Jimmy Hamilton - In A Sentimental Mood

Styles: Clarinet Jazz
Year: 2000
File: MP3@320K/s
Time: 35:49
Size: 83,1 MB
Art: Front

(3:26)  1. I've Got The World On A String
(2:49)  2. Do Nothing Till You Hear From Me
(2:17)  3. Tempo De Brazilia
(4:23)  4. The Nearness Of You
(5:11)  5. Blue Room
(2:32)  6. Ain't She Sweet
(2:55)  7. I Didn't Know About You
(3:35)  8. Taj Mahal
(5:15)  9. In A Sentimental Mood
(3:24) 10. After You've Gone

Jimmy Hamilton was for a quarter-century a mainstay of jazz's most important large ensemble, the Duke Ellington Orchestra. On clarinet, Hamilton was a model of polished, cool style and substance, while his less often featured work on tenor saxophone allowed him to reveal funkier inclinations. Hamilton was hired by Ellington as the replacement for Barney Brigard in 1943, and he stayed on with the Duke until 1968. Prior to joining Ellington, he had worked with Lucky Millinder, Jimmy Mundy, and most noticeably Teddy Wilson's sextet (1940-1942) and Eddie Heywood; Hamilton also recorded “Gloomy Sunday” with Billie Holiday. While he was featured primarily as a clarinetist, where he employed a cool smooth tone, he sometimes turned to the tenor on which he was a little rougher and raucous. When Jimmy took the job with Duke he actually had another offer on the table from Count Basie. Basie wanted him to perform only on tenor sax, however, and Jimmy wanted the chance to perform on clarinet, as well. Jimmy also commented that he was a great fan of Ellington's compositions and that Duke was sure to challenge him with new material. He was certainly right about that! Duke and Billy Strayhorn wrote many featured parts for Jimmy's clarinet and tenor sax improvisations (Air-conditioned Jungle, Deep Purple, and Bluebird of Delphi; to name a few). After leaving Ellington, Hamilton moved to St. Croix in the Virgin Islands, where he taught music in public schools. Jimmy and his Quartet (with his wife, Vivian on piano) had a weekly radio show (WSTX AM radio station) from1971 to ‘77 which broadcast their Friday night gig, live from the Holger Danske Hotel in Christiansted, St. Croix. 

That broadcast made them fans all throughout the Caribbean. He did return to the U.S. to play with John Carter’s Clarinet Summit in 1981 and 1985, and gigged a bit in New York during 1989-1990, but was otherwise little heard from in his later years. Hamilton did not record much as a leader, but did put together some fine sessions as his two sessions recorded two weeks apart in 1961 for Swingville (Prestige's mainstream offshoot), they spotlight Hamilton on both clarinet and tenor. “It's About Time!” offers a host of tuneful, loose blues, some of whose titles indicate the participants' collective sense of humor (”Stupid But Not Crazy,” “Nits and Wits”), while “Can't Help Swinging” balances four bluesy originals with an equal number of top-notch standards. The sextet finds Hamilton joined on the front line by fellow distinguished Ellingtonians Clark Terry and Britt Woodman, and both dates are graced by Tommy Flanagan's piano. Hamilton went on to do a live recording in 1985 from the Virgin Islands. This date “Rediscovered at the Buccaneer,” finds Hamilton playing clarinet and alto in prime form with a quartet also including pianist Gary Mayone, bassist Joe Straws and drummer Delroy Thomas. Hamilton performs five lazy love songs and five tunes associated with Duke Ellington. These would be his last recordings. Jimmy Hamilton passed in Sept. 1994. https://musicians.allaboutjazz.com/jimmyhamilton

Personnel:  Clarinet – Jimmy Hamilton; Bass – Aaron Bell; Drums – Sam Woodyard; Horns [Baritone] – Britt Woodman, Dave Wells, Mitchell Wood; Piano – Jimmy Rowles; Tenor Saxophone – Paul Gonsalves; Trumpet – John Anderson

In A Sentimental Mood

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Jules Day - Jules Day

Styles: Vocal Jazz 
Year: 2008
File: MP3@320K/s
Time: 38:53
Size: 89,9 MB
Art: Front

(3:56)  1. Hope Avenue & Despair
(3:23)  2. How Will I Ever Know
(4:43)  3. Days That End In Y
(3:38)  4. Get It Right
(3:14)  5. Only You
(4:14)  6. Don't Tell The Sun
(4:18)  7. Say You Will
(3:50)  8. Leave The Love To Me
(3:57)  9. Right On Time
(3:35) 10. Midnight Lullaby

Jules Day is creating quite a buzz as she bursts onto the L.A. jazz scene with a voice and stage presence that belie her 22 years of age. Jules’s young jazz career has experienced a meteoric rise with regular appearances at Southern California’s top jazz venues including Hollywood’s Catalina Bar & Grill and Culver City’s The Jazz Bakery. Jules recently found herself not only on the cover of the L.A. Jazz Scene monthly newspaper, but the subject of an in-depth article by publisher Myrna Daniels. Daniels, in the article, noted that she had seen several singers go on to find great success and predicted, “I think Jules Day will one day belong to that select circle of performers.” 

Don Heckman, jazz critic for the Los Angeles Times, reviewed Jules’s Hollywood performance as “having the vibe, the enthusiasm, and the sheer irresistibility of a star in the making.” Heckman wrote, “At 21, Day has the blond and slender look of a youthful Diana Krall, but the resemblance stops there. Unlike Krall, whose vocals have always worked best when they flow from her piano playing, Day is a stand-up singer, intimately immersed in her songs, digging into their inner meaning with a constantly surprising sense of emotive maturity.”Jules was honored to open the Temecula Smooth Jazz Festival with the enviable position as the only female vocalist on the roster.
When it comes to jazz, this Minneapolis native is the real deal with industry roots that include her grandfather, Kyle Peterson, founding the Twin Cities Jazz Society.

"I grew up with jazz musicians popping in and out of the house,\" remembers Jules, \"And the voices of Ella Fitzgerald, Sarah Vaughn, June Christy to mention a few were a part of my early memories.\" Immediately upon graduating from an arts magnate high school in St. Paul, Jules relocated to Los Angeles upon being invited to be a member of an internationally renowned music ensemble. Less than a year later, an offer to record her debut CD was too much to resist and Jules spent the remaining teenage year hard at work inside a recording studio. As a complete package, Jules seems to have it all, but the ace up her sleeve is her extremely palatable and soulful voice with its flawless pitch, remarkable intonation, and subtle phrasing that can put the most inattentive crowd on the edge of their seats. https://store.cdbaby.com/cd/dayjules

Jules Day

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Eddie Palmieri - The History Of Eddie Palmieri

Styles: Piano Jazz
Year: 1975
File: MP3@320K/s
Time: 47:40
Size: 110,1 MB
Art: Front

(6:40)  1. Café
(5:43)  2. Bilongo
(5:42)  3. Cuídate Compay
(3:52)  4. Sujétate La Lengua
(2:45)  5. Conmigo
(4:10)  6. Tirándote Flores
(3:13)  7. Lázaro Y Su Micrófono
(5:59)  8. Justicia
(3:22)  9. Bomba Del Corazón
(6:09) 10. Viejo Socarrón

History is one of those great 1970s compilations that has just enough perspective to get it right. Material is drawn from both Tico and Alegre albums, and wide varieties of rhythm, tempos, and style are represented, but not too wide. Salsa fans will find much of interest. "Cuidate Compay" and "Conmigo" in particular are hot dance tracks which still sound fresh and infectious. It may not be correct to call the album a "history" of Eddie Palmieri, but it is a great slice of his best work from the 1960s. It is, at least, a history until Harlem River Drive. History serves well as an introduction to the "Sun of Latin Music, " but even longtime Palmieri fans may want it in addition to the originals or other compilations. ~ Tony Wilds https://www.allmusic.com/album/history-of-eddie-palmieri-mw0000727993

Personnel: Piano – Eddie Palmieri ; Vocals – Ismael Quintana

The History Of Eddie Palmieri

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Dennis Coffey - Dennis Coffey

Styles: Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 38:39
Size: 89,3 MB
Art: Front

(3:53)  1. 7th Galaxy
(2:15)  2. Don't Knock My Love
(3:40)  3. All Your Goodies Are Gone
(5:26)  4. I Bet You
(3:15)  5. Miss Millie
(3:54)  6. Somebody's Been Sleeping
(2:08)  7. Plutonius
(3:59)  8. Knockabout
(2:28)  9. Only Good For Conversation
(4:17) 10. Space Traveller
(3:19) 11. Don't Knock My Love (part 2)

