. Since George Gershwin had originally modeled the character Sportin' Life in Porgy and Bess after Calloway, it was fitting that Cab got to play him in a 1950s version. Throughout the rest of his career, Calloway made special appearances for fans who never tired of hearing him sing "Minnie the Moocher."

Personnel:  Alto Saxophone – Andy Brown, Chauncey Haughton, Hilton Jefferson, Jerry Blake; Baritone Saxophone – Greely Walton, Rudy Powell; Bass – Milton Hinton; Drums – Buford Oliver, Cozy Cole, J.C. Heard; Guitar – Danny Barker; Piano – Bennie Payne, Dave Rivera; Tenor Saxophone – Al Gibson, Ike Quebec, Teddy McRae, Walter Thomas; Trombone – Claude Jones, DePrieste Wheeler, Keg Johnson, Quentin Jackson, Tyree Glenn; Trumpet – Irving Randolph, Jonah Jones, Lamar Wright, Paul Webster, Russell Smith, Shad Collins

Swinging 40s

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Harry James - Wild About Harry!

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 38:25
Size: 89,0 MB
Art: Front

(4:14)  1. Barn 12
(4:53)  2. What Am I Here For
(2:39)  3. Blues For Harry's Sake
(4:00)  4. Bee Gee
(3:22)  5. Blues On A Count
(4:14)  6. Kinda Like The Blues
(4:42)  7. Blues For Lovers Only
(3:11)  8. Countin'
(3:26)  9. Cotton Pickin'
(3:42) 10. Ring For Porter

By 1957, Harry James was in an artistic rut. Although he would occasionally try to come up with fresh material, he never did regain the stature he had in the 1940s. This Capitol LP mostly contains material arranged by Ernie Wilkins and the result is that the James band often sounds like Count Basie's. Buddy Rich's drumming helps uplift the band, altoist Willie Smith, tenorman Corky Corcoran and trombonist Herbie Harper have some good spots and James is in good form but the music is not all that memorable. ~ Scott Yanow https://www.allmusic.com/album/wild-about-harry-mw0000869403

Personnel:   Trumpet – Harry James; Saxophone – Willie Smith, Corky Corcoran, Ernest Small, Francis Polifroni, Herb Lorden; Trumpet – Robert Rolfe, Don Paladino, Nick Buono, Ray Linn; Trombone – Robert Edmondson, Herb Harper, Robert Robinson; Piano – Larry Kinnamon; Guitar – Allan Reuss; Bass – Russ Phillips; Drums - Buddy Rich.

Wild About Harry!

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Dave Brubeck - Jackpot

Styles: Piano Jazz
Year: 1966
File: MP3@256K/s
Time: 52:56
Size: 97,4 MB
Art: Front

( 6:48)  1. Ace in the Hole
( 6:49)  2. Out of Nowhere
(10:25)  3. You Go To My Head
( 3:06)  4. Who's Afraid (of Virginia Woolf?)
( 7:03)  5. Chicago (That Toddling Town)
( 2:58)  6. Rude Old Man
(10:58)  7. Jackpot
( 4:44)  8. Win a Few, Lose a Few

Dave Brubeck really hits the jackpot here playing live in Las Vegas with his classic quartet that includes the legendary Paul Desmond on alto sax! Dave's studio records for Columbia are all pretty darn great but sometimes, there's a little something extra in his live dates for the label maybe a few more relaxed moments, or less overall concepts that give the group a bit more of a spontaneous approach in ways that almost take us back to the early years on Fantasy Records. Dave opens up the set with a trio number, and a bit more bluesy vibe than usual then Desmond comes in, and blows us away all over again with his impeccable tone and timing alongside rhythm from Eugene Wright on bass and Joe Morello on drums. Titles include "Win A Few Lose A Few", "Jackpot", "Rude Old Man", "Ace In The Hole", and "Out Of Nowhere".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/570290/Dave-Brubeck:Jackpot

Personnel:  Piano – Dave Brubeck;  Alto Saxophone – Paul Desmond; Bass – Eugene Wright;  Drums – Joe Morello

