Christian Scott - Stretch Music

Styles: Trumpet Jazz
Year: 2015
File: MP3@320K/s
Time: 51:01
Size: 118,9 MB
Art: Front

(5:04)  1. Sunrise in Beijing
(4:15)  2. TWIN
(4:22)  3. Perspectives
(8:07)  4. West of the West
(4:09)  5. Liberation over Gangsterism
(1:34)  6. The Corner
(7:34)  7. Of a New Cool
(2:07)  8. Runnin 7's
(4:24)  9. Tantric
(7:11) 10. The Last Chieftain
(2:10) 11. The Horizon

Stretch music, according to New Orleans jazz musician Christian Scott, is an approach that engenders a more absorbent and sensitive kind of jazz. "We are attempting to stretch not replace jazz's rhythmic, melodic and harmonic conventions to encompass as many musical forms/languages/cultures as we can," he says on his website. He titled his fifth album after the concept, but this sensibility is visible even in his earliest work as a leader; the title track of 2007's Anthem is jazz in its instrumentation, but it also obeys the rhythms and structures of post-hardcore, a series of contrasting shapes which build an atomically tense and spectral space, like a cathedral at night. His description of "stretch music" somewhat resembles the omnivorous jazz approaches of bassist/singer Esperanza Spalding and pianist Robert Glasper. It's similarly collaborative and elastic. But Scott's genre splicing is not as mosaic as Glasper's. It’s doesn’t lock different genres together in unusual patterns as much as it melts them down into asymmetrical and indivisible sculpture. It's almost curious to call it "stretch music" when it feels as if jazz isn’t so much expanded here as collapsed into small, oblique jewels. Later in his mission statement, Scott describes his intention to draw unusual instruments through distortion. This is how Stretch Music begins: A piano, played by Lawrence Fields, struggles through noise, as if pressing and blurring against a force field. Instruments undergo a kind of metamorphosis in Scott’s aesthetic, which is reflected in the album cover: his trumpet bends and warps into elastic shapes. https://pitchfork.com/reviews/albums/21105-stretch-music/

Personnel:  Christian Scott aTunde Adjuah – trumpet, sirenette and reverse flugelhorn; Elena Pinderhughes – flute; Braxton Cook – alto, straight alto; Corey King – trombone; Cliff Hines – guitar; Lawrence Fields – piano; Kris Funn – bass; Corey Fonville – drums, SPD-SX pad; Joe Dyson Jr. – pan-African drums, SPD-SX; Warren Wolf - Vibraphone

Stretch Music

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Trijntje Oosterhuis - Leven Van De Liefde

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 74:22
Size: 171,7 MB
Art: Front

(5:47)  1. Eenzaam Zonder Jou
(3:21)  2. Dat Zou Mooi Zijn
(4:58)  3. Mooi Verhaal
(3:51)  4. Als De Liefde Niet Bestond
(4:44)  5. Telkens Weer
(4:30)  6. Is Dit Alles
(5:53)  7. Liefde Van Later
(3:36)  8. Voor Haar
(4:59)  9. Kom Maar Bij Mij
(4:53) 10. Het Gaat Niet Beter Worden
(4:08) 11. Toen Ik Je Zag
(3:54) 12. Tot Jij Mijn Liefde Voelt
(4:21) 13. Omarm
(2:27) 14. Laat Ze Blijven
(9:01) 15. Vaderland
(3:52) 16. Jungle

