Diana Panton - Pink

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 61:55
Size: 143,4 MB
Art: Front

(3:52)  1. Wouldn't It Be Loverly
(3:57)  2. My Ideal
(4:05)  3. I Walk A Little Faster
(4:21)  4. My Future Just Passed
(2:44)  5. Wonder Why
(2:34)  6. Me Myself And I
(4:03)  7. What Is There To Say?
(4:23)  8. Tea For Two
(3:46)  9. Please Be Kind
(6:02) 10. Fly By Night
(4:50) 11. I Wish I Knew
(3:36) 12. They Didn't Believe Me
(4:36) 13. Love-wise
(3:24) 14. Hold Me Hold Me Hold Me
(3:43) 15. Five Minutes More
(1:51) 16. Wait Till You See Him

Diana Panton's 3rd release 'Pink' stays the course she plotted with her first two well-received albums. She's working once again with a small group, although when one of the band members is genius multi-instrumentalist Don Thompson you get a lot of bang for your musician buck. Reg Schwager is also back, accompanying with his customary artful and sensitive playing. A new addition, and a completely fitting one given Panton's languid style, is trumpet and flugelhorn player, Guido Basso. His fills and solos add rich warmth to the mix, like honey drizzled over an English muffin, filling in all the nooks and crannies. For this new album Diana has carefully chosen a collection of well-crafted songs that she can mine for lyrical gold. She is foremost a story teller - not a flashy or emotionally overwrought singer - Diana simply and deftly presents the songs so the listener can take them in without being distracted by vocal pyrotechnics. ~ Editorial Reviews https://www.amazon.com/Pink-Diana-Panton-Trio-1/dp/B002UMF1FU

Personnel: Vocals – Diana Panton; Bass, Piano, Vibraphone – Don Thompson ; Cornet, Flugelhorn, Trumpet – Guido Basso; Guitar – Reg Schwager

Pink

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Benny Carter - Montreux '77

Styles: Saxophone And Trumpet Jazz

Year: 1977
Time: 45:58
File: MP3 @ 320K/s
Size: 106,0 MB
Art: Front

(5:46) 1. Three Little Words
(8:34) 2. In A Mellow Tone
(6:20) 3. Wave
(5:42) 4. Undecided
(7:04) 5. Body And Soul
(6:28) 6. On Green Dolphin Street
(6:03) 7. Here's That Rainy Day

For this concert at the 1977 Montreux Jazz Festival, Benny Carter was in his musical prime, a condition he has thus far stayed at for over 65 years. Joined by the Ray Bryant Trio, the altoist romps through seven standards and plays some tasteful trumpet on "Body and Soul," proving once again that he is really is ageless; Carter was nearly 70 years old at the time. By Scott Yanow https://www.allmusic.com/album/benny-carter-4-montreux-1977-mw0000902087#review

Personnel: Benny Carter – alto saxophone, trumpet; Ray Bryant – piano; Niels Pedersen – bass; Jimmie Smith – drums

Montreux '77

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Herbie Hancock - Head Hunters

Styles: Jazz
Year: 1973
Time: 41:47
File: MP3 @ 320K/s
Size: 95,6 MB
Art: Front

(15:44) 1. Chameleon
( 6:31) 2. Watermelon Man
(10:20) 3. Sly
( 9:10) 4. Vein Melter

Head Hunters was a pivotal point in Herbie Hancock's career, bringing him into the vanguard of jazz fusion. Hancock had pushed avant-garde boundaries on his own albums and with Miles Davis, but he had never devoted himself to the groove as he did on Head Hunters.

Drawing heavily from Sly Stone, Curtis Mayfield, and James Brown, Hancock developed deeply funky, even gritty, rhythms over which he soloed on electric synthesizers, bringing the instrument to the forefront in jazz. It had all of the sensibilities of jazz, particularly in the way it wound off into long improvisations, but its rhythms were firmly planted in funk, soul, and R&B, giving it a mass appeal that made it the biggest-selling jazz album of all time (a record which was later broken).

Jazz purists, of course, decried the experiments at the time, but Head Hunters still sounds fresh and vital decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul, and hip-hop. By Stephen Thomas Erlewine
https://www.allmusic.com/album/head-hunters-mw0000649551#review

Personnel: Herbie Hancock – Fender Rhodes electric piano, Hohner D6 Clavinet, ARP Odyssey & ARP Pro Soloist synthesizers; Bennie Maupin – tenor saxophone, soprano saxophone, saxello, bass clarinet, alto flute; Paul Jackson – bass guitar, marímbula; Harvey Mason – drums, arrangement on "Watermelon Man"; ill Summers – agogô, balafon, cabasa, congas, gankogui, log drum, shekere, surdo, tambourine, beer bottle on "Watermelon Man"

Head Hunters

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Joel Lyssarides - Stay Now

Styles: Piano Jazz
Year: 2022
Time: 42:31
File: MP3 @ 320K/s
Size: 98,5 MB
Art: Front

(1:32) 1. As Night Let Down Its Curtain
(2:06) 2. Sommarsnö
(4:36) 3. Cloudberry Hill
(4:05) 4. Is There a Way
(3:12) 5. Gowns of Dark
(4:30) 6. Procession
(5:08) 7. Chimera
(2:49) 8. Stay Now
(2:11) 9. Echoes
(3:10) 10. Down and Out
(5:04) 11. St. Joseph
(4:01) 12. The Last Verse

Joel Lyssarides is a young Swedish pianist who is rapidly gaining renown, not just in Europe, where he was building a live performance career before the COVID-19 pandemic began, but on streaming music services, where his compositions are perfect for playlists with titles like “Peaceful Piano,” “Chilled Jazz” and “Jazz For Study.” His playing is technically flawless, reflecting his classical training at both the Södra Latin College of Music and the Royal Academy of Music in his home country, and his simple, melodic compositions fit well into the subgenre of Nordic piano jazz. You could play them alongside the work of the Esbjorn Svensson Trio, Iro Haarla or any number of other artists.

Lyssarides seems like a romantic at heart, if the early track titles on Stay Now (“As Night Let Down Its Curtain,” “Sommarsnow,” “Cloudberry Hill”) are any indication. But there’s also a spiritual aspect, as evidenced by titles like “Gowns Of Dark,” “Procession” and “St. Joseph.” This isn’t really reflected in the music, though. There’s a gradual rise in energy level over the course of the first two or three tracks, but they all blend together into what feels like a single performance. This is an album that sets a mood and sustains it. Lyssarides’ playing always focuses on the same qualities: rippling, repetitive patterns that land somewhere between Bill Evans and Philip Glass, supported with unobtrusive patience by bassist Niklas Fernqvist and drummer Rasmus Blixt. It’s nice while it’s on, but quickly forgotten when it’s over.
By Philip Freeman https://downbeat.com/reviews/detail/stay-now

Personel: Joel Lyssarides, piano; Niklas Fernqvist, bass; Rasmus Blixt, drums.

Stay Now

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Magdalena Chovancova - Moving Up Quickly

Size: 156,7 MB
Time: 67:40
File: MP3 @ 320K/s
Released: 2012
Styles: Jazz: Smooth Jazz
Art: Front

01. Easily In Love (5:30)
02. The Smoothness Of Your Skin (6:13)
03. Moving Up Quickly (6:42)
04. Six Weeks And Eight Days (6:28)
05. What A Dub (5:01)
06. Sax Com Mar El Sol (5:59)
07. Polar Rain (5:47)
08. Andalusia Lounge (7:20)
09. Mountain Vibe (4:27)
10. Slap Man (4:26)
11. Spring At The Bosphorus (5:03)
12. El Carino Loco (4:39)

Saxophonist Magdalena Chovancova is a member of the Bavarian group Threestyle together with Robert Fertl (guitars, bass trumpet, flugelhorn) and her sister Gabriela Chovancova (drums and vibraphone).

Her releases are presented by the German label Welovemusic Records. Her newest album is entitled Moving Up Quickly (2012), certainly a motto for her solo career. This project was performed by the above mentioned group members and in addition Thomas Tiefenbacher (drums), Manfred Feneberg (percussion and drums), Markus Wohner (drums and percussion) and Tormenta Jobarteh (kora) on selected tracks.

The market for smooth jazz is strongly held among female saxophonists with Candy Dulfer, Mindi Abair, Jessy J or Pamela Williams. As a newcomer, it's hard to claim here. With Moving Up Quickly Magdalena seems to succeed.

My new sound card I have inaugurated with Easily In Love and it was worth every cent. The sound melts away as acoustic honey. On The Smoothness Of Your Skin pushes Magdalena siren calls. If you are fond of a particular melody sequence, it must be good to support it as theme song. Thanks to the perfectionism of the involved musicians Moving Up Quickly has this special format.

