Carl Allen, Rodney Whitaker - Work To Do

Styles: Straight-Ahead Jazz
Year: 2009
File: MP3@320K/s
Time: 64:03
Size: 147,8 MB
Art: Front

(6:06)  1. Work to Do
(6:29)  2. Speak to My Heart
(7:03)  3. For Garrison (Both)
(6:24)  4. Giving Thanks
(5:30)  5. What's Going On
(6:58)  6. Eleanor Rigby
(6:49)  7. With You I'm Born Again
(6:38)  8. Grahamstown
(3:03)  9. A Time for Love
(8:57) 10. Relativity

On Carl Allen and Rodney Whitaker's Work to Do, their second collaboration with Mack Avenue Records, the musicians focus on groove, beauty and respect for the tradition. Allen and Whitaker provide a swinging backdrop for some of New York's finest and most respected musicians, including guitarist Rodney Jones and saxophonist Vincent Herring, two very distinctive contributors to the album. Joined by five other accomplished artists, the A-list lineup combines to make an electrifying 9-piece ensemble. Work to Do features 11 tracks, including reworked pop-classics and originals that range from achingly beautiful tunes to those possessing an energized post-bop feel. Highlights include Whitaker's hard-bop original "For Garrison," written for his son, who was named after jazz legend Jimmy Garrison. Here, the melody played by both Chandler and Herring is supported rhythmically by Allen who also provides suspense through his fills, which lead the band into an unbreakable and energized swing feel for the solo section. The The Beatles' "Eleanor Rigby," is uniquely interpreted with the band switching effortlessly between 5/4 and 4/4 throughout, and which Herring uses to his advantage to create a truly impressive solo. On Johnny Mandel's "Time for Love," Jones' sensitivity as a player is heard through the enchanting lines which accompany Whitakers' bowed melody. Finally, for the bonus track, Allen and Whitaker play a duo a version of "For Garrison," displaying their effortless musical partnership. Although Work to Do may not be categorized as an innovative album, it does possess remarkable musicality throughout, created by a group of players who have an obvious love for making music together and enjoy an array of different styles as long as it feels good.~ Angela Davis https://www.allaboutjazz.com/work-to-do-carl-allen-and-rodney-whitaker-mack-avenue-records-review-by-angela-davis.php

Personnel: Personnel:Carl Allen: drums; Rodney Whitaker: bass; George Colligan: piano; Rodney Jones: acoustic and electric guitars; Dorsey "Rob" Robinson: B3 organ; Brandon Lee: trumpet; Kirk Whalum: tenor and soprano saxophone; Vincent Chandler: trombone; Vincent Herring: alto and soprano saxophone.

Work To Do

---

Mack Avenue SuperBand - Live from the Detroit Jazz Festival

Styles: Jazz, Big Band
Year: 2015
File: MP3@320K/s
Time: 59:16
Size: 136,5 MB
Art: Front

( 0:59)  1. Introduction
( 9:49)  2. Riot
(10:31)  3. The Struggle
( 7:53)  4. A Mother's Cry
(11:25)  5. Santa Maria
( 7:01)  6. For Stephane
( 1:17)  7. Introduction to Bipolar Blues Blues
(10:17)  8. Bipolar Blues Blues

Bands fostered by labels and sourced from their stables are nothing new. The concept itself has always carried great possibility, but many a label has dropped the ball on the artistic responsibility side of the equation. At their worst, these types of get-togethers have come off as incongruous gatherings that are crudely slapped together. The concerts and/or albums that often fall into that category typically have one thing in common: they're there to make a quick buck and nothing else really matters. But not every label gathering is made for that purpose. A label band, when done right, can help to showcase artists while displaying and furthering a sense of community. The Mack Avenue Superband projects prove that point.  So what exactly makes this album and its two antecedents work while other such projects have failed miserably? There's no easy answer, but organization and attention to detail may very well be the keys to success. This gathering may take place on one fine day, but the band's music director bassist Rodney Whitaker starts to formulate a plan several months ahead of time, reaching out to the musicians to put together a program where everybody has input. So while the seven musicians featured on this album may not be the most stylistically well-matched on paper, with relatively straight ahead players, a gypsy jazz guitarist, and a smooth-gospel saxophone star joining forces, they're all on the same page from beginning to end and there's a spirit of togetherness here that's refreshing to encounter on such an offering.  

Everybody involved with this album knows the drill and comes prepared. Whitaker, his longtime drumming partner Carl Allen, Hot Club of Detroit guitarist Evan Perri, and pianist Aaron Diehl have all been on board for both of the previous incarnations of this group; vibraphonist Warren Wolf and saxophonists Tia Fuller and Kirk Whalum have each taken part in one of these gatherings before. Here, they all gel beautifully in various combinations. Whalum and Fuller blow atop the rhythm section with vim and vigor on the former's "Bipolar Blues Blues"; Wolf and Perri prove to be surprisingly well-matched partners, locking in together on Herbie Hancock's "Riot" and pulling from the same stylistic bag on Perri's Spanish-tinged, Chick Corea-esque "For Stephanie"; Wolf's vibes, Fuller's soprano, and Whalum's flute meld and move gently atop the light Latin flow below on Whitaker's "A Mother's Cry"; and Diehl's gifts as a genre-blind player with exquisite taste and an enormous musical vocabulary come to the surface on his own "Santa Maria," a piece which opens on three-and-a-half minutes of expression-rich piano exploration before taking shape as a swinger that vacillates between lightheartedness and resoluteness. This edition of the Mack Avenue Superband has much to offer, proving that the difference between success and failure with label bands rests with the execution and the chemistry. With sound planning and the right participants, a label concoction can be a very good thing. ~ Dan Bilawsky https://www.allaboutjazz.com/live-from-the-detroit-jazz-festival-2014-mack-avenue-superband-mack-avenue-records-review-by-dan-bilawsky.php

Personnel: Rodney Whitaker: music director, acoustic bass; Carl Allen: drums; Aaron Diehl: piano; Tia Fuller: alto saxophone, soprano saxophone; Evan Perri: guitar; Kirk Whalum: tenor saxophone, flute; Warren Wolf: vibraphone.

Live from the Detroit Jazz Festival

---

Greg Manning - The Calling

Styles: Jazz, Smooth Jazz
Year: 2010
File: MP3@320K/s
Time: 58:09
Size: 133,5 MB
Art: Front

(4:00)  1. Groovin'
(4:16)  2. Nick of Time
(4:39)  3. The Calling
(4:34)  4. Yeke Yeke Yo
(3:31)  5. After the Rain
(4:01)  6. It's Me
(3:53)  7. Shine a Light
(4:22)  8. Mountain View
(4:10)  9. Wayman
(5:13) 10. Tribal Sphere
(2:32) 11. Coming & Going
(3:43) 12. The Prayer
(4:16) 13. Sunday Morning
(4:53) 14. Home

