Wayne Escoffery - Like Minds

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 57:33
Size: 134,2 MB
Art: Front

(6:02) 1. Like Minds
(7:48) 2. Nostalgia in Times Square
(7:26) 3. Sincerely Yours
(7:55) 4. My Truth
(6:38) 5. Rivers of Babylon
(4:57) 6. Song of Serenity
(4:07) 7. Treasure Lane
(6:29) 8. Idle Moments
(6:08) 9. Shuffle

Like Minds, the latest album from saxophonist Wayne Escoffery, focuses on chemistry particularly the chemistry between old friends and bandmates who’ve played together so often their interplay is beyond telepathic. To that end, Escoffery uses his regular bandmates keyboardist David Kikoski, bassist Ugonna Okegwo, and drummer Mark Whitfield, Jr., replacing his late teacher Ralph Peterson, Jr. as the backbone. While this configuration has been a band for only about seven years or so, Escoffery has played with them in so many other contexts they sound like longtime soulmates. The quartet is joined by other Escoffery compadres from across his career, including trumpeter Tom Harrell, guitarist Mike Moreno, and singer Gregory Porter, all of whom grok Escoffery’s vibe well.

None of this is surprising, mind you even if you’re not familiar with the saxist himself, Escoffery’s position as co-director of the Mingus Big Band proves he knows how to lead the troops. In that respect, he takes them to fields of smooth hard bop (“Sincerely Yours”), mystical spirit jazz (Peterson’s “Song of Serenity”), soulful social commentary (“My Truth,” co-starring Porter and Harrell), smoky balladry (Duke Pearson’s “Idle Moments,” made famous by guitarist Grant Green), and funky bop fusion (Charles Mingus’s “Nostalgia in Times Square”). If that sounds too disparate, it ain’t – the tight arrangements, easy chemistry, and Escoffery’s warm tone make every song sound of a piece with the rest. Always smooth but rarely slick, Like Minds goes down like a great big bowl of spicy pho. By Michael Toland
https://bigtakeover.com/recordings/wayne-escoffery-like-minds-sm

Personnel: Wayne Escoffery - saxophone, tenor; David Kikoski - piano; Ugonna Okegwo - bass; Mark Whitfield Jr - drums; Gregory Porter - voice / vocals; Tom Harrell - trumpet; Mike Moreno - guitar

Like Minds

---

Lamont Dozier - Reimagination

Bitrate: MP3@320K/s
Time: 52:08
Size: 119.4 MB
Styles: Soul
Year: 2018
Art: Front

[6:04] 1. Supremes Medley: Where Did Our Love Go, Stop In The Name Of Love, Come See About Me, Baby Love
[3:45] 2. How Sweet It Is (To Be Loved By You)
[4:33] 3. Reach Out, I'll Be There
[3:44] 4. Baby I Need Your Loving
[3:18] 5. Bernadette
[4:04] 6. This Old Heart Of Mine (Is Weak For You), My World Is Empty Without You
[5:06] 7. (Love Is Like A) Heat Wave, Nowhere To Run
[3:45] 8. In My Lonely Room
[3:23] 9. Take Me In Your Arms (Rock Me A Little While)
[4:12] 10. You Keep Me Hanging On
[3:14] 11. Reflections
[2:52] 12. I Can't Help Myself (Sugar Pie, Honey Bunch)
[4:02] 13. Reach Out I'll Be There

Legendary Motown songwriter Lamont Dozier reclaims his most iconic hits with a host of all-star guests! Features performances by Grammy-award winning singer Gregory Porter, rock icon Todd Rundgren, CSN's Graham Nash, British pop idol Sir Cliff Richard, Jo Harman, Marc Cohn, Le Ann Womack and more! Experience these megahits as you never have before with acoustic guitar, piano and sparse arrangements that transform these masterpieces into timeless treasures!

Reimagination mc
Reimagination zippy

---

Gregory Porter, Donald Smith, Mansur Scott - Great Voices Of Harlem

Bitrate: MP3@320K/s
Time: 66:08
Size: 151.4 MB
Styles: Jazz vocals
Year: 2014
Art: Front

[6:58] 1. Moanin'
[1:18] 2. Intro Peace
[7:22] 3. Peace
[7:55] 4. Expansions
[3:40] 5. Somewhere Over The Rainbow
[3:42] 6. Doing Hard Time
[7:55] 7. Stella By Starlight
[4:36] 8. Watermelon Man
[7:11] 9. My One And Only Love
[4:11] 10. Days Of Wine And Roses
[5:12] 11. Mona Lisa
[6:03] 12. Song For My Father

Gregory Porter: vocals (1, 3, 5, 11); Mansur Scott: vocals (2, 3, 6, 7, 8, 10, 11); Donald Smith: vocals (3, 4, 8, 9), piano, Fender Rhodes; Paul Zauner: trombone; Barney Girlinger: trumpet, flugelhorn; Klaus Dickbauer: alto saxophone, bass clarinet; Klemens Pliem: tenor saxophone, alto flute; Martin Reiter: piano, Fender Rhodes; Wolfram Derschmidt: bass; Howard Curtis: drums.

Great Voices Of Harlem showcases the vocal talents of three most fascinating jazz singers—Gregory Porter, Donald Smith and Mansur Scott. Ably supported by Paul Zauner's Blue Brass, the vocalists put their very individual stamps on some classic songs. The result is a stylish, classy, recording. Scott gets the lion's share of credits, with appearances on seven tracks to Smith and Porter's four apiece (all three share vocals on Horace Silver's "Peace"). Porter, a Grammy-winning international star, is the name likely to attract the most attention for this release. Smith—the brother of Lonnie Liston Smith—and Scott have been around a lot longer but without attracting so much attention.