Too rarely, some small justice gets meted out in the music biz; in the 21st century, legendary Detroit guitarist and Motown Funk Brother Dennis Coffey is getting some. Hip-hop and electronic music fans have long sought his seminal recordings for Sussex and his voluminous session dates. His appearance in the 2002 film Standin' in the Shadows of Motown, his autobiography Guitars, Bars and Motown Superstars, and three different late-2000s compilations re-upped his profile. Dennis Coffey, the guitarist's debut for Strut, places his guitar front and center in a multi-generational group of musicians from Detroit and elsewhere. Coffey lays his trademark psychedelic soul wah-wah-and-fuzz guitar to 11 tracks. Some new; others being new versions of legendary jams he played on. The set opens with ultra-funky instrumental orgy "7th Galaxy" (with ex-Big Chief guitarist Phil Durr and Motor City session gods Rayse Biggs and David McMurray on horns, and a rhythm section of session masters bassist Tony “T-Money” Green, drummer Nate Winn, and percussionists Larry Fratangelo and Dennis Sheridan). Other instrumentals include the moody groover "Space Traveler" (with Deadstring Brothers' Jim Simonson on bass and Eric Hoegemeyer on drums), the big horn and guitar burner "Miss Millie" (with Milwaukee's Kings Go Forth), and the wah-wah bass and percussion blowout "Knockabout."These tracks are on a par with Coffey's legendary "Scorpio" and his Black Belt Jones soundtrack. The vocal tracks are no less spectacular. There is the Parliaments' "All Your Goodies Are Gone," with soulster Mayer Hawthorne, and Funkadelic's "I Bet You," featuring the Detroit Cobras' Rachel Nagy and the Dirtbombs' Mick Collins. Fanny Franklin of Orgone lends her voice to a sultry cover of Wilson Pickett's slow-burning "Don't Knock My Love." Rodriguez's venomous "Only Good for Conversation" features Paolo Nutini in a knockout performance, and the Bell Rays' Lisa Kekaula offers a boiling, raw read of Holland-Dozier-Holland's eternal, "Somebody's Been Sleeping" (Coffey played on the 100 Proof (Aged in Soul) original. "Plutonius," a cosmic funk jam, is another Coffey original sung by Herschel Boone and includes a ripping guitar solo by, Durr, and groove alicious B3 by Detroit keyboard master Luis Resto. 

The album is co-produced to maximum kinetic effect by Al Sutton and Hoegemeyer at Detroit's Rust Belt Studio. Dennis Coffey is overflowing with inspiration and the molten pathos, passion, humor, volume, grit, and nasty grooves that Detroit is famous for. As an artist, Coffey, at 70, is at the top of his game as a guitarist and composer; he proves that he can not only hold his own with the youngbloods, but push toward a new level. This self-titled offering is monster; a masterpiece of tough, psychedelic soul. ~ Thom Jurek https://www.allmusic.com/album/dennis-coffey-mw0002110283

Dennis Coffey

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Edmundo Ros - The Latin World Of Edmundo Ros Vol 2

Styles: Latin
Year: 1970/2015
File: MP3@320K/s
Time: 28:46
Size: 67,4 MB
Art: Front

(2:49)  1. Aquarius
(2:23)  2. Corcovado
(2:05)  3. Cumana
(2:10)  4. Carnival
(2:14)  5. La Golondrina
(2:00)  6. Spanish Flea
(2:22)  7. Good Morning Starshine
(2:16)  8. Mambo Number Five
(2:49)  9. What A Difference A Day Made
(3:10) 10. Felicidade
(2:19) 11. The Laughing Samba
(2:04) 12. La Cucaracha

Bandleader Edmundo Ros was the living embodiment of Latin music in World War II-era Britain. The toast of London's high society, he effectively introduced the rhumba and samba to the U.K. shores. Born December 7, 1910, in Port-of-Spain, Trinidad, to a Scottish father and an African-Venezuelan mother, Ros spent much of his childhood in military school, playing percussion in the military band. The experience was otherwise miserable, however, and at 17 he ran away to Caracas, where he served as tympanist in the Symphony Orchestra of Venezuela. A decade later Ros migrated to London, where he briefly studied classical music before pursuing popular music full-time, backing Fats Waller and singing with Don Marino Barreto's Cuban band prior to forming his own five-piece rhumba outfit in 1940. After scoring a hit with 1941's Parlophone release "Los Hijos de Buda," Ros became a sensation, attracting the cream of London society to his appearances at the lavish Coconut Grove. When the defendant in a high-profile divorce case implicated Ros as a catalyst for his marriage's demise, the bandleader made national headlines, and the sex scandal only made him more popular, and he even taught then-Princess Elizabeth and her sister Princess Margaret to dance. After a long residency at the West End club the Bagatelle, Ros in 1951 acquired the former Coconut Grove site on Regent Street and renamed the venue Edmundo Ros' Dinner and Supper Club. He also made regular appearances on BBC radio, and his albums for the London label's Phase 4 imprint (including the space age pop classics Rhythms of the South and Arriba!) sold briskly. His biggest hit, "The Wedding Samba," even crossed over to the U.S. Top Five, selling three million copies in the process. After Parliament legalized gambling in 1965, attendance at Ros' club quickly nosedived, and he sold the business as soon as possible. He retired to Alicante, Spain, a decade later, returning to London's Queen Elizabeth Hall on January 8, 1994, for one final farewell performance leading the BBC Big Band with Strings. Ros was also awarded the Order of the British Empire in the 2000 New Year's Honours List. ~ Jason Ankeny https://www.allmusic.com/artist/edmundo-ros-mn0000182902/biography

The Latin World Of Edmundo Ros Vol  2

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Chuck Hedges - Just for You

Styles: Clarinet Jazz
Year: 2007
File: MP3@320K/s
Time: 77:46
Size: 180,1 MB
Art: Front

(5:07)  1. Overcomer
(7:09)  2. Beseme Mucho
(6:26)  3. I've Got the World On a String
(4:19)  4. I Want to Be Happy
(4:15)  5. Satan Takes a Holiday
(4:35)  6. All of Me
(5:24)  7. Thanks for the Memory
(3:05)  8. Blue Bossa
(4:54)  9. Somebody Love Me
(6:53) 10. Squeeze Me
(5:06) 11. The Best Thing for You Is Me
(5:54) 12. I'm Getting Sentimental Over You
(5:14) 13. Limehouse Blues
(4:05) 14. A Closer Walk With Thee
(5:15) 15. You'd Be So Nice to Come Home To

Chuck Hedges has provided jazz fans with another remarkable performance. Chuck and The Milwaukee Connection, have been growing together for many years now. This album brings to you a sense of what it’s like to hear them live at jazz festivals and in nightclubs. Listening them live is the only way to get a better sense of their vitality, musicianship and swinging excitement. https://store.cdbaby.com/cd/hedges6

Just for You

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Linda Calise - La Vie

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 37:12
Size: 86,1 MB
Art: Front

(3:51)  1. La Vie En Rose (feat. Ben Powell)
(4:01)  2. I Wish You Love
(5:33)  3. Good Morning Heartache
(3:04)  4. Dream a Little Dream
(5:10)  5. Poetry Man
(4:34)  6. Since I Fell for You
(2:57)  7. They Can't Take That Away from Me
(4:18)  8. The Water Is Wide
(3:39)  9. La Vie En Rose (Remix)

This is the amazing debut CD of artist Linda Calise, "la Vie" is a compilation of songs from the American Songbook with a French Flavor featuring a stunning version of La Vie En Rose.