The convergence of jazz, funk, and soul combined with musical inspiration from artists such as, Stevie Wonder and Herbie Hancock; and features the talents of acclaimed artist Keb'Mo', and smooth jazz artists Kirk Whalum and Mindi Abair. He is the internationality in person. Born in Nigeria Greg Manning grew up in Switzerland. In 2002 he moved to Los Angeles but still keep contact to the land of his youth. So he is a three-time certified platinum producer for Universal Music Switzerland, and has had several Swiss Chart toppers since 1996. Greg worked as musical director with Jonathan Butler and also performed with Brian McKnight, Kirk Whalum, Will Downing, Richard Elliot, Gerald Albright, Chante Moore, Mindi Abair and Keb' Mo' just to mention a few. His debut album Soulciety was released in 1999 and is unfortunately unavailable anymore. By chance I became aware of his new album The Calling, which was released in April 2010. Greg's new album features Mindi Abair, André Berry, Patrick Bettison, Tom Evans, Keb' Mo', Jimmy Reid, Kirk Whalum and Terry Wollman among others. Greg wrote, arranged, mixed and produced all songs except Nick Of Time. The Calling starts with the fulminate Groovin' featuring attractive Mindi Abair in her prominent role as raising sax star. Mindi recently entered the charts with her new album In Hi-Fi Stereo (2010). Also on the party Columbia University graduated jazz vocalist Dawn Norfleet, who we'll certainly see again. Bonnie Raitt wrote Nick Of Time in 1989 for her same-titled album, her personal break-through. With great taste for fine music art Greg chooses this song for featured saxophonist Jimmy Reid. Greg's arrangement has thanks to Jimmy's emotional interpretation and the choir background a real Gospel flavor. The Calling presents Patrick Bettison on chromatic harmonica. If it is the harmonica, the bass or African percussion Patrick always impresses with his personal musical intensity. Yeke Yeke Yo is Greg's orchestral approach with influences of African percussion. Colorful and picturesque. 

On After The Rain guitarist Keb’ Mo', a living blues legend, showcases his bluesy finger style. Greg always tailors a perfect song for each presented musician. On It's Me Greg Manning displays his pleasant-sounding personality. Jimmy Reid, Tom Evans and Greg blend into a fine arrangement. The dynamic Shine A Light reveals another aspect of the musician Greg Manning. He is a supreme vocalist beside his excellent skills as keyboardist and programmer. With the cordial Mountain View Greg walks on the path of Dan Siegel, Jim Brickman and Richard Clayderman. Wayman is Greg's tribute to the late Wayman Tisdale featuring André Berry on lead bass. André plays Wayman's signature slap bass reminding at this great musician. “The guy was always so happy, so positive, always had a smile, always made you feel great,” recently commented Peter White. On Tribal Sphere Greg shows a jazzy excursion into world music and jazz fusion in the style of Joe Zawinul. Excellent sax and keyboard work! With the interlude Coming & Going Greg mirrors his thoughts on solo piano. The romantic ballade The Prayer unites Terry Wollman on acoustic guitar with Greg's piano performance. An awesome melody seamlessly played. The lazy moment of a sunny Sunday, Greg catch this mood in Sunday Morning. Final tune of this brilliant album is Home featuring sax legend Kirk Whalum, who will release a tribute album to Donny Hathaway next month. Greg Manning's The Calling shines brightly. Give this album a listen, it's without no doubt worth to spend some of your precious time. https://store.cdbaby.com/cd/gregmanning1

Personnel:  Greg Manning (Keyboards, Piano, Programming, Shakers, Cymbals, Vocals); Mindi Abair (Alto & Soprano Saxophones); Jimmi Reid (Alto Saxophone); Tom Evans (Tenor Saxophone); Kirk Whalum (Tenor Saxophone); Terry Wollman (Electric & Acoustic Guitars, Hand Claps); Keb' Mo' (Acoustic Guitar); Fred Clark (Electric Guitar); Andre Berry (Bass); Hussain Jiffry (Electric Bass); Jamey Tate (Drums); Kevin Moore II (Drums, Percussion Programming); Munyungo Jackson (Percussion); Jan Stevens (Bongos, Hand Claps); Patrick Bettison (Chromatic Harmonica); Dawn Norfleet, Tiffany Smith (Vocals).

The Calling

---

Kirk Whalum - Colors

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 49:33
Size: 113,7 MB
Art: Front

(5:34)  1. Cannonnesque
(4:53)  2. All I Need
(4:19)  3. Daddy Loves You
(4:15)  4. Strength In You
(4:38)  5. If Only For One Night
(6:55)  6. Escolhido (Chosen)
(4:17)  7. Open My Eyes
(4:35)  8. After All This Time
(6:26)  9. Natchez
(3:37) 10. The Back Porch

In the liner notes to his 1996 Warner Bros.solo debut, Colors, saxophonist Kirk Whalum explained why the rhythms of "Escolido" carried him away. "I believe that heaven will be a place where all cultures and all types of music will be celebrated and enjoyed," he wrote. "But if I could choose one genre of music for my mansion there, it would be Brazilian." It's not heaven on earth yet, but at the dawning of the 21st century, musical influences from around the world are infusing jazz with new life. Here, on tunes like "Escolido," Whalum leans on the long, happy marriage of styles fostered by Stan Getz and others and displays how much promise it holds for contemporary jazz. ~ JAZZIZ Magazine Copyright © 2000, Milor Entertainment, Inc. ~ From Jazziz - Editorial Reviews https://www.amazon.com/Colors-Kirk-Whalum/dp/B000002NIV

Personnel:  Kirk Whalum (tenor saxophone, keyboards, programming); Vanesse Thomas, Curtis King, Kevin Whalum, Lynn Fiddmont-Linsey, Allison Krauss, Michael McDonald, Howard Hewett (vocals); Justo Almario (soprano saxophone); Gerald Albright (alto saxophone, bass); Stuart Duncan (violin, mandolin); Leon Pendarvis, Marc Harris (Hammond B-3 organ); Oji Pierce, Dan Shea, Philippe Saisse (keyboards, programming); Bill Cantos (keyboards); Marc Antoine, Chris Rodriguez (acoustic guitar); Nick Moroch (electric guitar); Paul Jackson Jr., Sheldon Reynolds, Mark Baldwin, Dwight Sills (guitar); Chris Minh Doky (acoustic bass); Tommy Simms (bass, keyboard programming); Abraham Laboriel, Ron Jenkins, Dwayne "Smitty" Smith (bass); Bill Maxwell, Sean McCurley, Chester Thompson (drums); Luis Conte (percussion); Paul Brown (programming).

Colors

---

Bob James & Kirk Whalum - Joined At The Hip

Styles: Keyboards And Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 63:08
Size: 144,9 MB
Art: Front

(10:04)  1. Soweto
( 6:01)  2. Kickin' Back
( 5:19)  3. Out Of The Cold
( 8:15)  4. Deja Blue
( 5:47)  5. Midnight At The Oasis
( 7:17)  6. Tell Me Something Nice
( 6:35)  7. Tour De Fourths
( 5:15)  8. The Ghetto
( 8:31)  9. The Prayer

Bob James learned the value of give and take between musicians, along with the fine art of collaboration, from his early experiences on the road with mentor Sarah Vaughan. Later, when he became an artist in his own right, he did more than simply take those lessons to heart -- he built a great part of his storied career on landmark duet recordings with David Sanborn, Earl Klugh, and Fourplay. Remembering what it was like to be young, gifted, and hungry to learn, James not only became an icon to a new generation of contemporary jazz performers, but also personal mentor to one of the genre's most respected young players, saxman Kirk Whalum. After many appearances on each other's solo efforts since the mid-80's, Whalum and James are now on equal terms, Joined at the Hip for a project more spontaneous and soulful than most of their recent output. Keeping that adventurous spontaneity going are the duo's inventive support band of guitarist Jeff Golub, bassist Chris Walker, and drummer Billy Kilson all inspired choices neither had previously worked with. 