The album bursts into life with Porter's soulful take on "Moanin.'" The song also gives trombonist Zauner and the rest of his band a chance to shine—it's obvious from the start that the players are not only sympathetic to the needs of the vocalists but also capable of some fine ensemble and solo performances. Martin Reiter's punchy piano solo on this track is just one shining example. "Peace" and "Expansions" share the same lyrical concern. While "Peace" addresses its subject in ballad style with Porter, Smith and Scott each taking the lead, "Expansions" travels the harder, funkier, road. Smith takes the vocal—appropriately, as his brother wrote the song and he sang on the original 1974 recording—and the Zauner band's backing, especially Howard Curtis' drums and Wolfram Derschmidt's bass, captures the '70s vibe.

Porter may be the youngest singer here, but he displays superb judgement, control and vocal finesse every time he appears—"Somewhere Over The Rainbow" is exquisite, possibly one of the finest performances he has yet committed to record. Smith and Scott are characterised by a greater tendency to let things blow—the impact is immediate, the power both men display is intense. Smith's heartfelt screams on "Expansions," Scott's gritty honesty as he sings of his time in prison on "Doing Hard Time," are striking examples of that power. On "Watermelon Man" the pair's joyously raw delivery destroys any pretence that the song is about a fruit seller. Their commitment is impressive, although Smith's rather over-the-top vocal on "My One And Only Love" would have benefitted from a touch of Porter's control.

Great Voices Of Harlem is characterised by the passion which Porter, Smith and Scott bring to their art. There's no "sing by the numbers" falsity going on. This is the real deal. Great voices of Harlem? Porter, Smith and Scott are more than that—great voices, period.

Great Voices Of Harlem mc
Great Voices Of Harlem zippy

---

Jools Holland - The Golden Age Of Song

Bitrate: MP3@320K/s
Time: 58:16
Size: 133.4 MB
Styles: Jazz/Pop/Rock vocals
Year: 2012
Art: Front

[3:15] 1. Something's Got A Hold On Me (With Paloma Faith)
[3:40] 2. Ac-Cent-Tchu-Ate The Positive
[2:36] 3. Lovin' Machine
[4:17] 4. Bei Mir Bist Du Schön (With Joss Stone)
[3:01] 5. Get Here (With Jessie J.)
[3:53] 6. A Place In The Sun (With James Morrison)
[4:07] 7. Don't Go To Strangers (With Amy Winehouse, Paul Weller)
[3:34] 8. And That Ain't Good (With Mick Hucknall)
[3:37] 9. My Baby Just Cares For Me (With Florence Welch)
[3:13] 10. Mad About The Boy (With Caro Emerald)
[3:35] 11. I'll Sail My Ship Alone (With Tom Jones)
[2:56] 12. Reet Petite (With Cee Lo Green)
[3:11] 13. Sweet Country Love Song (With Gregory Porter)
[3:09] 14. September In The Rain (With Paul Weller)
[2:54] 15. The Lady Is A Tramp (With Lily Rose Cooper)
[3:30] 16. Get Away Jordan (With Ruby Turner)
[3:41] 17. When You're Smiling The Whole World Smiles With You

2012 release from the musician and entertainment personality. It's true to say that Jools Holland has become a national treasure, and The Golden Age Of Song is the perfect way to celebrate not only Jools' on-going musical odyssey but also an amazing 20 years of Later. The album features a who's who of contemporary artists, with everyone from Cee Lo Green and James Morrison to Paloma Faith and Lily Rose Cooper (nee Allen). The songs are instantly recognisable and have become staples of any discerning music lover from the last 50 years. Tracks include Nina Simone's 'My Baby Just Cares For Me' as performed by Florence Welch, as well as Lily Rose Cooper's take on The Lady Is A Tramp, and Get Here originally by Oleta Adam as sung by Jessie J. The tracks are a combination of brand new exclusive tracks recorded specifically for this album, along with a smattering of re-mixed tracks from Jools' New Year's Eve favourite, 'The Hootenanny'.

The Golden Age Of Song mc
The Golden Age Of Song zippy

---

Various - Jazz Loves Disney

Bitrate: MP3@320K/s
Time: 47:28
Size: 108.7 MB
Styles: Stage & Screen
Year: 2016
Art: Front

[2:55] 1. Jamie Cullum - Ev'rybody Wants To Be A Cat
[3:40] 2. Melody Gardot - He's A Tramp
[3:11] 3. Stacey Kent - Bibbidi-Bobbidi-Boo
[3:47] 4. Gregory Porter - When You Wish Upon A Star
[4:59] 5. China Moses - Why Don't You Do Right
[3:51] 6. Raphael Gualazzi - I Wan'na Be Like You (The Monkey Song)
[4:14] 7. The Rob Mounsey Orchestra - A Dream Is A Wish Your Heart Makes
[4:03] 8. Hugh Coltman - You've Got A Friend In Me
[3:23] 9. Anne Sila - Let It Go
[3:26] 10. Melody Gardot - The Bare Necessities
[3:28] 11. Laika - Once Upon A Dream
[3:16] 12. Nikki Yanofsky - Un Jour Mon Prince Viendra
[3:08] 13. The Hot Sardines - I Wanna Be Like You

The notion that jazz singers love Disney tunes is hardly new, the relationship stretching from Johnny Mercer’s 1947 rendition of Song of the South’s Oscar-winning “Zip-a-Dee-Doo-Dah” to Steve Tyrell’s Disney Standards, from 2006. Never, though, has so ambitious or smartly executed a Disney-themed collection of vocal jazz been assembled as this.

