Ahmed Abdullah - Ahmed Abdullah And The Solomonic Quintet

Styles: Vocal And Trumpet Jazz
Year: 1987
File: MP3@320K/s
Time: 53:05
Size: 121,9 MB
Art: Front

(7:08) 1. African Songbird
(5:00) 2. Gypsy Lady
(6:52) 3. The Search
(4:57) 4. Canto II
(7:19) 5. Khaluma
(7:30) 6. The Dance We Do
(5:34) 7. Wishbone Suite
(8:42) 8. The Dance We Do (Take 1)

Trumpeter Ahmed Abdullah sprays around dissonant solos and spearheads an often frenzied set that was his second release for Silkheart. The lineup was exceptional, notably the powerful tenor saxophonist David S. Ware, dynamic bassist Fred Hopkins, and underrated drummer Charles Moffett.~ Ron Wynn https://www.allmusic.com/album/ahmed-abdullah-and-the-solomonic-quintet-mw0000265789

Personnel: Ahmed Abdullah – trumpet, flugelhorn, voice; David S. Ware – tenor saxophone; Masuhjaa – guitar; Fred Hopkins – bass; Charles Moffett – drums

Ahmed Abdullah And The Solomonic Quintet

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Eli Degibri - Emotionally Available

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 54:33
Size: 125,8 MB
Art: Front

(6:02) 1. Song For a Sad Movie
(6:25) 2. Big Fish
(7:46) 3. Like Someone In Love
(5:41) 4. Mika
(7:18) 5. Pum-Pum
(4:05) 6. Giant Steps
(5:36) 7. Wild Wide East
(6:10) 8. Mmmaya
(5:24) 9. Emotionally Available

Saxophonist Eli Degibri attended the Berklee College of Music and the Thelonious Monk Institute of Jazz Performance at New England Conservatory, from which he graduated with honors. For three years, he toured worldwide with the Grammy-award winning Herbie Hancock and his Sextet. Degibri currently performs and tours with the legendary drummer Al Foster, the Charles Mingus Big Band, as well as the Eli Degibri Quintet. His acclaimed debut CD, In the Beginning, was released in 2004. Emotionally Available is his second release for Fresh Sound Records. https://www.freshsoundrecords.com/eli-degibri-albums/4471-emotionally-available.html

Personnel: Eli Degibri - tenor saxophone, soprano saxophone; Aaron Goldberg - piano, fender rhodes; Ben Street - bass; Jeff Ballard - drums; Ze Mauricio - pandeiro

Emotionally Available

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Veronica Swift - This Bitter Earth

Styles: Vocal
File: MP3@320K/s
Time: 61:14
Size: 141,1 MB
Art: Front

(4:27) 1. This Bitter Earth
(4:11) 2. How Lovely to Be a Woman
(5:16) 3. You've Got to Be Carefully Taught
(6:19) 4. Getting to Know You
(4:50) 5. The Man I Love
(4:25) 6. You're the Dangerous Type
(5:20) 7. Trust in Me
(2:11) 8. He Hit Me (And It Felt Like a Kiss)
(4:56) 9. As Long as He Needs Me
(2:54) 10. Everybody Has the Right to Be Wrong
(4:16) 11. Prisoner of Love
(6:21) 12. The Sports Page
(5:44) 13. Sing

With This Bitter Earth, 26-year-old Veronica Swift casts aside her designated trajectory as the next great up-and-coming pure-jazz singer to embrace something grander, more pop-oriented and profound. The daughter of late pianist Hod O’Brien, Swift belted her first album out of the club as a precocious nine-year-old. Four albums later, Confessions cemented her rep as a jazz lioness with a pure tone, large lungs, a knowing sense of repertoire, and sure swing style. JazzTimes readers rewarded her with 2019 Best New Artist and Best Vocal Release poll wins.

Perhaps more naturally than everyone’s current favorite, Cécile McLorin Salvant, Swift occupies classic standards like a young Anita O’Day. But This Bitter Earth finds her pushing beyond cloistered jazz boundaries, recalling the sunny, big-throated readings of Eydie Gormé allied to the sincerity and tone of Broadway vocalist Jessie Mueller. She still thrills with Songbook nuggets (“As Long as He Needs Me,” “The Man I Love”), but restless as any 20-something vocalist aware of Lady Gaga and Billie Eilish, Swift shows her further ambitions in non-ironic takes of Goffin and King’s “He Hit Me (And It Felt Like a Kiss)” and the Ann-Margret vehicle “How Lovely to Be a Woman.” She boldly addresses the songs as they were intended—which is arguably a gutsier stance on pre-feminist material than that of Salvant, who revels in overturning a song’s intended meaning.

Elsewhere, “Everybody Has the Right to Be Wrong” rescues the cha-cha from semi-obscurity, while “Prisoner of Love” is languorous and rich, Swift wrapping herself around the melody like a Broadway diva. The gently unfurling “Sing” closes the record and returns Swift to what she does best, enchanting the listener with whispered caresses and elastic phrases that are as powerful as they are enticing.~ By Ken Micallef https://jazztimes.com/reviews/albums/veronica-swift-this-bitter-earth-mack-avenue/

This Bitter Earth

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