"Calise sings the french lyrics with warm sophistication"...JazzTime.com

La Vie is a compilation of favorite Songs of the Artist, the album has a real french flair to it but most of the material is straight from the American Songbook. The title track of "La Vie En Rose" features Jazz violinist Ben Powell (Calise is featured vocalist on Powells latest CD "New Street", along with Gary Burton and Julian Lage). Several of the Tracks including" La Vie En Rose", "I Wish You Love", "Good Morning Heartache" and "Since I Fell For You" were arranged by Producer Joe Carrier, featuring lush strings recorded at WGBH Fraser Hall in Boston MA. On a personal note, Calise's Father is from the Montreal area in Quebec Canada and "La Vie" was recorded in memory of Calise's Mother, who used to sing the song to her in french as a child. https://store.cdbaby.com/cd/lindacalise

La Vie

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Buddy Collette - Jazz Loves Paris

Styles: Saxophone, Flute And Clarinet Jazz 
Year: 1958/2006
File: MP3@320K/s
Time: 42:26
Size: 98,0 MB
Art: Front

(2:22)  1. I Love Paris
(2:26)  2. Pigalle
(3:56)  3. La Vie en Rose
(2:52)  4. Darling, Je Vous Aime Beaucoup
(1:25)  5. Mam'selle
(3:12)  6. C'est Si Bon
(2:22)  7. Domino
(2:39)  8. Song from 'Moulin Rouge' (Where Is Your Heart)
(4:43)  9. The Last Time I Saw Paris
(2:33) 10. Under Paris Skies
(3:27) 11. Darling, Je Vous Aime Beaucoup (take 1 - alternate)
(1:30) 12. Mam'selle (take 2 - alternate)
(5:16) 13. The Last Time I Saw Paris (take 3 - alternate)
(3:38) 14. La Vie en Rose (take 1 - alternate)

Buddy Collette (switching between alto, tenor, flute and clarinet) performs ten songs associated with Paris on this 1958 session originally cut for Specialty. The CD reissue adds four alternate takes to what is still a brief program. Collette utilizes the tuba of Red Callender in some of the ensembles quite colorfully and there is solo space for trombonist Frank Rosolino, guitarist Howard Roberts and bassist Red Mitchell; Bill Douglass or Bill Richmond contribute tasteful support on drums. Such melodies as "I Love Paris," "La Vie En Rose," "C'est Si Bon" and the "Song from 'Moulin Rouge" are given concise but swinging treatment on this likable date. ~ Scott Yanow https://www.allmusic.com/album/jazz-loves-paris-mw0000269780

Personnel: Buddy Collette - alto saxophone, tenor saxophone, flute, clarinet; Frank Rosolino - trombone; Howard Roberts - guitar; Red Mitchell - bass; Red Callender - tuba, bass; Bill Douglas, Bill Richmond, - drums

Jazz Loves Paris

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Charles McPherson Quartet - Love Walked In

Styles: Saxophone Jazz 
Year: 2016
File: MP3@320K/s
Time: 52:01
Size: 120,1 MB
Art: Front

(5:43)  1. Love Walked In
(5:00)  2. The Song Is You
(4:44)  3. I´ll Take Romance
(5:24)  4. Nature Boy
(6:23)  5. Someone to Watch over Me
(4:13)  6. Bud Like
(7:32)  7. Embraceable You
(5:34)  8. Lover
(7:23)  9. Dancing in the Dark

Charles McPherson returns to the forefront of the jazz scene with Love Walked In, an album where the wisdom of this veteran and essential saxophonist is evident. Accompanied by a luxurious group of musicians that includes Bruce Barth on piano, Jeremy Brown on bass and Stephen Keogh on drums, McPherson offers a repertoire consisting mostly of jazz classics. 

This he does from his own vision, with all the weight that can be contributed to music by someone who comprises part of great jazz history and has been featured in some of its most remarkable pages. http://www.quadrantcorner.com/en/product/love-walked-in/

Personnel: Charles McPherson, Alto Sax; Bruce Barth, Piano; Jeremy Brown, Bass; Stephen Keogh, Drums

Love Walked In

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Houston Person - I'm Just a Lucky So and So

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 55:33
Size: 128,0 MB
Art: Front

(8:08)  1. Willow Weep for Me
(4:56)  2. Wonder Why
(5:48)  3. I Guess I'll Hang My Tears out to Dry
(6:58)  4. I'm Just a Lucky So and So
(6:04)  5. Who Can I Turn To
(3:31)  6. Day by Day
(4:55)  7. Alone with Just My Dreams
(4:54)  8. Song for a Rainbow
(5:02)  9. I Want to Talk About You
(5:12) 10. Next Time You See Me

Houston Person is definitely a lucky so and so blessed with a fantastic tone on the tenor sax, which he's kept strong through decades of recording at a level that makes this record every bit of a gem as some of Houston's classics from years back! The album's done in a very classic style, too Houston's tenor out front, in a combo with Lafayette Harris on piano, Matthew Parris on bass, and Kenny Washington on drums augmented by the trumpet of Eddie Allen and guitar of Rodney Jones on nearly every one of the album's selections, both great players who round out the soulful spirit of the record in a great way. All the tunes are standards mostly ballads, but handled with that subtle swing that Houston can always bring to material like this tracks that include "Wonder Why", "Willow Weep For Me", "Song For A Rainbow", "Alone With Just My Dreams", "I Want To Talk About You", "I'm Just A Lucky So & So", and "Next Time You See Me".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/924551/Houston-Person:I%27m-Just-A-Lucky-So-So

Personnel: Houston Person, tenor saxophone; Eddie Allen, trumpet;  Lafayette Harris, piano; Rodney Jones, guitar;  Matthew Parrish, bass;  Kenny Washington, drums

I'm Just a Lucky So and So

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Gretje Angell, Dori Amarilio - Gretje Angell

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 19:04
Size: 44,6 MB
Art: Front

(2:27)  1. I Love Being Here With You
(3:32)  2. Love You Madly
(2:44)  3. Deep in a Dream
(3:51)  4. Pennies from Heaven
(2:41)  5. If I Were a Bell
(3:47)  6. One Note Samba

Gretje, an Akron, OH native and the daughter of jazz drummer Tommy Voorhees, began her music adventure at the age of 5, performing with regional choirs. Interested in the Contrabasso at 8, she joined the school orchestra and jazz band. She continued to study both voice and bass through highschool, with an emphsis on classical voice. Upon entering Mount Union College, with a Vocal Performance Scholarship, she took opera as her major. However, being raised and surrounded by jazz musicians, Gretje returned to her roots when she moved to California, studying jazz and performing with some of LA's finest musicians. Gretje, whose main infulences are Anita O'Day, Chet Baker, Ella Fitzgerald, and Carmen McRae, has quickly become a favourite in the jazz clubs, here, in Los Angeles. She can currently be heard performing with guitarist/music producer, Dori Amarilio, who is producing her much-anticipated upcoming debut album. In 2013, she joined the Los Angeles Metropolitan Opera Company, and has had the great pleasure of performing Oscar in Un Ballo in Maschera, Tebaldo in Don Carlo, and the Voice of the High Priestess in Aida, Pamina in The Magic Flute and Ilia in Idomeneo.Whether she's performing jazz or using her beautiful lyric coloratura soprano voice in an opera, Gretje brings energy and light to each performance she gives. “Gretje Angell's voice is like honey on velvet” ~ Sunny Wilkinson https://musicians.allaboutjazz.com/gretjeangell

Gretje Angell

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Ben Paterson - That Old Feeling

Styles: Vocal and Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 53:28
Size: 124,8 MB
Art: Front

(5:42)  1. I'm Old Fashioned
(4:44)  2. You And The Night And The Music
(5:34)  3. Make You Feel My Love
(5:24)  4. Some Of These Days
(4:52)  5. My Ship
(4:16)  6. When I Grow Too Old To Dream
(4:17)  7. Isn't She Lovely
(5:25)  8. Say A Small Prayer
(4:53)  9. The Best Thing For You (Would Be Me)
(3:47) 10. Somewhere Over The Rainbow
(4:31) 11. Hard Times

Pianist/vocalist Ben Paterson continues the tradition of bouncy, infectious swing established by the drummerless trios of Nat 'King' Cole and Oscar Peterson, drawing upon his musical experiences in both Chicago and New York to deliver a soulful and engaging recording. Joined by longtime Benny Goodman guitarist Chris Flory and powerhouse bassist George Delancey, Ben's trio mixes sophisticated improvisation with heavy doses of the blues, ranging from well known Jazz standards to more recent popular songs. ~ Editorial Reviews https://www.amazon.com/That-Old-Feeling-Ben-Paterson/dp/B077Y9BPRZ

Personnel: Ben Paterson - Piano & Vocals; Chris Flory - Guitar; George DeLancey - Bass

That Old Feeling

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Ted And Dick Nash - The Brothers Nash

Styles: Saxophone And Trombone Jazz
Year: 2000
File: MP3@320K/s
Time: 30:18
Size: 70,8 MB
Art: Front

(2:47)  1. I Remember You
(2:38)  2. We'll Be Together Again
(2:54)  3. Juntos
(2:26)  4. Prelude To A Kiss
(2:39)  5. Bad And The Beautiful
(2:01)  6. I Could Write A Book
(2:09)  7. Back In Your Own Backyard
(2:27)  8. For Heaven's Sake
(2:34)  9. Cuban Verandah
(2:25) 10. The Nearness Of You
(3:05) 11. Night Soliloquoy
(2:08) 12. You Are Too Beautiful