Recorded in 2014 and 2015 across sessions spanning London, Paris, New York and L.A., Jazz Loves Disney is overcrowded with A-listers, all in top form: Gregory Porter’s haunting “When You Wish Upon a Star”; Jamie Cullum’s frisky “Everybody Wants to Be a Cat”; Melody Gardot coyly channeling Peggy Lee on “He’s a Tramp” and teaming with Italian crooner Raphael Gualazzi for a sprightly spin through “The Bare Necessities”; and, in French, Stacey Kent reimagining Cinderella’s “Bibbidi-Bobbidi-Boo” as a cozy bossa nova. Reinterpretation en français is a recurring theme, with an impressively mature Nikki Yanofsky serving up a sultry “Un jour mon prince viendra” (“Someday My Prince Will Come”) and Miz Elizabeth’s Hot Sardines revitalizing The Jungle Book’s “I Wanna Be Like You” as what might best be described as Left-Bank Dixieland.

Less-familiar names add equally fine performances, among them a Connick-esque “You’ve Got a Friend in Me” by Hugh Coltman and a delicate handling of Frozen’s “Let It Go” by Anne Sila, a victor on the French version of The Voice. If there’s a sour note it’s the sole instrumental track, an overly lush “A Dream Is a Wish Your Heart Makes” from the Rob Mounsey Orchestra that feels entirely out of place. ~Christopher Loudon

Jazz Loves Disney mc
Jazz Loves Disney zippy

---

Louis Hayes - Serenade For Horace

Styles: Jazz, Post Bop

Year: 2017

File: MP3@320K/s

Time: 59:00

Size: 135,5 MB

Art: Front

(4:53)  1. Ecaroh

(5:20)  2. Señor Blues

(5:51)  3. Song For My Father (feat. Gregory Porter)

(4:08)  4. Hastings Street

(5:14)  5. Strollin'

(5:55)  6. Juicy Lucy

(5:03)  7. Silver's Serenade

(6:44)  8. Lonely Woman

(5:01)  9. Summer In Central Park

(5:49) 10. St. Vitus Dance

(4:56) 11. Room 608

This gem of a tribute album is, in the words of the poet Wordsworth, a "recollection in tranquility" conceived and led by drummer Louis Hayes in memory of his beloved lifelong friend, pianist Horace Silver. In 1956, Silver invited Hayes to New York City from his native Detroit to join the Horace Silver Quintet, which produced a series of ground-breaking Blue Note albums. Now, at 80, Hayes' drumming is as superb and as youthful as ever, a reason in itself to have this album. He brings together a group of seasoned, dedicated musicians to honor Silver, not by imitating or outdoing him, but by playing his music with great fidelity to Silver's ideas and the hard bop period which he helped to innovate. Thankfully, Hayes had the wisdom neither to copy nor expound upon but definitely emulate Silver's contribution in many respects. Pianist Tom Lawton has aptly summarized Silver's unique playing as follows: "Horace had a mixture of a very guttural approach to bebop: a percussive right-hand attack and often very raw, drum-like left-hand accents, (best example: "Opus de Funk"). He also explored a funky, gospel-tinged, soul and groove influenced music ("Song For My Father") that had a unique feel because of his father's origin in the island of Cape Verde." The Cape Verde Islands off the coast of West Africa were slave trade transit points to South America and the Caribbean and where Creole culture -so important to jazz originated, and which shares the Portuguese influence with Brazil. Silver composed his well- known "Song for My Father" after a trip to Brazil that profoundly influenced his subsequent playing. Silver was a prolific composer, sometimes adding his own lyrics. Most of his originals on this album are from the extended and extensive Blue Note recordings between 1952 and 1981. "Ecaroh" (Horace spelled backwards!) and "Room 608" are from the pre-Hayes Jazz Messenger period in which hard bop was literally invented. The album provides a retrospective that is firmly rooted in Silver and hard bop, but is more laid back and less feisty than the original Silver recordings.