Six Weeks And Eight Days drifts into the realm of romance. In the middle of the song Tormenta Jobarteh contributes with the Kora an exotic sound and turns the song character h to world music. Even with What A Dub she is not looking for conformity. A popular rhythm mates esoteric contemporary jazz. Also the pairing of saxophone and harmonica with Tablas on Sax Com Mar E Sol is unusual and gives the song a southern charm.

Coming from North falls the cool Polar Rain. Pure contemporary jazz with a crystal clear soprano sax sound. As counterpart follows Andalusia Lounge featuring Fertl's warm acoustic guitar and Magdalena's smooth flute. With elitist cjazz demand also appears Mountain Vibe.

Slap Man is a tribute to the funky side of jazz. The Bosporus (or Bosphorus) divides the European part (Rumelia) of Turkey from its Asian part (Anatolia). Spring At The Bosporus describes musically the warm season and the awakening of nature at this mystical place. With El Carino Loco the album picks up pace for the last time.

With Moving Up Quickly goes Magdalena Chovancova her own way apart fashionable trends of smooth jazz. A bold undertaking in the face of strong competition.

Moving Up Quickly

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Jerry Vale - And This Is My Beloved: The Great Hit Sounds Of Jerry Vale

Size: 179,3+181,4 MB
Time: 75:43+76:37
File: MP3 @ 320K/s
Released: 2017
Styles: Pop
Art: Front

CD 1:
01. You Don’t Know Me (2:32)
02. Because Of You (2:59)
03. No One Will Ever Know (2:31)
04. All Dressed Up With A Broken Heart (3:08)
05. The Dawn Of Love (2:47)
06. Unchained Melody (2:26)
07. Linda (2:55)
08. For Me (2:41)
09. If (2:39)
10. Why Don’t You Believe Me (2:22)
11. Go Chase A Moonbeam (2:07)
12. Mona Lisa (2:45)
13. Another Time, Another Place (3:11)
14. Thirteen Girls Too Much (3:05)
15. Where Love Has Gone (2:45)
16. Pretend You Don’t See Her (2:18)
17. Love Is A Many-Splendored Thing (3:23)
18. There Goes My Heart (2:34)
19. Too Young (2:32)
20. Paradise (2:25)
21. Go (3:12)
22. From The Bottom Of My Heart (2:34)
23. As Sure As Night Must Fall (2:38)
24. How Are Things In Glocca Morra (2:23)
25. Prima Donna (2:21)
26. One More Blessing (3:38)
27. Theme For Young Lovers (Where Is My Someone) (2:27)
28. Vaya Con Dios (2:11)

CD 2:
01. Camelot (3:56)
02. Old Cape Cod (2:53)
03. You Got Me Doin’ What I Said I’d Never Do (3:01)
04. And This Is My Beloved (2:20)
05. Because You’re Mine (2:49)
06. I Can’t Help It (2:29)
07. Call Me Darling (2:09)
08. Innamorata (2:57)
09. Enchanted (2:20)
10. I Understand (2:58)
11. Secret Love (2:24)
12. It Looks Like Love (3:04)
13. The Lights Of Roma (2:41)
14. To Belong (2:58)
15. The Very Thought Of You (2:11)
16. Tired Of Dreaming (3:00)
17. Two Purple Shadows (2:31)
18. If He Leaves You (3:25)
19. Just Friends (1:59)
20. Without Saying A Word (2:40)
21. And No One Knows (2:07)
22. All Dressed Up With A Broken Heart (Alternate Version) (2:35)
23. Here’s To Us (2:43)
24. Be My Love (3:25)
25. Ti Adoro (2:53)
26. Solitude (3:02)
27. You Try Somebody Else (2:24)
28. Auf Wiedersehen, My Dear (2:27)

Jerry Vale was one of the great voices of the 1950s and 1960s and collaborated with the brilliant conductors Percy Faith, Glen Osser, Marty Manning, Robert Mersey and Jimmy Carroll. "You Don't Know Me", "Innamorata", "Camelot", "Pretend You Don't See Her" and "Go Chase A Moonbeam". Also included are many other classics, such as "Unchained Melody", "Because Of You", "Mona Lisa", "Too Young" and "Old Cape Cod". This Incredible 56 track compilation is a must have for Jerry Vale fans!

And This Is My Beloved:The Great Hit Sounds Of Jerry Vale CD1,CD 2

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The Carla Bley Band - Carla Bley live!

Styles: Jazz
Year: 1982
Time: 41:39
File: MP3 @ 320K/s
Size: 95,3 MB
Art: Front

(5:10) 1. Blunt Object
(7:24) 2. The Lord is Listenin to Ya Hal
(7:59) 3. Time And Us
(9:06) 4. Still in The Room
(4:26) 5. Real Life Hits
(7:30) 6. Song Sung Long

Around 1980, Carla Bley seemed to find herself torn between several possible avenues of expression. On the one hand, you had her wild (and wildly successful) projects like Escalator Over the Hill and Tropic Appetites, where styles and musicians were combined with inspired abandon. Then there was the romantic classical aspect as shown in her composition "3/4" and, with jazz influences, her fine, ambitious Social Studies release.

But, always lurking beneath the surface was her itching desire to have essentially a jazz-rock band, drawing heavily from funk and demonstrating a loose and bawdy humor. Unfortunately, this last impulse was responsible for some of her weaker efforts though, in fairness, it brought her a level of popularity hitherto unreached. Live! demonstrates the pitfalls of this approach.

Though the ten-piece ensemble features some very capable musicians (including altoist Steve Slagle, French horn virtuoso Vincent Chauncey, and electric bassist extraordinaire Steve Swallow), the compositions tend to plod toward their goal and the soloing doesn't rise very far above what one might expect from a David Sanborn session (how one yearns for a youthful Gato Barbieri, a Perry Robinson, or a Don Cherry to inject some life!).

Bley's themes here, once so ravishingly, bitterly gorgeous, are relatively dull or awkward in turn; when she tries her hand at gospel, as on the embarrassingly titled "The Lord is Listenin' to Ya, Hallelujah!," the results are cringe-inducing. Swallow has a nice introduction to "Still in the Room" and Earl McIntyre on tuba and trombonist Gary Valente do their best to get things rolling, but the lackluster compositions and leaden drumming (by D. Sharpe) never allow the project to take off. Listeners looking for prime Carla Bley would do better to search out her earlier, far more adventurous and creative work.
By Brian Olewnick https://www.allmusic.com/album/carla-bley-live%21-mw0000191553#review

Personnel: Carla Bley - organ, glockenspiel, piano (track 3); Michael Mantler - trumpet; Steve Slagle - alto saxophone, soprano saxophone, flute; Tony Dagradi - tenor saxophone; Vincent Chancey - French horn; Gary Valente - trombone; Earl McIntyre - tuba, bass trombone; Arturo O'Farrill - piano, organ (track 3); Steve Swallow - bass guitar; D. Sharpe - drums

Carla Bley live!

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Roy Eldridge - Happy Time

Styles: Swing
Year: 1975
Time: 48:36
File: MP3 @ 320K/s
Size: 112,5 MB
Art: Front

(4:20) 1. Sweethearts On Parade
(7:02) 2. Willow Weep For Me
(4:43) 3. Makin' Whoopee
(3:33) 4. Gee Baby Ain't I Good To You
(4:45) 5. All Of Me
(4:10) 6. I Want A Little Girl
(6:55) 7. On The Sunny Side Of The Street
(4:43) 8. I Can't Get Started
(5:18) 9. Stormy Monday
(3:04) 10. Let Me Off Uptown

Roy Eldridge actually spends as much time singing as playing during the ten standards here, but the solos he takes (although concise) have their explosive moments. With pianist Oscar Peterson, guitarist Joe Pass, bassist Ray Brown, and drummer Eddie Locke providing the support, the music always swings in an exuberant fashion. This CD reissue, although not essential, is worth acquiring.
By Scott Yanow https://www.allmusic.com/album/happy-time-mw0000674713

Personnel: Roy Eldridge - trumpet, vocals; Oscar Peterson – piano; Joe Pass – guitar; Ray Brown – double bass; Eddie Locke – drums.