Although the career of Trijntje Oosterhuis consists for the most part of English-language work, we must not forget that her definitive breakthrough as a solo singer was really due to a Dutch-language song. When Oosterhuis provided the opening anthem of the Amsterdam ArenA in a bright red dress in 1996, the whole of the Netherlands knew in one fell swoop who the singer (who at the time formed the band Total Touch with her brother Tjeerd). That song, entitled De Zee, made it to the Top 10 of the national charts and paved the way for multiple trips in our native language. Wereld Zonder Jou(a duet with Marco Borsato), Vlieg Met Me Mee (from the feature film Abeltje ) and Now That You Are There(which was an ode to the birth of Princess Amalia) are a number of examples. Despite the always positive reactions to the Dutch language, it took a long time before Oosterhuis dared to venture on a complete Dutch album. For her current theater tour (which will start this week), the singer decided to take a different approach and therefore only to sing songs that we can all understand and understand word for word. During the tour's rehearsals, the idea arose to record a selection of the songs for an album. "Songs that are dear to me, songs of all times, songs that need to be sung and heard, songs that remind me of important moments in my life, forgotten gems or rather big hits that I have wanted to sing in my own way for years" said Oosterhuis recently in a statement. During the playing time of one hour and fourteen minutes we hear new versions of classics from Dutch artists. BLØF, Herman van Veen, Willeke Alberti, André Hazes, Henny Vrienten, Marco Borsato, Paul de Leeuw, Frans Halsema and Toon Hermans are a number of examples. To combine singing with motherhood, Oosterhuis decided to record the entire album entitled Leven Van De Liefde at home. That wasn't the first time for the singer, because the English-language albums See You As I Do (2005), the Michael Jackson tribute album Never Can Say Goodbye (2009) and the Christmas album This Is The Season (2010) were also in recorded her own studios. This way of recording songs produces an atmospheric and intimate sound. The feeling of being at home with Eenzaam Zonder Jou(the first song from the album) immediately clear because a small role is set aside for Maël, the one and a half year old daughter of Oosterhuis. You will not get it any purer than this.

The guitar playing of Leonardo Amuedo plays an important role in the songs. In addition to him, we hear more fellow musicians on the album. For example, there are solos for Carel Kraayenhof (bandoneon), Candy Dulfer (saxophone), father-in-law Henrie Ronde (steel drums), mother Josefien Melief (viola) and Aram Kersbergen (bass). The singer has clearly opted for two camps during the recording. While one camp consists of fado-like songs such as Every Time Again , If The Love Did Not Exist and Love of Later, the other camp consists of the somewhat more uplifting pieces with a fine groove such as Beautiful Story, This Everything and It Doesn't Get Better To become. WithJungle , by the way, manages to deliver a funny version of the hit with which Broederl Liefde was successful last year. Her sons of ten and twelve constantly sing that song, so the decision to make it their own was quickly made. Because Leven Van De Liefde is the umpteenth album by Oosterhuis that she has recorded in an intimate setting, it becomes dangerous that she has performed this trick for the umpteenth time. Still, with the input of her fellow musicians, she knows how to distinguish this album from those other intimate albums and that is certainly worth a plus. A second Dutch-language album is also planned, but one with newly written songs. A project that we are looking forward to enormously and which will hopefully feature songs that are just that little bit more energetic, than the pure songs that this album carries with it. Leven Van De Liefde is certainly a nice snack as a project, but to be honest: a singer in the form of Trijntje Oosterhuis simply deserves a blast from an album with strong and original Nederpop songs.  Translate By Google https://www.nieuweplaat.nl/album/trijntje-oosterhuis-leven-liefde/

Leven Van De Liefde

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Charles Gayle - Jazz Solo Piano

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 55:12
Size: 128,2 MB
Art: Front

(3:29)  1. 1939
(2:58)  2. I'll Remember April
(6:16)  3. Round Midnite
(5:21)  4. Countdown
(4:37)  5. Bucket Blues
(3:06)  6. Nadoshe
(4:12)  7. Afternoon In Paris
(4:39)  8. All The Things You Are
(2:32)  9. Cherokee
(4:13) 10. What's New
(2:38) 11. Softly As In A Morning Sunrise
(6:39) 12. Body & Soul
(3:29) 13. I'll Remember Aprill II
(0:57) 14. Chapter Green

Charles Gayle has gained fame as a very passionate avant-garde tenor saxophonist, but this CD is something much different. The set is dedicated to the music of his youth, the songs from the 1930s and '40s that he heard at home. Gayle is reborn, temporarily, as a surprisingly effective pianist. Most of the selections he performs are standards and, although his improvisations are abstract, he does pay respect to the melodies and keeps the themes in mind. Gayle does not strictly follow the chord structures and his soloing is often thoughtful and out of time, even including some atonal striding. This is about as accessible a recording as Charles Gayle will ever make and it is generally both surprising and successful in its own way. ~ Scott Yanow https://www.allmusic.com/album/jazz-solo-piano-mw0000116122

Personnel: Charles Gayle - Piano.