The first tune, "Ecaroh" presages the whole album. Hayes' drumming is superb and measured, in contrast to the banal prestidigitation we hear too often. His swing is lighter and more subtle than in the Silver era, perhaps influenced a bit by Elvin Jones. The horn players Abraham Burton on tenor saxophone and Josh Evans on trumpet, vibraphonist Steve Nelson, and bassist Dezron Douglas are completely in service of the music rather than inserting their own idiosyncracies. Next, the iconic "Señor Blues" is a tad slower than on the Silver recording Live at Newport '58 (Blue Note, 2008). Hayes and the group emphasize the R&B influence over the Latin rhythm implied in the title. The saxophone and trumpet work is sharp and clean, echoing Silver Newport cohorts Junior Cookand Louis Smith. Guest vocalist Gregory Porter does a fine if understated delivery of "Song for My Father" with inflections that bear a distinct resemblance to Kurt Elling. The Brazilian samba rhythm that influenced Silver in writing this song comes through clearly. Dee Dee Bridgewater's version (Love and Peace: A Tribute to Horace Silver, Verve, 1995) is faster and more intense. Porter is closer to Silver's intention, but Silver's inspired piano improvisations on this song are well worth going back to for their own sake. At the suggestion of the producer Maxine Gordon, Hayes wrote one original for the collection. "Hastings Street" was stimulated by his memories of Detroit and is a "classic" hard bop tune that is a prefect vehicle for solos, in this case by Burton, Evans, and Nelson. Some feather-like vibes comping by Nelson adds a special touch, and there is some generous co-improvising at the end, something Silver liked to do in his arrangements. "Strollin'" is a virtual replica of the Horace Silver Quintet version on Horace-Scope (Blue Note, 1960) with Junior Cook on tenor and Blue Mitchell on trumpet. "Juicy Lucy" features an outstanding saxophone solo by Burton. The group does a straightforward version of "Silver's Serenade," while Silver's "Lonely Woman" (not the Ornette Coleman tune) is notable for Bryant's extended piano tribute to Silver, which one has been waiting for all along! Silver had a sunny disposition on most days, and "Summer in Central Park" is, as the title suggests, a pleasant sunny day walk in the park. The title of the next tune, "St. Vitus Dance," portends something different but turns out not to be so. St Vitus Dance is a disease characterized by rapid, uncoordinated jerking movements. The version on this album swings so well that it is a cure for that disease rather than a symptom of it! The album ends with "Room 608," a fast-paced strictly bebop tune which shows the important Bud Powell influence on Silver. Silver could have become just another great bebop player, but he was wise enough to pursue his own voice, which, if we can judge from the lyrics of "Song for My Father," is a striving that came from the advice of his dad. And Louis Hayes is to be thanked for adhering to his stated goal: a loving remembrance and tribute to Horace Silver rather than a flashy post- modern pot-boiler. ~ Victor L.Schermer https://www.allaboutjazz.com/serenade-for-horace-by-victor-l-schermer.php

Personnel: Louis Hayes: drums and leader; Abraham Burton: tenor saxophone; Josh Evans: trumpet; Steve Nelson: vibraphone; David Bryant: piano; Dezron Douglas: bass. (Gregory Porter, vocalist, on Song for My Father.”)

Serenade For Horace

---

Gregory Porter - Nat King Cole & Me

Styles: Vocal

Year: 2017

File: MP3@320K/s

Time: 63:00

Size: 148,2 MB

Art: Front

(4:18)  1. Mona Lisa

(4:17)  2. Smile

(3:44)  3. Nature Boy

(2:08)  4. L-O-V-E

(4:29)  5. Quizas, Quizas, Quizas

(4:31)  6. Miss Otis Regrets

(3:11)  7. Pick Yourself Up

(7:45)  8. When Love Was King

(4:33)  9. The Lonely One

(2:49) 10. Ballerina

(3:47) 11. I Wonder Who My Daddy Is

(4:31) 12. But Beautiful

(3:35) 13. Sweet Lorraine

(5:31) 14. For All We Know

(3:44) 15. The Christmas Song

Two-time GRAMMY-winning vocalist Gregory Porter s 3rd Blue Note album, Nat King Cole & Me, is a heartfelt tribute to his idol, the legendary singer, pianist and Capitol recording artist Nat King Cole.

With the help of 6-time GRAMMY-winning arranger Vince Mendoza, the London Studio Orchestra, a core band featuring pianist Christian Sands, bassist Reuben Rogers, and drummer Ulysses Owens, and special guest trumpeter Terence Blanchard on two tracks, Porter revisits some of Cole s most cherished classics such as Mona Lisa, L-O-V-E, Nature Boy & The Christmas Song. ~ Editorial Reviews https://www.amazon.com/Nat-King-Cole-Gregory-Porter/dp/B0753DBSFH               

Nat King Cole & Me

---

Ella Fitzgerald & London Symphony Orchestra - Someone To Watch Over Me

Size: 102,6 MB
Time: 43:52
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. People Will Say We're In Love (Feat. Gregory Porter) (3:14)
02. Someone To Watch Over Me (3:25)
03. They Can't Take That Away From Me (Feat. Louis Armstrong) (4:39)
04. Bewitched (3:34)
05. I Get A Kick Out Of You (4:15)
06. Misty (2:53)
07. Makin' Whoopee! (2:59)
08. These Foolish Things (Remind Me Of You) (4:26)
09. Let's Call The Whole Thing Off (Feat. Louis Armstrong) (4:22)
10. What Is There To Say (3:28)
11. Let's Do It (Let's Fall In Love) (3:35)
12. With A Song In My Heart (2:56)

Ella Fitzgerald’s iconic vocals are given new life by marrying newly recorded string arrangements from the London Symphony Orchestra. Recorded at Abbey Road Studios, and conducted by James Morgan and Jorge Callandrelli, this new approach to Ella’s timeless music reinvigorates her catalog and is sure to excite and please long time Ella fanatics and classical music connoisseurs at the same time. Guest vocalist Gregory Porter also lends his incredible talent to "People Will Say We're in Love.”

Someone To Watch Over Me

---

Magnus Lindgren - Souls

Styles: Flute Jazz

Year: 2013

File: MP3@320K/s

Time: 44:51

Size: 103,6 MB

Art: Front

(3:06)  1. Souls

(3:42)  2. Change All The Time

(4:29)  3. Creepin'

(3:42)  4. Rainy Day

(4:26)  5. Dreaming In New York

(4:00)  6. Barcelona

(4:15)  7. Small Stuff

(3:07)  8. Broken Heart

(4:17)  9. On A Sunday

(4:45) 10. Walk This Earth

(4:56) 11. Wrapped Around Your Finger

The Sweden Magnus Lindgren, saxophonist, flutist, clarinetist, composer and musical traveler will have his new album "Souls" out Nave: The recording took place in New York in collaboration with the voices of Gregory Porter, Ivan Lins and beautiful young Swedish jazz star Anna Christoffersson, among others. It highlights the talent of this artist / composer admired, among others, by Quincy Jones.

