Saturday, March 9, 2019

Melissa Manchester - When I Look Down That Road

Styles: Vocal 
Year: 2004
File: MP3@320K/s
Time: 49:30
Size: 114,3 MB
Art: Front

(4:35)  1. I'll Know You By Your Heart
(5:07)  2. Angels Dancing
(4:20)  3. Bend
(5:24) 4. When Paris Was A Woman (according To Alice - 1928)
(3:51)  5. After All This Time
(3:39)  6. Lucky Break
(3:09)  7. When I Look Down That Road
(4:01)  8. Where The Truth Lies
(3:47)  9. Tyfyfim (thank You For Your Faith In Me)
(3:38) 10. Still Myself
(4:02) 11. Crazy Loving You
(3:51) 12. A Mother's Prayer

In the opening line of her album When I Look Down That Road, Melissa Manchester basically sums up the latter half of her career: "I've been walking through the smoke of a thousand burned-out dreams, so hard to shake the ashes of the past from my feet." As she knows all too well, there are sad circumstances in which the business of music envelops an artist so tightly that the creativity and passion are sealed away. In the '70s, Manchester blossomed as an important singer/songwriter responsible for such classics as "Midnight Blue," "Whenever I Call You Friend," and "Don't Cry Out Loud." But as her album sales began to decline, the corporate machinery began to take hold of her career and her original songs were left along the wayside to make way for glossy pop songs and sappy ballads written by "hitmakers." As a songwriter, she had all but disappeared. Leaving the recording studio after 1995's over-produced If My Heart Had Wings, Manchester spent almost a decade regrouping and getting in touch with the artist who had been lost for so many years. Reaching back to a time when the songwriting was just as important as the singer, Manchester reconnected with herself and recorded When I Look Down That Road, her first album of original material since 1978's Don't Cry Out Loud. In a welcome return to form, she has stripped away the many layers of bloated production and overwrought balladry that has dogged her work since the '80s to reveal a set of songs that quietly shine and stand brilliantly alongside her early work. 

In the album's opener, "I'll Know You By Your Heart," Manchester sounds revitalized and passionate against the song's sparse bluesy samba beat. The difference between this one song and her post-'70s output is immediate. Gone, thankfully, are the sweeping synthesizers, belted choruses, and saccharine sentiments, replaced with basic instruments, breezy melodies, and thoughtful lyrics. A mystical character named Pearl is brought to life in the Bonnie Raitt-styled "Angels Dancing," while Gertrude Stein is visited in the Latin-tinged "When Paris Was a Woman." Two beautiful ballads, "Bend" and "When I Look Down That Road," delicately play on the emotions without resorting to plastic sentiment. It has been a long time since she has sounded this vibrant and honest. When I Look Down That Road is a true comeback in every sense of the word and ranks among her best albums. Dormant for too long, Melissa Manchester's singer/songwriter soul has finally returned. ~ Aaron Latham https://www.allmusic.com/album/when-i-look-down-that-road-mw0000326940

When I Look Down That Road

Hubert Laws - My Time Will Come

Styles: Flute Jazz
Year: 1993
File: MP3@320K/s
Time: 55:01
Size: 126,7 MB
Art: Front

(10:11)  1. Malaguena
( 5:16)  2. My Time Will Come
( 5:03)  3. It's So Crazy
( 6:54)  4. Shades of Light
(10:57)  5. Valse
( 8:45)  6. Make It Last
( 7:52)  7. Moonlight Sonata

This is a streaky affair, Hubert Laws's first recording as a leader in quite a few years. The great flutist has a reunion with Don Sebesky on a version of "Malaguena" that becomes an imitation of Chick Corea's "Spain," a few of the selections are forgettable funk and "Moonlight Sonata" is ruined by an unbearable rhythm. However there are some fine performances that feature excellent soloing by Laws and pianist John Beasley. Still, only Hubert Laws's most loyal fans will want this release. ~ Scott Yanow https://www.allmusic.com/album/my-time-will-come-mw0000095582

Personnel:  Piccolo Flute – Hubert Laws; Bass – Gary Willis, John Patitucci , Mike Richmond; Congas – Terry Santiel; Drums – Clayton Cameron, Dan Gotlieb, Leon "Ndugu" Chancelor, Ralph Penland; Flute – Hubert Laws ; Keyboards – George Duke, Joe Sample, John Beasley; Percussion – Sue Evans, Terry Santiel; Piano – Mark Gray;  Soprano Saxophone – Ronnie Laws;  Vocals – Joan LaBarbara

My Time Will Come

Plas Johnson - This Must Be The Plas!