Happy Time

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Jeanne Newhall - E'Sensual

Styles: Jazz
Year: 2001
File: MP3@320K/s
Time: 68:18
Size: 156,7 MB
Art: Front

(4:48)  1. The Chase
(4:37)  2. Grey Mist At Dawn
(4:45)  3. Animal Attraction
(5:09)  4. Workin' on a Groovy Thing
(4:33)  5. Taboo You
(3:47)  6. Bunco Man
(4:07)  7. Grevy's Waltz
(4:32)  8. The Hissing Of Summer Lawns
(4:46)  9. Race Thru The Clouds
(4:20) 10. Rascalette
(3:46) 11. Oh, Heaven
(4:46) 12. Neptune's Beach
(4:31) 13. Surrender, My Heart
(4:49) 14. Inspire Me
(4:54) 15. Duende

E'Sensual

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The Don Cherry & George Gruntz Group - Maghreb Cantata, Live 1969

Styles: Jazz, Folk, World
Year: 2023
Time: 73:42
File: MP3 @ 128K/s
Size: 68,8 MB
Art: Front

( 0:47) 1. Intro
( 5:25) 2. Buanuara
( 3:45) 3. Alaji
( 1:39) 4. Salhe
( 5:07) 5. Nemeit
( 5:00) 6. Fazani
(11:26) 7. Is Tikhbar/Ghitta/Alaji
(22:21) 8. Djerbi/M‘rabaa/Buanuara
(18:08) 9. Nemeit/Hayadanumuyama/Fazani

A marvelous double album as document of the historical collaboration between Don Cherry and Swiss pianist, composer George Gruntz, a central figure in European jazz who always showed a special interest in extending his solid post bop skills through other languages such as ethnic or even baroque music. This is North-African, deep-flavored jazz recorded live in Tunisia and Germany in May and September 1969, with Cherry (cornet, flute) and Gruntz (piano, celeste) leading a highly mixed line-up featuring multi reeds player Sahib Shihab, bassists Henry Texier and Eberhard Weber, and Swiss drummer extraordinaire Daniel Humair, plus four North African musicians on traditional instruments like bendir, ney, bagpipes, tabla and darbouka. A trance-inducing jazz ritual.

Line-up: George Gruntz - piano, celeste; Don Cherry - cornet, flute; Sahib Shihab - flute, alto flute, soprano saxophone; Henri Texier - bass; Daniel Humair - drums; Salah El Mehdi - ney, flute; Moktar Slama - bendire, bagpipe, mezuette, soukra; Jelloud Osman - ney, bendire, mezzuette, bagpipe; Hattab Jouini - tabla, darbouka, bendire; Eberhard Weber - bass (tracks 7-9). 

Tracks 1-6 Recorded in Tunisia, May 1969; tracks 7-9 Recorded in Stuttgart, Germany at Beethovensaal der Linderhalle, September 5, 1969.

Maghreb Cantata, Live 1969

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Lucky Thompson, Barney Wilen - Four Brothers

Bitrate: MP3@320K/s
Time: 76:15
Size: 174.5 MB
Styles: Bop, Contemporary jazz
Year: 2015
Art: Front

[6:17] 1. This Here
[3:46] 2. Why Weep
[4:05] 3. Have A Light
[3:16] 4. Oleo
[4:44] 5. I Want To Be Happy
[6:56] 6. Jahrgang'37
[4:20] 7. Autumn Leaves
[4:49] 8. One Last Goodbye
[5:23] 9. Take The A Train
[4:26] 10. Düsseldorf Süd Wuppertal West
[4:13] 11. Iris
[3:49] 12. I Surrender Dear
[6:12] 13. Easy
[5:11] 14. The Mysterioso Mr. X
[4:05] 15. Edith
[4:35] 16. Einsames Mädchen Am Meer

Baritone Saxophone – Helmut Brandt (tracks: 1 to 6, 8 to 14, 16); Bass – Jürgen Ehlers; Drums – Rudy Pronk; Guitar – Larry Atwell (tracks: 1 to 14, 16); Piano – Roland Kovac (tracks: 1 to 7, 9 to 16); Soprano Saxophone, Tenor Saxophone – Barney Wilen (tracks: 1 to 6, 8 to 14, 16), Lucky Thompson (tracks: 1 to 6, 8 to 14, 16); Tenor Saxophone – Bent Jaedig (tracks: 1 to 6, 8 to 14, 16). Recorded November 25, 1960 at Funkhaus Hamburg .

Previously unreleased studio concert from Hamburg in 1960, featuring four jazz saxophone legends: Lucky Thompson (ss/ ts), Barney Wilen (ss/ ts), Helmut Brandt (bars) and Bent Jaedig (ts), recorded with the quartet of Dr. Roland Kovac (p) in a unique workshop. Excellent blend of Modern, Bebop, Cool and Progressive: Full ensemble pieces in a sound made famous by Giuffre's Four Brothers, from original material to standards, plus musical essays in small groups.

Four Brothers mc

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Crosby & Nash - Graham Nash & David Crosby

Bitrate: MP3@320K/s
Time: 35:17
Size: 80.8 MB
Styles: Soft rock
Year: 1972/2000
Art: Front

[3:55] 1. Southbound Train
[4:32] 2. Whole Cloth
[0:57] 3. Blacknotes
[2:25] 4. Strangers Room
[3:21] 5. Where Will I Be
[2:54] 6. Page 43
[2:18] 7. Frozen Smiles
[4:00] 8. Games
[3:25] 9. Girl To Be On My Mind
[4:25] 10. The Wall Song
[2:59] 11. Immigration Man

This self-titled release is one of if not arguably the most impressive side project to arise from CSN. Taken beyond face value, Graham Nash/David Crosby is a direct reflection, if not an extension, of the musical and personal relationship between its co-creators. Likewise, the results remain true, enhancing rather than detracting from the very individualistic styles of Crosby and Nash. The best elements of each are readily available here, punctuated at every turn by their complicated vocal arrangements and air-lock harmonies. In the wake of the enormous successes garnered by the albums Crosby Stills & Nash, Déjà Vu, and Four Way Street, the principal members were essentially given carte blanche studio access to pursue solo projects as well. This release is the first in what would turn out to be a series of collaborative efforts between Crosby and Nash. Musically it continues in much the same vein as their respective debut solo releases, If I Could Only Remember My Name and Songs for Beginners.

Nash's contributions include "Girl to Be on My Mind," "Stranger's Room," and "Southbound Train"a twangy piece of Americana featuring a high and lonesome steel guitar solo from Jerry Garcia that likewise hearkens to the Grateful Dead's American Beauty, Elton John's Tumbleweed Connection, or the Band's Music From Big Pink. These tracks co-exist in stark contrast to Crosby's more cerebral and incisive contributions, such as "Whole Cloth," "Games," and "The Wall Song." The latter features some outstanding instrumental support from the Grateful Dead's Jerry Garcia (guitar), Phil Lesh (bass), and Billy Kreutzman (drums). The core band revolves around another set of all-stars: Russell Kunkel (drums), Leland Skylar (bass), Craig Doerge (keyboards), and Danny "Kootch" Kortchmar (guitar). This same band would more or less continue to back up Crosby and Nash's duo efforts throughout the remainder of the '70s. Graham Nash/David Crosby offers much of the same unique songwriting and personal style which informed their better contributions not only to the CSN-related efforts, but as far back as their offerings with the Hollies and the Byrds. Interested enthusiasts are also urged to locate Another Stoney Evening a live acoustic release from October 10, 1971 which includes seminal live versions of "Southbound Train," "Where Will I Be," "Immigration Man," and "Stranger's Room." By Lindsay Planer

Graham Nash & David Crosby

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Doug Webb Quartet - Sets the Standard

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 64:35
Size: 148,8 MB
Art: Front

(4:18)  1. My Shining Hour (Master)
(5:08)  2. Trouble Is a Man
(6:09)  3. Star Eyes
(5:30)  4. Little Girl Blue
(6:39)  5. These Things
(8:45)  6. Gone with the Wind
(6:13)  7. Jitterbug Waltz
(6:20)  8. Chelsea Bridge
(4:33)  9. Ask Me Now
(5:14) 10. I Remember You
(5:41) 11. My Shining Hour (Alternate)

On May 26, 2014 Doug Webb brought together Alan Broadbent, Putter Smith and Paul Kreibich to record this set at Nolan Shaheed's studio in Pasadena, CA. This was a rare opportunity to record Alan Broadbent playing a set of all improvised music on the West Coast in a small group . The music chosen had to be standards that all the participants knew well. It was also understood that Alan's wonderful approach to ballads had to be a focal point. Doug also wanted to get a chance to play more lyrically than on previous recordings. The result is this engrossing set of standards that effectively sets the standard of good taste and musicality for any quartet session. ~ Editorial Reviews  http://www.amazon.com/The-Doug-Webb-Quartet-Standard/dp/B019KDX9K0

Personnel:  Doug Webb (tenor, stritch, soprano sax);  Alan Broadbent (piano);  Putter Smith (bass);  Paul Kreibich (drums).

Sets the Standard

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Andrew Cyrille, William Parker & Enrico Rava - 2 Blues For Cecil

Styles: Avant-garde Jazz
Year: 2021
File: MP3@320K/s
Time: 70:25
Size: 161,7 MB
Art: Front

(10:56) 1. Improvisation No. 1
( 6:32) 2. Ballerina
(10:09) 3. Blues For Cecil No. 1
( 6:28) 4. Improvisation No. 2
( 7:19) 5. Top, Bottom and Whats in the Middle
( 8:42) 6. Blues For Cecil No. 2
( 5:33) 7. Enrava Melody
( 5:51) 8. Overboard
( 5:41) 9. Machu Picchu
( 3:09) 10. My Funny Valentine

Finland's TUM Records wrapped up 2021 with a free jazz flourish, releasing trumpeter Wadada Leo Smith's Great Lakes Quartet's stellar box set, The Chicago Symphonies and also Smith's masterful A Love Sonnet For Billie Holiday. The momentum continued in January 2022 with the label's release of The OGJB Quartet's Ode To O and the subject of this review 2 Blues For Cecil, from drummer Andrew Cyrille, bassist William Parker and trumpeter & flugelhornist Enrico Rava.