Personnel:  Magnus Lindgren - tenor sax, flute, alto flute, clarinet, bass clarinet, Rhodes, Wulitzer, vocals;  Leonardo Amuedo – guitars;  Ira Coleman – bass;  Rhani Krija – percussion;  Gregory Porter - vocals on track 1, 7, 8;  Rigmor Gustafsson - vocals on track 5;  Anna Christoffersson - vocals on tracks 1, 2, 4, 7, 8;  Marie Fredriksson - vocals on track 9;  Mark Reilly - vocals on track 4;  Ivan Lins - vocals on track 10

Souls

---

David Murray Infinity Quartet - Be My Monster Love

Bitrate: MP3@320K/s
Time: 56:09
Size: 128.6 MB
Styles: Post Bop, Modern creative
Year: 2013
Art: Front

[6:53] 1. French Kiss For Valerie
[6:34] 2. Be My Monster Love
[6:42] 3. Stressology
[6:18] 4. Army Of The Faithful (Joyful Noise)
[8:58] 5. Sorrow Song
[7:47] 6. About The Children
[5:39] 7. The Graduate
[7:14] 8. Hope Is A Thing With Feathers

David Murray: tenor saxophone; Marc Cary: piano,organ; Jaribu Shahid: bass; Nasheet Waits: drums; Bobby Bradford: cornet; Macy Gray: vocals; Gregory Porter: vocals.

David Murray's last Motema Music offering, Plays Nat King Cole en Español, wowed listeners with its inventive reading of the music from the great singer's two Spanish-language albums with a Cuban ensemble. On Be My Monster Love, Murray unveils his Infinity Quartet (named for the jazz loft he and Stanley Crouch operated in New York in the 1970s) with pianist/organist Marc Cary, drummer Nasheet Waits, and bassist Jaribu Shahid. While a Latin-tinged groove on opener "French Kiss for Valerie" sets the tone in post-bop terms, this is a varied affair that showcases the many aspects of the tradition Murray embodies in both his playing and arranging. He provides a link between an Ellington-ian elegance and the deep, gospel-influenced emotionalism of Albert Ayler, the soulful, melodic, inquisitive investigations of Ben Webster, and the modal openness of John Coltrane. The title track features Macy Gray (the first of three tunes here with lyrics by writer Ishmael Reed), offering her raw, sensual vocal on a fingerpopping swinger. Gregory Porter makes three appearances as well, first on the nearly gospel-ized R&B of "Army of the Faithful (Joyful Noise)," driven by Cary's B-3 and recalling Murray's Special Quartet with the late Don Pullen. The midtempo "Sorrow Song" is actually a deeply moving ballad with the saxophonist offering a rounded warmth in his tone as Waits' skittering cymbals set the groove. Rich, modal soul and Latin rhythms underpin Porter's vocal on "About the Children," with lyrics by Last Poet Abiodun Oyewole. Shahid's bassline is a propulsive glue, holding seemingly disparate elements together in a glorious whole. Murray's former teacher, trumpeter Bobby Bradford, guests with the quartet on the skillfully skewed blues walk that is "The Graduate." But the set's finest moment is on the nearly straight-ahead sprint that is "Stressology," with Murray getting in some of his most fleet-fingered lines and righteous groans. The interplay between Cary's piano and Shahid's bass is breathtaking. Be My Monster Love is a diverse, travel modern creative jazz through a prismatic lens. While Murray's compositions are tighter and more song-like than ever (the presence of these excellent vocalists highlights this), he simultaneously offers a group of stellar players the opportunity (collectively and individually) to shine and push their margins. Highly recommended. ~Thom Jurek

Be My Monster Love

---

Gregory Porter - Take Me To The Alley

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 51:20
Size: 118,3 MB
Art: Front

(5:02)  1. Holding On
(3:18)  2. Don't Lose Your Steam
(5:16)  3. Take Me To The Alley
(3:52)  4. Day Dream
(3:20)  5. Consequence Of Love
(4:34)  6. In Fashion
(3:31)  7. More Than A Woman
(4:18)  8. In Heaven
(5:37)  9. Insanity
(4:31) 10. Don't Be A Fool
(4:12) 11. Fan The Flames
(3:44) 12. French African Queen

The ineffable charms of Gregory Porter can't help but woo and win over the ear. He's the epitome of soulful sophistication part tender poet, part cogent preacher, fully a man of the people and he has a voice that can make the angels weep. While we often bemoan the choices that fame's fickle index finger makes, it pointed in the correct direction this time. Gregory Porter is everything he's cracked up to be and more. Take Me To The Alley, Porter's follow-up to the Grammy-winning Liquid Spirit (Blue Note, 2013) and his fourth album in total, is a passion-fueled collection of music filled with inspired heart-on-sleeve meditations, from-the-mountain-top sermons, glimpses at what could've been, and musical testimonials. It's completely in keeping with his previous work full of emotional highs and lows, built on a blend of the earthy and cosmopolitan and just as addictive. It only takes one listen to get hooked. Each one of Porter's earlier albums produced a number of earworms and emotional wallops. Water (Motéma Music, 2010) gave us politically-charged fire and brimstone in the form of "1960 What?" and introspective gold in the shape of the title track; Be Good (Motéma Music, 2012) had more than its fair share of winners, from the enthusiastic, history-tracing "On My Way To Harlem" to the familial reassurances of "Real Good Hands"; and Liquid Spirit boasted a seemingly endless array of treasures the fragile-turned-resolute "No Love Dying," the exhilarating "Liquid Spirit," the love-stricken "Water Under Bridges," and so on and so on. Take Me To The Alley, likewise, traffics in the eminently lyrical and memorable.

