Dave Liebman, Richard Beirach - Balladscapes

Styles: Saxophone And Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 74:20
Size: 171,3 MB
Art: Front

(4:31)  1. Siciliana
(3:21)  2. For All We Know
(6:32)  3. This Is New
(4:33)  4. Quest
(6:29)  5. Master of the Obvious
(5:52)  6. Zingaro
(4:37)  7. Sweet Pea
(4:46)  8. Kurtland
(6:08)  9. Moonlight in Vermont
(4:12) 10. Lazy Afternoon
(8:47) 11. Welcome / Expression
(9:09) 12. Dl
(5:16) 13. Day Dream

If there is an artistic partnership that deserves to be called "historical," it is the one between Dave Liebman and Richie Beirach : the first encounter between the two who are almost the same age, the sopranist having only one more year than the pianist - happens indeed almost fifty years ago, when the two were still students, and they were together in 1973 for First Visit , the first work on behalf of Liebman. Since then the collaboration has never stopped: together in the Quartet Quest, with Billy Hart and Ron McClure , they have recorded numerous duo works (the last, Unspoken, is from 2013) and have worked together in many different formations. It is therefore based on their highly developed agreement and their common sensibility that this CD is based, which is atypically focused above all on ballads above all . As evidence of the openness and ellipticity of the two, however, the first of these thirteen ballads is none other than a passage by Johan Sebastian Bach, the "Sicilian" from the Sonata for piano and flute in E-flat Major BWV 1031, which Liebman reinterprets to his way to the soprano sax. Then followed by well-known pieces such as the following "For All We Know" and "Zingaro" by Antonio Carlos Jobim one of the highest moments of the work, for the originality and delicacy of the, as in the case of the Shorteriana "Sweet Pea" or of the medley coltraneana "Welcome / Expression," interspersed with original compositions, even if not previously unpublished, of the two protagonists. The figure is that of a very tidy and linear chamber classicism, enriched, however, besides the understanding of the musicians, by the very great interpretative skills of the two. In particular, Beirach appears to be extremely sensitive in measuring time and pauses, so as to create intimate, never dense atmospheres, while Liebman shows off to his soprano his proverbial expressive complexity that makes him one of the greatest living interpreters (and not only), a gift that he also replicates in the reduced occasions in which he takes up the tenor and the flute (in particular, precisely in "Zingaro"). A disc masterfully performed by two Masters, a synthesis of the artistic work they have been leading for a lifetime. ~ Neri Pollastri https://www.allaboutjazz.com/balladscapes-dave-liebman-intuition-review-by-neri-pollastri.php

Personnel: Dave Liebman: sax (soprano, tenore), flauto; Richie Beirach: pianoforte.

Balladscapes

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Dorothy Dandridge - 15 Famous Songs

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 44:53
Size: 105,1 MB
Art: Front

(2:25)  1. It's Easy To Remember
(3:12)  2. What Is There To Say
(3:08)  3. That Old Feeling
(3:01)  4. The Touch Of Your Lips
(3:36)  5. Chattanooga Choo Choo
(3:20)  6. The Nearness Of You
(4:05)  7. I'm Glad There Is You
(1:51)  8. I've Grown Accustomed To Your Face
(3:40)  9. Body And Soul
(3:33) 10. How Long Has This Been Going On
(2:32) 11. I've Got A Crush On You
(2:41) 12. I Didn't Know What Time It Was
(2:11) 13. Taking a chance on love
(4:22) 14. My heart belongs to Daddy
(1:09) 15. Whatcha say

Actress/singer Dorothy Dandridge was Hollywood's first African-American superstar, becoming the first black performer ever nominated for a Best Actress Oscar. Born November 9, 1922, in Cleveland, she was the daughter of actress Ruby Dandridge, and with sister Vivian teamed in the song-and-dance duo the Wonder Children. The family relocated to Los Angeles during the mid-'30s, and in 1937 Dandridge briefly made her film debut in the Marx Brothers classic A Day at the Races. Meanwhile, she continued her singing career, and with Vivian performed as the Dandridge Sisters, sharing stages with the likes of Jimmie Lunceford and Cab Calloway as well as recording with Louis Armstrong. During the early '40s, Dandridge appeared in a series of musical film shorts, and as the decade progressed she became a sensation on the nightclub circuit. Her mainstream breakthrough was the title role in Otto Preminger's 1954 screen musical Carmen Jones, a performance which earned her an Academy Award nomination and made her a star; nevertheless, she did not reappear onscreen until 1957's Island in the Sun, and despite winning a Golden Globe for her work in 1959's Porgy and Bess, she was offered virtually no future film roles, returning to nightclubs by the early '60s. Plagued by years of personal hardships as well as professional hurdles, Dandridge was found dead of an overdose of anti-depressants on September 8, 1965. Three decades later, her career enjoyed a kind of renaissance with an acclaimed 1997 biography by film historian Donald Bogle in addition to Introducing Dorothy Dandridge, a 1999 HBO film starring Halle Berry. Smooth Operator, a long-unreleased recording date from 1958 featuring the Oscar Peterson trio, was finally issued in 1999 as well. ~ Jason Ankeny https://www.allmusic.com/artist/dorothy-dandridge-mn0000190742/biography

15 Famous Songs

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Glenn Zottola - Reflections Of Charlie Parker

Styles: Saxophone Jazz 
Year: 2016
File: MP3@320K/s
Time: 34:26
Size: 79,9 MB
Art: Front

(3:41)  1. Moonlight In Vermont
(3:01)  2. Oh, Lady Be Good!
(3:18)  3. It Might As Well Be Spring
(4:08)  4. In The Wee Small Hours of The Mourning
(3:22)  5. What Is This Thing Called Love'
(4:05)  6. I'm In The Mood For Love
(3:11)  7. Embraceable You
(4:30)  8. Smoke Gets In Your Eyes
(2:25)  9. I May Be Wrong (But I Think You're Wonderful!)
(2:41) 10. Three Little Words

Moonlight In Vermont"" is the opening song of this album and is one of my favorites and has that classic 50s string feel of the era. The small group track which is next is ""lady be good"" and what a ball playing with this Rhythm section that included really tasteful pianist Don Abney along with jazz legends Oscar Pettiford and Kenny Clarke real stars from the Golden Age of Jazz who played extensively with Charlie Parker. The last track ""I'm in the mood for Love"" is a beautiful arrangement slightly more contemporary that i am sure Charlie Parker would of loved to blow on as i did."" ~ Glenn Zotolla ..Editorial Reviews https://www.amazon.com/Tribute-Charlie-Parker-Glenn-Zottola/dp/B00IJ041UI

Tribute To Charlie Parker

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Lem Winchester, Benny Golson - Winchester Special

Styles: Vibraphone And Saxophone Jazz 
Year: 1991
File: MP3@320K/s
Time: 39:28
Size: 91,2 MB
Art: Front

(10:02)  1. Down Fuzz
( 4:01)  2. If I Were A Bell
( 7:00)  3. Will You Still Be Mine
( 7:31)  4. Mysticism
( 4:11)  5. How Are Things In Glocca Morra
( 6:42)  6. The Dude

This excellent CD reissue features the ill-fated vibraphonist Lem Winchester teamed up with tenor saxophonist Benny Golson, pianist Tommy Flanagan, bassist Wendell Marshall and drummer Art Taylor for three standards, an obscurity and two of the leader's originals. The music falls between bop and hard bop with consistently swinging solos that are generally fairly inventive. This was one of Winchester's three recordings for the New Jazz label; all are easily recommended to straightahead jazz fans. ~ Scott Yanow https://www.allmusic.com/album/winchester-special-mw0000271817

Personnel: Vibraphone – Lem Winchester; Tenor Saxophone – Benny Golson;  Bass – Wendell Marshall; Drums – Arthur Taylor; Piano – Tommy Flanagan

Winchester Special

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George Shearing With Brass Choir - Burnished Brass

Styles: Piano Jazz 
Year: 1958
File: MP3@320K/s
Time: 33:59
Size: 80,6 MB
Art: Front

(3:07)  1. Memories Of You
(2:15)  2. Lulu's Back In Town
(2:48)  3. If You Were Mine
(3:04)  4. Burnished Brass
(2:27)  5. These Things You Left Me
(2:49)  6. Mine
(2:26)  7. Beautiful Love
(2:41)  8. Cuckoo In The Clock
(3:44)  9. Sometimes I Feel Like A Motherless Child
(2:44) 10. Cheek To Cheek
(3:12) 11. Blame It On My Youth
(2:38) 12. Basie's Masement

For a long stretch of time in the 1950s and early '60s, George Shearing had one of the most popular jazz combos on the planet so much so that, in the usual jazz tradition of distrusting popular success, he tended to be underappreciated. Shearing's main claim to fame was the invention of a unique quintet sound, derived from a combination of piano, vibraphone, electric guitar, bass, and drums. Within this context, Shearing would play in a style he called "locked hands," which he picked up and refined from Milt Buckner's early-'40s work with the Lionel Hampton band, as well as Glenn Miller's sax section and the King Cole Trio. Stating the melody on the piano with closely knit, harmonized block chords, with the vibes and guitar tripling the melody in unison, Shearing sold tons of records for MGM and Capitol in his heyday. The wild success of this urbane sound obscures Shearing's other great contribution during this time, for he was also a pioneer of exciting, small-combo Afro-Cuban jazz in the '50s. Indeed, Cal Tjader first caught the Latin jazz bug while playing with Shearing, and the English bandleader also employed such esteemed congueros as Mongo Santamaria, Willie Bobo, and Armando Peraza. As a composer, Shearing was best known for the imperishable, uniquely constructed bop standard "Lullaby of Birdland," as well as "Conception" and "Consternation." His solo style, though all his own, reflected the influences of the great boogie-woogie pianists and classical players, as well as those of Fats Waller, Earl Hines, Teddy Wilson, Erroll Garner, Art Tatum, and Bud Powell and fellow pianists long admired his light, refined touch. He was also known to play accordion and sing in a modest voice on occasion. 

