Showing posts with label Till Bronner. Show all posts
Showing posts with label Till Bronner. Show all posts

Sunday, July 17, 2022

Chuck Loeb - Between Two Worlds

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 65:01
Size: 149,9 MB
Art: Front

(6:48)  1. Let's Go
(5:46)  2. Hiram
(6:43)  3. Mittens
(5:37)  4. Between Two Worlds
(4:22)  5. Oh No You Didn't
(5:19)  6. Let's Play
(4:21)  7. So Tinha De Ser Com Voce
(6:56)  8. The Great Hall
(7:10)  9. Mean Old Man
(5:40) 10. 360
(6:14) 11. Early Turns to Late

As its title suggests, Between 2 Worlds finds guitarist Chuck Loeb's sublimated split personality at last openly revealed. A household name in smooth jazz circles, the former Steps Ahead luminary this time throws the dice with a program heavier on the straight-ahead jazz component that composes the core of his musical upbringing. Does this project mark the dawn of a new beginning, a passage to this other world? Only time will tell. Customarily dressing the table with a set of his glossy, high-sheen wares, the second half of the program finds the agile guitarist delving into some more substantiated, post-bop-type purlieus, not without the same unbridled enthusiasm and passion that characterizes his pop-jazz work. That said, like those that preceded him in such indissoluble mixing of genres (and aesthetics) Lee Ritenour being a rather convenient comparison the final product unfortunately falls flat in the face of artistically more focused covenants. Too much of this, not enough of that, the apanage of the MOR modicum. From the funky, bluesy stroll of the Robben Ford-tinged "Oh No You Didn't" (featuring daughter Lizzy's soulful vocals) things take a radical turn as Dave Weckl's rollicking kit work introduces the supercharged, intervallic theme of "Let's Play."

A brisk minor blues with booming chordal interjections, the piece emphatically celebrates the precise, George Benson/Pat Martino/Mike Stern school of picking. Halting a brief moment for wife-vocalist Carmen Cuesta's grazing Tom Jobim's tranquil "So Tinha De Que Ser Com Voce," Loeb then launches into the open-strings voicings that open "The Great Hall," a luminous waltz recalling John Abercrombie's mid-70's to mid-80's work that most probably got its title after his former teacher, the great Jim Hall. Though the latter composition is rich enough to endure repeated listening, other tracks may, to some, defy the threshold of tolerance namely, "Hiram," a dedication to the late Hiram Bullock, the title track, and the closing sleeper, "Early Turns To Late." A deft technician with years studio experience behind him, Loeb demonstrates with Between 2 Worlds that his straight-ahead fretwork certainly needs to be reckon with, championed even. But, whether learned jazz listeners will buy into such disparate programming remains improbable. ~ Martin Gladu https://www.allaboutjazz.com/between-2-worlds-chuck-loeb-heads-up-international-review-by-martin-gladu.php

Personnel: Chuck Loeb: guitar; Carmen Cuesta: vocals (2, 4, 7); Lizzy Loeb: vocals (5); Eric Marienthal: saxophones, flute; Till Bronner: trumpet (3); Nathan Eklund: trumpet (1), trombone (1); Brian Culbertson: trombone solo (1); Pat Bergeson: harmonica (11); Will Lee: bass (1, 3, 5), fretless bass melody (2); Gerald Veasley: bass (2, 6); Dieter Ilg: bass (8-11); Dave Weckl: drums (1-3, 5-7); Wolfgang Haffner: drums (4, 8-11); Bashiri Johnson: percussion (1-3); David Charles: percussion (5, 7, 10, 11).

Between Two Worlds

Monday, April 26, 2021

Melody Gardot - Sunset In The Blue (Deluxe Version)

Styles: Vocal
File: MP3@320K/s
Time: 78:39
Size: 182,2 MB
Art: Front

(4:34) 1. If You Love Me
(4:52) 2. C’est Magnifique
(5:48) 3. There Where He Lives In Me
(3:57) 4. Love Song
(6:04) 5. You Won't Forget Me
(4:33) 6. Sunset In The Blue
(4:05) 7. Um Beijo
(3:37) 8. Ninguém, Ninguém
(4:48) 9. From Paris With Love - Single Version
(4:26) 10. Ave Maria
(3:47) 11. Moon River
(3:04) 12. I Fall In Love Too Easily
(2:42) 13. Little Something
(4:21) 14. From Paris With Love - Acoustic
(5:25) 15. Love Song
(4:06) 16. Trav'lin' Light
(3:27) 17. What Is This Thing Called Love
(4:54) 18. C'est Magnifique - Live In Namouche Studios

Melody Gardot emerged from her own smoky shadows of the mid-2000s as if she were some femme fatale emanating from a film noir movie. The plot twist was that she was the good girl, but it was her body that had been damaged in an auto accident. An extensive recovery followed. Her long, lean cane only reinforced her long, lean looks. The shades added just a touch of mystery. If there was anything positive, it was that she confronted the challenges and drew on them as a source of inspiration for some of her songs. Gardot's debut disc contained ten compact, yet gripping, originals and the sophomore release was a compelling and seamless second chapter. Taking elements of Julie London's sultry purr and Sade's sophisticated snap, Gardot nonetheless charted her own original course. Even more great music followed over the next decade.

On Sunset in the Blue, Gardot is pensive but patient and often soothing. Gliding up to the microphone, she is cautious and intimate as she beckons the lush strings to support the album's opener, "If You Love Me." Her vulnerable voice continues to lightly float on many of the songs including the second selection, "C'est Magnifique" (featuring guest Portuguese Fado singer Antonio Zambujo). Later, the lyrics of "You Won't Forget Me" proclaim that her former beau "won't forget me / on nights like this / The moon will cast / Upon you the shadow of my kiss" but her emotions reveal the truth she will never be able to forget him. Moments later, she delivers "From Paris With Love," a romantic postcard from France. Gardot's cool lyrics reveal "Lovers tucked into a quiet café / Sat beneath a shade of red / They fall in love like fallin' out of bed." Undoubtedly, Bogart and Bergman are sitting just a table or two away.