All three players here are major league jazz artists, with pedigrees in the art of improvisation which date from the '60s for Cyrille and Rava and the '70s, in the case of Parker. This first recorded collaboration of the trio is a celebration of another superb improviser maybe the boldest ever in this regard pianist Cecil Taylor (1929 -2018).

Cyrille's roots run to his work in the Cecil Taylor bands, including his contribution to the free jazz pianist's groundbreaking Unit Structures (Blue Note, 1966). Parker played in a later version of the Taylor group and, as with Cyrille, his tenure there lasted more than a decade. A bit less connected is Rava, who played on Winged Serpent (Sliding Quadrants, 1984) with Cecil Taylor's Orchestra Of Two Continents.

This trio does not try to match the scattershot, free flying wildness of Taylor. Their approach is a measured and spacious thing. Where Taylor sent piano notes and the collective cacophonies of his bands colliding off the quasars in the furthest reaches of the galaxy, Cyrille, Parker and Rava have found a closer star and set up a steady orbit, presenting four tracks of patiently played out collective improvisation, with two tunes written by Rava (who plays flugelhorn here) and one from Cyrille's pen, before wrapping up the show with a standard, "My Funny Valentine."

"Blues For Cecil No.1" finds a smooth-rolling groove, with Rava's resonant flugelhorn moving fluidly inside the drum and bass momentum. "Blues For Cecil No. 2" unfolds in a similar fashion, in a Miles Davis, L'Ascenseur Pour L'Echafaud (Fontana, 1958) mode, a beautiful, capacious nod to the artistry of a legend.~Dan McClenaghan https://www.allaboutjazz.com/2-blues-for-cecil-tum-records

Personnel: Andrew Cyrille: drums; William Parker: bass; Enrico Rava: trumpet.

2 Blues For Cecil

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The Jazz Couriers - Some Of My Best Friends Are Blues

Styles: Straight-ahead/Mainstream
Year: 2008
File: MP3@320K/s
Time: 79:34
Size: 183,3 MB
Art: Front

(6:34)  1. Through The Night Roared The Overland Express
(5:24)  2. Royal Ascot
(5:05)  3. On A Misty Night
(4:17)  4. Cheek To Cheek
(4:45)  5. Oh My
(5:24)  6. Plebus
(4:56)  7. Reunion
(7:20)  8. A Foggy Day
(5:52)  9. What Is This Thing Called Love
(5:20) 10. Some Of My Best Friends Are Blues
(5:52) 11. The Serpent
(8:36) 12. Guys And Dolls
(2:54) 13. Time Was
(3:22) 14. Speak Low
(3:46) 15. Cheek To Cheek

Although the Jazz Couriers are widely held to be the finest and most influential of British bebop/hard-bop bands, little recorded material by the group has been available in recent years. Add to this the paucity of available solo releases by the two men who led the Couriers, tenor saxophonist and vibraphonist Tubby Hayes and fellow tenor player Ronnie Scott, and you have two good reasons why this reissue from Ember Records, which pairs the band's debut studio session from August 1957 with a live recording from February 1958, is so welcomeIt's no secret that Hayes and Scott modelled their band on Art Blakey's Jazz Messengers, and this is in evidence in the opening number, “Through the Night Roared the Overland Express”. A Hayes composition, it features some effective, Latin-tinged drumming from Bill Eydon that recalls Blakey's work on “Nica's Dream”, from the 1956 <|>The Jazz Messengerssides on Columbia.

Trumpeter Jimmy Deuchar augments the band on the track, and also guests on “Royal Ascot”, in which composer Hayes switches from tenor to vibes. The unusual tenor/vibes/trumpet front line in this buoyant cut is a welcome step away from the two-horns-and-a-rhythm-section sound of the 1950s Messengers. Hayes' vibes are particularly suited to Tad Dameron's wistful “On A Misty Night”, which he furnishes with a shimmering solo. Of the live tracks, “Some of My Best Friends Are Blues” is an instantly memorable 12-bar blues by Scott, who contributes a couple of frenzied solo choruses. Pianist Terry Shannon raises his game in response and his solo is fluid, intelligent and soulful. “The Serpent” crawls on its belly, its Latin rhythms helping it insinuate itself in the mind after just one listen. The album closes with Hayes' witty, blaring arrangement of Irving Berlin's “Cheek to Cheek”, in which the whole outfit breathes fire. No mere Messengers clones, the Couriers took Blakey’s hard-bop template and stamped their own identity on it, aided by Hayes’ fresh compositions and arrangements and the judicious use of Tubby’s vibes. Today, Hayes is credited with a crucial role in establishing British modern jazz as a credible force. Although similarly fêted, Scott is known more as a club owner and jazz proselytizer than as a superb player and composer of talent. I hope this fine reissue redresses the balance.By Ronan Abayawickrema
http://www.allaboutjazz.com/some-of-my-best-friends-jazz-couriers-ember-records-review-by-ronan-abayawickrema.php#.VGdi5MmHmtg

Personnel: Ronnie Scott - Tenor Sax, Tubby Hayes - Tenor Sax, Vibes (2,3,7,10,12), Jimmy Deuchar – Trumpet (1,2), Terry Shannon - Piano, Phil Bates - Bass, Bill Eydon - Drums

Some Of My Best Friends Are Blues

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Ake Johansson Trio - Live at Nefertiti

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 64:22
Size: 149,2 MB
Art: Front

(5:33) 1. Synkopen i Umeå
(7:56) 2. La Mesha
(7:10) 3. My Shining Hour
(4:05) 4. A Tribute Yo Bud
(5:36) 5. The Song Is You
(7:06) 6. Kom ner
(3:58) 7. New
(4:44) 8. Waitin'
(8:07) 9. Some Other Spring
(5:00) 10. I grottan
(5:02) 11. Igen

Born in Sweden, Johansson has lived in Berlin since 1968. Johansson was one of the first European free jazz drummers; he played in saxophonist Peter Brötzmann's trio with bassist Peter Kowald in 1965 and played on Brötzmann's albums For Adolphe Sax (1967) and Machine Gun (1968). In 1972, Johansson recorded and released Schlingerland, one of the first solo free jazz recordings by a drummer. Johansson met pianist Alexander von Schlippenbach while both were members of trumpeter Manfred Schoof's group in the '60s; the two formed a long-running duo in 1976. Most of Johansson 's recordings were issued on small labels and many are out of print; much of his work for the German FMP label and the Swiss hatOLOGY label is available, however. In the '90s, some of his notable collaborators included Axel Dörner, Andrea Neumann, Rudiger Carl, and Hans Reichel.~ Chris Kelsey https://www.allmusic.com/artist/sven-%C3ke-johansson-mn0000041828/biography

Personel: Åke Johansson - piano, composer; Kjell Jansson - bass, composer; Göran Levin - drums

Live at Nefertiti 1983

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Lillian Boutté - Tennesee Waltz

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 45:24
Size: 104,9 MB
Art: Front

(3:49) 1. Tennesee Waltz
(4:47) 2. Meet Me at the Station
(4:43) 3. Cry to Me
(4:38) 4. Royal Telephone to Glory
(5:04) 5. God Is Real
(4:28) 6. I'm Gonna Build on That Shore
(4:14) 7. Somewhere over the Rainbow
(6:44) 8. What a Wonderful World
(3:15) 9. Who Rolled the Stone Away
(3:40) 10. Love

A versatile singer based in New Orleans, Lillian Boutte is capable of singing both New Orleans Dixieland standards and New Orleans R&B, swing-era tunes, and contemporary originals. She sang as a child (winning a vocal contest when she was 11), performed with her college's gospel choir, and then in 1973, was hired by Allen Toussaint as a backup singer for the many projects recorded in his studio. Boutte appeared as an actress and singer in the musical One Mo' Time during 1979-1984, recorded a gospel album with the Olympia Brass Band in 1980, and in 1982, made her first jazz album. Boutte has spent time alternating between living and performing in Europe and New Orleans, and she has been closely associated with reed player Thomas L'Etienne who usually leads her backup groups. Through the years, Lillian Boutte has recorded for many labels (mostly in Europe) including Herman, Feel the Jazz, High Society, Turning Point, Timeless, Southland, Storyville, GHB, Calligraph (with Humphrey Lyttelton), Blues Beacon, and Dinosaur Entertainment.~ Scott Yanow https://www.allmusic.com/artist/lillian-boutt%C3%A9-mn0000291690/biography