Features Ted Nash on a variety of saxes, and Dick on trombone plus a group with Tony Rizzi on guitar, Jimmy Rowles on piano, Harry Babasin on bass, and Roy Harte on drums. Tracks are mostly familiar numbers, but inventively arranged by Frank Comstock and others and Ted really increases his range of reed work here, blowing on tenor, alto, and soprano sax plus flute, alto flute, piccolo, clarinet, and bass clarinet! Titles include "Juntos", "We'll Be Together Again", "I Remember You", "Cuban Veranda", "You Are Too Beautiful", "For Heaven's Sake", and "The Nearness Of You. ©1996-2019, Dusty Groove Inc .https://www.dustygroove.com

Personnel: Alto Saxophone, Tenor Saxophone, Soprano Saxophone, Baritone Saxophone, Flute, Alto Flute, Piccolo Flute, Clarinet, Bass Clarinet – Ted Nash ; Trombone – Dick Nash; Bass – Harry Babasin; Drums – Roy Harte; Guitar – Tony Rizzi; Piano – Jimmy Rowles

The Brothers Nash

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Lighthouse All Stars - The Lighthouse All Stars Plus Ten: Jazz Rolls Royce

Styles: West Coast Jazz
Year: 2015
File: MP3@320K/s
Time: 44:53
Size: 103,8 MB
Art: Front

(8:33)  1. Strike up the Band
(4:36)  2. Prelude to the Queen
(7:38)  3. The Clown's Dance
(5:39)  4. Coop Salutes the "Co-Op"
(8:47)  5. Bruinville, My Bruinville
(9:38)  6. Mambo Del Quado

“Jazz Rolls Royce” features classic West Coast big band jazz from the stars that were the house band at The Lighthouse, the famed Los Angeles jazz venue that served as a breeding ground for jazz greats in the late 1950’s. 

Featured West Coast jazz luminaries include Howard Rumsey (bass); Bob Cooper (tenor saxophone); Frank Rosolino (trombone); Stu Williamson (trumpet); Victor Feldman (piano, vibraphone), Stan Levy (drums); Pete Candoli (trumpet); Al Porcino (trumpet); Ed Leddy (trumpet); George Worth (trumpet); Milt Bernhart (trombone); Red Callender (tuba); Hoyt Bohannon (trombone); Marshall Cram (bass trombone) and Larry Bunker (tympani, vibraphone). Originally released in 1958, this rare audiophile recording has been newly remastered. ~ Editorial Reviews https://www.amazon.com/Jazz-Rolls-Royce-Digitally-Remastered/dp/B00PLYTI62

The Lighthouse All Stars Plus Ten: Jazz Rolls Royce

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Alan Barnes - Songs for Unsung Heroes

Styles: Clarinet, Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 73:33
Size: 171,3 MB
Art: Front

(7:21)  1. Blue Note
(5:25)  2. Throwing out the Vinyl Blues
(3:39)  3. Waltz for Sonny
(6:59)  4. Slim's Chicken
(6:28)  5. The Ballad of Miles Davis
(4:33)  6. The Motorway Jump
(5:04)  7. The Power of Prez
(7:52)  8. Love Song for a Slob
(4:59)  9. The Rhythm Method
(5:37) 10. Rhyme Time
(5:03) 11. Dinner Jazz
(4:28) 12. Swallows on the Water
(6:00) 13. Everybody's Got to Be Somewhere

This is the UK sax and clarinet virtuoso Alan Barnes, with lyricist and playwright Alan Plater, on a collection of songs accompanied by a hellraising British octet fronted by singer Liz Fletcher. Plater is a witty writer, and the songs (one of which castigates the elevator-music vapidities of smooth-jazz) are diverting enough. But it's hard not to feel that this fine band left to itself might not have made a more evocatively ambiguous job of conjuring up memories of Lester Young, Sonny Criss etc. Barnes is scaldingly brilliant, trumpeter Bruce Adams unleashes some mind-boggling Maynard Fergusonisms, and the whole ensemble rockets along. Liz Fletcher is a little demure, but those who enjoy a straightahead jazz/cabaret vibe with some fierce playing will get plenty out of it. ~ John Fordham https://www.theguardian.com/music/2004/aug/13/jazz.shopping2

Personnel:  Alan Barnes - baritone, bass clarinet; Liz Fletcher - piano; Bruce Adams - trumpet, flugelhorn; Stan Sulzmann tenor alto, flute; Robert Fowler - tenor clarinet; Mark Nightingale - trombone; Brian Dee - piano; Simon Thorpe - acoustic bass, guitar; Clark Tracey - drums, percussion

Songs for Unsung Heroes

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Florence Joelle - Life Is Beautiful

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 33:11
Size: 76,6 MB
Art: Front

(3:20)  1. Angel's Child
(3:05)  2. Si Tu Savais
(4:00)  3. Life Is Beautiful
(3:16)  4. Sleepy Eyes
(2:54)  5. Chez Moi
(3:16)  6. One Step Forward
(3:22)  7. Two and Two Don't Make Five
(3:05)  8. Here Comes the Lady
(4:17)  9. Johnny Tu N'es Pas Un Ange
(2:31) 10. Wake Up Swinging

The Paris-born, London-based singer, songwriter and harmonica player returns with her third offering, 'Life Is Beautiful'. Recorded straight to tape on analogue equipment and mixed in mono at Gizzard Recording Studios, the album exudes warmth and authenticity. 'Life is beautiful, baby. If you let it'. That's what Jimmy Scott, the legendary jazz singer, used to tell her. She wrote those words down and for years she kept them in her purse to remind herself. After he died in 2014 she wrote this song for him. 'Life is Beautiful', in fact, is her most jazz-focused album to date. But though many of these ten new songs sound like classics, seven of them are Joelle originals. ~ Editorial Reviews https://www.amazon.com/Life-Beautiful-If-You-Let/dp/B01GKJN6M8

Life Is Beautiful

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Herbie Hancock - Sunlight

Styles:  Piano Jazz
Year: 1978
File: MP3@320K/s
Time: 39:20
Size: 90,8 MB
Art:

(8:55)  1. I Thought It Was You
(8:24)  2. Come Running to Me
(7:10)  3. Sunlight
(6:18)  4. No Means Yes
(8:32)  5. Good Question

After Man-Child, alas, Herbie Hancock's American jazz-funk records in the 1970s grew gradually more commercial, less stimulating, and crucially, less truly funky with each release, even as his equipment rack grew larger. Just take a look at the staggering collection of keyboards on the back cover of the Sunlight LP all sought-after collectors' items now yet Hancock makes so little use of their possibilities here. For much of the album, he seems most interested in establishing a new career as an electronic vocalist. "I Thought It Was You," "Come Running to Me," and the title track introduce the ghostly, gauzy sound of Herbie's singing voice as heard through a vocoder; there's even an electronic Herbie scat choir. Stevie Wonder, he's not. There are still occasional splashes of Hancock harmonic color on the keyboards, but he also relies upon superfluous, self-arranged brass riffs and string backgrounds. The backup bands shift from track to track, from combinations of Headhunters alumni that offer soft-focused facsimiles of the old funk drive to a surprisingly strait-jacketed pairing of Tony Williams and Jaco Pastorius on the eccentric "Good Question." ~ Richard S.Ginell https://www.allmusic.com/album/sunlight-mw0000473390

Personnel:  Herbie Hancock – keyboards, synthesizers, lead and background vocals (through vocoder) (1–3), string, brass and woodwind arrangements; Patrick Gleeson – additional synthesizers (5); Bennie Maupin – soprano saxophone solo (3); Wah Wah Watson, Ray Parker, Jr. – guitar (1, 3); Byron Miller (1), Paul Jackson (2–4), Jaco Pastorius (5) – electric bass; Leon "Ndugu" Chancler (1), James Levi (2, 3), Harvey Mason, Sr. (4), Tony Williams (5) – drums; Raul Rekow (exc. 3), Bill Summers (exc. 1) – percussion; Baba Duru – tabla (2); Bobby Shew, Maurice Spears, Robert O'Bryant, Garnett Brown – brass (exc. 4); Ernest J. Watts, Fred Jackson, Jr., Jack Nimitz, David Willard Riddles – woodwind (2, 5); Terry Adams, Roy Malan, Nathan Rubin, Linda Wood, Emily VanValkenburgh – strings (2)

Sunlight

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Harold Danko - Stable Mates

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 74:00
Size: 170,3 MB
Art: Front

(8:20)  1. Con Alma
(6:37)  2. Quietude
(8:46)  3. Windows
(8:06)  4. Gingerbread Boy
(9:41)  5. Dolphin Dance
(4:08)  6. Solar
(6:08)  7. Seven Steps to Heaven
(7:32)  8. Nostalgia in Times Square
(6:21)  9. Line for Lyons
(8:17) 10. Stablemates