Shearing, who was born blind, began playing the piano at the age of three, receiving some music training at the Linden Lodge School for the Blind in London as a teenager but picking up the jazz influence from Teddy Wilson and Fats Waller 78s. In the late '30s, he started playing professionally with the Ambrose dance band and made his first recordings in 1937 under the aegis of fellow Brit Leonard Feather. He became a star in Britain, performing for the BBC, playing a key role in the self-exiled Stéphane Grappelli's London-based groups of the early '40s, and winning seven consecutive Melody Maker polls before emigrating in New York City in 1947 at the prompting of Feather. Once there, Shearing quickly absorbed bebop into his bloodstream, replacing Garner in the Oscar Pettiford Trio and leading a quartet in tandem with Buddy DeFranco. In 1949, he formed the first and most famous of his quintets, which included Marjorie Hyams on vibes (thus striking an important blow for emerging female jazz instrumentalists), Chuck Wayne on guitar, John Levy on bass, and Denzil Best on drums. Recording briefly first for Discovery, then Savoy, Shearing settled into lucrative associations with MGM (1950-1955) and Capitol (1955-1969), the latter for which he made albums with Nancy Wilson, Peggy Lee, and Nat King Cole. He also made a lone album for Jazzland with the Montgomery Brothers (including Wes Montgomery) in 1961, and began playing concert dates with symphony orchestras. After leaving Capitol, Shearing began to phase out his by-then-predictable quintet, finally breaking it up in 1978. He started his own label, Sheba, which lasted for a few years into the early '70s -- and made some trio recordings for MPS later in the decade. In the '70s, his profile had been lowered considerably, but upon signing with Concord in 1979, Shearing found himself enjoying a renaissance in all kinds of situations. He made a number of acclaimed albums with Mel Tormé, raising the singer's profile in the process, and recorded with the likes of Ernestine Anderson, Jim Hall, Marian McPartland, Hank Jones, and classical French horn player Barry Tuckwell. He also recorded a number of solo piano albums where his full palette of influences came into play. He signed with Telarc in 1992 and from that point through the early 2000s continued to perform and record, most often appearing in a duo or trio setting. Shearing, who had remained largely inactive since 2004 after a fall in his New York City apartment, died of congestive heart failure at New York's Lenox Hill Hospital on February 14, 2011. He was 91. ~ Richard S.Ginell https://www.allmusic.com/artist/george-shearing-mn0000642664/biography

Burnished Brass

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Claude Bolling - A Tone Parallel to Harlem (Tribute to Duke Ellington)

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 73:58
Size: 172,8 MB
Art: Front

(14:15)  1. Harlem
( 3:55)  2. Ring dem bells
( 3:25)  3. Things ain't that they use to be
( 3:45)  4. Creole love call
( 3:32)  5. Drop me off in Harlem
( 3:47)  6. It don't mean a thing
( 3:38)  7. Just squeeze me
( 4:16)  8. Caravan
( 3:34)  9. Harlem air shaft
( 4:39) 10. Moon mist
( 5:47) 11. Jungle traps
( 4:35) 12. Duke on my mind
( 2:50) 13. Lot of fingers
( 3:20) 14. Magenta haze
( 8:32) 15. Diminuendo in blue

This album dedicated to Duke Ellington includes recordings from 1999, two unpublished from a Big Band concert at the Maison de Radio France in February 1991, covers of previous albums (First Class, Warm Up the Band, etc., allowing thus to hear Stéphane Grappelli, Fernand Verstraete and Gérard Badini) and three solo pianos; a sort of anthology salute by Claude Bolling to the talent of the maestro illustrated by various pieces: the pianist fed by the Harlem Straight piano school, the creator of the jungle style marked by the Harlem renaissance, the master of the big band of the Classic era born in the Cotton Club, finally the powerful and fruitful composer of the post-war period (...). We can only rejoice that this repertoire is taken up by orchestras like the one directed by Claude Bolling or by Wynton Marsalis who are committed to perpetuate in their logic of interpretation (the version of Claude Bolling is in more than one remarkable title ) the work of Duke Ellington, emblematic pianist, mythical conductor and composer of genius, musician undoubtedly the most original of the American civilization.  ~  Felix Sportis - Hot Jazz

One becomes a fanatic Ellington collector because it is such a thrill to listen to alternate takes. The lesser-known alternates clips into the groove which the very familiar original has made in one's soul, and the differences make it sound "fresh". Strongly recommended ". Sjef Hoefsmit, Duke Ellington Music Society

"With this magnificent tribute to Duke Ellington, Claude Bolling has seemingly achieved the impossible; a powerful, blow-by-blow commentary on the substance of the Ducal achievements. The warmth is present, as is that relaxed, unmistakeable swing, and also the solo contributions of the Bolling entourage as so close to the classic creations of the original men (...). Yes, this is surely a memorable issue, never lets up for one moment on the responsibility for recreating, with such exactness, the sounds of the incomparable Duke and his unique company of performers. A distinctly superior act of homage all round ...~ Ken Rattenbuty, Crescendo & Jazz Music Translate By Google https://www.fremeaux.com/index.php?page=shop.product_details&category_id=64&flypage=shop.flypage&product_id=1016&option=com_virtuemart

A Tone Parallel to Harlem (Tribute to Duke Ellington)

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The Chordettes - We Three

Styles: Vocal 
Year: 2012
File: MP3@320K/s
Time: 35:29
Size: 82,6 MB
Art: Front

(2:27)  1. We Three
(2:04)  2. San
(2:11)  3. Makin' Love Ukelele Style
(1:24)  4. Oh Baby Mine (I Get So Lonely)
(2:03)  5. A Good Man Is Hard to Find
(2:30)  6. The Wedding
(2:18)  7. Hummingbird
(2:27)  8. Lonely Lips
(2:25)  9. Mr Sandman
(2:47) 10. Alice Blue Gown
(2:28) 11. Moonlight On the Ganges
(1:41) 12. Down Among the Sheltering Palms
(2:28) 13. For Me and My Girl
(2:25) 14. The Sweetheart of Sigma Chi
(1:58) 15. Floatin' Down to Cotton Town
(1:45) 16. Hello! Ma Baby

The Chordettes were one of the longest-lived vocal groups with roots in the mainstream pop and vocal harmonies of the 1940s and early '50s. Although the four women's arrangements owed more to the Andrews Sisters than doo wop, they did, unlike many of their peers, prove fairly adaptable to the rock era. First establishing themselves with the huge (and non-rock) pop hit "Mr. Sandman" in 1954, they continued to chart in the last half of the '50s and the early '60s, often with covers of rock and R&B songs. The 1958 number two hit "Lollipop" was the biggest of these. Although the group's sound (at least in retrospect) fell among the Whitest and squarest of rock artists, they introduced enough rock into their repertoire and production to sound more contemporary than they had on songs such as "Mr. Sandman."  Jinny Osborn was exposed to harmony singing via her father, who was president of "The Society for the Preservation and Encouragement of Barbershop Quartet Singing in America Inc." She formed the quartet with three college friends, and they became regulars on Arthur Godfrey's television show for four years in 1949, singing a cappella in the barbershop style, and recording for Columbia. Godfrey's musical director, Archie Bleyer, married the Chordettes' bass singer, Janet Ertel, around the same time he began his record label, Cadence. On Cadence, the group began to record with musical backing, though the barbershop elements are still well to the fore on "Mr. Sandman." Originally a B-side for Vaughn Monroe, the bouncy, somewhat novelty-oriented tune (complete with a deep-voiced "Yes?" from a voice representing "Mr. Sandman" at one point) made number one for seven weeks. 