Jackpot

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Johnny Richards Orquestra - Kiss Her Goodbye

Styles: Jazz, Big Band
Year: 2011
File: MP3@320K/s
Time: 77:27
Size: 179,9 MB
Art: Front

(1:22)  1. Intro & Theme
(1:55)  2. Kiss Her Goodbye
(2:28)  3. On the Wagon
(2:05)  4. Juke Jumps
(2:19)  5. Shutters
(3:04)  6. Nightmare
(1:40)  7. Playground
(3:27)  8. The Baby's Missing
(1:35)  9. At the Beach
(3:35) 10. Another Chance
(3:48) 11. Grown Up
(3:20) 12. Special Friends
(1:02) 13. Emily
(1:53) 14. Confession
(2:51) 15. End Title
(3:13) 16. The Moon Was Yellow
(0:50) 17. Theme
(4:13) 18. Ochun
(3:42) 19. Estoy Cansado
(7:31) 20. Dimples
(4:21) 21. Laura
(1:19) 22. Theme
(6:41) 23. Dimples
(4:56) 24. Band Aide
(4:06) 25. Laura

Johnny Richards was a forward-thinking arranger who incorporated Latin rhythms and dissonance, spending the early decades of his career working on Hollywood soundtracks before moving to New York City to contribute charts to Stan Kenton and leading his own band. Yet Richards has been badly neglected in the CD era, with few of his albums being reissued. This compilation is an important addition to his legacy, for it centers around an important, never-before-released soundtrack to the film Kiss Her Goodbye, shelved by Warner Bros. after the film (shot in Cuba) was seized following Fidel Castro's 1959 takeover. The source material came from a test pressing given to Richards by the label, which was tracked down by Uptown owner Bob Sunenblick, MD, with substantial help from discographers Michael Sparke and Jack Hartley in the identification of the musicians and song titles. The first 15 selections were recorded for the soundtrack, though they were likely only excerpted in the movie, as is typically the case, even though all of them are under four minutes. Some of the highlights include the breezy "Juke Jumps" (with fine solos by Phil Woods, Jimmy Cleveland, Burt Collins, and Ray Copeland), the mellow ballad "Shutters" featuring the trombone section and muted trumpet, and the suspenseful "The Baby's Missing" (showcasing Gene Quill's explosive alto). It is a shame that the movie was never completed, but at least Johnny Richards impressive soundtrack is finally available. The only previously issued track is "The Moon Is Yellow" from an LP by the Luis Tiramani Orchestra, with the arrangement credited to Tiramani but very likely ghost written by Richards. The final nine songs come from a pair of 1959 NBC radio broadcasts, with his mellow, playful original "Dimples" and lush, richly textured setting of "Laura" (both heard in two separate performances), which best display the arranger's gifts. The detailed liner notes and period photographs add value of this valuable, long lost music. ~ Ken Dryden https://www.allmusic.com/album/kiss-her-goodbye-new-york-city-1958-1959-mw0002146822

Johnny Richards - composer;  Ray Copeland, Clyde Reasinger, Burt Collins, Jerry Kail - trumpet;  Jimmy Cleveland, Jim Dahl, Billy Byers - trombone;  Al Antonucci - French horn;  Phil Woods - alto sax;  Frank Socolow - tenor sax;  Billy Slapin - baritone sax;  Shelly Gold - bas sax;  Bobby Pancoast - piano; Chet Amsterdam - acoustic double bass;  Charlie Persip, drums.

