Bobby Hutcherson - Un Poco Loco

Styles: Vibraphone Jazz
Year: 1979
File: MP3@320K/s
Time: 37:31
Size: 88,5 MB
Art: Front

(4:44)  1. The Sailor's Song
(4:12)  2. Silver Hollow
(8:21)  3. Un Poco Loco
(4:39)  4. Love Song
(4:30)  5. Ivory Coast
(7:10)  6. Ebony Moonbeams
(3:52)  7. I Wanna Stand Over there

By 1980, vibraphonist Bobby Hutcherson had evolved from a member of the avant-garde into a top exponent of the modern mainstream. This excellent album (mostly originals and obscurities but highlighted by an inventive version of Bud Powell's classic title cut) features Hutcherson with a top notch all-star group also including guitarist John Abercrombie, keyboardist George Cables, electric bassist Chuck Domanico and drummer Peter Erskine. Pity that this fine set has been long out-of-print. ~ Scott Yanow  http://www.allmusic.com/album/un-poco-loco-mw0000602898

Personnel: Bobby Hutcherson (vibraphone, marimba); George Cables (acoustic & electric pianos); John Abercrombie (acoustic & electric guitars); Chuck Domanico (acoustic & electric basses); Peter Erskine (drums, percussion).

Un Poco Loco

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Plas Johnson - This Must Be The Plas!/Mood For The Blues

Bitrate: 320K/s
Time: 75:38
Size: 173.2 MB
Styles: Saxophone jazz
Year: 2014
Art: Front

[3:03] 1. Too Close For Comfort
[3:34] 2. I Hadn't Anyone Till You
[2:41] 3. Heart And Soul
[3:38] 4. Poor Butterfly
[3:15] 5. Memories Of You
[2:17] 6. Just One Of Those Things
[2:59] 7. There Is No Greater Love
[3:13] 8. If I Had You
[3:10] 9. My Silent Love
[3:20] 10. Day In, Day Out
[2:55] 11. My Old Flame
[3:27] 12. S'il Vous Plait
[3:21] 13. Don't Let The Sun Catch You Cryin'
[2:55] 14. One Mint Julep
[2:49] 15. How Long Has This Been Going On
[2:21] 16. Blues In My Heart
[2:59] 17. I've Got A Right To Cry
[2:27] 18. Please Send Me Someone To Love
[2:56] 19. Tanya
[2:40] 20. Fool That I Am
[2:44] 21. Chloe (Song Of The Swamp)
[3:09] 22. Since I Fell For You
[2:25] 23. A Mood For The Blues
[2:19] 24. I Wanna Be Loved
[2:27] 25. The Big Twist
[2:21] 26. Come Rain Or Come Shine

During the late Fifties and early Sixties in the US the saxophone of Plas Johnson was a ubiquitous sound on radio. Known as the horn behind the hits , he was famous as the tenor sax on the celebrated 1963 Pink Panther main theme recording. Born near New Orleans, he moved to the west coast at a very young age and there launched a career that made him one of the most sought-after studio musicians on the Los Angeles scene, with a great reputation built largely on his remarkable ability to play any style of music with taste and restraint.

The two Capitol albums here epitomize this. On This Must Be the Plas! (1959), he is accompanied by three small groups with slight personnel changes, and although Plas is the main voice on tenor, baritone and alto sax everybody else in the group has his own solo space. Mood for the Blues (1960) features Plas on tenor with strings and rhythm, the tasteful arrangements of Gerald Wilson and René Hall forming a fine background for his solo work. Also included here is his first single for Capitol, including his smash hit The Big Twist and Come Rain or Come Shine. His warm tone and naturally easy style is as greatly admired by other musicians as it is by jazz and pop music fans. It resulted in the kind of soulful, pretty and well-controlled sound that gave universal enjoyment.

This Must Be The Plas!/Mood For The Blues

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Lili Araujo - Casa Aberta

Bitrate: 320K/s
Time: 42:12
Size: 96.6 MB
Styles: Latin jazz vocals
Year: 2012
Art: Front

[3:28] 1. Negro Coração
[5:15] 2. Até Quando Durar
[4:41] 3. Vai Saber
[3:13] 4. Não Tem Nada Não
[4:34] 5. Casa Aberta
[3:08] 6. Onde Estiver
[3:42] 7. Pra Se Lembrar De Mim
[3:41] 8. Sinceridade
[3:21] 9. Não Tem Perdão
[3:49] 10. Vindobona
[3:14] 11. Pode Ir

After consolidating her career in Europe, the young Rio de Janeiro born and bred singer and songwriter Lili Araujo came back to Brazil in 2008 and launched her debut album, “Arribação”. Composed by eleven unique tracks, her work is a mix of choro and samba – rhythms that were part of her childhood in the outskirts of Rio. To that were added the jazz conception, elements and instruments. At only 26, Lili came on the scene, blending references as she created her own musical identity.

The artist, graduated in canto popular at Escola de Música Villa Lobos, in Rio, emmigrated to Vienna, Austria, in 2006 and it was in Europe that her career took off with important appeareances and presentations in jazz clubs, festivals and european theatres such as Tunnel Live Jazz (Vienna), Theater am Spittelberg (Vienna), Reigen (Vienna), Birdland (Vienna), Porg & Bess (Vienna) and Blue Note (Paris). In 2008 the singer wanted more and launched her debut album “Arribação” with austrian record label Oficina Records. She came back to Brazil in the middle of that year, where she performed launching shows from this album at Modern Sound, Sala Baden Powell, Cinematéque, Sala FUNARTE São Paulo and Estrela da Lapa. She also had wonderful appraisals from the specialized press. In the middle of 2009, sponsored by the austrian company SKE/AKM, she went on a little tour of Europe with the concert, passing through Vienna, Schwaz (Tyrol), London, Lausanne, Lisbon and Stockholm.