The fresh approaches of these new collaborators helps make Joined at the Hip unique from any previous James/Whalum recording. Golub is particularly sharp, easing from rock distortion to funky blues while soloing with all the fiery intensity of his own two solo discs on the no-holds-barred "Out of the Cold." He also adds edgy emotion to the dark tones of "Tell Me Something Nice." Tilson captures the spirit of the project with his crucial input on the playful "Kicking Back." As James explains it, Tilson sat at his kit and started pounding out a rhythm, which James then noodled over to create the initial framework of the playful "Kicking Back."~ Jonathan Widran https://www.allmusic.com/album/joined-at-the-hip-mw0000073167

Personnel: Kirk Whalum (saxophone); Bob James (keyboards, synthesizer); Kevin Whalum (vocals, chant); Hilary James (vocals); Chris Walker (chant); Hiram Bullock, Jeff Golub (guitar); Billy Kilson (drums)                

Joined At The Hip

---

Liane Carroll - Up and Down

Styles: Vocal And Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 55:51
Size: 128,1 MB
Art: Front

(4:02)  1. Buy and Sell
(3:01)  2. What Are You Doing the Rest of Your Life
(4:29)  3. Moanin'
(3:29)  4. Take Me Home
(6:11)  5. What Now My Love
(6:46)  6. Turn Out the Stars
(3:58)  7. Some Children See Him
(2:45)  8. Witchcraft
(5:33)  9. My Funny Valentine
(4:54) 10. Old Devil Moon / Killer Joe
(7:56) 11. Make Someone Happy
(2:41) 12. I Can Let Go Now

Liane Carroll is a much-admired British singer and pianist, winner of accolades including Musician Of The Year at the 2008 Parliamentary Jazz Awards. She has worked with musicians as varied as Sir Paul McCartney and Charlie Haden, while on this album her invited guests include tenor saxophonists Kirk Whalum and Julian Siegel, and Kenny Wheeler on flugelhorn. She already has a strong body of work to her name, but Up And Down might just be her finest album to date. Carroll's voice is superb bluesy, smooth, ballsy, cheeky, romantic, heartbreaking, and never less than honest. This combination makes Carroll eminently capable of performances of tremendous emotional intensity when the songs are upbeat and positive this results in moments of intense joy, when the songs are sad this intensity can be hard to bear. Aided by producer and horn player James McMillan and a roll-call of top British jazz musicians, Carroll draws out the full impact of these songs in some unexpected ways. The most surprising is her approach to "What Now My Love?" The opening Carroll singing over Mark Edwards' gospel-style organ with Whalum adding brief tenor phrases is in keeping with the song's usual sentiment, but everything moves up a few notches with the entry of Mark Hodgson's rock solid bass beat. As Whalum and Edwards add some funky and fiery riffs it's no longer a torch song, a cry of pain from a spurned lover. Now it seems from Carroll's bluesy but almost triumphant tone that she's engineered her lover's departure all along. "What now my love? A nice gin and tonic and a sit down I think. And good riddance."

"Buy and Sell" opens with the sounds of children at play, features electric guitar with an Ernie Isley vibe courtesy of Mark Jaimes and an electric piano solo from Edwards, and adds a vocal chorus courtesy of Carroll's multi-tracked voice. The result gives a fittingly late-60s feel to this beautiful Laura Nyro song. Wheeler guests on Bill Evans' "Turn Out The Stars," adding a starkly emotive solo to Carroll's poignant vocal. Carroll's singing on Tom Waits' "Take Me Home" and Rodgers and Hart's "My Funny Valentine" are two of her finest vocals. The emotional engagement of both performances is staggering. On Waits' ballad Carroll, playing some delicate and graceful piano phrases, makes a heartfelt plea to her lover that would melt all but the hardest of hearts. On "My Funny Valentine," Carroll, Edwards on piano and McMillan on flugelhorn give one of the album's most powerful performances: superbly stark and raw, it reaches into the song's heart to draw out the full poignancy of the words. Up And Down is beautiful. The song choices and arrangements are inspired, and the musicians are uniformly superb. Carroll is a singer of superb style, capable of projecting every nuance and subtlety of a lyric. What more is there to say? This is one of the finest vocal jazz albums to appear for many a moon. ~ Bruce Lindsay https://www.allaboutjazz.com/up-and-down-liane-carroll-quietmoney-recordings-review-by-bruce-lindsay.php

Personnel: Liane Carroll: vocals, piano (1, 2, 4, 8, 12); James McMillan: trumpet (1), flugelhorn (1, 2, 7, 9), celesta (2); Mark Bassey: trombone (2, 4, 7); Rob Leake: flute (2); Mark Edwards: piano (3, 6, 9, 10), Hammond organ (3, 5), electric piano (1); Simon Purcell: piano (11); Mark Jaimes: guitar (1, 12); Roger Carey: bass (4, 6, 8, 10); Mark Hodgson: bass (2, 3, 5); Steve Pearce: bass (1); Mark Fletcher: drums; Julian Siegel; tenor saxophone (11); Kirk Whalum: tenor saxophone (3, 5); Kenny Wheeler: flugelhorn (6).

Up and Down

---

Jonathan Butler - Do You Love Me?

Styles: Guitar Jazz
Year: 1997
File: MP3@320K/s
Time: 52:59
Size: 121,5 MB
Art: Front

(4:10)  1. Song for Elizabeth
(4:34)  2. Do You Love Me?
(4:33)  3. The Other Side of the World
(4:43)  4. Life After You
(4:05)  5. New Life
(4:16)  6. Dancing on the Shore
(4:29)  7. You Don't Belong To Me
(3:54)  8. The Way You Look Tonight
(4:18)  9. Amen
(4:01) 10. A Kiss
(5:26) 11. Lost to Love
(4:23) 12. My Only Joy

On Jonathan Butler's N2K Encoded Music debut, Do You Love Me, he continues his jack-of-two-trades approach, balancing R&B-based vocal tunes with easy, acoustic guitar-based instrumentals. While it's a friendly enough listen, Butler here doesn't display a powerful enough mastery of either format. His guttural, heartfelt vocal style reminiscent of Jon Secada can make even the most Lionel Richie-esque lyric seem deeper than it is (even a new song with a title like "The Way You Look Tonight"), but few of the adult-oriented vocal tunes here are as memorable or hooky as his best-known hit, "Sarah Sarah." "Do You Love Me?," for instance, should be a deep, emotional moment, but comes off as a pleasant, easily dismissed conversation. Fortunately, "You Don't Belong to Me" has more lyrical bite, nicely underscored with a percussive guitar line underneath his angry tone. Butler should put more of that pointed energy into his play-it-safe instrumentals, which generally gallop along smoothly without building much steam. The best one can do with this sort of album is like Butler a lot. ~ Jonathan Widran https://www.allmusic.com/album/do-you-love-me-mw0000595283

Personnel: Jonathan Butler (vocals, guitar, programming); Tom Scott (soprano saxophone, synthesizer); Kirk Whalum (tenor saxophone); Dave Grusin (Fender Rhodes); Larry Kimpel (bass, fretless bass, background vocals); Portia Griffin, Yvonne Williams, Earl Buffington (background vocals).           

Do You Love Me?