The Chordettes were among the White pop acts that covered rock and R&B songs in the mid-'50s for the pop market, as early rock & roll began its successful threat to take over the mainstream audience. In so doing, they managed to split sales with the Teen Queens on the early doo wop classic "Eddie My Love," which made the Top 20 in versions by both groups. They also covered a song by Ronald & Ruby, "Lollipop," in their characteristic full-round-like arrangement, complete with popping sounds. This was their best rock, or at least rock-ish, tune, though they had continued to record straight pop songs, too, and had substantial hits with singles like "Born to Be with You" and "Just Between You and Me." In the late '50s and early '60s, the Chordettes continued to alternate between pop songs and ones with an eye on the rock market, including covers of the Coasters' "Charlie Brown," Paul Anka's "Lonely Boy," and Dodie Stevens' "Pink Shoelaces." They even did some recordings with King Curtis on sax. After "Lollipop" there were a few more hits: "Zorro," "No Other Arms, No Other Lips," and "Never on Sunday." They disbanded shortly after "Never on Sunday" made the Top 20 in 1961, however, when Jinny Osborn left and the group couldn't find a replacement with whom they were happy. ~ Richie Unterberger https://www.allmusic.com/artist/the-chordettes-mn0000763551/biography

We Three

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The Django Manouche Festival AllStars - Attitude Manouche

Styles: Gypsy Jazz
Year: 2018
File: MP3@320K/s
Time: 54:23
Size: 126,7 MB
Art: Front

(3:10)  1. Attitude Manouche
(5:55)  2. Troublant Romeo
(3:39)  3. Late Train
(7:41)  4. Lovely Wife
(4:57)  5. Laugh With Charlie
(5:40)  6. Balkanic Dance
(6:35)  7. Around Toots
(5:32)  8. Nocturne
(4:25)  9. Main Theme From Schindler's List
(2:51) 10. Tsigane Fantasy
(3:53) 11. Bonus Track: Viens Chez Django

It is a little known fact that Django Reinhardt was not only an incredible guitarist, he was also extremely good at stealing chickens. For the manouche clan of gypsies to which he belonged, this was a noble skill. He was saved from life as a chicken thief only when given a banjo-guitar at age 12. He became obsessed with the instrument, learning by mimicking the fingerings of established musicians, such as his uncle Guiligou. By the time he was 15 he was earning a living playing it and his chicken-stealing days were over. British bandleader Jack Hylton offered Reinhardt a job but before he could start, the caravan in which he lived caught fire. Reinhardt's left hand was badly burned and doctors discussed amputating one of his legs. A horrified Reinhardt refused surgery and discharged himself from hospital. Within a year he could walk with the aid of a stick and had developed techniques for playing guitar with his crippled hand. Having regained his fluency, he teamed up with violinist Stéphane Grapelli and in 1934 the duo formed the basis of the legendary Quintet Of The Hot Club of France, creating what is now known as manouche jazz, which is played mainly on stringed instruments. 

Today manouche is played all over the world mostly by devoted fans intent on the faithful reproduction of numbers from Reinhardt's repertoire. The All-Stars of the Django Festival at Birdland, in New York City, dare to be different, not content to merely regurgitate songs such as "Minor Swing" and "Sweet Sue, Just You." All the numbers here are originals save one and that is the less-than-familiar theme from the movie "Schindler's List." The music the All Stars play is fast and mostly light-hearted, though by no means easy. Lead guitarist Samson Schmitt, plays a Maccaferri guitar, like the one favoured by Reinhardt. Violinist Pierre Blanchard takes the role played by Stéphane Grapelli. The title number, "Attitude Manouche," written by Schmitt, is reminiscent in places of "Them There Eyes," a number Reinhardt recorded in 1938. It moves along at a fair clip, with some fine fiddling by Blanchard. Blanchard's ballad "Troublant Romeo," features an excellent solo from Schmitt then gets a little lost melodically before its author brings it all back together for the finale. "Late Train," by Ludovic Beier, is the stand-out track, with excellent solos from all concerned. Schmitt's "Lovely Wife" is a dreamy, romantic ballad, which -just as you expect it to wind down -is revived with a tasteful, understated solo from its creator. By now, Django is long ago and far away and the proceedings are verging on present day schmaltz. The quirky, light-hearted "Laugh With Charlie" puts things back on track before Blanchard's rhapsodic "Balkanic Dance" again threatens derailment. The closer, "Viens Chez Django" features an unsuccessful vocal by its author, Philippe Cuillerier, that is not helped by his own infantile lyric a shame it was included. Apart from this, there is much devoted manouche fans will find appealing. Non-devotees may be put off by the strings-only formula and Blanchard's rhapsodic fiddle playing. ~ Chris Mosey https://www.allaboutjazz.com/attitude-manouche-the-django-festival-all-stars-resilience-music-alliance-review-by-chris-mosey.php

Personnel: Samson Schmitt: lead guitar; Pierre Blanchard: violin; Ludovic Beier: accordion; Philippe Cuillerier: rhythm guitar, vocal; Antonio Licusati: bass.

Attitude Manouche

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Benedikt Jahnel Trio - The Invariant

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 45:29
Size: 106,3 MB
Art: Front

(5:49)  1. Further Consequences
(5:10)  2. The Circuit
(9:31)  3. Mirrors
(3:48)  4. Mono Lake
(6:44)  5. Part Of The Game
(5:39)  6. For The Encore
(3:55)  7. Interpolation One
(4:50)  8. En passant

Sometimes there's no substitute for experience, as demonstrated by this trio as it celebrates its tenth anniversary as a working unit. Last heard on Equilibrium (ECM, 2012), it's an international group that met through a series of lucky coincidences: Berlin-based pianist/composer Benedikt Jahnel is joined by Spanish bassist Antonio Miguel and Canadian drummer Owen Howard. Jahnel has also appeared on ECM as a member of Cyminology, a jazz group with culturally and ethnically diverse influences which primarily performs with Persian lyrics sung by Cymin Samawatie. Opener "Further Consequences" starts things off in odd-metered, yet swinging fashion. "The Circuit" continues that feeling, with Howard again using brushes; the tune ends somewhat unconventionally, on a lyrical bass solo from Miguel. "Mirrors" is the longest track on the program. It features a long, monumental sounding theme that unwinds slowly. There is a striking breakdown section featuring an unaccompanied bass solo (with piano and drum commentary), before returning to the grand theme. It's a striking piece, full of both structure and a sense of freedom in the playing. "Part Of The Game" finds its energy in an insistent ostinato rhythm, initially set up by Howard's drums, which have an especially prominent role through the entire piece. 

While certainly not just a drum feature, it does put a special focus on rhythm. The energy never lets up, but the group finds plenty of variety in the development. "For The Encore" is perversely not placed at the end of the program but it has a deliberate calm that would work very well for a quiet encore after an energetic set. "Interpolation One" is built upon a slow ostinato, from which the thematic material emerges. The encore feeling is revisited in the ballad "En Passant" (named for a chess move) that ends the album. Among the many ECM piano trios Jahnel's trio leans more toward the compositional side of the composition/improvisation spectrum. But it's still very much a jazz band, with all of the players making a significant contribution to the sound. ~ Mark Sullivan https://www.allaboutjazz.com/the-invariant-benedikt-jahnel-ecm-records-review-by-mark-sullivan.php

Personnel: Benedikt Jahnel: piano; Antonio Miguel: bass; Owen Howard: drums.

The Invariant

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Sebastian Sternal - Canada

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 44:11
Size: 101,9 MB
Art: Front

(3:12)  1. Canada
(4:23)  2. Calgary
(4:44)  3. Hologram
(5:14)  4. Lullaby
(4:04)  5. Into the Wild
(5:32)  6. For Jan
(3:01)  7. Prayer
(6:41)  8. Mississippi
(3:22)  9. Hunting
(3:54) 10. A Case of You

What a pleasure it is to see another outcome coming from those two well known to me musicians ,long time friends and collaborators. Both of them are also most fresh and well recognised personalties on the German music scene. This set up however is much different that any other before. First of all it is the 1st duo session those two recorded together. Secondly also conceptually,  in regard to the fact it was registered in Canada, some touch of melancholy had been in-printed into this project. Set contains 10 tracks, eight of which are artists’ originals and remaining two are tributes to artists they both admire and cover music written by them First is Kenny Wheeler (For Jan). Furthermore Joni Mitchel (A case of You). Worm and melancholic trumpeter’s tone shows long time admiration for his master and these inspirations remain present in his music today. Joni, equally demands similar attention from anyone who values highly poetic virtues in her songs lyrics. In fact it all took place just a jump from where she was born and grown. In addition both artists learnt making a trip there, that she remains completely unknown and forgotten. That experience significantly added ingredients to the touch of an isolation that this music possess. Strike of the nature’s vastness in its unrestricted glory makes a main motive of this sensual dialogue. Cover picture equally speaks for itself. 