More than 40 musicians took part on the making of this first CD, including well known instrumentalists such as harmonica player Gabriel Grossi, multi-instrumentalist Dirceu Leite and drummer Marcio Bahia. It also featured young talented instrumentalists such as Guto Wirtti (bass), Joana Queiroz (clarinet), Gabriel Gestzi (piano), Rodrigo Villa (bass), Rafael Barata (drums), Marcelo Caldi (accordion), Vitor Gonçalves (piano), Bernardo Ramos (electric and acoustic guitar) amongst others.

The eleven tracks were arranged by saxophonist Henrique Band, trompeter Darcy da Cruz, guitarists Gabriel Improta and Marcos Amorim and by Lili Araujo. On this first work the artist composed all the lyrics except the track “Tapete azul”, which was by Toninho Pôrto. She shone as a songwriter with her own songs and in partnership with the young violinist Kalu Coelho as well as veterans such as guitarists and songwriters Alegre Corrêa and Marcos Amorim.

Voz/Voice: Lili Araujo; Violão/Acoustic Guitar: Daniel Santiago; Contrabaixo/Acoustic Bass: Guto Wirtti; Piano: Vitor Gonçalves; Bateria/Drums: Rafael Barata.

Casa Aberta

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Mike Vax & Clark Terry - Creepin' With Clark

Bitrate: 320K/s
Time: 56:51
Size: 130.2 MB
Styles: Neo-bop,Trumpet jazz
Year: 2000
Art: Front

[4:16] 1. Serenade To A Bus Seat
[5:37] 2. Just A Simple Waltz
[3:47] 3. Royal Street Shuffle
[6:36] 4. Creole Love Call
[6:02] 5. Sweet Emma
[4:51] 6. Struttin' With Some Bbq
[5:06] 7. Sheba
[5:59] 8. Creepin' With Clark
[8:31] 9. Jive At Five
[6:03] 10. One Foot In The Gutter

Although Mike Vax is a talented trumpeter and flügelhornist, it's hard not to be upstaged by a guest the caliber of Clark Terry. Fortunately these two men realize that this studio session is not a competition, but instead an old friendship that is focused on producing great music. The supporting cast includes the talented but underappreciated trombonist John Allred, young pianist Reggie Thomas, veteran bassist Rufus Reid, and Terry's regular drummer Sylvia Cuenca. Vax contributed the lively "Royal Street Shuffle," which is driven by Thomas' strong boogie-woogie piano, and the oddly named "Creepin' With Clark," as there's nothing slow-paced about this swinger! Vax's deliberate arrangement of Duke Ellington's "Creole Love Call" opens with just Terry's flügelhorn and Allred's trombone, before Vax adds his muted trumpet as the rest of the group joins in; Terry's following gutbucket muted solo is inspired. Terry's fat-toned flügelhorn is immediately identifiable on his old composition, the upbeat "Serenade to a Bus Seat," which features great solos by the entire group. The two leaders' horns blend beautifully in Terry's "Just a Simple Waltz," and they take turns caressing his rich ballad "Sheba." The tasty dessert at the end of this CD is actually served in two courses. First, Terry's treatment of the late Harry "Sweets" Edison's easygoing "Jive at Five" features him alternating between his matchless scat singing and his muted trumpet. The finale finds Terry alternating between muted trumpet and flügelhorn on his funky "One Foot in the Gutter." Highly recommended. ~Ken Dryden

Creepin' With Clark

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Jim Mullen Organ Trio - Make Believe

Bitrate: 320K/s
Time: 54:57
Size: 125.8 MB
Styles: Contemporary jazz
Year: 2008
Art: Front

[6:38] 1. Nature Boy
[7:46] 2. Make Believe
[6:10] 3. When I Fall In Love
[5:53] 4. Nancy
[6:55] 5. A Fond Kiss
[8:07] 6. Speed Of Sound
[6:53] 7. Just The Little Things
[6:30] 8. Rule Of Thumb

If you are not acquainted with the subdued delights of the Organ Trio, here's your chance. Not three organs, you'll be glad to know, but Hammond organ, drums and Mullen's inimitable, mellow guitar. With its fearsome power held in check, the Hammond is capable of great warmth and delicacy and Mike Gorman is a master of this. Matt Skelton's drumming is feather-light but firm. The trio has now become a quartet with the addition of Stan Sulzmann on tenor saxophone. His glossy tone and sweeping phrases bring a new perspective to the sound. The programme mixes originals with ballads ranging from Nat King Cole to Robert Burns. ~Dave Gelley

Make Believe

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Alexandra Lehmler Quintett - Die Welt Von Unten Gesehen

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 54:55
Size: 128,0 MB
Art: Front

(2:20)  1. La Revolte
(6:06)  2. A Cowboy's Song
(1:47)  3. Paris Triste (Intro)
(7:02)  4. Paris Triste
(1:35)  5. Miniatur I
(5:39)  6. Die Welt Von Unten Gesehen
(8:20)  7. Frieda
(7:41)  8. Debout!
(0:49)  9. Miniatur II
(6:27) 10. Let's Leave It All Behind
(5:15) 11. Guy Moquet
(1:49) 12. La Revolte (Reprise)

Their music has all the attributes that you can enjoy ascribes to the "male" Jazz: Sovereign in the lecture, complex, but do not unnecessarily complicated. With noticeable roots, but it's full expression. In short, coming from the abdomen, grown music, the notes you still head insert and consideration. The title of the album, "No Blah Blah" (published in 2012 at the renowned Mannheim label JAZZ'n'ARTS by Thomas Siffling and promoted by the "Initiative Musik"), is the program. Full content and exciting are the compositions, charming is the whole concept of this CD.Musically takes Alexandra Lehmler not mince words, except, of course, that of her saxophone. The old masters of jazz has it audibly studied intensively; we repeatedly influences of different jazz eras in their game on, internalized melodies and lyrical themes - and a lot of contour.

