Erik Truffaz Quartet - Doni Doni

Styles: Trumpet Jazz
Year: 2016
File: MP3@320K/s
Time: 47:06
Size: 109,5 MB
Art: Front

(1:24)  1. Comptine
(5:17)  2. Kudu
(4:21)  3. Djiki'n
(6:08)  4. Pacheco
(5:05)  5. Szerelem
(6:12)  6. Fat City
(4:00)  7. Doni Doni - Part 1
(6:58)  8. Doni Doni - Part 2
(3:35)  9. Seydou
(4:00) 10. Le complément du Verbe

This Swiss-born French trumpeter has been successfully blurring the boundaries between the worlds of jazz, hip-hop, drum-and-bass and world music for over twenty years now and after a long and fruitful association with the legendary Blue Note label finds himself on Parlophone, the EMI imprint that brought the world the Beatles, of course, and which now as a result of EMI's being sold finds itself part of the Warner Music group. As well as being a talented and imaginative horn man with a distinctive signature sound, Truffaz's undoubted forte is being able to balance artistic consistency with a sense of musical adventure and this new album his twentieth in twenty-two years is proof of that. Combining mournful, elegiac horn lines with irresistible grooves and atmospheric soundscapes, it bears the unmistakable and quintessential sonic stamp of Erik Truffaz at the same time, though, it breaks new and exciting ground, especially in relation to trumpeter's inspired collaborations with  Malian singer, Rokia Traore, whose magnetic presence and elegant, soulful vocals grace four tracks. The best song that she features on (though they're all good) is the mesmerizing 'Djiki'n,' which possesses a gently undulating African groove. 

As satisfying as that performance undoubtedly is, it's eclipsed by the moody instrumental, 'Kudu,' where Truffaz's majestic horn rides a thrilling Fender Rhodes-driven backbeat that's anchored by Marcello Giuliani's trance-like bass line. Other highlights include the ruminative urban tone poem, 'Fat City,'  the mellower, blues-infused 'Pacheco' which boasts a infectious hook, and the plaintive lyrical ballad, 'Szerelem.' In addition to Traore's presence, French rapper, Oxmo Puccino, contributes his oleaginous tones to 'Le Complement Du Verbe,' rounding off what is unequivocally one of Erik Truffaz's best albums yet. The trumpeter is due to appear at Ronnie Scott's jazz club in London on Monday 21st and Tuesday 22nd March 2016 where he'll be featuring tracks from this album. http://www.soulandjazzandfunk.com/reviews/3962-erik-truffaz-quartet-doni-doni-parlophone.html

Personnel:  Trumpet – Erik Truffaz; Bass, Banjo – Marcello Giuliani; Drums, Percussion, Electronics – Arthur Hnatek; Piano, Electric Piano, Organ [Hammond] – Benoît Corboz; Vocals – Oxmo Puccino , Rokia Traoré

Doni Doni

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Cannonball Adderley Quartet - Cannonball Takes Charge

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 52:53
Size: 122,1 MB
Art: Front

(5:32)  1. If This Isn't Love
(5:34)  2. I Guess I'll Hang My Tears Out To Dry
(4:16)  3. Serenata
(3:39)  4. I've Told Ev'ry Little Star
(7:03)  5. Barefoot Sunday Blues
(5:10)  6. Poor Butterfly
(6:55)  7. I Remember You
(7:48)  8. Barefoot Sunday Blues - Alternate Take
(6:52)  9. I Remember You - Alternate Take

The recording of Cannonball Takes Charge was sandwiched in between two events that would help earn Cannonball Adderley a permanent place in jazz lore. Just the day before the album’s first session, he participated in the completion of Miles Davis’s seminal Kind of Blue. Five months after Cannonball Takes Charge was finished, he had Riverside producer Orrin Keepnews record his newly formed quintet at the Jazz Workshop in San Francisco which helped launch his career as one of the leading proponents of “soul jazz.” But what about the album made in between these two momentous occasions? Cannonball Takes Charge ’s concept was a common one: the altoist is the lone horn in a quartet performing a program made up primarily of standards. The results are anything but routine though, and show that 1959 was a very good year for Cannonball Adderley.  The opening tune, “If This Isn’t Love,” kicks off the proceedings on an ebullient note with Adderley playing an infectious solo that can brighten even the gloomiest day. Things reach a more melancholic note only on “I Guess I’ll Hang My Tears Out To Dry” which features a fine ballad performance by the alto saxophonist. “Barefoot Sunday Blues,” the lone original composition, points to the gospel and soul-inflected jazz that would become Adderley’s calling card. The final selection, “I Remember You,” produces his finest performance on the album. Adderley is able to coax a five-chorus improvisation out of the standard’s changes that is always interesting and full of romantic lyricism. On the piano bench is Wynton Kelly who plays with the utmost of taste throughout. He makes his best impression when he dips in to a more earthy vibe on his last solo chorus of “Barefoot Sunday Blues” and in his work on “Poor Butterfly.” Joining Adderley and Kelly are Paul Chambers and Jimmy Cobb on four tracks, and Percy and Albert Heath on the rest. As an added bonus, this 2002 CD reissue adds alternate takes of “Barefoot Sunday Blues” and “I Remember You” that are well worth listening to. Adderley would rarely revisit the territory he covered in Cannonball Takes Charge in the years to come. His subsequent work on Riverside increasingly began to follow a formula: albums recorded live with the altoist’s working band. In 1961 though, Adderley would record another quartet album, Know What I Mean? , in which he managed to surpass the lofty heights achieved on Cannonball Takes Charge. ~ Robert Gilbert https://www.allaboutjazz.com/cannonball-takes-charge-julian-cannonball-adderley-capitol-records-review-by-robert-gilbert.php