---

Dee Dee Bridgewater - Memphis ...Yes, I'm Ready

Styles: Vocal, Soul
Year: 2017
File: MP3@320K/s
Time: 62:09
Size: 144,5 MB
Art: Front

(4:57)  1. Yes, I'm Ready
(4:55)  2. Giving Up
(5:16)  3. I Can't Get Next To You
(4:45)  4. Going Down Slow
(4:36)  5. Why (Am I Treated So Bad)
(4:04)  6. B.A.B.Y.
(5:38)  7. The Thrill Is Gone
(6:45)  8. The Sweeter He Is
(3:06)  9. I Can't Stand The Rain
(4:40) 10. Don't Be Cruel
(3:38) 11. Hound Dog
(5:25) 12. Try A Little Tenderness
(4:18) 13. (Take My Hand) Precious Lord

There's no question that Dee Dee Bridgewater is one of America's great jazz vocalists, but that's hardly the only thing she can do. Bridgewater was born in Memphis, Tennessee, and while her family pulled up stakes for Flint, Michigan when she was only three, she still feels a spiritual connection with the city and its music, and on 2017's Memphis...Yes, I'm Ready, she puts her love of vintage soul and blues front and center. Bridgewater recorded Memphis...Yes, I'm Ready at Royal Recorders, the Bluff City studio where producer Willie Mitchell cut a string of hits with Al Green in the '70s, and Willie's son Lawrence "Boo" Mitchell co-produced the sessions along with Dee Dee and her daughter Tulani Bridgewater. Mitchell pulled together a splendid studio band for this album, including a few members of the old Hi Rhythm Section, and they deliver a superb set of soulful grooves, at once swampy and emphatic, with John Stoddart's electric piano, Jackie Clark's bass, and James "Bishop" Sexton's drums generating just the right amount of funk. With a top-shelf soul band cooking behind her, Dee Dee Bridgewater steps up as a top-shelf soul singer, smooth when she should be, good and gritty when she wants to be, and sounding tough, passionate, and firmly in command at all times. That Bridgewater delivers on soul classics such as "Yes, I'm Ready," "Try a Little Tenderness," and "B.A.B.Y." is not a great surprise, but her transformation of B.B. King's blues perennial "The Thrill Is Gone" into a smoky late-night groove is both unexpected and welcome, and she works an impressive transformation on two numbers associated with Elvis Presley, "Don't Be Cruel" and "Hound Dog," finding a tough R&B center inside them. "The Sweeter He Is" gives Dee Dee a chance to open up her soul and tell us some home truths about cheating men, and the closing performance of the gospel standard "(Take My Hand) Precious Lord" is glorious. Dee Dee Bridgewater strips off some of the polish from her style on Memphis...Yes, I'm Ready without betraying her talent or best musical instincts, and this detour into Soul City is a treat that should please her fans, as well as anyone who digs Southern soul. ~ Mark Deming https://www.allmusic.com/album/memphisyes-im-ready-mw0003087574

Personnel: Dee Dee Bridgewater (vocals); Garry Goin (guitar); Kirk Whalum (tenor saxophone, baritone saxophone); Lannie McMillan, Kirk Smothers (tenor saxophone); Marc Franklin (trumpet); Kameron Whalum (trombone); John Stoddart (keyboards); James Sexton (drums); Lawrence "Boo" Mitchell (cymbals, tambourine); Sharisse Norman, Kevin Whalum, Stax Music Academy, Candise Rayborn-Marshall (background vocals).

Memphis ...Yes, I'm Ready

---

Chris Standring - Velvet

Styles: Guitar Jazz
Year: 1998
File: MP3@320K/s
Time: 55:06
Size: 126,4 MB
Art: Front

(4:34)  1. Silhouette
(4:34)  2. Sneaky
(4:38)  3. Coll Shades
(4:32)  4. West Coast Changes
(5:44)  5. Velvet
(4:38)  6. Steven
(4:26)  7. Shake
(4:53)  8. Solitaire
(5:31)  9. 'Nuff Said
(4:47) 10. Victoria Road
(6:42) 11. The Beautiful Woman of Scant Virture

It wouldn't be a surprise to find the glorious retro-soul CD Maxwell's Urban Hang Suite a fixture in Chris Standring's disc changer. Velvet, the guitarist's first solo effort after the blazing funk effort by Solar System (led by Standring and this album's keyboardist/producer Rodney Lee), is full of glittery synth-created Hammond B-3 and Fender Rhodes flavors, hypnotic synth washes and gentle shuffling grooves, punchy wah-wah harmonies and dreamy, otherworldly effects. If Maxwell could improvise like George Benson, this is what the hybrid might be. Standring waits till the tenth track, "Victoria Road," before giving us a truly infectious electric guitar melody that stands apart from its rhythmic base and doesn't seep into the next song. 

But the disc seems more about Standring's Benson-like precision and technique, and brilliant vibe-intensive production than just tunes. On standout tracks like "Silhouette" and the sax accented "Sneaky," Standring and Lee effortlessly swirl the electric guitar melody with subtle acoustic harmonies, effective wah-wah kicks and some Crusaders flavored key improvisations. ~ Jonathan Widran http://www.allmusic.com/album/velvet-mw0000035454

Personnel: Chris Standring (guitar); Dino Soldo (tenor saxophone, flute, harmonica, keyboards, programming); Kirk Whalum (tenor saxophone); Rick Braun (flugelhorn); Rodney Lee (keyboards, programming); Andre Berry (bass).

Velvet

---

BWB - Groovin'

Bitrate: MP3@320K/s
Time: 60:49
Size: 139.2 MB
Styles: R&B, Smooth jazz
Year: 2002
Art: Front

[4:47] 1. Groovin'
[4:51] 2. Brown Sugar
[5:46] 3. Ruby Baby
[5:44] 4. A Woman's Worth
[7:27] 5. Hip Hug Her
[6:41] 6. Mercy Mercy Mercy
[7:21] 7. Let's Do It Again (Featuring Dee Dee Bridgewater)
[4:52] 8. It's Your Thing
[7:27] 9. Povo
[5:49] 10. Up For The Down Stroke

This concept sounds like the set-up for a joke: What do you get when you cross three smooth-jazzers with topnotch straight-ahead players? Turns out Norman Brown, Kirk Whalum, and Rick Braun have the last laugh and a damn good time. While they may be three of the most distinct stylists in smooth jazz, they had to turn up the pots to cook with bassist Christian McBride and drummer Gregory Hutchinson. Keyboardist Ricky Peterson, maybe the funkiest organist in contemporary jazz outside of Larry Goldings, plays a producing role and is probably the MVP of BWB. The players aren't the only stars. The impeccable choice of 10 well-known cover tunes adds to an unapologetically fun record that allows B, W, and B to stretch out much more than they do on other recordings. Braun quotes Freddie Hubbard on "Povo," while Whalum explores Cannonball Adderley on "Mercy, Mercy, Mercy," and Brown pays back Wes Montgomery throughout the proceedings. From the sexually charged "Let's Do It Again," featuring a purring Dee Dee Bridgewater and a scatting Brown, to the inspired arrangements of Alicia Keys's "A Woman's Worth" and D'Angelo's "Brown Sugar," there are no holes in any of these grooves. ~Mark Ruffin

Groovin'

---

Kirk Whalum - Hymns In The Garden

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 63:06
Size: 146,1 MB
Art: Front