Three of this album's choicest cuts come right at the top of the program. The opener "Holding On" finds Porter sorting out his feelings in an understated setting that's enriched by Keyon Harrold's muted trumpet. It's worlds away from the dance-friendly version of the song that he recorded with British electronic duo Disclosure. Second up is the swoon-inducing "Don't Lose Your Steam," a Stevie Wonder-worthy original with R&B, soul, funk, and rock in its DNA. Porter testifies and brings the thunder, the horns riff, the rhythm section locks in the groove, and organist Ondrej Pivec adds the glissandos and the grease. And then comes the title track, a sedate presentation that finds Porter harmonizing with Alicia Olatuja and exploring the topics of healing and spiritual renewal. Those three numbers, near-perfect as they are, make the album a bit top-heavy. But there are more gems to be found further on. "In Fashion," an irresistible number underscored by Chip Crawford's marcato quarter note chords and focused on a man's paranoia and obsession surrounding the dressings-up and goings-on of a woman, is one; the gospel-inflected, love-concerned "Don't Be A Fool" is another. Those looking for an explanation behind the meteoric rise and continually growing popularity of Gregory Porter need look no further. The explanation is right here in that voice and the songs it sings.~Dan Bilawsky http://www.allaboutjazz.com/take-me-to-the-alley-gregory-porter-blue-note-records-review-by-dan-bilawsky.php
 

Personnel: Gregory Porter: vocals; Alicia Olatuja: vocals; Chip Crawford: piano; Aaron James: bass; Emanuel Harrold: drums; Keyon Harrold: trumpet; Yosuke Sato: alto saxophone; Tivon Pennicott: tenor saxophone; Ondrej Pivec: organ.

Take Me To The Alley

---

Harold Mabern - Afro Blue

Styles: Vocal And Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 69:42
Size: 160,1 MB
Art: Front

(5:07)  1. The Chief
(5:25)  2. Afro Blue (feat. Gregory Porter)
(5:51)  3. The Man from Hyde Park (feat. Gregory Porter)
(4:35)  4. Fool Rush In (feat. Norah Jones)
(4:23)  5. Don't Misunderstand (feat. Norah Jones)
(3:50)  6. I'll Take Romance (feat. Jane Monheit)
(5:38)  7. My One and Only Love  (feat. Jane Monheit)
(4:24)  8. Billie's Bounce (feat. Kurt Elling)
(5:39)  9. Portrait of Jennie (feat. Kurt Elling)
(4:01) 10. You Needed Me (feat. Kurt Elling)
(5:07) 11. Such Is Life (feat. Alexis Cole)
(5:18) 12. Do It Again (feat. Peter Bernstein)
(5:51) 13. Mozzin'
(4:28) 14. Bobby, Benny, Jymie, Lee, Bu

With Afro Blue, his second album for Smoke Sessions Records, Harold Mabern has taken a compelling new angle on his exceptionally creative musical vision. But for those who are truly familiar with this extraordinary pianist's talents, it is a project that is long overdue. While he may be best known for his powerful playing while soloing or driving so many of jazz' finest hornmen to spectacular heights of fire and thunder, Mabern has enjoyed a reputation among vocalists as one of the music's most sensitive and stimulating accompanists for more than 50 years ever since his early days playing with the unparalleled Betty Carter.

On this album, Mabern has selected five of his favorite vocalists who also just happen to be some of the most popular and respected singers on today's scene and is featuring them as special guests in the company of his own outstanding ensemble. Gregory Porter, Norah Jones, Jane Monheit, Kurt Elling and Alexis Cole perform individually alongside Mabern's regular ensemble of Eric Alexander on tenor sax and the bass/drums tandem of John Webber and Joe Farnsworth; plus additional guests, trombonist Steve Turre and trumpeter Jeremy Pelt on four and six tracks respectively. Eminent guitarist Peter Bernstein is featured on one track as well.

"I love to play for singers," explains the pianist. "I feel honored and flattered that these wonderful vocalists would want to be part of my little project. I feel good when singers say they love the way you play. That's a very special compliment."

Despite the wide variety of personnel, the album is fully cohesive and artfully conceived, with Mabern's soulful, blues-rooted style of piano expression as its radiant nucleus. The repertoire of 14 pieces is a fascinating assemblage of standards, jazz classics, Mabern originals and a couple of unexpected contemporary hit songs all performed in captivating fashion and constructed upon marvelous arrangements. Of the four Mabern originals, three are dedications to jazz immortals. The album opens and closes with two of the homages - both instrumentals. "The Chief" (for John Coltrane) is for quintet, appropriately modal and fiery; and the trio piece "Bobby, Benny, Jymie, Lee, Bu" closes with a tribute to that edition of Blakey's Jazz Messengers in the funky hard bop flavor those five giants brought to their classic version of Bobby Timmons' "Moanin'". The trio is also featured on a sizzling rendition of John 'Moz' Farnsworth's "Mozzin'" fired up by his brother's drumming. The other instrumental, Steely Dan's biggest hit "Do It Again," is a feature for Bernstein's guitar wizardry. A third Mabern original, "Such Is Life," features Alexis Cole deftly handling Mabern's lyrics and infectious melody, with the three horns providing a backdrop somewhere between calypso and highlife.