As the album draws to a close, Gardot presents a pair of American Standards, "Moon River" and "I Fall in Love Too Easily," before treating us to a final bonus song featuring guest artist Sting. Gentle, supportive guitars weave in and out of the album while understated trumpets and saxophones appear sparingly. When they do appear, they are welcome additions that make rich contributions.

One of Gardot's strengths on Sunset in the Blue is that more than half of the songs are originals, almost as if she were crafting a modernized set of American Standards. "From Paris With Love" could certainly be added to that prestigious list. If there is a weakness, it is the lack of musical variety as you find yourself hoping for surprise twists. Ironically, she gives us almost too much of a good thing. Regardless, find your own corner table, order a vintage French Bordeaux and listen as Sunset in the Blue gently unfolds.~ Scott Gudell https://www.allaboutjazz.com/sunset-in-the-blue-melody-gardot-verve-records

Personnel: Melody Gardot: voice / vocals; Antonio Zambujo: voice / vocals; Till Bronner: trumpet; Donny McCaslin: saxophone,tenor; Anthony Wilson: guitar; Dadi Carvalho: guitar; Nando Duarte: guitar, acoustic; Larry Klein: guitar, acoustic; Philippe Baden Powell: piano; Sam Minaie: bass; John Leftwich: bass, acoustic; Chuck Berghofer: bass, acoustic; Chuck Staab: drums; Vinnie Colaiuta: drums; Paulinho Da Costa: percussion.

Sunset In The Blue (Deluxe Version)

Thursday, December 5, 2019

Pee Wee Ellis - A New Shift

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 62:09
Size: 143,5 MB
Art: Front

(4:41)  1. It's a Funky Thing to Do
(6:44)  2. Chicken Soup
(6:10)  3. What a Wonderful World
(5:33)  4. I'm So Tired of Being Alone
(5:09)  5. A New Shift
(4:21)  6. Back Home
(6:20)  7. How Can You Mend a Broken Heart?
(5:06)  8. Inarticulate Speech of the Heart
(3:47)  9. Spring Like
(6:14) 10. New Moon
(8:00) 11. Come on in the House

Saxophonist Pee Wee Ellis was the architect of James Brown's era-defining soul classics of the late '60s, introducing the dynamic arrangements and punishing rhythms that would define the emerging language of funk. Born Alfred Ellis in Bradenton, FL, on April 21, 1941, he was raised in Lubbock, TX, and was playing professionally by the time he reached middle school. In 1955, his family relocated to Rochester, NY, where he collaborated with classmates (and fledgling jazzmen) Chuck Mangione and Ron Carter. Ellis spent the summer of 1957 under the tutelage of sax giant Sonny Rollins, and after graduating high school he returned to Florida to form his own R&B combo, Dynamics Incorporated. The experience honed his skills as a writer, arranger, and multi-instrumentalist, and after a brief stint with the Sonny Payne Trio he joined the James Brown Revue in 1965. Assigned alto sax and organ duties, Ellis quickly proved himself an invaluable contributor to arrangements and horn charts as well, and when Nat Jones quit the lineup in early 1967, Brown named Ellis his new musical director, resulting in significant refinements to the Godfather of Soul's sound. Ellis channeled the lessons of his jazz background to strip Brown's music to its bare essentials, showcasing bold, precise horns and repetitive rhythms with a minimum of melodic embellishment hits like "Cold Sweat," "Licking Stick-Licking Stick," and "Funky Drummer" redefined the sound and scope of soul, pointing the way for its transformation to funk. Ellis went on to co-write and arrange a series of James Brown smashes, including "Say It Loud, I'm Black and I'm Proud" and "Mother Popcorn," as well as issuing a handful of solo singles on Brown's label King, among them "Little Green Apples" and "In the Middle." He resigned from Brown's band in the autumn of 1969, and after settling in New York City he signed to the Nashville-based Sound Stage 7 label and issued the rare groove classic "Moonwalk." Ellis also emerged as a sought-after session player, contributing to dates headlined by everyone from soul-jazz great Brother Jack McDuff to a latter-day blues-rock incarnation of the Blues Magoos. He then served as musical director and arranger for the CTI label's influential fusion imprint Kudu, overseeing sessions for Esther Phillips, George Benson, and Hank Crawford.

Ellis next teamed with the studio group Gotham to record the LP Pass the Butter for Motown's Natural Resources subsidiary before resuming his solo career with his first-ever full-length effort, the 1976 Savoy release Home in the Country. After relocating to San Francisco, Ellis formed a short-lived fusion quintet with soprano saxophonist Dave Liebman, also playing on and producing Liebman's 1977 A&M release Light'n Up Please! With 1979's Into the Music, he was named arranger for blue-eyed soul mystic Van Morrison, a collaboration that spanned until 1986 and included a series of well-regarded albums including Common One and Inarticulate Speech of the Heart.  Ellis spent much of the late '80s touring behind longtime Brown backing vocalist Bobby Byrd in tandem with fellow J.B.'s alums Fred Wesley and Maceo Parker as the JB Horns, debuting on disc with the 1990 release Pee Wee, Fred and Maceo. Subsequent efforts include I Like It Like That and Funky Good Time/Live. After the JB Horns went on hiatus in 1992, Ellis reunited with another Brown alum, drummer Clyde Stubblefield, for the album Blues Mission. He then returned to his jazz roots with 1993's acclaimed Twelve and More Blues, a live set cut in Köln, Germany, with bassist Dwayne Dolphin and drummer Bruce Cox. That summer, Ellis also headlined a week of sold-out dates at Ronnie Scott's in London, an experience that shaped both his movement into acid jazz with 1994's Sepia Tonality and subsequent relocation to western England. With the move overseas, Ellis also resumed his partnership with Van Morrison on the latter's 1995 effort, Days Like This, serving as musical director of Morrison's studio and stage crew for years to follow; Ellis also formed his own band, the Pee Wee Ellis Assembly, for 1996's A New Shift. The group remained active in concert and on record for years to follow, confining most of its activities to Europe and pursuing a direction Ellis dubbed "smunk" -- i.e., smooth funk. ~ Jason Ankeny https://www.allmusic.com/artist/pee-wee-ellis-mn0000305424/biography