Personnel: Cannonball Adderley - alto saxophone; Wynton Kelly - piano; Paul Chambers, Percy Heath - bass; Jimmy Cobb, Albert Heath - drums

Cannonball Takes Charge

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Chick Corea, Origin - Live At The Blue Note

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 65:26
Size: 150,5 MB
Art: Front

( 1:30)  1. Say It Again - Pt. 1
( 1:28)  2. Say It Again - Pt. 2
(17:32)  3. Double Image
(10:53)  4. Dreamless
(11:26)  5. Molecules
( 9:00)  6. Soul Mates
(13:34)  7. It Could Happen To You

One thing that must be said about Chick Corea: musically, the man does not stand still. Whether one is going in his direction is another issue altogether. Chick's newest group, Origin, was recorded during a week-long gig in December '97 at New York's celebrated Birdland nightspot. It's a tight sextet with an exuberant front line - saxophonists Bob Sheppard and Steve Wilson, trombonist Steve Davis - capably supported by Corea, bassist Cohen and drummer Cruz. The band opens the set with a three-part suite, the concise "Say It Again," parts 1 and 2, and the blustery "Double Image," whose 17:32 running time provides abundant solo space for everyone. All were written by Corea, as were the next three numbers "Dreamless," "Molecules" and "Soul Mates" (the briefest of the trio at 9:00). Origin closes the set with an extended version of the standard "It Could Happen to You," on which Corea's Tatum-esque introductory statement paves the way for some zestful straight-ahead blowing by the band (I'd have welcomed more of that) and frisky solos by Chick, Sheppard (tenor), trombonist Davis and Wilson (alto). Corea lays out behind half of Wilson's chorus while Cohen's sonorous bass keeps time and Cruz deftly works the rims with sticks. Bass and drums have their say too (with Corea and Cruz trading eights) before the ensemble returns to enclose the package in style. 

An observation you can take to the bank is that Corea is a first-rate post-bop pianist (ask almost anyone); why I've seldom warmed to his muse remains a mystery, even to me. While I admire his proven technical prowess and writing skills, and must admit that he can swing hard whenever he chooses to, he simply doesn't reach me on an emotional level - a shortcoming that I know is mine, not his. This recording is a splendid example of what I am trying to point out. The melodies aren't unattractive, everyone plays well, and yet none of what is produced (with the possible exception of "It Could Happen to You") touches a responsive chord. Why? I don't know. Either it does or it doesn't, I suppose. Look, this is an ambitious session by a widely acclaimed pianist and his well-assembled working group. Although it doesn't happen to grab me, you may find yourself enraptured by its charms. Go for it. ~ Jack Bowers https://www.allaboutjazz.com/live-at-the-blue-note-chick-corea-concord-music-group-review-by-jack-bowers.php?width=1920

Personnel: Chick Corea – piano; Avishai Cohen – double bass; Adam Cruz – drums; Bob Sheppard – flute, bass clarinet, baritone saxophone, soprano saxophone, tenor saxophone; Steve Wilson - flute, clarinet, alto and soprano saxophone; Steve Davis - trombone

Live At The Blue Note

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Claire Martin - Bumpin' - Celebrating Wes Montgomery

Styles: Vocal Jazz
Year: 2019
File: MP3@320K/s
Time: 52:41
Size: 121,2 MB
Art: Front

(4:36)  1. Road Song
(4:21)  2. Polka Dots and Moonbeams
(4:23)  3. Willow Weep for Me
(5:30)  4. 'Round Midnight
(6:07)  5. If You Could See Me Now
(4:29)  6. Going out of My Head
(4:58)  7. I Could Get Used to This (Bumpin')
(4:08)  8. West Coast Blues
(5:07)  9. Back in the Room (Bock to Bock)
(4:57) 10. Born to Be Blue
(3:58) 11. The End of a Love Affair

Two award-winning jazz musicians from the UK, singer Claire Martin and guitarist Jim Mullen, celebrate the music of perhaps the most iconic guitarist in jazz history, Wes Montgomery, to mark the 50th anniversary of his death. 

The concert will feature classic Montgomery compositions such as Full House, Road Song and Bumpin’ plus well-known songs from his repertoire including Willow Weep for Me, If You Could See Me Now and Goin’ Out of My Head. http://ystadjazz.se/event/claire-martin-feat-jim-mullen-celebrating-the-music-of-wes-montgomery/?lang=en

Personnel:  Claire Martin (UK) – vocals; Jim Mullen (UK) – guitar; Magnus Hjorth – piano; Thomas Ovesen (DK) – bass; Kristian Leth (DK) – drums

Bumpin' - Celebrating Wes Montgomery

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