Tennesee Waltz

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Dave Brubeck Octet - Dave Brubeck Octet

Styles: Piano Jazz
Year: 1984
Time: 46:51
File: MP3 @ 320K/s
Size: 108,9 MB
Art: Front

(3:00) 1. The Way You Look Tonight
(2:36) 2. Love Walked In
(2:41) 3. What Is This Thing Called Love?
(2:51) 4. September In The Rain
(2:14) 5. Prelude
(2:43) 6. Fugue On Bop Themes
(2:22) 7. Let's Fall In Love
(2:40) 8. Ipca
(6:51) 9. How High The Moon
(4:33) 10. Serenade Suite
(1:29) 11. Playland-At-The-Beach
(1:04) 12. Prisoner's Song
(2:14) 13. Schizophrenic Scherzo
(1:30) 14. Rondo
(2:15) 15. I Hear A Rhapsody
(3:00) 16. You Go To My Head
(2:09) 17. Laura
(0:31) 18. Closing Theme

The listener has to forgive a few things about this undeniably brilliant collection of Dave Brubeck's first big ensemble. First: the liner notes' pretentions. Brubeck announces there that between 1946, when some of these tunes were recorded, and 1956, when the tapes were first "reissued" on LP, "very few released recordings" have "more musical importance" than the octet. Second: the nearly seven minutes of "How High the Moon" narrated to show how jazz was formed, as the band plays in short demonstrative segments.

Third: the audio vérité sound, which even Brubeck thought questionable in 1956. Hearing this dynamic set, though, makes forgiveness easy. The arrangements show a wild abundance of color and orchestral finesse (many of the group's members were, like Brubeck, students of Darius Milhaud).

You get quick-clip swingers like "The Way You Looked Tonight" and the string of chamber-esque horn studies that includes "Schizophrenic Scherzo" and more. You also get to hear early Paul Desmond and William O. Smith bouncing ideas off each other and drummer Cal Tjader. And it's all a delight, especially with the magnanimity of "forgiving" Brubeck. By Andrew Bartlett
https://www.amazon.com/Dave-Brubeck-Octet/dp/B000000Y60

Personnel: Dave Brubeck – piano; Paul Desmond – alto saxophone; Jack Weeks – bass; Cal Tjader – drums; William O. Smith – clarinet & baritone saxophone; Bob Collins – trombone; Dick Collins – trumpet; David Van Kriedt – tenor saxophone

Dave Brubeck Octet

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Lillian Boutté - Nobody Knows

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 51:25
Size: 118,6 MB
Art: Front

(3:53) 1. Traveller's Tune
(8:38) 2. Nobody Knows the Trouble I've Seen
(4:04) 3. Lipstick Traces
(4:35) 4. Strange Things Are Happening
(5:04) 5. It Wasn't the Nails, Pt.1.
(4:54) 6. I Surrender Dear
(3:55) 7. Teardrops
(5:46) 8. It Wasn't the Nails, Pt.2.
(6:46) 9. If We Ever Needed the Lord It's Now
(3:45) 10. I Feel Alright

When singer Lillian Boutté was named “New Orleans Musical Ambassador” in 1986, she was the second jazz legend in the city's history to be accorded this honor - the first having been none other than Louis Armstrong. “Ambassador Lillian” is a loquacious and outspoken defender of her hometown. She has been working extensively to help Katrina victims, doing benefits and organizing relief funds for musicians, many of whom have lost everything. Also very active in this cause is her brother John Boutté a highly heralded singer in his own right and possessor of one of the finest voices in America. The siblings grew up in the Seventh Ward along with eight other sisters and brothers, steeped in the neighborhood culture of the city that is now threatened by extinction in the wake of Katrina.

It has always been Lillian's driving desire to bring the musical heartbeat of her home town nearer to the ears of the world. Over a timeframe of twenty years and with the backing of her albums featuring jazz, pop, blues, soul and gospel, she has succeeded in conveying the city's unique atmosphere to an international audience. For this extended period, she has been touring almost nonstop, doing concerts, club dates and festivals all over the world. Music was Lillian's life right from the start. At the tender age of 11, she won her first singing contest. During her musical studies at New Orleans' Xavier University, she sang in the gospel choir, before being discovered by Allen Toussaint, who used her as a background singer when producing the likes of James Booker, Patti Labelle, the Neville Brothers, the Pointer Sisters and Dr. John.

Then she went on a five-year world tour as an actor, singer and dancer in the musical “One Mo' Time”. At the same time, she made her first solo recordings, and could be seen in two movies: alongside Professor Longhair, Allen Toussaint and Tuts Washington in the critically-acclaimed Stevenson-Pallifi documentary “Piano Players Barely Play Together”, and in a bit part in Alan Parker's “Angel Heart”. Together with blues legend Brownie McGee, she can also be heard on the soundtrack of that movie. Lillian also sang at the Tennessee Williams memorial service in St. Louis cathedral in her native New Orleans, and America's high and mighty were treated to her interpretation of the national anthem in the Superdome. In 1992 she spearheaded 45 of her New Orleans music friends and brought the sounds of Cajun, Soul, R & B, Gospel traditional N.O. Brassbands and as well New Orleans cuisine to 22 cities in Germany under the title SPIRIT OF LOUISIANA. In 1993 she originated the project GOSPEL UNITED in co-operation with 2 Danish organizers, where she was able to show her musical and social influences.

Lillian Boutté worked with local legend Dr. John, with whom she produced the albums “The Jazz Book,” in 1993, and “But...Beautiful,” in 1995. Together with Munich pianist and singer Christian Willisohn, Lillian Boutté recorded the albums “Lipstick Traces,” (’92) “Come Together,” and album “You've Gotta Love Pops,” in 2000. She also released “Music Is My Life,” in 2000. Critics have compared Lillian Boutté with Bessie Smith, Aretha Franklin and Mahalia Jackson. In Europe, where she established a residence, she and her husband Thomas L'Etienne and her band “Music Friends” have already aquired a large following. Her newest show and record “That Don't Keep Me From Cookin In A 'Gumbo Pot '” is a tribute to New Orleans music with the sounds of Sassafras, Mardi Gras, funky creole blues, smoky bars and jumpin' jazz featuring 'new' New Orleans songs by Phil Parnell, Lillian Boutte, Ed Frank and others. An internationally acclaimed Jazz, Gospel and Blues singer,Lillian's unique charismatic personality, stunning voice and love for the music encapsulate an unforgettable experience for anyone who can appreciate a genuine artist. https://musicians.allaboutjazz.com/lillianboutt

Nobody Knows

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Robyn Adele Anderson Vol.1 to Vol.12

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Robyn Adele Anderson is a New York based singer, actress, and arranger. Having originally worked in the non-profit sector providing legal and social services to the local immigrant community, the idea of a career in music was merely a fantasy. However, Robyn’s life changed virtually overnight due to a fortuitous encounter with the genre-bending music collective Scott Bradlee's Postmodern Jukebox. As one of their original singers, she was able to ride the initial wave of their viral success and gain a loyal fanbase all over the world. After several years of collaborating with the group, Robyn branched out to pursue a solo music project by performing covers on her own YouTube channel. She quickly gained notability for her creative arrangements and authentic recording style. Robyn’s most popular covers include swing versions of System of a Down’s “Chop Suey'“ and Nirvana’s “Smells Like Teen Spirit.” Across social media, Robyn has amassed nearly one million followers and more than 400 million views on YouTube. In addition to creating videos, Robyn performs live as a solo artist and regularly collaborates with a variety of musical acts. As part of Postmodern Jukebox she has toured on five continents and has made appearances on “Good Morning America” and Australia’s “The Morning Show.” She has sung as a guest artist with the stripped-down cover duo The Skivvies as well as the award-winning a’cappella groups Six Appeal and Backtrack Vocals. Robyn has also performed in New York City’s immersive theater scene, starring in Speakeasy Dollhouse’s “Ziegfeld’s Midnight Frolic” and “The Girl Who Handcuffed Houdini” as well as Company XIV’s “Seven Sins” and “Nutcracker Rouge.” Currently Robyn is performing in the concert residency “Pop Divas” at Ocean Casino Resort in Atlantic City. Robyn has embraced not only the sound but the aesthetic of eras gone by. She pays homage to the “pinup girls” of the ‘40s and ‘50s in the form of an annual pinup calendar. She continues to combine modern and retro trends in her fashion which can be seen in her videos and portfolio of portraits.