Personnel: Tenor Saxophone, Soprano Saxophone, Vocals – Pee Wee Ellis; Drums – Guido May; Electric Bass – Patrick Scales; Guitar – Martin Scales; Keyboards – Roberto Di Gioia; Trombone – Fred Wesley; Trumpet – Till Brönner

A New Shift

Sunday, October 20, 2019

Wolfgang Haffner - Zooming

Styles: Jazz, Post Bop
Year: 2004
File: MP3@320K/s
Time: 55:41
Size: 128,4 MB
Art: Front

(6:20)  1. Zooming
(5:24)  2. The Day Before Yesterday
(5:54)  3. Trip
(3:57)  4. Somewhere Else
(4:54)  5. Facing West
(6:47)  6. Metropolis
(5:19)  7. Shape of Peace
(4:59)  8. Momo's Dance
(5:43)  9. Seventy Five
(6:19) 10. Corazon

"Besides his virtuosity as an instrumentalist, Wolfgang Haffner is an excellent songwriter, arranger and producer.His current release literally "takes the cake" .He successfully manages to create a convincing blend of innovative sounds, catchy melodies and brilliant group tightness, for the first time, bears purely European traits. Much like the proverbial chef de cuisine, he has taken the creme de la creme of European jazz musicians and formed a dish that has all the makings of a classic recipe: shimmering guitar riffs from Martin Koller, electronic effects by the ultra-manipulated sounds of saxofonist / bass clarinetist as a reminiscent of the best up-to-date Scandinavian productions, a taste of uncompromising rock here and there and naturally well-laced jazz solos at their finest. Till Brönner, Rebekka Bakken and Nils Landgren are among the colourful gang of characters." 

Personnel: Wolfgang Haffner (drums), Johannes Enders (tenor saxophone), Rebekka Bakken (vocals), Till Bronner (trumpet), Nils Landgren (trombone), Vladyslav Sendetzki (keyboards)

Zooming

Sunday, December 23, 2018

Kyle Eastwood - Metropolitain

Styles: Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 53:24
Size: 122,6 MB
Art: Front

(6:35)  1. Metropolitain
(4:53)  2. Bold Changes
(5:01)  3. Hot Box
(6:10)  4. Black Light
(4:33)  5. Bel Air
(7:22)  6. Samba de Paris
(3:24)  7. Song For You
(5:07)  8. Rue Perdue
(4:52)  9. Le Balai
(5:22) 10. Live for Life

Recorded in Paris, Kyle Eastwood's Metropolitain achieves an original jazz sound that combines the tradition of his father, Clint's record collection with a new generation of influences. He hasn't fallen prey to any gimmicks of style and is carving out his own musical voice with elements that combine to appeal to a broad audience. Anyone who has seen a movie recently will realize that modern jazz remains a big partner in bringing emotions to life. Eastwood and writing partner Michael Stevens have contributed to the scores for several of Clint Eastwood's recent films; among them: Changeling (2008), Flags of Our Fathers (2006), Letters From Iwo Jima (2006) and Gran Torino (2008). Don't get the idea that Kyle Eastwood is merely riding on his father's coattails. He paid his dues while living in the Los Angeles area for several years and then New York and Paris. Playing live gigs has given the young bassist and composer a wealth of experience upon which he rides comfortably on Metropolitain. The hottest tracks feature Eastwood on electric bass with plenty of energy kickin' around. He solos comfortably on both electric and acoustic models, showing enthusiasm for the creative spirit that derives from a lifetime of listening. "Live for Life," "Rue Perdue" and "Le Balai" stand out as the album's most creative tracks. With trumpet and piano trading fours on "Samba de Paris," Eastwood leads with majestic bass lines that tell a story of celebration and festivities. "Black Light" runs amok in 5/4 part of the time, representing an adventure that sends chills up and down the spine. "Hot Box" sends out a rhythmic message about jazz in today's entertainment world where instrumental music can tell a story completely, conveying an attitude faster than visual images. Metropolitain has one track with lyrics. "Live for Life" allows vocalist Camille to express a poignant message of wishes fulfilled; take interest in yourself and live life as you please. She also raps a chorus in the song's midsection, emphasizing the central thought forcefully. Eastwood's music allows impressions to exist clearly, with a full-body experience that lives on through his jazz ideas. ~ Jim Santella https://www.allaboutjazz.com/metropolitain-kyle-eastwood-candid-records-review-by-jim-santella.php

Personnel: Kyle Eastwood: double bass (2, 5, 6), electric bass (1-4, 7-10); Manu Katche: drums (1, 3, 6-10); Franck Agulhon: drums (2, 4, 5); Till Bronner: trumpet (1, 2, 4, 6-10); Graeme Blevins: tenor saxophone (2, 4, 8, 10); Eric Legnini: piano (1, 5-7), electric piano (1); Andrew McCormack: piano (2, 3), electric piano (2-4, 7-10), organ (4, 9); Camille: vocals (1, 10).

Metropolitain

Sunday, October 7, 2018

Till Bronner - Blue Eyed Soul

Styles: Trumpet Jazz
Year: 2002
File: MP3@320K/s
Time: 57:11
Size: 131,3 MB
Art: Front

(0:29)  1. Intro
(3:01)  2. Track One
(4:40)  3. Diavolo
(3:59)  4. Blue Eyed Soul
(5:06)  5. No Fusion Generation
(5:22)  6. 42Nd & 6Th
(5:06)  7. Tub Of Love
(5:03)  8. Just The Way You Are
(6:04)  9. Love Somebody
(0:36) 10. Trash (Interlude)
(3:28) 11. Jazz Musician
(4:54) 12. Oscar Said (Feat. David Friedmann)
(0:50) 13. Reverand Henry (Interlude)
(6:52) 14. Dim The Lights (Feat. Mark Murphy)
(1:32) 15. Banizm (Outro)