Gregory Porter is featured on two pieces, a vividly smoking take on the Mongo Santamaria/Oscar Brown Jr. title cut, with Mabern stoking in classic Afro-Cuban piano mode; and in a delightful easy groove on the fourth Mabern original "The Man from Hyde Park" - a dedication to Herbie Hancock. Norah Jones brings her highly personal style to Bloom & Mercer's "Fools Rush In," smoothly swinging over Blakey-ish horns; and in an enchanting, intimate duet with Mabern on Gordon Parks' lovely "Don't Misunderstand." Jane Monheit is buoyantly spirited on Oakland & Hammerstein's "I'll Take Romance," and mesmerizing on Wood & Mellin's gorgeous "My One and Only Love." Bird's bop icon "Billie's Bounce" is a rip-roaring sojourn in scat by the remarkable Kurt Elling, while the acclaimed vocalist aptly demonstrates his ballad mastery with a most poignant take on Robinson & Burdge's exquisite "Portrait of Jennie." A fortunate serendipity on the Anne Murray mega-hit, Randy Goodrum's "You Needed Me" which was slated to be an instrumental feature for Alexander's robust tenor - caused Mabern to call an audible when he heard Elling sing the first few words as he was about to depart the studio. The deeply moving results show how magic can be born by chance.

Mabern is unequivocally enthusiastic about this new album: "Wow! I can't believe we pulled all of it off. Everybody involved did a ten-star job. Simply beautiful!" Dazzling vocal artistry, impeccable musicianship, imaginative soloing, and that elusive substance of true synergy focused by the singular vision of a brilliant artist make Afro Blue a truly special experience. For Harold Mabern, whose enormous accomplishments as a leader are sometimes eclipsed by his reputation for helping so many Jazz heavyweights realize their own musical visions, Afro Blue is further testimony to his own legend. http://www.criticaljazz.com/2015/01/mark-your-calendar-for-new-harold-mabern.html

Afro Blue

---

Van Morrison - Duets: Reworking The Catalogue

Bitrate: MP3@320K/s
Time: 76:43
Size: 175.6 MB
Styles: R&B, Rock, Blues, Soul vocals
Year: 2015
Art: Front

[5:15] 1. Some Peace Of Mind (With Bobby Womack)
[3:50] 2. If I Ever Needed Someone (With Mavis Staples)
[3:49] 3. Higher Than The World (With George Benson)
[6:23] 4. Wild Honey (With Joss Stone)
[3:43] 5. Whatever Happened To P.J. Proby (With P.J. Proby)
[4:54] 6. Carrying A Torch (With Clare Teal)
[4:12] 7. The Eternal Kansas City (With Gregory Porter)
[4:58] 8. Streets Of Arklow (With Mick Hucknall)
[3:52] 9. These Are The Days (With Natalie Cole)
[4:42] 10. Get On With The Show (With Georgie Fame)
[4:24] 11. Rough God Goes Riding (With Shana Morrison)
[6:42] 12. Fire In The Belly (With Stevie Winwood)
[4:00] 13. Born To Sing (With Chris Farlowe)
[5:15] 14. Irish Heartbeat (With Mark Knopfler)
[4:02] 15. Real Real Gone (With Michael Buble)
[6:34] 16. How Can A Poor Boy (With Taj Mahal)

On DUETS: RE-WORKING THE CATALOGUE, Van Morrison and the guests selected and recorded some of his songs from the catalog of 360 songs across his career. Deliberately steering away from his more well-known classics, Van enlisted some of the artists he most respects to perform these songs with him to re-craft and re-imagine them. The album was recorded in his home town of Belfast and London in the United Kingdom over the last year, using a variety of musicians and fresh arrangements.

Produced by Van Morrison along with Don Was and Bob Rock, the album features duet performances with Bobby Womack, Steve Winwood, Mark Knopfler, Taj Mahal, Mavis Staples, Michael Bublé, Natalie Cole, George Benson, Gregory Porter, Clare Teal, P.J. Proby, Joss Stone, Georgie Fame, Mick Hucknall, Chris Farlowe, and Van's daughter Shana Morrison.

Van Morrison is considered one of the most prolific recording artists and extraordinary live performers of our time. He has received a multitude of awards and accolades including 6 Grammy Awards, a Brit Award, an OBE, an Ivor Novello, and has been inducted in the Rock and Roll Hall of Fame. His visionary songwriting and mastery of many genres continues to shine on albums celebrating and re-exploring his blues, jazz, skiffle and country roots. With one of the most revered catalogues in music history, his talents as a composer, singer and performer are unmatched.

Duets: Reworking The Catalogue

---

Gregory Porter - Be Good

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 62:09
Size: 142,6 MB
Art: Front

(4:45)  1. Painted on Canvas
(6:26)  2. Be Good (Lion's Song)
(7:40)  3. On My Way To Harlem
(4:51)  4. Real Good Hands
(4:24)  5. The Way You Want To Live
(4:19)  6. When Did You Learn
(3:00)  7. Imitation Of Life
(6:59)  8. Mother's Song
(3:31)  9. Our Love
(6:00) 10. Bling Bling
(6:34) 11. Work Song
(3:34) 12. God Bless The Child

Debut albums often serve as fine introductions to the work of fledgling artists with potential for greater things, but that wasn't the case with Gregory Porter's Water (Motéma, 2010). Porter's debut, which was nominated for a Grammy Award, presented a vocal soul-jazz juggernaut that seemingly materialized out of thin air as a fully matured musical entity. His early experiences working in small San Diego clubs and singing in Off-Broadway and Broadway productions in New York helped Porter to establish himself as a vocal talent who doesn't merely sing songs but, rather, inhabits different personae delivering messages through music.  On Water, Porter showed that he was capable of shifting from politically charged fire and brimstone ("1960 What?") to soothing serenades ("But Beautiful"), demonstrating an extraordinary range in style and sentiment.