Kiss Her Goodbye

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Dmitry Baevsky - Introducing Dmitry Baevsky

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 57:37
Size: 133,6 MB
Art: Front

(4:44)  1. Love Is a Many Splendored Thing
(3:49)  2. Casbah
(6:12)  3. You Do Something to Me
(5:02)  4. Klact-Oveeds-Teen
(7:22)  5. Autumn Nocturne
(5:56)  6. Tin-Tin-Deo
(4:48)  7. Cool Eyes
(7:44)  8. Buffalo
(5:58)  9. Al-Leu-Cha
(5:57) 10. For You, For Me, Forever More

Over two years after advance copies teased the jazz press about the capabilities of teenaged alto saxophonist Dmitry Baevsky's surprising chops, the Lineage label finally came into being in early 2006, with Baevsky's debut as one of their inaugural releases. Well accompanied by veterans like pianist Cedar Walton and drummer Jimmy Cobb, along with bassist John Webber and guitarist Ilya Lushtak, the young Russian is still forming his own style, though he has obviously done his musical homework and was prepared for the recording session, which is sometimes a problem with young musicians prematurely given the opportunity to record as leaders. The set list covers a lot of ground, mixing standards and jazz compositions (both favorites and forgotten gems). He shows a bit of Phil Woods' influence in "Love Is a Many Splendored Thing," while he easily negotiates the tricky changes of Charlie Parker's "Klactoveedsedstene" and displays a bit of playfulness. The young man also measures up in ballad settings such as the lush "Autumn Nocturne" and Kenny Dorham's down-and-dirty blues "Buffalo." While it is impossible to render a verdict on a newcomer based on his first CD, Dmitry Baevsky obviously has studied his craft and has a lot of potential to offer; this initial session likely provided him some terrific seasoning by getting the opportunity to work with Walton and Cobb. ~ Ken Dryden https://www.allmusic.com/album/introducing-dmitry-baevsky-mw0000544977

Personnel:  Alto Saxophone – Dmitry Baevsky; Bass – John Webber ; Drums – Jimmy Cobb; Guitar – Ilya Lushtack; Piano – Hank Jones

Introducing Dmitry Baevsky

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Barbra Lica - You're Fine

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 44:43
Size: 105,6 MB
Art: Front

(3:18)  1. Before I Do
(3:50)  2. The Birds and the Bees
(3:42)  3. Let You Go
(3:45)  4. Jolie Oiseau
(3:06)  5. Everybody Else
(3:53)  6. Slow Dancing
(3:33)  7. More Than Anything (Like Song)
(4:32)  8. Drive
(3:26)  9. Nowhere with You
(5:00) 10. Lucky Break
(3:23) 11. All There Is
(3:08) 12. When I'm Gone

Barbra Lica is a fast-rising Canadian jazz vocalist and songwriter, and has been receiving accolades for her unique vocal ability that stresses subtlety and grace. Based in Toronto, Barbra’s live shows have captivated audiences all over North America with her genuine warmth and confident stage presence. Hot on the heels of her 2017 Juno-nominated recording, ‘I’m Still Learning’, Barbra Lica is back with her fifth and most ambitious offering to date ‘You’re Fine’ (November 2018). Having spent the last couple of years touring clubs and festivals, Barbra found herself in Nashville where she was blown away by the sounds of old country and western swing. She dedicated the next year to song writing trips between Nashville and Toronto, collaborating with new songwriters and work-shopping with her band to find a new space for contemporary jazz, one that borrows and fuses elements of American country music.

‘You’re Fine’ covers all the bases: poignant, introspective, tongue in cheek and heart breaking. This genre-bending project breaks every rule while searching for commonalities between musical palettes, human experiences and two sides of one border. Recorded at Addiction Sounds Studios in the heart of Nashville, this represents Barbra’s second production with in-demand Canadian producer/bassist Marc Rogers. It also features Barbra’s full band of rising talents from Toronto alongside legendary guest artists Paul Franklin (Vince Gill, Mark Knopfler, Shania Twain) on the pedal steel guitar and multi-instrumentalist Wanda Vick Burchfield (Taylor Swift, Trisha Yearwood, Jason Aldean). ‘You’re Fine’ is a musical event not to be missed “It starts and ends with Lica’s voice. It’s a bright, vibrant contralto one minute, laconic and syrupy the next when she lets a phrase die on the vine and trail off” ~ Frank De Blase, Journalist, City Newspaper https://barbralicamusic.com/

You're Fine

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Cris Delanno - Now and Forever

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 58:16
Size: 134,9 MB
Art: Front