It may be jazzed again! After an avowed DJ culture has rehabilitated jazz as an important source of inspiration, one may again come out as a jazz listener, without being pushed into the corner of the intellectual head person. Jazz export hit Till Brönner also knows how to play a song. He transports his conception of jazz into a wide variety of genres. A collaboration with Hildegard Knef ("But Beautiful It Was Yet") must be as much as the Veriphoping kölschen Carnival (My Secret Love). With " Blue Eyed Soul " he enters once again unexpected terrain, or, "Till Brönner is always good for a surprise," as half Petgroove tried to make me the slice tasty. I must confess, the last releases of the native Vierseners did not convince me. Neither old UFA hits (German songs) nor shallow smooth jazz (Love) lured me out from behind my central heating system. And now that!  After a short introduction, I find myself in the midst of an ultracool grooving song that turns into a rap through Till's trumpet playing, without any verbiage. I like that when an album with the first title convinces me! "I would call it a good chill-out music, you do not have to buy stress!" Till says. I fully share his attitude and add a triple strong BUY. The mix of R'n'B , Hip Hop, Soul , Blues and Jazz works right away and definitely belongs to the best, which reached my insatiable ears from this unspectacular mix of styles in recent years. Not only Till would "hang it up herself if I had a party", everyone else who can do something with Tab Two , Erykah Badu and the Cafe del Mar samplers will love Blue Eyed Soul . "'Blue Eyed Soul' is originally the term black people in America use a little pejorative when making white soul music, by the way, by the way, George Michael is also considered a representative of 'Blue Eyed Soul', which in my view speaks for a certain respect. Till explains the title choice of the new album. At the same time he has to face the nagging questions of the jazz police, who once put a lot of hope in the apostates: "Is that still jazz or just enjoyable mood music? Is service pop or a daring cosmetic operation on the makeshift improvised music?" ironically asks the open minded jazzthing magazine on behalf of Wynton Marsalis, the police chief. What Till finds at least as casual words as he conjures just such sounds from his trumpet: "I'm just now on things that would drive a pure jazzman the anger in the face". Me too! ~ Kai Kopp ..Translate by google https://www.laut.de/Till-Broenner/Alben/Blue-Eyed-Soul-2233

Blue Eyed Soul

Sunday, June 10, 2018

Thomas Quasthoff - Nice 'N' Easy

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 58:57
Size: 135,7 MB
Art: Front

(3:36)  1. Nice 'N' Easy
(6:26)  2. Body and Soul
(5:42)  3. But Not for Me
(3:56)  4. Moonglow
(4:51)  5. Cry Me a River
(6:36)  6. Some Enchanted Evening
(6:08)  7. I Remember You
(3:30)  8. I've Got the World on a String
(3:47)  9. Stardust
(4:25) 10. Willow Weep for Me
(4:13) 11. Too Close for Comfort
(5:42) 12. Imagine

One of the most admired Lieder and concert singers of his generation, Bass-Baritone Thomas Quasthoff returns to the studio with his first solo album since 2010. Thomas Quasthoff is approaching standards such as Nice and Easy or Cry Me A River with new arrangements by Jörg Achim Keller. The results: exciting new versions of familiar jazz-classics. This release finds the singer partnering again with German trumpeter Till Brönner - featuring a solo and his Trio Partners Frank Chastenier, Dieter Ilg and Wolfgang Haffner as well as the unique NDR Bigband - The Hamburg Radio Jazz Orchestra. ~ Editorial Reviews https://www.amazon.com/Nice-N-Easy-Thomas-Quasthoff/dp/B079VQ4T7P   

Personnel: Vocals – Thomas Quasthoff;  Bass – Dieter Ilg;  Conductor [NDR Bigband] – Frank Engel, Jörg Achim Keller;  Drums – Jörg Achim Keller, Wolfgang Haffner;  Trumpet, Flugelhorn – Till Brönner;  Piano – Frank Chastenier

Nice 'N' Easy

Friday, May 18, 2018

Till Brönner - At The End Of The Day

Styles: Vocal And Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 49:27
Size: 113,6 MB
Art: Front

(3:39)  1. And I Love Her
(4:22)  2. After You've Gone
(3:35)  3. Human
(2:36)  4. I'm Through With Love
(3:26)  5. Summer Breeze
(3:16)  6. We Said It All
(3:07)  7. Your Life
(3:40)  8. I'm Only Human
(4:37)  9. Space Oddity
(5:03) 10. If I Saw You Tomorrow
(3:07) 11. I Wanna Be Around
(3:56) 12. Everybody's Got To Learn Sometime
(4:57) 13. Air

At the End of the Day is an album of light jazz covers of rock songs, which turned out to be a fun idea on the surface, but with little depth beneath. To Till Brönner's credit, he tried to push the envelope quite a bit at the track selection stage if the Beatles are an expected selection, and Bowie more or less so too, the Killers are a potentially exciting choice, and the addition of sexy goth metal kings Type O Negative who contribute "Summer Breeze"sounds like a one-way ticket to postmodern joy land. The thing is, however, all the picks really lend themselves well to pop-jazz renditions with all the required attributes sentimental crooning (competent, but appropriately tame), midtempo rhythms, background strings, and sweet, lulling melodies. Brönner throws in some trumpet, of course that's his thing but this only boosts the '80s ballad vibe of the record. At the End of the Day would be a welcome soundtrack for a trip to a nice restaurant a godsend if you're on a date but musically, it's not nearly as challenging as the track list would lead you to believe.

Chances are, those unaware of the album being a set of covers would never realize that, taking it simply for nice background music as cohesive as Muzak is supposed to be, and with little in the way of oddities, space or otherwise. It's still a great record in its own weight class soft, laconic, unobtrusive, and pleasant, possibly even beautiful. But it fails to escape the ultimate pitfall of cover albums the music is nice, but you still get the urge to listen to the originals if you recognize any. ~ Alexey Eremenko https://www.allmusic.com/album/at-the-end-of-the-day-mw0002078934    

Personnel:  Vocals, Flugelhorn – Till Brönner;  Bass – Timothy Lefebvre;   Drums – Martijn Vink;  Guitar – Frank Kuruc, Henrik Menzel;  Keyboards – Andreas Herbig, Arne Schumann;  Organ – Larry Goldings;  Piano – Roberto Di Gioia.