(4:27)  1. I Will Trust In The Lord
(4:18)  2. Jesus Paid It All
(4:47)  3. Christ Is All
(5:03)  4. Precious Lord Take My Hand
(3:38)  5. Just A Closer Walk With Thee
(5:19)  6. My Faith Looks Up To Thee
(5:55)  7. Jesus Is All The World To Me
(5:15)  8. Fairest Lord Jesus
(4:47)  9. Softly And Tenderly
(6:16) 10. I Must Tell Jesus
(4:02) 11. He's Sweet I Know / He Knows How Much You Can Bear
(5:26) 12. I Want Jesus To Walk With Me
(3:47) 13. In The Garden

Don't expect too many surprises from Kirk Whalum's Hymns in the Garden if you're familiar with his previous few gospel-tinged albums like Unconditional and The Gospel According to Jazz. Like those two albums, Whalum goes out of his way to invest a considerable amount of spiritual sentiment into his candy-coated crossover jazz. On this particular album, the religious overtones come via the song titles, "I Will Trust in the Lord," "Christ Is All," and "I Want Jesus to Walk With Me" being three examples. But while all this Christian sentiment may seem to be mostly packaging since this is an entirely instrumental album, you can't deny the fact that Whalum's playing seems considerably passionate here, even if it's still ironically plagued by its own accessibility. And it's not that Whalum wasn't passionate on his previous releases, because he was; it's just that these songs seem a little more invested with sentiment, and this is communicated partly through their introspective arrangements and partly through their laid-back tempos. In other words, this isn't the sort of album you throw on for a party unless it's a Sunday afternoon after church sort of party. It's more an album for reflective moments when you can really kick back and appreciate the sort of peaceful and hopeful mood Whalum is attempting to craft. And for the most part, he succeeds in crafting that very mood; there's not a song here that isn't charged with sentiment. Yet as successful and well-crafted as Hymns in the Garden is, you can't help feeling a bit underwhelmed if you're a longtime Whalum fan. After all, the guy seems to have become content when it comes to exploring new musical avenues and has instead turned toward the non-musical side of his music, further investing ideology into his music with Christian rhetoric song titles and packaging. This isn't necessarily a bad thing at all and, in a sense, is in fact noble. Sometimes you wish he'd take a few chances with his music, though. ~ Jason Birchmeier http://www.allmusic.com/album/hymns-in-the-garden-mw0000117629

Hymns In The Garden

---

Jeff Golub - Out of the Blue

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 59:43
Size: 137,0 MB
Art: Front

(5:20)  1. Wanna Funk?
(4:35)  2. Indiana Moon
(4:22)  3. Manteca
(6:09)  4. The Velvet Touch
(6:27)  5. My Everything
(5:03)  6. Lucky Strike
(5:34)  7. Latitude 19
(4:44)  8. Come on Home
(7:41)  9. Paradise Lost
(9:44) 10. Groanin'

Jeff Golub is categorized in the smooth jazz genre because he's an instrumentalist; at heart, though, he's an Eric Clapton styled rockin' blues guitar player who, on Out of the Blue, finds himself stumbling happily into Tower of Power-like jam sessions. He pulls no punches from the start, rocking hard and furious with his distorted electric thrust darting around and over Ricky Peterson's brooding B-3 and a three-piece horn section on "Wanna Funk?" Same idea, south of the border style, on the similarly hard-hitting Latin blues hurricane "Manteca," where Golub explores some improvisational territory in between sizzling solo sections by his longtime friend Rick Braun. Golub co-produced the album with keyboardist Philippe Saisse, whose comparatively laid-back style keeps Golub in the cool on more mid-tempo, easy to latch onto pieces like "Indiana Moon"; the guitarist gets more aggressive as the song progresses, but the hooky piano harmony line stays a constant. Saisse helps bring out Golub's completely meditative side on "The Velvet Touch" for about half the tune before the electricity rises once again. It's as if Golub just can't keep his virtuosity to himself, no matter how emotionally restrained the trappings. "Groanin'" is a unique departure which plays as though Golub got up one night in a straight-ahead jazz club and tried his hand (pretty convincingly, at that) at the bebop quartet thing. ~ Jonathan Widran http://www.allmusic.com/album/out-of-the-blue-mw0000240008

Personnel: Jeff Golub (guitar); Vaneese Thomas, James "D-Train" Williams (vocals); Dave Woodford (saxophone, flute); Kirk Whalum, Tim Ries (saxophone); Rick Braun, Jim Hynes (trumpet, flugelhorn); Michael Davis (trombone); Jim Biggins (flute); Jeff Levine, Leon Pendarvis, Ricky Peterson (Hammond B-3 organ); Kenny White (Wurlitzer piano); Philippe Saisse (keyboards, percussion); Marc Antoine (nylon string guitar); Lincoln Goines (acoustic bass); Tony Levin (bass, Chapman stick); Neil Jason (bass); Steve Ferrone, Steve Barbuto, Shawn Pelton (drums); Richie Flores, Roger Squitero (percussion)

Out of the Blue

---

Liane Carroll - The Right To Love

Styles: Vocal And Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 46:37
Size: 107,9 MB
Art: Front

(5:37)  1. Skylark
(5:34)  2. The Right To Love
(3:21)  3. It's A Fine Line
(3:43)  4. If You Go Away
(7:43)  5. You Don't Know What Love Is
(4:22)  6. Goin' Back
(5:17)  7. Lately
(3:51)  8. Georgia
(3:03)  9. In The Neighbourhood
(4:02) 10. I Get Along Without You Very Well

Liane Carroll’s talents, as singer, pianist and all-round musical force of nature, seemed to defy all efforts to capture them successfully on record. Until, that is, she began working with producer James McMillan. This, their fourth album together, displays a characteristic mixture of deceptive simplicity and emotional depth. Following the loose theme of attitudes to love, Carroll calls on songs by, among others, Stevie Wonder, Tom Waits, Jacques Brel and Hoagy Carmichael, whose I Get Along Without You Very Well provides the most touching moment. The arrangements and playing, notably Mark Jaimes (guitar) and Kirk Whalum (tenor sax), are superb. https://www.theguardian.com/music/2017/jul/23/liane-carroll-right-to-love-review-jazz

Personnel:  Liane Carroll (piano, vocals);  Mark Edwards (piano);  Malcolm Edmonstone (piano);  Mark Jaimes (guitars);  Kirk Whalum (saxophone); Loz Garratt (bass);  Roger Carey (bass);  Ralph Salmins (drums);  Russell Field (drums);  James McMillan (trumpet).

The Right To Love

---

Martin Taylor - Nitelife

Bitrate: MP3@320K/s
Time: 57:58
Size: 132.7 MB
Styles: Guitar jazz
Year: 2001
Art: Front

[5:47] 1. Chaff & Grain
[5:28] 2. Doctor Spin
[5:39] 3. That's The Way Of The World
[7:16] 4. Déjà Vu
[4:11] 5. Hymne A L'amour
[5:35] 6. Nitelife
[4:16] 7. Green Lady
[5:52] 8. Beboptimism
[8:05] 9. Across The Pond
[5:46] 10. I Get Along Without You Very Well

Martin Taylor- guitar; Kirk Whalum- tenor saxophone, programming; Jim Reid- soprano saxophone; Jim Horn- alto saxophone, tenor saxophone, baritone saxophone; Steve Buckingham- wah wah guitar; Mike Durham- additional electric guitars, power drill; Fink- programming; Brian D. Siewert- programming, keyboards, arrangements; John Stoddart- keyboards; Viktor Krauss, David Hungate- bass; Chester Thompson- drums; David Davidson, David Angell- violin; Monisa Angell, Kristin Wilkinson- viola; Michelle Anne Williams- vocals.