Jazz Solo Piano

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Michael Wolff - Love and Destruction

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 55:58
Size: 130,0 MB
Art: Front

(5:06)  1. Tell Me
(2:51)  2. Falling In Love
(1:27)  3. Almost Everything
(5:34)  4. Everything In It's Right Place
(5:08)  5. Underwater
(5:20)  6. Hallelujah
(3:47)  7. Ya Ya
(4:27)  8. Stop In The Name Of Love
(4:12)  9. Miss You
(4:03) 10. Mellow Yellow
(5:28) 11. Tango
(3:03) 12. Hostage O
(5:27) 13. Everytody's Got To Learn Sometime

Michael Wolff has a strong reputation as a versatile and swinging jazz pianist. Love and Destruction is a major change for him; on this set he is cast as a singer/songwriter, performing modern folk music and sounding a bit (tone-wise) like Michael Franks but with a weaker voice. His website claims that this set of music is a mixture of rock, pop and world music and it is true that his jazz piano and improvising are greatly de-emphasized. But the messages Wolff sings about (including on five of his originals) are not that compelling, the covers are not particularly memorable, the musicians have little to do, and Wolff's voice will not impress many listeners. Hopefully Love and Destruction is only a temporary departure from Michael Wolff's musical strengths. ~ Scott Yanow https://www.allmusic.com/album/love-and-destruction-mw0000563341

Personnel:  Michael Wolff - Piano, Hammond B3, Rhodes, Vocals; John B. Williams -  Electric Upright Bass; Richie Goods - Electric Bass; Mike Clark -  Drums; Chuck Morris - Drums; Badal Roy - Tablas; Brad Dutz -  Percussion; John Guth - Guitar; The African Children's Choir - Vocals, Sloan Wainwright;- John Guth -  Background Vocals

Love and Destruction

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Chuck Sagle & His Orchestra - Ping Pong Percussion

Styles: Contemporary Jazz 
Year: 2018
File: MP3@320K/s
Time: 31:33
Size: 73,8 MB
Art: Front

(2:34)  1. Who's Sorry Now
(3:15)  2. The Sheik of Araby
(2:41)  3. For Me and My Gal
(2:28)  4. How Come You Do Me Like You Do?
(2:58)  5. My Honey's Lovin' Arms
(2:35)  6. When the Saints Go Marching In
(2:55)  7. Make Love to Me
(1:47)  8. Cuddle Up a Little Closer
(3:08)  9. Stars Fell on Alabama
(2:04) 10. Muskrat Ramble
(2:43) 11. Someday Sweetheart
(2:19) 12. High Society

For all its star power, especially in the percussion section of course, Ping Pong Percussion should have packed more punch. Harry Breuer's influence and playing is very much in evidence, although the agedness of the tunes chosen ("Muskrat Ramble") could well be his doing too. "The Sheik of Araby" and "Make Love to Me" are the only cuts approaching hip. The rest, well, are just so much pong without ping. ~ Tony Wilds https://www.allmusic.com/album/ping-pong-percussion-mw0000922067

Personnel:  Clarinet – Phil Olivella; Clarinet, Oboe, Flute, Piccolo Flute – Phil Bodner; Conductor – Chuck Sagle; Double Bass – George Duvivier; Guitar – Barry Galbraith;  Mundell Lowe Percussion – Archie Freedman, Bob Rosengarten, Harry Breuer, Jimmy Crawford, Joe Venuto , Marty Grupp, Phil Krause, Ted Sommers, Warren Hard, Willie Rodriguez;  Piano – Moe Wechsler; Saxophone [Tenor], Flute, Bass Clarinet – Al Klink ; Trumpet – Doc Severinson, Johnny Glasel; Trombone – Harry DaVito), Lou McGarity 

Ping Pong Percussion

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