At The End Of The Day

Monday, March 19, 2018

Till Bronner - Love

Bitrate: MP3@320K/s
Time: 52:17
Size: 119.7 MB
Styles: Vocal jazz, Trumpet jazz
Year: 1999
Art: Front

[6:44] 1. Where Do You Start
[5:32] 2. What Stays
[6:41] 3. Our Game
[9:23] 4. Brazil
[3:30] 5. Ich Hab' Noch Einen Koffer In Berlin
[5:45] 6. We Fly Around The World
[5:17] 7. I Fall In Love Too Easily
[6:00] 8. Here's That Rainy Day
[3:21] 9. Time Will Tell

Bass – Tim Lefebvre; Drums – Wolfgang Haffner; Guitar – Chuck Loeb; Percussion – David Charles; Piano, Keyboards – Frank Chastenier; Trumpet, Flugelhorn, Vocals – Till Brönner; Vocals – Carmen Cuesta.

A young traditionalist from Germany, Till Brunner owes a big debt to Chet Baker. On his Verve debut, Love, the trumpeter plays it cool, muted, and lyrical, reducing songs to their melodic essence. He also sings on two ballads (including our featured track, "We Fly Around the World"), and, like Baker, he approaches them in a straightforward fashion that charmingly emphasizes the limitations of his voice. He even plays one of Baker's mainstays, "I Fall in Love too Easily." Bronner is joined by a mix of German and American sidemen: guitarist Chuck Loeb, pianist and keyboardist Frank Chastenier, bassist Tim Lefebvre, drummer Wolfgang Haffner, percussionist David Charles, and vocalist Carmen Cuesta. ~Jazziz Magazine

Love mc
Love zippy

Sunday, January 28, 2018

Till Brönner & Dieter Ilg - Nightfall

Styles: Trumpet Jazz
Year: 2018
File: MP3@320K/s
Time: 50:07
Size: 118,6 MB
Art: Front

(4:40)  1. A Thousand Kisses Deep
(4:51)  2. The Fifth of Beethoven
(3:19)  3. Nightfall
(5:46)  4. Nobody Else But Me
(6:10)  5. Air
(3:23)  6. Scream & Shout
(2:56)  7. Wetterstein
(3:23)  8. Eleanor Rigby
(3:35)  9. Peng! Peng!
(5:11) 10. Body & Soul
(6:49) 11. Ach, bleib mit Deiner Gnade

Some musical constellations are so obvious that the question arises why they hadn’t become reality long ago. And when they finally do see the light of day, they appear so familiar to us as if we’d known them for ages. One of these constellations is the duo formed by the trumpeter Till Brönner and the bass player Dieter Ilg. They are, in the full sense, soul-mates, no matter how threadbare the term might sound. They often seek to do the very same thing on their antithetical instruments, even if they express it in quite different ways. As a result, they fit each other to a tee. This osmosis is now plain to hear on their joint début album, Nightfall. The choice of pieces is sufficient proof that the musicians did not want to pin themselves down to a fixed classification or pigeonhole. If jazz was ever an expression of individual liberty, then this independence is manifest here, devoid of myths, in their approach to the material and their spontaneous treatment of it. Anything can be done if you only want to do it, and Brönner and Ilg certainly do. Songs by Leonard Cohen, the Beatles and Britney Spears, pieces by Jerome Kern, Johnny Green and Ornette Coleman, compositions by Johann Sebastian Bach and Melchior Vulpius, even a few creations of their own: the range of intentions and influences on display is almost unparalleled. In each song the two men find inventive new angles and perspectives. There aren’t any solos in the classical jazz sense. As in any good conversation that unfolds naturally, the lines of argument fall now on one side, now on the other. The flow of thoughts is completely free. It’s pressed here into a narrow riverbed only to expand a moment later into a broad delta. Nightfall is many things at once. It’s a début album and, at the same time, the fruit of a long and intensive collaboration between two great storytellers. It’s at once a consummation, a stocktaking and a promise for the future. It’s a resolute dismissal of entrenched prejudices and a passionate affirmation of the freedom and miracle of jazz. The organic blend of willful abandon and understatement celebrated on this album is anything but run-of-the-mill. Not least of all, the album is a refreshing counterfoil in the age of perfectionism. It projects the cathartic discovery that no matter how much one has achieved in life, it’s always worth starting from scratch, over and over again. And if proof is needed, here it is! 

Nightfall

Wednesday, December 20, 2017

Till Brönner - That Summer

Bitrate: MP3@320K/s
Time: 57:18
Size: 131.2 MB
Styles: Trumpet jazz, Vocals
Year: 2004
Art: Front

[ 3:24] 1. Your Way To Say Goodbye
[ 4:11] 2. Bein' Green
[ 4:43] 3. High Falls
[ 5:33] 4. When Your Lover Has Gone
[ 3:33] 5. Estrada Branca
[ 4:59] 6. Antonio's Song
[ 5:09] 7. Ready Or Not
[ 5:13] 8. After Hours
[ 3:52] 9. So Right, So Wrong
[ 3:53] 10. Wishing Well
[12:44] 11. Medley: Rising Star/Dr. Bill

German trumpeter Till Brönner's 2004 album That Summer features the pop-jazz artists smooth, laid-back horn style. Included are such originals as "Your Way to Say Goodbye," and "Ready or Not" as well as Brönner's take on the standards "Bein' Green" and "When Your Lover Has Gone." ~Matt Collar

That Summer   

Tuesday, December 19, 2017

Ivan Lins - Intimate

Bitrate: MP3@320K/s
Time: 55:38
Size: 127.4 MB
Styles: Brazilian traditions, Latin jazz
Year: 2015
Art: Front