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Oscar Peterson - The Trio

Styles: Piano Jazz
Year: 1973
Time: 38:21
File: MP3 @ 320K/s
Size: 88,1 MB
Art: Front

( 5:31) 1. Blues Etude
(13:52) 2. Chicago Blues
( 7:53) 3. Easy Listening Blues
( 3:46) 4. Come Sunday
( 7:15) 5. Secret Love

Guitarist Joe Pass and bassist Niels-Henning Ørsted Pedersen both play well on these live performances, but the reason to acquire this set is for the remarkable Oscar Peterson. The pianist brilliantly investigates several jazz styles on "Blues Etude" (including stride and boogie-woogie), plays exciting versions of his "Chicago Blues" and "Easy Listening Blues," tears into "Secret Love," and shows honest emotion on "Come Sunday." Peterson really flourished during his years with Norman Granz's Pablo label, and this was one of his finest recordings of the period.
By Scott Yanow https://www.allmusic.com/album/the-trio-1973--mw0000045261#review

Personnel: Oscar Peterson – piano; Joe Pass – guitar; Niels-Henning Ørsted Pedersen – bass.

The Trio

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Arne Domnerus & Rolf Ericson And His Orchestra - 1950-1951

Styles: Jazz, Post Bop
Year: 2003
Time: 78:35
File: MP3 @ 320K/s
Size: 179,9 MB
Art: Front

(3:15) 1. What Shall I Say
(2:53) 2. Barit
(2:39) 3. I Cover the Waterfront
(2:47) 4. Lullaby in Rhythm
(3:19) 5. The Nearness of You
(2:54) 6. Git Straight
(2:41) 7. Jumpin' with Symphony Sid
(3:20) 8. Strange Enchantment
(3:04) 9. I Know That You Know
(3:18) 10. Caravan
(3:01) 11. Lillette
(3:05) 12. Be My Love
(2:50) 13. The Pipe
(3:22) 14. Strike Up the Band
(2:31) 15. On the Alamo
(3:03) 16. Darn That Dream
(3:23) 17. Boogie Blues
(3:14) 18. Out of Nowhere
(2:28) 19. Perdido
(3:16) 20. Tenderly
(3:13) 21. What a Kick
(2:47) 22. You Can Count on Me
(3:13) 23. Schooldays
(2:40) 24. Any Time
(2:52) 25. Party for Pres
(3:17) 26. Car Rider

Sven Arne Domnerus was a Swedish jazz alto saxophonist and clarinetist, popularly nicknamed Dompan. He was best known for his recordings with visiting American players such as jazz artists such as James Moody, Art Farmer and Clifford Brown. Domnerus also played with Charlie Parker when he made his tour in Sweden 1950. Domnerus worked with the Swedish Radio Big Band from 1956 to 1978, and wrote for television and films during the period.

He also recorded extensively with Bengt Hallberg. Together with fellow Swedes Bengt-Arne Wallin, Rolf Ericson and Ake Persson (the latter two both former members of Duke Ellington's Orchestra), he participated at the Jazz Workshops, organized for the Ruhrfest in Recklinghausen by Hans Gertberg from the Hamburg radio station.https://www.allaboutjazz.com/musicians/arne-domnerus/

Rolf Ericson, August 29, 1922 – June 16, 1997) was a Swedish jazz trumpeter. He was also flugelhorn player. In 1947, he moved to New York City and joined Charlie Barnet’s bigband in 1949. He also joined Woody Herman’s band in 1950. He worked later with Charlie Parker, Lars Gullin and Paul Gonsalves. He returned to Sweden in 1950 and recorded with Arne Domnerus as well as as Leonard Feather’s Swinging Swedes. Between 1953 and 1956, he returned to the U.S. and performed with the major bands Charlie Spivak and Harry James. He also played with Les Brown and the Lighthouse All-Stars.

He toured Sweden in 1956 and performed with Ernestine Anderson, Lars Gullin and others. Between 1956-1965, he was back in America, where he worked with Dexter Gordon and Stan Kenton, Harold Land, Stan Kenton. Woody Herman. Buddy Rich, Buddy Rich. Gerry Mulligan. Dan Terry. Charles Mingus. From 1963 to 1971, he was with the Duke Ellington Orchestra. He recorded three recordings in the 1960s as part of the Rod Levitt Orchestra (octet). Ericson was a member of the Al Porcino Big Band, Berlin in the late 70s and early 1980s.
https://jazzinfo.org/artist/rolf-ericson

1950-1951

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Eliane Elias - Mirror Mirror

Styles: Piano Jazz
File: MP3@320K/s
Time: 36:16
Size: 84,7 MB
Art: Front

( 6:07) 1. Armando's Rhumba
( 6:27) 2. Esta Tarde Vi Llover
( 5:47) 3. Blue Bossa
(11:33) 4. Corazo´n Parti´o.mp3
( 4:53) 5. Mirror Mirror
( 6:45) 6. Sabor A Mi
( 6:15) 7. There Will Never Be Another You

Multi GRAMMY® winning pianist/singer/composer Eliane Elias’ latest album MIRROR MIRROR on Candid Records is a lifelong musical dream come true an extraordinary piano duet recording of Eliane with the late legendary jazz great Chick Corea, and famed Cuban pianist Chucho Valdés. While her highly successful recordings have predominantly featured her alluring voice and piano mastery, the piano has always been her first love and working with these two incredible icons was a rare opportunity to record in a two-piano setting, something she hasn’t done in many years. For the world-renowned performer, this organically created collection represents more than simply a culmination of an illustrious career that includes nearly 30 recordings, over 2.3 million albums sold, nine total GRAMMY and Latin GRAMMY nominations, a GRAMMY win for Best Latin Jazz Album (Made in Brazil, 2016) and a Latin GRAMMY win for Best Latin Jazz/Jazz Album (Dance of Time, 2017). MIRROR MIRROR marks the classically trained pianist’s first piano-only recording since 1995’s Solos and Duets, a set of piano solos and six duets with pianist Herbie Hancock.

The recordings took place in NYC at Yamaha’s Artist Services in Manhattan with Corea and Brooklyn’s Bunker Studios with Valdés. It features Chick on four tracks, Chucho on three and was produced by Elias with her award-winning team of co-producers Marc Johnson and Steve Rodby, and mixed and mastered by Rich Breen. Though Corea and Valdés alternate in the track list with the opening Corea duet “Armando’s Rhumba” followed by the Valdés duet “Esta Tarde Vi Llover” before the next Corea duo “Blue Bossa,” etc., the flow is remarkably seamless – but the story behind the recording of the album is best told in two distinct segments.Having always counted Corea as one of her chief influences, Eliane first met him in 1978 in Brazil. Meeting on occasion over the years on the road they spoke of someday playing or recording together. Having at last set aside a date to do so, by design the two’s sole literal preparation was about song suggestions. In Eliane’s view, she and Chick had been getting ready for their session with lifetimes dedicated to their craft, their instruments and the art of improvisation.

“Despite him being a generation older, our influences were similar; Bud Powell, Bill Evans, in fact, we had both done tributes to Evans. We also played with many of the same bassists and drummers and, of course both were rooted in classical training. He played Mozart and Scarlatti, I played Bach and Ravel. Those shared influences poured out as we played and one can feel our affinities through the inventiveness of the rhythms and harmonies, how we felt time with each other and how we treated the songs.” When he passed unexpectedly in February 2021, Elias, devastated, was deep in the mixing process with four improvisational duets she had recorded with him. Revisiting the music for release reminded her just how effortlessly they communicated and of the instant rapport they shared.You can discern the duo’s chemistry from the elegant opening of “Armando’s Rhumba”. Ditto the opening sensitive lyrical approach and hypnotic intertwining of notes that drives “Blue Bossa”. The other tracks are the title track “Mirror Mirror” and “There Will Never Be Another You,” the title of which captures what words are insufficient to describe; the beautiful moments Eliane and Chick created in tandem.

In contemplating who she would like to work with to complete a piano duets album, the idea of playing with Valdés came quickly to mind, and Eliane describes the sessions as spontaneous, full of heart, passion, and energy and just as importantly, another dream fulfilled. She and Valdés ran into each other at festivals and other venues over the years, and have a deep affection for each other’s playing. Before they started recording at their Model D Steinway and Sons pianos, they had a brief meeting in Miami to go over song choices. Valdés was enthusiastic about her unique suggestions of tunes by Mexican and Spanish composers. He knew the songs but was surprised she did – until Eliane told him about her mother Lucy, the daughter of a Spanish Basque who exposed her to countless Spanish language and Latin songs in addition to her extensive jazz collection. They looked over Eliane’s charts in a fun afternoon of playing together, so that when they arrived at the studio a few days later, the only question was, “Do you solo first or do I? Eliane and Chucho create an intoxicating mix of Cuban and Brazilian rhythms throughout their three tunes, from the elegantly romantic “Esta Tarde Vi Llover” to the mood-swinging ”Corazon Partío” and “Sabor a Mi,” a sensual bolero which begins introspectively, then evolves into a percussive jam. “The give and take, the way I accompanied him and he accompanied me, and how we answered each other reflects how completely connected we were,” Eliane says.