After touring and recording with Stéphane Grappelli throughout the 1980s, and then recording seven superior, straight-ahead albums in the 1990s for the Linn label, Martin Taylor has made a radical change of direction. For his Columbia Records debut, the guitarist teams with saxophonist Kirk Whalum, adds programmed accompaniments to the musical arrangements, and floats repetitious smooth jazz melodies around the recording studio. While his choice of style removes a fair amount of the session's creative energy, the album is performed well. Taylor's expressive guitar stands back much of the time and allows the surrounding factors to overcome. A modest string section, an assortment of pre-packaged sound effects, looped rhythms, and Whalum's fluid tenor share the spotlight. "I Get Along Without You Very Well," "Green Lady" and "Hymne a L'Amour" feature Taylor's guitar with a modicum of passion. Other songs fuse funk with pop and smooth jazz. Taylor's "Across the Pond" adds traditional Celtic music to the mix. The suite combines different landscapes of the guitarist's British homeland into one original collection. The session's high point comes on Whalum's "Beboptimism," which features guitarist and tenor saxophonist trading inspired fours. While the album travels through predictable territory and welcomes programmed repetition, it's performed well and in good taste. Martin Taylor's new look, while not his best perspective, gives the world a contemporary nightlife sound bite for the ages. ~Jim Santella

Nitelife

---

Russell Gunn - Love Stories

Styles: Trumpet Jazz

Year: 2008

File: MP3@320K/s

Time: 56:20

Size: 129,4 MB

Art: Front

(5:08)  1. Love Requiem

(6:04)  2. All You Need Is Love

(5:52)  3. Because I Love You (The Stalker Song)

(6:31)  4. I'm in Love With a Stripper

(6:10)  5. Bitch, You Don't Love Me

(5:01)  6. Love Me in a Special Way

(5:09)  7. Love for Sale

(8:27)  8. Ghandi's Love

(6:25)  9. He Loves Me

(1:29) 10. The Stalker Song - Alternate Ending

Love is strange, all right, and Love Stories is stranger still. Hardly a bouquet of ballads, the album is inspired by “love in all its dysfunction,” as trumpeter Russell Gunn explains in David R. Adler’s revealing liner notes. But don’t leap to logical conclusions. Gunn also points out that “Because I Love You (The Stalker Song)” and “Bitch, You Don’t Love Me” aren’t the residue of some soured love affair. The former has more to do with Hitchcock-ian atmospherics than heartbreak, apparently, and the latter, notes Gunn, is “basically a song about being used. For me, more than anything it means the music business.” The album’s overarching theme and hip-hop-inspired production allows Gunn a lot of creative latitude. For openers, the trumpeter reinvents “Love Requiem,” a previously recorded original composition, before unveiling arrangements of pop tunes that reflect his broad musical tastes without sounding contrived or congested. A prime example of how deftly he juggles vintage and contemporary sounds is the go-go-triggered “Love for Sale,” featuring vocalist Heidi Martin. Primarily acting as conceptualist on this collection, Gunn nevertheless plays some fine trumpet and flugelhorn: blue-toned on “All You Need Is Love,” appropriately noir-ish on the aforementioned “Stalker.” Meanwhile, saxophonist Kirk Whalum, keyboardist Orrin Evans, bassist Carlos Henderson, drummer Montez Coleman, percussionist Kahlil Kwame Bell and others contribute to the album’s colorful textures and tangents. Perhaps more than a few fence-sitters out there on the jazz/hip-hop front may find themselves quickly falling for this imaginatively arranged and programmed session.~ Mike Joyce http://jazztimes.com/articles/21173-love-stories-russell-gunn

Personnel: Russell Gunn (trumpet, flugelhorn, keyboards, drum programming); Heidi Martin (vocals); Mike Scott (guitar); Brian Hogans (alto saxophone); Kirk Whalum (tenor saxophone); Orrin Evans (piano, keyboards); Carlos Henderson (acoustic bass, electric bass, bass guitar); Montez Coleman (drums); Kahlil Kwame Bell (percussion).

Love Stories

---

Lindsey Webster - Back To Your Heart

Styles: Vocal 

Year: 2016
File: MP3@192K/s
Time: 60:10
Size: 83,1 MB
Art: Front

(5:06)  1. Back to Your Heart
(5:35)  2. Where Do You Want to Go
(6:32)  3. I Know You Well
(4:51)  4. Those Three Words
(5:11)  5. One at a Time (feat. Kirk Whalum)
(5:14)  6. On Our Way
(5:24)  7. Somehow
(4:21)  8. Living a Lie
(4:39)  9. Aint It Funny
(6:14) 10. Next to Me
(6:58) 11. Fast and Slow

Originally a cellist singer/songwriter Lindsey Webster found her musical way to the vocal interpretation in the Soul, Pop and R&B genre. With her self titled debut album (2013) she won “Best Acoustic Song” in the Independent Music Awards. Her second album You Change (2015) aroused the attention of the listeners and increased the degree of awareness. With the third album Back To Your Heart (2016) she is designated to achieve her international breakthrough as an artist of the contemporary jazz genre.

Musicians on this album are beside vocalist Lindsey Webster on selected tracks Keith Slattery (keyboards), Mike DeMicco and Tony DePaolo (guitar), Fred Doumbe (bass), Dan Hickey (drums), Foluso Mimy (percussion), Ken Gioffre and Kirk Whalum (sax) and the additional horn section on Ain’t It Funny with Jay Collins (baritone sax & horn arrangements), Ken Gioffre (tenor sax), Joe Fiedler (trombone) and Chris Pasin (trumpet).

Back To Your Heart is scheduled for release November 4, 2016 on Shanachie Entertainment. All songs are written by Lindsey Webster & Keith Slattery. Lindsey comments euphorically:  “Here it is our third album! I am excited to say that this is by far our best work. In terms of the songwriting, the production, and the overall sound, we are thrilled to deliver this labor of love to you. Special care was taken on each song to make it the best it could possibly be, and I think that my evolution as an artist, a songwriter, and a producer are reflected on this album?Already on her previous albums Lindsey flirted with timbre and style of the most famous singer Sade. On the lead single Back to Your Heart she has perfected this skill to breathtaking similarity. Nevertheless she doesn't bend her own personality, which flashes superbly in many passages. Her strength of expression gives Where Do You Want to Go a delicate decor of vividness and individuality. I Know You Well is less an intimate description of a relationship, as a platform of manifest vocal artistry. Those Three Words chooses the reciprocal approach. Lindsey's voice becomes a gentle breeze of affection with a touch of romance. One At A Time follows this stylistic line with Kirk Whalum on sax in duo partnership. The song was inspired by the Black Lives Matter movement and is Lindsey's answer and practical implementation.