 Lehmlers "vibrating sound on the predominantly blown in bright layers of saxophone, the sleek lines and the song-like melodies," Klaus Mümpfer summed this up in Jazzpodium in words, were "unmistakable". And the Mannheimer Morgen cheers: "Wonderfully light hand they staged their music." Born in Bad Ems on the Lahn 1979 Alexandra Lehmler would certainly become also an excellent pianist, if not the grandpa would have chopped up the piano for firewood. So they had to decide on a different instrument and inflamed than eight year old girl for the saxophone. After five years of verordnetem parents clarinet lessons she could finally begin at age 13 with her ??favorite instrument and learned alongside alto and soprano saxophone and the bass clarinet.Next she took with all stations of a promising musical career: she played in the National Youth Jazz Orchestra under the direction of Peter Herbolzheimer and, among others, Maria Schneider, David Liebman, Jurgen Friedrich, Peter Weniger and Bobby Shew. After completing her studies at the Musikhochschule Mannheim, she deepened her skills with Bernd Konrad in Stuttgart and at the Conservatoire National Supérieur de Musique in Paris. 2004 took place in Alexandra Lehmler Daniel Prandl (p), Matthias Debus (bs) and Max Mahlert (dr) their long-time musical companions that accompany them consistently on the path of a strictly European and world jazz. 

With a native of Colombia percussionist Farouk Gomati the formation short time later grew to a quintet and advanced the world's musical component crucial. The years of continuous work have Alexandra Lehmlers band welded together - at No Blah Blah, it already is the third album together. In terms of staff, the original quintet grew up in this time septet, this time also participate in the guitar and Michael Flury on the trombone as guests Frank Mobus. You and bassist Matthias Debus - her companion in the band and in life and father of two children are at the center and have also composing shared. As a gang leader Alexandra Lehmler attaches importance to a sound where the "color of the sound," as Rainer Koehl recognize very properly in the Rhein-Neckar-Zeitung, "plays a special role." The Band box she used here was always stocked with bright colors that seem to affect most appealing in their combination: "The World Seen from below" On the last album (2009) wrote at the time the music week: "Never annoying, never intrusive, always entertaining and varied, this album is. "What does the musician and her band in No Blah Blah back to music, is an exciting, spirited condensate from classical jazz elements with refreshing influences from the Balkans and Latin America. Also world music flows in Lehmlers jazz quite naturally, occurs occasionally in the foreground. thus makes Alexandra Lehmler canted-inclined jazz for the general mainstream. So spirited, as playful. Translate by google  http://www.bundesjazzwerkstatt.de/?p=128

Personnel: Daniel Prandl (piano); Matthias Debus (bass); Max Mahlert (drums); Farouk Gomati (percussion)

Die Welt Von Unten Gesehen

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Paul Desmond - Easy Living

Styles: Saxophone Jazz
Year: 1966
File: MP3@320K/s
Time: 67:17
Size: 154,5 MB
Art: Front

(5:48)  1. When Joanna Loves Me
(5:49)  2. That Old Feeling
(5:51)  3. Polka Dots And Moonbeams
(5:43)  4. Here's That Rainy Day
(7:09)  5. Easy Living
(4:19)  6. I've Grown Accustomed To Her Face
(6:25)  7. Bewitched
(6:28)  8. Blues For Fun
(5:42)  9. Rude Old Man
(6:13) 10. Polka Dots And Moonbeams (alternate take)
(7:47) 11. Bewitched (alternate take)

As the Paul Desmond/Jim Hall quartet's recording activities gradually came to a halt by 1965, RCA Victor assembled the remains of a number of their later sessions into one last album. These are anything but leftovers, however indeed, they constitute the best Desmond/Hall album since Take Ten, more varied in texture and mood, and by and large more inspired in solo content, than Bossa Antigua and Glad to Be Unhappy. As a near-ideal example of this collaboration at its intuitive peak, "Polka Dots and Moonbeams" opens with Hall paraphrasing the tune, and Desmond comes in on the bridge with a perfectly timed rejoinder that sounds as if he's asking a question. "Here's That Rainy Day" is another apt match of a standard to Desmond's sophisticated personality; he is at his dry, jaunty best on the uptempo "That Old Feeling"; and both have a ball jamming on the blues in Desmond's wry, quick "Blues for Fun." [Some reissues add a pair of outtakes, plus "Rude Old Man."] ~ Richard S.Ginell  http://www.allmusic.com/album/easy-living-mw0000652725

Personnel: Paul Desmond (alto saxophone); Jim Hall (guitar); Eugene Wright, Eugene Cherico, Percy Heath (bass); Connie Kay (drums).