One can imagine the feeling of an open space. The scale of the mountains around. And the quietness which surrounds you once you leave our noisy civilisation with its constant urban traffic. Even the way that music sounds in an open air and fades undisturbed. That describes the best to me the level of concentration there. Even without pointing particular tunes. There is no rush. The notes are all well respected and there is a lot of silence and reverie. Tune like Calgary, which I remember from Sternal’s Symphonic Society I reviewed for you earlier this year have completely different feeling. I can sense the higher level of meditation in the conversation with trumpeter. There is no tension at all. Every single note comes so enforced that an overall balance of the piece appears completely different. They both communicate really close here and are listening to each other carefully. Sternal is exquisite accompanier, and he puts wonderful sonic carpentry under trumpeters invocations. On the other side the way Koster sounds here is mesmerizing too. He controls his expression beautifully and sounds fully and reach all the time, with the same blossom on the long notes as well as on the edgy blasts. Just listen to his trumpet on wonderful Lullaby to understand what I mean. Pieces like Into the Wild and Prayer have an incredible emotional density and inevitable fire-power I would say. I simply can not stop listening to them all over again. There must be some therapeutic properties spell into this music and it makes me immediately feeling great. http://jazzpress.gpoint-audio.com/2015/07/frederik-koster-sebastian-sternal-canada-realised-27th-november-2015-label-traumton/

Personnel:  Sebastian Sternal - piano; Frederik Köster - flugelhorn

Canada

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Chet Atkins, Les Paul - Chester & Lester

Styles: Guitar Jazz
Year: 1976
File: MP3@320K/s
Time: 50:03
Size: 116,1 MB
Art: Front

(3:30)  1. It's Been A Long, Long Time
(4:43) 2. Medley: Moonglow/Picnic (Theme from "Picnic")
(3:17)  3. Caravan
(3:32)  4. It Had To Be You
(3:12)  5. Out Of Nowhere
(6:31)  6. Avalon
(3:04)  7. Birth Of The Blues
(3:20)  8. Someday Sweetheart
(2:30)  9. Deed I Do
(2:41) 10. Lover Come Back To Me
(2:19) 11. The World Is Waiting for the Sunrise
(2:48) 12. You Brought A New Kind Of Love To Me
(3:15) 13. Caravan - alternate version
(5:16) 14. Medley: Moonglow/Picnic (Theme from "Picnic") - rehearsal version

After eight years away from the microphones, Les Paul joined forces with country music's Chet Atkins in a marvelously relaxed, tasty session of cross-cultural jamming. The sound of the backup band may be Nashville country, but the tunes, mostly drawn from Paul's repertoire, are jazz and pop standards ("Caravan," "It's Been a Long, Long Time," "Avalon," etc.). Both players improvise, duel and converse with the spontaneity of jazz always in the air and unlike almost all of Les' recordings since 1947, there is no overdubbing except on "Caravan" and "Lover, Come Back to Me." You won't have any problem telling Chester and Lester apart on these tracks; Les' bright, almost metallic sound and twirling, yet now more economical flurries are a world away from Chet's mellow fingerpicking, lightly tarted with echo. Yet the two styles play brilliantly off each other; one potent example occurs as Chet superimposes the theme from "Picnic" from his repertoire over Les' statement of "Moonglow." A lot of the between-takes session chatter is intentionally left in, with Les's hotfoot voice trading quips with Chet's Tennessee drawl. On "Avalon," heard in two consecutive takes at different speeds, the dialogue is particularly funny, as Atkins mockingly tries to browbeat his old idol. This album (now on CD) had the effect of putting Les Paul well on the road toward canonization by young rock guitarslingers who noticed his name on Gibson instruments. Richard S.Ginell https://www.allmusic.com/album/chester-lester-mw0000608766

Personnel: Chet Atkins – guitar; Les Paul – guitar; Randy Goodrum – piano; Larrie Londin – drums;  Ray Edenton – guitar; Henry Strzelecki – bass;  Bob Moore – bass

Chester & Lester

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Keri Johnsrud - This Side of Morning

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 48:31
Size: 111,6 MB
Art: Front

(4:23)  1. From Here
(4:45)  2. When Morning Dawns
(4:30)  3. If and When
(5:45)  4. Everything's Okay
(0:52)  5. Little Dream
(5:49)  6. Here I Am
(6:30)  7. A Thousand Tears
(4:06)  8. Your Way
(6:04)  9. Fly Away
(5:42) 10. The Chameleon

For her sophomore effort This Side Of Morning, vocalist Keri Johnsrud presents a collection of original material co-written with pianist Kevin Bales. Featuring a powerhouse band of Chicago musicians including guitarist Neal Alger, bassist Larry Kohut, drummer Jon Deitemyer, and vibraphonist Stephen Lynerd, Keri explores a range of emotions in what amounts to a book of poetry set to music. Much of the album evokes a sense of hope in times of loss. Keri describes difficult situations with a depth that recalls tenderness, without coming across as trite or campy. Many of the questions asked in the lyrics read rhetorical, as if the overall melancholy tone of the music provides enough of an answer.  The risk in combining elegies in narrative form with improvised music is that the two competing ideologies will create a final product that sounds forced and unnatural. Keri manages to keep things sounding organic by employing a diverse range of musical styles to accompany her through-composed lyrics. The grooves on "From Here" and "The Chameleon" provide welcome contrast to the free form solo sections featured in "A Thousand Tears" and "Fly Away." Keri's crystal clear voice and impeccable intonation allow her to project true sentiment through dense lyrical material on this gem of an album. ~ Ben Scholz https://www.allaboutjazz.com/this-side-of-morning-by-ben-scholz.php?width=1920

Personnel: Keri Johnsrud: Vocals; Kevin Bales: Piano; Neal Alger: Guitar; Larry Kohut: Bass; Jon Dietemyer; Drums

This Side of Morning

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Bill Allred's Classic Jazz Band - Versatility

Styles: Trombone Jazz, Big Band
Year: 1999
File: MP3@320K/s
Time: 72:51
Size: 169,0 MB
Art: Front

(3:14)  1. Tiger Rag
(2:24)  2. Fascinating Rhythm
(7:09)  3. The Beale St. Blues
(4:08)  4. I'm Shoutin' Again
(5:49)  5. On the Trail
(3:34)  6. Si Tu Vois Ma Mere
(4:30)  7. Dardenella
(4:50)  8. The Blues In The Night
(3:29)  9. King Porter Stomp
(5:06) 10. Cherokee
(3:45) 11. Basin Street Blues
(5:13) 12. Gin Mill Blues
(3:39) 13. In The Mood
(4:37) 14. Dark Town Strutters Ball
(4:01) 15. High Society
(2:37) 16. Milenburg Joys
(4:37) 17. Farewell Blues

Veteran trombonist Bill Allred has been leading his Classic Jazz Band for quite a while. Based in Florida, the group often appears at Dixieland and trad jazz festivals, performing a style that is basically swing with improvised ensembles à la Dixieland. This excellent CD has Allred and his son, fellow trombonist John Allred, featured in a five-horn octet along with trumpeters Charlie Bertini and Bob Pickwood, with Terry Myers on reeds. The spirited group romps through such songs as "Beale Street Blues," "On the Trail," "King Porter Stomp," "Cherokee," and "Milenberg Joys," with several of the songs utilizing Matty Matlock's arrangements of the 1950s. Fun music by an underrated band. ~ Scott Yanow https://www.allmusic.com/album/versatility-mw0000008526

Versatility

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Jeff Lorber - Kickin' It

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 43:34
Size: 100,8 MB
Art: Front

(4:17)  1. Snakebite
(3:54)  2. Ain't Nobody
(4:25)  3. Happy Endings
(3:58)  4. Chopsticks
(4:33)  5. Keep That Same Ol' Feelin'
(4:40)  6. Reflections
(4:52)  7. The Bijou
(4:08)  8. Kickin' It
(4:05)  9. The In Crowd
(4:37) 10. What It Is

Jeff Lorber's label debut on Samson Records is a typical jazz fusion effort that will sound familiar to fans of his band of the 1970s and '80s, the Jeff Lorber Fusion. Teaming with co-writer/producer/arranger Steve Dubin, Lorber constructs a series of upbeat rhythm tracks over which he plays melodically on either acoustic piano or Fender Rhodes electric. He is joined on nearly every track by a guest saxophonist and/or guitarist. Tenor saxophonist Gerald Albright sits in on "Snakebite," "Keep That Same Ol' Feelin'," and "Kickin' It" (with guitarist Stuart Wylen); soprano saxophonist Dave Koz on "Happy Endings" (with guitarist Michael Landau) and "The Bijou"; tenor saxophonist Steve Cole on "Chopsticks"; soprano saxophonist Gary Meek on "Reflections" (with Wylen) and "What It Is"; and tenor saxophonist Richard Elliot on "The 'In' Crowd." Lorber cedes considerable space to his guests, but he still finds room for his own improvisations. He also brings in a horn section on several cuts, notably "Keep That Same Ol' Feelin'," which sounds enough like a lost Steely Dan track that you keep expecting Donald Fagen to start singing on instead of Siedah Garrett, who intones the repeated lines "Keep on/Keep that same ol' feelin'." "Ain't Nobody" is the 1983 Rufus and Chaka Khan hit, here rendered with an appropriately funky feel, and "The 'In' Crowd" is, of course, the 1965 Ramsey Lewis Trio hit, a nod to an obvious predecessor of Lorber's. The keyboardist slows the pace for "Reflections," but most of these tracks are lively pieces with lots of interplay that is only ended when they fade out. ~ William Ruhlmann https://www.allmusic.com/album/kickin-it-mw0000115527