On Our Way has the dynamic and tension curve of Grover Washington's Just The Two Of Us. Holding the tone in such a flamboyant way will initiate applause on every live event. With her resonant voice Lindsey leads Somehow to ups and downs in a positive sense. On Living a Lie she showcases passion, audacity and expressiveness pulling all stops of her full-bodied vocal gift. Tremolo, falsetto, smoothness and strength, the full range of a high professional interpret. Ain't It Funny delivers an utterly explosive vocal firework with virtuoso performance of all horns. The style on Next to Me is easily identifiable. Influenced by Sade Lindsey transforms her voice to new qualitative highs. Keith Slattery's instrumental harmony of keyboards and Rhodes piano adds a fine acoustic stimulation. Final delight for ear and soul is Fast and Slow.  Lindsey challenges herself and masters these tasks marvelously. Lindsey Webster combines on her new album Back To Your Heart empathy and sensibility with attentive mastery and a prodigious musical talent. Her already achieved level of artistry goes far beyond her notoriety. It's up to the audience to provide a welcome balance. http://www.smooth-jazz.de/firstview/Webster/BackToYourHeart.htm

Back To Your Heart

---

Jeff Lorber - He Had A hat

Styles: Piano Jazz

Year: 2007

File: MP3@320K/s

Time: 52:22

Size: 120,3 MB

Art: Front

(3:48)  1. Anthem For A New America

(4:34)  2. He Had A Hat

(4:06)  3. Grandma's Hands

(4:10)  4. Surreptitious

(4:25)  5. All Most Blues

(3:54)  6. Orchid (Chris Botti)

(2:28)  7. BC Bop

(5:35)  8. The Other Side of the Heart (Paula Cole)

(3:58)  9. Hudson

(3:52) 10. Super Fusion Unit

(3:50) 11. Eye Tunes

(3:43) 12. Requiem for Gandalf

(3:52) 13. Burn Brightly

A sophisticated showcase for his varied jazz styles, Jeff Lorber's He Had a Hat finds the pianist moving from softly funky pop-jazz numbers to a few straight-ahead swingers. Always an urbane and tasteful musician, Lorber has often found a good balance between contemporary pop oriented material and more cerebral improvisational cuts, and He Had a Hat is a prime example of this duality. To these ends, tracks like the title cut and the frenetic "Surreptitious" evince a kind of Tower of Power meets Brecker Brothers funk. Fittingly, trumpeter Randy Brecker adds his supple chops to the latter track. Similarly engaging big-band numbers like "All Most Blues" and the afterglow ballad "Orchid" bring to mind both early- and late-period Miles Davis, respectively. Also joining Lorber here are a bevy of name artists including trumpeter Chris Botti, vocalist Paula Cole, saxophonist Gerald Albright, and many others.This CD was nominated for a Grammy award in 2007 for Best Contemporary Jazz Album. ~ Matt Collar http://www.allmusic.com/album/he-had-a-hat-mw0000478929

Personnel:  Jeff Lorber – Piano & Keyboards (All Tracks);  Eric Benet – Vocals (Track 3 & 8);  Paula Cole – Vocals (Track 8);  Hubert Laws – Flute (Tracks 9 & 11);  Bob Sheppard – Tenor saxophone (Tracks 6 & 9);  Gerald Albright – Alto saxophone (Track 3);  Kirk Whalum – Tenor saxophone (Track 2);Ada Rovatti – Tenor saxophone (Track 4);  Chris Botti – Trumpet (Tracks 6 & Bonus Track);  Randy Brecker – Trumpet & Horn Arrangement (Track 4);  Jacques Voyemant – Trombone (Track 2);  Tom Scott – Horns & Horn Arrangement (Tracks 2 & 5);  Paul Jackson Jr. – Guitar (Tracks 2, 3, 4, 8 & 10);Paul Brown – Guitar (Track 3);  Russell Malone – Guitar (Track 13);  Brian Bromberg – Bass (Tracks 1, 5, 6, 7, 11, 12 & Bonus Track);  Alex Al – Bass (Tracks 2, 3, 4, 8, 9, 10 & 13);  Lenny Castro – Percussion (Tracks 2, 3, 9, 10, 12, 13 & Bonus Track);  Abe Laboriel Jr. – Drums (Tracks 1, 2, 3, 8 & 9); Dave Weckl – Drums (Tracks 4 & 13);  Vinnie Colaiuta – Drums (Tracks 5, 6, 7, 11, 12 & Bonus Track);  Blood, Sweat & Tears – Horns (Tracks 4, 7, 9, 11 & 13);  The Lair Studio Brass Ensemble (Tracks 5, 10 & 12);  The Krim Symphonic Orchestra – Orchestrated by Jeremy Lubbock (Tracks 1 & 8);
Bobby Colomby – Producer (All Tracks).

He Had A hat

---

Kirk Whalum - The Babyface Songbook

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 57:19
Size: 131,6 MB
Art: Front

(4:42)  1. Exhale (Shoop Shoop)
(4:22)  2. I'll Make Love To You
(4:36)  3. Ca We Talk
(4:47)  4. When Can I See You
(4:44)  5. For The Cool In You
(4:27)  6. Breathe Again
(5:00)  7. Betcha Never
(5:17)  8. Someon To Love
(4:50)  9. Not Goin' Cry
(5:25) 10. Whip Appeal
(4:07) 11. I Said I Love You
(4:57) 12. Wey U

The title of saxophonist Kirk Whalum's 2005 album Kirk Whalum Performs the Babyface Songbook speaks for itself. You get smooth jazz icon Whalum taking on R&B icon Babyface's best songs of the past 15 years, including "Waiting to Exhale (Shoop Shoop)," "I'll Make Love to You," "When Can I See You," and others. Joining in the intimate and stylish proceedings are other smooth jazz notables, including trumpeter Rick Braun, who adds a boppish elan to "Can We Talk," soprano superstar Dave Koz, and guitarists Norman Brown and Chuck Loeb among others. Fans of Whalum and Babyface alike should find much to enjoy here.~Matt Collar http://www.allmusic.com/album/kirk-whalum-performs-the-babyface-songbook-mw0000174120

Personnel: Kirk Whalum (soprano saxophone, tenor saxophone); Kirk Whalum; John Stoddart (vocals, piano, Fender Rhodes piano); Norman Brown (guitar); Mark Portmann (strings, keyboards, programming); Takana Miyamoto (piano, Fender Rhodes piano); Ricky Peterson (Fender Rhodes piano, Hammond b-3 organ, keyboards); Andy Snitzer (keyboards, programming); Christian McBride (bass guitar); Bashiri Johnson (percussion); Kenneth "Babyface" Edmonds, Juan Winans, Melinda Doolittle, Babyface (background vocals); Chuck Loeb (acoustic guitar); Dave Koz (soprano saxophone); Rick Braun (trumpet, flugelhorn).

The Babyface Songbook

---

Kirk Whalum - Roundtrip

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 56:38
Size: 133,4 MB
Art: Front

(4:42)  1. Courtney
(4:34)  2. Desperately
(4:55)  3. Ruby Ruby Ruby
(6:51)  4. Glow
(4:51)  5. The Wave
(4:27)  6. Big Ol' Shoes
(4:42)  7. Inside
(4:47)  8. In A Whisper
(3:48)  9. Roundtrip
(6:13) 10. Back In The Day
(6:42) 11. Afterthought