He continues to branch out in various directions on Be Good, his highly anticipated sophomore effort. The album opens with the emotionally engaging "Painted On Canvas," and, on the title track, pianist Chip Crawford delivers dainty piano work, reflecting the "dancing" references in Porter's lyrics. Porter sings with Bill Withers-style bona fides on "Real Good Hands," as he convincingly explains to in-laws- to-be that he looks up to them and that their daughter will be taken care of. He exhibits a "flower power" attitude of peace and love as he marries jazz, soul and folk attributes on "Mother's Song," a tribute to his mother.  While the emphasis is squarely placed on Porter's own music he penned nine out of the twelve tunes the album ends with a double shot of classic jazz. 

Porter lets loose on a stirring version of Nat Adderley's "Work Song," which features strong solo spots from saxophonists Yosuke Sato and Tivon Pennicott. The album ends with a mellow, a cappella take of "God Bless The Child."  Porter presents various facets of his personality throughout the album, but the jubilant "On My Way To Harlem" best explains his artistry. In name checking the divine artistic triptych of Duke Ellington, Langston Hughes, and Marvin Gaye, Porter essentially outlines his own design as a soulful jazz poet. If Water heralded the arrival of the next big name in vocal jazz, then Be Good makes it clear that Porter still has plenty to say. Be Good is beyond great and he's here to stay. ~ Dan Bilawsky  http://www.allaboutjazz.com/be-good-gregory-porter-motema-music-review-by-dan-bilawsky.php#.U-_Zq2OumE4
 

Personnel: Gregory Porter: vocals; Chip Crawford: piano (1-11); Aaron James: bass (1-6, 8-11); Emanuel Harrold: drums (1-6, 8-11); Kamau Kenyatta: soprano saxophone (1); Keyon Harrold: trumpet (2-4, 8, 11), flugelhorn (3); Yosuke Sato: alto saxophone (2, 3, 6, 8-11); Tivon Pennicott: tenor saxophone (2-4, 8, 10, 11).

Be Good

---

Gregory Porter - Liquid Spirit

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 61:05
Size: 139,9 MB
Art: Front

(3:55)  1. No Love Dying
(3:35)  2. Liquid Spirit
(3:09)  3. Lonesome Lover
(3:31)  4. Water Under Bridges
(3:19)  5. Hey Laura
(3:42)  6. Musical Genocide
(4:08)  7. Wolfcry
(4:58)  8. Free
(4:16)  9. Brown Grass
(3:23) 10. Wind Song
(3:35) 11. The "In" Crowd
(4:47) 12. Movin'
(6:52) 13. When Love Was King
(7:47) 14. I Fall In Love Too Easily

After two solid albums on Motema, both of which earned Grammy nominations, singer and songwriter Gregory Porter makes his Blue Note debut with Liquid Spirit. A singer whose quicksilver vocal style refuses to be caged by either jazz, gospel, or R&B, his warm, inviting baritone utilizes them all when he wishes to. Using the musicians who appeared with him on 2012's Be Good  Yosuke Sato and Tivon Pennicott, saxophones; Chip Crawford, piano; Aaron James, bass, Emanuel Harrold, drums Porter wrote or co-wrote 11 of these 14 songs. There is a dynamite reading of Billy Page's hard-grooving "The In Crowd" that highlights Porter's rhythmic phrasing. Though it's a soul tune at heart, he swings hard. The cover of Max Roach's and Abbey Lincoln's "Lonesome Lover" evokes the soulful post-bop spirit of the original and offers a bracing portrait of the singer's command of his own upper range. Covers aside, the real strength of Liquid Spirit lies in Porter's songs: his lyrics and melodies are as rich as his voice. 

Opener "No Love Dying Here" walks a line between jazz and soul; its life-affirming words are underscored by the effortless conviction and authority in his vocal, while Sato's alto saxophone solo affirms the lyric. The fingerpopping, handclapping gospel groove in the title track is punched up by saxophones and Curtis Taylor's trumpet. The call-and-response between Porter and James' bass is tasty, and one can hear a trace of Donny Hathaway in the singer's commanding, heartfelt delivery. "Hey Laura" is characterized by Porter's relaxed but utterly sincere delivery, and packs a knock-out emotional punch in his protagonist's plea to the object of his affection. "Brown Grass" is a close second in the emotional punch department; it's a love song to be sure, but a sadder one. Porter articulates his protagonist's regrets simply and honestly, and therefore resonantly. For all of his innovative ability to effortlessly combine, shift, and shape various musical genres in his own image, Porter is militantly old school check "Musical Genocide," as he celebrates the music of the past with a popping piano, hard-grooving horns, funky Rhodes, and swelling B-3. 

On the tender ballad "Wolfcry," he is accompanied only by Crawford; it's so hip and melodically rich, it could easily have been sung by a young Nat Cole. The way he and his band move through blues, jazz, gospel, and R&B simultaneously on the declamatory testimonial "Free" is breathtaking. The intro to "Movin'," near set's end, suggests Bill Withers, but Porter quickly shifts it into higher gear with the horns punctuating the ends of his sung lines. While his first two recordings revealed a major new talent with their promise, Liquid Spirit is a giant step forward artistically, and for the listener, an exercise in musical inspiration.~Thom Jurek  http://www.allmusic.com/album/liquid-spirit-mw0002555419

Liquid Spirit

---