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 37:13
Size: 85,6 MB
Art: Front

(3:00)  1. Too Close For Comfort
(3:32)  2. I Hadn't Anyone Till You
(2:38)  3. Heart And Soul
(3:36)  4. Poor Butterfly
(3:13)  5. Memories Of You
(2:15)  6. Just One Of Those Things
(2:57)  7. There Is No Greater Love
(3:11)  8. If I Had You
(3:09)  9. My Silent Love
(3:18) 10. Day In - Day Out
(2:53) 11. My Old Flame
(3:26) 12. S'il Vous Plait

This Must Be the Plas is a 1959 album by saxophonist Plas Johnson. The initial Billboard magazine review from November 30, 1959 chose the album as one of its "Special Merit Spotlights" and commented that "Eye-catching photo of curvaceous red-head gives package solid display value. Johnson's tasteful, warm sax solo work is heard to advantage on a group of oldies...Spinnable wax for jazz jocks and hip pop deejays". https://en.wikipedia.org/wiki/This_Must_Be_the_Plas

Personnel: Plas Johnson - tenor saxophone; Larry Bunker - vibraphone; Victor Feldman - vibraphone; Gene Estes - vibraphone; Paul Smith - piano; Ernie Freeman - Hammond organ; Howard Roberts - guitar;  Bill Pitman - guitar;  Red Callender - bass;  Earl Palmer - drums

This Must Be The Plas!

Fredrik Kronkvist - Altitude

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 61:23
Size: 141,9 MB
Art: Front

(5:38)  1. Zenith
(4:38)  2. Litet Grann Från Ovan
(6:16)  3. Desert Night
(4:54)  4. Yemaya
(6:02)  5. Leo
(5:54)  6. Family Business
(6:00)  7. Instinct
(6:36)  8. Isis (Egyptian Goddess)
(5:41)  9. Kronk's Monk
(5:04) 10. Theme for Ernie
(4:36) 11. Close Race

There's a thriving jazz community in Sweden, some of whose roots are planted firmly in the bop idiom, and young alto saxophonist Fredrik Kronkvist's quartet, which follows that path, is about as accomplished as any you're likely to hear in this country. Kronkvist himself comes from a line that began with Bird, continued through the Sonnys Criss and Stitt, Jackie McLean, Phil Woods, Lou Donaldson, Cannonball Adderley, Charles McPherson, Herb Geller and Frank Morgan to such younger contemporaries as Gary Bartz, Bobby Watson, Kenny Garrett, Vincent Herring, Jesse Davis and others. He produces a handsome sound, closest perhaps to Criss, Morgan or Garrett, and has a formidable technique to match. The other principal soloist, pianist Daniel Tilling, also has great chops and, like Kronkvist, a flowing stream of impressive ideas that may not be innovative but seldom fail to please. The program consists of eight original compositions by Kronkvist and one each by Fred Lacey (the entrancing ballad "Theme for Ernie") and Lasse Dahlqvist ("Litet Grann Från Ovan," which must translate in English as "Three O'Clock in the Morning," as its melody is precisely the same as that old American standard). Kronkvist's tunes sound much like those one would have encountered on any number of Blue Note recordings from the '50s or '60s in sessions led by McLean, Art Blakey, Lee Morgan, Horace Silver, Wayne Shorter, Hank Mobley, Donald Byrd, Benny Golson, Gigi Gryce, Red Garland, Freddie Hubbard, Blue Mitchell, Bobby Timmons . . . the list goes on.  Kronkvist, Tilling and their colleagues, bassist Martin Sjöstedt and drummer Daniel Fredriksson, work quite well as a unit, blending the proper amounts of energy and finesse to construct an album that stands up well when exposed to the strong winds of analysis. ~ Jack Bowers https://www.allaboutjazz.com/altitude-fredrik-kronkvist-sittel-records-review-by-jack-bowers.php

Personnel: Fredrik Kronkvist, alto saxophone; Daniel Tilling, piano; Martin Sjöstedt, bass; Daniel Fredriksson, drums.

Altitude