Contemporary jazz saxophonist Kirk Whalum decided to take a little trip back in time on Roundtrip, back to the Memphis club scene that nurtured him early on, and to record some of his earliest compositions and ones written expressly for him with fresh ears as well as some new ones. Recording in four different places from Memphis to Los Angeles to New York to England, Whalum asked some old pals to pop in, like Earl Klugh, Jeff Golub, Gerald Albright, and Philippe Saisse, as well as some of his stalwart rocksteady bandmates such as Rex Rideout, drummer Michael White, bassist Melvin Davis, guitarist Mark Jaimes, and trumpeter James McMillan. There are a few other surprises as well, such as the appearance of Kim Fields on "In a Whisper," Shanice on "Inside," and sons Kyle, Hugh, and Kevin making appearances as well. Issued on his own Rendezvous Music imprint, this is Whalum at his most relaxed and celebratory. That said, Roundtrip has no less polish than anything recorded over his nearly 30-year career, and the label was his idea. It's a deeply personal offering that is celebratory in nature rather than merely reflective. The pairing with Klugh on "Ruby Ruby Ruby" is on the money. The keen melodic sensibilities both men possess complement one another perfectly, and the mix is skeletal enough to let Klugh's gorgeous guitar playing stand out. Whalum's tenor playing and the light, Latin-kissed composition are sparse and in the pocket. The reading of Nat Adderley, Jr.'s "The Wave" (the original is from 1988's And You Know That LP on Columbia) doesn't work quite so well in that Saisse does all the keyboards and programming and Whalum just blows over the top. The problem is that the synthetic handclaps add nothing; in fact, they detract from what otherwise might have been a nice funkier version of the tune. "Big 'Ol Shoes," which immediately follows, however, gets right down to it. Co-written by Whalum and Rideout, it's funky in all the right places, with one of those transcendent choruses that Whalum slips into his own tunes so often. The Grover Washington, Jr./Creed Taylor/Kudu feel is all over this one, with some killer keyboard work from Rideout and tasty guitars by Darrell Crooks.

The vocal performance by Shanice on "Inside" is a beautiful urban soul and nearly gospel performance, and Whalum lets his vocalist get to it without getting in her way. Producer James McMillan (who co-wrote the cut) keeps his star back in the mix until it's time for him to blow a solo. Kim Fields speaks her track, and it works seamlessly. Rideout, who co-wrote the cut, produces it and takes the same approach with Whalum, though the saxophonist plays more fills, allowing his in-the-pocket sense of lyric improvisation to underscore the vocalist's lines. "Back in the Day" is a slick but fruitful hip-hop track with rapper Caleb tha Bridge and Albright on alto. This is positive hip-hop, with plenty of soul casting a reflective and nostalgic look at the past. Whalum and John Stoddart act as a backing chorus. It's innocent but not cloying, the groove is solid, and the saxophonists playfully entwine around one another and do call and response, ending up playing harmony in the solo break. The chorus has "single" written all over it if only the square urban and smooth jazz radio programmers would get out of their rut and test it on an actual audience. The set ends with another early Whalum composition in "Afterthought" from his debut album, Floppy Disk, in 1985. The lithe groove shimmers and swirls as White's backbeat kicks the tune just enough in contrast to the deep bassline of Alex Al and the vibes-like percussion of Kevin Ricard; Rideout's keyboards paint Whalum's backdrop brightly and he blows the tune out of memory, from that charmed place of having the gratitude and sheer lyric talent needed to look back. It's not hollow nostalgia here, but rather the quintessential taste to revisit this tune with so much soul over two decades later and play it like he means it only there's wisdom here, too: the tune means something a little different now, and his blowing near the cut's end is full of deep swelling emotion and smoking chops he didn't have in 1985. Anybody could play his old tunes, or replay them, or re-record a greatest-hits album, but Whalum didn't do that; he made something new and beautiful out of his past that points to an even brighter, more aesthetically satisfying future now that he -- instead of another record company controls it. Highly recommended.~Thom Jurek http://www.allmusic.com/album/roundtrip-mw0000584656

Personnel: Kirk Whalum (soprano saxophone, tenor saxophone, background vocals); Caleb tha Bridge (vocals, rap vocals); Kevin Whalum, Shanice Wilson (vocals); Kim "Blondielocks" Fields (spoken vocals); Mark Jaimes (guitar, guitars, bass guitar); Earl Klugh, Jeff Golub (guitar); Gerald Albright (alto saxophone); Peter Murray (piano, Fender Rhodes piano); Chris Carter (organ); Julian Crampton, Melvin Davis , Alex Al (bass guitar); Michael White , Elijah "DD" Holt (drums); Ekpe Abioto (percussion); Garry Goin, Darrell Crooks (guitar); James McMillan (trumpet, flugelhorn, piano, Fender Rhodes piano, programming); Philippe Saisse, Rex Rideout (keyboards, programming); John Stoddart (keyboards, background vocals); Simon Phillips (drums); Martin Ditcham, Kevin Ricard (percussion); Priscilla Jones-Campbell (background vocals).

Roundtrip

---

Kirk Whalum - Everything Is Everything: The Music Of Donny Hathaway

Bitrate: MP3@320K/s
Time: 59:04
Size: 135.2 MB
Styles: Crossover jazz
Year: 2010
Art: Front

[5:11] 1. Giving Up
[6:00] 2. Someday We'll All Be Free
[5:07] 3. We're Still Friends
[3:52] 4. Love, Love, Love
[6:11] 5. A Song For You
[3:56] 6. Valdez In The Country
[4:39] 7. Je Vous Aime (I Love You)
[5:08] 8. You Had To Know
[7:28] 9. Tryin' Times
[5:51] 10. We Need You Right Now
[5:35] 11. Voices Inside

Everything Is Everything: The Music of Donny Hathaway is Kirk Whalum's second album in 2010. In March, he released The Gospel According to Jazz: Chapter III, his first recording in two years, with a star-studded lineup. Everything Is Everything, produced by veteran Matt Pierson, features 11 tunes closely associated with the late singer, songwriter, and pianist. Hathaway recorded ten of these himself; the other he wrote for Blood Stone. Whalum is joined by a stellar cast which includes John Stoddart on Fender Rhodes, Shedrick Mitchell on organ, guitarists Jef Lee Johnson and Larry Campbell, bassist Christian McBride, percussionist Bashiri Johnson, and drummer John Roberts. (Guest appearances by Rick Braun, Jeff Golub, and Robert Randolph round it out.) This is primarily an instrumental set, recorded in a polished but old-school, funky '70s soul-jazz style -- nearly CTI-like in its production approach, with some fine vocal performances sweetening the deal. Musiq Soulchild lends his mellifluous tenor to the slow-burning "We're Still Friends," and Hathaway's daughter Lalah graces the silky babymaker "You Had to Know." Whalum evokes his best Grover Washington, Jr. on the kick-off track "Giving Up," and the lyric influence of fellow Memphian David Fathead Newman is heard on "Someday We'll All Be Free," featuring a lovely, tastefully articulated string arrangement by Gil Goldstein. The recording of Leon Russell's "Song for You" is a real highlight here, as Whalum references Hathaway's vocal phrasing on his tenor. Goldstein's strings are up in the mix but aren't intrusive. "Valdez in the Country" digs deeper into Hathaway's original to bring the Latin polyrhythms to the fore, and Golub's guitar solo is a monster, adding grit to the interplay between the rhythm section and percussionists. "Je Vous Aime (I Love You)," one of two cuts here written by Hathaway with Leroy Hutson, features a female gospel chorus. Randolph's pedal steel on "Tryin' Times" adds some nasty to this funky number. "Voices Inside (Everything Is Everything)" closes it with Stoddart taking an incidental lead vocal backed by a chorus as Braun and Randolph round out the core band. Andy Snitzer's programming (this is the only cut it appears on) is minimal, making it suitable for the dancefloor and remixing. McBride's electric bass is the driving force, and the chorus is chilling in its emotional reach. Whether intended or not, Whalum's range of musical creativity on Everything Is Everything: The Music of Donny Hathaway, while keeping it grounded in the singer's oeuvre, makes this the album by which the saxophonist will be judged from here on out. Thom Jurek

Everything Is Everything: The Music Of Donny Hathaway

---