(3:57)  1. Beat It
(3:50)  2. West End Girls
(3:14)  3. Life
(4:48)  4. Don't Stop 'Til You Get Enough
(5:00)  5. You Are Not Alone
(3:36)  6. Lucky
(3:42)  7. Make It Mine
(3:56)  8. 21 Guns
(3:43)  9. Am I the Same Girl
(3:39) 10. The Best of My Love
(4:15) 11. I Can't Give You Anythng but Love
(4:44) 12. Joy and Pain
(3:35) 13. Now and Forever
(3:13) 14. The Kids Aren't Alright
(2:58) 15. You Rise Me Up

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 https://www.allmusic.com/artist/cris-delanno-mn0000134383

Now and Forever

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Dayna Stephens - I'll Take My Chances

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 73:07
Size: 170,5 MB
Art: Front

(9:01)  1. Good Tree, Good Fruit
(7:20)  2. Jfk International
(8:15)  3. Adrift
(7:26)  4. Dirty
(7:59)  5. Unrequited I
(5:13)  6. Prelude to a Kiss
(7:12)  7. Field of Landmines
(9:11)  8. I'll Take My Chances
(4:42)  9. Weezy
(6:44) 10. Unrequited

For his second Criss Cross release I'll Take My Chances, saxophonist Dayna Stephens has put together an impressive recital showing off his skill for composition, arranging, and improvisation. The ten tunes presented here are a nice mix of Stephens's originals, an Ellington classic, and original tunes from contemporary pianists Brad Mehldau and Aaron Parks. The tunes all prove to be fantastic vehicles for Stephens to showcase his warm, soulful sound, and the prowess of the group he has put together for this recording. For the rhythm section Stephens joins pianist, Gerald Clayton, and bassist, Joe Sanders, both young players who have been attracting attention since their time at the Thelonious Monk Institute, where Stephens also studied. Drummer Bill Stewart has been a powerful presence in the New York jazz scene for twenty years now and he and Sanders seem to connect almost effortlessly on this album. Stephens completes the rhythm section with guitarist, Charles Altura, who has just recently come into the spotlight for his work on Chick Corea's The Vigil (Stretch Records, 2013). On his original tunes Stephens shows off his talent for writing interesting melodies. "JFK International" has a winding, unpredictable melody, obviously inspired by the hustle and bustle that can always be found in the airport. Appropriately, "Field of Landmines" has a light and careful feeling to it and Stephens explores some new sounds during his solo by using a chorus pedal, adding an interesting texture to this album. 

The fact that Stephens's original, "I'll Take My Chances," comes directly after "Field of Landmines" may strike some listeners as humorous but the song itself sets a serious tone and sets a perfect backdrop for Stephens's rich tone. "Dirty," another Stephens original stands out on this album and finds Gerald Clayton accompanying from the Hammond B3. Stephens does his best to live up to the tune's name with a soulful bari sax solo. For the centerpiece of the album Stephens recruited vocalist, Becca Stephens, to lend her delicate voice to his treatment of the classic Ellington tune, "Prelude to a Kiss." Though piano and guitar have a history for stepping on each other's toes in this type of a group setting, Clayton and Altura do remarkable job of complimenting each other rather than getting in each other's way on this tune. With this album Dayna Stephens adds another credit to his growing discography and proves himself a force to be reckoned with, not only as a soloist, but also as a composer, arranger, and band-leader. The other members of his quintet interpret Stephens's music with confidence and authority and accompany him well. Hopefully we can look forward to hearing Stephens develop even more as a composer and improviser in the years to come. ~ Andrew Luhn https://www.allaboutjazz.com/ill-take-my-chances-dayna-stephens-criss-cross-review-by-andrew-luhn.php

Personnel: Dayna Stephens: Tenor and Baritone saxophones; Charles Altura: Guitar; Gerald Clayton: Piano/Hammond B3 Organ; Joe Sanders: Bass; Bill Stewart: Drums; Becca Stevens: Vocals

I'll Take My Chances

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Todd Gordon - Ballads from the Midnight Hotel

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 52:13
Size: 121,0 MB
Art: Front