[4:31] 1. Tanto Amor (Feat. Till Brönner)
[4:16] 2. Arrependimento (Feat. Antonio Serrano)
[3:05] 3. Sou Eu
[4:17] 4. No Tomorow Acaso (Feat. Trijntje Oosterhuis)
[2:52] 5. Nosso Acalanto That's Love (Feat. Take 6)
[3:43] 6. Dandara (Feat. Abaqondisi Brothers)
[4:20] 7. Llegaste (Feat. Alejandro Sanz & Leonardo Amuedo)
[3:57] 8. Rio Sun E A Gente Assim Täo Só (Feat. Till Brönner)
[3:40] 9. Diadema (Feat. Jorge Drexler & Frits Landesbergen)
[5:32] 10. Le Dernier Mot Bilhete (Feat. Laura Fygi & Antonio Serrano)
[3:47] 11. Tchau, Tristeza (Feat. Leonardo Amuedo)
[4:45] 12. Meu Espelho Crystal Clear (Feat. Jane Monheit)
[4:33] 13. A Cor Do Pôr-Do-Sol
[2:14] 14. Mãos De Fada (Para Valéria)

Renowned as a carioca songwriter, vocalist, and pianist, Ivan Lins recorded several albums for EMI Brasil and Reprise, as well as writing Brazilian standards. Born in 1945, Lins came to fame in Brazil in 1970 when Elis Regina recorded his song "Magdalena" for a hit. His worldwide debut, A Noite, appeared in 1979. Lins' most famous composition, "Love Dance" ("Lembrança"), has been recorded by dozens of jazz artists, including Kenny Burrell, Sarah Vaughan, Betty Carter, Nancy Wilson, Mark Murphy, George Benson, Diane Schuur, and James Blood Ulmer. Other noted songs by Lins ("The Island," "Comecar de Novo," "Dona Palmeira," "Nocturna") have been recorded by artists including Airto Moreira, Herbie Mann, and Terence Blanchard. ~ John Bush

Intimate mc
Intimate zippy

Saturday, September 2, 2017

Magnus Lindgren - Stockholm Underground

Bitrate: MP3@320K/s
Time: 52:03
Size: 119.2 MB
Styles: Flute jazz
Year: 2017
Art: Front

[5:59] 1. Fluting
[3:38] 2. Penny Blue
[3:53] 3. Chain Of Fools
[5:31] 4. Winter Wisdom
[5:03] 5. A Whiter Shade Of Pale
[3:08] 6. Good Stuff
[4:08] 7. Message From Kaknas
[3:08] 8. Theme For Laura
[4:41] 9. Brutal Truth
[3:54] 10. Mr. Mann
[4:27] 11. Superboogie
[4:26] 12. Stockholm Underground

Magnus Lindgren / flute; Daniel Karlsson / fender rhodes; Henrik Janson / guitar; Lars DK Danielsson / electric bass; Per Lindvall / drums; Eric Bibb / guitar & vocals; Till Brönner / trumpet; Nils Landgren / trombone; Ida Sand / vocals. Recorded by Pelle Gunnerferfeldt at Ingrid Studios, Stockholm, March 8 – 10, 2017.

A re-connection with a musical icon or tradition – it is often the way something new, maybe even game-changing emerges. That was the idea in curator/ producer’s Siggi Loch’s mind when he suggested to Magnus Lindgren that he might look at re-tracing the footsteps of Herbie Mann. “Stockholm Underground” is a homage to the one of the greats of the jazz flute, and to his legendary 1969 album “Memphis Underground”, listed by Rolling Stone in 2013 in the “100 Best Jazz Albums” of all time.The key figure in this project is evidently Magnus Lindgren, a stalwart of the Stockholm jazz scene, and known in the role he has had for many years, as a member of the Nils Landgren Funk Unit. Lindgren is not just a hugely gifted saxophonist, he is also probably the best jazz flautist in Europe. And he is offering this aspect of his artistry for the first time.

Stockholm Underground

Monday, April 10, 2017

Nicola Conte - The Modern Sounds Of Nicola Conte

Bitrate: MP3@320K/s
Time: 43:49
Size: 100.3 MB
Styles: Jazz/Pop/Rock, Electronic
Year: 2009
Art: Front

[4:39] 1. When I Wish Upon A Star
[3:28] 2. All Or Nothing At All
[5:15] 3. Charade
[6:15] 4. Flamenco Sketches
[3:30] 5. Groovy Samba
[4:17] 6. Lotus Sun
[4:02] 7. New Blues
[2:25] 8. Solo
[5:25] 9. Take Five
[4:29] 10. The Shaman

Performer [With] – Akiko, Alice Riccardi, Daniele Scannapieco, Fabrizio Bosso, Flavio Boltro, Gaetano Partipilo, Gianluca Petrella, José James, Kim Sanders, Lisa Bassenge, Lorenzo Tucci, Mark Murphy, Pietro Ciancaglini, Pietro Lussu, Rosario Giuliani, Teppo Mäkinen, Till Brönner, Timo Lassy.

This set has been a long time coming. Italian composer, arranger, multi-instrumentalist, DJ, and label impresario Nicola Conte has been issuing tracks on compilations, on 7", 10", and 12" vinyl for over a decade as mixes, side projects, and reworks. (The latter means that he actually uses his own band to reconceptualize and rearrange an original artist’s recording, more often than not with said artist’s participation.) Most of these cuts came and went, and have been out of print for some time. This killer double-disc set collects virtually all of them in a single spot -- 26 tracks' worth on his Schema imprint. The range of artists is staggering, from Mark Murphy, Til Brönner, Jose James, and Marco Di Marco to Fertile Ground, the Five Corners Quintet, Maki Mannami, and Roberto Roena.