It’s a shame that we see so little press for those few working bands currently in existence. It’s bad enough that money and schedules make it difficult to keep any kind of firm line-up in place for very long, making such business enterprises almost unviable these days. Little beyond their developing catalog of SteepleChase sides seems to suggest that the Harold Danko Quintet will be taking the world by storm any time soon, yet the group happens to be of the first rank when it comes to the kind of sympathetic and empathetic ensembles that were almost the norm back in the ‘50s and ‘60s. Together for most of the ‘90s, the Danko Quartet’s fifth set for SteepleChase, Stable Mates, gathers a selection of the type of tunes many developing jazz artists have used to cut their teeth on over the years. The Miles Davis connection is a strong one too, with “Solar” and “Seven Steps to Heaven” on tap, as well as classics from former Davis sidemen Chick Corea, Herbie Hancock, Victor Feldman, and Jimmy Heath. The sign of a group certain in its abilities and identity, there’s a sense of relaxed confidence that permeates. As a result, the previously mentioned “Seven Steps to Heaven,” which in lesser hands can merely be a lessen in pure speed, bounces at a medium tempo with the support of bassist Scott Colley’s well-placed “steps”. Saxophonist Rich Perry distinguishes himself once again with a liquid tone and seamless technique, the perfect match to Danko’s refined lyricism. Stable mates, band mates, whatever the terminology, the Harold Danko Quartet proves again that it’s all in the chemistry. ~ C.Andrew Hovan https://www.allaboutjazz.com/stable-mates-harold-danko-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Harold Danko- piano, Rich Perry- tenor saxophone, Scott Colley- bass, Jeff Hirshfield- drums

Stable Mates

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Christian McBride - A Family Affair

Styles: Jazz, Post Bop
Year: 1998
File: MP3@320K/s
Time: 65:58
Size: 152,7 MB
Art: Front

(6:59)  1. I'm Coming Home
(4:40)  2. A Dream Of You
(6:42)  3. Family Affair
(6:59)  4. Theme From Our Fairy Tale
(5:42)  5. ... Or So You Thought
(6:42)  6. Summer Soft
(6:17)  7. Brown Funk (For Ray)
(9:29)  8. Open Sesame
(7:32)  9. Wayne's World
(4:51) 10. I'll Write A Song For You

At 26, bassist Christian McBride qualifies for the "young lion" tag. His visibility has been enhanced by appearances on Robert Altman's film Kansas City, Clint Eastwood's Eastwood After Hours, Diana Krall's Love Scenes, the compilation Upstairs at Melrose Place, John Pizzarelli's Dear Mr. Cole, and Joshua Redman's MoodSwing. Moreover, his experience with Randy Weston, Freddie Hubbard, T.S. Monk, Chick Corea, McCoy Tyner, and organist Jimmy Smith has demonstrated McBride's mainstream roots to the jazz-listening public. The bassist wrote half the selections on this album, including the lyrics to "A Dream of You" and "...Or So You Thought." Most tracks feature the quartet of tenor saxophonist Tim Warfield, pianist Charles Craig, bassist McBride, and drummer Gregory Hutchinson. Like the music at a family get-together, McBride splits the session between R&B "fun music" and his straight-ahead acoustic ensemble. The leader begins Stevie Wonder's "Summer Soft" with the bowed acoustic bass but soon switches to the electric model and offers the pop tune with back beat and quiet repetition. Sly Stone's "Family Affair" places the acoustic quartet in the spotlight as the ensemble marches deliberately and takes turns at the solo mic. The toe-tapping music swings deliciously and is presented in a variety of different formats. Earth, Wind & Fire's "I'll Write a Song for You" is performed by the duo of Russell Malone on acoustic guitar and McBride on bowed bass. Together, they offer a lovely ballad with attention paid to the lyrical nature of the tune. Kool and the Gang's "Open Sesame" is performed as an arrangement that allows the dramatic intensity to leap out. Hutchinson and Craig, particularly, stretch out freely. McBride's composition "Wayne's World" follows with more drama. Together, these two tracks achieve what the leader intended when he put this session together: he's combined daring straight-ahead ideas with enjoyable and familiar R&B. ~ Jim Santella https://www.allaboutjazz.com/a-family-affair-christian-mcbride-verve-music-group-review-by-jim-santella.php

Personnel: Christian McBride: acoustic bass, electric bass; Charles Craig: piano, electric piano, synth; Tim Warfield: tenor saxophone; Gregory Hutchinson: drums; Russell Malone: acoustic guitar, electric guitar; Munyungo Jackson: percussion; Vintage Keys: synths; Will Downing, Vesta: vocals.

A Family Affair

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Mariachi Brass, Chet Baker - Hats Off

Styles: West Coast Jazz, Trumpet Jazz
Year: 1966/2013
File: MP3@320K/s
Time: 29:34
Size: 68,6 MB
Art: Front

(1:57)  1. Happiness Is
(2:32)  2. Sure Gonna Miss Her
(2:44)  3. Bang Bang (My Baby Shot Me Down)
(2:47)  4. The Phoenix Love Theme (Senza Fine)
(2:56)  5. These Boots Are Made for Walkin'
(2:06)  6. On the Street Where You Live
(2:34)  7. Armen's Theme
(2:22)  8. Spanish Harlem
(1:57)  9. Chiquita Banana
(2:16) 10. When the Day Is All Done (Foyo)
(2:40) 11. You Baby
(2:39) 12. It's Too Late

A short detour in the 60s career of Chet Baker one that we sure like a heck of a lot! This side is one of a couple that were recorded as an answer to the big success of Herb Alpert & The Tijuana Brass with Chet's trumpet was backed by jaunty, brassy arrangements penned by Jack Nitzsche, and George Tipton. And while it might be easy to dismiss the tunes as copycat sound-a-likes, they're really not  as Nitszche brings in a much fuller groove to most of the numbers than Herb Alpert ever did more of a sunny LA pop feel that has the whole group really gliding along on bold waves of sound all topped off by Baker's horn sounding stronger and more confident here than on many of his other recordings of the 60s! Some numbers have a Latin undercurrent while others lean towards mainstream pop a style that's bolder than A&M's approach to Tijuana and one that explodes with some youthful LA energies! 12 tracks in all, including "Happiness Is", "Bang Bang (My Baby Shot Me Down)", "The Phoenix Love Theme (Senza Fine)", "On The Street Where You Live", 'Armen's Theme", "You Baby" and "It's Too Late".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/471711/Mariachi-Brass-with-Chet-Baker:Hats-Off

Personnel:  Chet Baker - flugelhorn; The Mariachi Brass; Jack Nitzsche (tracks 5, 9 & 11), George Tipton (tracks 1-4, 6-8, 10 & 12) - arranger, conductor

Hats Off

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Miryam Latrece - Una Necesidad

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 29:31
Size: 68,3 MB
Art: Front

(3:05)  1. Lo Que Pienses de Mi.mp3
(1:24)  2. Soaba.mp3
(3:18)  3. Dónde Estás
(5:00)  4. Quiero Verte
(3:35)  5. En el Lago
(4:22)  6. Madre No Llores
(3:30)  7. Una Necesidad
(3:11)  8. No Lo Sabe
(4:55)  9. Cada Día
(1:35) 10. Outro (Madre No Llores)

Born in Madrid in 1991, the singer-composer began showing her passion for music & dance at a very early age, and especially her vocal talent. She received training in classic Spanish dance and spent hours dedicated to vocal studies on a self-teaching basis, learning repertoires of different styles; although her  true vocation she found in black music. on a self-teaching basis. At the age of seventeen she joined the popular underground band Akatupower, where she began developing her career as a vocalist. During the following five years the band released two discs, achieving several awards and performing at known music festivals. Towards the end of the year 2013, Miryam felt the “need” to take a step to further her career, and left the band to start one as a solo artist. Since then she hasn’t stopped to work on that level, topping the bill on programmes at the main clubs in Madrid (Bogui Jazz, Cafe´ Berli´n, Cafe´ Central & Clamores) and also at some festivals (Yecla & Aranjazz). She released her first album at the beginning of 2016, titled Una necesidad, co-produced with ‘Estudio Uno’. 