(5:45)  1. Where or When
(3:55)  2. Everything Must Change
(2:53)  3. Hotel
(4:32)  4. If You Could Read My Mind
(2:05)  5. Indiscreet
(4:07)  6. I Get Along Without You Very Well
(3:17)  7. In the Wee Small Hours of the Morning
(4:29)  8. Somehwhere in My Heart
(3:55)  9. To Love and be Loved
(2:09) 10. The Second Time Around
(3:31) 11. The Good Life
(2:36) 12. Glad to be Unhappy
(3:14) 13. Come in from the Rain
(3:24) 14. In My Life
(2:15) 15. It's Impossible

In just a few years, Todd Gordon has established himself as “one of Britain’s most popular singers and entertainers” (Scottish Television). An avid Beatles fan until the age of 11, his musical horizons broadened when he heard Frank Sinatra's “Songs for Swingin' Lovers!” album. From that moment, he collected almost every recording by Ol' Blue Eyes whilst expanding his interest in jazz and swing, encompassing numerous other renowned singers and instrumentalists. Further inspiration came in 1975 when he met Ella Fitzgerald prior to one of her shows. During her concert, she invited him on stage and sang “You Are the Sunshine of My Life” specially to him. Since then, Gordon has been fortunate enough to meet many more of his idols including Bing Crosby, Rosemary Clooney, Count Basie, Woody Herman, George Shearing and Tony Bennett. Gordon's interest in music and singing was passionate, yet always private. But in 2000, he took part in a week-long vocal jazz workshop and that changed everything. His stage debut came in 2001 at Scotland’s top jazz club and from that moment on, as the cliché goes, he's never looked back. In 2003, aged 44, he was booked to open for Dionne Warwick during her UK tour, which prompted him to give up his day job organisng trade expos. Since then, Gordon has performed frequently at Britain’s top jazz venues, including The Pizza Express Jazz Room, The 606 in Chelsea and the world- renowned Ronnie Scott’s in London and The Plaza and The Algonquin hotels in New York where he even did a duet with actor Christopher Walken, singing “I've Got You Under My Skin”.He also features regularly at major jazz festivals and concerts. Indeed, he was the first-ever Scottish male vocalist to be booked for the London Jazz Festival, with his performance at the Royal Opera House in 2007 a show which was followed by a sell-out return visit two years later.Gordon's audiences range from intimate jazz clubs to large-scale shows (he regularly compères and performs at “Jazz on a Summer’s Day” against the backdrop of Edinburgh Castle Britain’s biggest jazz event with an audience of 20,000 plus) and he was also one of four nominees for a national music award alongside classical conductor Ilan Volkov, the pop group Texas and singing sensation, Annie Lennox. Gordon has performed joint concerts with most of Britain's best female jazz singers including Jacqui Dankworth, Claire Martin, Clare Teal, Elaine Delmar, Tina May, Juliet Roberts etc, as well as American singers Barbara Morrison and Clairdee. 

He works with the very best musicians and has released three albums with Ian Shaw in the producer’s chair: “Love’s Illusions,” “Ballads from The Midnight Hotel” (with Guy Barker and featuring a duet with Jacqui Dankworth), and “Moon River to the Days of Wine and Roses” an album celebrating the work of the legendary American Songbook lyricist Johnny Mercer, with the acclaimed Mel Tormé pianist, John Colianni. His latest releases (both reviewed on this site by both Ian Patterson and Bruce Lindsay) is a big band swing album with the Royal Air Force Squadronaires entitled “Evergreen” and “Love dot com” - an album Gordon recorded in Seoul after one of his tracks was used as the theme song in a top Korean TV drama series. Further expanding his passion for music, Gordon set up a concert promotion business, Jazz International, which has staged almost 100 events at Scotland’s leading music venues. In addition, he’s been presenting several weekly radio shows, one of which is syndicated worldwide. As a live performer, Gordon’s concerts appeal to a wider audience than just jazz lovers, however. He has created several crowd-pulling, and audience pleasing, concert themes, which have won five-star reviews. Line-ups for these range from a top flight trio to the superb BBC Big Band, the renowned Ronnie Scott's Jazz Orchestra and award-winning Back to Basie Orchestra. Along the way, many respected songwriters have praised Gordon’s interpretations of their songs, including the legendary Mike Stoller, the hugely successful Gilbert O’Sullivan, the co-composer of Sinatra’s “Watertown” masterpiece, Jake Holmes, as well as fêted composer, Stephen Sondheim. https://musicians.allaboutjazz.com/toddgordon