Highlights on disc one include Mark Murphy’s “Stolen Moments (Midnight Mood Rework)”; his own Latin-ized cover of Henry Mancini’s and Johnny Mercer’s “Charade,” with Lisa Bassenge on vocals, and the killer reconstruction of [re:jazz]’s “Quiet Nights” subtitled “Out of the Cool Version,” after the Gil Evans session on Impulse! that inspired it. But tracks like the Jack Lawrence and Arthur Altman standard “All or Nothing at All,” by Conte's group with Jose James on vocals, are stellar examples of his ability to chart for large ensembles and make them rhythmically compelling and harmonically adventuresome, yet contain utterly smooth textures. Disc two contains the gorgeous reworking of Til Brönner’s version of Antonio Carlos Jobim’s and Vinicius de Moraes’ “Só Danço Samba,” that retains Brönner’s vocal and trumpet solo, but conceives everything else -- Conte’s guitar work on this track is stellar. The 12” of the Sunaga T Experience’s “A Healing Blue (Shape of Jazz to Come Version)” features Sheila Landis adding lyrics to the composition and fronting the Italian quintet. Also check the Afro-Cuban rework of Dave Brubeck’s classic “Take Five!” by Roberto Roena.

Ultimately, it doesn’t matter if you know anything about Conte’s side project work, or his singles there are plenty of them here -- if you dig the man’s music, you’ll flip for The Modern Sounds of Nicola Conte: Versions in Jazz-Dub. It is a seamless, utterly engaging collection of 21st century clubjazz rooted in the traditions of bossa, West Coast, progressive big band, continental, and post-bop jazz, as well as 21st century electronic music that has something on it for everyone. Thom Jurek

The Modern Sounds Of Nicola Conte   

Tuesday, January 31, 2017

Wolfgang Haffner - Urban Life

Styles: Contemporary Jazz, Fusion
Year: 2001
File: MP3@320K/s
Time: 51:54
Size: 137,4 MB
Art: Front

(5:30)  1. Urban Life
(5:07)  2. Keep Going
(5:04)  3. The Real Thing
(6:14)  4. Nightride
(6:37)  5. Rising Sun
(5:31)  6. Criss Cross
(5:47)  7. Time Out
(6:32)  8. Long Way Home
(5:28)  9. After Hours

Wolfgang Haffner was born in Wunsiedel/Germany in 1965. He started playing drums and piano at the age of six. He began his career as a professional musician in the German French Jazz Ensemble, conducted by German Jazz legend Albert Mangelsdorff. The Band played Festivals including the Paris Jazzfestival and the Jazzfest Berlin. Haffner later became the drummer in Klaus Doldingers "Passport", with whom he played for 11 years, touring Europe and Southafrica. From 1994 to 1995 he was the drummer in the Band of one of the greatest female singers of all times, Chaka Khan. 1994 he joined the US Fusion Superband METRO with Chuck Loeb, Mitch Forman and Anthony Jackson. In 1997 Haffner and his long-time colleague Roberto Di Gioia started their succesful Group "Zappelbude".
Haffner worked with many great Jazz Artists including Pat Metheny, Michael & Randy Brecker, Larry Carlton, Bill Evans, Earl Klugh,Woody Shaw, Roy Hargrove, Johnny Griffin, CassandraWilson, Joe Pass, Bob James, Joe Lovano, Clark Terry, Pat Martino, Eddie Daniels, Mc Coy Tyner, Art Farmer, Pee Wee Ellis, Esbjoern Svensson, Joe Sample, Fred Wesley, Roy Ayers, Hiram Bullock, Will Lee, Robben Ford… ), also with artists and Bands like Jan Garbarek, Michael Franks, "Die Fantastischen Vier", No Angels, Stefan Raab Helge Schneider, Xavier Naidoo, Sasha, Wolfgang Niedecken, Konstantin Wecker, DePhazz, Lalo Schifrin, NDR Big Band Hamburg and the WDR Big Band Cologne.

Haffner has played Festivals around the world, such as Montreux, Paris, Chicago, North Sea Jazzfestival, Los Angeles, Berlin, Vienna, San Diego, Geneva, Amsterdam, Nice, Stockholm, Madrid, Oslo, Zurich, London. He toured more than 50 countries (Argentinia, Brasil, Venezuela, Nicaragua, Chile, Uruquay, Mexico, Peru, Bolivia Columbia, Portugal Southafrica, USA, India, Egypt, Lebanon, Syria, Italy, Jordan, Poland, Hungary, Thailand, England, Spain, Japan, Finland, Denmark, Sweden, Norway, Latvia, Russia, China…)  In 2002 Haffner formed the Wolfgang Haffner Band which toured Europe. When not performing with his own Band he plays with the Nils Landgren Funk Unit of sweden. Haffner has played on about 350 Recordings, including 11 albums under his own name. In spring 2004 he produced the new album of the iclandic supergroup "Mezzoforte". http://www.last.fm/music/Wolfgang+Haffner/+wiki

Personnel:  Alto Saxophone – Ian Hendrickson-Smith;  Bass – Will Lee;  Bass, Synthesizer, Guitar, Piano [Fender Rhodes] – Roberto Di Gioia;  Drums, Producer, Arranged By – Wolfgang Haffner;  Flugelhorn, Trumpet – Till Brönner;  Guitar – Chuck Loeb, Martin Scales, Peter Tiehuis;  Guitar [Wah Wah] – Peter O'Mara;  Keyboards – Eythor Gunnarsson;  Percussion – David Charles (2), Marcio Doctor;  Piano – Bob James;  Piano [Fender Rhodes] – Michael Forman;  Rap – Tom Nicolas Jr.;  Soprano Saxophone – Jay Beckenstein;  Tenor Saxophone – Lothar Van Staa, Pee Wee Ellis, Tony Lakatos;  Trombone – Fred Wesley, Ludwig Götz, Nils Landgren;  Trumpet – Andy Haderer, Rüdiger Baldauf;  Vibraphone – Roy Ayers;  Vocals – Carmen Cuesta, Eddie Greene

Urban Life

Monday, August 1, 2016

Till Bronner - Chattin With Chet

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 52:59
Size: 126,3 MB
Art: Front

(5:33)  1. You Don't Know what Love Is
(5:53)  2. Everything Happens to Me
(4:46)  3. She Was Too Good to Me
(4:42)  4. Have You Met Chet
(5:15)  5. When I Fall in Love
(3:00)  6. My Funny Valentine
(4:44)  7. Ev'ry Time We Say Goodbye
(5:37)  8. Tell Me
(5:28)  9. But Not for Me
(2:39) 10. Not Like This
(5:16) 11. Chattin with Chet