In addition, she collaborated with other groups, such as Gospel Factory, Michael Olivera Group and accompanied other artists as a backing singer. Her second disc, Quiero cantarte, is a journey along different cultures and musical influences, created from the love & admiration of the work by Lole & Manuel, Serrat, Djavan and Camaro´n, among others. The accompanying musicians on the disc were pianist Marco Mezquida, contrabassist Pablo Marti´n Caminero and drummer & producer Michael Olivera. http://www.canariasjazz.com/en/portfolio/miryam-latrece-cuarteto/
 

Personnel: Miryam LaTrece: Voice; Michael Olivera: Drums; Daniel García Diego: Piano; Pablo Martín Caminero: CBass

Una Necesidad

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Hossam Ramzy and Pablo Carcamo: Latin American Hits for Bellydance

Styles: Jazz Fusion, Latin
Year: 2000
File: MP3@320K/s
Time: 43:34
Size: 101,2 MB
Art: Front

(4:51)  1. Cachita
(4:10)  2. Palo Palito
(4:19)  3. Guantanamera
(4:23)  4. El Porompompero
(5:00)  5. Cielito Lindo
(3:30)  6. La Malagueña
(3:01)  7. Besame Mucho
(3:50)  8. La Cucaracha
(3:46)  9. La Bamba
(6:38) 10. Arabia Azteca

This fusion between Arabia and Latin America is as old as history itself. The Arabs & the Moors occupied Spain and Portugal for over 700 years. Adding influences from their music that filtered down to the newly discovered lands of the true Americas where we now have the Salsa, Samba and Afro-Cuban styles coming back to us in a new fresh way. 

Hossam Ramzy & Pablo Carcamo, two of the world’s top known exponenets of musical fusion bring you this collaboration of Egyptian and Latin American Hits for Belly Dance…. http://www.hossamramzy.com/product/latin-american-hits-for-belly-dance-_-hossam-ramzy-pablo-carcamo/

Hossam Ramzy and Pablo Carcamo: Latin American Hits for Bellydance

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Ethan Iverson - Live At Smalls

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 65:52
Size: 152,4 MB
Art: Front

( 7:39)  1. Night and Day
( 3:59)  2. Chronology
( 5:07)  3. Theme From "Mr. Bean"
( 8:01)  4. The Look of Love
( 7:20)  5. Have You Met Miss Jones?
(10:43)  6. In Love in Vain
( 8:26)  7. How High the Moon
( 8:32)  8. You've Changed
( 6:01)  9. Blues Coda

Pianist Ethan Iverson and tenor saxophonist Bill McHenry focus on quirky readings of standards in this co-led band, which they've unofficially named "Sub-Standard." The quartet is completed by bassist Reid Anderson and drummer Jeff Williams, both of whom supply a kind of perpetually off-kilter rhythmic feel underneath the two adventurous soloists. The music's in tempo, but not quite Anderson rarely walks a bassline, for instance, instead reacting to the entire band in unpredictable ways. Loosely speaking, on records this style has been Iverson's calling card more than McHenry's, although the tenorist has no problem fitting right in. Recorded live at Smalls in New York, the album boasts a good, intimate sound. The band begins with a loopy Latin treatment of "Night and Day," and proceeds to offer similarly off-the-wall readings of "Have You Met Miss Jones" and "How High the Moon," making a point of deforming these played to death vehicles. In a more rueful mood, they render the lesser-known standard "In Love In Vain" and the ballad "You've Changed." McHenry's entrance on the latter is so exquisitely high and soft that it could be mistaken for a flute. The more unusual repertoire choices are Howard Goodal's "Theme from 'Mr. Bean,'" which oddly enough sounds like something Bill McHenry would write, and Burt Bacharach's "The Look of Love," played with a satisfying faithfulness to the written melody. Closing the set is McHenry's "Blues Coda," which, along with Ornette Coleman's "Chronology," represents the most modern portion of the set, at least in authorial terms. But Iverson and McHenry do all they can to make everything even the moldiest standard sound modern, in their distinctive sense of the term. ~ David R. Adler https://www.allmusic.com/album/live-at-smalls-mw0000114938

Personnel: Piano – Ethan Iverson; Double Bass – Reid Anderson; Drums – Jeff Williams; Tenor Saxophone – Bill McHenry

Live At Smalls

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Freddie Slack - Freddie Slack & His Orchestra

Styles: Jazz, Big Band
Year: 2006
File: MP3@320K/s
Time: 54:35
Size: 127,1 MB
Art: Front

(4:07)  1. Introduction / Riffette
(4:09)  2. Don't Ever Change
(3:33)  3. Slightly Barbaric
(2:43)  4. Furlough Fling
(4:39)  5. Harlem Debutant
(3:50)  6. Dubonnet
(4:19)  7. Loose Wig
(3:43)  8. A Small Batch Of Nod
(4:14)  9. Come Jump With Me
(4:00) 10. Sweet Sorrow
(5:23) 11. Body And Soul
(3:01) 12. I've Heard That Song Before
(3:11) 13. Southpaw Serenade
(2:31) 14. Brazil
(1:06) 15. Strange Cargo

Originally a drummer, he switched to piano soon after moving to Chicago in 1927. Slack worked early on with Johnny Tobin. After moving to Los Angeles in 1931, he appeared with bands led by Henry Halstead, Earl Burtnett, Archie Rosate, and Lennie Hayton. Slack gained some recognition for his playing with Ben Pollack (1934-1936) and Jimmy Dorsey (1936-1939). As a key piano soloist with Will Bradley & His Orchestra during 1939-1941, Slack was well showcased on the famous recording of "Beat Me Daddy, Eight to the Bar" that helped launch the boogie-woogie fad. Slack was a key voice on many other Bradley recordings in the same vein; he also played quite effectively on some Big Joe Turner records. In 1942 Slack formed his own orchestra, which soon scored with the very successful "Cow Cow Boogie" and "Strange Cargo." Initially featuring singer Ella Mae Morse, for a short time Freddie Slack & His Orchestra were one of the more popular swing big bands, appearing in several films and recording for Capitol during 1942-1947. Freddie Slack was based in California in the 1950s and '60s, but he faded from the spotlight at the end of the 1940s, recording a final small-group album for EmArcy in 1955. ~ Scott Yanow https://www.allmusic.com/artist/freddie-slack-mn0000183083/biography

Freddie Slack & His Orchestra

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Mark Turner - In This World

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 60:26
Size: 139,7 MB
Art: Front

(7:33)  1. Mesa
(7:18)  2. Lennie Groove
(8:02)  3. You Know I Care
(6:48)  4. The Long Road
(6:45)  5. Barcelona
(7:56)  6. In This World
(5:02)  7. Days of Wine and Roses
(4:45)  8. Bo Brussels
(6:13)  9. She Said, She Said

A horde of promising young sax players has emerged in the 1990s, but only a few players have begun to find their voices. Mark Turner is one young saxman whose Muse has kept pace with his talent. The 33-year-old tenor saxophonist leads a band of clever young musicians on this thoughtful release, his second for Warner Brothers. Turner has developed a unique style inspired by John Coltrane's modal flights and Warne Marsh's unpredictable chordal experiments. This time Turner delivers six originals and three covers, and each track is energized by the incredibly powerful presence of Brad Mehldau on piano. In This World offers complicated music, a point that's reinforced by Mehdlau's pedantic liner notes. Take the pianist's description of the opening track, entitled "Mesa:" "Opting for mediant relationships instead of dominant-tonic, and casting a mixolydian blur on the dominant seventh chord with the added fourth, he (Turner) conjures a world of half-lights and shadows, filled with achy, suffused longing." Translation: "Mesa" is an ethereal piece that evokes a desert. Complex as these songs are, there is also something inherently tranquil about them. Unlike the majority of young reed players, Turner is not so intent on dazzling us with technique. He's smart enough to be subtle, and his vision takes in the total ensemble. Most of his solos sound like conversations rather than monologues, and most are played at the high end of the tenor sax register. Like Coltrane, Turner started out on alto before he switched to tenor. The young saxman has a very warm tone and an almost spiritual feel for his instrument, qualities that have earned him great respect among his peers. It's telling that Joshua Redman played on his debut ( Mark Turner ) released earlier this year, and that the great James Moody teamed with him on the excellent Warner Jams, Volume Two in 1997. 