Personnel:  Jeff plays Yamaha DS6 piano, Fender Rhodes,other keyboards, synth bass, mute guitar; Alex Al – Bass; Dave Koz – Soprano, Alto sax on track 3 and 7; Gary Meek – Soprano, Tenor sax; Gerald Albright – Tenor sax on track 1, 5, 8 Jerry Hey – Trumpet, Flugelhorn, Horn arrangements; John “Little John” Roberts – Drums; Lenny Castro – Percussion; Richard Elliot – Tenor sax on track 9; Siedah Garrett – Vocals on track 5; Steve Cole – Tenor sax on track 4; Tony Maiden – Guitar; Wah Wah Watson – Guitar

Kickin' It

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Gene Harris - In A Special Way

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 40:33
Size: 94,0 MB
Art: Front

(6:35)  1. Theme For Relana
(3:58)  2. Rebop
(4:59)  3. Zulu
(4:31)  4. Always In My Mind
(4:48)  5. Love For Sale
(3:02)  6. It's Your Love
(2:30)  7. Soft Cycles
(3:44)  8. Five/Four
(6:21)  9. Naima

Gene Harris was always funky, right from the start of the Three Sounds until he began a belated solo career in the early '70s, but he never tried to come to terms with contemporary funk quite as explicitly as he did with In a Special Way. Teaming with a number of funk and fusion stars, including Earth, Wind & Fire's Philip Bailey and guitarist Lee Ritenour, Harris crafted a record that revels in contemporary soul trends from the mid-'70s lite funk in the vein of EWF, disco, Philly soul, and vapid fusion. The production is heavy-handed and glossy, filled with drippy strings, thumping beats, wordless backing vocals, and silly synthesized effects. Through it all, Harris plays exactly like he always does, as if he were oblivious to his surroundings. It makes for some truly bizarre moments: the disco interpretation of Cole Porter's "Love for Sale," the farting synth-bass meshing with disembodied vocals on "Five/Four," the completely botched fuzak and fuzz guitar take on Coltrane's "Naima." Occasionally, Harris plays quite nicely, as on "Rebop" or "Theme for Relana," but his solos just sink into the overproduced murk. There's really no explanation for the heavy-handed gloss of In a Special Way with Harris' piano mixed to the back, it sounds like the work of studio hacks, but there are enough glimpses of his unique musical personality to make it a wasted opportunity. And there's really no explanation for the cornucopia of children on the cover, either. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/in-a-special-way-mw0000906376

Personnel:  Gene Harris - keyboards; George Bohanon - trombone; Sidney Muldrow, Marnie Robinson - french horn; Azar Lawrence - tenor saxophone; Ed Green - violin; Charlotte Politte - electric piano, synthesizer; Jerry Peters - electric piano, synthesizer, string ensemble, arranger, vocals; Lee Ritenour - guitar, electric guitar; Al McKay - electric guitar; John Rowin - electric guitar, arranger; Chuck Rainey, Verdine White - electric bass; James Gadson - drums; Harvey Mason - drums, percussion; Mayuto Correa - percussion; Phillip Bailey - percussion, vocals; Merry Clayton, Ann Esther Jessica, D.J. Rogers, Sigidi, Stephanie Spruill, Deniece Williams - vocals

In A Special Way

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DeDe Wedekind - Love & Fairy Tales

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 21:25
Size: 49,8 MB
Art: Front

(4:22)  1. Blame It on the Summertime
(4:13)  2. The Fairy Tale Song
(3:59)  3. The Plans I Have for You
(4:16)  4. Just Desserts
(4:32)  5. We'll Never Part

DeDe's an award-winning singer & songwriter from Texas. She's currently nominated in 9 CATEGORIES for the 2014 IMEA Awards including: ARTIST of the YEAR (2), ALBUM of the YEAR (2), & SONG of the YEAR (5). "The Fairy Tale Song" (Love & Fairy Tales, 2013) was a FINALIST in the International Songwriting Contest in March 2014. "The Plans I Have for You", from this same album, was a FINALIST in the UK Songwriting Competition in Aug. 2013. DeDe was honored as BEST VOCALIST in March 2014 by Singer Universe.com for "Blame It On the Summertime", from Love & Fairy Tales, & was named FIRST Runner-Up BEST SONG on Songwriter Universe.com, also in March 2014 for the same song. DeDe has 3 albums including her latest: World of Christmas, which includes new original songs & arrangements of classics, all by DeDe. This award-winning album was produced by GRAMMY-WINNING Producer of the Year, Jeff Bova (Celine Dion Falling Into You, 1996). This 10-song CD, has been called an album "that will not only touch your heart...but also your soul", by Bova. Grammy- Winner Jason Miles says "(DeDe) is...a superb vocalist, a talent to be watched". LA Music Examiner, Phoenix, of the LA Examiner, says "World of Christmas will turn your 'Silent Night', into a 'Joyful Christmas'!" DeDe's 1st album, Clear Skies Ahead (Listed under Deborah Wedekind), is full of jazzy pop standards all arranged in DeDe's uniquely creative style. Breathecast.com says: "Wedekind has a way of bringing out something fresh out of each of these covers...some of the most intricate pieces from the American Songbook. When it comes to song interpretation, Wedekind is without peer." Timothy Yap. DeDe just signed an Artist Development deal with new label, Dominion Entertainment, who's worked with Pink, Jewell & Hillary Duff among others!  http://www.pandora.com/dede/Clear-Skies-Ahead https://store.cdbaby.com/cd/dede23

Love & Fairy Tales

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Don Hales - A Touch of the Culture

Styles: Guitar Jazz
Year: 2009
File: MP3@320K/s
Time: 57:41
Size: 133,2 MB
Art: Front

( 6:29)  1. Just The Facts, Ma'am
( 9:19)  2. Summertime
( 6:03)  3. Jinrikisha
(10:42)  4. Satin Doll
( 9:02)  5. A Walk to Mother Berry's
( 7:43)  6. When October Goes
( 8:20)  7. Resurrection City

"A Touch of the Culture" was originally released in 1999, featuring legendary Columbus, OH guitarist Don Hales, along with some of Columbus' finest musicians. excerpted from the original liner notes by Mark Williams.  It's reassuring to know some people still stand for something in this world. Don Hales has bravely and unfailingly stood for something all his life. Through periods of tragedy and moments of grace, Don has pursued the further refinement of his art. Don's relentless progression towards the eternally elusive goal of perfection has enabled him to pour all the fine qualities of his heart, mind and soul into his music.Don Hales' tone, ideas, attack, conception, phrasing, and all other tangible, as well as intangible attributes of his music are all his own. Although his is solidly rounded in the great American music tradition, not a note he plays can be mistaken for another player's. That's because Don has never been content to stand still, while yet still standing for something.
Listen, and what you'll hear is the evidence of a fruitful life diligently spent studying, teaching, performing, arranging, and composing music. ~ Mark Williams

C. Michael Bailey’s recent review from “All About Jazz” article on Don Hales’ “Unified String Theory” CD. (Chicken Coup Records, 2008 - available on iTunes and other music retailers.Guitarist Don Hales is one of those jazz musicians almost too good to be true, one who has had a lengthy local career who finally bobs to the surface with a head-turning release. The disc is Unified String Theory and Tony Monaco's presence is no accident. Hales grew up in a Toledo neighborhood where he was exposed to a wide variety of ethnic and regional music. He taught himself to play guitar, was tutored by Rusty Bryant and Bobby Shaw. Hales went on to tour with the great Eddie Harris and Bill Doggett before returning home to Columbus to work in the Monaco family Italian Restaurant. Talk about a well kept secret...Don Hales not only has chops, he is quite the funk master in composing. Six of the eight tunes presented are Hales originals. The two standards are "Feelings" and "Motivation," both dispatched with a Horace Silver soul-jazz sensibility. Hales' compositions all stretch the definition of the typical organ-guitar-tenor combo. Speaking of tenor, Kris Keith's tenor saxophone and flute fit into this quintet like a hand in a glove, a finely crafted glove. Check out "Breath of the Blues" and "Dance of the Zodiac." https://store.cdbaby.com/cd/DonHales

Personnel: Don Hales - guitar; Joe Hunter - piano; Doug Richeson - bass; Aaron Scott - drums; Pete Mills, tenor sax
Personnel on "A Walk to Mother Berrys": Don Hales - guitar; Ed Moed - piano; Andy Woodson - bass; Mark Henderson - drums

A Touch of the Culture

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Donald Brown - Wurd on the Skreet