Easy Living

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Johnny Frigo - Debut of A Legend

Styles: Jazz, Swing
Year: 1994
File: MP3@320K/s
Time: 55:58
Size: 132,3 MB
Art: Front + Back

(4:34)  1. Get Happy
(4:03)  2. I'm Old Fashioned
(3:04)  3. Osaka Saki
(5:09)  4. Too Late Now/Street of Dreams
(3:30)  5. Bow Jest
(4:25)  6. Nuages
(6:14)  7. Jitterbug Waltz
(5:25)  8. Heather On The Hill/How Are Things In Glocca Morra
(5:01)  9. I Love Paris
(6:18) 10. Here's That rainy Day
(3:09) 11. Lush Life
(5:03) 12. Jeannine

Violinist Johnny Frigo's third album as a leader (he had previously made a forgotten date for Mercury in 1957 and a Chesky CD in 1988) is his definitive set, even though he was 77 at the time. With a good supporting cast (guitarist Gene Bertoncini, Bob Kindred on tenor and clarinet, pianist Joe Vito, bassist Michael Moore, and drummer Bill Goodwin), Frigo mostly explores standards, plus two of his originals. The music, falling between swing and bop, is superior straight-ahead jazz; among the highlights are "Get Happy," "Bow Jest," "Jitterbug Waltz," and "Jeannine." Frigo's sudden prominence in his '70s (considering he spent most of his career as a bassist) was as unlikely and welcome an event as trumpeter Doc Cheatham's late-period triumphs. ~ Scott Yanow  http://www.allmusic.com/album/debut-of-a-legend-mw0000119053

Personnel: Johnny Frigo (violin); Gene Bertoncini (guitar); Bob Kindred (clarinet, tenor saxophone); Joe Vito (piano); Bill Goodwin (drums).

Debut of A Legend

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Mark Crooks - How My Heart Sings

Size: 117,7 MB
Time: 50:40
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz Instrument
Art: Front

01. The Lady's In Love With You (3:30)
02. Everytime (3:45)
03. I Wish I Knew (5:46)
04. When Day Is Done (5:57)
05. Garden In The Rain (4:40)
06. How My Heart Sings (4:37)
07. Everything I've Got (4:40)
08. Young And Foolish (5:58)
09. Bud Powell (4:32)
10. Bess You Is My Woman Now (2:51)
11. At Long Last Love (4:20)

Personnel: Mark Crooks (ldr/ten/clt), John Pearce (piano), Matt Miles (bass), Steve Brown (drums)

The clarinet is an often unfairly maligned instrument in the jazz world. Frank Wess, the eminent octogenarian saxophonist, was reputed to have said, 'the clarinet was invented by two guys who didn't know each other'. Another standout saxophonist, George Coleman, was one of many to have uttered the quip 'the only time Woody Allen made me laugh was when he picked up the clarinet'. These glib and offhand remarks aside, there is a difficulty with the clarinet in many modern jazz groups and big bands for sheer projection and volume reasons alone. It often has to resort to its sometimes shrill high register to be heard above these ensembles and, as a result, is compromised musically.

Practitioners of the instrument will no doubt be aware of the limpid and loamy qualities of the clarinet's chalumeau register, which is probably its least known and featured attribute. However, this was an area of the instrument that Ellington highlighted frequently with 1930s Crescent City stylists like Barney Bigard and Otto Hardwicke, as well as the more modem Jimmy Hamilton.

Tenorist and clarinettist Mark Crooks brings many of the clarinet's sides to light in this CD on the Mac label, How My Heart Sings ,with great effect. This is accomplished through no mean contribution by the crack rhythm support team present, led by pianist John 'the pro' Pearce, a consummate accompanist whose elegant melodocisms in his solos do much to spice up the proceedings. Bassist Matt 'Melody' Miles's timekeeping is matched by his unrelenting lyricism in his improvisations and drummer to the stars, Steve 'Beat' Brown's steady time is enhanced by his ebullient verve both as a person and percussive conversationalist. The added bonus on this date is the rich-toned guitar of Colin 'Ice' Oxley, whose solos burn coolly, laced with steadfast poise. One of the highlights included is Gershwin's Bess You Is My Woman Now from his seminal 1934 opera. Played poignantly by just clarinet and piano the melancholic yearning passion of the piece is captured to its tearful best. As the late saxophonist, Spike Robinson said to young lion Mark a few years back, 'if the tune's good enough, why spoil it, just play the tune'. The listener bathes in the pathos of the clarinet lament yet is heartened by the hopeful grace of John Pearce's rhapsodic, yet supportive piano.

Mark's Zootish tenor picks the mood up a bit with its swing and swagger on his original Everytime along with the Hague/Horwitz evergreen Young and Foolish. Other clarinet offerings include the title track composed by pianist Bill Evans's friend Earl Zindars, and the London-based American bandleader Carroll Gibbons's opus Garden in the Rain.

This disc features something for everyone; as well as a virtual history of the styles and colours beholden to the clarinet there is some fruity tenor sax to add muscle and bounce. ~Frank Griffith.

How My Heart Sings

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Trio Esperança - Doce França

Size: 99,6 MB
Time: 42:44
File: MP3 @ 320K/s
Released: 2013
Styles: Chanson, Brazilian Rhythms
Art: Front & Back

01. Les Copains D'abord (2:38)
02. Quelques Mots D'amour (3:40)
03. Ce N'est Rien (3:01)
04. La Chanson Des Vieux Amants (Cançao Dos Velhos Amantes) (3:26)
05. Lily (Lily A Somali) (3:18)
06. Et Maintenant (2:54)
07. Chaque Jour De Plus (2:53)
08. La Boheme (Uma Bela Historia) (4:17)
09. Sob O Ceu De Paris (3:02)
10. Que Reste-t-il De Nos Amours (Bem Mais Que Tudo) (2:25)
11. Bancs Publics (Os Amantes Dos Bancos Publicos) (3:19)
12. La Vie En Rose (2:33)
13. Message Personnel (2:52)
14. Tendresse (2:18)

Trio Esperança is a Brazilian vocal trio, formed in the city of Rio de Janeiro in 1958, by the siblings Mário, Regina and Evinha Correia José Maria. They had several hits in Brazil, such as "Festa do Bolinha" and "Filme Triste" - a version of the pop song Sad Movies (Make Me Cry), released as a single in 1962 - and released albums through Polygram Records, EMI, Universal Music and Philips Records.