Now he's landed Mehldau, the hottest young pianist in jazz. Perhaps owing to the time the two spent together in the TanaReid band, the rapport between Mehldau and Turner seems almost telepathic. They snake their way through this Trane-like terrain with inspired synergy. Dexterous support is provided by Larry Grenadier on bass and New Orleans native Brian Blade on drums. The latter is an intense musician who contributes ambience as well as rhythms. Drummer Jorge Rossy also plays on two cuts, while inventive guitarist Kurt Rosenwinkel appears on three. Besides "Mesa," highlights among the nine tracks include "You Know I Care," a beautiful ballad written by Duke Pearson; "Days of Wine and Roses," which is given a fast-paced treatment; "The Long Road," a multi-hued piece and one of three cuts that feature Mehldau on electric piano; and "Bo Brussels," a wild free-form improvisation. "Lennie Groove" is derived from Lennie Tristano's "Lennie's Pennies," and it showcases some incredibly complex interplay between Turner and Mehldau and intriguing solos by each. My favorite track is "Barcelona," a Turner original that swings in noble fashion. The title track includes a gorgeous serpentine duet between Turner and Rosenwinkel. A cover of the Beatles' "He Said, She Said" even has a Ringo-like back beat. Mark Turner stands with James Carter, Joshua Redman and Chris Potter as one of the most talented  and focused  post-bop saxophonists to emerge in the 1990s. While casual jazz fans might find In This World a difficult listen, anybody who's into Coltrane, Tristano, or Marsh should really dig it. ~ Ed Kopp https://www.allaboutjazz.com/in-this-world-mark-turner-warner-bros-review-by-ed-kopp.php

Personnel:  Mark Turner – tenor saxophone; Brad Mehldau – piano, electric piano; Kurt Rosenwinkel – guitar; Larry Grenadier – bass; Brian Blade – drums; Jorge Rossy – drums

In This World

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Wendy Luck - Stand Up

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 39:18
Size: 90,5 MB
Art: Front

(3:42)  1. Stand Up
(3:37)  2. What's Freedom For
(3:24)  3. My God Is Love
(3:39)  4. You Cheer for Me
(3:40)  5. My House
(4:35)  6. Mercy More
(4:26)  7. You'll Be There
(4:44)  8. I Love You
(3:18)  9. Amazing Grace
(4:07) 10. Ave Maria

It was another very gray, dreary, not yet spring morning as I headed out the door decked with my headset in place. I was headed for the subway, beginning to familiarize myself with the song, Stand Up, in preparation for my upcoming recording session. I got on the C train, and on this day, the “C” stood for crowded. I locked eyes with an old man sitting on the train leaning on his cane. In my earbuds only, I heard the lyrics urging, “Stand up ... Stand up.” Suddenly the man stood up and said, “I am going to stand up. You sit.” I sat down and looked up and into the eyes of a weary pregnant woman in her last weeks. The lyrics again danced in my earbuds ... “Stand up ... Stand up.” This time I stood up and waved her into my seat. She sat, and pretty soon a number of passengers started smiling, laughing, and standing up, offering their seats to others on the subway car. As the train pulled into my stop at Times Square, a few of us got off, smiling like old friends. We had connected by standing up together. On that initially dreary morning, the music, as soundtrack to my life, seemed to magically transform me and somehow those around me, with a sparkling inspiration to stand up for ourselves and for others, and to have some fun in the process. It happened in New York City, so it can happen anywhere. Thank you for the opportunity to share my music with you. This album of songs is about “standing up” while connecting with the joy, passion and love that resides within each of us. The title song, Stand Up, offers a universal message and for me, a unique deeper personal meaning. May the music speak to you, bless you, lift you, and encourage you to stand up to the beautiful truth of who you really are. Peace and blessings, Wendy https://store.cdbaby.com/cd/wendyluck2

Stand Up

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John Hicks, Frank Morgan - Twogether

Styles: Piano And Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 57:22
Size: 132,0 MB
Art: Front

(8:22)  1. Parisian Thoroughfare
(8:23)  2. Night in Tunisia
(8:39)  3. My One and Only Love
(8:04)  4. Is That So?
(8:58)  5. Round Midnight
(8:00)  6. N.Y. Theme
(6:53)  7. Passion Flower

The passing of pianist John Hicks and altoist Frank Morgan within a year of each other was a sad blow to the High Note roster and the jazz community writ large. Both men had enjoyed a late career renaissance via the label and Morgan, in particular, experienced an artistic renewal through a series of critically-acclaimed recordings capped by a three-volume document of a stand at The Jazz Standard. This set is something of a posthumous swan song for each player, coupling pieces from a duo performance at the Jazz Bakery in Los Angeles, November of 2005 with selections from a solo Hicks recital roughly a year later. Pun-saddled titled aside, the program delivers tradition-savvy post-bop plied by experts of the form. The tracks unfold in an ear-pleasing sandwich sequence with solo cuts bracketing a pair of duo pieces on either side of the program. Hicks’ solo investigations, starting with a rollicking rococo investigation of Bud Powell’s “Parisian Thoroughfare”, accord him the freedom to range through themes and variations at an easygoing pace with plenty of space for loquacious elaboration. All of the pieces save the closing solo rendering of “Passion Flower” ring in near the eight-minute mark and that last still clocks generously just shy of seven. Sound on both dates is intimate and faithful in the capture of twosome’s toothsome conversations. Compared with the introspective cast of Hicks’ solo ventures, the numbers with Morgan convey an even greater degree of urgency and complexity. “A Night in Tunisia” gives Hicks’ left hand a strenuous work out in the construction of romping chords, Morgan slipping and sliding through elisions on the familiar theme in aerated tone that approaches Paul Desmond territory. Hicks follows his partner’s extended statement with a delightful stride-inflected foray stamped with staggered switchbacks and a dizzying rhythmic pliability that primes the audience for the altoist’s lissome return and a handful more melodic permutations. The choice of “’Round Midnight” would appear to pull the partnership even further into the realm of jazz orthodoxy, but instead they effectively underscore why it remains a perennial favorite for improvisers the world over through an elegant cerulean deconstruction. By contrast, Kenny Dorham’s bop-structured “N.Y. Theme” trades strictly in fun fisticuffs between the partners, Hicks’ hands building decorous layered chords as Morgan lets fly his inner-Bird with unabashed brio. The music of Hicks and Morgan is now a regrettably finite commodity, but their shared artistic import remains undiminished in this delightful meeting between justly-venerated musical souls. https://news.allaboutjazz.com/john-hicks-and-frank-morgan-twogether-high-note.php?width=1920

Personnel: John Hicks – piano; Frank Morgan – alto sax (tracks 2, 3, 5, 6)

Twogether

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Larry Coryell - The Dragon Gate

Styles: Guitar Jazz
Year: 1989
File: MP3@320K/s
Time: 43:23
Size: 101,2 MB
Art: Front

(3:42)  1. The Dragon Gate
(3:00)  2. Giant Steps
(3:43)  3. Sunset On Soweto
(4:11)  4. West Coast Blues
(4:38)  5. Molly's Lament
(4:41)  6. Back Bay Blues
(3:45)  7. And She Loved Him
(7:21)  8. Bottleneck Blackout
(3:24)  9. Things Ain't What They Used To Be
(4:52) 10. Snow Prince

This is a strong jazz-oriented date that features Larry Coryell exclusively on acoustic guitar, playing two standard blues unaccompanied, using one or two overdubs on six other tracks and performing a pair of duets with fellow guitarist Stefan Grossman. The music covers a bit of ground from a superior version of "Giant Steps" and tributes to Wes Montgomery and Duke Ellington to some introspective originals, one of which hints at Bob Dylan. The original LP issue also includes a 16-page pamphlet with transcriptions (for guitar) of each of the melodies except "Giant Steps." Recommended, especially to guitarists and those who primarily associate Larry Coryell with fusion. ~ Scott Yanow https://www.allmusic.com/album/dragon-gate-mw0000654926

The Dragon Gate

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Herbie Hancock - Maiden Voyage

Styles: Piano Jazz 
Year: 1965
File: MP3@320K/s
Time: 42:05
Size: 96,8 MB
Art: Front

( 7:57)  1. Maiden Voyage
( 6:01)  2. The Eye Of The Hurricane
( 8:47)  3. Little One
(10:03)  4. Survival Of The Fittest
( 9:16)  5. Dolphin Dance

Over the past forty-nine years there's been no shortage of ink spilled extolling the musical virtues of Herbie Hancock's 1965 recording, Maiden Voyage. Featuring the great trumpet of Freddie Hubbard and the bracing tenor of George Coleman, the record is as good as any effort turned in by Hancock during that period. It's a record every jazz fan should know. Unfortunately, Maiden Voyage also has a long standing reputation for mediocre sound quality. In another review of an expensive vinyl re-release of this record I wrote, "There is nothing to be gained by a first-class analogue pressing of a record that, sadly, was not recorded with the attention to sound quality that it deserved." In my record collection, the smeared quality of every instrument is prominent on a recent CD issue and the aforementioned double 45RPM LP, and an original 1965 vinyl copy while less smeared sounds flat and dull. I acquired each of these disks successively in a quest to find a truly good sounding copy of this date, and was disappointed each time. With that many different versions revealing similar deficiencies it's easy to conclude that this record just wasn't very well recorded in the first place.  All Rudy Van Gelder recordings from the 1950s and 60s have a certain period quality to them. Hard-panning instruments to the left and right channels creates an unnatural soundstage environment. Horns brass and woodwinds generally fare the best, with full-sized scale, realism, and even air surrounding the players (in some cases they're quite extraordinary). Drums and bass are also pretty good. The piano, however, has long been criticized for often sounding small, muffled and indistinct. 