Styles: Piano Jazz 
Year: 1995
File: MP3@320K/s
Time: 67:34
Size: 156,1 MB
Art: Front

(6:53)  1. Shadow Chasers
(6:00)  2. Judgement Day
(7:01)  3. Grammy's Bathwater
(7:08)  4. L's Bob
(6:32)  5. Granny's Bathwater
(6:39)  6. Easley Said and Done
(7:11)  7. The Thing about Harold Mabern
(6:14)  8. For the lack of a Better world
(4:39)  9. Pressing the Issue
(9:12) 10. Wurd on the Skreet

One of many fine alumni of Art Blakey's Jazz Messengers to develop into leading bands of his own, Donald Brown has also been very successful as a composer, arranger, and pianist. Since the end of his association with the now defunct Muse, Brown has recorded a series of exciting sessions for the French-owned Space Time, including these 1995 outings. The exciting opener, "Shadow Chasers," is an uptempo romp mixing hard bop, post-bop, and a Latin tinge as well, with terrific solos by trumpeter Bill Mobley, alto saxophonist Manny Boyd, soprano saxophonist Sam Newsome, and the leader. The delicate "Granny's Bathwater" is introduced by Brown with a thoughtful solo that is full of love; Manny Boyd soon joins him with his warm, lyrical flute, with the piece taking on a brisk waltz setting as the full band is added. Brown's "Song for My Mother" showcases Newsome again on soprano in this richly voiced ballad. "Easley Said and Done" suggests a voice of protest initially, though it quickly segues into a brisk hard bop vehicle. "Wurd on the Skreet," dedicated to Brown's brother Ramone, manages to convey funkiness in a sophisticated composition. Mobley contributed the tense but swinging "Judgement Day," in which he switches to flügelhorn. The rhythm section includes bassist Essiet Essiet (known for his great work with Bobby Watson & Horizon), drummer Billy Drummond, and percussionist Daniel Sadownick, all of whom help to provide a firm foundation for the soloists throughout this highly recommended CD. ~ Ken Dryden https://www.allmusic.com/album/wurd-on-the-skreet-mw0000222875

Personnel: Piano, Producer – Donald Brown; Alto Saxophone, Soprano Saxophone, Flute – Manny Boyd; Bass – Essiet Essiet; Drums – Billy Drummond; Tenor Saxophone, Soprano Saxophone – Sam Newsome; Trumpet, Flugelhorn – Bill Mobley

Wurd on the Skreet

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Erskine Hawkins Quintet - The Hawk Blows At Midnight

Styles: Trumpet Jazz
Year: 1961
File: MP3@320K/s
Time: 32:01
Size: 74,2 MB
Art: Front

(2:58)  1. Tuxedo Junction
(3:08)  2. Love Is Here To Stay
(2:40)  3. Someone's Rocking My Dreamboat
(2:33)  4. Midnight Stroll
(2:11)  5. Blue Embers
(2:34)  6. Things Ain't What They Used To Be
(2:17)  7. Cherry
(3:34)  8. The Birth Of The Blues
(2:45)  9. Tippin' In
(2:11) 10. If I Could Be With You (One Hour Tonight)
(2:37) 11. Deep Purple
(2:27) 12. Hawkin' Around

Jazz trumpeter, Erskine Hawkins, was born in Birmingham, Alabama July 26, 1914. A talented high-note trumpeter and a popular bandleader, Erskine Hawkins was nicknamed “The 20th Century Gabriel.” He learned drums and trombone before switching to trumpet when he was 13, and was one of five inaugural inductees into the Alabama Jazz Hall of Fame in 1978. He also became on of the principal influences on a young rhythm and blues piano player named Ray Charles. While attending the Alabama State Teachers College, he became the leader of the college band, the Bama State Collegians. They went to New York in 1934, became the Erskine Hawkins Orchestra, started making records in 1936 and by 1938 were quite successful. The first formal appearance of Erskine Hawkins and his Orchestra was in 1938 when the band won a recording contract with RCA Victor. However, the inception of the band had occurred two years earlier when it was known as The 'Bama State Collegians. Hawkins, whose biggest influences were Louis Armstrong records, skipped out on a 'Bama State Collegians band trip to New Jersey so he could play some gigs in New York. At one of these early shows, Armstrong surprised him backstage at the Apollo Theater. From then on, whenever Hawkins came to New York, Armstrong would also take the stage at the Savoy Ballroom, where Hawkins' dance band attracted a loyal following. Hawkins had three major hits (”Tuxedo Junction,” “After Hours” and “Tippin' In”) and was able to keep the big band together all the way until 1953. Hawkins' band was so popular that he was able to retain a permanent roster of players, most of whom were from Birmingham. The style was “down-home” and blues-inspired, but it could still swing and lay down a great dance beat. Two of his chief arrangers were pianist Avery “After Hours” Parrish and trumpeter Sammy Lowe. (See Sammy Lowe's biography, also on this website.) Baritone saxophone soloist Haywood Henry, who stayed with Hawkins until the band broke up in 1953, anchored the music securely in a solid harmony. During the band's heyday, the 1930s and 40s, Hawkins featured vocalists Ida James, Delores Brown and Della Reese. ROCKIN ROLLERS JUBILEE (1938) was ahead of its time, but TUXEDO JUNCTION (1939) became the anthem of American GIs in Europe during the early years of WWII. https://musicians.allaboutjazz.com/erskinehawkins

Personnel: Erskine Hawkins, trumpet; Bobby Smith, sax; Leroy Kirkland, guitar; Ernest Hayes, piano; Lloyd Trotman, bass; Shep Sheperd, drums

The Hawk Blows At Midnight

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Dinah Lee - The Sound of Dinah Lee

Styles: Vocal 
Year: 2013
File: MP3@320K/s
Time: 26:25
Size: 61,8 MB
Art: Front

(2:12)  1. What Kind of Love Is This?
(2:22)  2. What Did He Say?
(1:58)  3. Twist and Shout
(2:14)  4. It's for You
(1:46)  5. Oh Boy
(1:59)  6. Hey Chickie Baby
(2:21)  7. I'll Forgive You, Then Forget You
(1:49)  8. He Can't Do the Blue Beat
(2:21)  9. Long Way from St. Louis
(2:41) 10. Shout
(2:14) 11. Hot Spot
(2:23) 12. Is It True?

Dinah Lee has concertized in the US and Europe. She's that rare tradjazz-swing vocalist who respects the song and adds depth and feeling in a special way, transporting you back to the tradition of Margaret Whiting, Ella Fitzgerald.  Jo Stafford and Doris Day with Dinah's own individuality. https://www.mezzrow.com/artists/2479-dinah-lee

The Sound of Dinah Lee

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Francesco Cafiso Quartet - Happy Time

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 59:52
Size: 137,8 MB
Art: Front

( 5:01)  1. Louisiana
(11:57)  2. She Loves Me
( 7:32)  3. Happy Time
( 5:49)  4. Anabel
( 9:50)  5. Blues For Angel
( 5:40)  6. Sir Charles
( 7:59)  7. Goodbye Elvin
( 6:00)  8. The Bear

Many names come to mind as convenient references for precocious jazz talents: Pat Metheny, Brad Mehldau, the Marsalises, Bireli Lagrène, Roy Hargrove, etc. With Happy Time Sicilian-born Francesco Cafiso (born in 1989) earns his place amongst such once-profiled wunderkinds. Having won, among many competitions, the International Massimo Urbani Award at age eleven and the EuroJazz Competition at age thirteen, he has also garnered the attention and support of Italy's principal festival organizers and international musicians alike. Even Wynton Marsalis, who called him "the best thirteen-year-old saxophonist he had ever heard, has hired the altoist for his 2002 European tour. Considering he recorded Happy Time at age sixteen, Cafiso's suprisingly mature style testifies that he absorbed Charlie Parker's bebop vocabulary, as well as Phil Woods and Cannonball Adderley's hard bop phrasing, quite naturally. He masters both genres' idiomatic articulations and possesses a wide-ranging bag of tricks (even throwing the occasional growls and hard-tongued thumps). But he also brings out a lot of himself in his solos, especially on ballads, which he plays convicingly. His dead-on time feel and phrasing exudes confidence and just the right dose of extrovertedness. While Cafiso's heartfelt melodies and precise playing will likely please connoisseurs, the elementary forms (slow blues, minor blues, "Impressions -like modal, rhythm changes and free) of his pieces might bore some listeners. The two ballads, "Goodbye Elvin and "She Loves Me, bring elegance and variety with stellar playing from Cafiso and drummer Stefano Bagnoli. The latter's reputed brushes playing add rhythmic depth to the quartet's overall sound. Their introduction to opening track, "Louisiana, keenly borrows, in spirit, the aforementioned Elvin Jones' famous duos with John Coltrane. ~ Martin Gladu https://www.allaboutjazz.com/happy-time-francesco-cafiso-cam-jazz-review-by-martin-gladu.php

Personnel: Francesco Cafiso: alto saxophone; Riccardo Arrighini: piano; Aldo Zunino: bass; Stefano Bagnoli: drums.