Ballads from the Midnight Hotel

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Ronnie Cuber - Live at Montmartre

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 53:34
Size: 123,8 MB
Art: Front

(4:48)  1. Tee's Bag
(5:03)  2. Bluesette
(5:05)  3. Cherokee
(8:48)  4. Just Friends
(7:10)  5. Au Privave
(7:15)  6. Silvers Serenade
(8:35)  7. Jazz Girls
(6:46)  8. Four

Of all the musical instruments invented by Adolphe Sax in the mid-19th century, the baritone saxophone remains the least played. Harry Carney persuaded Duke Ellington to use the heavy, cumbersome instrument and it became a distinctive part of the band's sound. Others who have played the baritone saxophone include Cecil Payne, Pepper Adams, Serge Chaloff and for reasons that remain obscure Lisa Simpson (perhaps she welcomed the challenge). Gerry Mulligan and the Swede Lars Gullin gave the instrument a distinctive, laid-back, specifically modern sound. All of which brings us to Ronnie Cuber, who uses the baritone sax as a forceful, hard bop instrument, creating a very distinctive sound all his own, as can be heard in this 2017 live recording from Jazzhus Montmartre in Copenhagen. Risks were taken. Well into the set, Cuber asked organist Kjell Lauritsen, "Can you play Cherokee?" When Lauritsen replied, "Yeah, not too fast," Cuber responded, "It's gonna be fast." Lauritsen says, "I don't know how anyone can play this instrument the baritone sax in that tempo. But with Ronnie everything falls into place. His playing sets every tempo, every mood right in place for all in the band."  Ray Noble's "Cherokee" is third up, following an original, "Tee's Bag," then Toots Thielemans' gentle ballad "Bluesette." Next comes "Just Friends" by John Klenner, from 1931 and Charlie Parker's "Au Privave," penned two decades later. Despite the fact that it's one of Parker's more enduring compositions, no one has ever been able to figure out what it means. Lauritsen is particularly good on this one and there's some fine drumming by Andreas Svendsen. Guitarist Krister Jonsson produces a good solo on Horace Silver's "Silver's Serenade" and an even better one on Lauritsen's "Jazz Girls," which otherwise sees Cuber at his straight ahead best. Then everything comes to a fine conclusion with "Four," by Miles Davis (though authorship has been contested by saxophonist Eddie "Cleanhead" Vinson and it also sounds remarkably like the Barton Lane showstopper "How About You?" from 1941). ~ Chris Mosey https://www.allaboutjazz.com/live-at-montmartre-ronnie-cuber-storyville-records-review-by-chris-mosey.php

Personnel: Ronnie Cuber: baritone saxophone; Kjeld Lauritsen: Hammond organ; Krister Jonsson: guitar; Andreas Svendsen: drums.

Live at Montmartre

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Bob Scobey's Frisco Band - Swingin' On The Golden Gate

Styles: Trumpet Jazz, Swing
Year: 1899
File: MP3@320K/s
Time: 38:31
Size: 89,3 MB
Art: Front

(2:48)  1. Sunny Disposish
(3:11)  2. Carolina In The Morning
(3:48)  3. Feet Draggin' Blues
(2:22)  4. It Happened In Sun valley
(4:07)  5. I Can't Get Started With You
(3:19)  6. Come Back Sweet Papa
(2:48)  7. Wabash Cannonball
(2:48)  8. New Orleans
(3:15)  9. Ain't-Cha Glad?
(3:19) 10. Let's Dance The Ragtime, Darlin'
(4:24) 11. Snag It
(2:18) 12. Waiting For The Robert E. Lee