That piano alone makes almost any Van Gelder recording instantly recognizable as such. For whatever the reason, other copies of Maiden Voyage seemed to suffer the additional indignity of an even more deeply truncated piano, blurring of the other instruments, and a collapsed soundstage that sounds as though it had been recorded in a closet. It's never sounded as good as it should have for the quality of its music, making it a frustrating record to love. So when Ron Rambach of Music Matters announced that he was shipping his 33rpm version of Maiden Voyage the first thing that sprung to mind was, "Why bother? It's been done to death and it never gets any better." I stuck it on a shelf without even opening it until Rambach followed up with several emails insisting that I listen to it. Finally relenting, I tossed it on the turntable with absolutely no expectation of being impressed. What else could I possibly hear in this fourth copy that I hadn't already heard in the first three? Boy, was I wrong. It is said that the original master tape for this date has deteriorated significantly over the years, making a truly great 1st generation analog copy supposedly impossible. Yet here it is. Rambach is pretty relentless about getting great sound out of his Blue-Note re-releases, but given its history the sound quality on this pressing is truly surprising. 

The smearing is gone, the instruments are distinct, the soundstage has actual depth that doesn't exist even on my original copy, and most impressively, the piano sounds like an actual piano: large(er. It's still a Van Gelder, after all.), weighty, and dynamic. The horns sound life-like and detailed, Ron Carter's bass has woody pluck, and Tony Williams' drums have resonance while the cymbals shimmer in space. Perhaps the only thing missing in comparison to the best Van Gelder Blue Notes is the scale of the instruments, which on certain recordings can be almost bigger than life. Here, they lack any vertical height, leaving them to sound a little small in a very wide soundstage, a minor quibble on an overall excellent mastering job from a troublesome tape. As usual with the Music Matters releases, the vinyl is dead quiet, which helps more detail emerge from the recording. Whatever hi-fi mojo Rambach and mastering Engineer Kevin Gray used to get this sound off that tape and onto new vinyl, it should be bottled and shipped to every recording engineer in the world. Maiden Voyage has always been musically first-rate, but I'd written off this recording as sonically dead years ago. It's been brought back to life in the most dramatic way. It's still a Van Gelder recording of course, and it sounds like one, with all of the period sonic hallmarks that entails, but now it sounds like a solidly good Van Gelder recording instead a botched job. I've often wondered, "What if Maiden Voyage had actually been recorded properly?" This Music Matters 33rpm pressing is the answer writ large. With sincere apologies to Rudy Van Gelder, this turns out to have been a pretty darned good recording after all. 

~ Greg Simmons https://www.allaboutjazz.com/maiden-voyage-herbie-hancock-blue-note-records-review-by-greg-simmons 7952.php

Personnel: Herbie Hancock: piano; Freddie Hubbard: trumpet; George Coleman: tenor saxophone; Ron Carter: bass; Tony Williams: drums.

Maiden Voyage

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Julie Budd - They Wrote the Songs

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 31:30
Size: 72,8 MB
Art: Front

(4:12)  1. Home
(4:06)  2. Love Me Do
(5:07)  3. Perfect
(4:13)  4. Let Me Try Again
(4:33)  5. Kindred Spirits
(8:05)  6. Newley Medley: Who Can I Turn To , What Kind Of Fool Am I / For Once in a Life Time / If I Ruled the World
(1:11)  7. Reprise Home

This Long awaited CD from one of Americas leading vocalists, is finally here. Every song selection is straight from the heart , delivering dramatic performances that will leave you breathless. These are the Songs Of our generation, contemporary , but yet classic material , written by some of the greatest songwriters of our time. Such as , The Beatles, Ann Hampton Callaway, Anthony Newley & Leslie Bricusse , and many more. Performed by a dynamic and premier Artist. This is a Cd you'll listen to forever. https://store.cdbaby.com/cd/juliebudd

They Wrote the Songs

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Jenny And The Mexicats - Ten Spins Round the Sun (10 Year Anniversary Album)

Styles: Flamenco, Jazz   
Year: 2018
File: MP3@320K/s
Time: 69:31
Size: 162,9 MB
Art: Front

(3:26)  1. Starting Something
(3:29)  2. Verde Más Allá
(2:56)  3. Me and My Man
(3:16)  4. Duele al Caminar
(2:54)  5. Frenético Ritmo
(3:11)  6. On the Hill
(2:56)  7. Why Why
(3:20)  8. Me Voy a Ir
(4:55)  9. The Song for the UV House Mouse
(3:28) 10. Aprendimos
(2:52) 11. La Diabla
(3:03) 12. Labios - Live
(3:17) 13. Boulevard
(2:22) 14. Born in the City
(4:06) 15. Head in My Heart
(5:27) 16. La Primera Despedida - Deep Inc. Vocal Remix
(3:35) 17. Heaven Knows
(3:05) 18. Tanto Tiempo - Live
(3:39) 19. La Bruja
(4:04) 20. Back to Basics

Jenny and the Mexicats, previously known as Pachucos y la Princesa, is a multicultural band composed of English trumpeter and singer Jenny Ball, Spanish percussionist David González Bernardos, and Mexicans Pantera Mexicat on guitar and Icho on double bass. Their style blends elements of flamenco, jazz, folk, and cumbia, with lyrics in both English and Spanish. The band is considered independent for not having a contract with any record company. https://en.wikipedia.org/wiki/Jenny_and_the_Mexicats

Ten Spins Round the Sun (10 Year Anniversary Album)

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Freddie Slack And His Orchestra - Freddie Slack's Boogie Woogie

Styles: Jazz, Big Band 
Year: 1945
File: MP3@320K/s
Time: 22:16
Size: 52,1 MB
Art: Front

(2:55)  1. Rib Joint
(2:46)  2. Behind The Eight Beat
(3:01)  3. Strange Cargo
(2:45)  4. Southpaw Serenade
(2:40)  5. A Cat's Nineth Life
(2:33)  6. Blackout Boogie
(2:54)  7. Bashful Baby Blues
(2:37)  8. Kitten On The Keys

Frederick Charles Slack (August 7, 1910 – August 10, 1965) was an American swing and boogie-woogie pianist and bandleader. Slack was born in Westby, Wisconsin. He learned to play drums as a boy. Later he took up the xylophone, and at the age of 13 he changed to the piano. He studied with a local teacher throughout high school. At the age of 17 he moved with his parents to Chicago, where he continued his musical training. He met Rosy McHargue, a well-known clarinetist, who took him to hear many leading musicians, including Bix Beiderbecke and Earl Hines. His first job was with Johnny Tobin at the Beach View Gardens. He later moved to Los Angeles, where he worked with Henry Halstead, Earl Burtnett and Lennie Hayton, before joining Ben Pollack in 1934. He played with the Jimmy Dorsey Band in the 1930s and was a charter member of the Will Bradley Orchestra when it formed in 1939. Known to bandmates as "Daddy Slack," he played the piano solo on Bradley's recording of "Beat Me Daddy, Eight to the Bar", one of the early white boogie-woogie hits and a classic of the Big Band era. He formed his own band in 1942 and signed with the newly founded Capitol Records. He recorded three songs at his third recording session for Capitol, on May 21, 1942. 

His recording of "Cow Cow Boogie," sung by the 17-year-old Ella Mae Morse, was the second record Capitol issued on July 1, and by July 25 it had reached number 1 on the Hit Parade. It was Capitol's first gold single. T-Bone Walker was a member of Slack's band from 1942 to 1944 and Slack later accompanied Walker on his first solo recording for Capitol, "Mean Old World". This band also had a hit with "Strange Cargo." Slack continued to record with Capitol until at least 1950, recording some 80 tracks for the label. Slack also recorded as an accompanist for Big Joe Turner, Johnny Mercer, Margaret Whiting and Lisa Morrow. "Eight Beat Mack" refers to drummer Ray McKinley, and "Doc" refers to the band's bass player, Doc Goldberg. His 1955 album Boogie Woogie on the 88 featured a horn section including jazz musicians Shorty Sherock and Herbie Harper among others, and with arrangements by Benny Carter. He also co-wrote the 1945 classic "The House of Blue Lights" first recorded with singer Ella Mae Morse, and later by Chuck Miller, The Andrews Sisters, Chuck Berry and Jerry Lee Lewis. On August 10, 1965, Slack was found dead in his bedroom from undetermined causes. https://en.wikipedia.org/wiki/Freddie_Slack

Freddie Slack's Boogie Woogie

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