Happy Time

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Don Patterson - Goin' Down Home

Styles: Jazz, Post Bop 
Year: 2006
File: MP3@320K/s
Time: 43:27
Size: 100,9 MB
Art: Front

(4:42)  1. Little Duck
(4:56)  2. John Brown's Body
(4:35)  3. I'm Just a Lucky So and So
(3:55)  4. Frankie MC
(5:12)  5. It's Magic
(4:19)  6. Goin' Down Home
(5:45)  7. Trick Bag
(4:49)  8. 1197 Fair
(5:11)  9. Work Song

Goin' Down Home is an album by organist Don Patterson recorded in Chicago in 1963 and released on the Cadet label in 1966. Although it is the earliest recordings led by Patterson it as not released until after he had produced several albums for Prestige Records. https://en.wikipedia.org/wiki/Goin%27_Down_Home

Personnel:  Don Patterson - organ; Paul Weedon - guitar; Billy James - drums

Goin' Down Home

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Jakob Bro - Daydreamer

Styles: Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 44:07
Size: 101,6 MB
Art: Front

(7:01)  1. Philadelphia
(4:43)  2. Countryside
(5:35)  3. Daydreamer
(4:38)  4. The Time Is Always Now
(4:46)  5. Highpoint
(6:00)  6. Optimistic
(6:30)  7. Everything All at a Time
(4:50)  8. Unfolded

Jakob Bro (1978) is a Danish guitar player and composer living in Copenhagen, Denmark. He is currently leading a trio with Joey Baron and Thomas Morgan and a quartet with Palle Mikkelborg, Thomas Morgan and Jon Christensen. In the spring of 2018 the quartet released a highly acclaimed album Returnings through ECM Records. In October 2018 the trio will be releasing a new ECM album, Bay Of Rainbows, recorded at the Jazz Standard in New York. Bro is also working with his tentet with Jesper Zeuthen, Peter Laugesen, Andrew D’Angelo, Chris Speed, Kresten Osgood, Jakob Høyer, Thomas Morgan, AC, Nikolaj Torp-Larsen and Søren Kjærgaard and he is currently composing music for a new choir project together with his long time friend and associate trumpet player Jakob Buchanan. Jakob Bro is a former member of Paul Motian & The Electric Bebop Band (Garden of Eden, ECM – 2006) and of Tomasz Stanko’s Dark Eyes Quintet (Dark Eyes, ECM – 2009). He has released 15 records as a bandleader including musicians like Lee Konitz, Bill Frisell, Paul Motian, Kenny Wheeler, Paul Bley, Chris Cheek, Thomas Morgan, Ben Street, Mark Turner, Kurt Rosenwinkel, Andrew D’Angelo, Chris Speed, George Garzone, Craig Taborn, Oscar Noriega, David Virelles, Jon Christensen, Jesper Zeuthen, Anders Christensen, Peter Laugesen, Kresten Osgood, Jakob Høyer, Nicolai Munch-Hansen, Jonas Westergaard, Søren Kjærgaard, Nikolaj Torp Larsen and many more. He has toured in Japan, China, South Korea, Australia, Brazil, Argentina, Columbia, South Africa, USA and most of Europe. http://jakobbro.com/web/2018/09/bio/

Personnel: Jakob Bro (Guitar); Chris Cheek (Tenor Sax); Ned Ferm (Tenor Sax)(; Mads Hyhne (Trombone); Anders Christensen (Bass); Jeppe Gram (Drums)

Daydreamer

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Mary Louise Knutson - Call Me When You Get There

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 56:39
Size: 131,1 MB
Art: Front

(7:23)  1. Tangerine
(5:28)  2. On Green Dolphin Street
(5:56)  3. How Will I Know?
(3:54)  4. Meridian
(6:06)  5. Gone With the Wind
(4:57)  6. Merle the Pearl
(7:44)  7. I've Grown Accustomed to Her Face
(5:56)  8. Things Ain't What They Used to Be
(3:43)  9. If You Please
(5:26) 10. Call Me When You Get There

High-quality jazz is practically everywhere. For proof of that statement, this CD from a Minnesota-based pianist can serve as evidence. Mary Louis Knutson is an excellent jazz player whose voicings sometimes recall Bill Evans but who has developed a lyrical style of her own. Joined by bassist Gordon Johnson and either Marc Rio, Phil Hey, or Craig Hara on drums, the pianist plays five mostly relaxed versions of familiar standards (including "Tangerine," "On Green Dolphin Street," and "I've Grown Accustomed to Her Face"). However, it is her five originals that are of greatest interest, for she has a talent for coming up with fresh melodies. "Merle the Pearl," "Meridian," and "Call Me When You Get There" each sticks in one's mind and, if this local CD received some national attention, it is possible that a couple of the originals would catch on. Well-worth searching for. ~ Scott Yanow https://www.allmusic.com/album/call-me-when-you-get-there-mw0000039423

Call Me When You Get There

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The Chordettes - Harmony Encores, Sing Your Requests Disc 1 And Disc 2

Album: Harmony Encores /Disc 1

Styles: Vocal
Year: 1952
File: MP3@320K/s
Time: 27:35
Size: 64,1 MB
Art: Front

(2:15)  1. Carolina Moon
(1:56)  2. Basin Street Blues
(1:55)  3. Floatin' Down to Cotton Town
(1:37)  4. Drifting and Dreaming
(1:43)  5. Garden In the Rain
(1:46)  6. S'Posin'
(2:22)  7. The Sweetheart of Sigma Chi
(2:12)  8. Kentucky Babe
(1:42)  9. In The Sweet Long Ago
(2:12) 10. I'm Drifting Back to Dreamland
(1:40) 11. Angry
(2:13) 12. A Little Street Where Old Friends Meet
(1:52) 13. The Anniversary Waltz
(2:05) 14. Sentimental Journey

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Album: Sing Your Requests  Disc 2

Year: 1954

File: MP3@320K/s

Time: 20:52

Size: 48,2 MB

Art: Front

(2:35)  1. Wait 'Till the Sun Shines, Nellie

(2:22)  2. They Say It's Wonderful

(2:51)  3. I Wonder Who's Kissing Her Now

(2:25)  4. For Me and My Gal

(2:16)  5. I Believe

(1:38)  6. Down Among the Sheltering Palms

(1:42)  7. Hello! Ma Baby

(2:27)  8. Wonderful One

(2:34)  9. (When It's) Darkness On the Delta

Originally released by Columbia Records in the '50s, these recordings of the Chordettes are strictly female barbershop quartet. There is nothing here with the crossover appeal of their biggest hit, "Mr. Sandman." Harmony Encores and Your Requests remained out of print for many years until they were reissued on CD by Collectables in 2003. The vocal arrangements on these 23 tracks are first-rate especially on "Carolina Moon," "Sweetheart of Sigma Chi," "Anniversary Waltz," and "For Me and My Gal," but rather tedious if taken in large doses. Recommended for die-hard fans and barbershop harmony enthusiasts. ~ Al Campbell https://www.allmusic.com/album/harmony-encores-your-requests-mw0000214336

Harmony Encores Disc 1,Sing Your Requests Disc 2

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Chet Atkins and Les Paul - Chester and Lester Guitar Monsters

Styles: Guitar Jazz
Year: 1978
File: MP3@320K/s
Time: 34:17
Size: 80,1 MB
Art: Front

(2:50)  1. Limehouse Blues
(3:42)  2. I Want to Be Happy
(2:41)  3. Over the Rainbow
(2:34)  4. Meditation
(3:00)  5. Lazy River
(3:48)  6. I'm You Greatest Fan
(2:59)  7. It Don't Mean A Thing (If it Ain't Got That Swing)
(4:04)  8. I Surrender Dear
(2:41)  9. Brazil
(2:52) 10. Give My Love to Nell
(3:01) 11. Hot Toddy