After releasing 4 albums in France, the Trio Esperança took a break from the music business in 2002. The band returned on stage in 2008. In 2010, the Trio Esperança, composed by Evinha, Regina and Mariza, released a new album De Bach a Jobim on French label Dreyfus Jazz. The disc featured covers of music by The Beatles, Bach, Antonio Carlos Jobim, in addition to original material.

In 2013, almost 20 years after the release of "A Capela do Brasil", the first album they released in France, the Trio Esperança decided to pay tribute to French music, with their personal take on 14 songs by emblematic French artists, releasing a new album "Doce França"

Doce França

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Marta Krol - Thank God I'm A Woman

Size: 106,1 MB
Time: 45:46
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz Vocals
Art: Front & Back

01. Thank God I'm A Woman (5:26)
02. Things Above (3:51)
03. In The Wee Small Hours Of The Morning (3:48)
04. From This Moment On (3:28)
05. A House Is Not A Home (4:17)
06. Usmiech (3:54)
07. Começar De Novo (6:23)
08. Mr Busy Man (3:58)
09. Song Of Longing (6:23)
10. Thank God I'm A Woman (Radio Edit) (4:14)

Born in Bytom, Poland. Is a classically trained and graduated viola player from Chopin`s Music School in Bytom, but during her education without a doubt it was her voice that became her main instrument.

Winner of many important vocal festivals in Poland, including:

- 1st Prize and a Special Polish Television Prize at the Young Vocalists Fesival – Debuts in Lublin (2005 and 2007)
- Grand Prix at the national English Song Festival in Brzeg (2007)
- Special Prize at International Jazz Festival New Hope of Jazz in ?omz.a (2009)

Her first album The First Look has appeared in May 2011, was reviewed by many critics and journalists and nominated for the most prestigious music awards in the country.

Thank God I'm A Woman

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Jeremy Baum - The Eel

Size: 120,2 MB
Time: 50:59
File: MP3 @ 320K/s
Released: 2014
Styles: Funky Soul-Jazz, Blues, Hammond Organ
Art: Front

01. The New Pollution (4:16)
02. Funky Monkey (4:39)
03. Three More Bottles (5:31)
04. Charlie Baum (5:00)
05. Dance With Me (3:21)
06. Borracho (3:19)
07. Pacific Drive (5:44)
08. Ain't It Funky Now (5:47)
09. Purple Rain (7:09)
10. The Eel (6:09)

Jeremy Baum plays the Hammond Organ and piano and leads his own band, which is rooted in the blues and funky soul-jazz sounds of the late 60s (think Booker T and the MG’s, the Meters, Jimmy Smith!) His style is also informed by the current masters of the groove from the jam-band scene (Medeski, Martin & Wood, Soulive, Derek Trucks Band, Marco Benevento.)

While still in college, Jeremy joined Murali Coryell's band, and soon began leading his own organ trio. In 2002 Jeremy released his first album, Lost River Jams, on Flying Yak Records. JB’s Band was also featured on Boogaloo to McDuff, a tribute to Jack McDuff, available on Scufflin’ Records. Jeremy has been leading his band at festivals and clubs in the New York and New England region ever since.

Jeremy has been a successful sideman, working with Shemekia Copeland (6 years in her band), Levon Helm, soul-jazz legend Melvin Sparks, Sue Foley, Joe Louis Walker, Debbie Davies, Chris O’Leary, John Hammond Jr., and many more. He has played in nearly every state in the USA, in over 25 countries in North America, Europe and Asia, at countless music festivals, at Carnegie Hall, and many television appearances including Late Night with David Letterman. The man has paid some dues!

Back in the studio for his sophomore release, The Eel, on Flying Yak Records, Jeremy Baum knocks it out of the park with 10 Hammond organ and piano driven arrangements. It's an album of funky, bluesy new compositions as well as original arrangements of songs by Beck, Prince, James Brown and more. Recorded by the amazing Dave Gross at Fat Rabbit Studios, this album features many of the best and brightest musicians from Jeremy's twin musical homes of New York City and the Hudson Valley/Woodstock NY area. Special guests include, among others, Jay Collins, Eric Kalb, Scott Sharrard, guitar prodigy Myles Mancuso, Chris Vitarello, and VizzTone artists Dennis Gruenling, Michael Bram, and Chris O’Leary.

The Eel

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Jack Montrose & Bob Gordon - Two Can Play (2-Disc set)

Largely forgotten in the 1990s and living in the Las Vegas area, tenor saxophonist Jack Montrose was one of the most skillful of the cool jazz arranger/composers of the 1950s. This 1998 CD combines together two dates: arguably Montrose's finest album as a leader (a 1955 outing with baritonist Bob Gordon, trumpeter Conte Candoli, pianist Paul Moer, bassist Ralph Pena, and drummer Shelly Manne), plus a quintet set that was actually headed by the short-lived Gordon (who died in a car accident on August 28, 1955). Montrose's own date has five of his originals plus three reworked standards, while Gordon's album is comprised of six Montrose songs (including two versions of "Two Can Play") and three other standards. Even on the latter album, Montrose's charts (which are full of unexpected surprises while always swinging and leaving room for plenty of solos) are quite notable and show that, despite the restrained tones, there was plenty of excitement to be found in West Coast jazz. In addition, this CD acts as a perfect memorial for the talented Gerry Mulligan-influenced baritonist Bob Gordon. Highly recommended. ~Scott Yanow

CD1 #1-9: Bob Gordon Quintet
Jack Montrose (ts), Bob Gordon (bars), Paul Moer (p), Joe Mondragon (b), Billy Schneider (d). Hollywood, May 6 and 27, 1954

CD1 #10-14 & CD2 #1-4: Jack Montrose Quintet
Jack Montrose (ts), Bob Gordon (bars), Paul Moer (p), Red Mitchell (b), Shelly Manne (d). Hollywood, May 11 & 12, 1955

CD2 #5-12: Jack Montrose Sextet
Conte Candoli (tp), Jack Montrose (ts), Bob Gordon (bars), Paul Moer (p), Ralph Peña (b), Shelly Manne (d). Hollywood, June 24 and July 6, 1955.