Born in São Paulo, Brazil, Eliane began her classical piano studies at age seven and at twelve was transcribing solos from the great jazz masters. By 15, she was teaching piano and improvisation at one of Brazil’s most prestigious schools of music. Her performing career began two years later, working with Brazilian singer/songwriter Toquinho and the great poet Vinicius de Moraes, who was also Antonio Carlos Jobim’s co-writer/lyricist. Later in NYC, after performing for several years with Steps Ahead and recording on their self-titled second album (also featuring Michael Brecker, Michael Mainieri, Peter Erskine and Eddie Gomez), she launched her solo career in 1984 with a collaboration album with Randy Brecker titled Amanda.

Eliane’s first official album under her own name, Illusions, featured Stanley Clarke, Steve Gadd, Lenny White, Eddie Gomez and Toots Thielemans and hit #1 on the Radio & Records Contemporary Jazz chart. Voted Best New Talent in the Jazziz magazine critics’ poll in 1988, Eliane is a four-time Gold Disc Award recipient, a three-time Best Vocal Album winner in Japan and winner of the 2018 Edison Lifetime Achievement Award in Holland. Her 2019 album Love Stories, as most of her previous releases, hit #1 on the jazz charts worldwide.

“The title MIRROR MIRROR wasn’t chosen simply because it was one of the songs Chick and I recorded,” says Eliane. “It was all about the two pianos facing each other like a beautiful mirror image, and how in each duet we reflected each other’s thoughts and ideas back and forth. To me, the piano is an extension of my body, heart and soul and is at the center of everything I do. I will always be proud and grateful for the opportunity to have registered these special musical encounters with these two master musicians.” http://news.theurbanmusicscene.com/2021/07/eliane-elias-to-release-new-album-mirror-mirror/

Mirror Mirror

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Tatiana Eva-Marie, Avalon Jazz Band - April in Paris

Styles: Vocal, Jazz Band
Year: 2021
File: MP3@320K/s
Time: 54:35
Size: 126,4 MB
Art: Front

(3:54) 1. C’est magnifique
(4:17) 2. La Vie en rose
(3:07) 3. J’attendrai
(2:57) 4. Y’a d’la joie
(3:26) 5. La Mer
(3:48) 6. April in Paris
(4:16) 7. Sous le ciel de Paris
(3:44) 8. C'est le printemps
(3:29) 9. Fleur Bleue
(2:50) 10. L’Automne à Paris
(3:46) 11. Comment allez-vous?
(4:08) 12. A Paris
(3:15) 13. Parlez-moi d’amour
(3:18) 14. La Foule
(4:12) 15. Douce France

Tatiana Eva-Marie was born in a musical family, in Switzerland, to renowned film composer Louis Crelier and solo violinist Anca Maria. She grew up surrounded by classical music on one side and jazz and music from the seventies on the other. Tatiana Eva-Marie calls herself a “recording studio rat”, and she started her career as a singer at age 4 when she recorded a duo album with famous children’s performer Henri Des. Two years later, she recorded her first solo album and featured in her first professional theatre play. She fell in love with the stage and has been performing ever since.

During her childhood, Tatiana Eva-Marie performed regularly in various stage productions and sang as a guest star in her father’s New Orleans style band The Cotton Club Jazz Orchestra for the closing ceremony of the Vevey Comedy Film Festival. At age 12, she started her professional training at the Theatre Populaire Romand acting school in Switzerland, and then a few years later, at the American Academy of Dramatic Arts in New York City.

Tatiana Eva-Marie was accepted in a special high school for young artists and athletes and graduated at only 16 years old. She then moved to Paris, where she studied medieval literature at the Sorbonne University during the day, and performed as a Gypsy singer and dancer at night in cabarets across the city, barefoot on tables with the Eastern mafia drinking vodka out of her shoes.

She performed as a singer and actress in some of the most renowned theaters in France, including the Comedie Francaise and the Theatre du Rond Point. Tatiana Eva-Marie wrote and directed two musical theater plays, Rhapsodia and The Magic Violin, which had a lot of success at the Avignon Theater Festival. Tatiana Eva-Marie now lives in New York City, where she is continuing her artistic career. She is the lead singer of Avalon Jazz Band and collaborates with many talented artists on film, music and theater projects. https://www.allaboutjazz.com/musicians/tatiana-eva-marie

April in Paris

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Avalon Jazz Band - Je Suis Swing

Bitrate: MP3@320K/s
Time: 55:44
Size: 127.6 MB
Styles: Contemporary jazz
Year: 2016
Art: Front

[3:37] 1. Ménilmontant
[3:21] 2. Coquette
[3:40] 3. Je Suis Swing
[3:43] 4. La Complainte De La Butte
[4:02] 5. I Can't Give You Anything But Love
[2:53] 6. Stompin' At Decca
[3:24] 7. Darling Je Vous Aime Beaucoup
[3:17] 8. C'est Si Bon
[3:32] 9. Songe D'automne
[2:32] 10. Le Soleil Et La Lune
[3:21] 11. Sweet Sue, Just You
[4:20] 12. Seule Ce Soir
[3:43] 13. J'ai Ta Main
[2:57] 14. Rosetta
[3:56] 15. Clair De Lune
[3:18] 16. Q'est-Ce-Qu'on Attend Pour être Heureux

Vocals – Tatiana Eva-Marie; Violin – Adrien Chevalier; Guitars – Olli Soikkeli & Vinny Raniolo; Clarinet – Evan Arntzen; Bass – Brandi Disterheft; Accordion – Albert Behar.

The world ambassadors of French hot jazz are presenting their highly anticipated first full-length CD “Je Suis Swing”, a tribute to the Zazou youth of 1930s and 40s Paris, with a mix of American and French jazz standards, sprinkled with hidden gems. They have traveled the globe from New York to Fiji, from hidden speakeasies to Lincoln Center, spreading France’s proverbial joie de vivre, led by singer Tatiana Eva-Marie, named one of her generation’s “finest rising vocalists” by magazine Vanity Fair. She will be joined by violin virtuoso Adrien Chevalier and young guitar wizard Olli Soikkeli, complementing her vocals with the iconic sound of the Hot Club De France. Their repertoire will include the music made famous by Charles Trenet, Yves Montand, Django & Grappelli, Jean Sablon and more, with original arrangements that reflect the innocent decadence of the Parisian jazz age.

Je Suis Swing

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Bobby Wellins Sextet - Homage To Caledonia

Styles: Saxophone Jazz
Year: 2024
Time: 74:11
File: MP3 @ 128K/s
Size: 70,3 MB
Art: Front

( 9:06) 1. What is the truth?
( 7:53) 2. Conundrums
( 3:18) 3. Aura best
(12:16) 4. Piano solo
( 2:25) 5. Introduction / Gathering
(10:23) 6. March
( 5:07) 7. Battle
( 6:05) 8. Aftermath
(17:33) 9. Dizzy's blues (including St. Thomas)

Bobby Wellins said about the composition of "The Culloden Moor Suite:" "It was something that came to me after reading John Prebble's book about the Battle of Culloden and the way he described events leading up to it and the dreadful aftermath... I wanted to capture, not just the terrible sadness that must have resulted from what was a pretty horrific event, but also the sense of expectancy and celebration, even if it turned out to be misplaced, in the gathering of the Jacobite army."

This is the only complete small ensemble recording of the suite released up to 2024. The booklet, largely written by drummer Spike Wells, is a memoir of the time in 1979 when the group toured the country under the aegis of Jazz Services and the Arts Council. Wells describes the early versions of the suite with the New Departures quintet and the version with the Scottish National Jazz Orchestra with Tommy Smith. On the album, the quartet becomes a sextet with the addition of Lol Coxhill and Bryan Spring.

Producer Pete Woodman outlines the background to the Battle of Culloden which took place in 1746 . It was an attempt for Charles Edward Stewart to restore his father James to the British throne. The battle is crucial to Scottish/English history but it is a pity that Woodman does not mention the excellent Peter Watkins film about the battle.

In many ways, the Pete Jacobsen piano solo which is not part of the suite, is a wonderful addition to the performance. Jacobsen is a lost hero of British jazz music. Anyone who wonders why Jacobsen's work is still cherished has only to listen to this twelve-minute, untitled piano solo. Jacobsen plays freely, ranges widely and as a maverick let loose he is lyrical, inventive and creative. The playing could have been recorded yesterday.

The suite is not "Under Milk Wood." It is hard-edged, craggy, horny, bristling with defiance and Scottish sadness,,,, a validation. The non-Culloden pieces are valuable additions to the Wellins discography.. "Aura" is short, too short, because it is haunting in the way that only a Wellins solo can be. For moments, it is all there, the plaintive tone, the endemic sadness and beauty and a completely compatible accompaniment from Jacobsen.