The seventies were bountiful years for guitar fans. Looking now at Guitar Player magazines of the period, it's almost dizzying to see how many veteran guitarists were doing some of their most interesting and liberated work. Bop stalwarts, blues greats (often obscure), and notable country pickers were all well-represented on vinyl throughout the decade, on a variety of labels. Chet Atkins, whose easy listening country guitar records (all on RCA) were too often tasteful to a fault, came out of his shell a little more than usual in that decade, cutting great duet records each with thumbpicking idol Merle Travis and the brilliantly pyrotechnical Jerry Reed. But his most commercially successful pairing was with Les Paul, the Thomas Edison of electric guitar, whose fifties hits were landmark masterpieces both of recording technique and guitar arrangement. Their 1976 Chester & Lester (RCA Nashville/Legacy) was a sloppy, rambling tiptoe through a set of standards replete with studio chatter. It got by on its considerable charm, and won a Grammy (Best Country Instrumental Performance), despite there not being anything on it that was country music. Its success warranted a followup, and Guitar Monsters was it. Fortunately, it includes less chatter, and the performances are more focussed. Atkins and Paul are quite a study in opposites. Atkins' neat, orderly thumbpicking collides happily with Paul's gregarious, even joyously vulgar soloing. Where Paul is not afraid to be sloppy, Atkins is pristine at every turn, even as he takes a few single note soloing turns that for him are unusually extroverted, even showy. From the first note, it's evident that these two men love each others' playing and take real joy in the back-and-forth. The tunes are, as on their first recording together, all standards, save for two needless comedy numbers. Opening with "Limehouse Blues" (with Atkins doing some of his finest playing), we immediately are clued into Monsters' intent: a bunch of standards as lighthearted blowing vehicles for two complementary but highly contrasting guitar icons. Things stay mostly mid-tempo, although there's a straight ballad reading of "Over The Rainbow" that spotlights some gorgeous chordal work from Atkins. Special mention should be made of bassist Joe Osborne, whose playing throughout is understated and deep in the pocket. (Chris Morris' liner notes are breezy and very smart, perfect to the music they describe.) This isn't adventurous the way Coltrane At Birdland is adventurous, but it's such an enjoyable disc, one whose best moments are hard to resist. For guitar mavens, it's a joyous truffle. ~ Skip Heller https://www.allaboutjazz.com/guitar-monsters-chet-atkins-and-les-paul-real-music-review-by-skip-heller.php

Personnel: Chet Atkins: guitars; Les Paul: guitars; Joe Osborne: bass; Buddy Harman, Larrie Londin, Randy Hauser: drums

Chester and Lester Guitar Monsters

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Mike Neer - Steelonious

Styles: Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 44:54
Size: 103,4 MB
Art: Front

(3:10)  1. Epistrophy
(3:15)  2. Bemsha Swing
(4:31)  3. 'Round Midnight
(3:35)  4. In Walked Bud
(3:13)  5. Bye-Ya
(2:57)  6. I Mean You
(3:06)  7. Off Minor
(4:36)  8. Ugly Beauty
(3:53)  9. Ask Me Now
(3:14) 10. Straight, No Chaser
(4:36) 11. Reflections
(4:42) 12. Blue Monk

Early in his musical career, pianist and composer Thelonious Monk was ordained the "Hight Priest of Bebop." This sounds more like a disingenuous pronouncement by an overeager period critic than any credible music reportage. Monk's essential musical approach owed more to stride, blues, and swing than to Charlie Parker's and Dizzy Gillespie's bebop. Monk's technical brilliance, if one could call it that, was not geared toward the "technique" of rapid and complexly rendered chord changes. Monk's brilliance lay somewhere much more fundamental. I think of Monk as a musical mutation. Genetically, a mutation is defined as, ..."the changing of the structure of a gene, resulting in a variant form that may be transmitted to subsequent generations..." If that does not describe Monk's influence on both jazz composition and the jazz standard songbook, then nothing does. Monk created a new musical language, vocabulary, and grammar. And he did all this serious stuff with a beautifully honed disregard for the musical status quo and a biting sense of humor that seems still lost on much of the listening media. Monk was an enigmatic iconoclast (that is two fifty cent words adding up to a dollar). He remains misunderstood, because understanding him was never the point. This music is a relativistic variant that should have never entered our dimension, but did...and here we are. 

Monk has had many admirers and imitators, many creatively so. But none of Monk's interpreters has yet to "think beyond" to the degree that steel guitarist Mike Neer has. Seemingly out of nowhere, Mike Neer appears, playing Monk like some radioactive Herbert Von Karajan addressing his cosmic Beethoven. And Neer does all of this with the wry and knowing smile of a man content just to be heard. How fortunate he has spoken loud enough, because projects like Steelonious happen so damn infrequently now that when they do arise, they are missed for all of the noise surrounding them. What Neer effectively does is take an instrument associated with, in order, Hawaiian luau, Santo and Johnny's 1959 "Sleepwalk," and every Jackson Browne song David Lindley play on, and use it to transform the Monk book in a most wonderful and delightful way. Neer creates American vignettes with each composition. He begins his festivities with a Dick Dale Surf take on "Epistrophy," drummer Diego Voglino laying down a carpet bomb backbeat. Pianist Matt King issues a two-fisted cat-house upright solo, leading into Neer's interstellar vision of the slide guitar, sounding like a frantic '50s LA traffic jam. And, this is merely the beginning. "Bemsha Swing" is hippy trippy while "'Round Midnight" is performed like a Caribbean pipe dream, again with deft support by Voglino. "In Walked Bud," typically played as an upbeat cooker, in Neer's hands it becomes a Mad Men's first heroin sniff with Sgt. Joe Friday looking in through the window. "I Mean You" is vintage Western Swing, replete with stoned ghost of Bob Wills heehawing in the background. "Off Minor," "Ugly Beauty," and "Ask Me Now" as they have never been presented. Neer's technique is so sharp and precise it is often hard to tell what instrument he his playing. That is an accomplishment. The perfect closer, "Blue Monk" rolls the disc to its coda with the entire history of the blues and jazz behind it.

 ~ C. Michael Bailey https://www.allaboutjazz.com/steelonious-mike-neer-self-produced-review-by-c-michael-bailey.php

Personnel: Mike Neer: lap steel guitar; Matt King: piano and organ; Andrew Hall: Bass; Diego Voglino: drums, percussion; Tom Beckham: vibraphone (4,9).

Steelonious

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Benedikt Jahnel Trio - Equilibrium

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 53:47
Size: 123,5 MB
Art: Front

( 5:01)  1. Gently Understood
( 7:11)  2. Sacred Silence
(13:52)  3. Moorland & Hill Land
( 9:01)  4. Wrangel
( 4:41)  5. Augmented
( 4:19)  6. Hidden Beauty
( 9:39)  7. Equilibrium

He may be better known internationally to ECM fans for his participation in the pan-cultural Cyminology, but German pianist Benedikt Jahnel has been devoting just as much attention to his multinational trio featuring Spanish bassist Antonio Miguel and American drummer Owen Howard. Releasing the trio's debut in 2008 on Viennese guitarist Wolfgang Muthspiel's Material Records imprint, Jahnel's work with Max.Bab has rendered superficial comparisons to Esbjorn Svensson, but if the world is looking for someone to pick up the mantle left by the late Swedish pianist, it'll have to keep on looking. Beyond being relatively young and leading a piano trio with a strong penchant for lyricism, there's little else with which to compare Jahnel's trio and e.s.t. A truth already apparent on Modular Concepts (Material, 2008), but even clearer with Equilibrium, the trio's long overdue follow-up and ECM debut. If anything, there are some similarities in Jahnel's approach to fellow label mate, pianist Nik Bärtsch and Ronin, most recently heard on Live (ECM, 2012). But if Bärtsch and Jahnel share a certain rigor when it comes to rhythmic constructs and, more importantly, rhythmic placement, Jahnel is more intrinsically driven by song form even, as is the case with the opening "Gently Understood," if he takes a long time getting there. Through the first three of its five minutes, Jahnel's trio collectively explores a modal, pedal toned vamp, building to an extemporaneous climax only to fade to a near-whisper and the introduction of the pianist's chordal theme albeit one where Howard both holds down the form and explores further, a tasteful meshing of delicate cymbals and reverb-drenched, rim shot-driven drums. What gives Jahnel's trio some of its personality is the way that it plays with conventional roles. Howard whose 20-year career has included collaborations with everyone from saxophonist Chris Potter to guitarist Ben Monder is, himself, a deeply melodic player; one who can, at times, leave more rhythmic concerns to Jahnel. 

In the opening minutes of Equilibrium's longest track, "Moorland & Hill Land," Jahnel's pulsating exploration of the lower register of his piano almost blends into a single voice with Miguel's resonant arco. Ultimately unfolding into a spare, Erik Satie-like passage, Jahnel gradually shifts to an arpeggio-driven piano a cappella that finally, eight minutes in, leads to a full trio treatment. Filled with unrelenting forward motion, Jahnel shifts that very propulsion between left and right hands, while Miguel's spare anchor supports Howard's strong thematic foil for Jahnel. If Jahnel's trio often operates in keyboardist Joe Zawinul's long-held "nobody solos/everybody solos" ethos, that doesn't mean there aren't shining moments for its members. The gently majestic "Sacred Silence" is defined largely by Miguel, and the bassist's strong allegiance to motivic development also features near the end of "Moorland," while Howard is the clear melodist alongside Jahnel in the latter half of "Augmented." It's all about embedding the piano trio tradition into a new context where things aren't always as they seem. With Equilibrium, Jahnel has carved his own evocative space on a label that may seem loaded down with piano trios, but for whom, in the case of Jahnel, there's clearly room for one more. ~ John Kelman https://www.allaboutjazz.com/equilibrium-benedikt-jahnel-ecm-records-review-by-john-kelman.php

Personnel: Benedikt Jahnel: piano; Antonio Miguel: double bass; Owen Howard: drums.

Equilibrium

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