Album: Two Can Play (Disc 1)
Bitrate: 320K/s
Time: 49:40
Size: 113.7 MB
Styles: Saxophone jazz
Year: 1955/2012

[2:34] 1. Meet Mr. Gordon
[3:01] 2. Tea For Two
[3:43] 3. Modus Operandi
[3:24] 4. Onion Bottom
[3:35] 5. What A Difference A Day Makes
[3:44] 6. For Sue
[2:21] 7. Love Is Here To Stay
[2:27] 8. Two Can Play
[2:24] 9. Two Can Play (Alternate Take)
[4:56] 10. A Little Duet
[4:02] 11. Paradox
[3:31] 12. When You Wish Upon A Star
[5:13] 13. Have You Met Miss Jones
[4:39] 14. Dot's Groovy

Two Can Play (Disc 1)

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Album: Two Can Play (Disc 2)
Bitrate: 320K/s
Time: 60:29
Size: 138.5 MB
Styles: Saxophone jazz
Year: 1955/2012
Art: Front

[5:43] 1. I'm Gonna Move To The Outskirts Of Town
[4:32] 2. Cecilia
[5:01] 3. April's Fool
[4:15] 4. The News And The Weather
[5:31] 5. Listen, Hear
[5:15] 6. Pretty
[5:27] 7. Bewitched, Bothered And Bewildered
[5:23] 8. Credo
[5:32] 9. Fools Rush In
[4:11] 10. Speakeasy
[4:26] 11. That Old Feeling
[5:06] 12. Some Good Fun Blues

Two Can Play (Disc 2)

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Jeni Fleming - Come To Life

Bitrate: 320K/s
Time: 57:02
Size: 130.6 MB
Styles: Vocal jazz
Year: 2010
Art: Front

[6:30] 1. When You Fall
[4:58] 2. Drift Away
[4:25] 3. Happy Valentine's Day
[3:51] 4. Never My Love
[4:57] 5. Don't Get Around Much Anymore
[5:24] 6. Can't Buy Me Love
[6:00] 7. Come To Life
[5:24] 8. Angel Flying Too Close To The Ground
[5:15] 9. We Work The Black Seam Together
[4:53] 10. Chega De Saudade
[5:20] 11. The Other Side

After 7 albums and many cross-country tours, JENI is fast becoming one of the west’s most sought-after musicians, bringing a breathtaking originality to some of the best music of the American songbook. From classic jazz standards from composers such as Gershwin, Cole Porter and Jobim, to re-arranged pop hits by Cyndi Lauper, The Grateful Dead, or The Beatles, JENI defies easy classification simply saying in defense “a good song is a good song.” Her signature ballads drip with so much emotion that an audience member suggested adding Kleenex boxes on each chair in her Tech Rider. The Big Sky Journal commented “an evening of this and you’re both whipped and exhilarated, you’ve wiped your eyes, yet your cheeks hurt from all the grinning.” With every performance, the songs and stories of JENI FLEMING are winning the hearts of audiences from coast to coast.

Come To Life

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Pablo Bobrowicky - Southern Blue

Bitrate: 320K/s
Time: 58:21
Size: 133.6 MB
Styles: Guitar jazz
Year: 2010
Art: Front

[5:05] 1. Sos Vos
[4:25] 2. Barbados
[5:13] 3. Luiza
[3:29] 4. La Anera
[4:11] 5. Cotton Tail
[2:42] 6. Rythm A Ning
[8:41] 7. Idle Moments
[3:35] 8. I'm Beginning To See The Light
[6:34] 9. Eclipse De Luna
[4:09] 10. La Reparada
[5:50] 11. C Jam Blues
[4:22] 12. Delilah

Argentinian guitarist Pablo Bobrowicky has a beautifully unadorned and organic tone, as naked as an electrified guitar can be. He makes it a point not to hide behind reverb, sustain, or overdrive, producing a plectrum sound halfway between electric and acoustic. On Southern Blue, his fourth Red Records recording as a leader, Bobrowicky returns to the trio format he so successfully led on 2001's Where We Are (Red Records), spinning out an excellent collection of standards and originals, rendered like a fine, aged wine.

Bobrowicky's opening tune is an original, "Sos Vos?," based on the harmonic structure of the jazz warhorse "All The Things You Are." In the greatest of jazz traditions, the guitarist transforms the original standard by expertly tinkering with the tempo, time and chords. In doing so, he creates something new altogether: an elegant and swinging tribute to the original. More than with a piano trio, the guitar trio lays plain the "space" in music with which Miles Davis was always so obsessed. Bobrowicky sharpens this with clean phrasing devoid of Joe Pass cum Art Tatum 64th- note ejaculations that, while impressive, can clutter a good melody. In this case, less is more. This music is as clean as a whistle, smelling of pine. ~C. Michael Bailey

Pablo Bobrowicky: guitar; Ben Street: bass; Pepi Taveira: drums.