Although the sound quality of Jazz in Britain albums, taken from musicians' archives, is not always pristine, the presentation is always first-rate.. Here, the images of Culloden Moor and the grave markers on the moor have definition, clarity and colour. There are photos and publicity from the time. Above all, this is a valuable historical document documenting the playing of an important composition.By Jack Kenny
https://www.allaboutjazz.com/homage-to-caledonia-bobby-wellins-sextet-jazz-in-britain

Homage To Caledonia

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Bud Shank - New Gold!

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 61:43
Size: 142,0 MB
Art: Front

(5:45)  1. Port Townsend
(4:52)  2. Alternate Root
(5:56)  3. Let Me Tell You Why
(5:41)  4. Straight No Chaser
(6:25)  5. Perkolater
(6:15)  6. Grizzly
(5:13)  7. Finger Therapy For Sherman
(6:35)  8. Linda
(4:58)  9. Killer Joe
(4:59) 10. Funcused Blues
(5:00) 11. Little Rootie Tootie

Bud Shank assembled a pianoless sextet made up of West Coast musicians for this 1993 studio date, including a front line consisting of the alto saxophonist and leader with trumpeter Conte Candoli, tenor and soprano saxophonist Bill Perkins, baritone saxophonist Jack Nimitz, and a rhythm section that includes bassist and composer John Clayton and drummer Sherman Ferguson. The playing is crisp, the ensembles are a joy to hear, and the solos are consistently adventurous. "Port Townsend" is a lively post-bop vehicle that opens the session, featuring a strong solo by Candoli. The leader contributed the somewhat exotic "Perkolator" (a feature for Perkins' soprano sax) and the pretty ballad "Linda." But it is Clayton's charts that threaten to steal the show, including the strutting "Alternate Root," the bittersweet "Let Me Tell You Why," which has some almost mournful solos by Shank, and the funky blues "Funcused Blues." There are also impressive performances of jazz standards by Thelonious Monk and Benny Golson. Unfortunately, this CD was deleted with the demise of the initial revival of the Candid label. ~ Ken Dryden https://www.allmusic.com/album/new-gold-mw0000177457

Personnel:  Bud Shank (alto saxophone);  Conte Candoli (trumpet);  Bill Perkins (tenor saxophone, soprano saxophone);  Jack Nimitz (baritone saxophone);  John Clayton (bass);  Sherman Ferguson (drums)

New Gold!

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Tatiana Eva-Marie, Avalon Jazz Band - I Wish You Love

Styles: Vocal, Jazz Band
Year: 2016
File: MP3@320K/s
Time: 24:53
Size: 57,6 MB
Art: Front

(3:45) 1. Ménilmontant
(2:51) 2. I Love Paris
(2:09) 3. Qu'est-ce qu'on attend pour être heureux?
(2:22) 4. Zou Bisou Bisou
(2:44) 5. Runnin' Wild
(3:47) 6. Que reste-t-il de nos amours?
(2:05) 7. Ah, dis! Ah, bonjour!
(2:42) 8. Bonjour sourire
(2:24) 9. Fit as a Fiddle

Beautiful things happen in Paris. The musicians in Avalon jazz band met somewhere between music schools and bohemian cafés, and decided to bring back French and American Swing Jazz. They are currently in New York, rewinding the musical clock in some of the hottest spots in the city. https://www.reverbnation.com/avalonjazzband?popup_bio=true

Avalon Jazz Band is a French - American vintage jazz band - orchestra , based in Paris and originally from New York . It was formed in 2012 by jazzmen Tatiana Eva-Marie and Adrien Chevalier. His favorite repertoire of compositions and covers is inspired by vintage standards of French chanson and American jazz standards ( Great American Songbook ) from the Jazz Age , New Orleans Jazz , hot jazz , French- swing - Parisian zazou , or emblematic gypsy jazz of the 1930s and 1940s , with covers, among others, of Django Reinhardt and Stéphane Grappelli (founders of the Hot Club de France ), Charles Trenet and Johnny Hess, Yves Montand, Henri Salvador, Ray Ventura, Jean Sablon, Juliette Gréco, Lucienne Delyle, Frank Sinatra, Nat King Cole, Fats Waller, or Cole Porter.https://fr-m-wikipedia-org.translate.goog/wiki/Avalon_Jazz_Band

Members: Tatiana Eva-Marie — vocals; Adrien Chevalier — violin; Vinny Raniolo, Agan Koran, Duved Dunayevski — guitar; Roberto Gervasi, Kate Dunphy — accordion; Oran Etkin — clarinet; Stéphane Séva — keyboard; Julian Smith, Eduardo Belo, Leigh Barker — double bass

I Wish You Love

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Gene Krupa - Big Noise from Winnetka

Styles: Jazz, Swing
Year: 1959
File: MP3@320K/s
Time: 48:39
Size: 112,2 MB
Art: Front

( 4:24)  1. Big Noise from Winnetka
( 5:32)  2. Take the "a" Train
( 5:48)  3. Some of These Days
( 5:46)  4. Sweet Georgia Brown
( 3:01)  5. Petite Fleur
( 4:08)  6. Lonesome Road
( 8:33)  7. Don't Be That Way
(11:25)  8. Drum Boogie

The first drummer to be a superstar, Gene Krupa may not have been the most advanced drummer of the 1930s but he was in some ways the most significant. Prior to Krupa, drum solos were a real rarity and the drums were thought of as a merely supportive instrument. With his good looks and colorful playing, he became a matinee idol and changed the image of drummers forever. Gene Krupa made history with his first record. For a session in 1927 with the McKenzie-Condon Chicagoans, he became the first musician to use a full drum set on records. He was part of the Chicago jazz scene of the 1920s before moving to New York and worked in the studios during the early years of the Depression. In December 1934 he joined Benny Goodman's new orchestra and for the next three years he was an important part of Goodman's pacesetting big band. Krupa, whose use of the bass drum was never too subtle, starred with the Goodman Trio and Quartet, and his lengthy drum feature "Sing, Sing, Sing" in 1937 was historic.

After he nearly stole the show at Goodman's 1938 Carnegie Hall Concert, Krupa and Goodman had a personality conflict and the former soon departed to form his own orchestra. It took the drummer a while to realize with his band that drum solos were not required on every song! Such fine players as Vido Musso, Milt Raskin, Floyd O'Brien, Sam Donahue, Shorty Sherock, and the excellent singer Irene Daye were assets to the Krupa Orchestra and "Drum Boogie" was a popular number but it was not until 1941 when he had Anita O'Day and Roy Eldridge that Krupa's big band really took off. Among his hits from 1941-1942 were "Let Me Off Uptown," "After You've Gone," "Rockin' Chair" and "Thanks for the Boogie Ride." Krupa made several film appearances during this period, including a very prominent featured spot in the opening half-hour of the Howard Hawks comedy Ball of Fire, performing an extended version of "Drum Boogie" (with Roy Eldridge also featured), and William Dieterle's faux jazz history, Syncopation. Unfortunately, Krupa was arrested on a trumped-up drug charge in 1943, resulting in bad publicity, a short jail sentence, and the breakup of his orchestra. In September 1943 he had an emotional reunion with Benny Goodman (who happily welcomed him back to the music world). Krupa also worked briefly with Tommy Dorsey before putting together another big band in them middle of 1944, this one with a string section. 

The strings only lasted a short time but he was able to keep the group working into 1951. Tenor saxophonist Charlie Ventura and pianist Teddy Napoleon had a trio hit in "Dark Eyes" (1945), Anita O'Day returned for a time in 1945 (scoring with "Opus No. 1") and, although his own style was unchanged (being a Dixieland drummer at heart), Krupa was one of the first swing big bandleaders to welcome the influence of bebop into his group's arrangements, some of which were written by Gerry Mulligan (most notably "Disc Jockey Jump"). Among the soloists in the second Krupa Orchestra were Don Fagerquist, Red Rodney, Ventura, altoist Charlie Kennedy, tenorman Buddy Wise, and in 1949 Roy Eldridge. After breaking up his band in 1951, Krupa generally worked with trios or quartets (including such sidemen as Ventura, Napoleon, Eddie Shu, Bobby Scott, Dave McKenna, Eddie Wasserman, Ronnie Ball, Dave Frishberg, and John Bunch), toured with Jazz at the Philharmonic, ran a drum school with Cozy Cole and had occasional reunions with Benny Goodman. In 1959, Columbia Pictures released The Gene Krupa Story, a biographical drama based on Krupa's life starring Sal Mineo in the title role and Red Nichols in a supporting part. Gradually worsening health in the '60s resulted in him becoming semi-retired but Krupa remained a major name up until his death. Ironically his final recording was led by the same person who headed his first appearance on records, Eddie Condon. Gene Krupa's pre-war big-band records are gradually being released by the Classics label. ~ Scott Yanow https://itunes.apple.com/us/album/big-noise-from-winnetka/id376420584

Personnel:  Leader, Drums – Gene Krupa;  Bass – Jimmy Gannon;  Piano – Ronnie Ball; Tenor Saxophone, Clarinet, Flute – Eddie Wasserman

Big Noise from Winnetka

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