Trumpeter Bob Scobey used an expanded version of his Frisco Jazz Band for this fine effort, last available as a now out-of-print LP. Matty Matlock's arrangements for the six horns (including three trombones), four-piece rhythm section and banjoist Clancy Hayes (who takes five vocals) are colorful and swinging. Some of the song choices are a bit off the wall (including "It Happened In Sun Valley," "Wabash Cannonball" and the recent "Let's Dance The Ragtime Darlin'"), but this brand of Dixieland avoids corn in favor of sincere swinging. In addition to Scobey (who is in fine form), the supporting cast has such strong players as trumpeter Dick Cathcart, clarinetist Matlock and pianist Ralph Sutton. ~ Scott Yanow https://www.allmusic.com/album/swingin-on-the-golden-gate-mw0000896219

Personnel: Bob Scobey - leader, trumpet; Clancy Hayes - banjo, guitar, vocals; Matty Matlock - clarinet, arranger; Abe Lincoln - trombone; Warren Smith - trombone; Jack Buck - trombone; Ralph Sutton - piano; Bob Short - tuba; Sammy Goldstein - drums.

Swingin' On The Golden Gate

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Calabria Foti - In The Still Of The Night

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 49:09
Size: 115,0 MB
Art: Front

(4:07)  1. Just one of those things
(3:40)  2. Miss Otis regrets
(4:09)  3. Anything goes
(5:14)  4. What is this thing called love
(4:35)  5. Night and day
(5:22)  6. I concentrate on you
(4:43)  7. Ev'ry time we say goodbye
(3:18)  8. Get out of town
(4:14)  9. It's alright with me
(5:41) 10. So in love
(4:01) 11. In the still of the night

With In the Still of the Night, vocalist Calabria Foti joins the ranks of Ella Fitzgerald, Frank Sinatra, Oscar Peterson, and many others -vocalists and instrumentalists who have dived deeply into the Cole Porter canon. It takes a very special talent to deftly probe the poetic and pithy romantic lingo that the Classic material offers. So, while that ocean is Trench deep, how is one to pluck new musical perspectives and give old ones a novel patina? Foti, along with a cadre of musicians of same mind, does so and strikes it rich here. Launching into things with a marvelous Latin-tinged send-up of "Just One of Those Things," we get the immediate idea that this run-through of Porter's material 11 of his greatest from Broadway and Hollywood -is going to be a fine and unique ride. Whether it is a "fabluelous" send up of "Miss Otis Regrets" or any of the rest, the selections here are delivered with an elegantly restrained texture that's spearheaded by Foti's marvelously versatile and in-command chops.  While Foti's voice is pitch-perfect and liquid gold, the keen thing about her effort stylistically is her extraordinary rhythmic and dynamic sense and the manner in which she plays with the beat ("Anything Goes," "Night and Day"). A careful listen yields an almost Chet Baker-esque approach to time. Key words in each lyric line are subtlely emphasized and de-emphasized with an instrumentalist's flair ("What is This Thing Called Love," "Every Time We Say Goodbye" with neat cello quotes of "Goodbye" and "My One and Only Love" -and "Get Out of Town"). There's no saccharine served at this table. That's no surprise, since Foti is a heralded violinist, as well as a premier chanteuse. Ever get that sense you're experiencing a memorable musical candlelight dinner conversation? You will here. ("I Concentrate on You," "In the Still of the Night"). It's luscious stuff. The ensemble on the session all crème and superb throughout includes producer/arranger pianist Michael Patterson (an outstanding job), guitarist Gene Bertoncini, bassist Ike Sturm, cellist Richard Locker, and drummer Jared Schonig. Cameos across the date by clarinetist Eddie Daniels and trombonist Bob McChesney add savory fill material always in perfect synch with what's going on. There's no stepping on heels in this dance. In the Still of the Night is certainly a fine addition to those aforementioned classic Songbook albums of the Greats and one that entices and enthralls with sublime taste. It is indeed the genuine turtle soup. ~ Nicholas F.Mondello https://www.allaboutjazz.com/in-the-still-of-the-night-calabria-foti-moco-records-review-by-nicholas-f-mondello.php

Personnel: Calabria Foti: vocals; Michael Patterson: piano; Eddie Daniels: clarinet; Gene Bertoncini: guitar; Richard Locker: cello; Bob McChesney: trombone; Ike Sturm: bass; Jared Schonig: drums. 