Southern Blue

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Quinn Deveaux - Under Covers

Bitrate: 320K/s
Time: 30:23
Size: 69.6 MB
Styles: R&B/Soul, New Orleans blues
Year: 2011
Art: Front

[3:26] 1. Come & Go
[2:33] 2. Packin' Up
[3:36] 3. Tiger In Your Tank
[3:22] 4. Good News
[3:14] 5. All Night Long
[2:57] 6. I'm In Love Again
[3:10] 7. Glory Glory
[2:41] 8. Leave My Woman Alone
[5:21] 9. They All Asked For You

Under Covers is a collection of our most favorite songs. These are the songs that inspired us to start a band and to write original tunes. These are dance songs and are part of the basis for the blue beat sound we are inventing or attempting to invent. We love the Muddy Waters, the Sam Cooke, the Meters, the Fats Domino, the Chris Kenner, and the Ray Charles and we only hope be as good as this music. This is the new Blue Beat. ~Quinn DeVeaux

Under Covers

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Madeleine Peyroux - The Blue Room

Styles: Jazz, Vocal
Year: 2013
File: MP3@320K/s
Time: 46:31
Size: 106,7 MB
Art: Front

(3:12)  1. Take These Chains
(3:28)  2. Bye Bye Love
(3:10)  3. Changing All Those Changes
(4:27)  4. Born to Lose
(3:50)  5. Guilty
(5:37)  6. Bird On the Wire
(4:18)  7. I Can't Stop Loving You
(6:42)  8. Gentle On My Mind
(4:01)  9. You Don't Know Me
(4:20) 10. Desperados Under the Eaves
(3:21) 11. I Love You So Much It Hurts

The nucleus of Madeleine Peyruoux's The Blue Room is Ray Charles' Modern Sounds In Country And Western Music (ABC, 1962). It was an idea percolating in the brain of long-time Peyroux producer Larry Klein, who was considering a re-examination of the Charles classic and evolved into something more than a simple homage, something with the same intention as Charles had fifty years ago. Collaborating with Peyroux, Klein decided on other songs the two favored, adding to the Charles Country canon Randy Newman's "Guilty," Warren Zevon's "Desperado's Under the Eaves" and John Hartford's "Gentle On My Mind," as well as Leonard Cohen's "Bird on a Wire" and the rare "Changing All Those Changes" by Buddy Holly. 

The result is this ravishing collection of North Americana.  Using only the sparest core keyboard-guitar quartet led by Larry Goldings, Peyroux re-imagines this material, giving its spirit a second generation of consideration. The Charles material was provocative and controversial to begin with, bucking the conventional wisdom of the period recording industry, earning its I-told-you-so genius rating for Charles. While Peyroux's approach is not as shockingly genre-shattering, it is nevertheless a progression using this older music as a vehicle to great effect. Regarding the Charles material, Goldings' use of electric piano is a nice tip-of-the-hat to Charles a la "What'd I Say?" as Vince Mendoza's strings arrangements are for the same. Peyroux's voice is a paradox. Clearly informed by Billie Holiday, for which she has been criticised and praised, Peyroux has assimilated this influence into an instrument as unique as it is progressive. She infuses this famous music with a languid pathos, whose essence is like that familiar but undefinable aroma wafting from the family memory kitchen.

"Bird on a Wire" and "Gentle on My Mind" are all morphine and molasses while "Desperado Under the Eaves" and "Guilty" are polished to an antique brass gleam. Peyroux is using a formula used earlier by Cassandra Wilson in the 1990s, one where pop, country and folk songs are given a contemporary makeover. Where Wilson did this very organically, Peyroux retains the more modern jazz trappings, conservatively rendering the old music to make some of the most progressive mainstream art realized. ~ C.Michael Bailey  http://www.allaboutjazz.com/the-blue-room-madeleine-peyroux-emarcy-review-by-c-michael-bailey.php#.U8lrb7FryM0 

Personnel: Madeleine Peyroux: vocals; Larry Goldings: keyboards; Dean Parks: guitars; David Piltch: bass; Jay Bellerose: drums; Larry Klein: arrangements; Vince Mendoza: string arrangements.

The Blue Room

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Alexandra Caselli - Out The Aquarium

Styles: Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 56:29
Size: 130,1 MB
Art: Front

(3:59)  1. Out The Aquarium
(4:38)  2. It Might As Well Be Spring
(4:59)  3. I Remember You
(4:51)  4. How Deep Is The Ocean
(3:35)  5. Hi-Lili, Hi-Lo
(4:35)  6. Chinese Moondream
(4:49)  7. Flying Colors
(5:11)  8. When The Red Red Robin Comes B
(4:54)  9. Follow Your Road
(3:09) 10. Side By Side
(4:39) 11. Notre Dame
(3:16) 12. Whiff
(3:47) 13. Out The Aquarium

With a cosmopolitan name like Alexandra Caselli, how can one go wrong? Add to that great name the classical heritage of Muzio Clementi, the impressionistic philosophy of Lynne Arriale (by way of Bill Evans), and a great ear for melody, and you have the total package that is Ms. Caselli. Out The Aquarium is Caselli's new recording. She has previously been associated with the Jennifer York Trio and quartet. The pianist is equally adept at electric and acoustic jazz, with experience in both arenas.  Out The Aquarium employs two trios differing in the use of electric or acoustic bass. This seemingly small change alters dramatically the swing factor in the music. The difference is that between straight piano trio mainstream and contemporary jazz.