Trumpeter and crooner Till Brönner is the most famous German jazz musician of his generation, updating traditional bebop sensibilities via elements of contemporary R&B and hip-hop. Born in Viersen, Germany, on May 6, 1971, Brönner discovered the music of Charlie Parker at 13, and later studied jazz trumpet at the Hochschule für Musik Köln. After just three semesters, he turned professional as a member of pianist Horst Jankowski's RIAS-Tanzorchester. In 1993 he cut his debut solo LP, Generations of Jazz, a traditional hard bop homage recorded with guests including bassist Ray Brown and drummer Jeff Hamilton. The album won a number of awards, among them the Preis der Deutschen Schallplattenkritik and the Preis der Deutschen Plattenindustrie. With his third release, 1996's German Songs, Brönner arranged classic German film themes for jazz quartet and classical orchestra, anticipating the creative detours of sessions to follow. 1998's Love heralded his first release for the venerable Verve imprint as well as his debut as a singer, and two years later he issued Chattin with Chet, a project that cemented his growing debt to the American cool jazz legend Chet Baker. After scoring the acclaimed 2001 feature Jazz Seen, a documentary spotlighting the influential photographer William Claxton, Brönner resurfaced a year later with the ambitious Blue Eyed Soul, a collaboration with Japanese DJ Samon Kawamura and soul vocalist Mark Murphy that embraced electronica idioms to update the trumpeter's sound into the postmodern era. 

A concert tour with soul singer Joy Denalane followed, setting the stage for Brönner's biggest mainstream hit to date: 2004's That Summer, which reached number 16 on the German pop charts and made him the nation's biggest-selling jazz artist of all time. Two years later he resurfaced with the Larry Klein-produced Oceana, an all-star effort featuring contributions from singers spanning from Madeleine Peyroux to model Carla Bruni. In 2009, Brönner paid tribute to the the music of Brazil with Rio  particularly the bossa nova. In addition to his own vocals, he also enlisted artists Melody Gardot, Kurt Elling, Annie Lennox, Sergio Mendes, Luciana Souza for the project. A collection of softer versions of rock classics At the End of the Day appeared a year later. The set included the unlikely pairing of his band with metal band Type O Negative on a surprisingly reverent cover Seals & Crofts' "Summer Breeze." Brönner eschewed vocals altogether on his next project, a self-titled album that featured his own band and some background strings, released in 2012. The set looked back at the production sounds of labels like CTI and Verve under Creed Taylor for inspiration, in a thoroughly modern jazz context; the tunes showcased his trumpet chops as the predominant voice of the recording. In 2014, Brönner fulfilled a life-long dream by recording The Movie Album. Cut in Los Angeles with a host of the city's top-flight studio musicians, it collects a wide range of film themes and songs from the classic to 21st century (including "As Time Goes By" from Casablanca and "Happy" from Despicable Me 2). The set also featured appearances by notable vocalists (including Gregory Porter) who assisted him in realizing these interpretations. It was issued by Universal International in September of 2014. ~ Jason Ankeny http://www.allmusic.com/artist/till-br%C3%B6nner-mn0000927067/biography

Personnel:  Till Brönner- Trumpet, Keyboards, Flugethorn, Ride Symbal, Vocals;  Frank Chastenier- Piano, Fender Rhodes;  Wiebke Schroeder- Voices;  Carmen Cuesta- Vocals;  Gregorie Peters- Tenor Sax;  Chuck Loeb- Guitar;  Dean Brown- Guitars;  Karl Schloz- Rhythm Guitar;  Dieter Ilg- Bass;  Tim Lefebvre- Electric Bass;  Gene Lake, Wolfgang Haffner- Drums;  Zach Danzinger- Drum Programming;  David Charles- Percussion;  Samon Kawamura- Turntables

Chattin with Chet

Sunday, July 31, 2016

Till Bronner - The Good Life

Styles: Trumpet Jazz
Year: 2016
File: MP3@320K/s
Time: 60:00
Size: 138,0 MB
Art: Front

(4:57)  1. The Good Life
(4:04)  2. Sweet Lorraine
(5:21)  3. For All We Know
(4:41)  4. Come Dance with Me
(4:57)  5. Change Partners
(5:49)  6. Love is Here to Stay
(4:58)  7. I Loves You Porgy
(3:48)  8. I Might Be Wrong
(4:45)  9. O Que Resta
(3:57) 10. I'm Confessin' that I Love You
(5:08) 11. I'll be Seeing You
(4:10) 12. Her Smile
(3:20) 13. In The Wee Small Hours Of The Morning

The Good Life is the debut album on Sony Music Masterworks from renowned jazz trumpeter, Till Brönner, Germany's best known and best-selling jazz artist. The album is conceived for relaxed moments and draws inspiration form the great American jazz songbook, including new arrangements of works made famous by Frank Sinatra, Billie Holiday, Nat King Cole and many more. Along with his masterful trumpet playing, The Good Life also features Brönner singing on eight of the tracks and includes two original songs written by the two-time Grammy® nominee. Featuring an all-star band John Clayton/bass, Anthony Wilson/guitar, Larry Goldings/piano and Jeff Hamilton/drums The Good Life is an intimate, pared-down, back-to-basics tour de force and testimony to the unique power of jazz to amplify and enrich the most beautiful and poignant moments of our lives.

Till Brönner holds an unrivalled position as Germany s most successful jazz musician. His exceptional international career sees him perform, sing, produce, compose, arrange, record and collaborate with the world s greatest artists from the jazz world and beyond. Throughout his stellar career, he has worked with great musicians such as Dave Brubeck, Herbie Hancock, Tony Bennett, Annie Lennox, Michael Brecker, Al Di Meola, Chaka Khan, Natalie Cole and many more. Guest appearances on Brönner s past albums include a wide range of internationally renowned artists such as Gregory Porter, Arturo Sandoval, Aimee Mann, Sergio Mendes, Kurt Elling, Madeleine Peyroux and Milton Nascimento. https://www.amazon.com/Good-Life-Till-Br%C3%B6nner/dp/B01BGGTZ84

The Good Life