In The Still Of The Night

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Bruce Barth Quintet - In Focus

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 62:10
Size: 143,4 MB
Art: Front

(8:04)  1. I Hear Music
(5:45)  2. Escapade By Night
(7:53)  3. Nefer Bond
(5:17)  4. I Got It Bad
(6:27)  5. In Search Of
(5:32)  6. Pinocchio
(5:33)  7. Louise
(5:25)  8. Persistence
(7:05)  9. Wildflower
(5:05) 10. Secret Name

Bruce Barth's recording debut as a leader was an auspicious one, though it probably wasn't as widely distributed as it might have been by a U.S. label. Accompanied by a number of other talented young players (Steve Wilson on alto and soprano sax, trumpeter Scott Wendholdt, bassist Robert Hurst, and drummer Lewis Nash), the pianist works magic with time-tested standards such as his adventurous post-bop treatment of "I Hear Music" and a rhapsodic solo interpretation of Duke Ellington's "I Got It Bad (And That Ain't Good)." His trio arrangement of Wayne Shorter's "Pinocchio" is suspenseful yet full of energy, while another Shorter composition, "Wildflower," shows just a hint of McCoy Tyner's influence on his playing. Barth's original works are also worth investigating, especially the sauntering "Nefer Bond" (named for his cat) and the tender ballad "Louise," which features an intriguing blend of Wilson's soprano sax and Wendholt's trumpet. The overall strength of this initial recording as a leader by Bruce Barth make it worth the search. ~ Ken Dryden https://www.allmusic.com/album/in-focus-mw0000621670

Personnel: Bruce Barth - piano, composer;  Steve Wilson - alto saxophone, soprano saxophone; Scott Wendholt - trumpet; Robert Hurst - bass; Lewis Nash - drums

In Focus

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The Mike Nock Underground - Between Or Beyond

Styles: Piano Jazz
Year: 1971/2015
File: MP3@320K/s
Time: 38:47
Size: 89,9 MB
Art: Front

(5:12)  1. Between Or Beyond
(5:28)  2. The Squire
(3:22)  3. Hobgoblin
(4:51)  4. Outfall
(6:48)  5. Denim Dance
(4:58)  6. Lady Love
(4:00)  7. Wax Planet
(4:04)  8. Space Bugaloo

The Fourth Way (with keyboardist Mike Nock, violinist Michael White and drummer Eddie Marshall) was an early fusion quartet that released three fine albums between 1969-71, none of which has been reissued on CD. Between Or Beyond was an album released in 1970 by the German MPS label and credited to the Mike Nock Underground, basically the Fourth Way minus White. Given its time and place (recorded in Germany in June of 1970), sonically, it's very much of its time. But it's a corker of an album that is the equal to any of the Fourth Way discs as well as a lot of other better-known electric jazz experiments of the time. McClure plays electric bass and it's mixed to the foreground so it functions as much as a frontline instrument as in the rhythm section. While some of this disc dwells in the area of adventurous acoustic piano trio jazz ("Hobgoblin" and McClure's "Denim Dance"), most of it is electric piano based jazz/rock. Nock sounds like he's having a lot of fun making his piano do a lot of things the old acoustic couldn't do. A point of reference might be Canterbury bands' forays into jazz improv. Nock's disc is a good demonstration that before it devolved into formulaic demonstrations of soulless technique, some highly enjoyable recordings were released under the fusion banner. Good to see this one back in print, although it may be hard to come by since it's a Japanese reissue. ~ Robert Iannapollo https://www.allaboutjazz.com/ron-mcclure-wonderland-always-and-between-or-beyond-by-robert-iannapollo.php

Personnel: Mike Nock - piano, electric piano;  Ron McClure - bass; Eddie Marshall - drums.

Between Or Beyond

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