Compare directly "Out the Aquarium and "It Might as Well be Spring" with "I Remember You," "Follow Your Road," and "Side By Side." With the change in drumming (along with the electric bass), the latter three pieces are prime Adult Contemporary stock and very effective stock at that. What makes this disc so appealing is Ms. Caselli's musicality in both her treatments of standards and her own originals. She plays with a double-fisted, block chord abandon that imparts a real orchestral sound to her trio. I kindly recommend this recording to all lovers of the piano trio format, be they traditional middle-of-the-roaders or Adult Contemporary wonks. ~ C.Michael Bailey  http://www.allaboutjazz.com/out-the-aquarium-alexandra-caselli-moon-jumpers-records-review-by-c-michael-bailey.php#.U8r8d7FryM0

Personnel: Alexandra Caselli--Piano; Adam Cohen, Randy Landis--Bass; Dick Weller, Eric Wells, Dave Derge--Drums.

Out The Aquarium

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Kerry Strayer Quartet - Play It Where It Lays

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 62:39
Size: 144,0 MB
Art: Front

(5:28)  1. 3625 Central
(7:26)  2. Blues O'Mighty
(7:24)  3. Perfectly Frank
(6:00)  4. Jammin' At The Kirk
(7:15)  5. Funk In Deep Freeze
(5:49)  6. Mentor
(5:27)  7. All Too Soon
(6:11)  8. Friends Again
(6:00)  9. Play It Where It Lays
(5:36) 10. Bertha The Dragoness

A baritone saxophonist heavily indebted to Gerry Mulligan, Kerry Strayer tends to favor a soloing style that sticks close to the original melody and phrasing that emphasizes the instrument's buzzy lower register. Play It Where It Lays is an album of standards and originals the Kansas City-based saxophonist recorded with his standard rhythm section and his friend and mentor, Gary Foster, on alto and tenor. Strayer was one of Foster's students at the Kansas City Conservatory of Music in the mid-'80s, and both saxophonists have a similarly measured, cerebral playing style that keeps the album from becoming just a blowing session. 

The set list features some well-chosen tunes from the catalogs of Johnny Hodges, Duke Ellington, and Hank Mobley, and Strayer is the sort of "old wine, new bottles" jazz performer who is careful to point out in his liner notes what familiar chord changes he's nicking on the handful of Strayer and Foster originals. As a result, there's an air of respectful academia about Play It Where It Lays that's both a blessing and a curse: as both a writer and a soloist, Strayer is so reverential to the giants of jazz past that there's a certain lack of personality here. By the end of Play It Where It Lays, the listener is struck by the taste and the tastefulness of the players, but is left with little sense of who they really are. ~ Stewart Mason  http://www.cduniverse.com/productinfo.asp?pid=7375096&style=music&fulldesc=T
 

Personnel: Kerry Strayer (baritone saxophone); Paul "Scooby" Smith, Frank Mantooth (piano); Todd Strait (drums).

Play It Where It Lays

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Jim Rotondi - The Pleasure Dome

Styles: Trumpet Jazz
Year: 2004
File: MP3@320K/s
Time: 58:26
Size: 134,0 MB
Art: Front

(5:45)  1. On Y Va (Let's Go)
(7:59)  2. The Breeze And I
(7:27)  3. The Pleasure Dome
(6:58)  4. My Ideal
(9:35)  5. A Bientôt
(6:41)  6. Yours Is My Heart Alone
(5:45)  7. Mamacita
(8:12)  8. Hush

His already impressive catalog of work for Criss Cross notwithstanding, trumpeter Jim Rotondi's Destination Up is arguably one of his best records, and it gained numerous critical kudos when it was released a few years back. While the trumpeter's follow-up for the Sharp Nine label might not be as ambitious as its predecessor, it's no less engaging. Furthermore, Rotondi continues to foster an individualistic approach that comes out of the Freddie Hubbard/Woody Shaw bag, but which has amalgamated into a technically proficient and emotionally direct and lyrical muse. Two of Rotondi's originals mix with a half dozen well-chosen lines from the hard bop canon, with choice arrangements giving everything a fresh coat of paint. A bristling "On Y Va" finds everyone at the starting gate ready to blow and alto man Jesse Davis makes an immediate impression, his tart and fluid lines taking the Parker/Stitt prototype to the next level. 

"The Breeze and I" is a model of the clever type of arranging tricks that Rotondi uses throughout the date, with the melody delivered over a percolating 6/8 groove. Listen for David Hazeltine's coy solo spot, which includes a well placed quote of "Now's the Time." Facing a proven test for the mettle of a jazz artist, Rotondi really delivers on ballads and his feature spot here on "My Ideal" exudes maturity and lyrical character. A real storyteller, Rotondi also knows how to take his time with a line, and that skill makes an expansive take on Billy Taylor's "A Bientot" one of the highlights of the disc.

Rounding things out, Rotondi and crew revisit two lesser-known items from the Blue Note legacy, namely Joe Henderson's "Mamacita" and Donald Byrd's "Hush." Those who have followed Rotondi over the years and know of his efforts with the band One For All and other projects with his clique of like-minded artists will find it no surprise that the lock-up the trumpeter gets with Hazeltine and drummer Joe Farnsworth is something truly special. In addition, bassist Ray Drummond was no stranger, having filled in for Peter Washington on a few One For All gigs in the past. Davis proved to be the real revelation, and one can only hope that he and Rotondi will choose to join forces again in the future, the pair offering a change of pace from the usual tenor/trumpet front line. ~ C.Andrew Hovan  http://www.allaboutjazz.com/the-pleasure-dome-jim-rotondi-sharp-nine-records-review-by-c-andrew-hovan.php#.U8mY8rFryM0

Personnel: Jim Rotondi (trumpet and flugelhorn), Jesse Davis (alto sax), David Hazeltine (piano), Ray Drummond (bass), Joe Farnsworth (drums)

The Pleasure Dome

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